Joanna Shaw-Eagle, the Washington Times Chief Art Critic has a great review of the Sandra Ramos gallery debut show currently on exhibition in Georgetown.

Blake Gopnik is not going to like this:

Carol Strickland, writing in the Christian Science Monitor makes the case that "painting is back."

"In the past two decades, cutting-edge galleries and museums have focused on everything but painting. The halls were chockablock with installations, photo-based work, conceptual art, new media, and digital and video art.

But a fundamental shift has taken place. For a survey exhibition of contemporary work at the Brooklyn Museum of Art, Charlotta Kotik and her co-curator looked at thousands of works by emerging artists...

"The taste of the art world is changing," Ms. Kotik says. "Suddenly painting is allowed to exist again."

Read the whole article here, then print it and mail it to every museum curator, museum director and art critic that you know.

The rest of us already knew that no matter what gets written, and no matter what gets exhibited in museums, what truly makes an impact here in the trenches is and has been, and will continue to be painting.

(Thanks to ArtsJournal for the lead.)

Thanks to ArtsJournal for this:

A new for-profit company has formed in New York that will create a first-of-its-kind pension fund for artists. The fund, called the Artist Pension Trust, is designed to offer some retirement security for up-and-coming visual artists who are now in their 20s and 30s.

Instead of contributing money to the fund, the selected artists will contribute their own artwork to a trust. The artwork will be held for a number of years, then sold, with the proceeds going into the trust, from which artists will then draw their pensions.

But at issue is how does one guess who (in the 20s) will be a sellable artist in their 60s. Nonetheless, it is a novel and interesting idea.

There will be regional trusts in New York and Los Angeles. Each trust will have 250 artists. The artists will be chosen by a "prominent" group of artists, art professors and gallery owners in each region. Eventually, this outfit plans to have trusts in London, Berlin, Tokyo, Shanghai or Beijing, and possibly Miami.

Read the whole story here.

It may be fun to come up with a list of, say 25 DC area artists in their 20s and 30s, that we'd nominate for this Artist Pension Trust.... that is, if our area is considered for a trust fund.

Ned Rifkin, director of the Hirshhorn Museum and Sculpture Garden passes that J. Tomilson Hill has been elected as the Chairman of the Hirshhorn's Board of Trustees.

Pretty fast move up the chain for Hill, who joined the Board in 1998 and served as Vice Chair two years later. Congratulations!

Some new shows...

Andrea Rowe Kraus has paintings and prints at Studio Gallery at Dupont Circle until June 13.

Paintings and sculpture by Korean artist Nong are on exhibit at Dega Gallery in McLean until July 3.

Richard Whiteley has new landscape paintings at Gallery West in Alexandria.

Mobiles by David Yano and abstract paintings by Marsha Hall share the gallery at Creative Partners in Bethesda.

Addison/Ripley in Georgetown has new work by Dan Treado until June 19.

Wayne Trapp has an Introspective on exhibition at Zenith Gallery downtown until June 6.

Nancy Sausser reviews "Expanding Realities", in today's Post. The show is curated by Sarah Tanguy and is currently on exhibition at the American Center for Physics.

God as an art critic?

As most of you probably know by now, the cream of the Saatchi YBA art collection, not including Chris Ofili's infamous dungwork The Holy Virgin Mary, which survives in the Saatchi Gallery, was destroyed a few days ago in a fire in London.

You can see most of the destroyed collection here.

The destruction of any artwork, no matter one's opinion of the "art" itself, is always to be lamented. However, in the case of the YBA's art lost in this fire, I wonder if it will have an "Elvis" effect on that work, and leave a sort of legendary (if ethereal) footprint on the pages of art history.

I submit that it will, and in fact it may be a brilliant (if unintended) act of marketing!

Since some of the British art world's leading prognosticators think that figurative art may be the "next big thing in art," I wouldn't be surprised to see this master marketeer make an 180 and start a "new" collection of figurative art.

I can hear the howling already...

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In the Post today, Jessica Dawson reviews Leo Villareal at Conner Contemporary and Joe White at Edison Place Gallery.

My posting on galleryphobia has been getting responses from gallerists as far as Canada, Uruguay and the UK!

But best is this one from photographer James W. Bailey from the Greater Reston Arts Center in Reston, Virginia:

I wanted to recognize your scientific identification of galleryphobia. I believe that I have identified a sub-species at the Greater Reston Arts Center.

It just so happens that the most popular cigarette break spot at Reston Town Center is right in front of our largest window. There’s a concrete planter that sits facing our window and the smokers congregate for their isolationist rituals 6 to 8 times a day.

During the course of their smokes breaks, especially when their thin conversations have worn thinner, many of them will walk right up to the glass, plaster their faces against the glass, raise their hands above their heads to block the light so they can see better and stare through the glass while puffing away on their cancer sticks.

But they never come in! There’s this one girl whom I’ve been watching for 2 ½ years through the damn glass! She’s never stepped foot in the gallery.

Yet, everyday she’ll stare inside. I’ve tried opening the door, stepping outside and asking people to come in and take a look and even offered wine to them.

They are terrified of actually walking into the gallery. If you have no objection, I’m naming this sub-species, galleryphobia smokerterrifiedicus.

Funny!!!

By the way, a $38,000 life size statute was brazenly stolen this last weekend from an artist's booth, in front of thousands of art lovers at the Northern Virginia Fine Arts Festival.

Art & Antiques Magazine has an update on Sandra Ramos and her visa denial to attend her current U.S. solo gallery debut at our Georgetown gallery.

City Arts Projects

Deadline: May 27, 2004.

The DC Commission on the Arts and Humanities (DCCAH) City Arts Projects offers funds to encourage the growth of quality arts activities throughout the city, support local artists, and make arts experiences accessible to DC residents.

Projects must provide exposure to the arts and arts experiences to the broader community or to persons traditionally underserved or separated from the cultural mainstream due to geographic location, economic constraints, or disability.

Eligible projects include, but are not limited to: festivals, concerts, visual arts exhibitions, literary readings, and salary support to enhance cultural diversity among the staffs of arts organizations in DC.

Eligible applicants include arts and community organizations that have their principal place of business in DC and have both Federal (IRS) and DC tax exemptions for at least one year prior to the deadline date.

The deadline for applications is May 27, 2004. Grants between $1,000-$15,000 are available. Funds must be matched dollar for dollar. For further information, contact DCCAH at (202) 724-5613; or go to this website.

Pilfered from ArtsJournal: A Chicago art dealer has been charged with attempting to sell fake Picassos in Milwaukee.

I don't know of any DC area art dealer selling fake Picassos, but there are many, many "galleries" that do have a Picasso scam going on - not just in our area, but since many of these "galleries" are actually chain or franchise stores passing as art galleries, the scam goes on all over the country.

You know the type of "gallery" that I am talking about: They sell a lot of "pretty" decorative art, loads of gyclees on canvas by mass production, decorative artists with European-sounding names and "art" by famous people who are not artists or art by Hollywood actors. You can find these "galleries" in expensive rent areas (where a reputable gallery couldn't afford a space) such as M Street in Georgetown, most of La Jolla in California, in malls, and around Bethesda.

The scam is probably not illegal, but it is certainly unethical.

Here's how it works:

Many of Picasso's etching plates are apparently owned by some of his children, and they continue to use the plates to print their father's work ad nauseum. Then, the Picasso offspring sign the work with their last name, which conveniently is also "Picasso."

The sales pitch for the print then describes it as "this is a Picasso etching made from the original plate and it is signed."

They never (unless one asks) tell you that the Picasso signature that you see on the piece is NOT Pablo Picasso's signature but a Picasso son or daughter's signature (which of course now looks a lot like their father's)

So hapless buyers think that they are buying a print signed by the world's greatest artist, when in fact they are acquiring a print from his plate, but signed by one of his children.

Not illegal perhaps - but unethical.

Blake Gopnik finds a weakness in the new WWII Memorial.

I am posting from the Bethesda gallery, where I am observing galleryphobia in full action. There must be three dozen people in the plaza waiting to be called to the Original Pancake House, and nearly all of them are floating back and forth around the gallery's glass walls, peeking in and trying to see Tim Tate's extraordinary show - and yet not one brave soul dares to come in, although I have the gallery's front doors propped open and thus wasting precious air conditioning.

I am here on Sunday (rather than at home mowing my lawn amid the cicada invasion), because I am waiting for a Canadian film maker who is coming to do some filming as he's working on a documentary for Canadian television on the life of legendary photographer Lida Moser, who lives in retirement in Rockville and whose work we represent.

We are in the exhausting process of cataloguing all of Lida's remaining vintage photographs, some of which date back to the 1930s.

Well, it's official!

The Sandra Ramos debut show in Georgetown is now officially our best opening sales show.

We're also working on three different museum sales.

Last night it was also good to see Dr. Jonathan Binstock, the Curator of Contemporary Art for the Corcoran, visiting the various new shows in the four Canal Square galleries. A couple of weeks ago I also ran into Binstock at the Margaret Boozer opening at Strand on Volta gallery. It is refreshing to see a local museum curator taking an interest in our area artists and galleries!

When it rains it pours... after a couple of very rough months, suddenly art sales have exploded for us.

In Bethesda, Tim Tate is selling like wildfire, and most of his new glass sculptures are already gone. There will be a Washington City Paper review of the show next Thursday.

In Georgetown, the U.S. debut of Cuban artist Sandra Ramos, which opens tonight, has already sold most major pieces just from the website. There will be soon a Washington City Paper review of that show as well.

The Chesapeake Arts Center in Brooklyn Park, Maryland is looking for an Executive Director.

Visit their website for details.

The Dennis & Philip Ratner Museum in Bethesda has an exhibition by three Argentinean and one Israeli artist opening Sunday, June 6, 2004 from 1:30 - 3:30 PM.

The show is comprised of new paintings by Rosana Azar, Felisa Federman, Hedva Ferenci and Claudia Ravel. For more information, call Michal at 301/816 9004.

I'm familiar with Argentine artist Felisa Federman's work, and not only has she has been progressing over the years and developing as an artist, but Federman is also very active in ensuring that her work is seen! She has exhibited around the region quite widely and is always working on ways to get her work out - this is what artists should all do!

Tonite is a Third Thursday, so head down to the 7th Street corridor galleries, as they have extended hours.

And the Gallery at Flashpoint should be on your destination tonite, as they have a great art deal going on with "Anonymous" presented by the Washington Project for the Arts\Corcoran.

"Anonymous" centers around 100 artists who created works of art to be sold for $500 each. Buyers will not know the identity of the creator until the work has been purchased. Proceeds benefit the WPA\C Programming Fund.

The following artists/curators organized the show: Colby Caldwell, Y. David Chung, James Huckenpahler, Judy Jashinsky, Isabel Manalo, Maggie Michael, Tim Tate, Bert Ulrich, Matt Sesow, and Andres Tremols.

35 works have been sold so far, so lots of great, affordable artwork is still available, including pieces by such well-known and highly respected artists as Foon Sham, Erwin Timmers, Linda Hesh, Judy Jashinsky, Richard Dana, Margaret Boozer, Inga Frick, Pat Goslee, Clark, and the Dumbacher Brothers, and many, many other gifted DC area artists.

See you there!

Here's the shortlist for the 2004 Turner Prize.

Our area's version of the Turner Prize is the Trawick Prize.

The Deadline for slide submission is tomorrow! Friday, May 21, 2004. The 2nd annual juried art competition awards $14,000 in prize monies to four selected artists. Up to fifteen artists will be invited to display their work from September 7, 2004 - October 2, 2004 in downtown Bethesda at Creative Partners Gallery.

The 2004 competition will be juried by Jeffrey W. Allison, The Paul Mellon Collection Educator at the Virginia Museum of Fine Arts; Peter Dubeau, Associate Dean of Continuing Studies at the Maryland Institute College of Art and Kristen Hileman, Assistant Curator at the Hirshhorn Museum and Sculpture Garden.

The first place winner will be awarded $10,000; second place will be honored with $2,000 and third place will be awarded $1,000. A "young" artist whose birth date is after May 21, 1974 will also be awarded $1,000 (donated by Fraser Gallery).

Artists must be 18 years of age or older and residents of Maryland, Virginia or Washington, D.C. Original painting, drawing, photography, sculpture, fiber art, digital, mixed media and video (VHS tapes only) are accepted. For more information, please contact Stephanie Coppula at scoppula@bethesda.org or call 301.215.6660 ext. 20. Website: www.bethesda.org.

Need to make slides from your digital files? Visit Slides.com

Tomorrow is the 3rd Friday of the month, which means that the Canal Square Galleries will have their new shows opening. Catered receptions are from 6-8 PM.

We will host the American gallery solo debut of Cuban artist Sandra Ramos, considered by many to be among the leading contemporary Cuban artists in the world.

Unfortunately, in an event that made international news, Ramos was denied a visitor's visa to attend the opening, and despite generous assistance from Senator Paul Sarbanes, she was unable to get one on time and will not be able to attend her first gallery solo show in the US.

In this exhibition, titled "Sea of Sorrows" by Ramos, we will have on display several of her calcography prints from the series that first attracted world attention to her work - they deal with many taboo subjects of daily social life in Cuba: exile, migration, racism and economic issues. Also on exhibit will be four new oil paintings created specifically for this show as well as a brand new series of manipulated digital prints - the first ever by Ramos. About these she has written:

"Sea of Sorrows continues a very marked line in my work, related to migrations. This series emphasizes the thesis of the shipwreck as one of the most recurrent events in the life in the contemporary society, in any place of the world where the space among the dreams, aspirations and men's utopias become more and more distant illusions. Physical shipwreck, sentimental shipwreck. Economic shipwreck, political shipwreck.

Here I use again the pioneer girl character, (a sort of self-portrait: symbol of the innocence and the idealism,) locating her in marine and urban landscapes and in situations of a poetic subjectivity, where to escape seems to be her only objective.

In my work the sea has been a recurrent symbol because I try to respond the question of what we are, to define the Cuban being and capture the essence of our cultural and social history. In this search the sea becomes the natural element that by drawing the shape of the island, defines the personality of the creatures that inhabit it. The sea and the island form an inseparable unit that defines the history of the Cubans."

See you there.