Today I will be at the Bethesda Artists' Market...

Come by - there will be about 30-40 area artists selling their work...

Yesterday I visited Creative Partners Gallery in Bethesda to look at the finalists and the winners of the various awards that are part of the The Trawick Prize: Bethesda Contemporary Art Awards.

This fine arts award is the result of a commitment by a terrific woman and business leader who is dedicated to bringing artistic attention to our area: Carol Trawick.

Maryland, Virginia and District artists are eligible to compete for the prize.

David Page of Baltimore, MD was the Best in Show winner of $10,000. Jeff Spaulding of Bethesda, MD was honored with the second place prize of $2,000 and Randi Reiss-McCormack of Lutherville, MD was awarded the third place prize of $1,000. Marci Branagan of Baltimore, MD received the "Young Artist" award of $1,000 sponsored by the Fraser Gallery.

My congratulations to all the prizewinners.

I cannot say enough good things about Ms. Trawick and the fact that in an area dominated by some of the largest and wealthiest corporations in the world, it has been a small business owner who has taken the challenge of ponying up a considerable annual cash prize to recognize an area artist and hopefully place our area on the national fine arts map. My kudos and applause to all involved in this great effort.

Each year Catriona Fraser, who is the non-voting Chair of the Trawick Prize (and whose idea it was to create the Prize), has the unenviable job of gathering three jurors, one each from Maryland, Virginia and the District, to jury the competition and award the prizes.

The jury members for the competition are Jeffrey W. Allison, 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.

This year, the three curators culled these 15 finalists from an entry field of around 400 artists.

And I wish I could have been as quick-witted as Thinking About Art, where Kirkland writes:

"It appears to me that these curators pulled out a handbook titled "How to Jury a Show: The Predictable and Boring Contemporary Way." This handbook, only one page long, likely contains a checklist of types of art that must be in a contemporary art show."

This is funny, but unfortunately correct!

As tempted as I am to say that this exhibition could rank as possibly one of the worst curated group art shows that I have ever seen, I will not do so (ooops! too late!) simply because I recognize that althought I found most of the work boorish, predictable and cookie-cutter contemporary cool "art," I do realize that these are, for the most part, serious, intelligent artists who deeply believe in what they are doing and creating.

My apologies in advance to the artists that I am about to brutalize and my congratulations to the ones that I am about to praise. Remember, it is only my opinion, so please: no hate email.

But I do have an opinion, and in this case there are very few good things that I can and will say about the artwork - although I place the blame for the vapid quality of this show squarely on the shoulders of the three curators, one of whom I know well and who has curated excellent shows in the past, but when working alone and not in a committee curatorial task, as this one was.

Let me start by saying that Graham Caldwell got ripped off. He should have won the Prize and his work was a vast distance ahead of the rest of the field.

Caldwell's entry, titled "Pillows" (to the left) was a trademark piece by this highly talented artist, represented locally by Addison/Ripley Fine Art in Georgetown.

A lovely composition of delicate glass pieces anchored to the gallery wall, it brought forth not only the artist's technical mastery of one of the great remaining fine arts where technical skill is not up for discussion, but also his keen visual creativity. "Pillows" was the best piece in the show.

The winner of the worst piece in the show is easily awarded to John Watson - both of his entries.

Watson currently teaches sculpture and drawing at the University of Maryland and the Maryland College of Art and Design, and with all due respect, both of his entries reminded me of the sort of work that art students do when they wake up on a Friday morning and realize that "Oh Fuck! I have a project due today!" Then I ... uh... they would head to the shool's woodshop and grab a pile of odds and ends from the garbage bin and in about 30 seconds create the project.

Problem was that when I'd bring it -- I mean they'd bring it -- to the class later that day, there would be about half a dozen similar "projects" up for review and a bored art professor rolling his eyes and handing out B plusses to everyone.

Watson's second entry, titled "Orestes" has a bit more work and thought into it... about 116 seconds more I'd reckon; for a total of 146 seconds!

I was sorely tempted to ask the gallery attendant if the shelf supporting "Orestes" was also done by the artist, as the shelf shows some actual wood-working skill, while "Orestes" actually looks like a maquette for the world's sorriest-looking birdhouse.

Then there is J.L. Stewart Watson coming to the rescue to the artistic Watsons of this world. This artist's entry (a huge messy thing titled "Kitchen 300 degrees (Lollipop 192)") I both hated and loved, and thus I reluctantly place it as one of the most successful works in the show.

This Watson has cooked up a huge drippy, melting installation of sugar, corn syrup, water, dye, steel, cast iron, galvanized cable, muslin and assorted hardware to deliver a brutally macabre work that floats back and forth between mind images of a bloody, tortured female figure to more plebian thoughts of "what a mess."

I applaud this Watson for actually having the cojones to put a price of $2,800 on an installation that is essentially melting away and creating a spectacular, syrupy, blood-like mess on the gallery's floor. Ants within a twenty mile radius of Creative Partners Gallery must be at this very moment planning the Sunday attack, when the gallery is closed.

"Kitchen 300 Degrees (Lollipop 192)" is also a good point as to why the Trawick Prize is good for Bethesda area art lovers: It allows them to see the kind of work that is rarely seen in our area, unless one ventures to the wilderness of the Hirshhorn, or to any of the next thousand cool-wanna-be museums that are always so fond of sculptures and installations made of food.

Moving on...

News alert to curators: Video is dead! (unless of course you throw in some real sex like Andrea Fraser).

Fuzzy, static-noisy type video is especially dead, overdone, repeated and spectacularly boring!

And that describes the entry of E. Brandon Morse, titled "Insulary." Morse says the conceptual focus of his work is the "development and portrayal of situations of a specifically vague nature." He gets an A+ for achieving that goal, although I think that he's pulling our leg when he uses the word focus in anything to describe his work.

Surprisingly enough, there were three painters among the fifteen finalists: Daniel Sullivan, Jo Smail, and Randi Reiss-McCormack - I am not familiar with any of them, but note that all three have shown nearly exclusively in Baltimore non-profits such as School 33 and thus they are painters that obviously Peter Dubeau knows well and placed into the finalists. I cannot believe that not a single DC or Virginia painter was selected.

Of the three, Smail (who teaches at MICA, where Dubeau is the Associate Dean of Continuing Studies) is by far the best painter. Her Black Angels with Handkerchiefs, is at first deceptively simple and minimalist. Upon close examination, it reveals quite a skilled painter with a strong command of design and composition as well as painting skills.

I also liked the three pieces by Marie Ringwald, which are these unusual, utilitarian maquettes of buildings and structures that allow Ringwald to get away with solid fields of color under the cover of sculpture.

They are attractive, well-constructed and strangely appealing. The artist says that they "embody hopefulness, possibilities, history and mystery." I don't know about that, but they are certainly a notch above most of the other work selected for this show and visibly stand out by their design and color.

The Best in Show winner's piece (Paradysdonkie, steel, wood, canvas, felt) by Baltimore's David Page is hard to dislike... or to feel passionate about.

Therein lies its failure in my view.

It is modern and contemporary enough... sort of a pommel horse for retired, artsy S&M gymnasts, and certainly does not and would not look out of place in any museum or gallery show of contemporary art, although it may look slightly out of place even in the coolest of post-modernist bachelor pads.

It's not bad; uh... it just doesn't do it for me as Best of Show.

The Trawick Prize: Bethesda Contemporary Art Awards is one of the great assets of our area's cultural tapestry, and designed to recognize the best that our area has to offer. Because the prizewinners are selected by museum and academic curators, it has some inherent flaws in the selection process that are very difficult to correct and that every single committee art curating project has. We must applaud, and add, to this prize, and hopefully demand that future curators do a better job of opening their minds to the skill and talent of artists beyond just those that they know intimately.

The way to do this is for museum curators and for school burocrats to get out of their offices and visit galleries and artists' studios and art panels and the such, so that their tunnel art vision is expanded beyond a handful of artists.

Call for Artists

Deadline: Monday, September 27, 2004.

War or Peace at Warehouse Gallery. October 15-November 14, 2004. Opening reception Friday, October 15. One of five Washington exhibitions relating to the theme. All work in War or Peace will be juried from digital images. Juror for two dimensional work is Molly Ruppert, Director of Warehouse Gallery; Juror for sculpture: Judy A. Greenberg, Director of The Kreeger Museum.

Two-dimensional work: Send Jpegs to: RuppertM@erols.com.

Sculpture: Send Jpegs (two views of each work) to: jag@kreegermuseum.org.

Please include in the text of the email the following info:
artist's name
address
phone number
email address
title of work
dimensions
weight (sculpture)
medium
price

There will be no entry or hanging fees but a commission of 20% of all sales will be taken by the gallery.

Maximum dimensions: 9 feet height, 8 or 10 feet width.

Notification by October 4. Further information: email MJ@webworqs.com or molly@warehousetheater.com

In a show surely to stir controversy, GMU professor Chawky Frenn opens tonite at our Bethesda gallery with a show titled "US and Them." Read an excellent profile of Frenn by Dave Jamieson in the current issue of the Washington City Paper here.

The opening reception is from 6-9 PM as part of the Bethesda Art Walk. See you there!

Those of you who know me, also know how much I dislike stereo-typing anything. And this being the first ever visit for me to Omaha (or Nebraska for that matter), guess what is the first thing that greet new arrivals to Omaha's Eppley Field Airport?

Thinking About Art has some pretty potent words both in praise of the Trawick Prize: The Bethesda Contemporary Art Awards, and also in criticism of the poor curatorial job done by the three jurors.

As soon as I get back from Cornhuskerland I will go see the show and offer my own comments on the subject, but judging from the photos posted by J.T. about the selected works, I am already finding myself somewhat agreeing with Kirkland.

I'm in Omaha... yep.

On the flight here I read Eats, Shoots and Leaves by Lynne Truss and loved it!

Mora later... on both Omaha and the book.

2005 International Digital Art Awards

Deadline: 30 November 2004.

All artists working in digital media are eligible to enter this competition. The IDAA seeks to present the very best artists working in 2D digital stills and New Media art.

The IDAA was one of the first international awards to present an online and touring hard copy exhibition with publication.

2005 program will also include a fully integrated web conference featuring several leading international artists and academics. The 2005 prize list is extensive and can be viewed online. It is worth mentioning that Epson and DES will be supporting two artists with special printing prizes in the 2D category.

The IDAA is a major award and offers free entry to all artists.

Deadline for entries is 30 November 2004 - Those artists who enter before October 30 will be eligible to win the new G 600 Konica Minolta 6 meg Digital Camera.

Enter at this website.

Jack Vettriano continues to be ignored and snubbed by the British cultural gods, and yet the self-taught ex-miner continues to leave mouths open with his Sotheby's auction sales.

The blunt, chain-smoking ex-miner had this to say about it all.

Today is my birthday.

On the road this week for a visit to Nebraska (don't ask). I will be back on Friday in time for the Bethesda Art Walk and the opening of GMU Professor Chawky Frenn at our Bethesda gallery.

Chawky Frenn is easily one of the most controversial artists in our area. Some of you may recall the noise and complaints that his recent show at Dartmouth University caused, where Frenn out-controversied Damien Hirst, who was also showing at the University at the same time.

A month ago or so, I juried a show from slides for Gallery International in Baltimore.

Last Friday I went to the opening and selected the prize winners. The Best in Show was won by area artist Paul Ellis, while the two awards of excellence went to Spanish-born New York photographer Yolanda del Amo for two-dimensional work and to Andrey Tsers for three-dimensional.

Yesterday the Baltimore Sun's art critic Glenn McNatt had a review of the show. McNatt writes:

"A touch of whimsy

The title of the exhibition at Gallery International, All Media Competition and Show, sounds a bit grandiose, but actually it's as apt as any for this sparkling group show, which brings together 48 artists from far and wide chosen by guest curator F. Lennox Campello.

Campello, a co-owner of the Fraser Gallery in Washington, selected the works on view from the more than 200 entries submitted, and he readily concedes that he followed no formula or format other than his own whimsy in making his choices.

The results, however, are as delightful as they are occasionally surprising. And, true to its title, the show's offerings are divided almost equally among paintings, sculpture, photography and mixed-media works.

There are also quite a few Duchamp-inspired artworks of the buzzing, whirling, mechanical variety, including Wade Kramm's ingenious Candle flipbook, an electric-powered contraption that mimics the flickering motion of an animated cartoon, and Adam Bradley's Dandelion, a weirdly alluring wind-up diorama depicting the soul's reluctant fall from grace.

One of the most polished works in the show is New York-based photographer Yolanda Del Amo's Domestica, a large-scale color photograph mounted on Plexiglas and aluminum that recalls the staged but unforced naturalism of Tina Barney's upper-middle-class domestic dramas. The Spanish-born Del Amo, whose photographs convey a compelling but stubbornly ambiguous narrative thrust, is on the evidence of this work clearly an artist to watch.

The show runs through Sept. 24. The gallery is at 523 N. Charles St. Hours are noon to 4 p.m. Tuesday-Saturday. Call 410-230-0561."

Like any juried competition, this was a difficult one to jury, and I struggled for what seemed hours with the Best in Show decision. It could have easily gone to Yolanda del Amo (a RISD graduate), whose photograph is as compelling and sublty seductive as McNatt describes. Her winning entry (Domestica) is pictured above to the left, and it is from a series called "Maids" photographed in Argentina by del Amo. According to one of del Amo's friends who was at the opening (the photographer was not present at the opening), del Amo has been stirring quite a bit of interest in her neck of the woods in N'Yak and could be a photographer to keep an eye on (pun intended).

A while back, the former Art Editor for the British newspaper The Guardian discussed how and why a newspaper should have a high commitment to supporting the arts.

The interesting point in this article by Ian Mayes is that fact that he discloses that between the Guardian and the Observer (owned and run by The Guardian), they employ about 60 art critics backed by a similar number of editors and sub-editors!

And they made a deliberate effort to provide arts coverage in spite of the fact that "...the commitment is not simply or primarily a commercial one. In terms of revenue for the paper, many areas of the arts would not pay for the coverage."

I would guess that our own Washington Post, which has a daily (and shrinking) circulation of around 600,000 printed papers, and gets around two million hits a day for its great website, and owns several other newspapers, is probably about twice the size of the Guardian newspapers combined.

Does anyone want to count the number of Post critics and see if they employ or use more or less than the Guardian?

The call to artists by Art.com will soon be out for artists wishing to be curated into the "Homage to Frida Kahlo" exhibition being hosted by them. There will be a substantial cash award and there is no entry fee.

I have been chosen to curate this exhibit due to my well-known interest in all things Kahlo.

It started in 1975, when I visited Mexico City and discovered the works of Mexican painter Frida Kahlo. Almost immediately, I developed an artistic obsession with Kahlo's image and I have created hundreds of works on that subject, including dozens of art school assignments at the University of Washington School of Art (1977-1981).

In 1975 my parents took their first vacation ever, at least in my memory. As Cuban exiles, the American tradition of yearly vacations was as removed from their routine as the Cuban tradition of Noche Buena is from American Christmas holiday customs.

Anyway, they decided to go to Mexico City for a week with another couple from New York, which is where my folks had been living since leaving Cuba as political refugees in the 60s.

In 1975 I was finishing my first year in the US Navy, where I had enlisted right after High School, and stationed aboard USS Saratoga, homeported in Mayport, Florida. I had turned down a New York State Regents Scholarship and a Boston University art scholarship to satisfy my desire to see the world before I went to college.

Mexico City and its nightlife and food (and how far a dollar went) made such an impression upon my parents and their friends, that the one-week trip became two, and eventually they spent nearly a month in that huge, dirty city, enjoying the food, scenery, clubs and markets. They also asked me if I'd like to join them for a few days, and since they were paying for it, I took a few days leave and flew to Mexico City for about five days of my own, unexpected vacation.

I hardly spent any time with them.

As a teenager, my interests were more focused on girls, cheap booze and plenty of great things to do. It was while visiting a museum during the last few days of my visit, at the insistence of a cute American Jewish tourist girl whom I had picked up at my parents' hotel, that I accidentally discovered Frida Kahlo.

I remember walking into the museum salon where the Two Fridas hung. It was love, or more like witchcraft, at first sight. This large, spectacular painting swallowed my visual senses and attention as no work of art would do again until I first saw Velasquez's Las Meninas at the Prado in Madrid eight years later.

At that first exposure, and the ones that followed as I tried to absorb as much of Frida Kahlo as I could in my remaining Mexico City days, I became an addict for the work and imagery of this Champagne Communist Mexican virago. I recall sitting down in the room where the Two Fridas was hung, and copying the painting through a pencil sketch done on gift wrapping vellum paper from an earlier touristy purchase of a huge, saucepan sized solid silver belt buckle and brown cowboy etched leather belt that I wore for years after and that thankfully has now been lost.

Kahlo left me gasping for knowledge about her and her work. Her imagery was like nothing I had seen before, even in my childhood's New York atmosphere that often included day-long trips to the Brooklyn Museum, the Met, MOMA and many other New York museums. The more of her work that I discovered, the more I became obsessed with learning about her.

In 1975 and the first few years that followed, this wasn't exactly an easy task. In those years Kahlo, at least in Mexico, was still Diego Rivera's wife, who also happened to paint.

In 1997, together with the Mexican Cultural Institute in Washington, DC I curated a small exhibition at the Fraser Gallery focused on an attempt to bring to Washington contemporary artwork that paid homage to Kahlo. It rapidly became one of the best-attended, most visited exhibitions ever held by the gallery and showed the giant strides in recognition that Kahlo and her art had made since that day in Mexico City when I first discovered her.

The Seven Fridas (Pen and Ink, circa 1981)

Collection of Seeds of Peace
The love affair then produced in 2002 a show of my own work titled "Passion for Frida: 27 Years of Frida Kahlo Artwork." It chronicled 27 years of preparatory drawings, etchings, oil paintings, watercolors and sculptures about Kahlo. It received good critical attention in the Washington City Paper and the Washington Times. It consisted of work that I had done as early as 1975 and as recently as a week before the show opened. In the wake of Julie Taymor’s beautiful movie "Frida," it was also a spectacular success.

And now I am honored to juror a worldwide call to artists who share my passion for Frida, for her life, for her artwork and for her influence. This call for art will deliver a new Homage to Frida Kahlo and all things Kahlo. I’d like to see work that delivers new portraits of Kahlo, or work that has been influenced by Kahlo, or by her life or her work.

In the end, I hope to put together a virtual exhibition that will leave a memorable footprint of the tremendous influence that this iconic daughter of Mexico left on all of us.

As soon as the official call is ready to be announced, I will post it here.

For Women Photographers

The next Secondsight meeting will be held on Thursday, September 23 at 6.30pm in Bethesda, MD. The guest speaker will be Amy Lamb, a very successful fine arts photographer and highly respected scientist. For more information, visit www.secondsightdc.com or call Catriona Fraser at (301) 718-9651. Meetings are free for members - $10 for guests.

Secondsight is an organization dedicated to the advancement of women photographers through support, communication and sharing of ideas and opportunities. Secondsight is committed to supporting photographers at every stage of their careers, from students to professionals. Each bi-monthly meeting includes an introductory session, a guest speaker, portfolio sharing and discussion groups. Each photographer will have the opportunity to present their work within a small group of other photographers, ask for constructive criticism, gain knowledge or simply share their artistic vision and techniques.

This review by Michael O'Sullivan of a couple of exhibitions at The Textile Museum is a perfect example of why I think O'Sullivan is the best art critic writing for the Washington Post.

Call me plebian, but I am always delighted to read an art critic that shows his colors and his prejudices when reviewing a visual exhibition, and then has the honesty and courage to somewhat change his mind.

O'Sullivan writes:

"FULL DISCLOSURE: I don't particularly like flowers or shiny metallic thread.

Which makes my recent visit to the Textile Museum to check out two exhibitions -- the new "Floral Perspectives in Carpet Design" (whose title pretty much says it all) and the about-to-close "By Hand in the Electronic Age: Contemporary Tapestry" (a show with more than its share of fiber bling-bling) -- potentially problematic.

See, I've been conditioned by exposure to contemporary art to mistrust the decorative. Floral art -- unless it's a stand-in for sex or death, as it so often is -- is not my cup of tea. And glints of gold thread woven through textiles remind me, I'm sorry to say, of Liberace.

So I was heartened, not to mention somewhat surprised, by the fact that in addition to flowers and lamé, there's something to chew on in both shows."

I'll admit that althought I liked O'Sullivan's review, I'd rather still rather watch an ice cube melt than go see "Floral Perspectives in Carpet Design," which makes O'Sullivan a more open-minded and fair critic that I can ever hope to be; but that's just me.

But I digress. My point is that it is rare to see these sort of "full disclosures" when discussing an opinion in an art review. More often than not what we find is cynicism, and writing that is what the author thinks the other "cool" critics and "hot" curators would want to read.

That also explains why a lot of contemporary art critics and curators have such dislike of painting. They have been conditioned to think that it's not cool to like painting, and it's fun to see them scramble to line up when an unexpected painter bolts out of the blue, such as Gerhard Richter and the same people who shout that "painting is dead" line up to applaud a painter who Sotheby's calls the "most influential artist in the world." Not painter, but artist.

Thus we can always see critical hypochrisy or all the sheeps lining up to follow the lead. Another perfect example of that theory was the orgy of great reviews by super cool contemporary art critics for The Quilt's of Gee's Bend. 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 all lined up to applaud the show.

I did too. I was enthralled and seduced not just by the quilts, but mostly by the quilters that I met.

And I went back and re-read a lot of the reviews and I was (and still) nagged by the impression that a lot of the words were written not out of honesty, but out of political correctness; it would have been suicidal for any writer, not just an art critic, to dislike the show.

I could be wrong.

But when the world's most influential daily anoints a show as one of the "ten most important shows in the world," it essentially dares every other secondary art critic in the world to disagree with them.

But I could be wrong, and because I have never been particularly fond of quilts as "fine art," I went to see this show prepared to dislike it - my own prejudice and (like Michael says) "conditioning," and a fun opportunity to disagree with the mainstream critic media.

And yet, let me repeat myself: I was enthralled and seduced not just by the quilts, but mostly by the quilters. I ended up loving the quilts because of the quilters.

And to this day I am nagged by the feeling that it was the quilters, more than the quilts, that we all liked so much.

And thus, I applaud honesty like O'Sullivan's in today's review.

Today is the first Friday of the month, and thus the Dupont Circle Galleries technically should have their extended hours. It is also the "unofficial" opening of the Washington visual arts season, which "unofficially" opens in September.

However, since Labor Day is actually next Monday, I suspect that many galleries may still be closed and on vacation, in which case the "unofficial" opening of the visual arts season may shift to next Friday to the Bethesda Art Walk from 6-9 PM on September 10.

The week after that, on Sept. 16, is the Third Thursday Night Out for the 7th Street Area Arts District from 6-8 PM. By the way, if you'd like to volunteer as a 3rd Thursday gallery crawl guide, contact Rachel Leverenz at 202/315-1310.

The next day, on Sept. 17 is the third Friday and the Canal Square Galleries in Georgetown have their new show openings from 6-9 PM, catered by the Sea Catch Restaurant and Raw Bar.

I received a note from Eugene Robinson, Assistant Managing Editor for the Style section of the Washington Post in response to my rant about the lack of a Galleries review today.

Robinson (whose most recent book I am currently reading by the way) wrote:

"Sorry, Mr. Campello, but even Galleries columnists get a vacation now and then.

Eugene Robinson
Assistant Managing Editor -- Style
The Washington Post"

So I have written back:

"Dear Mr. Robinson,

Thank you for your note - I know that you are a busy man and I appreciate your time, and I am sure that their vacations are well deserved. By the way, I quite enjoyed and learned a lot from Coal to Cream and have in fact used it as an inspiration for some of my artwork. I am currently reading Last Dance in Havana. I strongly recommend that you may enjoy Waiting for Snow in Havana: Confessions of a Cuban Boy -- by Carlos Eire.

Back to my original point.

Theater critics also deserve a vacation now and then, and there has never ever been a week in the Washington Post (at least in my memory) without a theatre review. Why? Because the Post does a wonderful job of covering our area theatres and has a good number of writers to cover our area theatres - if one or two of them go on vacation in August, there's always someone else to ensure that a review keeps the theatre scene alive and kicking in our region. A highly deserved well done for that!

There are three times as many art galleries in the Washington area as there are theatres, but in my prejudiced opinion (which has been expressed many times to John Pancake, a man that I respect and admire), the Washington Post does not view our area galleries in the same perspective as theatre, movies and performance.

Until recently you had only one critic (Jessica Dawson) to cover all the area galleries - the addition of Glenn Dixon dumfounded many of us who knew of his past disdain for DC art galleries (his column "Beneath Contempt" while he was editor of the City Paper is still infamously remembered) - but at least a second voice was added to cover our galleries and we applauded and welcomed Dixon to the column.

And thus my utter disbelief when today I open my paper and expect to read a review of a gallery show from the nearly 200 shows currently on exhibit in our region, and instead find a theatre review and a music review - thank you for those - but no "Galleries" column.

Therefore my frustration with your coverage and my note to you.

I thank you for your time and hope that I clarified the issue for you.

Warm regards,

Lennox

Thursday is supposed to be the day that the Washington Post reviews our area galleries. Nothing shows the Post complete apathy towards that subject as when a Thursday comes by (like today) and there's no "Galleries" column.

It is especially galling now that the paper has two freelancers (Jessica Dawson and Glenn Dixon) covering the region's gallery circuit. Why then are there still Thursdays when the only regular gallery column by the world's second most influential newspaper is simply not there?

It is such a huge show of disrespect for the Post's readers, and for the region's artists, art collectors and art galleries, made even more galling by the fact that today's Style section still managed to include a theater review of The King and I and a music review of Jesse Henry, so print space was not the reason.

If this pisses you off as much as it always does me, then drop an email on the subject to the Style Editor (Gene Robinson) at robinsong@washpost.com, and info the Arts Editor (John Pancake) at pancakej@washpost.com and the Ombudsman (Michael Getler) at ombudsman@washpost.com.

I'll be in Baltimore later today selecting the award winners for the All Media Competition that is opening tonight at Gallery International. See you at the reception tonight!

For Photographers

The CDS/Honickman First Book Biennial Prize in Photography.

Deadline: September 10, 2004.

Open to American photographers, no age limit, who have not published a book-length work. All subject matter is acceptable. Submissions should be visually compelling and have an integrity of purpose. A cash award of $3,000, publication of a book of photography, and a traveling exhibition will be awarded to the winning entry. Entry fee: $25. For more information, contact: CDS/Honickman First Book Prize in Photography, Center for Documentary Studies, 1317 W. Pettigrew St., Durham, NC 27705; email: alexad@duke.edu; or visit website