Moser in Canada

Congratulations to our own Lida Moser, who is currently having two separate solo shows in Canada.

The first is at the La Société historique de Québec, where dozens of Moser's photographs from the 1950's (of the province) are on exhibition.

More details (in English) here.

Lida Moser's works are in the collection of nearly 40 museums worldwide.

Locally she's in the permanent collection of the Library of Congress, the Phillips Collection, the Corcoran Gallery of Art and the National Portrait Gallery.

You can read the WaPo review of her last solo with us here.

Bethesda Art Walk

Tomorrow (Friday) is the Bethesda Art Walk.

The Bethesda Art Walk features 13 galleries and studios that open their doors from 6-9pm on the second Friday of every month. Dowtown Bethesda galleries showcase artwork created locally, nationally and internationally including painting, photography, sculpture and mixed media.

You can enjoy several galleries by walking throughout downtown Bethesda’s fun-filled streets. The free Bethesda 8 Trolley stops within a few blocks of each Bethesda Art Walk gallery, and runs continuously throughout the duration of the Art Walk.

We will have our annual Summer Group Show, which includes new work by David FeBland (his "Circle the Wagons" is pictured below), John Winslow, Tim Tate, Michael Sprouse, Maxwell MacKenzie, and others.

See ya there!

Seven in Art Film

Seven will be filmed this week as part of a documentary on contemporary art being produced by Deno Seder Productions.

Their art films and videos have won top honors at the Paris Art Film Biennial at the Georges Pompidou Center, the Berlin Film Festival, the Taipei International Film Festival, the Chicago and Houston International Film Festivals, the New York Underground Film Festival and others. One of their films, "Andy Warhol," was screened at the Corcoran during their Warhol exhibition.

Arts Agenda

The DCist Arts Agenda here.

Opportunity for Artists

Deadline: September 16, 2005.

My good friend Jonathan Binstock, who is the Curator for Contemporary Art at the Corcoran, will be the juror for Mid-Atlantic New Painting 2006.

The Mid-Atlantic New Painting 2006 exhibition is a juried competition highlighting new developments in painting throughout the mid-Atlantic region.

At least $2000 in awards will be distributed. An exhibition of the selected works will be on display in the Ridderhof Martin Gallery from January 26 to March 3, 2006. This will be the fifth contemporary art competition held by the University of Mary Washington Galleries. Entry fee is $30.

The deadline is September 16, 2005. Details and prospectus here.

Capps on Seven

Kriston Capps polices Seven.

Read his review here.

Bailey on Wolov and Brooks

Bailey interviews two of Seven's more controversial artists:

Samantha Wolov here

and

Scott G. Brooks here.

Wanna go to an Opening?

Tomorrow, Wed. Aug 10, from 5-8PM, Spectrum Gallery in Georgetown will be hosting an opening for Under the Influence: Photography by Tom Wolff & Friends.

Wolff taught photography at Glen Echo Park for 30 years, from 1975 until 2005, and this show showcases his work as well as some from his star students: John Borstel, Presscott Moore Lassman, Leta Osteen, and Emily Whiting.

Subject Matter

The visual arts carry a monkey on their back that none of the other genres of the fine arts have to deal with: the proprietarization of subject matter.

So, no contemporary artist would dare to, let's say, paint ballerinas (sorry but Degas closed that subject), or harlequins, etc.

And some subject matter, by the nature of the subject itself, would be labeled as saccharine by the nicest of critics. Say kittens, horses, puppies, mermaids.

Do we have a screwed up sense of what makes the visual arts tick or what?

This powerful painting, titled "Allegory of a Gay Bashing" by Scott Brooks has been receiving a lot of attention in the "nude gallery" in Seven. It is an homage by Brooks to the brutal murder of Matthew Sheppard.

And this painting swings representational painting's most formidable weapon (and the one that keeps painting as king of the hill in spite of all the critics and curators trying to kill it): The ability to convey an entire and diverse range of emotions with just one glance.

"Allegory of a Gay Bashing" delivers horror, beauty, politics, history and homage all in one swoop.

And this tremendous work will probably never be sold to anyone by Brooks, because it would take immense courage to display this work of art anywhere in this nation; not just DC, but anywhere. Someone can prove me wrong and buy it from Brooks and display it in their home, or office or even a museum somewhere - but I doubt that there's a collector or museum in the USA with the cojones to hang this work.

And to get to the beginning point of this ramble, in spite of the horror delivered by "Allegory of a Gay Bashing", many people get stuck on one area: the cute puppy and kitty at the bottom of the castrated nude.

I've been in the room when I hear people discussing it. It seems like the cute puppy and kitty sitting on the ground, and staring at the viewer, evoke a higher sense of revulsion than the castrated man himself.

I've noted people's sense of repulsion caused by juxtaposing the two disparate sets of images. I think that they are repulsed by the cute animals being forced to share a scenario with a tortured man. Why are they there? people ask each other, a note of discomfort in their voices. Even the eloquent Amy Watson was disoriented by the presence of the animals and (in her terrific review of the show) felt that they undermined the painting.

Cute kitty and cute puppy... taking the attention away from disturbing image. How dare Brooks paint cuteness, especially in this context?

I don't know why Scott did it, but I think that it is the key that makes this painting truly repulsive and immensely successful all at once. Take them out, and you have a strong, powerful painting. Put them in, and you create a million questions, enormous angst and a desire to physically remove the creatures from the canvas itself.

And maybe without even realizing it, Scott has also reclaimed an artist's right to paint or draw anything that he or she so desires, and take the unjustified saccharinity of a subject and turn saccharine into anthrax with a few deft strokes of a painter's brush and a disorienting sense of juxtapositioning of subject matter.

---

Update: Sam Wolov has some thoughts on this subject.

Bailey on the WPA/C

Bailey jumps in on the issue raised last week by the City Paper on the subject of the WPA/C Directory, and in the process James gives a rousing endorsement to the WPA/C's current interim Executive Director (Kim Ward), which I second vociferously.

Read Bailey's posting here.

Containers/Contained at Target Gallery

"I had no particular impression of Containers/Contained in mind when I began reviewing the submissions for this show; so many potential directions were possible. But after repeated viewings, a common, and timely, approach to the theme began to emerge: artists working in a wide range of styles and materials were using the notion of containment as a tool of cultural, social and political critique."

So begins the juror's statement at the Target Gallery's current exhibition: Containers/Contained.

Comprised of 23 works by 19 artists from around the nation, and juried by Twylene Moyer (managing editor of Sculpture magazine), the exhibition opened yesterday and runs through August 28, 2005, and this is one juror statement that hits the focus of this show dead on: the notion of containment as a tool of cultural, social and political critique.

Take the work of the Best of Show winner, a piece titled For Those Who Serve (Evidence), by J. Barry Zeiger, comprised of old thread spools set atop a gold leaf frame on the floor of the gallery. The juror explained that the "spools came from an old New England factory out of business, and delivered a sense of nostalgia, and... [she] could appreciate a sense of things past and anonymous human beings."

Mmm... this is a very elegant and intelligent show, and in fact I think that this may be the best show of the year so far at Target, and a perfect good bye gift to area art lovers by the gallery's departing director, the fair Claire Huschle. However, considering the outstanding range of truly outstanding sculptures chosen by Moyer, the Best in Show choice left me a little baffled.

You see... it's a large, ah... gold leaf picture frame on the floor, with ... ah... some antique thread spools set atop it.

A bit baffling choice, especially when there are some truly outstanding sculptures in this show (and a couple of photographs too!).

My choice?

As I looked around the room, I realized that three of the 19 artists in the room are either represented by our gallery, or have exhibited there recently (Tim Tate, Mark Jenkins and Alison Sigethy). So let's leave them out of the running (although I must mention that Tim Tate's clever "One Day I Met the Devil at the Crossroads" glass reliquiary won one of the four prizes, as did Alison Sigethy's "Homeland Security").

And my eyes fell upon J. Barry Zeiger's neighbor on the floor of the gallery: Steve Dolbin's "Conduit," a large sculpture made of hollow concrete and stained with acrylic.

The concrete sculpture offers a hidden paradox; sort of a magician's box (the kind where the woman is sawn in half), but in this case Dolbin has the cast feet at one end, and a tangle of hands, fingers and otther objects poking out of the larger, other end. I found it not only visually interesting and technically superb, but also well within the notion of containment expressed by the juror. It would probably have been in the running for my choice as Best in Show.

In addition to Zeigler, Sigethy and Tate, other artists awarded mentions by the juror were Laiung-Chung Yen, for a small cigarrete case piece titled Cages, which has a clever sense of carrying your vices around your fingers at all times.

My kudos to Moyer for selecting a superb show. The exhibition is open to the public until August 28, 2005.

Wanna go to an opening today?

Then head on to Alexandria to the Torpedo Factory.

And go to the Art League's opening for their International Landscape Show. That opening is today, Sunday from 2-4PM. Juror Timothy App will also announce the award winners for that show.

Then walk across the hall of the Torpedo Factory to the Target Gallery.

"Human Containers" at the Target Gallery will be having an opening reception and talk by the juror Twylene Moyer (managing editor of Sculpture magazine) today from 4-6 PM. Tim Tate, Alison Sigethy and Mark Jenkins are among the local artists who will have works on display there. All together there are 20 artists from the US and Canada in the exhibition.

Both galleries are on the ground floor of the Torpedo Factory in Old Town Alexandria.

See ya there!

Gagnon Responds to Kuspit

Lou Gagnon responds to Donald Kuspit's words on digitalism.

Response to Mr. Kuspit

By Lou Gagnon

This is little more than the coupling of both tired arguments - "Abstraction vs. representation" and "painting is dead" – with a technology twist.

Having used both "analog" and "digital" tools in my career as both an architect and an artist, I can say that they are not equivalents in the creative process. The fatal flaw of this elaboration is assigning the "code" or concept as the primary creative act.

Every creative human that I know starts with an analog process - a sketch, note or diagram. Digital tools are mainly production tools used in the refinement and analysis of the original concept (to produce not create the "code"). Powerful as they may seem, the cumbersome complexities of navigating a digital tool system (CPU, software, visual interface, input device and power supply) cannot currently compete with the fluidity and focus attainable with the analog system - (pen and paper). All digital characters are modeled and animated using haptic and visual input from analog (real & professionally trained) humans.

I resist digital art as "art" for the following reasons: Digital Art has no haptic record of human activity imbedded in the final object. No under painting, no sketch lines, no corrections; just slick and polished representation (yes it is still just representation), whether it is rich in information or not.

More simply: it does not smell. Are we to lobotomize our senses to accept Mr. Kuspit’s premise and thereby prefer lots of limited information to less information that actually "touches" us? We can relate to haptic records because we share a tactile world, because we make mistakes and we incorporate or work around them. We need that tactile feedback. I can take all the digital images that I can store of my children and all of them combined will pale in comparison to the fleeting power of holding their hand, smelling their hair and thumbing through their drawings.

Many modern and contemporary buildings, while brilliant records of design and building technology, fail miserably to address the human, both in scale and in relation to a community. That is why there is a sculpture, fountain or garden in front of most modern buildings.

The most powerful tool is the one that gets used. The most powerful form of communication is the one that actually communicates.

Perhaps we are doomed to Mr. Kuspit’s supposition. When a child spends more time with printers than paint, or when the image assembled by pre-designed digital parts gives a sense of finish that a clumsy, unskilled drawing may lack. In a world of unlimited "undos" and no messy cleanups, how can the stench and mess of paint and the frustration of ability not being able to match vision compete?

Children and adults spend more time watching TV than contemplating still images so that when they walk into a gallery what are they going to gravitate to? A still image can only lead you so far, there is some interaction required, it is open-ended. Linear media is a much more conclusive seduction. If you want to be lead, then watch TV.

Personally, the transcendence is less finite with a still image. While my belief may be suspended during a video, its conclusion is limited and therefore disposable. Once I get it, I am done with it. It is, however, comforting to know that the pieces, when placed in the right order, do add up to the picture in the box. I know first-hand that there is very little that is comforting about inventing the problem and then the solution. Then we are puzzled why novelty is more seductive than the sublime.

All this leaves me wondering why one of the first and longest lasting recorded images is the outline of the human hand in the caves of France. Clearly sitting around the fire and telling stories was not enough. I suppose that in the world of the human genome, binary logic and MP3’s, it is tempting to codify art as well.

I am glad to be free of the little dark room filled with power cords, flickering LCD’s and whirring little fans in plastic boxes. I am free to walk in the sunshine and smell the flowers however haptic, analog and direct that may be. Free to continue leaving my fingerprints in the colored dirt and burnt sticks I push across pulverized plant fibers. Then again what do I know? my path to understanding this issue is limited to what I have learned making stuff not history.

Tape all over town

If you're been out and about DC the last few days, and have seen a 1995 Honda Civic made entirely of tape, then you've gotten a preview of Mark Jenkins' exhibition at our Georgetown gallery opening on Friday, August 19, from 6-9PM.

As some of you know, Jenkins' Storker project has been leaving tape babies all over the DC area, and some of his other tape sculptures have been left in Rio de Janeiro, Baltimore and New York City.

For this coming show, provided that he can fit it through our front door, Jenkins will have the lifesize 1995 tape Honda Civic in the gallery, and will also exhibit photographs about some of his other tape projects.

Additionally, Mark will have a series of tape people installations outside the gallery in the Canal Square.

Jenkins is doing some of the most innovative marriage of sculpture with street art and a singularly brilliant conceptual employment of photography, digital manipulation, audience participation (Jenkins usually leaves his sculptures around the city, and they are usually "adopted" by strangers, who take Jenkins' sculptures home. Sometimes, Jenkins photographs people's interactions with the work.

The opening reception is Friday, August 19, 2005 from 6-9PM at Fraser Gallery Georgetown. The four other Canal Square galleries (MOCA, Parish, Anne C. Fisher and Alla Rogers) will also be open that night.

Come meet Jenkins and his entourage of tape people.

P.S. And for the 2-3 people who usually email me when I post anything about Jenkins: No, this Mark Jenkins is NOT the same Mark Jenkins who writes for the City Paper.

Finalists Selected for Trawick Prize

Ten artists (from nearly 400 submissions) have been unanimously selected as finalists for The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, funded by the generous Carol Trawick and chaired by the fair Catriona Fraser.

The top prize winners will be announced and honored on Sept 7 at 7PM at a special press event held at Creative Partners Gallery.

A total of $14,000 will be awarded, including $10,000 to the Best in Show winner. The jury members for the competition are Dr. Thom Collins, Executive Director of the Contemporary Museum in Baltimore, MD; Andrea Pollan, an independent curator, fine arts appraiser and art consultant and Olga Viso, the new Director of the Hirshhorn Museum and Sculpture Garden.

The finalists are:

Christine Buckton Tillman (Baltimore)
Bernhard Hildebradt (Baltimore)
Dean Kessmann (Washington, DC)
Michele Kong (Baltimore)
Gabriel Martinez (Washington, DC)
Maggie Michael (Washington, DC)
Jiha Moon (Annandale, VA)
Daniel Sullivan (Baltimore)
Sonia Denise Tassin (Baltimore)
Jason Zimmerman (Washington, DC)

Of these artists, I am only familiar with the work of Kessmann, Maggie Michael and Jiha Moon. All three of them are superb artists.

My bet: Jiha Moon, who has made me eat my words when I first saw her work at the Arlington Arts Center a few months ago; my recommendation to all of you? Buy Jiha Moon now!!! For more information call 301-215-6660 (ext 20 or 16).

Studio Space Available

Private studio space in Old Town Kensington's Antique Row features private entrance, great light, and a large window. Hot & cold running water, air conditioned, private parking lot lit until midnight. $255 per month. Call Morris Parker at 301-949-5333.

Arts Dean Job

Instructional and College Dean for the Arts.

Montgomery College, a multi-campus community college located in the Maryland suburbs of Washington, DC, is seeking an Instructional and College Dean for the Arts.

Starting salary $71,365-$121,576 per year.

Education & Training: Position requires a Master's degree in one of the arts disciplines, arts management, or in a closely related area; a Doctorate in one of these areas is preferred.

To submit an online application please visit this website.

Doggie Days

The Mid City Artists will be having a Summer Group Show through August 20 at Raven Arts, 1833 14th Street NW, 2nd Floor. And today and tomorrow, they will be participating in the neighborhood's Dog Days of Summer activities (August 6 and 7).

The Mid City Artists will also host an Artists' Reception, Thursday August 11th, 6-8pm.

Dog Days of Summer will be held on Saturday and Sunday, August 6 and 7th. Merchants all up and down 14th Street, P Street and U Street and up to W Street will participate this year. This is the 6th annual sidewalk sale event and in past years, thousands of shoppers, diners and people just out for a fun afternoon have shown up for this event.

Homerun

Donald Kuspit goes yard.

Read it here.

Alice Neel

I'm looking forward to "Alice Neel’s Women", which will be opening at the National Museum of Women in the Arts on October 28.

Not just because I am a huge Neel fan, but also because the exhibition features a portrait by Neel of our own Lida Moser.

Neel did four portraits of Lida Moser in her lifetime. I am not sure which one(s) is included in this exhibition. I've been writing and calling the NMWA for the last two years (to find out), and so far they've ignored me.

Lida Moser was one of Alice Neel's closest friends, and I love to hear her stories about how in the 40s, 50s and 60s Neel's work was ignored by the critics and art world because she refused to change her work to "fit" the prevailing abstract styles in vogue during those years.

Lida Moser also recalls how, when Neel began to get recognition in the 1970s, especially after her retrospective at the Whitney Museum of American Art in 1974, male artists in the NY art scene openly resented her success because she was a woman.

Moser also experienced this same form of resentment (from male photographers) when she was given photographic assignments by Vogue, Look, Life and other such magazines that she worked for.

Today's female artists stand on the shoulders of both these wonderful women.

See work by Lida Moser here and by Alice Neel here.