Tomorrow: Objectified at Honfleur

OBJECTIFIED: The domestication of the industrial opens tomorrow at Honfleur Gallery with an opening reception starting at 6:30pm.

Isn't about time that you crossed the river and checked out this terrific gallery?

Got Facebook?

Then click here to vote for Anderson as the YoBaby

Wanna go to an opening tomorrow?


Judith Peck is an amazing DC area painter and her show opens Friday at Hillyer Art Space, which is in the alley right in the back of the Phillips Collection.

This is a very talented painter with a good eye for the psychological hook of realism. The reception starts at 5PM.

Grant Time!

Click here for details.

Wanna go to an Alexandria opening tomorrow?

Linda Hesh's short video “In the Garden” has been chosen to be part of “Female Shorts: Film and Video Showcase” taking place at the Target Gallery in the Torpedo Factory Art Center, Alexandria, VA. This four day festival celebrates cinematic works by women in the arts from across the country and is a participant in “Minds Wide Open”, a Virginia initiative to highlight female artists.

The opening reception will take place on the evening of Thursday, June 3rd from 6-7pm in the Art League Gallery at the Torpedo Factory Art Center. The event will then continue in the Target Gallery from 7-9pm. Ten of the 22 selected film makers will have their works shown each followed by a brief discussion. The juror, Sydney-Chanele Dawkins, will lead the event.

The showcase will continue on Friday, Saturday and Sunday, June 4-6, with continuous showings of the 22 selected films in the Target Gallery starting at 10am each day until the evening event.

Opening Reception Thursday June 3rd 6-9 pm.

Festival all day showings Friday June 4 – Sunday June 6 Plus special evening screenings.

Award Evening and closing showing Sunday, June 6.

Artists Present and Screening their Work for the Opening evening Thursday, June 3rd:

In The Garden - Linda Hesh - Alexandria, VA - Experimental - 1min 48sec
Miriam's Song - Shabnam Piryaei - New York, NY - Narrative - 4min 20sec
Somebody's Son - Holly Villaire - Yonkers, NY - Experimental - 8min 23sec
Can She Be Saved? - Yasmin Shiraz - Chantilly, VA - Documentary - 27min 31 sec
A Hammer fell in Jerusalem: Anathem - Lori Bowen - Sarasota, FL - Narrative
Friday Night Fright - Ashley Maria - Los Angeles, CA - Narrative – 6min
Little Girl - Elizabeth Tolson - Fairfax, VA - Experimental - 1min 24sec
Let's Dance! - Anna Tsouhlarakis - Washington, DC - Experimental – 15min
You're Not Alone - Arlette Thomas-Fletcher - Reistertown, MD - Narrative - 3min
Trip To The Planetarium - Stephanie Batailler - New York, NY - Animation – 23min

For a full list of the Daily Schedule and Evening Special Showings, go to this website.

Artists' websites: Vincent Gallegos

This guy is just out of control! Vincent Gallegos is one of the best humans armed with a camera around our region.

Check out his images here

Jeffry Cudlin: BY REQUEST


OK... OK... work with me here... this is really cool.

Let's start with my good bud Jeffry Cudlin doing a set of performances this Friday where the very tall Mr. Cudlin dances in various DC art galleries (Conner, G Fine, Curator's Office, Hemphill, Irvine, and either Project 4 or Civilian), trying to get the directors to dance with him - that alone is worth tagging along to see Martin Irvine or George Hemphill doing the tango with Cudlin). He will be dressed the way he is in the PR photo above (by Josh Cogan) -- i.e., tucked, taped, and wearing a gold string bikini and go go boots. Video of it will be in the show.

Then Jason Horowitz is working on a 23' long, 8' tall photo for the show that I think we will all find interesting and will "make people at the opening uncomfortable."

Somewhere along the way Cudlin is doing a photo shoot with the highly talented and creative Victoria F. Gaitán that involves "realistic fake boobs (not like the ones in the PR) and a severed pig's head."

What is all this Mr. Campello? Just read the release:

This June, the ideal Washington, DC art show will take over Flashpoint Gallery. Artist, curator, and critic Jeffry Cudlin has engineered a celebrity-obsessed exhibition that purports to reveal in excruciating detail what collectors, critics, and museum administrators think area artists should be making.

For BY REQUEST, Cudlin approached seven DC art world luminaries and asked each to fill out a 20 page survey. Questions were all multiple choice, and attempted to uncover everything from preferences regarding paint handling techniques; to opinions about museum “fluff” shows and art blogs; to each patron’s personality type. Pink Line Project founder Philippa Hughes; blogger and critic Tyler Green; The Phillips Collection director Dorothy Kosinski; Irvine Contemporary gallery director Martin Irvine; National Portrait Gallery Associate Curator of Prints and Drawings Anne Collins Goodyear; collector and curator Henry Thaggert; and uber-collector Tony Podesta all agreed to play along.

Once the surveys were completed, Cudlin recruited an atelier of seven area artists working in a variety of media and styles. Torkwase Dyson, Victoria F. Gaitán, Jason Horowitz, Jenny Sidhu Mullins, Cory Oberndorfer, Kerry Skarbakka, and Trevor Young all accepted commissions from Cudlin to create personalized pieces based on the survey data.

There was one small catch: Cudlin insisted that he be depicted in every work of art, thereby inflating his own importance in brokering all of these transactions, and transforming himself into the show’s biggest celebrity. The resulting images are at times outlandish, featuring Cudlin cross-dressing, holding a severed pig’s head, and even sporting a pair of fake latex breasts, courtesy of an FX makeup artist.

In BY REQUEST, Cudlin plays with the notion—popular with many contemporary artists and theorists—that the chief content of art is social. If art ultimately depends on exchanges of information, capital, and power, then simply examining the agendas of people in positions of authority should tell us all we need to know about why art looks and works the way it does right now.

All of the finished pieces in the show will be assigned numeric scores by the seven patrons for whom they are intended. Critics need not second guess: the gallery will include informational displays of facts and figures indicating whether the patrons regard these works as successes or failures. BY REQUEST offers the promise of complete transparency for the DC art world and, perhaps, a model for other artists desperate to become relevant.

Sounds amazing uh? I'm really looking forward to this but I remember that the last Washington guy who promised "transparency" has really disappointed me lately; it's a good thing that I know that Cudlin won't.

Plug the damned hole!

Wanna go to a gallery opening this week?



Anna U. Davis opens at Longview Gallery on Thursday, June 3, 2010 from 6:30pm - 9:30pm. The show goes through July 1st, 2010.

NEA Considering Re-Instating Individual Artists' Grants

NEA Chairman Rocco Landesman told the Denver Post that he is considering reinstating endowment grants to individual artists. If he succeeds, the move would be a landmark political moment.

Read the story here.

Trescott on the Corcoran's director

"Greenhalgh said the Corcoran, under his tenure, not only had to repair its physical plant but also relationships with Washington's donor and arts communities, which began to look at it as troubled rather than innovative.

"The Washington public is not the shyest in the world. One received advice from all over about what should happen," he said. "This place had to be systematically fixed. We had to think about the roof. The college numbers had been flat for a generation. So many galleries had been turned over to storage." The cost of needed repairs was estimated to be $40 million at one time.

By August, Greenhalgh said, all of the galleries will be reopened, the permanent collection reinstalled, a suite for contemporary art established and a new initiative, called NOW, created to showcase emerging contemporary artists."

Read the Washington Post story here.

I'm really looking forward to seeing the exhibition program for the new NOW initiative. I hope that it surprises me in a good way. My past experience with what current museum curators' consider "emerging artists" and what the rest of the art world considers "emerging artists" are way different.

It didn't use to be that way. In the past, museum curators used to take chances.

Way back in the 80s, when the Whitney Museum gave some American artists their first ever museum exhibition, that was a great definition (for me) of what a museum can do for a true emerging artist. I won't even mention the names.

So for Sarah Newman or whoever at the Corcoran is putting together (or has already put together) the NOW exhibition schedule: if the artists who are being selected for NOW have already had a museum exhibition, then you're too late and they have already emerged.

Work harder and seek out the truly emerging artists that are making a name for themselves all over the place and not just New York and haven't yet had a single museum show, like someone did for Gerhardt Richter in the 80s.

I can think of a few names right off the top of my head and it's not even my job.

Just plug the damned hole!

Corcoran looking for a new director (again)

The director of the Corcoran Gallery of Art, Paul Greenhalgh, has announced that he will resign on June 1 to become director of the Sainsbury Centre for the Visual Arts at the University of East Anglia. His move is the latest in a series of major changes that have taken place in the D.C. art scene in recent months.

Details here.

Nine Months Old!


Anderson Lennox Campello, better known around here as "Little Junes" (for "Little Junior") is nine months old today. He is everything but little though... already tight in 12 month old clothes.

Relentless Continuity 2010 to be destroyed

This is the last weekend to see Relentless Continuity 2010, a site specific Drawing by John M. Adams at the Adam Lister Gallery in Fairfax, VA. The drawing will be destroyed late afternoon, May 30, 2010 by the artist.

A site specific drawing is created on location, for that specific location. Typically, they only last for the duration of the exhibition, and are destroyed when the exhibition is over.

Adam Lister Gallery
Old Town Fairfax Village Plaza
3950 University Drive
Fairfax VA 22030
*gallery entrance on North St. between University Dr. and Chain Bridge Rd.
(across from Panera and next door to Asian Bistro)

Artists' Websites: Heather Evans Smith

Check out the gorgeous photographs of North Carolina photographer Heather Evans Smith.

Ken Salazar and BP

Art & Soul Auction

The 8th Annual Art & Soul Charity Auction 2010 is Friday, June 25, 2010 6:00 PM at The Music Center at Strathmore in Rockville, MD just past Bethesda. This is an important charity auction for the National Center for Children & Families (NCCF).

Join Honorary Co-Chairs Fox 5 News Anchor Allison Seymour and renowned jazz keyboardist, composer and producer Marcus Johnson, on Friday, June 25, 2010 at 6 p.m., for NCCF's 8th Annual Art & Soul Charity Auction at The Music Center at Strathmore.

The live auction will feature artwork created by youth from the Greentree Adolescent Program (GAP). The silent auction will feature Gifts from the Soul (non-art items) and juried artwork pieces from regional artists. In addition, guests will enjoy music by Sony recording artist Julia Nixon, the premiere of NCCF's new image, and the presentation of this year's Spirit of Humanitarian Awards.

Art & Soul Charity Auction tickets are $100 per person and can be purchased by contacting Heidi Coons, Director of Development and Institutional Advancement, at (301) 365-4480, extension 114 or click here to purchase online.

Proceeds from the evening benefit the completion of the Freddie Mac Foundation Youth Activities Center (YAC), NCCF’s sole cultural arts and recreational facility located on the Bethesda Campus.

Pornography or Art?

Police have visited an exhibition of works by the late Irish photographer Bob Carlos Clarke at London’s Little Black Galleryafter the explicit sexual images on display provoked complaints from local residents. Police inspector Sean Flynn visited the gallery on Chelsea’s Park Walk after resident lodged a formal complaint to Kensington and Chelsea council, claiming that the images in the gallery’s windows were pornographic. The works will be on show until 5 June.

After inspecting the two works in question, Flynn said: “My assessment is that Whip Girl [2000] is acceptable, but I have some concerns about Tite Street [1990]. [It] appears to show a man having rear entry sex with a woman who is bent double and not wearing any knickers. Of course, this is not the appropriate place to have a debate about art versus pornography. It is my assessment that Tite Street should not be able to be clearly viewed from the street.”


Staying up: Bob Carlos Clarke's Tite Street, 1990 (c) The Estate of Bob Carlos Clarke
The Little Black Gallery is not the only establishment currently displaying Carlos Clarke’s work. Celebrity chef Marco Pierre White owns the largest single collection of the controversial photographer’s work, and more than 30 of his large-scale images are prominently displayed in the chef’s restaurant Wheeler’s of St James’s. The explicit subject matter of the works has received a far more welcome reception here than in formerly bohemian Chelsea. Hostess Bea Jarrett told The Art Newspaper that not a single complaint about the photographs has been received in the two years since they have been on display. “I guess that says a lot about our clientele too,” she added.

Read the article in the Art Newspaper here.

When Museums say no

Art-museum officials love to talk of the important works they are given by donors—the Mary Cassatt painting, the Alexander Calder mobile, the collection of Edward Weston photographs—and that talk (they well know) encourages similar donations. Cultivating gifts is a large part of being a museum curator or director. But not all donations are equally welcome, and another part of the job is figuring out how to say "no, thank you."

Read this very cool article by Daniel Grant in the Wall Street Journal here.

I've had that experience with rather interesting results. For example, a while back I had a major art collector who was retiring down to Florida and she had quite a bit of artwork that she wished to donate to museums. Among her collection were several early Sandra Ramos' works, including possibly the largest Sandra Ramos painting in the United States and a very early piece.

Since Ramos is already in the collection of MoMa in New York, Museum of Fine Arts in Boston, Thyssen-Bornemisza in Austria, and in quite a few University museums in the US, and considering how some people are always bitching about how some US museums are not "diverse" enough in its representation of women and ethnicities, I thought that a major gift like this would be a shoo-in for the Hirshhorn.

And thus I was very surprised when the Hirshhorn declined it very quickly, in spite of (in my opinion) the artists' pedigree and the museum's lack of any depth in the particular field that Ramos' works represents.


"Pecera" (Fish Tank) by Sandra Ramos
Oil on Distressed Muslim, circa 1997
65 x 76.75 inches (165 x 195 cm)
From there I went to the Virginia Museum of Fine Arts, thinking that VMFA would be a good logical alternative. I could have gone to the University of Virginia, which has a most excellent Cuban art collection, but I wanted to place her work on a new collection, as Ramos is already in the UVA collection.

When VMFA also declined it rather quickly, I was a little floored as well (and I'm even more floored now that I've learned from the WSJ article that they accept about 2/3 of all gifts offered), but this time I decided to go south quite a bit further and go for the easy out, and currently the piece is in the process of being acquired by the Miami Art Museum, which of course, demographically has an interest in this genre of work, so that was truly an easy pick.

But meanwhile both the Hirshhorn and VMFA could have added a significant work by a truly blue chip Cuban artist, whose presence has been cemented in the current difficult times of the brutal Cuban dictatorship as one of the few Cuban artists in the vanguard of questioning the stark realities of Cuban life, and whose stature, once the Castro brothers strangle hold on Cuba is broken, is almost certain to rise even higher.

Their loss.