Trawick and Sondheim

Tomorrow the Washington Post's Michael O'Sullivan will have this excellent piece on the Sondheim Prize in Baltimore. And O'Sullivan makes a couple of key observations about the two major art prizes in the Mid Atlantic region:

The Trawick Prize better watch out. There's an upstart contemporary art award in town, and it stands to give the Bethesda-born competition -- which has been handing out $14,000 in prize money to artists from Maryland, Virginia and Washington since 2003 -- a run for its money.

Okay, so maybe the Baltimore-based Janet and Walter Sondheim Prize isn't exactly "in town." Now in its second year, the art contest, named for the late Baltimore public servant and civic leader and his late wife, is open to visual artists working in the Baltimore region. (This year that includes two D.C. artists.) Examples of work by the 2007 finalists are on view at the Baltimore Museum of Art. The winner of the Sondheim Prize's $25,000 purse, which unlike the Trawick does not get divided among first-, second- and third-place finishers, will be announced Friday at the museum.

There's another critical difference between the contests, beyond the disparity in the cash value of the prizes. It doesn't have to do with the caliber of the entrants either. (Baltimore sculptor Richard Cleaver, whose painted and bejeweled ceramic-and-wood figures are part of the BMA show of Sondheim finalists, took home the Trawick's $10,000 first prize in 2003. So there's a lot of cross-fertilization of the talent pools, which is good.) Rather, the edge that this year's Sondheim Prize exhibition has over any version of the Trawick competition I've ever seen is in the choice of venue. The art just looks better in the BMA's spacious galleries than anything ever will at the Creative Partners Gallery, the cramped storefront on the ground floor of a downtown Bethesda office building that has been the Trawick's unfortunate exhibition space of choice since its inception.

I agree with O'Sullivan about the Trawick's exhibition location, and in fact I have some strong indications that next year's Trawick may "upgrade" and move to a better location, mostly because (I am told) Creative Partners no longer wants to host the show. But it will probably be to one of Bethesda's top galleries (that leaves 2-3 choices).

But O'Sullivan's article says also something about the difference between the way Baltimore museums looks at Baltimore artists and events and the way the DC area museums do.

Bethesda doesn't have a museum. So the Trawick will just move to another gallery.

But DC has more museum space per person than any other city in the world. That is a mathematical fact.

And yet, while Baltimore's main museum is part of that area's main art prize, no DC area art museum is involved in exhibiting the Trawick Prize exhibition.

Let this be a call for the Hirshhorn or the Corcoran or the Phillips to work out a deal with the Trawick Prize to host the finalists of the DC area's main art prize in one of those museum's galleries.

If Baltimore can do it, so can DC. And I am also making a call to my fellow DC area art bloggers and writers to join me in this call - let's see if we can make something like this happen.

If you think that this is a bad idea, then ignore it; otherwise, please join me in calling for a museum venue for next year's Trawick Prize.

Audio files of the radio discussions

Unfortunately the online segment starts about 15 minutes into the show, but you can listen to the rest of today's highly animated Kojo Nnamdi show with Jeffry Cudlin, Dr. Claudia Rousseau and myself here.

It starts with us arguing about the Bethesda Painting Awards.

I think that this was the best show so far and I also think that Jeffry, Claudia and I make up a great radio argumentative team! Now all we need is a sponsor to talk to WAMU about sponsoring an "Art Talk" show once a month or so.

Call me

Around one o'clock today I'll be on the Kojo Nnamdi Show discussing the Greater Washington area visual arts and artists and art stories as I usually do once or twice a year. Tune in to WAMU 88.5 FM around one. I'll be there together with my good friends Jeffry Cudlin from the Washington City Paper and Dr. Claudia Rousseau from the Gazette newspapers.

You can call us during the show at (800) 433-8850 or you can email us questions to kojo@wamu.org.

Pool woes

When I was a kid in Brooklyn, our neighbors on Sackman Street (Paula and Augie) had one of those above ground pools. Because our backyard and theirs was only separated by a chain link fence, it was easy for me to climb it and use their pool at will, which was OK with Augie, but not OK with Paula, which was a weird thing, because she was always feeding me alongside her kids, as she was a stay-at-home-mom, while my Mom had a job as a seamstress at one of the nearby factories that used to exist in Brooklyn where people like my Mom would work and get paid by what was then called "piece work."

But Augie was the one always working and doing stuff all year round to keep the pool working for those really hot NY summers, although he really hated me dive-bombing into the pool from the second floor fire escape ladder... you had to be good, and sort of belly-flop the water entry (the pool was only around five feet deep), otherwise you'd break your legs or seriously pop your knee caps. But Augie loved kids enjoying his pool!

Anyway, when I was house-hunting last year, I quickly discovered that houses in Media, PA are a lot more affordable than Potomac, MD, so I ended up in a cool house. And yet I was reticent to sign up, because the house came with a pool.

Pools are money pits.

And we quickly discovered that this pool, like many other pools, an hour after the warranties expire, leak. It's hard to hold water in a concrete bubble.

First estimates to fix the pool came in around a ton of money... as time went by, and more and more crap was removed from the pool (apparently built somewhere in the 60s) the "this-is-what's-wrong" stuff kept piling up and now we're up to around two tons of money and I am one good drunk away from filling the fucking thing with soil and planting pachysandras in the hole.

Wanna go to a DC opening tomorrow?

Carolina Mayorga will be having her opening event at Transformer tomorrow at 6:30PM. And then Robert Parrish's opening will be a week from tomorrow at the same time, same place.

The DC Commission on the Arts and Humanities is on the move

On July 17, 2007, The DC Commission on the Arts and Humanities will be moving uptown to a new location at 2901 14th Street NW, First Floor, Washington, DC 20010 and their phone is 202-724-5613.

Another Artomatic this year?

Blake Gopnik may have a fit, but I am told (as I mentioned before) that there's a pretty good chance of another AOM this year - this time in DC as usual.

Stay tuned!

PS - Sorry Blake... slammajamma two posts in a row; my bad.

Blake Gopnik got lost in Europe

If you think that DC area artsy writers, and DC area museum staffers, and DC area artists, and DC area gallerists, and Washingtonian magazinists, and DC area art collectors, and WaPo readers are the only ones almost always rolling their eyes over what and how Blake Gopnik writes about art, then you should read what Floridian Glenn Weiss, over at Aesthetic Grounds writes about the Gopnikmeister's recent European dispatches.

Wanna go to a Virginia opening this afternoon?

I know it's hot out there, so why not slip into the League of Reston Artists' opening this afternoon?

The opening is Wednesday, July 11 from 4:30 – 6:30 pm in the main hallway of the National Center Gallery of the U. S. Geological Survey in Reston, VA - details and directions here.

NY Arts Magazine Looking for Editor

NY Arts magazine is seeking a new editor.

The applicant should have at least two years of editorial experience, but should likewise have a significant knowledge of emerging and established contemporary artists, galleries, project spaces, art fairs and biennials. Daily responsibilities will include constant correspondence with artists, curators, directors and writers in pulling in and section editing up to 4 sections of the magazine per issue, online research, copy and line editing up to 200 pages of content per bi-monthly issue, updating, uploading and revamping our website and compiling a daily newsletter of art-related events for distribution. While editorial experience and art knowledge are key, excellent communication and managerial skills are also a must within our busy office space and attached gallery.

Submit resume, cover letter and two published clips (preferably art-related) to editor@nyartsmagazine.com with subject line "Editorial Position for Art Magazine."

Job in the Arts

The Delaware Center for the Contemporary Arts (DCCA), a non-collecting museum located on Wilmington's revitalized Riverfront, is looking to hire a full-time curator beginning fall 2007.

The DCCA is conveniently located on the I-95 corridor, within walking distance to an Amtrak/SEPTA station, and 30 minutes from Philadelphia. The DCCA currently presents nearly 30 exhibitions annually of regionally, nationally, and internationally recognized artists in its seven galleries, offers on-site studios to 26 working artists, and carries out an active schedule of educational and community outreach programs. The Curator is responsible for initiating, developing, implementing, and interpreting a schedule of temporary exhibitions. Central to the job is the ability to cultivate and maintain relationships with an active community of artists, collectors, curators, and patrons. Close connection to the contemporary art world is paramount. Strong organizational, research, written and oral communication skills are necessary; ability to work as part of a team of dedicated professionals is essential. Requirements include a graduate degree in art history (Ph.D. preferred) or an allied field and at least two years of full-time curatorial experience. Salary is competitive.

Please send letter, CV with contact information for three references, and writing samples to:

DCCA
200 South Madison Street
Wilmington, DE 19801

Or to info@thedcca.org. No phone or in person inquiries.

On the air on Thursday

Later this week (on Thursday, July 10, 2007) I'll be on the Kojo Nnamdi Show discussing the Greater Washington area visual arts and artists and art stories as I usually do once or twice a year. Tune in to WAMU 88.5 FM around noon - I'll be up around 1 o'clock together with my good friend Jeffry Cudlin from the Washington City Paper and Dr. Claudia Rousseau from the Gazette newspapers.

Wanna know where to get good affordable frames? Wanna know how to approach a gallery? Wanna know when the Friday openings are and where? Wanna know how to properly frame a photograph? Wanna know how to start an art collection? If you have any questions or art issues, you can call Kojo during the show at (800) 433-8850 or you can email me questions to kojo@wamu.org.

After the show I will post here all the websites and information that we discuss on the air.

Mad as Hell

Bailey is mad as hell not only at scumbag New Orleans politicians, but also furious at the increasing numbers of carpetbagging artists who are profiting off the misery of New Orleans.

According to Bailey, "Robert Polidori has now licensed the use of his Katrina imagery (most of the images published in his book were captured inside the homes of Katrina victims WITHOUT their permission, which is called trespassing everywhere in this country, for use in an anti-smoking campaign."

Details here.

Tapedude Update

It's no secret that I think that Mark Jenkins is one of the most original DC-based street artists. Over the years his tape creations have continued to amaze me and thousands of other pedestrians in cities around the world.

And Mark has been busy!

Check out some of his recent outdoor artwork here.

Urban Code Magazine

Issue number two of Urban Code magazine is out and looks great!

The magazine has excellent coverage of the arts, including multiple reviews of DC area gallery shows. You can subscribe for free to the electronic version of Urban Code by sending an email to urbancodemag@gmail.com

Gee's Bend quilts in Baltimore

Deborah McLeod was as impressed by the Quilts of Gee's Bend as I was when I saw the exhibition at the Corcoran in 2004. She reviews the exhibition, currently at the Walters Art Museum in Baltimore through Aug. 26.

Read Deborah's review here and just for kicks, see mine from three years ago below:

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The Quilts of Gee’s Bend

There are some museum exhibitions that almost from the first seeds of their conception are destined to great success. And thus I will reveal in the second sentence that I will join the chorus of art critics, writers and curators across America who have lavished nothing but praise on “The Quilts of Gee’s Bend,” currently on exhibition at the Corcoran Gallery of Art in Washington, DC until May 17, 2004.

But in addition to the visual power that this exhibition brings to the viewer, I believe that it also teaches several lessons that I think have so far been missed, or perhaps avoided, by all the reviews and articles that I have read about this show. I will thus concentrate on those aspects of this ground-breaking show, but first a little background.

The Quilts of Gee’s Bend display the craft produced by the women (mostly) of Gee’s Bend, Alabama, a very isolated, small African-American community in southwestern Alabama. As one of the quilters put it herself at the press preview, “the road ends in Gee’s Bend and there’s nothing else past us.” Descended from the former slaves of two area plantations, the inhabitants of Gee’s Bend (who call themselves “Benders”) have been historically an agricultural society that was geographically isolated and nearly self-sustaining at a bare survival level through agriculture.

And the women of Gee’s Bend not only plowed and planted and worked in the fields alongside their men, but also reared large families, cooked and kept house and made beautiful quilts; not as art, but out of necessity. These quilts first began to emerge outside Gee’s Bend in the 1960s, but are only now making a true impact across the rarified upper crust of the fine arts world; a world usually too pre-occupied by what’s new, rather than “discovering” the art of common people such as the wondrous ladies of Gee’s Bend.

And because the quilts were created out of necessity, and driven by the availability of material (a torn shirt here, a worn out pant-leg there, etc.) their designs grew out of practicality, rather than a conscious attempt to deliver art. This practicality, plus the physical constraints of making a quilt, then unexpectedly drives the designs of these quilts towards an astounding visual marriage with modernist abstract painting. But not by design, and not by intention – but by a combination of necessity, natural design talent and availability of materials.

Whodda thunk it? Art abstraction without art theory.

Ignore the fact that they are quilts, look at the exhibition and the Gee’s Bend quilts’ designs immediately “pass” for abstract paintings that can be absorbed into the modern abstract genre without a second thought. But unlike the work of abstract painters, schooled or browbeaten into art theory by curators and art critics, the quilts’ original designs come out of a “homegrown” and highly developed collective talent for structure, design and color. So much for “teaching” and force-feeding art theory.

“The quilts,” said Arlonzia Pettway, one of the quilters, “were made to keep us warm.” Art faculties all over the world should make a note of this.

The quilts are also now teaching us powerful lessons, not only about art, but also about American history, art criticism and political correctness.

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 have all lined up to applaud this show and connect the bridge between craft and fine art for the quilts of Gee’s Bend.

Is this honest art criticism? Are we applauding the artwork, or are we applauding the quilters?

I submit that they (and I) are doing the former not only because some of us recognize the visual power of the craft, but because we are also completely enthralled by the latter. Once you meet the beautiful, serene, elegant and honest women whose hands created these quilts, you cannot help but realize that there are no losers in their success.

Mary Lee Bendolph is 67 years old, and she responded to one of my questions by saying that when she was eight years old, her mother sold the quilts as cheap as $1.50 and even Mrs. Bendolph has sold them as cheap as $5.00. These days, an Arlonzia Pettway or Mary Lee Bendolph quilt can go for as much as $6,000, as the fame of the quilting community spreads around the world.

“The Good Lord provides,” they both say. You don’t hear that very often in a hoity-toity art gallery or museum.

Gee’s Bend is certainly not the only quilting community in the United States, probably not even the only African-American quilting community in the South, and as beautiful and historically important as the quilts are, they nonetheless fit right into the well-known “secret language” of visual arts among African Americans in the South – Gee’s Bend is a tiny, but important, component of that language.

I don’t think that this is a language that has been clearly understood by mainstream critics and curators so far, as it is a traditional language – far from the giddy, rarified atmosphere of contemporary art. Seldom is anything traditional in the radar of today’s art scene. And thus, this is a traditional visual arts language that has been largely ignored by most high brow art critics and institutions, so preoccupied and focused on what’s new, rather than what’s good.

It is thus ironic, given the Civil Rights history of the quilters, that the quilts of Gee’s Bend suddenly cross the art segregation line between craft and art; in fact a bridge that seldom a “craft” has crossed before, and also present an insurmountable dilemma to art critics and curators worldwide, as this is a show that would be suicide (because of today’s political correctness) to dislike via a bad review.

The quilts force tunnel-visioned art critics and curators to look outside the latest “trendy” videographer or back-lit photographer with mural sized boring photographs. This is an unrecognized accomplishment of this show.

And I also submit that these works should no longer be boxed into a segregated label of “African American art” or “fine crafts” or whatever – they are simply brilliant examples of what common people, without art theory, without labels, without “isms”, without agendas, without grants, without endowments and without college degrees can deliver: sublime fine art.

Great American art.

New Baltimore Gallery

The Baltimore City Paper's Jason Hughes delivers an extensive report on Baltimore's newest art space, the Metro Gallery, directed by Sarah Williams.

Read the article here.

Reminds me of the fact that in the last year or so about half a dozen new art spaces have opened in the Greater DC area. Maybe the Washington City Paper needs to write an article focusing some much needed attention on these new venues?

New Arts Blog

Central Intelligence Art is a new blog by talented DC area artist Rex Weil, who also teaches at Maryland and is the DC area editor for ArtNews.

Visit him often here.

Opportunity for Pennsylvania Artists

Deadline: August 1, 2007

The Pennsylvania Council on the Arts invites applications for the 2008 Individual Artists Fellowships. They are now accepting online applications to the 2008 Individual Artists Fellowship program, which offers $5,000 to $10,000 fellowships.

Discipline categories for this year's fellowship program are as follows: Dance -- choreography; Folk and traditional arts -- performing traditions and apprenticeships; Literature -- poetry; Media arts -- narrative and documentary; Music -- classical composition; Theater -- scriptworks; and Visual arts -- drawing, artists books, printmaking or new technologies or painting.

Artists applying for a PCA Fellowship must be permanent residents of Pennsylvania who have established residency for at least two years prior to the application deadline. Students in high school, undergraduate, or graduate programs at the time of application are ineligible to apply for a fellowship.

Application guidelines are available on the PCA Web site.

Jericho

I am a big fan of the CBS show "Jericho," which is a terrific and harshly realistic view of a small Kansas town in a post-nuclear America. It is a superbly crafted drama set in a very scary world where terrorists (or is it them?) have wiped out several key American cities with nukes. Because of its location, Jericho survives the fallout and must now face a post-nuclear America.

This SF show almost bit the dust due to sickly ratings in the right demographics, but when CBS announced that it was cancelling the series, fans began mailing CBS bags of peanuts as a protest.

Peanuts because in the last episode the lead character, when asked to surrender at the end of an assault by the neighboring town, echoes Gen. McAuliffe's famous WWII reply when also asked to surrender by the Germans when McAuliffe was surrounded during the siege of Bastogne: "Nuts!"

20 tons of peanuts later, CBS has the show back on the slate for six new episodes.

CBS Entertainment President Nina Tassler called the online outcry a "probably unprecedented display of passion in support of a prime time television series" and said CBS has ordered seven more episodes of the show for mid-season.

Gets me to thinking about what we could mail the WaPo and other moribund paper media to get them to pay attention to the visual arts?

A View From Maryland

With an Opening Reception next Tuesday, July 10, 2007 from 5 PM - 7:30 PM, the University of Maryland University College presents "Landscape and Nature: A View From Maryland," curated by Sigrid Trumpy.

This exhibit is the result of a partnership among the state of Maryland, the Maryland Sister States Program, and the Japanese Prefecture of Kanagawa. Participating artists include Mary Arthur, Denee Barr, Karen Birch, Larry Chappelear, Donald Cook, Richard Dana, Kevin D. Augustine, David Driskell, Aline Feldman, Steven Fiscus, Peggy Fox, Kathryn Freeman, Inga Frick, Stephanie Garmey, Ken Giardini, Joshua Greer, Ronnie Haber, Steven Hay, Matt Hyleck, Edda Jakab, Susan Johnson, Chevelle Makeba Moore Jones, Jeanne Keck, Patrice Kehoe, Jinshul Kim, Philip Koch, Perna Krick, Dan Kuhne, Eugene Leake, Ralph McGuire, Raoul Middleman, Tom Nakashima, Susan Due Pearcy, Jan Razauskas, Beverly Ress, Charles Ritchie, Michael Rogovsky, Nancy Sheinman, Joe Shepherd, Tony Shore, Elzbieta Sikorksa, Laura Vernon Russell, William Willis, Edward Winter, and Sharon Wolpoff.

Print Saturday

Tomorrow, DC's Jane Haslem Gallery will host "Print Saturday," one of two events highlighting artists from Washington Printmakers Gallery. Jenny Freestone, Betty MacDonald, Max Karl Winkler, Martha Oatway, Joyce Ellen Weinstein, Lila Oliver Asher, Terry Svat, and Yolanda Frederikse will present portfolios of their prints and be on hand to talk about their work from 12 to 5 pm. This is a unique opportunity to meet the artists and see their latest prints!

Part of the proceeds from sales will benefit Union Printmakers Atelier, a printmaking facility in downtown DC providing studio access to artists who work in lithography, intaglio, relief, letterpress and book arts.

For more information call Jane Haslem Gallery at 202-232-4644 or Washington Printmakers at 202-332-7757.

Kahlo or Not?

A Happy 100th birthday to Frida Kahlo!

"Frida Kahlo 1907-2007: National Homage" - a massive Kahlo exhibition at the Palacio de Bellas Artes in Mexico City, "fills all eight galleries of the ornate beaux-arts edifice that is the country's most prestigious cultural showcase. It encompasses nearly one-third of Kahlo's total artistic output, including 65 oils (divided into self-portraits, portraits and still lifes), 45 drawings, 11 watercolors and five prints" and it is part of a month-long series of events covering everything about Frida and marking the 100th anniversary of her birth on July 6, 1907.

The exhibition opened two weeks ago and it is already attracting not only huge crowds but also causing a lot of controversy, much like Kahlo did during her life.

Officials estimate that 300,000 people will view the show here through Aug. 19. Much of its contents then will be regrouped into smaller exhibitions that will open over subsequent months at the Walker Art Center in Minneapolis, the Philadelphia Museum of Art and the San Francisco Museum of Modern Art.

Reed Johnson, writing for the LA Times, discusses the controversy over two Kahlo pieces in the exhibition.

On Monday, the Mexico City daily newspaper Reforma published a story in which Raquel Tibol, a respected art critic and author of a new biographical study of Kahlo’s husband, Diego Rivera, raised questions about the authenticity of two of the works in the Kahlo restrospective at the Palace of Bellas Artes.

One of those works, a portrait of one of Kahlo’s first lovers, Alejandro Gómez Arias, which she painted in 1928, reportedly was discovered in a piece of furniture by his heirs after his death in 1990. Gómez Arias was riding with Kahlo during the fateful bus accident that fractured her spine.

The painting was included in the large Kahlo show hosted by the Tate Modern in London in 2005. Tibol has challenged the provenance of that work as well as an undated drawing, “Portrait of Isolda Pinedo Kahlo.”

It is interesting to note that there are at least half a dozen "missing" Kahlos which are believed to be somewhere in the United States, but no one knows where or who has them.

Print Saturday

Tomorrow, DC's Jane Haslem Gallery will host "Print Saturday," one of two events highlighting artists from Washington Printmakers Gallery. Jenny Freestone, Betty MacDonald, Max Karl Winkler, Martha Oatway, Joyce Ellen Weinstein, Lila Oliver Asher, Terry Svat, and Yolanda Frederikse will present portfolios of their prints and be on hand to talk about their work from 12 to 5 pm. This is a unique opportunity to meet the artists and see their latest prints!

Part of the proceeds from sales will benefit Union Printmakers Atelier, a superb printmaking facility in downtown DC providing studio access to artists who work in lithography, intaglio, relief, letterpress and book arts; and one of those places that is a key part of the city's art scene and cultural tapestry.

For more information call Jane Haslem Gallery at 202-232-4644 or Washington Printmakers at 202-332-7757 or Scip Barnhart at 202 277 1946.

No! to Lower Merion Township's last ditch effort

Lower Merion Township's last ditch effort to keep the Barnes Foundation where it is has been rejected.

Montgomery County officials, who made the offer, say they will take the Barnes to court in a final effort to prevent the move.

The Barnes rejection "shows that they're hellbent on moving and they are much more interested in ingratiating themselves with the power players and the arbiters of culture in Philadelphia than in following the dictates of the trust," said Mark D. Schwartz, a lawyer for the Montgomery County commissioners.

Read the Forbes story here.

Happy 4th!

Super proud to be an American!

Baltimore Arts Blog

Bmore Art is a new-to-me art blog all about Baltimore. It is a collective group of artist-contributors, including Jarrett Min Davis, Asper Winktop, Don Cook, Rob Sparrow Jones, Cara Ober, and others. It is loosely organized by one of my recently-discovered fave artists, Cara Ober.

Visit them often here.

Opportunity for Artists

Deadline: August 17, 2007

The Curfman Gallery at Colorado State University announces a national call to artists for the 2009-2010 exhibition season. No entry fee. All work/exhibition proposals will be considered. Please send a SASE along with slides and or CD of high res. images of your work, as well as an artist CV and formal exhibition proposal to:

Curfman Gallery
8033 Campus Delivery
Fort Collins, CO 80523-8033.

For more information, visit this website or contact Stanley Scott at lscarts2@lamar.colostate.edu or 970-491-2810.

Grants for Young DC artists

Deadline: September 19, 2007, 7pm.

The DC Arts Commission recognizes up and coming DC artists with the Young Artist Grant Program. This initiative, which offers grants of up to $3,500 to artists between the ages of 18 and 30, is funded in part by the National Endowment for the Arts' Challenge America program.

Grants support individual artists in two funding categories: Young Emerging Artist Grant Program-artists may apply for up to $2,500 of support for innovative art projects. Young Artist Community Service Program-artists may apply for up to $3,500 of support for projects that strengthen communities as well as provide positive alternatives for youth. For more information please visit this website.

Affordable Housing for DC area Artists

Deadline: August 9, 2007, 5pm.

The Cultural Development Corporation (CuDC) has partnered with Manna, Inc., to develop approximately 40 affordable work/live housing units for artists and their families at 2414 Douglas Street, NE, in the Woodridge area of Washington, DC.

The intent of this project is to create work/live artist housing units designed primarily as functional studio space with basic living space as an ancillary use.

Construction is scheduled to begin in the fall of 2008, with occupancy expected in 2009. Applications are now available.

CuDC will start accepting applications on Monday, June 4, 2007 at 9 a.m. All applications are due to CuDC no later than 5 p.m., Thursday, August 9, 2007. For more information on the application visit this website.

The Franz and Virginia Bader Fund

Deadline: September 15, 2007

The Franz and Virginia Bader Fund welcomes applications from visual artists aged 40 years or older, who live within 150 miles of Washington, D.C. and can demonstrate that they have the potential to benefit as artists from a grant.

The Franz and Virginia Bader Fund does not, however, accept applications from filmmakers, video artists, and performance artists. In 2006 the Franz and Virginia Bader Fund awarded three grants totalling $60,000.

The deadline for applications is September 15, 2007. Application forms may be downloaded from the fund's web site: www.baderfund.org or may be requested by sending an email to grants@baderfund.org or by sending a request to:

Bader Fund
5505 Connecticut Avenue, NW #268
Washington, D.C. 20015

Opportunity for artists

Deadline: ASAP!

Light Street Gallery in Baltimore has two upcoming group shows scheduled and they are inviting any artists interested in submitting artwork for these shows to first email images and/or ideas to gallery director Linda Krensky.

The first opportunity is an Open Call for Artwork for their "Box Show." All artists are welcome to submit any size Two or Three Dimensional creative artwork that includes a box of some kind. That exhibit will take place from August 18th thru October 6th, 2007.

The second opportunity is for their small works show. Two Dimensional Work: Maximum image size to be 144 square inches, (i.e. 12” x 12”) or less, xxcluding matting and framing. Three Dimensional Work: Maximum sculpture size to be 1728 Cubic Inches, (i.e. 12” x 12” x 12”), excluding Display or Pedestal. That exhibition is from From November 17th thru January 12th, 2008.

Questions? Call Ms. Krensky at the gallery, 410-234-0047 or email her at info@lightstreetgallery.com.

Go to this opening

One of my favorite DC area painters is and has been for many years the hugely talented A.B. Miner.

A.B. Miner's solo exhibition, titled Chimera opens on Thursday, July 5 at H&F Fine Arts in Mount Rainier, MD just outside of DC. The opening reception will be on Friday, July 6 from 6-9pm.

Seduction

Below is "Seduction," charcoal on paper, circa 2001, about 20 x 40 inches, sold at my 2002 solo show in DC.

As I'm rather fond of doing, there are several "hidden" drawings within the body shadows, but they're nearly impossible to detect in this digital image.

America's Most Wanted Painting

At least according to the decade old Dia project undertaken by the zany art team of Russian artists Komar and Melamid (who hung around DC for a while in the 90s, although I can't recall where they exhibited).

In the project (which also covers "Least Wanted Painting" and it is specific to various countries), a professional survey team questioned people with questions such as "what is your favorite color?" (blue was the overwhelming US favorite by 44% with green coming in at a 12% second; both the Chinese and the Russians also went blue, green but not in such huge numbers, and even the usually difficult French went blue at 39%).

The survey was conducted in 14 countries, and some remarkable similarities in taste are clearly evident once you see the various favorites and least favorites. It appears that with the exception of the Italians and the Dutch, nearly everyone else aligned behind a somewhat pastoral scene a-la-Hudson River School.

Least wanted paintings in all nations, with the same two exceptions of Holland and Italy, were generally geometric abstractions in nature.

This is the least wanted kind of painting in the USA. And below is the most wanted painting in the US... yep that's George Washington in the middle.

Before you roll your eyes, here's the Chinese equivalent, and yep that a portrait of Mao on the right of the painting. And the Russians seem to have put some sort of a Christ figure in their favorite painting.

However, this "painting by survey," like anything done by committee, rarely actually yields a final product that anyone actually likes, and I suspect that few people (in any nation) would actually hang the finished banal painting(s) in their homes.

Bethesda Painting Awards

Next week is the last week to see the Bethesda Painting Awards finalists and prizewinners at the Fraser Gallery in Bethesda. The show closes July 7.

This year's exhibition stirred quite a bit of controversy, which is always good for any art competition.

The Washington Post's Michael O'Sullivan was surprised at the award choices and raised a controversy about three sumi-ink drawings on Japanese paper by Richmond artist Fiona Ross. Read his review here.

The Gazette's Claudia Rousseau really liked the Best in Show prizewinner, but disliked the work of the other two award-winners. Read her review here.

DCist's Lynne Venart at first didn't like the Best in Show prizewinner, but when she looked a little closer, she discovered interesting nuances in Matthew Klos' works. Read her review here.

G.P. and Thinking About Art both jumped on the O'Sullivan controversy bandwagon and opined on the issue. Read Kriston here and J.T. here.

Go see the show before it closes.

Art in Heat



Art in Heat opens Saturday, June 30, 2007 from 7pm–11pm at the Warehouse Gallery and Theatre complex in DC. Lobsterboy will be on hand at 8pm and 11pm with his “Tiki Party from Hell.” DJ Adam will be keeping the party going in the upstairs gallery.

The exhibiting artists represent the best of DC’s Outsider, Lowbrow, and Pop Surrealist artists. They’re notable for creating work that’s fun, twisted, sexy, and just plain wrong. Featuring: Ed Bisese, Chris Bishop, Scott G. Brooks, Lisa Brotman, Anna U. Davis, Jared Davis, Alan Defibaugh, Margaret Dowell, Dana Ellyn, Gregory Ferrand, Linas Garsys, Laurel Hausler, Candace Keegan, John Lancaster, Emily Greene Liddle, Albert Schweitzer, Matt Sesow, and Ben Tolman.

Buy Ben Tolman now, as he's soon to leave DC and head out onto the graduate program at the Art Institute of Chicago.

In Summer The Song Sings Itself

In Summer The Song Sings Itself is the title of a summer group show presented by Pentimenti Gallery in Philly. The show introduces a group of new artists who bring variety, energy and important contemporary voices to the summer. The exhibition includes paintings, photographs and sculptures.

The exhibition includes work by Gabe Brown, Sarah Daub, Thomas Doyle, Cara Enteles, Matthew Fisher, Deborah Hamon, Kirk McCarthy and Scot Wittman. The opening reception is next Friday, July 6 from 6 - 8:30 PM.

The River Movers by Matthew Fisher

Academy 2007 at Conner Contemporary

Next Friday, July 6, Conner Contemporary Art in DC opens Academy 2007, the seventh year of their annual invitational survey dedicated to outstanding work by recent fine art graduates of the Washington - Baltimore area college art programs. The exhibition opens Friday, July 6th with a reception for the artists from 6:00 - 8:00 pm.

The following artists were invited to exhibit by curators Jamie Smith and former gallery director, Karyn Miller:

PAUL CHAPMAN (George Washington University)
GRAHAM CHILDS (American University)
RUSSELL KELBAUGH (Corcoran College of Art + Design)
MAGNOLIA LAURIE (Maryland Institute College of Art)
JODI LIEBURN (Maryland Institute College of Art)
ISAAC MAISELMAN (Corcoran College of Art + Design)
TIFFANY MIELCAREK (Maryland Institute College of Art)
CHRISTINA MOST (Maryland Institute College of Art)
NATALIA PANFILE (Maryland Institute College of Art)
SANDRA PARRA (Maryland Institute College of Art)
DEBORAH ROCK (Catholic University)
NATHANIEL ROGERS (Maryland Institute College of Art)
BRIAN SYKES (University of Maryland)
JESSICA VAN BRAKLE (Corcoran College of Art + Design)
OLIVIA WOLFE (Georgetown University)

Tomorrow at the Katzen

At the Katzen Arts Center in DC, in honor of its 50th anniversary, the Association of American Editorial Cartoonists (AAEC) presents this rare collection of current political cartoons about George W. Bush and his most trusted advisers. More than 80 cartoonists from newspapers across the country, including several Pulitzer Prize winners, have contributed their best cartoons, depicting the president, Dick Cheney, Karl Rove, Donald Rumsfeld, Condoleezza Rice, Alberto Gonzales and more. The challenge will be to figure out how many are pro and how many are con!

Also opening is "True Dutterer: The Work of William S. Dutterer." Bill Dutterer was an important and beloved Washington artist and teacher who moved to New York City in 1979 and continued to make powerful and innovative paintings until his death this past January.

The opening for both exhibitions is Saturday, June 30, 2007, 6 p.m. - 9 p.m. Free and open to the public.

Opportunity for Galleries for Portrait Paintings

The Department of Housing and Urban Development is interested in procuring the services of a contractor to provide corporate or official type standing oil painting portraits on canvas of the current and past Secretaries of HUD. This solicitation is a 100% small business set-aside. Details here.

Since this is a small business set-aside, this would be a great opportunity for a gallery to respond as a "contractor" and submit a proposal.

If you have any questions regarding this procurement, please email Karen Thomas at Karen.V.Thomas@hud.gov, Contracting Officer. You may also telephone Ms. Thomas at 202-402-2806. Please be sure to refer to Solicitation #R-OPC-23169 when requesting additional information.

Old Drawing

Below is one of my early 1990s charcoal and conte drawings of Mantonica Wilson, who was Wifredo Lam's formidable godmother and the woman who was probably the most direct influence for Lam ever becoming one of the best-known artists of the Surrealist movement, and perhaps of the 20th century, despite his later subservient, lackey attitude to Castro's repressive regime.

During the latter half of the 19th century, many immigrants arrived in Cuba, mostly from Europe, but also huge numbers from China. One such immigrant was a Cantonese man by the name of Lam Yam, who settled in Sagua La Grande in the province of Las Villas.

There Lam Yam married a much younger Cuban woman of African, European and Native American ancestry, and eight children were born from this marriage. In 1902, when Lam Yam was 84 years old, his eighth child was born: Wifredo Oscar de la Concepcion Lam y Castillo.

My drawing of Mantonica is derived from a 1900 photograph that shows a gigantic, strong woman, who also happened to be a powerful Santeria practitioner of pure Yoruba ancestry.

It was through her Santeria practices that the young Lam was introduced to the African-based rituals and images that would later influence and people his artwork. And it was probably at Wilson's urgings (and possible financial assistance), that the young Lam was sent to study art in Europe in order to avoid the Cuban societal limits set because of his race.

It is often through the strong will and influence of others, that genius takes seed and given an opportunity to grow. My drawing is an homage to such a person.

Philadelphia's First Friday Video Project

A new growing website (complete with videos) provides fascinating insights about Philadelphia's First Friday art scene -- and about how artists and galleries revitalized an urban neighborhood. You can check it out at www.firstfridaytv.com.

Wanna go to a DC art event tonight?

The WPA\C’s Experimental Media Series - ColorField.remix, Night #3, challenged artists to create experimental video, sound and performance pieces reinterpreting or inspired by Color-Field artists. Jurors, Richard Chartier and Brandon Morse, awarded the $1000 Kraft Media Prize to Erika Suderburg and Linda Besemer, and the $500 Honorable Mention to Alan Callander, based on the overall quality and innovation of the work, as it relates to Color-Field influences.

Tonight, from 7-9PM at The Armand Hammer Auditorium in the Corcoran, and free and open to the public, you can view the work created by Christina Battle, Gregg Biermann, Alan Callander, Rebecca Carter, John Davis, Eric Fleischauer, Kerry Laitala, Oliver Lyons, Tony Myatt, Kamran Sadeghi, Semiconductor, Erika Suderburg and Linda Besemer, Champneys Taylor and TeZ.

Beckman on Anonymous III

The WaPo's Rachel Beckman has a really good article on the recent "Anonymous III," annual exhibition by the Washington Project for the Arts\Corcoran, with a very readable story on ubercollector Fred Ognibene.

Wanna go to a DC opening this Saturday?

Irvine Contemporary has an exhibition of new and recent photographs by internationally acclaimed artists Kerry Skarbakka and Marla Rutherford. Opening Reception: Saturday June 30, 6-8 PM.

Marla Rutherford, Abandoned Housewife, 2006. C-Print

Right on target!

Via and thanks to www.comics.com

Cooper Carry hosts Art Show Fundraiser in Alexandria, VA

Deadline: Friday, July 27, 2007

Cooper Carry, a national architecture and design firm, is hosting its first biannual fundraiser and art exhibition in its award-winning Alexandria office. Cooper Carry is seeking artists from the Baltimore/Washington Metro area to display their work at the event. Sales will benefit the artists (60%) and the HSC Pediatric Center (40%).

The HSC Pediatric Center is a pediatric health care facility in Washington, D.C., that provides transitional care to children from infancy to age 21. For the entry form and prospectus, please visit this website. Phone: 202-492-7228; Email: liani.foster@gmail.com.

Opportunity for Artists

Deadline: August 17, 2007

The Curfman Gallery at Colorado State University announces a national call to artists for the 2009-2010 exhibition season. No entry fee. All work/exhibition proposals will be considered. Please send a SASE along with slides and or CD of high res. images of your work, as well as an artist CV and formal exhibition proposal to:

Curfman Gallery
8033 Campus Delivery
Fort Collins, CO 80523-8033

For more information contact Stanley Scott at lscarts2@lamar.colostate.edu or 970-491-2810.

And the Cane controversy begins

A few days ago I wrote my opinions on the new CBS series "Cane," which is sort of a new Sopranos-themed series with a powerful Cuban-American family running a sugar empire in Florida. I also told you that it appeared to me that the series was loosely based upon the powerful Fanjul Family billion dollar empire.

The Palm Beach Post seems to think so as well, and the Fanjuls are pissed. Read the story here.

Opportunity for Art Students

The Regional Museum in Stalowa Wola, Poland has a call for art students for the "International Competition Self-Portrait for Art Students." It is open to art students from universities, academies and colleges.

Additional information as well as complete instructions, forms that need filled out or to contact the exhibition coordinator directly visit this website, or the contact person is Ms. Monika Kuras, at mkuras@stalowawola.pl.

The Lorton Arts Foundation

Lorton Arts Foundation, Inc. (LAF) is leading an innovative “adaptive reuse” of the former Washington D.C. Lorton Correctional Complex. With the creation of the Workhouse Arts Center at Lorton, Virginia, this extraordinary 55-acre cultural arts center is designed to promote, facilitate and provide life-long arts education opportunities. They have a plan that will celebrate the architectural significance and convey the fascinating story of this historic landmark, while creating an inspirational center for artistic expression.

Plans include: 68 artist studios in seven studio buildings, art galleries, exhibition spaces, a 500 seat events center, a 300 seat theater, an outdoor music barn, classes and workshops for art education, a museum, restaurants, residences for artists, gardens and a visitors center. They are on track to open all of the artists’s studio buildings as well as the main gallery building in early 2008

Opportunity for Artists

Deadline: Postmarked by Sept. 4th, 2007

The Workhouse Arts Center is pleased to announce their first call to jury for the Workhouse Artist Association membership, and studio rental. The Workhouse Photographic Society is also issuing its call to jury for membership. Submittal deadline: postmarked by Sept. 4th, 2007.

All information about the Workhouse, jury packets and the many opportunities to be available in early 2008 are available on the web at www.lortonarts.org.

Applications may also be picked up at their office trailers on the site, 9601 Ox Road, Lorton, VA Monday – Friday 9AM to 4PM. Informational sessions & site tours are scheduled for July 14th and August 18th 10AM, setting is limited, so pre-registration is required. Registration and/or questions may be sent to Marti Kirkpatrick, Studio Manager at martikirkpatrick@lortonarts.org or phone 703 495-0001 ext 301.

Letter to the Editor

Theodora T. Tilton writes an interesting Letter to the Arts Editor about Blake Gopnik, art, and the Venice Biennale reporting.

Wanna go to a few DC area openings tonight?

A few cool DC area openings tonight are: District Fine Arts' "Summer Solstice," a group show of contemporary art from the United States and Turkey. It includes drawings by the amazing photographer Lida Moser, who says "It was so wonderful to discover the joys of drawing after more than forty years in photography!" The opening is Saturday June 23rd, from 5 p.m. - 8 p.m. and it features an acoustic set by Brad Radish at 7pm.

Up the road off Wisconsin Avenue in Bethesda, at Heineman Myers Contemporary Art, Zoe serves "Yummy," and exhibition by artists and their relationship to food and food issues. The opening is on Saturday, June 23rd with an artist talk at 4pm and a reception for the artists from 6 to 9pm.

And Randall Scott Gallery has Hiroyuki Hamada opening tonight, but I'll be willing to bet that the photographer in the back gallery, Elena Volkova, will steal the show. Her ethereal photographs are simply gorgeous and she has a singular eye and touch. Volkova lives in Baltimore and is completing her MFA at MICA in July, although she has already exhibited widely in the DC area. The reception will be held on June 23rd from 6-9pm.

Glass Onion

I told you about strawberry fields
You know the place where nothing is real
Well here's another place you can go
Where everything flows.

Looking through the bent backed tulips
To see how the other half live
Looking through a glass onion.

I told you about the walrus and me-man
You know that we're as close as can be-man
Well here's another clue for you all
The walrus was Paul.

Standing on the cast iron shore-yeah
Lady Madonna trying to make ends meet-yeah
Looking through a glass onion.

I told you about the fool on the hill
I tell you man he living there still
Well here's another place you can be
Listen to me.

Fixing a hole in the ocean
Trying to make a dove-tail joint-yeah
Looking through a glass onion.

- Lennon & McCartney

Cane on CBS

I guess because I am an American of Cuban ancestry someone sent me an advance (I guess) preview copy of the new CBS show Cane. This new TV series is about a Cuban-American family running a sugar empire from Florida.

Think "Sopranos" without all the cussing and better haircuts.

Thank you... I am honored.

And now some very pedantic and jingoist hits... The lead character is played by Jimmy Smits... great actor, but not what your typical Cuban sugar magnate would have looked liked in the racist Cuban society of the late 1950s and the Cuban-American refugee wave of the early 1960s.

CBS picked Smits, a brilliant actor, I guess based on their perception of what a Cuban looks like (Smits is not of Cuban ancestry... his father, Cornelis Smits, was a Surinamese immigrant from Dutch Guiana, and his mother, Emilina, is Puerto Rican).

This is what the person that Smits' character is loosely based upon really looks like...

That is him and his also Cuban wife to the left...but because, like a lot of Cubans, he looks too "Caucasian" and not enough of what Hollywood (and CBS) thinks that Latinos should look like, they hired a terrific Emmy-winning Surinamese actor who fits the sterotypical image of what Hollywood thinks Cubans should look like, to play the lead part.

HBO hired (for the most part), excellent Italian-American actors to play Italian-Americans for the Sopranos; it worked (awright, awright, so Jamie-Lynn DiScala, who played Meadow Soprano was actually a Cuban-American actress... ironic, uh?).

CBS has not only hired Smits to play the lead role, but also Puerto Rican actors Hector Elizondo, Eddie Matos, and Rita Moreno, Miss Colombia 1991 Paola Turbay, etc. to play other assorted Cubans.

And now for CBS: My list of actor candidates who are actually of Cuban ancestry and thus a shoe-in for the part and who actually fucking speak Spanish with a Cuban accent:

Andy Garcia (duh!!!! perfect for the part!... but probably too classy and too expensive to do TV).

Nestor Carbonell. OK, OK, he plays the nasty brother.

Mel Ferrer... ah!... I think he's dead.

Desi Arnaz... fine, fine... he's definately dead; but how about Desi Jr.?????

Jorge Perrugorria

Cesar Romero ... fine! I know that The Joker is definately dead.

George Alvarez...

OK, I'm off my pedantic box; it looks like a decent show - it's no "Sopranos" but let's give it a chance.

Opportunity for Artists

Deadline: July 31, 2007

Carol Lukisch, the former Director of Exhibitions/Curator at the Arlington Arts Center now plans to do some independent curatorial projects, the first of which will be "Fear and Hope" which will take place December 4, 2007 - January 19, 2008 at the Arlington Arts Center.

Mid-Atlantic artists who are doing interesting work in any media that deals with the subjects of Fear and or Hope, send some materials no later than July 31 to:

Carol Lukitsch
P.O. Box 4211
Alexandria, VA 22303 or online at caroluk2@aol.com.

Corcoran Curator Leaving

(Via RE) - Dr. Jonathan Binstock, whose thesis work in Philly was about DC artist Sam Gilliam, will be leaving his post as the Curator for Contemporary Art at the Corcoran in Washington, DC in order to join the corporate world at the Art Advisory Service at Citi (nee Citibank), where he will work as a senior vice president.

For almost 30 years, Citi has helped some of the Citigroup's customers find and collect art (since it's investment and banks and Samolians... I guess for investment goals) and a whole lot of other art services.

Their website implies "access" as a mean to penetrate the inside and outs of collecting artwork for fun and profit.

As a sideline, I advise and then buy artwork for two collectors, and have a $20,000 monthly budget to buy artwork for those two folks. This is not as easy as one would have imagined, and actually quite an arduous (but still fun) process.

What Citi does is a billion times harder, because they are somewhat promising investors a payoff and payback and return on their purchase price on artwork.

Jonathan Binstock is a sharp, hardworking and savvy dude, and DC and the Corcoran will miss him, but he's got a tough job in front of him, and I wish him the best of luck.

It will be fun to see if Jonathan pushes any DC artists. This will be somewhat difficult, as I suspect that this level of collecting seldom concerns itself with discovering artists who have not yet made it to the ranks of the secondary art market (only about 5-6 DC area artists (as far as I know) have done so... of those only 2-3 are alive.

Looking for a Curator

The Arlington Arts Center, a leading contemporary visual arts venue in the metropolitan Washington D.C. area, seeks a full-time Director of Exhibitions.

The ideal candidate will have extensive experience curating and coordinating exhibitions, communicating with artists, and developing creative collaborative initiatives. Strong knowledge of contemporary art, particularly in the Mid-Atlantic region, is essential.

Candidate will also have experience drafting contracts and exhibition agreements, coordinating installation and catalogue production, writing exhibition materials, and using contemporary marketing tools. Technical knowledge of new media and software applications are key assets. This person works closely with the Exhibitions Committee, and experience working with Boards will be helpful. Superior grant-writing skills are also extremely desirable.

BA required, MA or MFA preferred. The AAC is a fast-paced environment with a small staff that values flexibility, a team approach, and a sense of adventure. This position includes benefits. Competitive salary.

APPLICATION DEADLINE: Friday, July 13.

Please send resume, cover letter, and salary requirements to:

info@arlingtonartscenter.org, with “Director of Exhibitions” in the subject line, or by mail to:

Search Committee
Arlington Arts Center
3550 Wilson Blvd.
Arlington VA 22201

Bailey Flushes Gopnik

Nude Removed from Pennsylvania show

Now it's time for Pittsburgh to be embarrassed.

From the AP:

An artist's nude depiction of bathing with milk and honey has been removed from a popular Pittsburgh arts festival due to complaints by one of the city's largest businesses.

The video installation by Chilean artist Carolina Loyola-Garcia, titled "The need to wash the self with milk and honey," was covered up and unplugged over the weekend by PPG, which owns the plaza where the multimedia display was exhibited.

The controversial footage portrayed the naked artist bathing with milk and honey in the forest. It was part of the "Best of Pittsburgh 2007" exhibit. PPG found the display inappropriate.

This is within its "rights as a corporate partner to ask us to abide by guidelines they have," said Elizabeth Reiss, executive director of the Three Rivers Arts Festival, currently on display in downtown Pittsburgh.

Reiss told the Pittsburgh Post-Gazette she had not seen the video herself, but was told the display included full frontal nudity.

"Nudity doesn't belong in street-front windows. For several years now, Three Rivers has worked hard to put important good work in galleries and responsible pieces on streets," Reiss said.

Art shown in street booths should have a "more family friendly value," she added.

And Mary Thomas writing in the Pittsburgh Post-Gazette details a few other interesting issues with nudity by the festival (which I did a few years ago). Read her excellent article here.

Shame on you Pittsbugh.

Congrats

To Bailey, whose work "The Disintegration of the American Empire, A Disillusioned Triptych: In Memory of President Thomas Jefferson, In Memory of President Abraham Lincoln, In Memory of President John Fitzgerald Kennedy Kennedy", was just awarded Best in Photography at artReston 2007.

See all the award winners here.

Who says political art is dead?

Public Art Projects for the Nation's Capital

The Public Art Building Communities grant program offers funds to eligible artists and nonprofit organizations for the creation and installation of permanent public art projects with a life span of at least five (5) years.

Projects must be installed in the District of Columbia and should encourage the growth of quality public art throughout the city, support local artists and nonprofit organizations, and make public art accessible to District residents. Projects must provide exposure of public art 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: sculpture, mosaics, murals, paving patterns, custom benches, stained glass windows, artistic gates and railing, etc. Funding is available for all fees associated with the design, fabrication and installation of the artwork(s) including: artist fees, materials, insurance, engineering, shipping,
installation services, permit fees, and photographic documentation.

Opportunity for Artists

Deadline: September 20, 2007

Montgomery College – Rockville Art Department is accepting entries for the national juried exhibition: Rhythm & Blue. Artwork can be any medium that incorporates rhythm (visual or otherwise) and/or blue (color or feeling). The entry deadline is September 20, 2007. The exhibition will run November 14 – December 12, 2007. No entry fee. Download prospectus here.

Questions may be directed to Michael Sellmeyer, 240-567-7653, or email him at michael.sellmeyer@montgomerycollege.edu - The jurors are Professor Michael Sellmeyer and Professor Kay McCrohan of the Montgomery College-Rockville Art Department. The Montgomery College – Rockville Campus is located in Rockville Maryland, just north of Washington, D.C.

The Consistent Inconsistency of Beauty

Check out the amazing video below for a gorgeous trail of the West's depiction of beauty.

Grants for Maryland Artists

2008 Individual Artist Awards Deadline: July 26, 2007

The Maryland State Arts Council Individual Artist Awards are grants awarded to Maryland artists through an anonymous, competitive process to encourage and sustain their pursuit of artistic excellence.

2008 Artistic Categories

* Dance: Solo Performance
* Fiction
* Media
* Music: Solo Instrumental Performance
* Music: Solo Vocal Performance
* Theater: Solo Performance
* Visual Arts: Computer Arts
* Visual Arts: Installation and other genre
* Visual Arts: Painting
* Visual Arts: Works on Paper

The MSAC Individual Artist Awards Program is administered by the Mid Atlantic Arts Foundation. IAA applications will no longer be printed and mailed to you, you must read or download them from the Internet. All Individual Artist Award applicants now have the option to use eGRANT, an electronic grant application that allows you to submit your application via the Internet.

For information on the application and workshops, contact Adam Bernstein at the Mid Atlantic Arts Foundation at adam@midatlanticarts.org or call 410-539-6656, ext. 114. TTY Maryland Relay at 711.

New Gallery Blog

DC's Randall Scott Gallery has a new blog! Visit it often here.

Tonight in DC

Wanna go to what has been called "the wildest monthly art event in the DC metro area?"

It's "X at Bebar - A 21st Century Live-Art Happening" from 6 - 10 pm ($5 cover charge).

Bebar is at 1318 9th St NW, Washington, DC. Curated by Andrea Pollan, this month's X will feature live PA performances from Calmer (Brooklyn, Poly Vibe) and Luseq (DC, grafq) as well as work by graphic artists Alex Gold, Amit Kumar and Jon Sexton, a Performance by Belladona, Projections from Peter Parker, fashion by Beth B., and live painting by Sheldon Drake.

Congrats

To Maryland photographer Denee Barr, whose mixed media photograph "Trees and Path, Centennial Lake, Columbia, Maryland" appears in the Washington Post's Best Bets Howard Extra.

The image is part of her mini-retrospective Denee Barr Photographs Columbia, Maryland 1999-2006 at the Columbia Foundation in the American City Building on Lake Kittamaquandi, Columbia, Maryland. The year long exhibit is part of Columbia's 40 Birthday Celebrations and the Columbia Festival of the Arts, and also features Ellicott City, Maryland based artist Alice Webb watercolors and etchings.

Denee's blog Denee Barr Art News and More is also on the blogroll.

Congratulations

To Baltimore painter Matthew Klos, winner of the $10,000 Bethesda Painting Award. Loads of photos here.


Above is Matthew Klos with the amazing and generous Carol Trawick, who sponsors the annual painting prize. The 2007 winners are:

Best in Show: Matthew Klos
Second Place: Cara Ober
Third Place: Maggie Michael
I have not seen the show, but the Washington Post's Michael O'Sullivan did and he's written a terrific review of the exhibition which is due to be published tomorrow in the WaPo.

Read it here. O'Sullivan questions some of the award choices while lauding some of the artists and even throwing a pretty good jab at finalist David Krueger's painting.

O'Sullivan pick (I think) is Richmond artist Fiona Ross, and putting on a judge's hat, my pick would have been Baltimore artist Cara Ober. The jurors were Dr. Brandon Brame Fortune, Associate Curator of Painting and Sculpture at the National Portrait Gallery, Professor W.C. Richardson, Professor of Painting and Drawing at the University of Maryland and Professor Tanja Softic’, who is an Associate Professor of Art at the University of Richmond.

Regardless, any good art prize is always full of opinions and surprises, and this major painting prize is a good thing for area painters, for Bethesda, for the District and for art.

New DC Arts Blog

DC gallerina Rebecca Jones, who is the Assistant Director at Project 4, has just recently started a blog featuring both articles exploring the critical discourse of contemporary art, and posts promoting Project 4 events, shows and artists.

Visit Popcorn here.

Wanna go to a DC opening tomorrow?

The WPAC's Site Projects DC curated by Welmoed Laanstra (who just got hired to work for Arlington County's Arts division) and consisting of (con)temporary art installations, performances, and interactions on 14th street between P & V opens tomorrow at the Black Cat in DC in one of many events. 7-9pm with a tour by the curator, Welmoed Laanstra at 8pm.

Participating artists are Linda Hesh, Janis Goodman, Peter Winant, Tom Ashcraft, Kathryn Cornelius, Roberto Bocci, Michael Cataldi, Tom Greaves, Caroline Mayorga, Matthew McGuiness, Eliza Newman Saul, Franz Jantzen, Piero Passacantando, Michael Lease, Mary Coble and Elizabeth Lundberg Morisette.

See them all here.

New Drawing

While I was away in Colorado hiking in Littleton, one night I did a few drawings in my hotel room at night. Below is "Y Chromosome Nude About to Face an Unexpected Light" which is a charcoal on paper with a little conte crayon, about 13 x 9 inches. Drop me a note if you want it.

"Y Chromosome Nude About to Face an Unexpected Light"
by F. Lennox Campello, Charcoal and Conte on Paper, 13 x 9 inches c. 2007

Another St. Sebastian

A pretty well-known DC area art collector saw my recent St. Sebastian drawing, and he emailed me and reminded me that a few years ago he bought the below pen and ink wash drawing on the same subject. As I recall I think that he bought it at a Sotheby's auction, or maybe at a late 90s gallery show in DC.

Anyway... it's a pretty large drawing, maybe 40 inches long. It is titled "Saint Sebastian in a Desintegrating Gene Davis Landscape." I had forgotten all about it, and had even lost the image (thanks to a close-by lighting strike a few years ago that nuked my computer and with it a few hundred digital images of my work). Click on the image for a larger view.

Transform/Nation

There's something magnetic about the artwork of nations and people who are just beyond the reach of the average gallery and collector - thus the hot interest in Cuban and Iranian art for example.

Transform/Nation: Contemporary Art of Iran and Its Disapora opens June 21st, 2007 at the Ellipse Arts Center in Arlington, Virginia while a simultaneous, sister exhibition will be held at the Nikzad Gallery in Tehran, Iran, which implies (I assume) that the exhibitions have been blessed (no pun intended) by the heavy handed nutcase who rules that amazing and beautiful country.

Curated by Narges Bajoghli, Nikoo Paydar, Maryam Ovissi, and Leyla Pope, the exhibition runs through August 4, 2007 and the exhibiting artists are: Samira Abbassy, USA, Haleh Anvari, Iran, Kaya Behkalam, Germany, Mina Ghaziani, Iran, Pantea Karimi, USA, Bani Khoshnoudi, France, Haleh Niazmand, USA, Amir Rad, Iran, Afarin Rahmanifar, USA, Jairan Sadeghi, USA, Samineh Sarvghad, Iran, Farideh Shahsavarani, Iran, Samira Yamin, USA and Siamak Nasiri Ziba, Iran.

WalMarting a museum for Arkansas

Lately, with a rare exception here and there, it has become very fashionable among art writers, bloggers and critics to demonize the efforts of Alice Walton’s no nonsense, robber-baroness approach to give the people of Bentonville, Arkansas a world class collection of art.

Regardless of how one feels about Ms. Walton’s wealth (she's the 20th richest person on the planet) and approach to buying art, Bentonville (population: 29,538) is not a place in which many people live, much less visit, and practically no one in the art world cares about.

But needless to say, flyover states deserve a look at America's art historical tradition, too.

But other than an infectious and personal dislike by these writers for Ms. Walton’s approach, the barely hidden implication in their written words is that metropolitan areas like Seattle, Washington, Forth Worth, Texas, and St. Louis, Missouri - places that people will visit - are more natural and deserving destinations for high art for our public American masses outside of New York.

This is elitist nonsense on a major scale.

There are very few places left in this nation where the reach of internationalism doesn’t touch. Early last year I was gallivanting all around the nation, and one of the places that I visited (for the first time in my case) was Arkansas. It’s rural OK, but it’s not what urbanites visualize.

Bentonville's next door neighbor, Fayetteville (population around 67,000) is the home to the 420-acre campus of the University of Arkansas (the only comprehensive, doctoral degree-granting institution in the state). Their enrollment has more than 14,600 students (more than 12,000 in undergraduate programs) and a diverse student population with 650 international students representing 86 countries.

And this place is rated by Money magazine as one of the top ten most desirable places in the nation in which to live or work.

There are several other towns in the area. Springdale is one where the impact of Wal Mart is amazing to see — luxury retailers and gargantuan homes; a real population and cultural explosion is happening there.

It doesn’t take a futurist to predict that this area will see a major urban growth in the next few decades, and when it does, it will be grateful to the vision of Alice Walton, which is perhaps a throwback to that of the moneyed folks who a century earlier built the collections that she now shops from.

And so I think that I will step aside from the rest of the art lemmings and applaud Ms. Walton’s Soviet-style approach to art politics in her effort to give the folks of Arkansas a world class collection of art.

Not only because she has billions of dollars to do so, but also because I think that she sees the location of this museum as something positive for an America that although politicians (and both leftwing and rightwing nuts) are often quoting as underserved Americans, they all perceive as a backwater populated by people who don’t care about art.

And yet, I hope that no one will disagree in that this coming exposure of the fine arts to this hard-working, modest segment of our population, who haven't generally had the opportunity to have it so close at hand, will be a good thing.

This is something to be applauded.

You go Alice Walton!

Update: Nikolas Schiller reacts to my thoughts with some really good points of his own. Read them here.

The Power of the web

Sunday I wrote about ARCO's "Expanded Box" project being curated by Claudia Giannetti, and asked for some of DC's illuminati to contact Ms. Gianetti in order to bring to her attention some of the area artists who are working with technology as part of their art.

Last night, amongst the hundreds of emails that I am still trying to read, there was a new one from Ms. Giannetti, and she's very interested!

I will discuss with her about the area artists that I am familiar with and who work with technology, but if there's other artists out there, from Philly down to Richmond, who are working with technology to deliver works of art, please contact me (hurry!).

Somebody pinch me

Will the aliens who kidnapped WaPo art critic Blake Gopnik and replaced him with an art critic who all of a sudden likes painting, please return him accept our thanks!

Writing from the Venice Biennale, Blake is shocked and surprised to discover that he likes the paintings of Mustafa Hulusi.

Together with other "painting is dead" acolytes, the Gopnikmeister suddenly discovers that disliking an entire form of the fine arts is never a good thing.

Barbara and Aaron Levine, Renée Van Halm and Blake Gopnik: welcome to the real world where minds are open to all art forms, rather than only to slogans and agendas and ideas.

Read his report here.

Airborne again today and heading to Denver. More later...

Claudia Giannetti, ARCO and DC curators

ARCO tells me that in 2008 they will have "Expanded Box," a project curated by Claudia Giannetti, which is a new section that "embraces happening tendencies exploring the influence and/or use of technology in art. It is basically conceived for works requiring a non-conventional exhibition space, and to encourage their acceptance in the contemporary art market."

Once again, if I was a power museum curator in Washington, DC, I would contact Ms. Gianetti and ask her if she would be interested in being exposed to the work of a group of DC area artists who are doing amazing things with the influence and/or use of technology in art.

I am referring to the artwork being produced and delivered by the artists and symbiots of the group known as Dorkbot DC. From the amazing techno-art of Thomas Edwards, or Phillip Kohn's collaborative video installations, or the sensory art of the Brain Wave Chick.

Also known as Paras Kaul, or the DC area electronic artist known in the art scene as the "Brain Wave Chick."

A reader who was present at the past Dorkbot meeting tells me that the stuff that Kaul does on computers "is totally over my head, but she said her father was a hypnotist and took her into altered states then he died when she was 14 — she said 'he programmed me.'

So at the age of 14 she started studying altered states and brain waves because she desperately wanted to get back to 'these places' that her father took her. She then met the dolphin man John Lilly and did work with him (the movie Altered States is about him). See what she's doing with all that and sensors and brainwaves here.

Or take Thomas Edwards' Talking Hosts project: A server sits in a colocation facility, every few seconds bothered by Web requests from viewing hosts around the world. The hostnames of the visitors are cryptic representations of where the viewers are and which ISP they are using. "Talking Hosts" uses voice synthesis to speak the hostnames of visitors as they hit the site. It is a stream of humanity, at once personal, yet scarily unending. How many hundreds of thousands have passed through? How many more will come?

Or that annoying Sycophant from a few years ago.

If I was Claudia Giannetti I would be a very ugly and hairy woman, but I may also be curious to discover what these DC area dorkartists are doing with computers, and robotics, and programming, and animation, and ahhh... brainwaves.

And were she to get a call (and I have her number) from say Anne Ellegood or Kerry Brougher from the Hirshhorn or Jonathan Binstock from the Corcoran, maybe, just maybe, Claudia may get interested enough to contact Dorkbot and seeing and hearing, and sensing what they're all about.

It's a long shot, but a shot that a hardworking DC area museum curator with some "humpf" behind his or her title, should take on behalf of an amazing group of dorks from his/her home city.