Mama Love

DMV photographer Camille Pasley is one of the District's hardest working photographers in all her incarnations. Photos from her soon to be published book "Mama Love" go on view this week at Touchstone Gallery in Downtown DC. The opening reception is Friday, November 10, 6-8:30pm and the 3rd Thursday Gallery Walk is November 16, 6-8pm.

This is an opportunity for collectors to acquire images from the book at pre publication prices. Visit here for details.

Shock & Awe: Artists Look at War

Since according to what the press and pollsters have been hammering into our collective voting will for months now, the election is all but over, and Nancy Pelosi is packing up her office for her move down the hall, and DC area moving companies are in a hiring frenzy to pick up all those hard-working guys who hang around Casa de Maryland, tomorrow, after you vote, then go to the Warehouse in DC, for a good ole political art show: "Shock & Awe: Artists Look at War."

Artwork hangs in all of Warehouse's eight galleries, and the reception is from 6-8PM, although Molly is also having an election night party to watch the victorious returns on the tube -- with drink specials - all night!

"Shock and Awe" features work by 32 artists: John Aaron, Sondra Arkin, Paul Bishow, Laura Elkins, Gabriella Bulisova, Tom Drymon, Dana Ellyn, Garth Gardner, Seth Gomoljak, Jason Gottlieb, Ken Gwira, J Gavin Heck, Michael Janis, Mark Jenkins, Joroko, Joanne Kent, Karl Kressbach, Heather Levy, Carolina Mayorga, Paul Notzold, Piero Passacantando, Dino Paxenos, Mark Planisek, Rima Schulkind, Matt Sesow, Erwin Timmers, Ruth Trevarrow, The Scroll Project*, Joanne Wasserman, Ellyn Weiss, Andrew Wodzianski and Peter Wood.

Hirshhorn Looking for New Art Curator

The Hirshhorn is looking for a new Associate Art curator! Salary range is $54,272 - $70,558.

The Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, seeks an experienced museum professional to serve as Associate Curator with a focus on modern art. This position is responsible for conducting research relevant to the understanding, use, loan, display, and care of works of art in the collection, with particular emphasis on modern works (up to 1959).

Candidates should also have an interest in and familiarity with contemporary art. Position identifies international work for potential and organizes temporary exhibitions and collection installations. In addition, position serves as coordinator for exhibitions organized by other institutions traveling to the Hirshhorn.

Please see announcement # 07JW-7007 at www.sihr.si.edu for the full description and application instructions/procedures. This is a federal position that closes November 20, 2006. The Smithsonian Institution is an Equal Opportunity Employer.

13

"My Secret" - the new PostSecret book by Frank Warren - hit the # 13 spot on the New York Times Bestseller list this past week.

Camera Works

I know that I'm constantly hammering the WaPo for their miserable and pathetic coverage of the Greater DC area visual art scene, especially when viewed in the context of their decent coverage of theatre, dance and music, and their unexplainable orgasmic coverage of fashion shows.

But as a good friend pointed out to me recently, they do deserve some kudos for their exceptional Camera Works feature on their online site.

This slideshow of the photography of Korda is perhaps the best example of what can be done online when a newspaper's leadership wants to do something different and right.

Tangent: Most of Korda's original vintage photographs, the ones which he actually kept for his own private records, and which he gave to one of his daughters a few years before his passing, made their way to the United States when the daughter escaped from Castro's island prison. They are now in the possession of a private collector in Bethesda, as well as many letters and notes from Korda. I mention this in case some DC-based (or any place) curator ever wants to mount a Korda retrospective in the US and wants access to the original vintage work.

Back to Camera Works.

I also share my friend's favorite online column: Frank Van Riper on Photography.

His recent article discusses vintage photographs and a previous article by Frank Van Riper: "The Wet Room Lives!" was also extremely informative and interesting.

F.L. Wall at Ewing Gallery

Remember Seven? The massive seven gallery show which I curated (with the exceptional help of Sandra Fernandez and Adrian Schneck) for the WPA/Corcoran last year?

In the past, I've been sharing with you the various emerging artists who picked up gallery representation through exposure via that huge exhibition.

Add another one: F.L. Wall opens tomorrow, Friday, November 3rd with a reception from 6 - 8 pm at the Kathleen Ewing Gallery in DC, and Wall writes to me that he was picked up by my good friend Kathleen based in part on his exposure via "Seven."

Wall's show runs through December 22, 2006.

Kanchan Balse's first solo

It's always a memorable event in an artist's career when that first solo show takes place, and next Saturday November 4, with an opening from 6:30-8pm at Dumbarton Concert Gallery in Georgetown, Kanchan Balse is doing exactly that! The show runs through Nov. 12, 2006.

Gurus on City Hall Art Collection's Opening

The WaPo's Julia Beizer, who is one of the "Going Out Gurus" for the Washington Post's blog of the same name, has a nice mini review and visit to the City Hall Art Collection's opening last Tuesday.

Read her post here.

Marchand on City Hall Art Collection

Anne Marchand has a terrific report and a ton of photos of the huge opening for the City Hall Art Collection. Read her report and see the photos here.

Katie Tuss makes her debut

Katie Tuss will be writing regularly for Mid Atlantic Art News, covering DC area galleries and museums and any other places that she travels to. Below is her review of "An Impressionist Sensibility: The Halff Collection," at The Smithsonian American Art Museum.

An Impressionist Sensibility
By Katie Tuss

Although the mention of impressionism may be considered a sure way to create record exhibition turnout, Chief Curator Eleanor Jones Harvey explained that the Smithsonian American Art Museum did not choose the title "An Impressionist Sensibility" lightly. Each one of the 26 American Impressionist paintings featured in the exhibition, however diverse, is distinctly dependent on the "modern impulses found in impressionism."

It is this sensibility that collectors Marie and Hugh Halff have focused on while creating their standout private collection of late 19th-and early 20th-century American Art, which makes up the exhibition in its entirety. All of the artists featured studied in France and Europe between the 1870s and the 1920s, providing them with the groundwork to interpret impressionism in a uniquely American way.

Childe Hassam's "Clearing Sunset (Corner of Berkeley Street and Columbus Avenue)" illustrates the emerging modernism of the time with its rising buildings, bustling passersby, and puffs of steam from a distant engine. American art was coming of age and asserting that the US could stand tall next to European progress.

It was these times that launched an "aesthetic revolt," according to Harvey, which shifted the interests of American artists away from the National Academy of Design and moved them beyond subject matter. Artists were freed to focus on the act of painting.

Color and brushstroke are celebrated in William Merritt Chase's "Shinnecock Landscape with Figures." The striking image of his daughter in red serves as the focal point amongst the immediacy of the markings that constitute the landscape.

The Halff Collection also features John Singer Sargent's much sought after "The Sulphur Match" and the rarely viewed Winslow Homer "Houses on a Hillside."

"An Impressionist Sensibility" is on view through February 4, 2007.

Day One

And so last night Washington, DC experienced what was perhaps the largest art opening in its history, and today - the first day after the event - the WaPo is silent about it (as far as I can dig into it any way).

But the WaPo's Style section has a column on George Allen's campaign, ironically someone with the last name Duke writes about Pieter Botha, and David Segal discusses the New York housing market, and there are stories and reviews on The Folger Theatre's "A Midsummer Night's Dream", the other Mark Jenkins has a music review of the Black Cat, there's a piece on the Kennedy Center Concert Hall's tribute to Mary Day, Washington's first lady of ballet, another on neighborhood bars in Baltimore, Chanticleer's performance on Monday night at the Library of Congress's Coolidge Auditorium, a few more theatre reviews by Jane Horwitz, another theatre review of the Washington Stage Guild production of "An Inspector Calls," by Cecilia Wren (note how the Style editor thinks that it is important to have multiple reviews of DC area theatre plays by different writers, but only allows one DC area gallery review by only one freelancer every two weeks), one book review, one dance review, a story about the Day of the Dead, and the usual regular fluff.

But we know that the deadlines for WaPo pieces are a few days before they are published, so perhaps by the end of the week the Style section will have a piece on the new City Hall Art Collection and the huge opening last night.

Breath being held.

Scary

I had a scary Halloween yesterday. On the way to the City Hall Art Collection opening last night, we instead had to rush to the emergency room, where we spent most of the night while emergency room doctors at Suburban Hospital did a terrific job on a suspected blood clot (not me) and decided against it.

Everyone is OK, but we missed the opening. I hear over 1,000 people attended - I'd like to hear some comments, both pro and con, about the collection - email me and I'll post them here.

Liz Spayd for WaPo.com

Liz Spayd, an assistant managing editor in charge of national news for The Washington Post, has been named editor of washingtonpost.com.

Spayd's upcoming editorialship has been called in an official WaPo statement as "another sign that our Web site is a journalistic force that will play a large part in shaping The Post's future."

Spayd joined the WaPo in 1988.

A little history:

When the washingtonpost.com first got started, one of the first things that it did was to augment the galleries and visual arts coverage by adding a group of freelance writers who would write reviews and profiles to augment the print version's scant coverage of the DC area's galleries and artists.

This is how Jessica Dawson first connected with the Washington Post bosses. Previous to that, she used to write for the Washington City Paper as a freelancer working for then WCP Arts Editor Glenn Dixon Brad McKee.

At the washingtonpost.com, under editor John Poole (who was then the site's online Arts Editor), the arts coverage by the WaPo online flourished and there were dozens and dozens of gallery reviews, which have unfortunately mostly disappeared from the WaPo's online presence, as well as many gallery profiles, most of which have also vanished, although a few still remain.

At once point, even the print version critics, such as Jessica Dawson's predecessor for the Galleries column (Ferdinand Protzman) and Michael O'Sullivan, authored online articles and reviews for washingtonpost.com which were only available online.

And for a short period of time, there was happiness in the air, as the WaPo finally appeared to be delivering gallery coverage, if just through its expanded online presence.

And then John Poole got promoted and went on to bigger and better things.

And then it took a looooong time to find a replacement online Arts editor. And by the time she was hired, she had a tight budget and no allowance for online art critics, and a bare bones coverage of the art scene.

And then the WaPo's Chief Art Critic (Paul Richard) retired, and Ferd Protzman got pissed that he didn't get promoted to that job and quit, and Jessica got hired as a freelancer to replace Protzman and back then the Galleries column was a weekly column.

And then Gopnik got hired from some Canadian newspaper where he used to write for after the Post's first choice (a New York Times critic) turned the job offer down and recommended Blake, who apparently was outside the Post's radar at that time.

And the "augmented" online visual arts coverage ended, other than the random Gopnik video here and there.

Liz Spayd, if you read this: can you bring back some other critical voices to the DC art scene and renew the online art reviews?

Position Your Artwork

Abstract Earth Gallery has a unique feature that allow the viewer to preview what a work would look like on a wall (allowing you to position the work). You can even upload pictures of your own wall to see what the work could look like in your home or office.

Just click on any of their artists' names and then click the "on the wall" option.

I bet the jury is out on just what this does to the whole "art buying process," -- and this coming from one of the world's worst art hangers, never really thinking how it looks on my wall, or if it fits a motiff or whatever - I buy artwork for many reasons, key amongst them is "do I like it?" but never "will it look good in my house."

But then more often than not, I just hang it, or if undecided, it just stays around forever waiting for a decision - such as my "decades-long waiting-to-hang" of a really nice Vija Celmins drawing that I've had for ages and it has never hung yet!

Exposing the Ripper

And nu, during my recent flying to and from New Mexico and then to and from New Hampshire, I read "Portrait of a Killer: Jack the Ripper -- Case Closed" by Patricia Cornwell, who's not only a bestselling author, but also the Virginia Institute of Forensic Science and Medicine chairman of the board.

In the book, Cornwell accumulates a spectacular amount of circumstantial evidence to prove that British painter Walter Sickert was the infamous Whitechapel serial killer, including some interesting analysis of Sickert's paintings.

Although Ms. Cornwell's detractors and Sickert's defenders are many, the tantalizing evidence of DNA is too hard to dismiss, and I for one do not believe in coincidences. Apparently, Sickert has been a suspect for many years, and Cornwell has just tied the case into a tight, if not so neat, package.

This book is a terrific read, and Cornwell has convinced me that the case is closed!

Art for Children's Healing

Alexandria's Elizabeth Stone Gallery pass info about an original Art, limited editions, and children’s books event to benefit children with Neurofibromatosis and their families and Neurofibromatosis Research

The Art exhibition, reception and book signing is Monday, November 6, 2006, 5:30 pm - 9:00 pm and you can meet Charles Santore, Award-Winning children's book author and illustrator, and Emily Arnold McCully, Caldecott Medal 1993.

Where: Bryn Mawr Hospital
130 South Bryn Mawr Avenue, Bryn Mawr, PA 19010
The Rotunda - South Bryn Mawr Entrance

Visit Elizabeth Stone Gallery for details.

At GRACE

Lots of openings this week. Add to them "Arts Council @ GRACE" juried by my good friend Jack Rasmussen.

The show opens November 3 and runs through December 1, 2006. Opening Reception and Juror's Remarks, Friday, November 3, 6-8 pm at the Greater Reston Arts Center in Reston, VA. Details also at the Arts Fairfax website.

At the Czech Embassy

I've been hearing good things about the American debut of Mila Judge-Furstova at the Czech Embassy in DC. My good friend Sharon from Authentic Art went to see it and had this to say.

New DC gallery

ARCH and the Honfleur Gallery have announced the opening of the Honfleur Gallery, including four new artists studio spaces for rent. Studios will be available starting in December. Studios will be rented on a first come, first served basis. The studio size ranges from 100-125 square feet, and the prices from $155-$200 a month, based on square footage. Each studio has its own skylight. Spaces will be rented on 6-month or 1 year term.

The Gallery and Studios are located at 1241 Good Hope Road SE, in historic Anacostia. They are a 10 minute walk from Anacosia Metro Station and directly on the bus line. To make an appointment to view the spaces (still under construction), contact bevans@archdc.org or call (202) 889-5000, x 113.

Waiting to Exhale Sigh

As I mentioned before, the massive collection of artwork by DC area artists which has been assembled for the permanent collection of the District and which is on view at the Wilson Building, is the closest that the capital city of the United States has ever been to having a "DC Artists Collection," since unlike all other major American cities, Washington does not have a physical "Washington Art Museum" and most area museum curators tend to look at their buildings as "national" museums and thus generally tend to ignore DC area artists.

I say that I am waiting to exhale, because I am holding my breath to see what the local DC area art critics write about this collection. I am told that over 1,000 RSVPs have been received for the opening, which is October 31, 2006 from 5-7PM, so this is clearly a major and important art event in the capital.

The collection has already received massive press and television coverage -- for Washington, DC that is -- such as a great piece by Jessica Gould in the WCP on Oct. 19, a piece in Intowner's October issue, an article coming in the first November issue of the Current newspapers, and article coming soon in the Express, maybe an article this coming week featuring the opening in the Wash Post Metro section, and next Thursday, maybe the District Extra cover. Additionally both Channel 4 News (on Oct. 25) and Channel 8 News (also on Oct. 25 and 26) have had features on the collection.

And I can predict (and maybe breathe now), that because it is a collection of DC area artists, and because it is a very large collection, and because it is a public (and apparently already popular) collection, they'll have either nothing to write about it (and by their apathy continue to show the District's arts media anemic insight into the District's dynamic art scene), or...

I hope that they'll prove me wrong, and do write extensively about the Wilson Building Art Collection, but I predict that:

- Blake Gopnik, the intelligent and erudite Chief Art Critic of the Washington Post will (a) ignore it, or (b) write about it and dismiss it, or use it to continue to preach his dated Greenbergian agenda.

- Joanna Shaw-Eagle, the elderly and experienced Chief Art Critic of the Washington Times will cover it, and offer us a detailed description of the collection.

- Michael O'Sullivan, the savvy Washington Post's Weekend section Chief Art Critic (and the only WaPo critic in "tune" with the DC area art scene), will probably cover it and offer the only true insight into this important collection.

- Jessica Dawson, the young freelance writer who pens the "Galleries" column for the Style section of the Washington Post will either (a) ignore it, or (b) cover it in a small dismissive little mini-review.

- Jeffry Cudlin, the award-winning Chief Art Critic for the Washington City Paper, may cover it (if his packed schedule as an Associate Adjunct Professor at Maryland allows it), and offer us an intelligent review, but will probably highlight the weaknesses that exist in any massive public art endeavor.

Let's see over the next few weeks if I've nailed this.

Sigh...