Erectile Weather

(Via Pat)

On the news

A 3-minute Torpedo Factory segment should air today, Tuesday, May 5, on PBS and BBC America, and worldwide on BBC World News.

It is still possible it could be pushed aside for breaking news.

I have been told that the segment is entirely Torpedo Factory footage. When the video is posted on the BBC website I will follow up with a link.

BBC World News interviewed three artists on April 9, 2009 about the impact of the economy on the creative direction of art:

- Rosemary Covey
- Carol Levin
- Susan Makara

View photos from the shoot here.

Tired words

I’m so tired.

As I write this, I am aboard Southwest Airlines, somewhere 30,000 feet above the Eastern seaboard and heading home from North Carolina. By the time this post is published I will be home, after what feels like endless travels through the South. For the last ten days or so it has been a blur of never ending driving and airport waiting and airplanes and strange beds.

And yet, there are always pleasant and enriching surprises where one least expects them. Such as finding a particularly unique piece of sculpture in a show where it is alone amongst its brethren, a seminal piece which tempted me into considering awarding it a Best in Show but ended with a lesser Honorable Mention because I think that the artist has a lot more to explore in order to push the concept behind the work. He needs to enter the world of electricity and lights and videos and then he will be there. There was also the enriching experience of meeting artists who are truly and deeply enamored of their art. And the shock of awarding a Best in Show to a small work whose merit may be overseen by most, like the flower in a dandelion is seen as a weed in a garden of manicured flowers.

And memorable and most unexpected images of predatory jacks-in-the-box dressed like harlequins being fed honey. They made me shiver with concern as to their creation seed, like a character in Stephen King’s “Duma Key” reacting to one of Edgar Freemantle’s hypnotic paintings.

And green trees everywhere, clean manicured lawns and mailboxes guided by Home Owner’s Association standards.

And the unexpected and welcomed surprise of having a rich conversation while being driven to the airport that strikes a special chord, and perhaps triggers thoughts, both light and dark, and ideas, both harsh and moist.

Sometimes a very talented and special artist flourishes amongst a field of good artists. They stand out in a special way, viewed by some as outsiders and out layers and by others as beautiful. Like the powerful yellow of a dandelion flower is seen as a bad weed by the vastness of the majority and also as a pretty flower by those with a delicate eye for beauty.

But beauty demands the delicacy of steel, shiny and flexible, and composed of mixed components, each strong on their own, but not as strong as when they are forced to couple together in the cauldron of molten ingredients. The scent of beauty has iron ore and coke and alloys and eventually it becomes steel.

The conversation floated around art, beauty, and the creative process. The words and idea revolved rapidly around love for art and love for being an artist and how love helps to create art; love as a driving force.

“Not just love,” I added, “also hate.”

After some exploration of this idea, we quickly agreed that what was really needed was passion. Poets and common folk have struggled with the nearness of love to hate and the quickness of how they can be molten into one by events and perceptions. Molten like iron and coke and alloys are molten to make steel.

Can art be created from hate?

“From the hells beneath the hells, I bring you my deathly fruits,” wrote Howard in his dark, some would say hateful poetry.

It is a dreadful question and one that I hadn’t really thought about much until a wonderful exchange of ideas with an unexpected kindred art soul brought it to my mind and then to my lips.

Was Goya driven by hate when he etched his horrible “Disasters of War”? I think so; but a very special kind of hate.

The same Goya who so loved the Duchess of Alba, a woman that he couldn’t have, that he painted her with brushes and paints loaded with love, and with desire, and even with direction and wishful thinking.

I think that I think that any passion can drive an artist to create meaningful and powerful art. The fervor of religion has given us some of the greatest masterpieces of art in the world, and not so curiously, as man steps away from God, so has the importance of contemporary religious art.

But it is so disturbing to me to think about pure incandescent hate as a driving force in the creativity of art.

Maybe I should diminish hate.

I hate green peppers.

I had a really good Greek salad for a lovely lunch a couple of days ago, and I was so engrossed in the conversation that I forgot to ask the waiter to skip the green peppers.

The salad was bountiful and tasty, and loaded to the brim with the offending vegetable. And the guilt of wasting food was there as I piled strips of green on the edge of my plate while consuming the rest of the salad voraciously. It’s odd how often I’m not aware that I am hungry until food is presented to me.

I eat too fast. My mother’s aunt once told me that she chewed each bite 33 times. But then you’d spend too many precious minutes chewing food. The answer to this mundane tragedy is somewhere in between three and 33. On the other hand, she lived to be well over 100 years old, 103 or 104 I think.

I hate how allergens can penetrate your body’s defenses and torment your nose, throat and eyes and make never ending days full of physical misery. I often wonder how cavemen survived in moldy caves in a world of sneezing. They must have been killed by their companions. How can a sneezing caveman sneak silently during the hunt? And they really couldn’t be demoted to gatherers instead of hunters, because they’d be sneezing their hairy heads off as they gathered berries and nuts and roots among the pollen rich world in which they lived.

I hate that HBO cancelled “Rome” and left us hanging with Pullo walking away with Caesarian.

I know, I know… different kinds of hate.

Still, I will never paint or draw green peppers.

I’m so tired, but happy.

Masked

"Masked," curated by my good friend Joan Weber is at School 33 Art Center in Baltimore through June 27, 2009 with an opening reception on Saturday, May 9, 2009 6-9pm and a Curator's Talk on Saturday, May 23, 2009 1-3pm and a poetry reading on Thursday, June 11, 2009 6:30-8:00pm.

MASKED is an exploration of work about concealment, secrets, self-conscious and social constructions of identity which ultimately reveal a new face – a brilliant corona of strength, integrity and courage. Each work is a performance piece of sorts; the artists have used their own bodies or their own biographies to very directly create a presence that suggests a story or a secret. However, rather than being a study in psychology or narrative, where one might work to discover that secret – this assembly is exciting in that even while experiencing the powerfully posited content on the surface, we know that there is an equally powerfully complex internal life.

The artists in the exhibition include: Dawn Black (paintings), Iona Rozeal Brown (pigment prints), Lynden Cline (sculpture), Bailey Doogan (drawings), Susan Fenton (hand painted silver print photographs), Inga Frick (pigment prints), J.J. McCracken (performance), Ledelle Moe (sculpture), Elsa Mora (photographs), Elena Patino (painting), Phyllis Plattner (painting), and Athena Tacha (sculpture) and the poets are Teri Cross Davis, Clarinda Harriss, Judith McCombs, and Rosemary Winslow (Poetry curator).

Red and Blue Philistines

Today the Pennsylvania Senate is calling for ZERO funding for arts and culture in the FY 09-10 state budget. If the Senate version (SB 850) prevails, there will be no arts and culture grants in the state of Pennsylvania starting on July 1 of this year.

Take action here.

Nam June Paik

The Smithsonian American Art Museum has acquired the complete archive of the artist Nam June Paik, one of the most influential artists of his generation and one who helped to transform television and video into artists' media.

"The Nam June Paik Archive is a landmark addition to the resources available to scholars and curators at the Smithsonian American Art Museum. The museum now becomes the major center for Paik scholarship," said Elizabeth Broun, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. "The museum has made a strong commitment to Nam June Paik's work through acquisitions, which makes it the perfect home for his archive."

Call to Artists: In the Spirit of Frida Kahlo

Deadline: June 6, 2009

Frida Kahlo remains one of the most influential artists of the 20th century, but her spectacular life experiences, her writing and her views on life and art have also influenced many artists throughout the years.

From July 1 - August 29, 2009 The Joan Hisaoka Healing Arts Gallery at Smith Farm Center in Washington, DC will be hosting Finding Beauty In A Broken World: In the Spirit of Frida Kahlo.

This exhibition hopes to showcase the work in all mediums of artists influenced not only by Kahlo’s art, but also by her biography, her thoughts, and her writing or any other aspect in the life and presence of this remarkable artist who can be interpreted through artwork.

This will be the third Kahlo show that I have juried in the last decade and we are seeking works of art that evoke the prolific range of expression, style and media like that which Frida Kahlo used as an outlet for her life’s experiences.

Get a copy of the prospectus by calling (202) 483-8600 or email gallery@smithfarm.com or download it here.

Job in the Arts

Position Opening: Gallery Director

International Arts & Artists, a visual-art non-profit in Washington, DC seeks a Gallery Director to coordinate Hillyer Art Space and its programs. Hillyer Art Space (HAS) is a contemporary exhibition site which presents quality exhibitions and programming to the public, and is an integral part in IA&A’s local, national and international initiatives. IA&A fosters intercultural and international understanding through the arts.

HAS presents a dual series of exhibitions in its two-room space showing work from artists living and working in the mid-Atlantic region, particularly the DC area, alongside work of their international peers. Exhibitions feature artists of both emerging and established stature and are solo, group or thematic. The exhibitions are selected by a panel of renowned artists and other professionals and in consultation with other IA&A program staff.

In addition to their exhibitions, they also present the Hillyer Open Mic Events (HOME), the Hillyer Art Space Film Series (HASFS) and life drawing sessions on a regular basis. Other events can include artist group meetings, private receptions, and other relevant events. HAS partners with artists, curators, arts organizations and cultural institutions to foster a collaborative spirit within the local and global art scene. In this way, HAS serves as an open forum for a variety of artistic visions and disciplines.

International Arts & Artists is looking for candidates who are passionate about artists and supporting their work. This position is “artist focused” as opposed curatorial in nature. We have a selection committee for our shows and the Director will need to liaison and coordinate the selection process for our advisory committee.

This individual will be required to work outside of normal work hours to manage programming at Hillyer Art Space. The successful candidate will need write and communicate clearly; present him/herself to foundations and funders well; be very organized; supervise others; handle press; budget; and all matters related to operating Hillyer Art Space. Fund raising and grant writing / reporting are central to this position. The Gallery Director needs to have proven experience in organizing, working cooperatively with others, and getting tangible results.

To be considered candidates applications must include:

- cover letter with specific minimum salary requirements
- chronologically arranged and comprehensive resume
- professional references (including past supervisors for last 5 years)

Send to info@artsandartists.org

Airborne


Heading South to Cary, North Carolina to jury the Fine Arts League of Cary 15th Annual Juried Art Exhibition.

From what I've already seen in the digital entries, it promises to be a terrific show! That's Susanna Pantas' "Slumber with Friend" to the right. These are the artists selected to exhibit.

More later!

DC gallery to close

I've been holding this closure very ahhh.. close to my chest, waiting for the owner to announce it, but already several of you have emailed me asking about it... so expect a major DC area gallery to announce its closure soon.

Update: Bethesda's Heineman-Myers is the gallery which is closing its physical doors, but I understand that Zoe will continue to work as a private dealer.

Portraits of Lives Lived in the Shadows

By Robin Tierney

During a visit to Knoxville, I filled my journal with the stories of a dozen or so folks revitalizing the city’s core as a walkable arts district that retains its downhome roots. Just as interesting were the rootless Knoxvillians encountered through the photographs of David Habercom.

In the process of moving his studio from the Emporium Center for Arts & Culture downtown to his new home, Habercom now shows his work on the web. Three series capture the individual character and spirit of those pushed into society’s margins – those, he says, are commonly regarded as “gypsies, unattractives, these humiliations in the street.”

For “5th Avenue Motel,” he documented residents, some dwelling there for 20 years, soon before they were evicted a couple of years ago.

Habercom points to one photo: “The dog in 5th Ave 1 [below to right] is hard to see, since he was a huge, black Labrador-type guy. His name was Bear. The python was called Jake the Snake. This couple had lived in the 5th Avenue for eight years.”

After eviction, 5th Avenue residents moved into low-end apartments, public housing, or the streets, said Habercom. “Knoxville has a very good record of helping the homeless, so [they] had a number of reliable resources to get them reestablished.”

The sun bounced hot off the pavement as I tramped to the urban ruins at Fifth and Broadway. Built in 1913, by mid-century the Minvilla townhomes housed squatters as the neighborhood declined. While dismissed as derelicts, the dwellers included decent unfortunates who lacked family or government safety nets. It’s a reminder how fine a line exists between the have-nots and the haves who have gamed public programs, lax loan guidelines and tax/regulatory rules to spawn new breeds of burdens to society.

I imagine the souls pictured by Habercom in the hollow quarters decorated only by unartful tags. In 2007, following the eviction, the furnishings, interiors, windows and facades were stripped. A smiley face nests in the “O” of a jauntily drawn F*ck you inside one doorway.

A sign by the chain-link fence sagging around the property announces “Future Home of the Minvilla Manor.” A little digging reveals that VMC Volunteer Ministry Center across the street is helping some of the displaced, and the City of Knoxville is finalizing a Homelessness Prevention and Rapid Re-Housing Program. Plans include restoring Minvilla as "supportive housing” model with onsite social workers, health services and drug/alcohol treatment to help the homeless grip those bootstraps.

In his “Viaduct” series, Habercom turned his lens to resourceful loners who made homes under Knoxville’s Gay Street bridge.

For his newest project, he collaborated with public radio news editor Matt Shafer Powell and musician/artist Bob Deck. "Adrift on American Streets" pairs formal studio portraits of 27 homeless people with a soundtrack of their stories, self-told. ”We published the project as a DVD because couldn't afford a gallery show. Which is too bad, since that format would blow everybody away.”

Check a 5-minute preview clip at this website.

There’s plenty to see by walking the streets of Knoxville. Walk north from the cluster of downtown galleries on South Gay to the industrial+art district dubbed Downtown North. At Ironwood Studios, look for John McGilvray’s clever woodworkings and Preston Farabow’s “Aespyre” metal creations from racetrack debris art to delicate finials.

If your feet get tired, hop on the free trolley.

Linda Evans of Dogwood Arts tells me about the city’s coalescing arts scene: new public art around town (Krutch Park, World’s Fair Park, the Convention Center), new galleries and juried competitions. Time a visit to catch the monthly First Fridays.

Want free tickets to the art fair?

The Affordable Art Fair NYC is next week in New York. Drop me an email if you want me to set you up with a couple of free tickets (they are $20 each).

Congrats!

To DC area artist and my good friend Tim Tate, who has just been announced as the winner of the Virginia Groot Foundation $35,000 award for sculpture.

Buy Tim Tate now.

Aqui Estamos opens today in Philly

Later today the Cuban contemporary art show that I curated last year and which has been exhibited in Norfolk, VA and DC opens in Philadelphia's Projects Gallery. It is titled "Aqui Estamos" (Here We Are) and in the show we find narratives and imagery that represent many of these artists’ historical dissidence to the stark issues of contemporary Cuban life. The works are images that offer a historical and visual sentence in the history of an island nation behind bars with a powerful world presence in the arts and events of world history.

"Consume Preferably Before 30 Years of Age" by Cirenaica Moreira
The opening, free and open to the public is on May 1st, 2009 from 6-9PM. Projects Gallery is located at 629 N 2nd Street, Philadelphia, PA 19123, tel: 267.303.9652 and on the web at projectsgallery.com. The exhibition is open through May 29, 2009.

Wanna go to an artist's talk tomorrow?

DC artist Robin Rose will be completing the 2nd half of his terrific exhibition at American University's Katzen Arts Museum on May 2 a 4:00PM with a talk at the Museum. Rose calls calls this section of the exhibition "The Stories". He will discuss the basis of each piece, much like a director speaks about particular scenes or concepts of a film.

Wanna go to an opening in DC tomorrow?

Loads of them at the many galleries around the Dupont Circle area... while there, do not miss Katya Kronick at Studio Gallery.

Cy Twombly Drawing lost in NYC cab

Cy Twombly, Untitled (2-sided drawing), 1957, graphite on paper, 13 3/4 x 19 in., signed and dated in pencil Cy Twombly, Roma, May 57
The above scribbly drawing by Cy Twombly was being taken by someone to the framing shop, when they either left it in the taxi or somehow lost it getting out of the cab somewhere in NYC.

The owner is offering $5,000 as a reward for anyone who finds it.

I am far from being a Twombly fan, but let's be honest... unless you are a big Twombly fan, the chances of anyone recognizing the pencil scribbles on the paper as an important work of art, even in a cultured city like NYC, are pretty slim to none. The fact that it is signed and dated in pencil may prove its saving grace, if someone did find it and took the time to actually examine it.

This is yet another reason why signatures are important when it comes to artwork, and begs the question as to why this is such a hard issue to grasp for so many artists who never sign their work.

If you had no idea as to the provenance or origin of this drawing and saw it, most of us would discard it as someone trying to sharpen up his pencil by running it back and forth across the paper a few times. Add a signature, location and date and immediately, with a little art history behind you, the finder may have a change to realize that he/she just found something very valuable as art.

But I still wonder if the cabbie just threw it out at the end of his shift when he was cleaning his cab. It wouldn't be the first time that someone thought that what some consider art, others see as trash.

Where are they now? Part II

You've heard this story before... I started to sell my artwork on a regular basis while I was at art school at the University of Washington in Seattle from 1977-1981. Back then I got myself a ten foot spot at the Pike Place Market, and once my school assignments were graded they were up for sale and through those years I sold hundreds, if not thousands, of art school assignments.

For almost four years, about three four times a week I would drive down to Pike Place, and later on when I was able to get some storage space for the art, take the bus... I loved those early morning bus rides, and the views of the mist rising from Montlake cut when the bus crossed the bridge from the University District where I lived, down to downtown Seattle are still some of the most wonderful memories of my life. Seattle is such a spectacularly gorgeous city.

And so I became a Pike Place Market "regular." One in the odd family of artists, craftspeople, hippies, farmers and oddfolk who made up the amazing tapestry of the market people. My prices for my student artwork were super good... most pieces went from around $20 and some were as cheap as $5. I think that the most expensive thing that I sold back in those years was probably around a couple of hundred bucks for a huge watercolor. I used to sell at the market two days during the week in order to qualify for a space on Saturdays, which was the best selling day for everyone.

The spaces were open, so in the winter it was cold and damp, and we used to get warmed by coffee from the original Starbucks, back when there was only one, or hot chocolate from the chocolate factory there.

But the bst thing that I received from my time as a Pike Place Market regular was the education in dealing with the public, presenting the work, and talking it up; that was priceless, and in a good way accounts for where I am today... I know this now.

Like I've said before, I often wonder where some of those pieces of artwork are... such as the very cool pen and ink wash piece below, which I actually did one day at the Pike Place Market itself... the subject was a Native American lady who was also a regular at the Pike Place Market, and she was nearly always knitting across from me (I think she sold knitted stuff and macramé - remember macramé?) ... and in some sort of surrealistic student path, I made her into a giant rock or massive statue... those are tiny Seattle sailboats under her. I also loved the spectacular shadow that she casts in the drawing, a shadows that demands a sun which never rises in gunmetal gray Seattle. It is a gray drawing, with a gray weather, in a gray land, with a non-existent black hole sun casting an amazing tropical shadow.


Someone in the Pacific Northwest bought it and who knows where it is now.

Best of 2005

Since I'm on the road with little time for blogging... below is a reprint (or is it repost?) from one of the most emailed-about posts in this blog... originally posted in 2005...

Waste of Time

Since we opened our first gallery in 1996, we have rarely worked with "art consultants" or "interior decorators."

Overall, the experience (in the very few times that we've worked with them) has been quite a waste of time (such as the time that we wasted months dealing with Sen. Hillary Clinton's Georgetown-based interior designers to select a work by New York painter David FeBland.

Because the focus of our galleries is contemporary representational work ("realism with a bite"), it seldom agrees with the bland, "cannot afford to insult anyone," art selection process of most major corporate and business buyers (and public art projects).

But yesterday I bit again, and delivered work by several of our artists that had been selected by a very major law firm's art consultant to possibly hang in their new meeting room in a beautiful building in downtown DC. Come in, get a badge, drive to the loading dock and start delivering work to the 9th floor. As soon as I got there I knew that our chances were slim to none, as I saw a lot of this stuff.

And the very nice and professional art consultant was horrified to see that I had brought this piece by artist Javier Gil.

"Get that out of here before anyone sees it," she advised. "Nothing like that can even be considered and it may poison their minds about the rest."

Her favorite from our four artist selection was the work of our best-selling artist David FeBland. I explained that David's works have been selling very well, especially since the Europeans have discovered his work. Since his prices have been skyrocketing (law of supply and demand), we both doubted that they'd be interested in his work, since he was by far the most expensive artist in what was being presented.

But I schlepped all the work over, including a massive, framed Maxwell MacKenzie photo.

After a few trips I return to the gallery van, which had been parked in the loading dock, as directed, to find it blocked by a truck delivering paper supplies. I ask the guy nicely if he can please move a foot so that I can leave. He cusses me out.

I then waste 10 minutes of cussing and yelling and threatening the very large truck driver, near to a fist fight with a guy who looks like George Foreman, before another huge guy comes in and breaks up the argument... all that before I can leave, now in a total black mood.

Return to DC around 3:30PM to pick up the work. Back up into the tiny loading dock, where I manage to put a huge gouge on the left side of the new gallery van (less than 800 miles on it). Then I get a large smear of grease from one of the dumpsters on the back of my new suit, which I had naturally just worn for the first time this morning. Things are going great uh?

Up to the 9th floor, which for some strange reason, in this building is actually a few steps below the 7th floor.

Not too surprisingly, none of our work had been picked. And what was picked can best be summarized as "big, bold, large abstract art," mostly by names I had never heard of.

I can't say that I blame corporate art buyers, especially in selecting work for their public meeting spaces. We're at a juncture in our history where anything that could remotely be offensive to anyone, is not part of the PC art process. When was it the last time that you saw a nude in an American airport?

On one of the trips I run into a very tall woman who had been (I think) the head of the "art pickers" from the law firm; she sees me packing the David FeBland. "That was our favorite among all the artists," she says.

"He's our best-selling painter," I replied, too tired to inquire as to why he wasn't selected (I already know: price). On the massive table I see the work selected; around 20-30 pieces of mostly abstract, large, work.

Waste of my time; scratch on my new van; possibly a ruined suit; and near fist fight with a huge burly truckdriver... another day in the life of an art dealer.

Roadtrippin'

On the road for a few days, but will keep up... meanwhile Craftweek in DC was a huge success last week as the collecting craft world big names descended upon the capital.

I've heard about the great talk at WPA on the distinctions of and issues raised by definitions of Craft vs Art - I am told that the moderator, my good friend Jeffrey Cudlin, a terrific artist and curator, and a superb critic who can be a bit of an egghead on art theory in my plebeian opinion, delivered quite a funny and thoughtful panel.

The tug o' war afterwards? The winner of the tug-o-war was craft.

On Thursday one of the events was the Smithsonian Journeys tour through the various artists' studio - bringing a national group of collectors to see our area artists.

Friday's demos of work by the artists in the Mt Rainier studios along the tracks went well and the gala - Venetian Carnivale - went very well - actually was quite a bit of fun I am told. Highlights included the full on, three-act, choreographed fire spinning performance (don't know the name of the local group of fire people) and having the party crashed by Mount Rainier Mayor Malinda Miles (not too often do you get your party crashed by the local Hizzoner).

My sources tell me that members of the James Renwick Alliance said that the event was the most fun they had in the 15 years that they have gone to these annual galas. They loved the interaction with the artist studios - the work, the spaces - it was all fun and fresh.

The heart and soul of a working artist, standing on the shoulders of giants can best be told by the exchange with an ubercollector and a DC area artist. The artist tells me that the collector

"had bought a piece of mine a year or so ago, and was telling me about where it was located in her home. She said that she put it next to the work of a 'famous sculptor' - but could not remember his name. Someone very famous... deceased... but could not remember his name. She was a bit flummoxed and tried to remember other things to jog her memory - he was Asian... but still could not remember. So I tossed out the most unlikely name I could think of - Noguchi?

That was it - Isamu Noguchi.

Talk about being gobsmacked. My work next to a Noguchi. I thought you being a Frida-phile would appreciate the story.

There's something simple and innocent and appreciative in that story that makes me proud to know such artists.