Saturday, March 20, 2010

Wanna go to a cool DC opening tonight?

Maria Friberg: transmission and Dean Kessmann: Art as Paper as Potential opens tonight Saturday, March 20th from 6-8pm with the artists in attendance at Conner Contemporary.

Friday, March 19, 2010

Amy Lin on TV

Click here to see the TV segment.

Buy Amy Lin now.

An Olfactory Art Lab

Have you ever pondered how the olfactory sense affects visual perception, or how a scent can evoke a dormant childhood memory? In this unconventional exhibition international curator, art critic and clinical allergist, Dr. Kóan Jeff Baysa, asks artists and fragrance researchers to explore how the physical self experiences and knows the world through the sense of smell.
An Olfactory Art Lab: Trading in Paints for Perfumes opened last week at the Joan Hisaoka Healing Arts Gallery and I've been hearing good things about this rather unique show. Exhibiting Artists: Peter Hopkins, Mathias Kessler, Josee Lepage, Anne McClain,
Gayil Nalls, Carrie Paterson, Tobias Wong, Jiayi Young & Shih-Wen Young.

Details here.

TV does the arts

This is one of the rarest things that ever happens in the DMV: A local TV station, attracted by the "buzz" about an art show, actually does a feature about it!

WJLA, the local ABC station in DC (Channel 7) News will air a profile of artist Amy Lin and her show at Addison/Ripley Fine Art.

The segment will be shown later today Friday, March 19 on the 5pm News.

It will be interesting to see what a little rare TV attention will do regionally to an artist of the caliber of Lin. If you've been thinking about acquiring a Lin, I'd do it before the segment airs.

Amy tells me that she will be at Addison/Ripley Fine Art from 4-6pm on Saturday, March 20, in case anyone wants to see the show while she's there and talk to her about it.

Congrats Amy!

PS - Can anyone tell me who coined the phrase "the glass teat" to describe television? I know who did, but I want to know if you know who did. And Guy Mondo... I know that you know who did!

Thursday, March 18, 2010

Genetics in clothing design

Via

Gateway Arts Center at Brentwood Grand Opening Tomorrow

A former warehouse space along U.S. Route 1 has been transformed into the Gateway Arts Center at Brentwood. On March 19, 2010, starting at 3PM, the Gateway Arts Center at Brentwood (GAC@B) will be dedicated with a celebration following to mark the arrival of this new visual arts center in the Gateway Arts District.

The Gateway Arts Center at Brentwood (GAC@B) is a multi-faceted facility dedicated to the production, exhibition and programming of visual art. The GAC@B serves as a dynamic resource for artists and a vibrant, creative social experience reflecting and engaging a diverse community.

GAC@B houses:a dozen art studios; the 39th Street Gallery, a gallery operated by Gateway CDC; the visual arts programs of the Maryland National Capital Park and Planning Commission (including a gallery, a contemporary craft showcase, and classroom); and the temporary exhibition space of the Prince George's County African American Museum and Cultural Center (PGAAMCC) at North Brentwood.
Speakers at the dedication will include: Anthony Brown, Lieutenant Governor, State of Maryland; Raymond Skinner, Secretary, Maryland Department of Housing and Community Development; Samuel J. Parker, Jr., AICP, Chairman Prince George's County Planning Board; Xzavier Montgomery-Wright, Mayor of Brentwood; Lillian Beverly, Chair of Prince George's County African American Museum and Cultural Center; Ani Kasten, resident artist; Brad Frome, Office of Will Campos, Prince George's County Council District 2 and Floyd Wilson, Office of the County Executive. Senator David Harrington and Delegates Jolene Ivey, Doyle Niemann and Victor Ramirez of the 47th District, State of Maryland are also slated to attend.

The GAC@B will throw open its doors to the public following a ribbon cutting ceremony, allowing the visitors to view three distinct galleries and peruse the artist studios. The 39th Street Gallery, owned and operated by Gateway CDC has an exhibition of GAC@B resident artists curated by Claire Huschle, Executive Director of Arlington Arts Center.

MNCPPC's Brentwood Arts Exchange features works curated by yours truly and quilts by African American artists are on display in Gallery 110, the exhibition space of the Prince George's County African American Museum and Cultural Center (PGAAMCC).

The Gateway Arts Center is located at 3901 Rhode Island Avenue, Brentwood, MD 20722, just over the District line on Rhode Island Avenue.

Free Seminar for Artists

On April 10, 2010 from 1-5pm, Gateway CDC in partnership with MNCPPC will be hosting my well-known “Bootcamp for Artists” seminar at no cost to the artists.

This seminar is suitable for all visual artists interested in taking their careers to the next level.

Ever wondered how to maximize the attention your work gets from the press, galleries, and museum curators? How to present your work in a professional manner and save money in the process? How to tap into grants, awards and residencies?

Then this is the seminar for you! This program is free, but space is limited so please email John@Gateway-cdc.org or call 301-864-3860 ext. 3 if you would like to attend.

This program will be held in MNCPPC’s Brentwood Arts Exchange on the 1st Floor of the Gateway Arts Center, 3901 Rhode Island Avenue, Brentwood, MD 20722, just over the District line on Rhode Island Avenue.

Of interest to the general public: a closing reception for the Gateway Arts District Show, which I juried a while back will immediately follow the “Bootcamp for Artists Seminar” from 5-8pm. All are welcome!

Wednesday, March 17, 2010

Washington Post Art Critic Honored

On Monday, March 22, the WaPo's Weekend art critic Michael O’Sullivan will receive a special Mayor’s Award for Outstanding Service to the Arts. This will take place at a press conference with Mayor Fenty at the old City Museum.

Space there will be at a premium and extremely limited, and thus very hard to attend for those who wish to congratulate Michael.

Thus, for all those artists, collectors, writers and other folks whose life and artistic careers have been influenced and or benefited from the writing of Michael O’Sullivan, there will be a special gathering right after the press conference.

This will be a very rare opportunity for the Greater DC arts community to give back a little to one of the most understanding, observant, savvy and supportive persons of the complex tapestry that is the Washington area's cultural scene.

What: Tribute Gathering For Michael O’Sullivan

Where: Rear of the Warehouse across 7th Street from the Convention Center.
Enter through The Passenger Bar
1021 7th St NW
(between N Mount Vernon Pl & N New York Ave)
Washington, DC 20001

When: Monday, March 22 , 7:30 to 8:30 pm FREE

If you want a cocktail, grab one at the Passenger on the way in.

Amy Lin at Addison Ripley

I used to have a friend who, if she found a perfect parking spot right away and right in front of wherever she was going, she'd describe it as "Doris Day parking."

"Have you noticed," she explained, "How in all the Doris Day movies she always manages to find a parking spot right in front of wherever it is that she is going?"

I knew that things had started on the right foot when last Saturday, as we drove to Addison Ripley (for the Amy Lin opening) in parking-poor Georgetown, we found a huge parking space right in front of the gallery's door.

After double checking all the parking signs to make sure that it wasn't some kind of new DC trick to give out more parking tickets (such as the trick they pulled a few years ago in G'town, when they extended the parking meters' coverage time from 6PM to 10PM without any warning, and for weeks they were in a ticket-giving orgy because people were used to the 6PM meter time and didn't realize they'd been extended to 10PM.

But I digress.

Readers of this blog know that I avoid being a detached, passionless writer and critic as much as I can. And for years now I have been very enthusiastic about the work and progress of this artist. And this opinion has been echoed by most other art critics in the region, as past Lin solo shows have both (a) received extensive and mostly positive critical attention and (b) have sold extremely well.

The one artistic danger that I once mused about in Lin's case was what I describe as the "Mondrian effect."

Picasso once said "God is really only another artist. He invented the giraffe, the elephant, and the ant. He has no real style. He just goes on trying other things."

As an art student and years afterwards I was always very attracted to the geometrical minimalism of Piet Mondrian. Then, a handful of years ago, I recall the massive Mondrian exhibition at the National Gallery, and what happened when I walked into gallery after gallery full of works so similar that they were almost indistinguishable from each other.

Mondrian had found a formula and stuck to it. He never went on "trying other things."

And in this current Amy Lin solo at Addison Ripley, I am happy to report that Amy Lin is not only trying "other things" from her signature minimalist works of individual groupings of small dots and small circles, but also that the new explorations are perhaps her best work to date.
Amy Lin - Cellular - 25 inch x 39 inch colored pencil 2010


Amy Lin. Cellular. 25 inch x 39 inch. Colored pencil 2010.

They explore new Lin interests that sometimes owe a lot to her training as a Chemical Engineer. They seem to trick the vision into reading formulas and charts and maps of color forms. The larger ellipses in some of the works almost assume figurative forms hidden inside deceptively complex drawings.

Hydrolysis by Amy Lin - 24 inch x 24 inch colored pencil

Amy Lin. Hydrolysis - 24 inch x 24 inch. Colored pencil.

The gallery was packed, and I am happy to report that Lin's past excellent sales record continues, as there were many red dots on the walls and several key DC area art collectors present and adding Lins to their collections.

The exhibition goes through April 24, 2010. Below are some images from the show.

Isabel Manalao, Amy Lin, Annie Adjchavanich and Dr. Fred Ognibene

Isabel Manalao, Amy Lin, Annie Adjchavanich and Dr. Fred Ognibene

Pat Goslee and Philippa Hughes

Pat Goslee and Pink Line Project's Philippa P.B. Hughes

Little June's Mom and Amy Lin

Little Junes' Mom and artist Amy Lin

Tuesday, March 16, 2010

Redding takes issue with Gopnik review

Robert "Rob" Redding Jr. is an artist, author, radio host and journalist and he:

...has won an Associated Press award for Internet news and has won numerous awards for his radio show. He has won an ADDY award for his nationally syndicated show. He has has also been called "one of the most respected names in the media" (Upscale magazine), "one of the most intellectual and intriguing radio talk show hosts since Tavis Smiley" (Radio Facts) and a "rising star" and one of the "100 Most Important Radio Talk Show Hosts in America" (Talkers magazine).
He also has an issue with last Sunday's review by Washington Post Chief Art critic Blake Gopnik titled National Gallery exhibit challenges traditional view of Rothko's black paintings.

Redding writes that "As an artist and journalist, I was horrified when I read the recent review by Washington Post art critic Blake Gopnik. Gopnik wrote a review of Mark Rothko's rehung black-dominated artworks at the National Gallery of Art."

Later he explains that "... As a black journalist, I find it disturbing that Gopnik decides to needlessly inject race into his art review. Gopnik points out the race of the 'notably dark' guards after he says that race should be considered when viewing Rothko's works."

Read Redding's case here.

Is the review racist or insensitive? Comments welcome.

Update: Philippa P.B. Hughes has an interesting viewpoint here.

If you wear a Che Guevara T-Shirt


Unless it is like the one on the left, you are wearing the image of a man whose own racist writing and actions are full of negative, racist remarks about Mexicans and Blacks, and Native Americans.

A killing psychopath whose image has been re-invented over the decades so that now he's viewed by a large, ignorant segment of the population as some sort of positive icon.

By the way, "Comemierda" is an almost unique Cuban insult...

The Negro is indolent and lazy, and spends his money on frivolities, whereas the European is forward-looking, organized, and intelligent.
-- Che Guevara

Mexicans are a band of illiterate Indians.
-- Che Guevara
Inform yourself!

You want the image of a real Cuban hero for your T-Shirt? How about Dr. Oscar Elias Biscet?
Dr. Oscar Elias Biscet

Monday, March 15, 2010

Shocker

I'm putting all my tax stuff in order for my accountant and I was a little shocked to find out that 2009 was my best year ever as far as sales of my own work.

The art fairs really did the trick, as my work seems to really do two key things to succeed at an art fair: (a) doesn't take a lot of expensive wall space, and (b) sells really well, and (c) I'm usually one of two or three artists doing drawings at any fair.

And 2010 started really nicely already; in fact, I'm having the best year in every aspect of my life so far!

Life's good...

Fierce Sonia at The Art League Gallery

During her tenure as a figure model for The Art League School, Fierce Sonia quietly acquired a top-notch visual arts education. Motivated by the artwork she saw, she became eager to create her own work. She cabled her camera to her TV and released the shutter with an infrared remote. Sonia used herself as her own model, learning more about composition and technique based on what she saw on the screen.

Her figurative photography has evolved to a new and exciting place. The focus is on process. In Sonia’s latest series “Paper Dolls,” the same images reoccur with confident changes to the surface. Her work is no longer straight photography. With the integration of painting and collage into her images, Sonia’s work has reached a new level.

The black and white images of herself are often printed on paper that has been painted white, which creates a rich texture. Each piece is created in a unique way. Previous prints may be collaged to create depth. Multiple runs of the same print may be made on the same piece. More painting, layering might be necessary to create the desired effect. These alterations to the surface blur the identity of the original image, and make the series of work about the medium and the process, and not about the subject matter.

Sonia’s work has been exhibited and won accolades nationally. She is a professional art model and muse for artists and photographers and has worked with nationally and internationally known artists.
“Paper Dolls” will be at The Art League Gallery in Old Town Alexandria from April 8 – May 3, 2010. The Opening Reception and Meet the Artist function is Thursday, April 8, 6:30-8:00 pm. Joe Chiocca, Old Town’s favorite band, will play during the Opening Reception and reunite with special guest singer Kim Kenny. Free and open to the public.

Wanna go to an opening tonight?

Come see Sidney Lawrence’s art at Baked & Wired coffeehouse (1052 Thomas Jefferson St., Georgetown (at the canal, below Barnes & Noble)).

Opening Party: Monday, March 15, 6 – 8 p.m. Exhibition continues through April 30.

Wanna go to an opening this week?

"Coming Home: A Collection of Works by Rosetta DeBerardinis" opens at The Corner Store, 900 South Carolina Avenue, S.E. @ 9th Street near the Eastern Market.

Reception: Friday, March 19th from 6 to 8 pm.

"Coming Home: A Collection of Works by Rosetta DeBerardinis" marks the artist's return to the D.C. market upon the completion of a three-year artistic residency at School 33 Art Center in Baltimore, Maryland. The work demonstrates her expansion from color field painting to abstract expressionism to urbanscapes, monoprints, sculpture and to drawings while retaining her signature energy and strong use of color.

DeBerardinis has exhibited at commercial galleries and art venues throughout the Washington metro area, Richmond, Dallas, New York City, Houston, New Jersey, Delaware, Michigan and internationally in Croatia, Madrid, Beijing, India and France. She has shown at the Dallas Women's Museum, The Corcoran Gallery of Art, the Woman's National Democratic Club, The African-American Museum in Dallas, the City Museum of Varazdin in Croatia and the Yaroslavl Art Museum in Russia. Her work and words have been published in Washington Spaces magazine, the Virginia-Pilot Ledger Star, SoBo Voice, Radar Redux magazine and u-tube, Thinking About Art:The One Word Project, the Hill Rag, Voice of the Hill and in catalogues with comments by art aficionados like Doreen Bolger, Director of the Baltimore Museum of Art. A recent work is part of the Art on Call public art project in the Trinidad neighborhood in the District of Columbia.

During the residency, DeBardinis began to meld her ceramics with objects found on the streets of Baltimore and drove the finished sculptures back to DC for exhibition at Zenith Gallery last year. Her responses to Charm City's rawness and grit are reflected in much of her studio work. While there, she temporarily abandoned painting 9 ft. canvases to create work suitable for tiny Baltimore row houses. After downsizing in response to the architectual limits of the city, she began to exhibit surfaces as small as 2 1/2 inches, or the size of trading cards. She found compressing her energy into tiny space took practice and amazing focus and welcomed the challenge.

The former Washington, D.C. and Bethesda art tour guide, Liquitex Artist of the Month and frequent contributor to DC Art News is busy reinventing herself. An artist with academic credits and/or degrees from the following institutions: Vassar College, The University of Baltimore School of Law, Rice University, London School for Social Research and the Fashion Institute of Technology. It is appropriate that Rosetta DeBerardinis begin her artistic revival on Capitol Hill where she resided for more than a decade and maintains close ties with former neighbors and friends.

Don't miss this show!

Sunday, March 14, 2010

“Birds in the Park” coming to DC

“Birds in the Park” is a touring public project, which involves the one-day installation of thirty to sixty porcelain birdlike forms on the ground.

Christy Heng's Birds in Central Park


Central Park, New York

At first, people usually take them for oddly still pigeons. They are, in a sense, carrier pigeons, as the forms carry images, text, and other documents, which have been printed with cobalt blue and fired into the surface. The message they bear is an exploration of the beautiful and the horrible side by side. The creator, artist Christy Heng explains:
Originating with the shock and dismay I felt as the US government began the war with Iraq, and expanding to consider the phenomenon of war in general, the questions posed by the birds are about the humanness of us all. How we are connected, and also the unthinkable ways in which that bond is disregarded.

More specifically, I’m layering, and in some cases placing side by side, silk-screened images of children playing, love letters, poetry, recipes and prose… with silk-screened newspaper articles and photographs of the lead-up to and beginning of the current Iraq war, as well as other war-related documents, that tend to bring up the question, How can people do that to each other?! Among other things, I'm looking at how the initiation of a war is “sold” to regular people. Also, how discussions about the cold facts of war, weapons capabilities etc. can become detached from the human reality on the other end, creeping into everyday life as something normal, like birds in the park.

This work draws on years of experimentation with silk-screen printing onto clay. I create the silk screens from photographs and documents, and use them to apply the image and text onto wet porcelain. While the clay is still flexible, I form the birds -- each one is different -- and eventually fire them at a very high temperature.

The forms themselves are about a foot and a half each in length. Low to the ground, some are involved in their own search, while many appear to be in conversation with each other.

Although they are made from porcelain, the pieces are actually quite sturdy. They are positioned in such a way that people can wander among them, taking time to look and read.

I set them up in the morning and take them down at night. It’s out of the blue and somewhat fleeting, the better to catch the unsuspecting passerby’s curiosity. An important part of the project is the actual interaction with people, and I as the artist am always present during an installation, to answer questions, listen and converse.

The project began in Santa Fe, New Mexico, where in the spring of 2009 the birds landed in about thirty locations; places like the farmer's market, City Hall, various parks, cafes and libraries. Later, the birds began to fly farther afield, landing along the coast of California, in Central Park, NY, in a sculpture garden in New Orleans, at a University Plaza in Germany, in front of Chartres Cathedral in France, and even migrating so far as the Galapagos islands.

New birds continue to be born, often in response to the places that the birds have been or will be visiting. In addition to personal photography and images and text borrowed from public media, I am collaborating with writer and Vietnam War veteran Tim Origer, English poet Henry Shukman, Venezuelan photographer Maria de Las Casas, and my father Werner Hengst for some of the material that appears on the birds. One landing scheduled for July, 2010 is in Peenemünde, Germany, the site of the V-1 and V-2 rocket development during WWII; my grandfather was working there as a scientist then, and photographs of the lab town before and after its bombing, as well as quotes from Germans during that time, are making their way into some of the silkscreened images on the birds now.

The flight pattern continues to develop, and the project is expected to continue through fall 2010.
Now the birds are coming to DC! the schedule is:
Thursday, March 18th, on the center of the Mall at 9th street.
Friday, March 19th, Dupont Circle.
Sunday, March 21st, Upper Senate Park, by the Capitol.

Christy Heng's Birds at the Besthoff Sculpture Garden, New Orleans Museum of Art
Besthoff Sculpture Garden, New Orleans Museum of Art, New Orleans, Louisiana

For pictures and location information, visit her website here. Past updates about the birds' travels can be found at www.birdsinthepark.blogspot.com.

Saturday, March 13, 2010

Wanna go to a Georgetown opening tonite?

"Kinetics" is the latest solo show by the DC area's superbly talented artist Amy Lin. Seldom has an artist received the critical accolades and collector support that Lin has in the past.

The opening reception is tonite, Saturday, March 13, 5-7pm at Addison/Ripley Fine Art, 1670 Wisconsin Avenue, NW Washington, DC 20007. The exhibition dates: March 13-April 24, 2010.

See ya there!

Wanna go to an opening tonite in Bethesda?

Head out to Gallery Neptune, where works by Freya Grand are hanging and the gallery has a reception for the artist tonite, Saturday, March 13th, starting at 7 PM.

Kennicott on New Brow art exhibit 'G40: The Summit'

WaPo staff writer Philip Kennicott, who is not a visual arts critic, reviews 'G40: The Summit' in Crystal City.

He writes:

Critics generally organize their lives to avoid mediocrity, in part because there is so much of it, but mainly because it forces them to write with a negativity that alienates readers.
What am I missing here then?

It is clear that Kennicott, who doesn't generally write about the visual arts, finds the work in G40 mediocre, and perhaps even the concept or idea of "underground art" itself is mediocre?

And yet, it seems like he went out of his way to organize his life to take a specific negative aim at this show, in direct contradiction to the above quote.

And I don't really have a problem with that. My issue here is that Style editor after Style editor in the revolving Style editor door that has been the WaPo in the last few years, has told me that the reason that there isn't more visual arts coverage in the WaPo is due mostly to lack of newsprint space.

And I have this friend at the WaPo who is an administrative assistant type person (a secretary), who recently told me about how the Style section and the Weekend section were being directed to coordinate coverage to avoid duplication of coverage of the same stories, shows, movies, exhibitions, etc.

And just yesterday Michael O'Sullivan reviewed the G40 show in the Weekend section.

Thus my issue.

Seem like Kennicott went out of his way, in direct contradiction to his own words, and in direct conflict with the WaPo's policy to avoid duplication of coverage, to write a negative review about a show and an art movement that he considers mediocre.

Why? What am I missing here?

And where's the Style editor telling him: "Sorry Phil, but the Weekend section already wrote about this show."

Unless Kennicott replied: "Sorry Scott Vogel (or whoever is his editor), but I really hate this kind of art and really want to explain why."

But then, I've also got this nagging feeling about how Kennicott is so out of touch with what this genre of art is all about, what it encompasses, how it has reached the megastars of his high brow art world (think Takashi Murakami), that he is looking at this show and this genre of art through opera glasses from the expensive seats, and with his nose somewhere in the upper stratosphere.

Sort of like the old guys from the old Salons looked at the refuses, and we know how that turned out.

On the other hand, a bad review is better than no review at all, and two reviews in a art-review-poor newspaper such as the WaPo is, is quite a score for G40. So, in a Warholian sense, Kennicott is helping out the cause that he is attempting to diminish.

Asi es la vida!

Friday, March 12, 2010

O'Sullivan on G40

The WaPo's art critic Michael O'Sullivan reviews "G40: The Summit"

Some 2,000 art works by more than 500 artists are on view in a partially empty office building in Crystal City.

And no, it isn't Artomatic. Next question.

How is it different from that regular, open-to-all art show? For one thing, "G40: The Summit" is curated. That means that, with the exception of a handful of installation artists, one man -- Shane Pomajambo of the Art Whino Gallery -- has handpicked each artist for the 75,000-square-foot exhibition. It takes up four floors and part of the lobby level. (The rest of the first floor is used for a stage and bar.)
Read it here.

I love this quote: "These days, almost nobody draws like Ben Tolman, whose intricate pen drawings -- at once classical and subversive -- are a stand-out here. Nobody, that is, except half the artists in the West Wing of the National Gallery of Art."

Ben Tolman is amazing... see his stuff here.