When facts get in the way

There are so many disturbing issues with Kriston Capps snarky report on my 100 Washington Artists book that I don't know where to start other than by thanking the CP for giving this book, which is yet to be published, some advance publicity. As Warhol once said, "publicity, even bad publicity is better than no publicity." You can read that article here.

If you follow the DMV art scene, then you know that Capps' past includes some journalistic issues, and so when he expressed interest in doing a piece for the CP, I was fully prepared for the worst. I knew in advance that the piece would try to find the negative angle to the story, the "what's my angle?" the "what's in it for Campello?." This is because unfortunately the formation of some people is so ethically flawed, that they suspect all those around them as being like them.

That I'm doing these series of books because I think it would be good for the DC art scene must be a lie. There's got to be something wrong here; if not they can try to make something up or selectively highlight some issues while ignoring the ones which damage the focus that they're trying to achieve: a negative portrayal.

The first hint is the title: The C List: Will Lenny Campello’s 100 Washington Artists Serve Its Subjects or Its Author? The seed has been planted for "there's something smelly here."

By paragraph four he's already referring to my "ethical tics." The second negative seed has been planted.

Later he lists artists with whom I've had/have a commercial relationship and used to show at the Fraser Gallery, in the process he gets one name wrong but drops an end of sentence that implies that many others in the 100 list are artists that we represented at Fraser. This is a spectacular stretch of his imagination, but designed to leave the impression that I've stacked the list with Fraser Gallery artists. Technically, as of today, there are three artists out of the 100 that are represented by the Fraser Gallery today.

But what is even more shoddy journalism is that Capps knew well that I had put some ethical safety valves in the book to cover the ethical angle of artists with whom I've had or have a commercial relationship. The key one is that every artist in the book who is represented by a gallery or dealer is referred back to that gallery or dealer. In the case of artists associated with me, every single contact points back to another dealer who represents that artist. Not a single artist in this book is associated in the book with me. In fact, if any "business" is to be derived from this book, I am sending the business to everyone but me. Capps knows this, but conveniently avoids discussing that. The reason is simple: it demolishes his implied undercurrent about my ethical transgressions in having artists in the book that I'm associated with.

Then he errs and makes up a quote that I never said in the context that he puts it in the article. The "I have zero commercial relationship with them" quote was in the context of zero commercial relationship with the Fraser Gallery and the artists that they represent or represented when I was a co-owner. I then qualified that by listing for Kriston the artists that I do currently have a commercial relationship with, but instead of Capps writing: "I have zero commercial relationship with them, except for..." he starts a new paragraph with: "That’s not wholly true" and details facts that I told him about my current dealer relationships and my online art dealer enterprise (Alida Anderson Art Projects, which I've discussed here many times), but he writes it as if he "discovered" this and has caught me in a lie.

He then writes that "Through Alida Anderson Art Projects, he has taken work by Janis and Tate to a number of art fairs." It was me who told him about the art fairs, but I also told him that the last time that I took those guys to an art fair under Alida Anderson Art Projects was in 2008 and explained my current business relationships with them and others. This of course, is never mentioned. It would destroy his argument.

He does shoot himself in the foot by later acknowledging that I did tell him that I have current commercial interests in some artists. So the issue here is a quote which put out of place, as he does, serves a purpose best suited to sickening Republican political blogs that publish out-of-context video scenes or some of the garbage-spewing misinformation talking heads of MSNBC. Whereas those extreme right and extreme left wingers are rabid junkyard dogs for their extreme political dogmas, and their goal is to divide us, I am not sure what the goal of this Capps article is, other than to try to make something that I hope will be good for the DC art scene into a smelly conspiracy for me to gain... what?

He strangles the truth once more when he refers to the artists that I write about and "admire" in this blog. He writes: "As much can be ascertained from his blog, D.C. Art News, where he has written for years about artists he admires (and represents)."

What's the condemnation you ask?

That all artists that I write about and admire are only those that I represent. That is of course, completely wrong, and in fact probably numerically the opposite of the truth. But don't let facts get in the way... even though people like Amy Lin and many others, of whom I have gushed about in the past in my blog (get it, my blog) are represented by other galleries and have never been represented by me. But that little poison pill is now also a seed dropped in the article: "In Campello's blog he only gushes about artists that he represents." A damned lie.

See what the undercurrent here is?

Words count and are chosen for a purpose. Capps writes that "Not every Washington-based artist jumped at the opportunity. Artists Jim Sanborn and Sam Gilliam refused to participate." When we discussed this, I told him that Gilliam and Sanborn had "declined" to be in the book, and explained the reasons given to me as to why they didn't want to be in the book - both have private commercial flavors of other issues - but Capps instead uses the word "refused" with the implication offering a harsher reason for them not being in the book.

He then takes a swipe at the publisher, picking some weird titles from a selection of 100s of art books that this respected publisher has offered in the 50-plus years that they've been publishing art books. You see? everyone gets a little dose of negativity here.

At the end he almost closes with: "For this unflagging fanboy of Capital City artists, the fight for visibility trumps profit, or interests, or ethics." Even the snarky choice of words (I'm now a "fanboy") are picked to diminish and reduce and put me into "my place" - how dare this crab try to take 100 crabs out of the basket?

As a man I am nobody's "boy" of anything, and in fact I find this adjective not only offensive and insulting, but also insensitive in this era when we're so well aware of the sins of the past. Because he has failed to find the facts to back up a flawed and dishonest argument questioning my ethics, he attempts to reduce me at the end to a "boy."

And in the end what comes out is a snarky, dishonest, pick-out-of-context art scribe best suited for political blog poison-writing than someone with a pulpit to write about the Washington, DC art scene for anyone, much less the same paper which let him go earlier for whatever reasons.

And I'm much more of an ethical man, not boy, than he'll ever be.

And now that I'm finished with volume one, time to start volume two.

Congrats!


Congratulations to the District of Columbia Arts Center, which will be celebrating its 20th anniversary with an evening of dance, poetry, performance art, sound installation and live music in Georgetown's gorgeous Halcyon House.

Born in 1989 with the mission of providing the “missing link” between emerging artists and the broader community, DCAC has maintained its place in DC as an organization that operates with the needs of artists in mind, rather than focusing on commercial demands. DCAC also recognizes the need to support ongoing projects, including our Curatorial Initiative, which nurtures upcoming curators and enriches audience engagement with our exhibits, and SPARKPLUG, a collective of local artists and curators who exhibit at DCAC each year.

In 1987, a group of artists, arts advocates and administrators came together to address their frustration with DC’s cultural climate. In order to bring local artists closer to the community, arts advocates Aaron Levine, Alice Denney, and Herb White, with the support of councilman William Lightfoot, established a center where local artists would become more visible to the community and receive the support that was largely unavailable. DCAC’s founding board includes artists Jack Rasmussen, Lynn McCary, Sam Gilliam, Greg Hannan, Kathy Keler, Rockne Krebs, Evangeline Montgomery, June Shadoan, and Paula Schumann, critic and curator Annie Gawlak, and arts activist Eden Rafshoon.

The gala will take place on May 29, 2009, from 6:30 to 10:30pm. The happenings get underway at 6:30 with cocktails and light fare in the gardens and ballroom of the Halcyon House Mansion. There will also be a special VIP reception from 6:30 to 7:30 for the founders, our board of directors, the invitation committee and special level donors. At 8:00, the Studio opens for dancing to the sultry and swining Jenn and the Tonics along with desserts and more cocktails. Throughout the evening there will be performances, exhibited art, video projectors, sound installation, dance and more.

Artists featured at the event include performance artists Katherine Cornelius and Quique Aviles, poets Silvana Straw and Buck Downs, Alberto Gaitán with sound installation and visual artists Gretchen Schemmerhorn, Jefferson Pinder, Jose Ruiz and David Hartwell.

Details here.

Art advice for the White House tenants

Life has an interesting way of forcing us to sometimes either reversing what we once thought were final positions, and other times life offers us a chance of defending both sides of a position.

I have been generally against the segregation of artists by race (black, white, Asian or native American) or by ethnicity (Hispanic, Semitic, etc.), and yet sometimes a void or need is so egregious that the solution is very clear and may cross lines that we may have thought as cast in concrete.

When we all discovered a couple of years ago that 66% of all the artwork by black American artists currently in the White House art collection had been acquired by the Bushes, depending on what side of the political aisle you stand, this fact may either raise an eyebrow from right wing nuts or some sort of conspiracy theory from left wing nuts.

But when we also discovered the fact that only three works (out of an estimated 375 pieces) were by black Americans, both sides of the aisle should find that surprising... and maybe in need of attention by the Obamas.

A little recap and an update: In 2007 I reacted in my usual self-righteous, irate manner to having American artist Jacob Lawrence described as a great African-American artist, rather than just a great artist. And then the Washington City Paper in the process of policing that whole issue, came up with an interesting fact.

Jacob Lawrence, pen and ink, circa 1980 by F. Lennox Campello
In an Private Collection
According to the City Paper, Betty Monkman, the curator of the White House, revealed that, "while Lawrence’s painting isn’t the sole piece by a black artist in the executive mansion, it’s close to it — there are only two others."

That's now three out of "an estimated 375 total in the White House’s art collection."

Geez.

That implies that Simmie Knox's portrait of President Clinton is not considered part of the White House’s art collection, which doesn't make sense. Knox is a DC area artist by the way, and a brilliant painter.

So let's take off the first century and a half of the White House's art acquisition process. During that time we can safely assume that they probably just focused on American artists from one of the four races, and somewhat let me reverse my stand on segregating artists by race, rather than just artistic merit, and let me take the uncomfortable side of trying to again ask the question, "Why aren't there more works by black artists in the White House art collection?"

Even if one ignores skin color, and just looks at the art and artistic achievement, there are plenty of great American artists, who happen to be black, whom I think would make a great update to the White House collection.

Some art greats, by artistic default, I would think, would have to be Black, or Asian, or Native American, not just Caucasian artists of all ethnicities - after all, all four races of mankind create art and all four and their many mixtures, live in America.

Back in the 1980's, Jacob Lawrence was awarded the National Medal of Arts from President George Bush The First. Why did it take 27 years for one of his paintings to become part of the White House's permanent collection?

The City Paper research identified the other two paintings: "Henry Ossawa Tanner’s Sand Dunes at Sunset, Atlantic City (1885), which hangs in the Green Room, its home since 1996, and an 1892 painting by one “Bannister” (possibly Ed Bannister) acquired in 2006 and which was then undergoing conservation.

So two of the three have been acquired by the Bushes, and before 1996 there wasn't a single work of art by any black artist in the President's home, in spite of the fact that artists such as Jacob Lawrence, Romare Bearden, Sam Gilliam, Martin Puryear, Alma Thomas, and others are all just great American artists, period, and have even broken the National Gallery of Art code, and should all probably have been acquired by the White House years, and years, and years ago.

Makes my head hurt.

And let's agree, as Jonathan Melber notes in the HuffPost, that the White House's collection is not exactly, ah... contemporary.

But let's say that a traditional acquisition focus on painting were to remain, and thus we would immediately unfortunately eliminate a lot of good contemporary choices. After all, the White House is not an art museum, and the case could be made that it sort of "feels" that it should be an art collection where all things somewhat say "America" in a variety of traditional visual ways, and I submit that for that goal, painting is still first among equals. That still leaves Romare Bearden, Sam Gilliam, Alma Thomas and others I am sure.

So if the Obamas were to continue what President Bush started, and expand the White House's collection to be more representative of American artists and the American people, I would suggest that (in addition to perhaps more Lawrence), Romare Bearden, Sam Gilliam, Martin Puryear, and Alma Thomas would be a good start.

And, if as Malber suggests, the Obamas should expand the White House collection to more than just paintings, then in addition to some Lawrence collages, I would suggest work by other blue chip artists such as Kara Walker, Maria Magdalena Campos-Pons (who is not only a brilliantly accomplished artist, but also happens to be both Hispanic and Black) and Lorna Simpson.

But I don't know if the Obamas personally collect art, and even though I am one myself, I don't really buy the idea of a staff White House art adviser.

If the Obamas are like most people, they probably don't "really" collect art with a focus or intensity to say, the Podestas in DC or the Rubells in Miami (either one of whom, by the way, would make excellent unpaid volunteer art advisers to the White House, if having an adviser was the choice made to change the visual arts acquisition status quo).

So... since the odds are that they would be beginning collectors, then I would suggest the same thing that I do to all beginning collectors: start looking first at emerging artists, which generally can be acquired for much less money than a well-established artist from the upper crust of the rarified artmosphere. Do this until you establish your tastes, desires and somewhat of a focus, and then, if your financial status allows it, begin expanding into the big museum-level names.

And if the Obamas listen to Malber's excellent point of looking locally (as Clinton did in selecting Simmie Knox to do his Presidential portrait), then I would add one of the terrific works by Rikk Freeman to the White House.

A huge Freeman painting would do wonders for the White House collection and also do wonders for Freeman. Not only would it add a presence and feel to the collection that is missing right now and which is an integral part of American history, but it would also set a new, fresh change of venue of how artwork has been acquired in the past, and the kind of artists that get acquired.

Change.

A rarity coming up

Aaron Douglas: African American Modernist presents "the first nationally touring retrospective of Aaron Douglas (1899-1979), one of the most influential visual artists of the Harlem Renaissance. This exhibition brings together more than 80 rarely seen works by the artist, including paintings, prints, drawings and illustrations."

The show opens at the Smithsonian American Art Museum in DC on May 9, and runs through August 3, 2008.

I really hate the segregation of art by race or ethnicity, but once in a while something stands out so grossly out of synch that it must be pointed out.

This coming show is also a rarity for the DC area museums: an exhibition by a black artist.

Example: As far as I know the National Gallery has only hosted one exhibition in its entire history by a black artist, in this case African American artist Romare Bearden.

The Corcoran has done a little better, most recently hosting Sam Gilliam's first retrospective. Jonathan Binstock, then the Corcoran curator, had done his thesis on Gilliam, so I am sure that this helped get this DC art star a long overdue museum show in his own city. And the Phillips Collection certainly has paid attention to my old professor Jacob Lawrence with a couple of traveling exhibitions.

But some black artists are way overdue for the kind of exposure that an NGA show can afford an artist. My first suggestion is Wifredo Lam.

Any others? Feel free to comment.

The Shaping of Color Field

by Rosetta DeBerardinis

I departed the island of Baltimore last week to attend the preview of “Color as Field: American Painting 1950-1975,” the new exhibit at the Smithsonian American Art Museum.

After some lovely pastries and Dean and DeLuca coffee poured from boxes we ventured upstairs to its third floor gallery. Once you emerge from the elevator you become captivated by the large scale chroma-stained canvases which are so imposing that you feel child-like staring up at them. Signage on the walls with names we have all heard or seem before like: Frankenthaler, Louis, Olitski, Motherwell, Gottelib, Davis and Gilliam. But, this is not a block-buster exhibit for the masses intended to draw record numbers of crowds; it is a significant documentation of 39 works by the early pioneers of American art.

Due to limited government funding for museums and art institutions, there is now greater reliance upon garnering private donors to underwrite exhibits. This exhibit is organized by the American Federation of the Arts, the Henry Luce Foundation, Gene Davis Memorial Fund, Golden Artists Colors and several individual donors, and few of the works are from the Smithsonian’s own collection.

But, if this exhibit is an example of what can be done without the government, I say ‘thank-you’ now we can really have first-class art shows which are thought-provoking, scholarly and challenging. No, there is no audio-guide with snippets of history or narrative story-telling. This show is intended for those well-versed in the subject-matter, so if you are not, I suggest that you dust off an art history book or Google ‘ColorField’ to ensure that you won’t miss the importance of this historical exhibit.

And, if you negate the importance of the abstract expressionist and chant along with the masses “even my child could do this” then you need to purchase the easy reading color-illustrated exhibition catalogue, written by its guest curator Karen Willkin, a specialist in 20th century modernism.

The post-war Color Field painters abandoned the gestural strokes, the all-over painting and pouring inaugurated by Jackson Pollock and the abstract expressionists, and instead concentrated on color, spatial ambiguity and process. Their aim was to unify a colorful abstract image or shape on a large surface. This 1950s movement was more about color than form; however, both movements sought to reveal the unknown -not to report just on the visible.

Artist Helen Frankenthaler led the way by applying thinned oil pigment to stain the unprimed canvas. After visiting her studio in New York City in 1953, artists Kenneth Noland and Morris Louis (both then teaching in the District of Columbia) returned there to experiment with their newly found technique.

My favorite painting in the show is Frankenthaler’s large scale, ‘Off the White Square’ done in 1973 because it exemplifies the new power and presence of acrylic pigment -- which had just become available when she began using ten years earlier.

And, as they say "the rest is history," because America now had its second artistic movement, the Color Field school, which included Helen Frankenthaler, Kenneth Noland, Morris Louis, Walter Darby Bannard, Jack Bush, Gene Davis, Friedel Dzubus, Sam Francis, Jules Olitski and later Larry Poons, Frank Stella, Ronald Davis and Sam Gilliam. These are artists who elected to concentrate on pure contrasting hues of color rather than light versus dark. In the words of Frank Stella “what you see is what you see.” However the significance of this exhibit extends beyond what the viewer sees on these colorful canvases. It is a historical event documenting the difference, similarity and distinction between abstract expressionism and color field painting along with the progression of American art.

The exhibition is in three-parts: an introduction to the origins of Color Field painting, its pioneers, and its later practitioners who pushed its further. It begins with Rothko, and the Abstract Expressionists, then to Frankenthaler’s departure from Pollock and the color field artists who followed with a new abstract form based on expanses of radiant unmodulated hues by staining, painting and spraying. And it concludes with the later generation often linked to the influential art critic Clement Greenberg, who curated the 1964 exhibit “Post Painterly Abstraction” and is credited along with art historian Michael Fried for defining and establishing the framework for interpreting the art form known as field of color, later coined "Color Field."

This exhibition is the first major examination of color field painting, and the District of Columbia is the only East Coast city to host this landmark exhibition. After its debut there it will make its final stop at the First Center of Visual Arts in Nashville, Tenn. in June.

On exhibit thru May 26th, 2008 at the Smithsonian American Art Museum, Eighth and F Streets, N.W., Washington, D.C. Hours: 11:30 a.m. to 7 p.m. daily (202) 633-1000\ (202) 633-7970 (recorded museum information).

Juno

For the man who thinks that Terry Gilliam's Brazil is one of the top ten films ever made, it is quite a surprise to reveal that I think that Juno is one of the best movies that I have seen in the last decade.

Starring Ellen Page, rapidly becoming one of the best young actresses on the planet, and who was the terrifying star of 2005's Hard Candy -- the movie most likely to make men cross their legs.

Seriously, Hard Candy was a brutal and intelligent movie, and there are scenes in the film where the character played by Page causes men to squirm and the audible rustle from legs being crossed throughout the theatre becomes a weird sensurround to the smartest revenge movie in ages.

But this is a review of Juno and not Hard Candy.

Get back on track Campello!

Juno is witty, funny, sarcastic, sometimes a little scary and definately has that magical cult ingredient like Napoleon Dynamite did.

Page plays the sarcastic, snappy and very pregnant Juno, a 16 year old kid with a razor-sharp mind and a huge belly. The movie is the story of how she deals with her pregnancy and it is full of surprises, turns and bends and very good acting on the part of Page and the supporting cast, especially by J.K. Simmons, who plays her dad.

The movie grows as it develops, and before Juno's snappy comebacks and one liners become tiresome, she suddenly becomes a scared little girl before our eyes and just as fast turns into a strong decision maker.

I liked this movie a lot and Page is a sure bet for the Oscar for best actress; go see Juno.

Wanna tour the DC City Hall Art Collection?

At 12 p.m. on Thursday, January 30, the public is invited to the Wilson Building for a guided tour through the City Hall public collection of art on permanent display on floors 1-5 of the Wilson building. The tour will be lead by the talented Ellyn Weiss, whose work is included in the collection.

This is a unique chance to meet with local artists featured in the collection and have a discussion on being an artist in the Nation's capital and to see a rich cross section of local artists (both established and emerging). This will be a bi-monthly occurrence. This is the richest and largest permanent exhibition of the work of local DC area artists in the city, featuring a broad range of work, from internationally known artists such as Jacob Kainen, Sam Gilliam, Tim Tate and William Christenberry, to work by most of the artists of significance working in the capital region area now.

The tour is free; however space is limited. Please RSVP to beth.baldwin@dc.gov with the number in your party. Meet at the Pennsylvania Avenue entrance — the building is located at 1350 Pennsylvania Ave NW. ID is required to enter the building.

New case opened CP scribe Kriston Capps polices the whole Jacob Lawrence squabble and in the process comes up with an excellent point. According to Capps, "Betty Monkman, the curator of the White House, reveals that, while Lawrence’s painting isn’t the sole piece by a black artist in the executive mansion, it’s close to it — there are only two others." That's now three out of "an estimated 375 total in the White House’s art collection." 

Geez. 

That implies that Simmie Knox's portrait of Pres. Clinton is not considered part of the White House’s art collection, which doesn't make sense. Knox is a DC area artist by the way, and a brilliant painter. So let's take the first century and a half off the acquisition process, which probably just focused on American artists from one of the four races, and somewhat reverse my stand on segregating artists by race, rather than just artistic merit, and let me take the uncomfortable side of trying to ask the question "why aren't there more works by black artists in the White House collection?" 

Even if one ignores color, and just looks at the art and artistic achievement, there are plenty of great American artists, who happen to be black, that one suspect should be in the White House collection. Some art greats, by artistic default, I would think, would have to be Black, or Asian, or Native American, not just Caucasian artists - after all, all four races of mankind create art and all four and their many mixtures, live in America. 

 And let's say that the White House's collection is not exactly, ah... contemporary, which would eliminate a lot of good modern choices; and after all, the White House is not an art museum, but it sort of feels that it should be a classy arts conglomerate where all things say "America." 

Back in the 1980's, the great Jacob Lawrence was awarded the National Medal of Arts from Pres. George Bush The First. Why did it take 27 years for one of his paintings to become part of the White House's permanent collection? Capps identifies the other two paintings: "Henry Ossawa Tanner’s Sand Dunes at Sunset, Atlantic City (1885) also hangs in the Green Room, its home since 1996. And an 1892 painting by one “Bannister” (they likely mean Ed Bannister) acquired last year is currently undergoing conservation." 

So two of the three have been acquired by the Bushes, and before 1996 there wasn't a single work of art by any black artist in the President's home, in spite of the fact that artists such as Lawrence, Bearden, Gilliam, Puryear, and others are all just great American artists, period, and have even broken the National Gallery of Art code. 

Makes my head hurt.

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.

Newhall on Sam Gilliam and "Post Painterly Abstraction"

The Inky's Edith Newhall reviews "Post Painterly Abstraction" at Locks Gallery, and also DC's Sam Gilliam at Sande Webster Gallery.

Read her review here.

Wanna go to the Gala to Benefit Africare in DC this Friday?

Celebrating the 10th Anniversary of International Visions at The Washington Club
(15 Dupont Circle) in DC. RSVP to 202-234-5112.

Friday, March 30th from 6:30 to 11:30 pm.

- Live music by Brother Ah & the World Music Ensemble as well as the Brazilian Samba Trio Band

- A silent auction featuring the African artwork and craft, artwork by renowned American artists, sports & entertainment collectibles, and much, much more.

- Mistress of Ceremonies: Dr. JC Hayward

- Special honors for artist Sam Gilliam and the Howard University Department of Art.

- An authentic African feast

Congrats

To our very own contributor, Rosetta DeBerardinis, who relocated to Baltimore last week to accept an Artist Studio Residency with School 33 Art Center located on Federal Hill. She will continue to exhibit in the Washington metro area and extend her coverage for Mid-Atlantic Art News to include an even more expanded coverage of Baltimore.

Rosetta also has been selected by Sam Gilliam and Marie Lewis to exhibit her work in Contemporary Color - Contemporary Artists in the Color School Legacy at Montpelier Arts Center, opening April 17th-May 5th. A Conversation with Sam Gilliam, will be held on April 22 at 2 p.m. followed by a reception on May 5th from 3-5 pm.

Twist and Shout, her two-person show with sculptor, Guy Barnard, at Visual Art Studio in Richmond, VA, opens April 6th through May 25th.

She is also contributing to the Lotta Art, School 33’s annual benefit held on Saturday, April 21st with cocktail buffets, open studios, and a lottery-style drawing for art donated by 100 artists.

And Rosetta’s work is currently on exhibit at Design Within Reach in Bethesda, MD, (301) 215-7200 and at the Millennium Arts Salon in DC, 202-319-2077.

Openings

As usual, I am sure that I have skipped some important openings, if so, please email me the details.

DC

Feb. 7 - "Zenith in III-D." Reception to meet the artists: Wed, February 7, 5-8pm. Showing at 1111 Pennsylvania Ave. NW, Wash. DC. (Corner of PENN & 12 th ST NW). More info: 202-783-2963 or www.zenithgallery.com

Feb. 9 - Touchstone Gallery's 9th Annual All-Media Exhibition, juried by my good friend Jack Rasmussen, Director and Curator of the American University Museum. The opening reception is 6-8:30 pm, Friday, Feb. 9. 3rd Thursday gallery walk is on the 15th from 6-8 pm. Exhibition continues through March 3.

Feb. 9 - “Progressive Art,” an exhibition of new sculptures by Gary “Chris” Christopherson opens at GChris Sculpture Studio/Gallery (3144 Dumbarton Street NW, Georgetown, DC). Opening – 6-10 pm.

Feb 10 - Knew Gallery in Georgetown at 1639 Wisconsin Ave, NW. Opening 5-10 PM. Art fundraiser for Latin American orphans.

Feb. 13 - "Duane Hanson: Real Life," an exhibition of 15 startlingly lifelike, mixed-media sculptures of everyday people by the famed realist Duane Hanson (1925-1996), plus 75 never-before seen photographic studies by the artist, opens Tuesday, Feb. 13, at the American University Museum at the Katzen. There will be a free Artists’ Reception, open to the public, on Saturday, February 17, from 6 to 9 p.m.

Feb. 13 - "Public Display of Affection" opens right before Valentine's Day at Gallery 42 in UDC. The participating artists include a variety of disciplines: painting, printmaking, photography,sculpture, ceramics, and glasswork. The Love-struck artists include: Michael Platt, Jay Davidson, Sean Hennessy, Michael Janis, Meredith Rode, Chuan-chu Lin, Dan Venne, Mare Dianora. The opening reception for the show is Tuesday, February 13, from 6-9 PM. Informal artists talk at 8 PM on opening night. Gallery 42 is at the University of the District of Columbia (4200 Connecticut Ave NW, Building 42, Room A12, Washington, DC 20008 202-274-5781).

Feb. 15 - The Hirshhorn Museum and Sculpture Garden presents "Refract, Reflect, Project: Light Works from the Collection," a new installation of works created by international artists from the late 1950s to the present. The exhibition is on view from Feb. 15 through April 8 and features objects from the collection in which light—as substance and subject—is central. Among the international artists featured are Giovanni Anselmo, Jordan Belson, Chryssa, Dan Flavin, Hiroshi Sugimoto, James Turrell, Thomas Wilfred and Gregorio Vardanega. The exhibition also highlights recent acquisitions by such artists as Olafur Eliasson, Spencer Finch, Christoph Girardet and Iván Navarro.

Feb. 15 - "African Vision: The Walt Disney-Tishman African Art Collection" opens Feb. 15 at the Smithsonian's National Museum of African Art. More than 80 superb artworks from one of the world's finest and most respected collections of African art will go on view through Sept. 7, 2008.

Feb. 15 - In honor of the 10th Anniversary of the Washington DC Jewish Community Center at 16th and Q Streets, the Center's Ann Loeb Bronfman Gallery is presenting an exhibition of 10 artists with local roots: five nationally recognized figures each of whom has selected another artist whose work will be on view as well. Titled "Five Artists Select Five Artists to Watch," the exhibition opens at the Center on Feb. 15 and continues through May 13. The featured artists are: Sam Gilliam, who selected Jae Ko; John Gossage, who selected Pia Calderon; Martin Puryear, who selected Otho Branson; Dan Steinhilber, who selected Y. David Chung; and Renee Stout, who selected Mary Early. The featured artists are: Sam Gilliam, who selected Jae Ko; John Gossage, who selected Pia Calderon; Martin Puryear, who selected Otho Branson; Dan Steinhilber, who selected Y. David Chung; and Renee Stout, who selected Mary Early.

Feb. 15 - "Double Vision: The Photographic Work of Yanina Manolova and Mark Parascandola" opens at Nevin Kelly Gallery with a reception from 6-9PM. Through March 11, 2007.

Feb. 16 - The five Canal Square Galleries in Georgetown will have their usual Second Friday openings and extended hours from 6-9PM.

Feb. 17 - "All Things in Motion," opens at Randall Scott Gallery, an exhibition of art by artists who employ motion in their work. Exhibition is 6-9PM and show runs through March 17, 2007.

Feb. 18 - Rob Lindsay at Washington Printmakers. Artist's Reception, featuring acoustic music by Jay Rees and Basso Moderno Duo on Sunday, February 18, 12-2 pm.

March 9 - The opening reception for DCist Exposed will be March 9, 6:30pm at the Warehouse Art Gallery. The show will run until March 16. Over 200 local photographers submitted their work through Flickr, and from that pool DCist choose 40 photographs by 38 photographers. All work will be framed to archival standards and for sale. Contact heathergoss [at] gmail [dot] com for details.

Baltimore, MD

Feb. 10 - Light Street Gallery has a catered reception from 5-9PM for artist George Sekkal's "The Politics of War - Maximism," which brings the artist's award-winning anti-war political collages to Baltimore.

Bethesda, MD

Feb.9 - Second Fridays for 13 Bethesda area art galleries and art venues, including a free guided Art Walk on most months (starting in April). Details here.

Feb 9 - Fraser Gallery hosts a ton of photographers selected by Catriona Fraser for the 6th Annual International Photography Competition. Opening reception and awards presentation on Feb. 9 from 6-9PM.

Feb. 9 - Neptune Gallery has "Love Birds" with work by Lisa Brotman, Elyse Harrison, Laurel Hausler, Michael Janis, John Lancaster, Matthew Lawrence, Kirk Waldroff and David Wallace. 6-9PM.

March 9 - My Tender Muse - Oil Paintings by Murman Kuchava (who lives and works in The Republic of Georgia) at Creative Partners Gallery. March 6, 2007 through April 7, 2007.

Philadelphia, PA

Feb. 8 - Second Thursdays multi-gallery openings in the area north of Northern Liberties. Details here.

Feb. 8 - Nexus is reopening in its new spaces and they will we reopen Nexus in their new home and at the same time inaugurate "Second Thursdays," a new monthly event of openings by galleries that are north of Northern Liberties. Second Thursday will be held February 8th from 6 to 9 PM. Their inaugural show in their new digs features two digital exhibitions by Jennie Thwing and Catherine Passante. Through Feb. 25, 2007.

Feb. 9 - "Neighborhood Artists" at Twenty Two Gallery (236 S. 22nd Street (on 22nd between Locust & Spruce Sts. Tel: (215) 772-1911). More than 15 artists from the gallery's neighborhood show works that include: oils, watercolors, pastels, fabric, photography and more! Opening Reception: "Second Friday," Feb. 9, 2007, 6pm to 9pm. Exhibit continues through March 8, 2007.

Feb. 9 - Sande Webster opens a new show titled "Refractions," and it runs from Feb. 6th thru March 1st. Reception: Friday, Feb. 9th from 6-8 pm.

Feb. 16 - "Coming of Age: Emerging and Established Wood Artists," at Wood Turning Center. The opening reception takes place on February 16th from 5pm to 7:30pm and will feature a gallery talk by Albert LeCoff, Wood Turning Center Executive Director and a special talk by artist Peter Exton. Artists include Michael Brolly (US), Richard Hooper (UK), Richard Raffan (Australia), Betty Scarpino (US), Mark Sfirri (US), Ben Blanc (US), Peter Exton (US), Louise Hibbert (US formerly Wales), Thierry, and Martenon (France) and Holly Tornheim (US). Through May 19, 2007.

Feb. 17 - JMS Gallery has sculptures by Salvatore Cerceo and Pavel Efremoff and also paintings by Robert Melzmuf opening with a reception on Feb. 17 from 4-7PM. Exhibition through March 24, 2007.

Feb. 22 - "Abu Ghraib Detainee Interview Project: Daniel Heyman" at The Print Center. Reception: Thursday, February 22, 5:30 - 7:30 p.m. Through May 5, 2007.

Mar. 2 - Third Street Gallery has work by Marge Peterson (also showing Marci Feldman) and the reception is March 2 from 5-9PM. Show through April 1, 2007.

On the other Ebay hand

Swann Galleries is a highly reputable art dealer and auction house and they have 332 lots for sale on Ebay with some real steals (such as a Sam Gilliam starting at $500 Update: It closed at $2600 - still a great deal!).

There are quite a few works by African American artists of the caliber of Romare Bearden, Jacob Lawrence, Lois Maillou Jones, Renee Stout and many, many others. By the way, Swann has recently established a new department in their auction house called African-American Fine Art.

Also terrific photography by European American photographers Sally Mann, Imogen Cunningham, Walker Evans, Weston, Atget and many others.

See the lots here.

Lou Stovall

Washington Printmakers Gallery in DC will host its 5th annual Invitational Exhibition honoring the achievement of an influential printmaker. The 2007 Invitational honors the work of Lou Stovall, a printmaker of national and international reputation, a master printer, and a longtime resident of Washington, DC.

Stovall has also been the "printmaker behind the print" for many editions of the prints of several well-known artists (such as Joseph Albers, Peter Blume, Alexander Calder, Sam Gilliam, Elizabeth Catlett, Gene Davis, Sam Gilliam, Lois Mailou Jones and my former professor Jacob Lawrence), and a key member of the DC arts community.

You can see his new work during the First Friday opening on Friday, January 5, 5- 8 pm, and then there's an artist reception on Sunday, January 7, 1-4 pm and Lou will deliver a gallery talk on Thursday, January 11, noon-1pm.

This is how it is supposed to work - Part I

Those of you who are regular visitors to this site know that one of my constant concerns is the poor relationship between DC museum area curators and DC area artists, and the rarity of interest by most DC area museum professionals in their own city's art scene and artists.

Like anything, there are notable, but rare, exceptions.

And one of the unexpected benefits of the Trawick Prize and the Bethesda Painting Awards has been that they have "forced" the hired DC, VA and MD museum professionals and curators to look at the work of artists from the region; some amazing success stories have spawned from that exposure. Area artists should be very grateful to Ms. Trawick for all that she has done and continues to do for the fine arts around the capital region.

But getting back on subject and generally speaking, most of the DC area museum curators and directors still find it easier to catch a flight to another city to look at an emerging artist's work from that city, than to take a cab to a DC area artist's studio or visit a local gallery.

I think part of this is because, again with an exception here and there, most of these curators came from other parts of the nation and overseas, and they tend to bring their regional familiarities with them, rather than discover new ones (it takes a lot of work). They are also part of a curatorial scene where little risk is taken, and the herd mentality reigns supreme.

As a result, one can count in one hand the number of artists (local or otherwise) who have had their first ever museum show (or any museum show) in a DC area museum. And yet, even major museums (such as the Whitney in New York) have given artists their first museum solos, although this is becoming rarer and rarer.

Example: I know that I wasn't the only one amazed to find out that the Corcoran's Sam Gilliam retro was the first solo museum show (at the tail end of his career) by arguably DC's best-known painter.

And I am sure that the fact that Jonathan Binstock's PhD work was on Gilliam had a lot to do with the Corcoran's decision to focus a solo on a DC area legend. Bravo to Binstock and Bravo to the Corcoran; more please.

The rarity of local focus is also caused partially because of the fact that DC area museums generally tend to think of themselves as "national museums," rather than as "city museums," like all other major cities in the world have.

We have no Washington Museum of Art, although the Corcoran, because of its position as a museum and a school, and since the arrival of Binstock, has focused a bit more attention on the Greater DC art scene.

Furthermore, because of the sad lack of coverage by the DC local media of the DC local art scene and events, museum professionals have to spend more personal time (which they often lack) to "learn" about DC area artists and galleries, rather than learning from reading, as they do about what's going on in NYC and LA and Miami and Seattle from the national magazines, or perhaps the coverage that those cities' newsmedia gives to their local arts, and even from reading the Washington Post's chief art critic coverage of other cities' galleries and museums, while he is allowed to avoid writing about Washington galleries and artists.

And so it takes an "extra" effort on the part of a DC museum curator to get his or her interest aroused on any event in the local scene. Some of it is networking (a big name museum donor requests a visit to a gallery or a studio), some of it is financial (they are paid to jury a show), some of it is media-driven (such as the rare positive review in the even rarer newsmedia coverage) and some of it is accidental (such as a curator admiring the work of a "new" artist in a LA gallery only to be told that the artist is a DC artist).

All of these have happened in my experience.

Here's a little test.

Next Wednesday, December 13 at 7:00 PM, Ned Rifkin has a lecture at the Corcoran on "Modern and Contemporary Art".

I've met Mr. Rifkin many times and he's a really nice, likeable, intelligent and well-traveled person. He has been the Smithsonian Under Secretary for Art since January 2004. In the DC area he also has been the Curator of Contemporary Art at the Corcoran from 1984­-1986, Chief Curator of the Hirshhorn from 1986-­1991 and then Director of the Hirshhorn Museum and Sculpture Garden from 2003­-2005. So he has spent nearly ten years of his exceptional career as an arts professional in the nation's capital.

I'd like someone to ask Mr. Rifkin the following question:

"Mr. Rifkin, can you quickly name for us about five contemporary artists from anywhere and five contemporary DC area artists whose work you admire and why?"

If anyone does ask, please email me his response.

Tomorrow I will tell you a happy tale of a DC area museum curator who has shown interest in the work of a very talented and hardworking DC area artist and how it happened, which is how this process is supposed to work.

City Hall Art Collection Walkthrough

A few days ago I had the opportunity to walk through the new Washington, DC City Hall Art Collection at the Wilson Building.

Together with Jonathan Binstock and Sarah Newman (both curators at the Corcoran), and Kristen Hileman and Anne Ellegood (both curators at the Hirshhorn), and Kim Ward (Executive Director of the WPA/C), we were given a personal tour of the collection by its curator, Sondra Arkin.

I had never been to the Wilson Building before, and I must admit that I have probably walked or driven by it a dozen times in the past without being aware that this is the place where the District's business as a city take place. The building is very beautiful and recently renovated, and the insides incorporate and marry the building original neo-classical appeal with a modern sense of stainless steel and minimalist design in places.

Sondra Arkin with Kim Ward, Anne Ellegood and Kristen Hileman

After passing through the excellent security check-in at the front entrance (ID required), Sondra gave us all a copy of the superb catalog that she was able to create in about six weeks.

The Hirshhorn curators and I were astonished that Arkin was able to pull off such a quality catalog, plus do a huge number of studio visits, plus curate the exhibition, and organize the framing, in a handful of weeks.

Arkin begins tour
I am always complaining that DC area museum curators seldom pay attention to district artists, and I think that the major contribution that this collection offers is a central point for them and visitors to see the vast array of talent that our capital area has to offer.

One exception and a DC area artist who needs little introduction to curators is the ubiquitous and hard-working Maggie Michael, and one of the first works that we were taken to was "Phantom," a large painting by Michael on the first floor.


Arkin, Ward and Hirshhorn curators in front of Maggie Michael painting
I must admit that as we approached the painting I thought that it was a piece by Trawick Prize winner Jiha Moon and said so, which brought some quizzical looks directed at me from the fair Anne Ellegood. But I stuck to my guns and noted that the painting seems to borrow heavily from Moon's visual ideas, and the "center" of it appears to be a Jiha Moon on top of a Maggie Michael painting.


Curators Looking at Prescott Moore Lassman's photographs

Another artist whose work caught some good detailed attention were the photographs by Prescott Moore Lassman, which when associated with the story behind them (the subject were the people in one of the first integrated churches in the nation), seemed to merit some extra time from them. Prescott's skills with the camera to capture the essence and depth of a moment, while making the image burst with attention-grabbing intrigue, is what makes his work special.

The Hirshhorn curators both seemed to like "In Red," a beautiful canvas of Tom Green's invented symbols, which also appealed to me based on my interest in "text" in art. As such I had to take the opportunity to taken them to Mark Cameron Boyd's "No Way to Convey," and explain Mark's fascinating process to create art out of textual references.

Somewhere along the tour, we discovered Judy Jashinsky's 1980s vintage portrait of Corcoran photography curator Philip Brookman, and Binstock, Ward and Newman had a bit of good fun enjoying their fellow curator's portrait. "He still has that watch!" someone said.


Philip Brookman by Judy Jashinsky


Jonathan Binstock records the Brookman

The representational holdings in the collection, as usual, brought out interesting stories about them, and the reaction to them from the building's occupants. The ability of a representational work to clearly convey an idea or suggestion immediately makes its selection for a public art display a very difficult process - at least in the United States.

One artist who must have been very hard for Arkin (no pun intended) to select is the talented Joe Shannon, who regularly appeals in his own paintings, not only nude, but also often sporting a massive erection. But not the piece in this collection, "Two Poets with Champion," in which Joe does sneak in a shirtless male.

The physical attributes of the space itself, and the occupants themselves, also played an important role in Arkin's selection and placement process, as some of the city fathers and mothers "own" certain halls (where their offices are) and were part of the process for what "hung" there.

Tucked away in the furthest corner of one such hall is Michal Hunter's "The Fountain," a overtly sensual 1981 painting by one of Washington's top realists. There is no nudity in this work of two women enjoying the sun and refreshing themselves in a public fountain. But there's plenty of implied sensuality and Eros in this work, which may be the sexiest public art piece in the nation's capital.

The DC glass gods are also well represented in this collection (although so far ignored by DC area museums and curators, while at the same time being picked up by other American museums), with two mixed media pieces by Tim Tate and Michael Janis.

Photography is an important part in the collection, with the usual suspects represented by a mix of well-known work or new images. Works by top photographers such as William Christenberry, Maxwell MacKenzie, and Chan Chao are complemented by newly emerging camerartists such as Alexandra Silverthorne, Prescott Moore Lassman, Holly Foss and others.


Curators looking at Maxwell MacKenzie's new work

The collection is also well stocked with some of the District's top names from the "old school", such as Gene Davis, Jacob Kainen and Felrath Hines, while active well-known names such as John Winslow, Sam Gilliam, Michael Clark, Robin Rose, James Huckenpahler and others are also augmented by very good works by Pat Goslee, Jiha Moon, Lisa Montag Brotman, Anil Revri, Michele Banks and Andrew Wodzianski.

Not all is perfect. While looking at Kainen's two rather forgettable etchings in the collection (Blue Cocoon and Dr. Mabuse), I made the comment that I wasn't a big Jacob Kainen fan, which brought out an alarmed look and immediate response from Jonathan Binstock. We discussed the issue, and while I certainly admire Kainen's amazing work ethic and his persistence in making an art footprint in the District (which he did), I have never been particularly attracted to his work, although I will allow that a DC collection without a Kainen is missing a key component, so I am glad that he's represented here.

Talking about "missing," there are some notable missing names from this collection, such as Maggie Michael's talented husband (Dan Steinhilber), some Color School guys like Morris Louis (completely unaffordable at this point, so a donation would be nice), Margarida Kendall (same issue), Annie Truitt (same problem), Manon Cleary, Erik Sandberg, Molly Springfield, Kelly Towles, Mark Jenkins, Colby Caldwell, Kathryn Cornelius, etc.

Finally, I've been getting some emails complaining about the scarcity of sculpture in the collection. This is always an issue in "indoor" public art, as a large range of sculpture does not adapt well to being exposed and inside public buildings. But I think that Arkin did an excellent job of acquiring a good set of three dimensional works, such as the previously mentioned works by Tim Tate and Michael Janis, plus excellent pieces by Margaret Boozer, Marie Ringwald, Jae Ko, Andrea Haffner and F.L. Wall. Well-known sculptor Yuriko Yamaguchi is represented by an interesting litho.

I think that I know district area artists as well as anybody, and yet even I "discovered" some new artists who have excellent work in this collection. One such artist is printmaker Alexandra Huttinger, whose series of small linoleum prints not only capture a visual record of people, but also push the limits of that difficult medium. Brenda Hoffman's photographs also caught my attention (and that of a couple of the curators).

In spite of Sondra Arkin's spectacular effort, there are still plenty of empty walls left in this building, and it is my hope that the District of Columbia Commission on the Arts and Humanities will expand on this $400,000 investment and continue, on a regular basis, to grow the collection, and to add to it on a yearly basis, so as to truly make it into an almost Washington Art Museum.

Hirshhorn Museum Acquires 24 Contemporary Works of Art

From the Hirshhorn news release:

The Hirshhorn Museum has acquired 24 new works of art—many of which complement current holdings and reinforce the Hirshhorn's commitment to collecting key artists' work in depth, as the Museum’s founder, Joseph H. Hirshhorn did. Several of the works were included in recent exhibitions at the museum. Most notable among these acquisitions are 13 photographs from the "Seascape" series by Japanese artist Hiroshi Sugimoto, which were installed in one long dramatically lit gallery last winter as part of the acclaimed "Hiroshi Sugimoto" exhibition. These large-format photographs are the gift of The Glenstone Foundation, founded by Mitchell P. Rales. One photograph, "Caribbean Sea, Jamaica," (1980) was given in honor of Kerry Brougher, chief curator and director of art and programs at the Hirshhorn, who organized the Sugimoto exhibition.

"We are immensely grateful to The Glenstone Foundation for this generous gift. These works will be a highlight of the Hirshhorn's growing contemporary collection—and because Glenstone has given the entire seascape room from the exhibition, we will have the opportunity in the future to recreate the original installation in addition to presenting the photographs in other contexts," Brougher said.

Two of the new acquisitions are purchases from "The Uncertainty of Objects and Ideas: Recent Sculpture," the exhibition currently on view at the Hirshhorn: Rachel Harrison's "Pretty Discreet" (2004) and Isa Genzken's "Untitled" (2006). Works by Jim Lambie, whose recent site-specific "Directions" project transformed the museum's lobby into a lively, interactive space, were also acquired: "Male Stripper" (2003), a black-and-white striped floor installation, and "Boobaliscious" (2004), a sculpture made from glitter, PVC pipes and sequined tube tops.

A brightly painted and sculpted canvas by Washington artist Sam Gilliam, "Ruby Light" (1972), a museum purchase and partial gift of the artist and Marsha Mateyka, and a stacked and cut paper installation by Uruguayan artist Marco Maggi, "Hotbed (DC)" (2006), the gift of the artist, will increase the Hirshhorn's holdings of these artists, giving visitors a deeper understanding of the breadth and scope of their artistic production.

Several purchases by the museum bring artists into the collection for the first time, including three photographic works by Christopher Williams, a triptych by Troy Brauntuch and a framed collage by Al Hansen.

The Glenstone Foundation, was established by DC area ubercollector Mitchell P. Rales, who also happens to be on the Hirshhorn’s board.

City Hall Art Collection Comments

I've been overwhelmed by the number of comments that you have emailed me about the new City Hall Art Collection, and have somewhat fallen behind posting them. Below are a few, with more to come. I am also told that Jessica Dawson will have a review in the Washington Post this coming Saturday and there will be an article in the WaPo's Metro section on Thursday -- I think in the District Extra.

Comments:

Tim Tate wrote:

"At the opening last night at the Wilson building it was community building at its finest. Probably 3/4 of the artists represented were in attendance.... and they represented a comprehensive and thoughtful cross section of the Washington art scene, from the old guard to the newest burgeoning faces.

Sondra Arkin once again pulled off a wonderful flawless event with all the enthusiasm that she puts into Art-o-matic. While is was great to see surprises around every corner (from new artists you weren't familiar with to new directions from artists we knew), the real pleasure was to see work from the artists we've come to know well in DC. it somehow felt comfortable, as the city's collection should feel.

My favorite wall included works by Rima Schulkind, Margaret Boozer and Sean Hennessey. Each of these pieces worked incredibly well together and represented an established artist, a new artist and a new direction for another established artist.

Some of the work you hoped top see was there.... William Christenbery, Sam Gilliam and six wonderful Gene Davis pieces. Also some of the older school had some great pieces like Judy Jashinsky, and Richard Dana and Ellen Weiss.

Two smaller repetitive works had a great sense of discovery about them. One was from Georgie Deal and one from Lynn Putney, who share a similar sensibility. Also two smaller paintings by Andrew Wodzianski had all the depth and lusciousness of his larger works.

The collection as a whole was spectacular and extremely professionally well done. It seemed to have always belonged in that space. I hear there will be a second round of purchasing, so all those who didn't have work ready for the last call will be getting another chance. I'm sure Lenny will post it on his this site!"

Adam Griffiths wrote:

"Sorry to hear you didn't make the opening, it was pretty great. A lot of abstract work, but quite a variety of stuff. Presentation was great, although some pieces were tucked away in offices that weren't open until halfway through the night.

Wow! There was a lot of art to look at, and all of the selections were exceptional. There was an excellent Gilliam piece on the first floor, and two nice Renee Stouts.

And while I don't seek to make a large point of it, there really wasn't that much representational work in the show. In addition, it seems that wall-friendly work took priority over 3D artworks. There seemed to be plenty of places for sculpture to go in the building, but I guess when the building was remodeled, no one thought to put in more than the few 1st floor niches for future artworks. Otherwise, I must say I was quite pleased with it.

The complimentary catalogue was very beautiful and is definitely worth seeking out if you know someone who got one.

The place was really packed by 7pm and you could barely move in the center hall. Lots of people watched the opening remarks from balconies all the way from the 5th floor. Linda Cropp gave a speech that I could barely hear from the back of the room, but people were quite excited by it. Otherwise, the energy was pleasant just about everywhere I went, I saw some artists talking to folks about their work, and people eating the yummy fruit and buffalo wings from Whole Foods (there was a line at each table setting on every floor and the food lasted about an hour from 6pm to 7pm)."

Andrew Wodzianski wrote:

"The reception was a blast, and the collection is truly awesome in scope/breadth. I have only three
criticisms:

1) While a majority of the artwork had gorgeous frames, a few pieces suffered from poor presentation. Glare from glass was a main culprit.

2) I don't recall the submission requirements, but there were too few sculptures (in the round).

3) Political back slapping. Linda Cropp and Anthony Williams are windbags.

Still, those are minor complaints for such a large exhibit in such a large venue."

Karen Joan Topping wrote:

"Frankly, I'm impressed and amazed at the wonderful job that has been done with presenting the first group in the city's art collection.

The range of style displayed in the actual art objects purchased was professional, daring, and spot on. With only, what-153 pieces?, from established and emerging artists alike it is a collection that is ready to expose DC artists to a broader audience. From Margaret Boozer's process-oriented clay relief wall hanging to Judy Jashinsky's character portraits, to Pat Goslee's abstract encaustic painting, all in addition to some household 'names', the collection definitively gives voice to the great range and depth of talent that has been present in DC for decades.

Yet, as a 15 year artist-resident of DC, what I am most refreshed by is that while the art scene in DC may have been provincial in the past, this collection stands as tangible proof that the actual art & artists are not and never have been the P-word. It seems like the rest of the city is finally catching up with what those of us practicing in 'the field' already knew.

I was quite amazed to see the number of catalogs and maps that were given away at the opening. The business side of my brain says BRAVO - commitment to that kind of documentation will do wonders for promoting the city and no doubt inject a new fire into a 'scene' that has come a long, long way. That kind of fancy paper is one of the best ways to get non-artists on the outside of the scene to come on in because it lets them bring the experience into their home and life in a tangible way. Bravo to the city for financially making it happen.

I've only read about half of the catalog. There's a surprising amount of text, though given the weird color on a few of reproductions, I guess they had artist’s provide their own reproductions. I’d be curious to know.

If I have any criticism, it is that while each of these authors that contributed has done a great job capturing a slice of the collection, the fact that one section reads like an art history text, another like a press release, another a scientific manual; I find it a bit jarring. Turns out I know a few of these authors, so while I know why their piece sounds like it does, maybe a little more than a job title by each authors' name would have introduced each specific POV.

I'm being uber-critical here because the catalog is really, really nice and having worked at a museum and been on the fringes of the trials involved in making this kind of document, what is present in this HeART of DC catalog is an aspiration for producing a catalog nothing short of the gold ring, it just so happens on this first time around they only got the silver.

But that is just in terms of the catalog, which is a fleeting document at best. I'll say it again, the conceptual work that went into these first purchases and the quality of the art objects-SPOT ON!"

Also, JT Kirkland has a quick set of comments here.

And later this week, together with several DC area art museum curators, I'll be walking the collection myself, and hope to provide you with my and their comments.

Save this date

October 31, 2006.

That's when the new City Hall Art Collection at the John A. Wilson Building in Washington, DC will make its debut with a reception for the artists and the artwork from 5-7PM.

This huge new public art collection (around 175 works by approximately 100 artists) is now the key collection of Washington, DC area based artists, from the big names like Gilliam, Winslow, Tate, Christenberry, Kainen, Chao, Yamaguchi, MacKenzie, Stout and others, to the emerging artists and perhaps even a "barely emerging" artist or two.

Some nitty-gritty info:

- You must RSVP to Carolyn Parker or call 202-724-2042.

- All persons must show photo ID to enter this building.

- There are a number of parking garages nearby, but they highly recommend public transportation.

- Enter through the Pennsylvania Avenue entrance.

- Artists in the collection should enter through the D Street entrance (around back) and sign in at the VIP Center.

- Remarks begin at 6:00 — you may arrive as early as 4:30 for sign-in and looking at the artwork.

There will be "maps" of the collection at the Opening Reception and at the Security Desk in the future to help visitors find where the art is hung. Art will be on the Ground floor through the 5th Floors in public hallways.

There will be a commemorative book published to mark the occasion. Every adult visitor to the Opening Reception will be receiving one copy (as supplies last). An image of at least one work from each of the artists in this inaugural phase is included. There were five essays written (including one by yours truly) on the different topics/clusters of the collection, and many of the artists are mentioned in the text.

They are looking for volunteers to help out with the reception. To volunteer, please email Ebony Blanks at Ebony.Blanks@dc.gov.

See ya there!