Just back from spending the day burning in the sun at the Bethesda Fine Arts Festival.

It was great! Lots of people, and I sold quite a bit of work... in fact I came home ready to frame new pieces for tomorrow, but got engaged on the phone in a great conversation with a kindred ancient soul and now it's too late for framing, so instead I'm posting some recent thoughts and news.... see below.

Come see 120 plus artists tomorrow at the Festival. I'll be there.

Do you want to know why art criticism can never ever be objective, but always comes loaded with a critic's personal agenda?

Read Blake Gopnik's piece in the Post. Gopnik does not like painting, and subscribes to the somewhat dated and debunked theory that "painting is dead."

Since painting refuses to die, and collectors refuse to let it die, and dealers refuse to let it die, and curators refuse to let it die, the pushers of this antiquated theory that once made news in the 60s, try to rationalize it, as Gopnik brilliantly does in this piece.

However, once you realize that this is on the "agenda" of a particular art scribe, it sounds as empty now as it did in ther 1960s.

Notice how he labels Robert Hughes, one of the planet's most respected and influential art critics, and probably the best-known contemporary art critic in the world, as "Conservative" simply because Hughes would bury the "painting is dead" slogan in the same grave as "happenings" from the 60s and 70s.

It is a shame that such a gifted and influential writer as the Washington Post's chief art critic is, will go all the way to London to visit that distant city's art galleries, but cannot be bothered to visit or write about his own city's art galleries on a regular basis.

Yawn...

One of the things that seems to have hindered the visibility of the Greater Reston Arts Center is the development of a genuine and credible exhibition committee or group or guidance to advise on the programming and exhibition philosophy of the new Arts Center.

In my opinion, after sliding by far too long with inconsistent policies and practices, I’m happy to report that a friend of mine tells me that such a panel was instituted a few weeks ago!

She says that the new panel is being chaired by Michael Monroe, formerly of the Renwick. GRACE will be retaining Deborah MacLeod (former director of McLean Project for the Arts) to help develop and/or curate a new direction in their programming and exhibitions.

I am posting this because I hope this means that GRACE is moving in the right direction. It is a very nice space, and having curated a show there a few years ago, I really want to see them become a firm member of our arts tapestry.

GRACE also needs to do something to restore the reputation of their Northern Virginia Fine Arts Festival, which has slipped in the last couple of years, and was even boycotted by many artists last year for their huge price increase for an exhibition booth. This is one of the great outdoor art festivals in the nation, but it needs to be more artist-friendly.

Tomorrow and Sunday is the inaugural Bethesda Fine Arts Festival. The event will feature 120 national artists representing photography, painting, jewelry, furniture, pottery and mixed media, plus live entertainment and Bethesda's best restaurants. The artists' booths will be around Bethesda's Woodmont Triangle along Norfolk and Auburn Avenues.

See you there!

Artist Studios

Artist Studio Space Available at Passageways Studios, Riverdale.
$185 per month, approximately 200sf, skylight, 24hour access, all utilities included. For more information call Debbie Hoeper at phoeper@aol.com or call 301-622-2915.

Studio Space Available. Located on Rhode Island above the Mount Rainier Post Office. Space is approximately 2300sf, excellent light with northern and southern exposure. Suitable for graphic design artists, painters, musicians. $8/sf. Call 202-746-1038 for more information.

Tonite is the Bethesda Art Walk from 6-9 PM and we're hosting an opening reception for the second solo show by Tim Tate.

Tim Tate, the 2003 Washington DC Emerging Artist of the Year, is an openly gay artist who has been HIV-positive for over 20 years and who now finds himself as one of the hottest and rapidly rising artists in our region. Read the Washington Post pick here.

Seventeen galleries and shops participate in the Bethesda Art Walk.

See you there!

The Arts and Humanities Council of Montgomery County (AHCMC) will hold a workshop on how to prepare an application for Fellowships for Artists and Scholars. This one-hour workshop will be held Thursday, May 6 at 7:00 p.m. at AHCMC, 4405 East West Highway, Suite 401, Bethesda, MD. The workshop offers a step-by-step approach on how to prepare an application for a Fellowship. There is no charge to attend.

Fellowships are available in five categories:
1) visual arts
2) media arts
3) solo dance performance or choreography by an individual
4) history and social sciences
5) historical, critical or theoretical approaches to the arts.

Fellowships of up to $3,000 each provide will funding to an individual to support his/her artistic or scholarly development. The artists and scholars selected must have a minimum of four years of achievement in an art or humanities discipline and must have presented or participated in at least one art or humanities activity in their discipline in Montgomery County during the three years preceding the application deadline. Applicants must have been a resident of Montgomery County for at least 12 months prior to submitting the application.

The application deadline is Tuesday, June 29 at 5:00 p.m. Funds are awarded for use between November 1, 2004 and June 30, 2005.

Prospective applicants are urged to call AHCMC at 301-215-7227 to reserve a space in the workshop, to obtain more information, or to inquire about other grants for which they may be eligible. The Fellowship application is available by sending an e-mail to grants@creativemoco.com.

Opportunity for photographers...

The Rawls Museum of Arts, which is directed by a very talented and hard working director (Leigh Anne Chambers), has a call for photographers for its annual juried competition.

Entries will be received at RMA from 10-5, Friday, September 3, and September 4 and 5 from 1-5. RMA reserves the right to deny entry of any work considered not suitable for display. Exhibition dates are September 10 – October 3, 2004. Call them at 757-653-0754 for a prospectus.

I'm back from Norfolk...

The best way to buy art supplies is from catalogs, and now Dick Blick, one of the best is having a sale.

Call for Sidewalk Art in Takoma Park
Deadline: Tuesday, June 08

The City of Takoma Park is soliciting proposals for sidewalk art. The selected work is to be incorporated in a larger streetscape project planned for Carroll Avenue this summer.

ELIGIBILITY: Open to all artists or artist teams

PROJECT BUDGET: $10,000 (includes but is not limited to artist fees, materials, fabrication, and installation)

DEADLINE FOR PROPOSALS: Proposals must be submitted to the City of Takoma Park's Procurement Officer, 7500 Maple Avenue, Takoma Park MD 20912, by 5:00 pm on June 8, 2004.

GENERAL DESIGN CONSIDERATIONS: The selected artwork is to be located along one side of the Carroll Avenue sidewalk and installed at ground level. It must be essentially flush with the surface of the sidewalk to avoid the creation of a tripping hazard.

The area in which the selected artwork is to be installed is best described as a slightly undulating 6-inch ribbon or strip, 800-feet in length that is broken up by driveways and intersecting streets and private walks. The selected artwork will be located along the sidewalk, nearest the residences. The sidewalk, to be constructed of poured concrete, will be 4-inches thick.

The following general design considerations have been developed to guide the selection of the artwork.

·Artwork should be of an original, site-specific design and may include text, found objects, texture, ornamental symbols, and/or color.

·Artwork may be continuous in its appearance or located at scattered sites along the defined project area. It must not impede or hamper the smooth flow of pedestrians along the sidewalk or create a tripping hazard.

·Artwork should be complementary to the historic context and architectural character of the neighborhood and planned streetscape improvements.

·Artwork must withstand prolonged exposure to local weather conditions.

FOR ADDITIONAL INFORMATION: More detailed information and a copy of the Request for Proposal can be found on the City's web site at www.cityoftakomapark.org

For more info:
Takoma Park
t: 301.891.7224 or SaraD@takomagov.org

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Gateway Georgia Avenue Revitalization Corporation is seeking arts teachers for all ages for a first floor 350 sq.ft. classroom space with lots of natural light. Beginning in September, the space can be used for dry art classes, such as painting, drawing, quilting, crafts etc.

The classroom space will be a part of a proposed 3,100 sq.ft. arts incubator with artist studios and a gallery. The space sits under a newly-renovated apartment building in Silver Spring, on the corner of 13th and Kennett St. with public parking across the street. According to the Dept. of Housing and Community Affairs, 1,400 units of new housing will be built within a 2 block radius of the space over the next 3 years. The adjacent Shepard Park community has an average household income of $138,523 and 23% of the households have children.

If you have any questions, or are interested in learning more about teaching opportunities at the space...

For more info:
Gateway Georgia Avenue Revitalization Corporation
t: 301.562.1400 or f: 301.562.5945 or david@gatewaycdc.com or www.gatewaycdc.com

Nicely sunburned from the Bethesda Artist Market yesterday... nice crowds and about 30 artists showed up.

I'm heading down to Virginia Beach for the rest of the week to do some lectures. Will try to post more stuff tonite.

One of the things that still amuses me, is how terrified most people are of actually entering a gallery.

As those of you who have been to our Bethesda gallery know, the gallery is encased in glass. In other words, the entire inside space is exposed to the square of Bethesda Place because all the exterior walls are made of glass.

This is bad for heating and/or cooling costs ($400 a month), but good because the entire exhibition is always visible from the outside.

Therein lies the problem!

99.9% of all people will circumnavigate the outside walls, cupping their hands and peering in... sometimes they go around several times, like sharks, and often point and discuss the artwork. And yet they never come in!

Every once in a while, when our former neighbor in the square (Discovery Channel) and now our new neighbor (Comcast) holds a fire drill, the square is filled with several hundred people at once. The drills last maybe 45 minutes.

And the masses walk around the gallery, looking in through the glass, discussing the art, and out of hundreds of people, maybe two or three brave souls dare to come in, but not before asking "is it OK to come in?"

And on Sundays, our other neighbor, the Original Pancake House has a hour waiting list, which means that 40-50 people are always hanging around the square. And yet, despite the fact that they circle around and peer in, only a precious few ever come in (although our biggest sales ever have been to some of those Sunday pancake eaters!).

Often, in the spring, we have the two front doors propped open. And this also causes some interesting situations. Every once in a while, someone will stand on the outside of the opened doors, and stretch (as if as the end of a precipice) and look inside for a few minutes. It is as if one of those Star Trek force fields is between the door line and the gallery.

Even a smile and a "you can come in" often just gets a silent smile back... not even a response.

My conclusion: there's something about an art gallery that terrifies most people. I call it galleryphobia and have defined it as:

Galleryphobia (Gall-e-ree-pho-bya) – The unjustified, deeply rooted fear of actually entering an art gallery. Usually exhibited by attempting to see the entire exhibition through the glass windows from the outside, rather than stepping into the welcoming, temperature-controlled space.

This coming Sunday is the Bethesda Artist Market and I will be there along with 30-35 area artists selling artwork. Goes from 10-5:30 PM at Bethesda Plaza.

More info here.

Not often that a new masterpiece is "discovered."

A small but anatomically correct wood carving statute of Christ on the cross is set to "cause a stir in the art world this weekend as it appears in Florence for the first time, billed as a hitherto unknown masterpiece by the city's most famous artist, Michelangelo Buonarroti."

Regular DCARTNEWS reader Darin Boville makes a good point about my posting below and that we shouldn't snicker at Shreveport's awful sculptures when we have atrocious sculptures like the unfortunate Korean War Memorial - a magnificent design by the way - but awfully executed by sculptor Frank Gaylord.

Some of the figures are way out of any human proportion that I know of... also some of the hardware is as if the sculptor had taked toy guns and made molds from them....

In fact, the more I think about it, the more I convince myself that our Korean War sculptures are worse than the MLK memorial statutes in Shreveport!

This is so funny! DCARTNEWS reader and area artist James W. Bailey sent me this great link announcing that the city of Shreveport had won "bad art poll" and not only that, but it also received over 40% of the vote!

It seems appropriate that Picasso, perhaps the world's greatest artist ever, is the first one to smash the $100 million dollar auction price. Read the Sotheby's story here.

Norman Rockwell's Four Freedoms: Paintings That Inspired a Nation opens on May 15 and runs to my birthday on September 6th! at the Corcoran Gallery of Art.

Co-organized by the Corcoran Gallery of Art and the Norman Rockwell Museum and presented in conjunction with the dedication of the new National World War II Memorial, Norman Rockwell's Four Freedoms: Paintings That Inspired a Nation celebrates four of the artist's most well-known paintings.

Rockwell created Freedom of Speech, Freedom from Want, Freedom of Worship and Freedom from Fear after President Franklin D. Roosevelt's speech addressing these four fundamental freedoms of all Americans in 1943 (except of course, for Americans of Japanese ancestry).

Rockwell's unexpected rise to the upper crust of the fine arts world, after being maligned for so many decades, and in spite of the dislike of his work by many elistist curators, has been a pleasant surprise of the modern art scene.

Only Nixon could go to China and only Rockwell could paint stuff like this back in the 60s.

The District of Columbia Arts Center is one of the great cultural jewels in our city, and next Friday they will be celebrating their 15th anniversary with a gala at historic Halcyon House in Georgetown.

Since its inception in 1989, DCAC has presented more than 100 visual art exhibitions and well over 500 performance events. Poets, painters, actors, storytellers, sculptors, and performance artists have been drawn to DCAC, which features an 800-square-foot gallery and a 50-seat black-box theater. This interdisciplinary arts space is a vital cultural asset in our area. Last year alone, the DCAC gallery's programming included 11 visual art exhibitions featuring six D.C. artists, as well as artists from Cuba, Miami, Philadelphia, Croatia and Taiwan.

The gala will feature food, open bar, 10 piece band, outdoor performance, and the huge studio of artist John Dreyfuss - the largest artist studio in DC and possibly one of the largest in the world. I've been to Halcyon many times, and just a visit to this gorgeous house is worth the admission price. For more details, contact DCAC at 202.462.7833.

Next Friday, on May 14, from 6-9 PM we're hosting an opening reception for the second solo show by Tim Tate.

Tim Tate, the 2003 Washington DC Artist of the Year, is an openly gay artist who has been HIV-positive for over 20 years and who now finds himself as one of the hottest and rapidly rising artists in our region.

Tate has had an extraordinary couple of years, with some spectacular accomplishments. Amongst these, in addition to being selected as the "Washington DC Emerging Artist of the Year" at the last Annual Mayor's Arts Awards, Tate also recently won the international design competition for the International AIDS Monument to be built in New Orleans, he also founded the Washington Glass School - already a prime arts force in our community. He is also the Founder of the Gay and Lesbian Artist Group in Washington, DC.

His work has recently been acquired for the permanent collection of the Smithsonian's American Art Museum's Renwick Gallery and last week, together with Whitney Museum Curator Lawrence Rinder, he was a key panelist in the Hirshhorn Museum's panel on Arts and Healing.

Tate works in glass, and nearly all of his imagery deals with HIV and healing. He is considered by many to be the finest contemporary glass artist in the region, and is a brilliant creative talent who has gone beyond mastery of the technical skills of the art of fine art glass and is now pushing the genre into new areas where content is the prime force behind the work. Tate marries his artwork with intelligent ideas and conceptual dialogues that bring forth reactions, opinions and set forward a whole new conversation and path for the genre of fine art glass.

Using events and details from his personal life as well as public issues, Tate incorporates this as a rich set of conceptual ideas so that his work is no longer about the technical frontier of the art glass genre, or the use of colors and forms – it is all that and more.

How? Tate breaks new ground by adding a new vocabulary to the genre: A vocabulary made of content that requires and understanding of what the artist wants to express. In doing so, Tate has absolutely changed and refined his art and vision, a change that was first kindled by the death of his mother, which he expressed by an obsessive desire to create small, beautiful glass hearts, which have nothing to do with religion, but childhood memories of JFK imagery in his home. In another series of works, dealing with HIV, undefined forms within tall cylindrical towers of nebulous glass come into focus as the towers are spun – defining symbols and crosses that represent cures for diseases, both physical and cultural.

Tate studied at Dale Chihuly’s Pilchuck Glass School in Washington State, Corning Glass in New York and Penland School of Crafts in North Carolina.

His first solo exhibition at Fraser Gallery Georgetown in 2003 sold out, and we currently have him scheduled to open this new show at Fraser Gallery Bethesda on May 14 through June 8, 2004. Titled "I Never Claimed to Have a Map to Get to The Heart Of This Or Any Other Matter...." at this exhibit Tate will open a new series of works in glass addressing his obsession with HIV and healing.

Ken Trapp, former Curator in Charge of the Smithsonian's American Art Museum's Renwick Gallery has written the following about Tate's new work that we will be exhibiting this next month:

"HEART-SHAPES WITH FLAMES ATOP AND WORDS ACROSS THEIR FRONT, SLICES OF GLASS LAID ONE ATOP THE OTHER TO CREATE A SOLID VESSEL IMPRISONING A FIGURE, AND STILLED BODIES EMBEDDED IN A GLASSY TOMB, ARE SOME OF THE SUBJECTS IN TIM TATE'S MOST RECENT EXHIBITION "I Never Claimed to Have a Map to Get to The Heart Of This Or Any Other Matter...."

AND YET THESE OBJECTS ARE NOT MORBID OR REPULSIVE. BY TAKING ON THE CLICHES OF OUR CULTURE TATE LAYS DOWN A CHALLENGE FOR HIMSELF, A CHALLENGE HE IS UP TO. IT IS EASY TO MISREAD HIS IMAGES: HE MUST BE A DEVOTED CATHOLIC, FOR INSTANCE.

FOR TATE, THE OBVIOUS IS NEVER SO CLEAR. HE SUBVERTS THE SACRED BY TREATING ICONS AS SECULAR IMAGES---A HEART IS NOT NECESSARILY A HEART, BUT AN IMAGE FILLED WITH CONTENT. HIS USE OF TEXT IS NEVER TRITE OR PANDORING, BUT RATHER TAKES US ON HIS PERSONAL ODISSEY OF HEALING.

IN OTHER PIECES, HIS FIGURES ARE VEILED AND COVERED, ONE WITH THEIR MATERIAL OF IMPRISONMENT, REMINDING US OF TATE'S FEELINGS OF INVISIBILITY IN SOCIETY. IT IS IMPOSSIBLE TO SEE SUCH FIGURES AND NOT BE REMINDED OF HOW MUCH THE DISCOVERY OF SELF IS A DAILY EXERCISE OF UNCOVERING LAYERS WE HAVE ASSUMED OR IMPOSED ON OURSELVES. THIS SHOW REPRESENTS A JOURNEY WORTH EMBARKING ON......