The exhibition is currently on view at the S. Dillon Ripley Center, Smithsonian Institution through November 29, 2004. It will then tour for one year throughout the U.S.
The grand prize winner, Sunny Taylor, is a self taught hand and foot artist (only 22 years old) who is a spectacular painter.
Monday, October 25, 2004
Sunday, October 24, 2004
The Cuba series
These pieces below are from a set of about 100 watercolors, mixed media, oils, acrylics, and prints that I did either for one of my senior year exhibition projects at the University of Washington School of Art in 1981 as well as class assignments through the years (1977-1981). Probably 80 of these have sold over the years. They all have the map of the island of Cuba as the focus. There are also a few pre-art school works as I started this series around 1972 or so when I was in High School.
Update: Some of these images are from owners that bought some of these sending them to me... in some cases I had not seen them in years!
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"Isla Prision (Prison Island)" c. 1980, Ink wash and wood rods on paper In the collection of The Cuban Studies Institute, Miami, Florida |
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| "Isla Prision" Monoprint enhanced with Charcoal and pins, c.1980 In a private collection in New Jersey |
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| "Isla Prision" Monoprint enhanced with watercolor and pins, c.1980 In a private collection in Florida |
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| Isla Encadenada Acrylic on paper with metal chain, c. 1979 |
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| Isla Encadenada Colored pencils on paper with metal chain, c. 1979 |
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| "Isla Herida" c. 1978 |
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| "Donde crece la palma" 1978 |
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| "The Island that Time Forgot" 1981 |
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"Mi verso es un ciervo herido Que busca en el monte amparo" 1979 |
"Isla Roja" (Red Island) 1981
"Isla Carcel" (Jail Island) 1981
"Isla Encarcelada" (Jailed Island) 1981
"Isla Ensangrentada" (Bloodied Island) 1981
"Isla Encadenada" (Chained Island) 1981
Isla Pesadilla (Nightmare Island) 1981
Isla en Jaula (Caged Island) 1981
"Isla en Goma" (Inner Tube Island) 1981
"Isla Prisionera" (Prisoner Island) 1981
Isla Deshuesada (Deboned Island) 1981
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| "Isla Llorona", oil on board c. 1978 |
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| "Isla Abandonada (Abandoned Island)" Oil and Acrylic on Gessoed Board, 8x10 inches, c.1979 In a private collection in Hialeah, Florida |
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| "Isla Clavada (Nailed Island)" 1980 Color pencils and embedded nails |
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| Nubes Lloronas, Oil on board, c.1979 |
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| "Isla Llorona", oil on board, c.1978 In the collection of Queens' University, Charlotte, NC |
Cuba, Isla Desbaratada (Cuba, Disassembled Island). Pen and Ink. 2009.
Cuba, Isla Encarcelada (Cuba, Jailed Island). Watercolor and Wire. 2009.
Cuba, Isla Judia (Cuba, Jewish Island). Watercolor. 2009.
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| Isla Prisionera In a private collection in Miami, Florida |
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| Isla Balsera Location Unknown (Sold at Pike Pace Market, Seattle in 1978-79) |
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| "Isla Balsera (Raft Island)" - Happy Birthday America, Wishing We Were There! Collage on Paper, Framed to 30x40 inches, c. 1976 Was in a private Collection in New Jersey - donated to American University Art Museum in 2015
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Saturday, October 23, 2004
One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art.
Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.
The married couple:
"Do you like it?"
"Yeah, I like it- it's just what we've been looking for."
"Where would we put it?"
"We have a couple of spots that it'd fit."
"Do you really like it."
"Yeah, how about you?"
"Yeah, I kinda of like it."
"Should we get it?"
"If you want it."
(five minutes later)
"Let's think about it."
"OK" [To me] "Do you have a business card?"
The couple (not married):
Her: "Do you like it?"
Him: "Sssoright"
Her: "Where would we put it?"
Him: "Dunno."
Her: "Do you really like it."
Him: "So'OK.. Yeah, how about you?"
Her: "Yeah, I kinda, sorta, really like it."
Him: "Dunno though"
Her: "What? You don't like it?"
Him: "If you want it."
(five minutes later)
Him: "Let's think about it."
Her or Him: "OK" [To me] "Do you have a business card?"
The Single Woman (SW) with a Woman Friend:
SW: "WOW! Now, I really like this!"
Friend: "Yeah... it's nice"
SW: "It's exactly what I've been looking for!"
Friend: "I have a friend who does work just like this..."
SW: "I am really drawn to it!"
Friend: "Are you really sure you like it?"
SW: "Uh - yeah!... why? Don't you like it?"
Friend: "Yeah... it's OK"
SW: "I think it's really good... I think it's the first piece in this whole show that I really like."
Friend: "There's a few more booths we haven't seen."
SW: "I think I'm going to buy this."
Friend: "Are you sure?"
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?"
(five minutes later)
SW: "Do you have a business card?"
The Single Woman (SW) with a Man Friend:
SW: "WOW! Now, I really like this!"
Friend: "Yeah... Cool"
SW: "It's exactly what I've been looking for!"
Friend: "I think it's a lithograph" [it's actually a charcoal]
SW: "I am really drawn to it!"
Friend: "Are you really sure you like it?"
SW: "Uh - yeah!... why? Don't you like it?"
Friend: "I have something like it... I got it cheaper though..."
SW: "I think it's really good... I think it's the first piece in this whole show that I really like."
Friend: "You like lithographs?"
SW: "I think I'm going to buy this."
Friend: "Are you sure?"
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?"
(five minutes later)
SW: "Do you have a business card?"
The Single Focus Dream Buyer:
[Walks straight up to one piece, never looks at the rest of the work in your booth]
"I'll take this"
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
"Charge"
[Me] "I can send you more information on this artist..."
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?"
"No, thanks..."
The "I'm glad you're here guy (IGYHG)":
IGYHG: "Hey! I've been looking for you!"
[Me]: "Hi, how are you?"
IGYHG: "... been walking this whole fair looking for you!"
[Me]: "Yeah... lots of dealers this year... glad you found us!"
IGYHG: "Howsa been goin'?"
[Me]: "Yes... quite good actually..."
IGYHG: "Well, let me look at what you've got!"
[three minutes later]
IGYHG: "Well... I'm glad you're here... see ya next year!"
The "I Shudda Bought It Last Year Guy (Shudda)":
Shudda: "Hey! You're here again!"
[Me]: "Hi, how are you? Yeah... It's our 7th year here..."
Shudda: "... been walking this whole fair looking for you!"
[Me]: "Yeah... lots of dealers this year... glad you found us!"
Shudda: "Howsa been goin'?"
[Me]: "Yes... quite good actually..."
Shudda: "Well, let me look at what you've got!"
[three minutes later]
Shudda: "Where's that really good watercolor of the fill-in-the-blank?"
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist."
Shudda: "Ah! - I really wanted that one! Do you have another one?"
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---"
Shudda: "I really wanted that piece; and it was a good price too..."
[Me]: "Maybe you'd like some of his new work..."
Shudda: "I shudda bought it last year"
[Walks away]
Shudda: "You gonna be here next year?"
The "Where's That Piece Guy (WTP)":
WTP: "Hey! You're here again!"
[Me]: "Hi, how are you? Yeah... It's our 7th year here..."
WTP: "... been walking this whole fair specifically looking for you!"
[Me]: "Yeah... lots of dealers this year... glad you found us!"
WTP: "Howsa been goin'?"
[Me]: "Yes... quite good actually..."
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! "
[Me]: "Yeah... that is a nice piece."
WTP: "I've been thinking about it for a whole year"
[Looks around the booth and doesn't see it]
WTP: "Do you still have it?"
[From here there are two paths...]
Path One -
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist."
WTP: "Ah! - I really wanted that one! Do you have another one?"
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---"
WTP: "I really wanted that piece; and it was a good price too..."
[Me]: "Maybe you'd like some of his new work..."
WTP: "I shudda bought it last year"
[Walks away]
WTP: "You gonna be here next year?"
Path Two
[Me]: "Let me get it for you... I have it in the back!"
WTP: "Great"
[I bring it out and give to WTP]
WTP: "Yeah this is it! It's great!"
[Me]: "This artist has done really well this last year and ---"
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?"
Michael O'Sullivan reviewed the Ana Mendieta retrospective at the Hirshhorn on Friday and makes an interesting connection in Mendieta's art.
One of seven pieces by O'Sullivan on Friday!
Friday, October 22, 2004
Thursday, October 21, 2004
The Controversy that won't go away.
Both Tyler Green at MAN and J.T. Kirkland at Thinking About Art, as well as Chris Shott at the Washington City Paper (who beats all other DC published media and breaks the story today), are seeing unidentified black helicopters flying between DCCAH and the Corcoran.
Not so sure myself, but as much as I trash the Post for their lack of visual arts coverage, I am still stunned that this whole controversy has been ignored so far by the world's second most influential newspaper.
I know that Jonathan Padget is working on this story for his "Arts Beat" column; but it is not scheduled to come out for another week.
Why not allow this story to be printed in the Post now, when the issue is hot!
I should know better.
If this had been a case of Septime Webre over at the Washington Ballet firing a guest choreographer because he excluded dancers that had participated in a rap video dance scene a year earlier, from the new Washington Ballet version of The Nutcracker then we'd be reading about it everyday in the Style section.
Makes my head hurt.
Letter to the Editors by James W. Bailey
To The Readers of D. C. Art News,
I have distributed the following Letter to the Editor to the national arts press, as well as the general mainstream media.
I am very appreciative of Mr. Campello allowing me to post this Letter to the Editor on DC Art News.
Sincerely,
James W. Bailey
LETTER TO THE EDITOR
Should Art Curators Enjoy the Same Basic Rights of Freedom of Artistic Expression that Artists Enjoy?
by James W. Bailey
I am an experimental photographer from Mississippi who currently lives in Reston, Virginia. I am also a member of the WPA/Corcoran.
I have taken a very strong public stand in support of freedom of artistic expression for curator, Philip Barlow, who was recently fired by The Board of Trustees of The Corcoran Museum of Art and the WPA/Corcoran. Mr. Barlow was hired by the WPA/Corcoran to curate a cutting-edge exhibition called OPTIONS 05.
D.C. art critic, Mr. F. Lennox Campello, first broke this story on his blog, DC Art News, a week ago. The story was immediately picked up by D. C. art critic, Mr. J. T. Kirkland, on his blog, Thinking About Art, which has featured an ongoing debate over this issue. Mr. Tyler Green, national art critic for the Bloomberg news service, has come down firmly in support of artistic and curatorial freedom for Mr. Barlow on his site, Modern Art Notes, and opposes the actions taken by the Board of Trustees of the Corcoran Museum of Art and the WPA/Corcoran. The story is now entering into the mainstream media.
In the interests of full disclosure, I believe that I was under consideration for this major exhibition by Mr. Barlow.
Mr. Barlow is, in my opinion, a victim of curatorial censorship committed by the Board of Trustees of the Corcoran Museum of Art and the WPA/Corcoran. I believe that both artists, and curators, deserve to be protected by the same basic principles of freedom of artistic expression.
I subscribe to a definition of freedom of artistic expression that can be read on the web site of The National Campaign for Freedom of Expression: www.thefirstamendment.org/ncfe1.htm.
"Freedom of artistic expression is the principle that an artist should be unrestrained by law or convention in the making of his or her art. Artistic freedom is vital to both the cultural and political health of our society. It is essential in a democracy that values and protects the rights of the individual to espouse his or her beliefs.
Just as our nation’s free speech heritage protects the rights of artists to create, display, perform, and sell their artwork, so too does it protect the rights of the general public to dislike, criticize, and be offended by artwork. What we will call a 'challenge' to the freedom of artistic expression is more than mere criticism or commentary. A "challenge" arises when the critic takes the significant leap from merely voicing distaste of the art to questioning its right to exist or be seen, and seeking to stop its exhibition or performance.
Artistic freedom is threatened when art is challenged because of its content, message or viewpoint, rather than because of its aesthetic qualities or artistic merit. A challenge may be motivated by disagreement with the perceived message or the fear of negative public reaction. A challenge may be part of an organized effort to protest specific social issues. Challenges may come from members of the general public, representatives of organizations, or governmental officials. Challenges may also originate from within the arts community—for example, from curators, artistic directors, or funders."
The WPA/Corcoran issued a press release that justifies in their mind Mr. Barlow’s dismissal as follows:
"While it is the responsibility of a curator to exercise both professional and personal judgment in the selection of works of art, this process must be based upon the artistic merit and suitability of the works in question to the themes or purposes of an exhibition or its related materials. It is inappropriate to base curatorial decisions upon the political, social or intellectual opinions an artist may hold, upon an artist’s personal behavior, personal life, or relationship to the curator or to the institution."
My Words:
I ask your readers to substitute the word curator in the above WPA/Corcoran response with the word artist, and the word selection with the word creation. I do not know a living artist on this planet with any intellectual credibility who would embrace such a definition of artistic freedom as an artist.
I have taken a very activist stand concerning what I believe to be a blatant act of curatorial censorship regarding the WPA/Corcoran’s actions taken against Mr. Barlow.
My argument is very simple: I believe that curators should enjoy and be protected by the above definition of artistic freedom of expression and that this definition of artistic freedom for curators should be embraced by the visual arts community.
Dr. David Levy, President and Director of The Corcoran Museum or Art, and Ms. Annie Adjchavanich, Executive Director of the WPA/Corcoran, and I have agreed to disagree on this subject. I have deep respect for both of them and respect their opinions.
I firmly believe that curators should not have to operate under a different definition of artistic freedom than that that all artists of integrity would claim for themselves.
I am convinced that a national dialogue needs to take place in the art world on this subject. If anything positive comes out of this episode concerning the WPA/Corcoran and its relationship with Mr. Barlow, it will be a resultant dialogue that I hope will lead to an expansion and embracing of a consistent definition of freedom of artistic expression for both artists and curators.
I am urging The Board of Trustees of the Corcoran Museum of Art and the WPA/Corcoran to reverse its position and reinstate Mr. Barlow as curator for OPTIONS 05.
I am also offering to withdraw my name from consideration as an artist for OPTIONS 05.
Artists and curators have given their lives for the cause of artistic freedom of expression around the world.
My potential sacrifice is but a fraction of a molecule of a single drop of water from the ocean in this cause. But I will willingly make it, and more if necessary, to see the right thing be done in this situation.
Rules, policies, procedures, guidelines and laws do not create great art; nor do they inspire great artists or great curators.
Freedom of artistic expression inspires...
Sincerely,
James W. Bailey
Experimental Photographer
Force Majeure Studios
2142 Glencourse Lane
Reston, Va 20191
Ph: 703-476-1474
Cell: 504-669-8650
Email: jameswbailey@comcast.net
URL: http://jameswbailey.artroof.com
Via AJ:
"The art experts climbed four flights of stairs in a dingy block of flats in the north-west of Spain, with dwindling hopes."
When they met the old man who had responded to the Christie's ad, "He went off to hunt in a cupboard in another room, and fetch the proverbial brown envelope - and out of it came this wonderful thing."
It was an original painting by El Greco!
Read The Guardian story here.
Thursdays, according to the mid page banner on page two of the Washington Post's Style section, is supposed to focus on Art Galleries and Art News.
Over the last three years or so, the third Thursday of the month has seen the "Galleries" column do a set of mini-reviews, while the "Arts Beat" column, which used to come out every Thursday, has all but disappeared and now comes out every two weeks. I like the mini-review format once a month, but I regret the loss of the weekly "Arts Beat" column.
In today's "Galleries" column Jessica Dawson delivers a set of mini-reviews and reveals that Signal 66, one of her favorite galleries over the years, is closing at the end of the month.
However, much like the cosa nostra kiss she gave the Troyer Gallery when that gallery closed earlier this year, she sends Signal 66 away with:
"After nearly six years mounting some of the city's grittiest art shows, Signal 66 shutters its doors at month's end. More whimper than bang, the final show collects a trio of artists working in the most traditional of all media: paint."Most commercial galleries close within a year or two; it's a tough business that is best approached realizing that if you decide to open a gallery, then expect to lose money.
Signal 66's folding is somewhat of a surprise though. It had established a good, strong footprint in our area's art scene, and being a cooperative type, artist-run gallery, it had the gallery formula that has allowed this area's longest running commercial art galleries to survive.
In fact, other than Zenith and Kathleen Ewing, I can't think of any commercial art galleries in our area that has been around for 25 years or longer that is NOT a cooperative, artist-run gallery!
Anyway, I will miss Signal 66 and the terrific contribution that they made over the last five years to our area's cultural tapestry.
P.S. By the way there are also three music and one theatre review in today's "Galleries focus" day at the Style section. They actually have more print space than Jessica's review. Does anyone understand why we keep insisting that the Post visual arts coverage sucks? You can complain to Gene Robinson, the Style section editor.
Wednesday, October 20, 2004
Some Coming Shows...
Elyse Harrison is one of those artists and arts activisist who has enjoyed a very active and involved career in visual art for the past 25 years. Like me, she's originally from New York, but (unlike me) she was formally educated in the arts in Maryland and Washington, DC and has established even deeper roots in this area by opening Gallery Neptune and Little City Art Studio in Bethesda, now in their 7th year.
The artist's reception will be held on November 12 during the Bethesda Art Walk, from 6-9 PM. An artist's talk is scheduled on December 4 at 5PM. The talk will center on symbols in dreams and visual art.
At Fusebox, Sarah Finlay has Elizabeth Fisher curating a show by Terence Gower, Ulrike Heydenriech, Cynthia Lin, Joan Linder and Nicola Lopez.
The gallery's project space in the rear has Vincent Szarek's second Fusebox show, and Szarek explores more visual representations of the American flag.
Both exhibitions open on November 6 through December 18, 2004. The reception for the artists will be on November 6 from 6-8 PM.
It takes a New Yorker, in this case Todd Gibson at From The Floor, to discover and point out a really good new art BLOG in nearby Richmond. Go visit ANABA, by Martin Bromirski.
Say it isn't so...
It has nothing to do with visual arts, but it breaks my heart to report that Ionarts lets the bad news out of the bag in reporting that the Washington National Opera's world famous leader and supreme tenor, Placido Domingo, is being considered to become the general manager of the Metropolitan Opera in New York.
Read it and weep.
I'll be at the Corcoran tonite for the opening reception of the Common Ground: Discovering Community in 150 Years of Art, Selections from the Collection of Julia J. Norrell exhibition before rushing home to watch the Red Sox disappoint their fans once again.
Having been raised in Brooklyn and been schooled as a rabid Met fan, I hate the damned Yankees, but know that the Red Sox are doomed to once again stab their fans in the heart.
Tyler Green at MAN picks up the Philip Barlow controversy and makes some important points. Click here to read it.
And Kriston at Grammar.police also picks up the story.
Like Tyler Green says, expect stories on this issue by Chris Shott in tommorrow's edition of the Washington City Paper and by Jonathan Padget the Washington Post's "Arts Beat" column tomorrow.
Tuesday, October 19, 2004
I went to the press preview last week and I am working on a review that will be published (once translated) in a dozen Latin American newspapers. I will also have it in English here.
Anyway, Gopnik is eloquent as usual in treating and placing Mendieta into the important high art context in which she truly belongs. If you go to see one museum show this year - this is it!
Blake also earned me $100, as I had made a bet at the Mendieta show opening reception last Wednesday, with a curator friend of mine, that Gopnik would use the description vagina dentata somewhere in the review.
K'Chiiing!
P.S. I intend to use vagina dentata as well; it's just the perfect descriptor of Mendieta's artwork.
More Insight into the Barlow Firing
Anyone who has been reading DC Art News or Thinking About Art or DCist, knows that James W. Bailey has taken the firing of Philip Barlow, first discussed here on October 13, to heart.
So on October 18, Bailey wrote David Levy, the Director of the Corcoran, a 1,444 word, three-page letter on the subject, expressing his outrage. This correspondence, and the responses by Levy, add some perspective to the whole controversy. Read Bailey's letter here.
Dr. Levy responded immediately, and sent Bailey this email.
Oh dear...
If you know James W. Bailey, then you know that not only is he a terrific photographer, but also an incredibly passionate and verbose all-around good guy. So Bailey responded with a 2,751 word email the next day! Read it here.
And again Dr. Levy responds on the same day with this email.
And the final note from Bailey is here.
Annie Adjchavanich, who is the Executive Director of the WPA/C, today emailed a press release about the firing of Philip Barlow as the curator from OPTIONS 2005:
On September 23rd, 2004, an article appeared in the Arts Beat page of The Washington Post in which Philip Barlow, Guest Curator of the Washington Project for the Arts\Corcoran (WPA\C) Options exhibition, stated personal viewpoints and opinions that are in no way reflective of the exhibitions goals nor the WPA\C’s mission. In stating that he would categorically exclude any and all artists who participated in either the city-wide Party Animals or PandaMania programs of the last two years from consideration for Options, he has violated basic ethical norms of curatorial practice, which is in direct conflict with the Corcoran’s policy on Freedom of Artistic Expression, and subsequently the WPA\C’s, mission statement.
While it is the responsibility of a curator to exercise both professional and personal judgment in the selection of works of art, this process must be based upon the artistic merit and suitability of the works in question to the themes or purposes of an exhibition or its related materials. It is inappropriate to base curatorial decisions upon the political, social or intellectual opinions an artist may hold, upon an artist’s personal behavior, personal life, or relationship to the curator or to the institution.
The leadership of the WPA\C believes that Mr. Barlow has irreparably compromised his credibility as curator of this exhibition and respectfully accepts his decision to step away from the project and his responsibility as curator.
An announcement regarding the selection of a curator for Options will be forthcoming.
Annie Adjchavanich
Executive Director
Adam Gopnik at the Corcoran Tomorrow
Blake Gopnik's brother Adam, who is an award winning writer for The New Yorker magazine since 1986, and wrote a best-seller about the years that he and his family spent in Paris (Paris to the Moon), has a new book out and will be discussing it at the Corcoran tomorrow at 7:00 PM.
Adam Gopnik's new book is Americans in Paris: A Literary Anthology and it is a compilation of selections from three centuries of distinguished American writing about the French capital.
Monday, October 18, 2004
People who are professors at most major Universities are generally expected to be very active in their field. They are usually expected to do research, to publish, to participate, etc. This is often a requirement in order for them to become tenured.
Are art professors under a different set of rules?
When I was an art student at the University of Washington School of Art, in beautiful Seattle, nearly all of the professors that taught there, people like Jacob Lawrence, Alden Mason, Frances Calentano and others all had one thing in common: they exhibited their work regularly and were a vibrant part of Seattle's great art gallery scene.
With a few notable exceptions, when I visit area universities to look at student shows (which I do regularly), I often look up the names of the faculties at these same schools and I often encounter names that I do not recognize.
Nothing unusual there, but it would seem to me, that as a person who visits 25-30 gallery shows a month, plus receives over 100 invitations to openings every month, that I should be able to recognize a high percentage of the names in our area's art schools' faculties.
So, just for fun I am going to look up a few art faculties from some of our area colleges, and see if I can figure out where they are exhibiting, or have exhibited, or plan to exhibit.
And if I can't find that information, then I will take it as a 21st century negative mark in the sense that if you are an art professor, you should have a good, solid Internet footprint.
I'll start with the Maryland Institute College of Art, one of the best art schools in the nation.
In two clicks I can find this impressive page about MICA's faculty. Question: 231+ people in the faculty? WOW! That's a lot!
MICA gets an A+ for their Faculty listing (A-K here and L-Z here).
And in these faculty listings I find some good things and also some holes. For example, one of the persons teaching Foundation courses' most recent exhibition was in 1995! Compare that to Timothy App (whose work I know and recognize). He has a solid and consistent exhibition record; however, App does not seem to have a website. Perhaps MICA just needs to pay more attention to updating their faculty's resumes online.
Some of the Faculty Directory listings have links to the teacher's websites. But MICA needs to augment this directory with a link to every single art teacher that has a website. And if any of them does not have a website... then that tells me something, doesn't it?
MICA boasts some very well-known names in their faculty listing. People like my good friend Joe Shannon, Jyung Mee Park (no website that I can find), Raoul Middleman, Connie Imboden, Trawick Prizewinner Richard Cleaver and many others.
So MICA gets a passing grade, but they really need to stay on top of the website and update it, and definately link it to the person's web presence.
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