Anti-OPTIONS 2005

As J.T. noted over at Thinking About Art, photographer J.W. Bailey, in response to the whole recent controversy of the WPA/C's OPTIONS 2005 show, has created his entry for the new OPTIONS curator Libby Lumpkin in the form of an Anti-OPTIONS 2005 website detailing his extensive and deep correspondence and research and battle (still ongoing) caused by the firing of Philip Barlow as the original curator.

This is either brilliant or demented. I am not yet sure which, but it is certainly interesting and certainly shows what can be fused when you mix talent, passion and a human pit bull like Bailey.

See Bailey's site here.

Fridaphiles of the World: Unite!

I am curating an online exhibition for Art.com on the subject of an "Homage to Frida Kahlo."

There is no entry fee and Art.com is funding the following prizes:

1st Prize: Airfare, hotel and expenses for 3-day/3-night trip for two to the Frida Kahlo Museum in Mexico City, Mexico. (Total package valued up to $2,500)

2nd Prize: $1,000

3rd Prize: $150 towards a Print on Demand order through Art.com Original Art & Photography

Work is uploaded online and there is no entry fee. The work must in some way relate to Frida Kahlo and her life, work, etc. No reproductions of Frida's own paintings will be considered, unless they introduce a new idea or vision or concept to the Kahlo phenomenom. To enter, click here.

Connie Imboden to Jury Annual Bethesda Photography Prize

The 2005 juror for our annual photography competition has been selected and it is acclaimed photographer Connie Imboden. You can read about the juror here. Her work is represented in the permanent collections of The Museum of Modern Art in New York, The San Francisco Museum of Modern Art, The National Museum for Women in the Arts, The National Museum of American Art, Washington D.C., Bibliotheque Nationale in Paris, France, and many other public and private collections in Europe and the Americas.

This is our annual juried opportunity for photographers. The deadline for entries is February 3, 2005. In addition to cash prizes, the Best in Show winner will be offered a solo show in 2006. Other award winners will also be included in some of our future group shows.

To look at the prospectus for the competition, click here.

Washington City Paper reviews Aimee Garcia Show in Georgetown

Louis Jacobson reviews our current exhibition of Cuban artist Aimee Garcia Marrero in our Georgetown Gallery.

This is a very young Cuban artist and perhaps one of the most intelligent and talented painters pushing the ancient medium forward. Her show runs until December 15, 2004.

Want an Interest Free Loan to Buy Artwork?

You spot a Chris Ofili print and think it would look lovely in the front room. You simply must have that Tracey Emin drawing to hang above your fireplace. Then you see the four-figure price tag and think again.

Those frustrations are over, if the Arts Council England gets its way. It is planning to offer interest-free loans of up to £2,000 to aspiring contemporary art collectors, aiming to encourage uninitiated buyers into galleries.

I don't know how I missed this story, but I guess the British, with their 17% Value Added Tax (VAT) on top of things can come up with ideas such as this.

Of course don't forget to add 17% VAT to the Chris Ofili print or Tracey Emin drawing. So the loans appear to be a way to gather some new tax revenues in the form of loans.

Ha! Those devious British taxmen! The Beatles were right!

Let me tell you how it will be
There's one for you, nineteen for me
'Cause I'm the taxman, yeah, I'm the taxman

Opening Night: It Must Mean Rain!

Just back from opening night in Bethesda... and guess what? It rained again!

Not only that, but apparently there was some kind of a huge sinkhole on Wisconsin Avenue just a block from the gallery.

The avenue was closed (which really did a number on traffic of course) and The Madonna of the Trail statue was in such danger because of the sinkhole that opened up right in front of it, that a huge crane was brought up to remove the 17-ton statute. The sinkhole was caused by a water main break.

Nonetheless, small but decent crowds and even a nice group for the guided tours. There were even Christmas Carols singing groups going around making the rounds.

But rain plus street sinkholes plus a large statue in danger of tipping over into the sinkhole plus the closing down of a main street artery do NOT add up to being very helpful for a good opening...

The joys of being a gallerista.

Makes my head hurt.

Tonight is the second Friday of the month and thus the Bethesda art galleries are having their opening night and offer the Bethesda Art Walk.

The Bethesda Art Walk now features free guided tours to participating galleries and studios during select Art Walk Fridays. Guided tours will give Bethesda Art Walk patrons the opportunity to learn about downtown Bethesda’s galleries and studios as well as their current shows featuring exhibiting artists. Tours will begin at 7pm. Attendees can meet their guide at the Bethesda Metro Center, located at the corner of Old Georgetown Road and Wisconsin Avenue.

We will host our annual Winter Group show, showcasing new work by gallery artists as well as invited artists. Our catered opening reception is from 6-9 PM. Free and open to the public.

See ya there!

Museum of Modern ARF AOM Exhibit Opens Tomorrow

John Aaron's Museum of Modern ARF presents "Hand Picked," the first of several city wide exhibitions by diverse galleries derived from the recently closed Artomatic mega exhibition.

Aaron has picked a select group of small affordable works by around twenty of his favorite artists from Artomatic. The opening reception is tomorrow, Saturday, December 11 from 6-9 PM. The exhibition runs until January 5, 2005.

Congratulations!

The DC Commission on the Arts and Humanities, based on our recommendations has awarded the following fellowships to DC area artists, shown in order of votes by the advisory panel members (by the way, the fellowships are partially -- and substantially -- funded by Pandamania "profits"):

Artists Fellowship Media:
Jonathan Gann
Celeste Crenshaw
Holly Tank

Artists Fellowship Visual Arts:
1. Prescott Moore Lassman
2. Joey Manlapaz
3. Byron Peck
4. Margaret Steinhilber (Maggie Michael)
5. Daniel Steinhilber
6. Luis R. Salcedo
7. Patricia Tobacco Forrester
8. Cheryl P. Derricotte
9. Allison Miner
10. Anne Marchand
11. Elaine Langerman
12. Roderick Turner
13. Kris Swanson
14. Anna Demovidova
15. Colin Winterbottom
16. Stuart Gosswein

As I've noted before, I was disappointed on the low number of applications that were submitted by DC visual artists, and hope that the next cycle (deadline is next June) has more applicants.

To get an application, contact the DC Commission and ask them to put you on their mailing list. Congratulations to all selected artists!

Jonathan Padget discusses Linda Hesh's Art Ads Project in today's Washington Post's Arts Beat column.

There was no "Galleries" column. Get used to it. There were, however, four music reviews on the day that the Style section is supposed to focus on Galleries and Arts News.

The Last Few AOM Top 10 Lists

Angela Kleis was one of the participating artists in this year's AOM and is the President of the Centreville Regional Art Guild. She says that "these are the artists whose work I searched out and spent a lot of time at, as much as I could."

1. Colin Winterbottom - Photography; his is my absolute favorite!
2. Kathryn Cornelius - Installation, before it was shut down. I LOVED it! I'm glad I had the opportunity to experience it before it was closed. Very powerful.
3. Robert Weiner - Glass. Beautiful!
4. M. Rion Hoffman - Lightboxes. So much to see inside those little lighted boxes.
5. Kay Lane - Abstract painting.
6. Gregory Ferrand - Painting. Faces with Desperation. They made me very uncomfortable, and it was great!
7. Haya Alhossain - Photography; Cities-Paris. The only foreign city I've ever visited, and these photographs captured it perfectly.
8. Meghan Taylor - Drawing/painting
9. Scott Davis - Photography
10. Ruza Spak - Painting; very simple, very powerful, very large.

---

Matt Hollis is DC area artist, who also exhibited at AOM and submits the following list:

1. The lips on the boys painted by Rob Van der Zee.
2. The richness of Richard Kightlinger's coilor pallet.
3. Scott Davis' River Tower photo.
4. Christine Cardellino's Tower of Babel paintings.
5. The pictures of Beth Hinners as a child at the Children's Museum she had next to her collage.
6. The swirling masses of debris and color by Inga McCaslin Frank.
7. The subtle beauty of the plants in Aaron Flemming's drawings.
8. The personalization of another culture's craft in Mark Jenkins' pubic hair quilts.
9. The flashbacks of being at the Children's Museum as a child.
10. The opportunity to meet and share with other DC artists.

Just returned from a few days in San Diego. On the flight over I read Mario Vargas Llosa's erotic novel In Praise of the Stepmother, nicely illustrated by Jacob Jordaens, Francois Boucher, Titian, Francis Bacon and Fernando de Szyszlo (one of the lesser recognized but certainly a key and influential Latin American abstract artist - Peruvian like the author).

On the flight back today I read Mea Cuba by Guillermo Cabrera Infante, a spectacular book that documents (from the perspective of perhaps the greatest living Cuban writer) what Castro has done to Cuban artists, writers and poets, and Cuba.

I had an interesting experience on this flight back.

I had originally planned to fly back on Friday, but I finished my business early and thus changed my flights so that I departed from San Diego early this morning. So I called Moe, who is a taxi driver that I've been using for years to pick me up to and from the airport. I called him and told him that I had taken care of everything a day early, so he needed to pick me up tonight at BWI.

From San Diego I flew to Phoenix, and I was sitting there, waiting for my connecting flight to BWI, reading Mea Cuba , when this very large, cop approached me and asked me:

"Excuse me sir, are you Lenny?"

"Yes," I answered, wondering how this very large cop knew my name and why was he asking me for it.

"Can I speak to you for a minute?" he said.

"Sure," I answered getting up and walking with him, while a few dozen Baltimore-bound passengers looked at us in alarm and my mind was running several algorithms trying to figure out what was going on.

We walked a few feet away, and I looked at his name (Officer Contreras - a very large, shaved-head, imposing cop).

He was very nice and professional, and it turns out that someone in San Diego, a fellow passenger at the terminal, had overheard me talking to Moe, and somehow deduced from my conversation with my taxi driver that I was a Mafia hitman, so this alarmed citizen, as soon as the plane landed in Phoenix, went to the airport police and demanded that they investigate.

"How did you know my name and what I looked like?" I asked Officer Contreras, intrigued and impressed at the efficiency of the whole event (and after showing him some ID, which he dutifully recorded in his notebook). He explained that this concerned citizen had listened to my conversation (where I mentioned my name to Moe) and then taken a snapshot of me with his cell phone, which he had then shown the Phoenix Airport cops and demanded that they arrest me before I completed my next Mafia job in Baltimore.

Now, I sort of feel like Dan Rather with the whole "What's the frequency Kenneth?" episode.

I'm expecting black helicopers to fly over my house tonight.

Blake Gopnik's Art History Challenged (Again)

Last year, the Washington Post's Chief Art Critic Blake Gopnik's art history was challenged by William Woodhouse.

William Woodhouse scolded Blake in a Letter to the Arts Editor, for "being misled" about the importance of Toledo in El Greco's Spain as described in Gopnik's review of El Greco at the Metropolitan Museum of Art in New York.

In his review Blake anchors much of El Greco's unusual success with his odd realism upon the fact that El Greco was working "in the safe isolation of a provincial Spanish town" and essentially the locals didn't know any better. But William Woodhouse corrected Gopnik's perception of Toledo by pointing out that "it is a mistake, however, to characterize the ambiance of 16th-century Toledo as 'the safe isolation of a provincial Spanish town' vs. the court of Philip II in Madrid."

Woodhouse thus delivered a big hole in the review's central theory. But I defended Blake by pointing out that his Oxford Anglo-centric education probably gave him a skewed and flawed view of European history, especially of England's arch enemy, Spain.

But now Kurt Godwin, who is an Adjunct Art professor with Virginia Commonwealth University and a lecturer at Catholic University of America, writing in the new (and excellent) Signal 66 Gadfly makes a series of powerful points in reference to Gopnik's recent review of Gerhard Ter Borch and reveal a lot about Gopnik's surprising art history weakness and even more about his use of his pulpit to preach his own personal art history agenda.

Godwin writes:

Why Seer Jeers Vermeer Remains Unclear

Blake Gopnik begins his review of the Gerhard Ter Borch exhibition that recently opened at the National Gallery proclaiming this artist's superiority over his more familiar contemporary Johannes Vermeer (Washington Post, Style section 11/7/04).

Intrigued to see how this conclusion was derived I looked forward to finding a solid argument supporting this declaration. While, alas, this wasn't to be found other notions expressed proved to be real head scratchers.

To wit: Crediting Ter Borch with introducing the Netherlands to the supposed Velasquez "bare bones" means of portraiture Gopnick forgets that Hans Holbien the Younger perfected this method almost one hundred years earlier in neighboring Germany. Ter Borch could have easily been caught up in the sway of such readily accessible influences.

Gopnick continues to enthuse that Ter Borch's paintings in small scale are "almost as impressive" as Velazquez's large-scale work. Such a statement begs for further analysis.

Perhaps we'll be clued-in some other day.

Despite Gopnik's assertion otherwise, many of these paintings are narrative driven using such classic allegorical metaphors as letter reading and writing, the faithful dog, as well as playing card symbolism. Discussing the genre painting "A Gallant Conversation," Goethe is presented as an interpreter of that painting's implied narrative. Mysteriously, Gopnick refers to the German philosopher's novel not by title but solely by its publication date of 1809.

If famous authors serve as any sort of aid to art criticism, for good measure, let us not forget Marcel Proust's reference to Vermeer's "View of Delft" that played such an important role in the classic novel "Remembrance of Things Past."

The admiration Gopnik bestows on Ter Borch's supposed lack of narrative or allegorical pretensions is because, as he states, it favors "a kind of uninflected realism like cryptic reality itself." He goes on to chastise Vermeer for his "hint of portentous, poetic mystery." It's hard to imagine much of a chasm between describing a portrayal of life either as "cryptic reality" or "poetic mystery."

Later he refers to this artist's rendering of life as "captured in all its cryptic contingency." The repetitive use of this adjective is very cryptic indeed.

In his description of Ter Borch's innovative techniques and discoveries Gopnik offers this explanation: Observing "light bouncing from form to form and then into our eye, then coming up with surrogates for them using a handful of pigments."

With the exception of two painting done with collaborators, these paintings are rather dark. Vermeer's subtle, light infused paintings are their antithesis. What Gopnik has described is the painting process in generic terms rather than some unique 17th century development.

Continuing he exclaims the kind of "micro-bravura" (a phrase that seems to be an oxymoron) that Ter Borch provides should thrill us as much as the "macro-virtuosity" of a Hals or Rembrandt.

What these terms mean I can't attest to. Except for the fact they are all of Dutch origin lumping together these artists with such different painting styles is unclear.

To solidify his case for Ter Borch's superiority over contemporaries like Vermeer, he suggests it necessary to put ourselves in the shoes of a "17th century art lover."

Whoever that may be.

If we have to do that, and as he states, "rejecting modernism's hackneyed taste for the capricious," we are dealing with an artist who cannot transcend his own era much less achieve the timelessness and universal appeal that is the acknowledged mark of a true master. In other words we can't just merely be our selves to fully appreciate this art. We must have the specific perspective of an "art lover" four centuries ago. Maybe he's just suggesting that may help.

It is Gopnik's prerogative to champion anyone. Pairing two painters like a couple of racehorses might have proved interesting if a case was made.

Painting isn't a competition anyway. Perhaps posterity's fickle spotlight will further illuminate this particular artist's reputation. Despite Gopnik's wish I have a hunch there won't be long lines eager to gain entry to see this show unlike exhibitions in the recent past by a couple of other dead Dutch guys.

Professor, Therein lies the key to Gopnik's attempt to bring Vermeer down a notch or two: The public loves Vermeer and lines up for hours to see his paintings. In the mind of old-fashioned elitists like Gopnik, if the public likes something or someone, then it can't be any good.

Bravo Godwin!

DC Art News reader Nathan Martin, in response to my question about the Kennedy Center honors, passes that "unfortunately, the Honors aren’t given to visual artists, nor are they given to poets, novelists or playwrights. Given that it’s the Kennedy Center "for the Performing Arts" it makes a certain amount of sense. Here’s the description from their web site:

"The Honors recipients are recognized for their lifetime contributions to American culture through the performing arts: whether in dance, music, theater, opera, motion pictures or television. The primary criterion in the selection process is excellence. The Honors are not designated by art form or category of artistic achievement; the selection process, over the years, has produced balance among the various arts and artistic disciplines."

He also suggests that "if visual artists were eligible, though, it would have to go to relatively respectable, late-in-their-career types like Jasper Johns, Wayne Thiebaud, Rauschenberg, etc. Maybe Joseph Stella or Louise Bourgeois in sculpture. Philip Johnson in architecture, maybe Gehry, Venturi and Graves in 10-15 years."

Good nominations! My question now: So what's the equivalent of the Kennedy Honors for visual artists? Should the National Gallery of Art institutionalize something? Do we even need it?

I recall that one of my art school professors, Jacob Lawrence, received a Presidential Medal of Freedom (I think) in the 1980s from Pres. Reagan. And yet he was and has been ignored by the NGA for a retrospective, although the Phillips Collection did organize a great one a few years ago.

One of the main reasons that the WaPo Style and acting Arts Editor have for reducing their “Galleries” coverage by 50% is the unexpected quitting of Glenn Dixon. It is thus apparently “too hard” for them to look for a replacement freelancer to augment Jessica Dawson’s coverage.

“Lack of available print space” was an older excuse that the Post hierarchy once gave me when I challenged them as to why they only had one “Galleries” column a week, while they have extensive multi column coverage of theatre, opera, performance, movies, dance, books and music.

And yet, yesterday's Post was a good example of the kind of pap that the Style section offers its readers and which takes up valuable print space.

No, no, I am not referring to their orgasmic coverage of the Kennedy Center awards; well-deserved and my congratulations to all the award winners (are visual artists eligible for these awards? Has any visual artist ever been nominated? If not, who could we nominate?).

Back to the pap:

One is a piece by freelancer Jennifer Silverman titled “Swinging Singles, Lost in a Forest of Smug Marrieds,” and the other beauty is by freelancer Martha Randolph Carr titled “That Wonderful Glorious Summer of Perfect Hair.”

They don't even deserve a hotlink.

Makes my head hurt…

I'm on the road, presently in San Diego. My laptop is acting up and I have a busy schedule, but I will be posting sporadically and at odd times. I have several last AOM Top 10 Lists from AOM artists, plus some more commentary on the Post, plus the adress of a new restaurant in San Diego which makes the best mole in the world!

The Writing is on the Wall

Everyone seems to be predicting the end of newspapers as we know them.

Today the WaPo has a story by Amy Argetsinger titled California Enclave Tires of Being Artsy. It discusses a story first published here and in other Internet art sites and BLOGs several weeks ago, but just making it to the newsprint pages of the WaPo. Chances are that quite a significant percentage of the Post’s readers may have been already exposed to this story.

How can the WaPo and other lamestream media survive the future? it is not a matter of if, but of when, and the future (as George Carlin said) is just now becoming the past.

But the WaPo (and some other newspapers) can (and must) adapt and they will survive if they do so.

The WaPo has made two smart moves already, but a third, and very important one is needed if it is to check-mate its own future demise. I will tell them, by the end of this posting, what they need to do.

The first good move that they made was their decision to go online a few years ago. Incredibly enough, that decision (I am told) was made pretty much against the will of the corporate hierarchy, which thought that going online was a waste of money and would shrink newspaper subscriptions. It’s a good thing that more visionary thinkers won that battle and that the WaPo went online. Subscriptions to the Post have declined substantially, but that is a trend that has affected all newspapers, regardless of website presence.

Now their website receives near a million visitors a day, and generates substantial income for the paper through banner advertising and those annoying pop-up ads.

The second smart move was to create the Express, which although free, is widely read by the morning commuter crowd. It is made of short, quickly read, stories, highlights, etc. As I’ve discussed here before, it is interesting to me that a small mention of an exhibition in the Express generates substantially higher number of inquiries and attendance than a full fledged review in the Post.

So how can the Washington Post prevent their imminent dismissal as a source of news, information, opinion and culture (cough, cough)?

Simple: Marry the two concepts!

Actually, not just marry the two concepts, but expand on them! Have the marriage yield a child, an issue; a WaPo Saviour, if you will.

This is what they have to do: Expand the printed version of the paper, with its army of editors stuck in “this is how things have been done” land, with a fresher, rawer, online version. Not just an online version of their print version, but that plus online-unique content.

For example, in their much criticized and anemic coverage of the arts, they could augment the various fields and genres of art with online columns, reviews, commentary, photography, and yes even BLOGs! All the major cable news programs and cable newscasters are already doing this – it is the lamestream media that doesn’t seem to get in step with the 21st century.

And this can be done without reproducing their bricks and mortar hierarchical structure that publishes their old fashioned newsprint edition. An online Post writer – freelancers all of them, I would assume – would never have to set foot inside 1150 15th Street, NW. No need for secretaries, no need for assistants, etc Just online editors whose job would be editing and editing alone; the software handles the rest.

Biggest obstacle in this idea (other than the mindset of an old fashioned business empire rapidly declining?): The unions, I suspect.

The Gallery at Flashpoint Call for Proposals

Deadline: Friday, January 21, 2005.

The Cultural Development Corporation (CuDC) is requesting proposals for exhibitions in the Gallery at Flashpoint for the September 2005 to August 2006 season. This request is open to artists, independent curators, arts organizations, private galleries or anyone choosing to present contemporary work in any medium. Deadline for proposals is 6pm Friday, January 21, 2005.

For a 2005-2006 Request for Proposal application, please visit their website or email them

ArtHelps Charity Art Auction

Faith Flanagan passes that ArtHelps will be having their Fourth Annual Art Auction and Reception for Charity with DCAC as one of its beneficiaries. The auction is on Wednesday, December 8, from 5:00pm to 10:00pm. It will be held at JAM Communications, 1638 R Street, NW Suite 400, Washington, DC 20009.

Please take a moment to view the ArtHelps website and download a donation form, and you can designate DCAC as your charity. If you have any questions, please give Faith a call at 202/744-8770.

Marilyn Banner's Top 10 AOM List

DC area artist Marilyn Banner is an exhibiting AOM artist and the is co-founder and co-director of Washington Musica Viva, a popular new music, poetry, and visual arts performance series which takes place in her Kensington, Maryland studio.

Greg Minah
Dylan Scholinski
Ira Tattelman
Elena Patino
Gina Marie Lewis
Louise Kennelly
Sheila Crider
Anne Marchand
Matt Sesow
Joyce Zipperer