Gossage on the Cover

Denise Wolff points out that the current issue of Photo-Eye, in addition to her superb interview with Chan Chao, also features a cover by DC area photographer John Gossage, and there's a nice "About the Cover" piece by Jim Stone here.

It discusses Gossage's new book Berlin in the Time of the Wall.

The Thursday Reviews

The WCP's Louis Jacobson reviews our current Mary Lang show in Georgetown and makes some excellent points on Lang's tranquil photography.

Over at the Gazette, Dr. Claudia Rousseau delivers a superb review of Metro Clay at the Rockville Arts Place, and lauds Margaret Boozer, whose show at Strand on Volta last year was one of my Top Ten Shows of the Year. Dr. Rousseau writes:

Among the 57 pieces by 13 artists who live and work in the metro area (hence the exhibit title "Metro Clay"), Boozer's work is probably the most dynamic. "Out of the Fire" is set into a large wooden box frame hanging on the central wall of the gallery, its dark brown color easily dominating the space. The piece is part of a larger series of clay wall works entitled "Land/Marks." These show the results of a working process that deals as directly as possible with the medium's essential nature. Boozer begins by spreading mounds of clay on the floor, then stomping, tearing, carving and otherwise pounding it. Buckets of slip are then splashed onto the broken surface. Thus set into motion, the natural processes inherent in clay take over. As the medium dries, it warps and cracks, taking on the appearance of earth as geologic material.

It is a fascinating idea, with unforeseeable outcomes. When the artist moves these pieces from the floor to the wall, they project the process they record, emphasizing the idea of the persistence of the earth and a sense of memory. There is, as Boozer herself has said, a visceral appeal to these works, connecting directly to the viewer's own identification with clay as earth.

For the exhibit, Boozer has launched another of these works in the gallery space. "In Process Porcelain Landscape" is a thick slab of creamy white porcelain clay, carved and manipulated, and set on a low base. Over it, the artist has poured slip of the same medium that collects in a pool on top and drips onto the floor. It is cool and moist to the touch at this writing, but by the end of the exhibit, will have changed into a craggy moonscape of dried clay.

Over at the WaPo, Jessica Dawson has an excellent review of Mexican Report at the Cultural Institute of Mexico. Miss Dawson prefers the video artists, but also makes an excellent point on the issue of the adjective "Mexican." This is sort of the same arguement that I have been making for years now about art and ethnicity, specifically the so-called "Hispanic" ethnicity, which I submit is a cultural and not an ethnic or racial term.

In her penultimate paragraph, it's apparent that Dawson has missed the memo that painting is hot again when she slams the "predominantly retrograde cache of paintings and drawings [that] hangs at Meridian International Center" and states that their the "predictable and anachronistic work that results is particularly forgettable."

Overall an excellent review of a show that I still have to go see and is in my "must see" list.

Bravo Dawson!

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By the way, tonight The Cultural Institute of Mexico will hold a roundtable discussion on trends in contemporary Mexican art starting at 6:30. Participants include exhibition curator Santiago Espinosa de los Monteros, art critic Anthony Harvey, Hirshhorn programs manager Milena Kalinovska and Curator's Office director Andrea Pollan. The Cultural Institute of Mexico is at 2829 16th St. NW, in DC. I wish I could make it tonight, but I have karate class on Thursdays!

The deadline for the inaugural Bethesda Painting Awards is rapidly approaching, and painters from the DC, Maryland and Virginia region have until Friday, March 11, 2005 to submit their applications. With $14,000 in cash prizes, this is one of the largest painting awards in the country, thanks to the incredible generosity of Ms. Carol Trawick, who also sponsors The Trawick Prize (that deadline is April 8, 2005).

Once the jurors have selected the finalists, we will exhibit them in our Bethesda gallery, where the final four will be awarded $14,000 in cash prizes based on the actual work. $10,000 will be awarded to the top prize winner, $2,000 to the second place winner, $1,000 to the third place winner. Additionally, a "Young Artist" award of $1,000 (artists born after March 11, 1975) will also be given.

Elsie Hull at Spectrum

By John Anderson

M Street in Georgetown is a noisy place, bustling, and energetic. There are many bars and boutiques to duck into, if one wants to escape the hysteria. Another choice is Spectrum Gallery, around the corner on 29th street, where a very quiet exhibition of photographs by Elsie Hull are currently on display. The space is small and serene, and perhaps the perfect setting for these black and white images.

"Photography has always been my first love," Hull declares enthusiastically. Trained as a painter at the Corcoran, where she earned her BFA, Hull did not fully engage photography until beginning her MFA in film and video production at American University. "I took a photography class at the Corcoran, but I thought it was too easy... I didn’t fully engage it then," she admitted.

The body of work is easy on the eyes and inviting. The title of the show, Portals, lends nicely to the imagery. Each image appears as a window into another environment, partially from the quiet activity within each image, and also through the physicality imposed by the camera. Hull uses a Holga camera, a simple, inexpensive, medium format camera sometimes used by schools to introduce photography to students. The final image is circular, something uncommon with most forms of photography. "You never know what you are going to get; you might end up with double exposures or artifacts."

Through constant use, Hull’s familiarity with how the camera functioned gave her an educated guess as to the final product, but the lack of total control has kept the process fun for her.

But there is a dichotomy found within her process. Hull approaches her subject from behind digital cameras and Hasselblad medium format cameras. All three cameras share the same generic wide angle lens, impulsively purchased from a New York photo store. Through careful dissection of several Holga cameras, Hull was able to find a way to attach the lens to that camera, and eventually to all the cameras she uses in her work. All her images are later scanned into a digital format and manipulated in Photoshop. "I use very basic Photoshop stuff, dark room techniques. Photoshop allows you to be very specific whereas a darkroom doesn’t unless you are doing large prints." Beyond that, Hull prefers not to do any further manipulation beyond canceling out the black "vignette-ing" that occurs through the process of exposing medium format film.

Because the final image is circular, Hull has addressed each image with a unique presentation. Mounted on matte-board and Velcroed to multiple, small, primed canvases, Hull is able to arrange the framing of each piece in such an articulate manner that it neither distracts from the image nor questions specifically what is the correct way to frame a circular photograph; it is simply interesting.

The supports alternate, sometimes depending on the subject of the photograph, sometimes related to a series of pieces. One wall possesses a rhythm of large and small support compositions that pull the viewer along the wall to examine each piece. Some arrangements address specific aspects of the form within the photograph. In the corner a man dives off a cliff into a pool below. In free fall, his body is erect, his arms hang casually against his sides, and his toes point straight outward. The canvases intend to enhance the verticality of the male subject, alluding to his descent into the water below. In one instance the support is a bit cliché, a cruciform supporting an image of a cemetery. "I don’t see a problem with that. Photographs of cemeteries are sort of cliché too." Such a comment suggests the artist willfully intended a bit of subtle wit.

The images Hull has chosen for her show are elegant, ranging from somber landscapes to playful images of children and dogs playing. Her body of work has been influenced by the work of French photographer Henri Lartigue (1894-1986), who spent his career photographing friends and family. "They’re full of life and exuberant," Hull adds.

Having studied some of his photographs through her painting earlier in her career, Hull draws similar influence through subject matter - capturing places she has been and images of friends. They are sensitive, not sentimental. They possess a sense of place that defies a sense of time. As a body of work, they allude to a sensation, a common story without beginning or end that all can relate to. "I don’t necessarily have a specific story in mind when I’m putting together a show; it’s more of an intuitive response to indicate a mood."

Elsie Hull’s Portals is on display through March 13, 2005 at Spectrum Gallery, 1132 29th Street NW. The gallery is open Tuesday–Saturday 12-6, Sunday 12-5.

Chan Chao Profiled in Photo-Eye

Denise Wolff has a terrific discussion and interview with Chan Chao in the current issue of Photo-Eye.

Wolff discusses Chao's recent show at Numark Gallery, and almost right away makes an important point in placing Chao's elegant nudes within the always odd context of nudity in Washington, DC; Wolff goes as far as to describe Washington as a "town generally squeamish with nudity."

And (in my opinion) made even worse by a WaPo critic who is also "squeamish with nudity."

Among Wolff's many interesting questions to Chao (which revealed a few somewhat surprising facts - at least to me), I found this one particularly telling:

DW: As I looked at this work, I made a mental list of words that came to mind about the images. But I noticed later that my list didn't include the word erotic. Do you intend these photos to be erotic?

CC: No. I did not want these images to be erotic. I think it's too easy to create erotic photos. However, since they are nudes, the undertone is always there. And so even though I don't intend for them to be erotic, I do want to create some tension with it, or maybe even discomfort...

This is important, because I think that what makes Chao's display of the female nude stand out hinges on his ability to achieve precisely what Wolff identifies with this question: An ability to take an inherently sensual subject, present it in a manner that doesn't shout erotica, but retains a certain, unavoidable scent of eroticism; it can't be helped.

The first time that I saw these photos at Numark, I did not see them as erotic at all. And yet, a second visit to them left behind a slight footprint of eroticism in my mind; perhaps the direct gaze of the women - who knows? It's not important as to "why" but that it happened.

This Photo-Eye piece by Wolff leaves us watering at the mouth for more pieces (on national level magazines such as this one is) about some of our area artists; it a great start with one of our own art stars... but more please!

Bravo Wolff!

Olive Ayhens at Watkins Gallery

By John Anderson

Olive Ayhens was born in Oakland and studied at the San Francisco Art Institute during the tenure of Richard Diebenkorn, shortly after the reign of Rothko and Still influenced the department with their teachings of Abstract Expressionism. "I know abstraction well," she mentioned. "It’s all throughout my background."

Despite not using it directly in her work, she is aware that it has influenced her sense of plain, space and color. She recalled the climate of that period. "Berkley wasn’t hiring women at the time... until the Women’s Movement. When I was emerging I was in a lot of women shows." She pointed out how neither then nor now would one find a show entitled Eight Male Artists.

The sexism in the art world wasn't the only hurdle to overcome. Early in her career Ayhens also faced the challenge of racing two children as a single mother. Through various artist-in-residency positions throughout the Bay Area, other parts of California, Utah, Montana and Texas, Ayhens was able to manage artistic and familial obligations. Altering her medium to watercolor when her children were in their infancy forced Ayhens to approach her technique differently.

"I approached watercolor like an oil painter, moving the paint around opaquely. Eventually my technique loosened up." As a result, upon returning to oils, the paintings developed like watercolors, vibrant and juicy, nearly acidic in areas. Layers were constructed through thin washes in places, with thick impastos appearing intermitently. "I just love the paint, like my abstract teachers did. They reached me on that, and I hope that shows. They wanted me to give up my images as a young girl, and just move the paint around. But the images take me places."

In her current exhibition at Watkins Gallery, that place is New York City. "I’ve been in New York for nine years and I haven’t finished my work there." With both children attending college, Ayhens made the move to New York in 1996 after receiving the Marie Walsh Sharpe studio space grant - which afforded her a studio in Manhattan. Though she didn’t think she would stay in New York beyond that grant, she began experiencing modest successes, showing in galleries and having her work appear in Time Out and the New York Times. This was followed in successive years by a Gotlieb, her first Pollock/Krasner, and the World Views Residency through the Lower Manhattan Cultural Council on the 91st floor of the Trade Towers in 1999.

Missing Pentagon Art

Last July I wrote a posting on alleged missing Pentagon art and challenged local newshounds to follow the scent of the story. Although the story was picked up nationally by Arts Journal, no one has (to my knowledge) researched this story any further than what was posted here.

Because readers of DC Art News have more than quadrupled since last July, I am re-posting that story below in the hope that some enterprising soul will begin digging into the concerns raised herein:

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This article in the Washington Post discusses how "a multimillion-dollar treasure trove of 19th- and 20th-century art has been discovered in basements, boiler rooms, closets and hallways in Philadelphia's cash-strapped public schools."

While the chances of DC area art schools having a hidden art trove is slim to none, let me tell you where I think there's a hidden treasure of artwork - not from the 19th century, but nearly all from 20th century (especially WPA period, and 50s and 60's): The storage buildings where the military's art collection (from the various services and mostly from closed bases all over the world) is "stored."

Not the significant and important art collection on display at the Pentagon, but the stored collection of thousands of works of art that a few years ago were stored in a couple of buildings at Andrews Air Force base. As I recall, there was some sort of investigation that discovered that the Department of Defense had little or no accountability or inventory for many of these works.

Sounds bad, but it is understandable. In fact I would submit impossible to have an inventory of artwork commissioned, donated, gifted, etc. to potentially thousands of U.S. military presences all around the globe in the last two hundred years.

As bases close, often things like artwork find their way back to this area, and they are/were stored at Andrews (at least ten years ago they were... not sure if they are still there). Sometimes they find their way to DLA and the various places where the public can buy anything being disposed of by the DoD (there used to be such as site around Fort Belvoir, Virginia).

But in any event, a DoD employee is/was resposible for maintaining accountability for this art collection, and in the mid 90s she was apparently fired/quit in part because a military Inspector General's team discovered that the works were generally unaccounted for and in many cases improperly stored (leaky buildings, rain, moisture, etc.).

All of these issues I am recalling from memory (I read the story initally in one of those air line magazines), but some things stuck in my head: the number of artworks mentioned in the story as being stored at Andrews (in the 100s of thousands) and the fact that there were many WPA pieces in the storage area, as well as possibly up to six unaccounted Norman Rockwell paintings.

Sounds like a good story for an enterprising Washington City Paper or Washington Post reporter to follow up on, uh? Maybe Teresa Wiltz? or Chris Shott?

I suspect that the accountability problem still exists. In fact I submit that the various services' art curators (each service has an art curator for its own art collection and they all have offices at the Pentagon) do not even have an accurate inventory of the artwork on display at the Pentagon today!

My suspicions were kindled when this story in Art News discussed the fact that US Army curator Renee Klish discussed the fact that four important paintings had been destroyed by the 9/11 attack, but says that eleven other artworks "may have been destroyed."

I am willing to bet that if the Andrews Air Force base artwork storage building still exists, that there are works in there worth hundreds of millions of dollars and maybe still being stored away in improper conditions. I hope I am wrong about the latter.

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Update! An alert DCARTNEWS reader also recalls the story I mentioned (published in an air lines magazine in mid 90s) and she even recalled the name of the fired/dismissed/she-quit DoD Art Curator. I have it and will pass it to any enterprising reporters who want to follow up this story - in fact I even have contact info, since I recognized the name as someone still associated with the business of the arts in our area.

Today's Must Read Story

Joe Barbaccia sent me a link to this article in New York Metro and it is absolutely jaw-dropping. Read it here.

Is the child prodigy... a prodigy?

Remember 4-year-old Marla Olmstead, who is being touted as a painting prodigy, and who has gathered a lot of international attention, and whose large abstract paintings are selling as fast as she can finish them -- for as much as $24,000?

Well, it seems that 60 Minutes came a-calling and some issues and questions about this child have been raised.

In this report we find that Ellen Winner, who is a psychologist who has studied gifted children and specializes in visual arts was shown several of Marla’s works and was highly impressed, but noted that she had never seen such a young child working in an abstract manner. Her enthusiasm apparently turned to concern and suspicion when she was shown a videotape of the child painting:

"I saw no evidence that she was a child prodigy in painting. I saw a normal, charming, adorable child painting the way preschool children paint, except that she had a coach that kept her going."

Marla is currently having her first West Coast gallery show. It includes the painting captured on hidden camera by 60 Minutes, which has already been sold for $9,000.

Opportunities for Artists

2005 Photography Annual Competition
Deadline: March 15, 2005.

Sponsored by Communication Arts Magazine, is open to works first printed, produced, or aired for the first time between March 15, 2004 and March 15, 2005. The competition categories include: Advertising, Books, Editorial, For Sale, Institutional, Self-Promotion, and Unpublished. Winning entries will be published in the August 2005 Photography Annual. Entry fees range from $25-$40. For more information, contact:
2005 Photography Annual
Communication Arts
110 Constitution Dr.
Menlo Park, CA 94025

Phone: (650) 326-6040; Fax: (650) 326-1648; or email: shows@commarts.com. Complete guidelines also available online here.

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Produce Gallery's "First Year Out"
Deadline: April 15, 2005.

Produce Gallery is currently reviewing work by artists in their first post-graduation year from college, for a group show entitled: "First Year Out," to be held in the Fall of 2005. All submissions should be from artists who have graduated from school in 2003 or 2004. Please send Slides, Resume and SASE, or Web site info to:
Produce Gallery
Tyler Exhibitions
7725 Penrose Avenue
Elkins Park, PA 19027

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Woman Made Gallery's "Got Quirk?"
Deadline: March 16, 2005

A juried exhibition sponsored by Woman Made Gallery. Open to all artists, women and men. Seeking representational art works that is expressed in unusual, odd, peculiar, fantastic, grotesque, whimsical, or wacky ways. All media accepted. Entries must have been completed within the last 2 years. Cash awards available. Exhibition scheduled June 24-July 21, 2005. Entry fee: $20 for up to 3 slides. For details, contact:
Woman Made Gallery
2418 W. Bloomingdale Ave.
Chicago, IL 60647
Phone: (773) 489-8900; Fax: (773) 489-3600
email: gallery@womanmade.org or visit their website

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Radius 250
Deadline: April 30, 2005

Thanks to ANABA for this one. Radius250 is a juried competition that will feature artists working within a 250-mile radius of Richmond. The juror is John Ravenal. You can enter the show via slides or online here. There's a $25 entry fee and $2500 in prizes.

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9th Annual Georgetown International Fine Arts Competition
Deadline: June 3, 2005

An opportunity to exhibit in one of the most established DC area fine arts competitions and hosted by our Georgetown gallery. This competition has served in the past as the springboard for many area artists and national artists. Details and prospectus can be downloaded online here or send a SASE to:
Fraser Gallery
1054 31st Street, NW
Washington, DC 20007

NEA Accepting Nominations

The National Endowment for the Arts is accepting nominations of exemplary artists and arts patrons. Deadline is April 11, 2005.

The National Endowment for the Arts is now accepting nominations from the public of exemplary artists and arts patrons for the 2005 National Medal of Arts. To nominate, please go to this website and complete the form.

The deadline for public nominations is April 11, 2005.

Copycat

This is what happens when an artist-wannabe copies someone else's artwork, and then (years later) because of something else they do, they become infamous, and their copyright violation comes to light.

Like Richard Burton said... (sightly modified): "An [ass]hole, is an [ass]hole, is an [ass]hole."

Tks JWB.

Grounded

I was supposed to fly back to San Diego today, but after wasting half a day sitting in Dulles, the whole trip has been cancelled and I've made my way back home in a messy snow day here in the DC area.

View from my Second Floor Window

Bad news is that my most precious asset is time, and I've wasted a lot of it today; the good news is that now I can make the First Friday Gallery Crawl around Dupont Circle! And this is good, because I am really looking forward to seeing Molly Springfield's show at JET Artworks, which really needs to get off their ass and get their website going.


View from my Bedroom Window

Lida Moser is Coming

Opening on March 18, 2005 and through April 13, 2005, our Fraser Gallery in Georgetown will be hosting the first ever Washington, DC solo exhibition of legendary American photographer Lida Moser, who now lives in retirement in nearby Rockville, Maryland.

This 85-year-old photographer is not only one of the most respected American photographers of the 20th century, but also a pioneer in the field of photojournalism. Her photography is currently in the middle of a revival and rediscovery, and has sold as high as $4,000 in recent Christie's auctions and continues to be collected by both museums and private collectors worldwide. In a career spanning nearly 60 years, Moser has produced a body of works consisting of thousands of photographs and photographic assemblages that defy categorization and genre or label assignment.

Additionally, Canadian television is currently in the process of filming a documentary about her life; the second in the last few years, and Moser’s work is now in the collection of many museums worldwide.

A well-known figure in the New York art scene of the 1950s, 1960s, and 1970s,a portrait of Lida Moser by American painter Alice Neel hangs in the permanent collection of the Metropolitan Museum in New York City. Neel painted a total of four Moser portraits over her lifetime, and I believe that one of them will be included in the National Museum of Women in the Arts' "Alice Neel's Women" coming to Washington, DC this October.

Lida Moser's photographic career started as a student and studio assistant in 1947 in Berenice Abbott's studio in New York City, where she became an active member of the New York Photo League. She then worked for Vogue, Harper's Bazaar, Look and many other magazines throughout the next few decades, and traveled extensively throughout the United States, Canada and Europe.

In 1950 Vogue, and (and subsequently Look magazine) assigned Lida Moser to carry out an illustrated report on Canada, from one ocean to another. When she arrived at the Windsor station in Montreal, in June of that same year, she met by chance, Paul Gouin, then a Cultural Advisor to Duplessis government. This chance meeting led Moser to change her all-Canada assignment for one centered around Quebec.

Armed with her camera and guided by the research done by the Abbot Felix-Antoine Savard, the folklorist Luc Lacourcière and accompanied by Paul Gouin, Lida Moser then discovers and photographs a traditional Quebec, which was still little touched by modern civilization and the coming urbanization of the region. Decades later, a major exhibition of those photographs at the McCord Museum of Canadian History became the museum’s most popular exhibit ever.

She has also authored and been part of many books and publications on and about photography. She also wrote a series of "Camera View" articles on photography for The New York Times between 1974-81. Her work has been exhibited in many museums worldwide and is in the permanent collection of the National Portrait Gallery, London, the National Archives, Ottawa, the National Galleries of Scotland, National Portrait Gallery, Washington, DC, the Library of Congress, Les Archives Nationales du Quebec, Corcoran Gallery, Phillips Collection and many others. Moser was an active member of the Photo League and the New York School.

The Photo League was the seminal birth of American documentary photography. It was a group that was at times at school, an association and even a social club. Disbanded in 1951, the League promoted photojournalism with an aesthetic consciousness that reaches street photography to this day.

This will be her first solo exhibition in Washington, DC and it will run from March 18 through April 13, 2005.

An opening reception for Ms. Moser will be held on Friday, March 18, 2005 from 6-9PM as part of the third Friday openings in Georgetown. The reception is free and open to the public.

Feedback

Yesterday we finished our Success as an Artist seminar to about 50 or so artists and arts professionals. Herewith some feedback:

"Thank you so much for an incredible amount of valuable information. Having worked commercially for 25 years, I thought I might hear repetitive things. The fact is, I'm somewhat overwhelmed by the amount I have yet to learn based on your seminar. Thanks for the jump-start in this new segment of the art industry. Look forward to visiting the gallery again." -- Sally Wern Comport

"This seminar was better than a four year college education. I learned more about what I need to do to have a career as an artist here." -- John Bata

"Tremendous amount of information shared that was constructive, practical and well focused. This was the best investment I could make in understanding the wide range of business issues that artists face and gave me lots of ideas regarding successful strategies." -- Judy Bayer

"This seminar more than met my needs. This was like four years of college packed into 7 hours." -- Jonathan

"It was excellent - Very informative, hands-on, action oriented guidance to promote myself as an artist. Fun, fast moving, and spell-binding for me - I wrote 24 pages of notes!" -- Sue Holland

"So much specific, reality-based info, communicated succintly and understandibly. Amazing!" -- Leslie Albin

"Wonderful, exciting, and thoroughly penetrating info!" -- Rochleigh X. Wholfe

Artwork by Committee

The National Endowment for the Arts and the State Department have agreed to reinstate an advisory committee to recommend artists to represent the United States at international exhibitions like the various Biennials.

"We are going back to the traditional way the N.E.A. helped manage exhibitions," said Dana Gioia, the endowment's chairman. "It's important that this process be open, transparent and well understood."

And may I add: "And that it doesn't have a New York only filter."

Read the story here, and thanks AJ.

Elsie Hull at Sprectrum

By Rosetta DeBerardinis

The Elsie Hull exhibition at Spectrum Gallery is a subtle display of black and white photographic oval jewels. The show, "Portals" is an array of prints mounted on white canvases of various sizes creating a two or three dimensional installation.

This show is a fine exhibit at a cooperative gallery with a most innovative installation. And the back walls, with works of its gallery member artists, offers some interesting works as well.

But, if you care about quality photography at prices that are indeed affordable, this show is worth a visit. It has captivating black and white images of cats, cows, etc. And the staff is friendly and helpful.

Elise Hull, "Portals." Open from February 25 until March 13th at Spectrum Gallery, 1132 29th Street, N.W.; 202-333-0954.

Modigliani: Beyond the Myth

By Rosetta DeBerardinis

Modigliani: Beyond the Myth opening Saturday, February 26th at the Phillips Collection is worth the price of admission. The show originated at the Jewish Museum in New York; however, the Phillips added twenty-five works to its show. It features about 100 paintings, drawings and sculptures by the artist.

The third floor of the new renovated annex has been transformed from a sterile museum atmosphere into a lovely warm gallery with soft colored walls, arches and columns. The five galleries have interesting lighting and the installation is excellent.

Now, I am not a fan of Modigliani, but I could not resist embracing his work during this exhibition. It includes much more than his women with the skinny necks. In the first gallery there are beautiful sculptures lined up on a platform and lots of crayon and pencil sketches. In galleries three and four are his controversial nudes and the last gallery has a powerful presentation of his famous signature paintings of women with the skinny necks.

The Phillips Collection, 1600 21St., N.W. $14 for general admission, $12 for seniors and students, no charge for persons under eighteen. Show runs through May 29th. (202)387-2151.

And at the WaPo' new Entertainment BLOG, Maura McCarthy has a second mini review of the Modigliani show, which includes a link to great images of the show.

Boot Camp for Artists

Tomorrow we will be doing the "Success as an Artist" seminar that was postponed from last week.

Pics

Just back from San Diego, just for the weekend and then fly back there on Monday. There has been a lot of rain in SoCal and everything around is either sliding or very green.

View from my hotel room's window

Anyway, when I arrived on Tuesday night, it was still raining here, and the next morning there was still rain and some rare skies around there (clouds).


San Diego Wednesday Morning Clouds

But by noon, the ocean that Balboa discovered was once again spectacular. The below photo was taken from around the area where that Spaniard is believed to have stood when he focused the first set of Caucasian eyes to see the ocean that he then named Pacific.


The Pacific Ocean on Wednesday afternoon

And by the time the sun was sinking down later that day, one of the great joys of living next to the ocean was about to happen: the green flash. The pic below is a few minutes before the sun sinks into the horizon and Nature takes your breath away with the color green.


The Ocean a few minutes before the green flash

On the flight back I had a plane change in San Francisco, and I discovered this almost representational version of Airportism (which is what I dubbed a few years ago the sort of artwork that gets selected for exhibition as "public art" in American airports).

Below is a huge William Wiley piece near gate 85 at the airport. Typical airportism...


Void by William Wiley