Corcoran's Art + Law Series
Keeping Your Artwork Unique: Copyright and Trademark Law
When: Monday, February 9th at 6:30 in the Corcoran's Armand Hammer Auditorium - 17th and New York Avenue, NW (enter New York Avenue) Washington, DC
$40 general public
$30 for Corcoran Members
$20 for WPA\C Members
Corcoran Staff - Free
Please join attorney Kenneth Kaufman, a specialist in copyright, entertainment
and internet law, explains how to protect your artwork from unauthorized
reproduction and how to obtain compensation if this protection is violated. Mr.
Kaufman will place emphasis on evolving new technologies in the computer and
entertainment field. All questions will be answered!
Please contact Public Programs (202) 639-1770 to register for this course
Sunday, February 08, 2004
Saturday, February 07, 2004
Kathryn Cornelius hits the nail right on the head with this smart and eloquent discussion on "artspeak." Read it here.
Friday, February 06, 2004
Success as an Artist Seminar
Almost as soon as we opened our first gallery in Georgetown in 1996, artists began pouring in seeking representation. This continues to this day, and between visits, emails, packages in the mail, etc. we generally receive around 600 inquiries a year.
Because we obviously cannot represent or sell the work of such a huge number of artists, a lot of good, talented artists are turned away, after we have recommended follow on steps on what to do. However, in our first few months, Catriona soon discovered that she was spending most of her of time with emerging artists discussing many of the same things over and over, which generally consisted of giving out career advice about such things as gallery representation, contracts, grants, competitions, resumes, etc.
This was not only time consuming with scheduled appointments, but many unscheduled visits caused her to spend several hours a day just meeting with artists and essentially passing out the same information, over and over.
Then her mother came out with a brilliant idea: Why not come up with a structured, formal seminar for emerging artists to pass out this information as well as other important information. Not theory, not review of artwork, but practical advice, usable handouts and a forum to answer questions all at once.
We held our first seminar in 1999 – it was supposed to run for four hours but it ran for seven. So eventually we changed it to a full day, seven hour seminar, and have now presented it to nearly 1,000 artists and art administrators from nearly every Mid Atlantic states – with attendees coming from as far south as South Carolina.
It has been spectacularly successful in offering practical business advice to the emerging artist on many areas not covered by any art school curriculum that we know of. The information, advice and details taught at the seminar are not based on theory, but on actual practical experience and hands-on effects. That’s why it has been so successful!
In its seven hour format, the seminar covers a wide range of structured issues including:
1. Materials
Buying materials – strategies for lowering your costs, where and how to get it, etc.
2. Presentation – How to properly present your artwork including Conservation issues, Archival Matting and Framing, Longevity of materials, a discussion on Limited editions, signing and numbering, Prints vs. Reproduction, discussion on Iris Prints (Pros and Cons).
3. Creating a resume - Strategy for building your art resume, including how to write one, what should be in it, presentation, etc.
4. Juried Shows – An Insider's view and strategy to get in the competitions.
5. How to take slides and photographs of your artwork
6. Selling your art – A variety of avenues to actually selling your artwork, including fine arts festivals, corporate acquisitions, galleries, public arts, etc.
7. Creating a Body of Works
8. How to write a news release
9. Publicity – How to get in newspapers, magazines, etc. Plus handouts on email and addresses of newspaper critics, writers, etc.
10. Galleries – Discussion on area galleries including Vanity Galleries, Co-Operatives, Commercial Galleries, Non-profit Art spaces, etc.
11. How to approach a gallery – Realities of the business, Contracts, Gallery/Artist Relationship, Agents.
12. Outdoor Art Festivals – Discussion and advice on how to sell outwork at fine arts festivals, which to do, which to avoid, etc.
13. Resources - Display systems and tents, best juried shows and ones to avoid.
14. Accepting Credit cards – How to set up your art business.
15. Grants – Discussion on how to get grants in DC, Regional and National, including handouts on who and where and when.
16. Alternative Marketing - Cable TV, Local media
17. Internet – How to build your website at no cost, how to establish a wide and diverse Internet presence.
The seminar has been a spectacular success, and the feedback from artists can be read online at here and we continue to receive tremendous positive feedback on the practical success that this seminar has meant for those who have taken it.
The seminar lasts for seven hours and is now offered twice a year. It costs $75 and the next one is scheduled for February 29, from noon to 7 PM at our Bethesda gallery. It is restricted to 50 participants and interested artists can read more details or print a registration form online at www.thefrasergallery.com/seminars.html or just call Catriona at 301/718-9651. The seminar is held at the Fraser Gallery of Bethesda, located at 7700 Wisconsin Avenue, Suite E, in Bethesda. The gallery is one block from the Bethesda Metro stop on the Red Line. Ample free parking is also available
If anyone is attending the International Art Expo in New York, email me and I'll hook you up with some free passes.
For Printmakers:
Deadline: Apr 09, 2004
NATIONAL JURIED PRINT EXHIBITION at Lancaster Museum of Art. $2000 in awards. For a prospectus send an SASE to:
Lancaster Museum of Art
135 N Lime St
Lancaster PA 17602
Or call 717-394-3497 or email lmart@mindspring.com.
This year, The Art League is commemorating a 50-year legacy of supporting the arts and nurturing artists in the Washington, D.C. metropolitan area. The Art League, with its prestigious gallery and school, is the fruit of the work of thousands of artists and art patrons from the Washington, D.C., Maryland, and Virginia area.
They currently have the Patron's Show on exhibit, one of their major fundraisers, where 600 area artists donate a work of art and historically all 600 are snapped by collectors through a raffle process. Through February 15. Following that, they will have (from February 19-23) their biennial Ikebana show, where designers of the Sogetsu school of Ikebana will create graceful Japanese flower designs in pottery handcrafted by Torpedo Factory artists. This show also features an Ikebana Arranging Demonstration and a Japanese Tea Ceremony.
Today is the first Friday of the month, so the Dupont Circle galleries will host their openings and late hours. See you there from 6-8 PM.
Thursday, February 05, 2004
Local photographer in next Christie's Photography Auction:
Several vintage photographs by legendary photographer Lida Moser,
represented by us, will be offered at the next Christie's New York auction on Feb. 17, 2004.
In 2002, Moser's photos sold as high as $4,000 at Christie's.
In 1950 Vogue (and subsequently Look) 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 the Duplessis government. This chance meeting leads the young woman 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.
A portrait of Lida Moser, by Alice Neel, currently hangs in the permanent collection of the Metropolitan Museum of Art in New York City. Several portraits of Alice Neel by Lida Moser are in the permanent collection of the National Portrait Gallery in Washington, DC.
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 Portait Gallery, Washington, DC, the Library of Congress, Les Archives Nationales du Quebec, and many others. Moser was a 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 school, an association, and even a social photography club. Founded in 1936 and disbanded in 1951, the Photo League promoted photojournalism with an aesthetic consciousness and a social conscience that reaches photojournalism and street photography to this day.
Works by Moser can be seen online here. Buy Lida Moser now.
Jessica Dawson reviews Rembrandt etchings on display at St. John's College in Annapolis in her "Galleries" column in the Post today.
And in a rare two-visual-arts-day at the Post, Linton Weeks has a very large review of Winston Churchill photographs at the Library of Congress. Weeks (as far as I know) is not an "art critic" but he does a readable job in mostly describing the exhibition and give us a bit of historical background, which is what most hi-fallutin' art critics would have done anyway.
Woudn't it be nice to see (more often) a couple of different journalists write about the visual arts on the Post's "Galleries" day? All the time...
Of course, today "the galleries" were ignored, as Jessica went out-of-town and Weeks reviewed a museum show.
Maybe next week...
Right...
Grants for artists...
Once of the institutions created after Andy Warhol's undexpected death was Creative Capital.
Each year the award a lot of grants and this year the foundation will award up to 40 grants in the fields of visual arts and film/video. In the spring of 2004, Creative Capital Foundation will accept proposals for its 2004-05 grant cycle supporting work in the visual arts and film/video. Grants for performing arts and emerging fields will be available in 2005.
They have implemented a new application process: to apply for a grant, artists must first submit an Inquiry Form, which will be available February 16, 2004 on the foundation's website . The deadline for completed Inquiry Forms is March 15, 2004; those invited to apply will be notified in June 2004. As in past grant rounds, funded projects will receive approximately $400,000 in initial grants, ranging from $5,000 to $20,000. In addition, grantees are eligible for follow-up support totaling $900,000 to $1 million in the form of advisory services and additional financial assistance.
Address: Creative Capital Foundation, 65 Bleecker St 7th Fl, New York, NY 10012. E-mail: info@creative-capital.org. Tel: 212.598.9900 Fax: 212.598.4934
DC Commissions on the Arts and Humanities: Small Projects Program.
Deadline: March 4, 04.
The Small Projects Program (SPP) offers grants up to $1,000 to District of Columbia individual artists and arts organizations. The program seeks to make grant funds more accessible for small-scale arts projects. Projects may include but are not limited to: Art presentations, Assistance in fundraising, marketing, and management, Documentation of artistic activities through photography, brochures, portfolios, and demo tapes, Conferences, workshops, or seminars that will enhance artistic and professional development.
Upcoming deadlines for Small Projects Program applications is Thursday, March 4, 2004, 6:00 pm. Workshops to help artists fill out applications will be held on the following dates: Thursday, February 26, 2004, 12:00 - 1:00 pm.
The SPP workshop will be held at the Commission's office at 410 8th St., NW, Fifth Floor, Washington, DC 20004. Download the FY2003 Small Projects Program Guidelines and Application here. For more information on the Small Projects Program or to receive an application in the mail, please call Lionell Thomas at (202) 724-5613.
Wednesday, February 04, 2004
Cuban art and artists are superhot right now, and we'll have an avalanche of Cuban shows this year in DC. More on that later...
How to make them even hotter?
Answer: Eliminate or reduce access to their artwork.
Read the Art & Antiques magazine article "Crackdown ends U.S. Collecting Trips to Cuba."
Opportunities for artists:
Deadline: February 15, 2004
CURRENT WORK 2004: A NATIONAL COMPETITION. Open to all artists 18 and over. 2- Dimensional media only. Exhibition dates: March 19 - April, 2004, $25 entry fee for three slides, $1,200 in awards. Deadline for slides is February 15. To receive a prospectus, send a SASE to:
Rosenthal Gallery
Fayetteville State University
Fayetteville NC 28301.
Or visit the website to enter online or to review the prospectus or email smartin@uncfsu.edu
Deadline: February 20, 2004
The Tulane Review is looking for submissions of artwork in any medium for the Spring 2004 issue. Slides, please label orientation, or CDs of work should be mailed to:
Tulane Review
Department of Art
Tulane University
New Orleans, LA 70118.
Enclose a SASE for return of submissions. Please include a cover letter with media, dimensions, and titles of pieces, as well as a bio. The submission fee is $15 per 4 pieces and $2 each additional. A $100 prize to be awarded to the single best piece selected by qualified judge. Direct any questions to mroche@tulane.edu, or call (318)572-4374.
Deadline: February 21, 2004
National Juried Small Works Exhibition at Red Dot Fine Art. The gallery is located on historic Canyon Road in Santa Fe, NM and is one of the cities' 250 galleries. Open to all individuals with two dimensional paintings in any medium and style with a size not to exceed 16" x 16". EXHIBITION DATES: April 1st to April 25th 2004. FEE: $30 for 1-3 images (slides or JPEG 300 dpi) $5 for each additional image submitted. FOR APPLICATION: Visit their website or contact smallworks@reddotfineart.com or send SASE to:
Red Dot Fine Art
Att: Small Works
8 Tapia Entrada
Santa Fe NM 87508
I'm quoted in the current issue of Art & Antiques Magazine on a piece focused on Cuban art.
Tuesday, February 03, 2004
"Give a man a fish and he will eat for a day. Teach him how to fish, and he will sit in a boat and drink beer all day."
- George Carlin (1937 - )
Last night I had the honor and pleasure of being the guest juror at Multiple Exposures Gallery (formerly Factory Photoworks), where I juried a group show from the gallery's 14 members.
Multiple Exposures Gallery is one of the best examples around our area of what a dedicated and accomplished group of artists can do together. Running a cooperative artists' gallery is a difficult science at best, as doing anything by a committee of 14 is by human nature difficult. And yet, year after year this gallery manages to deliver superb photography, and as I have said many times in the past, continues to be one of the key photography galleries in our area.
The jurying process, as always, was difficult, and several pieces were rejected not because they were bad, but because the space also drives how one curates a show. In the end, I selected about two dozen photographs, nearly all black and white (my own prejudice) except for a couple of exceptional color photos by Barbara Southworth and Fran Livaditis. I've been watching Southworth's beautiful panoramic landscapes for a while now, where she fools you into being absorbed by the beauty of the landscape in her images, before one realizes that it is the exceptional, almost magical manipulation of light that really is the magnet in her imagery.
The exhibition will hang until March 2, 2004.
Monday, February 02, 2004
Somebody in museum-land is screwing around.
After Darin Boville read my posting about DC museum shows, he jumps and points out that "just for fun, the Air and Space Museum (one of the top attractions in the world) gets (they claim) nine and a half million visitors per year--that's over 26,000 people per day!"
Actually, Darin is slightly off.... they claim eleven million visitors a year in 2003!
Is that a fib or is the Air and Space Museum kicking the crap out of the other art museums on the Mall (and the world)? And if they are right, where else are those 11 million visitors "visiting" while they're on the Mall?
Rub it in: "The staggering number of visitors to the National Air and Space Museum is expected to increase by another 3 million starting in December, when the museum’s companion facility at Washington Dulles International Airport opens." Read it here.
Great catch Darin!
Here's a very interesting eye opener...
Here is the list of the visitor numbers for museum shows around the world. It is compiled annually by The Art Newspaper.
What is interesting to me about this list, is the fact that the highest attended show in Washington, DC (highest as defined by average daily attendance, as some shows run longer than others, and thus total attendance is different) was the spectacular retrospective at the Hirshhorn of German painter Gerhardt Richter! (read my review of it here). It averaged around 2,000 visitors a day.
Here are the only Washington, DC museum shows to make the 2004 list:
Gerhardt Richter at Hirshhorn - 158,625 visitors (1,958 daily)
Jean-Antoine Houdon at National Gallery - 243,059 (1,914 daily)
Jacob Kainen's Collection/Trompe l'Oeil at National Gallery - 231,905 (1,645 daily)
Edouard Vuillard at National Gallery - 142, 191 (1,546 daily)
Frederick Remington at National Gallery - 124,145 (1,349 daily)
And lest we forget, all of these museums are free, and also the figures are generally moved one way or the other by the tourist tides to our city, which also influences most major cities around the world, except that our museums are free, and thus (I think) more likely to attract a family of tourists.
It also seems to me that the list is somewhat screwed up, as they list Jacob Kainen's An Artist's Artists: Jacob Kainen's Collection from Rembrandt to David Smith which ran at the NGA from 22 September 2002-9 February 2003 together with the Deceptions and Illusions: Five Centuries of Trompe l'Oeil Painting which ran from 13 October 2002-2 March 2003.
At the top of the list was Leonardo's show at the Met in New York, which drew 6,863 visitors a day and a total of 401,004. Not a single show from the Tate Gallery in London made the 2003 list (their Matisse/Picasso show was one of the top ten in the world in 2002) and Matthew Barney's super hyped Guggenheim mess, although it made the list, got beaten by much less publicized events such as a show of Latin American artists at the Walker Art Center in Minneapolis.
A Minneapolis group show beats Barney's hype machine!
Goes to show you that all the hype and money in the world, although it can certainly go a long way to get you there, it still can't guarantee top success - at least as defined by public attendance, and I bet that the Walker Art Center (which had several shows in the list) spent a tiny percentage of what the Guggenheim did in producing and setting up their show.
The Hirshhorn is the final venue for this internationally-touring exhibition organized by LA's Museum of Contemporary Art.
Here's a review of the LA show which gives us a preview of what's coming.
The exhibition will include large-scale projected video installations, text pieces, still photographs and filmed images on video monitors created by the artist from 1993 to 2002. A highlight of the D.C. installation will be the artist's recent work "Play Dead: Real Time" (2002), which makes its U.S. museum debut at the Hirshhorn. A series of public programs will accompany the show, including "24 Hour Access: 24 Hour Psycho," Feb. 28 - Feb. 29. Inspired by Gordon's seminal video piece "24 Hour Psycho," this event will feature 24 consecutive hours of free access to the exhibition and conclude with a "Meet the Artist" interview conducted by Hirshhorn Director of Art and Programs and Chief Curator Kerry Brougher. I will review this show and give my thoughts on the exhibition, and the financial (for the artist and art dealers) relationship between video art (unsellable) and good old fashioned photography - of the video - which is very sellable!
Transformer Gallery presents "Gleaming the Screen: An Exhibition of Silkscreen Poster Art" starting February 7 through March 6, 2004. Curated by guest curator, Nick Pimentel of Washington, DC’s Planaria Recordings, Gleaming the Screen is a group exhibition featuring work by over twenty of the U.S. and Canadian silkscreen poster artists. Opening reception for the artists: Saturday, February 7, 2004 7-9 pm.
Conner Contemporary presents the first Washington, D.C. solo exhibition by Dean Kessmann, Coordinator of the George Washington University’s photography program. There will be a reception for the artist Thursday, February 19, 6-8 pm.
We're lucky in Washington to have one of the true "power galleries" in the world when it comes to fine art glass. Maurine Littleton Gallery is celebrating 20 years of exhibiting Masters in Contemporary Glass with a series of three-artist exhibitions throughout the year. First they will exhibit new works in glass by well-known glass artists William Morris and Judith LaScola as well as new functional work in metal by Albert Paley. The show opens April 6th and continues through April 24th, 2004.
And the Ralls Collection in Georgetown has the beautiful new work of photographer Michael Kenna on exhibit now until March 6, 2004.
Sunday, February 01, 2004
The Bush administration's 2005 budget proposes to give the National Endowment for the Arts its largest budget increase (15%) in 20 years. Read it here. If approved by Congress, the endowment's fiscal 2005 budget would stand at $139.4 million, up from the $121 million it received this year. Last year the NEA approved 2,000 grants.
Newsweek photographer Luc Delahaye has declared publicly that he is no longer a photojournalist and is now an artist. Read the Guardian story here.
My vote for the best photojournalist in the world is our own Washington Post's Carol Guzy.
Saturday, January 31, 2004
Deadline to submit applications: March 15, 2004
The National Endowment for the Arts announces funds for the promotion of various art projects, regardless of the size or type of applicant organization. Proposed programs should be of national, regional or field-wide significance; tour in several states; or provide an unusual or especially valuable contribution because of geographic location, including local projects that have significant effects within communities or that are likely to serve as models for a field.
Eligible applicants include State and local government entities, nonprofit organizations, community action agencies, and private institutions of higher education. The deadline to submit applications is March 15, 2004. Awards range from $5,000 to $150,000. For further information go to this website to determine your appropriate staff contact. Also see: www.fedgrants.gov.
Friday, January 30, 2004
Faith Flanagan organizes MUSE, which is a monthly art salon at DCAC. Each session is an opportunity to talk about contemporary art at a monthly get-together. Each salon features a discussion with a member(s) of the local arts community, followed by a chance for audience members to show slides or samples of their work.
The next MUSE is this Sunday, February 1, 7:30pm when the guests are Robert Lehrman, gallery owner George Hemphill, and Washington Post art critic Blake Gopnik. They will be joining MUSE this month to discuss collecting art, museum trusteeship and stewardship. For more info email Faith at salon@dcartscenter.org.
Thursday, January 29, 2004
Swann Foundation to Award Fellowship for Caricature and Cartoon Research - DC
Deadline: February 13, 2004. Administered by the Library of Congress, the Swann Foundation for Caricature and Cartoon promotes the study, interpretation, preservation and appreciation of original works of humorous and satiric art by graphic artists from around the world. The Swann Foundation Fund awards one fellowship annually with a stipend of $15,000 to assist ongoing scholarly research and writing projects in the field of caricature and cartoon. For more complete information, visit their website.
Some artist residencies...
Artist Community: Montana Artists Refuge.
Deadline: May 15, 04. The Montana Artists Refuge is an artist-led residency community, which provides a variety of affordable short and long-term living and studio spaces for visiting artists in the uniquely scenic, historic mining town of Basin, MT. The Refuge was established for artists to be able escape from the day-to-day struggle of living in order to have the gift of time, freedom and solitude to create and rejuvenate. The Refuge exists to create a quality environment for artists to work, as well as the opportunity for artistic collaboration in a creative community. The Refuge supports a variety of contemporary arts disciplines such as visual, music, performance and literary arts. Additionally, the Refuge maintains programs that are designed to enhance the residential programs and create a thriving and vital community for the arts both within the residencies and the greater community. As of December 2003, the Refuge has hosted more than 100 artists from 24 states and seven nations including Poland, China and South Africa. The Refuge has also hosted Native American artists from such nations as the Cheyenne, the Blackfeet and Crow. Qualifications: The Montana Artists Refuge is a 501(c)(3) corporation and has been in existence since 1993. The Montana Artists Refuge has created a vital artist community in a rural setting which includes art exhibitions, live performances and workshops and foster community awareness and participation in the arts. How to Apply: visit website and download application here.
Byrdcliffe Arts Colony - New York
One-month residencies for artists. Beautiful, historic setting, secluded yet close to town of Woodstock, NY. Private room and studio space in rustic turn-of-century inn. Access to galleries, performances, hiking. $600 per four-week session. June-Sept. Deadline: April 1. Summer cottages also available May-Oct.; March 1 deadline. Send SASE to The Woodstock Guild, Artist in Residence Program, 34 Tinker Street, Woodstock, NY 12498.
Jentel Artist Residency Program - Wyoming
Jentel Artist Residency Program offers one-month residencies in rural ranch setting that include accommodation, studio, and $400 stipend to visual artists and writers. For application download it here or send request with self-addressed label and $.60 postage to: Jentel Artist Residency Program, 130 Lower Piney Creek Road, Banner, WY 82832. Deadline: January 15, 2004 for May 15-December 13, 2004 residencies. Deadline: September 15, 2004 for January 15-May 13, 2005 residencies.
DC Commission on the Arts and Humanities Deadlines for its Small Projects Program:
Deadline: March 4, 04. The Small Projects Program (SPP) offers grants up to $1,000 to District of Columbia individual artists and arts organizations. The program seeks to make grant funds more accessible for small-scale arts projects. Projects may include but are not limited to: Art presentations; Assistance in fundraising, marketing, and management; Documentation of artistic activities through photography, brochures, portfolios, and demo tapes; Conferences, workshops, or seminars that will enhance artistic and professional development.
Upcoming deadlines for Small Projects Program applications is Thursday, March 4, 2004, 6:00 pm. Workshops to help artists fill out applications will be held on Thursday, February 26, 2004, 12:00 - 1:00 pm The SPP workshop will be held at the Commission's office at 410 8th St., NW, Fifth Floor, Washington, DC 20004. Download the FY2003 Small Projects Program Guidelines and Application here. For more information on the Small Projects Program or to receive an application in the mail, please call Lionell Thomas at (202) 724-5613 / (202) 727-3148 TDD.
Wednesday, January 28, 2004
Tuesday, January 27, 2004
Video artist and photographer Darin Boville comes through again with some valid and intelligent thoughts and ideas on the drive to kick-start DC's art scene."I read your #9 on your list of things to do to make the DC area a center for the arts. You are absolutely right that there is little coverage of the arts (visual arts) in the DC area. But I don't think we are ready to move on the media ideas yet...here are a few things to think about (you'll need to have these answers ready to talk with the money-people and the news people anyway--let's work it out ahead of time):
1) List and describe the ten most interesting DC-area art news items that didn't get covered by the Washington Post, radio stations, etc. What are we missing by not having this coverage? The list that is produced needs to be good--it needs to make people sit back and think, "Damn, I didn't know *that* was going on!" If we don't have that we won't get covered. We won't *deserve* to get covered.
Don't get sidetracked with the idea that art shows deserved to be reviewed, say, like movies. Movies are in a different world, news-wise. They've got a huge audience, genuine stars, and big money. Count the dollar value of the tickets sold in one night, on one screen at your local movie theater. Multiply by the number of screens within a 20-minute radius. Compare to total yearly gross sales of contemporary art in the DC area. Forget about being reviewed like the movies.
Be jealous of the theater. They get reviewed and we don't. Why? Maybe demographics? People who can afford theater ticket prices are very desirable to advertisers. If you were in charge of the Washington Post and faced those same business pressures what would you choose to do with your limited space? Hold this thought (see below).
2) Sponsors. Money is not cheap. What are we offering? A chance to support the DC art scene. Whoopie. That translates as giving hard earned money to a charity that is by and large peopled by and which on the whole supports people who do not like the same sorts of large corporations which are giving the money. And for this unrewarded generosity the corporation is asked to expose itself to the chance that the programming it supports will endorse or display highly controversial (sexual and political) topics that the corporation is frankly not interested in supporting. It has its own stake-holders, ya know. Have we thought out the moral decision we will need to make when we come with our hand out? Yes, go for the money, but what will we say to all of the arts people who will soon cry "censorship"? Liberals eat their own. Remember that.
Even with reassurances that care will be taken and respect for the sponsor will be demonstrated, we still haven't given them a compelling reason why they should care. Come to think of it, why should they care?
3) So what to do? Build from the ground up. We need data. We need data to convince all those media people that we aren't talking about charity for the arts (yawn) but about doing something to please their existing audience and doing something to attract the people that will make up those desirable demographics.
How big is the audience for the visual arts in the DC area? How does it breakdown by region, by gender, by race, by income level? How many people in the Washington Post's audience, for example, read the existing articles on the DC arts scene? Those demographics. I haven't a clue. Do you?
Start with the Post itself. Do they ask questions in their demographic surveys that are relevant to the arts? We either need to analyze that data, get them to include arts questions in future surveys, or do our own data collection.
4) So there is something we can do right there. Call all the local galleries. Get them signed on to our bran-spanking new "I love the Arts (in DC)" drive. Everybody at every opening gets a postcard with demographic fill-in-the-blanks. We hand them out in Dupont Circle, Bethesda, etc. Pre-paid postcards, of course. Nothing is free. We gather data. At the same time we build support through the data collection effort itself. In fact, the data collection effort is real news and the results of the data collection are news, too. No need to beg for reviews. We've got news. Heck, we might even develop a list of people who want to be on the new DC-wide arts mailing list (the one that we just now decided to put together) and--heaven forbid, a list of possible financial supporters (not to buy art, but to fund our future arts-building activities).
That's enough for now!
--Darin"
Monday, January 26, 2004
One more thing for die-hard Castro apologists to try to defend: Fidel Castro has sentenced 10 Cuban librarians to 20 years in jail for stocking George Orwell's 1984 in Cuban libraries.
One more thing for blind devotees of the United Nations to try to defend: After Castro sent the 10 librarians and 65 other dissidents into his prisons, the notorious U.N. Human Rights Commission (which I think is headed by that human rights leader Lybia) refused to pass a condemnation of Castro and now has also turned down a resolution introduced by Costa Rica calling for the immediate release of the prisoners.
It is brutal repression like this that fuels the art of many Cuban artists within this poor island prison and part of the reason that Cuban art is in such high demand.
Sunday, January 25, 2004
No 9.
The Media
I am going to spend very little time bitching about galleries coverage by the Washington Post. The bottom line is simple – on this side of the fence (artists, collectors, readers and gallery owners) it appears that we all think that the Washington Post delivers scant coverage of the Greater Washington area gallery art scene, especially in proportion to the other “arts” covered by the Post. Although there are far more art galleries than theaters (for example), the Post does around 400% more theatre coverage than gallery coverage. Essentially between Jessica Dawson's 45 or so yearly columns each Thursday (except when she’s away or on vacation) and Michael O’Sullivan’s occasional gallery review in his Weekend column, the Post ‘s coverage of the area’s art galleries could be doubled and it would still be less than its current coverage of theatre, performance, music, dance, opera and even fashion.
So, let’s pretend that for some reason someone would convince John Pancake, the Post’s very hardworking Arts Editor, or his boss (Style Editor Gene Robinson) that the paper’s coverage of the city’s gallery scene is not commensurate with the size of Washington’s gallery scene and the newspaper’s reputation as a leading world publication. That would be, by itself, a great leap forward in helping to fire our the embers of our “art scene.”
But don’t hold your breath.
Yet, this area is still one of the most powerful media centers in the world, and I think that ingredient number nine in our ten-step list is definitely the media. In fact I believe that if we can get just some of these ideas started (in regards to the media) that even the Post would be forced to follow and “notice” the galleries, our artists and our area scene.
But let’s forget the Washington Post for a minute. Let’s look at the other media.
A little while back, we had some exposure to the power of a few seconds of television attention to an art show. As I noted in some of my postings, Scott Hutchison’s show of large nudes in our Bethesda galleries attracted the attention of a local newscaster, who then came and did a little segment on the “controversy” created by the nudes.
It was amazing what this little air exposure did, we had a large number of visitors, who otherwise wouldn’t have even heard of the show, come by – most just to see the show – others to express their support. But the point was that just a minute or so of TV exposure brought more people to the show than a huge review in the paper - any paper!
I know that WETA’s “Around Town” usually gives Bill Dunlap 4-5 minutes to discuss a museum show and then hurry through a couple of “Best Bets” before the other panelists get back to theatre and the movies. But that’s it!
So why don’t more local TV stations devote some time to our area artists and galleries?
Why?
I know that economics are a driving issue – and that their main driver is after all – the news. But they also have a cultural mission, which in TV news land translates into reporting on and about the movies.
TV stations already spend a lot of time on movies – as I noted earlier, I have a particular bitch about the “Arch on the Arts” segment, when Arch essentially just reviews movies 99% of the time – call it “Arch on the Movies” or have Mr. Campbell start attending (and discussing) some art shows.
What we need is just for one local TV station to take the lead and provide one minute a week – one miserable minute a week – dedicated to reviewing a local art gallery or an area artist. Call it “Gallery Minute” and sixty seconds of visual sweeps of the gallery, the artwork, 25 seconds of someone talking about the art, some contact info, dates and bingo – we’ll have an exponential increase in attendance to that show, and the beginning of more awareness of our gallery scene.
And that is precisely what TV can bring to the game – visual awareness to let viewers know that there are dozens and dozens of art galleries in the Washington, DC area and thousands of artists!
And I suspect that if one leading TV station were to do this once a week, that soon others would follow, and pretty soon we may even have two or three TV stations showing some interest and more importantly: kindling interest!
And one can apply the same logic to our local radio stations.
WTOP, which has the highest ratings in the DC area (I listen to them as well), has Joe Barber as Entertainment Editor. Joe is also an “Around Town” panelist and more than superbly qualified to do visual arts reviews if allowed. But all that Joe does is clubs and theatre.
Why?
I don’t know, but I suspect that whoever or whatever company pays for Joe’s airtime minutes, wants him to focus on just those two areas. If this is wrong, and if it is WTP’s management that restricts Joe to movies and clubs and performance, then it really doesn’t make sense.
Here’s how we fix this.
WTOP (or any other radio station) will give airtime to any discussion or critic if someone is willing to sponsor it. In other words, if tomorrow Giant Foods, or Lockheed Martin, or AOL or some other local company went to WTOP and said: “We’d like to sponsor a three minute daily segment on area galleries,” it would be in the station’s schedule as soon as the contract ink dried on the ad agreement.
WTOP (or any other commercial station) would not do this out of the goodness of their heart – and they are (after all) a commercial station. But it can happen if someone is willing to sponsor it. I know because I’ve asked them, and they’ve told me so!
What I don’t understand, and doesn’t make sense, is the fact that the radio stations that already have local cultural shows, such as NPR’s “Metro Connection,” rarely – if ever – cover area galleries or area artists. “Metro Connection,” like WETA's “Around Town,” and WTOP’s Joe Barber all report on the same thing: movies, theatre, and performance – the same thing that the Post reports on so well.
WETA's 90.9 FM new "arts" program - titled "The Program" has also been somewhat a disappointment in its avoidance of doing more with our galleries and visual artists. An exception was today, when they looked at Flashpoint. I do realize that they have done segments with Ferd Protzman (former art critic from the Post), and visited a museum or two, and a few pieces on some local artists, but we need more!
Why not more more galleries? In fact, according to its own description, this weekly hour-long program "explores trends, events and issues in the Washington-area arts scene. It includes both the mainstream and the fringe, with an eye to considering the broader implications of an exhibit or arts activity."
Regular contributors are NPR film and theater critics Pat Dowell and Bob Mondello (who is also a panelist on WETA TV 26's Around Town). There are no regular art critics.
Suggestion: A review a show!
So how do we get some of this, or one of these to happen?
We need the friend-of-a-friend-of-a-friend network to kick-start this idea into motion.
Someone will read this that knows someone who is a friend or a friend who knows the CEO of Lockheed Martin (or any other well-to-do local company reaping in the benefits of our once again great economy). Someone to bring up this issue eloquently to a person who, with a telephone call, can make things happen, and sponsor a minute a day on WTOP, or a minute a week on a TV station, or discuss person to person with Mr. Graham from the Post, some simple steps to highlight our great cultural gallery scene. In fact, someone set me up and I’ll do the “bringing up.”
Five minutes with any of them - that’s all I need.
Once a media source takes the lead, others will follow. Once we have some TV airtime, some radio airtime, and more people being informed that an art scene exists and thrives in DC, another ember in our kindling will catch on fire.
Saturday, January 24, 2004
The Art Museum of the Americas currently has an exhibition of influential Chilean artist Roberto Matta's works titled "An Architect of Surrealism." Joanna Shaw-Eagle reviews the show here.
Tomorrow I will post number nine in my list of 10 steps to fire-up the DC artscene. You can read number ten here.
There are some really excellent shows coming to our area's galleries in the next few months. In addition to my previously mentioned exhibition of three of Cuba's leading female photographers at Fraser Georgetown, another sure-to-be excellent photography exhibit will be Darrow Montgomery's show at Kathleen Ewing Gallery. Montgomery photographs Washington for the City Paper. His show will be from April 23 - May 29, 2004, with an opening reception on Friday, April 23, from 6-8pm.
Friday, January 23, 2004
Don't Forget - Deadline January 30, 5pm - The Bethesda Arts and Entertainment District has announced the 2004 Bethesda Artist Market. Selected artists 18 years or older will be invited to participate in the Bethesda Artist Market on Sunday, May 9, Sunday, June 13 and Sunday, July 11 from 11am-6pm. All fine art and fine craft are accepted including, but not limited to: painting, drawing, photography, sculpture, fiber art, digital, mixed media, clay, wearable fiber, furniture, glass, jewelry, leather, metal, paper, ceramics and wood are accepted. All work must be executed by the accepted artist.
Studios that produce works in volume are not eligible. T-Shirts and commercial clothing are not eligible. Ceramic works must be handmade by the artist. All booth space is 10' x 10' and all artists must provide their own tent. No staking allowed and artists must bring their own weights. Members of the Bethesda Arts and Entertainment District Advisory Committee will select the artists. The Market will be held in the Bethesda Plaza located at 7700 Wisconsin Avenue in Bethesda. For a submission form, please e-mail Staphanie or send a Self-Addressed Stamped Envelope to: Bethesda Artist Market, c/o Bethesda Urban Partnership, Inc., 7700 Old Georgetown Road, Bethesda, MD 20814.
Visit www.bethesda.org. Questions, call 301.215.6660 ext. 20. Stephanie Coppula.
Opportunity for a cartoonist...
Deadline February 13 - The Swann Foundation will Award a Fellowship for Caricature and Cartoon Research – DC. Administered by the Library of Congress, the Swann Foundation for Caricature and Cartoon promotes the study, interpretation, preservation and appreciation of original works of humorous and satiric art by graphic artists from around the world. The Swann Foundation Fund awards one fellowship annually with a stipend of $15,000 to assist ongoing scholarly research and writing projects in the field of caricature and cartoon. For more complete information, visit their website.
Thursday, January 22, 2004
Panorama DC is an arts activist organization whose goals and mission is to ensure that:
- All residents have consistent opportunities to participate in and appreciate the arts.
-To increase awareness and visibility of art and activism in the District of Columbia.
-To bring people together through community arts.
-To preserve & celebrate our cultural diversity.
This coming Saturday January 31, 2004 they will be hosting the "Panorama Art-In" which consists of affordable workshops in visual, performing and teambuilding arts.
Location: Jelleff Boys and Girls Club, 3265 S St., NW, DC
Time: 10am-5pm
Donation: $25-55, sliding scale and no one turned away due to lack of funds. Light lunch included.
1. Visual Art Workshops include Ceramics, Collage Painting and Woodworking.
2. Performing Art Workshops in Drumming, Traditional West African Dancing, Spoken Word and Acting/Improv.
3. Teambuilding Workshops in Mural/Banner Painting
To Register email panoramadc@yahoo.com or call (202) 431-4840.
Artists' Opportunities...
Deadline: February 2, 3004.
NATIONAL CERAMIC COMPETITION - February 2, 2004. Exhibition runs April 15-June 20, 2004. Over $5,000 in cash awards. Open to artists living in the US, Canada and Mexico. Original clay work "from functional to sculptural." Completed in the last 2 years. Entry fee. 20% commission. SASE to:
Karen Zimmerly
San Angelo Museum of Fine Arts
One Love St
San Angelo TX 76903
325-653-3333
www.samfa.org
Wednesday, January 21, 2004
For women photographers:
Secondsight will be having their bi-monthly meeting tomorrow!
Secondsight is an organization dedicated to the advancement of women photographers through support, communication and sharing of ideas and opportunities. Secondsight is committed to supporting photographers at every stage of their careers, from students to professionals. Each bi-monthly meeting includes an introductory session, a guest speaker, portfolio sharing and discussion groups. Each photographer will have the opportunity to present their work within a small group of other photographers, ask for constructive criticism, gain knowledge or simply share their artistic vision and techniques.
For info, directions and details call Catriona Fraser tomorrow from 12-6 PM at 301/718-9651.
Some mini reviews...
This year the Art League celebrates its 50th birthday. The Art League is one of the cultural jewels in the brilliant cultural tapestry of our area and I know that their impact and presence will be around for many more years to come. Happy 50th!
Their most recent show was juried by Walter Kravitz, and for the first time in my many visits and reviews of The Art League’s many wonderful group shows, which consistently are solid, good shows, I was disappointed.
Kravitz selected a mediocre show – not just because some of the artwork is mediocre – after all, those pieces were mediocre to me – just me, but also the show suffered from the clear fact that he obviously tried to have an all-inclusive show, with a little of everything, and instead ended with a mish-mash of too many disparate pieces and genres that looked like a student show rather than a professional, powerful and tight group show – as I have grown accustomed to see at The Art League.
By the way, I’d love to jury a show there and put my money (I mean selections) where my mouth (I mean words) is/are.
Anyway, from Kravitz’s jumbled show, I particularly liked some old proven names. In the show, the superb watercolors by Chris Krupinsky stood out as usual, as did the giant drag queen painting by Ardath Hill (which I’d seen before at Hill’s Studio Gallery solo), Glenn Friedel’s spectacular photograph titled “High Contrast Nude II,” and Sara Poly’s “Clouds Ascending.”
At the League’s solo show gallery, Caroline Emmet Heald gives us a painting landscape tour in a show titled “Wetlands” which as the title describes, are landscapes depicting various wetlands. Heald is a talented painter who skillfully avoids the trap of trying to create the illusion of perfect realism and instead uses the ability of color to deliver representational ideas to bring forth her landscapes. Yes, they are paintings of wetlands, but a closer inspection reveals the tenacity of a good painter who is also interested in exploring vigorous brushwork and the interactions of colors.
Upstairs, I visited the group show at Multiple Exposures Gallery (formerly Factory Photoworks) curated by Annie Gawlak of G Fine Art. I also found this show, titled “Multiples,” a little thin, and this was also surprising, as this cooperative is without a doubt one of the powerhouses of local photographic talent. Gawlak selected 17 pieces, most of which didn’t really appeal to me, with the exception of a beautiful selenium-toned photo by James Steele titled “Ecola Forest.” If I may fall on that old art criticism crutch of comparison, it reminded me of one of those Wayne Bullock photos sans the nude. It is a gorgeous, sensual and mystical photo of a moist, wet forest that showcases Steele's superb photographic eye.
I'll be jurying Multiple Exposures Gallery's next show in February, so let's see how I do when placed in the juror's place - although I juried a show for this gallery a few years ago as well and I am quite familiar with most of the phoptographers in the gallery.
Tuesday, January 20, 2004
Monday, January 19, 2004
News via Artsjournal.com: Don't miss this interesting Miami Herald article on the evolution and origin of art which discusses the issue of the 30,000-year-old ivory figurines found in Germany (see my earlier posting) now add to a growing body of evidence suggesting that modern humans have always displayed sophisticated artistic ability throughout their existence and questioning the "need" to go to art school to learn to be an "artist."
Opportunities for artists:
Deadline: February 1, 2004.
The Rijksakademie in Holland offers sixty artists (resident artists) from around the world the possibility to work for a period of time (maximum of two years) on research, projects and production. Every artist has their own studio, a stipend and the opportunity for dialogue with visiting artists, art critics, curators and other advisors. In addition to extensive technical workshops and advice, the facilities include a library, artists’ documentation and art collection. The Rijksakademie offers a unique blend of the features of artists’ residencies, research centers and postgraduate programs at the highest international level. The Rijksakademie also organizes the Prix de Rome, the oldest and most prestigious "state prize" of the Netherlands.
Applications for the residency 2005 can be obtained through their website or contact them at:
Rijksakademie van beeldende kunsten
Sarphatistraat 470
NL 1018 GW
Amsterdam
Netherlands
Opportunities for Miniature Artists
Deadline: February 2, 2004.
The 7th Annual International Biennale of Miniature Art in Quebec, Canada has a call for miniature artists to be invited to participate. Jury will select artists. Every artist may present a maximum of two works. Entry fees: $20 for the first work $10 for an additional work. The fees are payable in Canadian funds with international drafts or money orders. Visit their website for details.
For Printmakers...
Deadline: February 28, 2004.
The Sumei Multidisciplinary Art Center in New Jersey hosts the Sumei National and International Juried Print Exhibition 2004 . This biennial exhibition is dedicated to the memory of Cuban artist Belkis Ayon, who committed suicide a few years ago. Juror is David Kiehl, Curator of Prints at The Whitney Museum of American Art. Open to all artists, original works created within the last three years, any print media. Giclee prints accepted in separate category. For prospectus you can download the form from their website or send SASE to:
Sumei Juried Print
19 Liberty Street
Newark, NJ 07102
Opportunity for artists and curators:
Deadline: Ongoing.
P.S.1 Contemporary Art Center's Clocktower/P.S.1 Projects provides free, non-residential space for the creation and/or exhibition of specific projects. Studios are located on the 13th floor of the Clocktower Gallery in Lower Manhattan and at P.S.1 Contemporary Art Center in Long Island City. Artists are invited to submit proposals for projects which can be created within three months or less. P.S.1's curatorial team will select projects based on quality of work, the probability of its execution, its relevance to other P.S.1 programming, and other curatorial considerations. Applications will be accepted throughout the year.
Download the application and read further info here.
Submit completed application to:
P.S.1 Contemporary Art Center
Attn: Clocktower/P.S.1 Projects
22-25 Jackson Avenue at 46th Ave.
Long Island City, New York, NY 11101-5324
Opportunities for artists:
Deadline: March 9, 2004. Greenhouse Gallery in San Antonio, Texas has a juried competition that is a project of the International Museum of Contemporary Masters of Fine Art and is dedicated to seeking and promoting artistic excellence. Slide entries will be juried by the owners of Greenhouse Gallery of Fine Art. $20,000 in cash award prizes. March 9, 2004 - Last day for acceptance of entry forms and all required materials. Entries must arrive at Greenhouse Gallery of Fine Art, 2218 Breezewood, San Antonio, TX 78209. Contact the gallery at (800) 453-8991 for a prospectus.
The Washington Sculptors Group, one of the most active area artists' organizations will be exhibiting "Flora - Sculptures of the Natural World." This is a special sculpture exhibition celebrating the 20th Anniversary of the Washington Sculptors Group. The exhibition will be at the United States Botanic Garden Conservatory and runs from January 19 through March 27, 2004 (Hours: 10am to 5pm Daily) and a opening reception on Saturday, January 24, 2004, 6-8PM. The United States Botanic Garden Conservatory's West Gallery and West Orangerie is located at 100 Maryland Avenue, SW, Washington, DC 20024. For directions go to www.usbg.gov/education/events.
The Washington Sculptors Group was recently awarded an Award for Excellence in Service to the Arts during the 19th Annual Mayor's Arts Awards.
Sunday, January 18, 2004
Blake Gopnik has a really excellent article about Diane Arbus retrospective currently on exhibit at the San Francisco Museum of Modern Art. It is in today's Sunday Arts. Don't miss it!
By the way, I have a bitch with the way the Post does the byline on some of their employees. They list Gopnik as Washington Post Staff Writer, which is the same way they list everyone else, including the guy who writes the obituaries (which by the way is what Gopnik's predecessor did before being promoted to being an art critic). Blake Gopnik deserves the recognition of his pulpit, and should be listed as Chief Art Critic or Senior Art Critic or whatever his true title is.
Every other major newspaper that I can think of identifies the real title of their writers (when they have one). This seems like simple lazyness on the part of the Post, unless it has something to do with some ridiculous union issue.
If anyone from the Post reads this BLOG, I would appreciate an explanation to clarify the point. Email me.
Some local art news and openings:
The Hirshhorn Museum has appointed Glory Jones as Director of External Affairs. She will lead the museum's fundraising and communications program. Jones' past experience includes being an independent media-relations and events consultant to the US Pavillion at the 2001 Venice Biennale.
On February 14, the Corcoran opens "The Quilts of Gee's Bend." This show is about the quilt-making tradition of a geographically isolated African-American community in southern Alabama.
Featuring 70 quilts dating from the 1930s to 2000, The Quilts of Gee’s Bend includes quilts made from everyday fabrics: corduroy, denim, cotton sheets and well-worn clothing.
The New York Times' Senior Art Critic, Michael "Dia" Kimmelman has called the quilts "some of the most miraculous works of modern art that America has produced," so I am really looking forward to the press preview and will let you know on February 10 what I think. With Kimmelman's endorsement, and because of the political incorrectness of dissing a show like this one, I suspect that Washington area critics will walk with tender feet on this exhibition and it will be well received and positively reviewed. In fact, lack of a major review or endorsement could be viewed as "disliking the show," so you better get your pens ready and take good notes at the press review boys and girls!
Organized by the Museum of Fine Arts, Houston, The Quilts of Gee’s Bend is on view at the Corcoran from February 14 through May 17, 2004. After I attend the press review and once I've seen and digested them, I will let you know what I think.
Ross Palmer Beecher is a Seattle-based artist that for 30 years has been taking the American tradition of quilt-making and taking it to a really modern setting. If Beecher lived in New York, I suspect that she would be an art superstar by now. Ever since I met her when I was a student at the University of Washington School of Art (she wasn't a student there, but we used to sell our artwork at the Pike Place Market), she's been refining her vision of contemporary quiltmaking and uses metals, found objects, cloth, beads, glass, costume jewelry, bottle caps, stamps, etc. in her quilts. Even back in the late 70's I knew that Ross was re-inventing quiltmaking as a contemporary art form, and I think that she would be an excellent choice for the next Corcoran Biennial.
Numark Gallery in its really nice new location has a two-person show curently on exhibit until Feb. 21. On show is Adam Ross: In Between Places and Carter Potter: We Cure Everything.
For lovers of contemporary landscape painting, The Alla Rogers Gallery in Georgetown has two exceptional Ukranian artists currently on exhibit until Feb. 18: Alexander Stephanovich Shurinov and Yelena Molchanova. Alla Rogers focuses her exhibitions on mostly former Soviet and Eastern European artists. The superb school training characteristic of artists from that part of the world is very evident in these two artists powerful brushwork and clear understanding of the power and nuances of color. It's an excellent landscape painting exhibition that is also very nicely priced (no painting is more than $2,000).
Elizabeth Roberts Gallery in Dupont Circle has an opening reception on Friday, Feb. 6 from 6-8 PM for artists Brenda Moore and Sylvie van Helden. The two-person show runs until February 28, 2004. Moore is a 2001 American University MFA graduate who currently teaches at the Chicago Academy for the Arts, while van Helden is a 2002 MICA MFA graduate who now teaches at Loyola University in Baltimore.
The Phillips Collection opens on Feb. 14, 2004 an exhibition titled: "Discovering Milton Avery: Two Devoted Collectors, Louis Kaufman and Duncan Phillips" . The show focuses on two of Milton Avery's most important patrons and their personal approaches to collecting. I will be attending the press preview on Feb. 9 and will let you know my thoughts on this exhibition by a truly independent artist who refused to be categorized and whose influences on giants such as Mark Rothko had often been ignored."some of the most miraculous works of modern art that America has produced,"
Saturday, January 17, 2004
I was interviewed yesterday by Art Business News Magazine on the subject of Cuban art, which is "sizzling."
Recently The Arts and Humanities Council of Montgomery County (AHCMC) Board of Directors announced awards totaling more than $51,000 for arts and humanities programs in Montgomery County for the second half of fiscal year 2004 that began on January 1, 2004. Awards were given to around 40 institutions and ranged from $475 to $3,450.
Video artist and photographer Darin Boville smartly picked up on a very interesting issue that I think AHCMC should really consider.
Boville says:This is ludicrous. Just over $50K spread scattershot over nearly forty recipients? This isn't support for the arts. This is more like the micro-loan programs that international agencies run in third world countries.
In grants of $600, of $1,000, of $2,000 you have to take very seriously the notion of subtracting out the time it took to fill out the forms, making the calls, having the meetings to decide to pursue the grant and so on from the value of the grant. From a policy point of view you also have to account for those cost of all those who applied but did not win. You have the take into account what it costs to administer the grant program.
Surely the real cost of giving away this money is larger than the value of the money that is given away.
So here is an idea for your list of things to do to make the DC-area a center for art:
Take the $50,000 for the next six months and don't give it to artists. This is like giving starving people just enough food to stay alive but not enough to do anything but wait for the next hand-out cycle. Instead, use it to hire a professional fund-raiser/PR person for the area art scene. That will pay for itself and then some. Stop the arts community from letting itself bleed to death.
Friday, January 16, 2004
Thursday, January 15, 2004
One of the paradoxes of the Washington, DC art scene is the fact that our area has the second highest concentration of millionaires in the world (after Silicone Valley area), and yet an almost invisible local collector base to help support our area galleries, artists and cultural tapestry.
From my tunnel vision perspective, this phenomenom only seems to apply to the visual arts: The money is here, the galleries are here, the artists are here, and yet the collectors are not here - at least not in the same scale as in Miami, LA or SF. No one can challenge NYC, but one would think that Washington could certainly develop a collector base on the par with those other cities.
Why is that? I have several theories, which I will be mulling and blogging over the next few days. I also have the actual data (from our perspective) of where our sales go to, and interestingly enough, over half of our gallery sales go to collectors outside of Washington!
When we were working with Sotheby's to sell Washington artists' artwork, of nearly 1,000 lots that we sold in the last few years, all but two were bought by collectors from all over the US, Europe and Asia - only two to Washington area collectors out of nearly 1,000 sales! Worldwide collectors were buying Washington artists' art and Washingtonians were ignoring them.
Two out of 1,000.
Where do Washington area collectors go to buy art?
There are some local collectors and they do exist. We started our first gallery without a single name on our invitation list and had not stolen the collectors database from another gallery, so over the years we had to develop our "own."
And we have certainly developed several good collectors over the last few years - not just in Washington, but also other cities and countries, and in DC there are a handful of legendary art collectors (none of which are "rich" by the way), that we (and nearly every gallery in DC sells to) whose vast art collections are so large that nearly every Washington artist of note is hanging (wall-to-wall) in their homes. In one case, the collector has so many works that even his entire ceiling is covered with paintings!
But DC area art collectors do not exist in the numbers that a demographic like Washington's can and should deliver. We should have a collectors base of thousands, not dozens.
Why?
Part of the answer will be coming up soon here, but a hint is in the fact that while this goes on in DC, Miami struggles with dilemmas like this one. I wish we had their "problems."
Wednesday, January 14, 2004
The much maligned art of portraiture painting seems to move along forward even in the lost art nation of Great Britain, where even portrait painters (sigh) become art stars.
For a truly descriptive and eloquent piece on the art of creating a portrait painting (in this case the portrait of London's National Portrait Gallery's director Charles Saumarez Smith by artist Tom Phillips and filmed by Bruno Wollheim), read this cool piece in The Guardian.
"Nobody ever likes the work in the Turner Prize. Conceptual installation art is worthless and people don't want it. Galleries are desperately trying to find young artists who can draw..."Above quote by well-known British artist Sir Kyffin Williams, who also accuses modern artists of being more interested in fame than art and describes teaching in art schools as "disgraceful."
Read The BBC story here.
One of my favorite painters, Eric Fischl (who one day we hope to bring to a show here in DC) will be in town Thursday, March 11 at 7pm at the Hirshhorn's Ring Auditorium.
Fischl, whose painting The Funeral: A Band of Men (Two Women) Abandonment! was acquired by The Hirshhorn in 1990 and is one of my favorite pieces in the Hirshhorn permanent collection (it is currently on view by the way), will discuss his work and the current direction of figurative art, which according to a couple of our local art critics is dead and "has been done."
Tuesday, January 13, 2004
The Russian Cultural Centre of the Embassy of Russia has a showing of the same show by the International Artists Support Group Art Exhibition that took place in St. Petersburg, Russia.
The Cultural Centre is located at 1825 Phelps Place, NW, Washington, DC, Mon-Sat, 10am-6pm. Call for directions: 202-265-3840. The show comes down on January 30, 2004.
Eve Hennessa opens this Friday, January 16 at Parish Gallery in Georgetown's Canal Square. All four Canal Square galleries (MOCA, Fraser, Parish and Alla Rogers) will have their January openings and have opening receptions from 6-9 PM.
My Pictish Nation drawings are on exhibit at Fraser. I usually do the January or December show because everything is dead, especially if the "S" word (snow) is mentioned. The show received a nice review by John Blee in The Georgetowner and a very nice review by Joanna Shaw-Eagle in The Washington Times. To learn more about Pictish culture, click here.
Deadline: January 30, 2004.
Pandamania 2004, DC Panda Sculpture Design
The DC Commission on the Arts and Humanities is looking for Artists to submit designs for 150 Panda sculptures that are 5½ feet tall. Like the elephants and pandas that enlivened the city's streets nearly two years ago,these whimsical characters will be placed on the streets of Washington during the spring, summer, and fall of 2004. The deadline for artwork is January 30, 2004. Artist Stipend per Panda is: $1,500.00 To participate in Pandamania's Call to Artists obtain an application here or email alex.macmaster@dc.gov or call 202.724.5613.
Artists must mail or deliver all original art submissions no later than Friday, January 30, 2004 to the DC Commission on the Arts and Humanities, Fifth Floor 410 8th Street, NW, Washington, DC 20004.
Spring 2004: Entries for Bethesda Arts Festival
The Bethesda Arts and Entertainment District is accepting applications for the 2004 Bethesda Fine Arts Festival, an outdoor Fine Art and Fine Craft festival that will take place in the Woodmont Triangle area of Bethesda, Maryland. The festival will take place, rain or shine, on Saturday, May 15 and Sunday, May 16. 150 booth spaces are available, $275 for a 10' x 10' booth, $25 application fee. All original fine art and fine crafts are eligible, no mass produced or commercially manufactured products are allowed. $2,500 in prize money. Deadline for applications is March 1, 2004. To download an application form, visit here or send a SASE to Bethesda Urban Partnership, Bethesda Fine Arts Festival, 7700 Old Georgetown Road, Bethesda, MD 20814.
For more information contact the festival Director, Catriona Fraser, at (301) 718-9651.
Faith Flanagan organizes MUSE, which is a monthly art salon at DCAC. Each session is an opportunity to talk about contemporary art at a monthly get-together. Each salon features a discussion with a member(s) of the local arts community, followed by a chance for audience members to show slides or samples of their work.
The next MUSE is Sunday, February 1, 7:30pm when the guests are Robert Lehrman, gallery owner George Hemphill, and Washington Post art critic Blake Gopnik. They will be joining MUSE this month to discuss collecting art, museum trusteeship and stewardship. For more info email Faith at salon@dcartscenter.org.
Monday, January 12, 2004
Massachusetts Co-op looking for new members.
Deadline Feb 14, 2004. Massachusetts Gallery seeks new members. 108 Gallery in Somerville is seeking submissions for inclusion in its new artists' co-op. The co-op will include 12 artists who are actively producing mature work. Submissions will be juried by a panel of artists and curators. Contact: Kate Ledogar, 108 Gallery, 108 Beacon St, Somerville MA 02143 or call 617- 441-3833 or email her at kateledogar@yahoo.com.
Deadline: March 31, 2004. The 7th L'Oreal Art and Science of Color Prize. The theme is "the meeting of science and art in color." The Gold Prize is presented to one person and carries with it an award of Euro 30,000. The Silver Prize is presented to one person and carries with it an award of Euro 20,000. The Bronze Prize is presented to one person and carries with it an award of Euro 10,000. Winners will be invited to the awarding ceremony to be held in autumn of 2004 in Tokyo. Send materials designated in their website to the Foundation in Japan via post mail or delivery services. No commission. For additional information contact: www.art-and-science.com or email lasf@gol.com.
2003 saw a lot of Cuban art shows in the Greater Washington area and I think 2004 will see an avalanche. As the travel restrictions to Cuba are tightened, I suspect that the interest in Cuban artists will rise, and then when Olga Viso's retrospective of Ana Mendieta opens at the Hirshhorn Museum from October 14, 2004 - January 2, 2005, it will be the shot that will really start a nationwide avalanche.
Next month we have our own Cuban exhibition at the Georgetown gallery, by three spectacular Cuban photographers: Marta Maria Perez Bravo, Cirenaica Moreira and Elsa Mora. The show opens (and there will be a reception for the artists) on Friday, February 8 from 6-9 pm.
Although the works of these photographers have been the subject of numerous museum exhibitions worldwide -- including shows at the Los Angeles County Art Museum, Museum of Modern Art in Mexico City, Bronx Museum in New York, Museo del Barrio in New York, St. Louis Art Museum, Fridericianum Museum in Germany, Telhai Museum in Israel, Museum of the Americas in Denver, the Boulder Museum of Contemporary Art, Pori Art Museum in Finland, Cuevas Museum in Mexico City, Alejandro Otero Museum in Venezuela, Fries Museum in Holland, Photography Museum in Colombia, Camilo Gil Museum in Mexico, Daros Museum in Switzerland, Museum of Contemporary Hispanic Art in New York, Mucsamock Museum in Budapest, Lima Art Museum in Peru and the Monterrey Metropolitan Museum in Mexico -- this exhibition, (with the exception of Elsa Mora) will be their first ever exhibition in Washington, DC.
Marta Maria Perez Bravo was born in Havana, Cuba in 1959 and studied at the San Alejandro Academy of Fine Arts from which she graduated in 1979. She then studied and received her postgraduate education at the Instituto Superior de Arte (ISA) also in Havana, from which she graduated in 1984. Her work has been exhibited worldwide, including in several international biennials and she has had more than one hundred solo and group shows in museums and galleries around the world. She is considered by many to be the leading Cuban photographer of her generation. Her photographs, which nearly always employ her body as the model, focus on the secret rituals, dualities, images and stories of the secret “Santeria” religion of Cuba’s former slaves. She currently lives in Monterrey, Mexico, where she is on a teaching exchange program.
Cirenaica Moreira was born in Havana in 1969 and graduated from ISA in 1992. Formally trained as an actress, Moreira’s work begins with a complex and intelligent tableau that she builds around the center character of her own image. Coupled with Cuban proverbs and sayings, they deliver sharp, intelligent criticism that touches many taboo subjects of Cuban society, such as sex, racism, emigration and freedom as they freeze a moment where the actress becomes the subject of the photograph. She currently lives in Havana, Cuba.
Elsa Mora was born in Holguin, Cuba in 1972, where she attended the Vocational School of Art and graduated in 1986. She then attended the Professional School of Visual Arts in Camagüey, Cuba, from where she graduated in 1990. Mora has exhibited her work worldwide and has been a visiting artist and visiting faculty to many American Universities and Schools, including The Art Institute of Chicago and the Art Institute of Boston. Her work often uses her own image to deliver cutting commentary on issues such as loss of freedoms and racism. For this exhibition Mora will show her most recent work, which was part of the collateral exhibition at the recent VIII Havana Biennial. She currently lives in Los Angeles, California.
I am really excited about hosting this exhibition and hope that you can all come and see it.
Sunday, January 11, 2004
Thanks to Artsjournal.com for this bit of interesting news:
The oldest figurative art in the world has been unearthed in Germany. It consists of three small ivory carvings, possibly more than 30,000 years old, already showing a high level of artistic skill.
Saturday, January 10, 2004
Artsjournal.com has a second visual arts BLOG. It is by none other than Washington's first art BLOGger, Tyler Green.
Visit Tyler's Modern Art Notes at www.artsjournal.com/man.
Want your artwork to be in the permanent collection of WV Wesleyan College?
Deadline: January 31, 2004. Juried Mail Art Show. The theme is \"WALLS\". Taking original submissions through February 15th, 2004 by US mail and International mail only. All work submitted will become part of the permanent collection of Sleeth Gallery and will not be returned, but all artists submitting will be reciprocated with new mail art if a return address is included with your submission. No size restrictions. No entry fee. Any artist, any age, anywhere with a postal system is eligible. International
submissions highly encouraged. Deadline for entry is February 15,
2004. Opening February 24th, 2004 at 4:30 PM. For more information
check out their website. Send work to:
Sleeth Gallery
West Virginia Wesleyan College
59 College Ave
Buckhannon WV 26201
For Maryland Duck Artists:
Deadline March 18, 2004 – Artists must be residents of the State of Maryland. All entered designs must be the artist’s original work. May submit up to three entries, accompanied by $15 for one entry/ $20 for two/ $30 for 3. Species depicted on stamps may not be American Widgeon, Black Scoter, or Lesser Scaup. All media, black/white or color, are accepted. Designs must have a horizontal orientation and be 7” in height by 10” in width; each entry must arrive matted; mats should be white. Judging will take place on Saturday, March 27, 12 noon at Patuxent National Wildlife Visitor Center. For more information, call 1-877-620 8DNR ext. 8022. Or send an e-mail to: L. Wiley or visit website here.
And an art teaching job in Louisiana...
Deadline February 12 - Assistant Professor of Art- Art history/ Visual resource curator – LA. Generalist; teach 3 art history survey courses each term. Oversee Visual Resource Ctr & interns; committee work; preferred candidate to have familiarity with digital technologies, database management, image scanning, and web course design. Candidate should have experience and interest in grant writing, development of distance learning & travel course. Duties include teaching 3 lecture courses per term in art history/art appreciation. M.A., Art History, Ph.D. preferred. Salary: $30,000 - $40,000. Employment Type: Full. How to Apply: Applications should include letter of application with teaching philosophy, curriculum vitae, name, address, phone and e-mail of three current references the search committee may contact, SASE. Send to: Lewis Temple, Chair, Search Committee-Art History, Dept. of Visual Arts, Box 92295 MSU, Lake Charles, LA 70609. fax: 337-475-5927. email here and website here.
Friday, January 09, 2004
As some of you may know, there are several kinds or flavors of galleries.
For example, there are commercial fine arts galleries, which are privetely owned and for profit businesses. In our area, examples of that type of galleries include Fusebox, Numark, Conner, Parish, ours and many others. In order to pay the rent, utilities, advertising, staff, etc., these galleries must sell work as that's generally the only source of income for any business. Anything that you make after paying the artists and all the bills is a profit. Once you pay taxes on that profit, it's all yours to keep.
There are also cooperative galleries, which are also for profit businesses, but usually owned by a group of artists who share the expenses (and sometimes duties) of running the gallery. Some of those in our area are Spectrum, Gallery West, Creative Partners, Touchstone and others. They also have to sell artwork in order to pay bills. Artists usually pay a monthly fee or a small commission on sales and keep the bulk of their sales.
Then there are public art galleries, which are usually supported by a combination of public taxes and public and private grants. These are non-profit and usually directed by a board, which works with a paid director to make all the gallery decisions by committee. Some of those around our area include Mc Lean Center for the Arts, Ellipse, Rockville Arts Place, Target, and others. Additionally, public art galleries may also sell work and charge exhibiting artists a commission on sales. Some of these are good art jobs, for example, the paid director of the Ellipse Gallery has a salary of around $65,000.
There are also private non-profit art galleries, which also receive generous tax exemptions, and are eligible for public and private grants. These are also usually run by a director who must by law work together with a board and together, with the approval of the board, decide on shows, and major decisions concerning the gallery, etc. Samples of private non profit art galleries in our area include Transformer, DCAC, Flashpoint and a couple more. These private non-profits can also raise funds, in addition to grants, dues, etc. from the sales of artwork. Some of these are also very good paying jobs for its directors - usually for large, national non-profits - I know of at least two private non-profit art spaces in our area that pay its director above $80,000 a year.
Both of these last two type of institutions are known as 503 (c)'s under section 501(c)(3) of the tax code and are required by law to have a governing board - which is required by law to meet at least once a year -- and also to have all their paperwork always available to the public on request, as they receive tax exemption status from the IRS and most states require them to have three directors. This is to prevent any one individual's abuse of the tax exemption status. No profit is to be made and public records of all meetings and decisions are to be kept by law.
The current issue of the Washington City Paper has the second of Bob Lalasz's "Show & Tell" columns, all about the insider news scoops in the DC art scene. The WCP doesn't have an online version, so go and get a copy and read it.
And Lalasz has a muckraking bombshell of a piece with a spectacular admission amongst the three pieces in this article. A piece that confirms a rumor that has been going on around DC art circles for a couple of years and which is certain to get people to nod their heads and say "I knew it!"
Go read it.
Congratulations!
Area artist J. W. Carter recently won the Lorenzo Il Magnifico Prize in competition at the International Biennale of Contemporary Art of Florence.
The Florence Biennale in Italy, is one of the world's most comprehensive exhibitions of contemporary art, representing 891 artists from 72 countries. The international jury that awarded the Prize was made up of ten authoritative critics of modern and contemporary art and curators of leading contemporary art museums from the US, Spain, UK, Austria, Italy, and Mexico.
Carter has previously won several important international competitions, including the UNESCO award to create the American Peace Monument in Ravenna, Italy. In Florence, Carter presented three artworks of polychrome cast stone relief and glass mosaic: The Observer, Green Life Disc, and Pegasus.
Dr. John Spike, Director of the Biennale, said of Mr. Carter: “He could have been a physicist or astronomer. But he wishes to use the metaphor of art to deal with the issues of biosphere degradation and the future of life. His exhibit is like a scientific demonstration.”
