In what I think is one of the most original ideas that I have been aware of in many years, Linda Hesh, whose work eloquently discusses questions of race, ethnicity and gender issues, takes her artwork to a new public level with the "Art Ads" project.

Her pieces start with a photograph of a friend, or couple, taken at a commercial portrait studio, which gives the work a common, commercial look. She then adds a statement underneath the image, or digitally changes the image itself. Hesh’s work has been shown nationally and is in the collection of the Library of Congress. More work can be seen here.

In "Art Ads", Hesh now takes her work to a new national public level and anyone can be part of it and help deliver its important message. To find out how, visit this website.

Today is the 3rd Thursday of the month, so tonight you can go and visit the 7th street corridor art galleries and art venues as part of the 3rd Thursday Gallery late hours.

Also tonight, the The Art Museum of the Americas of the Organization of American States has its inaugural exhibition of the season with an opening reception from 6-8 PM for a group show titled "Artists of the Americas." The exhibit runs until January 16, 2005.

And tomorrow is Georgetown's turn for gallery openings.

I just found out that there's a new gallery in Georgetown's Canal Square and thus we have a new neighbor and now five galleries in the Square.

The Anne C. Fisher Gallery moved from Wisconsin Avenue and its Canal Square inaugural show will be work by Beth Cartland in an exhibition titled "Moving Forward - Looking Back."

The opening reception will be from 6-8 pm on Friday, September 17th as part of the Georgetown Third Friday openings and there will be an artists' talk and reception on Sunday, October 3 at 2 pm.

In addition there will be a workshop: "Cycles of Your Life: An Exploration through Art and Movement" on Sunday, September 26th from 1-3:30 pm. Call the Gallery for registration and information at 202/625.7550.

Welcome to the neighborhood!

When one can't fight the system, then one tries to take over the system.

The well-known and documented dislike of contempory painting by most museum curators and mainstream media art critics infects all levels of the art world.

In Canada, when the first biennial $50,000 Sobey Art Award was announced two years ago, not one of the five finalists were painters, and the 2004 finalists only included the silly doodles of Marcel Dzama.

So what did the Canadians do?

They established the Plaskett Foundation Award, one of the largest visual-arts awards in Canada, with a purse of $25,000 and open only to painters!

We need something like that around here.

Call for Artists - Homage to Frida Kahlo

Deadline: The active dates for submitting artwork to this exhibition are September 15, 2004 through January 31, 2005.

As discussed earlier, Art.com has a call for artists in an Homage to Frida Kahlo curated by yours truly with the sponsorship of the Mexican Cultural Institute.

All entries will be done online. There is no fee for artists and the following prizes will be awarded:

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

2nd Prize: $1,000

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

To enter, visit the website here.

The New York Times review of Peter Steinhart's "The Undressed Art: Why We Draw" makes an earlier posting I had a while back relevant again.

So here it is with some revisions...

A while back, Washington Post art critic Blake Gopnik discussed the work of John Currin and his success in the art world.

Apart from the silly and erroneous headline, this is actually a very readable article, and as posted by me earlier, I somewhat agree with Gopnik's puzzlement as to Currin's success in the art world.

However, I think that Blake gets most of his supporting arguments wrong, when he discusses why Currin has been so successful.

This is a perfect case where this eloquent art critic lets his personal beliefs and tunnel-visioned agenda (formed by the belief that painting is dead) get in the way of being remotely close to objectivity.

And that's somewhat OK, as critics don't have to be objective - but they should be clear about their beliefs rather than appear to speak from an objective pulpit. Gopnik is a smart, intelligent and eloquent art critic - we all know that; but he has a deeply-rooted belief that painting is dead, and realism, as he once put it: "It's like a vampire that refuses to die."

So we all know that Gopnik has clearly shown that he doesn't like painting and above all he doesn't like realism. According to Gopnik's "Long Live Realism - Realism is Dead" lecture at the Corcoran, realism has been done, so why would "serious" artists still waste their time attempting to continue to do it?

Thus, it is understandable that Gopnik would be particularly repulsed by Currin's work - in fact I dislike it too. But he is wrong in attempting to use Currin's success as an example of why contemporary realism is "dead" in his view.

Gopnik writes that "Within the art world, where Currin's career and reputation have been forged, he can get praise as an original not because he's doing anything new or special but simply because some vanguard curators and collectors don't get out enough."

I disagree that this is the main reason, but I certainly do agree that "vanguard curators" (whoever they are, as no star eclipses faster than a "vanguard" curator once his or her show has closed) don't get out enough.

As far as collectors, I do not believe that Mr. Gopnik (or most museum art critics) knows much about art collectors, so these are just extra, senseless words.

However, what Gopnik does not mention, is that some very influential art critics - much higher in the art world food chain than he is - have also praised Currin and his art, and helped tremendously to build this artist's standing in the rarified upper crust of the art world.

Influential critics like the New York Times' Michael "Dia" Kimmelman likes Currin a lot. In fact Kimmelman has writen that "Mr. Currin is among other things a latter-day Jeff Koons, trafficking in lowdown humor, heartless kitsch and ironic smut, while offering up dollops of finesse, beauty and brains. The combination is disorienting and, at its best, thrilling."

And because of Kimmelman's job, even Blake would have to admit that Kimmelman probably "gets out" a lot, especially around first rate New York galleries, rather than the "third-rate commercial galleries across the country" mentioned in Gopnik's piece.

So it's not just "vanguard curators and collectors [who] don't get out enough," that have made Currin's career. It is also one of the most powerful art critics in the world; and many more like him; all colleagues of Gopnik.

Let me re-affirm something again.

I don't like Currin's work either - but his sappy, vulgar work is not to be generalized to cover all of contemporary realism, which is generalized as "shopping mall realists...boardwalk caricaturists... or Sunday-painter surrealists."

So it's not just vanguard curators stuck in their offices, art collectors who don't get out much, but also first class, influential art critics, who have clothed Currin as a modern art emperor. You can also fill in any well-known contemporary artist name (Hirst, Barney, Brown, Chapman, Dean, etc.) instead of Currin.

Let's go back over that key paragraph again:

"Within the art world, where Currin's career and reputation have been forged, he can get praise as an original not because he's doing anything new or special but simply because some vanguard curators and collectors don't get out enough. It's as though the elites of contemporary art are so engrossed in their own world that they're not aware of what's already going on in the American mainstream -- at shopping malls, on boardwalks and in Sunday painting classes."

Wouldn't that logic apply to all artists whose career and reputation have been forged within the "art world"?

I'm not sure if Gopnik gets around to visit any of the "third rate galleries" that he mentions in the review - after all, he just reviews museum shows and I don't think that he has the "pulse" of what's going on in art galleries around the nation.

He certainly rarely gets around Washington, DC area art galleries. I can vouch for that!

But spend a few hours in 3rd, 2nd and 1st rate commercial galleries in Los Angeles, or New York, or San Francisco, or London or Madrid, or Washington and you will see a thousand artists still delivering Rothko-like, Pollock-like, Impressionism-like, Pop, and fill-in-the-blank "like" to any style, genre and idea - not just realism.

In fact, visit any of the garbage "galleries" in the malls or Bethesda or La Jolla or any expensive neighborhood, and weep as you see them selling reproduction after reproduction, gyclee, Iris, etc., framed in expensive baroque frames, and you're apt to find anything from Peter Max to Chuck Close to Warhol to Lichtenstein to Rothko to Pollock, etc.

Conclusion: The appetite for cheap, garbage reproduction poster art is not restricted to the genre of realism, or Currin-like images.

In this paragraph Gopnik tips his hand and his disdain for realism and specifically painting:

"Currin fills a perennial void: The American art world, and especially the art market in New York, is forever hoping for an oil-paint messiah -- for someone who will at last restore credibility to old-fashioned realist technique. Ask dealers or curators and they'll tell you that nothing appeals to collectors and the public like figurative oil painting."

I thought that Gerhard Richter was that messiah? Oh wait! he's German, and the dubious undying appeal of realism to make artists into superstars is an American obsession.... wrong!

And even in trendy YBA land, the BBC says that "No modern artist, not even the likes of Damien Hirst or Tracey Emin, divides opinion like Jack Vettriano." Jack Vettriano is, of course, a painter - sort of the John Currin of Great Britain - but much harsher and romantic and sexual - and although this Scottish painter has sold out every single exhibition that he's ever had, apparently all of them within an hour (including one in NYC), and has a waiting list for his next painting of several hundred names, and famous people and celebrities all crave his work, and the British critics hate his work - he enjoys spectacular success in Great Britain and is one of those artists whose reproductions are sold by the millions in the same mall "galleries" that push out the endless Warhols, Maxes and such.

So it's not just a provincial American "thing" to reserve some of our want for a bit of realism in our art - even if most critics despise it - but if the "public" likes it... then it can't be good art.

I suggest that the Post should change this article's headlines from "Plan to Become An American Art Star? Oh, Be a Realist" to "Plan to Become An Art Star? Oh, Be a Realist."

And then the headline would still make absolutely no sense at all - can anyone send me a list of their top ten contemporary art "stars" that includes a majority of realists? What a load of nonsense!

My final thought on this issue. Both Gopnik and I dislike Currin's work.

But Gopnik dislikes it because he dislikes (a) the subject matter, (b) painting and (c) realism. I dislike it because I think that it is the pushing of the ultimate kitsch button by art curators - the perennial search not for a painting messiah, but for a high kitsch messiah to succeed the tired and jaded Jeff Koons.

One thing doesn't make sense to me though.

At Gopnik's "Long Live Realism - Realism is Dead" lecture at the Corcoran, when asked if he had to buy a painting today, what would he buy, he answered: "A reproduction of an old master."

"Oh Come On!," replied the exasperated questioner, "You surely must have one painter that you somewhat like!"

When thus pushed further, Gopnik flashed some slides by Lisa Yuskavage and explained and defended her work using a lot of the same words and logic that critics use to explain and defend Currin's work.

Does this make any sense?

Am I the only one who thinks that both these painters are singing (and painting) the same tune?

Makes my head hurt.

Nevin Kelly Gallery has a group exhibition featuring five works each area artists Sondra Arkin, Allison B. Miner, Thomas Walsh, Robert W. Saunders and Isabel Manalo. Opening reception on Friday, September 17, from 6 to 9p.m.

Allison Miner is quite a talented painter and I am a big fan of her work, so I will try to drop by and see this show, which hangs until October 3, 2004.

Next door to us in Georgetown's Canal Square, our neighbor Parish Gallery has painter Darnella Davis and photographer Phoebe Farris opening a show as part of the 3rd Friday Canal Square openings on Friday, September 17, from 6 to 9p.m.

The DC visual arts season is well underway and my mailbox overfloweth with invitations to new shows at galleries, art spaces, embassies and museums. The gallery season started with the Bethesda Art Walk last Friday, and Options 2005 Curator Philip Barlow was making the rounds in Bethesda.

Read Blake Gopnik's falls preview here and then the full Washington Post's visual arts preview here.

And now that we're underway, next is the Third Thursday Gallery Openings around the 7th Street corridor on Sept. 16 and the next day, the Georgetown gallery openings with the four Canal Square Galleries opening next Friday.

We will host the Washington, DC solo debut of Bay Area photographer Hugh Shurley.

Shurley manipulates photography to create a fascinating blend of the unusual, the odd and the contemporary. His work is in the collection of several public institutions and museums including LACMA.

Shurley was the Best of Show winner at the Second Annual Bethesda International Photography Competition juried by Philip Brookman, Curator of Photography and Media Arts at the Corcoran Gallery of Art. Opening reception Sept. 17 from 6-9 PM.

Zenith Gallery has Sica, and you can meet the artist on September 17 from 6-9 PM.

That same day, Strand On Volta has the Washington, DC and American debut of Canadian painter Lucy Hogg in a show titled "Sliding Landscapes." Hogg has a gallery talk on October 12 at noon.

And still on the 17th, Cheryl Numark offers "Architecture Untethered." It feautures typical blue chip artists like Isidro Blasco, Robert Lazzarini and others.

And finally, the great, overloaded day delivers a member's reception for Lynn Putney's Meanwhile (While You were Sleeping), where Putney will create one large wall painting on site at DCAC. Putney will have an artist's talk on October 2nd at 4 PM.

The next day, on Saturday, Sept. 18, Transformer presents "sub-TEXT" featuring three generations of Sala Diaz artists with Jesse Amado, Andréa Caillouet and Chuck Ramirez.

And of course, that day is also Arts on Foot between 11:00am and 5:00pm, when Downtown Washington's Pennsylvania Quarter will hold its 12th Annual Arts on Foot Festival.

At Spectrum Gallery, J. Lea Lansaw, whose show opened a while back, has an artist's talk on September 19 at 2:00 PM. The show runs until Sept. 26.

A bit north, the Rockville Arts Place just opened "A Sense of Place," which features three artists conversing on thematic subjects: Prescott Moore Lassman (who is slowly but surely becoming one of the best-known photographers in our area), Constance Bergfor and Neena Birch.

In Dupont Circle, the openings or extended hours take place October 1st from 6-8 PM, and Elizabeth Roberts Gallery showcases Koren-born Philadephia artist Alice Oh, who takes her artistic inspirations from viewing blood cells under a microscope.

In Alexandria, Gallery West presents Deborah Hoeper's show "Soft Views," with an artist reception on Saturday, October 9 from 6-8 PM. A block from there, the Art League showcases contemporary fiber art by Jennifer Coyne Qudeen.

At The Artists' Gallery in Frederick, Maryland, painters Phyllis Jacobs and Doug Moulden have "Off the Wall" opening on Sunday, October 3 from 3-5 PM.

And this is like... one percent of the new shows... see more new shows here.

It's great to be a visual arts lover in DC come September!

"When it comes to swimming against the tide, Olympic gold medals should go to all representational artists. For half a century, they have been almost completely ignored by museums, boycotted by prestigious galleries and scoffed at by critics." Still, a renaissance of figure drawing has been evident for some years, led by countless amateurs and enthusiasts, and embraced by a few diehard pros. But "in a society that values quick and easy success... and when so many galleries and museums prefer to give their space to video art, conceptual art and installation art, why do so many keep struggling to master a skill that art critics insist is anachronistic and old hat? Why this continuing compulsion to draw?"

Please read the entire book review in the New York Times, and then print it and send it to every curator and art critic that you know.

And is this topical to the three Trawick Prize curators! I will make sure that they (a) get a copy of my review once it is published, and (b) a copy of the NY Times piece.

The book by Peter Steinhart is "The Undressed Art: Why We Draw," and it is now on my to-read list.

Thanks to AJ

Today I will be at the Bethesda Artists' Market...

Come by - there will be about 30-40 area artists selling their work...

Yesterday I visited Creative Partners Gallery in Bethesda to look at the finalists and the winners of the various awards that are part of the The Trawick Prize: Bethesda Contemporary Art Awards.

This fine arts award is the result of a commitment by a terrific woman and business leader who is dedicated to bringing artistic attention to our area: Carol Trawick.

Maryland, Virginia and District artists are eligible to compete for the prize.

David Page of Baltimore, MD was the Best in Show winner of $10,000. Jeff Spaulding of Bethesda, MD was honored with the second place prize of $2,000 and Randi Reiss-McCormack of Lutherville, MD was awarded the third place prize of $1,000. Marci Branagan of Baltimore, MD received the "Young Artist" award of $1,000 sponsored by the Fraser Gallery.

My congratulations to all the prizewinners.

I cannot say enough good things about Ms. Trawick and the fact that in an area dominated by some of the largest and wealthiest corporations in the world, it has been a small business owner who has taken the challenge of ponying up a considerable annual cash prize to recognize an area artist and hopefully place our area on the national fine arts map. My kudos and applause to all involved in this great effort.

Each year Catriona Fraser, who is the non-voting Chair of the Trawick Prize (and whose idea it was to create the Prize), has the unenviable job of gathering three jurors, one each from Maryland, Virginia and the District, to jury the competition and award the prizes.

The jury members for the competition are Jeffrey W. Allison, Paul Mellon Collection Educator at the Virginia Museum of Fine Arts; Peter Dubeau, Associate Dean of Continuing Studies at the Maryland Institute College of Art and Kristen Hileman, Assistant Curator at the Hirshhorn Museum and Sculpture Garden.

This year, the three curators culled these 15 finalists from an entry field of around 400 artists.

And I wish I could have been as quick-witted as Thinking About Art, where Kirkland writes:

"It appears to me that these curators pulled out a handbook titled "How to Jury a Show: The Predictable and Boring Contemporary Way." This handbook, only one page long, likely contains a checklist of types of art that must be in a contemporary art show."

This is funny, but unfortunately correct!

As tempted as I am to say that this exhibition could rank as possibly one of the worst curated group art shows that I have ever seen, I will not do so (ooops! too late!) simply because I recognize that althought I found most of the work boorish, predictable and cookie-cutter contemporary cool "art," I do realize that these are, for the most part, serious, intelligent artists who deeply believe in what they are doing and creating.

My apologies in advance to the artists that I am about to brutalize and my congratulations to the ones that I am about to praise. Remember, it is only my opinion, so please: no hate email.

But I do have an opinion, and in this case there are very few good things that I can and will say about the artwork - although I place the blame for the vapid quality of this show squarely on the shoulders of the three curators, one of whom I know well and who has curated excellent shows in the past, but when working alone and not in a committee curatorial task, as this one was.

Let me start by saying that Graham Caldwell got ripped off. He should have won the Prize and his work was a vast distance ahead of the rest of the field.

Caldwell's entry, titled "Pillows" (to the left) was a trademark piece by this highly talented artist, represented locally by Addison/Ripley Fine Art in Georgetown.

A lovely composition of delicate glass pieces anchored to the gallery wall, it brought forth not only the artist's technical mastery of one of the great remaining fine arts where technical skill is not up for discussion, but also his keen visual creativity. "Pillows" was the best piece in the show.

The winner of the worst piece in the show is easily awarded to John Watson - both of his entries.

Watson currently teaches sculpture and drawing at the University of Maryland and the Maryland College of Art and Design, and with all due respect, both of his entries reminded me of the sort of work that art students do when they wake up on a Friday morning and realize that "Oh Fuck! I have a project due today!" Then I ... uh... they would head to the shool's woodshop and grab a pile of odds and ends from the garbage bin and in about 30 seconds create the project.

Problem was that when I'd bring it -- I mean they'd bring it -- to the class later that day, there would be about half a dozen similar "projects" up for review and a bored art professor rolling his eyes and handing out B plusses to everyone.

Watson's second entry, titled "Orestes" has a bit more work and thought into it... about 116 seconds more I'd reckon; for a total of 146 seconds!

I was sorely tempted to ask the gallery attendant if the shelf supporting "Orestes" was also done by the artist, as the shelf shows some actual wood-working skill, while "Orestes" actually looks like a maquette for the world's sorriest-looking birdhouse.

Then there is J.L. Stewart Watson coming to the rescue to the artistic Watsons of this world. This artist's entry (a huge messy thing titled "Kitchen 300 degrees (Lollipop 192)") I both hated and loved, and thus I reluctantly place it as one of the most successful works in the show.

This Watson has cooked up a huge drippy, melting installation of sugar, corn syrup, water, dye, steel, cast iron, galvanized cable, muslin and assorted hardware to deliver a brutally macabre work that floats back and forth between mind images of a bloody, tortured female figure to more plebian thoughts of "what a mess."

I applaud this Watson for actually having the cojones to put a price of $2,800 on an installation that is essentially melting away and creating a spectacular, syrupy, blood-like mess on the gallery's floor. Ants within a twenty mile radius of Creative Partners Gallery must be at this very moment planning the Sunday attack, when the gallery is closed.

"Kitchen 300 Degrees (Lollipop 192)" is also a good point as to why the Trawick Prize is good for Bethesda area art lovers: It allows them to see the kind of work that is rarely seen in our area, unless one ventures to the wilderness of the Hirshhorn, or to any of the next thousand cool-wanna-be museums that are always so fond of sculptures and installations made of food.

Moving on...

News alert to curators: Video is dead! (unless of course you throw in some real sex like Andrea Fraser).

Fuzzy, static-noisy type video is especially dead, overdone, repeated and spectacularly boring!

And that describes the entry of E. Brandon Morse, titled "Insulary." Morse says the conceptual focus of his work is the "development and portrayal of situations of a specifically vague nature." He gets an A+ for achieving that goal, although I think that he's pulling our leg when he uses the word focus in anything to describe his work.

Surprisingly enough, there were three painters among the fifteen finalists: Daniel Sullivan, Jo Smail, and Randi Reiss-McCormack - I am not familiar with any of them, but note that all three have shown nearly exclusively in Baltimore non-profits such as School 33 and thus they are painters that obviously Peter Dubeau knows well and placed into the finalists. I cannot believe that not a single DC or Virginia painter was selected.

Of the three, Smail (who teaches at MICA, where Dubeau is the Associate Dean of Continuing Studies) is by far the best painter. Her Black Angels with Handkerchiefs, is at first deceptively simple and minimalist. Upon close examination, it reveals quite a skilled painter with a strong command of design and composition as well as painting skills.

I also liked the three pieces by Marie Ringwald, which are these unusual, utilitarian maquettes of buildings and structures that allow Ringwald to get away with solid fields of color under the cover of sculpture.

They are attractive, well-constructed and strangely appealing. The artist says that they "embody hopefulness, possibilities, history and mystery." I don't know about that, but they are certainly a notch above most of the other work selected for this show and visibly stand out by their design and color.

The Best in Show winner's piece (Paradysdonkie, steel, wood, canvas, felt) by Baltimore's David Page is hard to dislike... or to feel passionate about.

Therein lies its failure in my view.

It is modern and contemporary enough... sort of a pommel horse for retired, artsy S&M gymnasts, and certainly does not and would not look out of place in any museum or gallery show of contemporary art, although it may look slightly out of place even in the coolest of post-modernist bachelor pads.

It's not bad; uh... it just doesn't do it for me as Best of Show.

The Trawick Prize: Bethesda Contemporary Art Awards is one of the great assets of our area's cultural tapestry, and designed to recognize the best that our area has to offer. Because the prizewinners are selected by museum and academic curators, it has some inherent flaws in the selection process that are very difficult to correct and that every single committee art curating project has. We must applaud, and add, to this prize, and hopefully demand that future curators do a better job of opening their minds to the skill and talent of artists beyond just those that they know intimately.

The way to do this is for museum curators and for school burocrats to get out of their offices and visit galleries and artists' studios and art panels and the such, so that their tunnel art vision is expanded beyond a handful of artists.

Call for Artists

Deadline: Monday, September 27, 2004.

War or Peace at Warehouse Gallery. October 15-November 14, 2004. Opening reception Friday, October 15. One of five Washington exhibitions relating to the theme. All work in War or Peace will be juried from digital images. Juror for two dimensional work is Molly Ruppert, Director of Warehouse Gallery; Juror for sculpture: Judy A. Greenberg, Director of The Kreeger Museum.

Two-dimensional work: Send Jpegs to: RuppertM@erols.com.

Sculpture: Send Jpegs (two views of each work) to: jag@kreegermuseum.org.

Please include in the text of the email the following info:
artist's name
address
phone number
email address
title of work
dimensions
weight (sculpture)
medium
price

There will be no entry or hanging fees but a commission of 20% of all sales will be taken by the gallery.

Maximum dimensions: 9 feet height, 8 or 10 feet width.

Notification by October 4. Further information: email MJ@webworqs.com or molly@warehousetheater.com

In a show surely to stir controversy, GMU professor Chawky Frenn opens tonite at our Bethesda gallery with a show titled "US and Them." Read an excellent profile of Frenn by Dave Jamieson in the current issue of the Washington City Paper here.

The opening reception is from 6-9 PM as part of the Bethesda Art Walk. See you there!

Those of you who know me, also know how much I dislike stereo-typing anything. And this being the first ever visit for me to Omaha (or Nebraska for that matter), guess what is the first thing that greet new arrivals to Omaha's Eppley Field Airport?

Thinking About Art has some pretty potent words both in praise of the Trawick Prize: The Bethesda Contemporary Art Awards, and also in criticism of the poor curatorial job done by the three jurors.

As soon as I get back from Cornhuskerland I will go see the show and offer my own comments on the subject, but judging from the photos posted by J.T. about the selected works, I am already finding myself somewhat agreeing with Kirkland.

I'm in Omaha... yep.

On the flight here I read Eats, Shoots and Leaves by Lynne Truss and loved it!

Mora later... on both Omaha and the book.

2005 International Digital Art Awards

Deadline: 30 November 2004.

All artists working in digital media are eligible to enter this competition. The IDAA seeks to present the very best artists working in 2D digital stills and New Media art.

The IDAA was one of the first international awards to present an online and touring hard copy exhibition with publication.

2005 program will also include a fully integrated web conference featuring several leading international artists and academics. The 2005 prize list is extensive and can be viewed online. It is worth mentioning that Epson and DES will be supporting two artists with special printing prizes in the 2D category.

The IDAA is a major award and offers free entry to all artists.

Deadline for entries is 30 November 2004 - Those artists who enter before October 30 will be eligible to win the new G 600 Konica Minolta 6 meg Digital Camera.

Enter at this website.

Jack Vettriano continues to be ignored and snubbed by the British cultural gods, and yet the self-taught ex-miner continues to leave mouths open with his Sotheby's auction sales.

The blunt, chain-smoking ex-miner had this to say about it all.

Today is my birthday.

On the road this week for a visit to Nebraska (don't ask). I will be back on Friday in time for the Bethesda Art Walk and the opening of GMU Professor Chawky Frenn at our Bethesda gallery.

Chawky Frenn is easily one of the most controversial artists in our area. Some of you may recall the noise and complaints that his recent show at Dartmouth University caused, where Frenn out-controversied Damien Hirst, who was also showing at the University at the same time.

A month ago or so, I juried a show from slides for Gallery International in Baltimore.

Last Friday I went to the opening and selected the prize winners. The Best in Show was won by area artist Paul Ellis, while the two awards of excellence went to Spanish-born New York photographer Yolanda del Amo for two-dimensional work and to Andrey Tsers for three-dimensional.

Yesterday the Baltimore Sun's art critic Glenn McNatt had a review of the show. McNatt writes:

"A touch of whimsy

The title of the exhibition at Gallery International, All Media Competition and Show, sounds a bit grandiose, but actually it's as apt as any for this sparkling group show, which brings together 48 artists from far and wide chosen by guest curator F. Lennox Campello.

Campello, a co-owner of the Fraser Gallery in Washington, selected the works on view from the more than 200 entries submitted, and he readily concedes that he followed no formula or format other than his own whimsy in making his choices.

The results, however, are as delightful as they are occasionally surprising. And, true to its title, the show's offerings are divided almost equally among paintings, sculpture, photography and mixed-media works.

There are also quite a few Duchamp-inspired artworks of the buzzing, whirling, mechanical variety, including Wade Kramm's ingenious Candle flipbook, an electric-powered contraption that mimics the flickering motion of an animated cartoon, and Adam Bradley's Dandelion, a weirdly alluring wind-up diorama depicting the soul's reluctant fall from grace.

One of the most polished works in the show is New York-based photographer Yolanda Del Amo's Domestica, a large-scale color photograph mounted on Plexiglas and aluminum that recalls the staged but unforced naturalism of Tina Barney's upper-middle-class domestic dramas. The Spanish-born Del Amo, whose photographs convey a compelling but stubbornly ambiguous narrative thrust, is on the evidence of this work clearly an artist to watch.

The show runs through Sept. 24. The gallery is at 523 N. Charles St. Hours are noon to 4 p.m. Tuesday-Saturday. Call 410-230-0561."

Like any juried competition, this was a difficult one to jury, and I struggled for what seemed hours with the Best in Show decision. It could have easily gone to Yolanda del Amo (a RISD graduate), whose photograph is as compelling and sublty seductive as McNatt describes. Her winning entry (Domestica) is pictured above to the left, and it is from a series called "Maids" photographed in Argentina by del Amo. According to one of del Amo's friends who was at the opening (the photographer was not present at the opening), del Amo has been stirring quite a bit of interest in her neck of the woods in N'Yak and could be a photographer to keep an eye on (pun intended).

A while back, the former Art Editor for the British newspaper The Guardian discussed how and why a newspaper should have a high commitment to supporting the arts.

The interesting point in this article by Ian Mayes is that fact that he discloses that between the Guardian and the Observer (owned and run by The Guardian), they employ about 60 art critics backed by a similar number of editors and sub-editors!

And they made a deliberate effort to provide arts coverage in spite of the fact that "...the commitment is not simply or primarily a commercial one. In terms of revenue for the paper, many areas of the arts would not pay for the coverage."

I would guess that our own Washington Post, which has a daily (and shrinking) circulation of around 600,000 printed papers, and gets around two million hits a day for its great website, and owns several other newspapers, is probably about twice the size of the Guardian newspapers combined.

Does anyone want to count the number of Post critics and see if they employ or use more or less than the Guardian?

The call to artists by Art.com will soon be out for artists wishing to be curated into the "Homage to Frida Kahlo" exhibition being hosted by them. There will be a substantial cash award and there is no entry fee.

I have been chosen to curate this exhibit due to my well-known interest in all things Kahlo.

It started in 1975, when I visited Mexico City and discovered the works of Mexican painter Frida Kahlo. Almost immediately, I developed an artistic obsession with Kahlo's image and I have created hundreds of works on that subject, including dozens of art school assignments at the University of Washington School of Art (1977-1981).

In 1975 my parents took their first vacation ever, at least in my memory. As Cuban exiles, the American tradition of yearly vacations was as removed from their routine as the Cuban tradition of Noche Buena is from American Christmas holiday customs.

Anyway, they decided to go to Mexico City for a week with another couple from New York, which is where my folks had been living since leaving Cuba as political refugees in the 60s.

In 1975 I was finishing my first year in the US Navy, where I had enlisted right after High School, and stationed aboard USS Saratoga, homeported in Mayport, Florida. I had turned down a New York State Regents Scholarship and a Boston University art scholarship to satisfy my desire to see the world before I went to college.

Mexico City and its nightlife and food (and how far a dollar went) made such an impression upon my parents and their friends, that the one-week trip became two, and eventually they spent nearly a month in that huge, dirty city, enjoying the food, scenery, clubs and markets. They also asked me if I'd like to join them for a few days, and since they were paying for it, I took a few days leave and flew to Mexico City for about five days of my own, unexpected vacation.

I hardly spent any time with them.

As a teenager, my interests were more focused on girls, cheap booze and plenty of great things to do. It was while visiting a museum during the last few days of my visit, at the insistence of a cute American Jewish tourist girl whom I had picked up at my parents' hotel, that I accidentally discovered Frida Kahlo.

I remember walking into the museum salon where the Two Fridas hung. It was love, or more like witchcraft, at first sight. This large, spectacular painting swallowed my visual senses and attention as no work of art would do again until I first saw Velasquez's Las Meninas at the Prado in Madrid eight years later.

At that first exposure, and the ones that followed as I tried to absorb as much of Frida Kahlo as I could in my remaining Mexico City days, I became an addict for the work and imagery of this Champagne Communist Mexican virago. I recall sitting down in the room where the Two Fridas was hung, and copying the painting through a pencil sketch done on gift wrapping vellum paper from an earlier touristy purchase of a huge, saucepan sized solid silver belt buckle and brown cowboy etched leather belt that I wore for years after and that thankfully has now been lost.

Kahlo left me gasping for knowledge about her and her work. Her imagery was like nothing I had seen before, even in my childhood's New York atmosphere that often included day-long trips to the Brooklyn Museum, the Met, MOMA and many other New York museums. The more of her work that I discovered, the more I became obsessed with learning about her.

In 1975 and the first few years that followed, this wasn't exactly an easy task. In those years Kahlo, at least in Mexico, was still Diego Rivera's wife, who also happened to paint.

In 1997, together with the Mexican Cultural Institute in Washington, DC I curated a small exhibition at the Fraser Gallery focused on an attempt to bring to Washington contemporary artwork that paid homage to Kahlo. It rapidly became one of the best-attended, most visited exhibitions ever held by the gallery and showed the giant strides in recognition that Kahlo and her art had made since that day in Mexico City when I first discovered her.

The Seven Fridas (Pen and Ink, circa 1981)

Collection of Seeds of Peace
The love affair then produced in 2002 a show of my own work titled "Passion for Frida: 27 Years of Frida Kahlo Artwork." It chronicled 27 years of preparatory drawings, etchings, oil paintings, watercolors and sculptures about Kahlo. It received good critical attention in the Washington City Paper and the Washington Times. It consisted of work that I had done as early as 1975 and as recently as a week before the show opened. In the wake of Julie Taymor’s beautiful movie "Frida," it was also a spectacular success.

And now I am honored to juror a worldwide call to artists who share my passion for Frida, for her life, for her artwork and for her influence. This call for art will deliver a new Homage to Frida Kahlo and all things Kahlo. I’d like to see work that delivers new portraits of Kahlo, or work that has been influenced by Kahlo, or by her life or her work.

In the end, I hope to put together a virtual exhibition that will leave a memorable footprint of the tremendous influence that this iconic daughter of Mexico left on all of us.

As soon as the official call is ready to be announced, I will post it here.

For Women Photographers

The next Secondsight meeting will be held on Thursday, September 23 at 6.30pm in Bethesda, MD. The guest speaker will be Amy Lamb, a very successful fine arts photographer and highly respected scientist. For more information, visit www.secondsightdc.com or call Catriona Fraser at (301) 718-9651. Meetings are free for members - $10 for guests.

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.

This review by Michael O'Sullivan of a couple of exhibitions at The Textile Museum is a perfect example of why I think O'Sullivan is the best art critic writing for the Washington Post.

Call me plebian, but I am always delighted to read an art critic that shows his colors and his prejudices when reviewing a visual exhibition, and then has the honesty and courage to somewhat change his mind.

O'Sullivan writes:

"FULL DISCLOSURE: I don't particularly like flowers or shiny metallic thread.

Which makes my recent visit to the Textile Museum to check out two exhibitions -- the new "Floral Perspectives in Carpet Design" (whose title pretty much says it all) and the about-to-close "By Hand in the Electronic Age: Contemporary Tapestry" (a show with more than its share of fiber bling-bling) -- potentially problematic.

See, I've been conditioned by exposure to contemporary art to mistrust the decorative. Floral art -- unless it's a stand-in for sex or death, as it so often is -- is not my cup of tea. And glints of gold thread woven through textiles remind me, I'm sorry to say, of Liberace.

So I was heartened, not to mention somewhat surprised, by the fact that in addition to flowers and lamé, there's something to chew on in both shows."

I'll admit that althought I liked O'Sullivan's review, I'd rather still rather watch an ice cube melt than go see "Floral Perspectives in Carpet Design," which makes O'Sullivan a more open-minded and fair critic that I can ever hope to be; but that's just me.

But I digress. My point is that it is rare to see these sort of "full disclosures" when discussing an opinion in an art review. More often than not what we find is cynicism, and writing that is what the author thinks the other "cool" critics and "hot" curators would want to read.

That also explains why a lot of contemporary art critics and curators have such dislike of painting. They have been conditioned to think that it's not cool to like painting, and it's fun to see them scramble to line up when an unexpected painter bolts out of the blue, such as Gerhard Richter and the same people who shout that "painting is dead" line up to applaud a painter who Sotheby's calls the "most influential artist in the world." Not painter, but artist.

Thus we can always see critical hypochrisy or all the sheeps lining up to follow the lead. Another perfect example of that theory was the orgy of great reviews by super cool contemporary art critics for The Quilt's of Gee's Bend. The New York Times dubbed this show one of the "ten most important shows in the world," and art critics who one would imagine would rather have their eyes poked out with a blunt butter knife than hang a quilt as "art" in their post-modernist flats all lined up to applaud the show.

I did too. I was enthralled and seduced not just by the quilts, but mostly by the quilters that I met.

And I went back and re-read a lot of the reviews and I was (and still) nagged by the impression that a lot of the words were written not out of honesty, but out of political correctness; it would have been suicidal for any writer, not just an art critic, to dislike the show.

I could be wrong.

But when the world's most influential daily anoints a show as one of the "ten most important shows in the world," it essentially dares every other secondary art critic in the world to disagree with them.

But I could be wrong, and because I have never been particularly fond of quilts as "fine art," I went to see this show prepared to dislike it - my own prejudice and (like Michael says) "conditioning," and a fun opportunity to disagree with the mainstream critic media.

And yet, let me repeat myself: I was enthralled and seduced not just by the quilts, but mostly by the quilters. I ended up loving the quilts because of the quilters.

And to this day I am nagged by the feeling that it was the quilters, more than the quilts, that we all liked so much.

And thus, I applaud honesty like O'Sullivan's in today's review.

Today is the first Friday of the month, and thus the Dupont Circle Galleries technically should have their extended hours. It is also the "unofficial" opening of the Washington visual arts season, which "unofficially" opens in September.

However, since Labor Day is actually next Monday, I suspect that many galleries may still be closed and on vacation, in which case the "unofficial" opening of the visual arts season may shift to next Friday to the Bethesda Art Walk from 6-9 PM on September 10.

The week after that, on Sept. 16, is the Third Thursday Night Out for the 7th Street Area Arts District from 6-8 PM. By the way, if you'd like to volunteer as a 3rd Thursday gallery crawl guide, contact Rachel Leverenz at 202/315-1310.

The next day, on Sept. 17 is the third Friday and the Canal Square Galleries in Georgetown have their new show openings from 6-9 PM, catered by the Sea Catch Restaurant and Raw Bar.

I received a note from Eugene Robinson, Assistant Managing Editor for the Style section of the Washington Post in response to my rant about the lack of a Galleries review today.

Robinson (whose most recent book I am currently reading by the way) wrote:

"Sorry, Mr. Campello, but even Galleries columnists get a vacation now and then.

Eugene Robinson
Assistant Managing Editor -- Style
The Washington Post"

So I have written back:

"Dear Mr. Robinson,

Thank you for your note - I know that you are a busy man and I appreciate your time, and I am sure that their vacations are well deserved. By the way, I quite enjoyed and learned a lot from Coal to Cream and have in fact used it as an inspiration for some of my artwork. I am currently reading Last Dance in Havana. I strongly recommend that you may enjoy Waiting for Snow in Havana: Confessions of a Cuban Boy -- by Carlos Eire.

Back to my original point.

Theater critics also deserve a vacation now and then, and there has never ever been a week in the Washington Post (at least in my memory) without a theatre review. Why? Because the Post does a wonderful job of covering our area theatres and has a good number of writers to cover our area theatres - if one or two of them go on vacation in August, there's always someone else to ensure that a review keeps the theatre scene alive and kicking in our region. A highly deserved well done for that!

There are three times as many art galleries in the Washington area as there are theatres, but in my prejudiced opinion (which has been expressed many times to John Pancake, a man that I respect and admire), the Washington Post does not view our area galleries in the same perspective as theatre, movies and performance.

Until recently you had only one critic (Jessica Dawson) to cover all the area galleries - the addition of Glenn Dixon dumfounded many of us who knew of his past disdain for DC art galleries (his column "Beneath Contempt" while he was editor of the City Paper is still infamously remembered) - but at least a second voice was added to cover our galleries and we applauded and welcomed Dixon to the column.

And thus my utter disbelief when today I open my paper and expect to read a review of a gallery show from the nearly 200 shows currently on exhibit in our region, and instead find a theatre review and a music review - thank you for those - but no "Galleries" column.

Therefore my frustration with your coverage and my note to you.

I thank you for your time and hope that I clarified the issue for you.

Warm regards,

Lennox

Thursday is supposed to be the day that the Washington Post reviews our area galleries. Nothing shows the Post complete apathy towards that subject as when a Thursday comes by (like today) and there's no "Galleries" column.

It is especially galling now that the paper has two freelancers (Jessica Dawson and Glenn Dixon) covering the region's gallery circuit. Why then are there still Thursdays when the only regular gallery column by the world's second most influential newspaper is simply not there?

It is such a huge show of disrespect for the Post's readers, and for the region's artists, art collectors and art galleries, made even more galling by the fact that today's Style section still managed to include a theater review of The King and I and a music review of Jesse Henry, so print space was not the reason.

If this pisses you off as much as it always does me, then drop an email on the subject to the Style Editor (Gene Robinson) at robinsong@washpost.com, and info the Arts Editor (John Pancake) at pancakej@washpost.com and the Ombudsman (Michael Getler) at ombudsman@washpost.com.

I'll be in Baltimore later today selecting the award winners for the All Media Competition that is opening tonight at Gallery International. See you at the reception tonight!

For Photographers

The CDS/Honickman First Book Biennial Prize in Photography.

Deadline: September 10, 2004.

Open to American photographers, no age limit, who have not published a book-length work. All subject matter is acceptable. Submissions should be visually compelling and have an integrity of purpose. A cash award of $3,000, publication of a book of photography, and a traveling exhibition will be awarded to the winning entry. Entry fee: $25. For more information, contact: CDS/Honickman First Book Prize in Photography, Center for Documentary Studies, 1317 W. Pettigrew St., Durham, NC 27705; email: alexad@duke.edu; or visit website

For Jewish Artists

The Ronnie Heyman Prize for an Emerging Jewish Visual Artist: National Foundation for Jewish Culture.

Deadline: November 2004

The Ronnie Heyman Prize was established by the National Foundation for Jewish Culture to recognize and support an emerging visual artist who has created and exhibited a body of work that reflects the Jewish experience or addresses issues in the Jewish community. The Fund will provide a grant/prize for $2,500. Visit this website to download the application or contact Kristen L. Runk, Associate Operations Director; (212) 629-0500 x. 215 or email her at krunk@jewishculture.org

The Trawick Prize: Bethesda Contemporary Art Awards reception is being held next Friday, Sept. 10 from 6-9pm at Creative Partners Gallery located at 4600 East West Highway in Bethesda. The award winners which include the $10,000 Best in Show award (and a total of $14,000 in prizes) will be announced and honored during this event. Fifteen finalists have been selected for this year's competition and their work will be on exhibit at the gallery from Sept. 7 - Oct. 2.

This year's finalists include:

Marci Branagan, Baltimore, MD
Graham Caldwell, Washington, D.C.
Annet Couwenberg, Baltimore, MD
Susan Eder & Craig Dennis, Falls Church, VA
Suzanna Fields, Richmond, VA
Bernhard Hildebrandt, Baltimore, MD
Brandon Morse, Takoma Park, MD
David Page, Baltimore, MD
Randi Reiss-McCormack, Lutherville, MD
Marie Ringwald, Washington, D.C.
Jo Smail, Baltimore, MD
Jeff Spaulding, Bethesda, MD
Daniel Sullivan, Baltimore, MD
J. L. Stewart Watson, Baltimore, MD
John Watson, Washington, D.C.

Opportunity for photographers

Deadline: Sept 29, 2004.

The League of Reston Artists (LRA)/Reston Photographic Society (RPS) announces its 2004 Call for Entry for its Annual Judged Photography Exhibition.

The juror is Joshua Taylor, who is an award-winning photographer with over thirty years experience in newspaper and magazine photography, teaching, and workshops. Currently a faculty member of the Smithsonian Studio Arts program and member of the Northern Virginia Photographic Society (NVPS), he has also taught at the Corcoran School of Art and Design and provided photographic expertise in retail sales at Penn Camera. He recently gave workshops at the U.S. National Arboretum, U.S. Botanic Garden and Green Spring Gardens Park, and lectured at the National Horticultural Society Garden School.

This call for entry is limited to a maximum of two framed photographs. The entry fee for LRA/RPS members is $15. This exhibition is restricted to members of the LRA/RPS. Membership in the LRA/RPS is $20 per year.

The entry form can be downloaded from the LRA’s web site here. Send completed entry form to the LRA, POB 2513, Reston, VA 20195. Entry forms must be postmarked no later than September 29.

Long day yesterday at the DC Commission for the Arts and Humanities with the Advisory Panel for the Individual Artists' grants. The awards will be announced by the DC Commission for the Arts and Humanities later this year, pending availability of funds.

I'll be all day at the DC Commission for the Arts and Humanities taking part in the Advisory Panel looking at the individual artists' grants.

Come back later tonight.

Pilfered from AJ:

A British janitor accidentally threw away a "work of art" at the Tate Britain exhibition in London.

The trashbag bag was filled with discarded paper and cardboard and it was part of a work by Gustav Metzger, said to demonstrate the "finite existence" of art.

Read the story here.

I say, let's hire this guy as a curator and have him clean a few of our museums...

DC Artist Marsha Stein Steps in with Proposal for City Museum

Recently, the Washington Post has been reporting on the woes of the new City Museum of Washington DC. Area artist Marsha Stein responds with the following letter to the Washington Post's Chief Art Critic, Blake Gopnik:

"Hi Blake,

How are you? It appears as if we're finding ourselves on the same page.

After I read the story about The City Museum reported by Jacqueline Trescott, I phoned the special events coordinator at the museum, Elizabeth Dreux. I met Elizabeth at a meeting of artists participating in the Funky Furniture exhibit. I told her about the art project that evolved from your "Getting Cute" article and she loved it. She put me in touch with a project coordinator to get it rolling.

Let me elaborate on the original description. I'm picturing around five teams of artists from different venues. They can be of various disciplines to include music, et al. It seems as if the best way to make the selections would be curators, gallery owners and renowned aesthetes. As I said before, W/PAC, Art-O-Matic, Eastern Market, the co-ops and Numark, Zenith or any galleries who wish to step up will make suggestions. The requirement is that every artist shows and sells in DC. The team members must be capable of working on a team.

I would like each artist to receive $5,000 for the time and work. I will participate as a facilitator rather than team member to keep the "heart" of the challenge. A $2,000 fund for each team will be available to purchase supplies and accessories. A documentarian will film the first meeting when the artists come to the table with their concepts.

Since the exhibit will be at City Museum, the theme will be relating to Washington, D.C. I do not think this is too constraining. This is an exercise for the artists and a real challenge in terms of blending the art or having it make a statement by parts to the whole. The next documentation can take place when the process is under way at the invitation of each team. After the agreed upon time period for completion (three months?), the exhibit is mounted. Some of the film can be shown, but the art is not identified by team. When the public votes, they are encouraged to elaborate. This is great visuals for TV as well as fodder for the newspaper critics. When the fun of counting and discussing the vote is completed, the "winner" is announced. The next activity is an auction and, of course, we will have a lovely film for art education.

Back to the place where we're on the same page....Wouldn't this be a great way to get this city and The DC City Museum on the map in terms of innovation?

Be proactive, Blake. OK, by your standards, it's not "pure" creation from the soul of a trusted artist. Maybe they won't all be geniuses, but think what will happen if there are two or more who really have chemistry.

I'd like to see those sparks! It's enticing, it's fun, it's intelligent and it's not the same old dry DC. Yes, people want something to look at. I want to push forward with the making of art. I believe that artists have the capacity to stimulate one another just as musicians do. It doesn't surprise us that an ensemble is inspired by one another. Why can't visual artists have the same opportunity to play together?

You may wonder why I'm pushing you for this. The Washington Post is our main news source. Most Washingtonians pick it up every day. Does everything have to be politics and "Who's Who?" This is for everyone who is not a political junkie, or gives a damn about a lot of people who have no connection to DC except for the White House.

Both of my parents were born and raised in DC. I recently returned after living in the Virgin Islands, Italy and California. I know how it feels to live where art is alive. It's asleep here. Let's wake it up. It takes an artist to make a dream come to life.

Your friend,

Marsha Stein"

As "fuzzy" as it is initially, I fully support Stein's idea and proposal, as I will any new idea or proposal to advance our area's visual arts. I am not sure exactly what she is asking of Blake Gopnik, other than for Gopnik to be "proactive," which I guess means that she hopes that Gopnik will write and endorse the project? Stein also has the following words aimed directly to area artists:

"Hi artists et al:

We are getting the ball rolling on the art challenge. The Post has indicated that they are considering to publish this letter. If they are kind enough to let me know what day, I will forward that info.

I have been advised by a project coordinator (fund raiser) that the next appropriate step to take is a meeting of interested parties. We need to schedule a meeting for some time in September.

For those of you for which this is "new news," feel free to answer this and ask questions. I am at Eastern Market every Sunday. For me and a few of the others, a meeting on Sunday evening near Eastern Market would work.

I am looking for artists who are interested in participating, but I don't want to put out a call as of yet. The money that I am proposing is significant enough so that most artists will want to do this. The artists who are in this mailing are in the loop on the project. Others of you are from the venues that I mentioned in the letter. I have been including the press in many of my communications because the origin of this competition came from a news article.

I need a meeting of about 10 people. Please respond to this e-mail. Thanks!

Marsha Stein"

Any DCARTNEWS readers who are interested in supporting this effort should contact Marsha Stein directly. I would also recommend that Stein should apply for a DC Commission for the Arts and Humanities City Arts Projects Grant, where the City Museum would be eligible for a $15,000 grant for this project. Having been on the Advisory Panel to DCAH's City Arts Projects for many years, I suspect it would be easily funded, as there are usually few visual arts proposals in the City Arts Projects category.

OPTIONS 2005 Biennial

The WPA\C has announced that Philip Barlow has been named curator for the spring OPTIONS 2005 Biennial. The curator is already busy scouring the region for emerging artists.

Since 1981, the OPTIONS exhibition has featured some of the region's brightest and most talented emerging artists. OPTIONS 2005 will be the eleventh inception of this critically acclaimed biennial exhibit.

This year's curator is a local collector of contemporary art focusing on artists in the Washington, DC area. Philip serves on the Board of Directors of the District of Columbia Arts Center and is the chair of DCAC's Visual Arts Committee. He has served on the Steering Committee for the last two Art-O-Matics. He has also been featured in an article on young collectors in the Washington Post Magazine.

If you would like to send the curator a link to your website or jpeg images of your work for consideration, email him here.

Jeffry Cudlin has an excellent review in the current issue of the WCP about the Georges Rouault exhibition at the Phillips Collection.

Cudlin manages to make Rouault sound semi-interesting. I must admit that Rouault has never been a favorite of mine; in fact he's one of those boring painters whose abuse of the subject matter may have been his only redeeming virtue.

Cudlin elegantly writes:

"Brilliant color and implacable, literal ugliness here make a jarring combination, and the result is a painting that manages to be both overworked and underrealized. Yes, the title indicates that this image is meant to be iconic, but the piece sits uncomfortably between worlds, smacking of urgent sensation while clearly meant to indicate no mere physical encounter."

The Maryland Art Place (MAP) in Baltimore announces its 19th Annual Critics’ Residency Program. The deadline for the application materials (available at www.mdartplace.org) must be delivered to MAP by 5pm August 31, 2004.

Selected artists will participate in studio visits with New York art critic, Franklin Sirmans, and the selected writers during one weekend in October 2004. Also, selected writers will accompany Sirmans during these studio visits and participate in writing workshops. Throughout the program, all participants will engage in dialogues with each other and during the concluding exhibition and Forum in April, will expand that discussion with each other and the community.

Franklin Sirmans is MAP’s 19th Annual Critic in Residence. Sirmans was invited to participate as the critic and curator in this unique opportunity for artists and writers. An independent curator, freelance writer, editor and lecturer based in New York City, Sirmans is the former US editor of Flash Art and Editor-in-Chief of Art Asia Pacific magazines. He has published widely, including The New York Times, Art in America, and Artnews, and has curated exhibitions in Europe, Asia and North America. These exhibitions include: One Planet Under a Groove, (co-curator: Bronx Museum of the Arts, New York; Walker Art Center, Minneapolis; Spelman College Art Gallery, Atlanta; Museum Villa Stuck, Munich); A Moment’s Notice (Houston), Americas Remixed (Milan), Mass Appeal (Ottawa, Montreal, Halifax), Rumors of War, New Wave, Paradise 8 (co-curator, Exit Art) among many others.

For more information, contact Lisa Lewenz (email her here) or call her at 410-962-8565.

The Mexican Cultural Institute, located in one of Washington's most beautiful buildings and boasting a really good exhibition space, will exhibit The Dream of Earth: 21st Century Tendencies in Mexican Sculpture, a collection of sculptures by six renowned Mexican contemporary clay sculptors: Gerardo Azcúnaga, Adriana Margáin, Javier Marín, Miriam Medrez, Maribel Portela and Paloma Torres.

The exhibit will be held from September 14th through November 24th. The Institute is located on 2829 16th Street, NW, Washington, DC 20009.

Los Angeles Center For Digital Art Call for Artists...

Deadline for entries: September 5, 2004

LACDA announces an open call for their un-juried show featuring digital art and photography: "Snap to Grid."

All entries will be printed (8.5"x11" on Epson heavyweight matte paper) and shown in their gallery arranged in a grid. Note to artists: This is an open competition, which means exactly that: ALL entries will be accepted and shown.

Entrants submit one JPEG file of original work. All styles of 2D artwork and photography where digital processes of any kind were integral to the creation of the images are acceptable. Digital video stills and screen shots of web/new media are acceptable.

Prior to and after the exhibition the images and artist information will be available to gallery visitors to view in their artist portfolios. Prints can be made available to buyers on an as needed basis. Artwork for future exhibits will be selected from the portfolios, and will also be available for review by area gallerists, curators and arts journalists.

Show Dates: September 9-October 1, 2004 and the registration fee is $30. Submission Rules: Registration and submission are done through their web site only. File uploads are the only accepted submissions and are maximum of 2MB each and not exceed 1024x768 pixels in dimensions.

For official announcement, click here and for submission follow this link.

The Bethesda Arts & Entertainment District invites everyone to The Trawick Prize: Bethesda Contemporary Art Awards exhibition featuring the competition’s finalists.

The finalists' works will be displayed at Creative Partners Gallery, 4600 East-West Highway, Bethesda. Fifteen finalists compete for $14,000 in prize money; The Best in Show winner $10,000; 2nd place $2,000; 3rd place $1,000. A "Young Artist" whose birth date is after June 2, 1974 will also be awarded $1000 that the Fraser Gallery sponsors. Gallery Hours: Tue-Sat, 12-6pm. 301-215-6660.

Congratulations to the fifteen finalists: Marci Branagan, Baltimore, MD; Graham Caldwell, Washington, D.C.; Annet Couwenberg, Baltimore, MD; Susan Eder & Craig Dennis, Falls Church, VA; Suzanna Fields, Richmond, VA; Bernhard Hildebrandt, Baltimore, MD; Brandon Morse, Takoma Park, MD; David Page, Baltimore, MD; Randi Reiss-McCormack, Lutherville, MD; Marie Ringwald, Washington, D.C.; Jo Smail, Baltimore, MD; Jeff Spaulding, Bethesda, MD; Daniel Sullivan, Baltimore, MD; J. L. Stewart Watson, Baltimore, MD and John Watson, Washington, D.C.

Looking for studio space?

Affordable artists' studios at A. Salon, 6925 Willow St. NW, DC. Prices from 190 sq.ft. at $200 month to 970 sq.ft.at $1022 per month, utilities included. Shown Wednesdays 6-8pm. Call 202-882-0740. Website here and then click on A. Salon

This area arts activist and collector puts her money where her mouth is.

We need a lot more people like her to add to the Prize.

DCist reveals that grounds for a new area museum was broken last week.

It is the Negro Leagues Hall of Fame Museum.

While Jackie Robinson was the first African American player to play in the U.S. Major Leagues, and a true hero and trailblazer, I submit that this player was the first man of African ancestry to play in the US Major Leagues. He has been all but ignored by historians and his significant sacrifices and accomplishments remain in the dustbins of baseball history.

His debut, with the Washington Senators, was in 1935.

J.T. Kirkland reviews Conner Contemporary's Academy 2004.

A few days ago I visited the Art League gallery on the first floor of the Torpedo Factory Art Center in Alexandria.

The Art League is our area's largest arts organization (and one of the largest in the world), with several thousand artist members. This year they are celebrating their 50th anniversary; Congratulations! To join the Art League, click here.

But I went to catch their annual International Landscape Show, which this year was juried by Prof. Richard Crozier, from the McIntire Dept. of Art at the University of Virginia. Crozier selected 179 works for exhibition from a set of 709 pieces submitted by artists for his review. Crozier is also the author of the book Inventing the Landscape: From Plein Air Study to Studio Painting.

The genre of landscape art, which belongs mostly within the painting genre of the visual arts, has all but disappeared from contemporary art, where I submit the word "contemporary" has been kidnapped by those who dwell in the rarified upper crust of the arts world. In fact, I cannot recall the last time that I saw a contemporary landscape painting show in any of our area museums, although they are still quite common in independent commercial fine arts galleries here and there.

Landscape photography, for some reason, has escaped the total aversion shown by curators and critics to other forms of landscape art, and in fact, many of today's famous Teutonic surnamed photographers, with their gigantic, and mostly boring photographs adorning empty museums, could be categorized as landscape photographers.

But if your personal tastes draw you towards landscape art in general (and of a more intimate size), including painting, then there's no better show around this area than the Art League's annual landscape show.

Crozier awarded the Jay & Helen Risser Award to Drema Apperson for a piece titled "Spring Creeps Up the Mountain: May, Germany Vallery, West Virginia," while the Potomac Valley Watercolorists award went to Sidney Platt for a piece titled "Shadow Play," and the Washington Society of Landscape Painters award went to Audrey Hopkins for a piece titled "October Light."

According the Crozier, the award to "Spring Creeps Up the Mountain: May, Germany Vallery, West Virginia" was chosen because "of the artist's attention to specifics without a lot of detail. It represents a real experience."

For the other two award winning paintings, Crozier said that "Shadow Play" and "October Light" both "possess a really strong sense of light and work as abstract pieces. To accomplish both is difficult to pull off."

Maybe it is my personal dislike to the Teutonic-sized photographs that we are being force fed in general by many of our museum photography curators, but one of my favorite pieces in this show was a lovely small photograph by Peggy Fleming titled "Delphini, Syros Island, Greece." I like the intimacy of being drawn in to a piece, and being required to look at it closely, rather than the twenty foot stare required by the contemporary posterization and gigantization of photography. Like Dali said: "If you can't paint well, then paint big."

Another lovely landscape was an oil by Sara Poly titled "One Moment in Time." I've been observing Poly gain mastery over the media for several years now, and she has clearly conquered the many technical nuances of oil painting and has now begun to flex her creative muscles and offers us pieces that not only employ forbidden technical virtuosity but also a keen creative mind and interesting compositional perspectives to offer more than a "recreation" of a pretty landscape.

Other pieces that I enjoyed were Trisha Adams' oil titled "Potomac Sunset," which shows many of the attributes I used for Poly's entry, Angela Muller's photo titled "Kansas Wheatfield" and Nancy Wallace's oil "Stable Destination."

The exhibition is on display until September 6, 2004.