Adam Gopnik at the Corcoran Tomorrow

Blake Gopnik's brother Adam, who is an award winning writer for The New Yorker magazine since 1986, and wrote a best-seller about the years that he and his family spent in Paris (Paris to the Moon), has a new book out and will be discussing it at the Corcoran tomorrow at 7:00 PM.

Adam Gopnik's new book is Americans in Paris: A Literary Anthology and it is a compilation of selections from three centuries of distinguished American writing about the French capital.

People who are professors at most major Universities are generally expected to be very active in their field. They are usually expected to do research, to publish, to participate, etc. This is often a requirement in order for them to become tenured.

Are art professors under a different set of rules?

When I was an art student at the University of Washington School of Art, in beautiful Seattle, nearly all of the professors that taught there, people like Jacob Lawrence, Alden Mason, Frances Calentano and others all had one thing in common: they exhibited their work regularly and were a vibrant part of Seattle's great art gallery scene.

With a few notable exceptions, when I visit area universities to look at student shows (which I do regularly), I often look up the names of the faculties at these same schools and I often encounter names that I do not recognize.

Nothing unusual there, but it would seem to me, that as a person who visits 25-30 gallery shows a month, plus receives over 100 invitations to openings every month, that I should be able to recognize a high percentage of the names in our area's art schools' faculties.

So, just for fun I am going to look up a few art faculties from some of our area colleges, and see if I can figure out where they are exhibiting, or have exhibited, or plan to exhibit.

And if I can't find that information, then I will take it as a 21st century negative mark in the sense that if you are an art professor, you should have a good, solid Internet footprint.

I'll start with the Maryland Institute College of Art, one of the best art schools in the nation.

In two clicks I can find this impressive page about MICA's faculty. Question: 231+ people in the faculty? WOW! That's a lot!

MICA gets an A+ for their Faculty listing (A-K here and L-Z here).

And in these faculty listings I find some good things and also some holes. For example, one of the persons teaching Foundation courses' most recent exhibition was in 1995! Compare that to Timothy App (whose work I know and recognize). He has a solid and consistent exhibition record; however, App does not seem to have a website. Perhaps MICA just needs to pay more attention to updating their faculty's resumes online.

Some of the Faculty Directory listings have links to the teacher's websites. But MICA needs to augment this directory with a link to every single art teacher that has a website. And if any of them does not have a website... then that tells me something, doesn't it?

MICA boasts some very well-known names in their faculty listing. People like my good friend Joe Shannon, Jyung Mee Park (no website that I can find), Raoul Middleman, Connie Imboden, Trawick Prizewinner Richard Cleaver and many others.

So MICA gets a passing grade, but they really need to stay on top of the website and update it, and definately link it to the person's web presence.

Thinking About Art has an excellent gallery crawl set of small but insightful reviews of several DC gallery shows.

Zoe Myers is looking to open a new gallery in the Greater Washington area and is looking for space. She'd like about 2,500 square feet, preferably nearby the new gallery concentration around 14th Street, but she's willing to look anywhere.

If anyone has any leads on available space, email me.

I am still unpacking from my move, and still re-discovering stuff. When I was in my teens, this sunny poem below was my favorite poem. It is "Song of a Mad Minstrel" by Robert E. Howard. Allow me to share it with you:

I am the thorn in the foot, I am the blur in the sight;
I am the worm at the root, I am the thief in the night.
I am the rat in the wall, the leper that leers at the gate;
I am the ghost in the hall, herald of horror and hate.

I am the rust on the corn, I am the smut on the wheat,
Laughing man’s labor to scorn, weaving a web for his feet.
I am canker and mildew and blight, danger and death and decay;
The rot of the rain by night, the blast of the sun by day.

I warp and wither with drouth, I work in the swamp’s foul yeast;
I bring the black plague from the south and the leprosy in from the east.
I rend from the hemlock boughs wine steeped in the petals of dooms;
Where the fat black serpents drowse I gather the Upas blooms.

I have plumbed the northern ice for a spell like Frozen lead;
In lost grey fields of rice, I learned from Mongol dead.
Where a bleak black mountain stands I have looted grisly caves;
I have digged in the desert sands to plunder terrible graves.

Never the sun goes forth, never the moon glows red,
But out of the south or the north, I come with the slavering dead.
I come with hideous spells, black charms and ghastly tunes;
I have looted the hidden hells and plundered the lost black moons.

There was never a king or priest to cheer me by word or look,
There was never a man or beast in the blood-black ways I took.
There were crimson gulfs unplumbed, there were black wings over a sea;
There were pits where mad things drummed, and foaming blasphemy.

There were vast ungodly tombs where slimy monsters dreamed,
There were clouds like blood-drenched plumes where unborn demons screamed.
There were ages dead to Time, and lands lost out of Space;
There were adders in the slime, and a dim unholy Face.

Oh, the heart in my breast turned stone, and the brain froze in my skull-
But I won through, I alone, and I poured my chalice full
Of horrors and dooms and spells, black buds and bitter roots-
From the hells beneath the hells, I bring you my deathly fruits.

Sunday Morning Round-Up

About 25 NoMA (North of Massachusetts Avenue) artists have open studios today. Some of the artists include Stuart Gosswein, Ira Bloom (metal sculpture), Kim Dutton (painting), Steve Litwin (sculpture), Mimi Masse (sculpture), Joe McKenna (painting & drawing) and others. The studios are in four separate buildings located at 443 I Street, NW (Second Floor), 52 O Street NW, 57 N Street NW and 411 New York Ave. NE. From 12-5 PM. Free and Open to the public.

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Today is the second and final day of the Bethesda Row Arts Festival. Over 170 artists. I'll be there. From 11-5 PM. Free and Open to the public.

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Today is the last day of Art Baltimore, which is on at the Baltimore Convention Center's Exhibit Hall E (Entrance from Pratt Street). Over 150 national, regional and emerging artists from 38 states and Canada are exhibiting.

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The Art-O-Matic link for artists to register is finally working! Sign up here.

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Washington Printmakers Gallery has a silent auction coming next Sunday. See the auction details here. The auction is Friday October 29 2004. 5-9pm, RSVP to Jenny Freestone.

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Linda Hesh's "Art Ads" will be appearing in the Washington Post as small ads in the main national and world news section. On Tuesday, October 19th, the interracial couple ad will appear, and the gay couple ad will appear on Tuesday, October 26th. The New York Times refused to place "these ads because their policy is that all advocacy ads must clearly state and opinion, and their opinion is that "these do not. The Times has no other category for the ads to fit into, so they will not be seen in the Times.

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On Tuesday, October 26, 2004, at the Carnegie Institution of Washington (16th & P Streets, NW), the Walker Whitman Clinic will be having their annual Art for Life Auction, in my opinion one of the best art auctions in the city. Viewing from 6:00 pm and the auction starts at 7:30 pm.

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DCAC has a benefit reception on Friday, October 22nd from 7-9pm. Tickets: $30, includes a new membership to DCAC, which is a terrific deal! The exhibition, curated by Vivienne Lassman, honors Washington, DC Noche Crist's memory. Crist recently passed away.

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The artists whose "Funky Furniture" exhibition was cancelled by the City Museum will be removing their artwork from the museum and then conducting a protest outside the Museum on Monday, October 18 from 6-8 PM. Directions to the museum are here. Support to the artists is encouraged!

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Marsha Stein will be having an artists and interested parties meeting at Karma Restaurant on Monday, October 18, 2004 from 6-8 PM to discuss her City Museum of Washington Art Project.

Back from the first day of the Bethesda Row Arts Festival. The wind and rain had a negative effect today; a wind gust broke about six framed pieces. The crowds were good though.

I did sell two small drawings and two etchings and one large drawing.

Tomorrow is the last day for the Festival. I'll be there again.

Today and tomorrow I will be at the Bethesda Row Arts Festival in booth 31E, located on Elm Street. If you are in the area, come by and say hello.

Tonight was the opening night for the Canal Square Galleries and it was somewhat diluted by the rain (good pun uh?).

Still... I got the chance to meet J.T. Kirkland, author of Thinking About Art and his lovely date, as well as to chat with Philip Barlow, who seemed a little worn out about the whole OPTIONS 2005 controversy (more articles in the Washington City Paper and Washington Post to come in the next few days), but firm in his beliefs nonetheless. My kudos to Barlow for sticking to his beliefs.

Today's Washington City Paper has a letter from Alex Belifante, where this smart, art-gallery-food-eating-machine defends himself. Belifante is one of the "grubs."

By the way, the grubs" came out to the openings tonite, and most of them came, drank, ate and left, but I didn't see Belifante and Coxe come into the gallery; I hope they're not mad at me (what am I saying!).

Today is the 3rd Friday of October and thus the five Canal Square Galleries in Georgetown have their new shows. Openings are from 6-9 PM and are catered by the Sea Catch Restaurant, also located in the Canal Square (31st Street and M in Georgetown).

We will have the DC debut of Bay Area figurative painter Douglas Malone, Best of Show winner of the 2003 Georgetown International Fine Arts Competition.

Many of the artists will be present in the five galleries. We will also have plenty of our famous Sangria. Free and open to the public.

See you there!

Funky Furniture Artists to Stage a Protest at City Museum

The artists whose "Funky Furniture" exhibition was cancelled by the City Museum will be removing their artwork from the museum and then conducting a protest outside the Museum on Monday, October 18 from 6-8 PM.

Directions to the museum are here. Support to the artists is encouraged!

Funky Furniture will be installed in and part of the Art-O-Matic 2004, where it will certainly become Art-O-Matic's main attraction!

Philip Barlow responds and eloquently explains why he sees a logical difference between Art-O-Matic's unfair treatment by the press and his decision to exclude Pandamania and Party Animals artists from OPTIONS 2005.

I did not like either the Party Animals or Pandamania, but I never had an effective way to voice my complaint. When the opportunity to curate the Options show came up, I decided to take the opportunity to raise my complaint as part of the selection process. Given the number of artists in the Washington-Richmond-Baltimore area and the 12-15 artists I was going to select for Options, I realized there was very little likelihood that I would pick people who participated in either project. But my goal was to make a political statement about something that I thought was a bad representation of the local arts community.

I am not an artist and there are many things about artists that fascinate me. One very important characteristic of artists is the inspiration they have to come up with their art. It baffles and amazes me. Who decides that two basketballs floating in a fish tank is art? And how and why do they go about doing that? How do they know when a piece of art is finished? I have to believe there is an intellectual process that affects these decisions or else art is nothing more than glorified baseball cards. The inspiration is an important part of an artwork, just as talent and technique are and it is probably the most important to me in my enjoyment of art.

Which is exactly my opposition to the Party Animals and Pandamania, the very crucial creative inspiration part of what makes something art has been eliminated. It is a very easy question to answer "Who decides that a decorated donkey, panda or elephant is art?" - the DC Commission on the Arts and Humanities and definitely not the artist. The talent and techniques artists possess make them ideal candidates to decorate the animals, but that is not enough to make it art.

Art-O-Matic on the other hand is full of people fulfilling their creative inspiration. There may be different levels of talent and technique in AOM, but that is ok with me. This is why I feel that I am being completely consistent in my thought process which pans the animals, but enjoys and supports AOM. And there is a big difference in AOM and the Party Animals, AOM is an artist run volunteer group that applied to and received funding from the DCCAH, the animals are the brainchild of the DCCAH (realizing of course that all they did was co-opt an idea that has been used many times before in many other cities, so it is hard to argue there was any creative inspiration on their part in coming up with the idea).

Time to Sign-up for Art-O-Matic


Art-O-Matic News Release:

Art-O-Matic, Washington’s favorite art, music, theater, poetry, dance, and film extravaganza will open November 12th and run through December 5, 2004.

More than 1,000 area artists, writers, and performers will transform an exciting space at 800 3rd St. NE into an open showcase for thousands of works, hundreds of performances, and dozens of educational presentations and discussions. Nearby Union Station provides easy Metro and there’s plenty of parking.

In 1999, a group of artists were inspired to create a grassroots art show at the old Manhattan Laundry building, which inspired the name: Art-O-Matic. The year 2000 brought a bigger, better Art-O-Matic and an even larger show debuted on Halloween in 2002.

Art-O-Matic 2004 is being presented with partner Abdo Development, a D.C.-based development and construction company that will be re-developing this year’s Art-O-Matic site after the show is over, including a complete restoration of the site’s historic buildings. Abdo specializes in the restoration, preservation, and conversion of distressed buildings throughout the District and has been widely credited with leading the revitalization of the 14th Street, NW corridor. Abdo is very excited to be providing the venue for Art-O-Matic 2004, and helping to continue the revitalization of H Street, NE.

Art-O-Matic shows have drawn 20,000 to 50,000 visitors, who come to look, absorb, question, and identify what they like from this community of artists. The shared discovery between the audience and artist is what makes Art-O-Matic unique and rewarding for all. There’s something for everyone!

Sign up here.

Thinking About Art has a letter from Philip Barlow describing his side of the whole series of events that led to him being fired as curator of OPTIONS 2005.

Kirkland also has a spirited discussion about the whole issue in his BLOG's comments section.

Tomorrow I should have a statement from the WPA/C on the issue. Check back.

Anyone who regularly reads DC Art News or J.T. Kirkland's excellent Thinking About Art knows that James W. Bailey is a damned good photographer and an opinionated, passionate, verbose human being and one of those guys that we wish we had a few-more-of around.

And James W. Bailey pipes in with his opinion on my posting on the firing of OPTIONS 2005 curator Philip Barlow. Here it is:

From: James W. Bailey, Experimental Photographer and Member of the WPA/Corcoran

RE: The WPA/Corcoran firing of OPTIONS 2005 curator, Philip Barlow.

Dear Mr. Campello,

I'm absolutely shocked to have arrived home this evening and to see posted on your site that the WPA/Corcoran has apparently fired OPTIONS 2005 curator, Philip Barlow.

You may remember that I emailed you on the day Mr. Barlow's comments appeared in the Thursday Style Section of the Washington Post [I do remember] asking what your opinion was concerning his comments, especially in reference to his suggestion that artists who participated in the Pandamania project would not be considered for OPTIONS 2005, because I knew that some of his comments were going to reverberate through the artist community, especially with some artist friends I have or personally know who are in support of the Pandamania project, either as a believer in the project or as a participating artist, and who also have pull with the WPA/Corcoran.

Apparently what has happened here is that an angry group of artists has been allowed to hijack the curatorial intent of OPTIONS 2005 that was clearly evident in the curatorial selection in the first place of Mr. Barlow.

People who know him know what his views are on the state of contemporary art in the metro D.C. region. It is almost unbelievable to me that this firing has occurred.

This is a pure and simple case of artistic censorship, period.

There is no other word for it.

It would be no different than if I were selected to be in OPTIONS 2005 by Mr. Barlow and then told at the last minute that we are rescinding the invitation because we think that your views on digital photography are too extreme and exclusive. I don't want my small little role in the artist community to go to my head, but really, anybody that knows me, has met me, has seen my work, or read about my work knows what my views are.

I've been honest about where I'm coming from with my experimental photography and the concerns I have about digital media and the broader concerns of the state of the modern art world, just like Mr. Barlow has been honest about his concerns for the state of contemporary art in D.C. area.

People that know him know who is, what he believes and why he believes. There's no mystery here about what has happened.

As a member of the WPA/Corcoran, as a supporter of the organization, and as an artist who is listed in the WPA/Corcoran 2004/05 Artists Directory, I'm extremely angry about this decision of the WPA/Corcoran to fire Mr. Barlow.

Mr. Campello, you are 100% times ten right about your defense of Mr. Barlow to make the statements he made. His statements are part of his deep concern as a curator for OPTIONS 2005.

His statements, although I know they must have hurt the feelings of some artists, were honest and served to confirm in my mind that he was deeply serious about trying to involve work in OPTIONS 2005 that all too frequently is overlooked or missing from the debate of contemporary art in this region of the country.

I purposely contacted Mr. Barlow and invited him to view my work because I believed him to be serious about his commitment to exploring politically challenging and socially engaging work that simply has no viable commercial market because artist such as myself aren't in it for the money.

Mr. Barlow understands this concept.

I strongly believe that a letter or protest signed by the artist community should be written by someone, perhaps you, Mr. Campello, because of the serious weight you carry with the artist community, and submitted to the Executive Director and the Board of the WPA/Corcoran; and if necessary, to the Washington Post and Washington City Paper, as well as the general art media.

I would sign such a letter.

It would pain me to do it, because I have such respect for the WPA/Corcoran and am a supportive member of it, but I would do it because my concern over this issue of censorship overrides any other concern I might have. I also believe that there are many other artists and visual arts professional that will also want to sign such a letter as soon as the news of this incredible decision filters through the artist community.

This unbelievable decision of the WPA/Corcoran touches its very members in a very personal way.

Let me explain: Philip Barlow visited my "The Death of Film" exhibition and communicated with me about his strong interest in my work.

I say this because he was already in the community making the rounds and speaking with artists and evaluating work. I think this decision to fire him is terribly unfair to artists like me who proceeded in good faith to initiate contact with him and invite him to our shows and studios.

Mr. Barlow indicated to me in person and by email that he very much wanted to have a strong selection of politically oriented and socially conscious work in OPTIONS 2005. What are some of us to make of this decision now?

That such work will not be considered because the WPA/Corcoran will now have to bend over backwards to prove how accepting it is of less challenging work?

As far as I'm concerned, OPTIONS 2005 will have no artistic or curatorial credibility no matter who steps in or is hired at this point. Again, the WPA/Corcoran's decision is simple censorship.

Mr. Barlow was honest in his opinion in the paper and was honest with me in person as to his goals with the show. I accepted his premise as being legitimate and would have been thrilled beyond words had an invitation actually been extended to me by him.

I would not participate at this point in OPTIONS 2005 no matter who the curator is that is ultimately chosen. To do so would be an endorsement on my part of an art crime committed by the WPA/Corcoran.

Sincerely,
James W. Bailey
Experimental Photographer

OPTIONS 2005 Curator Fired

Last Saturday I was told that Philip Barlow, who last August was announced as the curator for the WPA/C Options 2005 Biennial, has been fired.

Here's what happened and then my comments on the whole issue:

As reported in the Washington Post, in September Barlow made it known that he was excluding from Options 2005 all artists who participated in the DC Commission on the Arts and Humanities' Party Animals and Pandamania projects. "They made a bad choice, and there are consequences to bad choices," Barlow said.

I am told that Barlow made it clear to the WPA/C (from the very beginning) that he intended to exclude all artists who participated in those projects; apparently it was no secret to the WPA/C.

However, when the issue made the papers and was then brought up to the attention of the Corcoran Board of Trustees, pressure was put on Barlow to quit; he stuck to his beliefs and as a result, he was fired.

My thoughts on this subject: I disagree 100% with Philip Barlow's decision to exclude all artists who participated in these two projects from being considered for Options 2005; however, I respect and defend his right, as the curator, to make that decision. He has that right and it was wrong of the Corcoran to fire him from the job.

Barlow's logic in excluding all Pandamania and Party Animals artists from Options 2005 is as flawed as the logic that says that all Art-O-Matic artists are bad, amateur artists. Barlow has worked very hard in the past to support and defend Art-O-Matic (which by the way, gets a large amount of financial support from the DC Arts Commission), and it is surprising that he doesn't see the logical relationship between what he was doing to Pandamania and Party Animals artists and what most art critics in this town did to Art-O-Matic's artists.

Having said that, I back Barlow's right to make whatever decision he chooses to make as a curator. It is his goddamned right to exclude whoever and whatever he so chooses, just as it is my and your right to disagree with his decision - but he owns the right to make it!

And Barlow has been working very hard for the last few months visiting artists' studios and gallery openings, etc. He is a constant figure at most visual arts events in Washington, and probably knows more about our city's art scene (I suspect) than most of the members of the Corcoran Board of Trustees added together.

I love the WPA/C and what they do for Washington art and artists - but they blew it in this case.

Sometime tomorrow DC Art News will go over 40,000 visits since I started this BLOG a year ago.

What a great birthday present for anyone who cares about the visual arts in our region!

I want to thank all of you who read this BLOG everyday! Pass the word, and email me with any and all info to help spread the word about our incredible, incandescent art scene from our art galleries, artists and museums!

J.T. Kirkland is a 26-year-old artist and art critic who writes incredibly eloquent thoughts and feelings and observations about art and art shows at Thinking About Art.

Anyway... J.T. has been soliciting artists to write to him and communicate words about their art, which he then posts into his excellent Thinking About Art BLOG.

Please check Thinking About Art and see some of the artists who have so far responded and (if you are an artist) add to the dialogue.

Art Events for This Week

On Thursday is the opening of the major Ana Mendieta Retrospective at the Hirshhorn Museum and Sculpture Garden. Curated by the Hirshhorn's Deputy Director, Olga Viso, this exhibition is a comprehensive look at the Cuban-born artist Ana Mendieta’s career between 1972 and 1985. Mendieta (b. 1948 – d. U.S., 1985) is celebrated for using her own body to explore issues of gender and identity, and her work has significantly influenced subsequent generations of artists. I met her quite by accident in 1975 and am lucky to have one of her early drawings in my collection. The retrospective will be on until January 2, 2005. I will review it later.

And Friday is the 3rd Friday and thus the 3rd Friday and the five Canal Square Galleries in Georgetown have their new shows. Openings are from 6-9 PM and are catered by the Sea Catch Restaurant, also located in the Canal Square. We will have the DC debut of Bay Area painter Douglas Malone, Best of Show winner of the 2003 Georgetown International Fine Arts Competition. Many of the artists will be present in the five galleries. We will also have plenty of our famous Sangria. Free and open to the public.

And there are two major art events over the weekend. On Friday, Saturday and Sunday, Art Baltimore takes place at the Baltimore Convention Center's Exhibit Hall E (Entrance from Pratt Street). Over 150 national, regional and emerging artists from 38 states and Canada will be exhibiting and selling a unique mix of original works of art and gallery quality crafts. See participating artists here.

And Saturday and Sunday is the Bethesda Row Arts Festival in Bethesda. 170 national and area artists and fine crafters will be selling their work on the streets around Bethesda Row. I will be in booth 31E, come and say hi.

If I missed any art events this week, please email me.

DC Art News reader Keith Peoples, in reference to the Goya posting, notes that the National Library of Medicine currently has thirteen prints by Francisco Goya on display.

Two of the works are first editions created by Goya, while the others are "restrikes" printed by others using Goya's original plates.

This exhibition, on display through October 29, 2004, is curated by Belle Waring of the Prints and Photographs Collection of the History of Medicine Division.

The National Library of Medicine is located at 8600 Rockville Pike in Bethesda, MD and is near the Medical Center stop on Metro's Red Line. The Library's hours are 8:30 am to 5:00 pm, Monday through Friday and 8:30 a.m. to 12:30 p.m. Saturday. The exhibition is inside the History of Medicine Reading Room. For more information, call: 301 496-6308.

The "Funky Furniture" controversy made it to the "Countdown with Keith Olberman" TV show at MSNBC last night. It was the third highest ranked story of the night!

New Masters' Painting Discovered!

A previously unknown work by the painter usually considered to be the true father of modern art, Don Francisco de Goya y Lucientes has been discovered in Malaga, Spain by a local art restorer.

Read the story here - thanks AJ.

We are lucky to have many Goyas in Washington, DC at the NGA.

Tip for Photography Collectors

One of the best ways to acquire terrific deals in contemporary photography is through the Photo Review Benefit Auction.

The Photo Review Benefit Auction is now on-line here. You can preview the work and submit absentee bids.

A special preview will be held in New York City at the Sarah Morthland Gallery, from Tuesday-Thursday, October 12-14, 11 a.m. - 5:30 p.m.

A preview at the University of the Arts, Dorrance-Hamilton Building, Broad and Pine Streets, in Philadelphia, will be held on Friday, November 5 from 11 - 5 PM, and on Saturday, November 6 from 11 - 6 PM.

The auction will take place on Saturday, November 8 at 7 PM at the University of the Arts in Philadelphia.

Among the work featured are rare vintage prints by Francis Frith, Milton Greene, Philippe Halsman, Lewis Hine, Eadweard Muybridge, August Sander, Lou Stoumen, Josef Sudek, and Weegee, as well as Barbara Morgan's famous image of Martha Graham: Letter to the World (The Kick).

Among the contemporary photo stars whose work will go on the block are Shelby Lee Adams, Elinor Carucci, Lois Greenfield, Michael Kenna, Cindy Sherman, Jock Sturges, Jerry N. Uelsmann, Alex Webb, and William Wegman. In addition, a broad range of 19th-century photographs are up for bid.

The annual auction is free of charge. A fully illustrated catalogue is available for $12 from The Photo Review, 140 East Richardson Avenue, Suite 301, Langhorne, PA 19047-2824.

Last Friday we had our best opening night ever, in the fourth solo show at Fraser Bethesda by New York painter David FeBland.

FeBland's last solo immediately preceeding this show, at Galerie Barbara von Stechow in Germany, sold out; another bit of evidence of how hot painting is in Europe.

You can view the show online here.

Want to ask Charles Saatchi a question?

To coincide with the 20th anniversary of the Saatchi gallery, the advertising genius turned art collector, Charles Saatchi has agreed to answer The Art Newspaper’s questions as well as your own in their January 2005 issue. Email a question to Saatchi here.

Deadline for questions is December 6, 2004.

Jacqueline Trescott in the Washington Post: The DC City Museum will close its exhibit galleries to the general public next spring.

Tomorrow, Sunday October 10, from 10 a.m. to 5:30 p.m. is the Bethesda Artists' Market, with 25-35 area artists (some are coming from as far north as New York now) selling their artwork.

The market is on Bethesda Plaza, right outside and around the Fraser Gallery Bethesda, one and a half blocks north of the Bethesda Metro stop on the Red Line.

See you there!

"Funky Furniture" Controversy making worldwide news

The "Funky Furniture" controversy, first discussed here a few days ago, and subsequently in the Washington Post has made worldwide news and even the BBC has picked up the story!

One of the show's curators (Chad Alan) told me yesterday that a protest outside the City Museum was being organized for next week - I will let you know as soon as details are available.

This is a PERFECT opportunity for an area exhibition venue to step up and offer up space to host this exhibition. It is sort of a replay of the "Mapplethorpe at the Corcoran" controversy of the past. Except that this time, of course, it is the perfect opportunity for the Corcoran to step up to the plate and offer up its empty ground floor space (the empty space to the right when you first enter the museum) to host "Funky Furniture."

The exhibit is designed to look like a "living room," and so it would be a perfect fit into that Corcoran ground floor empty space.

And you can't buy publicity like this controversy has generated. So the ball is in the Corcoran's court, I think.

The Post's "Geek" art critic Michael O'Sullivan reviews Dan Flavin at the NGA.

The Washington Posts's Jacqueline Trescott today has a story on the "Funky Furniture Controversy" at the DC City Museum that was first posted here and by Jesse Cohen at ArtDC and discussed on the air yesterday at the Kojo Nmandi show.

I am told that the DC Commission on the Arts and Humanities is actively looking for a place to hold the exhibit and may have an alternative space lined up!

The Vampire Keeps on Rising

(Thanks AJ).

This article in the Christian Science Monitor discusses an exhibition opening at the UCLA Hammer Museum in Los Angeles titled "The Undiscovered Country."

The show examines the role of representational painting in a post-photographic world by looking at 65 works by 23 painters from the United States and abroad over the past four decades.

"This is not the straightforward landscape and formal portrait that dominated art for so many centuries. Instead, it's a concentrated effort by artists to come to terms with a world suffused with real-world imagery - and find a new role for realistic painting within it."

This all simply means that for years a lot of influential people in the art world have been trying and insisting on denigrating painting, especially representational painting - but in the end, as it has happened several times in the vicious circle, painting refuses to die and suddenly it is back in vogue and trendy curators are scampering all over the place to find the painters they've been ignoring for so many years.

Not too mention some art critics who have made a career and name by pushing the "painting is dead" slogan.

I call this "Contemporary Realism." That is: realism with a bite.

And (shameless plug coming) if you want to see an artist whose works have been called "the leading edge of the new urban realists" by the New York Times, come see David FeBland's fourth solo with us at Fraser Bethesda. Opening reception is tonight from 6-9 PM as part of the Bethesda Art Walk.

As promised, here I will post all the different websites and shows that I discussed on the air at the Kojo Nmandi Show, together with Jeffry Cudlin, the talented young new art critic from the Washington City Paper and Dr. Claudia Rousseau, the highly respected art critic from the Gazette Newspapers. The audio from the show is here.

We started the show by discussing the "Funky Furniture Controversy" that I discussed here a while back.

Rather than re-hash what we talked about, the best thing to do is to review what Art.DC posted yesterday. This posting by Jesse Cohen tells the story from the horse's mouth. Please read it.

I then gave Kojo's listening audience the scoop on the fact that the same woman who is sponsoring the Trawick Prize for Contemporary Art has been so disappointed by the hired curators disdain for painting that she is in the process of deciding to institutionalize an annual art prize of $10,000 just for area painters (DC, VA and MD).

I then reviewed the main pockets of gallery concentrations in the area and the specific times when they host openings and extended hours. I explained that it is free, and that artists are usually present, many are catered, etc.

• First Fridays – Dupont Circle Galleries
• Second Fridays – Bethesda Art Walk
• Second Thursdays – Alexandria, VA
• Third Thursdays – Downtown area galleries
• Third Fridays – Georgetown's Canal Square galleries

I also announced that there’s a new Art-O-Matic being planned – It will be from November 12 to December 5, 2004. It will be at 800 3rd St, NE (3rd and H St.). Over 1,000 artists participated in the last Art-O-Matic. Open to all artists; more details at Art-O-Matic's website. This is great news for Washington, DC art lovers.

We then discussed some important new museum shows opening soon:

• Ana Mendieta Retrospective opens next week at the Hirshhorn Museum. First major retrospective of Cuban-American artist Ana Mendieta. She was a "Peter Pan" child sent away from Cuba by her parents to be raised in the US away from the brutality of Communism and was raised in foster homes in Midwest. She then died a spectacular death by "falling" from the 34th floor of her home in NYC. I gave well deserved kudos to Olga Viso, who curated this show.

• Dan Flavin Retrospective at the National Gallery of Art. Now until Jan 9. The whole issue of conservation was extensively discussed. The curator of the exhibition essentially says: "when the flourescent lights go out - that's it!"

• I gave props to Jonathan Binstock and Stacey Schmidt (curators of the 48th Corcoran Biennial) for looking in their own backyard. Selected area artists for the 48th Corcoran Biennial have been announced and (for a change) they include James Huckenpahler (represented locally by Fusebox Gallery, Colby Caldwell (represented locally by Hemphill Fine Arts), and Baltimore-based photographer John Lehr. Last Thursday I had posted all the selected artists here.

I also discussed some important gallery shows opening soon:
• FuseBox: A group drawing show from Nov 6 – Dec 18 including drawings by Terence Gower, Jason Gubbiotti, Ulrike Heydenreich, Cynthia Lin, Joan Linder, and Nicola Lopez. Drawing, like paintings is suddenly the “hot” genre in the art scene. Next year they will have a solo by Ian Whitmore, a very talented young area-based painter.

• Conner Contemporary has Erik Sandberg opening on Nov 19 through Dec 23. One of the most talented local young painters and one of my all-time favorites.

• Kathleen Ewing has Bruce McKeig’s pinhole photography of urban parks. October 22 – Nov 27.

• There’s a new gallery in Georgetown’s Canal Square: Anne C. Fisher Gallery and next Oct. 15 they have the works of Phyllis Elizabeth Wright.

• Tranformer Gallery continues to have an unique exhibition program. Jayme McLLellan and Victoria Reis have been doing a great job. Currently they have an exhibition of text based multimedia work by three Texas artists. Until Oct. 16.

• Friday, Oct. 8 is the Bethesda Art Walk – 19 Bethesda art galleries and art venues.

Kojo then asked each of us to mention our favorite area artists. I rambled on about Manon Cleary (represented locally by Addison Ripley) and Tim Tate (represented locally by us). Later on I added Erik Sandberg (represented by Conner Contemporary).

There was also a very spirited discussion between Jeffry Cudlin and Dr. Claudia Rousseau about abstract and representational art in the context of contemporary art. Get the audio of the show here.

Welcome to all the new readers who are discovering DC Art News for the first time thanks to the great link from my appearance on the Kojo Nmandi Show earlier today discussing Washington area art and artists.

I have a special opening to attend tonight, but I promise that as soon as I get home I will post here all the links and events mentioned on the air. You can also listen to the show again on the internet by visiting the Kojo Nmandi Show archives. They will soon have the audio of the show online.

The WAMU telephone operators told me that the phones were buzzing and a lot of people waited a long time but were unable to ask their questions. Please feel free to email them to me, and I will try ot answer them.

Later today I'll be on the Kojo Nmandi Show discussing Washington area visual arts and artists. Tune in to WAMU 88.5 FM around 1 PM.

If you have any questions or art issues, you can call Kojo during the show at (800) 433-8850 or you can email me questions to kojo@wamu.org.

After the show I will post here all the websites and information that we discuss on the air.

Everytime that I start thinking that I am too harsh on the Post, they do something to prove to me that they (the corporate they or editorial they who makes decisions as to what is to be covered by their writers) haven't got the foggiest sense of what place they hold in the cultural tapestry of our city and how they manage to mismanage it when it comes to the visual arts.

Read this waste of printspace and weep with me for a newspaper that has some of the smallest art coverage of any major daily in the US and yet devotes the time and effort and space to cover mass produced garbage and use the word "art" in describing it.

Perhaps if more people knew that they could buy original art by emerging artists at the same prices as the "wall decor," they would not waste their time and money buying expensive posters.

"... a growing trend of consumers who buy art -- known in the industry as "wall decor" -- that is made and marketed to coordinate with prevailing trends in home furnishings...

... "People are absolutely buying more art. In the last two or three years, our art sales have doubled," said Becky Weber, Crate & Barrel's accessories buyer, who declined to give specific sales figures.

None of this is lost on artists -- whose royalties are tied to sales -- as they create images of quaint Parisian cafes, jammin' jazz combos, monochrome geometrics and ye olde hunting scenes."

Makes my head hurt.

Elsewhere in the Post, Jessica Dawson, who generally is supposed to review Washington area galleries (I think), treks to Annapolis to review Louise Nevelson: Selections From the Farnsworth Art Museum at the Mitchell Gallery, St. John's College.

I now eagerly await for the Annapolis Capital to send their art critic to DC to review one of our shows.

Oh wait...

City Museum Censors "Funky Furniture" Show.

Area artists Chad Alan and Maggie O'Neill have been organizing an interesting exhibition for the City Museum of Washington, DC titled "Funky Furniture."

Several area artists are involved and have been working for the last few months for this exhibition. I have been made aware by several people of a developing controversy now rapidly revolving around this show.

I am told that entries for the show were brought in over this past weekend, and when viewed a couple of days ago, there were at least six adjudged by the museum management to be "not acceptable" because of sexual and/or offensive content. One of the objectionable ones was an end table with "The bitch set me up" carved with on the surface with a razor blade.

The entire show has been removed from the main floor, and some may be allowed in smaller spaces elsewhere, but the offending six will not appear.

There are apparently ongoing negotiations with the museum management, but this has the smell of art censorship.

In a paradoxical way, this brewing controversy could be exactly what the museum needs to increase its visibility and maybe even get some people to visit it.

Look for Washington Post and Washington City Paper stories in the next few days, but you read it here first.

Target Gallery has a Call for Artists

Deadline December 31, 2004.

Open Call for 2005 Exhibition Proposals at the Target Gallery in Alexandria, Virginia. Open to all individual artists and groups in all media in North America.

Jurors: Richard Dana, a well-known and talented Washington, D.C. based artist and arts activist; Millie Shott, Exhibitions Director, Strathmore Hall, Bethesda, MD; and Virginia McGehee Friend, Washington area collector of contemporary Fine Craft.

Deadline for Proposals: December 31, 2004. Exhibition Dates: October 26-December 4, 2005

Fee: $35 for 20 images (slides or JPEG CD) and proposal. For Applications: email them here, or call 703/838-4565 ext. 4, or send SASE to:
Open 2005
Target Gallery
105 N. Union Street
Alexandria, VA 22314

Grammar.police has a really good pre-review preview (police that!) on the Dan Flavin retrospective at the NGA.

Sarah Tanguy is the new head of the Department of State's Art in Embassies program.

Established by the United States Department of State in 1964, the Art In Embassies Program is a global museum that exhibits original works of art by U.S. citizens in the public rooms of approximately 180 American diplomatic residences worldwide. To submit images to their staff for consideration in upcoming exhibitions please e-mail .jpg or .gif images of your works no larger than 50k in size, to this email address.

Pilfered from AJ:

Carmel, the famous little seaside town in California has decided that they have too many galleries and has imposed a moratorium on licensing new art galleries in the city. You can read the story here. This is the same silly town that passed a law in the 80s forbidding eating ice cream in public and then elected Clint as mayor.

61 galleries have opened in Carmel since 2000, bringing the total to about 120. Of the city's roughly 300 retail shops, approximately four out of 10 are art galleries.

When I lived there in the late 80s (I used to review books for the newspaper publishing this story), and I used to exhibit my artwork in a Carmel gallery that has since closed, and during my last visit in the late 90s, one thing was clear: A lot of them were and are crap galleries - that is, they are the type of galleries that sell a lot of reproductions, decorative art, gyclees by the millions, etc. Many others show the work of just one artist, or do not change shows regularly.

Because Carmel's main business is tourism, the galleries aim to tourists. And tourists come to Carmel because of its beauty, to play golf, see the Spanish mission, stroll around the beach, and because of... galleries.

Still, seems silly to pass regulations forbidding what obviously is the town's main attraction.

Locally, we have the same flavor of an issue around Dupont Circle, where the locals have decided that no more "new" galleries can be opened. As a gallery closes (such as Elizabeth Roberts will soon), it can be replaced by a new gallery in the same building, but no new galleries can open in a building that hasn't been a gallery prior to the sale.

And so we're all hoping that Elizabeth Roberts will be able to find a buyer for her building that wants to open a new gallery in that building. I've spoken to Elizabeth and she would prefer for that to happen as well.

A while back I posted a bit about a fiery DC area artist (Marsha Stein), who decided that the reported woes of the City Museum of Washington, DC deserved some hands on action.

So she's taking some action.

Stein has come up with a project to revitalize what the City Museum of Washington, DC does to leave a significant footprint on our city.

Here it is, in her own words:

This project will bring together artists from the Washington, DC area to form "artistic teams" and create collaborative pieces that convey ideas about Washington, DC.

The works of art created by the teams will be displayed in a feature exhibition at The City Museum of Washington, DC.

Visitors will be invited to vote on their favorite piece, as well as describe why they made this choice. The artists will be documented on film while they are in the creative process for educational purposes. These pieces will be auctioned at the close of the exhibit.

The goals of the project are to:

1. Bring the artistic community together
2. Empower DC artists to create an artistic movement
3. Integrate artists with the community

A jury panel will select the teams. The call will invite individuals as well as those who can form teams of two or three to send slides as well as describe why they want to do "team art."

All artists, newspeople and visual art lovers who are interested to participate, learn more, or put in their two cents are invited to:
Karma Restaurant
1919 Pennsylvania Ave, NW
(19th and I, NW)
On Monday, October 18, 2004 from 6 - 8 PM
I'm curious as to what can develop; So.... see you there.

Good week in Washington if you are a lover of the visual arts.

This Friday is the second Friday of the month and thus time for the Bethesda Art Walk with all these art venues participating from 6-9 PM.

We will host the fourth solo show by David FeBland, who has become our best selling artist (and whose solo debut in Europe a few months ago sold out in Germany).

FeBland paints what the New York Times dubs "urban realism" (the Times called him "the leading edge of the new urban realists") and the Washington Post has called "a revival of the Ashcan School."

And Calder Miró, which opens at the Phillips Collection on October 9, 2004, showcases the emergence of a new type of abstraction in the work of these two giants of modern art as seen in the context of their five-decade friendship. That same day, at 11:00 AM, the eminent Spanish art historian Victoria Combalía, will discuss Alexander Calder’s art in the context of Calder's travels to Spain in the early 1930s when he was Miró’s guest in Catalonia. Contact Mary Ann Bader (202) 387-2151 x4235 or Mela Kirkpatrick (202) 387-2151 x4220 for tickets to the lecture.

I have been astonished by the re-emergence of Catalonia and the Catalan language in the last few years. The last time that I was in Barcelona, there wasn't a single ad or street sign in Spanish! Everything was in the native language (again)!

That same day, the Corcoran opens "Inventions: Recent Paintings by Caio Fonseca", which will run until February 14, 2005.

The LA Times discusses"Reporting the Arts II," a study conducted for Columbia University's National Arts Journalism Program and released Saturday at a conference of newspaper editors in New Orleans. The report looked at arts journalism in 13 American cities in October 2003 and compared the findings with a similar analysis that had been done five years earlier.

The findings: "In all the cities our researchers visited, they found evidence of growing vitality in the arts. But when it comes to journalism, the opposite is true."

DC was not included in this study, but doesn't this paragraph describe the Washington Post's coverage:

"Our findings reveal an alarming trend: During the last five years, none of the papers we looked at increased the amount of their arts criticism and reporting. Editors at many dailies are filling smaller news holes with more and therefore shorter stories. Pieces on "high" arts, as well as those with hard reporting about cultural institutions, continue to take a backseat to soft-focus features on the latest movie star, CD or rock concert... Now many art sections have become viewer guides, devoting the bulk of their efforts to calendars, the daily TV grid and tiny thumbnail reviews."

In DC, under the leadership of its Arts Editor Leonard Roberge, the Washington City Paper continues to take over the void created by the Post's tiny visual arts coverage. This trend is apparently also common in other cities, as the piece discusses that:

"The alternative press, once derided by mainline news outlets, has also proved so successful at covering local arts events that media giants such as Tribune Co. and Gannett have started publications that mimic those brash competitors."

And the article closes with a key prediction:

"The greatest hope of quality arts journalism is the Internet. By going online, a reader can gain access to what seems like the work of every news organization and blogger on the planet. But there's a problem with the Web: The information is there, but you have to go looking for it. Articles and ideas are not placed at the reader's front door or local newsstand. The Internet cannot form the kind of connective tissue for our cultural life that newspapers offer.

We don't know where the talented cultural writers of tomorrow will come from and what type of art they will champion. They may choose to ply their trade outside newspapers, feeling too hemmed in by old routines and space constraints."

You can order the actual report here.

Thanks AJ!

Tyler Green does a tiny DC gallery walk-through.

DCARTNEWS reader Shark chimes in with a very funny comment on the Flavin Retro at the NGA:

"I've always wondered: Have museums and collectors stocked up on replacement bulbs for their Flavin works?

What happens in a hundred years or so (a decade, even?) -- when nobody can find a flourescent tube?

PS: Shark's Prediction: Flavin won't even be a minor blip on the art history landscape. He and the likes of Donald Judd will be lucky to be footnotes.

(But Marfa [Santa Fe without the scenery] is nice this time of year!)"

The power of the Internet surfaces again...

I received a studio email (I think) thanking me for pointing out to the world that the movie trailers for the new Motorcycles Diaries movie were mispronouncing Ernesto "Che" Guevara de La Serna Lynch's name, and Lo and Behold: there's a new voice over the same movie trailer.

Now... Che's name is not mentioned at all!

GE-varah, GE-varah, GE-varah (soft "G"... like in "get").

Blake Gopnik at the Washington Post with an excellent video review of Dan Flavin at the NGA.

Poor Flavin's show will soon come down in history as the exhibition that everyone loved but that was cursed with the cheesiest headlines in art history.

Gopnik's is "Glowing Review" while Kimmelman was "To Be Enlightened, You Pull the Switch."

By the way, in case you missed it, a few days ago Gopnik dissed "imperious art critic Clement Greenberg." Read it here.

The pot calling the kettle black?

Last night I went gallery hopping around Dupont Circle and managed to catch a few shows, drink some free cheap white wine and nibble on some cookies.

I started at Gallery 10, a terrific cooperative, artist-run gallery. The current exhibit is by Judith Richelieu, a former librarian at the Library of Congress.

She has 25 portraits of women artists, writers, etc. as part of a series called "Eligy." Richelieu complements them with carved wood saints that accompany the portraits. I overheard the artist discuss the fact that she "wasn't a portrait artist," which I found a little odd in terms of her current exhibition.

I'm not really sure what to think of the portraits. Richeliu obviously works from published photographs (nothing wrong with that), but every single one of her portraits is done in the same odd, unsual grayish skin tone for all the women, as if they all share a shark somewhere in their family tree.

It is a bit disorienting, but perhaps Richelieu wants to use the common gray skin color as a unifying force. My favorite piece was the portrait of Spanish artist Remedios Varos. The works are on exhibition until October 30.

Up the street, Kathleen Ewing Gallery has photographs by contemporary Native American artists Zig Jackson, Victor Masayesva, Jr. and Hulleah Tsinhnahjinnie. Michael O'Sullivan wrote about this exhibition:

"For Indian art with a bit of an edge (something you won't find at the new museum, by the way), try Kathleen Ewing Gallery's "Contemporary Native American Art." Along with the photographs of Victor Masayesva Jr. and Hulleah Tsinhnahjinnie, the show includes several selections from some of photographer Zig Jackson's more pointed black-and-white pictures, including his shots of tourists taking snapshots of Indians in full regalia, which turn the exploitative gaze back on the exploiter, and his conceptual series featuring the artist in feathered headdress and sunglasses posing in front of a customized sign demarking "Zig's Indian Reservation," which happens to be wherever the artist sees fit to stand."

The exhibition closes October 9.

Marsha Mateyka yet again has an exhibition from the Gene Davis estate. See them here, and you can see some recent results of Gene Davis' auctions at Sotheby's here.

Elizabeth Roberts Gallery is having its farewell show, as the gallery is closing at the end of this show as ELizabeth is moving to the Bay Area. On exhibition are works by Alice Oh. Her paintings are derived from the behavior and morphology of infected blood cells as seen under the microscope and are fascinating to study how nature and art align to deliver some very interesting results. I am sure that Ms. Roberts is hoping NOT to get the same sort of cosa nostra goodbye review that Jessica Dawson gave the Sally Troyer gallery when it closed.

Below the Elizabeth Roberts Gallery things were going gangbusters for The Studio Gallery; several sales took place in the few minutes that I was there. The current exhibition is "Works on Paper" by Phyllis Jayne Evans.

The Studio Gallery is celebrating its 40th anniversary this year - this is a spectacular achievement and in "gallery years" something rare and noteworthy, as most galleries close within a year of opening and a hardy few survive past four or five years.

I then visited Fondo del Sol, fully aware that once I said hello to Marc Zuver it could possibly be another week before I'd leave. Fondo del Sol is one of the cultural jewels of our city, and the current exhibition(s) do not disappoint. Zuver has curated a fascinating grouping of works under a exhibit titled "In Search of Lost Iberia," where he submits a theory that the peoples of ancient Iberia and ancient Georgia (the former Soviet republic, not the Southern state) share a common name, bloodlines and history in a distant past. There are some striking works of art by Alejandro Arostegui, Rogelio Lopez Marin ("Gory"), Vladimir Kandelaki and Mumumka Mikeladze.

Of these, Kandelaki's works stand out by their sheer complexity and by the powerful ant-Soviet and pro-Georgian messages they delivered when first created in the 1980s. They are courageous works that represented the brutal Soviet repression of the Georgian people and the decay of Soviet Communism.

And if you want to see one of the most powerful exhibitions around the theme of Native Americans (in fact so powerful that you'll never see anything like it in the new National Museum of the American Indian), then go see Michael Auld's installation "Surviving Genocide: Remembering Anacaona."

For the last several years Michael Auld has been researching and documenting the indigenous people of the Caribbean; some, such as the Tainos, were thought to be extinct, until "discovered" by Auld, in small mountain pockets of people.

When I first saw Auld's works a few years ago, what stuck in my mind was an extraordinary wooden sculpture of Itiba Cahubaba, the legendary Earth mother of Taino legend. This stunning piece depicted the Earth mother giving birth simultaneously to two sets of twins, who became the fathers of mankind. This was a gripping piece not only because of its artistic value, but more importantly because it marked the rebirth of Taino culture after nearly 500 years of being nearly forgotten, erased and virtually destroyed.

Auld's current exhibition adds another powerful installation based on a sculpture of Anacaona, the famous Taino queen who was the wife of one of the five caciques of Hispaniola and one of the first recorded Native American characters met by the Spaniards when they first landed on that unfortunate island. She was subsequently murdered by the Conquistadors, whom she had invited to her village.

In Auld's installation, a life-sized cherry wood sculpture of Anacaona sits in a cohoba trance in a traditional bohio (house) made from sixteen carved large lizards and snakes. The queen is adorned with conch jewelry and feathers, and delivers a stern message to contemporary viewers. It left me feeling uncomfortable and thinking that at one point Father Bartolome de las Casas estimated that there were six million Tainos in the Caribbean when the Spaniards first arrived.

When I managed to escape Zuver's animated discussion I headed over to Irvine Contemporary Art, which has a spectacular exhibition by one of the most talented young painters that I have seen in years: Bruno Perillo.

The Brooklyn-based Perillo brings a superbly talented brush to the revived genre of painting. He was recently reviewed by Michael O'Sullivan in the Post who wrote that Perillo has "witty, conceptual works that allude to both highbrow and lowbrow culture." O'Sullivan nailed it, and the show has nearly sold out, reviving my hope that Washingtonians are discovering that they can actually buy art here in the city!

Next I went to the Washington Printmaker's Gallery, where Jen Watson gave me a quick tour of the main show (monoprints by Christine Giammichele) and the always strong group show in the back gallery by the gallery's member artists.

My last stop was at Conner Contemporary where Avish Khebrehzadeh's show has also sold very well. The show was reviewed by Dawson here and by Cudlin here, but I think that it was this article on art collectors Tony and Heather Podesta that drove the collectors to one of the best galleries in the city.

Keep coming back.

I know, I know... I keep bashing the Post on their miserably tiny coverage of our area's art galleries and artists, but I must admit that at least Michael O'Sullivan, who covers the museums and sometimes galleries for the Post's Weekend section, does a pretty good job of keeping a finger on the pulse of DC's visual arts.

Today he covers five separate shows in Indian Art Beyond the Museum.

He also reviews "The Dream of Earth: 21st-Century Tendencies in Mexican Sculpture." at the Cultural Institute of Mexico. That is one show that I do not want to miss.

If you haven't been to the Cultural Institute of Mexico, please do so; it is one of the most beautiful buildings and most attractive gallery spaces in DC.

Other than the really cheesy headline, this is a pretty eloquent review by the New York Times' Michael Kimmelman of the Dan Flavin traveling retrospective exhibition now at the East Building of the National Gallery.

Even some humor: In discussing Flavin's impact, Kimmelman writes that ... "It also helped to open the way for installation art, but you can't blame only Flavin for that."

Who else do we blame? We want names!

Tonite is the Dupont Circle Art Galleries' crawl... from 6-8 PM. Most galleries will have wine and food as well as the artists will be there to meet the public.

Go and buy some art.

In a major new visual arts initiative for the Northern Virginia region, the League of Reston Artists (LRA) announces its first Call for Curated and Solo Art Exhibition Proposals for exhibits to be presented during its 2005 season at its sponsoring venue, The University of Phoenix Northern Virginia Campus, in Reston, Virginia.

LRA Board Member and spokesperson, James W. Bailey, says that individual artists, groups of artists, artist collectives, and independent emerging curators are invited to submit proposals for a curated exhibition by the postmarked deadline of Monday, January 17, 2005. Bailey also says proposals for solo artist exhibitions will be considered and are strongly encouraged from regional artists as part of this call.

"Those interested in submitting proposals are encouraged to visit the site at the University of Phoenix first to see how the space would work with their ideas," says Bailey. "Interested curators and artists can download the proposal application form from our web site."

Proposals should include a brief narrative exhibition statement, artist statements from key participants, a proposed budget, a proposed timeframe for the exhibition and relevant support materials, including representational slides, photographs, CD’s or videos. The LRA Board will select shows based on a representation of the proposed works included in the proposal.

Congratulations to Tyler Green, Washington, DC's first art BLOGger, who has been designated as the art critic for Bloomberg News.

The Vampire Rises Again

"A group of works by Damien Hirst, including his famous tiger shark suspended in formaldehyde and "Hymn," his monumental bronze anatomical model, as well as pieces by fellow British artists Tracey Emin, Jenny Saville, Sarah Lucas, Jake and Dinos Chapman, Marc Quinn, and Chris Ofili, among many others, are to be removed from display at the Saatchi Gallery. In their place comes an exhibition, "The triumph of painting" which opens in January 2005 to mark the 20th anniversary of the gallery."

The new show is devoted to the work of five painters, Peter Doig, Luc Tuymans, Marlene Dumas, Jörg Immendorf, and Martin Kippenberger, described by Charles Saatchi as "key European artists."

If you are one of those critics or curators who have been trumpeting the "death of painting" for the last four decades: your flag-bearer just went to the other side.

Read the entire Art Newspaper story here. (Thanks AJ).

The Washington City Paper continues to take over the vacuum created by the continuous Washington Post's poor coverage of the area's galleries and artists with several interesting reviews in the current issue.

Louis Jacobson reviews our current show of Hugh Shurley's DC debut of his photographs at our Georgetown gallery. He also reviews Kristi Mathews at Flashpoint.

And Jeffry Cudlin has a very good and interesting review of Avish Khebrehzadeh at Conner Contemporary Art.

Todd Gibson at From The Floor has a very interesting survey about art and BLOGS. You can (and should) take it here.

By the way, don't miss Gibson's funny comments on Gopnik and Chelsea galleries!

At the risk of sounding pedantic...

I find it incredible that the voice over for the movie trailers for the new Che Guevara movie The Motorcycle Diaries mispronounces Guevara's last name!

The "u" in Guevara is silent - It is not GUeh-varah; it is GE-varah (soft "G").

And I haven't seen the movie yet, but I bet that Hollywood glosses over one of the key aspects of Che's motorcycle trek: His (then) racist attitude towards Indians and Blacks.

In 1952, together with his friend Alberto Granado, Che took a wandering trip through South America, begging, drinking and borrowing their way through Argentina's northern neighbors. The book "Motorcycle Diaries" is about this trek, and the movie is based on this book.

Peru, with its largely pure Indian population had a profound effect on Guevara, and he refers to the Andean Indians as the "beaten race" in his diary. Since Argentina's own Indians had long been destroyed and overwhelmed by the millions of white immigrants from Spain, Germany and Italy which populated his homeland, it was in Peru where Che first met an oppressed people, and he notes in his writing that although he and Granado were usually broke, they were able to get by on "favors and concessions" based on their white skin.

South America's Caribbean coast provided him with his first exposure to black people, and oddly enough, the man who was later to fight alongside Africans in the Congo made some harsh observations, deeply fragmented with stereotypical Argentinean white racism:

"The blacks, those magnificent examples of the African race who have conserved their racial purity by a lack of affinity with washing, have seen their patch invaded by a different kind of slave: The Portugese.... the black is indolent and fanciful, he spends his money on frivolity and drink; the European comes from a tradition of working and saving which follows him to this corner of America and drives him to get ahead."

In his defense, as Che grew, his native racism towards people of color was discarded, and eventually he even married a mestiza.

But I suspect that the movie misses this area of this fascinating and iconic man's life.

I'll let you know when I see it.

The 48th Corcoran Biennial

Another sign that some sort of sanity may be returning to contemporary art can be read between the lines in the focus of the coming 48th Corcoran Biennial.

The 48th Corcoran Biennial: Closer to Home apparently takes as its focus contemporary artists making use of "traditional arts methods" (their words).

This coming Biennial also marks somewhat a return to the exhibition’s origins (it was America's only painting Biennial at one point) and "considers the familiar territories of traditional media – such as canvas, paint and wood – while giving prominence to the work of Washington, DC-based artists."

And I like that! And a well-deserved thank you to curators Dr. Jonathan Binstock and Stacey Schmidt for finally taking the lead and looking in their own backgarden for a major "local" museum exhibition. The previous Biennial (and Binstock's first) only had one area artist: the Corcoran's own Susan Smith-Pinelo (represented locally by Fusebox).

Per Corcoran Associate Curator of Contemporary Art and exhibition co-organizer Stacey Schmidt: "As the first museum in the nation’s capital, the Corcoran is especially committed to supporting the work of DC-based artists."

We've been noticing this change from Binstock and Schmidt's predecessor and saying under our breath: "About time!"

Area artists included in the Biennial are James Huckenpahler (represented locally by Fusebox Gallery and who got reviewed today in the Post), Colby Caldwell (represented locally by Hemphill Fine Arts), and Baltimore-based photographer John Lehr.

Both Lehr and Huckenpahler were also finalists in the 2003 Trawick Prize, which was also juried by Binstock (one of three jurors).

All together, Closer to Home showcases the following artists: Rev. Ethan Acres (represented locally by Conner Contemporary), Chakaia Booker, Matthew Buckingham, Colby Caldwell, George Condo, Adam Fuss, James Huckenpahler, John Lehr, Iñigo Manglano-Ovalle, Richard Rezac, Dana Schutz, Kathryn Spence, Austin Thomas and Monique van Genderen.

At the Corcoran Gallery of Art from March 19 – June 27, 2005.