Art Jobs

The Textile Museum, 2320 S Street, NW, Washington, DC is currently looking for a Director, an Accounting Manager, and a Assistant Curator for Eastern Hemisphere Collections.

The Textile Museum is an international center for exhibition, study, collection and preservation of textiles with a mission of furthering understanding and appreciation of mankind's creative achievements in the textile arts.

Full position announcement and qualifications here.

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The Creative Arts Center at Community College of Baltimore County is seeking Artist-instructors and they are needed in dance, art history, vocal and instrumental music, visual art, design, photography, theatre, writing, and culinary arts. For more information, please contact the Creative Arts Center at CCBC at 410-780-6533

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Mid Atlantic Arts Foundation seeks a Development Officer who will be responsible for the initiation, oversight, planning, implementation, and management of a development program that secures significant financial resources from government, foundations, corporations, and individuals to support the Foundation's mission.

Qualifications include: a bachelor's degree in business, marketing, communications or a field related to the arts; two to three years of progressive experience and responsibility in development in an arts or cultural agency; strong research, planning, writing, grantwriting and budgeting skills; and proficiency in computer technology including the ability to use various software applications for project and data management (especially Access and Excel).

The starting salary for this position is in the low $40's. A full benefits package accompanies the position. Send letter of application, resume, writing samples, and names and addresses of three references to:

Development Officer
Mid Atlantic Arts Foundation
201 N. Charles St.
Suite 401
Baltimore, MD 21201

Magazine looking for freelancers

Starting January, 2005, Urbanite magazine will be published in color on a monthly basis. They're looking for illustrators and photographers to do paid freelance work.

Urbanite wants images that are "edgy, artsy, and challenging."

Interested artists should send samples to:

Ann Wiker
Art Manager
Urbanite
1431 Patapsco Street
Baltimore, MD 21230

Or email Ann at aeartdealer@aol.com or call her at 410/404.3587

As everyone knows, the Elizabeth Roberts Gallery has closed since Elizabeth married and will move soon to the Left Coast.

The gallery space is for rent and it would be great if someone started a new gallery (or two!). Here are the details:

Two floor gallery space located in Dupont Circle’s historic gallery row: 2108 R Street, NW

There are two floors (approximately 1200 square feet each) of space, and they could be potentially divided into two gallery spaces.

Available in 2005.

Anyone who wants to find out more information or is interested in renting should contact Elizabeth at: elizabeth@elizabethroberts.net

Tonight is the first Friday of November and thus the extended hours for the Dupont Circle area galleries.

Openings from 6-8 PM generally...

See ya there!

New Gallery in Town

Washington Chapter of the Women's Caucus For Arts is holding a Holiday Art Show at the newly created gallery at the Chevy Chase Community Center.

The opening reception for the artists will be held on Saturday November 6, from 2-4 pm.

The new gallery is in the Chevy Chase Community Center at 5101 Connecticut Avenue (across from the Avalon Theater) in Chevy Chase.

Chan Chao's new work opens at Numark

Numark Gallery presents "Echo", Chan Chao's newest body of work. The show opens today and runs until December 18, 2004, with an opening reception on Friday, November 12, from6:30 - 8pm.

Cheryl tells me that Chan is again photographing his subjects at close range, front and center, and returning to a subject that he dealt with earlier in his career - the female nude.

I am for one, very glad of this return to the nude, as I was not a big fan of Chao's previous body of work, which (of course) received wide critical acclaim (I am talking about the Burma: Something Went Wrong photographs), and allowed Chao national exposure as they were prominently featured in the 2002 Whitney Biennial.

The Art League is one of the nation's largest arts group with several thousand members from our area. They are sponsoring a couple of interesting panels and shows in the coming days:

In November, The Teacher as Artist show will showcase the artwork of both present and former Art League faculty members including well-known Washington artists such as Gene Davis, Paul Reid, Lou Stovall, and Jay Hall Carpenter.

This All-Media Membership Show is dedicated to all the outstanding artists who have been, and still are, the League's teachers.

The opening reception is this Sunday, November 7, from 3:00-5:00 pm and the show runs until Monday, December 6, 2004.

Then on Thursday, November 11, 2004 from 7:00-9:00 pm, Carol Dupre (who was savaged in the Washington Post a couple of years ago) will lead a panel of past and present Art League teachers in a discussion: Refuting the Taboo on Artistic Intelligence. Among other issues, she will explore the taboos that lurk, often quietly, in every classroom.

For event information, call 703-683-1780.

Washington Print Club's Panel Discussion of Print Collecting and Contemporary Printmaking.

On Saturday, Nov. 13, 2004 from 10:30 to Noon, and in celebration of the 40th anniversary of The Washington Print Club, the WPC and Georgetown University Art Collection are sponsoring a panel discussion of print collecting and contemporary printmaking.

The panel will be moderated by WPC Advisor Dr. Alan Fern, former director of the National Portrait Gallery, and curator of prints at the Library of Congress. The panel will include WPC founding members Mary Hewes and Herbert Franklin; Ruth Fine, curator of special projects in modern art at the National Gallery of Art; Scip Barnhart, printmaking instructor at the Corcoran College of Art and Design; Jane Haslem, Jane Haslem Gallery; Clifford Chieffo, emeritus professor of art at Georgetown University; Donald Saff, senior curator of prints and drawings at the Solomon R.Guggenheim Foundation; and Mrs. Martin Atlas, collector.

The panel discussion will be held in McNeir Auditorium, on the main campus of Georgetown University.

More details here. Admission is free and the event is open to the public.

Want to Ask Jeff Koons a Question?

For the January-February 2004 issue, Flash Art is giving you the opportunity to interview Jeff Koons. As they've done twice this year (first with Vanessa Beecroft, then Maurizio Cattelan), the magazine is soliciting questions from people. They will present the best of these questions to Jeff Koons, and he will respond to them in an interview published in the Jan-Feb 2004 issue.

Please e-mail all questions to francesca@flashartonline.com Thursday, November 11, 2004.

James W. Bailey has of course already sent in a question: "Mr. Koons, at exactly what point in your "art" career would you admit to selling out your soul to the devil for the almighty American dollar, as well as any other international currencies that you have benefited from by selling your "art" work?"

Later today I will be in MHz TV discussing the recent Christie's and Sotheby's art auction sales as well as a couple of area art exhibitions.

New Painting Prize Announced

In June 2005, the Bethesda Arts & Entertainment District, a non-profit organization, will award $14,000 in prizes to painters from Washington, D.C., Maryland and Virginia.

The Bethesda Painting Competition will be one of the largest cash awards in the United States given to a painter, with a $10,000 award for Best in Show. This competition will be an annual event that will bring much-needed media and critical attention to artists from this region.

In 2002, the Bethesda Arts & Entertainment District created The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition awarding $14,000 in prize monies to contemporary artists in the Greater Washington, D.C. area.

The founder, Carol Trawick, is committed to annually honoring contemporary visual artists with this award. Ms. Trawick has generously made the same commitment to area painters. With the creation of the Bethesda Painting Competition (also funded by Ms. Trawick), they now have the opportunity to specifically recognize and honor area painters as well as build on Bethesda’s reputation as a well-respected arts community.

The search for jurors who are qualified to jury painting is now on, but this is great news for our area artists!

Van Gogh's great grandson murdered in Amsterdam

Greg Allen reports that Dutch filmmaker Theo Van Gogh, who is the great grandson of Vincent Van Gogh was murdered on an Amsterdam street yesterday, apparently by Muslim extremists because of a short film by Theo titled "Submission" which had been broadcast on Dutch TV.

Per Allen, "Van Gogh and the film's writer, an "ex-Muslim" member of parliament, Ayaan Hirsi Ali, had received numerous death threats and accusations of blasphemy."

James W. Bailey has the following words on this brutal murder:

Another Saint in the art world has given his life in the pure pursuit of his art.

Yesterday's savage and brutal murder in Amsterdam of filmmaker Theo van Gogh represents another direct assault by extremists on the universal concept of freedom of artistic expression.

The first line of protection that an artist, photographer, curator, musician, singer, dancer, choreographer or any other person involved in the arts enjoys in support of their art, is acceptance within the art world of the basic principles of freedom of artistic expression.

It is absolutely critical that every person in the arts, and more importantly, that every arts organization on the planet, subscribe to and advocate for a consistent definition of freedom of artistic expression that applies equally to every single artist.

Every voice in the art world needs to speak out condemning the slaughter of Theo van Gogh.

Every voice in the art world also needs to speak with clarity, firmness and resolve in support of a universally accepted definition of freedom of artist expression for every artist in this world.

Sincerely,

James W. Bailey
Experimental Photographer

Congratulations to President Bush on his victory. Now let's move on.

We'll get back to the world of our area's art scene later today. Come back.

Please go vote today.

And please, whoever wins tonite, or next week, or whenever the damned lawyers allow anyone to win, let us unite as much as possible and start bridging our divisions.

I'm going to vote today, and I hope that my candidate wins, because I fear that the other guy will be a disaster for our nation and the world. If the other guy wins, then I hope that I am wrong.

But whoever wins; let's stop the hate for the person and let us agree to disagree and move on to the future.

I, for one, plan to give our President (new or re-elected) a chance and clean slate to lead our nation.

Thanks to AJ

This is how the upper crust of the art world sticks a knife in your ribs when they can't figure out how an artist makes it big without their stamp of approval.

Opportunity for Artists

Deadline: Wednesday, December 15, 2004

The Art Renewal Center seeks applicants for its 2nd Annual International Salon Competition. Over $44,000 in cash awards; $10,000 Best in Show, and featured online gallery.

Send #10 SASE for prospectus to:
Karen McCormack
Art Renewal Center
Box 837
Glenham NY 12527

For more info:
The Art Renewal Center
Email: arcprogram@aol.com or visit www.artrenewal.org

Painting is dead... right guys? I mean... "ancient medium" and all that.

US Museum curators got together and decided to pick the US artist to represent the nation at the next Venice Biennale.

They picked a painter!

Not only that, but this is a second time returnee! The US choice for 2005 was also the US choice for 1970, when he contructed "Chocolate Room," a visual and sensory art experience where the Venice visitor saw 360 pieces of paper impregnated with chocolate and hung like roof shingles so that they smelled like chocolate; sort of like "scratch and sniff art."

But now he's just an "ancient medium" devotee.

Most local curators and Blake: read it and weep.

October (Art) Surprise: Tonight!

Curators Andrea Pollan and Nora Halpern have an October Art Surprise. Sponsored by Furioso Development Corporation, Metropolis Development Company, and G Fine Art, and in cooperation with Glen Construction (am I done with the credits?) they present: Jenny Holzer: Xenon for D.C.

Internationally acclaimed artist Jenny Holzer comes to Washington, DC to launch her first public art project here. The project consists of one of her first Xenon projections in the U.S.

Jenny Holzer's Xenon projections have captivated audiences around the globe from Buenos Aires to Paris to Berlin. She now presents them for the first time in the United States.

Tonight you can see the projections against the facade of the new 1515 14th Street Arts Building (near the corner of 14th & Church Streets NW between P & Q Streets).

On Monday, November 1, 2004, at the Gelman Library on the campus of George Washington University, Holzer will project poems, as well as declassified documents made available through the Freedom of Information Act and the work of the National Security Archive.

Congratulations to Washington area artist and co-founder of the Washington Glass School, Tim Tate who has been announced as one of New York City's Out Magazine 100 Most Remarkable People of 2004.

Tim will be hanging out in NYC next month gathering his award and hanging with celebrities like Ellen deG and others.

This is an important recognition no doubt based on Tate’s string of artistic accomplishments in the last couple of years, such as being recognized as the 2003 Mayor’s Arts Awards Washington Artist of the Year, two sold out shows at our two Fraser Galleries, major reviews in both national and international newspapers and magazines and his selection as the design winner for the International AIDS Monument to be built in New Orleans.

New Arts Based TV Show

GPV Group is an organization that provides assistance to program networks looking to expand.

They have started an arts news television program called ArtsMedia News. The program is starting off initially as newsbreaks airing seven times a week on MHz Networks in the DC area with further distribution to public television stations nationwide.

Starting in January they will be expanding to a half hour weekly program to air at 8:30 PM on Thursday nights on MHz with further distribution nationwide as well.

They've approached me to introduce some of the art newsbreaks that focus on DC-based art news and I will be doing my first one next week. This newsbreak will focus on the current exhibition Tradition in Transition: Russian Icons in the Age of the Romanovs currently on display at the Hillwood Museum and Gardens through December 31.

This is good news for our area's cultural tapestry!

Andrew Noyes has an excellent article in today's Voice of the Hill on the subject of the public art project that DC artist Marsha Stein has been organizing for the last few weeks.

The article is on page 32, and describes Stein's project as well as generous comments from the Washington Post's Chief Art Critic Blake Gopnik and from myself.

A novel concept that Stein has introduced to the world of art is the fact that she has a videographer working with her, and documenting everything in a reality TV approach. The videographer hopes that this project will be the seed of an art-based Reality TV series to pitch to the networks.

Interested artists should contact Marsha Stein at Marshasart@aol.com.

Venezuelan photographer Luis Gomez makes his DC area debut with "Cities," a 32-photo exhibit at Candida’s World of Books at 1541 14th Street N.W. (14th and Q).

The exhibit runs through November 15 and focuses on inner, urban cores —one of Gomez’s favorite subjects— and offers glimpses of architecture and streetscapes, as well as their people. The photos will take viewers to cities that include Amsterdam, Chicago, Havana, Madrid, Prague, Santiago, Sydney and others.

Cynthia Young defends the "grubs" in a passionate letter in this week's Washington City Paper.

And Jeffry Cudlin writes another really good review (why isn't Cudlin writing more often in the WCP?).

This time he reviews "Inventions: Recent Paintings by Caio Fonseca" at the Corcoran and damned near convinced me that Fonseca was not just another hack painting the kind of safe, unintelligible art that cannot remotely offend anyone and that one routinely sees in hotels, airports and furniture stores. Not really art but "wall decor."

Thusday is the day the Style section of the Post reviews galleries and today Glenn Dixon reviews Kenny Hunter: Works in Colour at Conner Contemporary Art.

There's also a theatre review and a music review in today's Style.

The Washington Post finally picks up the story of Philip Barlow's woes with the WAP/C first reported here over two weeks ago.

The Arts Beat column adds little to the story that hasn't been discussed to death already by DC Artnews, J.T. Kirkland, Tyler Green, MetroBlogging and others.

Other than this great quote from the new OPTIONS 2005 curator:

"I've been forgiving of artists who've painted dreadful cows in my part of the country," adds Lumpkin, "so I can be forgiving of artists who've painted dreadful pandas in your part of the country." "

I've been out all day, and arrived home, picked up the email (I am by now used to getting one letter a week from either/or United or American Airlines pleading with me to sign up for their credit card), cooked dinner, got ready to watch the World Series, and then... read my email.

I was a bit taken back by the huge number of emails that I've received from artists commenting on the new WPA/C OPTIONS curator. But I think that we need to let the waters settle and see how things develop.

Last weekend the Washington Times gave our current Bethesda show (David FeBland), their "Hot Pick" of the week.

Transformer tells me that they will have Ken Grimes, Laura Craig McNellis, Judith Scott, and Melvin "Milky" Way in a show titled Cryptic Communications: Work by Four Self Taught Artists. Show opens November 6 and runs through December 4, 2004.

In Alexandria, Pa Dian Accents presents Women of Color, Style and Expression, a collection of more than 40 works by five contemporary artists from the D.C. area, from Saturday, November 13 through Sunday, November 21. The featured artists in this show found their visions in a variety of ways. Edith Graciela Sanabria’s art began as a response to a difficult childhood with an authoritarian father. Donna Boozer was inspired by the birth of her daughter. Chela Sanbria, Edith’s daughter, found healing from a crippling illness through painting vibrant colors and Jennifer Jin Seaver began her artistic career as a child in Korea.

New York realist Mikel Glass is at Old Town Alexandria's Century Gallery. The exhibition is on view until December 1, 2004. I saw Glass’ show at Century a couple of years ago and Glass is a spectacularly talented painter whose works have been called "a battle between Rembrandt and Freud."

And in Georgetown...

"Ebb and Flow," recent paintings and drawings by Washingtonian Janis Goodman, (who teaches at the Corcoran) explores the universal theme of constancy.

Goodman's new series is devoted to water and its insistent repetition, even as the rest of the world is in flux. Her intelligent renderings of water capture the artist's intense devotion to observation and meditation.

"Ebb and Flow" will be on view at District Fine Arts from November 5 through December 11, 2004.

New OPTIONS 2005 Curator Named

The Washington Project for the Arts\Corcoran Association (WPA\C) has announced that Ms. Libby Lumpkin has been named as the WPA\C OPTIONS exhibition curator to replace fired curator Philip Barlow.

Libby Lumpkin is an internationally noted art historian, critic, and curator who serves as Director of the Museum Studies Program at California State University and Assistant Professor of Art History, Long Beach. She was the founding curator of Steve Wynn's Bellagio Gallery of Fine Art in Las Vegas (man... Tyler Green will have fun with that bit of resume news), and has served as Visiting Professor of Art Theory at Yale University, Visiting Lecturer on Visual and Environmental Studies at Harvard University, Visiting Professor of Theory and Aesthetics at the University of California Santa Barbara, and Visiting Lecturer at Umeå University in Umeå, Sweden.

She also served as Assistant Professor of Art History and Curator of the Donna Beam Fine Art Gallery at the University of Nevada, Las Vegas. Lumpkin is the author of Deep Design: Nine Little Art Histories, as well as Ingrid Calame and Jean-Michel Basquiat: War Paint. She edited and produced the catalogs for the Bellagio Collection, and has authored numerous critical essays on contemporary art and design. Dr. Lumpkin was a contributing editor of Art Issues magazine of Los Angeles, and is a regular contributor to Artforum of New York.

She is founding director of a design institute for the Institute of Modern Letters at the University of Nevada, Las Vegas to open in January 2005. After spending two years in Long Beach, she returned to Las Vegas with her spouse, art critic and curator, Dave Hickey.

Ms. Lumpkin has stated that

"The emerging artist scene in the Washington, D.C. area is unexplored territory for me. I look forward to discovering what's out there. I'm hoping that artists of all types who do not yet have gallery representation will respond to the call for submission for consideration so that we can set up appointments to view works. I'm sure most of the artists will be young, but I'd love to hear from artists of all ages, anyone who is presently working outside the gallery system. I'm as interested in the private, eccentric artist as in those whose works are engaged in prevailing cultural discourse. I'd like to end up with an exhibition that presents a lively mixture of types."

Does this mean that Ms. Lumpkin is automatically excluding any and all artists who have gallery representation? Someone better tell the Corcoran Board of Trustees right away before she buys her plane tickets to come visit our area.

The WPA\C will soon announce submission guidelines for artists who wish to submit materials as preliminary research for the benefit of the curator. Because this is not a juried exhibition, there is no fee to submit materials and artists do not have to be a member of the WPA\C to be considered. These guidelines will be posted on the WPA/C website on Nov 1, 2004. Ms. Lumpkin will perform on-site studio visits while working on the exhibition in Washington, DC.

It is a smart move by the WPA/C to hire an outside curator to replace Barlow, but I wonder how much this is costing them; I suspect that curators such as Lumpkin do not come cheaply.

I wish Ms. Lumpkin the best of luck with a most difficult show. It won't be easy, but I am sure that she will do a good job; we will be watching.

Tonight I will be at one of my favorite charity art auctions for a great organization and a great cause.

It is 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.

See you there!

Driving Force was a national competition to recognize and showcase young artists with disabilities, ages 16 -25, who are living in the United States.

The exhibition is currently on view at the S. Dillon Ripley Center, Smithsonian Institution through November 29, 2004. It will then tour for one year throughout the U.S.

The grand prize winner, Sunny Taylor, is a self taught hand and foot artist (only 22 years old) who is a spectacular painter.

The Cuba series

These pieces below are from a set of about 100 watercolors, mixed media, oils, acrylics, and prints that I did either for one of my senior year exhibition projects at the University of Washington School of Art in 1981 as well as class assignments through the years (1977-1981). Probably 80 of these have sold over the years. They all have the map of the island of Cuba as the focus. There are also a few pre-art school works as I started this series around 1972 or so when I was in High School.

Update: Some of these images are from owners that bought some of these sending them to me... in some cases I had not seen them in years!

"Isla Prision (Prison Island)"
c. 1980, Ink wash and wood rods on paper
In the collection of The Cuban Studies Institute, Miami, Florida

"Isla Prision"
Monoprint enhanced with Charcoal and pins, c.1980
In a private collection in New Jersey

"Isla Prision"
Monoprint enhanced with watercolor and pins, c.1980
In a private collection in Florida

Isla Encadenada
Acrylic on paper with metal chain, c. 1979

Isla Encadenada
Colored pencils on paper with metal chain, c. 1979

"Isla Herida" c. 1978

"Donde crece la palma" 1978

"The Island that Time Forgot" 1981

"Mi verso es un ciervo herido Que busca en el monte amparo" 1979

"Stabbed Island" 1980


"Isla Roja" (Red Island) 1981


"Isla Carcel" (Jail Island) 1981


"Isla Encarcelada" (Jailed Island) 1981


"Isla Ensangrentada" (Bloodied Island) 1981


"Isla Encadenada" (Chained Island) 1981


Isla Pesadilla (Nightmare Island) 1981


Isla en Jaula (Caged Island) 1981


"Isla en Goma" (Inner Tube Island) 1981


"Isla Prisionera" (Prisoner Island) 1981


Isla Deshuesada (Deboned Island) 1981

"Isla Llorona", oil on board c. 1978

"Isla Abandonada (Abandoned Island)"
Oil and Acrylic on Gessoed Board, 8x10 inches, c.1979
In a private collection in Hialeah, Florida

"Isla Clavada (Nailed Island)"
1980 Color pencils and embedded nails

Nubes Lloronas, Oil on board, c.1979

"Isla Llorona", oil on board, c.1978
In the collection of Queens' University, Charlotte, NC

Cuba, Isla Desbaratada (Cuba, Disassembled Island). Pen and Ink. 2009.


Cuba, Isla Encarcelada (Cuba, Jailed Island). Watercolor and Wire. 2009.



Cuba, Isla Judia (Cuba, Jewish Island). Watercolor. 2009.

Isla Prisionera
In a private collection in Miami, Florida

Isla Balsera
Location Unknown (Sold at Pike Pace Market, Seattle in 1978-79)

"Isla Balsera (Raft Island)" - Happy Birthday America, Wishing We Were There!
Collage on Paper, Framed to 30x40 inches, c. 1976
Was in a private Collection in New Jersey - donated to American University Art Museum in 2015

"Isla Prision (Prison Island)" By F. Lennox Campello
c. 1978, Charcoal on paper
In a private collection in New Jersey

"Isla Prisión" (Prison Island)
Watercolor on Paper by F. Lennox Campello, c. 1977

One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art.

Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.

The married couple:
"Do you like it?"
"Yeah, I like it- it's just what we've been looking for."
"Where would we put it?"
"We have a couple of spots that it'd fit."
"Do you really like it."
"Yeah, how about you?"
"Yeah, I kinda of like it."
"Should we get it?"
"If you want it."
(five minutes later)
"Let's think about it."
"OK" [To me] "Do you have a business card?"

The couple (not married):
Her: "Do you like it?"
Him: "Sssoright"
Her: "Where would we put it?"
Him: "Dunno."
Her: "Do you really like it."
Him: "So'OK.. Yeah, how about you?"
Her: "Yeah, I kinda, sorta, really like it."
Him: "Dunno though"
Her: "What? You don't like it?"
Him: "If you want it."
(five minutes later)
Him: "Let's think about it."
Her or Him: "OK" [To me] "Do you have a business card?"

The Single Woman (SW) with a Woman Friend:
SW: "WOW! Now, I really like this!"
Friend: "Yeah... it's nice"
SW: "It's exactly what I've been looking for!"
Friend: "I have a friend who does work just like this..."
SW: "I am really drawn to it!"
Friend: "Are you really sure you like it?"
SW: "Uh - yeah!... why? Don't you like it?"
Friend: "Yeah... it's OK"
SW: "I think it's really good... I think it's the first piece in this whole show that I really like."
Friend: "There's a few more booths we haven't seen."
SW: "I think I'm going to buy this."
Friend: "Are you sure?"
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?"
(five minutes later)
SW: "Do you have a business card?"

The Single Woman (SW) with a Man Friend:
SW: "WOW! Now, I really like this!"
Friend: "Yeah... Cool"
SW: "It's exactly what I've been looking for!"
Friend: "I think it's a lithograph" [it's actually a charcoal]
SW: "I am really drawn to it!"
Friend: "Are you really sure you like it?"
SW: "Uh - yeah!... why? Don't you like it?"
Friend: "I have something like it... I got it cheaper though..."
SW: "I think it's really good... I think it's the first piece in this whole show that I really like."
Friend: "You like lithographs?"
SW: "I think I'm going to buy this."
Friend: "Are you sure?"
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?"
(five minutes later)
SW: "Do you have a business card?"

The Single Focus Dream Buyer:
[Walks straight up to one piece, never looks at the rest of the work in your booth]
"I'll take this"
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
"Charge"
[Me] "I can send you more information on this artist..."
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?"
"No, thanks..."

The "I'm glad you're here guy (IGYHG)":
IGYHG: "Hey! I've been looking for you!"
[Me]: "Hi, how are you?"
IGYHG: "... been walking this whole fair looking for you!"
[Me]: "Yeah... lots of dealers this year... glad you found us!"
IGYHG: "Howsa been goin'?"
[Me]: "Yes... quite good actually..."
IGYHG: "Well, let me look at what you've got!"
[three minutes later]
IGYHG: "Well... I'm glad you're here... see ya next year!"


The "I Shudda Bought It Last Year Guy (Shudda)":
Shudda: "Hey! You're here again!"
[Me]: "Hi, how are you? Yeah... It's our 7th year here..."
Shudda: "... been walking this whole fair looking for you!"
[Me]: "Yeah... lots of dealers this year... glad you found us!"
Shudda: "Howsa been goin'?"
[Me]: "Yes... quite good actually..."
Shudda: "Well, let me look at what you've got!"
[three minutes later]
Shudda: "Where's that really good watercolor of the fill-in-the-blank?"
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist."
Shudda: "Ah! - I really wanted that one! Do you have another one?"
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---"
Shudda: "I really wanted that piece; and it was a good price too..."
[Me]: "Maybe you'd like some of his new work..."
Shudda: "I shudda bought it last year"
[Walks away]
Shudda: "You gonna be here next year?"

The "Where's That Piece Guy (WTP)":
WTP: "Hey! You're here again!"
[Me]: "Hi, how are you? Yeah... It's our 7th year here..."
WTP: "... been walking this whole fair specifically looking for you!"
[Me]: "Yeah... lots of dealers this year... glad you found us!"
WTP: "Howsa been goin'?"
[Me]: "Yes... quite good actually..."
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! "
[Me]: "Yeah... that is a nice piece."
WTP: "I've been thinking about it for a whole year"
[Looks around the booth and doesn't see it]
WTP: "Do you still have it?"
[From here there are two paths...]
Path One -
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist."
WTP: "Ah! - I really wanted that one! Do you have another one?"
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---"
WTP: "I really wanted that piece; and it was a good price too..."
[Me]: "Maybe you'd like some of his new work..."
WTP: "I shudda bought it last year"
[Walks away]
WTP: "You gonna be here next year?"
Path Two
[Me]: "Let me get it for you... I have it in the back!"
WTP: "Great"
[I bring it out and give to WTP]
WTP: "Yeah this is it! It's great!"
[Me]: "This artist has done really well this last year and ---"
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?"

Michael O'Sullivan reviewed the Ana Mendieta retrospective at the Hirshhorn on Friday and makes an interesting connection in Mendieta's art.

One of seven pieces by O'Sullivan on Friday!

I'll be on the road today - heading for the last art fair that I will be doing this year.

Forgot my laptop! My not be able to post this weekend, but keep checking...

You had my heart inside of your hand - you're gonna wish you never had left me

The Controversy that won't go away.

Both Tyler Green at MAN and J.T. Kirkland at Thinking About Art, as well as Chris Shott at the Washington City Paper (who beats all other DC published media and breaks the story today), are seeing unidentified black helicopters flying between DCCAH and the Corcoran.

Not so sure myself, but as much as I trash the Post for their lack of visual arts coverage, I am still stunned that this whole controversy has been ignored so far by the world's second most influential newspaper.

I know that Jonathan Padget is working on this story for his "Arts Beat" column; but it is not scheduled to come out for another week.

Why not allow this story to be printed in the Post now, when the issue is hot!

I should know better.

If this had been a case of Septime Webre over at the Washington Ballet firing a guest choreographer because he excluded dancers that had participated in a rap video dance scene a year earlier, from the new Washington Ballet version of The Nutcracker then we'd be reading about it everyday in the Style section.

Makes my head hurt.

Letter to the Editors by James W. Bailey

To The Readers of D. C. Art News,

I have distributed the following Letter to the Editor to the national arts press, as well as the general mainstream media.

I am very appreciative of Mr. Campello allowing me to post this Letter to the Editor on DC Art News.

Sincerely,

James W. Bailey

LETTER TO THE EDITOR

Should Art Curators Enjoy the Same Basic Rights of Freedom of Artistic Expression that Artists Enjoy?

by James W. Bailey

I am an experimental photographer from Mississippi who currently lives in Reston, Virginia. I am also a member of the WPA/Corcoran.

I have taken a very strong public stand in support of freedom of artistic expression for curator, Philip Barlow, who was recently fired by The Board of Trustees of The Corcoran Museum of Art and the WPA/Corcoran. Mr. Barlow was hired by the WPA/Corcoran to curate a cutting-edge exhibition called OPTIONS 05.

D.C. art critic, Mr. F. Lennox Campello, first broke this story on his blog, DC Art News, a week ago. The story was immediately picked up by D. C. art critic, Mr. J. T. Kirkland, on his blog, Thinking About Art, which has featured an ongoing debate over this issue. Mr. Tyler Green, national art critic for the Bloomberg news service, has come down firmly in support of artistic and curatorial freedom for Mr. Barlow on his site, Modern Art Notes, and opposes the actions taken by the Board of Trustees of the Corcoran Museum of Art and the WPA/Corcoran. The story is now entering into the mainstream media.

In the interests of full disclosure, I believe that I was under consideration for this major exhibition by Mr. Barlow.

Mr. Barlow is, in my opinion, a victim of curatorial censorship committed by the Board of Trustees of the Corcoran Museum of Art and the WPA/Corcoran. I believe that both artists, and curators, deserve to be protected by the same basic principles of freedom of artistic expression.

I subscribe to a definition of freedom of artistic expression that can be read on the web site of The National Campaign for Freedom of Expression: www.thefirstamendment.org/ncfe1.htm.

"Freedom of artistic expression is the principle that an artist should be unrestrained by law or convention in the making of his or her art. Artistic freedom is vital to both the cultural and political health of our society. It is essential in a democracy that values and protects the rights of the individual to espouse his or her beliefs.

Just as our nation’s free speech heritage protects the rights of artists to create, display, perform, and sell their artwork, so too does it protect the rights of the general public to dislike, criticize, and be offended by artwork. What we will call a 'challenge' to the freedom of artistic expression is more than mere criticism or commentary. A "challenge" arises when the critic takes the significant leap from merely voicing distaste of the art to questioning its right to exist or be seen, and seeking to stop its exhibition or performance.

Artistic freedom is threatened when art is challenged because of its content, message or viewpoint, rather than because of its aesthetic qualities or artistic merit. A challenge may be motivated by disagreement with the perceived message or the fear of negative public reaction. A challenge may be part of an organized effort to protest specific social issues. Challenges may come from members of the general public, representatives of organizations, or governmental officials. Challenges may also originate from within the arts community—for example, from curators, artistic directors, or funders."

The WPA/Corcoran issued a press release that justifies in their mind Mr. Barlow’s dismissal as follows:

"While it is the responsibility of a curator to exercise both professional and personal judgment in the selection of works of art, this process must be based upon the artistic merit and suitability of the works in question to the themes or purposes of an exhibition or its related materials. It is inappropriate to base curatorial decisions upon the political, social or intellectual opinions an artist may hold, upon an artist’s personal behavior, personal life, or relationship to the curator or to the institution."

My Words:

I ask your readers to substitute the word curator in the above WPA/Corcoran response with the word artist, and the word selection with the word creation. I do not know a living artist on this planet with any intellectual credibility who would embrace such a definition of artistic freedom as an artist.

I have taken a very activist stand concerning what I believe to be a blatant act of curatorial censorship regarding the WPA/Corcoran’s actions taken against Mr. Barlow.

My argument is very simple: I believe that curators should enjoy and be protected by the above definition of artistic freedom of expression and that this definition of artistic freedom for curators should be embraced by the visual arts community.

Dr. David Levy, President and Director of The Corcoran Museum or Art, and Ms. Annie Adjchavanich, Executive Director of the WPA/Corcoran, and I have agreed to disagree on this subject. I have deep respect for both of them and respect their opinions.

I firmly believe that curators should not have to operate under a different definition of artistic freedom than that that all artists of integrity would claim for themselves.

I am convinced that a national dialogue needs to take place in the art world on this subject. If anything positive comes out of this episode concerning the WPA/Corcoran and its relationship with Mr. Barlow, it will be a resultant dialogue that I hope will lead to an expansion and embracing of a consistent definition of freedom of artistic expression for both artists and curators.

I am urging The Board of Trustees of the Corcoran Museum of Art and the WPA/Corcoran to reverse its position and reinstate Mr. Barlow as curator for OPTIONS 05.

I am also offering to withdraw my name from consideration as an artist for OPTIONS 05.

Artists and curators have given their lives for the cause of artistic freedom of expression around the world.

My potential sacrifice is but a fraction of a molecule of a single drop of water from the ocean in this cause. But I will willingly make it, and more if necessary, to see the right thing be done in this situation.

Rules, policies, procedures, guidelines and laws do not create great art; nor do they inspire great artists or great curators.

Freedom of artistic expression inspires...

Sincerely,

James W. Bailey
Experimental Photographer
Force Majeure Studios
2142 Glencourse Lane
Reston, Va 20191
Ph: 703-476-1474
Cell: 504-669-8650
Email: jameswbailey@comcast.net
URL: http://jameswbailey.artroof.com

Via AJ:

It reads like a mystery novel.

"The art experts climbed four flights of stairs in a dingy block of flats in the north-west of Spain, with dwindling hopes."

When they met the old man who had responded to the Christie's ad, "He went off to hunt in a cupboard in another room, and fetch the proverbial brown envelope - and out of it came this wonderful thing."

It was an original painting by El Greco!

Read The Guardian story here.

Thursdays, according to the mid page banner on page two of the Washington Post's Style section, is supposed to focus on Art Galleries and Art News.

Over the last three years or so, the third Thursday of the month has seen the "Galleries" column do a set of mini-reviews, while the "Arts Beat" column, which used to come out every Thursday, has all but disappeared and now comes out every two weeks. I like the mini-review format once a month, but I regret the loss of the weekly "Arts Beat" column.

In today's "Galleries" column Jessica Dawson delivers a set of mini-reviews and reveals that Signal 66, one of her favorite galleries over the years, is closing at the end of the month.

However, much like the cosa nostra kiss she gave the Troyer Gallery when that gallery closed earlier this year, she sends Signal 66 away with:

"After nearly six years mounting some of the city's grittiest art shows, Signal 66 shutters its doors at month's end. More whimper than bang, the final show collects a trio of artists working in the most traditional of all media: paint."

Most commercial galleries close within a year or two; it's a tough business that is best approached realizing that if you decide to open a gallery, then expect to lose money.

Signal 66's folding is somewhat of a surprise though. It had established a good, strong footprint in our area's art scene, and being a cooperative type, artist-run gallery, it had the gallery formula that has allowed this area's longest running commercial art galleries to survive.

In fact, other than Zenith and Kathleen Ewing, I can't think of any commercial art galleries in our area that has been around for 25 years or longer that is NOT a cooperative, artist-run gallery!

Anyway, I will miss Signal 66 and the terrific contribution that they made over the last five years to our area's cultural tapestry.

P.S. By the way there are also three music and one theatre review in today's "Galleries focus" day at the Style section. They actually have more print space than Jessica's review. Does anyone understand why we keep insisting that the Post visual arts coverage sucks? You can complain to Gene Robinson, the Style section editor.

Finally!

The Red Sox spanked those damned Yankees... wouldn't it be great if Houston also won and then we'd have a team from Massachusetts versus a team from Texas!

MA against TX - get it?

Some Coming Shows...

Gallery Neptune presents "Dream Material" new paintings by Gallery Neptune owner Elyse Harrison. The show is on from November 5- December 4, 2004.

Elyse Harrison is one of those artists and arts activisist who has enjoyed a very active and involved career in visual art for the past 25 years. Like me, she's originally from New York, but (unlike me) she was formally educated in the arts in Maryland and Washington, DC and has established even deeper roots in this area by opening Gallery Neptune and Little City Art Studio in Bethesda, now in their 7th year.

The artist's reception will be held on November 12 during the Bethesda Art Walk, from 6-9 PM. An artist's talk is scheduled on December 4 at 5PM. The talk will center on symbols in dreams and visual art.

At Fusebox, Sarah Finlay has Elizabeth Fisher curating a show by Terence Gower, Ulrike Heydenriech, Cynthia Lin, Joan Linder and Nicola Lopez.

The gallery's project space in the rear has Vincent Szarek's second Fusebox show, and Szarek explores more visual representations of the American flag.

Both exhibitions open on November 6 through December 18, 2004. The reception for the artists will be on November 6 from 6-8 PM.

It takes a New Yorker, in this case Todd Gibson at From The Floor, to discover and point out a really good new art BLOG in nearby Richmond. Go visit ANABA, by Martin Bromirski.

Say it isn't so...

It has nothing to do with visual arts, but it breaks my heart to report that Ionarts lets the bad news out of the bag in reporting that the Washington National Opera's world famous leader and supreme tenor, Placido Domingo, is being considered to become the general manager of the Metropolitan Opera in New York.

Read it and weep.

I'll be at the Corcoran tonite for the opening reception of the Common Ground: Discovering Community in 150 Years of Art, Selections from the Collection of Julia J. Norrell exhibition before rushing home to watch the Red Sox disappoint their fans once again.

Having been raised in Brooklyn and been schooled as a rabid Met fan, I hate the damned Yankees, but know that the Red Sox are doomed to once again stab their fans in the heart.

Tyler Green at MAN picks up the Philip Barlow controversy and makes some important points. Click here to read it.

And Kriston at Grammar.police also picks up the story.

Like Tyler Green says, expect stories on this issue by Chris Shott in tommorrow's edition of the Washington City Paper and by Jonathan Padget the Washington Post's "Arts Beat" column tomorrow.

I keep forgetting to link to the great review by the other Gopnik (Blake Gopnik that is), of the brilliant Ana Mendieta retrospective at the Hirshhorn Museum.

I went to the press preview last week and I am working on a review that will be published (once translated) in a dozen Latin American newspapers. I will also have it in English here.

Anyway, Gopnik is eloquent as usual in treating and placing Mendieta into the important high art context in which she truly belongs. If you go to see one museum show this year - this is it!

Blake also earned me $100, as I had made a bet at the Mendieta show opening reception last Wednesday, with a curator friend of mine, that Gopnik would use the description vagina dentata somewhere in the review.

K'Chiiing!

P.S. I intend to use vagina dentata as well; it's just the perfect descriptor of Mendieta's artwork.

More Insight into the Barlow Firing

Anyone who has been reading DC Art News or Thinking About Art or DCist, knows that James W. Bailey has taken the firing of Philip Barlow, first discussed here on October 13, to heart.

So on October 18, Bailey wrote David Levy, the Director of the Corcoran, a 1,444 word, three-page letter on the subject, expressing his outrage. This correspondence, and the responses by Levy, add some perspective to the whole controversy. Read Bailey's letter here.

Dr. Levy responded immediately, and sent Bailey this email.

Oh dear...

If you know James W. Bailey, then you know that not only is he a terrific photographer, but also an incredibly passionate and verbose all-around good guy. So Bailey responded with a 2,751 word email the next day! Read it here.

And again Dr. Levy responds on the same day with this email.

And the final note from Bailey is here.

Annie Adjchavanich, who is the Executive Director of the WPA/C, today emailed a press release about the firing of Philip Barlow as the curator from OPTIONS 2005:

On September 23rd, 2004, an article appeared in the Arts Beat page of The Washington Post in which Philip Barlow, Guest Curator of the Washington Project for the Arts\Corcoran (WPA\C) Options exhibition, stated personal viewpoints and opinions that are in no way reflective of the exhibitions goals nor the WPA\C’s mission. In stating that he would categorically exclude any and all artists who participated in either the city-wide Party Animals or PandaMania programs of the last two years from consideration for Options, he has violated basic ethical norms of curatorial practice, which is in direct conflict with the Corcoran’s policy on Freedom of Artistic Expression, and subsequently the WPA\C’s, mission statement.

While it is the responsibility of a curator to exercise both professional and personal judgment in the selection of works of art, this process must be based upon the artistic merit and suitability of the works in question to the themes or purposes of an exhibition or its related materials. It is inappropriate to base curatorial decisions upon the political, social or intellectual opinions an artist may hold, upon an artist’s personal behavior, personal life, or relationship to the curator or to the institution.

The leadership of the WPA\C believes that Mr. Barlow has irreparably compromised his credibility as curator of this exhibition and respectfully accepts his decision to step away from the project and his responsibility as curator.

An announcement regarding the selection of a curator for Options will be forthcoming.

Annie Adjchavanich
Executive Director