No Gehry?
"Hazel said he and fellow trustee Paul Corddry approached President and Director David C. Levy earlier this week and suggested he offer his resignation"The above is from a WaPo article by Bob Thompson and Jacqueline Trescott on the financial woes of the Corcoran and possible suspension of the Gehry effort, which according to the story, could come as early as Monday, when the board is scheduled to discuss a new strategic plan for the Corcoran.
Campello on Ichiuji
Both Bailey and Jenkins have expressed their thoughts on Melissa Ichiuji's Stripped non-performance. And I am thankful to them for adding their thoughts and words to our cultural soup.
Personally, I was both excited and pleasantly surprised by Ichiuji's project before it started; it showed a maturity and intelligence years ahead of most "art students."
And as the project developed, I visited her Live Update Website, and then eventually drove by the Corcoran, found a Doris Day parking spot right next to the building, and gawked at Ichiuji and the loads of tourists shouting questions and her and at each other.
Regardless of how it ended, I for one, applaud her courage, her ideas, her involvement, and above all, her ability to (as an art student), leave a strong footprint upon our art scene.
Bravo Melissa!
Bailey on Ichiuji
The Postmodern Art Joke of Suffering
By James W. Bailey
The jokes in the world of high art often write themselves. Indeed, we were recently treated to the rare spectacle of an immensely funny postmodern art joke with artist Melissa Ichiuji, as reported in the Washington Post article, "Calling a Halt to Suffering for Her Art."
Ichiuji, who was suppposed to stand in the semi-buff in front of the Corcoran Gallery of Art for 36 straight hours, was forced to call a 14 hour early halt to her "non-performance" piece "Stripped" after nearly collapsing from heat exhaustion from excessive exposure to the balmy weather as enhanced and amplified by the unnatural elements of Washington, D.C. concrete and asphalt.
Mrs. Ichiuji supposedly shed herself of the excesses of her life (Starbucks, NetFlix, Whole Foods, Politics and Prose, those types of things I guess) in an attempt to explore something about who she really is outside of the unnatural products that she takes into her body and mind.
We are told in this supremely funny high profile Washington Post article that her only company prior caving in to upper middle class reality was a homeless man who lay down nearby to watch Mrs. Ichiuji struggle through her "non-performance" in all her sunburned and diarrhea-stricken agony – no doubt the homeless man could identify with that low profile real life struggle.
We’re also told Mrs. Ichiuji tried to contact her husband for emergency rescue from her plight. Apparently, her husband never bothered to return the desperate messages that were left on his cell phone. It’s also reported that one of the other luxuries in life that Mrs. Ichiuji swore off for her art was sex – I guess that might help explain the husband’s failure to respond to those text messages.
Although her husband is a banker, poor Mrs. Ichiuji, apparently penniless (I guess her sports bar didn’t have a change holder), was forced to thumb a ride in a cab back to the modern comforts and conveniences of her home. That must have been an interesting cab ride. One can easily picture Mrs. Ichiuji, half-starved, jumping out of the cab at every delicious chain restaurant in the District begging the management to freely inhale at will from the salad bar.
Now, nobody loathes postmodern art theory and theorists more than I do, but I just can’t help but deconstruct Mrs. Ichiuji "Stripped" to discover a greater truth and meaning about her project. There's a remarkable parallel between her self-imposed bodily denials leading to her near collapse and the refusal of a banker to assist her with the similar bodily denials (usually state enforced against the will of the child and their parents) that are found among hundreds of millions of impoverished children throughout the world and the refusal of the World Bank to assist them.
But unlike Mrs. Ichiuji, those kids don’t have a cell phone to call a high ranking bank official, let alone the ability to hitch a ride in an air-conditioned cab to a safe, cool and well-stocked abode.
James W. Bailey
Experimental Photographer
Force Majeure Studios
Jenkins on Ichiuji
By Mark Jenkins
I'm wondering if anyone else has found Melissa Ichiuji's "36 hours" a little unsettling in its aftermath.
Weening herself from cellphones, and TV, etc... I can see as a return to a more animal nature. I'm all for that. As for fasting, and cutting off social contact with friends, peeing in public, that's where it gets a little gray.
While the peeing part might be animal (I suppose), cutting off social contact while sitting on a corner on a platform and not talking to anyone seems to make yourself like an animal at the zoo with people gawking at you.
I too, came by, maybe to gawk, or to watch other people gawking; and anything done outside in the name of art outside (physically at least) of the institutions always gets my curiousity up. But upon arriving I discovered that she had left.
Just a note that said that she was ill. She'd left and taken her pee jars with her!
And in the aftermath, in my own comic way that amuses me if no one else, I sat on her empty perch and ate a hot dog, and when a few people came up and asked where she was I responded, "She's sick."
They looked a little concerned, disheartened, and sweaty (like me) after having made the walk over from their workplaces.
Ultimately, I think she's a caricature of our own inner selves who, seeing the ever increasing trash of technology, turns its absence into a treasure. But the catch is that even while seeking it you can't seek it purely.
One of Dostoevsky's characters said something profound once that I remembered. Something to the extent that modern man has become diffuse in his thoughts; he can no longer think a sole thought but always has several competing interests to contend with.
Buddhist monks would agree. And I'm sure probably wouldn't have given her a high chance at reaching any sort of success in this small amount of time. And of course there was the congential defect in her mission, that even while she fasted, and weened, her website blinked, (and blinks now) about Washington Post coverage and in the back of her mind, she was thinking...
Secondsight Meeting
Secondsight is an organization dedicated to the advancement of women photographers through support, communication and sharing of ideas and opportunities.
The next Secondsight meeting will be held on Tuesday, May 31, 2005.
All meetings will now be held at the Bethesda-Chevy Chase Services Center, (just accross the street from the Fraser Gallery Bethesda) located at 4805 Edgemoor Lane, Bethesda, MD 20814. If you are catching the Metro, exit on Wisconsin Avenue, take a left on Old Georgetown Road and walk for one block. The entrance to the services center is next to Chipotle. There is a public parking garage on Old Georgetown Road. The meetings start at 6.30pm and end at approximately 9pm.
Secondsight's next guest speaker is Chris Foley, Master Digital Printmaker and Director of Old Town Editions in Alexandria, Virginia. Chris will discuss the history of digital printmaking as well as the latest techniques, he'll show attendees the latest papers, discuss archival issues and answer all of your questions.
The presentation by the guest speaker will be followed by portfolio sharing. The group will split up into smaller groups of about ten and each member will have the opportunity to discuss their work. For those who brought their portfolio to the last meeting, please feel free to bring it again as you will be sharing your work with an entirely new group of photographers.
Meetings are free for members of Secondsight and $10 (cash or checks only) for non-members.
Please RSVP to secondsight@hotmail.com if you would like to attend the meeting.
Money, budgets, grants... votes?
An interesting WaPo article on the alleged shenanigans being played through the use of art grants funding by the Politburo Chief of the Soviet Socialist Republic of Montgomery County.
The Montgomery County Council voted yesterday to strip County Executive Douglas M. Duncan (D) of his power to distribute millions of dollars in grants to arts organizations in the fiscal 2006 budget, saying the process has become too entangled in politics.Read it here.
Express on Tate
Today's Express has a really cool interview with Tim Tate on "Compelled About Content" (page 30 of the pdf file).
"Tim Tate is a third generation Washingtonian and the city's premier glass artist..."Read it here.
Dawson on Glass
Jessica Dawson has several mini reviews in today's WaPo and she has one on our current "Compelled by Content" glass exhibition in Bethesda.
Read it here.
The Power of the Web
I've never reviewed a movie in my life, but somehow a few days ago, because of DC Art News, I received an invitation to a press preview of the series-ending Star Wars movie and being the SF geek that I am, I went to see it [Duh!] and here's my review:
Opportunity for Artists at AU
When the new galleries at American University's new Katzen Arts Center open, they will be (by far) one of the the largest visual arts spaces in the area, and Jack Rasmussen has posted the submission guidelines for artists wishing to be considered at the American University Museum at the Katzen Arts Center:
Please submit a CD of up to 20 jpeg images along with a resume, image list (title, medium, size, and date), a short statement and/or cover letter. If you are proposing a group exhibition please include resumes by all artists involved.
Please do not send slides. Submitted materials will not be returned. The reviewing process should take 6 – 8 weeks. We will contact you if we would like to see additional materials.
Submissions should be mailed to:
Jack Rasmussen, Director and Curator
American University Museum
at the Katzen Art Center
4400, Massachusetts Avenue, NW
Washington, DC 20016
Viktor Koen Reviews
Our Viktor Koen exhibition at Fraser Georgetown was reviewed last week by Louis Jacobson in the City Paper.
It has also been reviewed by Kathleen Shafer at Thinking About Art and also by Alexandra Silverthorne at Solarize This.
More work by Koen here.
Synergy Winners Announced!
Alexandra Silverthorne has a list of the artists selected for the Synergy Project.
Read the winning teams here.
Seven Update Two
Together with some of the artists already selected for Seven, we walked through the spaces again on Monday.
There are so many nooks and crannies in the seven separate spaces that comprise part of the Ruppert holdings on 7th Street, that ideas and thoughts keep popping up in everyone's minds as we walked through.
And thus an exhibition begins to develop itself.
To start, I really like this powerful piece by Joseph Barbaccia titled "Naked Aggression;" A piece that I first saw at Artomatic.
When we discussed it, one of the interns working on this exhibition (Adrian Schneck) came up with the brilliant idea that a terrific way to exhibit it would be by having the blade stabbed into one of the walls, and thus the penis carved out of the knife handle sticking out.
Barbaccia liked the idea, which now brings the logistical issue of how to do this without damaging the blade (get to thinking Joe).
I am also considering giving an entire wall on the second floor of the third building to Kelly Towles in order for him to decorate the wall in a logical follow-through to his Artomatic show and his terrific solo debut at David Adamson.
And Mark Jenkins gets a tree on the sidewalk, and the outside walls of the building and probably a floating piece on one of the ceilings.
And Alessandra Torres has sent me a blustery proposal for an installation in a room that just whispers her name when one walks in.
And he doesn't know it yet, but Charlottesville painter Michael Fitts, whose piece received the highest bid (over original estimate) at the last Corcoran auction, has a great spot reserved on a distressed wall on the top floor of the third building, atop a stairs leading to the space where a performance will take place as part of "Seven."
I am still reviewing work and will re-review all slides in the WPA/C Registry soon, and will continue to review additional entries until June 10. Entry is free for all WPA/C members; see details here.
New Art BLOG
PrettyCity is a docublog for DC street art (including graffiti and performance art).
The BLOG is open to submission and if you'd like to contribute, or send in photos of art you've seen or done (flickr links are good too) send them to daylightdrama@yahoo.com or dcstreetart@yahoo.com.
According to Mark Jenkins, the site's purpose is to document street art/expression in the DC area.
Seven Update One
I'll be walking through the Warehouse spaces sometime today, along with some artists whose work I'd like to include in the coming "Seven" exhibition.
Visit here to enter "Seven."
Back from the Festival
In spite of rain late Saturday (preceded by a brilliantly sunny day which of course resulted in a sunburn) and in spite of sprinkles throughout Sunday, the second annual Bethesda Fine Arts Festival was a spectacular success for the second year in a row. I managed to sell quite a few drawings, including a very large portrait of Frida Kahlo from my 2003 exhibition.
And loads of collectors were out and about: Pennsylvania sculptor Lorann Jacobs managed to sell every single one of her large, whimsical bronze sculptures on the first day of the festival, and New York painter David Gordon sold over $15,000 worth of his paintings plus gathered a $5,000 commission.
And many of DC Art News readers came by and said hello; it's very nice to put faces to the online hits. Also J.T. Kirkland, his mom, and the fair Brenn came by the say hello and chat for a while.
And I'm doing it all over again next weekend at the Northern Virginia Fine Arts Festival.
The Weekend Art Primer
This is one visual arts intensive weekend! No excuses allowed: go out and see a show or two.
For starts, tonight is the second Friday of the month, and thus the Bethesda Art Walk, from 6-9PM with fifteen participating art spaces. The artwalk also features free guided tours. Tours will begin at 6:30pm. Attendees can meet their guide at the Bethesda Metro Center, located at the corner of Old Georgetown Road and Wisconsin Avenue. Attendees do not have to participate in tours to visit Art Walk galleries.
We will open Compelled by Content, perhaps our most important exhibition ever, and one that's causing intense debate already in the online fine arts glass community. Opening reception to meet all the artists is from 6-9PM.
Tonight is also J.T. Kirkland's opening from 6-9PM at the University of Phoenix Northern Virginia Campus. Directions here.
In Alexandria, Principle Gallery has an opening tonight from 6:30-9:00PM for Lynn Boggess. Also tonight in Adams Morgan, Studio One Eight, a new space in town, has an opening of works by Steve Griffin.
On Saturday from 10AM-6PM and Sunday from 10AM-5PM is the massive Bethesda Fine Arts Festival, with over 130 artists from all over the nation showcasing original artwork and fine crafts. I will be there as well, in booth 23. This is an excellent opportunity to see a lot of original artwork all in one place. The festival is free and open to the public and takes place on Auburn and Norfolk Avenues in the Woodmont Triange of Bethesda and directions are here. The event is located six blocks from the Bethesda Metro station and is near several public parking garages where visitors can park for free on Saturdays and Sundays.
And Saturday evening is the Light Up the Warehouse party and fundraiser for the Warehouse Theatre and Galleries. It starts at 7PM and there are over 100 artists who have donated original work for this event. More details, including a list of artists, here.
Also on Saturday night, Evolving Perceptions is throwing a multi-genre and performance party at the Ratner Museum. It all starts at 8PM; see details here. At 11PM they will announce the Synergy finalists!
And on Sunday at 7:30PM, DCAC hosts Chris Lee's The Chelsea Manifesto: A three part discussion series about major trends and ideas in contemporary art and culture. Inspired by the current state of the London and New York art scenes - from which the title is derived - it is a mock "manifesto" of the modern revolutionary aesthete. Part III is this Sunday and it is titled "I Once was a Black Artist, Gay but not Stonewall, and All man/Almost." Race, alternative sexuality and feminist issues are all discussed in the context of mainstream culture. More details here.
That's a weekend full of art to satisfy any visual art cravings!
The Weekly Reviews
In the City Paper, Louis Jacobson reviews our current Viktor Koen show in Georgetown. Jacobson also reviews Tom Barill at the Ralls Collection. Barill, of course, is the magician who did all the beautiful printing and darkroom work for Mapplethorpe.
In the WaPo, Michael O'Sullivan reviews Sensacional! Mexican Street Graphics, at the Cultural Institute of Mexico.
And Jonathan Padget discusses 12-year-old Hannah Rose at Hemphill Fine Arts, where Rose (who is the daughter of well-known artist Robin Rose) is exhibiting her artwork: "Gallery owner George Hemphill took note of Hannah's art, and he approached her parents last year about exhibiting what he considers a "prodigious" talent. The exhibition opening next week also features works by Lisa Bertnick and Tanya Marcuse."
Compelled by Content
Following two sold out solo shows (one in Georgetown and one in Bethesda), we asked Tim Tate to curate a group show for us.
We discussed having a show that would fit in with our galleries' focus and goals, and thus the show would have to avoid the highly decorative vision most often associated with fine art glass: the vessel.
Because Tate's own work is driven by his experiences, such as being HIV positive, his mother's death, etc., he has been able (and very successfully I might add) to cross an interesting juncture in the world of fine art: away from the decorative vessel and well within the context-driven camps of fine art.
And this is what we asked of Tim to do for us.
The premise behind this exhibition has already caused some stir (and every single one of Tate's pieces have already sold - all of them to a very influential local art collector - before the exhibition even opened).
Even more surprising to me, there is a tremendously heated debate in the fine art glass online community.
This is the original classified announcement listing about the exhibition and subsequent comments: Original Posting, which then jumped to main board listing for 9 pages: Main Board Comments, then spawned a parody of the main board listing for two pages: Parody Listing, and the current listing on the topic:Current Listing.
"Alfred Stieglitz has often been credited with dragging photography into the realm of the fine arts, and I think that now the time is ripe for courageous contemporary artists to once and for all bring glass out of the realm of craft and into the rarified world of fine art.The opening reception to meet all the artists is tomorrow, Friday the 13th, from 6-9PM as part of the Bethesda Art Walk. We're also working to have this exhibition travel to a Baltimore, MD venue and to a Miami, Florida venue.
And like the many other genres of art that we automatically accept as "fine art," without questions of craft or segregation to "glass only galleries," content is one of the ideal concepts that empower art beyond technical skill and visual beauty. It is through content that today's artists working this demanding media are dragging glass into the realm of the fine arts.
About time."
Kirklandism
Since we have our own opening tomorrow (more on that later), I went to see J.T. Kirkland's first solo show the other day.
It's always very difficult to put down objective words when writing art criticism; critics will lie (to themselves mostly) and tell how how objective they are when they pen a review. Bull! As Diane Keaton or Woody Allen would say: "Objectivity is Subjective..."
And it is especially difficult when writing about a fellow blogger and fellow artist. But let me try anyway...
I've been privvy (as have all of Kirkland's readers at Thinking About Art) to see JT develop, not only as a writer, but also as an artist, right before our PC screens. That alone, merits some thought when thinking about his art.
There are some artists, and JT is one of them, whose work defies verbal description, just imagine the phone ringing in a gallery somewhere:
Riiiiing, Riiiing!And that, I suspect, would be the reaction that a lot of us would have in simply hearing about Kirkland's work.
Bored Gallerist: "Hello, Snobby Gallery"
JT: "Good afternoon, my name is JT Kirkland and I'd like to discuss my artwork to see if your gallery would have some interest in seeing some slides and reviewing the work?"
Bored Gallerist: "Tell me about it..."
JT: "Well... it's very minimalist"
Bored Gallerist (slightly interested): "Good... we like minimalism"
JT (a little excited): "I know, I researched that and thought that my work would fit in with your gallery's focus. So anyway, my artwork is on wood where I then drill patterns so that the finished piece is simply a piece of wood with a series of holes in it."
Bored Gallerist (back to being aloof): "Oh... holes in wood?"
Seven
As many of you have already read, I have been retained by the WPA/C to curate a show for them. I will be assisted by two young WPA/C interns: Sandra Fernandez and Adrian Schneck.
Because this show will be exhibited at the three separate buildings that comprise the Warehouse Theatre and Galleries complex, a total of seven separate spaces are available, and all will be used, and thus the exhibition title: Seven.
Using the power of the web, I intend to keep this curatorial process open and available to everyone via commentary here on what I am doing, how and why. In doing so, I hope to bring to light all the many issues, baggage, ideas, agendas, nepotism, and a complete lack of objectivity that a curator brings to such a massive job as this will be. As well as a lot of hard work and a good work ethic to deliver a show that will make all involved proud to be part of it. All artwork and artists to be displayed will be picked by me.
I will also try to handcuff some of my fellow commercial gallerists and, once the exhibition is open, take them around and have them discover (hopefully) some new talent from our area. It is my hope that the final selection of artists will be a good blend of some well-known area WPA/C artists as well as an exhibition opportunity for WPA/C talent that we don't see as often.
To start, I have decided to focus each of the seven spaces on a specific theme, genre or subject... sort of. I will also bring to this selection process (and to one space) the commercial acumen of a for-profit gallerist. As such (for example), I will select the artwork that will go in the main gallery space (co-located with the Warehouse Cafe) to be that work that I feel represents the best compilation of all the remaining spaces and also stands the best chance (in my sole opinion) of being sold.
Other spaces will have different approaches; for example, on my first run through all of the WPA/C slides, I was pleasantly surprised at the high quality of a lot of abstract paintings, and will thus hope to deliver a gallery full of those artists that (in my opinion) are the best from the membership.
Another space will be focused on a particular agenda item of mine: the nude figure. And thus I hope to deliver a gallery full of figurative nudes. At this time, I am also toying with the idea (space and logistics permitting) of having a figure drawing class, nude model and all, present at the opening. This is in the hope that they (the artists and the model) will provide an in situ perspective on the trials, tribulations and joy of creating artwork from the live model.
Details on the exhibition and entry process is available online here. All members of the WPA/C are eligible for consideration, but all final decisions and selections are mine.
I've already gone through all the WPA/C slides once (about 20,000 of them I'd guess), and will review all new entries and slides that come in between now and some future date a couple of weeks before the exhibition opens on June 30, 2005. I also intend to re-review all slides in the registry next week.
More Thoughts on Gopnik's Idea
Kriston at G.P. joins in with some words on Gopnik's idea and DCist asks their substantial audience for their thoughts on the subject.
Naked Breasts and Virginia Magazines
Congratulations
To Scott Brooks whose work graces the cover of Direct Art magazine, as well as an indepth interview and several illustrations of Brooks' uniquely disturbing and highly intelligent art.
Warehouse Art Fundraiser
When: Saturday, May 14, 2005
Starting at 7pm at the Warehouse Theatre and Gallery. Free parking available - email Molly to reserve spot: ruppertm@erols.com.
Warehouse hosts an eat, drink, look at art, go home with art, fun fundraiser. $150 includes art and evening festivities - bring a friend for $50 for evening festivities. Caricature Artist Andy Scott will draw the crowd - find your face on the wall of "party pics"!
Over 100 pieces of artwork donated by area artists is being displayed at Warehouse beginning Tuesday May 10th 3-10pm; Come and rate your favorites.
The party is at Warehouse, located at 1021 7th Street, NW, on Saturday May 14t.
Call: 202/783-3933 or call Molly at 301/654-2580 or visit www.warehousetheater.com.
Sponsor: $150 (includes art) - bring a friend $50; All tickets include: dinner, drinks, live/silent auction. Note: Tickets will be held at the door.
Storker Project
Street artists are beginning to bloom around the DC area. Today is the not only the first day that we can see Melissa Ichiuji at her Stripped non performance in front of the Corcoran, but also Mark Jenkins has quietly been doing his Storker Project all over the city!
Jenkins on Gopnik's Idea
Mark Jenkins checks in with some thoughts on Gopnik's Corcoran idea:
Thomas Paine vs. Blake Gopnik
By Mark Jenkins
I admit I didn't make it through Gopnik's whole read.
I kept thinking of what a "common sense" decision it was for the Corcoran to do such a thing. And that got me to thinking about Thomas Paine's Common Sense: "these are the times that try men's souls..." the impassioned pamphlet (or memo if you will) that helped ignite the American Revolution.
And then I saw the irony since Gopnik has talked this same talk: "With so much courtly dissolution on show in art these days, you have to wonder if a revolution isn't due. And if it comes, will Whitmore put his classy talents at the service of the rebels?"
This is from Ian Whitmore's review at the Fusebox. Another review I read of his talked about awaiting the next artquake and I sent him a link to Banksy's pranks in NYC. No reply.
What I have noticed is that the Corcoran is doing art out on the street. I saw a chalk drawing on the sidewalk by a student, and this upcoming piece Stripped, ditto.
Instead of getting a Gehry addition (zzzz....) the Corcoran might do better to take the top off the museum, pave a road through it and let the students do street art. I'm sure the students would perk up at the idea.
Really, DC has enough museums; It is a museum Mecca.
And they're all conveniently located on the National Mall so that tourists never have to set foot outside it. If it wasn't for the National Zoo tourists probably wouldnt travel further North than the White House.
That being the case, even if the Corcoran gets hyper trendy with photography, gets a Gehry piece, it may still atrophy just because its just a few feet too far removed from the Mall and you have to pay to get in.
Mostly for me though, the Corcoran is known for their revolutionary school, and so to me its a school first and a museum second. Corcoran is also the only museum where a local artist has a shot at getting works on display. Turn it into a photography museum and await an Ansel Adam's show? Well, the Corcoran might hang on and survive but I don't think it will be birthing any "artquakes." But I don't think Gopnik looks to DC to do anything for the art world, but instead sees it as a container to showcase it. And if the Corcoran takes his advice I think he may be right.
Bailey on Gopnik's Corcoran Idea (and on Levy's response)
Ask and ye shall receive; From J.W. Bailey:
Memo to: Blake Gopnik
Re: I'm a local photographer and I don't do prints!
Blake Gopnik's wickedly cynical and sarcastic memo to the Corcoran Gallery of Art, in which he boldly goes where no man has gone before and outlines its science fiction titanium-clad Frank O. Gehry-future as a tourist-friendly blue-collar-fanfare-for-the-common-man low-art-literate repository of the questionable high art practices of "accessible" photography, almost rises to the level of a comedic masterpiece.
But Gopnik’s clear distaste for throw away representational photography as a legitimate form of high art is glaringly transparent and he’s no doubt very serious; Therefore, the understory of his mildly insulting views about the saccharine appeal of Kodak-moment photos to the non-MFA card carrying uneducated masses are enough to compel a local photographer to respond.
Gopnik says "Because most photographs exist in multiple prints, getting the images you need doesn’t put you at the mercy of a single collection that happens not to lend."
Really?
Perhaps if Gopnik spent more time with his eyes and ears attuned to local photographers (as well as their collectors) he would know that many of us aren’t into the mass-production multiple print aesthetic that he seems to loathe and actually do create one of a kind photographic works of art. But where Gopnik really gets going in his subtle ploy in support of the exhausted arguments declaring the weaknesses of photography as a legitimate art form is having Sarah Greenough, Curator of Photography at the National Gallery of Art, confirm that "casual visitors seem to find photography more ‘approachable’ than more esoteric, and explicitly artistic, media."
From the grassy knoll Gopnik attempts to triangulate the assassination of the legitimacy of photography as a high art form by having Malcolm Daniel of the Met echo that "People don’t feel they need to take an art history course to appreciate photography."
Translation of the above curatorial/art critic conspiratorial drivel: Although the American masses are intellectually incapable of understanding and appreciating the serious challenges of critically celebrated postmodern fine art painting, even the most uneducated illiterate backwoods hard core anti-postmodern-art-hating hillbilly tourist from the most culturally deprived area of the most remote coal mining country of West Virginia can at least enjoy and appreciate looking at a nicely framed photograph of a rock in Yosemite National Park shot by Ansel Adams Рin fact, these d̩class̩ trash de blanc Disney World-Florida-vacation-dreaming fools may even be willing to pull cash out of their Wal-Mart purchased Harley-Davidson motorcycle chain wallets to pay for an admittance ticket for the privilege of stepping inside a chrome plated Gehry building so they can drool all over easily accessible patriotic representational photographs of American flags flapping in the breeze over Arlington Cemetery, snap-shot panoramic impressions of purple mountains majesty, and digitally enhanced scenes of mallard ducks floating on a pond in which the polluted waters have been scrubbed blue through the magic of Abode Photoshop, as well as old photographs of just about anything remotely Americana.
This is priceless!
Here we are several years into the 21st Century and the Chief Art Critic from the Washington Post is still questioning the place of photography in the pantheon of great art. It makes me mad enough to want to burn my camera, as well as my film and prints!
But the real joke with Gopnik’s silly proposition is that his opinion is not the one that counts. Frank O. Gehry is the one who signed on to design a new addition to the Corcoran Gallery of Art, not Gopnik. And you can bet the last worthless multiple print in your museum-worthy donor-friendly photographic collection culled from the discount bins of Salvation Army Thrift Stores that Gehry did not sign on to design a tourist-friendly holding area for low brow photographs.
All one has to do is take a very close look at Gehry’s body of architectural work, as well as his definition of art – save yourself a lot of research and understand that Gehry and Gopnik worship at the same high-tech high art painting church - to see whether or not he would ever agree to this photographic scheme.
To Gopnik’s credit, he opens his ridiculously funny piece by informing all what is common knowledge to everyone in the art world, and especially in Washington, D.C.: that being that the Corcoran Gallery of Art has deep problems at every level.
What a shame Gopnik wasted so much space on his trivial vision for the rehabilitation of the prestige of the Corcoran Gallery of Art, rather than detailing the true extent of the Corcoran’s problems and suggesting real solutions.
Gopnik is a creative art critic/writer and can no doubt produce multiple print solutions for the Corcoran all day long – perhaps when he gets serious, he’ll come up with a creative one of a kind photographic image of a solution that everybody will agree is a work of art.
Sincerely,
James W. Bailey
P.S.
Memo to: Dr. David Levy
RE: Corcoran BS Detector – Would You Care to Tell Us What Frank Really Thinks about Blake’s Idea?
Dr. David Levy, President and Director of the Corcoran Gallery of Art, has weighed in with his polite corporate art speak Letter to the Editor to the Washington Post responding to Gopnik’s idea. I’ll weigh in with my Corcoran BS detector and offer the following translation of Levy’s letter, paragraph by paragraph:
We are grateful to Blake Gopnik for his interesting May 1 think piece, "Memo to: The Corcoran; Re: Sharpening Your Focus." His timing is apposite. Over the past few months, task forces composed of our Trustees, Boards of Overseers and staff have been assigned to think creatively about our institution's future.
Translation: We appreciate you attempting to embarrass us with your lame proposal, but as powerful a member of the DC art elite that you are, much more powerful powers (and certainly much bigger donors than you) are calling future programmatic shots right now in order to secure the needed additional funding to get this Gehry thing to the ground breaking stage.
We find Gopnik's suggestion to focus more sharply on a single programmatic area -- in this case, photography -- to be a provocative and interesting idea. And we agree that such an approach could help us strengthen our identity in a city that sometimes seems to have more museums than residents. After all, the Corcoran has a long history of distinguished photography exhibitions and a pioneering tradition of photographic education at its College of Art + Design.
Translation: Some members of the Corcoran’s staff have children; and just like most kids, we also think photographs can be fun, enjoyable and accessible and wouldn’t necessarily object to having more child-like residents of DC walk into our museum to see more accessible photographs, as long as these children can afford to live in the area of the city where museums do indeed out number residents. It might be problematic for us to have certain problematic residents from certain problematic areas of the city that have no museums to flock en mass to the Corcoran to see overly accessible photographs; so, for security reasons we, would naturally under your proposal have to temper that potential problem by keeping the photographic exhibitions accessible, but not too accessible – for example, we probably would not entertain a photography exhibit titled, "The Massacre," that examines a day in the thug life of 50 Cent. We strive to be ‘bout it ‘bout it, as much as possible in a predominately African-American city such as Washington, D.C., but please give us a break and let’s get our board more diversified first. Once we have a board that truly reflects the demographics of Washington, D.C., then we’ll see what we can do increase visitation to the museum among the young DC resident African-American youth members of 50 Cent’s posse and fan club. Although we briefly flirted with the OPTIONS 05 concept of providing a credible exhibition opportunity for area minority and marginalized artists whose works touch on radical, provocative and disturbing themes, concepts and philosophies through the curatorial direction of Philip Barlow, fortunately cooler heads prevailed in the interests of not rocking the DC government approved TIF (Tax Increment Financing) district for the Gehry project (I think we fired his ass), and, although we know it’s a cop out, we’ll all now look forward to the new OPTIONS 05 curator Libby Lumpkin’s safe choices of predominately white MFA graduate students who are recycling ad infinitum non-confrontational imagery served up by the more easily digestible forms of minimalism that are perfectly suited for display in museums like the Corcoran, but also in the marble foyers of McMansions in Northern Virginia.
In fact, there was an effort some five years ago to establish a National Museum of Photography on the old convention center site, based on the great photography collection amassed by Howard Gilman. When this plan did not materialize, we proposed that the Gilman Foundation join us in the creation of a National Photography Center at the Corcoran, housed in our new Frank Gehry building. Although ultimately this idea did not work out, it would have built on the strength of our important photographic holdings and would have been very much in keeping with the spirit of Gopnik's ideas. Faced with another such opportunity, we would enthusiastically explore it.
Translation: Oh know you didn’t, dog! Props up, bro! You ain’t the first, Blake, to suggest this wonderful idea so don’t go gettin’ all high and mighty and actin’ a fool up in here like you did – uh, actually, I tried and, yes, I do admit that I failed. If somebody wants to pick up the ball and kick it around this time, I might be interested, but I would have to vet the idea, again, with Frank…and I think we all know where that will go, again.
Taken in its entirety, Gopnik's proposal might be hard to reconcile with our continuing mission to present the Corcoran's choice collection of American art (of particular resonance in this capital city) or with its very strong educational and community orientation. Still, he suggests a promising direction, not just for this museum but for our city and our national patrimony.
Translation: Look, man, all of us at the Corcoran know we have problems (and, by the way, I would like to personally thank you and the editorial staff of the Washington Post very much for not going into too much detail about all that history), but, as you know, we’re really all about real high art at the Corcoran, not exhibiting multiple prints or scavenging around in abandoned attics looking for old historic photographic stuff to display. Although there’s no chance in hell we (Frank) will every go along with your scheme, we do appreciate you taking the time to devote a full page to your ego and its idea, rather than excoriating us in painful detail over other serious matters. The potential commercial success of your brilliant concept would probably be much better realized through a for profit corporate enterprise like that which built the International Spy Museum. I personally know the folks over there and would be happy to set you up for a lunch date with them. You can reach me anytime on my Blackberry.
J.W. Bailey
A BLOG Revolution?
"The hype comes from unemployed or partially employed marketing professionals and people who never made it as journalists wanting to believe," he said. "They want to believe there's going to be this new revolution and their lives are going to be changed."Read the New York Times story here.
Levy on Gopnik
Dr. David Levy, Director of the Corcoran, responds today in the WaPo to Blake Gopnik's interesting and provocative idea (from last week) that the Corcoran ought to establish a separate identity by focusing (no pun intended) on photography.
Blake here and Levy's response here.
I am curious what people think about Gopnik's idea. I think that it has some merit and I agree that Philip Brookman has done an extraordinary job as the Corcoran's photography curator. And Gopnik is right in the fact that there are some excellent photography collections, both public and private, in our area; why not have a museum for the genre?
From a commercial perspective it makes sense too; at least half of our shows for the last couple of years have been photography shows. In fact this year, we probably had more like 75% photography shows. Our sales have consistently been at least 50% photography.
Email me your thoughts and comments on this subject and I'll publish them here.
Stripped
The non performance, by Corcoran student, actress, former WPA/C intern and dancer Melissa Ichiuji, is titled Stripped and asks the question "How much would you loose to appreciate what you have?"
Stripped will take place May 10 starting at 6AM and finish May 11 at 6PM. More info here.
Artsy Friday
There are a ton of great art openings and art parties going on all over town tonight! If you've got nothing to do, then you haven't been paying attention!
I'll be at the Warehouse Gallery party for artists who donated works for their fundraiser.
See ya there!
The Thursday Reviews
In the City Paper, Louis Jacobson reviews William Christenberry at Adamson.
In the WaPo, Jessica Dawson's Galleries column reviews a museum show as she writes about Tim Rollins + K.O.S. show at the Kreeger Museum.
In the Gazette, Chris Slattery reviews Elisabeth Lescault at Creative Partners.
League of Reston Artists (LRA) Juried Show
I will be jurying the LRA Annual Juried Show this coming June. The deadline is May 31, 2005.
This annual Juried Exhibition will take place at the Reston Community Center at Lake Anne's Jo Ann Rose Gallery in Reston, Virginia from June 6 – July 4, 2005.
The competition is open to all Washington, D.C. Greater metropolitan area artists working in all media and there is a $500 Jo Ann Rose Award and $1,000 in Equal Merit Awards.
Details, entry forms, etc. here.
More Opportunities for Artists at the Arlington Arts Center
In addition to the great opportunity first posted here, the newly renovated Arlington Arts Center has a couple more excellent opportunities for artists:
Art from Arlington: July 19 - August 27, 2005. Application Deadline May 25, 2005. All artists living or working in Arlington, Virginia are invited to apply for this group exhibition of artworks in all media. Prospectus may be downloaded at AAC's website.
2005 M.F.A Graduates Exhibition: July 19 - August 27, 2005. Application Deadline May 25, 2005. Open to 2005 M.F.A. Graduates studying in Virginia, Washington DC and Maryland. Artworks in all media will be considered. Floor plans and prospectus may be downloaded on AAC's website or call 703.248.6800, ext 12.
Wen Ma Video
Shigeko Bork mu project will next showcase Jennifer Wen Ma's video installation and performance, "Flight and Cleansing Walk."
Wen Ma's work is like a one-person funerary procession. It is a quiet demonstration of loss and grief, and (at the same time), a personal ritualistic cleansing and purging. The opening reception for the artist will be on May 11 from 6 - 8pm.
The video installation will be on view from May 11 till May 27, 2005. Ms.Ma will perform "Cleansing Walk" in Washington, DC from May 6 - 9.
For the time and location of her performance, please call the gallery. Shigeko Bork mu project is located on 1521 Wisconsin Ave., N. W. No. 2, Washington, DC 20007. The phone number is 202.333.4119
Gallery Openings This Friday
This is the First Friday of the month... and of course that means that the galleries around the Dupont Circle area will have their extended openings. By the way... whoever maintains this website needs to really update it! Some of these galleries have closed while others have opened!
Anyway...Specially interesting will be the opening at Conner Contemporary, where Leigh will have Kehinde Wiley and Sabeen Raja. If you have time for only one show, go see this one.
Silverthorne Opening
Alexandra Silverthorne's photography exhibition "No More Hiroshimas! No more Nagasakis!" (which is co-organized by the Hiroshima/Nagasaki Peace Committee of the National Capital Area) opens this Thursday at the Martin Luther King, Jr. Library located at 901 G Street, NW in Washington. The opening reception is on the 2nd Floor, goes from 6:30 to 8PM and refreshments will be served.
The exhibition runs through May 29, 2005. For more information visit her website.
Opportunity for Artists
Solo Exhibitions for 2006 in Arlington Arts Center
Deadline: Friday, July 01, 2005
Ten to fifteen artists will be selected for solo exhibitions to take place in 2006 in one of Arlington Arts Center's newly renovated galleries.
All artists living or working in Virginia, Washington DC, Maryland, West Virginia, Delaware, and Pennsylvania are invited to submit slides. Artworks in all media will be considered.
For more info visit this website or contact them at:
Arlington Arts Center
3550 Wilson Blvd
Arlington, VA 22201
Walsh at Nevin Kelly
I've been hearing some very good things about the current exhibition of paintings by Thomas Walsh at Nevin Kelly Gallery.
Walsh's show runs through May 8, and I certainly hope to be able to drop by and take a look before it closes.
Manassas Opening
One of the best watercolorists in our area is Chris Krupinski, and she'll be having a new exhibition at the Center for the Arts' Caton Merchant Gallery in Manassas.
The exhibition opens this Friday as part of the Manassas Gallery Walk from 6-9PM. The reception for the artist is next May 14 from 6-8PM. Free and open to the public, but RSVP requited to 703/330-2787.
Watkins Opening
Julia Rommel's thesis exhibition is opening at American University's Watkins Gallery this coming Thursday with an opening reception from 7-9PM.
Rommel's work has (so far) been my favorite from the MFA thesis shows exhibited at AU.
The exhibition closes on May 11, so hurry!
One Night Stand
Its called "One Night Stand", and it is a one night-only installation and Wolov says about her work that
"Essentially, I wanted to create sexually arousing imagery without using the techniques used in modern pornographic magazines -- i.e., no posing, no acknowledgment of the camera, etc. Looking back at art history, the techniques used in Playboy, for example, actually had the opposite, more "sobering" effect.Wolov plans to set up an intimate viewing area, and her photos will then be projected onto the gallery walls.
I am hoping to make a form of "anti-porn" that was still arousing; no posing, complete disregard for the camera, very spur of the moment."
Century Opening
There's only one gallery in our area that concentrates exclusively on classical realism, and that's Century Gallery in Alexandria.
And Century is hosting a reception this Saturday May 7, 2005 from 6-9PM for four area artists who have achieved a lot of recognition for their classical work; they are: John Murray, Dan Thompson, Randy Melick and Rick Weaver.
Porn as Art
The last great taboo barrier is apparently coming down as porn enters the rarified atmosphere of high art. The NYT has an interesting article on the latest and greatest here. You can get a password for the NYT site from Bugmenot here.
In 1997 I did an exhibition of my portraits of porn movie stars and starlets, and although it did really well (they all sold, and some are in the permanent collection of the Museum of Sex), it still received a rather prudish review in the Washington Post.
I wonder what the reaction would be now?
New Exhibit Up
A new solo Art exhibition featuring the works of Afrika Midnight Asha Abney is currently on exhibition at Norton Kirby Advertising, 2410 18th St NW in Washington, DC.
Hours are Monday - Friday, 10am - 8pm, and weekends by appointments only. The show has been curated by Collin Klamper, Afrika Midnight Asha Abney and David Dyer of Art N Deed. For more information send an email to Aashawarrior@aol.com or call 202/538-3403.
Jacobson on Pluta
While I was away, the City Paper's Lou Jacobson reviewed our current Andrzej Pluta photography show in our Bethesda gallery.
Read the review here.
Kirkland Opens Today
One of the bennies you get by being an arts blogger is that we all read each others' BLOGs and thus everyone who is anyone in the BLOGsphere knows that my good friend J.T. Kirkland is opening his first ever solo show today.
What: "Studies in Organic Minimalism" -– J.T. Kirkland solo art exhibition
Who: Presented by the League of Reston Artists and the University of Phoenix Northern Virginia Campus
When: May 2 – June 25, 2005
Special Reception for the artist: Friday, May 13, 2005 – 6:00 – 9:00pm
Where: University of Phoenix Northern Virginia Campus
11730 Plaza America Drive, Suite 200
Reston, Virginia
For directions, see the LRA's website.
Viewing: Exhibition is free and open to the public during regular business hours
Monday – Thursday 9:00am – 10:00pm
Friday 9:00am – 5:00pm
Saturday 9:00am – 1:00pm
Bailey on Gopnik on Barclay
Just back from an exhausting (but successful weekend art fair), and just in time to catch another great episode of Deadwood. Have a few hundred emails and a ten days of the WaPo and others to catch up on.
And leave it to Bailey to help me out with my lack of recent posting and give us some good reading and excellent discussion points as he responds to Blake Gopnik's piece on Christian Marclay's video work (filed all the way from London).
"How About an Art Exhibit Inspired by an Art Critic Who’s Dragged Behind a Pickup Truck in Texas?"
By J.W. Bailey
One of the emblems of postmodern art is its insulated obsession with distilling unimaginable human tragedy down to a clever relativist art trick that is appropriate for display in the sanitized environment of the white cube space – and the larger the scale of the tragedy, the more the art trick seems to revolve around the distorted use of multi-media to convey the horrors of the deaths of the usually nameless and faceless victims that are symbolized through the art.
In his review of Christian Marclay’s seminal postmodern work, "Guitar Drag," Blake Gopnik takes the trouble to inform us that the video of the guitar being dragged behind a pickup truck for 14 minutes along a rural road echoes the death of James Byrd, Jr., at the hands of vicious racists in Texas (mind you that Gopnik doesn’t actually mention the vicious racists part, though).
Gopnik, a refined genteel member of the Washington, D.C., art elite, and a person we can safely assume has never spent more than three seconds riding in the back bed of a pickup truck in Texas with a perverted gang of drunken good ole’ boy racist rednecks looking for trouble, let alone ever being dragged behind that pickup as an African-American victim of their sick and monstrous joyride, tells us that watching Marclay’s stirring musical piece made him feel the pain of James Byrd, Jr.
Of course, the only important thing about Mr. Byrd’s actual life and death that Gopnik can muster to say in his review is that Mr. Byrd was "a black man dragged along a Texas road until his body fell apart."
Hopefully, postmodern art critics will never be licensed as forensic examiners – but I do have my doubts about that as they seem to be self-qualified to speak as experts on just about every other subject.
For the forensic art record, here’s just part of what happened to Mr. James Byrd, Jr.:
An African-American man, James Bryd, Jr., was brutally murdered by being kidnapped, beaten unconscious, spray-painted in the face with black paint, tied to the back of a pick-up truck, pants dropped down to his ankles, dragged 2.5 miles over pavement through a rural black community in Jasper County called Huff Creek, leaving his skin, blood, arms, head, genitalia, and other parts of his body strewn along the highway. His remains were dumped in front of a black cemetery.
Mr. Byrd was also member of a large family and had three sons. Following Mr. Byrd’s death, the Byrd family emerged as one of the nation's most powerful voices fighting for all people, including gay and lesbian Americans, against hate and intolerance. Mr.Byrd's sister, Louvon Harris, and his nephew, Darrell Verrett, who also serves as the executive director of the James Byrd Jr. Foundation, have been key advocates for both state and federal hate crime legislation. The family has spoken in support of the Hate Crimes Prevention Act at press conferences with HRC and appeared at Equality Rocks to promote their message of ending hate violence in America.
Marclay wants to present us with a trivial and stupid work of postmodern art that capitalizes on the death of another human being – that should come as no surprise as the world of high art loves touting this culture of death stuff. Gopnik wants to tell us about how painful that experience Byrd went through must have been after watching Marclay’s guitar fall apart – there’s no surprise there either as most art critics, no matter what their postmodern philosophical shortcomings, must at least appear to be somewhat human to their readers by giving lip service to a human disaster that is the supposed inspiration for a positively reviewed work of art.
Perhaps one day Christian Marclay will arrange for a private screening of "Guitar Drag" for all the friends and family members of Mr. James Byrd, Jr. – maybe Marclay will also invite Blake Gopnik to come back to the gallery and review that audience’s reactions to his masterpiece. And if Gopnik can sit still for long enough and actually listen to what they think and have to say about this piece of "art," there might not be enough column space in a lifetime’s supply of the Washington Post to review those reactions.
But that’s a big question – I think we would be lucky to have Gopnik sit for more than 14 minutes in the safety of the air-conditioned white cube space screening room surrounded by the traumatized emotions of people who knew and loved Mr. Byrd, Jr. (and who saw what his body really looked like after being dragged along that Texas back road) before he would get bored and have to move on to the next great piece of postmodern art to review.
A quick exit from the insensitive and manipulative "Guitar Drag" would certainly be understandable from those who personally knew Mr. Bryd, Jr. and could not stomach watching and listening to the excesses of its wretched and exploitative symbolism.
If only the world of high art could so easily exit itself from its self-created excesses by shallow artists that are propped up by an army of gullible critics that the rest of us can’t stomach from time to time, who refuse to break with the party line of postmodernism in their reviews no matter how outrageous the exploitation of the death of another human being through the art they are philosophically required to celebrate.
Sincerely,
James W. Bailey
Away at the Fair
Still in Richmond for a weekend of trying to sell some art. In spite of the rain, it was a surprising good start today, with a few nice sales.
Also ran into an old friend, the fair Rebecca D'Angelo, who photographs for the Washington Post and others and was covering the fair.
New Art BLOG
Alexandra Silverthorne has a new art-focused BLOG. It is called Solarize This and you should all visit often
P.S. See... I didn't mispell your last name!
NNE Gallery
A new (at least new to me) gallery is NNE Gallery, located at 1312 8th Street, NW, Washington DC 20001 and phone is 202-276-4540.
NNE Gallery had an opening reception tonite (I wish I'd had the press release earlier) for Washington DC artist, Nooni Reatig.
Per the release, Reatig first gained recognition in 1998 at the age of seventeen for a series of controversial paintings entitled, Red Alert. It was reviewed in The Washington Post, "A Young Artist's Naked Ambition," where Nooni claimed that she would "make a difference" (in the art world).
Upon graduation from The Maryland Institute College of Art in Baltimore in 2002, and then a brief stint at The Corcoran College of Art and Design, she has been working on series of sculptures showcased in this exhibition.
Welcome aboard!
Airborne today
Hellooooooooo Betty!
I'm heading home late tonight; on the redeye to Dulles.
On the flight home I will be finishing Brian Greene's The Elegant Universe.
Busy weekend, as I arrive early tomorrow morning and then immediately drive south for an art fair over the weekend.
Should be fairly exhausted by Monday...
2005 Lucelia Award Announced
A few days ago the Smithsonian sent a news release to everyone announcing the winner of the Lucelia Award:
The Smithsonian American Art Museum announced today that Andrea Zittel is the fifth annual winner of its Lucelia Artist Award, established by the museum in 2001 to encourage leading contemporary American artists. This award is part of the museum's commitment to contemporary art and artists through awards and acquisitions.Locally, the three jurors are now in the second phase of downselecting from the first set of semi-semifinalists for the $14,000 Trawick Prize.
An independent panel of jurors chose Zittel for the award in recognition of her ability to "create objects and total settings that reconsider the relationships between art and life. A utopian yet rigorously formal sensibility dominates."
"The timing of the Smithsonian American Art Museum couldn't have been better," said Zittel. "I have been working on a number of new ideas recently and the Lucelia Artist Award will really help me continue with the projects."
"Andrea Zittel has shown a sustained commitment to distinctive work that challenges conventional thinking and expectations about the nature of art, which is exactly what the Lucelia Artist Award is intended to celebrate and support," said Elizabeth Broun, the museum's Margaret and Terry Stent Director.
The jurors continue in their statement, "Zittel's art is shaped by a serial-based comprehensiveness in which discrete works are part of ongoing experiments and the continuous development of ideas. An investigatory attitude prevails. Her practice embraces the recycling of materials and large-scale, public-art projects as much as the creation of custom-made objects and an extreme attention to personal, particularizing details. She has become a leading figure in the international art world and a strong influence on generations of artists worldwide."
Congratulations
To our own Tim Tate (represented by us), who recently signed on with WeissPollack Galleries in New York, which will represent his work there.
Tate will also create an installation for WeissPollack Galleries for SOFA New York, this coming June.
Important Opening this Weekend
"I really want to see..." a group show of new work or work never shown in the area by Laura Amussen, Maria Anasazi, Noah Angell, Ken Ashton, Mark Behme, Natalia Blanch, Margaret Boozer, Hsin-Hsi Chen, Noche Christ, Lynden Cline, John Dumbacher, Joseph Dumbacher, Susan Fenton, Thom Flynn, Inga McCaslin Frick, Marc Ganzglass, Francie Hester, Jason Hughes, Berta Koltenuik, Maggie Michael, Galo Moncayo, Brandon
Morse, Lee Newman, Foon Sham, Claire Sherwood, Richard Vosseller and John Winslow.
Reception to meet the artists: Saturday, April 30, 2005 6 - 9pm. Free and open to the public. Gallery Four, 405 West Franklin St. 4th Floor, Baltimore, MD, or call 410/962.8941.
San Diego
Spent all day indoors lecturing... but last night I visited my usual secret dining spot, Ortega's again for my fix of poblano mole and of Carnitas.
Anderson on Flynn
Thom Flynn at Osuna Gallery
By John Anderson
For some the talk of collage in art receives a yawn and a "been there, done that." And though their applications have probably been beaten like a dead horse well throughout the last hundred years - since Picasso glued the caned backing of a chair to a canvas and framed it with rope - there is still something intriguing about a bunch of trash glued and stapled together into something. Or, at least, when it is done well it is intriguing, and sometimes seductive.
This seems to be the case for Thom Flynn, who currently has work on display at Osuna Gallery in Bethesda, MD through May 12, 2005.
Though ample work is not on display throughout the space, it does command the gallery well enough to attract attention at the very least from the simple curiosity of the people, if not some time for reflection.
While initial glances at Flynn’s work might evoke the work of artists like Mimmo Rotella and Jacques Villéglé, the relationship ends with poster material and some method of adhesive. Whereas Rotella and Villéglé were prone at times to treat their décollage as found objects, Flynn’s compositions involve both additive and subtractive elements of collage and décollage until so much of the image is lost in the development that what remains is a series of rips across the picture plane.
Flynn’s work reads as drawing. The rips are gestural across the surface with their varied thicks and thins. And, like the master draftsman he is with these rips, Flynn mixes it up just enough to keep the eye moving throughout the composition, yet controlling enough to maintain our attention in the gallery.
Sometimes the rips repeat, piling up one after the other. They intersect, lines lost in the overlap. Flynn lets us know just how much control he has over the compositions, and the compositions do not lose intensity and fall apart with a shift in scale.
The other point of major interest is the thickness of his pieces. They are constructed like topographical maps, with so many peaks and valleys the surface is begging to be touched. Guests of the gallery can often be seen looking from one side of the piece to the other to determine just how thick the pieces are, and how many layers back they can see.
Where things become problematic is twofold. First is the simple way the pieces are unified.
Constructed with staples adhering layer to layer, the final piece is shellacked with a gel medium that provides additional bonding strength to the staples, and arguably holds the whole piece together. While this act of preservation offers an interesting dialogue in contrast to the deteriorating condition in which these posters were found, as a solution it feels "too quickly arrived upon" and not as well planned in consideration to additional issues of texture, variety of surface throughout the composition.
Secondly is a more pressing issue, where does the work go from here? In the last few years Flynn has demonstrated his ability to work in this method throughout several exhibitions. While some might be frustrated trying to "read" the piece through the fragmentary images, it is obviously not necessary, as it is not the artist’s intention. Unfortunately, in the quest to see what information is peering around the tears becomes akin to a Where’s Waldo game, searching for what might be some random body part. In addition, without this style moving forward, it is likely to be relegated as furniture.
