Bethesda Art Walk

Tomorrow (Friday) is the Bethesda Art Walk.

The Bethesda Art Walk features 13 galleries and studios that open their doors from 6-9pm on the second Friday of every month. Dowtown Bethesda galleries showcase artwork created locally, nationally and internationally including painting, photography, sculpture and mixed media.

You can enjoy several galleries by walking throughout downtown Bethesda’s fun-filled streets. The free Bethesda 8 Trolley stops within a few blocks of each Bethesda Art Walk gallery, and runs continuously throughout the duration of the Art Walk.

We will have our annual Summer Group Show, which includes new work by David FeBland (his "Circle the Wagons" is pictured below), John Winslow, Tim Tate, Michael Sprouse, Maxwell MacKenzie, and others.

See ya there!

Seven in Art Film

Seven will be filmed this week as part of a documentary on contemporary art being produced by Deno Seder Productions.

Their art films and videos have won top honors at the Paris Art Film Biennial at the Georges Pompidou Center, the Berlin Film Festival, the Taipei International Film Festival, the Chicago and Houston International Film Festivals, the New York Underground Film Festival and others. One of their films, "Andy Warhol," was screened at the Corcoran during their Warhol exhibition.

Arts Agenda

The DCist Arts Agenda here.

Opportunity for Artists

Deadline: September 16, 2005.

My good friend Jonathan Binstock, who is the Curator for Contemporary Art at the Corcoran, will be the juror for Mid-Atlantic New Painting 2006.

The Mid-Atlantic New Painting 2006 exhibition is a juried competition highlighting new developments in painting throughout the mid-Atlantic region.

At least $2000 in awards will be distributed. An exhibition of the selected works will be on display in the Ridderhof Martin Gallery from January 26 to March 3, 2006. This will be the fifth contemporary art competition held by the University of Mary Washington Galleries. Entry fee is $30.

The deadline is September 16, 2005. Details and prospectus here.

Capps on Seven

Kriston Capps polices Seven.

Read his review here.

Bailey on Wolov and Brooks

Bailey interviews two of Seven's more controversial artists:

Samantha Wolov here

and

Scott G. Brooks here.

Wanna go to an Opening?

Tomorrow, Wed. Aug 10, from 5-8PM, Spectrum Gallery in Georgetown will be hosting an opening for Under the Influence: Photography by Tom Wolff & Friends.

Wolff taught photography at Glen Echo Park for 30 years, from 1975 until 2005, and this show showcases his work as well as some from his star students: John Borstel, Presscott Moore Lassman, Leta Osteen, and Emily Whiting.

Subject Matter

The visual arts carry a monkey on their back that none of the other genres of the fine arts have to deal with: the proprietarization of subject matter.

So, no contemporary artist would dare to, let's say, paint ballerinas (sorry but Degas closed that subject), or harlequins, etc.

And some subject matter, by the nature of the subject itself, would be labeled as saccharine by the nicest of critics. Say kittens, horses, puppies, mermaids.

Do we have a screwed up sense of what makes the visual arts tick or what?

This powerful painting, titled "Allegory of a Gay Bashing" by Scott Brooks has been receiving a lot of attention in the "nude gallery" in Seven. It is an homage by Brooks to the brutal murder of Matthew Sheppard.

And this painting swings representational painting's most formidable weapon (and the one that keeps painting as king of the hill in spite of all the critics and curators trying to kill it): The ability to convey an entire and diverse range of emotions with just one glance.

"Allegory of a Gay Bashing" delivers horror, beauty, politics, history and homage all in one swoop.

And this tremendous work will probably never be sold to anyone by Brooks, because it would take immense courage to display this work of art anywhere in this nation; not just DC, but anywhere. Someone can prove me wrong and buy it from Brooks and display it in their home, or office or even a museum somewhere - but I doubt that there's a collector or museum in the USA with the cojones to hang this work.

And to get to the beginning point of this ramble, in spite of the horror delivered by "Allegory of a Gay Bashing", many people get stuck on one area: the cute puppy and kitty at the bottom of the castrated nude.

I've been in the room when I hear people discussing it. It seems like the cute puppy and kitty sitting on the ground, and staring at the viewer, evoke a higher sense of revulsion than the castrated man himself.

I've noted people's sense of repulsion caused by juxtaposing the two disparate sets of images. I think that they are repulsed by the cute animals being forced to share a scenario with a tortured man. Why are they there? people ask each other, a note of discomfort in their voices. Even the eloquent Amy Watson was disoriented by the presence of the animals and (in her terrific review of the show) felt that they undermined the painting.

Cute kitty and cute puppy... taking the attention away from disturbing image. How dare Brooks paint cuteness, especially in this context?

I don't know why Scott did it, but I think that it is the key that makes this painting truly repulsive and immensely successful all at once. Take them out, and you have a strong, powerful painting. Put them in, and you create a million questions, enormous angst and a desire to physically remove the creatures from the canvas itself.

And maybe without even realizing it, Scott has also reclaimed an artist's right to paint or draw anything that he or she so desires, and take the unjustified saccharinity of a subject and turn saccharine into anthrax with a few deft strokes of a painter's brush and a disorienting sense of juxtapositioning of subject matter.

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Update: Sam Wolov has some thoughts on this subject.

Bailey on the WPA/C

Bailey jumps in on the issue raised last week by the City Paper on the subject of the WPA/C Directory, and in the process James gives a rousing endorsement to the WPA/C's current interim Executive Director (Kim Ward), which I second vociferously.

Read Bailey's posting here.

Containers/Contained at Target Gallery

"I had no particular impression of Containers/Contained in mind when I began reviewing the submissions for this show; so many potential directions were possible. But after repeated viewings, a common, and timely, approach to the theme began to emerge: artists working in a wide range of styles and materials were using the notion of containment as a tool of cultural, social and political critique."

So begins the juror's statement at the Target Gallery's current exhibition: Containers/Contained.

Comprised of 23 works by 19 artists from around the nation, and juried by Twylene Moyer (managing editor of Sculpture magazine), the exhibition opened yesterday and runs through August 28, 2005, and this is one juror statement that hits the focus of this show dead on: the notion of containment as a tool of cultural, social and political critique.

Take the work of the Best of Show winner, a piece titled For Those Who Serve (Evidence), by J. Barry Zeiger, comprised of old thread spools set atop a gold leaf frame on the floor of the gallery. The juror explained that the "spools came from an old New England factory out of business, and delivered a sense of nostalgia, and... [she] could appreciate a sense of things past and anonymous human beings."

Mmm... this is a very elegant and intelligent show, and in fact I think that this may be the best show of the year so far at Target, and a perfect good bye gift to area art lovers by the gallery's departing director, the fair Claire Huschle. However, considering the outstanding range of truly outstanding sculptures chosen by Moyer, the Best in Show choice left me a little baffled.

You see... it's a large, ah... gold leaf picture frame on the floor, with ... ah... some antique thread spools set atop it.

A bit baffling choice, especially when there are some truly outstanding sculptures in this show (and a couple of photographs too!).

My choice?

As I looked around the room, I realized that three of the 19 artists in the room are either represented by our gallery, or have exhibited there recently (Tim Tate, Mark Jenkins and Alison Sigethy). So let's leave them out of the running (although I must mention that Tim Tate's clever "One Day I Met the Devil at the Crossroads" glass reliquiary won one of the four prizes, as did Alison Sigethy's "Homeland Security").

And my eyes fell upon J. Barry Zeiger's neighbor on the floor of the gallery: Steve Dolbin's "Conduit," a large sculpture made of hollow concrete and stained with acrylic.

The concrete sculpture offers a hidden paradox; sort of a magician's box (the kind where the woman is sawn in half), but in this case Dolbin has the cast feet at one end, and a tangle of hands, fingers and otther objects poking out of the larger, other end. I found it not only visually interesting and technically superb, but also well within the notion of containment expressed by the juror. It would probably have been in the running for my choice as Best in Show.

In addition to Zeigler, Sigethy and Tate, other artists awarded mentions by the juror were Laiung-Chung Yen, for a small cigarrete case piece titled Cages, which has a clever sense of carrying your vices around your fingers at all times.

My kudos to Moyer for selecting a superb show. The exhibition is open to the public until August 28, 2005.

Wanna go to an opening today?

Then head on to Alexandria to the Torpedo Factory.

And go to the Art League's opening for their International Landscape Show. That opening is today, Sunday from 2-4PM. Juror Timothy App will also announce the award winners for that show.

Then walk across the hall of the Torpedo Factory to the Target Gallery.

"Human Containers" at the Target Gallery will be having an opening reception and talk by the juror Twylene Moyer (managing editor of Sculpture magazine) today from 4-6 PM. Tim Tate, Alison Sigethy and Mark Jenkins are among the local artists who will have works on display there. All together there are 20 artists from the US and Canada in the exhibition.

Both galleries are on the ground floor of the Torpedo Factory in Old Town Alexandria.

See ya there!

Gagnon Responds to Kuspit

Lou Gagnon responds to Donald Kuspit's words on digitalism.

Response to Mr. Kuspit

By Lou Gagnon

This is little more than the coupling of both tired arguments - "Abstraction vs. representation" and "painting is dead" – with a technology twist.

Having used both "analog" and "digital" tools in my career as both an architect and an artist, I can say that they are not equivalents in the creative process. The fatal flaw of this elaboration is assigning the "code" or concept as the primary creative act.

Every creative human that I know starts with an analog process - a sketch, note or diagram. Digital tools are mainly production tools used in the refinement and analysis of the original concept (to produce not create the "code"). Powerful as they may seem, the cumbersome complexities of navigating a digital tool system (CPU, software, visual interface, input device and power supply) cannot currently compete with the fluidity and focus attainable with the analog system - (pen and paper). All digital characters are modeled and animated using haptic and visual input from analog (real & professionally trained) humans.

I resist digital art as "art" for the following reasons: Digital Art has no haptic record of human activity imbedded in the final object. No under painting, no sketch lines, no corrections; just slick and polished representation (yes it is still just representation), whether it is rich in information or not.

More simply: it does not smell. Are we to lobotomize our senses to accept Mr. Kuspit’s premise and thereby prefer lots of limited information to less information that actually "touches" us? We can relate to haptic records because we share a tactile world, because we make mistakes and we incorporate or work around them. We need that tactile feedback. I can take all the digital images that I can store of my children and all of them combined will pale in comparison to the fleeting power of holding their hand, smelling their hair and thumbing through their drawings.

Many modern and contemporary buildings, while brilliant records of design and building technology, fail miserably to address the human, both in scale and in relation to a community. That is why there is a sculpture, fountain or garden in front of most modern buildings.

The most powerful tool is the one that gets used. The most powerful form of communication is the one that actually communicates.

Perhaps we are doomed to Mr. Kuspit’s supposition. When a child spends more time with printers than paint, or when the image assembled by pre-designed digital parts gives a sense of finish that a clumsy, unskilled drawing may lack. In a world of unlimited "undos" and no messy cleanups, how can the stench and mess of paint and the frustration of ability not being able to match vision compete?

Children and adults spend more time watching TV than contemplating still images so that when they walk into a gallery what are they going to gravitate to? A still image can only lead you so far, there is some interaction required, it is open-ended. Linear media is a much more conclusive seduction. If you want to be lead, then watch TV.

Personally, the transcendence is less finite with a still image. While my belief may be suspended during a video, its conclusion is limited and therefore disposable. Once I get it, I am done with it. It is, however, comforting to know that the pieces, when placed in the right order, do add up to the picture in the box. I know first-hand that there is very little that is comforting about inventing the problem and then the solution. Then we are puzzled why novelty is more seductive than the sublime.

All this leaves me wondering why one of the first and longest lasting recorded images is the outline of the human hand in the caves of France. Clearly sitting around the fire and telling stories was not enough. I suppose that in the world of the human genome, binary logic and MP3’s, it is tempting to codify art as well.

I am glad to be free of the little dark room filled with power cords, flickering LCD’s and whirring little fans in plastic boxes. I am free to walk in the sunshine and smell the flowers however haptic, analog and direct that may be. Free to continue leaving my fingerprints in the colored dirt and burnt sticks I push across pulverized plant fibers. Then again what do I know? my path to understanding this issue is limited to what I have learned making stuff not history.

Tape all over town

If you're been out and about DC the last few days, and have seen a 1995 Honda Civic made entirely of tape, then you've gotten a preview of Mark Jenkins' exhibition at our Georgetown gallery opening on Friday, August 19, from 6-9PM.

As some of you know, Jenkins' Storker project has been leaving tape babies all over the DC area, and some of his other tape sculptures have been left in Rio de Janeiro, Baltimore and New York City.

For this coming show, provided that he can fit it through our front door, Jenkins will have the lifesize 1995 tape Honda Civic in the gallery, and will also exhibit photographs about some of his other tape projects.

Additionally, Mark will have a series of tape people installations outside the gallery in the Canal Square.

Jenkins is doing some of the most innovative marriage of sculpture with street art and a singularly brilliant conceptual employment of photography, digital manipulation, audience participation (Jenkins usually leaves his sculptures around the city, and they are usually "adopted" by strangers, who take Jenkins' sculptures home. Sometimes, Jenkins photographs people's interactions with the work.

The opening reception is Friday, August 19, 2005 from 6-9PM at Fraser Gallery Georgetown. The four other Canal Square galleries (MOCA, Parish, Anne C. Fisher and Alla Rogers) will also be open that night.

Come meet Jenkins and his entourage of tape people.

P.S. And for the 2-3 people who usually email me when I post anything about Jenkins: No, this Mark Jenkins is NOT the same Mark Jenkins who writes for the City Paper.

Finalists Selected for Trawick Prize

Ten artists (from nearly 400 submissions) have been unanimously selected as finalists for The Trawick Prize: Bethesda Contemporary Art Awards, a juried art competition produced by the Bethesda Arts & Entertainment District, funded by the generous Carol Trawick and chaired by the fair Catriona Fraser.

The top prize winners will be announced and honored on Sept 7 at 7PM at a special press event held at Creative Partners Gallery.

A total of $14,000 will be awarded, including $10,000 to the Best in Show winner. The jury members for the competition are Dr. Thom Collins, Executive Director of the Contemporary Museum in Baltimore, MD; Andrea Pollan, an independent curator, fine arts appraiser and art consultant and Olga Viso, the new Director of the Hirshhorn Museum and Sculpture Garden.

The finalists are:

Christine Buckton Tillman (Baltimore)
Bernhard Hildebradt (Baltimore)
Dean Kessmann (Washington, DC)
Michele Kong (Baltimore)
Gabriel Martinez (Washington, DC)
Maggie Michael (Washington, DC)
Jiha Moon (Annandale, VA)
Daniel Sullivan (Baltimore)
Sonia Denise Tassin (Baltimore)
Jason Zimmerman (Washington, DC)

Of these artists, I am only familiar with the work of Kessmann, Maggie Michael and Jiha Moon. All three of them are superb artists.

My bet: Jiha Moon, who has made me eat my words when I first saw her work at the Arlington Arts Center a few months ago; my recommendation to all of you? Buy Jiha Moon now!!! For more information call 301-215-6660 (ext 20 or 16).

Studio Space Available

Private studio space in Old Town Kensington's Antique Row features private entrance, great light, and a large window. Hot & cold running water, air conditioned, private parking lot lit until midnight. $255 per month. Call Morris Parker at 301-949-5333.

Arts Dean Job

Instructional and College Dean for the Arts.

Montgomery College, a multi-campus community college located in the Maryland suburbs of Washington, DC, is seeking an Instructional and College Dean for the Arts.

Starting salary $71,365-$121,576 per year.

Education & Training: Position requires a Master's degree in one of the arts disciplines, arts management, or in a closely related area; a Doctorate in one of these areas is preferred.

To submit an online application please visit this website.

Doggie Days

The Mid City Artists will be having a Summer Group Show through August 20 at Raven Arts, 1833 14th Street NW, 2nd Floor. And today and tomorrow, they will be participating in the neighborhood's Dog Days of Summer activities (August 6 and 7).

The Mid City Artists will also host an Artists' Reception, Thursday August 11th, 6-8pm.

Dog Days of Summer will be held on Saturday and Sunday, August 6 and 7th. Merchants all up and down 14th Street, P Street and U Street and up to W Street will participate this year. This is the 6th annual sidewalk sale event and in past years, thousands of shoppers, diners and people just out for a fun afternoon have shown up for this event.

Homerun

Donald Kuspit goes yard.

Read it here.

Alice Neel

I'm looking forward to "Alice Neel’s Women", which will be opening at the National Museum of Women in the Arts on October 28.

Not just because I am a huge Neel fan, but also because the exhibition features a portrait by Neel of our own Lida Moser.

Neel did four portraits of Lida Moser in her lifetime. I am not sure which one(s) is included in this exhibition. I've been writing and calling the NMWA for the last two years (to find out), and so far they've ignored me.

Lida Moser was one of Alice Neel's closest friends, and I love to hear her stories about how in the 40s, 50s and 60s Neel's work was ignored by the critics and art world because she refused to change her work to "fit" the prevailing abstract styles in vogue during those years.

Lida Moser also recalls how, when Neel began to get recognition in the 1970s, especially after her retrospective at the Whitney Museum of American Art in 1974, male artists in the NY art scene openly resented her success because she was a woman.

Moser also experienced this same form of resentment (from male photographers) when she was given photographic assignments by Vogue, Look, Life and other such magazines that she worked for.

Today's female artists stand on the shoulders of both these wonderful women.

See work by Lida Moser here and by Alice Neel here.

The Power of the Web

Thanks to the several lawyers who contacted me offering to help the local artist being ripped off by a NYC gallery.

I'll keep track of the issue and report as warranted.

Sunday openings

"Human Containers" at Target Gallery in Alexandria is having an opening reception and talk by the juror Twylene Moyer (managing editor of Sculpture magazine) this Sunday from 4-6 PM. Tim Tate, Alison Sigethy and Mark Jenkins are among the local artists who will have works on display there. All together there are 20 artists from the US and Canada in the exhibition.

Before you get there, you can also walk across the hall and visit the Art League's opening for their International Landscape Show. That opening is Sunday from 2-4PM.

Both galleries are on the ground floor of the Torpedo Factory in Old Town Alexandria.

Friday openings

Loads of gallery openings tonight, mostly around the Galleries of Dupont Circle where neighbors Conner Contemporary, Irvine Contemporary and Washington Printmakers all have excellent group shows.

In Georgetown, our neighbor Anne C. Fisher also has an opening for an excellent show: Beyond Synergy.

All these openings run from 6-8PM.

New Gallery in Town

The fair Zoe Myers has been hunting for a gallery space around DC and surrounding areas for a long time, and now she has finally settled into what I am told is a great new space in Bethesda.

The Heineman Myers Contemporary Art gallery in Bethesda is now under construction (website too) and when finished will be the largest gallery in the Greater Washington area and will also add a powerful new presence to Bethesda's ever growing gallery scene.

Heineman Myers Contemporary Art will be located at 4728 Hampden Lane, Bethesda, MD 20814.

Welcome!

Secrets on TV

Tonight's Fox Five News at 10 will carry a segment about Frank Warren's Post A Secret Project.

And this and all the recent success of his project couldn't happen to a nicer and harder working artist.

Congrats!

Watson on Seven

Amy Watson of The Artery, reviews Seven at Thinking About Art.

Read the review here.

Lawyer Needed

A very good artist is in the process of being ripped off out of over $50,000 worth of artwork. This artist desperately needs a lawyer to assist the artist with legal help to get the artwork back. It appears to be a very simple case where legal correspondence from a lawyer threatening legal action if the work is not returned will probably do the trick.

The artist is willing to trade art for legal assistance, as the artist is unable to afford paying one (mostly because most of the artist's money was spent preparing the art now being held by the gallery).

For anyone interested: Please email me and I'll expand further privately.

P.S. And yes, I know all about WALA. This artist still needs a lawyer.

One of my favorite poems

La Rosa Blanca

I grow a white rose
In July as in January
For the sincere friend
Who offers a hand frankly.

And for the cruel person who tears out
the heart with which I live,
I grow neither nettles nor thorns:
I grow a white rose.

By Jose Marti

Beyond Synergy

Beyond Synergy opens with a Reception on Friday, 5 August, 6-8pm at the Anne C. Fisher Gallery, in Canal Square in Georgetown.

The exhibition features nine area artists working in a variety of media selected from submissions to the public arts competition Synergy. The exhibition continues through 8 September.

Opportunity for Artists

Deadline: September 2, 2005.

Abington Art Center Gallery and Sculpture Park 2005 Slide Review Program.

A full prospectus is available on the gallery page at www.abingtonartcenter.org and needs to accompany all submissions.

Abington Art Center invites professional artists to submit proposals for consideration to participate in their Gallery, Sculpture Park and community venues. Each season the exhibition program consists of several exhibitions in their galleries featuring national and regional artists, and the installation of large scale sculptures in their outdoor sculpture park.

For both indoor and outdoor exhibitions, the Center provides artists with professionally produced documentation, invitations, catalogues and promotional materials. Related educational programs such as lectures, public forums and workshops are designed to stimulate and involve audiences in the experience. The focus, criteria and eligibility for each venue is different, so please read the prospectus carefully before completing the application. Artists from the mid-Atlantic and New England are most likely to be selected, others may be considered. For more information, visit: www.abingtonartcenter.org.

Send 6-10 slides, a slide list with name, title, medium, date and dimensions. Current short resume. A one page artist's statement. For return of submission materials, enclose a self-addressed stamped envelope. Application/Entry Fee: $10.

Abington Art Center
ATTN: Curatorial Review
515 Meetinghouse Road
Jenkintown, PA 19046

Bader Fund

The Franz and Virginia Bader Fund invites visual artists (excluding filmmakers, video artists, and performance artists) to apply for grants. Artists must be 40 years of age or older, live within 150 miles of Washington, D.C., and demonstrate that they have the potential to benefit as artists from a grant.

Last year three grants were awarded, one for $20,000 and two for $15,000.

Applications must be postmarked no later than September 30, 2005. To obtain a current application form, please visit the Fund's website: www.baderfund.org, or write to the Fund at:

The Franz and Virginia Bader Fund
5505 Connecticut Avenue, NW #268
Washington, D.C. 20015

Send email inquiries to grants@baderfund.org.

New DC art Blog

Samantha Wolov, whose work is one of the more noticeable photographic entries in Seven (she takes photos of her friends having sex), has a new Blog: Nekkid with a Camera.

I love that title!

Visit Sam often. Her Blog is here and her website is here.

Openings This Week

The Art League’s American Landscape show is now global!

Last year in honor of the Art League’s 50th Anniversary, the annual American Landscape Show expanded to include both American and international landscapes. As their artists and visitors travel internationally, the show was a resounding success and will, from now on, be known as the International Landscape Show.

This All-Media Membership Show will be juried by Timothy App, an award-winning and well-respected abstract painter. The show opens August 3rd and runs through Sept. 5th. The opening reception and awards ceremony is this coming Sunday from 2-4PM.

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Washington Printmakers Gallery presents the National Small Works 2005 exhibition featuring works from 23 artists nationwide.

The show runs from August 2 - 28, 2005, with an opening reception and awards presentation this coming Friday, August 5 from 5 to 8 pm. A gallery talk with the artists is next week, Thursday, August 11 from 12 to 1 pm. The juror for the show was Krystyna Wasserman, Curator of Book Arts at the National Museum of Women in the Arts.

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Conner Contemporary has Academy 2005 opening on August 5 from 6-8PM and running through August 27.

The exhibition, this year being curated by Jamie L. Smith, takes the pulse of new work being created by recent graduates and students from our area's art schools. It is one of my favorite shows of the year and it is now in its fifth year.

Go see some art this week!

Talking Done

Just back from the curator's talk at Seven. A nicely sized crowd showed up, which was a little surprising to me, since usually it has been my experience that these curator talks only attract the artists involved. Thanks to all the DC Art News readers who came by and said howdy.

Bailey has a nice photo storyline of the talk here.

He also managed to fall in love in the subway on the way to Seven and on the way back! The two photos below are courtesy of Bailey:

Me outside Warehouse discussing Seven

Me discussing Tim Tate's work
And the below photo courtesy of Mark Cameron Boyd:


Alessandra Torres discusses her installation
After the talk Alessandra and her family took me out to dinner to Lauriol, where I had some excellent Cuban food.

And Bailey also managed to whip out a monster letter to the Washington Post editors taking Jessica Dawson on for her dismissal of Seven.

It's OK; it's her right as a critic.

And yet, a bad review is better than no review at all. Jessica's expected dismissal of the show has nonetheless resulted in one major sale to an important DC collector.

In addition to Jessica's and John Blee's review, there are three separate other reviews being written right now, and hopefully they will be published soon; let's see what some other observers think.

Curator's Talk

What: Curator's Talk on Seven, an exhibition of 67 WPA/C artists.

When: Today at 2PM.

Where: The seven spaces that make up the Warehouse Theatre and Galleries complex. Located at 1021 7th Street, NW, across from the new Washington Convention Center. We'll start at the top gallery on the third floor.

See ya there!

Mid Year Report

As much as I bitch about lack of dedicated art buyers and collectors in the DC area (especially considering the huge amount of wealth in our region), I was surprised to find out when the fair Catriona recently told me that so far this is our best year ever, and that we've already sold more artwork by the end of July than all of last year.

But I am still amazed at the large percentage of non-Washingtonians buying art from us: New York, LA, Floridians, Irish and Brits!

Why?

Waste newsprint space on this?

Directory Assistance

Let me start by saying that the first thing that I usually read when I open my copy of the City Paper is Chris Shott's most excellent "Show & Tell" column. It is usually witty and interesting, and in fact I have contributed to some of them in the past.

But at the risk of pissing off Chris, I think that this week's Directory Assistance (scroll down) piece in "Show & Tell" is much ado about nothing.

Taking one artist's complaint about the WPA/C's Artist's Directory creating a "tiered membership", with more "services going to those who pay for them," is giving an audience to a complaint that is simply economically ridiculous!

It costs $70 to get into the Artist's Directory. In my opinion, that is an excellent adverstising and marketing opportunity for the buck. To expect that your $45 annual WPA/C membership will also cover the cost of printing and distributing the book is immensely naive.

And those directories move!

We sell them (they also get stolen quite often) at our galleries (we turn all proceeds over to the WPA/C) and they sell well, and in the past visiting Sotheby's personnel have acquired them as reference materials. And I know of several artists who have had their exposure in the book create further opportunities (including myself).

Chris writes that "members who failed to come up with the extra cash for the forthcoming 2006 edition of the WPA\C artist directory are missing out on more than just seeing their names, contact info, and sample works in print," referencing the fact that the WPA/C’s latest exhibition, titled "Turning the Page: Artists Selected From the 2006 WPA\C Artist Directory," only looked at those artists who had purchased a page in the book.

So?

The WPA/C also maintains a slide registry. Many of the WPA/C past exhibitions have have their birth in this registry. And yet a lot of member artists do not have any slides in it.

My point is that inclusion in the slide registry and inclusion in the Artist's Directory is open to all artist members; it costs an additional $70 to get into the directory, but that's an economic non-debatable issue.

The alternative would be to raise the annual fee to $115 a year and open the directory to everyone. Were this to happen I suspect that a wail of complaints (more than one solitary voice) would be raised, from artists who do not wish to add the additional expense just to be in the book.

And on a final point, Chris writes:

Yet paying for a page in the directory doesn’t exactly grant you a great shot at showing your work at "Turning the Page." The series, presently curated by WPA\C Project Manager Ingrid Nuss and summer intern Ding Ren, will showcase only nine artists out of about 375 who paid for a listing, or 2.4 percent.

Well, that's what happens when one has a curated show - it is after all a "selection process."

All inclusive shows abound in our area, such as Wall Mountables and Artomatic.

And guess what? A lonely artist voice here and there also routinely complain about those shows, usually the small financial cost associated with them, or requirement to help with gallery sitting, etc.

The WPA/C has had some valid hiccups in the past, but in this case though, this squeaky wheel shouldn't have received any WCP grease.

Wall Mountables at DCAC

Around this town, anytime that you have an open show (meaning a show without a juror or curator), the critics tend to immediately savage it. This seems to be a predictable critical analysis somewhat unique to our area's visual arts and artists as viewed by most of our area critics.

Once a year, the District of Columbia Arts Center (DCAC), through a show called "Wall Mountables," allows any and all artists to hang anything they want, so long as it fits within a two square foot space. That exhibition opened last night to a huge crowd, and hangs at DCAC until September 4, 2005.

And in my opinion, after having seen several years' worth of "Wall Mountables," and after having participated in several of them myself, and after having purchased art in some of them, this is the best "Wall Mountables" so far.

The show is hung salon-style, as every precious inch of wall space has been claimed by artists. A prize, for best use of the space, was awarded on opening night by DCAC Executive Director B. Stanley as selected by several "Best Use of Space" jurors: Michael O'Sullivan, one of the the WaPo's art critics, DCAC Board members Philip Barlow and Marc Cohen and someone else whose name I cannot recall.

The winner was the fair Kathryn Cornelius, who's riding a hot streak recently, including receiving lots of attention for her video piece in the Warehouse's "Seven" show. Cornelius intelligently employed her two foot square by installing a glass-encased swing gate, inside which she created an installation of written words on a collection of matchbooks.

The buzz artist of the night was Ben Tolman, whose superbly weird little paintings and drawings were selling like hot cakes (I bought three of them). Tolman, who recently graduated from the Corcoran, and who has an impressive piece included in the Warehouse's "Seven" show, is represented by a dozen or so small paintings and drawings, which although showing a tremendous influence by the works of the equally odd Robert Crumb, nonetheless show young Mr. Tolman's own unique views and creative hand at work in his weird world of three breasted women, space aliens and sad girls.

I also quite liked Todd Gardner's series of works focused on clowns; really odd and somewhat scary clowns - more like a Stephen King version (such as in his masterpiece It) than a Red Skelton kind of clown.

Gardner's works are frenetic and full of information, and in his own clown infested world, almost make sense in some oddly familiar way, cleverly dragging us into these intimate-sized works that then bring the viewer into Gardner's Stephenkinguesque macabre clownland.

I also liked Natalie Marcy's resin and plaster wall sculptures.

They are (I assume) dipped images of Natalie's face; there are three of them in the exhibition.

In the sculptures in the show, Marcy has employed the same multiple portrait approach, to deliver interesting, if slightly surreal, imagery, as if we're looking at the artist's face from an underwater perspective.

Kristin Freeman, who is DCAC's departing gallery manager, also has several handsome mixed media drawings in the show. And the fair Candace Keegan has several of her sexy portraits on exhibit, drawing the usual attention from everyone.

Peter Gordon has a singularly brilliant painting in the exhibition titled "Easy Does It." It is one of those clear paintings with an unexpectedly mundane subject (a salt and pepper shaker) that delivers a good lesson in what a good painter can do to keep the "ancient medium" alive and fresh.

Study this painting and you'll soon discover, in the elegant way in which Gordon has handled the paint, what a dab of white can do to create the illusion of light and a third dimension on the confines of a two dimensional canvas. No matter how many times I see this painting trick effectively accomplished, it still takes my breath away. That is why a thousand years from now, art galleries all over the universe will still sell paintings.

There's also one of those beautifully fragile laminated plywood wall sculptures by Nancy Samson Reynolds that are sensual and minimalist. It stands out both visually and figuratively.

On the same wall as Nancy's sculpture there are four mixed media pieces by Anna V. Davis, whose recent show at Gallery Neptune was quite good.

The works are colorful and visually attractive and also demand closer attention, as one discovers the craft of Davis' hands at work.

Initially giving the appearance of a very complex mosaic, we are fooled by Davis into thinking that her work is just sort of a square pointillist genre of painting.

Bring your nose closer to the work, and discover that in addition to painting, Davis has secured thousands of tiny paper pieces, to in effect create a mixed media of collaged paper and paint, to in reality created a paper mosaic of her unusually contemporary figurative work.

It is colorful and intelligent (and obviously enormously time consuming), and marries the ancient tradition of inlaid mosaic work, with a new fresh interpretation and look.

My final mention goes to a really nice photograph by Jennifer Dorsey, titled "Diversity in Monotony." It is one of those photographs that stands out by its clarity and starkness, although I wondered how it would look about ten times larger than the two foot space given to it.

Go see this show and buy some artwork.

Wanna go to an Opening?

Loads of openings tonite... see some of them here.

I'll drop by for a little while to see DCAC's Wall Mountables show.

See ya there!

La Llorona for Sale

After receiving a few emails asking for this particular drawing, I'm putting "La Llorona" (or the "Weeping Woman" -- one of the drawings that I recently did while visiting San Diego), for sale. You can bid for it here.

La Llorona is 12.25 x 3.375 inches on 300 weight paper. Matted in a pH-balanced, acid free white mat to 20x8 inches. It is inspired by my interest in the legend of La Llorona as well as by a photograph by the great Danny Conant.

Bid for La Llorona here.

The 2005 MFA Graduates Exhibition

When the Arlington Arts Center re-opened after extensive renovation a few months ago, I predicted that it would become one of the key art venues in our area.

Two concurrent and current exhibitions at the Center -- The 2005 MFA Graduates Exhibition and Art from Arlington – prove me right.

The MFA exhibition is described in the Center’s news release as delivering "fresh ideas and exciting works by 13 dynamic new artists who have just received the Master of Fine Arts Degree from universities in Virginia, Washington DC and Maryland, some of whom have already exhibited in New York galleries."

And for once, the news release is pretty close to the target. The works in this show truly do exemplify the high quality, innovation and intelligence of the artwork currently emerging from some of our area’s universities; especially the Richmond area. The show includes all genres of the contemporary arts: installation, sculpture, photography, digital prints and mixed media drawing and painting.

The participating MFA graduate artists are: Diana Al-Hadid, Sarah Bednarek, Megan Biddle, Jan Filsinger, Natalie Guerrieri, Shawn James, Chris Metzger, Timothy Michael Martin, Nick Moses, Cara Ober, Lee Vaughan, Valentine Wolly and Andrew Yff.

Virginia Commonwealth University (VCU) has one of the best graduate programs in the nation, with budding baby stars like Alessandra Torres (currently exhibiting in DC at my "Seven" exhibition at the Warehouse Gallery) and Claire Watkins (whose spectacular work I reviewed when she was included in the Arlington Art Center’s re-opening show). So it is no surprise that the best piece in this show is by VCU graduate Megan Biddle.

And Biddle steals this show early and easily. She weaves her artistic magic in the least expected of places; that one genre of art slowly but surely being dragged away from craft into fine art by a few brave souls: glass.

Biddle has a piece titled "Plumage." At first sight, you are deceived by it (in a sensory sort of way, especially if you read the title of the piece before you see it).

Then you get closer and you discover that Biddle has created a plumage-like effect by putting together a diverse set of broken glass pieces (did you collect them or did you make them Megan?) and has cleverly glued them together to give the appearance of plumage.

But they are not glued. In fact, if you press your face against the wall and study the work from a sharp perspective, you see that Biddle has drilled a tiny hole into each piece of glass, which then hangs suspended from an invisible (made invisible by the glass in front of it) structure of chicken wire.

Can materials, technique and creativity get any cleverer? Brilliant piece and a perfect title Megan! Bravo!

Now... I want to see a dozen of these; all in different colors and shapes.

Art from Arlington

In a concurrent exhibition, the Center had a call for Arlington artists to submit slides, and the resulting exhibition now offers us a view of what 30 plus Arlington artists are focusing their creative talents upon.

Who steals this show? Mmm... tough call.

Group shows are hard to review without sounding like a member of the all-negative critic team. The weak member(s) of the show drag everyone else down, but also make the stand-outs really... Uh... stand out!

Unfortunately, this is a rather middle of the road show – not in the sense that it is a bad show, but in the sense that this show tends to "blend in" into an amalgamation of what is happening in every art community in America today.

I’ve curated shows twice as large as this and have come up with exactly the same results; so I’ve lived inside this monster and know of what I am writing about.

So, first let me applaud the Arlington Arts Center for doing the right thing with this show (do it every year!)… I like shows that show the pulse of an arts community… and the Arlington Arts Center should make it part of its mission to continue to show us the caliber of the artwork being produced in Arlington; my kudos to its talented curator Carol Lukitsch – Bravo Carol!

So who stands out in my walkthrough of the show (opening very well attended by the way)?

There’s Bobbi Baumann Vischi... I am not sure if Bobbi is standing out for the right or wrong reasons though.

Baumann Vischi’s piece is titled "Boy Child – Rite of Passage," and it is technically a brilliant piece. But at first I thought that I was looking at a piece by Tim Tate or Michael Janis from the Washington Glass School.

Baumann Vischi’s piece is one of those deep relief cast glass pieces that were first done and perfected around here at the Washington Glass School by Tim Tate (represented by us) and Erwin Timmers (represented by Studio Gallery); since Tate and Timmers offer classes, it was but a matter of time before one of their students (and I don't know if Baumann Vischi is a former student) would channel their teachers and come up with a replica of the sort of work that has made Tate, Janis and other Washington Glass School people stand out on a class of their own when it comes to "narrative" glass.

And Baumann Vischi’s piece certainly shows tremendous technical skill, but lacks originality – a harsh, but honest thing for me to express. My advise: Push your own vision rather than channeling your inspirators.

So who stands out?

Let’s start with Josephine Haden, who continues to baffle me with her paintings; which I’ve seen many times over the last few years – most recently at Strictly Painting V.

Haden’s work is one of those that must be described: In the two pieces in this show ("Rescue II" and "Crossing"), Haden uses broad strokes to describe an ocean... not a meticulous sea painting here, but broad, plain blue strokes that describe an almost naïve ocean.

And that just where Haden’s work stops being naïve.

She then adds landscape features, children on rafts, dogs, helicopters – you name it, and Haden can paint it! This is an artist who can visualize a collage (which is what her work initially appears to be) and use a talented brush to translate it into canvas.

And then there’s J.T. Kirkland.

Kirkland is an online buddy of mine. Just like me, he’s a blogger (his Blog is Thinking About Art) and an artist (his website is www.jtkirkland.com) ; And his work – inspired by minimalism and consisting of elegant planks of wood with patterns of holes drilled into it – simply are SO different from everything else on this exhibition, that they stand out!

And damned the consequences, but Kirkland’s – for better or for worse (for better in my opinion) – stands out in an otherwise blurry cast of characters… and being "different" is a big component of being "good"… right?

And he received a Doris Day sweet spot in the lower level galleries... center of the room, good lighting; his two entries – just look minimalist and different!

And after walking the galleries a few times, and enjoying the power of an Arts Center rapidly becoming the key art link in its community, I was pleased to absorb the fact that Arlington, its artists and this Center are going to offer a lot of great shows and great artists for many years to come!

Georgetowner review

You can read the John Blee review of Seven in the Georgetowner newspaper here.

Nekkid Museum goers

This will never, ever, happen in an American museum.

Venus for Sale

In the spirit of Duane Kaiser, and of J.T. Kirkland, and of Bailey, and of Alexandra Silverthorne, and after a few readers suggested it, I've decided to start posting some original artwork here for sale.

As there's no way I can do one of these a day (I applaud Duane Kaiser's incredible art work ethic!), it will probably be once a week or so.

The first piece being offered is an orginal charcoal drawing, circa 2004, titled "Venus Standing at the Edge of the World." The piece is approximately 5 inches high by 4 inches wide and it is matted and framed to 14x11 inches in a black, matte wood frame under glass. Signed, titled and dated on the front in pencil recto on lower margin, and also on verso. Starting bid is $99. Bid on this drawing here.

Starting bid is $99. Bid on this drawing here.

Artwork stolen

When anything and everything is art, things like this happen!

Gallery Openings and Talks

Friday, July 29, 7-9PM. DCAC has Wall Mountables, one of the best open shows on the planet! (Disclaimer: I've been part of it in the past, and will probably be part of it in the future). The entire DCAC upstairs space will be covered by original artwork from DC area artists. Details here.

Friday, July 29, 6-8PM. The Kathleen Ewing Gallery is having an exhibit of creative three-dimensional birdhouses to benefit the cats at the Washington Animal Rescue League. Exhibition runs through Sept. 3, 2005.

Friday, July 29, 6-9PM. Bringing It All Together: The Art of Joyce Lomax. Join Ramee Art Gallery as they host their last show on 14th Street. They are featuring the art of Atlanta-based artist Joyce Lomax. Ramee Art Gallery will relocate to 606C Rhode Island Avenue, NE on August 20, 2005 after 13+ years on 14th street.

Sunday, July 31, 1-7PM. The Dupont Society will host its first community-wide art exhibition on July 31st, 2005! The opening will be held from 1pm - 7pm at 2105 S Street, NW.

Sunday, July 31, 3-5PM. Images of Life, an exhibition featuring the works of Afrika Midnight Asha Abney at Phish Tea, 1335 H St NE Washington, DC from July 31, 2005 - September 3, 2005. An artist's talk will take place on August 13, 2005 from 5-9pm.

Sunday, July 31, starting at 2PM. I'll be giving a Curator's Talk discussing Seven currently on exhibit at the great Warehouse complex on 7th Street. Come and say hello.

Blee on Seven

There's a major review of Seven in the Georgetowner today written by their art critic John Blee.

I'll have a link up as soon as Georgetowner puts it online.

Update: The review is online; it's page 30 here.

The Power of the Web

So there's a heavy metal punk rock band from Illinois called Beneath the Hollow, who apparently read DC Art News and found Bailey's photography as a result.

And now those righteous young boys have approached Bailey and asked him about permission that would grant them a limited license to use one of his images from the "Cemetery Saviour" series for band promotional materials: T-shirts, etc.

And they've struck a deal! Bailey has more details and the whole story here.

Openings

There are a lot of openings this coming Friday... come back later for a list, and also a review of a couple of the shows currently on exhibit at the new Arlington Arts Center.

Opportunity for Artists

Warehouse will be hosting their 4th Annual Where is the Peace? show.

This 4th annual show at Warehouse is devoted to the Peace effort. The show opens September 16 (a week before the March for Peace in Washington and other cities around the country, September 24th) and will stay up through October 2nd.

Send digital images of your entries to Molly Ruppert at ruppertm@erols.com by August 17th to be considered for inclusion in the show.

New Arts Organization

The Dupont Society is a new arts organization. They are named after the Dupont Circle area, where is organization is based.

Their first exhibition opens next Sunday, July 31st at 1PM. Details here.

Welcome to our area's cultural tapestry!

Studio Space Available

The Arlington Arts Center has a vacancy in its large 600 square foot, 4-artist studio. Available for 2-year lease, with second and third two-year period renewable upon review and approval. Artists in group studio are eligible to apply for individual studios when available, but maximum residency for all AAC resident artists is six years. In addition to the studio, artists will have access to shared facilities, including lounge area, mini-kitchen, and bath with shower.

Deadline for applications is September 15. Space is available October 1, 2005. Selection criteria will include artistic merit, potential for collaborative outreach approach to art and to the community, and diversity of artist representation.

For more information and to download an application, visit the website at www.arlingtonartscenter.org or contact them at 703.248.6800 or via email at info@arlingtonartscenter.org.

The Arlington Arts Center is located at 3550 Wilson Blvd., Arlington, VA, 22201, one block from the Virginia Square Metro station on the Orange Line.

Nekkid pics

In a brilliant attempt to drive traffic to his new art Blog, Bailey is posting nekkid pictures of his ex-girlfriends.

See them here.

CNN on Seven

I am told that the CNN spots on Seven will be running this week; I'm on the road again this morning, so if anyone sees them, please let me know.

New BLOG

Just when you thought it was safe to go back into the Blogsphere, Bailey has a new daily art Blog.

And he's already stirring the art pot by jumping into the MFA Boston debate.

Visit Black Cat Bone often.

Fair

Away all day today at an art fair, and again tomorrow; more later.

Bailey on BORF

Bailey, Bailey, Bailey...

The following article was intended for publication in the Washington Post upon the arrest of its anonymous writer, James W. Bailey, on charges of aiding and abetting the graffiti artist known as Borf. The article was leaked by a confidential source within the White House (Karl Rove) to DC Art News and is being published in advance of the arrest of Mr. Bailey. DC Art News does not have a confidentiality agreement with Mr. Bailey to preserve his anonymity as the writer of this special contribution to the Washington Post and is therefore publishing it in its entirety.

"For Those Too Young to Die (Yet Too Old to Tag), We Salute You!"
by James W. Bailey

(Washington, D.C.) Minutes after the once-elusive graffiti artist known as Borf was transferred from Metropolitan D.C. police to the U. S. Marshall’s Service for extradition to Camp X-Ray in Guantanamo, Cuba, several hundred of his young angry disgruntled disciples had a message for those outraged by Borf’s graffiti.

"This is just the beginning!" chanted the mob as it hurled empty spray paint cans toward a frightened Mayor Anthony Williams who was standing linked arm-in-arm with shell-shocked federal officials outside the Municipal Courts Building. "Now even more rich suburban kids from Northern Virginia are going to invade your city and come out in protest, so this isn't the end!”

If the mob’s intent was to intimidate the nattily dressed mayor by raising the specter of in his words "spoiled prep school elitist Starbucks latte-sipping adolescent anarchist jackasses from across the Potomac" descending on every blank wall in the city until Borf, aka Michael Tsmobikos, is freed, it didn't work.

"You wanna-be punk artists are going down the wrong path," Williams frantically screamed while dogging cardboard stencils tossed like Frisbees his way. "Don’t you disrespectful jerks realize you're destroying private property?! Don’t any of you aesthetically lacking idiots understand the value of the free enterprise capitalist system and its importance to furthering a graffiti-free environment that is safe for tourists?! Is there even one suburban brat among you who has ever read any Ayn Rand?! Don’t any of you untalented fools realize that your so-called ‘tags’ aren’t really art in the first place?!"

As laughter erupted from the swarming gang of aggressive graffiti artists, a rancorous collective response of “Free Borf! Free Borf! Free Borf!” was also rudely hurled along with other accoutrements of the street graffiti trade at Williams and Vice-President Dick Cheney, who had agreed at the last minute to appear at the press conference announcing the federalization of Borf’s criminal case.

The gang of boys assembled from Great Falls, McLean, Reston and other high income zip codes in Virginia, met Williams's and Cheney’s paternal gaze with hard, unblinking stares of their own. Either it was the boldest of bluffs or the boys who confronted the representative powers of Washington, D.C. truly believed they could summon an army of graffiti artists/taggers who would swarm over the city's unprotected walls like rats in "Willard."

Recounting the confrontation 30 minutes later in the anteroom of his office at City Hall, Williams was still angrily shaking his head about the boys' "misplaced hero worship of this punk crap artist Borf."

"Borf and those rich white boys from Virginia who helped him and who support him declared war on the city," said Williams nervously shaking his fist. Asked what he was going to do about a possible resurgence of wide-spread anti-capitalist graffiti in the city, Williams angrily waved a copy of an ordinance he first proposed to Washington, D.C. City Council two years ago, only to see it narrowly defeated.

"We're reintroducing this emergency legislation next week that will make it a felony crime for white minors who are non-residents of the City of Washington, D.C. to buy or possess spray paint, indelible markers or etching acids, as well as all the other tools these graffiti terrorists use, including cardboard for their stencils," he said. "This thing, whether it's a fad or an art form, which every sane person knows it’s not art by the way, or just plain vandalism created to incite terrorist insurrection, as I believe it is, has got to stop. And this Mayor is damned determined to stop people like Bork dead in their tracks."

Vice-President Cheney, who joined Williams in his hurriedly relocated press conference, echoed Williams sentiments and explained the federal government’s role in the Borf case: "The outstanding investigative work of the joint city and federal task force that tracked down and arrested this so-called graffiti artist has at last put an end to the terroristic actions of Borf and has effectively ended the deluded notion that Borf’s tags were a respectable form of art. Borf’s tags were clearly not art. They were coded terrorist messages that were designed to encourage intellectually gullible and emotionally susceptible children to murder their parents while asleep in their beds. Tags like “Grown Ups Are Obsolete”. Any rational American knows what that message is attempting to communicate to the youth of America. It’s also quite clear to the government that Borf’s campaign of terror against the people of Washington, D.C. was being financed by Al Qaeda. Borf himself has confessed to traveling to Europe to protest the G-8 conference. As is quite clear from recent CIA reports, Al Qaeda financed most of those protestors. Borf has therefore been declared an enemy combatant and has been transferred to Camp X-Ray in Guantanamo, Cuba, for further torture, uh, a torturous, that is a very thorough interrogation."

When asked if he had agreed to the federalization of Borf’s crimes in order to placate White House demands that were tied to an impending announcement of Presidential support of the Mayor’s efforts to secure statehood for the district, Williams bristled: "That is pure B.S.! The Mayor of Washington, D.C. does not do the quid pro quo biding of the White House when it comes to protecting the citizens of this city from terrorists like Borf. This Mayor does the right thing. And the right thing was to allow the federal government to handle Borf."

Cheney offered a similarly stern response: "Look, Mayor Williams is a hero in the effort to defeat terrorism and to secure the apprehension of this terrorist thug Borf. As we all know, federal legislation has long allowed the RICO statue to be used to federalize the cases of young African-American gang members who engage in acts of graffiti terrorism. There was a loophole in the law. No one ever really saw the day when rich white kids would be bold enough to leave their comfortable suburban stomping ground to wage a terrorizing campaign against the City of Washington, D.C. with their Al Qaeda funded messages of anarchy and anti-consumerism. Obviously, we need to have Congress immediately beef-up the current anti-gang laws that are on the books. But the allegation that President Bush somehow suggested to the Mayor that if he didn’t support the government’s position on Borf that that action would threaten future support of DC statehood is ridiculous and is blog generated propaganda being spread by Borf’s anti-American supporters to increase the mythology of Borf among extremists."

Though Williams remains an implacable foe of anti-capitalistic graffiti, he isn't without a small degree of sympathy for young men like Borf. He insists that he understands their alienation, but he's more offended that people feel they have the right to assert their identity at the expense of property owners and taxpayers who'd rather not provide their walls for someone's therapy.

"Look, I’m a human being and understand the pain of other people. Borf’s mother came to me after his arrest to say her son was innocent," Williams said. "I told her that I felt sorry for her, but that she shouldn't hold her son in awe because there's nothing exciting about that punk. Let’s get real. Borf’s not even that charismatic. And worse, he doesn't even have a single original idea he can call his own. ‘For God sakes’, I told her, ‘he reads stupid French books on B.S. philosophy by some dead guy who committed suicide named Guy Debord!’"

In a highly emotional state, with his lips quivering as he spoke, Williams continued: "Look, it’s not like Borf's protesting the War in Iraq with his graffiti. He's not doing anything to advance society or politics. And he’s especially not doing anything to advance the concept of art! Sure, some graffiti is at least interesting to look at, but not Borf’s. His stuff is all crap! And it’s certainly not real art. To Borf’s supporting art critics, I ask this: what’s Borf’s original aesthetic message? What the lasting impact of his art? Where do you really feel Borf’s place will be in the future pantheon of great artists? Borf is a gutter punk wannabe artist and that’s where he’ll always be."

When questioned about the critical legitimacy of street graffiti as a respected art form, Williams nervously continued his defensive tirade: "Look, we have all kinds of real galleries and museums in the city where you can go and see some real art. Real art has no place out on the streets anyway. Real art ought not to be out in the real world where it’s exposed to the elements and can be rained on. Any person with half a brain that knows anything about real art knows that. The Washington Post’s chief art critic Blake Gopnik doesn’t like street art. He didn’t think those Party Animals were real art, did he? So I’m in respectable company with this opinion because I don’t either. Street art is for untalented artists who don’t merit gallery representation. My advice to people like Borf is to keep your so-called art off outdoor public property and spend more time in your studio learning how to paint pictures of the Washington Monument that you can sell to tourists at the Torpedo Factory."

In an extraordinary related development, President Bush deviated from the script of his weekly press conference on Iraq, also held on the same day, to comment on the Borf situation. The following is a transcript of Bush’s remarks:

"I’m reminded that today that this young fella Borf who’s been painting these evil statements about kids killing their parents, has finally been arrested.

Terrible kid. And make no mistake here, he's a terrorist. This kid Borf.

It’s a sad day in some ways this day that’s today, with Borf being arrested. This Culture of Death thing that I’m always talking about has infected Borf and his supporters.

And some of these elitist academic art idiots... uh intellectuals call Borf’s bagging [sic tagging] art! Well, that’s just plain dumb. Bagging [sic tagging] death slogans around town is not art! Every real American knows that! You can’t spray paint a sign that says 'Kill Me Mommy' and call that art!

What’s wrong with the youth of today?

And what about that big Borf head painted over there on the bridge by the river? That was an act of terrorism. Somebody could have been killed looking at that awful thing. Could have gotten distracted and driven their car into the Potomac. We can’t have stuff like that going on in the nation’s capital.

The federal government, this President of the United States of America, has a solemn obligation to protect the people of this country from evil merchants of death like Borf.

Your President knows what good art is. I think good thoughts about good art all the time.

And good American people of good conscience know what really good art is all about too.

Borf, well, that’s not really good real art. We all know that.

It really hurts me at a very personal level that some have suggested that this President doesn’t like art. George W. Bush loves art. Laura and I have more Thomas Kindkade paintings at home in Crawford than we’ve got heads of cattle.

Your President loves art. Let me repeat it: George W. Bush Loves art. Real art that is. But Borf’s not a real artist.

Look, this President ordered his State Department to approve the selection of that great American artist Eduardo Rusario [sic Ed Ruscha] to appear at the Venice Benfoldsfive Finale [sic Venice Biennale] over there in Italy. This exhibition features some really good rock solid thought provoking contemporaneous art [sic contemporary art].

Eduardo now is a real American artist. Works with a style called Mini-anti-female-materialism [sic minimalism]. Real cutting edge stuff, man! I don’t pretend to understand it, but I just know this: Eduardo’s art ain’t telling people to go out and burn an American flag like Borf’s so-called art is doing. Eduardo’s art is not encouraging children to kill their parents.

And Eduardo’s art, well, I just think that his art is the kind of condom-draineous art [sic contemporary art] this country needs more of. We need more artists like Eduardo making more of that mini-van-ballistic [sic minimalist] stuff. That stuff makes you think, man! But it don’t make you think about things Americans ought not to be thinking too much about. You understand what I’m saying?

The American people need to know that their President loves really good contempt-for-paineous art [sic contemporary art] like the minimum-wage-unrealism [sic minimalism] stuff that Eduardo makes.

But let me also emphasize that really good American art, know matter what style it is, even good graffiti art if there is such a thing, also needs to be confined to what I call the 'WWW – white-walled world.'

A legacy of presumed guilt levied by the President of the United States of America is certainly too heavy a public burden for anyone with common sense to bear willingly. Since his arrest in Washington, D.C., many of Borf’s friends, and even some of his most outspoken critics, have raised the possibility that Borf may be the unluckiest of patsies – a Lee Harvey Oswald, if you will, of the contemporary art world. Some wonder whether the true culprits are, indeed, the growing legion of disaffected educated suburban white kids now threatening to scrawl their defiance of the law on walls in the hearts of metropolitan cities all over America in Borf's name.

James W. Bailey

Wanna go to an opening tonight?

Art from Arlington opens at the new Arlington Art Center tonight with an opening reception from 6-9PM.

See ya there!

Artrain USA

Artrain USA, an art museum housed on a train, addresses the shortage of and lack of value placed on cultural programming in American communities by introducing the arts to individual residents while helping communities build their capacity to grow and sustain cultural programs.

Artrain USA provides quality art exhibitions complemented by strong art education programs and community outreach activities. For 34 years, Artrain USA has traveled to as many as 35 communities and reached 100,000 people annually. Since 1971, approximately 3 million people in 750 communities across 44 states have visited Artrain USA.

Artrain USA hosts the contemporary Native American art exhibition, Native Views: Influences of Modern Culture.

This exhibit will stop in Manassas, Virginia from July 28-31, 2005. Artrain USA is looking for artists to make art work on site during its stop in Manassas and they are looking for volunteers. If anyone is interested, they can send contact Philip Barlow at philipbarlow@msn.com and he will pass it along to the appropriate people. Artists do not have to be Native American to participate, just willing to help support this worthy project.