Nepotista

"When it comes to nepotism, the best strategy is to avoid it."
- Jessica Dawson advising Jiha Moon here

Mmmm... in the artworld, this is often quite impossible... I would advise: "When it comes to nepotism, the best strategy is to minimize it as much as possible."

In writing about art, selling art, curating art, awarding art grants, seeing art, talking about art, we're all nepotistas to some degree or other. Nearly every curator that we've ever hired to jury an exhibition for us, has brought some nepotism into it and nearly every writer that I've read has exhibited some degree of it.

Critics get to know artists, and art dealers, and curators on a nearly daily basis, and they too, being human, develop nepotism in some degree or other, and become nepotistas perhaps without meaning to do so, or perhaps while minimizing it.

Even advise-giving Dawson.

A few years ago, I asked some of the WaPo's leadership why Dawson never reviewed (the now closed) Fusebox.

I was told that Dawson had recused herself from reviewing Fusebox due to private reasons (I was told "friendship with the owners").

Thus Dawson (I assume) did the right thing with the Post's policy (one exists I assume) in writing/reviewing about friends... good for her (although unfair somewhat for Fusebox, although to make things fair for them, the WaPo then apparently had Blake Gopnik review them a few times while they were open).

But as reported here in 2004, she had no nepotista issue in writing that Fusebox is "sharp and savvy," and has "raised the bar for visual art in Washington," and that their openings are "events to see and be seen at" for the 2004 issue of Timeout DC. In the lead page for the galleries (p.189), she even lists Fusebox under a listing of five galleries selected as "the best galleries." And on page 194 she again highlights Fusebox in a special commentary section where the gallery is highlighted after the following introduction:

"While some DC galleries could be accused - justifiably - of playing it safe, the following stand out from the crowd with their interesting programming and sheer charisma."

I'm not even that fussed that Dawson gave Fusebox some well-deserved comments and well-earned kudos on that issue of Timeout DC, but I am fussed that she's now giving Jiha Moon advise on nepotism instead of just reviewing the show.

In the event that you actually want to read a review of the show, then visit Thinking About Art and read Kirkland's, declared nepotism and all.

Odom and Banks (Continued)

The Odom and Banks controversy has a new voice in the mix, as Virginia Pilot columnist Kerry Dougherty opines on the subject.

Read her opinion and quite a few comments on the subject here.

Also, the Contemporary Art Center of Virginia, which runs the Boardwalk show that awarded $10,000 to Odom, has decided not to take away the cash prize from Odom.

"We've now consulted with a number of Alabama and national folk art galleries and experts," said Cameron Kitchin, executive director of Virginia Beach's Contemporary Art Center of Virginia , which runs the Boardwalk show.

"We have full confidence that the specific piece that won best in show is by Doug Odom's hand and is uniquely Doug Odom's subject matter," Kitchin said on Friday.

I talked to Mr. Kitchin a few days ago while I was in New Mexico, as he called me to explain the decision, and I appreciate his immediate involvement in this issue.

I respect their decision process, which essentially "consulted with a number of Alabama and national folk art galleries and experts," to arrive at the decision that the piece that won the $10K was not a copy of any known Banks' painting.

This decision does not touch on the ethics of copying another artist's style and subject depiction, which is a superb topic for a future discussion panel, as this is the main "beef" that seems to be the main leftover (other than some legal issues between Banks and Odom) from this controversy.

"We have independent confirmation that these poodles did live on Doug's farm," Kitchin said. "Those dogs were never a subject matter in Michael Banks' work."

See the winning artwork here.

Nothing to do with the decision itself, but I find this quote in the article a little disturbing:

"My feeling is, it's no big deal at all," said Ann Oppenhimer, president of the Folk Art Society of America, based in Richmond. "They're not giving the prize on ethics.

"You don't like to see that kind of thing happen," Oppenhimer said. "But there are very few things that are original, when you get down to it."

According to the article, Odom "sold 20 to 25 pieces at the Boardwalk. His prices ranged up to $7,000."

Update: Bailey has this letter published in the Virginia Pilot.

Powerless

Back home to find out that because of storms, power has been down around my neighborhood for a while, and everything in the fridge has defrosted!

Also my laptop finally bit the bucket while in New Mexico.

Loads more later...

Airborne today and heading back home... tons to report on this amazing state.

Art Panel at DCAC

Tonight DCAC is hosting a panel titled: "The role of art historians, curators and critics in the contemporary art scene". The panel starts at 7:30PM and it's free to the public.

Panelists include:

- Joshua Shannon, Assistant Professor of Contemporary Art History & Theory at the University of Maryland.

- Rex Weil, independent curator, artist and art critic covering DC area for Art News magazine.

- Judith Brodie, Curator of modern prints and drawings at the National Gallery of Art

- JW Mahoney, independent curator, artist and art critic covering DC area for Art in America magazine.

Wanna go to an opening tonight?

Eric Finzi opens at Heineman Myers Contemporary Art in Bethesda tonight with a reception for the artist from 6-9PM.

Party this Saturday

I'm in wondrous New Mexico, but from here I wanted to remind all of you about the Washington Glass School's 5th Anniversary this Saturday.

If you've ever been to one of their parties before, you know that they always have tons of incredible glass art, sculpture and jewelry for sale. This year they have more art to move than you have ever seen!

And this year they arec ombining it with an Artist's Resource Fair. Here's a chance to get your artwork photographed, discuss what your metal work needs are, and to consult with a art web page designer all in one place!

First, Pete Duvall will be set up to photograph your artwork at a workshop rate of $20/2-D and $30 3-D (less for digital) just for this day. He has photographed many artists work in the region and seriously does museum quality work. Bring as many pieces as you want!

Next, George Atherton with the Potomac Area Blacksmiths will be there to discuss what metal needs you might have. If you need metal frames or holders for your glass or artwork... this is your chance.

Also, Arlington Arts Center will have a booth there for "Professional Development and Exhibition Resources." Representatives from the AAC will be on hand to share with you information on regional exhibition opportunities, professional development workshops, and press information.

Finally, Kirk Waldroff, an artist and Web designer (and rock star) will be here to consult with you on improving your web presence or to help you design your pages.

Date : June 24th from 1 to 5pm
Tuition : Free to attend!!!
Location : The Washington Glass School at the Mt. Rainier Studio

Airborne today and heading to New Mexico... more later.

Wanna go to an opening tonight?

"Cut" by Bradley McCallum & Jacqueline Tarry, opens at Conner Contemporary tonigt with an opening reception from 6-8 pm.

More on the Odom and Banks Controversy

Teresa Annas, writing for the Virginian-Pilot in Norfolk pens a superb article that goes to the point of the "copying" issue between naive artist Michael Banks and his former framer Doug Odom. Read the Annas article here and my posting on the same issue here.

By the way, according to Banks' art dealer, she sold 22 of his paintings during last week's Affordable Art Fair in NYC. Their space was 10 feet from ours and it was humming, so I believe her.

The painting on the left is done by Doug Odom. The one on the right is by Michael Banks.
Update: The Right Reverend chimes in.

At AU

I'll be at American University today as guest lecturer for their Curatorial Practice class (ARTS 596-N01).

More later...

Partytown

Hoity toity party last night at the new and improved (and renamed) Smithsonian American Art Museum, which will soon re-open to the public. There will be a series of parties receptions to celebrate the reopening of this building after extensive renovations.

However, the "happening" party was actually almost across the street from SAAM at Tim Tate's pad, as several of the artists who live in that building on G Street were having a summer solstice bash and a couple of the artsy apartments were packed with artists, gallerists, curators and food and drinks.

Rousseau on Bethesda Painting Awards

Dr. Claudia Rousseau reviews Joe White and Renee Butler at Bethesda’s Osuna Gallery and also reviews our current exhibition of the Bethesda Painting Awards.

Read the review in The Gazette here.

Opportunity for Artists

Deadline: Jul 01, 2006

Seeking proposals from artists, groups of artists, arts organizations and curators for exhibition in Marfa, Texas in Oct 2006. No slides; no returns. Please send 1-page written explanation of the premise of exhibition, names and resumes of all participants, images of artists' work on non-returnable CD-ROM/printed images from invitations, brochures etc. to:

A Marfa Moment
The Marfa Studio of Arts
Box 1189, Marfa TX 79843

Art Panel at DCAC

On Sunday, June 25th, DCAC is hosting a panel titled: "The role of art historians, curators and critics in the contemporary art scene". The panel starts at 7:30PM and it's free to the public.

Panelists include:

- Joshua Shannon, Assistant Professor of Contemporary Art History & Theory at the University of Maryland.

- Rex Weil, independent curator, artist and art critic covering DC area for Art News magazine.

- Judith Brodie, Curator of modern prints and drawings at the National Gallery of Art

- JW Mahoney, independent curator, artist and art critic covering DC area for Art in America magazine.

New Gallery

A new art gallery has just opened in Shaw: Long View Gallery. The gallery is interested in building up a community in Shaw and bringing on local artists.

The gallery's director is Bill Smith and more details about this new space can be read online here.

Best of...

The 48 Hour Film Project's "Best of...." with films about Tim Tate: Glass Sculptor Extraordinaire will show at the Warehouse Theater on 7th St. this Thursday, June 22nd starting at 7:00 pm, and it is free.

Details here.

Congratulations

To the CP's art critic Jeffry Cudlin, who won the 3rd place award in the 2006 AltWeekly Awards.

Note that Cudlin came in third after two... uh... film critics -- not that movie criticism is easier to do than visual arts criticism... right...

Online Arts Sales Workshop

Maryland Art Place (MAP) is hosting a workshop given in partnership with the Maryland Lawyers for the Arts on Saturday, June 24 th at 1pm.

Cynthia B. Sanders Esq., from Astrachan Gunst Thomas, will address ways artists can protect themselves when conducting online art sales and other issues relevant to artists’ legal concerns. The talk will be followed by a question and answer session. Contact MAP for more information.

Maryland Art Place
8 Market Place, Suite 100
Baltimore, Maryland 21202
410-962-8565
www.mdartplace.org
email: map@mdartplace.org

$10,000 Art Prize Controversy

When is copying another artist's style and imagery beyond inspiration and "in the style of..."?

Perhaps when art jurors award a $10,000 art prize to the alleged copy cat?

Serendipity


At the Affordable Art Fair last weekend, one of our neighbors was Marcia Weber who was displaying the work of Michael Banks and selling it quite impressively thoughout the weekend (including a piece to Bryant Gumbel).

Since they were next to us at the Fair, we became quite familiar with Banks' work and he even came by and chatted for a while with Catriona Fraser.

And yesterday, an artist who participated in the 51st Annual Boardwalk Art Show in Virginia Beach was talking to Catriona about the work of Doug Odom, the Alabama artist who had been awarded the $10,000 Best of Show prize at that event.

She described the work, and once Catriona saw the artwork via this Virginia Pilot article and studied the imagery of the artwork itself, it immediately dawned on her that the award winner's artwork was essentially very similar to Michael Banks' work.

Imitation?

And thus the question: Should an artist whose work is essentially done is a close copy style of another, better known artist, be awarded a $10,000 prize?

Especially since the jurors apparently praised the originality and naive style of the award-winning work.

The Plot Thickens

And now I am told that Odom used to be Banks' framer, and is thus quite familiar with Banks' work.

And most recently Odom's "art" used to be in making birdhouses, until he started painting the Banks-style paintings.

Opinion

In my opinion, while it may not be illegal to copy another artist's style, in this case it is certainly unethical, especially since the copier has received a major art prize based, in part, on originality and style.

Furthermore, I think that the Contemporary Art Center of Virginia, which is the institution which awards the prize, should recall the award and present it to the second place winner, whoever that artist may be.

AAF Full Report

We attended our first Affordable Art Fair in New York City the last four days and although it was very hard work, it paid off handsomely. Herewith a full blow by blow:

Thursday

4:00 AM - Wake up, shower and shave and prepare to drive van full of artwork to New York.

5:15 AM - On the road, and driving the gallery van full of Lida Moser, Sandra Ramos, Andrzej Pluta, Marta Maria Perez Bravo, David FeBland, and Maxwell MacKenzie work.

9:00 AM - I'm at the entrance to the Holland Tunnel, as by some weird warp of time I've actually made it this far in less than four hours.

10:00 AM - Takes one hour to cross the tunnel.

10:05 AM - Arrive at David FeBland's studio. I'm an hour early, so I call David to let him know that I'm outside his studio on Greenwich Street, but an hour early. David's at his doctor's appointment. "I'll be there in an hour," he says.

11:45 AM - FeBland arrives, and we load his work and drive to the AAF at the Metropolitan Pavillion on 18th Street.

12:15 PM - Arrive at AAF and found a primo parking spot right across the street from the entrance! Our space is about ten feet from Richmond's ADA Gallery and 25 feet from DC's Curator's Office.


12:30 PM - Begin unloading artwork; everyone else is pretty much already set up.

2:00 PM - I get a massive Pastrami sandwich and a Diet Coke for $7 at a nearby deli.

3:00 PM - Camera crew asks if we can please stop hammering while they film around us.

3:17 PM - I find a parking ticket on my van as my welcome to NY; noticed that all other unloading vans and trucks are also ticketed for parking in a loading zone.

4:00 PM - We're pretty much done with the hanging and display and the show opens to the press. Tons (I mean tons) of people with "Press" badges begin crawling all over the place taking notes; didn't run into any NYC art bloggers, although bloggers were accredited as press (as they should be).

6:00 PM - Doors open to preview for collectors, and the place packs right away; open (and free) bar(s) at this point and I suck on a brew and grab another one for the booth.

6:30 PM - Bryant Gumbel and lady friend come by and admire the work of New York painter David FeBland. He says that he'll come back.

7:00 PM - Christie's photography curator comes in, with Lida Moser in tow. We discuss all the amazing stories that Lida has about the New York art scene from the 50s through the 80s. Magically several art dealers and other curators appear in our booth to say hello to the Christie's curator. She and her partner give us an amazing idea for Lida Moser's next exhibition.

8:00 PM - We've sold several thousand dollars' worth of artwork, and by now Gumbel has returned four times to stare and ponder a $4,200 original oil by FeBland.

8:01 PM - Gumbel apparently decides that (either) the FeBland is too pricey for his budget or his taste, and then acquires a lesser-priced art of naive style piece from our neighbor gallery.

9:00 - One last minute sale of a Sandra Ramos digital print.

9:30 PM - Drive to the Marcel Hotel in a terrifying dance with NYC cabs as I try to make my way to 24th Street according to the "directions" of MapQuest.

10:15 PM - Forty-five minutes to drive 1.44 miles.

10:30 PM - As if the $200 for a tiny hotel room is not enough, I am informed that vans are an extra $10 a day parking for a total of $85 parking bill.

11:00 PM - I am exhausted and running on fumes but starving, so we go for a stroll along 3rd Avenue looking for a place to eat.

11:19 PM - 100 great eating places later we end up in a great Vietnamese joint with the unusual name of Lannam.

12:30 PM - After a walk through the packed streets of 3rd Avenue, I finally hit the sack in the postage sized room of the Marcel Hotel.

Friday

9:00 AM - Up and about and walk to the Met Pavillion.

10:00 - Breakfast of lox and coffee.

11:00 AM - At AAF to discover that the fair opens to the public at noon; wasted an extra hour of possible sleep!

2:00 PM - A couple begins a near marital spat as they argue over which three FeBland paintings they like best. It's their third visit during the day - they finally walk away in separate directions.

3:00 PM - The couple is back (apparently having decided and made up). She steps into the booth, he's a few feet behind her. She glances back at him. "So, which ones do you like?" she asks. He points to the same three paintings that they have been arguing for a couple of hours. "Should we get them?" she asks, looking back at him. "Just get them," he answers. She looks back at him anxiously, even I can tell that she's just wanting him to step next to her and be "there." He notices something in her look and asks, "Which ones do you like?" She looks at the display again and agrees with him. "I like those three as well." Now I'm thinking "sale made." She looks back at him, as I approach the wall to remove the first of the three paintings. "So, get those three?" she asks again. His cell phone rings and he answers it and begins to walk away. She rolls her eyes, yells something at him and follows him in a huff calling him names.

5:00 PM - A couple of good sales of two lifetime silver gelatin photos by Lida Moser are carrying the day so far. The crowds are fairly good and constant.

6:00 PM - Crowds thicken; the London gallery next to us is either doing gangbusters or rotating the work on their walls every hour.

7:00 PM - A man who had loved FeBland's work on the Thursday night preview and who wanted his wife to see it (to see if she liked him as well) returns with the wife in tow. She glances at the work and says "I don't like it." I look at her puzzled, as she has actually just glanced at it for a second. She notices and as if to offer an explanation tells me that "we always come to the art fairs, but we never buy anything because we can never agree on anything." The husband sighs, and I am sure prepares to dislike whatever she picks next.

8:00 PM - Fair ends.

10:00 - Another great spot to dine on 3rd Avenue - this time at Choice Restaurant. I order grilled shark from a nervous new waitress. She comes back and asks how I want it cooked. Never having been asked this before for seafood, I respond that I want it "flaky." She says that the computer is asking her if I want it rare, medium, etc. Even more puzzled I say "medium."

10:20 PM - I get a medium cooked steak (the other special). I inform the busboy that I had ordered shark. In Farsi he tries to communicate with me. The manager is there in a New York second and wants to know what the problem is. I tell him and he apologizes and tells me that she's a new waitress and that she made a mistake on entering the dish. I tell him that I'll take the steak and that she shouldn't get in trouble as she's new. He says "don't worry," and tells me that the shark will be there in 10 minutes, and that drinks are on the house.

10:35 PM - Two beers and ten minutes later a huge piece of really nice shark arrives. The food is excellent!

11:00 PM - Sated (and a little drunk) - I leave the waitress a really good tip.

11:45 PM - In bed, thrashed and full (bad idea).

Saturday

9:00 AM - Up and it - my feet are killing me; head OK.

10:30 AM - Have walked from hotel to AAF and sit down to watch a little Word Cup at the New York deli and have a bagel and lox again for breakfast; yummy.

11:00 AM - AAF opens to the public and good crowds begin to come in immediately.

2:00 PM - The director of a major Los Angeles gallery comes by and discusses representing the work of David FeBland in Los Angeles.

4:00 PM - A NYC photography collector who has acquired several photos from us through Sothebys.com drops by to pick up some work that he had adquired before and in the visit also buys a few Lida Moser vintage photos and also closes a sale that we've been working on for two years for a $7,000 Joyce Tenneson dyptich.


5:00 PM - Richmond's ADA Gallery seems to be doing gangbusters and selling quite well. The Brits next to us continue to sell or rotate work.

6:00 PM - Strong sales day, with more Lida Moser sales, as well as a major Sandra Ramos piece.

7:00 PM - We sell a FeBland painting to a collector near the very rare top of the 100 most influential people in the world in art. A couple of other art dealers magically appear as we're closing the sale to introduce themselves to the collector. They later inform me who this Ubercollector is, although the collector's spouse had done a pretty good job of filling me in already, as well as telling me that "the most important event that happened to your gallery in this fair is not the sales, but the fact that you have placed this painting in this collection and home; you'll see what happens now." OK, let's see.

8:00 PM - Fair closes for the day - good sales.

10:00 PM - Excellent pulpo at an Italian restaurant on 3rd Avenue.

12:00 PM - Out.

Sunday

6:00 AM - As much as I hate it, I get up super early in order to find a good parking spot at the Met Pavillion, as we will be loading the van at the end of today's last day. I drive to 18th Street and find a spot right in front of the door.

8:00 AM - It's already in the 90's in New York and the streets are nonetheless packed with people as I have breakfast and watch the World Cup on TV. The Central American deli guys tell me that the US got ripped off in their game versus Italy.

10:00 AM - I have a good, long chat with an Israeli art dealer who's having a slow fair. She tells me that her neighbor has only sold $1,000 in the first three days, and that last year the same gallery sold $40,000 at AAF.

11:00 AM - AAF opens for its final day - once again, good crowds come in.

2:00 PM - We've spent nearly two hours working with a young couple who wants to buy some Maxwell MacKenzie photographs - they're having a very difficult time deciding what to get.

4:00 PM - Nearly four hours later, the couple buys two MacKenzie's.

4:15 PM - A small child knocks a sculpture down in the ADA Gallery space. The parents (who had not been keeping an eye on their child) berate and yell at the child instead of immediately apologizing to the gallery and offering to pay for damages. Fortunately, the sculpture is minimally damaged and should easily be able to be fixed... still.

5:00 PM - A major New York City gallerist drops by and buys a large painting from ADA Gallery.

6:00 PM - Time to close, pack up and leave. And then a lady wearing a press badge comes in and wants to buy a Marta Maria Perez Bravo photograph. As I am closing the sale I notice that the photo has a tiny dimple. I unframe the photo to examine it and see if it can be repaired. It can't, but if reframed it can be hidden without the affecting the integrity of the image. I offer her (since it's the last one) a generous discount if she still wants to keep it, and she decides to keep the photo. By now it's almost 6:45PM, but we make one last minute sale.

7:00 PM - Begin loading van - it's super hot and muggy in NYC.

8:00 PM - All packed and ready to go, but I have to drop David FeBland off at his studio and pick up two large paintings for his upcoming solo with Fraser Gallery later this year.

9:00 PM - On the New Jersey Turnpike and heading home. The fair has been a terrific (but hard) success.

12:30 PM - Home.

I'm back!

Back from NYC - full Affordable Art Fair report coming in a few minutes!

What the flag?

Today the WaPo's Chief Art Critic reviews... ah... the flag.

And the blogsphere reacts; Bailey writes: "And so today the Washington Post’s chief art critic locks himself inside his 60s-era party pad, turns on his lava lamp, raises the volume on his scratchy Hendrix album, fires up his liberal hippie bong and connects the stars and bars for us to American art." Read the whole post here.

And Snarky Bastards writes: "Now Gopnik is not an ignorant man. In other parts of the piece, he mentions, by name, the Union Jack. But in this graph, he treats our red, white, and blue color scheme as something outlandish, created ex nihilo by madmen." Read the whole post here.

Ashe Tori simply says: "Don't wear the flag. It'll make you look fat." Read her post here.

Update: Others chime in:

More links here.

MOCA

Over at ArtDC, MOCA's David Quammen defends MOCA DC, which has apparently been accused by someone of being a vanity space.

Read it here.

Art Teacher to be Fired Over Nude Photos

Of herself.

Austin ISD wants to fire an Austin High School teacher over nude photos posted on the Internet.

The AISD school board Monday unanimously decided to begin the termination process for Tamara Hoover, who teaches art. The board said Hoover violated the terms of her employment contract.

Hoover has been on paid administrative leave since May 19 after school officials found out about the images.

She defended her actions in a blog by saying that the pictures are not pornography but "artistic photography."

Full article here.

AAF

Lack of extreme posting mostly due to the fact that I've been super busy preparing for the Affordable Art Fair in New York this coming Thursday through Sunday.

Tons of framing, plus cataloguing over 500 Lida Moser vintage and lifetime photos leave very little time.

On the other hand, I will take the laptop to NYC and will be doing some live blogging from AAF (if they have wireless in the Metropolitan Pavillion that is).

Roberge to leave

The Washington City Paper's Arts Editor, Leonard Roberge, will soon be leaving his job as Arts Editor for the CP to pursue a variety of private artistic issues.

Roberge will be missed sorely, as he was a key part of the CP's increased arts coverage while he was in charge of the cultural side of the free weekly.

Fair winds and following seas and we hope that your replacement will continue what you started!

Sneaked through

The person at the WaPo whose job it is to ensure that as little as possible visual art reviews take place must have been sick today, as there's an art column in the newspaper today! A Monday!

John Kelly's Washington discusses and delivers a really nice piece on Jeff Wilson at the Ellipse Art Center -- curated by Cynthia Connelly. Read it here.

Seminar

Today I'm doing the seminar for artists at the Warehouse.

Details here.

Bethesda Artists Markets

Today is the Bethesda Artist Market.

Bethesda Artist Markets are one-day events featuring 30 local and regional artists in the Bethesda Place Plaza.

It's on till 5PM. Directions here.

Bethesda Painting Prize Winners

$10,000 awarded to the Bethesda Painting Award winner! (See bottom of posting for award winners if you have no patience).

Nine painters had been selected as finalists for the Bethesda Painting Awards, a juried competition and exhibition produced by the Bethesda Arts & Entertainment District. More than 200 artists from Maryland, Virginia and Washington, D.C. submitted work to the second annual competition created to exclusively honor painters. The work of the nine finalists is now display at the Fraser Gallery through July 12, 2006.

The top prize winners were announced and honored on Wednesday, at a private press event held at the Fraser Gallery. The Best in Show winner was awarded $10,000, second place was honored with $2,000 and third place was awarded $1,000.

The nine artists selected as finalists are:

Paul Ellis, Washington, D.C.
Michael Farrell, Bethesda, MD
Haley Hasler, Charlottesville, VA
Scott Hutchison, Arlington, VA
Megan Marlatt, Orange, VA
Phyllis Plattner, Bethesda, MD
James Rieck, Baltimore, MD
Tony Shore, Joppa, MD
Andrew Wodzianski, Washington, D.C.

Entries were juried by:

- Janis Goodman, Associate Professor of Fine Arts at the Corcoran College of Art & Design and the visual arts reviewer for WETA's Around Town.

- Ron Johnson, Assistant Professor of Painting at Virginia Commonwealth University (VCU).

- Barry Nemett, Chair of the Painting Department at the Maryland Institute College of Art (MICA).

Catriona Fraser, director of the Fraser Gallery, is the non-voting Chair of the Bethesda Painting Awards.

The Bethesda Painting Awards were established by Carol Trawick in 2005 and she continues to be a beacon of light and a great example as a small business woman who puts her money where her mouth is.

Ms. Trawick has served as a community activist for more than 25 years in downtown Bethesda. She is Chair of the Bethesda Arts & Entertainment District, Past Chair of the Bethesda Urban Partnership, Inc. and founder of The Trawick Prize: Bethesda Contemporary Art Awards. Ms. Trawick is the owner of an Information Technology company in Bethesda, Trawick & Associates.

A public opening will be held tonight, Friday, June 9, 2006 from 6 – 9pm in conjunction with the Bethesda Art Walk.

As tonight is the second Friday of the month, it is thus the Bethesda Art Walk with 13 participating venues and with free guided tours.

Winners

Tony Shore (who teaches at MICA) of Baltimore, MD was awarded the Best in Show prize of $10,000.

James Rieck of Baltimore, MD (who I think teaches at the Corcoran) was named Second Place and received $2,000.

Scott Hutchison of Arlington, VA (who teaches at George Washington University) was honored with Third Place and was given $1,000.

See ya there!

Weekend Online

The staff of the WaPo's Weekend is again online at 11AM and discussing their coverage and answering your questions.

Details and a way to ask questions here.

No Tolls on the Internet

Congress is about to cast a very important and historic vote on the future of the Internet. The vote will decide whether the Internet remains a free and open or instead becomes the property of cable and phone companies.

Read the details here and then contact your elected representative.

Kirkland on Compelled II

Thinking About Art reviews our last show (Compelled by Content II). Read the review here.

If you don't get it...

I guess it takes a thousand... this is from the last Weekend live online chat last Friday:

Arlington, Va.: For several weeks now when questioned about the sparse arts coverage you guys have talked about giving equal coverage across the board and meeting demand. You say that you're listening to us asking for more reviews of our local galleries. You also say that everyone wants more coverage of movies, theatre, music, etc.

My question is this: where are all of those people in these chat sessions? You are asked repeatedly about providing more art coverage but I have yet to see one comment asking for more music reviews or theater reviews, etc.

Something doesn't jive about this. Could you please really address the issue instead of talking more about this so-called demand for more coverage across the board and lack of print space? O'Sullivan is an asset to our area but he can't do it all himself.

Joyce Jones: Thanks for joining our chat. Our first chat had lots of questions about our "sparse" dance coverage. We have many chatters who come to our chats, fortunately, and considering that this is only our fifth week, I hope the numbers will grow exponentially. Maybe when we get 1,000 questions a week, I'll consider the makeup of the questioners to be statistically significant (sorry, i majored in economics, minored in art).

Our mission is to cover entertainment. That's a lot. We take our mission very seriously and we try to give a representative sample of the best the area has to offer, while being geographically representative and keeping in mind that we have a broad readership. We are not a guide to the galleries. But we do take the galleries seriously and Michael does a great job of covering all of the arts. But, yes, he is one person. (Though I'm working on cloning him.)

You may want to focus on other venues within the paper when pressing for more gallery coverage, perhaps the Arts section or even the Extras, which often can give good space to venues within their area.

What Arts Section? Did she mean the one that was renamed Style section about 15 years ago? (It used to be called the Arts Section) or did she mean the Sunday Arts (which has done about four gallery reviews in the last couple of years - and then most of those were done on one gallery which could not be reviewed by Style due to conflict of interests on the part of the reviewer - and thus the Sunday Arts review "make-up" review.

The next Weekend online session is this coming Friday. You can submit your questions here.

Prints

I'm hearing good things about the current Kirk Waldroff exhibition at Washington Printmakers Gallery which opened last Friday.

Details here.

Congrats!

To DC area artist Chawky Frenn (represented by us), who is currently in Lebanon where he delivered a lecture at The American University of Beirut recently, and who has been selected to participate in a major museum show at the Sursok Museum in Beirut in September and who will also be delivering a lecture (arranged by Alan Feltus) at the American school in Tuscany in his way back to George Mason University, where Frenn is a member of the art faculty.

Grants

Deadline: June 12, 2006

This NEA grant offers funding for projects that help children and youth acquire appreciation, knowledge, and understanding of and skills in the arts. Projects must provide participatory learning and engagement of students with skilled artists, teachers, and excellent art, and ensure the application of national, state, or local arts education standards. Maximum Award: $5,000-$150,000. Eligibility: school-based or community-based projects.

Boot Camp for Artists

On Sunday, June 11, 2006, we will present another one of our highly successful "Success as an Artist" Seminars. This next seminar will be jointly hosted with the good people from Art-O-Matic, and the Warehouse Theater, Café and Gallery, on Sunday, June 11, 2006 from 10:30-6PM, with lunch provided.

The seven hour seminar, which has been taken by over 2,000 artists and arts professionals from all over the Mid Atlantic is designed to deliver information, data and proven tactics to allow artists to develop and sustain a career in the fine arts. The seminar costs $80 (includes lunch) and is limited to 50 people. For more details please visit this website. For this seminar, sometimes called "Boot Camp for Artists" by the attendees, people as far as Arizona, California, New York and South Carolina have attended, including many, many university level art professionals.

In its seven hour format, the seminar covers a wide range of structured issues including:

1. Materials - Buying materials;strategies for lowering your costs, where and how to get it, etc.

2. Presentation – How to properly present your artwork including Conservation issues, Archival Matting and Framing, Longevity of materials, a discussion on Limited editions, signing and numbering, Prints vs. Reproduction, discussion on Iris Prints (Pros and Cons).

3. Creating a resume - Strategy for building your art resume, including how to write one, what should be in it, presentation, etc.

4. Juried Shows – An Insider's view and strategy to get in the competitions.

5. How to take slides and photographs of your artwork

6. Selling your art – A variety of avenues to actually selling your artwork, including fine arts festivals, corporate acquisitions, galleries, public arts, etc.

7. Creating a Body of Works

8. How to write a news release

9. Publicity – How to get in newspapers, magazines, etc. Plus handouts on email and addresses of newspaper critics, writers, etc.

10. Galleries – Discussion on area galleries including Vanity Galleries, Co-Operatives, Commercial Galleries, Non-profit Art spaces, etc.

11. How to approach a gallery – Realities of the business, Contracts, Gallery/Artist Relationship, Agents.

12. Outdoor Art Festivals – Discussion and advice on how to sell outwork at fine arts festivals, which to do, which to avoid, etc.

13. Resources - Display systems and tents, best juried shows and ones to avoid.

14. Accepting Credit cards – How to set up your art business.

15. Grants – Discussion on how to get grants in DC, Regional and National, including handouts on who and where and when.

16. Alternative Marketing - Cable TV, Local media

17. Internet – How to build your website at no cost, how to establish a wide and diverse Internet presence.

The seminar has been a spectacular success, and the feedback from artists can be read online at here and we continue to receive tremendous positive feedback on the practical success that this seminar has meant for those who have taken it.

You can sign up for the seminar at 301/718-9651 or via email at info@thefrasergallery.com. There are a few spots left!

Congrats!

To my good friend Jeffry Cudlin from the Washington City Paper, who has been nominated for the Association of Alternative NewsWeeklies Awards (for art criticism).

Bethesda Art Walk

This next Friday, June 9, is the second Friday of the month and thus it's the Bethesda Art Walk with 13 participating venues and with free guided tours.

We will host the finalists for the $14,000 Bethesda Painting Award Prizes. There will be an opening reception for the finalists at the Fraser Gallery from 6-9PM.

See the finalists here.

See ya there!

At Nevin Kelly

Two really good DC area artists, Sondra N. Arkin and Mary Beth Ramsey open at the Nevin Kelly Gallery this coming Thursday with an opening reception from 6-9PM.

Tape Dude in New York City

Mark Jenkins just keeps getting better and bolder. Check out his latest New York City project here.

Norfolk

I feel like I've been driving for years! I've just arrived in Norfolk for a meeting. Tons of stuff to discuss and post.

Meanwhile have fun with hotel art.

Kevin MacDonald (1946-2006)

Several of you have sent me emails to let me know that Washington area artist Kevin MacDonald passed away at 7:07 last night at Casey House Hospice in Derwood. He had been battling cancer for the last two years.

This is a significant loss to our area's art community of a very talented and respected artist and an exceptionally wonderful and decent human being.

Tate in the WaPo

While I was gone (I'm still gone actually... but heading back) to Colgate, the WaPo's Rachel Beckman had this piece on Tim Tate and the 48 Hour Film Project.

WaPo's Weekend Staff Online

I'm on the road... but keep the pressure up and ask good, intelligent questions!

The WaPo's Weekend staffers are online at 11AM today answering questions about Weekend and its coverage.

You can email your question to them here.

More arts coverage!

On the road...

Heading out later today to Colgate for a college reunion... more later.

1st Fridays

Tomorrow is the first Friday of June and thus usually time for the openings and extended hours of the Dupont Circle area galleries. Openings are generally from 6-8PM, but make sure to check their websites for the correct times.

Also on Friday, Irvine Contemporary and Warehouse Gallery have Charbel Ackermann's "The New Geometry" and "Monument2", a Special Installation at The Warehouse Gallery, opening with a reception for the artist on Friday June 2, 5:00-7:00 at The Gallery at The Warehouse. There's also an artist's talk and afternoon reception on Saturday, June 3rd, 2:00-4:00 pm, also at The Gallery at the Warehouse.

Wanna go to an opening tonite?

"Dogs and Cats Living Together," a solo show by John Aaron at The Clarendon Grill consisting of large watercolor and oil paintings of uncommon household pets has an opening reception for the artist tonight from 6-9PM. The exhibition runs through July 22, 2006.

The Clarendon Grill
1101 N. Highland St.
Arlington, VA 22201
703.524.7455

Opportunities for Photographers

Deadline: June 12, 2006

New Image Gallery at James Madison University is reviewing photography and new media with mathematical themes and inspirations for an exhibition in Fall 2006. This includes all traditional and digital photography processes, photography-related mixed media, video, installations, interactive stations, and performance- based work. Artists, mathematicians, and others may apply.

Curated by James Madison University professors Dr. Elizabeth Brown (Math), Corinne Diop (Art), Rebecca Silberman (Art, New Image Gallery Director). There is no application fee. This exhibition is co-sponsored by James Madison University 's School of Art & Art History and the Institute for Visual Studies. New Image Gallery is James Madison University's contemporary photography gallery, now in a new gallery space. For more details, please contact Corinne Diop, School of Art & Art History, MSC - diopcj@jmu.edu - (540) 568-6485.

Send appropriate documentation on slides, CD, web site links, dvd, or video; an image list; a statement outlining the mathematical implication of your work; a resume; any other support material; complete and accurate contact information; a SASE for return of your materials to:

James Madison University
800 S. Main St
Harrisonburg, VA 22807

---

Deadline: August 04, 2006

The 12 12 Gallery in nearby Richmond, Virginia has a call to photographers for its "National Juried Photography Exhibition," September 22 - October 22, 2006. 2-D or 3-D work completed in past 3 years using any photographic processes by artists 18+ years of age.

$1000 in awards. Juror: Stephen Perloff. $30 for up to 5 slides or digital images. The prospectus is available online here or artists may send a SASE to:

12 12 Gallery
12 E. 12th Street
Richmond, VA 23224

Questions? Contact Martin McFadden, Director at martin.mcfadden@cavtel.net or 804-233-9957.

More congrats!

To DC area artists Inga Frick, Ian Jehle, J.T. Kirkland, Gabriel Martinez, W.C. Richardson, and Jason Zimmerman, all of whom have been chosen for the seminfinalist list for the The Janet & Walter Sondheim Prize, a one-time $25,000 art prize that will be awarded in conjunction with the annual Artscape juried exhibition.

Up to ten finalists from the below (very Baltimore-heavy) list (which includes quite a few Trawick Prize finalists and one winner) will be selected for the exhibition that will be on display in the Decker and Meyerhoff galleries of the Maryland Institute College of Art. From this group the winner of the prize will be selected:

Lauren Audet - Baltimore, MD
Lillian Bayley - Baltimore, MD
Michael Benevento - Baltimore, MD
Heather Boaz - Towson, MD
Nancy A. Breslin - Newark, DE
Camp Baltimore - Baltimore, MD
R.L. Croft - Manassas, VA
Jarrett Min Davis - Baltimore, MD
Laure Drogoul - Baltimore, MD
Eric Dyer - Baltimore , MD
Inga Frick - Washington, DC
Leslie Furlong - Baltimore, MD
Dawn Gavin - Baltimore, MD
Lesser Gonzalez - Baltimore, MD
Geoff Grace - Baltimore, MD
Kristofer Harzinski - Lancaster, PA
Maren Hassinger - Baltimore, MD
Bernhard Hildebrandt - Baltimore, MD
Karin Horlbeck - Baltimore, MD
Jason Hughes - Baltimore, MD
Julie Jankowski - Baltimore, MD
Ian Jehle - Washington, DC
Brian Kain - Emmitsburg, MD
J.T. Kirkland - Arlington, VA
Osamu Kobayashi - Baltimore, MD
Gabriel Martinez - Washington, DC
Lesley McTague - Cockeysville , MD
David Page - Baltimore, MD
Hugh Pocock - Baltimore, MD
Carly Ptak - Baltimore, MD
W.C. Richardson - University Park, MD
Chuck Sehman - Baltimore, MD
Julia Kim Smith - Baltimore, MD
Denise Tassin - Baltimore, MD
Rene Trevino - Baltimore, MD
P. Daniel Witmer - Baltimore, MD
Karen Yasinsky - Baltimore, MD
Jason Zimmerman - Washington, DC

The jurors are Kathy Grayson, Gallery Director of Deitch Projects in New York, Matthew Higgs, currently the director and chief curator of White Columns in New York, and artist William Pope, faculty of Bates College in Lewiston, Maine.

Congrats!

To Ben Tolman, who will be exhibiting this coming June at the "Flights of Imagination" exhibition in Switzerland at the Giger Museum curated by H.R. Giger himself.

Express

The WaPo's Express has a bit on my review of Cristin Millett.

Cristin Millett at Arlington Arts Center

Considering that Jessica Dawson wrote that "I regret to report that almost all of the six solo shows filling Arlington Arts Center are underwhelming" when she visited the Arlington Arts Center recently, I wasn't really expecting an artistic epiphany during my recent visit to see Nestor Hernandez's portraits of Cuban-Americans currently on exhibition on the lower level of the center.

Wrong!

The visit to the Arlington Arts Center unexpectedly revealed one of the most memorable art installations that I have ever seen, and even though critics often have different opinions, I am honestly puzzled that Dawson didn't mention the amazing installation in the main floor gallery.

I am referring to Cristin Millett’s astounding solo show at the Center.

Not being familiar with Millett’s work, I asked the Center’s hardworking director Claire Huschle, to tell me a bit about both the artist and the installation. I then stepped back and listened as Claire smartly dissected and explained the installation and commented on it (and then I realized why Jessica missed it completely! -- "listening" being the operative word here).

"She grew in a medical household," explained Huschle, as we walked into the installation. This revelation (I believe) is the key to understanding (and appreciating) Millett's work; forgive my using the critic's crutch and let me describe it for you.

The installation consists of a maze like circular corridor titled "Teatro Anatomico" which uses Andre Levret’s 18th century schematic representations of the female reproductive system at the time of conception.

Millett has reproduced them into chiffon sheets that hang from aluminum tubing that form the maze and deliver a very convincing impression of both a hospital setting and a surgical theater, set-up in uterine forms that lead to a central point.

There’s a certain and strange Victorian parlor elegance to this first part of the installation, and the technical skill is admirable, both in the hand stitching of the lady-like chiffon and the construction of the aluminum tubing.

Millett has realistically constructed a convincing anatomical theatre with a subtle nuance of the female reproductive system (even the Victorian lighting seems like a female vagina when viewed from the outside); we are entering a medical theatre, where anatomy students, erotica voyeurs, and art observers all meld into one.

Inside the maze, a cleverly constructed medical exam table depicts the living digital image of a young woman's body, except its face which is replaced by a living digital plasm.

Titled "Abdominal Mystery: Dissection of the Observer," this is a living, breathing video, where we see the anonymous body breathing, being dissected, wrapped in plastic (I think), explored and manipulated.

Here the voyeur is fascinated, titillated and sometimes repulsed. The Eros of the nude body is coupled with the grossness of the exploration of its insides and the magic of its fragility. The body has become a bridge of sorts between the interior and exterior spaces of architectural entryway provided by the uterine maze: are we entering the theatre, or penetrating it?

The metaphorical relationship can be overwhelmingly sexual, or perhaps an intelligent attempt to place the female body as a comment on its visual power in a Sexual Personae Camille Paglia sort of way?

And therein lies the unexpected success of this piece, which belongs in a museum where it can be admired, explored and discussed: It brings the viewer into a silent interaction with a work of art that employs the most powerful of human icons: our body.

Millett is a young artist on the faculty at Penn State, and if this installation is a sign of things to come, then keep an eye on this promising artist.

And were our museum curators like their counterparts in New York or LA or Seattle or SF, this piece would find a champion (and a home) in one of our area's great museums.

This is my call for Anne Ellegood or Kerry Brougher from the Hirshhorn or Jonathan Binstock from the Corcoran to pay a visit to Arlington and see the newborn that this young brilliant artist has delivered for us.

The exhibition goes through June 10, 2006.

Update: The Washington Post's Express has a little blurb on this review in the Tuesday, May 30, 2006 issue.

Last week, a reader asked the Weekend staff to consider this really good suggestion/question:

McLean, Va.: How can the Weekend section give out a little more info on gallery shows, etc.? It seems like a lot of space is used to list page after page of museum shows (a lot of which are static and never change) on every issue ...

How about a once a month museum listing like you do now, and the other three weeks only list those museum shows that are new or opening (like you do with galleries).

That would free up additional space to discuss (maybe mini reviews) more art gallery shows ...

Bottom line is that the static museum listing, issue after issue ... seems a little "dusty" and that whole part of Weekend may need to re "re-freshed" -- We're starving for more art reviews out here ...

Aficionado de Arte

I thought that this was a good suggestion and I wish that I had thought of the idea, which is a good workable suggestion to "free up" static space in the section for more art coverage.

But then witness how the suggestion itself is ignored in the response:

Curt Fields: More art reviews would be nice. We also hear from people who want more on Classical music, theater events, etc. And we'd love to write more on all those topics. Unfortunately the amount of space we have is not unlimited. It's a tricky juggling act.

With all due respect, did Mr. Fields read the question/suggestion?

We know that the "amount of space" is not unlimited! But the suggestion offered a way to "free up" space. And yet he ignored that part and gave the canned "we have limited space and everyone wants us to cover their pet interests" answer.

So: How's the suggestion itself (as far as an idea to "free up" more space?

By the way there's a LOT more print space devoted each Weekend to music and theatre than to the visual arts: a LOT more!

Girlz Cook-Out

Candy Keegan and the other artists from the group known as the Girlz Club are having a Happy Hour and cookout this coming Friday, June 2 at Wolfarth Galleries from 4-8PM. They are currently all exhibiting at Wolfarth in a group show called Mixology which runs through the 6th.

Wohlfarth Galleries is located at 3418 9th Street, NE in Washington, DC, 1/2 block from Brookland/CUA red line metro and across 9th Street from Colonel Brook's Tavern. Details and info at 202-526-8022.

Bring something!

Mathematics

Today I am in the process of jurying artwork submitted via CD ROMS for the art competition.

Here's a bit of mathematics for 98% of the artists who sent in a CD ROM and a business-sized stamped and self-addressed envelope for the return of the CD ROM: A CD ROM does NOT fit in a business sized envelope!

Kahlo sets record

The sale of Frida Kahlo´s self-portrait, “Roots” sold for $5.6 million dollars at an auction held by Sotheby´s. This sets a record for the most expensive Latin American painting sold at an auction.

Read the details here.

The Arts and the Race for DC Mayor

This posting about DC mayoral candidate Michael A. Brown and this posting about Alma Thomas at the Hirshhorn triggered a DC Arts News reader to send me the following:

Anthony A. Lewis is the current president of Verizon Washington, D.C.

He succeeded Marie C. Johns, who is now running for mayor of DC (AND doing "meet and greets" at local white-owned art galleries).

Here are a few organizations that Tony Lewis is part of:

- he is a member of the DC Chamber of Commerce's Governing Board,

- he is a member of the board of directors of the Greater Washington Board of Trade,

- he is a member of the Washington Performing Arts Society,

- he is a member of the Federal City Council,

- and he is a member of the Cultural Alliance of Greater Washington

Now here is a black man who maybe ought to be tapped to be on the Hirshhorn's Board of Trustees or be groomed to become a purchasing friend who might buy a Lois Mailou Jones and give it to the Hirshhorn.

The Hirshhorn Museum and Sculpture Garden generally accepts gifts of art only if it intends to accession them into its collections. The museum must, of necessity, be very selective to ensure that objects acquired are appropriate to the collections and can be properly cared for and displayed.

So maybe Tony Lewis will drop into the local DC white-owned gallery and maybe someone will convince him to buy up a Renee Stout and give it to the Hirshhorn.

Interesting points... if my memory serves me right, recently the Hirshhorn received a gift of a Renee Stout from Ubercollector Fred Ognibene; but the Hirshhorn could certainly use another one!

P.S. Tony Lewis: I know of a local, African-American owned, highly reputable art gallery which has a really nice (and early) Lois Mailou Jones original for sale. Talk to me!

Transcripts

Here are the transcripts from this morning's Weekend staff online session.

These online talks are rapidly becoming a forum for people to discuss on ways to expand the Weekend section's arts coverage and has also become a somewhat creative way for some of the Weekend staffers to keep sidestepping the issue.

Consider this really good suggestion/question:

McLean, Va.: How can the Weekend section give out a little more info on gallery shows, etc.? It seems like a lot of space is used to list page after page of museum shows (a lot of which are static and never change) on every issue ...

How about a once a month museum listing like you do now, and the other three weeks only list those museum shows that are new or opening (like you do with galleries).

That would free up additional space to discuss (maybe mini reviews) more art gallery shows ...

Bottom line is that the static museum listing, issue after issue ... seems a little "dusty" and that whole part of Weekend may need to re "re-freshed" -- We're starving for more art reviews out here ...

Aficionado de Arte

Good suggestion uh? I wish I had thought of the idea, which is a good workable suggestion to free up space in the section for more art coverage. But then witness how the suggestion itself is ignored in the response:

Curt Fields: More art reviews would be nice. We also hear from people who want more on Classical music, theater events, etc. And we'd love to write more on all those topics. Unfortunately the amount of space we have is not unlimited. It's a tricky juggling act.

Did Fields read the question/suggestion?

We know that the "amount of space" is not unlimited! But the suggestion offered a way to "free up" space. And yet he ignored that part and gave the canned "we have limited space and everyone wants us to cover their pet interests" answer.

WaPo Changes

This coming September, the WaPo is going to combine the Home, Health and Food sections into something called new The Daily Source.

It will have a staff of 30.

This is possibly an area where "new" or additional arts coverage could happen, since currently the Home section does occasionally run notices of art openings and certain art related gimmicks that feature decorating or interior design.

WaPo's Weekend Staff Online

The WaPo's Weekend staffers are online at 11AM today answering questions about Weekend and its coverage.

You can email your question to them here.

Update: Here are the transcripts from this morning's session. These online talks are rapidly becoming a forum for people to discuss on ways to expand the Weekend section's arts coverage.

The Corcoran's Roof

Oooh... Sommer Mathis over at DCist hits on a good one as she highlights Ed Lazere's (the executive director of the D.C. Fiscal Policy Institute) most interesting piece in the current Hill Rag reviewing the Mayor's current budget proposal for arts funding in 2007.

Arts Funding in the Proposed 2007 Budget
Corcoran Roof - $8 million
Arena Stage Expansion - $10 million
Community Arts Programs - $8.1 million
Arts Education - $1.7 million
Howard Theater - $2.5 million
Barracks Row Theater - $2.5 million
Public Art Projects - $2.5 million

Lazere notes that

"Last year, the city pledged $20 million to support a major expansion at Arena Stage. This year's budget would raise the contribution from DC taxpayers even further, to $25 million, with $10 million coming in 2007. Overall, the budget would devote more to the Corcoran and Arena Stage in 2007 than to all other arts programs combined."

Read Lazere's entire piece here. It's interesting to me that the theatres are getting six times more funding than public art projects ($15 million compared to $2.5 million).

Diamonds are a Hirst's best friend

A few years ago we were approached by a (very wealthy) artist in her twenties who wanted to exhibit her (very bad) paintings in our galleries. Part of her gimmick was the fact that each work had around $50,000 in precious stones embedded in the thickly applied paint that she used.

We turned her down.

Leave it to Damien Hirst to outdo her; his latest project is a skull cast in platinum and covered in diamonds. This will be the most expensive piece of artwork ever created, and will bring Hirst closer to the Jeff Koons Art League.

The skull will cost around $15-18 million smackers.

"I just want to celebrate life by saying to hell with death. What better way of saying that than by taking the ultimate symbol of death and covering it in the ultimate symbol of luxury, desire and decadence?

The only part of the original skull that will remain will be the teeth. You need that grotesque element for it to work as a piece of art. God is in the details and all that.

I've always adhered to the principle that the simplest ideas are the best, and this will be the ultimate two fingers up to death. I want people to see it and be astounded. I want them to gasp."

I'm already gaggingsping.

Alma Thomas

The Hirshhorn has some of the Alma Thomas paintings in its collection currently on exhibition.

Thomas, who lived most of her life (and taught art to children for many years) in DC, didn't even have her first solo show until she was 68 years old, and still managed to fit in retrospectives at the Corcoran Gallery of Art and what was then called the National Museum of American Art, and then became the first African American woman to have a solo show at the Whitney Museum of American Art in NYC.

She died in 1978, and many of the Thomas' paintings in the Hirshhorn collection were gifted to the museum after her death.

I find it a little curious that the Hirshhorn has eight Thomas in its collection, but only one Lois Mailou Jones, who was one of Thomas' professors at Howard (Thomas was Howard's first Art Department graduate in 1924).

Jones died in 1998. Time for some more gifts to the Hirsh...

Lecture

Next week, on Wed. June 7, 2006, at 12 noon, Michelle Greet, Assistant Professor of Art History, George Mason University will deliver a slide lecture titled "From Matta to Gego: Modes of Abstraction in Latin America" at the Art Museum of the Americas, a truly gorgeous, and often ignored, art space in our region.

Free and open to the public!

Bailey in the WaPo

Bailey is in today's WaPo.

See it here.

We have them too

An alert DC Art News reader points out that in the WaPo's District Extra, there is an article about how Michael A. Brown is getting political endorsements for his DC mayoral campaign in places outside the DC area.

So what's this story got to to do with the visual arts?

Apparently Brown was in Atlanta to raise funds for his campaign, which he last reported in March as having less than $12,000 in cash. Andrew Young endorsed him in front of a crowd of about 150 who paid $100 to attend a reception at an African American-owned art gallery.

Now this is something that has never happened in DC... or has it?

And what is it with WaPo's writers and their "generalizing" of art galleries or museums (describing them as "an art gallery" or in Big Al Carter's article, as "an art museum"), rather than telling their readers the name of that art gallery in Atlanta? Had it been a defense contractor, or any other business, we'd know immediately who it was.

And Mr. Brown, if you need to pick up some endorsements in our area, and need an excellent African-American owned art gallery to host the event, we have them too! I'll even tell you the name of some of them.

Zuik

As you can probably tell from the dearth of postings, I have been super busy and away from DC this week.

And tonite just back from Heineman-Myers where Argentine painter Martha Zuik had a nice artist's talk amidst some really good Argentine wine tasting... more on Zuik later.

Carter's Show

Another DC Art News reader points out that this link has all the info about the Big Al Carter museum show that the WaPo article failed to reveal.

Online grilling

Last Sunday's Washington Post Magazine did something quite out of the ordinary: it actually had a profile of a DC area artist: Allen D. Carter.

And one of DC Art News readers wrote to me that

"it's INFURIATING thru the whole article they keep referring to some museum in North Carolina where Carter's work will be featured in group show... after searching on the curator's name you can dig up The Louise Wells Cameron Art Museum. Would it kill them to mention the name of the museum? would this kind of writing be tolerated for a political story or a sports story? That town hall meeting that happened somewhere in North Carolina? That game that was played somewhere in the south? I dont think so..."

Good points!

And then today, the author of the piece, Mary Battiata, was online discussing the article (I was away all day and missed it!) and answering questions and yikes... was she grilled!

Everything is online here.

Reston Report

Back from jurying the 15th Annual Northern Virginia Fine Arts Festival in Reston, which expects to gather anywhere from 60,000 to 80,000 art lovers this weekend to check out 150 artists and artisans from around the nation.

The jurying was brutal work, as there were many talented artists, and it also seems like sales were going gangbusters (Marvin Blackmore sold a $25,000 piece while we were jurying around!).

Also ran into Bailey, who was a volunteer at the show and was delivering lunches and water and sodas to the artists.

And Kirkland also benefited from the first day of the show, as one of his pieces sold at the GRACE gallery. His solo looks really good and clean (more on that later).

Anyway, we awarded the best in show to Chris Plummer, a really young printmaker from Kentucky with some deeply interesting woodcuts.

I also liked the work of Michigan artist Helen Gotlib, but couldn't swing a prize for her (she won a prize last year).

Also of interest were the amazing retablos of Nicario Jimenez, last seen locally at an exhibition last year in the Corcoran.

Other prizewinners included woodturner Kim Blatt, sculptor Valerie Bunnell, watercolorist Randy Eckart, an amazing young minimalist jeweler by the name of Geoffry Giles, who won the First Prize in the Crafts category, and the always intelligent photographs of Vincent Serbin.

And I also fell in love with the furniture of Damian Velazquez: this guy is amazing and affordable!

Update: Bailey's report here.

Saturday Assignments

If you're in an artsy mood and want to hang around Bethesda, you can start your day by attending the artists' talk at Fraser Gallery at 2PM and then walking over to the opening of the new exhibition at Heineman Myers Contemporary Art.

First: Many of the artists from the current Compelled by Content II exhibition will deliver an artists' talk, sponsored by the James Renwick Alliance at the Fraser Gallery on Saturday, May 20, 2006 at 2PM.

The talk is free and open to the public and will also offer an opportunity to learn more about the Renwick Alliance. There will be plenty of sangria at hand.

Then Heineman-Myers Contemporary Art opens its second show ever with an exhibition of new works by acclaimed Argentine painter Martha Zuik. The opening for Zuik is from 6-9PM.

Restonin' Today

I'll be in Reston all day, one of three jurors selecting the prizewinners for the 15th Annual Northern Virginia Fine Arts Festival in Reston, Virginia. About 150 artists from all over the country, a few thousand dollars in prizes, tons of bucks in sales, and between 60,000 - 80,000 people attend, look at and buy art at the festival, which runs Saturday and Sunday. Details here.

Missed it!

Weekend section writers had their Friday online chat this morning, but I missed it as I hadn't seen them on the schedule.

Lots of beach questions, but someone asked:

Washington, D.C.: While I understand that there is concern for cultivating the "new" reader (i.e., the under-35 demographic) it seems the Weekend section believes that the cult of celebrity is what is of chief concern.

Why else has the erudite O'Sullivan been assigned to waste his talents interviewing Hollywood celebrities when the Metro area under-35 crowd really HUNGERS to read more in-depth analysis of why the young artist Laurel Nakadate creates artwork that is "almost sickening in its soul-deadness" yet this very "soul-deadness" has "undeniable power" WHY IS THAT this reader wants to know?

This 32-year-old reader finds the celebrity interview sickening in its soul-deadness. It is noteworthy, that today's thought provoking piece on artwork featured in a local commercial gallery occurs when O'Sullivan has not split his focus with Hollywood.

I want more of The Weekend section HERE, not in Hollywood.

Michael O'Sullivan: I think there's a question buried in there somewhere, and I'll try to address it, along with another point only implicitly raised by my erudite questioner. Laurel Nakadate's work is powerful for exactly the paradox you've put your finger on -- not despite, but because of its sickening soul-deadness. There's a kind of power in art that makes us angry, or scared, or even nauseated. Not everyone may like that feeling. I kind of welcome it. I think this would have been clearer if I had written more extensively about Nakadate's work, instead of including her with four other artists showing in three different galleries housed under the same roof. I wanted to get them all in though, even if only briefly, since they're all worthwhile shows in my opinion. Other questioners (and perhaps even this one) in previous chats have wanted more coverage of local art. That's what I'm trying to do, with occasional "round-ups" of multiple shows like this, which are, of necessity, less in-depth than if I had devoted all my attention to a single artist.

The questioner is referring to O'Sullivan's review of Nakadate in today's Weekend. Read that here.

Submit your questions (for next week) to the Weekend staffers here.