Art for Life

The 14th annual cocktail reception and live auction benefiting Whitman-Walker Clinic's Latino Services event will take place on Friday, November 17, 2006 at the beautiful Organization of American States, one of the capital city’s premier venues.

If you've never been inside this beautiful building, this is your chance to explore a gorgeous setting and also enjoy some good food and terrific art for a good cause.

They will feature the live/silent auction format again this year allowing them to accommodate a larger number of works of art from artists, as well as keep their guests engaged in the auction throughout the night. Look for the mayor elect to make an appearance.

This is one of my favorite art auctions and a major fundraiser for the Whitman-Walker Clinic. As I have for the past several years, I have donated an original drawing for the auction. See all the donated artwork online here.

For details and info call Martha N. Miers , Associate Director of Special Events
Whitman-Walker Clinic, 202.797.3529 or visit www.wwc.org

Gopnik on Morris Louis

I agree with JT and also think that Blake Gopnik has written a superb piece in yesterday's WaPo of the Morris Louis retrospective at the High Museum of Art in Atlanta.

And also like JT, this review has sort of thrown me for a loop, because it appears to reverse some "set-in-concrete" Gopnikisms that often re-appear in most of his writing, as Gopnik defends Louis' reputation in the art world.

He writes:

By the 1980s and '90s, there came to be a sense that Louis's work was just fiddling around with pretty paint. It was billed as self-indulgent, disengaged from things that really matter in the world or in art. It was simple-minded and content-free -- all looks and no brains. The art world equivalent of the hunky jock or dumb blonde.

I wish he would have quoted some evidence for these statements, which are the heart of his defense argument. I was in Israel for a while in the 1980s and seem to recall a big Louis exhibition there in the 80s. Also Louis' Catalogue Raisonné was published in the 80s.

It's also interesting in the sense that Gopnik is essentially saying that "they" were wrong in judging that "Louis's work was just fiddling around with pretty paint," when in fact Gopnik routinely writes pretty much the same thing about any contemporary painter today, as he preaches from his WaPo pulpit the "painting is dead" slogan.

Anyway - it's a minor point.

There are things that interest me on a local level about Louis (who studied art at MICA and then worked on WPA murals in Baltimore public schools), but another Gopnik point raised my interest as well.

Gopnik points out that "he [Louis] often started his paintings by pouring on pleasant veils of color, to make something like the spillings of a watercolorist. These echo the passages of pastel color in the "stain" paintings of Helen Frankenthaler, which Louis saw on a rare, career-changing visit to New York in 1953. (That was when his Washington colleague Kenneth Noland introduced him to the painter and her new techniques, as well as to Clement Greenberg, her lover and the most influential critic of that time. He became Louis's great champion.)"

Mmm... although it is clear in an art historical sense that Louis' visit to Frankenthaler was indeed very influential on Louis's future, I think it was more so in the meeting of Greenberg, who later became the inventor and father of the Washington Color School and indeed their great champion.

It's hard to imagine where Morris Louis' standing in the rarified upper crust of the art world would be today had it not been for Clement Greenberg. In Tom Wolfe's "The Painted Word," Wolfe describes (and makes fun of) the meeting of Greenberg and Louis and pokes fun at Greenberg:

Greenberg in particular radiated a sense of absolute authority... Likewise his prose style, he would veer from the most skull-crushing Gottingen scholar tautologies, "essenses" and "purities" and "opticalities" and "formal factors" and "logics of readjustment" and God knows what else.

According to Wolfe, when Greenberg described painting as "flat" to Louis, a light-bulb went on in Louis' head, and the rest is art history (see page 49 of Wolfe's book).

Anyway, Gopnik elevates this visit to NYC as a "rare" event, which I find peculiar, since Louis had actually lived in New York for four years (1936-1940) while he was in his mid-20s, and while there attended the workshops of Mexican muralist David Alfaro Siqueiros.

I find it peculiar, because I had always understood that Louis' began to develop a sense of abstract style in his painting upon his return to Washington, DC in the 1950s, in somewhat of a personal response to the New York School of abstract painters, many of which he may have known personally and met while a young twenty-something living in NYC.

While it was indeed the exposure to the Frankenthaler "stain" paintings that kick-started the Louisian mature "response" (both Kenneth Noland and Morris Louis have cited their exposure to Frankenthaler's work as a catalyst to the formation of their own mature style), and it was indeed the enlisting of Clement Greenberg, the world's most powerful art critic (at the time), that sealed Louis' future as an modern art icon, I'm not sure if the visit to NYC was such a "rarity."

I know, I know... but I'm a Virgo.

AU looking for an Associate Dean for the Arts

Deadline: January 5, 2007

American University's College of Arts and Sciences is seeking applicants for a tenured position at the rank of Associate Professor or Professor to administer the arts programs at the university, beginning in Fall 2007.

Details here.

Congratulations

To Annandale, VA artist Joseph Mills, who is highlighted in this month's issue of Art & Antiques magazine.

Dawson on the City Hall Art Collection

The Washington Post's Jessica Dawson proves me wrong whan I predicted that she would dismiss the new City Hall Art Collection and writes a really good and insightful review on the subject.

Over the years, in my opinion due to her youth and insecurity over being the WaPo's sole gallery reviewer, Dawson has often resorted to being nasty on a semi-personal level, and even preachy and incendiary, in a cheap attempt to be "noticed."

In the past, she also has made huge mistakes in her writing, and DC area gallery owners and artists have laughed about it publicly, and in many letters to her hard-working, but benign editor, they have complained about her writing and art history ignorance consistently and brutally, and because she bruises easily, she has taken the negative feedback about her writing personally, while at the same time dishing out loads of negative writing in return.

And maybe it is maturity in this young critic, or perhaps the result of her taking Art History classes to solidify her writing background, but in any event, after years of reading her writing, I'm detecting a maturity (and security) level as a writer that now allows her to give a positive review without doing it as a back-handed compliment.

My kudos to Jessica for an excellent review. Read it here.

Bravo Jessica!

The Print Center Annual Auction

On Saturday, November 18 from 5:00-8:00pm, The Print Center, one of Philadelphia’s oldest and most prestigious nonprofit cultural institutions, has set the goal to raise $35,000 with this year’s auction to support its many cultural and educational programs. Online Preview at www.printcenter.org

Exclusive Champagne Preview: Saturday, November 18 at 4:00pm. The Print Center Auction includes work by talented Philadelphia area artists and international artists, including Edna Andrade, Henry Horenstein, Neil Welliver and a new commissioned camera obscura photograph from "Taken with Time" by Ann Hamilton.

Talking about fundraising auctions for visual art spaces, Transformer Gallery in DC tells me that they grossed over $90,000 in art sales and ticket sales surpassing their fundraising goal for the night of their 3rd Annual Transformer Silent Auction & Benefit Party which took place this past Saturday, November 4 at the Edison Place Gallery.

arthelps Auction

JAM Communications is again the sponsor for this year's Arthelps 6th Annual Silent Art Auction Benefit and Reception to raise money for Food & Friends and the DC Arts Center (DCAC) – two organizations are in their own way are key components of the DC area's social and cultural tapestry.

Support from artists and art donors is integral in making this night a success and that is why they are asking for your help. They welcome a variety of art donations–from original and limited edition paintings and prints, to photographs, glasswork, jewelry and sculpture.

See donated artwork (so far) here.

For more information on how you can donate art, and for additional details on the arthelps event, please go to www.arthelps.org – where you can download a PDF art donation form.

Please RSVP for the event at www.arthelps.org or call Martin at (202)-986-4750 ext. 19.

"Food Glorious Food II" Opens Tomorrow in DC

Zenith Gallery in downtown DC, the Zenith Community Arts Foundation (ZCAF) and the Capital Area Food Bank (CAFB) redefine the term “great taste” by bringing art, food, and charity together in the second iteration of "Food Glorious Food." Details here.

Tickets for the November 10th reception, 6 - 10pm: Couple $90 Individual: $50. Proceeds to benefit the Capital Area Food Bank.

Reception: Friday, November 10th, 6 - 10pm. Show Dates: November 10th – December 3rd, 2006.

Artists in this year's calendar include Bert Beirne, Connie Desaulniers, Drew Ernst, Leslie Exton, Gary Goldberg, Stephen Hansen, Frank Holmes, Robert Jackson, Dominie Nash, James Tormey, and Alyson Weege. It will delight food and art lovers alike. In addition to the impressive display of artwork, the lineup of featured chefs at the reception will include Nora Pouillon, José Andrés, Yannick Cam, Todd Gray, John Paul Damato, Marci Flanigan and Katsuya Fukushima.

Pollock in a Thrift Shop

California truck driver Teri Horton "devoted much of her time to bargain hunting around the Los Angeles area." In the 1990's she found a $5 painting in such a place and now, according to the NYT's Randy Kennedy:

Even the most stubborn deal scrounger probably would have been satisfied with the rate of return recently offered to her for a curiosity she snagged for $5 in a San Bernardino thrift shop in the early 1990s. A buyer, said to be from Saudi Arabia, was willing to pay $9 million for it, just under an 180 million percent increase on her original investment. Ms. Horton, a sandpaper-voiced woman with a hard-shell perm who lives in a mobile home in Costa Mesa and depends on her Social Security checks, turned him down without a second thought.

Ms. Horton’s find is not exactly the kind that gets pulled from a steamer trunk on the “Antiques Roadshow.” It is a dinner-table-size painting, crosshatched in the unmistakable drippy, streaky, swirly style that made Jackson Pollock one of the most famous artists of the last century. Ms. Horton had never heard of Pollock before buying the painting, but when an art teacher saw it and told her that it might be his work (and that it could fetch untold millions if it were), she launched herself on a single-minded post-retirement career — enlisting, along the way, a forensic expert and a once-powerful art dealer — to have her painting acknowledged as authentic by scholars and the art market.

She is still waiting, defiantly, for that recognition and the payoff it could bring. But as a kind of fringe benefit, her tenacity has made her into a minor celebrity, a pantsuited David flinging stones at the art world’s increasingly wealthy Goliaths. Now it has also landed her the starring role in a documentary scheduled to open next week in New York and later around the country, called "Who the #$&% Is Jackson Pollock?" (When Ms. Horton asked this of her art teacher friend, the original question included a word that cannot be printed in this newspaper nor, apparently, blown up on movie marquees.)

The NYT goes on to describe the movie and writes that:

The movie, directed by Harry Moses, a veteran television documentarian, was produced by him; Don Hewitt, the creator and former executive producer of "60 Minutes"; and his son, Steven Hewitt, a former top executive at Showtime. Mr. Moses said he first became aware of Ms. Horton’s quest when he was approached by Tod Volpe, a high-flying art dealer who fell to earth, and landed himself in prison, in the late 1990s for defrauding several of his celebrity clients, including Jack Nicholson and Barbra Streisand.

Mr. Volpe, who has harbored dreams of breaking into movies, proposed collaborating with Mr. Moses on a 10-hour documentary mini-series about corruption in the art world, a subject he said he knew well.

It gets better! "It became, really, a story about class in America," Mr. Moses said. "It’s a story of the art world looking down its collective nose at this woman with an eighth-grade education."

One aspect of the story that bugs me is the following:

She is arrayed against a formidable team of establishment skeptics, including Ben Heller, an early Pollock collector, and Thomas Hoving, the former director of the Metropolitan Museum of Art, who examines the painting in somewhat dramatic fashion, tilting his head and almost touching his nose to the canvas before pronouncing it “dead on arrival.”

Later in the movie Mr. Hoving says that Ms. Horton has no right to be bitter about her treatment by the art world and adds sternly, when told that she would vehemently disagree: “She knows nothing. I’m an expert. She’s not.”

And here is what bugs me:

Hoving, in spite of his "False Impressions" book, as far as I know, is not a Pollock-specific expert.

And that counts. Although a Rembrandt expert could probably have an educated opinion, after some real examination, if a Vermeer painting stands a chance of being a real Vermeer, only an experienced Vermeer expert, armed with some forensic tools, can make a semi-final determination about a suspected Vermeer being real real or fake.

And "experts" are wrong all the time! Remember this "fake" Vermeer?

The only thing that the best of experts can determine quickly by examining a drip painting close-up is to verify that it is indeed a drip oil painting (as opposed to a reproduction, or a flatter watercolor, etc.).

An expert with an open mind would have turned the painting around, and examined the back of the painting to see if the canvas was stretched like Pollock canvasses, if the nails or the staples used to anchor the canvas were the same that Pollock used, if the type of canvas was the same type (or brand, or weave) that was used in real Pollock paintings, if the canvas was stapled/nailed on the side or on the back (artists are creatures of habit, and Pollock probably did it the same way all through his life), if these nails or staples has the same aged appearance that a decades old painting should have, are the sides of the painting "painted" or left virgin?, is the canvas primed or raw?, etc.

In other words, no real open-minded expert just looks at a painting (which is so closely visually similar to Pollock's work - at first sight) and makes a haughty judgement like that.

And then science takes over to verify the work, looking for other scientific consistensies (or lack thereof) between this $5 Pollock and the multi-million dollar ones.

Hoving may have been a decent and flamboyant Met director, but he's dangerously approaching being labeled a hack as an "expert" if he claims to be able to determine a painting's validity with a quick glance.

Read the whole article here and then read Bailey's take on the whole subject and his offer to Ms. Horton here.

Opportunity for Artists

Deadline: Friday, December 22

Original Digital Images Wanted for Art Walk Project. The DC Commission on the Arts and Humanities is seeking 12 artists to take part in a thought provoking large-scale outdoor exhibit entitled "Drift", for the next phase of the Art Walk Project.

The Art Walk is located along 10th Street, NW between New York Avenue and H Street at the former site of the Old Convention Center which is now a parking facility.

Artists are asked to submit original digital images based on the theme DRIFT to be considered for reproduction on 7 ft. by 24 ft. banners. To apply visit this website or call (202) 724-5613.

The deadline is Friday, December 22, 2006 at 5:30 pm.

Maggie Michael at G Fine Art

By Katie Tuss

Washington, DC based artist Maggie Michael's third solo show with G Fine Art, "Open End," draws to a close with a party this Saturday from 6-8 pm at the 14th Street gallery.

Michael derived her new body of work from an explosion drawing she exhibited in September 2005. The paintings are expansive and complex, controlled and graceful, and executed with thoughtful precision.

The majority of the paintings featured in Open End are composed as if in momentary suspension between restraint and release. Michael uses latex house paint to create thick, organic forms that often read as internal organs or body extensions. These forms create disparate, yet cohesive images that overlap and merge bold colors, with frequent black accents, across a uniform neutral background.

Spray-painted details and meticulously placed contour lines further define the drips, tendrils, and masses of paint that fill the canvas. These meandering lines become veins, musculature, or just visual infrastructure along the way.

"Valley: bat" is one of the smaller pieces in the show, but has one of the heaviest applications of paint, which Michael allowed to run off and gather on the side of the canvas. A portion of the top layer of paint has been peeled away from the painting like a used bandage or a flap of skin, and is held in place by a piece of tape. The layer underneath is exposed and vulnerable, showing strings of paint that seem to be entrails.

Michael uses this partial deconstruction of a thoroughly crafted piece and subsequent revelation of a vulnerable layer to maintain a delicate balance between growth and deconstruction, healing and injury.

"Cage," another painting in the exhibition, is a tightly executed cascade of irregular shapes, drips, and lines moving down the center of the canvas. The dominant black heart shape anchors the composition, with its tail streaming behind it, transient yet momentarily frozen.

G Fine Art is located at 1515 14th St. NW, Washington, DC.

Baltimore gallery space option

Light Street Gallery in Baltimore has two gallery spaces, one of which is located upstairs above the Main Floor Gallery. This upstairs space is available for sublet to artists and craftspeople to exhibit their artwork.

The space is available to artists, art dealers, artist representatives, art brokers, and independent curators. The space can be used for a solo exhibit or a group show, wherein the artists share the rental expenses, and it is not necessary for Artists to live within the region to sublet the gallery.

For more information, check out their website at www.lightstreetgallery.com or contact Linda Krensky, Owner & Gallery Director at 410.234.0047

LRA Online

Chawky Frenn recently juried the The League of Reston Artists Annual Judged All Media Theme Exhibition in Reston, VA and you can see his selections in a cool slide show here.

And if you think that serious political art is not being made by DC area artists, then you haven't seen the work of Professor Frenn!

Go Vote

Do not forget to go vote today - otherwise your bitching rights are rescinded.

I voted for the first time as a Pennsylvanian today and was somewhat surprised by the fact that I just walked in, they asked my name, found it in the book, had me sign it, and that was it.

"Don't you need to see some sort of ID," I asked.

They looked scared, as if I was setting them up.

"No," said the lady; 90 seconds later I was done.

Interesting... I find it amazing that you need ID to buy cigarrettes or booze if you look anything under 30 (although I still haven't figured out where I can get a six pack in this state), and you need ID to cash a check, and you need ID to get on a plane, and my local supermarket wants ID if you charge over $80 to your credit card, but no ID is needed to vote.

City Hall Art Collection Comments

I've been overwhelmed by the number of comments that you have emailed me about the new City Hall Art Collection, and have somewhat fallen behind posting them. Below are a few, with more to come. I am also told that Jessica Dawson will have a review in the Washington Post this coming Saturday and there will be an article in the WaPo's Metro section on Thursday -- I think in the District Extra.

Comments:

Tim Tate wrote:

"At the opening last night at the Wilson building it was community building at its finest. Probably 3/4 of the artists represented were in attendance.... and they represented a comprehensive and thoughtful cross section of the Washington art scene, from the old guard to the newest burgeoning faces.

Sondra Arkin once again pulled off a wonderful flawless event with all the enthusiasm that she puts into Art-o-matic. While is was great to see surprises around every corner (from new artists you weren't familiar with to new directions from artists we knew), the real pleasure was to see work from the artists we've come to know well in DC. it somehow felt comfortable, as the city's collection should feel.

My favorite wall included works by Rima Schulkind, Margaret Boozer and Sean Hennessey. Each of these pieces worked incredibly well together and represented an established artist, a new artist and a new direction for another established artist.

Some of the work you hoped top see was there.... William Christenbery, Sam Gilliam and six wonderful Gene Davis pieces. Also some of the older school had some great pieces like Judy Jashinsky, and Richard Dana and Ellen Weiss.

Two smaller repetitive works had a great sense of discovery about them. One was from Georgie Deal and one from Lynn Putney, who share a similar sensibility. Also two smaller paintings by Andrew Wodzianski had all the depth and lusciousness of his larger works.

The collection as a whole was spectacular and extremely professionally well done. It seemed to have always belonged in that space. I hear there will be a second round of purchasing, so all those who didn't have work ready for the last call will be getting another chance. I'm sure Lenny will post it on his this site!"

Adam Griffiths wrote:

"Sorry to hear you didn't make the opening, it was pretty great. A lot of abstract work, but quite a variety of stuff. Presentation was great, although some pieces were tucked away in offices that weren't open until halfway through the night.

Wow! There was a lot of art to look at, and all of the selections were exceptional. There was an excellent Gilliam piece on the first floor, and two nice Renee Stouts.

And while I don't seek to make a large point of it, there really wasn't that much representational work in the show. In addition, it seems that wall-friendly work took priority over 3D artworks. There seemed to be plenty of places for sculpture to go in the building, but I guess when the building was remodeled, no one thought to put in more than the few 1st floor niches for future artworks. Otherwise, I must say I was quite pleased with it.

The complimentary catalogue was very beautiful and is definitely worth seeking out if you know someone who got one.

The place was really packed by 7pm and you could barely move in the center hall. Lots of people watched the opening remarks from balconies all the way from the 5th floor. Linda Cropp gave a speech that I could barely hear from the back of the room, but people were quite excited by it. Otherwise, the energy was pleasant just about everywhere I went, I saw some artists talking to folks about their work, and people eating the yummy fruit and buffalo wings from Whole Foods (there was a line at each table setting on every floor and the food lasted about an hour from 6pm to 7pm)."

Andrew Wodzianski wrote:

"The reception was a blast, and the collection is truly awesome in scope/breadth. I have only three
criticisms:

1) While a majority of the artwork had gorgeous frames, a few pieces suffered from poor presentation. Glare from glass was a main culprit.

2) I don't recall the submission requirements, but there were too few sculptures (in the round).

3) Political back slapping. Linda Cropp and Anthony Williams are windbags.

Still, those are minor complaints for such a large exhibit in such a large venue."

Karen Joan Topping wrote:

"Frankly, I'm impressed and amazed at the wonderful job that has been done with presenting the first group in the city's art collection.

The range of style displayed in the actual art objects purchased was professional, daring, and spot on. With only, what-153 pieces?, from established and emerging artists alike it is a collection that is ready to expose DC artists to a broader audience. From Margaret Boozer's process-oriented clay relief wall hanging to Judy Jashinsky's character portraits, to Pat Goslee's abstract encaustic painting, all in addition to some household 'names', the collection definitively gives voice to the great range and depth of talent that has been present in DC for decades.

Yet, as a 15 year artist-resident of DC, what I am most refreshed by is that while the art scene in DC may have been provincial in the past, this collection stands as tangible proof that the actual art & artists are not and never have been the P-word. It seems like the rest of the city is finally catching up with what those of us practicing in 'the field' already knew.

I was quite amazed to see the number of catalogs and maps that were given away at the opening. The business side of my brain says BRAVO - commitment to that kind of documentation will do wonders for promoting the city and no doubt inject a new fire into a 'scene' that has come a long, long way. That kind of fancy paper is one of the best ways to get non-artists on the outside of the scene to come on in because it lets them bring the experience into their home and life in a tangible way. Bravo to the city for financially making it happen.

I've only read about half of the catalog. There's a surprising amount of text, though given the weird color on a few of reproductions, I guess they had artist’s provide their own reproductions. I’d be curious to know.

If I have any criticism, it is that while each of these authors that contributed has done a great job capturing a slice of the collection, the fact that one section reads like an art history text, another like a press release, another a scientific manual; I find it a bit jarring. Turns out I know a few of these authors, so while I know why their piece sounds like it does, maybe a little more than a job title by each authors' name would have introduced each specific POV.

I'm being uber-critical here because the catalog is really, really nice and having worked at a museum and been on the fringes of the trials involved in making this kind of document, what is present in this HeART of DC catalog is an aspiration for producing a catalog nothing short of the gold ring, it just so happens on this first time around they only got the silver.

But that is just in terms of the catalog, which is a fleeting document at best. I'll say it again, the conceptual work that went into these first purchases and the quality of the art objects-SPOT ON!"

Also, JT Kirkland has a quick set of comments here.

And later this week, together with several DC area art museum curators, I'll be walking the collection myself, and hope to provide you with my and their comments.

Mama Love

DMV photographer Camille Pasley is one of the District's hardest working photographers in all her incarnations. Photos from her soon to be published book "Mama Love" go on view this week at Touchstone Gallery in Downtown DC. The opening reception is Friday, November 10, 6-8:30pm and the 3rd Thursday Gallery Walk is November 16, 6-8pm.

This is an opportunity for collectors to acquire images from the book at pre publication prices. Visit here for details.

Shock & Awe: Artists Look at War

Since according to what the press and pollsters have been hammering into our collective voting will for months now, the election is all but over, and Nancy Pelosi is packing up her office for her move down the hall, and DC area moving companies are in a hiring frenzy to pick up all those hard-working guys who hang around Casa de Maryland, tomorrow, after you vote, then go to the Warehouse in DC, for a good ole political art show: "Shock & Awe: Artists Look at War."

Artwork hangs in all of Warehouse's eight galleries, and the reception is from 6-8PM, although Molly is also having an election night party to watch the victorious returns on the tube -- with drink specials - all night!

"Shock and Awe" features work by 32 artists: John Aaron, Sondra Arkin, Paul Bishow, Laura Elkins, Gabriella Bulisova, Tom Drymon, Dana Ellyn, Garth Gardner, Seth Gomoljak, Jason Gottlieb, Ken Gwira, J Gavin Heck, Michael Janis, Mark Jenkins, Joroko, Joanne Kent, Karl Kressbach, Heather Levy, Carolina Mayorga, Paul Notzold, Piero Passacantando, Dino Paxenos, Mark Planisek, Rima Schulkind, Matt Sesow, Erwin Timmers, Ruth Trevarrow, The Scroll Project*, Joanne Wasserman, Ellyn Weiss, Andrew Wodzianski and Peter Wood.

Hirshhorn Looking for New Art Curator

The Hirshhorn is looking for a new Associate Art curator! Salary range is $54,272 - $70,558.

The Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, seeks an experienced museum professional to serve as Associate Curator with a focus on modern art. This position is responsible for conducting research relevant to the understanding, use, loan, display, and care of works of art in the collection, with particular emphasis on modern works (up to 1959).

Candidates should also have an interest in and familiarity with contemporary art. Position identifies international work for potential and organizes temporary exhibitions and collection installations. In addition, position serves as coordinator for exhibitions organized by other institutions traveling to the Hirshhorn.

Please see announcement # 07JW-7007 at www.sihr.si.edu for the full description and application instructions/procedures. This is a federal position that closes November 20, 2006. The Smithsonian Institution is an Equal Opportunity Employer.

13

"My Secret" - the new PostSecret book by Frank Warren - hit the # 13 spot on the New York Times Bestseller list this past week.

Camera Works

I know that I'm constantly hammering the WaPo for their miserable and pathetic coverage of the Greater DC area visual art scene, especially when viewed in the context of their decent coverage of theatre, dance and music, and their unexplainable orgasmic coverage of fashion shows.

But as a good friend pointed out to me recently, they do deserve some kudos for their exceptional Camera Works feature on their online site.

This slideshow of the photography of Korda is perhaps the best example of what can be done online when a newspaper's leadership wants to do something different and right.

Tangent: Most of Korda's original vintage photographs, the ones which he actually kept for his own private records, and which he gave to one of his daughters a few years before his passing, made their way to the United States when the daughter escaped from Castro's island prison. They are now in the possession of a private collector in Bethesda, as well as many letters and notes from Korda. I mention this in case some DC-based (or any place) curator ever wants to mount a Korda retrospective in the US and wants access to the original vintage work.

Back to Camera Works.

I also share my friend's favorite online column: Frank Van Riper on Photography.

His recent article discusses vintage photographs and a previous article by Frank Van Riper: "The Wet Room Lives!" was also extremely informative and interesting.

F.L. Wall at Ewing Gallery

Remember Seven? The massive seven gallery show which I curated (with the exceptional help of Sandra Fernandez and Adrian Schneck) for the WPA/Corcoran last year?

In the past, I've been sharing with you the various emerging artists who picked up gallery representation through exposure via that huge exhibition.

Add another one: F.L. Wall opens tomorrow, Friday, November 3rd with a reception from 6 - 8 pm at the Kathleen Ewing Gallery in DC, and Wall writes to me that he was picked up by my good friend Kathleen based in part on his exposure via "Seven."

Wall's show runs through December 22, 2006.

Kanchan Balse's first solo

It's always a memorable event in an artist's career when that first solo show takes place, and next Saturday November 4, with an opening from 6:30-8pm at Dumbarton Concert Gallery in Georgetown, Kanchan Balse is doing exactly that! The show runs through Nov. 12, 2006.

Gurus on City Hall Art Collection's Opening

The WaPo's Julia Beizer, who is one of the "Going Out Gurus" for the Washington Post's blog of the same name, has a nice mini review and visit to the City Hall Art Collection's opening last Tuesday.

Read her post here.

Marchand on City Hall Art Collection

Anne Marchand has a terrific report and a ton of photos of the huge opening for the City Hall Art Collection. Read her report and see the photos here.

Katie Tuss makes her debut

Katie Tuss will be writing regularly for Mid Atlantic Art News, covering DC area galleries and museums and any other places that she travels to. Below is her review of "An Impressionist Sensibility: The Halff Collection," at The Smithsonian American Art Museum.

An Impressionist Sensibility
By Katie Tuss

Although the mention of impressionism may be considered a sure way to create record exhibition turnout, Chief Curator Eleanor Jones Harvey explained that the Smithsonian American Art Museum did not choose the title "An Impressionist Sensibility" lightly. Each one of the 26 American Impressionist paintings featured in the exhibition, however diverse, is distinctly dependent on the "modern impulses found in impressionism."

It is this sensibility that collectors Marie and Hugh Halff have focused on while creating their standout private collection of late 19th-and early 20th-century American Art, which makes up the exhibition in its entirety. All of the artists featured studied in France and Europe between the 1870s and the 1920s, providing them with the groundwork to interpret impressionism in a uniquely American way.

Childe Hassam's "Clearing Sunset (Corner of Berkeley Street and Columbus Avenue)" illustrates the emerging modernism of the time with its rising buildings, bustling passersby, and puffs of steam from a distant engine. American art was coming of age and asserting that the US could stand tall next to European progress.

It was these times that launched an "aesthetic revolt," according to Harvey, which shifted the interests of American artists away from the National Academy of Design and moved them beyond subject matter. Artists were freed to focus on the act of painting.

Color and brushstroke are celebrated in William Merritt Chase's "Shinnecock Landscape with Figures." The striking image of his daughter in red serves as the focal point amongst the immediacy of the markings that constitute the landscape.

The Halff Collection also features John Singer Sargent's much sought after "The Sulphur Match" and the rarely viewed Winslow Homer "Houses on a Hillside."

"An Impressionist Sensibility" is on view through February 4, 2007.

Day One

And so last night Washington, DC experienced what was perhaps the largest art opening in its history, and today - the first day after the event - the WaPo is silent about it (as far as I can dig into it any way).

But the WaPo's Style section has a column on George Allen's campaign, ironically someone with the last name Duke writes about Pieter Botha, and David Segal discusses the New York housing market, and there are stories and reviews on The Folger Theatre's "A Midsummer Night's Dream", the other Mark Jenkins has a music review of the Black Cat, there's a piece on the Kennedy Center Concert Hall's tribute to Mary Day, Washington's first lady of ballet, another on neighborhood bars in Baltimore, Chanticleer's performance on Monday night at the Library of Congress's Coolidge Auditorium, a few more theatre reviews by Jane Horwitz, another theatre review of the Washington Stage Guild production of "An Inspector Calls," by Cecilia Wren (note how the Style editor thinks that it is important to have multiple reviews of DC area theatre plays by different writers, but only allows one DC area gallery review by only one freelancer every two weeks), one book review, one dance review, a story about the Day of the Dead, and the usual regular fluff.

But we know that the deadlines for WaPo pieces are a few days before they are published, so perhaps by the end of the week the Style section will have a piece on the new City Hall Art Collection and the huge opening last night.

Breath being held.

Scary

I had a scary Halloween yesterday. On the way to the City Hall Art Collection opening last night, we instead had to rush to the emergency room, where we spent most of the night while emergency room doctors at Suburban Hospital did a terrific job on a suspected blood clot (not me) and decided against it.

Everyone is OK, but we missed the opening. I hear over 1,000 people attended - I'd like to hear some comments, both pro and con, about the collection - email me and I'll post them here.

Liz Spayd for WaPo.com

Liz Spayd, an assistant managing editor in charge of national news for The Washington Post, has been named editor of washingtonpost.com.

Spayd's upcoming editorialship has been called in an official WaPo statement as "another sign that our Web site is a journalistic force that will play a large part in shaping The Post's future."

Spayd joined the WaPo in 1988.

A little history:

When the washingtonpost.com first got started, one of the first things that it did was to augment the galleries and visual arts coverage by adding a group of freelance writers who would write reviews and profiles to augment the print version's scant coverage of the DC area's galleries and artists.

This is how Jessica Dawson first connected with the Washington Post bosses. Previous to that, she used to write for the Washington City Paper as a freelancer working for then WCP Arts Editor Glenn Dixon Brad McKee.

At the washingtonpost.com, under editor John Poole (who was then the site's online Arts Editor), the arts coverage by the WaPo online flourished and there were dozens and dozens of gallery reviews, which have unfortunately mostly disappeared from the WaPo's online presence, as well as many gallery profiles, most of which have also vanished, although a few still remain.

At once point, even the print version critics, such as Jessica Dawson's predecessor for the Galleries column (Ferdinand Protzman) and Michael O'Sullivan, authored online articles and reviews for washingtonpost.com which were only available online.

And for a short period of time, there was happiness in the air, as the WaPo finally appeared to be delivering gallery coverage, if just through its expanded online presence.

And then John Poole got promoted and went on to bigger and better things.

And then it took a looooong time to find a replacement online Arts editor. And by the time she was hired, she had a tight budget and no allowance for online art critics, and a bare bones coverage of the art scene.

And then the WaPo's Chief Art Critic (Paul Richard) retired, and Ferd Protzman got pissed that he didn't get promoted to that job and quit, and Jessica got hired as a freelancer to replace Protzman and back then the Galleries column was a weekly column.

And then Gopnik got hired from some Canadian newspaper where he used to write for after the Post's first choice (a New York Times critic) turned the job offer down and recommended Blake, who apparently was outside the Post's radar at that time.

And the "augmented" online visual arts coverage ended, other than the random Gopnik video here and there.

Liz Spayd, if you read this: can you bring back some other critical voices to the DC art scene and renew the online art reviews?

Position Your Artwork

Abstract Earth Gallery has a unique feature that allow the viewer to preview what a work would look like on a wall (allowing you to position the work). You can even upload pictures of your own wall to see what the work could look like in your home or office.

Just click on any of their artists' names and then click the "on the wall" option.

I bet the jury is out on just what this does to the whole "art buying process," -- and this coming from one of the world's worst art hangers, never really thinking how it looks on my wall, or if it fits a motiff or whatever - I buy artwork for many reasons, key amongst them is "do I like it?" but never "will it look good in my house."

But then more often than not, I just hang it, or if undecided, it just stays around forever waiting for a decision - such as my "decades-long waiting-to-hang" of a really nice Vija Celmins drawing that I've had for ages and it has never hung yet!

Exposing the Ripper

And nu, during my recent flying to and from New Mexico and then to and from New Hampshire, I read "Portrait of a Killer: Jack the Ripper -- Case Closed" by Patricia Cornwell, who's not only a bestselling author, but also the Virginia Institute of Forensic Science and Medicine chairman of the board.

In the book, Cornwell accumulates a spectacular amount of circumstantial evidence to prove that British painter Walter Sickert was the infamous Whitechapel serial killer, including some interesting analysis of Sickert's paintings.

Although Ms. Cornwell's detractors and Sickert's defenders are many, the tantalizing evidence of DNA is too hard to dismiss, and I for one do not believe in coincidences. Apparently, Sickert has been a suspect for many years, and Cornwell has just tied the case into a tight, if not so neat, package.

This book is a terrific read, and Cornwell has convinced me that the case is closed!

Art for Children's Healing

Alexandria's Elizabeth Stone Gallery pass info about an original Art, limited editions, and children’s books event to benefit children with Neurofibromatosis and their families and Neurofibromatosis Research

The Art exhibition, reception and book signing is Monday, November 6, 2006, 5:30 pm - 9:00 pm and you can meet Charles Santore, Award-Winning children's book author and illustrator, and Emily Arnold McCully, Caldecott Medal 1993.

Where: Bryn Mawr Hospital
130 South Bryn Mawr Avenue, Bryn Mawr, PA 19010
The Rotunda - South Bryn Mawr Entrance

Visit Elizabeth Stone Gallery for details.

At GRACE

Lots of openings this week. Add to them "Arts Council @ GRACE" juried by my good friend Jack Rasmussen.

The show opens November 3 and runs through December 1, 2006. Opening Reception and Juror's Remarks, Friday, November 3, 6-8 pm at the Greater Reston Arts Center in Reston, VA. Details also at the Arts Fairfax website.

At the Czech Embassy

I've been hearing good things about the American debut of Mila Judge-Furstova at the Czech Embassy in DC. My good friend Sharon from Authentic Art went to see it and had this to say.

New DC gallery

ARCH and the Honfleur Gallery have announced the opening of the Honfleur Gallery, including four new artists studio spaces for rent. Studios will be available starting in December. Studios will be rented on a first come, first served basis. The studio size ranges from 100-125 square feet, and the prices from $155-$200 a month, based on square footage. Each studio has its own skylight. Spaces will be rented on 6-month or 1 year term.

The Gallery and Studios are located at 1241 Good Hope Road SE, in historic Anacostia. They are a 10 minute walk from Anacosia Metro Station and directly on the bus line. To make an appointment to view the spaces (still under construction), contact bevans@archdc.org or call (202) 889-5000, x 113.

Waiting to Exhale Sigh

As I mentioned before, the massive collection of artwork by DC area artists which has been assembled for the permanent collection of the District and which is on view at the Wilson Building, is the closest that the capital city of the United States has ever been to having a "DC Artists Collection," since unlike all other major American cities, Washington does not have a physical "Washington Art Museum" and most area museum curators tend to look at their buildings as "national" museums and thus generally tend to ignore DC area artists.

I say that I am waiting to exhale, because I am holding my breath to see what the local DC area art critics write about this collection. I am told that over 1,000 RSVPs have been received for the opening, which is October 31, 2006 from 5-7PM, so this is clearly a major and important art event in the capital.

The collection has already received massive press and television coverage -- for Washington, DC that is -- such as a great piece by Jessica Gould in the WCP on Oct. 19, a piece in Intowner's October issue, an article coming in the first November issue of the Current newspapers, and article coming soon in the Express, maybe an article this coming week featuring the opening in the Wash Post Metro section, and next Thursday, maybe the District Extra cover. Additionally both Channel 4 News (on Oct. 25) and Channel 8 News (also on Oct. 25 and 26) have had features on the collection.

And I can predict (and maybe breathe now), that because it is a collection of DC area artists, and because it is a very large collection, and because it is a public (and apparently already popular) collection, they'll have either nothing to write about it (and by their apathy continue to show the District's arts media anemic insight into the District's dynamic art scene), or...

I hope that they'll prove me wrong, and do write extensively about the Wilson Building Art Collection, but I predict that:

- Blake Gopnik, the intelligent and erudite Chief Art Critic of the Washington Post will (a) ignore it, or (b) write about it and dismiss it, or use it to continue to preach his dated Greenbergian agenda.

- Joanna Shaw-Eagle, the elderly and experienced Chief Art Critic of the Washington Times will cover it, and offer us a detailed description of the collection.

- Michael O'Sullivan, the savvy Washington Post's Weekend section Chief Art Critic (and the only WaPo critic in "tune" with the DC area art scene), will probably cover it and offer the only true insight into this important collection.

- Jessica Dawson, the young freelance writer who pens the "Galleries" column for the Style section of the Washington Post will either (a) ignore it, or (b) cover it in a small dismissive little mini-review.

- Jeffry Cudlin, the award-winning Chief Art Critic for the Washington City Paper, may cover it (if his packed schedule as an Associate Adjunct Professor at Maryland allows it), and offer us an intelligent review, but will probably highlight the weaknesses that exist in any massive public art endeavor.

Let's see over the next few weeks if I've nailed this.

Sigh...

Athenaeum

One of my absolutely favorite buildings in Old Town Alexandria, Virginia is the Athenaeum.

Built as a bank in 1851 in a Greek Revival style (and now a registered Virginia Landmark and a National Historic Site), this beautiful building stands out from the city's otherwise Federalist architecture with its high coved ceilings and large windows looking out onto cobblestones and 18th-century houses, and it is a splendid venue for an art exhibition, which is what the the Northern Virginia Fine Arts Association uses it for.

About ten years ago I curated a massive exhibition there, titled "A Survey of Washington Area Realists" which accommodated a few hundred artists hung salon-style in this beautiful building and was a huge success.

"Peace Pieces," all new works by area artist Marta Sewall, opens on Sunday, November 5, 2006, at the Athenaeum. According to the news release, "the works abstractly depict patterns taken from the earth and various global cultures. The mixed media pieces personify the natural and manmade occurrences of global decay and rebirth. Ms. Sewall's works are inspired by fabrics, diverse world societal traditions and architecture details."

The opening reception is from 4:00 pm ­ 6:00 pm on Sunday, November 5, 2006. The show will run through December 17, 2006.

"An Impressionist Sensibility" at SAAM

The Smithsonian American Art Museum will have "An Impressionist Sensibility: The Halff Collection," on view from Nov. 3 through Feb. 4, 2007.

According to the news release, the exhibition "presents iconic works by some of America's most talented and cherished artists. These selected paintings are from Marie and Hugh Halff's collection, one of the finest private collections of late 19th- and early 20th-century American art."

This exhibition is the first time this remarkable private collection has been on display in Washington, D.C.

"An Impressionist Sensibility" features 26 paintings by William Merritt Chase, Childe Hassam, Winslow Homer, John Singer Sargent and John Twachtman, among other internationally known artists.

Marie and Hugh Halff (who live in San Antonio, Texas) acquired these works during the past 20 years, and on Saturday, Nov. 4 at 4 p.m., Eleanor Harvey (curator for nineteenth and early twentieth century art, landscape painting, southwestern and Texas art) will lead a discussion about collecting with the Halffs.

They will be joined by the fair Barbara Guggenheim, who not only has a cool art name, but is also a well-known consultant who advises private collectors, including the Halffs, and corporations about building art collections. Ms. Guggenheim's book "Decorating on eBay : Fast & Stylish on a Budget" was published a year ago.

This free public program will take place in the museum's new McEvoy Auditorium.

Wanna go to a DC opening tonight?

First make a beeline for The Gallery at Flashpoint, which will be showing A. B. Miner, Ian Jehle, Nekisha Durrett: Me, You & Those Other Folks and the opening reception is from 5-7 pm. Listen to me and bring your sheckels and buy Miner now, I say again: "Buy Miner Now!" Last week Capps wrote about Miner's work for the WCP here and there are lots of other earlier reviews here.

"going... #1" by A.B. Miner
Then tomorrow haul ass to say farewell to Cheryl Numark, who will be closing her gorgeous award-winning space after this show. That opening is on Saturday from 6:30 to 8PM.

Open Studios in DC area

Mid City Artists, is a prominent group of diverse Washington, DC area artists in the U St./Dupont/Logan neighborhoods (talented artists such as Anne Marchand, Robert Cole, Craig Kraft, Sondra Arkin, Colin Winterbottom and others) and they will all unveil new work during their semi-annual Open Studios events coming Saturday and Sunday, Nov. 11-12, from 12pm - 5pm.

This two-day event will feature new and varied collections of sculpture, painting, photography and other media. A detailed downloadable map is available on their website at www.midcityartists.com.

Also hosting open studios are the Reeb Hall Studio artists in Arlington, VA. Their Annual Open Studio day will be held on Saturday, November 4 from 2 to 5 p.m. The 13 visual artists currently working at the studio are: Shahla Arbabi, Carlo P. Biggio, Jr., Jane Buckman, Beverly Donnenfeld-Chello, Carol Lopatin, Phillip Loiterstein, Anne McGurk, Kebedech Tekleab, Lee Vaughan, Rick Weaver, Alice Whealin, Linn Woloshin and Cynthia Young.

Details here.

Holocaust Survivor wants her paintings removed from Auschwitz

While I was in Santa Fe I read this story in the local newspaper.

Artist Dina Babbitt was once forced to make a deal with Dr. Josef Mengele (the brutal Nazi doctor who subjected concentration-camp prisoners to ghastly medical experiments). Mengele "needed someone to illustrate his perverse racial theories with portraits of Auschwitz's Gypsy prisoners, an inferior group according to Nazi ideology. A trained artist, she agreed to do the work as the price of saving her mother, as well as herself, from the concentration camp's gas chamber."

In 1973 she discovered that seven of her paintings wound up in a museum at Auschwitz dedicated to preserving a historical record of the Holocaust.

And she wants them back. Read both sides of the story here.

Openings

"Transitions: Photographs by Robert Creamer" opens today, October 26 and runs through June 24 at the Smithsonian Institution National Museum of Natural History, 10th Street and Constitution Avenue Northwest, Washington. The opening reception will be held Nov. 4 from 3 p.m.-5 p.m. Call 202-633-1000. A review of the exhibition by Glenn McNatt can be read online here. Creamer is represented by Hieneman Myers Contemporary in Bethesda, MD.

Also tonight Thursday, October 26, starting at 7 PM, visit the Arlington Arts Center in Virginia for a glass of wine, a bit of a snack, and conversations with: Suzi Fox, (sculpture), Akiko Kotani, (works on silk and paper), Mahasti YMudd, (installation and performance), Trish Tillman, (installation and video) and Candice Welsh, (works on paper) as they discuss their works in the Center's "Fall Solos 2006" in gallery talks throughout the building.

On October 27, 2006 at 6:00PM is the opening reception for "Meditative Vail Painting Exhibit" by Sirkku M. Sky Hiltunen (Dr. Sky) at Sangha Gallery, 7014 Westmoreland Avenue, Takoma Park, MD 20912 (302) 891-3214. The exhibit will run through November 26, 2006.

The Gallery at Flashpoint presents A. B. Miner, Ian Jehle, Nekisha Durrett: Me, You & Those Other Folks October 26 – November 22, 2006. And the opening reception is Friday, October 27, 5-7 pm. The very talented and diminutive Lucy Hogg will be moderating the artists' talk at the gallery on Saturday Nov. 22 at 3 pm. A. B. Miner is another one of my favorite DC area painters, and I think that collectors should pick up all that's for sale at this show. Additionally, Ian Jehle is easily one of the best contemporary portrait artists around.

Numark Gallery hosts the opening reception of "The Last Show," which is Numark Gallery's final exhibition celebrating 11 years in DC. Participating artists include Shimon Attie, Chan Chao, Diana Cooper, Tony Feher, Terri Friedman, Doug Hall, Peter Halley, David Jung, Robert Lazzarini, Nikki S. Lee, Sharon Louden, Carter Potter, Robin Rose, Adam Ross, Michal Rovner, David Ryan, Jim Sanborn, David Shaprio, Dan Steinhilber and Yuriko Yamaguchi. Opening Reception is Saturday, October 28 from 6:30 - 8 pm.

That same night, one of my favorite artists on the planet, Molly Springfield opens "Gentle Reader" with an opening reception on Saturday, October 28, 7-9 pm (and then an Artist Talk on Saturday, November 11, 2 pm) at Transformer (1404 P St NW, Washington, DC / 202-483-1102).

DCAC in Adams Morgan, DC will have "Herb's Choice: Born Again Dada," an evening of live performance, spoken word and anti-art on Sunday, 30 October starting at 7:30 PM. It's all free. The exhibit itself runs through 05 November in the DCAC gallery.

With an opening reception on Thursday, November 2, 6-9pm, and running through November 30, 2006, Orchard Gallery (7917 Norfolk Ave, Bethesda, MD 20814 tel. 240/497-1912) has "A Closer Look," collages by Sophia McCrocklin. Her color-infused collages take on a new theme relating to the late work of Monet’s nympheas. Using a technique that incorporates painterly painting with collaged fabric pieces, she also pays allegiance to Matisse’s cutouts. McCrocklin’s own heritage is her native Kentucky quilt.

The superbly talented Leo Villareal returns to Conner Contemporary in DC with an opening reception on Friday, November 3: 6-8pm. The show is titled "Origin." This is Villareal's third solo with Conner.

The Wood Turning Center, which is a Philadelphia-based not-for-profit international arts institution, gallery and resource center, has "Fabulous Art," opening on November 3, 2006 and running through January 14, 2007. The opening reception takes place during First Friday, November 3 from 5:30pm to 7:30pm. Ranging from furniture to house wares and everything in between, this exhibit shows the wide scope of wood art available today. Tables, chairs, bowls, ladles and everything in between are part of this exhibit of functional and frequently whimsical world of everyday objects.

Nic Coviello mixes "dramatic graphic elements with quiet fleeting images" in his current body of botanical works at Nexus in Philadelphia. This exhibition opens Friday, November 3 and runs through Sunday, November 26. A reception for the artist and informal talk will be held on Wednesday November 8 from 7 to 9 pm.

Also at Nexus is "Terror Begins at Home," an installation by Anne Cecil Member where she "examines the recent failures of our government and social institutions in a series of multimedia installations." This exhibition opens Friday, November 3 and runs through Sunday, November 26. A reception for the artist and informal talk will be held on Wednesday November 8 from 7 – 9 pm. Poetry reading with CA Conrad, Frank Sherlock and Greg Fuchs, on Saturday, November 18, 7 to 9 pm

On Saturday, November 4, the Delaplaine Visual Arts Education Center Frederick, MD will host "9 Artists: 25 Years," a retrospect exhibit showcasing the work of nine women artists who, beginning in the early 1980s, contributed significantly to Frederick's arts community.

At Falling Cow Gallery, "Simple-ism " opens on November 4th with a reception from 6-8 pm and will run through November 25th. The artist featured identifies himself only by the name Anonymous Artist, simultaneously "removing himself while claiming the anonymous artistic achievements of the past." Simple-ism also reexamines "Color Field" painting in a digital age. And no, it's not me. The gallery, is at 732 S. 4th Street, Philadelphia, PA 19147, 215-627-4625.

On Thursday, November 9, 2006, from 7– 9 pm, the Arlington Arts Center (3550 Wilson Boulevard, Arlington, VA) and as part of their inaugural exhibition for their new temporary outdoor site-work exhibition series, "Sculpture on the Grounds," will have curator Twylene Moyer, who will lead a forum discussion with artists Laura Amussen, Jackson Martin and Renee Rendine to speak about their works. Additional insight will be provided by Greg Zell, the Natural Resource Specialist from the Long Branch Nature Center, offering a compelling overview regarding natural resources in the Arlington area.

Bethesda's Fraser Gallery showcases the third solo exhibition by DC's best-known landscape photographer, the exceptionally talented (and highly collected) Maxwell MacKenzie. The opening reception is Friday, November 10 from 6pm - 9pm as part of the multi-gallery Bethesda Art Walk. The show runs through January 6, 2007.

A few blocks away, Bethesda's Gallery Neptune opens "Three" (Kim Bentley, Rion Hoffman,and Kirk Waldroff) with a public reception at Gallery Neptune on Friday, November 10, 6-9 PM. The artists were first "discovered" at the amazing DC area art extravaganza known as Artomatic which is easily one of the nation's best "art fairs" to discover new, emerging artistic talent.

"The Muse and the Green Fuse" are new art works by Amira Dvorah, and during the month of November, the Da Vinci Art Alliance in Philly will present the exhibition which will feature new paintings on canvas, instruments, and furniture by Dvorah. A reception for the artist will take place on Saturday, Nov. 11th from 3-6:30 pm.

Painter Jane Hahler’s solo-artist exhibit, "Color in the American Townscape," will be shown in The Art League Gallery in Old Town Alexandria, VA, November 9 – December 4, 2006. The opening reception is November 12, 2006 from 2:00 – 4:00 pm.

New

Two DC galleries add to their online presence.

Nevin Kelly Gallery has a new online blog, as far as I know the only DC area commercial gallery to have one. Visit their new blog here.

Conner Contemporary Art has just launched a new website. The new site offers the ability to view video and listen to audio excerpts from their artists. They also offer audio downloads of gallery events and lectures with artists, art historians, curators and other experts in the field. Visit the new website here.

Wanna go to an opening in DC tonight?

New ceramic pieces by Howard graduate Tricia Bishop - this will be her first show in her old neighborhood! - And new works by DC area painter Sandra Warren Gobar (who is a faculty member of both the Smithsonian Institution and the Corcoran College of Art & Design) opens tonight at the new Longview Gallery in DC. The artists' reception is on Thursday, October 26, from 5-8pm.

Swamped

Back from New Mexico and New Hampshire and new wife, and swamped with work and emails. I will be posting often today and in the next few days, so keep checking!

P.S. Check out Alexandra's photographs of New Hampshire here.

Airborne today and heading back home from New Hampshire, where the leaf peepers abound.

Factory Work: Warhol, Wyeth and Basquiat

The Brandywine River Museum in Chadds Ford, Pennsylvania, by virtue of its gorgeous countryside location, is worlds apart from the typical urban setting where we expect to find a fine arts museum, and exists in an almost make-believe part of America that has been made famous by the Wyeth family of artists for the last three generations.

Currently on exhibition through November 19, 2006 is Factory Work: Warhol, Wyeth and Basquiat, an eye-opening exhibition that should cement firmly the artistic footprint of the youngest of the two active Wyeth artists: Jamie Wyeth.

Jamie Wyeth (born 1946) and Jean-Michel Basquiat (born 1960 and died 1988) were both young, successful artists with substantial reputations of their own, when Warhol invited them (Wyeth in the 70s and Basquiat in the 80s) to join him in New York and paint with Warhol’s at the Factory, Warhol’s famous New York studio.

Jamie Wyeth is the son of realist painter and American art icon Andrew Wyeth, and the grandson of illustrator N.C. Wyeth (and all three of the Wyeth’s share other salons in the museum). But while Andrew Wyeth and his father are well-known names in the iconography of American art, Jamie has somewhat been unfairly dismissed by the postmodernists and the usual town criers always screaming about the "death of painting," and Jamie Wyeth, above it all, is a painter in the most powerful and solid of all painting traditions.

The current exhibition at the Brandywine River Museum showcases and documents the results of Wyeth’s long and fruitful association with Warhol and also Warhol’s subsequent and similar association with Basquiat.

The Wyeth-Warhol relationship was a close one. The two shopped for antiques and taxidermy specimens together, attended art exhibition and gallery openings, and exchanged ideas and traded influences. Warhol also visited Wyeth's farm in Chadds Ford, several times and in fact documented one of these visits in his published diaries.

Furthermore, and perhaps the most interesting part of the exhibition, Warhol and Wyeth painted each other's portraits, as later did Basquiat and Warhol. It is in these portraits that we discover a close, even intimate (in a friendship way) relationship between these artists.

When I was visiting the museum, I was lucky to run into the fair Victoria Wyeth, grandaughter of Andrew and niece to Jamie. Through her, as she walked through the museum and talked about her talented family, some intimate insights into her uncle's relationship and influence from and to Andy Warhol was revealed.

30 years ago, a journalist referred to the 1976 exhibition of the Wyeth and Warhol portraits at the Coe Kerr Gallery in New York City as "The Patriarch of Pop Paints the Prince of Realism." Famed art critic Hilton Kramer referred to these same portraits as "an all male version of Beauty and the Beast."

And it is one of these portraits of Warhol by Wyeth ("Portrait of Andy Warhol," 1976, and presumably Kramer’s "beast") that really stands out as a unique insight into an artist whose face is perhaps second only to Frida Kahlo’s in the recognition factor among the artworld’s portraiture consciousness.

Wyeth has said about this portrait that Warhol’s "whole thing of absorbing everything, of recording – turning yourself into a sort of tape recorder – that appealed to me... Our work was diametrically opposite. But I loved the idea that he was a recorder. And I styled myself after it... And then I selfishly wanted to record him and paint every pimple that he had on his face. And he let me."

While I was at the museum, it was this portrait of Warhol that attracted the most attention, even from a visiting self-proclaimed Warholite, who told me that she had come to the exhibition just to see it (the painting is owned by the Cheekwood Museum of Art in Nashville).

It captures the illusion of Warhol as only a master portrait artist can, somewhat dazed and fragile, looking much as if Warhol had aimed his famed 16mm camera onto himself. This is Wyeth at his most spectacular, in full control of unbelievable genetic technical skills that were evident at a tender age (he had his first New York gallery show at the age of 20).

These early skills are seen at the exhibition in his "Portrait of Shorty" done in 1963 when Wyeth was 17, and a portrait of President Kennedy done four years later that apparently was applauded by his widowed wife but disliked by the Kennedy clan for it showed JFK as a worried leader biting his fingernails, as Kennedy did when under stress. The portrait former president John F. Kennedy was exhibited at the Coe Kerr Gallery in 1974 and in the catalogue for that exhibition, Ted Stebbins (now Director of the Boston Museum of Fine Arts), wrote that "James Wyeth is a genuine master of the portrait . . . at twenty eight he has reached artistic maturity."

Eighteen years his senior, Andy Warhol’s portraits of Wyeth are part of Warhol’s signature pieces: one is a projected line drawing done mechanically from Warhol’s Polaroid camera and the second a paint and silkscreen ink on canvas painting.

They depict Wyeth as a dreamy-eyed, handsome male prototype, a depiction that Warhol would revisit years later with Basquiat. In the drawings, Wyeth's lips are visited often by Warhol's pencil, delineating every line and crevice. "Jamie is just as cute in New York as he is in Chadds Ford," said Warhol in 1976, "and what I hope to reveal in the portrait is Jamie’s cuteness."

If Jamie Wyeth’s artwork was "diametrically opposite" to that of Warhol, it exists on another art history universe from that of art school icon Jean-Michel Basquiat.

New Yorker Jean-Michel Basquiat was the son of New York Rican and Haitian parents, and his aggressive graffiti slogans had entertained the New York art world in the late 70’s while pissing off the most other New Yorkers who were sick and tired of the thousands of graffiti "artists" (such as me actually - my "canvasses" were the subway cars of the LL train from Brooklyn and the 7 train in Queens, both of which I took daily to go to High School) who roamed the streets and subways of the seven boroughs. Like Wyeth, he experienced early gallery success and had his first one-man show in Italy in 1981, also at the age of 20.

Basquiat was a determined and ambitious teenager who was a product of the 80’s and who sought out Warhol (according to the museum's press release), "not so much to learn about painting, but to learn how to become a celebrity."

According to art historian Robert Rosenblum, Basquiat was a "crazy kid from Brooklyn who... began his meteoric career by raucously embracing a counter-cultural life, living in public parks, selling painted T-shirts on the street, spraying graffiti on city walls, succumbing to cocaine and heroin, and using a garbage-can lid as his painter's palette."

Warhol and Basquiat, like Warhol and Wyeth a decade earlier, painted each other's portraits and collaborated on a series of paintings that were exhibited in 1985.

Basquiat tried Warhol's silk-screen techniques, and Warhol created an "oxidation" (copper metal powder, Liquitex acrylics, and urine) portrait of Basquiat. In this process, Warhol mix copper pigment with water and gesso and apply it to canvas. He would then pee onto this wet paint, and the urine would react with the copper to make it change colors. Once dried, Warhol would silkscreen the image onto the oxidized canvas.

Still a developing artist (his painting career only spanned seven years), Basquiat died of a drug overdose a year after Warhol's unexpected death in 1987. According to Paige Powell, Warhol’s assistant who dated Basquiat, "Warhol provided fatherly advice" and Basquiat learned "how to be a professional artist, how to be a business person, how to schmooze the collectors and hold the line with the dealers."

In Basquiat’s "Sketch of Andy Warhol" (1983-84), he captures a shocking view of Warhol, exposing him – in a completely different visual representation, but identical artistic insight – much like Wyeth had done in 1976. Robert Rosenblum notes in the exhibition’s catalog essay that "Warhol must also have been attracted, in a masochistic way, to the shocking candor of both Wyeth’s and Basquiat’s portraits of him."

In addition to the artwork, the exhibition is rich in peripheral materials (photographs, magazines, videos, and even Basquiat’s famed garbage-can lid palette) supporting the relationship between Warhol and the younger artists.

While both Warhol and Basquiat met unfortunate and early deaths, Jamie Wyeth continues to create works saluting his relationship with Warhol. Wyeth's The Wind (1999) is a modern interpretation of a post-Pre-Raphaelite painting owned by Warhol. Factory Lunch (2004) depicts Warhol at the Factory, and Fred Hughes (2005) captures Warhol with his ever-present tape recorder and his business manager.

The exhibition was curated by Dr. Joyce Hill Stoner, who is an art historian, paintings conservator and Director of the Preservation Studies Doctoral Program at the University of Delaware. It runs through Nov. 19 and then it will travel to the Marion Koogler McNay Art Museum in San Antonio, Texas, from January 16 to April 8, 2007, and the Farnsworth Art Museum in Rockland, Maine, from May 6 to August 26, 2007. Unfortunately it is currently not scheduled for any Greater DC area museum, where I think it would be a resounding success and open some curious minds to react on the association of these three creative artists. In fact, I think that this exhibition, with its important documentation of two significant artistic crossroads, should be picked up by museums and venues at all of our major art markets. It would not only be a good thing for our art students, but also for our public, and even for our penny-pinching museum administrators looking for an important exhibition that is also of interest to the general public and to American art historians.

Located on U.S. Route 1 in Chadds Ford, Pennsylvania, the Brandywine River Museum is open daily, 9:30 a.m. to 4:30 p.m., except Christmas Day. Admission is $8 for adults; $5 for seniors ages 65 and over, students with I.D., and children; and free for children under six and Brandywine Conservancy members. For more information, call 610-388-2700 or visit the museum's website at www.brandywinemuseum.org.

Another Great Santa Fe Gallery Discovery

Strolled into the Lew Allen Contemporary gallery in Old Town Santa Fe and was pleasantly surprised not only to find the kind of artwork that is seeting Santa Fe apart as a key spot on the world art scene, but also an amazing and beautiful space.

The gallery is set on two levels, each one of which could swallow most of the Mid Atlantic's largest galleries.

On exhibition on the ground floor gallery was work by Jean Arnold, Ben Aronson, Daniel Morper in a really tight show entitled "Arnold/Aronson/Morper: Cities Different" and because it offered three distinctly different visions and takes of urban landscapes, it immediately appealed to me.

These three artists each has a singularly distinctive approach to depicting the urban settings that attracts their attention, and they have been placed together in a very strong show that manages to sew together their visions into a memorable tapestry of urban art.

Lew Allen Contemporary has so far impressed me the most in this short visit, but more later!

SITE Santa Fe

Today I'll be exploring SITE Santa Fe's Sixth International Biennial: Still Points of the Turning World curated by Klaus Ottmann.

Santa Fe

In my first visit to Santa Fe, New Mexico, a couple of quick impressions (lots more to follow later):

- At around 70,000 people, Santa Fe is a lot smaller that I imagined.

- It is a charming and beautiful place, and Gerald Peters deserves a lot, in fact most of the credit, for turning this amazing place from a little town full of "cayote" art spaces into the third largest art market in the world.

- There are a lot of art galleries here, at least 500% more that I had imagined.

- There are a lot of art galleries here that still deal in "coyote" art, but I am told by a couple of local art dealers that met with me yesterday that there's an equal huge number of galleries that offer good contemporary art in all the other genres.

- One of the good ones that I discovered yesterday was Chiaroscuro. More on them later.

- Loads of good restaurants as well. Last night had exceptional nopal leaves and carnitas and great live music at Los Mayas.

Church Rock

Is where I got married today! See the Rock here.

Airborne today and heading West to New Mexico. I'll be back Monday night but then leaving immediately for New Hampshire!

I'll try to continue to post, so keep checking!