New Strauss Fellowships for Individual Artists

Deadline: April 15, 2008

The Fairfax County Arts Council announced a new grants program for individual artists from Fairfax County in VA called the Strauss Fellowships. Named for Bill Strauss (1947-2007), gifted writer, cofounder of the Capitol Steps and the Cappies, the Strauss Fellowships support and encourage Fairfax County’s finest creative artists in all disciplines and recognize professional working artists’ achievements and their demonstrated history of accomplishments; they promote artists’ continued pursuit of their creative work.

Strauss Fellowships are an investment in the sustained growth and development of the arts in Fairfax County as well as a way to honor artists’ commitment to an artistic discipline, their professional activity in Fairfax County, and their contributions to the quality of life in Fairfax County. Guidelines and application materials are available online at www.artsfairfax.org. The application deadline is April 15, 2008.

Job in the Arts: WPA Looking for Program Director

DC's Washington Project for the Arts is looking to hire a Program Director. The PD initiates and supports WPA, and WPA-partnered, exhibitions, programs and projects, coordinates the activities of all WPA interns and volunteers; oversees projects initiated by the WPA Executive Director, WPA Board of Trustees and the WPA Artist Council.

Salary and benefits is commensurate with experience and skill and at a minimum is $35K.

The ideal candidate will have a B.A. in Arts and Sciences, Art History or Museum Studies, or a B.F.A., (M.A. preferred), a broad knowledge of and experience in the contemporary arts in the region, across all art forms, past work experience with outreach initiatives or public programs in an arts organization,
excellent organization, writing, administrative and technology skills.

For details call 202/234-7103.

Prices

I've just had an interesting email exchange with a very well-known artist, whose work I have sold many times in the past, and whose work I hope to sell again soon.

She was giving me prices for her new work, and checking up with me and all her other dealers I assume, because she noted that some galleries were selling a particular older limited edition etching for $3,000 each, when the gallery price should be $5,000.

I've never seen this work listed for under $5,000, but I digress.

She affirmed that the gallery price for that particular work was $5,000 and that only she could sell her own work in her own studio for $3,000.

What?

This is a harsh lessons that most artists need to learn very quickly: An artist cannot afford to compete with him/herself when it comes to prices.

The exact same editioned work can't be sold for $1000 in DC, for $4000 in London, for $300 in Brazil and for $500 bucks in your studio. The same size painting cannot wonder all over the price scale depending where it's being sold.

See what that does?

1. It can damage the reputation of a dealer. Imagine the collector who pays $4,000 in London when he sees the same work for $500. The immediate reaction is "that dealer ripped me off," not realizing that the artist is the one who is ripping everyone off by creating price confusion and trying to pass the gallery commission off to the collector. A good artist and gallery relationship is a symbiotic one, not a money struggle.

2. It will damage the reputation of the artist and will always bring the "real" price of the work down to the lowest price, when the idea is for art dealers and artists to work together to raise demand and thus prices; not have prices wondering all over the scale.

This is very different from the secondary art market, where auction prices can wonder wildly all over the place.

But artists must be consistent in their pricing and swallow the bitter pill that if they are going to work with an art gallery or art dealer or many of both, then they can't have them competing with each other and also with the artist, because a good art dealer's job is to protect both the artist and the collector.

Of course there are nuances to this process... both dealers and artists should have a specified leeway to give collector's discounts to ahhh... collectors, and also offer discounts to multiple buys when someone buys several works at once.

But not discount your own work by 50% just because it is being sold out of your studio.

That just drags your prices down and will cause your art dealer to scold and educate you, or even drop you.

Of course, like some artists that I know, if you do not need an art dealer and can sell your own work all the time, then -- since you are the only one selling it -- you control prices and can do whatever you want, and hopefully won't be having art "sales" where you'll be "discounting" the work that you sold to collectors a week earlier for a specific price, to a much lower price.

It's a little complicated at first, but once you truly examine the issue, then it should be clear to see that the idea and goal is to expose your artwork, get it seen, commented upon and -- if that's your goal -- sold for a fair and reasonable price, and letting the laws of economics take it to where it should be.

But definitely not under the "blue light special" of your own studio.

Sandra Ramos Lorenzo

Later this year I will be curating two exhibitions of art by Cuban and Cuban-American artists for Mayer Fine Arts in Norfolk, Virginia and H&F Fine Arts in Maryland.

One of my favorite contemporary Cuban artists is Havana's intelligent and courageous Sandra Ramos Lorenzo, whose American commercial gallery debut took place at the original Fraser Gallery in Georgetown a few years ago.

Cuban artist Sandra Ramos is considered by many to be the leading Cuban visual artist of her generation, and it was a surprise in the case of that Fraser show because she was not allowed to visit the US for her opening.

Since she had previously visited the US many times, both for museum shows in other American cities and for museum art conferences (as invited speaker), and since her work is in the permanent collection of many prestigious American museums, such as The Museum of Modern Art (MOMA) in New York and the Museum of Fine Arts (MFA) in Boston, it came to her as a shock when her visa to attend her Washington, DC opening was denied a few years ago.

Her work, which often delivers visceral commentaries dealing with taboo issues in Cuban society such as racism, mass migration, freedoms and liberties and the impact of Communism on the Cuban psyche, has placed Ramos at the very leading edge of a group of young Cuban artists who use their art as a narrative medium to describe, criticize and export the harsh realities of Cuban life and the world in which they live and work.

One of Ramos’ most poignant works, in the collection of MOMA in New York best exemplifies the work that has made her famous. Titled in Spanish “The Damned Circumstance of Being Surrounded by Water,” Ramos transforms her image (as a little girl) onto the shape of Cuba, her body pinned to the island by bright red Royal Palms (the national tree of Cuba) changed from its natural color to the color of the Cuban Revolution. This mixed media print sells for $5,000 USD and I am told by Ramos that she's about to run out of the edition (edition of 50 as I recall).

This is one of those key Cuban artists who should become better known once Cuba's Communist sentence ends and Cuban artwork can become easier to obtain and show in the United States.

Buy Sandra Ramos now!

States' Arts funding grows in Fiscal Year 2008

We are being told that the economic sky is falling, but the National Assembly of State Arts Agencies' latest Legislative Appropriations Annual Survey reports that appropriations to state arts agencies currently stand at $359.6 million. Between fiscal years 2007 and 2008, state arts agencies gained $9.5 million in state funds, an increase of 2.7 percent.

Note Florida's massive cuts, accounted for "lower than anticipated state revenues."

Also note that the District of Columbia puts out $9.38M, while cheapskate states like Colorado ($1.5M) appear to barely support the state's arts agencies, and even more amazing, DC puts more money towards the city's art agencies than Virginia (which did increase by almost 27% by the way).

Real cheapskate award: California at $4M.

Spending too much for its own good award: New York state is projected by some to have a 6.3 billion dollar budget deficit, yet the Empire State puts out a whooping $51.8M.

Odd state territory out in the list: tiny Puerto Rico, which has an astronomical unemployment rate and pays no federal income tax, but gets to vote in the Presidential elections - while DC residents do pay and until the 23rd Amendment couldn't even vote - puts out $28.3M!

Phoenix Art Lessons for Cities

Here's a model for cities trying to make the arts work for them:

Freedom is the key to economic growth - The City of Phoenix decided a vibrant arts district would be a nifty idea to revitalize its downtown core. Too often, cities are tempted to achieve such a goal by taxpayer subsidies, eminent domain, tax hikes, or draconian zoning requirements. Instead, Phoenix decided to try a different approach --deregulation.

The City is proposing an “arts, culture and small business overlay” that eases zoning restrictions and increases the number of activities that no longer need a special permit in a small area near downtown. New businesses such as art galleries, bookstores, and restaurants will be allowed to operate without special permission. Restrictions on alcohol sales, musical entertainment, and outdoor dining will be relaxed. The City also will make it easier to rehabilitate existing structures.

Read the article here, then someone please print it and mail to the mayors of Philadelphia, DC, Wilmington, Richmond and Annapolis.

Artists' Websites: Eric Fischl

"Bad Boy" c.1981 by Eric Fischl. Oil on Linen, 66 x 96 inches
Eric Fischl needs little introduction, and is certainly one of the most influential artists of that generation that flowered in th 1980s.

Visit his website here.

Cain

"Cain Son of Adam - From him MacCain, McCain, Ibn Cain, MakkCain, McKane, Fitzcain, Cainish, Cainson, Kanesen, Kanesson."
Charcoal on Paper. 9" x 7" c.2008
By F. Lennox Campello

5,000 frames

I've been offered a super sweet deal on 5,000 custom made frames in a spectacular diversity of sizes, mouldings, styles and colors. Each one is a custom made frame that was a mistake (too big or too small for the custom job). Over a couple of decades, these huge framing shop has accumulated several thousand mistakes and now I can get them all for around $3,500... or maybe even less (I've already talked them down from $5,000).

Some are huge, some are small, but they are all high quality mouldings.

But I have no room for 2,000 frames much less 5,000. But if I found 3-4 people, or gallerists, or artists, or cooperatives, or schools, willing to go together with me, so that we each get 1,000 frames or so, then I'd be willing to piss off my wife, and use the water tight storage shed and the garage to get this sweet deal.

Email me if you are interested and I'll arrange a viewing and discuss terms.

Secrets Are More Than Just Secrets, Blogger Tells Fans

So said Frank Warren, 43, creator of the blog PostSecret, to a crowd of nearly 800 at the University of Maryland Tuesday night.

Warren is no stranger to secrets. Roughly 1,000 find their way to his Germantown mailbox each week.

Read the article by Michelle Williams here.

BORF's baaaack!

I am quoting "Family + Friends of Daniel McG":

To mark two years since the arrest of environmental activist Daniel McGowan and the U.S. Government's escalation of state repression of environmental and animal liberation activists on December 7, 2005 - the Brian MacKenzie Infoshop, in collaboration with Washington D.C. based graffiti artist BORF; Just Seeds Visual Resistance Artists Cooperative and Family and Friends of Daniel McGowan have coordinated a new fundraising project to benefit Daniel McGowan.

A limited edition and rare five color print entitled 'Support Daniel' by notorious Washington D.C. graffiti artist BORF is being sold exclusively through Justseeds at www.justseeds.org. All proceeds will go directly towards Daniel's commissary and education fund.

Smoking Fumo

If you'd parlevous Spanish then you'd understand what a cool headline the above one is...

The biggest thing in Vince Fumo’s career may well be the one he refuses to take any credit for.

Easy to find, on page 244

In October 2002, allocations of $100 million and $7 million were placed in the pending Pennsylvania capital budget to facilitate the move of the Barnes Foundation to Philadelphia. There was no public discussion and no debate. The allocations were not very prominently displayed; you have to look them up on page 244. The budget was passed on October 30, 2002.

Read Robert Zalles' "Barnes follies (cont'd.): The Fumo connection" here.

Nice words

A huge thank you to ARTifice for the nice words and comments about this artblog in their recent Top Ten Local-ish Art Blogs list.

They've got somre really good ones on their list by the way - check it out here.

Artomatic is back for 2008

Time for all the art critics and art bloggers who think that an open, all inclusive, unjuried, everything-hangs art show is a bad thing for art to start gritting their teeth.

The NoMa (north of Massachusetts Avenue) Business Improvement District (BID) will host this year's Artomatic, the Washington, D.C. area's homegrown art extravaganza. From May 9 through June 15, 2008, up to 800 local and regional artists will exhibit their works on eight floors of the Capitol Plaza 1 building, located at 1st and M Streets, N.E., just one block from the New York Avenue Metro station.

Held regularly since 1999, Artomatic transforms an unfinished Greater DC area indoor space into an exciting and incredibly diverse arts event that is free and open to the public. In addition to displays and sales by hundreds of artists, the event features free musical, dance, and theater performances; holiday celebrations; films; educational presentations; and much more.

Anyone can become part of AOM. It's a democratic, all open show... and this is what many art critics and writers hate, because they want to see the external hand and discipline of a curator (otr team of curators) applied to such a massive endeavor.

But there's room for both. There are plenty of large curated show and precious little amount of gargantuan art shows such as AOM.

This year’s Artomatic, occupying 200,000 square feet at Capitol Plaza 1, will be the largest to date. Designed by renowned architect Shalom Baranes and owned by an affiliate of The Polinger Company, Capitol Plaza 1 offers 293,000 rentable square feet of Class A office space, with dramatic Capitol and city views from the upper floors.

“We are thrilled to partner with Artomatic in an event that will bring tens of thousands of people to NoMa,” said Elizabeth Price, president of the NoMa BID. “It is a great opportunity to showcase the transformation that is underway in NoMa and infuse it with the energy and creativity of the artistic community.”

"Artomatic has come back to its roots in D.C. with our largest event ever,” said George Koch, Chair of Artomatic. “We are excited about our partnership with the NoMa BID and their help in bringing this new space to our attention. Artomatic 2008 will have an abundance of exhibit and performance space that will be open to all — from recognized artists to undiscovered talents.”

Registration for artists and performers who wish to participate in Artomatic will be open soon. To stay up to date on the event details and schedule, visit www.artomatic.org and sign up to receive the Artomatic newsletter.

Her First Time

Her First Time, Charcoal on Paper. 3 inches x 2 inches. c.2008
By F. Lennox Campello

Celebrity sighting

One of the formerly best-kept dining secrets of Media, Pennsylvania is a terrific Indian restaurant called Shere-E-Punjab. My wife lived in India and is a good arbiter of Indian food, and when we first moved here, she actually wrote a note to the local paper about this modest but most excellent restaurant (the paper had done a Media restaurant issue and skipped the small Indian place).

The paper's food critic then visited Shere-E-Punjab and was so impressed that she wrote a whole article/review on them.

And then earlier this year the Philly Inky wrote a favorable review of it.

Shere-E-Punjab has really good, authentic Indian food at excellent prices.

And yesterday we had lunch there (excellent as usual) and as we were leaving, noticed that several of the key cast members of "It's Always Sunny in Philadelphia," one of my favorite TV shows, came in to have lunch. This is one of the funniest, oddest and most innovative TV shows on cable.

And no... Louie wasn't one of them.

Artists' Websites

"Virgie" by Christopher Goodwin
Former DC area artist Christopher Goodwin is also the creator of the innovative Trashball! art project.

Visit his website here.

Curatorialism

So far this year I've curated/juried a couple of shows (Color Invitations at R Street Gallery in DC and currently "Five Senses" at Target Street in Alexandria, VA).

Loads more efforts to come in 2008.

Next I'm helping to select the artists for the Johns Hopkins book and two city exhibition of the Innovators Combatting Substance Abuse Program next month in Baltimore.

In April I am curating the grand opening show for the new Mayer Fine Arts gallery in Norfolk, Virginia. Titled "Common Ocean: From Havana to Norfolk," the exhibition will showcase the work of four leading contemporary Cuban women: Sandra Ramos, Aimee Garcia Marrero, Marta Maria Perez Bravo and Cirenaica Moreira.

Also in April I am jurying Derivative Composition for VSA arts.

In June I will be curating Early Look, a student show for DC's Longview Gallery.

In September I am doing the jurying for the Maryland Federation of Artists' (MFA) annual Landscape Show in Annapolis.

In November I will be curating "Aqui Estamos" (Here We Are): Contemporary Cuban Art" for Mt. Rainier, Maryland's H&F Fine Arts, showing some very well-known as well as some new and emerging Cuban artists.

And in between all that I am fitting in six art fairs, a boatload of art panels and two solo shows (more on those later).

Mellema on Moser

Kevin Mellema writes an interesting review of the current Lida Moser show at Fraser Gallery.

Moser's work often depicts motion and displays an unusually strong depth of field. Some of her best works include foreground objects that go hopelessly out of focus yet retain all the information we really need. A photo of two Tennessee girls standing beside the road includes the interior car door and window frame. Another shot out the front window of a bus shows a motion blurred man crossing the street before the bus. Both photos would be greatly diminished were they shot in a more typical fashion.

Likely to her detriment, Moser never shot fashion work, but was asked to shoot a fashion portfolio for a young head strong aspiring model named Judy. Moser agreed, as long as she could shoot it on a truck loading dock. During the shoot the two ladies encountered a band of irrepressible, and equally headstrong boys. Not quite being able to shake them off, Moser used them to her advantage and made a wonderful series of shots with Judy posing while the boys mocked her poses. No doubt it wasn't exactly what Judy had in mind, but since Moser was doing the work as a favor she didn't have much choice but to go along with it. Moser recalls that images from the series sold to several magazines, and Judy went on to model ... then setting her sights on marrying a millionaire, did that as well.

Read it here.

Henry Miller

Henry Miller, charcoal on paper. 2 inches by 2 inches. c. 2008
by F. Lennox Campello

Lotta Art

Details here.

MFA Shows at Tyler

Temple University’s Tyler School of Art has a series of solo and two-person Masters of Fine Arts thesis exhibitions, occurring weekly from March 19 to May 24, 2008.

The series includes students from all Tyler departments and an array of media: painting, sculpture, glass, printmaking, metals, graphic design, fibers, photography, ceramics, and more. A listing of exhibitions is located here.

Texas MADE: Spotlight on 10 Texas Based Emerging Artists

ArtWhino, Alexandria's massive art gallery will launch Texas MADE: Spotlight on 10 Texas Based Emerging Artists, on March 21st, 2008 from 6 to 12p.m. The show runs until - April 4th, 2008. Music by DJ SMK.

Texas Made is "a sampling of the prominent, graffiti-based contemporary Texan art culture. For the most part, the artists featured in Texas Made all have graffiti and street art backgrounds and have now broadened their scope to include works on canvas. Keeping in the vein of graffiti, these artists employ much of the same media and techniques one might expect to find outdoors, such as spray paint with stencils."

Found Prints

A while back a good friend of a friend found a portfolio containing eight prints at the Red line Metro in DC. She brought them home instead of taking them to the Metro counter thinking that they were going to be safer in her hands. Below are three of the images from the set. If anyone knows who the artist may be, they can get in touch directly with Paula and her email is paulamjo@hotmail.com.

Meet the Artist - DC

Argentinean artist Felisa Federman will be at Gallery 10 - Dupont Circle‏ in DC this Saturday and Sunday, to discuss her work currently on exhibit there. Call 202/232-3326.

Felisa Federman, "Barcode." Mixed media on canvas. 11" by 14", 2008

Meet the Artists - Philly

Join Sarah Steinwachs and Joshua Marsh at Cerulean Arts to discuss their current exhibition “Drawing Near” featuring work by them and fellow Yale graduates Tamar Miller and Kathranne Knight. For more information about the exhibition, please visit this website or call 267-514-8647.

Sunday, March 16, 1-4pm and Gallery Talk at 2pm.

Five Senses

Yesterday I was down at the Torpedo Factory in Old Town Alexandria; first I spent about half an hour checking out a couple of very good Art League shows juried by Jack Boul and Sarah Tanguy; review coming later.

Then I went to Target Gallery to see "Five Senses," which I had juried from digital files, and was really pleased with the show; you gotta go see this really cool exhibition - it's not what you'd expect and let me give you a hint: it makes the entire building smell of mouthwash!

I awarded Best in Show to an amazing piece by Illinois artist Pamela Paulsud. Titled "Touchstones," the work is comprised of 50 altered books and some real stones, and it is an imaginative and smart work that fools the visual senses, and then demands tactile interaction.

"Touchstones" by Pamela Paulsud
Those are mostly books, not stones in the above image of the winning piece.

See the short video of the show below and you'll see why I am so excited about this show - I hope that some of the area's art critics and art bloggers get a chance to see it, and I also think that some of my fellow art dealers should pop in - there are a couple of really, really good pieces in this show, and those artists definitely need some further exploration.

Judy and the Boys


The above photograph by Lida Moser is known as "Mimicry" or more commonly "Judy and the Boys." It his perhaps her best-known image, and for a while it was the most popularly requested photograph from the Library of Congress archives.

I've seen this photo described as "dancing in the streets."

Here's the real story.

Circa 1961, the model (named Judy) hired Lida Moser to shoot a publicity portfolio, and Moser convinced Judy that the streets of the Bowery in NYC would be an ideal location.

So they began posing and shooting, and soon a small band of New York City urchins approached them.

"Hey Lady," says Lida the oldest one said to her, "take my pichurr."

"Get lost," answered Moser, "We're working here."

"C'mon lady," the kids now insisted, "take our pichurr."

Soon, to the irritation of Judy, the eldest boy started to mimic her poses. "See lady," he said, "I can pose too."

Moser is not a photographic genius for nuthin' and she recognized the photographic opportunity and started backing up slowly to include the boys in the frame. Judy was now really pissed, and look at her dainty gloved hand, as she gives the street ruffians the finger.

Eventually Moser included the boys in other photographs (all part of a series loosely called "Judy and the Boys") and the images became part of the portfolio. The first photo (imaged above) captures the beginning of a brilliant photo that has little to do with dancing in the streets but loads to do with the eye of a savvy street photographer.

Lida Moser opens tonight at 6PM at Fraser Gallery in Bethesda.

Bethesda Art Walk Tonight

Tonight is the Bethesda Art Walk with openings and late hours and a free walking tour to over a dozen Bethesda art galleries and art venues.

My pick: Lida Moser at Fraser Gallery. Also, I learned from DCist that Moser will discuss her work on Saturday at 1 p.m., followed by a screening of two documentaries about her work.

"Along a Road in Tennessee," c. 1965 by Lida Moser

Weston and Modotti

Two tiny recent drawings, each about 2.25 square inches representing Edward Weston and Tina Modotti, who for a while were lovers while in Mexico City. Modotti was eventually executed by the Nazis in Germany died in Mexico under suspicious circumstances in 1942.

I like this

WaPo Chief Art Critic Blake Gopnik interviews Charles Cohan, a 47-year-old printmaker and art professor based in Hawaii, and currently exhibiting in DC's micro-gallery with a huge presence, Curator's Office.

Cohan's installation at Curator's Office
Read the interview here. The gallery reception for Cohan is Saturday, March 15 6:30 - 8:30 pm.

Wanna go to a gallery opening tonight?

Come to the opening of "Five Senses," the exhibition that I curated for Alexandria's Target Gallery.

The exhibition is up now and through April 6, 2008, and the opening reception (free and open to the public) is tonight, Thursday, March 13, 6-8pm and I will give a gallery talk tonight at 7PM and present the awards. You can start by attending the reception, having some munchies and wine, and then, after the reception, head out for the nightlife of Old Town Alexandria.

The artists that I selected come from all over the nation; they are: Participating Artists: David Bausman, Adam Bradley, Mirella Monti Belshe, Travis Childers, Julie Hitchcock, Laura Huff, Sun Kyoung Kim, Jenny Mastin, Scott Mickelson, Pamela Paulsrud, Thomas Schlotterback, Gary Schott, Anjali Srinivasan, J. Lewis Takahashi, Jennifer Williams, and Damian Yanessa.

This promises to be a terrific show and I can't wait to see the actual work later today.

See ya there!

Artists' Websites

"Intemperance" by Carrie Ann Baade
The recipient of a recent National Endowment of the Arts Fellowship granted through the Delaware Division of the Arts. Carrie Ann Baade received her B.F.A. from the School of the Art Institute of Chicago, and her Masters in Painting from the University of Delaware. Carrie is currently an Assistant Professor of Painting and Drawing at Florida State University.

Visit her website here.

Opportunity for DC, VA and MD artists

Deadline: Friday, April 11, 2008

The Bethesda Arts & Entertainment District is now accepting submissions for The Trawick Prize: Bethesda Contemporary Art Awards. The 6th annual juried art competition awards $14,000 in prize monies to four selected artists. Deadline for slide submission is Friday, April 11, 2008 and up to fifteen artists will be invited to display their work from September 3 – September 28, 2008 in downtown Bethesda at Heineman Myers Contemporary Art.

The Trawick Prize is without a doubt, the key fine arts competition available to DC, MD and VA artists and has already produced some spectacular results for its winners.

This year's competition will be juried by Molly Donovan, Curator of Modern and Contemporary Art at the National Gallery of Art; Irene Hofmann, Executive Director of the Contemporary Museum in Baltimore, MD and Leah Stoddard, Director of Second Street Gallery in Charlottesville, VA.

The first place winner will be awarded $10,000; second place will be honored with $2,000 and third place will be awarded $1,000. A “young” artist whose birth date is after April 10, 1978 may also be awarded $1,000.

Artists must be 18 years of age or older and residents of Maryland, Virginia or Washington, D.C. Original painting, drawing, photography, sculpture, fiber art, digital, mixed media and video are accepted. The maximum dimension should not exceed 96 inches in any direction. No reproductions. Artwork must have been completed within the last two years. Selected artists must deliver artwork to exhibit site in Bethesda, MD. All works on paper must be framed to full conservation standards.

The Trawick Prize was established by local Bethesda business owner Carol Trawick. Ms. Trawick has served as a community activist for more than 25 years in downtown Bethesda. She is the Chair of the Bethesda Arts & Entertainment District and past Chair of the Bethesda Urban Partnership. Additionally, the Jim and Carol Trawick Foundation was established in 2007 after the Trawicks sold their successful information technology company.

For a complete submission form, please visit www.bethesda.org or send a self-addressed stamped envelope to the Bethesda Urban Partnership, Inc., c/o The Trawick Prize: Bethesda Contemporary Art Awards, 7700 Old Georgetown Road, Bethesda, MD 20814.

Opportunity for Senior Artists

Deadline: Friday, March 20, 2008

Call for senior, non-professional artists to participate in the eleventh annual, non-juried exhibition entitled “A Lifetime of Perspective: Art by Older Adults.” Deadline March 20, 2008. The exhibition will be held at the JCC of Greater Washington’s Goldman Gallery May 18-30, 2008. This show offers Washington area adults 65+ the opportunity to show one piece in an exhibition by 120 artists. It is free to all participants. If an artists wishes to sell his or her work the JCC takes no commission. Come be a part of eleven years of celebrating senior’s creativity and talents. This art exhibit was created by Deena and Jerome Kaplan in memory of parents, Eve and David Berliant and is underwritten by the Kaplan Family, the JCC’s Deena and Jerome Kaplan Fund for Senior Adult Programming. For information or to make an appointment contact: Kandy Hutman 301-348-3864 email: khutman@jccgw.org.

Heartworks

In April 2008, Philadelphia will be the destination for a lot of cool contemporary art when the works of photographer/sculptor Jack Pierson, painter/sculptor Andrea Zittel, photographers Ryan McGinley and Zoe Strauss, mixed-media artist Alex Da Corte, installation design artist Virgil Marti, painter/musician Devendra Banhart, self-contained video artist Tim Tate and loads more other visual and performing artists from the United States and London are featured in “HeartWorks,” a week-long event benefiting the Mazzoni Center, a Philadelphia health agency serving the Lesbian, Gay, Bisexual and Transgender community, specializing in HIV treatment and care.

Curator Christopher Veit (who is from my new hometown of Media, PA) credits the Mazzoni Center with saving his life and is taking the words of his mentor Pierson – “you only get back what you put out in life” – to heart in creating “HeartWorks.” He has decided to give the place and people who helped him get well a benefit of works and performances donated by his friends. All proceeds will support the Center. Lifestyle Magazine is a major sponsor for “HeartWorks.”

“HeartWorks” kicks off on Friday, April 18 with two-evenings of experimental multi-media and music, featuring innovative video art by Alex Bag, photography by Patterson Beckwith in collaboration with filmmaker Joshua Callaghan, musician Douglas Armour and rapper Tara De Long.

Then an exhibition of approximately 100 works of art will be on view beginning Tuesday, April 22, culminating in fundraiser/silent auction, featuring a performance by the saxophone ensemble, PRISM Quartet, on Saturday, April 26. “HeartWorks” will be held at the ICE BOX Project Space, 1400 N. American Street. Tickets for April 18 and 19 are $20; those for the April 26 fundraiser/silent auction range from $35 - $125. Patron packages, including limited prints by either Alex Da Corte or Jack Pierson, tickets to all “HeartWorks” events, and a patron event with the two artists on February 21, are $500 and $1,000. For information, visit www.inliquid.com/heartworks or call 215-563-0663.

Other artists contributing to “HeartWorks” include painters Elyce Abrams, Dave Bond, Anthony Campuzano, Jeff Elrod, Daniel Gonzalez, Robert Gutierrez, Ian Hokin, Pearl C Hsiung, Jackadandy, Michael Lazarus, Isaac Lin, Jay Schuette, Jeni Spota, Thaddeus Strode, Hiroshi Sunairi and Henry Taylor; sculptors Paul LEE and Jason Meadows; photographers Karl Hahn and Mary Pinto; mixed-media artists Shari Elf, Mark X Farina, Adam Helms, Thom Merrick, Sandeep Mukherjee, Michele O' Marah, Randy Polumbo and John Williams; fashion designers Paul Bernstock, Michael Costiff, Bettina Hubby and Thelma Speirs; jewelry designers Annie Costello Brown and Mikal Winn; video artists and filmmakers Zaina Alwan, who also creates murals, Tom Borgese, Paul Slocum, Jack Sloss and Kim Stringfellow; performance artists David M. Jones, Ann Magnuson, Kelly Marie Martin and Khembra Pfhaler; musician Chad Brown; and Ellie Greenwood, Gia Grosso, Tim Jackson, Daniel McDonald, Ji Shin and Lisa Sitko. Artist biographies are available in an accompanying document.

Mazzoni Center focuses on the healthcare needs of Philadelphia’s lesbian, gay, bisexual and transgender communities, and specializes in the treatment and care of HIV / AIDS. For more information regarding Mazzoni Center, go to www.mazzonicenter.org.

VSA arts’ Call for Entries

Deadline: March 21, 2008

VSA arts is seeking visual artists with disabilities whose work is inspired by the performing arts for “Derivative Composition,” an international juried art exhibition that will be on display at the John F. Kennedy Center for the Performing Arts in Washington, D.C., from May 29-July 20, 2008. Two-and three-dimensional art, digital art, installations, video and film, and other media that draw inspiration from music, theater or dance are eligible. Submissions must have been completed in the last five years and after the onset of disability. Applications will be accepted through March 21, 2008. For more information, please visit this website or call (202) 628-2800.

MPA Artfest

Deadline: May 1, 2008

The McLean Project for the Arts in McLean, VA is accepting entries from local and regional artists and fine craftsmen for MPA artfest, a one day juried fine arts and crafts festival. The second annual MPA artfest will be held in McLean Central Park on Sunday, October 5. Last year's one day festival drew 3,500 music and arts lovers.

Entry forms are available at McLean Project for the Arts and online at www.mpaart.org. McLean Project for the Arts is located at 1234 Ingleside Avenue in McLean. Hours are Tuesday - Friday 10 am - 4 pm; Saturday 1-5 pm. For more information call 703-790-1953 or email artfest@mpaart.org

The Funnel

Just came across this really, really good Funnel Pages; all about the arts in Philadelphia. A one place online stop for openings, shows, reviews, etc. in Philly.

Visit them often here.

Artists' Websites

Hadieh Shafie is a student at School 33 in Baltimore and Hadieh is having an open studio on Saturday, April 12, 2008, Noon to 6PM.


Visit Hadieh's website here.

Lida Moser opens this Friday

Opening on March 14, 2007 and through April 5, 2007, the Fraser Gallery in Bethesda will be hosting their second solo exhibition of legendary American photographer Lida Moser, who now lives in retirement in nearby Rockville, Maryland.

This almost 90-year-old photographer is not only one of the most respected American photographers of the 20th century, but also a pioneer in the field of photojournalism. Her photography has been in the middle of a revival and rediscovery of vintage photojournalism, and has sold as high as $4,000 at Christie's auctions and continues to be collected by both museums and private collectors worldwide. In a career spanning over 60 years, Moser has produced a body of works consisting of thousands of photographs and photographic assemblages that defy categorization and genre or label assignment.

Additionally, Canadian television recently finished filming a documentary about her life; the second in the last few years, and Moser’s work is now in the collection of many museums worldwide.

She was once called the "grandmother of American street photography" by an art critic, which prompted a quick rebuttal by Moser, who called the writer's editor and told him that she wasn't the "fucking grandmother of anything or anyone, and would he [the writer] ever describe Ansel Adams or any other male photographer as the 'grandfather' of any style."

Tough New Yorker.

I once sold one of her rare figure studies to a big famous photography collector from the West Coast (who collects mostly nude photography). There were four or five prints of the image, taken and printed around 1961, but one had all the markings and touch-up evidence of the actual photo that had been used by the magazine, and thus I sent him that one.

He called me to complain that although he loved Moser's work, that he wasn't too happy with the retouching, and could I ask Lida for one of the untouched photos.

Now, you gotta understand that these images were taken and touched-up by hand for publication in a newspaper or magazine (since they were nudies, the latter probably). They were not touched up for a gallery or an art show - they were "battlefield" prints of a working photographer.

I called Lida and explained the situation over the phone. "Sweetie," she said to me in her strong New York accent, "you call that guy right back and tell him that you talked to Lida Moser and that Lida Moser told you to tell him: Fuck You!"

I didn't do that, but just sent him an untouched vintage print.

Tough New Yorker.

Lida was a well-known figure in the New York art scene of the 1950s, 1960s, and 1970s, and a portrait of Lida Moser by American painter Alice Neel hangs in the permanent collection of the Metropolitan Museum in New York City. Neel painted a total of four Moser portraits over her lifetime, and one of them was included in the National Museum of Women in the Arts' "Alice Neel's Women" exhibition.

"Charles Mingus in his Apartment in New York City", c. 1965.

Among her body of works there are also loads of photographs of well-known artists and musicians that either hung around Lida's apartment in NYC or who were part of her circle of friends.



Lida Moser's photographic career started as a student and studio assistant in 1947 in Berenice Abbott's studio in New York City, where she became an active member of the New York Photo League. She then worked for Vogue, Harper's Bazaar, Look and many other magazines throughout the next few decades, and traveled extensively throughout the United States, Canada and Europe.

In 1950 Vogue, and (and subsequently Look magazine) assigned Lida Moser to carry out an illustrated report on Canada, from one ocean to another. When she arrived at the Windsor station in Montreal, in June of that same year, she met by chance, Paul Gouin, then a Cultural Advisor to Duplessis government. This chance meeting led Moser to change her all-Canada assignment for one centered around Quebec.

Armed with her camera and guided by the research done by the Abbot Felix-Antoine Savard, the folklorist Luc Lacourcière and accompanied by Paul Gouin, Lida Moser then discovers and photographs a traditional Quebec, which was still little touched by modern civilization and the coming urbanization of the region.

Decades later, a major exhibition of those photographs at the McCord Museum of Canadian History became the museum’s most popular exhibit ever.

She has also authored and been part of many books and publications on and about photography. She also wrote a series of "Camera View" articles on photography for The New York Times between 1974-81.

Her work has been exhibited in many museums worldwide and is in the permanent collection of the National Portrait Gallery, London, the National Archives, Ottawa, the National Galleries of Scotland, National Portrait Gallery, Washington, DC, the Library of Congress, Les Archives Nationales du Quebec, Corcoran Gallery, Phillips Collection and many others.

Moser was an active member of the Photo League and the New York School.

The Photo League was the seminal birth of American documentary photography. It was a group that was at times at school, an association and even a social club. Disbanded in 1951, the League promoted photojournalism with an aesthetic consciousness that reaches street photography to this day.


"New York City, Office Building Lobby" c. 1965

An opening reception for Ms. Moser will be held on Friday, March 14, 2007 from 6-9PM as part of the Bethesda Art Walk. The reception is free and open to the public.

If you are a photographer, do not miss this opportunity to meet one of the women who set the path for all of you. If you just love the arts, Moser is also a walking encyclopedia of anecdotes and stories about the New York art world of the 50s, 60s and 70s.

Read the WaPo review of her last exhibition here.

WPA Auction Online Bidding

The WPA Art Auction is online for the rest of this week, and four online bidders have so far ended up winning their lots before the Gala, so it’s definitely worth a shot for collectors who might be unsure about their chances of winning, especially with the auction gala now having passed.

Check it out here.

Student Art

I am a huge fan of art created by students, perhaps because as an art student I used to sell nearly all of my art school assignments in Seattle's Pike Place Market.

And later this summer I will be curating an exhibition for the Longview Gallery in Washington, DC titled "Early Look," which will showcase work by undergraduate art students along the Mid Atlantic.

In Philly, the Samuel S. Fleisher Art Memorial will host its 110th Annual Adult Student Members Exhibition (March 21 through April 26, 2008). The Annual Adult Student Members Exhibition is the culmination of the 110th year of fine art instruction at South Philadelphia’s Fleisher Art Memorial. This year’s exhibition will consist of two parts – designed and developed by students and their instructors – exemplifying the teaching and learning philosophy of the Fleisher Art Memorial. Nearly 400 students will have their work on view in Fleisher’s galleries. Many of these works will be for sale.

Part I: March 21 – April 5, will feature drawings, paintings, prints, sculpture, and photographs by adults enrolled in Fleisher’s program of free-tuition classes. A closing reception and awards ceremony for this portion of the exhibition will be held on Saturday, April 5, from 4:00 to 6:00 p.m.

Part II: April 11 – April 26, will feature work from the summer, fall, and spring workshop programs. A closing reception and awards ceremony will be held on Saturday, April 26, from 4:00 to 6:00 p.m.

Details here.

Job in the Arts

Deadline: March 17, 2008

The Maryland Federation of Art (MFA) is a membership organization of artists and art patrons whose mission is to provide exhibition and professional development opportunities for artists and to provide arts education and outreach opportunities for all Maryland citizens. Reporting to the Maryland Federation of Art (MFA) Board of Directors, the Executive Director serves as the chief staff officer and is responsible for the overall leadership and management of the MFA's programs and operations. This position is a part-time position (approximately 30 hours per week) and there is some flexibility allowed for when the hours are worked.

MFA operates the Circle Gallery, which annually hosts three juried national exhibitions, four juried member exhibitions and numerous solo and group shows. In addition, the MFA also conducts education and outreach activities for children and community groups and professional development opportunities for artists. MFA currently employs a full-time Gallery Manager and one part-time Gallery Assistant. Please visit MFA's website for more organizational information at www.mdfedart.org.

To apply, please send a cover letter, resume, and salary requirements by close of business, Monday, March 17, 2008. All candidate submissions will be confidential. Please send an email to the MFA search consultant at stews@mindspring.com for the full position description.

Applications may either be e-mailed to MFA consultant Sharon Stewart at stews@mindspring.com or mailed to Maryland Federation of Art, 18 State Circle, Annapolis, MD 21401, Attention: Sharon Stewart/Executive Director Search. You will receive confirmation of receipt of your application. It is expected that candidate interviews will begin the week of March 24th.

Here we go again

1. A Berlin gallery has an exhibition that was organized by the Danish group Surrend, which said that it wanted to oppose religious extremism.

2. Same said Berlin gallery closes the exhibition after threats "believed to be from Muslims."

Read the BBC story here.

Great art job in Vegas

The Las Vegas Art Museum seeks a Curatorial Assistant to assist with the development and installation of exhibitions in preparation of LVAM’s move into a new, centrally located 100,000 square foot facility in 2009.

The successful candidate must possess good writing skills and have considerable knowledge of contemporary art. B.A. required, M.A. or equivalent gallery or museum experience preferred. LVAM offers full health and dental benefits. Please send your cover letter, resume, and writing sample (publications not required) to Alex Codlin at acodlin@lasvegasartmuseum.org or by mail to Las Vegas Art Museum, 9600 West Sahara Avenue, Las Vegas, Nevada 89117.

Who's Who in Art?

From Damien Hirst to Mark Wallinger, many major artists now rely on legions of helpers. How do they feel about their often uncredited roles?

Read this fascinating article by Patrick Barkham in The Guardian here.

Yet another artist who likes to paint that painting

My good friend Jeffry Cudlin has a must-read post on the curious aggregation of painting styles.

How many artists can you identify? Read the post here.

Wanna be in a museum show?

Is this an asskicking blog or what?

I'm about to give all of you resume-builders an opportunity to be included in a museum show.

Not just any museum, but the museum that bewitched me -- when I was a kid in Brooklyn -- into loving art.

This March, the Brooklyn Museum, is inviting photographers to electronically submit [sorry about the split infinitive] digital images for a unique upcoming photography exhibition called Click! A Crowd-Curated Exhibition.

The first part of Click! is the submission process that ends this March 31st. Details can be found at this website.

Aren't you glad that you read this blog?

Click! takes its inspiration from the critically acclaimed book The Wisdom of Crowds, in which New Yorker business and financial columnist James Surowiecki asserts that a diverse crowd is often wiser at making decisions than expert individuals. The exhibition will explore that idea in the context of visual art, inviting visitors to an online forum to evaluate the artists’ submissions.

Those submissions chosen by the online audience will be in the Museum exhibition, opening June 27, 2008.

The public will choose an art exhibition? There must be something illegal here...

Something refreshing.

Start sending your photos by clicking on the widget above or go here.

Jerks of the Web

Ah! An explantion why people who are quiet weasels in real life turn into boisterous jerks online.

This article really describes a couple of art bloggers that I know... well, I really know one of them.

CityCenter's Public Art

CityCenter, is a joint venture of MGM MIRAGE and Dubai World, and it will be a vertical city that opens in the heart of the Las Vegas Strip between Bellagio and Monte Carlo resorts in late 2009. The more than $8 billion development combines approximately 2,650 private residences; two 400-room non-gaming boutique hotels; a dramatic 61-story, 4,000-room resort casino; and a 500,000-square-foot retail and entertainment district into a single urban core.

And today, MGM MIRAGE unveiled a $40 million Public Art Program for CityCenter.

Opening in late 2009, CityCenter will feature works by acclaimed artists including Maya Lin, Jenny Holzer, Nancy Rubins, Claes Oldenburg and Coosje van Bruggen, Frank Stella, Henry Moore and Richard Long, among others. Validating CityCenter’s status as a cultural destination of worldwide significance, the CityCenter Fine Art Program will feature numerous sculptures and fine art installations in both interior and exterior locations to create a dynamic and enriching fine art collection. The program is designed to become a benchmark for enlightened corporate involvement with the arts on a global level and will be one of the world’s largest and most ambitious corporate art programs. Additional pieces will be announced at a later date.

“CityCenter will be an international architectural achievement that integrates the talents of world-renowned artists, architects and designers in one development; it will be a landmark of global taste and style,” said Terry Lanni, Chairman and CEO of MGM MIRAGE. “The CityCenter Fine Art Program will be the first initiative of its kind to merge public and corporate interests on this grand scale, and we’re proud to deliver this prominent force in contemporary art and culture to Las Vegas.”

Read the NYT story here.

Update: I asked CityCenter if they had any local Las Vegas artists in the group of artists selected for public art; the answer was no.

The Shaping of Color Field

by Rosetta DeBerardinis

I departed the island of Baltimore last week to attend the preview of “Color as Field: American Painting 1950-1975,” the new exhibit at the Smithsonian American Art Museum.

After some lovely pastries and Dean and DeLuca coffee poured from boxes we ventured upstairs to its third floor gallery. Once you emerge from the elevator you become captivated by the large scale chroma-stained canvases which are so imposing that you feel child-like staring up at them. Signage on the walls with names we have all heard or seem before like: Frankenthaler, Louis, Olitski, Motherwell, Gottelib, Davis and Gilliam. But, this is not a block-buster exhibit for the masses intended to draw record numbers of crowds; it is a significant documentation of 39 works by the early pioneers of American art.

Due to limited government funding for museums and art institutions, there is now greater reliance upon garnering private donors to underwrite exhibits. This exhibit is organized by the American Federation of the Arts, the Henry Luce Foundation, Gene Davis Memorial Fund, Golden Artists Colors and several individual donors, and few of the works are from the Smithsonian’s own collection.

But, if this exhibit is an example of what can be done without the government, I say ‘thank-you’ now we can really have first-class art shows which are thought-provoking, scholarly and challenging. No, there is no audio-guide with snippets of history or narrative story-telling. This show is intended for those well-versed in the subject-matter, so if you are not, I suggest that you dust off an art history book or Google ‘ColorField’ to ensure that you won’t miss the importance of this historical exhibit.

And, if you negate the importance of the abstract expressionist and chant along with the masses “even my child could do this” then you need to purchase the easy reading color-illustrated exhibition catalogue, written by its guest curator Karen Willkin, a specialist in 20th century modernism.

The post-war Color Field painters abandoned the gestural strokes, the all-over painting and pouring inaugurated by Jackson Pollock and the abstract expressionists, and instead concentrated on color, spatial ambiguity and process. Their aim was to unify a colorful abstract image or shape on a large surface. This 1950s movement was more about color than form; however, both movements sought to reveal the unknown -not to report just on the visible.

Artist Helen Frankenthaler led the way by applying thinned oil pigment to stain the unprimed canvas. After visiting her studio in New York City in 1953, artists Kenneth Noland and Morris Louis (both then teaching in the District of Columbia) returned there to experiment with their newly found technique.

My favorite painting in the show is Frankenthaler’s large scale, ‘Off the White Square’ done in 1973 because it exemplifies the new power and presence of acrylic pigment -- which had just become available when she began using ten years earlier.

And, as they say "the rest is history," because America now had its second artistic movement, the Color Field school, which included Helen Frankenthaler, Kenneth Noland, Morris Louis, Walter Darby Bannard, Jack Bush, Gene Davis, Friedel Dzubus, Sam Francis, Jules Olitski and later Larry Poons, Frank Stella, Ronald Davis and Sam Gilliam. These are artists who elected to concentrate on pure contrasting hues of color rather than light versus dark. In the words of Frank Stella “what you see is what you see.” However the significance of this exhibit extends beyond what the viewer sees on these colorful canvases. It is a historical event documenting the difference, similarity and distinction between abstract expressionism and color field painting along with the progression of American art.

The exhibition is in three-parts: an introduction to the origins of Color Field painting, its pioneers, and its later practitioners who pushed its further. It begins with Rothko, and the Abstract Expressionists, then to Frankenthaler’s departure from Pollock and the color field artists who followed with a new abstract form based on expanses of radiant unmodulated hues by staining, painting and spraying. And it concludes with the later generation often linked to the influential art critic Clement Greenberg, who curated the 1964 exhibit “Post Painterly Abstraction” and is credited along with art historian Michael Fried for defining and establishing the framework for interpreting the art form known as field of color, later coined "Color Field."

This exhibition is the first major examination of color field painting, and the District of Columbia is the only East Coast city to host this landmark exhibition. After its debut there it will make its final stop at the First Center of Visual Arts in Nashville, Tenn. in June.

On exhibit thru May 26th, 2008 at the Smithsonian American Art Museum, Eighth and F Streets, N.W., Washington, D.C. Hours: 11:30 a.m. to 7 p.m. daily (202) 633-1000\ (202) 633-7970 (recorded museum information).

Art Collector Feels "Victimized" After Selling Arbus Photos

From Artinfo:

An art collector says he feels "victimized" after selling a collection of previously unknown Diane Arbus photographs for $3,500, far below their value, the Associated Press reports.

Bayo Ogunsanya, who primarily collects African American art, bought a trunk full of unclaimed photographs at a Bronx storage facility in 2002 and sold some of them to Robert Langmuir, who returned a week later asking to purchase more and offering to give Ogunsanya more money if the photographs turned out to be "worth more than you and I think they are."

It was only later that Ogunsanya learned from a New York Times article that the photos were by Arbus and would go on display in a Los Angeles Gallery in February and be auctioned next month at Phillips de Pury & Company. Ogunsanya, who claims Langmuir knew the whole time that the photos were Arbus's, took his case to federal court in Brooklyn on Wednesday, asking the court to block or change the terms of the sale and award him unspecified damages. The lawsuit says the photographs are likely worth hundreds of thousands of dollars.

I suspect that if Langmuir is a professional (art dealer or art trader of some sort), then Ogunsanya may be covered under what's sometimes known as the "Widow's Law" in some states.

This law, as I understand it, tries to protect people from being cheated by professionals when selling collectibles, art, etc.

So if someone comes to me to sell me some artwork, and I recognize a bunch of Morris Louis' paintings in the stacks, I can't legally cheat the seller by offering them a few hundred bucks for the lot.

I'm not sure if the law applies when neither party has any idea of the value of the objects. In other words, if Langmuir "knew the whole time" that they were Arbus' photos and what their value really was, then he may be on the wrong side of the law if he's some sort of dealer - I'm not sure if the law applies if he's just a savvy collector. But if Langmuir had no idea what the photos were valued at, and then subsequently found out their real value - then I suspect that he is in the clear -- but if once he found out the value, then he came back to rip off Ogunsanya of the remaining Arbus photos, then he is probably in the wrong side of the law.

Pixelating America

Who says Mike Licht doesn't post art stories anymore? Read this.

Wanna go to a DC opening tonight?

We're being assured that the artist opening tonight at the Randall Scott Gallery in DC is the real Cara Ober.

"Painting as a mode of thinking" is the way Holland Cotter described the landscapes of Poussin in a recent New York Times review. He likened Poussin's artistic practice to a certain kind of poetry in which "antique references, modern speculation and sensual delirium" check and fuel the import of each component. A viewer might do well to keep this conflicted discursiveness in mind when looking at the paintings of Cara Ober. Her art can look deceptively inviting, almost reassuring in its Hallmark Hall greeting card sort of way, as if the meaning of her jumbled references to old-time dictionary illustrations, sentimental silhouettes, wallpaper patterns and middle class sense and sensibility were simply meant to give us pleasure, the concatenation of images and words an apotheosis of middlebrow taste somewhat like the effusions of Jeff Koons, another notable graduate of the Maryland Institute College of Art. But you would be mistaken to think so.

Perhaps like Ober you too are a product of suburban America, perhaps like her you too feel conflicted about the comfortable sources of your pleasures, how often they are rooted in a familiar environment, the taste of chocolate cake, a submissive pet, a doting mother, a non-threatening mate. Perhaps her older work made it easy for you to feel some such generational kinship but the new paintings are darker in color, more subtly threatening in their selection of quotes and definitions, more aggressive in their critique. They will remind you that you are not like Cara Ober.

-- excerpt from "New Paintings and a Wall by Cara Ober" -an essay by Dr. Michael Salcman

The opening is tonight, 7-9PM.

The Five Senses

Over the many years that I have been curating, creating, discussing and writing about art, I never cease to be surprised at the constantly changing and always surprising quality that is human creativity.

When the Target Gallery asked me to curate "The Five Senses," I must admit that I was a little concerned about the sort of work that I would eventually review for selection. The harsh brainwashing of the post-modernist mafia is a hard thing to avoid, even if you sometimes try to rebel against it.

But leave it to the creativity and intelligence of the artists submitting entries to not only surprise me, but also to delight me and open my eyes to a whole new genre of creativity, new media, fresh ideas and enviable talent from all over the nation.

David Bausman (Texas). Ideas, Sterlig Silver & Mixed Media, c.2005

All the jurying was done in the blind, and I never knew the artists' names until after the selections were made.

I was floored by the sheer diversity of interpretations of the theme, including a lot of three dimensional entries, which are usually represented by a small number, in a juried call for artists such as this one.

Not this show! There was a surprising number of 3D pieces in this call and a significant number in the selected pieces.

J. Lewis Takahashi (New Jersey). Senses - Taste - Watercolor c.2007

Not to say that the 2Ds were not represented; after all, J. Lewis Takahashi's gorgeous watercolors and Thomas Schlotterback's superb charcoal drawing make a very strong presence for the wall works.

Sun Kyoun Kim (Illinois). Triad II, Sterling Silver, c.2007

But as I write these words, I can't wait to see and get my hands on Sun Kyoung Kim's "Triad II" or "Restriction I." Or see or walk around Anjali Srinivasan's "(Re)Flexion" and Adam Bradley's "Cherubs," or wear and use Gary Schott's "Thought Stimulators."

This exhibition is a triumph of the human mind and talent over those who want to reduce the creation of art to just ideas or wall text about ideas, and it has been my honor and pleasure to have been a part of it.

See some of the selected artists here.

The exhibition is up now and through April 6, 2008, and the opening reception (free and open to the public) is Thursday, March 13, 6-8pm and I will give a gallery talk on that night at 7PM and present the awards.

See ya there!

Opportunity for photographers

The Baltimore Museum of Art has invited 19 photographers to respond to the exhibition "Looking through the Lens" with their own work.

The 19 were chosen by by artist Peter Bruun, Urbanite magazine creative director Alex Castro, and photographer/BMA Trustee Connie Imboden, the participating artists are: Beth Barbush, Jennifer Bishop, Laura Burns, Marshall Clarke, Cory Donovan, Peggy Fox, J.M. Giordano, Camille Gustus-Quijano, Regina DeLuise, Ellis Marsalis, Dan Meyers, Christopher Myers, Ken Royster, Jacqueline Schlossman, Sofia Silva, Lynn Silverman, Michelle Woodward, Erik Whipple, and Jack Wilgus.

Their images will be on view in the Looking Now Digital Gallery at the BMA from March 16–June 8, and also as part of a special feature in the April issue of Baltimore’s Urbanite magazine.

But on April 23 - June 8, the Digital Gallery expands with images by teens in the Youthlight after-school program. Founded in 2001 by photographer Marshall Clarke, Youthlight is committed to engaging young people in using photography as a means of self-expression.

And then other photographers can join Looking Now by visiting Looking through the Lens, creating your own digital images inspired by the exhibition, and uploading them to BMA beginning in mid-March. The best of the images submitted online will be on view at the BMA in the Looking Now Digital Gallery. April 23–June 8, 2008.

Submission inquiries may be directed to looking@artbma.org.

B&W

One of the posts that I lost in the last two weeks was an announcement for the opening of "black and white and... all over," the group show of 19 Greater DC area black and white photographers curated by fellow artsblogger J.T Kirkland for H&F Fine Arts.

I'm hearing good things about this exhibition, and from the images on JT's site, I really like the way that the show was hung - it looks really good.

It's a shame that when Lou Jacobson left the Washington City Paper, no one there has picked up the slack in focusing reviews on photography shows, as there are several good photography shows going on the DC area this month.

Airborne


And heading home from beautiful Arizona. As most of you know, my desktop died a couple of weeks ago, and a few days later my laptop was stolen, and then I came out West for a week.

Between all of that, I have lost a ton of pre-prepared postings and I am at least 500 emails behind, and I'm still struggling a little with the cool, new tiny laptop.

Jerome Art Galleries

Jerome, Arizona sits straddling the side of a mountain about a mile high from sea level and less than 30 miles from its more famous cousin Sedona.

"America's most vertical city" -- I am told -- is home to about 400 people, but once boasted 16,000 inhabitants and a brothel madam who was Arizona's richest woman.

Although the whores are long gone, today the town still manages to attract a few million tourists a year, not only for the spectacular views that it affords from nearly every vantage point in this tiny and beautiful town, but also because of a budding gallery scene that although seemimgly having fairly established roots, it only seems to be blossoming out recently with a significant number of art galleries and venues and a rather successful monthly art walk on the first Saturday of the month. With 30 galleries and artists' studios participating in the art walk, it reflects the huge impact of the fine arts in a town of 400.

Most of Jerome's art galleries seem to fit the Southwest style of galleries that I discussed earlier in reference to Sedona. However, and very surprising to me, Jerome's art spaces seem more individual and original -- in most cases -- than Sedona's cookie cutter model of galleries.

There are several cooperatives that I observed, most noticeably the Jerome Artists Cooperative, where the hilarious (and smart) watercolors of Dave Wilder were on exhibit on that day that I visited. Full of irony and delivered with superb technical expertise, Wilder flexes well-developed observational skills that challenge the genre of "cowboy art" in a new refreshing manner.

The Spirit Art Gallery, although an independent commercial art gallery, seems to be run like a coop as well, with work by 30 artists on display at once, with some very good talent among them. I liked the feisty owner, who really believes in her artists and is a breath of fresh air for gallery owners.

My Mind's Art Gallery, which features the work of its owner, Ukrainian painter Joanna Bregon, a surrealist artist who has found a home in this unusual little town, also stands out from the cookie cutter cluttered gallery model.

It was refreshing to see diversity in art and rugged individuality in each art space, regardless of how one feels about the quality of the art itself, in some cases.

And then, while walking through the various galleries and talking to some of the owners and artists, it dawned on me that the Jerome galleries and shops is what I had expected to see in Sedona: unique, one-of-a-kind shops, art venues and art galleries.

I also discovered that nearly everyone that I talked to in this tiny town where everyone seems to know everyone else, seems to have a grudge against either the land developers and the expansion of homes in nearby areas (and competition for water) and/or against the Jerome city fathers for a variety of reasons, most dealing with construction issues.

Finally I trekked down to the town's former High School, an ancient multi-story set of buildings that has been converted into artists' studios and workshops - 20 of them.

There the work of Michael MacDonald and Derryl Day really stood out, especially some of Day's older portraiture works, which were exquisite color pencil pieces full of personality and grace, as well as tremendous technical skill. But the key here, with an exception here and there, is that these were all artists in the overall, rounded, sense of the adjective -- not just "Southwest art" artists; it was refreshing and interesting.

As small as Jerome is, it's clear that the town's colorful past, coupled with its amazing location and vistas, and more recently married to a creative artistic community and over-protective city fathers, all act as an irresistible magnet to the hordes of tourists that visit it every year.

It's also clear that there's something special about this place; it can be felt in the air, in its people and in its streets, and the dealer in me wonders if this special spot would not be an ideal place for some sort of very specific and focused art fair - a mini model of my "new art fair model."

Sedona and Jerome are like kissing cousins of the Arizona tourist draw. I think that together, they can also become complimentary partners for an art draw of its own.

DCist Exposed

Even from far away Arizona I just wanted make sure that you all know that the DCist Exposed Photography Show opens tonight in DC!

The show is at Civilian Art Projects at 406 7th Street NW in Penn Quarter in DC -- a few blocks from the Chinatown metro, and the reception is from 7 to 9 p.m. and free. DCist Exposed received picks in all three Washington Post event guides, as well as the Washingtonian and other publications, and I bet that this year's show will be even better than last year's terrific exhibition.

Do not miss this opening and someone please email me some images of the opening crowds.

Sedona Art Scene Part III

Yesterday I used the example of Sedona's huge Exposure Gallery to discuss what I call the Southwest gallery model -- a gallery packed to the gills with art in a riot of color and fear of empty space -- as opposed to the more standard gallery model of a minimalist white cube for a gallery.

There are a lot of art venues in the Sedona area, nearly all of them, with one notable exception, follow this Southwest model. Most of the better spaces are listed in the Sedona Art Gallery Association website.

Of these, Kinion Fine Arts seems to offer a blend of the two gallery models. They recently moved from the Hozho Center (located at 431 Hwy 179 and home to several galleries) to uptown Sedona, relocating the gallery to a former bank building, safe room and all. The Kinions have divided the gallery into two rooms; at the entrance the Southwest model is in place, but the bank's vault is used for solo shows apparently hung in the cleaner, less cluttered style of the white cube. They're also one of the few art spaces in town where not everything is Southwest art centric.

A new gallery just up a few steps from Kinion Fine Arts, located at Hyatt Pinion Point, is the very beautiful space of the Vickers Collection (there are three of these galleries in total and the one in Sedona is called VC Fine Arts), opened just a year ago and by far the only gallery in the area that fits the cleaner white cube model.

Vickers uses the white cube model, and also offers the most diverse set of artists, not just a heavy-handed focus on Southwest art (as most Sedona galleries do, driven by the tourist art market).

It will be interesting to see if Vickers can survive as the sole Sedona gallery (at least that I've seen) that offers a diverse set of artwork; the type of art that could easily be seen in New York, or Philly or DC.

At VC I quite liked the bronze sculptures of Bill Starke, a refreshing change of pace from all the bronzes of horses, bears, javalinas, Indians, deer and cowboys that inundate most of this beautiful town's galleries.

I also liked Chris Nelson's smart and intelligent reverse paintings on plexi, which upon further examination are more than just paintings, since the artist also routes the verso of the plexi so that the textured reverse plexi interacts with the acrylic paint to actually create grooves and channels that on the front of the work create smart landscapes. As interesting as this work is, this artist has to be careful that he doesn't fall into a repetitive pattern in his work.

Since I have been in the advice-giving mood, an artist that would be a perfect fir and would actually sell like gangbusters all throughout the Southwest are the amazing storm paintings of the Washington DC area's Amy Marx, who recently had her first solo in New York and whose breath-taking, hyper realism captures massive storms and weather patterns like no artist that I have ever seen.

Another East Coast artist who would be an instant hit in the Southwest is Alexandria's Susan Makara, whose beautiful stacked stones series sell as soon as she is finished with them from her studio in Alexandria's Torpedo factory.

Still in uptown, the Sedona Art Center rounds up a very good artists' run membership gallery of local artists.

There are also quite a few galleries located in a faux Mexican village called Tlaquepaque; after two trips to Sedona, I still can't pronounce it. From there you can cross Oak Creek by foot and visit a whole bunch more galleries on Hwy 179, although the ongoing construction on 179 seems to be really hurting the gallery business on that road.

Later: A big surprise! why nearby Jerome has more interesting and diverse galleries than Sedona does.