Sedona, Arizona

While I am airborne heading West to Sedona, AZ, I thought that it may be a cool idea to rehash some of my older thoughts on that area for all the newbies to the blog.

While there's no doubt on the planet that Sedona, Arizona is one of the most beautiful places on the planet, as I discovered while visiting there the last two years, it is also one of the key spiritual magnets to a variety of religions and beliefs, including the significant number of people attracted to Sedona as a result of its "energy Vortexes."

Let there be no doubt that this is an area of profound beauty and full of a palpable sense of energy and power. I have loved it for the last two years and will be back many times, as there are dozens and dozens of trails and vistas to explore. This visit may get interesting as far as hiking, as I am nursing a really sore Achilles tendon (too much basketball); let's hope that massive doses of Advil do the trick.

On my last trip in 2008, I focused some time and comments on the Sedona art scene, a "scene" with some national footprint, regardless of where you stand on the planetary scale of the art world. In fact, within a few minutes of anyone discussing that they're going to Sedona, someone will immediately pop in and describe the city's great art scene.

Last year I approached those views with the prejudiced eyes of the artsy Easterner, accustomed to white cube galleries, minimally presented with austere framing, white matting, and where even title and price labels are often eschewed in preference of a discrete price list on the gallerist's white or light wood postmodern design table.

Let start with the Sedona art galleries from the city's dealers' association, which seems to have shrunk a little in membership since last year - probably as a result of the economy.

But first, extrapolating from the city's website, the city probably has around 12,000 people, and about 90% of them are non-Hispanic whites, and last year came in with a median household income roughly $100,000 less than Potomac, Maryland and paradoxically (also last year) with a median house price about $100,000 more than Potomac's pricey homes. I've been watching those house prices dive bomb both places over the last year, but they're still widely discordant between the two places.

But this dollar discordance is the first of many paradoxes about this gorgeous place.

Depending on who you believe, Sodona also gets between four and five million visitors a year.

The Sedona Visitors Guide tells these millions of visitors that Sedona "not too long ago had 300 residents, now has 300 artists and more than 40 galleries." We also learn from the guide that Sedona averages one gallery per 300 residents, and for every dollar spent on art, the art buyers spend $12 on other Sedona stuff.

I often wonder how the granularity on these statistics take place.

The guide also claimed last year that statistics show that approximately 33% of the city's visitors are attracted there by the art, and that these art aficionados thus spend between $200,000 to one million dollars in various Sedona businesses each day. We thus can extrapolate that around $16,666 to $83,333 dollars are spent each day on art in this small town.

One issue appears to be clear: it's the tourists who buy art, not so much the locals (does that sound familiar?). This makes sense, after all, how much art can 12,000 residents buy from 40 galleries?

Another clear issue is that whoever writes this statement has a wider definition of what makes "art" than from the rest of us; I think. Let's say that I would accept the statistic if it had stated that the money is spent on "arts and crafts."

"Locals don't buy any art," told me last year a former Sedona gallerist, who prior to opening a gallery in Sedona had been a dealer in Chicago. "There are a lot of retired people here [the median age is around 55] and although there are some very large multi-million dollar homes, there are also a lot of modular homes [a fancy way to described a souped-up trailer]."

To the prejudiced and minimalist Easterner eye, the riot of color, subjects and presentation that characterizes most Southwestern art is an assault to long-held visual sensibilities created by the black and white world of the East Coast and Left Coast artworlds and its European and Latin American brethren.

I am shocked to discover that perhaps there's something of an elitist in all of us, as the preconditioning of being an artist, an art critic and an art dealer raised in all those aspects, and mostly along the Eastern states, prejudices my eyes to what I've referred previously as "coyote art."

My better half, who many years ago interned in Santa Fe with the legendary Gerald Peters Gallery (and Peters is credited by many as energizing the interest in Southwestern art and placing Santa Fe and the Southwest in general on the art scene), tried over the last couple of years to educate me somewhat as to the different sensibilities between what she labels "an Easterner, with an East Coast vision of what a gallery should look like, looking at a Southwestern space."

It will take time, but then again, at one point in his life Duncan Phillips hated Impressionism and then eventually was seduced by it and became the American champion for it.

On the other hand, Wisconsin farm girl Georgia O'Keefe, even in her Southwest years always kept her austere black and white world where colors were generally reserved for her paintings.

So for the last two years I have proceeded with as open a mind as I can have, maybe somewhere between Phillips' eventual enthusiasm and O'Keefe's steadfast minimalism in personal tastes.

I am curious to see what changes the economic downturn has wrought, but there were a lot of spaces in and around Sedona that sell artwork. I'm not really sure if there really are 40 galleries, unless one includes a lot of spaces that sell a lot of Native American and Mexican crafts.

Sedona itself is sort of divided into two areas, and as one comes to it from Highway 179, Uptown Sedona is to the right and the other Sedona to the left. Most art spaces are either located on 179 itself or Uptown Sedona.

The first set of galleries one comes across on 179 are located on a shopping area to the right as one enters the city, with a spectacular view (from the shops) of the Sedona rocks and the city itself.

And when you drive up Highway 179 into Sedona, one of the first galleries that you come across is the huge Exposures Gallery, which is located on the right side of 179 as one approaches the city.

Over 20,000 square feet, not including the outside sculpture gardens (I assume) make this the largest art gallery in the state, and probably one of the largest in the nation, perhaps the world.

There's no gallery in the world, in the many, many galleries in nearly all continents that I have visited, that I can compare to this place.

Exposures is a perfect example of what makes most Southwestern art galleries so different from most other fine art galleries in the world; galleries which follow the white cube example of white walls and minimalist hanging styles, coupled with total lack of information about prices, etc.

Not so in the Southwest gallery model, and Exposures is a perfect example of this model for Southwest galleries.

Upon entering the huge spaces, the East Coast gallery sensibility is immediately assaulted by a riot of colors and by a fear of empty space that yields a huge gallery space filled to the brim with art, photography, sculpture, crafts and jewelry. The Greeks called it "horror vaccuii."

This is 21st century salon style presentation married to the joy of colors that is the Southwest.

There are probably a few thousand pieces of art hanging and displayed in this gargantuan space. In fact, so much artwork, and so much variety, that the snobbery of the art world would immediately tend to dismiss this gallery as another "art store" filled with "wall decor."

Not so fast.

There are plenty of art galleries in Sedona that offer wall decor, and the same in the Southwest, and for that matter all over the nation.

Don't be fooled by the sheer scale and invasion of the senses that Exposure offers. This is a very successful gallery which offers some very good artists, some so so artists and some mediocre artists. In other words, just like any other reputable art gallery, but definitely not a cheesy art store. This is a very good Southwestern gallery working flawlessly on that model.

Exposures' success is clearly evident not only in its size, but also in the small army of people that it employs, as well as its history, which essentially repeats the usual gallery story: art-loving couple moves to Sedona, open a small gallery; they do well and open a huge one.

And because Sedona's art buying market is comprised mostly of visitors, this gallery has to operate on the model of exhibiting everything that it has to offer all at once.

It works for them.

So once we get past the fact that this overcrowded gallery space has found its formula for success, and we begin to look at the artwork itself, as I stated before, we find the same mix of great, good, average and mediocre that one finds in any gallery in the world because art truly is in the eyes of the beholder -- or in this case the husband and wife team that picks the artists that they choose to represent and sell.

And sell they do...

On exhibit are works by more than 100 artists; yep, 100... and prices, I was informed, range from $29 to $290,000.

The catchy price range seems to have done wonders for both the artists and the owners.

Not everything is about money and sales; but money and sales make most artists, and definitely most gallery owners, happy. Money may not be everything in the world, but to most people it is damned well ahead of whatever is in second place.

About the artwork itself...

Nearly all of it shares a flawless technical skill and delivery that would make most postmodernists elitists raise their noses a few inches higher. As an admirer of technical skill, I have learned to respect technical skill, but also have learned to then look past it and see content, ideas, context and intelligence in the work.

But before I get to the few artists that stood out for me last year, I must note that the one thing that, in spite of over 100 artists, the gallery lacked was monochromatic or black and white works in this wildly colored universe of art. It could really use a few drawings here and there to break up the dominance of color and painting. But I am biased.

As far as I could see there were only two artists working in drawing. Of the two, the two delicate small graphite drawings by Charles Frizzell stood out like little orphans in an ocean of color.

The charcoal and watercolor pieces by an artist named Yuroz also could mostly be qualified as drawing, but the works themselves were rather forgettable, as Yuroz seems to be channelling several of Picasso's periods -- including a rather mediocre stab at cubism -- in his paintings and drawings. There is too much Picasso in Yuroz, but there is also too much of Yuroz in Exposures, which in economic terms means that someone must be buying lots of his work. I didn't like any of it.

Let me tell you what I did like.

There was some very good photography by Scott Peck, and yet I personally test all flower photography to the spectacular work of Andrzej Pluta, or Joyce Tenneson, or Amy Lamb. In fact if Peck's work is doing well in Exposures, then the art dealer in me is sure that Tenneson, Pluta and Lamb would do even better at Exposures.

Upon entering any business in Arizona that sells imagery, one is bound to find photographs of the desert rocks and formations. By the time that you visit a dozen galleries, one is sick and tired of desert photography.

And yet, one of the most memorable artists in Exposures is a photographer named Martii, whose spectacular desert shots, coupled with superb presentations, make his or her photography one of the best finds in the gallery. And in writing this, I think that another photographer whose work would do well here, would be the split reverse image digitally manipulated split desert photographs by John DeFabbio, who works out of the Washington, DC area. For years DeFabbio has been trekking around the world photographing nearly everything that he sees, then digitally mirroring each half of the image to discover amazing new images in the manipulated work.

But back to Exposures.

The best work in this amazing gallery when I visited last year were beautiful abstract pieces by a Brooklyn-born artist named Eric Lee, one of the rare non-representational artists in the space. Lee creates wonderful reverse paintings in glass that are standouts of skill and delivery. They are fresh and beautiful and add a calming effect to the gallery's riot of color.

There are two galleries in Sedona claiming to have been voted the best gallery in Sedona. I'm not sure who the voters were, but of the two, Exposures is by far the best and certainly one of the most amazing art spaces in the entire Southwest.

And now I have 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, last year Kinion Fine Arts seemed to offer a blend of the two gallery models. In 2008 they had 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. I'll let you know later this week after I drop in again.

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 seemed to be really hurting the gallery business on that road.

Last year I also drove up to Jerome and was very pleased with their 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 I think that 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 in 2008. 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. Last year I was quite impressed by the owner, who was full of energy and zeal for the artists that she represents. I hope that she is still doing well as she had just opened last year.

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 seemed to know everyone else, and also seemed 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.

As the above words are being published, I am airborne and heading West to Arizona, eager to see what changes have taken place, and what new spaces may have emerged, and in the coyote-eat-coyote world of art, which gallery has closed.

Stay tuned... more later.

Someone still has francs

A painting by Henri Matisse sold Monday for $41.1 million — a record auction price for a work by the artist — at an art sale from the estate of Yves Saint Laurent, Christie's said.

The sale came at the start of a three-day Paris auction of art from the collection of the late French fashion designer that some are calling "the sale of the century."

Details here.

Airborne

Heading to beautiful Sedona, Arizona... art galleries, red rocks, vortexes...

Note to airport designers: The fact that in Philly Airport gate A-11 is right across gate A-2, but gate A-9 is nowhere near gate A-8 may make sense to you, but to the rest of the planet it is a perplexing design silliness.

Wanna be in a PostSecret book?

My good friend Frank Warren is the genius whose worldwide art project, PostSecret, is easily the world's largest public art project by a googleplex of factors.

And Frank just told me about the new PostSecret book that will be released later this year - PostSecret Confessions on Life, Death and God.

This book has been two years in the making, but there is still time to contribute your postcards.


Use this link to watch a personal message from Warren about this special fifth PostSecret book and learn how to mail in your deepest secrets today.

Airborne


I know that I just flew back from California last night, but tomorrow morning, really early I am leaving again and heading out West again for a week in Sedona, Arizona.

Loads to come...

Opportunity for Artists

Deadline: March 27, 2009 (postmark).

The Fine Arts League of Cary is seeking entries for its 15th Annual Juried Art Exhibition to be held from May 8th to June 27th, 2009 in Cary/Raleigh, NC. Show awards and purchase awards will total over $5,000. Entries can only be mailed via CD. The postmark deadline for the mail-in registration is March 27, 2009. I will be the juror for this show.

Full details and a printable prospectus are available
on the web here or call Kathryn Cook at 919-345-0681.

Best burrito in the world?

The massive carnitas burro in San Diego's Santana drive through?

There used to be only one Santana - on Rosecrans - but now I think that the little drive through has grown into a chain.

No matter, the food is still great and cooked just as you order it, not pre-cooked, and the carnitas are just amazing.

New Hirshhorn Museum director

Richard Koshalek has been named director of the Smithsonian's Hirshhorn Museum and Sculpture Garden, effective April 13.

Koshalek, 67, was president of Art Center College of Design in Pasadena, Calif., from 1999 until January 2009. Before that, he served as director of The Museum of Contemporary Art in Los Angeles for nearly 20 years.

"Richard Koshalek has vast experience in both the education and museum worlds," said Smithsonian Secretary Wayne Clough. "His creativity brought modern and contemporary art to bear on issues of the day and will help the museum and the Institution reach broad audiences in technologically and aesthetically exciting new ways."

"I am immensely excited to come to the Hirshhorn Museum and Sculpture Garden," said Koshalek. "This institution, more than most, is at the perfect time and place to make a unique contribution not only to the history of modern and contemporary art, but to the larger appreciation of the role of the arts in society. Given its place in the nation's capital, as well as its proximity to a peerless range of cultural, diplomatic and civic resources, the Hirshhorn can be a catalyst for new creative and collaborative energy in many arenas."

We are also hoping that Koshalek discovers the museum's proximity to a large number of world class art galleries and an immense number of DC area artists, both of which, with a few and notable rare exceptions, have been largely ignored by the Hirshhorn in the past.

"In the past it seemed that Hirshhorn curators found it easier to visit Berlin or New York, or any place for that matter, rather than their own city, when looking for emerging artists or new innovative work in commercial galleries," Campello Vulcan-melded into Koshalek's mind. "Not anymore," he added, "there's a new sheriff in town."

PMA Woes

Facing a dramatic downturn in its endowment and waning city support, the Philadelphia Museum of Art is cutting staff, delaying exhibitions, curtailing programs, trimming salaries and — subject to city approval — increasing admission fees.

The cuts will bring the museum’s operating budget down by about $1.7 million to $52 million for the current fiscal year, which ends June 30, and, the museum hopes, will stave off a deficit the following year forecast as high as $5 million.

The museum will eliminate 30 positions — about seven percent of the staff — in all areas, though no curators are being let go. Of those 30 jobs, 16 are layoffs of current personnel, with the remaining positions lost by not filling vacancies.

Senior staff will take salary cuts of between five and 10 percent, said interim CEO Gail M. Harrity yesterday.

Read the Inky report here.

Dobrzynski on the Art Fairs

The crowd was cordial, happily sipping from glasses of Champagne, white wine, and soda. Big collectors like Marty Margulies, Agnes Gund, Frances Bowes, Don Marron, and Helen Schwab roamed the art-filled aisles. As everyone walked around during the gala opening of the annual Art Dealers Association of America art fair in New York last week, they were smiling, laughing, pausing frequently to chat and to look at the art in the gallery booths.

What they weren’t doing, despite valiant new strategies by some dealers, was buying much art.

Read the Judith Dobrzynski report on The Daily Beast here.

Blows

A blow to the Greater DC area art scene... in the making... unless we all do something.

Arlington County Manager Ron Carlee has proposed the closing of the Ellipse Arts Center in the FY2010 recommended budget. This closing includes a complete budget cut of the Ballston, Virginia area Ellipse Arts Center facility rent, a complete budget cut for visual art exhibition programs and a complete budget cut for visual arts educational programs.

Cynthia Connolly, Ellipse Arts Center Manager & Curator, and LisaMarie Thalhammer, Ellipse Arts Center Education Programmer, are graciously but urgently asking for your written support in proving that Arlington County’s continued funding of the visual arts is a value to our community. Please consider writing a short statement in support of the Ellipse Arts Center program.

I hope you will take a moment before the end of the day tomorrow to send a note of support to Lisa. Please email Lisa Marie at lthalhammer@arlingtonva.us with your supportive statement by the end of the day tomorrow, Thursday, February 26, 2009.

Please call with any questions or concerns at 703-228-1861. You can also contact Ron Carlee directly 703.228.3120, fax: 703.228.3218 or email Ron Carlee - County Manager at countymanager@arlingtonva.us

A Public Thank You to Kim Ward

As we all know by now, the WPA's Kim Ward will soon leave as the head honcho for that terrific artists' organization.

I can’t exactly recall the first time that I met Kim Ward, but the first time that she made a distinct impression on me was back when she was one of the several WPA people working under Annie Adjchavanich’s leadership and the WPA was at the Corcoran and they had just published their first Artists Directory.

They were distributing boxes of the books through galleries in the District and Greater DC area, and I was working that day at my old and first gallery in Canal Square in Georgetown. We had asked for a couple of boxes, and Ward came into the gallery carrying one of the boxes, with that huge smile that she always seems to have.

“I’m illegally parked!” she announced in her hypnotizing Southern accent.

“You’ll get a ticket,” I predicted. “Let me go back with you to the car and I’ll bring the second box over.”

I walked with her across the street and picked up the second box from her car. She zipped away to her next delivery spot.

“Damn,” I said as I struggled with the weight of the box of books, “How’d in the hell did that tiny thing carry this box?”

It was the first of many instances where Kim Ward would show me and others the toughness, resiliency and hard working ethic of a woman in love with her job and the huge number of artists that the WPA represents. I’ve seen this woman scrubbing floors, painting walls, patching up holes, washing dishes, hammering at walls, cleaning spills, serving food… hanging artwork, all the stuff that makes the life of the director of an artists’ organization a glamorous job.

Ward worked her way up the WPA ladder until she became the executive director and new leader of the WPA, and in the five years since that happened she re-crafted that organization into a very important part of what makes the Washington, DC art scene “tick.”

Ward’s accomplishments at the helm of the WPA have been nothing short of spectacular; all the way from guiding the organization to the digital age to guiding it right out of the heavy shadow of the Corcoran Gallery of Art.

It can be probably argued that the Corcoran provided a life line to the WPA after several directors almost ran the organization into extinction. The Corcoran relationship allowed the WPA to rediscover itself, and to breathe a little easier in financial terms.

First under the dizzying leadership of my good friend Annie Adjchavanich and then under Kim Ward’s strong and steady hand the WPA began to rise again, and eventually it regained its independence last year.

And once again, it would be hard to imagine Washington, DC without a WPA. And hard to imagine a WPA without Kim Ward.

I am proud to call her my friend and on behalf of the thousands of WPA artist members, and of the Greater DC area art dealers, and every symbiot of the District’s art scene: Kim Ward, thank you!

If you wear a Che Guevara T-Shirt

Unless it is one like the one on the left, then you are wearing the image of one of the 20th century's worst psychopaths, who (like Hitler) never hid his hate and goals in his writing and speeches, which if you took the time to read, you'd find jewels like this (on the subject of the Cuban missile crisis:

"If the missiles had remained we would have used them against the very heart of the United States, including New York. We must never establish peaceful coexistence. We must walk the path of victory even if it costs millions of atomic victims."

             -- Che Guevara, Interview in London Daily Worker, 1962

Artists' Websites: Kathryn Cook



Kathryn Cook is a North Carolina artist and Kathryn's very cool paintings "provide visual metaphors for the viewer to consider ideas that define different elements of human nature, for better or worse, as well as our response to the age we live in."

Profiler

Art Connect has been profiling all the best art blogs on the web and they've just covered me.

Thanks!

Black Hole Sun

Sometimes a sentence or a word or even part of a song's lyrics trigger me into doing a drawing inspired by the words.

Right now as I travel West to California I am obsessed with ideas about a drawing inspired by these lyrics.

In my eyes
Indisposed
In disguise
As no one knows
Hides the face
Lies the snake
The sun
In my disgrace
Boiling heat
Summer stench
neath the black
The sky looks dead
Call my name
Through the cream
And Ill hear you
Scream again

Black hole sun
Wont you come
And wash away the rain
Black hole sun
Wont you come
Wont you come

Stuttering
Cold and damp
Steal the warm wind
Tired friend
Times are gone
For honest men
And sometimes
Far too long
For snakes
In my shoes
A walking sleep
And my youth
I pray to keep
Heaven send
Hell away
No one sings
Like you
Anymore

Hang my head
Drown my fear
Till you all just
Disappear

New Executive Director of Washington Project for the Arts‏

Today the Board of Trustees of the Washington Project for the Arts (WPA) announced the appointment of Lisa J. Gold as the new Executive Director of the organization, now entering its 34th year as a leader in the support of regional contemporary fine art. Ms. Gold begins her new role on March 18, as the leader of a highly successful non-profit organization that has come to be recognized as one of the most influential and important arts groups in the region, and the U.S.

Ms. Gold’s appointment follows the nearly five-year leadership of my good friend Kim Ward, who successfully guided the WPA through the 2007 separation from the Corcoran Gallery of Art, and subsequent re-establishment of the WPA as a fully independent force in the arts community. What Ward did to revive an almost moribund WPA was nothing short of spectacular and I hope that all members of the WPA know how much they owe to that tough, hard-working little steel magnolia.

“The Washington Project for the Arts is very fortunate to have found Lisa Gold from such a great pool of highly qualified candidates,” said Board of Trustees Chair and also my good buddyand one of a handful of Cubans in the DC area, Andres Tremols. “Her experience, insight, familiarity with Washington, DC and with the world of contemporary art will be a great asset for WPA and the greater region.”

Most recently, Lisa Gold was the Public Relations and Marketing Director at The Drawing Center in New York City, where she managed the institution’s public programs and communications (drawing uh? I like her already). Ms. Gold has over twenty years of diverse experience in arts management, fundraising, development, programming, outreach, marketing, advertising and public relations. With a career that began in Washington, DC, her previous roles have included Director of Development and Communications at Socrates Sculpture Park in Long Island City, NY; as Outreach and Development Director at apexart in New York City; as well as Associate Director and Account Management positions at advertising and marketing agencies in the private sector in Washington, DC and New York. Her experience is enhanced by an extensive resume of volunteerism, including serving as the Chair of the New Leadership Alliance of the New York City Chapter of ArtTable, as the Open Studios Director for the Downtown Arts Festival, and in various roles with a number of New York City visual arts organizations.

"I am incredibly grateful for the trust the Board of Trustees and staff of the WPA have placed in me. I am looking forward to working with their support, and with the artists and art community of Washington, to ensure a remarkable future for the WPA,” said Gold. “It’s a tremendous privilege to be handed the reins of such a celebrated and important organization. I am excited to bring new ideas and energy to the WPA and to the community."

The Washington Project for the Arts has recently hosted a number of successful exhibitions, programs and educational seminars including: AQUIFER, a sculpture show in conjunction with the Washington Sculptor’s Group; When Absence Becomes Presence, the fourth iteration of the WPA Experimental Media Series in partnership with The Phillips Collection; Uncommon Beauty at the Ellipse Arts Center, and No Artist Left Behind, a ‘how-to’ self-help video campaign to help motivate artists and encourage them to take advantage of WPA opportunities.

On Saturday, March 7, 2009 the WPA will host the 30th Art Auction Gala, to be held at the Katzen Arts Center, which includes a silent auction of more than 125 original works by regional contemporary artists. For more information on the WPA, visit their website here.

Airborne Today


Heading out to the left coast for a week of work, fun and beering; hoping to sell some artwork! More later...

Opportunity for Artists

Deadline: March 27, 2009 (postmark).

I have been retained as the juror for The Fine Arts League of Cary in North Carolina, and they are seeking entries for its 15th Annual Juried Art Exhibition to be held from May 8th to June 27th, 2009 in Cary/Raleigh, NC. Show awards and purchase awards will total over $5,000. Entries can only be mailed via CD. The postmark deadline for the mail-in registration is March 27, 2009.

Full details and a printable prospectus are available
on the web at here or call Kathryn Cook at 919-345-0681.

New DC Gallery

Congratulations

Katie Miller, 25, is a winner of the 2008 Wynn Newhouse Award - a $60,000 merit-based grant shared among four professional artists with disabilities. Artists may not apply directly for the award; Miller was one of a group of artists nominated anonymously. Congratulations to Miller and the other award winners: Barbara Bloom, Isabella Kirkland, and Stephen Lapthisophon.

The four award winners were chosen from the pool of nominees by an impressive selection committee consisting of Phong Bui, publisher of the Brooklyn Rail, uberartist Chuck Close, Donna DeSalvo, curator at the Whitney Museum, Chicago-based artist Joseph Grigely, and the award's namesake, art collector Wynn Newhouse.

Miller is excited to meet the other award winners at a private luncheon in New York next month. She plans on using the money to cover part of her graduate school tuition in the fall. "It is an enormous honor to be chosen by such a highly-regarded jury," says Miller, "I was humbled to be amongst the winners. They have outstanding work and are much more accomplished in their careers than me." To the right is "Newborn Walking," a recent charcoal and pastel on paper, 30 x 54 inches.

Miller is also excited to be exhibiting in The Armory Show – The International Fair of New Art, which has been the world's leading art fair devoted exclusively to contemporary art since its introduction in 1999. Top galleries and dealers from all over the world vie for one of less than 200 booths. In just four days, over 52,000 international visitors are expected to shuffle through Piers 92 and 94 along the Hudson River.

Miller is one of fourteen artists chosen by VSA Arts to exhibit in their booth. This is the first year that this non-profit has participated in the show. VSA Arts, which showcases the accomplishments of artists with disabilities and promotes increased access to the arts for people with disabilities, has previously exhibited Katie Miller's work in the John F. Kennedy Center for the Performing Arts and the Smithsonian Institution.

As many of you know, I often surf the web looking for new artists (new to me anyway) so that I can highlight them here. Last year I discovered Miller's work and announced it here.

Katie Miller of Parkton, Maryland graduated with honors in 2007 from Maryland Institute College of Art, where she majored in painting. She has been exhibiting her work for the past ten years. She is proud to be on the autism spectrum and is active in the autism rights and neurodiversity movements. Miller thanks autism for her intense concentration, heightened perception, and unique way of viewing the world. She plans on a career as a professional artist.

The 2009 Armory Show takes place from March 5-8, 2009, Pier 94, at Twelfth Avenue at 55th Street, New York, NY. It is open to the public from noon to 8 p.m. March 5-7 and from noon to 7 p.m. on March 8.

Free Studio Space in Philly

Deadline: April 17, 2009

The 40th Street Artist-in-Residence Program (AIR) awards West Philadelphia artists one year of free studio space at 40th and Chestnut Sts. In exchange, each artist shares his/her talents with the West Philadelphia community by leading workshops, teaching classes, exhibiting in the area, etc. Founded by artist Edward M. Epstein in 2003, the program addresses the need for studio space in West Philadelphia, assists artists with career development, and makes the 40th Street area a nexus for visual arts.

They are now accepting applications for the next round of artists. Applications are due April 17, 2009. The next round begins August 15, 2009. Details here.

Tonight at Curator's Office in DC

All the way from Atlanta I am hearing good things about artist Dawn Black, who is about to open tonight in DC's Curator's Office with a reception from 6:30-8PM. Black says that:

"Conceal Project is a collection of ... disguised persons, each being drawn separately on a piece of 7½" x 5½" paper and then arranged in a grid. Currently the project comprises 75 figures, and I am continuing to add more. Often I use the Conceal Project as a character bank, as these collected characters find their way into the narratives of my larger drawings. Each of these larger drawings tells a story by depicting numerous disguised figures whose mysterious and ambiguous relationships become intertwined with the viewer's beliefs regarding the authentic and the covert, the formidable and the meek, the false witness and the sincere, and are intended to invoke the aura of a forgotten myth or a foreboding parable."

Dawn Black, The Quarrelsome Shepherds, watercolor, ink, and gouache on paper, 15" x 17", 2009

New Campello Drawings

2008 sucked for most art dealers and artists, yet somehow, I think because they are generally intimate in size and affordable, I managed to sell a lot of drawings in 2008. Nearly all the sales took place in art fairs in New York, Santa Fe and Miami, plus a couple of art festivals.

I need a Los Angeles dealer and then I'll be set in 2009. My drawings will be up in New York next month during Armory week, and here are some new ones from my series on Biblical legends and nuns (if you want to buy any before I turn them over to galleries next week, drop me an email:

"The Magdalene Escaping from Egypt" 3 x 10 inches. Charcoal on paper.


"Lilith Creating Darkness" 3 x 8 inches. Charcoal on Paper


"Sister Mary Merlot" 2 x 8 inches. Charcoal on Paper


"Sister Mary Sentada and Sister Mary Robotica" 3.25 x 9 inches. Charcoal on Paper


"Sister Mary de Nubes" 9.75 x 2 inches. Charcoal on Paper


"Sister Mary Encerrada" 8 x 2 inches. Charcoal on Paper


"God Creating Light" 9 x 3 inches. Charcoal on Paper

What Mike sez

I didn't go to the meeting, but from what I read here, Licht has some good points...

The Washington Glass School & Studio is seeking...

WGS is looking for individuals for several positions. That studio is one of the busiest in the region, serving hundreds of students and professional artists each year.

I am told that the work will be varied, and often messy. They are looking for someone available on weekdays, not just evenings and some weekend work is required.

They will in return offer you the opportunity and access to a world class studio, and mentorship towards your own art career with three very successful artists.

Positions available:

(1) Studio Assistant. This would be a paid position which starts at $10 per hour. They will "also strive to find you additional side jobs to supplement your pay." This position is very hands on. You will be mold-making, lost wax casting, deep relief dry plaster casting, cleaning the studio, welding, etc. Experience in any of these skills is great, but otherwise you will be learning them quickly. Dependability is primary in this position, and the ability to work with a wide variety of personalities. The ideal candidate is self-motivated and can work in a multi-task arts environment, where craftsmanship and pride of work is important.

(2) Studio Intern. This is an unpaid position, but then they are much more flexible about work hours. They would depend on a schedule you agree to, but then stick to. This is a great way to learn a large variety of skills and receive mentorship in your own art career. This is a very exciting opportunity for someone who doesn't have the resources to pay for the classes offered there.

(3) Teaching Assistant. This position is also unpaid, and requires some experience in glass. This is perfect for the glass artist who wants to help out at a few classes, and learn while they assist. Its also a great way to be exposed to the energy and experience surrounding this studio, but in short time spans.

If you'd like to join their award winning and frenetic team, please email washglassschool@aol.com or call Tim Tate at 202-744-8222.

Sharp at Delaware

Photographer, Keith Sharp (who happens to live in the same little town that I do - Media), will be exhibiting work in a solo show at Delaware Center for the Contemporary Arts. Sharp is a present-day surrealist who digitally manipulates photographs to capture the uncanny or quirky in everyday scenes, combining human, urban, and natural elements to play tricks on our perception.


This exhibition runs from February 27 – April 5, 2009. The opening reception is Friday, March 6, 2009 from 5:00 – 9:00 pm. Hours are Tue, Thu, Fri, Sat: 10 am - 5 pm, Wed and Sun: 12 pm - 5 pm.

Tough times

Zach Feuer, the New York dealer with a knack for turning young art-school grads into stars, has dropped eight artists -- nearly half of his roster.

“I didn’t want to be big in this economy,” said Feuer, 30. “Now is the time to have a lower overhead and be small and lean.”

After seven heady years in the art market, dealers and artists alike are adjusting to the slowdown in sales and prices. Four Manhattan galleries have shut down since September, and a fifth -- Soho’s Guild & Greyshkul -- will join them next week. The closings are leaving scores of artists without representation.

Artists who are no longer listed on the Zach Feuer gallery’s web site include the commercially and critically successful Israeli-born Tal R, Brooklyn-based Danica Phelps and Christoph Ruckhaberle of Leipzig’s Academy of Visual Arts.

The gallery will continue to represent Dana Schutz, Anton Henning, Jules de Balincourt, Nathalie Djurberg, Phoebe Washburn, Tamy Ben-Tor, Justin Lieberman, Dasha Shishkin, Johannes VanDerBeek and Stuart Hawkins.

Details here.

Wanna go to an opening in DC tomorrow?

My good friend and ubercurator Laura Roulet co-curated this exhibition together with Tatiana Flores at the OAS Museum and it includes Puerto Rican, Venezuelan and Cuban-American artists, working in all sorts of media and it sounds like a really cool exhibition at one of the District's most beautiful art spaces... and I will check it out later.

The opening reception is Friday, February 20 starting at 6 pm... if you've never been to the OAS Museum, go and see this gorgeous space and some really cool art.

Auction!!!

ArtDC has an auction coming up to support the development of their new studio and art space. This one is one of those auctions which really offers great art and needs your support.

Date: February 21, 2009 (rain date February 28, 2009)
Time: 5 pm until 8 pm
Where: Wohlfarth Galleries, 3418 9th Street, NE, Washington, D.C.

Details can be found here.

At Vox Populi

This looks really interesting at Philly's Vox Populi:

Fakes

A surprising recent decision by the New York State Supreme Court to allow certain motions to move forward in a suit alleging fraud against Christie’s has sent a chill down the collective spines of the major auction houses.

Read the Artinfo article by Judd Tully here.

Art-In-Architecture Artist Registry

The General Services Administration (GSA) Art in Architecture Program commissions the nation's leading artists to create large-scale works of art for new federal buildings.

For more information, visit this websiteand type “art in architecture” into the search bar in the upper right hand corner.

Opportunity for Artists

Deadline: March 12, 2009

The Visual Arts Committee organizes nine solo, group, or theme-based exhibitions per year at the St. Paul Student Center's 520 sq. foot Larson Art Gallery. It also organizes four solo exhibitions at Coffman Memorial Union''s Coffman Art Gallery. To ask for a prospectus please make sure to include all of the following:

• Note which Gallery you are applying for (Coffman or Larson)
• 3-5 slides of your artwork or digital images in jpeg format
• Artists' statement and contact information
• Self-addressed stamped envelope for return of images.

Send proposals to:

Minnesota Programs & Activities Council
Visual Arts Committee
University of Minnesota
Coffman Memorial Union RM 126
300 Washington Ave SE
Minneapolis, MN 55455

Sondheim Semifinalists Announced

Twenty-six visual artists or groups from Maryland, Pennsylvania, Virginia and the District of Columbia were named semifinalists a few days ago for Baltimore's fourth annual Janet & Walter Sondheim Artscape Prize.

The 26 (dominated by Baltimore area artists) are:

• Seth Adelsberger, Baltimore

• "Alzaruba," also known as Al Zaruba, Baltimore

•The Baltimore Development Cooperative, Baltimore. The cooperative includes Scott Berzofsky, Dane Nester and Nicholas Wisniewski, who are working on a community farm/art project in East Baltimore. Berzofsky and Wisniewski are former founding members of the artist collective known as Camp Baltimore.

•Lisa Blas, Washington, D.C.

• Rachel Bone, Baltimore

• Jessica Braiterman, Beltsville

• Travis Childers, Fairfax, Va.

• Mary Coble, Washington, D.C.

• R.L. Croft, Manassas, Va.

• Alyssa Dennis, Baltimore

• Liz Ensz, Baltimore

• Leslie Furlong, Baltimore

• Ryan Hackett, Kensington, Md.

• Christian Herr, Lancaster, Pa.

• Jason Horowitz, Arlington, Va.

• Jessie Lehson, Baltimore

• Kim Manfredi, Baltimore

• Katherine Mann, Baltimore

• Baby Martinez, Washington, D.C.

• Sebastian Martorana, Baltimore

• Lisa Moren, Baltimore

• Ellen Nielsen, Baltimore

• Louie Palu, Washington, D.C.

• Molly Springfield, Washington, D.C.

• "TwoCan Collective," Baltimore. TwoCan Collective consists of two women, "Emily C-D" and Jessica Unterhalter, who often make work using recycled materials.

• Karen Yasinsky, Baltimore

My money is on either Mary Coble or Molly Springfield. Both of them are superbly loaded with talent, and both of them are perennial finalists in all of our area's top art prizes. The judges for this year's prize are Ellen Harvey, a New York-based artist; Valerie Cassel Oliver, curator of the Contemporary Arts Museum Houston; and Elisabeth Sussman, a curator at the Whitney Museum of American Art in New York.

The winner of the $25K prize will be announced July 11 at the Baltimore Museum of Art. This year's competition drew 334 entries.

Congrats to all 26!

Bailey on the economy

Read it here.

The shape of things to come

Worldwide courts have consistently recognized the right of owners to the return of artwork which has been looted by governments and dictatorships, confiscated, sold and re-sold.

It has taken in some cases several decades for the artwork to return to the familial descendants of the original and rightful owners, but essentially international law is pretty clear on the subject that generally no government can confiscate private property.

There are, of course, many dictatorships worldwide where one of the foundations of those regimes is that private citizens under their yoke cannot own private property.

It occurred to me recently that when the current Cuban dictatorship took control of that unfortunate island on January 1, 1959, one of the first things that they did after they executed thousands of people, burned and banned books, jailed all political opposition, and closed down newspapers and magazines, was to confiscate most private property.

And there was a lot of artwork confiscated in Cuba.

We've been led to believe that in 1959 Cuba was just another Latin American cesspool, but the facts are that in 1959 Cuba had one of the highest standards of living of any nation in the Americas and a higher per capita income than several European nations and higher than Japan, as well as a positive immigration flow from Europe to Cuba, as well as the third highest protein consumption in the Western Hemisphere. Today the island's food rations are actually lower than the slave rations mandated by the Spanish King in 1842.

The island also had the lowest infant mortality rate in Latin America and the 13th lowest in the world, ranked ahead of France, West Germany, Belgium, Japan, Austria, Italy and Spain. The average wage of a Cuban worker was higher than for workers in West Germany, France, Denmark and Belgium and in the late 50s Cuban labor received 66.6 per cent of the nation's GNP, again higher than several European nations (the US figure is 68%). And the 8 hour week was mandated by law in Cuba in 1933, five years before FDR's New Deal got to doing it in the US. And in the 1950s, 44% of Cubans were covered by social legislation, a higher percent than the US at that time.

And while we've been led to also believe that Cuban peasants and farm workers lived in a near feudal state, the average farm wage in Cuba in 1959 ($3.00 a day) was higher than those of farm workers in France ($2.73), Belgium ($2.70), Denmark ($2.74) or Germany ($2.73). In the US it was $4.06. And in 1959 only 34% of the Cuban population was rural and the nation had the lowest inflation rate in the Americas, 1.4% - the US was at 2.73%

So this was not a nation mired in poverty, as we have been led to believe, but a nation under the yoke of a very brutal dictator in the person of Fulgencio Batista.

The very wealthy Cuban upper and business class hated Batista and became the financial backers of the Castro Revolution, raising millions of dollars for the rebels. They also owned many art masterpieces from both European and Latin American masters.

As a thank you, nearly all of this work was confiscated by the Castro dictatorship and by 1961 most of the best work had made its way to government-owned museums and collections, and most of the owners had made their way to the United States in the largest proportional mass exodus in contemporary history.

When the abomination known as the Soviet Union collapsed in the 90s and Cuba's sugar daddy stopped sending billions of dollars in subsidy to the Castro brothers, the Cuban economy collapsed, and one of the results of that collapse was the mass selling, by the Cuban government, of those confiscated masterpieces, most of which found their way to European museums and European and Asian private collections via French auction houses. Thus many masterpieces once owned by the Fanjul family, or the Bacardi family, or by sugar magnate Julio Lobo (whose interest in Napoleonic memorabilia led to him amassing one of the world's largest collections of Bonaparte memorabilia such as weapons, furniture, paintings, letters, etc.) were sold to European museums and collectors.

But now I think that the end of the brutal Castro dictatorship is nigh, and one day soon, when the rule of law and democracy and freedom returns to Cuba, one of the first things that the descendants of those families should do is to go after whoever now possesses their families' stolen artwork and goods, and in some cases even copyrights.

And the details of these illegal sales have left bloody footprints. For example, according to Maritza Beato's excellent article in El Nuevo Herald titled "El Saqueo del Patrimonio Cultural Cubano" (The Looting of the Cuban Cultural Patrimony), the sale of the Julio Lobo Napoleonic collection to a French museum was orchestrated by a French official attached to the French Embassy in Havana. His name is Antoine Anvil.

And if I was one of those auction houses or museums in Europe or collectors or dealers around the world, I'd be a little nervous.

What goes around comes around.

Jury Duty


I just finished jurying the next exhibition for the D'Art Center in Norfolk, Virginia and it was a very pleasant (and hard work) surprise to find some many really excellent 3D entries in this national show.

Mark Miltz. The Game. Sculptural Installation
Usually when there's a call for artists, the 3D genre is under-represented in the submissions, but in this particular exhibition, several hundred artists from all over the country submitted work, and there were several outstanding sculptural entries.


Tonight I will award about $3,500 in award prizes.


Lesley Hildreth. Hares, multiplying like rabbits while waiting for the tortoise. Clay

Dr. Oscar Elias Biscet

Click on the image for more details...

DCist Exposed

DCist will offer the third annual DCist Exposed photography show running February 20 to March 7, 2009. DCist is partnering with the Gallery at Flashpoint to exhibit nearly 50 amateur and professional photographers chosen from more than 300 entrants who submitted their work through Flickr.com. A free opening reception will be held Friday, February 20, 2009 from 5 to 9 pm at the Gallery at Flashpoint.

Flashpoint is located at 916 G Street NW, in Washington, DC's bustling Penn Quarter neighborhood. The 2007 and 2008 DCist Exposed events saw over 500 people attend each opening night, with lines forming around the block and a ton of photographs sold because of their superb quality and extreme affordability.

DCist is also bringing back last year's special event for emerging collectors, Emerge Exposed, on Tuesday, March 3 from 7 to 9 pm at Flashpoint's Mead Theater Lab. Co-hosted by DCist, Flashpoint and the Pink Line Project, a panel of experts will share tips and ideas on how to begin collecting art. There will be a $10 suggested donation at the door for Emerge Exposed. The panel will be moderated by The Pink Line Project Chief Creative Contrarian Philippa P.B. Hughes and will be comprised of FotoweekDC Founder and Chrome Imaging President Theo Adamstein, Photographer Jason Horowitz, Collector and Jackson Design Group Principle Veronica Jackson and Corcoran Gallery of Art Senior Curator of Photography and Media Arts Paul Roth. For more information: Call 202.315.1310 or visit flashpointdc.org.

Opportunity for Artists

Deadline: February 23, 09, 5pm.

The City of St. Helens Arts & Cultural Commission is seeking proposals from artists interested in creating decorative street banners as part of its new multi-phase Gallery Corridor project. The first phase of the project includes artist-designed and created aluminum banners to be mounted on poles and placed along Old Portland Road, Columbia Blvd. and Gable Rd. in St. Helens. Artists selected to participate will be awarded $1,000 for their work and be provided with a 2’ by 6’ aluminum sheets, donated for the project by Pacific Stainless Products in St. Helens.

Contact: Kathy Payne, City Recorder, City of St. Helens, P.O. Box 278, St. Helens, OR 97051.

For more information about the project, contact John Walter at 503.397.4544. Requests for Proposals can be found on the City’s website at www.ci.st-helens.or.us, or can be requested by phone at 503.366.8218.

Museum Circus

A Circus Family: Picasso to Léger, on view at The Baltimore Museum of Art February 22–May 17, 2009, features more than 80 prints, drawings, paintings, and books by Pablo Picasso, Henri de Toulouse-Lautrec, Fernand Léger, and other European artists fascinated by the extravagant spectacle of the circus and the bohemian lives of the performers outside the ring. This special ticketed exhibition brings together major works from museums and private collections to offer a behind-the-scenes look at the circus during its heyday as a form of popular entertainment.

Details here.

Opportunity for Artists

Deadline: March 27, 2009 (postmark).

The Fine Arts League of Cary is seeking entries for its 15th Annual Juried Art Exhibition to be held from May 8th to June 27th, 2009 in Cary/Raleigh, NC. Show awards and purchase awards will total over $5,000. Entries can only be mailed via CD. The postmark deadline for the mail-in registration is March 27, 2009. I will be the juror for this show.

Full details and a printable prospectus are available
on the web at www.fineartsleagueofcary.org or call Kathryn Cook at 919-345-0681.

Fair Use Redux

The Stuckists, a group of anti-conceptual artist-activists that is the anti-thesis to Britain's Turner Prize exhibitions and award ceremonies, have opened their own online store, selling objects inspired by Damien Hirst and other uberartists works.

Stuckists Jamie Reid (who designed graphics for the punk band the Sex Pistols), James Cauty and Billy Childish have produced a range of prints “recreated from random pixels found on the Interweb” and other products satirizing Hirst’s diamond skull and works by the Chapman Brothers and the urban artist D*Face.

“An exact copy of an image similar to an image of Hirst’s “For the Love of God,”’ from a numbered edition of 1,300, is priced at 13 pounds, said the Web site.

Corcoran's Fine Art Photography Thesis Exhibitions - next 4 weeks!‏

This is how you spot the jewels early on... go visit some of these shows:

Corcoran School fo Art Fine Art Photography Senior Thesis Exhibitions: February 15 – March 15
Gallery 31 (entrance on New York Avenue)

February 18–22: Fine Art Photography Senior Thesis I
Reception: Thursday, February 19, 5–8 p.m., North Atrium

February 25–March 1: Fine Art Photography Senior Thesis II
Reception: Thursday, February 26, 5–8 p.m., North Atrium

March 4–8: Fine Art Photography Senior Thesis III
Reception: Thursday, March 5, 5–8 p.m., North Atrium

March 11–15: Fine Art Photography Senior Thesis IV
Reception: Thursday, March 12, 5–8 p.m., North Atrium

Details here.

Life Has Not Even Begun

Prayer for Obama I (detail), 2008, Polaroid prints by Maria Magdalena Campos-Pons
One of the most important artists to emerge from post-Revolutionary Cuba, María Magdalena Campos-Pons creates multimedia installations, large-scale Polaroids, sculpture, painting and performance that investigate history and memory, and their roles in the formation of identity. Drawing from her personal narrative as an Afro-Cuban woman living in the United States, Campos-Pons’ work transcends individual experience to explore crosscultural, universal phenomenon. Issues such as cultural hybridity, displacement, ties to family and home, and the dualities present in each individual are themes that continue to permeate her work.

In this new body of work, Life Has Not Even Begun captures the anticipation and tension inherent in exploring the unknown. From the artist re-discovering her Chinese ancestry, to her intensive study of midnight-blooming flowers, to the unexposed horrors of war, to the future of an imagined peaceful world, each work in this exhibition makes its own unexpected revelation.

Life Has Not Even Begun is curated by Neysa Page-Lieberman. A fully illustrated catalogue accompanies this exhibition at the Glass Curtain Gallery at Columbia College Chicago (1104 South Wabash Ave., 1st Floor, Chicago, IL 60605). The exhibition goes through March 6, 2009.

Vagina Monologues at Theatre Widener

One of the great benefits of living in any area with lots and lots of universities and colleges (like DC or Philly) is the terrific and affordable opportunities to enjoy the theatre and the visual arts at most of them.

Because I live so close to Widener University, I go to a lot of their plays and have nearly always been impressed by them, although I did get one harsh email once from a director (when I was a little tough on a particular play).

Theatre Widener at Chester, Pennsylvania's Widener University is currently producing The Vagina Monologues, the well-traveled Obie Award winning play by Eve Ensler that has been raising eyebrows and making people laugh and cry for over a decade.

The Vagina Monologues has been described as a "hilarious and poignant tour of the last frontier, the 'Ultimate Forbidden Zone.'" At is core, to many people it is often just a very diverse and entertaining celebration of female sexuality. Eve Ensler now classic play delivers real women's stories of the most intimate nature, sometimes funny, often revealing a surprising vulnerability, and nearly always some sort of sexual self discovery.

The Widener production is directed by Bohdan Senkow, the Director of Theatre Widener, and this production features an outstanding cast that includes Heather Astorga and Lauren Greenberg, two undergraduate seniors, Lisa Eckley-Cocchiarale, a staff member who directs the Widener Fresh Baked Theatre Company, and Roni Cibischino, Shanna Tedeschi, and Jennifer Woo, three graduate students from Widener University's Human Sexuality program.

All six performed superbly at opening night, and Senkow made some great choices in the assignment of individual monologues to specific actors, and the chemistry between them was palpable and added a very positive effect to the overall production. This is not your typical play, there's no plot or music and a very austere set, so the production's success is almost all based on the actors' ability to grab your attention with their stories and interaction with each other.

Cibischino and Greenberg were terrific and nearly flawless in their delivery and interpretations of their specific monologues and Lisa Eckley Cocchiarale had the audience cracking up from the beginning. Jen Woo easily had the hardest and most difficult monologues, especially the one dealing with the "C word," which she delivered in a funny and valiant performance.

Shanna Tedeschi was also surperb and often very funny, especially when she donned a hat and scarf and related an old lady's experiences with her "down there."

Also superb was Heather Astorga, who delivered two of the most moving monologues of the evening, one dealing with wartime rape and another with a young woman's discovery of her sexuality. For some constructive criticism, the very pretty Ms. Astorga should refrain from biting her cheeks during her colleages' monologues. I suspect that she's not aware that she's doing it (neither is this writer when he does it), but it is very distracting once you see her doing it in the background of someone else's monologue.

Profits from this very well done production will be contributed to support organizations that combat abuse against women.

The Vagina Monologues opened on Thursday, February 12 and will be presented on Friday and Saturday, February 13, 14 at 7:30pm, Thursday, Friday and Saturday, February 19, 20, 21 at 7:30 and Sunday February 22 at 2:00pm. Widener Students and Staff are invited free of charge, Staff Guests are just $8. Adults are $15 and Non-Widener Students are just $8. To make reservations please call Theatre Widener at 610-499-4364.

Theatre Widener is at 15th and Potter Streets at Widener University in Chester, PA.

The Fifth Annual Bethesda Painting Awards

Deadline: Submissions must be received by Friday, February 20, 2009

The Bethesda Arts & Entertainment District is currently accepting applications for the fifth annual Bethesda Painting Awards. Eight Finalists will be selected to display their work in an exhibition from June 3-July 4, 2009 at the Fraser Gallery in downtown Bethesda, and the top four winners will receive $14,000 in prize monies.

Best in Show will be awarded $10,000; Second Place will be honored with $2,000 and Third Place will receive $1,000. Additionally, a “Young Artist” whose birthday is after February 20, 1979 may be awarded $1,000. Artists must be 18 years of age or older and residents of Maryland, Virginia or Washington, D.C. All original 2-D paintings including oil, acrylic, watercolor, gouache, encaustic and mixed media will be accepted. The maximum dimensions should not exceed 60 inches in width or 84 inches in height. No reproductions.

Artwork must have been completed within the last two years and must be available for the duration of the exhibition. Each artist must submit 5 slides, application and a non-refundable fee of $25. Digital entries will be accepted on CD in JPG, GIF or PNG format.

For a complete application, please send a self-addressed stamped envelope to the Bethesda Painting Awards, c/o Bethesda Urban Partnership, 7700 Old Georgetown Road, Bethesda, MD. 20814, visit www.bethesda.org or call 301/215-6660.

Arts get their cut

Just moments ago, the U.S. House of Representatives approved their final version of the Economic Recovery bill by a vote of 246-183. We can now confirm that the package does include $50 million in direct support for the arts through the National Endowment for the Arts grants. The exclusionary Coburn Amendment language banning certain arts groups from receiving any other economic recovery funds has also been removed. Tonight the Senate is scheduled to have their final vote, and President Obama plans to sign the bill on Monday - President's Day.

We all hope that these art funds make their way down to artists and are not swallowed up by art burocrats lest I rat on them and have them sitting in front of Barney on the same seats still warm from all those banking moguls.

Moves

My good friend Mark Coetzee, who for the last eight years has been directing the Rubell Family Collection in Miami is moving on.

Mark will soon become the Program Director for PUMAVision and Chief Curator of PUMA.Creative and work out of Nairobi, Kenya.

Artomatic 2009: Tenth Year!

Time for DC area art critics to roll their eyes: Artomatic is back!

The tenth version of the massive art shows that artists, collectors, gallerists and the public loves and most DC art critics hate (but would love if it took place in NYC, or Berlin or London) will deliver over five weeks of art, music, theatre, workshops and more this year in Washington, DC's Capitol Riverfront neighborhood from May 29 - July 5.

The 2009 Artomatic will be held at 55 M Street, S.E. - atop the Navy Yard Metro - celebrating its tenth anniversary in a newly built 275,000 square foot "LEED Silver Class A building", whatever that means.

Registration for Artomatic 2009 will begin in March, and is open to all artists - including painters, photographers, sculptors, graphic designers, musicians, poets, actors and dancers. Artomatic is an unjuried open event, so all artists are welcome and that is precisely the reason that makes Artomatic great and unique and precisely the reason that most art critics, art writers and some art bloggers hate it, in their odd need to have art shows curated, trimmed and ruled.

Held regularly since 1999, Artomatic transforms an unfinished building space into an exciting arts event that is free and open to the public. In addition to displays by hundreds of artists, the event features free films, educational presentations and children's activities, as well as music, dance, poetry, theater and other performances.

Artomatic 2008 attracted a record-breaking 52,500 visitors and 1,540 participating artists. Visit their Flickr site to see over 4,000 photos captured at Artomatic 2008 or check out the below video.

Who will be the emerging art star of this AOM?

Who will be the artist who cracks us up?

Will "The Collector" make a comeback?

Who will be the prima donna?