District 9

Film critics all over the place have been raving about District 9, and the trailers and storyline behind the film really sounded and looked good, and thus I made some time last week and saw the film in a packed theater in Germantown, MD.

Let me reveal a secret, not about the film itself, but a little secret code that us geeks who have always enjoyed science fiction, since childhood, through the demise, rebirth, re-demise and re-rebirths of Star Trek, Battlestar Galactica, Star Wars, etc. have devised since the mid 1960s.

This code lets true SF insiders know immediately who really knows what Science Fiction is all about, besides the usual drivel that Hollywood pumps out, with the occasional gem thrown in the mix, almost like a visual arts group show.

Whenever you read or listen to anyone writing or talking about science fiction, listen or read closely. If they say "SF" or "science fiction," then they are part of the brotherhood; if they say "sci-fi" then you immediately know that they're outsiders peeking in.

"Sci-fi" is politically incorrect and word suicide in the world of the genre's true aficionados and followers. Nerd code for "has no idea."

And what film critics all over have been raving about, is the interesting and (to them) unusual storyline in this "sci-fi film" about the tried and true "man meets alien" storyline.

The D9 storyline stands out not because SF hasn't got a rich and diverse set of ideas and novels about the subject, but because when dealing with aliens, Hollywood has repeatedly followed one road when giving us a movie about us meeting them. There are some exceptions, of course, but generally speaking... well you know what I mean.

District 9 will be the blockbuster of the summer season. This is by itself an unusual thing, since the movie has no stars in it, and was made by a 29-year-old South African director whom nobody ever heard of (Neill Blomkamp), and was filmed mostly in a garbage dump/landfill in that ghastly and ugly city that is Johannesburg.

The back story is that decades ago a massive alien ship appeared over Johannesburg and just sat there motionless. They didn't attack, or make contact, or anything. They just floated there, above the city. Once humans got curious enough, we broke into the ship and found a million starving aliens, apparently helpless and clueless.

First contact is not a pretty or as impressive as we expect it to be, and soon humans lose patience with the ravenous and violent aliens and segregate them into a ghetto outside Johannesburg which is called District 9.

As the present day storyline in the movie begins, a multinational corporation, seeking to profit from the alien war technology, assigns a geeky employee (Sharlton Copley, who does a spectacular job in the part, even though this was his first acting job, ever) the task to begin a massive re-location of the aliens to a refugee camp far from the city.

Geeks will be geeks, and my first issue with the movie storyline began as soon as I learned that the aliens had much more advanced technology that humans.

And yes, I do understand the interesting facets of the film addressing social issues through metaphor (although it is by far not the first time that SF has addressed social issues, often ahead of all other genres). The aliens are segregated, humans refer to them in a derogatory (racist?) manner as "prawns" because of their appearance, and everyone dislikes them, and they have no rights, etc.

But technology rules every time that two civilizations meet. In 1571, Don Juan de Austria led the Spanish Armada and ships from the Holy League against superior numbers from the Ottoman Empire. Outnumbered by almost 50 ships, Don Juan had superior technology and new tactics on his side, and the defeat of the Turks probably saved Europe from force conversion to Islam.

Just a handful of years later, in 1588, as an aging Armada approached England, it was English technology (better cannons, faster, smaller ships) and new tactics (run instead of fight, fireships) that saved the day for the British.

And it was technology that allowed a handful of Europeans to conquer much larger Native American empires, as Cortez in Mexico and Pisarro in South America did.

And it was technology and tactics that allowed the evil Nazi war machinery to sweep across Europe in the early years of WWII. Never mind the brave Polish horse cavalry charging against German tanks.

In D9, the aliens have ass-kicking war technology that only the aliens can operate, as the weapons are genetically matched to them. Humans can pull the trigger, but nothing happens.

So, how did we humans manage to corral a million technologically superior, often-violent and definitely ravenous aliens into a ghetto? The movie doesn't address this key point. We just fenced them all inside a nasty, ugly ghetto outside Johannesburg.

In the alien ghetto, Nigerians are depicted as evil profiteers who trade in alien weaponry for cat food, which apparently is a delicacy for the aliens. The Nigerians mistreat and insult, kill at random and even eat the aliens. Meanwhile the aliens just walk in and trade superior weaponry that only they can trigger, for canned cat food.

In a real life scenario: point, shoot, kill, take the canned food.

Makes my head hurt.

I'm sorry, but I am pedantic and this issue really blows the storyline for me.

Anyway, once we get past this, the main character goes to the alien ghetto to inform them that they are being relocated, runs into an alien scientist-type and his son, gets sprayed with some alien technology matter and things begin to change for him real fast.

It is an entertaining, fast paced movie full of great special effects and action. As such it is a good SF movie, but definitely not worth all the unusal accolades that it is receiving as a high brow, spectacularly intelligent, different "sci-fi movie."

You want intelligent, socially-relevant SF? Start making movies out of the stories by Harlan Ellison, Phillip Jose Farmer, etc.

By the way, at the end, the aliens do get moved, by then there are almost 3 million of them, and they now live in District 10.

Sequel en route.

Lee-Lange on In the Flesh II and thoughts on Cazón

The current show at Alexandria's Target Gallery is getting good critical attention. I reviewed it here, and Kevin Mellema reviewed it here.

And now Shauna Lee-Lange pops in with a new review here.

A nice thing to do this Sunday: go see this show at Target Gallery, then wander around the Torpedo Factory and get your own impression of the range of work being done there, and then walk up to La Tasca for some really good tapas (try the gambas al ajillo and their Buey al Jerez).

Speaking of Spanish tapas, I've noticed that my all time favorite tapa (Cazón) seems to have dissapperaed from Spanish restaurants in the Greater DC area.

I recently asked one the bartenders at Jaleo why Cazón was no longer on the menu and was told that it was removed because the owners were receiving some complaints about having shark on the menu.

Deep breathing...

I'm not going to get into a diatribe here about caving in to the squeaky wheel of possibly misinformed do-gooders (I can't figure out from some quick Googling if dogfish is on the endangered species), but, having lived in Andalucia, while Cazón is usually made with dogfish, a kind of shark, any solid-fleshed fish, such as monkfish, is also quite good. It's the marinating in garlic, olive oil and vinegar that gives the fish that really good flavor.

So if either monkfish or dogfish are endangered or possibly endangered, then switch to another abundant solid-fleshed fish and give me my Cazón back!

I'm going to cook some tonight. The Andalucian recipe is here.

What happens in Vegas

Other than the hell known as Navy bootcamp, I've had a moustache since High School (and from 1974-1983 a full beard).

When you've had face hair most of your life, it sort of defines you in a way that no other "thing" in your body or clothing does.

It also sort of defines the way that one conducts their daily routine.


Last month when I was returning from the California desert via a weekend in Las Vegas, the moustache came off.


More big news later... my upper lip is cold.

Mellema on the Torpedo Factory

My good friend Kevin Mellema, the art critic for the Falls Church News-Press, and one art critic who really gets around all the galleries in the DC area, has the following to say on the issues discussed here.

... As for the Torpedo Factory situation... All I know about it is what I just read on your blog. So I can't make any definitive comments about what has, or is likely to happen based on any inside info, etc.

I must say, that I'm hesitant to speak up at all. This is one of those thankless situations where you can make few friends, and a lot of enemies fast. Having said that I'll toss in my two cents worth on a general level. Maybe some of this will help the process..

I whole heartily agree with you on your comments about the Target Gallery within the Torpedo Factory. My beat being based in Northern Virginia, Target Gallery is one of five or six key venues that I try to cover on a regular basis. After that I get to travel around the area and cover other venues.

The Target Gallery regularly hosts international open call shows. Due to shipping costs and the like, they're functionally national shows with maybe one or two small international pieces thrown in. I don't know of anybody else in the entire DC metro area who is doing this. Virtually every other open call show in the area concentrates on the DC metro area, or if they get really open minded about it, the Mid-Atlantic region. Which is fine, but you know that there is valid art being made outside of a 200 mile radius from the Capitol Building. It seems to me that the art world in DC has taken on a bit of that 'inside the Beltway' blinkered viewpoint that DC is known for politically.

DC regularly gets sandpapered when some journalist writes about the fashion vacuum in DC. They stop just short of saying we're all dressed by LL Bean, or J. Crew. You could say DC is intellectually, and stylistically, a 'safe' town. People who work for the government don't particularly like having their political view points known. Keeping in mind that the government, traditionally speaking, has been the main employer in town. Some days I look around while driving, and it seems like they don't make vinyl siding in any color besides beige.

In short, DC can in many ways create it's own beige bubble. I may be alone in this view point, but I see some of that in the arts community around town as well. The one absolute exception being the Target Gallery. If you get around town enough you'll see the same 100 or 200 folks reconfigured in show after show after show. You walk into the Target Gallery and if you're really up on everybody in town you might pick up on one or two local artists, and the rest will be completely new to you... and likely never to be seen again.

For what is essentially a tiny gallery space, the Target Gallery is doing a magnificent job.

What goes on around the Target Gallery, within the Torpedo Factory, is the polar opposite of that. The Art League puts on an endless series of member shows, with the core room dedicated to featured solo exhibitions.

The artists out in the studio spaces seem to never change at all. I know they change, but for the most part it's imperceptible. The artists at the Torpedo Factory are in effect running small stores. In many ways the facility has more in common with Tyson's Corner Mall than probably any of us would be comfortable admitting to.

I poke my head into some of the stalls from time to time. It often seems as though I've seen it all before. Painting the same picture over and over again, as you said. Which is not to say that some of these folks aren't doing fabulously skilled work. However it is commercial work almost universally geared to sell to tourists, and I would imagine interior decorators. 'Blood and Guts' art it is not.

I can distinctly recall asking one artist if they showed anywhere else. The response was a rather gruff no. Elaborated on by pointing out that to do so would mean having to give up half their profit to someone else. Valid point taken. Distinct disinclination to experiment, expand their horizons, etc. also duly noted.

The Torpedo Factory is a very safe environment for artists, who generally speaking turn out safe art which anyone would be comfortable hanging on their dining room wall. All fine to a point. But too much of one thing makes for a boring scene.

I'm a big believer in artistic cross pollination. I think the process feeds on new ideas and view points. I don't see that happening there.

I'd support some degree of shake up at the Torpedo Factory. I think it would be good for them, and good for the DC arts community at large. I don't want to see people tossed out on their can, but some middle ground seems worth seeking out. Old Town Alexandria isn't exactly the edgiest part of the Metro area. Can they really hack having 'blood and guts' artists in there?? As you've pointed out, it's a can of worms.

Art Whino seemed to be doing OK on St. Asaph Street a dozen or so blocks a way, before they moved. Then again, that was safely away from the waterfront area.

People who seek out pithy art tend to avoid the Torpedo Factory. It's one reason I keep hammering on the notion that the Target Gallery really is one of the best gallery venues in town.

As for ink jet prints, by whatever name... I must say that when it comes to color photography, in many ways the computer prints exceed the quality of traditional wet bath prints.

A) Color prints have a notoriously short life span. You hear all sorts of numbers thrown around, and it always depends on light exposure, humidity, and temperature... but 20 years is about it for a C print. Archival computer prints are now claiming 100+ years.

B) Photo images tend to get nastier and nastier the bigger you make them. Where as computer interpolation software can hold resolution as the print size grows. Suddenly big prints have the crispness of smaller ones.

C) I have an intuitive sense that the tonal range and color intensity is now better on digital prints. C-prints can often come out dark and muddy where a digital print would retain the snap of say a transparency. While I always loved the look of transparencies on a light box, I was almost universally disappointed in the print versions. Color photographic images always seemed to suffer an unacceptable degree of degradation when they went to print.

Early Iris Inkjet prints had a nasty D-Max problem with their blacks. You could see through them to the paper support underneath the ink. To my eye those things were a visual version of fingernails run across a blackboard. But once that problem was solved, it was as if those light box images could finally be seen on paper, and hung on the wall.

On the other hand, I'm not a great fan of digital reproductions of prior art work. It can be done well, but befitting its cheaper price tag, often isn't.

What you really don't want to see at the Torpedo Factory is digital print sales making the place even more commercial and safe than it already is. The Thomas Kinkade-ing of the Torpedo Factory. Shudder the thought.

In short, an edgy component thrown into the mix at the Torpedo Factory would be a welcome relief to many of us. And hopefully expand the viewer base that comes to see work there. Win-Win. How you go about doing that fairly is a political maze someone else will have to run.

- Kevin Mellema

And then a second set of thoughts from Kevin:

Given a couple of days to think about it....

I think that if the Torpedo Factory took a block of say three studio stalls on the ground floor (high visibility spots), and turned them into artist in residence stalls, it would go a long way towards changing the flavor of the place.

Figuring that each stall houses two artists, as it pretty much does now.... three stalls would give you room for six artists in residence spots at any one time. If you rotate out one studio stall a month... artists in residence would be there three months. Enough time to settle down, make some art, show it, and sell it. Also give the general art hopping crowd a three month window to see the work.

On a yearly basis, you're talking about bringing in 24 new artists a year... hopefully many from around the country, and even internationally.

Rotating them once a month should cut down on a mass exodus chaos scene if you rotated them all out at once... not to mention that the folks who have already been there a month or two could help orient the newcomers in a way the natives would find difficult.

Then you get into housing issues and the like.... everything has its complications.

As for the 'studio space for life' situation that currently seems to exist... I suppose you could implement a policy for new arrivals, which would have them as a sort of underclass status. It would take decades for the new order to be the prevailing one.

I imagine even talking about changing the status quo will stir up a lot of bad blood.

I do think that the place needs a vital influx element thrown into the mix. For Washingtonians there isn't a lot there drawing you in past the Target Gallery. How many times would you go to the National Gallery, the Corcoran, or the Phillips, if they displayed nothing but the permanent collections? We all know it's the traveling shows that draw us in there. Once in the house, we'll wander around given enough time, and see the permanent stuff as well. But the permanent stuff doesn't, generally speaking, draw us in. Same goes for the Torpedo Factory.

I also think the local DC art scene desperately needs more connection to the hubs in LA, NY, and Chicago. An artist in residency program at the Torpedo Factory could be a key part of that. We're all a little too comfortable here in DC.

DC's claim to semi-fame is a small disjointed band of artists who played with color 30-50 years ago.... That should make us all squirm in our seats a bit. There's resting on your laurels, but this is getting to be a case of basking in the glory of your forefathers.... they aren't even our laurels any more....

Artists in residency program at the Torpedo Factory.....not the final word on the topic, but it's my best idea.

- Kevin Mellema

Narrative is in

I've been shouting this forever; read about it here.

Staycations

WaPo art critic Michael O'Sullivan pops in with a very cool article in today's Post on "staycations."

The article is made even cooler by the fact that he recommends "Finding Beauty in a Broken World: In the Spirit of Frida Kahlo." Art inspired by the life, writings and imagery of the late Mexican painter. Now through Aug. 29 at the Joan Hisaoka Healing Arts Gallery at Smith Farm Center, 1632 U St. NW. 202-483-8600 and curated by yours truly.

Read the article here.

Saturday: 100 Artists to Paint DC's Largest Public Art Mural

The capital’s largest public art event is happening this Saturday, from 10:00 AM to 8:00 PM with over 100 muralists, artists, and the public painting a wall larger than a football field in the Edgewood neighborhood in Northeast.

The Edgewood Mural Jam is sponsored by the public art non-profit Albus Cavus and the DC Commission on Arts and Humanities, the Mayor's Summer Youth Employment Program, Liquitex, Beacon House, District Department of Transportation, Rails-to-Trails Conservancy, and the Rhode Island Avenue Shopping Center.

The event is for all ages and will feature activities for children, good food, a community area for everyone who comes to pick up a brush and paint, and there will be DJs with music for entertainment.

What: Edgewood Mural Jam
Who: 100 public artists and the community painting a wall bigger than a football field
Where: Rhode Island Avenue Shopping Center, 680 Rhode Island Ave NE (behind the stores), next to Rhode Island WMATA Station on Red Line
When: Saturday, August 15, 10:00 am to 8:00 PM

The DC community is invited to participate in the largest interactive public art event of the summer by meeting the artists, watching them work, and picking up a paintbrush to join in.

Over the last eight weeks in DC, artists Decoy, Quest Skinner, Pose 2, Chor Boogie and Joshua Mays have been leading a group of young people from the DC Commission on the Arts and Humanities Summer Youth Employment Program to develop, design, and create a mural for the DC community. "From Edgewood to the Edge of the World" is the anchor art piece that reflects the souls of the artists and invites the public to imagine a new world. The Edgewood Mural Jam will nearly double the size of public art piece in one day as 100 artists have been invited to contribute their art. The mural walls are visible from the Rhode Island WMATA metro station on the Red Line and along the new Metropolitan Branch Trail.

Details here.

For the Torpedo Factory: The Star Trek Effect

One of the most unusual things that one notices as a gallerist, especially if the gallery is lucky enough to be able to afford a street level storefront and to have a large window or glass front to the street, is what I've previously called "the Star Trek effect."

In Star Trek, humans have developed the force field technology, which in most cases obviates the need for glass or some sort of transparent physical protection in a window or opening. Instead they have transparent force fields that allows the ship to have a window or door to the beauties of space, but without glass or plastic, and instead using an invisible force field to keep the vacuum of space out and Trekkers in. They also use it instead of jail bars, etc.

In the gallery world, sometimes an invisible force field envelops the gallery as well.

For example, in the case of either of my two former galleries, both the one in Georgetown and the one in Bethesda, there was ample viewing space from the outside, as both galleries have a large glass front, in Bethesda's case, wrapped all around the gallery space.

This gives the gallerist inside a perfect view of everything going on outside the gallery. And it gives people outside the gallery a decent view of the art inside the space. Quickly one notices a pattern: people will cup their hands to block out out the sun's glint and then look inside. They do this rather than stepping into the gallery and looking at the work directly. If it was a shoe store, they'd walk in; a gallery is more of a challenge.

Another example: In Bethesda the gallery is in a plaza surrounded by other businesses. Once a month or so, our neighbor, formerly Discovery Channel and now Comcast, would have a fire drill and hundreds of people would be milling around the gallery in the plaza. Dozens and dozens of them would have their hands cupped and peering inside from the outside.

I would then get up and prop open the gallery doors, and an even more curious thing would happen. Someone would stand just at the door, and lean forward into the gallery and look in, without actually stepping in. The Star Trek field is in full effect now.

Realizing that I had forgotten to turn the force field off, I would then walk in and out of the gallery a couple of times. This has the magical effect of turning off the field from the inside, and suddenly dozens of persons, seeing an actual human come in and out of the gallery unharmed, would pour in.

Last weekend I walked around the Torpedo Factory in Old Town Alexandria, brought there to look at the exceptional show at the Target Gallery. While I was there I spoke to various artists about the troubles that are facing the TF these days.

I also walked around the TF itself, trying to see if anything stood out to my eye as one potential and easy improvement.

As soon as I walked outside to look at the beauty of the Potomac River, it jumped out at me.

The beautiful plaza outside the TF and around the river was crawling with people, entertainers, families, tourists, etc. It was packed!

The doors that connect the Torpedo Factory to this plaza were closed. Not locked, but closed and need to be pulled/pushed to be opened in order for people from the outside to step into the Factory. Not only that, but they certainly could use a paint job.

The simplest solution sometimes stares us in the face. You want more people to come inside the TF? Then open the doors to the outside during the milder months! That alone won't solve the problem, but it will help. Trust me!

Try this next weekend and see what wonders it makes in improving the traffic flow to the Factory.

Oh yeah... if you forget to turn the force field off, just send a couple of artists to walk in and out of the Factory every couple of hours or so.

Wanna go to a DC opening this Friday?

"My Space on 7th" opens at Touchstone Gallery with an opening reception on Friday, August 14, from 6-8:30pm with an open exhibition featuring 90 local artists:

Sangeeta Agrawal, Nataliya Andreyeva, Neyla Arnas, Keith Arnold, Olu Babalola, Crystal Banks, David Barr, Mark Behme, Pat Bennett, Gary Bergel, Olga Berman, Carl Bettenhausen, Harmon Biddle, Wendy Bridges, Marsha Brown, Kirstin L Bruner, Alza Burd, Pierre Cartier, August ShowAdam Chamy, Zhee Chatmon, Anne Cherubim, Rob Chester, Mark S. Chevalier, James Coates, Ceci Cole McInturff, Michele Cormier, Charlie Dale, Anthony Dortch, Matt Dunn, Derran Eaddy, Linda Elliff, Michelle Fatovic, Alex Feshenko, Isabelle Spicer, Kim Frietze, Kent Gay, Eric M. Ginsburg, Marcia Green, JoAnne Growney, Jackie Hoysted, Sandra Humphrey, Carin A. Jackson, Jessica Jastrzebski, jodi, Linda Keller, David Korte, David A. Kosar, Radha Krishnakumar, Mary D. Lambert, Paula Lantz, Emery J. Lewis, Mary Mallia, Frank M. Mancino, Amy Marshall, JoAnn McInnis, Ivan Mendizabal, Mark Mennie, Anita Merina, David Mills, Del Moran, Kiran Mukunda, Carlos Munoz, Natalie Oguara, Mary D. Ott, Samuel Pastore, Wendy Plotkin-Mates, Keith Ramsey, Juvale Regala, Marina Reiter, Neil Rogers, Pam Rogers, Julia Rosenbaum, Deborah Saks, Zakhar Sasim, Peter Schechter, Charles A. Sessoms, Amelia Shachoy, Paul Sharratt, Janathel Shaw, Raju Singh, John Sislin, Destry Sparks, Aaron Spindler, Ulrich Stein, Elena Tchernomazova, Dana Thompson, Sally ShangMing Tsou, Caroline Urbania, Susan Van Pool and Monica Wise.

Details here.

Glassing the gallery

One of the nation’s leading warm glass studios, our area's own Washington Glass School, has joined forces with the area’s largest hot glass studio DC GlassWorks. This collaboration has delivered an outstanding sculptural exhibition of work by the member artists and instructors.

The Washington Glass School is known for narrative and content-driven glass work, and DC GlassWorks has become an area favorite for sculptural blown glass artwork, and together they represent everything that has made the region one of the planet's hottest spots for contemporary art glass.

And now artDC hosts a hot exhibition at their new gallery at the Lustine Center in Hyattsville, MD, showcasing the collaborative spirit of the two studios in a show titled The Common Element: Glass and Sculpture.

The Common Element: Glass and Sculpture
ARTDC Gallery
5710 Baltimore Avenue
Hyattsville, MD 20781
301-209-0116
August 15 - September 6, 2009
Reception August 15, 2009, 4-6 pm

Artists include: Patrick Burke, David Cook, Joe Corcoran, Cheryl P. Derricotte, Nancy Donnelly, Sean Hennessey, Michael Janis, Steven Jones, Brendan Kager, Jennifer Lindstrom, David D'Orio, Anne Plant, Ragan Sheridan, Erwin Timmers, Megan Van Wagoner and Sue Weisenburger.

Preview here.

Opportunity for Artists

Deadline: August 31, 2009

Baltimore's Galerie Myrtis will host “Picture a World without Cancer”, a fundraising event in support of the Smith Farm Center for Healing and the Arts, a nonprofit health, education and creative arts organization which serves individuals, families and communities affected by cancer and other serious illnesses.

Galerie Myrtis is seeking works of art (ceramics, painting, photography, sculpture and textiles) to be sold in support of the event. The sales proceed will be divided as follows: fifty percent to the artist and the remaining fifty percent (50%) will be donated to the Smith Farm Center.

The proceeds will support Smith Farms Center’s project to expand their facilities and services to the community. These plans will enhance their programs, increase participation, make programs accessible and increase their visibility in the community.

Fundraising Event:
Location: Galerie Myrtis, 2224 North Charles Street, Baltimore, MD 21218
Date: Sunday, September 27, 2009
Time: 2:00 – 7:00 pm

DEADLINE FOR SUBMISSION: August 31, 2009 (There are no submission fees)

JURORS: Alvah Beander, Appraiser of African, African American and African Diaspora art; Tim Davis, International Visions Gallery; Phylicia Ghee, Photographer; and Julia Keller, The Walters Art Museum.

ELIGIBITY: This opportunity is open to artists residing in the Washington Metropolitan and Baltimore areas. Artists working in the following disciplines are invited to participate: ceramics, painting, photography, sculpture and
textile. All works must be original creations made by the artist within the last 2 years.

SUBMISSION REQUIREMENTS: CD's are preferred and should provide: images of the artworks, current artist's statement, biography and resume. A list which includes the following information must accompany the CD: title, dimensions, medium, year and price of featured works. 35mm plastic slide mounts must be labeled with the name of artist, title, and labeled “top” on correct viewing side of slide. A list which includes the following information must accompany the slides: corresponding number, title, dimensions, medium, year and price. Please include a Self-addressed stamped envelope for return of your slides.

Artist may submit no more than five (5) artworks for consideration.

Please send materials to:

Galerie Myrtis
2224 North Charles Street
Baltimore, Maryland 21218

For additional information please contact Galerie Myrtis at 410/235-3711 or phyliciag@galeriemyrtis.com.

In the Flesh II at the Target Gallery

Prompted by this Kevin Mellema review, I dropped by Alexandria's Target Gallery last weekend to see the exhibition In The Flesh II (through August 30 with an Opening Reception: August 13 – 6-8pm, and a Gallery talk with curator Andrea Pollan at 7pm).

Target Gallery has been consistently one of the Greater DC area's best, and many times, only art venues to routinely showcase artwork by artists outside the Greater DC region, as their national calls are usually well responded to by artists all over the nation and even internationally.

Under the skilled guidance of gallery director Mary Cook, the gallery has refined its presence, thanks in part to the superb set of jurors that Cook has been able to bring to the gallery, such as Andrea Pollan for In The Flesh II. Pollan writes in her juror statement:

Figurative art has had a resurgence in recent years, no doubt brought on by the barrier-breaking internet and its promise of access to all kinds of social information - including things previously kept private – that emphasize what strange and fascinating creatures we are. Witness the popularity of YouTube.com, where the more extreme the videotaped image or behavior is by social consensus, the more frequently a link goes viral and gets viewed. Our self-absorption knows no bounds. Our bodies are endlessly fascinating.

Concurrent with this technological phenomenon is an international spate of important survey exhibitions of such figurative artists as Willem De Kooning, Francis Bacon, and Alice Neel. The Hirshhorn currently has its “Strange Bodies” exhibition on view with works in all media that span the 20th and 21st centuries, and The Phillips Collection is presenting the historic survey “Painting Made Flesh.” Clearly there is something in the wind.

The organizing premise of this juried exhibition is figurative work. From over 800 submissions, it was extremely difficult to cull an exhibition of only 27 works. Many very fine works were sacrificed in the final few rounds of jurying. My primary criterion was to select works of artistic quality, sometimes traditional and sometimes not. Clearly the poetic, the mysterious, the contemplative, the whimsical, the political, and sometimes the dark side of humanity characterize many of the works on view. This may be attributed to my juror’s bias that includes a predilection for a good imagined story.

Figurative work in general encompasses a broad range of genre and technique. For the works at the Target Gallery, I aimed to assemble a collection of art that reveals the power the figure has to engage the viewer whether realistic, expressionistic, surrealistic, documentary or mediated by another medium. As an audience we more easily identify with figuration as we already have an entrée into the work of art by virtue of the subject. Given the depicted content, we then by nature project narratives onto the work, so we become an active participant in the interpretation of the work. These stories are the deeply seated human connection that binds us to each other and to the art on view.

Many thanks to the astounding number of artists who submitted from around the country and to the staff at the Target Gallery, especially Mary Cook, for providing a wonderful opportunity to get to know work of so many artists in far-flung areas.

As soon as one enters the gallery, the first thing that we notice is the very interesting installation by Stephanie Liner, which in a sense dominates at first sight, in part because of its scope, and in part because of the size and fascinating sculptural ideas delivered by the artist.


Stephanie Liner – Momentos of a Doomed Construct. Full view Installation.


Stephanie Liner – Momentos of a Doomed Construct. Full view Installation (side view).


Stephanie Liner – Momentos of a Doomed Construct. Large form with door open.


Stephanie Liner – Momentos of a Doomed Construct, detail (inside large form).
It is also clear that Momentos of a Doomed Construct (is it Momentos or Mementos?) would have shown better by itself in a larger space, kudos to Pollan for selecting it and kudos to Target for showcasing it as well as they did.

This show is full of great work, and there are several artists here who should really be seen by our local collectors and by my fellow art dealers. Pollan's experienced eye has delivered a winner and this show is by far one of the best figurative shows that I have seen in years.

The first piece that attracted my attention was Anna Kipervaser's Inunion (3), an oil painting on shaped panel that immediately brought to my mind the similarly shaped panels of Cuban artist Aimee Garcia Marrero that we showed in Georgetown and also in Bethesda several years ago.

Anna Kipervaser, Inunion (3). Oil on Shaped Panel
In either case, both artists' technical facility translates superbly to the shaping of the panel, which then delivers a piece that somewhat marries painting with sculpture and that does well in either case.


Ann Piper, Censored.Oil on Canvas
Ann Piper's Censored is just a good painting, period. This is an obviously skilled painter with enviable painting skills and a talented brush, and she flexes those abilities in a rather simple but sexy painting with a hint of playfulness and a load of seriousness attached to it via its title.

Jason John's mastery of the genre of hyper-realism blew me away. This is hyper-realism at its best with a hint of surrealism, or is it?


Jason John, Conversation of a Paranormal Event, Oil on Board
Has the child's magical flick of the wrist lifted the object in the upper left in a gravity-defying act? or is the object a helium filled balloon orbiting the painting of its own accord? The answer lies in the way that the man responds to the scene and under John's talented hand, the painting succeeds in grabbing our attention through his.

Other works worthy of attention were Colin Asmus' two pieces in the show, which deliver a marriage of social situations with a touch of internet insanity and excellent painting skills. I also liked Jeffrey Haupt's sexy and a little eerie Miss A, a large oil on panel (56'x35") which is a steal at $1,250.

Strong narrative is the key to the success of Jami Nix's 42nd Street Time Square Station, a piece depicting a bunch of NYC cops with canine assistants inspecting the famous subway station.

Rachel Sitkin's graphite titled Under Question represents drawing well in the show, as does Jeff Markowsky's superb charcoal drawing.

Finally, Valerie Patterson's watercolor Woman is the Other has a touch of the magical madness of Gregory Gillespie's work, and leaves us unsure if we're witnessing a macabre act or a depicting of loss of identity or self-esteem.

This show is a winner; almost every piece could have been a Best in Show on its own, and my choice for Best in Show would go to Jason John.

Don't miss the opening on Thursday, August 13, from 6-8pm.

New DC gallery

New (to me anyway) is Momento Gallery at Wisconsin Avenue, NW in DC. They come to the scene already representing some well-known DC area artists such as Andres Tremols, Richard Dana, Joan Belmar, Randall Packer and Patricia Secco.

Visit them online here.

Confirmed

The U.S. Senate voted to confirm President Obama's appointments to chair the National Endowment for the Arts and the National Endowment for the Humanities.

Rocco Landesman, a Broadway producer noted for award-winning productions like Angels in America, Big River and The Producers, was confirmed as the new chairman of the National Endowment for the Arts. For twenty years, Landesman has been the president of Jujamcyn Theaters, New York's third largest theater owner.

Jim Leach was also confirmed as the next chairman of the National Endowment for the Humanities. Leach is a former Republican congressman from Iowa and is a professor at Princeton University's Woodrow Wilson School of Public and International Affairs.

Artists' Websites: Jason John

I've just discovered the work of Pennsylvania artist Jason John at the Andrea Pollan juried show at the Target Gallery in Alexandria, Virginia and I was very impressed by John's piece in that very strong show full of gems.

Jason John, Conversation of a Paranormal Event, Oil on Board
And it is not only the amazing technical virtuosity of this hyper-realist artist, but also the intelligent composition and the way that the concept and idea is delivered by John's skilled brushwork. Look at the subtle way that the "paranormal" in the work (in this case the floating balloons) is introduced... we almost miss it as we're enchanted by the brilliant twist of the child's wrist and the terrestial look in the man's face.

Visit his website here.

Factory Statistics

My recent post on the issues facing the Torpedo Factory has been getting a lot of attention. My good friend Margaret Huddy (and a superbly talented artist) pops in with some very enlightening stats and also lets us know that "Mr. Pope got Joan Aldrich's name wrong. I wondered why I had never heard of her. Her correct name is Joan Ulrich and she does have a studio on the first floor. She is a ceramic artist."

Here are some statistics on lease-holding TF artists.

There are currently 143 leaseholders. Of them only 18 are original artists. In the 20 years between 1974 and 1994, 600 artists have been leaseholders. From 1993 to 1003, 113 lease-holding artists left. From 2004 to 2009 33 leaseholding artists left and 41 new artists were added.

From 2007 to 2008, nine more artists became leaseholders. Only 10 artists on the waiting list of juried artists are actually wanting to have studio in the art center. Many of the rest live as far away as Washington state and California. They keep their name on the list "just in case" they ever move back (one is 85, so I doubt she will, but you never know).

We do the best we can to attract new artists for our annual jury but many people find the idea of working in the public eye very daunting. One artist who sublet from me left after three weeks. She said she felt like a monkey in a zoo.

Art Worth the Trip: Ann Arbor’s Art Fair x 4

By Robin Tierney

You can expect an optical deluge at any city art fair. Ann Arbor, Michigan, combines four fairs into one mid-July 1,200-artist ‘palooza, so you really have to pace yourself.

Doing so, I had energy to find love at first sight three times at the Ann Arbor Street Art Fair, at the far end of my route. Billed “The Original,” the 50-year-old event is also the first juried outdoor art event.

First crush: the meticulous, sensitive portraits of animals in the wild and amusing hand-tinted illustrations that seemed plucked from vintage books. Brief titles such as “Battle of the Naked Bunnies” trigger musings about possible plot lines. Ann Arbor native David Bigelow studied printmaking and drawing nearby at the University of Michigan. Now living in Ozark, Missouri, he captures the overlooked details of life and lives, and especially in his drawings turns humor into a tool.

Animals, vegetables (carrots abound), and minerals convey thoughts on human foibles. David cares that people get his ideas and often solicits onlookers’ reactions.

He got mine, and in return I learned how he re-purposed “the worst paper” by “working with what was there instead of trying to impose my will.” He tore the edges and used the large surfaces to draw achingly detailed large beings, such as this elephant [show pictures]. While taking a photo of his rhino etching, I adopted David’s ethos and tried to make the reflections of fair passersby work. See what you think.

“They are good for your eyes,” smiles Bigelow about his work. A good reason to visit dbigelowstudio.com.

Next, I walked back to the 17th century. With his breath-stopping etchings, Grant Silverstein could have passed as a contemporary of Rembrandt. For 30 years, the Mansfield, Pa.-based artist has sought to preserve “a way of looking at things that is still valuable.” He tells the La Fontaine fable behind “The ears of a hare”: after a lion banned horned animals from his kingdom, a rabbit concludes from a shadow that his ears could get him into deep trouble.

Another Difficult Kiss. Intaglio Etching by Grant Silverstein
“Another Difficult Kiss” started as a tiny study of two figures. Silverstein then made it the center of a large-scale village scene complete with fiddler cycling in a wheeled hammock, an element inspired by a contraption spotted during his own travels. Savor Silverstein’s etched allegories, nudes and landscapes at GrantSilverstein.com.

“Classical alien, mystic surrealism” is how Michael Madzo describes his oeuvre. I’d seen his work at Zenith Gallery in D.C.; he has been at this for 20 years. He layers paper and paint, cuts apart perfectly good paintings, reassembles the pieces, and stitches them back together using a sewing machine. Rather than build the image in the brain or in sketches, Madzo pieces by intuition. “It’s like assembling a jigsaw puzzle without the reference pictures.”

The process is akin to how memory and consciousness work, he says. “We’re always adding pieces to a collage of experiences from every day. We start each day in a new country and as a new person.”

There’s a hint of Marc Chagall, but the content, spirit and subterfuge are pure Madzo.

If you visit Ann Arbor before the 2010 Art Fair, check out the University of Michigan Museum of Art. Reopened March 28 after completion of a new wing, it features an impressive collection, including a warrior sculpted from detonated AK-47s. Catch “Warhol Snapshots” between Aug. 23 and Nov. 1.

Mellema on Target Gallery

This review by Kevin Mellema has really intrigued me and because of it I dropped by Alexandria's Target Gallery (inside the Torpedo Factory, first floor) last weekend to see the show.

To say that I was blown away, as impressed by a gallery group show as I have been in many years, does not even begin to cover how good this show is. It is juried by my good friend Andrea Pollan and I know that Andrea must have been as impressed as I was by the really high quality and intriguing, innovative work by the national and international artists that she selected.

These are nearly all "new" artists in the sense that most of them are not from around the region, and their work is a breath of fresh air on a rather mundane subject/focus for the show. More on the show itself, from my point of view later, but if you can, get yourself to Target and see this show.

And for my fellow dealers: take the time to go see this show, there are 3-4 diamonds in there ready for prime time.

This show reaffirms what I have been thinking for a long time: Target Gallery is easily the leading edge gallery in Alexandria, and I dare say in the region, and sort of the seed for what the Factory itself needs to do (in part) to re-invent/re-vitalize itself.

Read the Mellema review here; mine will be up soonest.

Wind Wasp-aided

Just back from an encounter with an underground nest of wasps or hornets while out in the woods.

Bad news: three very painful stings.

Good news: new world record set in the 200 meter dash uphill.

Bad news: the International Association of Athletics Federation does not recognize world record times set when the runner is being chased by a cloud of angry insects.

Opportunity for Artists and Curators

International Deadline: September 1, 2009

1708 Gallery in Richmond, VA is seeking exhibition proposals from artists and curators for its 2011 exhibition season. 1708 Gallery is a non-profit arts organization founded by artists in 1978. Their mission is to present exceptional new art. Artists and curators may submit proposals for single or group shows of all media.

Download complete Prospectus here or call 804/643-1708, or write:

1708 Gallery
Exhibitions and Programming Committee
P.O. Box 12520
Richmond, VA 23241

Torpedo Factory Changes Proposed

"As its name suggests, the Torpedo Factory originally was used to construct bombs. But after World War II, the building was used for everything from storing dinosaur bones to Nazi war documents. In the 1970s, the Torpedo Factory was transformed into an art center where visitors could watch artisans in their studios and purchase original works. But Alexandria Councilman Rob Krupicka and others are calling for changes to the art center -- longer hours, movie showings, maybe a coffeehouse or wine bar. Other ideas? Lifting the ban on the sale of art reproductions and establishing term limits for the studios to encourage artist turnover."

Listen to Michael Pope on WAMU here (scroll down) and he also has an article in the Alexandria Gazette here.

A SENSE OF uncertainty is palpable among the artists at the Torpedo Factory, and opinions range from those who would like to see major changes to those who would prefer for things to stay the same. Whatever changes are suggested, many say the discussion has been driven by a sense that the Torpedo Factory just isn’t as exciting as it should be.

"You won’t find much particularly edgy work here," said Joan Aldrich, who has a studio on the first floor. "If we see ourselves as a premiere art center, we should have some work here that’s new — that’s perhaps by definition offensive to some people."

I am told by separate sources that the articles and the WAMU report contained a few inaccuracies that somewhat upset Councilman Krupicka, who is a supporter of the Factory.

What do I think about all this? This is a very complex situation, with many different angles and approaches, and deserves some thoughts on the subject(s) from a variety of perspectives. In fact, I submit that from a variety of senses and sensibilities and experiences.

I could submit an opinion from the Campello who is an artist, another different one from the Campello who is an art critic, another one from the Campello who is an art dealer, one more from the Campello who is an art collector and yet another one from the perspective of an arts marketeer.

No one at the Torpedo Factory has asked my opinion, and they do have some sort of task force working on ideas to re-invent that amazing place, but I want to express some opinions and start a public dialogue here for anyone else who has something to say on the subject.

After all, the Torpedo Factory was and is a labor of love by a visionary few who took out truckloads of garbage out of an abandoned building and converted it into one of the great art center locations in the nation and the key to the entire revitalization of Old Town Alexandria. The city and the region owes a lot beyond just artistic output to the artists of the Factory, and the $3 million dollars a year that the city of Alexandria spends in subsidizing the Factory has been repaid a thousandth fold over the decades, not only is peripheral income associated with the Factory, but also in the immeasurable way in which the TF kindled and started a complete urban renewal in Old Town Alexandria a few decades back.

So the first thing that comes to my mind is that the bulk of the decision should be made by the Torpedo Factory artists themselves, and although I don't know who is in this "task force", I suspect that it is driven by the Torpedo Factory Artists Association (TFAA) members.

But with all due respect to many of my good friends in the TFAA, they also need to be careful that in their zeal to do a good thing, they become too myopic about their own environment and lack an outside view and sanity checker.

Most (not all) artists often make fatal assumptions when it comes to the business of art, and it seems to me that what makes a significant ingredient in this TF re-invention soup, is the business of running the TF as a complex tapestry of things.

That includes artistic presence, focus, business approach, artist turnover, genres, medias, diversity of businesses within the TF, etc.

"Some more divisive recommendations being floated would allow commercial reproduction prints to be sold and create term limits that would bring in a younger set of artists to the building," writes Pope in the Gazette.

Let's examine the issue of reproductions.

First of all a lesson in the misuse of the word "print".

One word that has been hijacked from the art lexicon by the art merchants is the word "print".

A print is a woodcut, or a linocut, or an intaglio etching, etc. It is created by the print maker, from beginning to printmaking. Anything else is a reproduction.

So if the original is a watercolor, or an oil, etc. and then you get digital copies of it, or four color separations, etc. all of those are reproductions of the original. However, it's hard to sell something when you describe it as a reproduction, and thus why dealers and artists alike describe their reproductions are "prints".

Giclees is a modern artsy way to describe a reproduction. Giclee is the French word for "spray" or "spurt." It describes the Iris burst printers originally used to make the beautiful new digital reproductions that started appearing in the art world around 15 years ago.

Nothing pisses off a print maker faster than hearing a reproduction called a print.

Currently Section II of the TF Bylaws state in (D) that:

"Work created at the Art Center must be original as defined by Standards and Practices For Arts and Crafts in the House Rules. Such work is not to be competitive with local merchants."

So the TF artists are not supposed to be selling reproductions of their artwork from their studios, and I understand that the membership will request to the Board of Directors that this section be deleted and thus allow artists to sell reproductions of their work.

I'm torn a little by this.

On one hand, in theory it gives the general public an opportunity to acquire a signed reproduction of an original work, and in theory that cheaper more affordable art commodity offers the artist a new avenue of income. Those who can't afford the original buy a signed poster reproduction, usually described as a "limited edition, signed and numbered print".

Nearly everyone else does it, and locally in the Greater DC region, one of the top art galleries is also become nationally well-known as the print maker to the art stars, and in the last few years nearly all galleries, both regional and national now offer more affordable reproductions limited editions of their pricier, more popular artists.

I have done it myself in the past with some of my larger, more expensive original drawings.

On the other hand, allowing selling of reproductions does in some sense dilute the sense of art as an original commodity. And then we start getting into the 21st century argument of what is an "original" in digital artwork, and what about photographers with multiple editions, and photographers with open editions, and even true print makers who once they sell out of the original set of prints, decide to dig out the original plate and pump out a second set of prints or a second edition.

See how complicated this got really quick? Nothing in life is really simple.

But the artists have apparently already voted and will soon request that they be allowed to sell reproductions, so in this case, my opinions and the issues have been overtaken by events (OBE) as they say in military lingo.

Although the Board still has to vote on it, I think. But let's file that for now.

What about bringing in a "younger set of artists" to the building?

For their own sake, I hope they mean "younger" to really mean in terms of artistic development and not just age. Otherwise expect lawsuits from the gray-haired artist who just finished his/her MFA at MICA at age 60.

But this idea does have some merit and deserves some critical thinking.

I am and have been for years a great supporter of the TF and its presence, but in my opinion their Achilles heel is in fact their greatest paradox in a sense, and it is their artistic refreshment rate. If it wasn't for the terrific job that the Target Gallery (on the first floor of the TF) does with their national calls for artists, we'd rarely see a new name at the Factory.

Paradox because one of the greatest assets of the Factory is the continuous presence of some of their power artists such as Rosemary Feit Covey, BJ Anderson, Susan Makara and others. But because the turnover rate of artists retiring or leaving is so rare and slow, it takes a long time for a studio to become available, and new artists show up almost always through complex process of studio subletting, temporary subleasing, etc. Many of the artist tenants have been there since the very first day that the TF opened its doors to the public (in fact I curated a show of their work a few years ago).

Achilles heel because it is very difficult for a "new" artist to get a permanent space at the Factory. Once a year, the Torpedo Factory puts out a call for artists who wish to be considered for a studio space. Generally about 70-80 applicants enter the annual jury process and about six or seven are accepted. But "accepted" doesn't mean that they get a space; rather it sort of means that they are in line for when a space becomes available.

Every time that I post the TF's call for artists (there's a fee involved), I get a flurry of emails from artists complaining about the process.

This needs new thinking and a new approach, for I am on the side of those who opine that new blood is always good for any artistic community endeavor.

As with any group effort, I am pretty sure that about 5% of the artist members of the Factory do 95% of the actual communal work to keep the Factory working. That 95% will be the, however, the most vocal opposed to any change that may put some studio space in jeopardy.

It has to happen.

Not that it will result in immediate improvement, nor in the way that the art critics around this town view the TF (traditional artwork only, whatever that means). Don't expect Jessica Dawson or Blake Gopnik or any most of the art bloggers to suddenly put the TF in the same perspective as the Mattress Factory in Pittsburgh or the Painted Bride in Philly, etc.

Even if Andrea Fraser decided to do her new naked nude museum/art center sex video at the TF or Shepard Fairey decided to move his studio to the TF tomorrow (and got accepted), the galvanized minds of many would be hard to convince that "change" has come to Old Town Alexandria's first among equals.

But slowly and surely it would work, and here and there a new, "young" artist would push some of the traditional and well-known buttons that get artists and their art instant notoriety and press: sex, nudity, anti-Christian art, bodily fluids, flag desecration, anti-President, anti-Israel, pro-some anti-American dictator, etc. Some if not most of that is hackneyed recycled art in new wrapping, but among the set of "younger" artists would almost certainly be those with new ideas and new concepts and new vitality and energy, which after all is the essence of what I think the Factory thinks it needs.

And a warning to the politicians who subsidize the TF: be careful what you wish for. With new artists and new ideas will come some of what I described above, and then what will happen (as it always does) is that the ugly hand of censorship will rise and the politicians will get involved and demand censorship or the $3M yearly subsidy goes away.

This will of course, bring instant worldwide press to the TF: "Torpedo Factory artist censored by Alexandria Town Council!" the headlines will shout.

But enough nonsense; how can the TF refresh their artists base on a more regular schedule/rotation?

The easiest way would be to make a certain number of studios available on a resident base, so that visiting artists could have the studio space for a year or two and then rotate (maybe they already do this, I'm not sure). Some of these residencies should be made available to recent MFA graduates, perhaps some should be made available to genres currently not represented at the Factory, such as the 60-year-old genre of video art.

Perhaps another, and harsher way would be to have an established procedure where current artists are re-examined on a yearly or biannual, or whatever time frame to re-evaluate their performance and artistic qualifications for having a permanent presence at the Factory. In a sense like the academic community does for their tenure track faculty.

Produce or be gone, or in this case, show us what you are doing, other than painting the same painting over and over again and selling it off to the tourists.

Awright, awright... so I've rambled enough and only touched the surface of this complex issue; expect more as I dig out more information and more ideas. This is the surface of the artberg and some of the above ideas and perceptions may be off base, but they're my opinion... so far. I'd like to hear your opinions and constructive criticism. Send me an email (to lenny@lennycampello.com) and I will publish them here and start some sort of dialogue.

To the TFAA: I will also gladly ramble in person with any/all of you if you want my input ad hoc as it comes across.

More later... stay tuned.

Technology things I don't like

I am really bugged by what happens when you accidentally hit a button or something on your phone and an alluring female voice says to you: "Say a command..."

First Friday Openings Tonight in DC

Today is the first Friday of August and thus usually time for the openings and extended hours of the Dupont Circle area galleries. Openings are generally from 6-8PM, but make sure to check their websites for the correct times or call your favorite gallery, as some of them close for August.

Julie Niskanen, Illusionary Reflection, mezzotint.
The 12th Annual National Small Works, juried by my good friend Jane Haslem, Director of Jane Haslem Gallery will be at Washington Printmakers Gallery and it is always one of the top juried shows on my list each year in the DC region and a great place to see what printmakers around the country are doing. Their reception is from 5-8PM and there will be a juror's talk on Sunday, August 9 at 1PM.

Also check out Six in the Mix - "Selections by Renee Stout" at Hillyer Art Space from 6-9PM.

Wanna go to an opening in DC this Saturday?

"Almost Surely, Almost Everywhere," an exhibition including the works of Echo Eggebrecht, Ken Fandell, Mike Iacovone & Billy Friebele, open this Saturday, August 8th, from 7-9pm at Hamiltonian Gallery.

Wanna go to an arts reception in Lorton this Sunday?

The Awards Reception for the Workhouse Arts Center’s First Juried Photographic Competition is this Sunday August 9th from 2-4pm. Juror Ann Shumard, Curator of Photographs at the National Portrait Gallery selected 64 of the 219 images submitted by 75 photographers from around the country for this show. The Workhouse Arts Center is just off 95S 9601 Ox Road Lorton, VA, twenty minutes from DC.

And this fall the Workhouse Arts Center will present Poetic Art: a benefit for the Yellow Ribbon Fund. YRF is a non- profit organization created in early 2005 to assist our wounded troops from Iraq and Afghanistan, and their families, while they recuperate at the Walter Reed Army Medical Center and the National Naval Medical Center.

The exhibition on the second floor of Gallery W16 at the Workhouse Arts Center will feature both professional and amateur poets and artists working in collaboration to produce Poetic Art. The work of art will inspire the poet’s words, or the poem will inspire the artist’s creation. The exhibition will be open to the public Oct. 21 - Nov. 20, 2009. An opening reception October 25th, will feature a reading of some of the submitted poems.

The exhibition will feature both invited and juried artists and poets.

All work must be for sale. Artists and Poets will retain all copyrights. LAF will take a 50% sales commission from sold work. The artists/poets will establish a single price for their combined work and determine the division between themselves of sales proceeds. Artists/poets are encouraged to donate a part or all of their sales proceeds back to LAF & YRF.

A full color show catalog will feature the paired art and poem to be sold as part of the fundraiser. Each participating artist and poet will receive a copy of the Show Catalog. However, none of the proceeds from the sale of the Show Catalog will be paid to the artists/poets.

For more details and the prospectus, email martikirkpatrick@lortonarts.org.

Ann Liv Young Flavored Pork

Visitors at the small, experimental space PS122, which hosted a tribute show of video, dance and musical performances dedicated to rap artist Kanye West, were probably shocked when the hip hop star showed up at the event himself. But they were likely not as shocked as Kanye, as the night progressed, when performance artist Ann Liv Young came on stage, completely naked, and berated the rapper for his most recent album "808s & Heartbreak". And to add to the bizarre diatribe, while she was complaining that the CD was not his best work, Young rubbed barbecued pork onto her genitals, before eating it.

AN has the story here.

Annie in money troubles

Celebrity photographer Annie Leibovitz may be better off declaring bankruptcy than battling a creditor suing her for breaching a contract related to a $24 million loan, bankruptcy experts said.

Art Capital Group, a New York-based company that makes loans using art as collateral, extended Leibovitz $22 million in September 2008 backed by the rights to her photographs and real estate in Manhattan and Rhinebeck, New York, court papers said. Three months later, she got $2 million more, according to a suit filed last week in New York State Supreme Court in Manhattan.

The financing company sued Leibovitz, alleging she refused to cooperate in the sale of the copyrights to her photographs and won’t give real-estate agents access to her properties for sale. Leibovitz has to repay the loan with interest and other expenses by Sept. 8, according to the suit.

Read it in Bloomberg here.

John Grazier Magazine

The immensely talented DC artist John Grazier has self published a really good magazine about his art, quotes by individuals and collectors.  Grazier writes to me:

"Other artists might consider doing something similar to promote their work.  Publishing it is free!  I think the concept is great, and if someone wants a profit, they just take that option, pricing the publication above print on demand cost-- they will receive payment via paypal."

See the mag here... and yes, Grazier's work is spectacular!

What are we looking for?

More than 200 Times readers have responded to the question the chief art critic Michael Kimmelman poses in his latest Abroad column:

What exactly are we looking for when we roam around museums?

On a recent visit to the Louvre, Mr. Kimmelman observed that “almost nobody, over the course of that hour or two, paused before any object for as long as a full minute.” His conclusion: “Tourists now wander through museums, seeking to fulfill their lifetime’s art history requirement in a day, wondering whether it may now be the quantity of material they pass by rather than the quality of concentration they bring to what few things they choose to focus upon that determines whether they have ‘done’ the Louvre. It’s self-improvement on the fly.”

Julie Bloom in the NYT discusses the comments and their meaning. The comments have a few good points (lack of benches, etc.) but most are full of high handed snobbery and sadness. Read it here.

I'm confused

I'm not sure if this review by the WaPo's Chief Art Critic is a good one or not.

There's not much to see in two art projects now on view in Baltimore. That's why it's worth rushing out to get a look at them before they close in the next few weeks.

In fact my plebian mind fails to understand the bipolar nature of the points in the review, wondering from negative to positive to negative again, and ending in positive (I think), all the while while seeming to praise the actions of a former art curator heading to the fold of a mad South American dictator while rehashing traditional critical arrows at the heart of art and style as if they themselves were new. I think that Blake may be somewhat brilliant in the way that he managed to confuse me, but then again, I could be wrong. Prepare to be confused here.

For an equally brilliant counterpoint, Richard Whittaker interviews Jane Rosen:

Jane Rosen: I want to make work that you don't have to have a Master’s degree in Art History to understand. When I lived in St. Martin there was something about the quiet and the water. I became interested in fishing and met an elegant old black man, Mr. Anstley Yarde, who was very tall and thin and had a great presence. He taught me how to fish. You use a can and string. He’d get me at six o’clock in the morning and we’d get these snails. We’d sit on a rock and drop soda-can lines and just sit there. I never caught a fish but he’d catch them. He’d hear them...and I thought, this man has knowledge. And one day, we’re sitting on the rock and he asked me what kind of art I made. I knew Mr. Anstley Yarde would not understand the art I was making at that time, and I realized I wanted him to understand it. It raised that question: who and what does my art address? Who did I want to talk to and what did I want to talk about?

... Theorists will start talking and I’ll start thinking, "O God. I’m illiterate!" But in actual fact, I’m literate about another range of experience, a range they are not connected to. It’s simply not an issue for them!

Read the interview with Jane Rosen in Conversations here.

Patricia Di Bella at BlackRock

I have always thought that the BlackRock Center for the Arts in Germantown, MD has one of the most beautiful and dramatic gallery spaces in the region. With its impossibly tall gallery space, it opens itself to all kinds of great curatorial ideas. I am told that a new gallery director is coming to Black Rock soon, and hopefully the gallery will receive the attention to its web presence and curatorial care to the space itself, that it currently lacks.

Currently on exhibition are the paintings of Maryland artist Patricia Di Bella, whose large scale work, and uniformity of size give the viewer quite a good visual reception once one enters the large gallery space.

Curtain Falls by Patricia Di Bella
Di Bella's work is a swirl of frenzied theatrical activity and bedlam in a riot of strong brushwork and color impossibilities. In "Curtain Falls" (see above) we're greeted by an odd cast of characters in what I must assume is some sort of unusual narrative. But I am immediately drawn to the odd character on the lower right hand corner of the painting.

We see a female drummer, in dress and ample cleavage, messing around with the drum sticks and posing with them as horns. Is that Sly Stallone? Is it just me or does that face look like Rocky Balboa? Is it an accident of painting or has Di Bella put the Italian Stallion in there for a reason?

I'm not sure, but it certainly adds an unusual twist to this quizzical drama being played on not only on this canvas but also in most of the paintings. What is going on here? What is Di Bella showing us? Is that Bing Crosby crooning some mad song above Rocky? Why does he have wings in his fedora? Is that Monroe with a gag in the rear of the painting?


Running the Finale by Patricia Di Bella
Like any exhibition, some paintings are better than others, and in "Running The Finale" the artist has some issues with her technical facility as we note some issues with foreshortening and proportions. But even those are somewhat overcome by the interesting mayhem going on in the scene depicted on the canvas: it is another madhouse of actions and disturbing emotional ranges.


Sound Check, Teatro Diego by Patricia Di Bella
And it is this mayhem on canvas, with Marilyn Monroe being oddly referenced everywhere, that seems to be the unifying point in most of the work, with possibly the exception of "Sound Check, Teatro Diego," which appears to be a very intelligent homage to Diego Velázquez's "Las Meninas." A bravo to the artist for referencing what is (in my opinion) the greatest painting of Western civilization; it is not an easy task.

BlackRock Center for the Arts is located at 12901 Town Commons Drive, Germantown, Maryland 20874. Call them at 301.528.2260 for more info.

If you missed...

Tim Tate on "All Things Considered" on NPR, you can listen to the clip here.

Che Guevara drawing at auction

Ernesto "Che" Guevara de La Serna Lynch. Circa 1981. Pen and ink wash. 15.5 x 19.5 inches. By F. Lennox Campello
You can own the above Che Guevara drawing by yours truly by bidding for it here.

I created this drawing while a student at the University of Washington School of Art in Seattle, Washington and it is one of my hundreds of portraits of Guevara over the years.

This early original was acquired many years ago by a Texan collector and through the magic of the years and auctions, it is once again for sale. See and bid for it here.

All Things Considered

DC uberartist Tim Tate will be on the NPR program All Things Considered later today. on Monday around 4:20PM. Preview here.

How to survive the recession

Cut costs as quickly and as radically as you can. Speed is the most important thing. Don’t wait, don’t let it get out of control. Act immediately.” This is the advice of Karsten Schubert, the German-born London dealer, to galleries struggling to survive the economic downturn.

Read the AN article by Cristina Ruiz here.

Gallery woes everywhere

Art gallery owners across the country are finding they have a tough sell these days.

With houses going up for auction, unemployment continuing to rise and the threat of layoffs seemingly ever-present, many gallery owners in art communities such as Scottsdale, Ariz., Santa Fe, N.M., Portland, Ore., and New York City are closing shop, going broke to stay open or drastically changing the way they do business.

Read the article in here.