Opportunity for Native American Artists (from all over the Americas, not just US).
Deadline: Ongoing
The Smithsonian National Museum of the American Indian is looking for artists for its DC opening in September 2004. They are looking for Native American artists to participate in the museum's six day opening ceremonies.

To commemorate the opening of this new museum, the NMAI will present "Songs, Steps and Stories" - The Festival of Native American Music, Dance and Storytelling." The opening festival is designed to strengthen and celebrate the Native cultures of North, South and Central America.

The six day festival (September 21 - 26, 2004), will feature over 200 singers, dancers and storytellers, representing 30-40 American Indian communities from throughout the Western Hemisphere. An audience of one million people is expected. There is no official application form for groups and individuals that are interested in participating in the museum's opening events.

However, the museum is asking those who are interested to send a promotional kit that should include their biography and performance history. Some reviews and written endorsements from places they have performed would be useful. In the case of performing groups, especially dance groups, a performance video is very important. For musicians a compact disc or cassette is important, but video is also a good idea. Plans for the opening focus primarily on music, dance, and storytelling, but fine artisans whose work relates to music and dance (drum makers, etc.) are of interest as well.

The museum is also interested in radio personalities and comedians who might be interested in acting as host/emcees for the performance stages. Interested artists can send their promotional kits to:

Howard Bass
Public Programs Producer
National Museum of the American Indian
470 L'Enfant Plaza
Suite 7103
Washington, DC 20560-0934

Opportunity for Sculptors:
Deadline: January 15, 2004.
For renovated lobby of DC Courthouse - Theme: "Family" - Budget: $100,000. Eligible: Artists from Maryland, the District of Columbia and Virginia. To receive a detailed prospectus contact: Francoise Yohalem at 301 816-0518. Or by e-mail: Francyo@earthlink.net.

Opportunity for Press Photographers:
Deadline: 15 January 2004.
World Press Photo has their annual competition to select the world press photo of the year. Eligibile are press photographers and photojournalists throughout the world who can then participate in the 47th annual World Press Photo Contest.

This competition accepts press photographs taken during 2003 and intended for publication. There is no entry fee. Single pictures in all categories must have been taken in 2003. In the categories Spot News, General News, People in the News and Sports Action. All pictures in the stories must also have been shot in 2003. Picture stories/portfolios in the remaining categories must have been completed or first published in 2003.

The award carries a cash prize of EUR 10,000, and an invitation to Amsterdam to attend the awards ceremony in April 2004 (including one return flight ticket and hotel accommodation). At this ceremony the first exhibition of the season is officially opened. The winner of the World Press Photo of the Year 2003 Award is also offered an exhibition of his or her photojournalistic work, to be opened simultaneously in Amsterdam. There are also 1,500 EUR awards in each of the categories. Eligible photographers can download all the info here. See last year's winners here.

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For Ibero-Latin American Press Photographers.
Deadline: 28 February 2004.
Open to the American continent's and the Iberian peninsula of Europe's press photographers of Spanish or Portuguese language publications. Sponsored by the Fundacion Nuevo Periodismo Iberoamericano in Colombia. One $30,000 prize and several $25,000 prizes to the winning photographers. Entry rules and forms here.

Today's Washington Post has a story by Philip Kennicott that somewhat echoes what I discussed briefly in yesterday's posting.

As one looks at this desolate new photo of Mars, taken by the Spirit's Rover at the Mars landing site on Monday, I wonder what the first ever photos of the Red planet will fetch in vintage art auctions in a couple of hundred years (the vintage moonlanding photos already fetching quite a nice price).

I was also struck how the new photo of Mars looks a little like a Richard Misrach, but more brooding and less "landscapy" and "pretty."

Click on the photo above to visit the NASA website. It's a spectacular presentation of the Mars mission. Check out this breathtaking photograph of the Olympos Mons volcano - the largest in the solar system.

NASA is sort of re-inventing photography, as these images are not truly "photographs" but are created after processing thousands of laser altimeter elevation measurements taken by the Mars Global Surveyor. Then a computer back here puts it all together and creates a 3-D image - but this is definately art as the output of machines.

Finally ArtsJournal.com has a visual arts BLOG! It's Artopia - John Perreault's Art Diary.

John Perreault has been writing about art for many years, including art criticism for the Village Voice, ArtNews, Art in America magazines, and others.

He is currently an associate editor and writes regularly for both N. Y. Arts Magazine and American Ceramics; he is also on the editorial advisory board of Sculpture magazine and is a trustee of the Tiffany Foundation. He has also been president of the American Section of the International Association of Art Critics.

Perreault has also written a book for Abrams on the watercolors of Philip Pearlstein and is now editing a three-volume anthology of his collected writings. He has also been a museum curator, an arts administrator, and professor of art history and is thus superbly qualified to offer us a great insight via his BLOG/Art Diary into the visual arts in New York and elsewhere.

Bookmark Artopia - John Perreault's Art Diary and visit often.

The Art League will be having their 37th Annual Patron's Show, and tickets go on sale on January 15.

If you don't know what the Patron's Show is, then let me tell you.

If you are crazy enough to be hanging around Old Town Alexandria about 4 in the morning on January 17 you will notice people forming a long line in the cold outside the Torpedo Factory. They will be waiting for a chance to get original art for their collections - or even starting a collection.

"A line for art?" you must be asking, "who is crazy enough to freeze lining up at Oh-dark-thirty just to buy artwork?"

Hundreds!

They will be lining up for one of the great art deals of the year: the 37th Annual Patron's Show. It's very simple: artists donate original artwork to the Art League, who inspects it, selects it and often frames it.

It is generally good art to suit all tastes, ranging from huge abstracts to delicate pencil drawings. Usually about 600 pieces are donated and hung, salon style in the Art League's gallery on the first floor of the Factory.

Then raffle tickets go up for sale at 10 am on the 17th, and they usually disappear and are sold out within an hour or two, and each ticket is guaranteed a work of art.

The drawing is on Sunday, February 15, and about 1500 people crowd into the main floor of the Torpedo Factory. They bring picnic baskets, wine, beer and all kinds of foods and goodies. It's a really cool time, a unique art scene in the area - far more popular and vociferous than some of the more stuffy art raffles held at other places.

On Sunday, February 15, the tickets are drawn at random, and as they are called, ticket-holders select a piece of art from the work on display on the walls and take it with them. It is without a doubt, the most sought after art ticket in town, and often incredible acquisitions are made. If you are a budding collector, don't miss it!

Washington's own seminal art BLOGger, Tyler Green has a very interesting and eloquent article on artnet.com.

Green makes an interesting (and valid) point about the fact that video art demands, and sometimes steals time from the viewer, as opposed to the viewer deciding how long to look at a painting or print.

It's true! In fact, regardless of the fact that 99% of most of the "video art" that I've seen are essentially rather forgettable artsy home movies, even the worst of them seems to have an invisible ability to keep the viewer plugged in watching. Even in sleepers like most of Tacita Dean's videos, one keeps a vigil, perhaps hoping that something interesting will eventually happen. At the other extreme, in the classical pre-video ancestor of video art (known then as "movies") Un Chien Andalou Buñuel and Dali­ have disconnected scenes that make no sense and yet glue the viewer from beginning to end.

Example: a few years ago I recall seeing a video at a Corcoran exhibition; I think it was a student graduate show. In the video, two girls, wearing large goat masks were butting horns (like mountain goats do) over and over again. Even though it was a repetitive, and after a while boring motion, I recall spending more time than planned just viewing it. This experience has repeated itself many times (before and since) with video art.

Why?

Green gives us his opinions as to why. And they are good observations. I also think that the fact that we are very much a television-obsessed society, and (as Harlan Ellison noted in the 60s), the glass teat is above all adictive; we have no choice! It's on a TV screen or being projected as a movie and thus the mind goes on automatic: one must watch.

For people who love lists, The Guardian's eloquent art critic Adrian Searle picks some of the highlights of the year ahead in art in the UK.

Our own 2004 schedule is already booked and solid, and of all the shows that we have scheduled for Georgetown and for Bethesda, I think that this very young Cuban photographer is going to steal the year. Her name is Cirenaica Moreira, and she has never exhibited in Washington, DC before and her work is absolutely breathtaking in my prejudiced opinion.

My number one in a still non-existent list of my top ten shows for 2004 in the Washington area? Ana Mendieta's retrospective at the Hirshhorn. Watch and see an art star become a mega superstar because of this show.

Art Jobs:

Deadline Jan 12, 2004. Graphic Design Professor. Starts August 19, 2004. Assistant professor. Teach three courses per semester in all levels of graphic design. MFA required. Proficiency in Macintosh systems and other software. For complete application information contact:
Allen Sheets
Minnesota State University
Dept of Art and Design
1104 7th Av S
Moorhead MN 56563
Or call 218-477-2151 or fax 218-477-5039 or visit their website.

Deadline Jan 15, 2004. Photography professor needed to teach 15 student contact hours per week. MFA and teaching experience required. Knowledge in traditional black and white photography, alternative developing processes, use of 4x5 camera, and computer imaging. Send letter of application, resume, 3 letters of reference, brief statement of teaching philosophy, 20 slides each of own and student work, samples of student teaching evaluations, and SASE to:
Jim Leisentritt
Herron School of Art
Indiana University - Purdue University
1701 N Pennsylvania St
Indianapolis IN 46202

Deadline January 15, 2004. Starts August 2004. Assistant professor, tenure track. Primary subject area should be European art, 15th-18th centuries. Also must identify a secondary teaching area. Teach art history survey and upper level undergraduate courses, direct MA theses. PhD preferred. Send letter of application, CV, samples of published materials, 1 page statement of teaching philosophy, sample syllabi, and contact info of 3 references to:
Art Historian - European Art Search
Dept of Art and Art History
California State University
Chico CA 95929
Or call 530-898-5331 or fax 530-898-4171

Happy New Year's! I hope 2004 brings all of you lots of good things.

At the Post's "Galleries" column, Jessica Dawson opens the year with a review of a graffiti show at MOCA DC and a review of The Out-of-Towners at Transformer Gallery. The latter features work by Laura Amussen, Lily Cox-Richard, Harrison Haynes, George Jenne, and Michele Kong.

Not sure from reading the reviews if Jessica liked or disliked either of the two shows.

This is the second or third graffiti show that MOCA DC has hosted in the last couple of years, although one of the first graffiti gallery shows held in our area (that I can remember) was "Painting with Air: Graffiti Inspired Art," at the Target Gallery in Alexandria in 1996. I recall that they got in trouble with the City of Alexandria (who funds the gallery) for staging a graffiti show just as the city was spending a lot more money than they give Target, to clean up graffiti from Alexandria's walls.

Under the able leadership of Jayme McLellan and Victoria Reis, Transformer Gallery has enjoyed spectacular success in 2003, and is a shining example of what a non profit arts space can accomplish with hard work and a vision. My kudos to Jayme and Victoria and we all wish you an even better 2004!

Also, in last Sunday's Post Blake Gopnik had his opinion of the visual arts in 2003, where "an absence, not a presence, was the most striking thing about art in 2003."

The University of Virginia is currently reviewing proposals for solo, group and curated visual arts exhibitions for 2004 for its "Artspace" gallery, which is run by students. For info call 434/924-3286 or send exhibition proposal, resume, slides and a SASE to:
Amanda Berlin
Newcomb Hall, Rm. 149
PO Box 400701
Charlottesville, VA 22904

Joanna Shaw-Eagle, the Chief Art critic for the Washington Times has an excellent review of Robert Longo: The Freud Cycle, Prints and Drawings" at David Adamson Gallery.

The show includes original drawings and gyclee reproductions of Longo's drawings centered around the artist's fascination with a book of photographs of Freud's apartment in Vienna.

Robert Longo has long been one of my favorite artists, although I suspect that his meticulous drawing style is not liked by many of our local art critics, suspicious as they are, of anything that implies technique and not art theory, or is not "new."

It is however, this meticulous technique, which really adapts well to the super-black pigments in which Adamson Editions has spectacularly reproduced them, is precisely what attracts me to his work, or to the work of the equally meticulous Vija Celmins.

Longo is a perfect example of what an artist, superbly confident in his technical vituosity, can accomplish when he marries his skill to interesting ideas and concepts, such as his fascination with the photographs about Freud's apartment. This show hangs until January 31st.

More opportunities for artists...

For Photographers:
Deadline: January 30, 2004. SNAP '04 National Juried Photography Exhibition - Slide entries must be received on or before January 30, 2004 at Runnels Gallery, Eastern New Mexico University. $25 entry fee for 3 slides, $5 for each additional slide. Cash prizes and certificates awarded. Exhibition dates: March 26 - April 9, 2004. Juror: Carol Squiers, curator, International Center of Photography in New York. For inquiries contact Dr. Haig David-West at this email address or (505) 562-2778. For prospectus go: here or send #10 SASE (4.25in x 9.5in only) to: SNAP '04, Runnels Gallery, Department of Art Station 19, Eastern New Mexico University, Portales NM 88130.

For All Artists:
Deadline January 31, 2004. 20" X 20" X 20": A National Compact Competition with $5000 in cash awards. Open to artists residing in the US. All media. $23 entry fee for three entries. Juror is Bill North, Senior Curator, Marianna Kistler Beach Museum of Art, Kansas State University, Manhattan, Kansas. For a prospectus send an SASE to: Gallery Assistant, LSU Union Art Gallery, Box 25123, Louisiana State University, Baton Rouge LA 70894 or call (225) 578-5117 or fax (225)578-4329 or email unionartgallery@lsu.edu

For Printmakers:
Deadline: February 28, 2004. Sumei National Juried Print Exhibition. The juror is none other than David Kiehl, Curator of Prints at The Whitney Museum of Art. Open to all artists, original works created within the last three years, any print media. Giclee and digital media prints accepted in separate category. For prospectus send SASE to: Sumei Juried Print, 19 Liberty St, Newark NJ 07102 or download from sumei.org.

For All artists:
Montage Gallery is now accepting new artists in all mediums. Please send portfolios to Mitch M. Angel: Montage Gallery, 925 S. Charles, Baltimore, MD 21230, 410-752-1125.

For Sculptors:
Deadline January 15 – Slides due for renovated lobby of DC Courthouse - Theme: “Family” - Budget: $100,000. Eligible: Artists from Maryland, the District of Columbia and Virginia. To receive a detailed “Call to Artists,” contact Francoise Yohalem at 301 816-0518. Or email her.

For All artists:
The Margaret W. and Joseph L. Fisher Gallery in the Rachel M. Schlesinger Concert Hall and Arts Center has an open call for artists. The Schlesinger Center is located on the Alexandria Campus of Northern Virginia Community College. To receive an application to exhibit, please provide your name and complete mailing address to Dr. Leslie White, Managing Director, via email to LWHITE@NVCC.EDU.

North Carolina Public Art Call:
Charlotte Area Transit System (CATS) is seeking professional artists for design collaborations and/or public art commissions for its Art-in Transit Program. Over the next few years, Charlotte is building a rapid transit system and will incorporate public art into its stations, park and rides, and maintenance facilities and has allocated $2.3 million for art. Design fees range from $5,000-$25,000: commissions from $25,000-$250,000. In preparation for Phase I and subsequent phases, artists are requested to submit their materials to a new slide registry that will be used to make selections of artists as the system is phased in. For more information and an on-line application visit their website and click on Art-in-Transit or call 704/432.0479.

Arizona Public Art Call:
Deadline January 16 - The Phoenix Office of Arts and Culture is requesting qualifications from professional artists for the Phoenix Civic Plaza Expansion Public Art Project. The project budget is $2,000,000. The Phoenix Civic Plaza selection panel is seeking the best possible artwork for this landmark building and has identified two primary goals for the artwork for the facility. First, the selection panel is seeking one to two signature works of art for integration into the building. Second, the Phoenix Civic Plaza is seeking a program of integrated works of art that showcase the diverse and vital artistic communities of Arizona. This opportunity is open to all professional artists with demonstrated artistic excellence. Visit the project website here, and click on the link for "Expansion & Highlights". For complete details about the project, including submission requirements, visit here or email Greg Esser

For Video Artists:
Deadline January 9, 2004. 11th Annual San Francisco Art Institute Film & Video Festival. Short films (max 30 minutes), any genre, completed any time. For entry forms, contact the San Francisco Art Institute at 415/771-7020 ext. 4816.

For Video artists:
Deadline February 1, 2004. Mt. San Jacinto College Fine Arts Gallery has an open call for NTSC video shorts. No fees. Send to:
Mt. San Jacinto College Fine Arts Gallery
1499 N. State Street
San Jacinto, CA 92583

Application Deadline: March 1, 2004
The inaugural Bethesda Fine Arts Festival will be held Saturday, May 15 and Sunday, May 16, 2004 in Bethesda's Woodmont Triangle. The Bethesda Arts & Entertainment District is currently accepting artists's applications for this event. 150 booth spaces are available to artists who create original fine art and fine craft. Click on the image above for more info and to download the application. This is a great opportunity for artists to sell their work directly to the public.

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Application Deadline: January 30, 2004
The Bethesda Artist Market will continue in 2004 on Sunday, May 9; Sunday, June 13; and Sunday, July 11. Applications are being accepted for the 2004 Markets. The Bethesda Artist Market is sponsored by the Bethesda Arts & Entertainment District. Local, regional and national artists can display and sell their work from 11am-6pm at the 2004 Bethesda Artist Markets, which take place in the Bethesda Place Plaza located at 7700 Wisconsin Avenue. See some photos of the last artists' market here.

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Application Deadline: January 27, 2004
The Northern Arizona University Art Museum has a call for printmakers for its Biennial Print Exhibit. Prints must have been completed in the last three years. Show is March 19 - May 7, 2004. For application, call (928) 523-3479 or send a SASE to:
Northern Arizona University Art Museum
PO Box 6021
Flagstaff, AZ 86011

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Application Deadline: February 14, 2004
FSU Museum of Fine Arts has a call for artists for its 19th annual Combined Talents, which will be juried by FSU's Visual Arts Faculty. The show will hang Aug 23 - Sept 26, 2004. There is no sales commission and a catalog will be printed. Call (850) 644-3906 for an application or download the form here.

Exchanged a couple of emails with video artist and photographer Darin Boville on the subject of art books. The number one spot in my top ten most influential books (on me) of all times has been occupied since 1977 by The Painted Word by Tom Wolfe.

I think that this book should be required reading for all art school freshmen across the nation, as it will prepare and armor them against all the bull that the art world will be about the heave at them. If you have not read it, please do.

Below is the text of a review of the book that I wrote for Amazon.com:

Can I start by saying that this book "saved my art life"?

Let me explain. In 1977 I started art school as a not so impressionable 21 year-old with a few years as a US Navy sailor under my belt. But in the world of art, there's a lot of moulding and impressions being made by a very galvanized world. And although I was a few years older than most in my class... I was probably as ready as any to swallow the whole line and sinker that the "modern art world" floats out there.

Then I read this book - it was given to me by Jacob Lawrence, a great painter and a great teacher --- although I didn't get along with him too well at the time. I read it (almost by accident and against my will --- it was a get-a-way "love weekend" with my then-girlfriend - it went sour). And this book OPENED my EYES!!! It was as if all of a sudden a "fog" had been listed about all the manure and fog that covers the whole art world.

I used it as a weapon.

I used it to defend how I wanted to paint and feel and write. And it allowed me to survive art school.

And then in 1991 - as I prepared to look around to start my own gallery - I found it again, in a gallery (of all places) in Alexandria, VA. I read it again, and to my surprise Wolfe was as topical and effervescent and eye-opening as ever!

Wolfe has a lot of bones to pick with the art world -- 25 years ago!!! He destroys the proliferation of art theory, and puts "art gods" like Harold Rosenberg, Clement Greenberg, and Leo Steinberg (who have ruined art criticism for all ages - by making critics think that they "lead" the arts rather than "follow the artists") into their proper place and perspective. He has a lot of fun, especially with Greenberg and the Washington Color School and their common stupidity about the flatness of the picture plane.

Here's my recommendation: If you are a young art student or a practicing artist: SAVE YOUR LIFE! Read this book!

This is what happens when you let government-sponsored venues run most of the fine arts in a nation, and when governments are driven by the unexcusable PC-correct desire to please everyone, everytime (or at least give the appearance that they are...).
The last paragraph in the story summarizes the pathos of a lost art nation.
P.S. By the way, this is what they plan to put on that empty plinth.

Photographer Danny Conant has an interesting comment and good point in regards to my posting of the first of ten steps to build the DC art "buzz" into a roar:

"Read with interest your university idea. I think would be a great step but I can see difficult to pull off with each place jealously guarding its little kingdom. What about a toe in the water first year if maybe 3 universities could agree to try something like this with local artists and if successful the next year others would want to join in."

The fun-to-read end of year's "top ten lists" are out from our local newspapers' art critics. This is always a difficult exercise for any writer.

First, please realize that an art critic must first start by visiting a dozen or more shows each month, culled from the hundreds of invitations to new shows that he/she receives. Why? because in order to make a good visual arts critic, the visual senses must be offered a lot of choice so that blinders and tunnel-vision can be defeated.

Thus to make an honest list, a reputable art critic in our area would personally have to see 120-200 gallery and museum shows a year, and then pick ten at the end of the year as his/her opinion of what he/she liked the best in that year. It's also fun to see where the different critics agree, and where they disagree, as art opinions are one of the most personal and subjective issues in writing. But even though some of them work for some of the top members of what I call the Fake News Industrial Complex (look up Eisenhower for the inspiration), these are all interesting reads:

Louis Jacobson, who reviews photography and other art shows (both museums and galleries) for the WCP (as well as some other national art magazines), has his Top Ten Photography Shows listed here.

The WCP's Glenn Dixon, who reviews mostly museum shows and a handful of gallery shows a year, as well as movies, music and books, and so on and so on, has his very interesting Top Ten List here.

And Michael O'Sullivan, who reviews both museums and galleries for the Washington Post each Friday in the Weekend section, has his Top Ten List here, with a little mix of out-of-town shows.

My top ten list of Washington shows (sans ours of course):

1. "Gerhard Richter: Forty Years of Painting" at the Hirshhorn Museum and Sculpture Garden. A huge wake-up slap in the face to asleep-at-the-wheel critics and curators who keep trying to believe that painting is dead.

2. "Picasso: The Cubist Portraits of Fernande Olivier," at the National Gallery of Art. Artists will paint and draw whatever or whoever is around them. A spectacular view of one of "his" women by the greatest artist of modern times.

3. "Tobacco: Architectural Photographs by Maxwell MacKenzie," at the American Institute of Architects. MacKenzie's landscape photography is to the genre what Richter is to painting (disclaimer: Max also shows with us, no objectivity here).

4. "Census 03" at the Corcoran. This show had some holes, but it's important for the Corcoran to keep an eye on the local art scene. But for that to happen well, their curators must get out of their offices and visit studios and show up at some galleries to see some shows on a regular basis. How about a "Census 04" ?

5. "The 47th Corcoran Biennial" at the Corcoran. Jonathan Binstock's first Biennial was much maligned in the press, but I think that it accomplished a couple of important things: (a) it brought some well-known artists to Washington for the first time (and ahead of other museums), and (b) it included some local talent in it.

6. "Cuba Now!" at the Sumner School Museum and Archives. Although Washington, DC's own half-Cuban photographer Nestor Hernandez stole this show with his brilliant Cuban street photography, this show was nonetheless one of the best among a deluge of Cuba-related shows in our area in 2003.

7. "Yuriko Yamaguchi" at Numark Gallery. The minimalism of Yamaguchi's beautiful organic sculptures reflect what the true power of this abused term truly can be.

8. "Joseph Mills: Inner City," at the Corcoran Gallery of Art. The obsessive photographic vision of a Washington, DC street photographer with an uncanny ability to deliver the unusual from the most common of subjects.

9. Mark Bennett at Conner Contemporary. According to the Visual Artists Rights Act of 1996, this stuff is not even supposed to be art, but they are wrong, and I found it unexplicably attractive and intelligent.

10. James McNeill Whistler at the Freer Gallery of Art. Presented for the first time ever as Whistler intended the art to be seen. A beautiful little show seen in a new (old) light.