Jessica Dawson visits six spaces in today's Galleries column in the Post.
I like this mini-review approach that the Post has implemented in the last couple of years or so. In fact, a few years ago - before Dawson replaced Protzman as the Post's galleries' critic - I had suggested this mini-format directly to John Pancake (the Post's Arts editor) as a way to "spread the wealth" of the Post's very small print space dedicated to gallery reviews.
This is hard work on Dawson, who has to visit a lot of galleries, all over the city, just to produce one column. Too bad that the Post's online art pages, which used to run its own set of gallery reviews independent of the print section when John Poole used to be its Arts Editor, no longer does so.
This is puzzling to me, as at one point, when Poole was the Online Arts Editor, he had several additional writers (including Dawson) "augment" the print version of galleries and museum reviews with several freelance writers.
When Poole moved up the food chain and was promoted, his job was left vacant for a while, and when the Arts Editor job was finally filled a year later or so, whatever funds were available to pay the freelancers had probably been snatched by another department or cut, and thus the current Online Arts editor (Maura McCarthy) no longer has the luxury of augmenting the Post's meager gallery criticism with additional online writers.
Thursday, March 18, 2004
LEXMARK EUROPEAN ART PRIZE 2004
Deadline: 31st March, 2004
The Lexmark European Art Prize is open to all artists of all painting genres. Launched in 2002, the Lexmark received over 2,000 entries from 33 countries in its first year. Designed to support the renaissance in painting, the Lexmarkis judged by an eight person panel of judges from across Europe chaired by Professor Brendan Neiland, Keeper of the Royal Academy.
The competition extends Lexmark's significant investment in the arts which
includes the Guggenheim Museum in Bilbao, the French Réunion des Musées
Nationaux and Lexmark's Art Education Program which introduced fine art to over 600 schools in the US
Entries are accepted until March 31st 2004. Visit the website here.
WILDLIFE PHOTOGRAPHER OF THE YEAR COMPETITION
Deadline: Friday, 2 April 2004.
The aims of this competition are to find the best wildlife pictures taken by photographers worldwide, and to inspire photographers to produce visionary and expressive interpretations of nature. The judges will be looking first and foremost for aesthetic appeal and originality, and will also be placing an emphasis on photographs taken in wild and free conditions. With digital images now being accepted, the competition judges will also be looking for images that are a true representation of life on Earth. For the first time, the competition will be accepting digital images submitted on CD.
The competition is open to anyone, amateur or professional, of any age and of
any nationality. Full details and entry forms are available here
Wednesday, March 17, 2004
For Photographers Looking for Gallery Representation
Multiple Exposures Gallery is looking for a new photographer to join its unique cooperative. The gallery, located at the Torpedo Factory in Alexandria, Virginia, and represents fourteen award-winning photographers from the Washington area. For more information call 703-683-2205. Applications with portfolios are due April 25th, 2004.
FOR WOMEN PHOTOGRAPHERS
The next Secondsight meeting will be held on Friday, March 26 at 6.30pm. The guest speaker will be Ferdinand Protzman, former art critic for the Washington Post and author of Landscape; Photographs of Time and Place, a beautiful new book that investigates the ongoing evolution of landscape photography.
If you would like to reserve your signed, first edition copy, please call 301 718-9651. The book costs $50. Secondsight is an organization dedicated to the advancement of women photographers through support, communication and sharing of ideas and opportunities. For more information, visit www.secondsightdc.com.
Looks like both the Washington Post and Art & Antiques Magazine are picking up the Sandra Ramos visa denial story and will be publishing articles on the subject soon.
Art & Antiques had previously done a story on Cuban art, American art collectors and mentioned Sandra Ramos' works specifically.
Photoworks in Glen Echo Park has an upcoming series of "Digital Dialogue Evenings." . The first is with Jim Steele at the Photoworks Studio on Thursday, April 8 at 7:30 pm for the first in this series of conversations that will explore the realm of digital in the art of photography. Below is other scheduled speakers and dates.
"Digital Dialogues: Photographers Discuss Why Digital for their Art?"
Thursday Evenings, 7:30 - 8:30 pm at Photoworks Studio
April 8, Jim Steele
April 15, Eliot Cohen
April 22, Judy Karpinski and Patty Lake
April 29, Grace Taylor
May 6, Craig Sterling
May 13, Danny Conant
Capitol Arts Network presents "The Human Figure" curated by Eric Westbrook. The show runs from April 9 - May 5, 2004 at The Washington School of Photography.
Not having seen the show yet, and at the risk of being very unfair to all the other accepted photographers, I nonetheless will tell you that this talented photographer, who seldom exhibits in the DC area (and should exhibit more) will probably steal the show.
I'll review this show later.
There's a really well-written, but no byline, review of photographer Glenn Friedel's recent work currently on exhibition at Bethesda's Gallery Neptune, run by the indefatigable Elyse Harrison.
Tuesday, March 16, 2004
A million thanks to ArtsJournal.com for publishing the issue of Sandra Ramos' visa denial.
We are hoping to enlist the help of Senator Barbara Mikulski to see if we can get Sandra Ramos a visa to attend her DC debut. Any help from any of you who'd like to email the Senator, would be appreciated as we take a stand against this puzzling policy of denying visas to Cuban artists - even when their work is not pro-Castro by any stretch of the imagination.
Photographers can link their photography website to About-Arts by filling out this form and adding a reciprocal link. The more links your site has, the higher your Google placement.
Through MAN a link to a very good discussion at Frolic of My Own about Eric Fischl, who recently came to DC and delivered a good lecture at the Hirshhorn.
For the last couple of months I have been curating a show at Alexandria's Target Gallery which honors the remaining artists from the original group of artists who started the Torpedo Factory, one of the great cultural jewels of our area's art scene, 30 years ago.
The show is called "Origins: 30 Years at the Torpedo Factory Arts Center" runs from April 28 through June 6, 2004. It will be hung salon-style, which I've always liked.
Maryland State Arts Council announces Grants
Deadline April 7 – Arts in Communities Grants
Deadline April 1 – Arts & Entertainment District
Deadline May 13, 2004 – For activities that will begin or take place between July 1, 2004 and June 30, 2005. Technical Assistance Program supports organizational development for County Arts Councils in Maryland and Professional Development Program encourages and supports continuing education of County Arts Council staff and board members in subject areas relevant to local Arts Council management.
For information on all grants, go to www.msac.org or call 410-767-6555.
Deadline July 1, 2004
Outdoor Public Art Proposal Sought in Oregon. The Art Committee of the Eugene Japanese American Memorial Project is planning to invite artists to submit proposals for a permanent outdoor public art project to publicly acknowledge and commemorate the Japanese Americans who endured evacuation and internment during World War II. The memorial project will be located outside the Hult Center for Performing Arts (6th and Willamette) in Eugene, Oregon. Please contact: aikensae@comcast.net for more information.
Deadline April 9, 2004
Outdoor Sculpture Exhibition Opportunity in Washington State.
The Bellevue Arts Commission, Bellevue, Washington, announces its 2004 Sculpture Exhibition. Up to 24 sculptures will be selected by the jury for outdoor exhibition in Bellevue's Downtown Park. The exhibition opens 6/26 and closes 10/10. Each accepted artist will receive an honorarium. There is no entry fee. Insurance and installation provided.
For entry information: e-mail bac@ci.bellevue.wa.us or call John Young, Prof. of Sculpture and Public Art, Univ. of Washington (my alma matter) at 206/543.0997.
Deadline May 24, 2004
The Delaplaine Visual Arts Education Center (DVAEC) in Frederick, Maryland, invites all artists living within a 75-mile radius of Frederick, MD, working in any media, to submit work for their annual Regional Juried Art Exhibition taking place June 5 - July 25.
The juror is Mr. Jay Fisher, Deputy Director of Curatorial Affairs, Senior Curator of Drawings, Prints and Photography, Baltimore Museum of Art.
Up to three pieces of work may be submitted to the Center for jurying Sunday, May 23 or Monday, May 24. Entry fee is $10 per piece for nonmembers or $7 per piece for DVAEC members. Awards: 1st Place: $150; 2nd Place: $100; 3rd Place: $75, Honorable Mention: $50. For more information, entry forms and directions send an e-mail to Diane Sibbison at dsibbison@delaplaine.org.
DC area sculptor Sarah Wegner, who made her solo gallery debut a few months ago in Georgetown, currently has a show at the Columbia Association Art Center's main gallery and gets a really good review in The Baltimore Sun.
Monday, March 15, 2004
Transformer has an opening this coming Saturday, March 20, 7-9pm.
The show is called "Daytrippers" and features work by four artists: Ryan Hill (New York, NY), Heide Trepanier (Richmond, VA), Bryan Whitson (Washington, DC), and Kate Woodliff (Richmond,VA).
The exhibition will be from March 20 – April 24, 2004.
MOCA joins the frenzy for Cuban art by staging an exhibition curated by Adolfo V. Nodal titled "Havana Science Fiction."The show opened last week and runs until April 3, 2004.
Adolfo V. Nodal is the former director of the WPA/C a few directors ago. More recently he is one of several editors of the bible of Cuban art, titled Memoria: Cuban Art in the 20th Century.
MOCA's show features work by Los Animistas, Fidel Ernesto, Omar and Oscar Estrada, Jose Emilio Fuentes, Ernesto Pina, Alain Pinot and Harold Vazquez.
I found Vazquez's work to be the most interesting - and surprisingly enough (considering how bland most videos leave me) - it is a video!
His video - like most videos - has as its starting point an interesting idea/concept, which features the filming of a pretty Cuban girl standing in front of the camera, as if it were a still image and “stopping the clock” when her pose is broken. We stand looking at the video trying to see how long can she hold a perfectly still pose - as in a photo - until she blinks or moves, and the clock starts all over again.
Compete for a solo museum show...
Deadline: April 22, 2004.
The Rawls Museum Arts is hosting its 41st Annual Juried show, which will be juried this year by slide review.
This year's Juror is Virginia Museum of Fine Arts' Coordinator of Statewide Exhibitions, Eileen B. Mott.Slide submissions are due April 22, 2004. Please download the application from the museum's homepage. The show runs May 28 until July 15. Cash Prizes and a Solo Show will be awarded.
Sunday, March 14, 2004
The NY Times has an article on Miami art collectors. In my earlier posting I discussed the lack of DC area collectors such as the NYT article discusses. In fact I mentioned these kind of art collectors and the dearth of them in our area - which nonetheless would appear to be a fertile ground (I think) for "growing" these type of art supporters (everywhere else!).
And yet we have more eligible potential collectors than Miami has? WHY don't our "people" buy art?
Cuban Artist Denied Entry Visa to Attend her Washington Debut
Since she has visited the US many times, both for previous shows in other American cities and for museum art conferences (as invited speaker), and since her work is in the permanent collection of many prestigious American museums, such as The Museum of Modern Art (MOMA) in New York and the Museum of Fine Arts (MFA) in Boston, it came to her as a shock when her visa to attend her Washington, DC opening was denied.
“This is an artist with a worldwide following and reputation,” said Catriona Fraser, Director and co-owner of our two Fraser Galleries in Georgetown and Bethesda. “It came to us as an unexpected shock as well when Sandra told us that she would not be able to travel to Washington for her opening reception.”
“To make it more irritating,” continues Fraser, “this is without a doubt our most important exhibition of the year, and artists of Ramos’ caliber and reputation are not only good for our gallery but for the Washington art scene in general.”
Just last year Ramos attended art conferences hosted by the Lowe Art Museum in Florida as well as visits to New York, Boston and Provincetown in Massachusetts, all related to art exhibitions or conferences.
Her work, which often delivers visceral commentaries dealing with taboo issues in Cuban society such as racism, mass migration, freedoms and liberties and the impact of Communism on the Cuban psyche, has placed Ramos at the very leading edge of a group of young Cuban artists who use their art as a narrative medium to describe, criticize and export the world in which they live and work.
Following nearly twenty highly successful solo exhibitions in Cuba, Japan, Mexico, Germany and Holland, Ramos had her first solo American show in Miami last year to high critical acclaim. The solo at Fraser Gallery will be her second American solo show as well as her Washington, DC debut.
Recent articles discussing her work in the ARTNews Newsletter, Art & Antiques Magazine, Art Business News, The Art Newspaper, as well as reviews in many national and international art magazines all led to a spectacular year for Ramos, who saw all of her entire production of 2003 paintings sell during the last months of the year as American art collectors made their way to Havana before the tightening of US policy on travel to Cuba.
“Sandra has been saving her most recent work for this solo,” says Fraser, “and we expect to have about a dozen new works in this show – all new important works dealing with her recurring issue of Cuba as a prison whose walls are made of water.”
“We will go ahead with the show,” declares Fraser. “And I intend to write to the Department of State to protest this visa denial to an artist with a proven history of not being a flight risk.”
WORLDWIDE PINHOLE DAY on Sunday 25th April, 2004.
Visit www.pinholeday.org. Last year 1082 people from 43 countries submitted entries.
Friday, March 12, 2004
Photographer and DCArtnews reader Joseph Barbaccia points out an interesting article by Roberta Smith in the NY Times on the subject of the popularity of art fairs and how well they do.
Smith mentions Paris, Berlin, Basel, London and, more recently, Miami, where the Art Basel crowd has staged two highly successful fairs.
And Barbaccia reasons that maybe what DC needs to kick start the idea is an art fair of its own.
It's a good idea, and many have tried to kindle that idea, but the obstacles (all circling the subject of money) have been great. A while back all galleries in the area received correspondence from an outfit trying to organize such a fair at the MCI Center or the New Convention Center. But the cost to participate was so prohibitive, that little was gained as far as attention from art dealers.
We've been courted for a couple of years now about Art Basel Miami Beach, but the costs of participating are more designed to attract a gallery that sells work in the hundreds of thousands of dollars rather than single thousands, like most DC area galleries.
Nonetheless, fairs at all levels in the art world food chain appear to be doing well. These include spectacularly huge and successful outdoor art fairs such as the legendary Coconut Grove Arts Festival also in Miami. Now celebrating its 41st anniversary in 2004, the Festival attracts over three-quarters of a million people annually from around the world to view and buy the works of over 330 artists and craftsmen from all over the planet. This is probably - in attendance numbers anyway - the largest art festival in the world.
Locally, a version of this outdoor type of art fair will be staged this coming May in Bethesda via the first ever Bethesda Fine Arts Festival, which will be held Saturday, May 15 and Sunday, May 16, 2004 in Bethesda's Woodmont Triangle along Norfolk and Auburn Avenues. The event will feature 150 national artists, live entertainment and food from the many world-class Bethesda restaurants.
But our area lacks the "other" kind of "upper crust" art fair that Roberta Smith discusses - a fair where art galleries and dealers - rather than the artists themselves - gather in one city to bring their art and artists for a few days in one place. The cost of organizing such an event is the major hurdle - but that hurdle would be easily resolved if an organizer (and art dealers) would think that DC art buyers would make their trip and costs justified through art sales.
And my honest opinion is that in the eight years since we opened our first gallery in Georgetown, and over 100 shows later in both Georgetown and Bethesda, and talking regularly to fellow dealers in our area, it is clear that (although the DC area has one of the highest income concentrations in the world), there are precious few "art collectors" or just plain people buying art in our region to attract a major league art fair.
It's a chicken and the egg thing...
High incomes are concentrated here; expensive homes are concentrated here; disposable income is abundant here; large educated masses are concentrated here - and yet we can't get significant numbers of "those" people to buy original art in the same manner and form that people in New York and Miami and Los Angeles apparently do.
I blame the media and their lack of coverage of area arts and artists and the inherent apathy created by "those" people not realizing - or caring - about the acquisition of art -- on the par with Harleys, and SUVs and those bigger-than-SUV things that look like USMC war vehicles.
I am sure that many of our well-known millionaires - such as the guy who owns the Redskins, and the guy who owns the Capitals, and the guy who owns Lockheed Martin, and the guys who own AOL, and the thousands of other guys and gals who own all those great companies in Northern Virginia and the 270 corridor, have art in their homes.
Or do they? And where do they get it? And how come among all the press about them, there's nothing about them being "art collectors"? Read the Miami press, or the NY press, or the LA press and once in a while you'll read a story about influential collectors.
Do we have "those" people around here?
Maybe, but I doubt it. And yet I think that "they" could be cultivated, and perhaps taught that instead of flying to NY or LA or Miami to buy artwork at one of those fairs, they could instead go to an opening once in a while in Georgetown, or 7th Street or Dupont Circle.
But "they" would have to know about our art scene, and for that we'd need the media, and here again we go with the "chicken and the egg" syndrome.
Makes my head hurt.
Anyway, later this year we'll be participating in our first art fair ever in New York. I'll let you know what happened.
