Bad things galleries do to art collectors...

Our area, like most major metropolitan areas, is peppered with stores that have the word "gallery" in their business name, but are very much far removed from what one would consider a true art gallery.

You will always find them in high traffic areas; main thoroughfare streets where "real" galleries could never afford the rent. You also often find them in malls.

I am speaking of the places that sell mass produced decorative works, either by Kinkade wannabes, Spanish-surnamed painters and worse still, the following scam:

Some of Picasso's children inherited many of the plates used by Picasso to create his etchings. Since them, some of those plates have been printed ad nauseum by the current owners and are sold around the world as Picasso prints.

And then, to make matters worse, some of the plates are signed "Picasso" by his offspring owner, who is (of course) technically also surnamed Picasso.

The sales pitch, which is not technically illegal, but certainly unethical, goes something like this:

"This is a real Picasso etching, printed from the original plate and it is signed."

Note that they never state who signed the print.

Hapless buyer purchases the print for a pretty good chunk of change, takes it home and brags to his friends about his signed Picasso.

This will be a hell of a mess for the Antiques Road Show experts to detangle in a couple of hundred years.

And don't even get me started on the great Dali art fraud.

The Washington Post's online site has created a pretty good web portal to access the writing and video reports of Blake Gopnik, its eloquent and opinionated Chief Art Critic. The portal is here.

Why does the Post force Gopnik to use "Washington Post Staff Writer" in his byline? Why not Chief Art Critic, since that is his title?

In fact, it seems all Post writers use/have to use the same "Washington Post Staff Writer" byline description. Bet'cha it's some sort of union thing.

Boring...

The Elizabeth Roberts Gallery hosts three photographers through July 17: David Smith, Dan Schwartz and Colin Montgomery. The exhibition of these three different photographers really works together, as they all seem to be interested in color and form, principally Schwartz, who photographs Washington scenes and then manipulates them in the computer.

Montgomery, who is originally from the DC area but lives in New York and will soon attend Yale to get his MFA, focuses on several new planned communities in Hong Kong. These vast centers are enormous megalopolises designed to absorb the city’s vast population. Their size and the brutal Chinese variation of Corbusian high modernism, combined with Montgomery’s keen eye and elegant composition, combine to deliver strangely attractive photographs, which somehow cease to be about buildings and people, and move onto the realm of color and form.

David Smith uses a small portable camera to take spontaneous images of New York City public spaces, where he lives. In this sense, Smith joins the ranks of artists who have been described as “urban realists.” However, Smith does differ from the “typical” urban realists’ emphasis on delivering a modern Ashcan view of New York, with information-filled images, by doing exactly the opposite!

He focuses on blank brick walls, windowless buildings, reflective surfaces and patterns of color and texture that Gotham offers to his perceptive eyes in countless variations. In doing so, this urban realist has pushed the definition of that genre, by bringing to our attention objects of seeming inconsequence in a way that makes them into strange surfaces of beauty and color.

Bad things artists do to galleries...

This just happened to a Washington, DC gallery:

A person who has a very good professional career is also an artist and approached a local gallery asking to be considered for a show. The gallery owner liked the work and offered the artist a show.

That gallery then sent the artist a contract.

Nearly a year later, a few days before the opening - once all the invitations and publicity have been done - the artist sends the gallery an email stating that the artist thinks that the gallery's 50% commission is outrageous and unethical (the standard commission by DC area commercial fine arts venues is 50% by the way - a few non profits are 40% and by the way, some NYC galleries are as high as 70%).

The gallery is also somewhat at fault here, as they should been in better commmunication with the artist and ensured that the contract was well understood and signed and agreed upon before the last minute.

The day of the opening night, the artist shows up with the work, including several pieces that are not for sale. The gallery informs the artist that in order to pay the rent, the gallery must sell work. A verbal fight follows, and finally an agreement of sorts is agreed upon - but never actually written down. On opening night, some work is sold.

The next day the artist shows up complaining that her work has been sold.

The exasperated gallery owner cuts the artist a check for the 50% commission and asks that the artist remove all their work from the gallery and never approach them again.

The artist takes the check and leaves - probably thinking evil thoughts about the gallery. The gallery is now faced with an empty gallery.

A true story...

Sigh...

The current issue of the Washington City Paper has some really spectacular photographs by one of Washington's best photographers mascarading as a photojournalist: Pilar Vergara.

And still on the same line of thoughts... there's a great photo by someone named Jae Hyun Seok on the front page of the New York Times as part of this article.

The photo shows South Korean troops dismantling a wall of loudspeakers that had been used to broadcast propoganda across the DMZ to North Korea and their mad, Elvis-hairdo'ed leader. The photo brought to mind a striking - antithesis and in-reverse sort of version of the famous Joe Rosenthal photo later immortalized in the USMC War Memorial, which is by the way, one of my favorite memorials in our area.

J.T. Kirkland writes a really good piece about Sally Mann's beautiful show at the Corcoran in Thinking About Art. It is passionate and explosive writing and a refreshing approach to discussing an art show. And if you haven't seen Mann's show - do not miss it!

Call for Artists...

DCAC has a call for artists. The D.C. Arts Center, founded in 1989, is a nonprofit arts space dedicated to promoting the freshest most under-recognized artists in the Washington metropolitan area.

Please send 8-10 slides or a CD of images, along with a resume, artist statement, and a stamped return envelope (for slide return) to:

Karey Kesser, gallery manager
D.C. Arts Center
2438 18th Street, N.W.
Washington, D.C. 20009

A Visual Arts Commitee made up of selected curators, the gallery manager, and the director of DCAC will work together to review the slides.

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DCAC 13th Annual 1460 Wall Mountables Show
July 16-August 22
Opening Reception: July 16, 7:00pm

1460 Wall Mountables is one of my favorite open art shows in the Washington area and a chance for anyone to exhibit in one of Washington's most respected non profit art spaces!

How does it work? Purchase a 2-foot by 2-foot area in the DCAC gallery and make the best use of it possible by hanging your work, wall sculpture, etc.

The details: Works can be hung on July 14th and 15th from 3:00 to 8:00 and July 16th from 3:00 to 6:00. There are no reservations and spaces are granted on a first come, first serve basis. Anyone who becomes a member will receive three free spaces and up to two more for $5 each.

Current or renewing members receive one free space and up to four more at $5 each. Non-member price is $10 per square, with a maximum of five squares per artists.

Artists must bring all necessary supplies to mount work on wall (i.e. hammers, picture hangers, ect.) Collectors will be on hand to purchase works that are available for sale, and a $100 cash prize will be granted for "Best Use of Space".

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Also...

The Bedrock Bar Seeking Artwork

The Bedrock Bar is a new alternative art space located in the center of DC's pulsating Adam's Morgan neighborhood. In addition to billiards and bar, Bedrock has an exhibit space and is looking for new art to display. If interested, please contact DCAC.

My son Callum gave me this book for Father's Day. Does that kid know his Virgo dad or what!

Jessica Dawson sends a cosa nostra goodbye kiss to Troyer Gallery (which is closing) in today's Galleries column in the Post (halfway through the column).

This is the last paragraph in the review:

"Like much of the work shown at Troyer in recent years, the show is unremarkable. And the same can be said for most all of Troyer's Dupont Circle neighbors. There is a market for the kind of work Troyer, and her colleagues, have sold. Yet Dupont Circle needs more exhibitions that stimulate and advance contemporary art practice. I'm hopeful that Irvine will lead the way."

I have known Jessica Dawson on a professional capacity for several years (ever since she was a freelancer for the Washington City Paper), and I respect her as a writer and as a person. In the past I have both criticized her writing and critical opinions and also applauded it when deserved (in my opinion). This BLOG has ample evidence of both.

At the improbable risk of not ever getting reviewed by her again, let me say that I find it absolutely astounding and depressing that she has used the very little print space that the Washington Post gives for reviewing our area's art galleries to paint "most all of Troyer's Dupont Circle neighbors," with a single negative and undeserved brushstroke.

It is her clear right as a critic to express her opinion about Troyer's last show, and we all know that criticism without teeth is useless.

However.

There are many different art galleries around Dupont Circle. On a month-to-month basis, the more reputable amongst them, manage to present their own individual discourses in the difficult business of offering artwork to the public. And on a month-to-month schedule dealing with the difficult issues of running a type of cultural business in a metropolitan area where the visual fine arts are nowhere near the top of the interest list of any of our area's mainstream media sources, and because of that, our general public. The "chicken and the egg" syndrome is rampant in this last issue; no interest from the media equals no interest (read awareness or knowledge) from the pubic.

Difficult issues that are frustrating and invisible to most people who just "visit" galleries. The goal of a good art gallery is not just to stimulate and advance contemporary art practice. That is an important part of a reputable gallery's business ethic - but it is just a member of a much more difficult and heroic set of goals, which also include paying artists on time and paying the rent, the electricity, the advertising, the catering, etc.

And because most of these galleries are independently owned small businesses, none of them are eligible for grants, which is a proven way for art non-profits to raise financial funds to pay their directors a salary, and also pay their monthly bills, while affording them the luxury of stimulating and advancing contemporary art practice in the eyes of some, without the urgent and delicate balancing act of also trying to sell the work. And that is why a city's cultural tapestry is made up of commercial independent fine arts galleries, non profit art spaces and other alternative art venues such as libraries, restaurants, etc.

But...

The independent fine arts gallery that manages to present art shows that try to advance and stimulate contemporary art practice (and there are many in our area), while at the same time managing to maintain a reputable exhibition program, plus ensuring that the artists get paid (first priority), then the rent, plus all the other expenses, and still survive for a few years, deserves to be recognized as a distinct voice in the cultural tapestry that makes up our area's art scene. Dismissing most of them in one sentence does a huge disservice to that same cultural tapestry.

Slate has a really funny compilation of cartoons inspired by Pres. Clinton's record breaking biography.

Thanks to photographer James W. Bailey for this great tip:

Miss Digital World is the first ever virtual beauty contest, strictly for the most beautiful and intriguing virtual models made using the most advanced 3D graphics tools.

Seeing how Madison Avenue has corrupted our view of what women are supposed to look like (gaunt and with endless legs), it will be interesting to see what "normal" people (although one could make the case that digital geeks are far from normal) come up with to deliver a digital beauty.

You can preview some of the entries here. So far the German entry Erin looks like she can kick anyone's ass.

Exhibition opportunities

Art Director represents two alternative venues in NW Washington D.C.

One is a gallery in 14th street, and the other is a restaurant to be newly opened around 13th and U street in NW). They are looking for artists of all mediums for exhibition. Shows hang for approximately 2 months at a time. They are presently planning for shows for the upcoming year (July 2004-july 2005). Commissions range from 30% (restaurant) - 40% (gallery).

Please send 2-D images of work, bios, statements, reviews, and other supporting materials to:
BP - Art Director, Suite 101
1349 Wallach Place, NW
Washington, D.C., 20009

For more info, please email Brian Petro or call 202.270.7352

Congrats to Prescott Moore Lassman, whose photograph "Domesticated Animals" won Second Prize in the 2004 SoHo Photo National Photography Competition, which was juried by independent art critic Lyle Rexer.

"Girl With Activity Book", another of his photos, as been selected for the cover of Antietam Review, a literary and photography magazine published annually by the Washington County Arts Council. His photo "Black Goggles" is currently our group photography exhibition "Contemporary Photography."

Art scam...

For artists and galleries who have online websites where your work can be ordered: Beware of a scam that has been going on for a while, in which you'll get an email from someone wanting to order your art and they will pay you with a credit card.

The scam artists usually want the work shipped to Nigeria (have also seen it from Indonesia) and you to also charge the shipping fees and custom duties to the credit card).

The cards, of course, are stolen, but will show up OK for a day or two after you receive their email order.

To try to defeat international credit card orders scams, you should ask them to fax you or email you a JPG of the front and back of their card showing their true name. Then check with your bank.

Fusebox Gallery is hosting a benefit for Transformer Gallery on Wednesday, June 30, 2004 from 7 – 10 PM.

Hors d'oeuvres generously provided by Perry's Restaurant. Wine and beer generously provided by Buck's Fishing and Camping. Music generously provided by DJs Yellow Fever and the Punani Sound System (ESL Music). Invite design generously provided by kaze design.

Fusebox is at 1412 14th Street, NW, WDC

Attendance is $50 per person to be paid at the door (checks or cash, please).

Silent auction bidding will take place from 7-9pm. Auction sales will be announced at 9pm. Check and cash sales only. All works sold at the auction are to be taken that night.

Participating artists include: Gabriel Abrantes, Brian Balderston, Alex Blau, Laura Carton, Chan Chao, Frank Day, Mary Early, Jason Falchook, Adam Fowler, Carole Greenwood, Jason Gubbiotti, Ryan Hackett, James Huckenpahler, Erick Jackson, Judy Jashinsky, George Jenne, Jae Ko, Pepa Leon, Mimi Masse, Maggie Michael, William Newman, Piero Passacantando, Beatrice Valdes Paz, Lucian Perkins, Paul Roth, Jose Ruiz (winner of the 2003 Fraser Gallery Young Artist Award), David Simmons, Dan Steinhilber, Champ Taylor, Trish Tillman, Ian Whitmore, Catherine Yelloz and Jason Zimmerman.

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And talking about the success of silent auctions, Joe Barbaccia sent me this interesting article on the subject published last Sunday in the Philly Inky.

Just in! (thanks to ArtsJournal)

The woman depicted as the Mona Lisa was a Spaniard!

There's a very good and interesting new voice in the art BLOGsphere in the Washington area: J.T. Kirkland.

His new BLOG is Thinking About Art and it adds to the critical discourse of the arts in our region.

Welcome to J.T.!

For Leo Villareal’s second solo show at Conner Contemporary, gallery owner Leigh Conner has completely sealed off her rectangular gallery space in neutral paper, essentially gift-wrapping all the sources of outside light in order to deliver the best possible viewing atmosphere for Villareal’s sculpture exhibition.

And although a bit disorienting at first – in the sense that one first thinks (at least I did) that the gallery was closed or between shows – it sets a perfect viewing stage for an artist who is having a well-deserved meteoric rise and attention in the rarified atmosphere of high art.

Conner’s preparation of her space continues as one opens the door and enters the gallery, to be immediately confronted by Horizon, a 24 inch installation of tubes of light.

Floating away from the gallery’s main wall, they are starkly and severely displayed, allowing for perfect viewing and the thinking required to arrive at a full understanding of the artist’s multi faceted skill set in creating this and all the other sculptures in the show.

In creating Horizon, by the necessities of the art genre that he is slowly but surely re-inventing, Villareal must master not only the creative assemblage of the piece itself, but obviously must also possess significant technical skill to deliver the color messages that is one of the end goals of this piece. This is important, very important in fact, as contemporary art continues to “re-discover” a once ignored talent: technical skill.

And the description of the technical skill required to deliver this elegant, minimalist work is dizzying! Let me try.

Each of the nine plexiglass tubes of light is filled with red, green and blue light emitting diodes (or LEDs – the same LEDS that make up your PC’s plasma screen or your Gameboy screen, etc.). Horizons' diodes are each individually modulated, each capable of producing over 16 million colors.

How the colors shift and change are dictated by software created by Villareal, using a set of autonomous software agents that are constantly traveling through the software rules within a matrix, encountering each other, creating new rules, and reacting to different situations. If this all sounds like you need a Master’s degree in Computer Science or a Doctorate in Geekdom, then it does. Autonomous software agents are now an invisible and common part of our daily life; either in data mining for Google, or adapting and learning and pushing us towards full automation of common, but difficult events.

Or in Villareal’s case: Creating a nearly inexhaustible and ever refreshing display of the art of color and form.

And because we are visual creatures, our common minds are enthralled, entertained, hypnotized and fascinated by the play of the light – ever changing, and creating new impressions: video games, organic, space, stark, warm, rich.

But the “art” is not just in the light movement, or the set of 16 million possible colors, or the eloquent delivery vehicle worthy of a Marfa installation. It is all that and more.

The key to truly understanding and enjoying (and recognizing) Villareal’s contribution to contemporary art, is to realize that this digital sculptor’s chisel and hammer are the autonomous software agents that he created and which now deliver for their creator, the work that he claims in his name.

And Villareal’s nearly infinite digital atelier never tires, and is always delighted to take a new path, try a new combination of colors, deliver a new visual sensation. Tireless, efficient and blissfully ignorant of the effect (positive or negative) that their color and form displays elicit from the viewer.

Digitalism gets a powerful push in this show and Leo Villareal and his digital atelier are doing the shoving, in countless directions at once.

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Leo Villareal is at Conner Contemporary until June 26. The gallery is at 1730 Connecticut Avenue, NW (Second floor). Phone is 202/588-8750.

For photographers...

Deadline June 27, 2004

Want to have your photographs viewed by over 500,000 people? New Photography is looking for high quality, exciting work to exhibit in the photography galleries of the Millard Sheets Gallery at the L.A. County Fair. Each year more than 500,000 people view this exhibition with some of the finest examples of contemporary photography. A panel of 4 jurors will award a total of $5000 in prizes. Download a prospectus and registration form online at this website or send a SASE to:
New Photography Competition
Fairplex
Box 2250
Pomona CA 91769

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Opportunity for artists...

Deadline July 1, 2004

National Juried Art Exhibition - Will's Creek Survey - Saville Gallery.

Exhibit Sept 2 - Oct 8, 2004. Awards: Best of Show:$1000, $4000+ in additional awards. Juror is Elizabeth Thomas, Assistant Curator of Contemporary Art, Carnegie Museum of Art.

Two slides:$25. For entry form and prospectus contact:
Allegany Arts Council
52 Baltimore St
Cumberland MD 21502

or call 301-777-2787 or visit their website

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For glass sculptors...

Deadline: August 5, 2004

2nd Annual Eugene Glass School Drinking Glass Juried Art Glass Competition, $1,000 Award for Best-of-Show, $3,250 in additional awards with five categories.

Slides, CD (jpg), or artwork must be postmarked by August 5, 2004. Maximum 5 entries - $10 per entry, 3/ $25, 4/$35, 5/$40. For details and entry forms: download here or e-mail drinkingglass@eugeneglassschool.org, call 541-342-2959, or send a SASE to:
Eugene Glass School
575 Wilson St
Eugene OR 97402

A delayed but deserved well done! to Simmie Knox, a Washington area artist who was chosen to deliver the official Clinton portrait.

Interesting to note that none of the area newspapers art critics has written anything about Knox, although regular staff writers have written several pieces and even the mighty New York Times.

Yet our area's otherwise vociferous art critics remain silent... perhaps because Knox is an area artist? I wonder if the portrait artist was from New York, or LA?

Congrats Simmie - well deserved!