Venezuelan photographer Luis Gomez makes his DC area debut with "Cities," a 32-photo exhibit at Candida’s World of Books at 1541 14th Street N.W. (14th and Q).
The exhibit runs through November 15 and focuses on inner, urban cores —one of Gomez’s favorite subjects— and offers glimpses of architecture and streetscapes, as well as their people. The photos will take viewers to cities that include Amsterdam, Chicago, Havana, Madrid, Prague, Santiago, Sydney and others.
Friday, October 29, 2004
Thursday, October 28, 2004
Cynthia Young defends the "grubs" in a passionate letter in this week's Washington City Paper.
And Jeffry Cudlin writes another really good review (why isn't Cudlin writing more often in the WCP?).
This time he reviews "Inventions: Recent Paintings by Caio Fonseca" at the Corcoran and damned near convinced me that Fonseca was not just another hack painting the kind of safe, unintelligible art that cannot remotely offend anyone and that one routinely sees in hotels, airports and furniture stores. Not really art but "wall decor."
Thusday is the day the Style section of the Post reviews galleries and today Glenn Dixon reviews Kenny Hunter: Works in Colour at Conner Contemporary Art.
There's also a theatre review and a music review in today's Style.
The Washington Post finally picks up the story of Philip Barlow's woes with the WAP/C first reported here over two weeks ago.
The Arts Beat column adds little to the story that hasn't been discussed to death already by DC Artnews, J.T. Kirkland, Tyler Green, MetroBlogging and others.
Other than this great quote from the new OPTIONS 2005 curator:
"I've been forgiving of artists who've painted dreadful cows in my part of the country," adds Lumpkin, "so I can be forgiving of artists who've painted dreadful pandas in your part of the country." "
Wednesday, October 27, 2004
I've been out all day, and arrived home, picked up the email (I am by now used to getting one letter a week from either/or United or American Airlines pleading with me to sign up for their credit card), cooked dinner, got ready to watch the World Series, and then... read my email.
I was a bit taken back by the huge number of emails that I've received from artists commenting on the new WPA/C OPTIONS curator. But I think that we need to let the waters settle and see how things develop.
Last weekend the Washington Times gave our current Bethesda show (David FeBland), their "Hot Pick" of the week.
Transformer tells me that they will have Ken Grimes, Laura Craig McNellis, Judith Scott, and Melvin "Milky" Way in a show titled Cryptic Communications: Work by Four Self Taught Artists. Show opens November 6 and runs through December 4, 2004.
In Alexandria, Pa Dian Accents presents Women of Color, Style and Expression, a collection of more than 40 works by five contemporary artists from the D.C. area, from Saturday, November 13 through Sunday, November 21. The featured artists in this show found their visions in a variety of ways. Edith Graciela Sanabria’s art began as a response to a difficult childhood with an authoritarian father. Donna Boozer was inspired by the birth of her daughter. Chela Sanbria, Edith’s daughter, found healing from a crippling illness through painting vibrant colors and Jennifer Jin Seaver began her artistic career as a child in Korea. 
New York realist Mikel Glass is at Old Town Alexandria's Century Gallery. The exhibition is on view until December 1, 2004. I saw Glass’ show at Century a couple of years ago and Glass is a spectacularly talented painter whose works have been called "a battle between Rembrandt and Freud."
And in Georgetown...
"Ebb and Flow," recent paintings and drawings by Washingtonian Janis Goodman, (who teaches at the Corcoran) explores the universal theme of constancy.
Goodman's new series is devoted to water and its insistent repetition, even as the rest of the world is in flux. Her intelligent renderings of water capture the artist's intense devotion to observation and meditation.
"Ebb and Flow" will be on view at District Fine Arts from November 5 through December 11, 2004.
Tuesday, October 26, 2004
New OPTIONS 2005 Curator Named
The Washington Project for the Arts\Corcoran Association (WPA\C) has announced that Ms. Libby Lumpkin has been named as the WPA\C OPTIONS exhibition curator to replace fired curator Philip Barlow.
Libby Lumpkin is an internationally noted art historian, critic, and curator who serves as Director of the Museum Studies Program at California State University and Assistant Professor of Art History, Long Beach. She was the founding curator of Steve Wynn's Bellagio Gallery of Fine Art in Las Vegas (man... Tyler Green will have fun with that bit of resume news), and has served as Visiting Professor of Art Theory at Yale University, Visiting Lecturer on Visual and Environmental Studies at Harvard University, Visiting Professor of Theory and Aesthetics at the University of California Santa Barbara, and Visiting Lecturer at Umeå University in Umeå, Sweden.
She also served as Assistant Professor of Art History and Curator of the Donna Beam Fine Art Gallery at the University of Nevada, Las Vegas. Lumpkin is the author of Deep Design: Nine Little Art Histories, as well as Ingrid Calame and Jean-Michel Basquiat: War Paint. She edited and produced the catalogs for the Bellagio Collection, and has authored numerous critical essays on contemporary art and design. Dr. Lumpkin was a contributing editor of Art Issues magazine of Los Angeles, and is a regular contributor to Artforum of New York.
She is founding director of a design institute for the Institute of Modern Letters at the University of Nevada, Las Vegas to open in January 2005. After spending two years in Long Beach, she returned to Las Vegas with her spouse, art critic and curator, Dave Hickey.
Ms. Lumpkin has stated that
"The emerging artist scene in the Washington, D.C. area is unexplored territory for me. I look forward to discovering what's out there. I'm hoping that artists of all types who do not yet have gallery representation will respond to the call for submission for consideration so that we can set up appointments to view works. I'm sure most of the artists will be young, but I'd love to hear from artists of all ages, anyone who is presently working outside the gallery system. I'm as interested in the private, eccentric artist as in those whose works are engaged in prevailing cultural discourse. I'd like to end up with an exhibition that presents a lively mixture of types."Does this mean that Ms. Lumpkin is automatically excluding any and all artists who have gallery representation? Someone better tell the Corcoran Board of Trustees right away before she buys her plane tickets to come visit our area.
The WPA\C will soon announce submission guidelines for artists who wish to submit materials as preliminary research for the benefit of the curator. Because this is not a juried exhibition, there is no fee to submit materials and artists do not have to be a member of the WPA\C to be considered. These guidelines will be posted on the WPA/C website on Nov 1, 2004. Ms. Lumpkin will perform on-site studio visits while working on the exhibition in Washington, DC.
It is a smart move by the WPA/C to hire an outside curator to replace Barlow, but I wonder how much this is costing them; I suspect that curators such as Lumpkin do not come cheaply.
I wish Ms. Lumpkin the best of luck with a most difficult show. It won't be easy, but I am sure that she will do a good job; we will be watching.
Tonight I will be at one of my favorite charity art auctions for a great organization and a great cause.
It is at the Carnegie Institution of Washington (16th & P Streets, NW), the Walker Whitman Clinic will be having their annual Art for Life Auction, in my opinion one of the best art auctions in the city. Viewing from 6:00 pm and the auction starts at 7:30 pm.
See you there!
Monday, October 25, 2004
The exhibition is currently on view at the S. Dillon Ripley Center, Smithsonian Institution through November 29, 2004. It will then tour for one year throughout the U.S.
The grand prize winner, Sunny Taylor, is a self taught hand and foot artist (only 22 years old) who is a spectacular painter.
Sunday, October 24, 2004
The Cuba series
These pieces below are from a set of about 100 watercolors, mixed media, oils, acrylics, and prints that I did either for one of my senior year exhibition projects at the University of Washington School of Art in 1981 as well as class assignments through the years (1977-1981). Probably 80 of these have sold over the years. They all have the map of the island of Cuba as the focus. There are also a few pre-art school works as I started this series around 1972 or so when I was in High School.
Update: Some of these images are from owners that bought some of these sending them to me... in some cases I had not seen them in years!
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"Isla Prision (Prison Island)" c. 1980, Ink wash and wood rods on paper In the collection of The Cuban Studies Institute, Miami, Florida |
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| "Isla Prision" Monoprint enhanced with Charcoal and pins, c.1980 In a private collection in New Jersey |
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| "Isla Prision" Monoprint enhanced with watercolor and pins, c.1980 In a private collection in Florida |
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| Isla Encadenada Acrylic on paper with metal chain, c. 1979 |
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| Isla Encadenada Colored pencils on paper with metal chain, c. 1979 |
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| "Isla Herida" c. 1978 |
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| "Donde crece la palma" 1978 |
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| "The Island that Time Forgot" 1981 |
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"Mi verso es un ciervo herido Que busca en el monte amparo" 1979 |
"Isla Roja" (Red Island) 1981
"Isla Carcel" (Jail Island) 1981
"Isla Encarcelada" (Jailed Island) 1981
"Isla Ensangrentada" (Bloodied Island) 1981
"Isla Encadenada" (Chained Island) 1981
Isla Pesadilla (Nightmare Island) 1981
Isla en Jaula (Caged Island) 1981
"Isla en Goma" (Inner Tube Island) 1981
"Isla Prisionera" (Prisoner Island) 1981
Isla Deshuesada (Deboned Island) 1981
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| "Isla Llorona", oil on board c. 1978 |
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| "Isla Abandonada (Abandoned Island)" Oil and Acrylic on Gessoed Board, 8x10 inches, c.1979 In a private collection in Hialeah, Florida |
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| "Isla Clavada (Nailed Island)" 1980 Color pencils and embedded nails |
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| Nubes Lloronas, Oil on board, c.1979 |
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| "Isla Llorona", oil on board, c.1978 In the collection of Queens' University, Charlotte, NC |
Cuba, Isla Desbaratada (Cuba, Disassembled Island). Pen and Ink. 2009.
Cuba, Isla Encarcelada (Cuba, Jailed Island). Watercolor and Wire. 2009.
Cuba, Isla Judia (Cuba, Jewish Island). Watercolor. 2009.
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| Isla Prisionera In a private collection in Miami, Florida |
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| Isla Balsera Location Unknown (Sold at Pike Pace Market, Seattle in 1978-79) |
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| "Isla Balsera (Raft Island)" - Happy Birthday America, Wishing We Were There! Collage on Paper, Framed to 30x40 inches, c. 1976 Was in a private Collection in New Jersey - donated to American University Art Museum in 2015
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Saturday, October 23, 2004
One of the more eye-opening things in attending an art fair is seeing the dynamics that go onto the decision to buy a piece of art.
Put together a few thousand people, paying an entry fee to enter the fair, an assortment of dealers, and a huge diverse variety of offerings and it's an education in people watching.
The married couple:
"Do you like it?"
"Yeah, I like it- it's just what we've been looking for."
"Where would we put it?"
"We have a couple of spots that it'd fit."
"Do you really like it."
"Yeah, how about you?"
"Yeah, I kinda of like it."
"Should we get it?"
"If you want it."
(five minutes later)
"Let's think about it."
"OK" [To me] "Do you have a business card?"
The couple (not married):
Her: "Do you like it?"
Him: "Sssoright"
Her: "Where would we put it?"
Him: "Dunno."
Her: "Do you really like it."
Him: "So'OK.. Yeah, how about you?"
Her: "Yeah, I kinda, sorta, really like it."
Him: "Dunno though"
Her: "What? You don't like it?"
Him: "If you want it."
(five minutes later)
Him: "Let's think about it."
Her or Him: "OK" [To me] "Do you have a business card?"
The Single Woman (SW) with a Woman Friend:
SW: "WOW! Now, I really like this!"
Friend: "Yeah... it's nice"
SW: "It's exactly what I've been looking for!"
Friend: "I have a friend who does work just like this..."
SW: "I am really drawn to it!"
Friend: "Are you really sure you like it?"
SW: "Uh - yeah!... why? Don't you like it?"
Friend: "Yeah... it's OK"
SW: "I think it's really good... I think it's the first piece in this whole show that I really like."
Friend: "There's a few more booths we haven't seen."
SW: "I think I'm going to buy this."
Friend: "Are you sure?"
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?"
(five minutes later)
SW: "Do you have a business card?"
The Single Woman (SW) with a Man Friend:
SW: "WOW! Now, I really like this!"
Friend: "Yeah... Cool"
SW: "It's exactly what I've been looking for!"
Friend: "I think it's a lithograph" [it's actually a charcoal]
SW: "I am really drawn to it!"
Friend: "Are you really sure you like it?"
SW: "Uh - yeah!... why? Don't you like it?"
Friend: "I have something like it... I got it cheaper though..."
SW: "I think it's really good... I think it's the first piece in this whole show that I really like."
Friend: "You like lithographs?"
SW: "I think I'm going to buy this."
Friend: "Are you sure?"
SW: "Uh - yeah!... It's a good price too.... why? Don't you like it?"
(five minutes later)
SW: "Do you have a business card?"
The Single Focus Dream Buyer:
[Walks straight up to one piece, never looks at the rest of the work in your booth]
"I'll take this"
[Me] "Thank you... it's a very striking charcoal drawing - will be that be a check or charge?"
"Charge"
[Me] "I can send you more information on this artist..."
"That will be great - I love this work - it's exactly what I'm interested in!"
[Me] "I have a few more pieces here, would you like to see them?"
"No, thanks..."
The "I'm glad you're here guy (IGYHG)":
IGYHG: "Hey! I've been looking for you!"
[Me]: "Hi, how are you?"
IGYHG: "... been walking this whole fair looking for you!"
[Me]: "Yeah... lots of dealers this year... glad you found us!"
IGYHG: "Howsa been goin'?"
[Me]: "Yes... quite good actually..."
IGYHG: "Well, let me look at what you've got!"
[three minutes later]
IGYHG: "Well... I'm glad you're here... see ya next year!"
The "I Shudda Bought It Last Year Guy (Shudda)":
Shudda: "Hey! You're here again!"
[Me]: "Hi, how are you? Yeah... It's our 7th year here..."
Shudda: "... been walking this whole fair looking for you!"
[Me]: "Yeah... lots of dealers this year... glad you found us!"
Shudda: "Howsa been goin'?"
[Me]: "Yes... quite good actually..."
Shudda: "Well, let me look at what you've got!"
[three minutes later]
Shudda: "Where's that really good watercolor of the fill-in-the-blank?"
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist."
Shudda: "Ah! - I really wanted that one! Do you have another one?"
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---"
Shudda: "I really wanted that piece; and it was a good price too..."
[Me]: "Maybe you'd like some of his new work..."
Shudda: "I shudda bought it last year"
[Walks away]
Shudda: "You gonna be here next year?"
The "Where's That Piece Guy (WTP)":
WTP: "Hey! You're here again!"
[Me]: "Hi, how are you? Yeah... It's our 7th year here..."
WTP: "... been walking this whole fair specifically looking for you!"
[Me]: "Yeah... lots of dealers this year... glad you found us!"
WTP: "Howsa been goin'?"
[Me]: "Yes... quite good actually..."
WTP: "OK... last year I saw this piece... it was a fill-in-the-bank and I should have bought it then! "
[Me]: "Yeah... that is a nice piece."
WTP: "I've been thinking about it for a whole year"
[Looks around the booth and doesn't see it]
WTP: "Do you still have it?"
[From here there are two paths...]
Path One -
[Me]: "Uh... I sold it last year - but I have a few more pieces by that artist."
WTP: "Ah! - I really wanted that one! Do you have another one?"
[Me]: "Well, no... it was an original watercolor, and I sold it; but I have ---"
WTP: "I really wanted that piece; and it was a good price too..."
[Me]: "Maybe you'd like some of his new work..."
WTP: "I shudda bought it last year"
[Walks away]
WTP: "You gonna be here next year?"
Path Two
[Me]: "Let me get it for you... I have it in the back!"
WTP: "Great"
[I bring it out and give to WTP]
WTP: "Yeah this is it! It's great!"
[Me]: "This artist has done really well this last year and ---"
WTP: [Handing it back] "Excellent! I'm glad you still have it... until what time are you going to be here?"
Michael O'Sullivan reviewed the Ana Mendieta retrospective at the Hirshhorn on Friday and makes an interesting connection in Mendieta's art.
One of seven pieces by O'Sullivan on Friday!
Friday, October 22, 2004
Thursday, October 21, 2004
The Controversy that won't go away.
Both Tyler Green at MAN and J.T. Kirkland at Thinking About Art, as well as Chris Shott at the Washington City Paper (who beats all other DC published media and breaks the story today), are seeing unidentified black helicopters flying between DCCAH and the Corcoran.
Not so sure myself, but as much as I trash the Post for their lack of visual arts coverage, I am still stunned that this whole controversy has been ignored so far by the world's second most influential newspaper.
I know that Jonathan Padget is working on this story for his "Arts Beat" column; but it is not scheduled to come out for another week.
Why not allow this story to be printed in the Post now, when the issue is hot!
I should know better.
If this had been a case of Septime Webre over at the Washington Ballet firing a guest choreographer because he excluded dancers that had participated in a rap video dance scene a year earlier, from the new Washington Ballet version of The Nutcracker then we'd be reading about it everyday in the Style section.
Makes my head hurt.
Letter to the Editors by James W. Bailey
To The Readers of D. C. Art News,
I have distributed the following Letter to the Editor to the national arts press, as well as the general mainstream media.
I am very appreciative of Mr. Campello allowing me to post this Letter to the Editor on DC Art News.
Sincerely,
James W. Bailey
LETTER TO THE EDITOR
Should Art Curators Enjoy the Same Basic Rights of Freedom of Artistic Expression that Artists Enjoy?
by James W. Bailey
I am an experimental photographer from Mississippi who currently lives in Reston, Virginia. I am also a member of the WPA/Corcoran.
I have taken a very strong public stand in support of freedom of artistic expression for curator, Philip Barlow, who was recently fired by The Board of Trustees of The Corcoran Museum of Art and the WPA/Corcoran. Mr. Barlow was hired by the WPA/Corcoran to curate a cutting-edge exhibition called OPTIONS 05.
D.C. art critic, Mr. F. Lennox Campello, first broke this story on his blog, DC Art News, a week ago. The story was immediately picked up by D. C. art critic, Mr. J. T. Kirkland, on his blog, Thinking About Art, which has featured an ongoing debate over this issue. Mr. Tyler Green, national art critic for the Bloomberg news service, has come down firmly in support of artistic and curatorial freedom for Mr. Barlow on his site, Modern Art Notes, and opposes the actions taken by the Board of Trustees of the Corcoran Museum of Art and the WPA/Corcoran. The story is now entering into the mainstream media.
In the interests of full disclosure, I believe that I was under consideration for this major exhibition by Mr. Barlow.
Mr. Barlow is, in my opinion, a victim of curatorial censorship committed by the Board of Trustees of the Corcoran Museum of Art and the WPA/Corcoran. I believe that both artists, and curators, deserve to be protected by the same basic principles of freedom of artistic expression.
I subscribe to a definition of freedom of artistic expression that can be read on the web site of The National Campaign for Freedom of Expression: www.thefirstamendment.org/ncfe1.htm.
"Freedom of artistic expression is the principle that an artist should be unrestrained by law or convention in the making of his or her art. Artistic freedom is vital to both the cultural and political health of our society. It is essential in a democracy that values and protects the rights of the individual to espouse his or her beliefs.
Just as our nation’s free speech heritage protects the rights of artists to create, display, perform, and sell their artwork, so too does it protect the rights of the general public to dislike, criticize, and be offended by artwork. What we will call a 'challenge' to the freedom of artistic expression is more than mere criticism or commentary. A "challenge" arises when the critic takes the significant leap from merely voicing distaste of the art to questioning its right to exist or be seen, and seeking to stop its exhibition or performance.
Artistic freedom is threatened when art is challenged because of its content, message or viewpoint, rather than because of its aesthetic qualities or artistic merit. A challenge may be motivated by disagreement with the perceived message or the fear of negative public reaction. A challenge may be part of an organized effort to protest specific social issues. Challenges may come from members of the general public, representatives of organizations, or governmental officials. Challenges may also originate from within the arts community—for example, from curators, artistic directors, or funders."
The WPA/Corcoran issued a press release that justifies in their mind Mr. Barlow’s dismissal as follows:
"While it is the responsibility of a curator to exercise both professional and personal judgment in the selection of works of art, this process must be based upon the artistic merit and suitability of the works in question to the themes or purposes of an exhibition or its related materials. It is inappropriate to base curatorial decisions upon the political, social or intellectual opinions an artist may hold, upon an artist’s personal behavior, personal life, or relationship to the curator or to the institution."
My Words:
I ask your readers to substitute the word curator in the above WPA/Corcoran response with the word artist, and the word selection with the word creation. I do not know a living artist on this planet with any intellectual credibility who would embrace such a definition of artistic freedom as an artist.
I have taken a very activist stand concerning what I believe to be a blatant act of curatorial censorship regarding the WPA/Corcoran’s actions taken against Mr. Barlow.
My argument is very simple: I believe that curators should enjoy and be protected by the above definition of artistic freedom of expression and that this definition of artistic freedom for curators should be embraced by the visual arts community.
Dr. David Levy, President and Director of The Corcoran Museum or Art, and Ms. Annie Adjchavanich, Executive Director of the WPA/Corcoran, and I have agreed to disagree on this subject. I have deep respect for both of them and respect their opinions.
I firmly believe that curators should not have to operate under a different definition of artistic freedom than that that all artists of integrity would claim for themselves.
I am convinced that a national dialogue needs to take place in the art world on this subject. If anything positive comes out of this episode concerning the WPA/Corcoran and its relationship with Mr. Barlow, it will be a resultant dialogue that I hope will lead to an expansion and embracing of a consistent definition of freedom of artistic expression for both artists and curators.
I am urging The Board of Trustees of the Corcoran Museum of Art and the WPA/Corcoran to reverse its position and reinstate Mr. Barlow as curator for OPTIONS 05.
I am also offering to withdraw my name from consideration as an artist for OPTIONS 05.
Artists and curators have given their lives for the cause of artistic freedom of expression around the world.
My potential sacrifice is but a fraction of a molecule of a single drop of water from the ocean in this cause. But I will willingly make it, and more if necessary, to see the right thing be done in this situation.
Rules, policies, procedures, guidelines and laws do not create great art; nor do they inspire great artists or great curators.
Freedom of artistic expression inspires...
Sincerely,
James W. Bailey
Experimental Photographer
Force Majeure Studios
2142 Glencourse Lane
Reston, Va 20191
Ph: 703-476-1474
Cell: 504-669-8650
Email: jameswbailey@comcast.net
URL: http://jameswbailey.artroof.com
Via AJ:
"The art experts climbed four flights of stairs in a dingy block of flats in the north-west of Spain, with dwindling hopes."
When they met the old man who had responded to the Christie's ad, "He went off to hunt in a cupboard in another room, and fetch the proverbial brown envelope - and out of it came this wonderful thing."
It was an original painting by El Greco!
Read The Guardian story here.
Thursdays, according to the mid page banner on page two of the Washington Post's Style section, is supposed to focus on Art Galleries and Art News.
Over the last three years or so, the third Thursday of the month has seen the "Galleries" column do a set of mini-reviews, while the "Arts Beat" column, which used to come out every Thursday, has all but disappeared and now comes out every two weeks. I like the mini-review format once a month, but I regret the loss of the weekly "Arts Beat" column.
In today's "Galleries" column Jessica Dawson delivers a set of mini-reviews and reveals that Signal 66, one of her favorite galleries over the years, is closing at the end of the month.
However, much like the cosa nostra kiss she gave the Troyer Gallery when that gallery closed earlier this year, she sends Signal 66 away with:
"After nearly six years mounting some of the city's grittiest art shows, Signal 66 shutters its doors at month's end. More whimper than bang, the final show collects a trio of artists working in the most traditional of all media: paint."Most commercial galleries close within a year or two; it's a tough business that is best approached realizing that if you decide to open a gallery, then expect to lose money.
Signal 66's folding is somewhat of a surprise though. It had established a good, strong footprint in our area's art scene, and being a cooperative type, artist-run gallery, it had the gallery formula that has allowed this area's longest running commercial art galleries to survive.
In fact, other than Zenith and Kathleen Ewing, I can't think of any commercial art galleries in our area that has been around for 25 years or longer that is NOT a cooperative, artist-run gallery!
Anyway, I will miss Signal 66 and the terrific contribution that they made over the last five years to our area's cultural tapestry.
P.S. By the way there are also three music and one theatre review in today's "Galleries focus" day at the Style section. They actually have more print space than Jessica's review. Does anyone understand why we keep insisting that the Post visual arts coverage sucks? You can complain to Gene Robinson, the Style section editor.
Wednesday, October 20, 2004
Some Coming Shows...
Elyse Harrison is one of those artists and arts activisist who has enjoyed a very active and involved career in visual art for the past 25 years. Like me, she's originally from New York, but (unlike me) she was formally educated in the arts in Maryland and Washington, DC and has established even deeper roots in this area by opening Gallery Neptune and Little City Art Studio in Bethesda, now in their 7th year.
The artist's reception will be held on November 12 during the Bethesda Art Walk, from 6-9 PM. An artist's talk is scheduled on December 4 at 5PM. The talk will center on symbols in dreams and visual art.
At Fusebox, Sarah Finlay has Elizabeth Fisher curating a show by Terence Gower, Ulrike Heydenriech, Cynthia Lin, Joan Linder and Nicola Lopez.
The gallery's project space in the rear has Vincent Szarek's second Fusebox show, and Szarek explores more visual representations of the American flag.
Both exhibitions open on November 6 through December 18, 2004. The reception for the artists will be on November 6 from 6-8 PM.
It takes a New Yorker, in this case Todd Gibson at From The Floor, to discover and point out a really good new art BLOG in nearby Richmond. Go visit ANABA, by Martin Bromirski.
Say it isn't so...
It has nothing to do with visual arts, but it breaks my heart to report that Ionarts lets the bad news out of the bag in reporting that the Washington National Opera's world famous leader and supreme tenor, Placido Domingo, is being considered to become the general manager of the Metropolitan Opera in New York.
Read it and weep.
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