Correcting Green

From Tyler Green's Modern Art Notes:

Here in DC I've noticed that people are doing less talking and more writing. DCist, part of the often poorly-behaved -ist empire, has rounded up a few arts bloggers and encouraged them to review area shows for publication on DCist. Sure, DCist had a false start or two -- notably a gallery owner and dealer wrote reviews until blogger Kriston Capps called DCist on it --

Sigh...

I am the linkless "gallery owner and dealer" that Green mentions (he conveniently omitted blogger), but considering that Green once wrote that "I [Green] make sure that items... are accurate before they go up on MAN. It doesn't go on MAN if it is wrong, could be wrong or might be wrong. It only goes on MAN if it is solid and accurate. I check things."

Mr. Green: I've never written a review for DCist.

What I did do for DCist, for about four or five weeks, was to provide them with a listing of gallery openings and visual arts events cut and pasted from the many news releases that the galleries send me. It was an attempt on my part to help spread the word, through DCist's huge reading public, about the DC art scene.

What Green regurgitates today is that last March blogger Kriston Capps on G.P. wrote that:

"It's bitchy of me to say— and I don't know the extent to which Lenny Campello of DC Art News contributes or what Cyndi Spain [the DCist Arts Editor] has to say on the subject— but I twitch whenever I see a feature with Lenny's name attached on DCist about work on display at the gallery he operates. I don't doubt the conviction Lenny clearly feels about the art he represents or enjoys, and I don't think that it's unreasonable that he writes about artists he represents on his own blog. But you really can't don the critic's cap when you're a producer in the community."

Rather than drag DCist through an unwarranted ethics debate, I immediately quit contributing directly to DCist, who published this statement.

After nearly sixty back and forth comments in response to that G.P posting, including several by Green (including a childish one on March 14 at 7:40PM), I believe that some issues had been ironed out, and I did and still disagree with the premise that a gallery owner cannot write art criticism (which I never did for DCIst) is flawed and ridiculous.

Unlike Green's own writing career, which started four or five years ago and was succinctly profiled by the Washington City Paper, I've been writing about art since 1977 (and about DC art since 1993) and have no intention of stopping on his or anyone else's account. At the time, I thought that my contributions to DCist, which were simply listings of other galleries shows, would be good for our art scene.

You see, what a self-proclaimed elitist, and an arts newbie and gallery-world outsider like Green does not know yet (he'll learn with experience), is that the best thing for art galleries, is more art galleries.

And in order to have more art galleries, then all galleries have to do well, and then a city's cultural tapestry grows and becomes stronger. In helping to promote other galleries via what I do here at DC Art News and what was being used by the DCist Arts Editor to publicize openings, etc., I had hoped to help expand our area's gallery scene and this helps all galleries, including mine.

But now Green, who although living here in DC, generally manages to avoid informing his 900 or so daily online visitors about anything dealing with the DC art scene, other than the DC museum show here or there, or bitching about pandas and Corcoran conspiracies, has wasted his precious informative online resources to add unwarranted negativity aimed at DCist and at me.

I've never met Tyler Green and have no idea what he looks like; I've corresponded with him via email and even once or twice invited him out for a beer.

Enough niceties; I hope that I never meet him and will avoid doing so, for at any given place the plebian Brooklyn in me may resurface and he may now be one beer away from a well-deserved ass kicking.

Kino Jewels

The New York Times' Carol Kino has a couple of really good pieces in the New York Times. User ID is logos and password times (thanks to Bugmenot.com).

In the first article: Trendy Artists Pick Up an Old-Fashioned Habit, Kino reveals the surprising list of contemporary artists returning to live model drawing.

In the second piece: When the Work Is a Workstation, she discusses that "if you buy a work from Lucas Samaras's current show at the PaceWildenstein and Pace/MacGill galleries, you'll need $15,000 - and a small moving truck. For your money, you'll get not just 4,432 photographs and 60 movies, but also the Mac Mini computer on which they're stored (as iPhoto and iMovie files), an Apple Cinema HD display, an Ikea Hannes desk and two Design Within Reach chairs."

New Kids on the Block

Most of the area's universities have their senior and MFA Thesis exhibitions hanging right now. This is a good opportunity for an early look at this year's crop of art students and graduates. There are shows at American University's Watkins Gallery, and at GWU's Dimock Gallery, and a new show opens at Catholic University's Salve Regina Gallery on Thursday.

Wanna go to an Opening Today?

The League of Reston Artists Annual Judged Fine Art Exhibition has an opening reception today from 2-4 pm, with a musical performance by Just Friends.

The reception is at the JoAnn Rose Gallery, Reston Community Center at Lake Anne. The exhibition runs until May 3, 2005 and is free and open to the public. Info and direction here.

Another choice is at Photoworks at Glen Echo Park, where "Creative Digital Printmakers" feautures six artists showing scrolls, frescoes and prints on handmade paper and glass. The artists are Rona Eisner, Sandy Lebrun-Evans, Carol Leadbetter, Sheila Meyer, Dorie Silber and Grace Taylor. The exhibition runs until May 23, and the reception is today from 2-4PM. At Glen Echo Park, 7300 MacArthur Blvd.

Use me

Once again I'd like to renew my offer to have anyone email me area art reviews, comments on our area arts, interviews, etc. for publication here.

Sent a letter to the Arts Editor and it never got published? Send them here and provided that it contributes to our area's art dialogue, I'll publish them here.

Last Night

Last night I went with Tim Tate to the Renwick Alliance fundraising auction.

I was very pleasantly surprised at the generosity of the bidders, as I often find that most art fundraising auctions end up being give aways. Not with this crowd (a lot of whom came from as far as Los Angeles for the function). In fact, a set of Tate's reliquiaries went for over $6,000, and a piece by William Morris broke $60,000.

True Stories from the Gallery World

Setting: A group show of 25 or so artists from around the US, Europe, Latin America and the region. A casually dressed couple, having just finished dinner at the Sea Catch Restaurant in Georgetown step into the gallery.

Him: Can we come in?

Me: Yes of course, welcome to the gallery.

Him: Does it cost anything to come in?

Me: Of course not! Come on in and look around, let me know if you have any questions.

They come in, and start looking at the works on exhibit, which as with any group show, include a variety of styles, genres, and subjects.

Her: We didn't know there were any art galleries here...

Him: Are these all by the same artist?

Me: Uh... no, it's a group show by artists from all over the US, some from Europe and some area artists.

Her (pointing to a large etching): I really like this piece.

Me: It's an intaglio etching by --

Him (looking closely at the wall label with title, artist and price info): Is that the best that you can do?

Me: It is the price for the work sir, this etching is an edition of 10, and several pieces have already sold and --

Her (Looking at a small drawing): I really like this one too.

Him: Is that the same artist?

Me: No, that's a graphite drawing by --

Him: How come it is the same price as the other one (pointing to the etching)? That other one is at least twice as big.

Me: This is an original drawing; it is one of a kind, and the other piece that you liked is a limited edition print, and there are 10 of them, although there are only three left in the edition.

Him (looking incredulous): Somebody bought all the others?

Her: I really like both of these... they're much more interesting than all the stuff that you have hanging at the house.

Him: If we buy both of them, will you give us a deal?

Me: Well, they're very fairly priced as they are, but if you buy both of them, we will gladly offer you a 10% collector's discount.

Him (adding up the Math in his head): How about $1500 for both of them?

Me: Sorry sir, that's more like a 50% discount - you wouldn't want to do business with any art gallery that has a price structure where you can obtain "art" at half price.

Him: I always get at least 40% at other art stores.

Me (clearing my throat): We don't exhibit work that can be ethically discounted to those extremes, and most reputable art dealers do not either; it hurts both the artist and the collector.

Her (staring hard at him): I really like both of these; I've never seen work like this before and I really like them.

Him (beginning to get the message): How about 25% off?

Me: With a 10% collector's discount you are getting a very fair price for two framed works of real... art.

Her: Just get them...

Him: Awright... We'll get them if you deliver them to Virginia and that way it will save us the sales tax.

Me (hoping that my eyes are not rolling): Where in Virginia?

Her: Great Falls.

I swallow hard, do the paperwork, and after explaining to them that they'll have to wait until after the exhibition is over, close the sale. A couple of weeks later, I contact them to arrange the delivery.

Using our delivery service (in other words me), I drive to Great Falls, and find their home, or shall I say mansion, one of those monster houses with acres of lawn. I knock on the door.

A Filipino maid actually wearing one of those French maid outfits opens the door. I explain to her that I am delivering two pieces of artwork, and after she stares at me and the two pieces of art, she lets me in, and shouts something in Tegalog towards the upstairs. A second uniformed Filipino maid comes down, and speaking in English says that the owners are out, but left a message for me just to leave the two pieces of art.

I do so, and ask her if it is OK for me to look at the owner's art collection. She nods and leaves.

And I look at wall, after wall full of gaudily-framed decorative work... you know: Impressionistic women in Victorian dresses with umbrellas in the wind, large Parisian scenes in thick, bright oil paints, men and women in hats that cover their eyes playing pool, seductive-eyed vixens staring dreamily into the viewer, Kinkaidian landscapes, and strangely enough at least six huge photos of those dog portraits by Wegman.

I sigh, thinking of all the tens of thousands of dollars spent in "wall decor," and almost feel as if I am leaving two small hostages behind.

The English speaking maid checks up on me, as I leave.

Me: Who usually buys the... uh... artwork?

Maid: These are all Mr. ____'s.

She points to the two that I've left behind.

Maid: Those are the first two that his new wife has bought.

I drive away with a tiny bit of relief; very tiny.

Wanna go to a Gallery Opening Tonight?

Fusebox Gallery will open an exhibition titled "Freedom Works," showcasing the the artwork of Rollins and K.O.S. with an opening reception tonight from 6-8PM.

Kirkland on Probst

J.T. Kirkland reviews Barbara Probst at G Fine Art in DCist.

The Chelsea Manifesto

DC Arts Center is launching a series of Sunday Discussion Forums and tomorrow, April 17, 2005, Christopher Lee will lead "The Chelsea Manifesto," an engaging and humorous look at the contemporary artworld.

Session One: DADA TO PRADA begins at 7:30pm, it is preceeded by "The ARTROCK Social Hour"... a chance to meet old and new friends while grooving to the sounds of art rock classics from the Talking Heads, Nico, Laurie Anderson, the B52's and more - 6:30pm-7:30pm.

Please visit the DCAC website for details on the Sunday Discussion Forums.

K & Connecticut


Mark Jenkins strikes again.

WPA/C Artists' Directory

The WPA/C is beginning to gather artists' info for the new 2006 WPA\C Artist Directory. Details and info for the 2006 WPA\C Artist Directory can be obtained here.

This will be the third issue of the Directory, and it is one of the great assets and resources that area artists have. I encourage area artists to participate (I do).

OPTIONS 2005

Dr. Libby Lumpkin, curator of the OPTIONS 2005 exhibition has scheduled her second visit to the area later this month. She will be continuing her tour of graduate programs in the area, as well as reviewing remaining written submissions in the WPA/C office.

Light Up The Warehouse

On May 14th, Warehouse is hosting a "Light up the Warehouse" party to raise funds to pay for new lights and sound equipment for the theater and they need your help.

Warehouse Theater and Gallery is another one of the great jewels in the cultural tapestry of our region.

I intend to donate a piece of art and so do the following DC area artists (so far):

Jim Adams, Tommy Adams, Felix Angel, Sondra Arkin, Scott Brooks, Gabriela Bulisova, Beth Cartland, Chez Chez, Mark Clark, Kevin Cowl, Lily Cox-Richard, Richard Dana, John De Fabbio, Margaret Dowell, Michael Dumlao, Dara Friel, Christopher Goodwin, Pat Goslee, Stuart Gosswein, Carlos Graupera, Ryan Hackett, Michael Wm Hall, Eric Hammesfahr, Bing Huang, Brece Honeycutt, Joroko, Mariah Josephy, Seth Kaplan, Jenufa Kent, Karey Kessler, Richard Kightlinger, Soumiya Krishnaswamy, Bridget Lambert, Chris Lee, Marian Lemle, Heather Levy, Mike Lowrey, Tim Martin, Rosetta McPherson, Ryan Miller, Isabel Manalo, Tim Martin, Elizabeth Morisette, Dan Murray, Noonieneon, Frederick Nunley, Steven Ochs, Dino Paxenos, Gail Peck, Mark Planisek, Philip Pradier, Mary Beth Ramsey, Karie Reinertson, Jose Ruiz, Charles St Charles, Andy Scott, Jessica Shull, Alexandra Silverthorne, Stoff Smulson, Steven Stichter, Randy Stolfus, Elena Strunk, JD Talasek, Tim Tate, Ira Tattleman, Ruth Travarrow, Susanna Thornton, Trish Tillman, Anita Walsh, Justin Winokur, Peter Wood, and Ellyn Weiss.

A preview party honoring the artists will be held May 6th. Artists wishing to donate a work of art should email Molly Ruppert at ruppertm@erols.com.

Then, on May 14, the "Light Up the Warehouse" Fundraising party will take place at Warehouse. They are planning to sell 100 Sponsor tickets at $150.00 each, which will include and original work of art. Each $150.00 ticket holder may then buy a companion ticket for $50.00 entitling the companion to the dinner, drinks, music, live and silent actions. There are also general tickets available for $100.00 for dinner, drinks, music, live and silent actions. The special artist price for the same is $50.00.

Again, artists wishing to donate a work of art, or collectors who'd like to get a ticket, should email Molly Ruppert at ruppertm@erols.com or contact her at 202/257 5989 or 202/783-8263 or 202/783-3933.

The Weekend Reviews

At the WaPo, O'Sullivan reviews "On Music: Tim Rollins + K.O.S. (Kids of Survival)" at the Kreeger Museum

As I noted here, on Saturday, Fusebox Gallery will open a show of paintings called "Freedom Works," putting the art of Rollins and K.O.S. in a different, broader context. An opening reception is scheduled from 6-8PM.

O'Sullivan also has a really good review of Collaboration as a Medium: 25 Years of Pyramid Atlantic

Powerless Critics

In the popular imagination, the art critic seems a commanding figure, making and breaking careers at will, but one hard look at today’s contemporary art system reveals this notion to be delusional. "When I entered the art world, famous critics had an aura of power," recalls ArtBasel director Samuel Keller. "Now they’re more like philosophers— respected, but not as powerful as collectors, dealers or curators. Nobody fears critics any more, which is a real danger sign for the profession."

Read the Art Newspaper article (by Marc Spiegler) here.

"The role of the critic has been gradually taken over by the curator," notes Stockholm’s Power Ekroth, who writes criticism for artforum.com, edits Site magazine, and also curates exhibitions. "The curator builds up a career by becoming the new stronghold for validation of taste. The curator is also closer to the artist, because where the critic is trying to be 'objective' the curator is clearly subjective."

Here we go again...

Painting is dead, painting is hot... the never ending, boring debate....

Secret Service Visits Art Show

This story is a little scary.

Organizers of a politically charged art exhibit at Columbia College's Glass Curtain Gallery thought their show might draw controversy.

But they didn't expect two U.S. Secret Service agents would be among the show's first visitors.

Read the whole story here.

Secrets in the CP

Frank Warren's PostSecret project continues to grow.

Page 150 of the current edition of the Washington City Paper has one of Frank's cards and will run a new one each week; Very cool!

Frank is also working on a book deal for the project.

DC Collectors

We just closed our most successful photography exhibition ever, featuring 50 years of photography by Lida Moser. The exhibition received extensive press coverage (here and in New York), both in the mainstream media, online and on television.

And yet, it shows (again) the puzzling side of DC area "collectors." Most sales were made to New York (several pieces), Los Angeles (most expensive piece), Miami and Great Britain (multiples). In spite of all the press and really good numbers of people who came to see the exhibition, only three DC collectors (if we exclude Holly, our gallery attendant, who purchased a piece) acquired work. And the other two collectors told us that it was the "first time that they had actually bought photography from a DC area gallery."

This continues a trend (for us) that sees a rather sizeable number of our art sales going to New York and West Coast collectors, while the DC "collector" market remains hard to identify in the numbers that our area's wealth and numbers should support.