Bootcamp today

I'll be at Warehouse all day co-presenting the "Success as an Artist" seminar, also known around these parts as Bootcamp for Artists.

This seminar is fully booked, but we have a wait list for the next one. Email Catriona for details.

More later...

Ursy

A while back I met a very talented lady, who has not only an important history as one of our area's top potters and ceramic wizards, but is also an amazing kayaker.

And slowly but surely she has taught herself a separate wizardry: digital manipulations of her own nascient photography.

If you want to see how an artistic vein can course through many different genres, don't miss Ursy Potter's exhibition at the Unitarian Universalist Congregation Fairfax 2709 Hunter Mill Road, Oakton, Virginia and on the phone at (703) 281-4230. The reception is Sunday, November 13 from 12:30-3PM.

Wanna go to an opening tonight?

The show is "Threesome: A Girl, a Guy, and a Gay" at Studio One Eight, a new gallery in Adams Morgan located at 2452 18th St. NW, and the opening is tonight, from 7-10pm. The show features new paintings and drawings by Dana Ellyn Kauffman, Gregory Ferrand and Scott G. Brooks.

This show brings together three figurative artists living and working in DC. Each approaches their work in a unique style from a different point of view, with equally distinct results:

- Dana Ellyn Kauffman is a full time painter, living and working in Washington, DC. and we last saw her work at Art-O-Matic... she's a narrative painter whose works usually tell a story and have powerful visual meaning, and sometimes the message may come as a shock... don’t let her pigtails fool you.

- Gregory Ferrand, a Washington, DC artist, is a graduate of Virginia Commonwealth University’s School of the Arts. After living in Buenos Aires, Argentina for two years and traveling through Latin America, he began to paint in earnest. His paintings and drawings for this show deal with emotional, physical, and societal insecurities.

- Scott G. Brooks is originally from Flint, Michigan, and graduated from the University of Michigan with a Bachelor of Fine Arts degree. He moved to the D.C. area in 1990 and currently lives and works in the U Street corridor. His work has been exhibited in New York, Los Angeles, and many venues in the D.C. area, including the recent "Jumping Through Hoops" at Gallery Neptune, the WPA/Corcoran show "Seven," "Drawing National 2" at Montgomery College, and the last three Artomatic exhibitions. Scott has also illustrated two children’s books: The Three Armadillies Tuff, and The Ring Bear. For "Threesome," Scott focused purely on the figure, creating six new paintings based on models that he has worked with recently.

While I was gone

Leave it to Blake...

Last Sunday, the WaPo's Chief Art Critic looked at the Katzen and it got a bunch of artsy folks arguing online.

Read it here.

For a different perspective, Joanna Shaw-Eagle at the Times (and who has been writing about art since Blake was in diapers), offers this view.

Tate in the Blade

The Washington Blade has a good article on Tim Tate in today's paper.

Read it here.

Tate's new solo show "Caged by History," which is already nearly a third sold prior to the actual opening (his previous two solo shows sold out) opens to the public tonight with an opening reception as part of the Bethesda Art Walk, from 6-9PM.

If you only come to see one of our shows this year, come see this one, and see what develops when the power of narrative art is brought, for the first time, to the genre once segregated to the craft side of the arts and focused only to the vessel.

Details on the Art Walk here.

DC Arts Grant Recipients

Congrats to these artists, who were recently awarded an average of $4,700 as part of individual art awards by the DC Commission on the Arts and Humanities.

Trends in Contemporary Drawing

Next Thursday, November 17, from 7-9 pm, join the Arlington Arts Center for an evening of challenging definitions and preserving traditions as four leading artists and curators from the Washington, D.C. area discuss trends in contemporary drawing.

The latest AAC exhibition Drawing: Tradition & Innovation opens on November 15 and features diverse work by 21 artists from the Mid-Atlantic region. The roundtable is free of charge and open to the public.

Panelists are:

Margaret Boozer - Ms. Boozer is a contemporary sculptor whose work in clay exploits the natural occurrence of line as the material hardens. Her work is included in the collection of the Renwick Gallery of the Smithsonian American Art Museum and in many private collections. She was also an exhibiting artist in Seven. She is the director of Red Dirt Studio in Mt. Rainier, MD, and has been a visiting artist and lecturer at local and national institutions.

Richard Dana - Mr. Dana has exhibited his art extensively regionally, nationally and internationally. He has had over 16 solo exhibitions and participated in over 65 group exhibitions. Most recently, he has shown his work at the Pretoria Museum of Art in South Africa in June and at Tribes Gallery in New York in October and locally in Seven. Mr. Dana is a participating artist in Drawing: Tradition and Innovation.

Janis Goodman - Ms. Goodman is an Associate Professor at the Corcoran College of Art. She has received an NEA support grant and DC Commission on the Arts grants to individual artists. Her own work is deeply rooted in the traditions and extensions of the drawing process. For the past three years she has been a visual arts reviewer for WETA’s TV program Around Town,

Karey Kessler - A Washington, D.C. based artist, Ms. Kessler uses the tradition of mapping to underscore the organizing principles of line. Though based on the science of topography, her intimate drawings depict imagined, dream-like locales. Her work has been exhibited throughout the United States. She currently serves as Gallery Manager at the District of Columbia Arts Center (DCAC), and independently curates in the region regularly.

The evening, part of the AAC's Bridges to Contemporary Arts series, will be moderated by AAC Curator, Carol Lukitsch. For more information, contact AAC via email at info@arlingtonartscenter.org or by phone at 703.248.6800.

Montgomery County Local Cultural Policy Forum

What: "Cultural Policy at the Grassroots: The State of the Cultural Community in Montgomery County"

When: Thursday, November 17, 2005, 6:00-9:30 pm

Where: Room 204 Resource Center, Montgomery College, Takoma Park Campus, Takoma Park, MD.

The Center for Arts and Culture, a cultural policy think tank affiliated with George Mason University, the Arts and Humanities Council of Montgomery County, and Montgomery College will hold an evening forum for leaders of the cultural community, private supporters, and local government agencies.

The theme of the forum, "Cultural Policy at the Grassroots: The State of the Cultural Community in Montgomery County," will revisit the County Cultural Plan, now five years in action and focus on three primary issues: (1) individual artists and scholars, (2) partnerships, and (3) ethnic diversity.

The purpose of the forum is to discuss these issues with outside experts and move to a consensus on future action steps for the County. Local cultural leaders as well as speakers from outside of the Washington region will participate in moderated panel discussions. This event is a part of a series of cultural policy forums being held in the Washington region.

The forum is free and open to the public, however, seating is limited. For more information about this event or to RSVP, please contact Susie Leong at sleong@culturalpolicy.org.

More information about this project can be found at the Center’s website.

Need a job?

The Arlington Arts Center, a leading contemporary visual arts center located in Arlington, VA, is seeking a part time administrative coordinator. Responsibilities include maintaining database, keeping membership records, coordinating class registration, and organizing exhibition materials and artist applications. This position involves regular public interaction in person and on the phone.

An ideal candidate will be well-organized with an ability to work on different projects simultaneously. A working knowledge of all Microsoft Office Suite programs is essential (particularly Access and Excel), previous experience/internship in an arts organization desirable.

This is a 20-hour/week hourly position. Schedule is flexible, but some evenings and occasional Saturdays are required. Interested candidates should submit a cover letter and resume via fax to: 703-248-6849 or via e-mail at info@arlingtonartscenter.org. No phone calls, please.

Mid City Artists Open Studios

The next Mid City Artists Open Studios will be held this weekend (November 12 and 13). During Open Studios, many artist studios within walking distance of the Dupont/Logan Circles will be open for visitors.

I also hear that Wendy Rieger of NBC News will cover the Mid City Artists Open Studios on NEWS4 at 5pm, Friday and on Saturday morning. Watch for the newscast!

Details of the open studios here.

Airborne really early tomorrow morning and heading back home with a ton of stuff to post and discuss!

Galleries move to Saturday

The WaPo tells me that the reason for the move of the galleries column to Saturdays is that color is available on page two on Saturdays.

They also said that they "hope that one day we'll have a second galleries columnist, but that's currently on hold."

A new level

At the airport last night I pilfered a discarded Sunday WaPo and discovered that the Chief Art Critic of the WaPo now has a new category of artists: barely emerging!

As far as I can remember, artists have unfortunately been referred to as: emerging, mid-career and established. Even those terms are kind of silly, but make somewhat sense.

But in this mention of the current show at Curator's Office, Gopnik tags DC artist Kathryn Cornelius as a "barely emerging" artist.

As everyone else knows, Kathryn Cornelius has exhibited extensively in the DC area, (and most recently in NYC), was the subject of a profile in the Washington Post Express while she was sort of a leading arts activist student at Georgetown, and her work was recently acquired by the Heather and Tony Podesta collecting team at Seven.

Could we at least consider her an "emerging artist?" Methinks Kathryn passed this new "barely emerging" stage a while back.

Ahhh! the silly things we artsy folks argue about...

Tate is the word that we've heard (part II)

Last night I headed off to the Left Coast again, and I am now looking at the Pacific, but hope to be back in time for Tim Tate's opening of his third solo show with us. The opening is Friday, November 11, 2005 at Fraser Bethesda.

This show comes in the wake of two sold out earlier solo shows in 2003 in Georgetown and 2004 in Bethesda, as well as the immensely successful "Compelled by Content" show that Tate curated for us.

And in my obviously biased opinion, this promises to be the best exhibition yet by one of Washington's best-known artists and a leading and very involved member of our arts community.

Tate has absolutely been driven in creating new work for his show, probably because he's under extreme pressure as he's getting kicked out of the spaces that the Washington Glass School (of which Tate is the co-director) occupies. The School is being kicked out as part of the eminent domain scam that allows the city to kick out the people that they attracted to the neighborhood a few years ago, but that they now need to build a stadium for the Nats.

And Tate, who hates being called a "glass artist," nonetheless continues to break new ground (and a lot of glass in the process) by continuing to add and expand a new vocabulary to the glass genre: A vocabulary made of a narrative content that requires an understanding of what the artist wants to express.

In doing so, Tate has absolutely changed and refined his art and vision, a change that was first kindled by the death of his mother, which he expressed by an obsessive desire to create small, beautiful glass hearts, which have nothing to do with religion, but childhood memories of JFK imagery in his home and a receptacle for memory.

In another new series of glass slices that project from the walls, encased in steel, Tate offers us Cryptologic clues to events, influences, social and political statements, as well as the ever-present dialogue about disease and recovery.

Tate, who is HIV-positive, thus continues to incorporate his daily issue with HIV and AIDS into these works, some of which represent his own ideas of surviving the disease. In the wall glass slices, the narrative panels and the reliquaries, are hidden clues and figures that offer a constant desire for a cure that refuses to come into focus.

Don't miss this show. The opening reception is Friday, November 11 from 6-9PM at Fraser Bethesda.

Dupont Gallery Crawl

After finding a sweet Doris Day of a parking spot at 6:15PM in the usually next-to-impossible (to find a parking spot) Dupont Circle area, I visited a few galleries on Friday night.

First on the agenda was Wayne Gonzales at Conner. One can pretty much count on Leigh Conner for two things every month: to have a bright white newly painted space and to have a solid visual art show, with loads of interesting people always hanging about. And Wayne Gonzales did not dissappoint, as his exhibition showcases a few smart, sharp paintings done in the artist's trademark pointillist-like style that's a blend of Seurat, Lichtenstein and Gonzales.

Next we skipped over to Washington Printmakers, where I was not too taken by the current exhibition by Trudi Y. Ludwig. The work, while technically adequate, did not pique my interest for more than a few minutes. It's an otherwise lackluster show in a gallery known to showcase the best printmakers in our area.

Irvine Contemporary Art was the next stop, where I ran into Kristen Hileman from the Hirshhorn, and a pack of recent VCU graduates, including the fair and talented Alessandra Torres, who is currently working out of Brooklyn after her recent graduation from VCU. On exhibit were the elegant mixed media abstractions of Christine Kesler. I also had a chance to meet Irvine's new director, Heather Russell, who's already doing great things for this two-year-old gallery; congratulations to Prof. Irvine on his 2nd anniversary.

At Irvine I also ran into Kriston Capps, who pens Grammar Police, and Capps gave me a heads up on the show at JET Artworks, which he had quite liked.

I skipped a couple of galleries, as it was getting close to the last half hour or so, and headed directly to JET, where I discovered that Mr. Capps was quite on mark with his assessment of Peregrine Honig's Washington, DC debut: it ended up being the best show that I saw all night; a show titled: Albocracy.

At 29, the California-born artist already boasts an impressive resume, and in her DC debut at JET, was unfortunately (and erroneously) compared in her small WaPo review (scroll down) to the "back to basics" of Marcel Dzama, but with a "femeninist bent." I disagree completely.

In fact, Honig has little, if anything to do with the doodling Canadian artist, other than the fact that she also draws and colors her austere drawings, and that they both live in North America. This talented artist is both original and intelligent in her own work, which in this exhibition aligns with my latest interest: the marriage of art and text.

Honig creates a series of very delicate, sexy, and fragile drawings on paper, using a very sensual line, and sometimes a dab of watercolor. The power of the marriage of words to art come alive as she begings to title them, either in a delicate cursive, tiny writing style, or using an old typewriter to leave behind the nearly forgotten clumsy footprint of the typewriter key.

And she gives us titles like: "Opsomania. Obsession with sweet and delicacies" which depicts a delicate nude wearing nothing but shoes (which introduces an element of erotica into the drawing) and growing candies out of her body, where the sweets double visually as festering boils of gigantic proportions.

There's also Anthophobia (Fear of flowers), Ablutomania (Obsessive cleanliness), Tricophagus (Hair eater) and others in those unusual realms, including Albocracy, from which her exhibition derives its title.

Ms Honig writes:

"Albocracy – imbued with the hope of colorless rule. How quickly it flips, with the blink of one pink eye, to a white ruling class. Purity becomes purification. In the moment in between, there is a pale-skinned pink-eyed fragile beauty. White wig and glove, pearls and lace, a flawless virtue, until she is made to rule."

According to JET, this series of drawings "illustrates the flux of language and art, exploring unusual phobias, manias, and social structures. The drawings case rare fears and sexual obsessions in Honig’s highly stylized figurative work. Her small scale works on paper offer the intimacy of children’s book illustrations with unnerving themes and complex and tragic neuroses."

What Honig has done, and done surperbly well, is to flex intelligent artistic muscles to show us the immense power of art and words to deliver ideas and thoughts and fears and obsessions. And they are not be segregated as femeninist creations just because she's a woman, but artwork, period, because she's a talented and innovative artist, perhaps standing on the shoulders of great artists (certainly not Dzama), but adding to the contemporary dialogue in her own unique voice.

WaPo's rare Saturday treat

Update: I must have missed it last Thursday, but the WaPo announced that the "Galleries" column would be moving to Saturdays. I wonder is the column will also now review galleries and museums.

Jessica Dawson reviews a NYC and a Baltimore show in yesterday's WaPo. Read the review here.

Secret Number Two

Nothing like amazing success to make one's critics eat crow.

Who's got the second highest ranked BLOG in the entire world wide web?

None other than our own Frank Warren!

And the hardcover book by Frank Warren based on the phenomenal PostSecret project started by Frank at the last Art-O-Matic is being released November 29, 2005.

The PostSecret Book, "PostSecret: Extraordinary Confessions from Ordinary Lives," is now available from Amazon.

Pre-order the book here.

And next December 15, 2005 through January 8, 2006, the WPA\C presents Post Secrets.

Opening Reception: Thursday, December 15, 2005 from 6-10pm
Fundraiser: Wednesday, December 14 from 6-10pm for Kristin Brooks Hope Center ($10 suggested donation)
Location: Former Georgetown Staples Store, 3307 M Street, NW, Washington, DC 20007
Exhibition Hours: Wed, Thurs, Fri 6-10pm, Sat & Sun 2-10pm

Peregrine Honig

Went out gallery hopping yesterday, as it was the perfect autumn Friday for it, and the Dupont Circle galleries had their usual first Friday gallery openings going on.

The best show that I saw on the night were the terrific drawings by Peregrine Honig at JET Artworks. I will return to this young artist next week if I have time, but let me say right now that her original drawings, going for under $1000 each, are a steal for such a young artist already in the collection of the Whitney and the NMWA. The exhibition runs through Nov. 13, 2005.

Unlocked

Unlocked: Open Exhibition 2005, juried by Andrea Pollan, and presented by The Arts Council of Fairfax County through December 2, 2005 at the Verizon Gallery of the Northern Virginia Community College. The openingr reception is next Thursday November 10, 2005, 7:00 - 9:00 pm with Pollan's remarks at 7:45PM.

I juried this show a few years ago, and if you haven't been to this gallery, it is a nice space in the heart of Annandale.

Verizon Gallery
Ernst Community Cultural Center
NVCC Annandale
8333 Little River Turnpike
Annandale, VA 22203

Opening Reception:
Thursday, November 10, 2005
7:00 - 9:00 pm
juror's remarks
7:45 pm

Gallery Hours:
Monday to Friday 9am to 5pm

Artists featured: Aldo Becci, Saul Becker, Craig Cahoon, Naomi Chung, John Cleary, Sandi Croan, Heidi Fowler, Pat Goslee, Gwendolyn Graine, Josephine Haden, Linda Hesh, Blair Jackson, Ian Jehle, Karey Ellen Kessler, Susan LaMont,Amy Lin, Rita Ludden, Betty MacDonald, Tyler Mallory, LaRinda Meinburg, Michele Montalbano, Heidi Neff, Erin Root, Ben Tolman, and Elena Volkova.

O'Sullivan on Neel

Michael O'Sullivan delivers a really good review of Alice Neel's current exhibition at the NMWA.

Read it here.

One of the paintings in the exhibition is of our own Lida Moser, who posed for Neel four times (one of the portraits is at the Met in NYC), and who traded Neel paintings for slides of Neel's work so that she could send them to NYC galleries as Neel seeked a place to show her work. Apparently Neel was on welfare and traded Moser paintings for the documentation of her work.

Two of the paintings discussed by O'Sullivan are shown in the portrait of Neel by Moser displayed to the left.

Alice Neel and Lida Moser were apparently really close friends and Lida has a million stories about Alice, especially the tremendous resentment that Neel faced once she began to gather some recognition. The resentment came from the then popular male abstract painters who were in vogue, and who resented Alice's success because she was a woman and a representational painter.

Several photographic portraits of Neel by Moser are in the permanent collection of the National Portrait Gallery.