New blog

Area artist Pamela Miller has a new blog. Visit often.

Uncertainty at the Hirshhorn

A few days ago I received a news release announcing that this fall the Hirshhorn Museum and Sculpture Garden will dedicate the entire second floor of the museum to an exploration of sculpture.

On view from Oct. 26 to Jan. 7, 2007, "The Uncertainty of Objects and Ideas: Recent Sculpture" features the works of nine "influential and emerging international sculptors."

This begs the question: can an artist be "emerging" and already be "influential"?

And where does that leave Kathryn Cornelius? After all, according to the WaPo's Chief Art critic, she's only "barely emerging."

The nine emerging sculptors are:

Andrea Cohen (born 1970, American, lives in Brooklyn)
Björn Dahelm (born 1974, German, lives in Berlin)
Isa Genzken's (born 1948, German, lives in Berlin)
Mark Handforth's (born 1966, British, lives in Miami)
Rachel Harrison (born 1966, American, lives in Brooklyn)
Evan Holloway's (born 1967, American, lives in Los Angeles)
Charles Long's (born 1958, American, lives in Los Angeles)
Mindy Shapero's (born 1974, American, lives in Los Angeles)
Franz West (born 1947, Austrian, lives in Vienna)

Each artist will be represented by several pieces, while three of the artists — Rachel Harrison, Evan Holloway and Charles Long — also have been invited to select and create installations of sculptural works from the Hirshhorn's collection in galleries adjacent to the exhibition.

"There is a pronounced psychological dimension to these works, which appear by turns lively and poetic, abundant and controlled, vulnerable and solid, chaotic and composed, ordinary and exceptional," says Associate Curator, the fair Anne Ellegood, organizer of the exhibition.

According to the news release, the exhibition "examines the ways in which the artists respond to the history of modern sculpture and their efforts to create forms inspired by challenging, often elusive concepts. The exhibition propels this exploration firmly into the 21st century with these artists' shared commitment to the study of sculpture as a medium and to creating freestanding, autonomous forms made from a variety of traditional and unexpected materials. Despite their physicality, these sculptures lie somewhere between an object and an idea—offering insight into how sculpture can challenge and expand our understanding of the world around us."

While I applaud that the museum is (finally) looking to bring to light some emerging artists, I wish that Ms. Ellegood would have also at least looked into her own local art scene to try to pick a DC area emerging artist to include in this exhibition.

Perhaps promoting Cornelius from "barely emerging" to "emerging" in the process!

Pennsylvanianing

Today I closed on a new house in PA (always an event somewhat comparable to a root canal), and on the way there I took a van-load of fragile stuff to deliver to the new house, because I don't trust the movers with it.

And in the process I managed to break the glass on the framed Gene Davis charcoal drawing, and drop the framed Vija Celmins drawing, all but destroying the frame, while hoping that the drawing survived.

And I packed the Frank Frazetta oil wrong, and put a dimple on the back of the canvas (but I know how to fix that).

Everything else made it OK, althought I still have no idea (from the last move) where my Ana Mendieta drawing is.

Is that enough name dropping? Oy vey! Still have loads of art to move.

Now I just gotta sell my Potomac house... it has been reduced by $85,000! Buy it here (Mention DC Art News and get a $10,000 discount).

Walter the Ripper?

Crime writer Patricia Cornwell (who I think used to live in Richmond?) will apparently donate 82 works by the artist Walter Sickert to the Fogg Art Museum.

This art collection, worth millions of dollars, was acquired by Cornwell while she was researching and writing Portrait of a Killer.

That book (and the 60 Minutes special) concluded that Sickert was Jack the Ripper.

Cornwell used the visual clues left by Sickert in his paintings to follow a rather convincing trail that led to a very convincing reasoning that deduced that Sickert was the Ripper.

USA Today

Maria Puente at USA Today has a story about artists who are selling their work through blogs and the Internet, and they profile Duane Kaiser.

Puente writes:

"...artist/bloggers such as Keiser are democratizing the art world, using the Internet to change the making and selling of art. Dealers and galleries, who command 50% commissions, no longer have exclusive control in defining who is emerging or successful.

Now artists can sell directly to consumers, using blogs or auction sites at prices more affordable to would-be collectors. The result: More people are making a living as artists, more people are buying art, and more art is selling at a wider spectrum of prices."

Sounds like another blow to art elitists, hey? (Did I sound Canadian?).

And here's my prediction: Sometime in the not too distant future, a major newspaper somewhere (not the WaPo or the WashTimes) will hire a freelance art critic whose job will be to write art reviews of online exhibitions and/or online artists. It may already be happening somewhere (someone let me know), but I wouldn't be surprised to see (for example) a newspaper such as the Washington City Paper start devoting a monthly column to review online art exhibitions or artists - in addition to their current coverage of museum and gallery shows (CP, call me).

Smithsonianing

Two things related to the Smithsonian.

First: At the Smithsonian Institution, they’re working to connect people interested in the art through their online newsletter, Smithsonian Focus. We probably share much of the same audience and I think that DC Art News readers might like to know about upcoming Smithsonian exhibits, events on the National Mall and beyond, exciting online exhibitions, and more. It’s a wonderful resource for anyone who is interested in the arts, science, history, and the world around them. You can check it out here.

Second: A lot of online writing has been done about the Smithsonian, its condition, status, etc. Bailey has an opinion on the subject, and as usual it is... well Bailey. Read it here.

Silverthorne on my last show at Fraser

A while back Alexandra Silverthorne did a cool photoreview of my last exhibition with the Fraser Gallery.

See it here.

And a reader also pointed out to me that the Washington Post had done a small piece on the show as well. See that here.

Another voice

Read this Matthew Langley posting.

Me too!

Me

In the video "Me," artist Ahree Lee began taking daily digital snapshots of her own face in 2001 and did so on a daily basis all through 2004.

In 2004, Lee compiled all of her daily images into a montage set to a musical score, where each second of screen time represents about one week's worth of pictures.

See it here.

International Landscape Show at the Art League

A lot of art critics, because of their perplexing arrogance, would never open their eyes to an All-Landscape show such as the Art League’s annual International Landscape Show has been year after year for as long as I have lived in this area.

And yet the eternal optimist in me, often wonders what would happen were they to set foot in the salon-style packed house that is the Art League’s annual show; hoping that perhaps a little of their elitist armor could be breached, and they would see, what I see.

For the last 13 years or so, I have been visiting this show, and have seen it become international in focus, and have also seen it grow in both size and quality, but the one things that has never changed in my perception of it, is how artists continue to bring forth new visions of what is landscape, or re-invent the perceptions of what others have done before them.

The 2006 version of the International Landscape Show at the Art League was selected by Mark Leithauser, the Senior Curator and Chief of Design at the National Gallery of Art, who selected 178 works of art from 708 entered. The exhibition was sponsored by Donald and Nancy deLanski with the deLaski Family Award, which was given this year to Kim Steinberg. Other award winners were Thomas Dembeck, who won the Risser Award, Christine Lassey, who won the Potomac Valley Watercolorists Award and Nancy Reinke, who won the Washington Society of Landscape Painters Award.

So what did I like?

I was quite taken by Edgar Boshart’s very blue photograph "Sur Surreal", which caught my eye from the moment I set foot in the gallery. As defined in our collective minds by Ansel Adams, this photo is very far from what we conceive in our collective minds as Big Sur, and yet it is such a great new vision of that amazing California area that we accept it as a new and distinct contemporary vision of Big Sur.

I also liked Christine Cardellino’s tiny diptych titled “Landscape with Red Shadows,” and Michelle Cook’s even tinier watercolor “Snowy,” which I feel, in spite of its size, is one of the best watercolors in the show, reflecting the medium’s ability to make great visual record regardless of size.

Andrea Gettings' etching “Como” was also one of my top choices, as was perennial favorite Susan Herron’s “Tilghman Island,” a powerful acrylic painting by one of the best landscape artists in the Mid Atlantic.

Turkish-born painter (and Alexandria resident) Isil Ozisik proudly flexes his artistic muscles and has masterfully reproduced his native city in a wet-on-wet watercolor titled “My City Istanbul,” which is a lesson to watercolor artists who want to know to what extent that most difficult watercolor technique can be used by a master watercolorist not only to deliver technical tricks but also to capture the soul and historical footprint of an ancient and proud city.

I have previously called Jackie Saunders one of the best figurative artists around, and that title comes after years of seeing her amazing watercolors and ink drawings of the nude mode, hundreds, if not thousands of them; I mean, this artist has the nude figure figured out from all angles, and through years of doing them, has perfected her approach and yet has kept it fresh and exciting. And what is Saunders doing in a landscape show? I love it when I am surprised by an artist whom I thought I had figured out. And Saunders surprised me with "Lido Beach, Sarasota," a watercolor of that beach.

I happened to run into Saunders at the Art League while I was there and I quizzed her on the subject matter of the watercolor, which was a really fresh and loose and fun watercolor of beach people. She informed me that for years, when she goes to the beach with her family on vacation, she paints the beaches and its browning people.

Typical uh? The artist goes to the beach and paints the beach, because the beach is there. The watercolor is one of the best in the show, by the way.

Finally, I also liked Pamela Viola’s “North Shore Inlet,” a mixed media piece full of movement and a gorgeous watercolor and gouache by J. Smith titled “Chalmette Oaks,” which was unfortunately vastly overpriced.

The show runs through September 4, 2006.

Linkmania

I'm not really sure what the cause is (perhaps it was the TV story last week), but suddenly today, according to Technorati, DC Art News has links to it from over 500 blogs around the world, making it the 3,370th highest ranked blog on the planet, not bad considering that Technorati is currently tracking 51.8 million blogs.

Woohoo! First time that DC Art News has broken into the 4-digit ranking neighborhood. Not sure how long this will last, as these "rankings" tends to float up and down quite prodigiously.

Still a long way from PostSecret's amazing 11,659 blogs that link to Frank Warren's wondrous blog, but if I may toot my own horn, methinks (at least for the day), way ahead of any other DC area based arts blog.

And it's all still just about the Greater DC area visual art scene.

If you don't get it, you don't get it.

All Members Show at Multiple Exposures Gallery

Last week I found my way to Multiple Exposures Gallery on the second floor of the Torpedo Factory, to see their All-Member Show, juried this month by Matt Mendelsohn.

I was immediately attracted to a photograph by Peggy Fleming titled "Pam Taylor," which shows a view of (I assume) Pam’s toes floating from the edge of her tub, securing in my mind the vision of Frida Kahlo’s “What the Water has Given Me.” As a card-carrying Kahlophile since 1977, it was a winner for me.

Danny Conant’s pigment print "Tower in the Clouds" and "Trees and Water," as well as Grace Taylor’s "Japan" and Barbara Southworth’s “Downstream” complete the usual well-balanced and superb show that is part of the exhibition tradition that has made Multiple Exposures (formerly Factory Photoworks, which I liked better as a gallery name) one of the best stops for high quality fine arts photography in the Mid Atlantic.

The show runs through August.

Arts Commission Display Racks

The DC Commission on the Arts and Humanities has two large display racks that they "display" outside their office building on 8th Street NW. They get a great deal of foot traffic as people go to lunch and walk to work. People are always checking the rack out and grabbing any brochures or postcards about upcoming arts activities.

The DC Commission on the Arts and Humanities will gladly display any brochures or promotional materials that you have for upcoming projects. If you are interested, please deliver the materials to the DC Arts Commission offices at 410 8th Street NW, 5th floor, Washington DC, 20004 to the attention of Jose Dominguez. Deadline for drop off of materials is September 8th.

Visions from Russia at Target Gallery

A few days ago I visited the Target Gallery in Old Town Alexandria to see the current "Visions from Russia" exhibition, and while there I chatted briefly with the gallery’s new director Mary Cook: welcome to the job Mary!

The exhibition itself includes work by Iskander Ulumbekov, Vladimir Zorin, Yuri Bondarenko, and Evgeni Vereschagin.

Over the last few years I have been lucky to have been exposed to the work of many gifted Russian and former Soviet Empire artists through Georgetown’s Alla Rogers Gallery, which focuses a lot of their exhibitions upon artists from that part of the world, and it never ceases to amaze me how these diverse lands offer so many gifted artists and refreshing visions.

There's no doubt that the rigid approach to teaching employed by former Communist countries, when applied to art produces technically-gifted artists who truly know how to execute and push their medium to whatever limits technical skill can offer. This is a skill often lacking from most American art schools, not all, but most. And so, most of these artists are superbly technically gifted - there's no question about that.

Having said that, "Visions from Russia" was slightly disappointing to me, as most of the work was so firmly anchored on a traditional view of the subject matter, that it colored the entire exhibition under a sort of a dated sense of painting (which most of the pieces are, except for a few nice bronzes).

And yet there were some standouts in the show.

Two pieces from Iskander Ulumbekov are as far away from traditional Russian painting as they can be, and suddenly offer a bridge to a somewhat surreality of contemporary ironic-ism that makes them stand out in my opinion.

Let me tell you why.

In both “Morning in the Forest” and “Evening in the Forest,” Ulumbekov has produced two very traditional and somewhat 18th century-looking landscape paintings, even to the dark tonality and hue to the paint. Except that he has introduced two most unusual characters into the middle of these paintings: in one there’s an almost Romantic Mickey Mouse (I almost want to call him Sir Michael Rodent, as he seems almost like an English gentleman strolling through his private forest in a Landseer painting) and in the other a cute (and huge) Teddy bear.

It is such a contradiction of visual references, that makes these two pieces stand out from the rest of the works, much like a Ron English painting of the same subject would do in the middle of a Vermeer retrospective.

The exhibition runs through August 27, 2006.

Fine Art Adoptions

NYC Artist Adam Simon has come up with a brilliant idea in the Fine Art Adoption Network (FAAN). This idea, and this effort, is precisely what we need more of!

Per the site's main page:

FAAN is an online network, which uses a gift economy to connect artists and potential collectors. All of the artworks on view are available for adoption. This means acquiring an artwork without purchasing it, through an arrangement between the artist and collector. Our goal is to help increase and diversify the population of art owners and to offer artists new means for engaging their audience.

So far, Transformer is the only DC area arts venue "collaborator" that I recognize (and the site is a little fuzzy as to exactly how a collaborator participates, or is made a collaborator, etc.), but I see great things in the future for this effort and idea, and even some potential collaborators in our area!

The artists in the project are so far mostly New York artists, with one notable local exception.

Styling

Today's WP has a really good piece by Jessica Dawson on the Ledelle Moe's heads installed at the 14th and Church streets NW empty storefront. Dawson writes:

This street-level exhibition is the blessing of a sluggish economy. Metropolis Development Corp., owner of the storefront and the condo building encasing it, awaits a retail tenant for the space. Until then, Moe's installation, certainly one of her most effective to date, serves the Metropolis brand.

A signal of aspiration and good taste, art provides Metropolis -- the firm behind a handful of brand-new, loft-style condominium buildings around the intersection of 14th and P streets NW -- with a strategic dose of cachet. John Grimberg, a consultant to Metropolis and the man who suggested installing art in the storefront, says the impromptu exhibition helps Metropolis remain on the neighborhood radar. Grimberg says the company's aim was "to use the space to create a presence" for the firm's brand. As Grimberg phrased it, showing art is "in keeping with the Metropolis aesthetic."

More than just a review, this piece is more like a really good art column on this installation, the artist and the landlord.

Read the column here.

P.S. to Dawson: What "sluggish economy?" Read the financial section once in a while.

Elsewhere in Style, Lavanya Ramanathan, who likes to use the imperial "we" in writing (and I sorta, kinda like that)... ah, writes:

The sentiment behind all the exhibitions of recent grads' work this summer is not lost on us: Forward-looking, progressive galleries that recognize fresh viewpoints and encourage local artists make up the bedrock of the arts.

But we have to admit, we've been nearly glassy-eyed trying to make sense of the wide range of voices -- and talent -- represented.

From some shows, including Irvine Contemporary's "Introductions 2" (bachelor's and master's grads), we've been able to embrace only a piece or two. Is it that the rest weren't any good? Not at all. It's just that few were able to rise above the yard-sale curation.

Lavanya Ramanathan!

Yard-sale curation! Harsh words to use in describing a show by one of our top area galleries.

At first I was a little shocked at the description (and I haven't seen this show yet, but I will next week), and then I realized that we should applaud Lavanya Ramanathan for using tough, passionate opinion in writing about art instead of the usual wishy-washy art writing that we've all become used to. I do however, also hope that Lavanya Ramanathan will use equally strong positive adjectives and passion when the artwork or show in question deserves it from Lavanya Ramanathan's perspective and opinion.

Lavanya Ramanathan also reviews "15 Minutes" at Project 4 in the column. For a different perspective on "Introductions 2," read Jeffry Cudlin's review in the CP here.

And it is a good thing to see a different WaPo writer writing about our galleries once in a while.

PS #2 - The other current show of students and recent grads, Academy 2006 at Conner Contemporary, also gets pommeled by Kriston Capps in the CP. Read that review here.

Dutch Treat

The Royal Embassy of the Netherlands is planning an exhibition of photographs and paintings of New Orleans to commemorate the anniversary of Hurricane Katrina. The exhibition will open next week in the rotunda of the Russell Senate Office Building.

The exhibition, titled "Seeing is believing, Seeing is Healing," includes works from artists Marsha Ercegovic, Elizabeth Kleinveld and David Rae Morris, who documented the suffering and determination of the hurricane survivors. The exhibition runs from Aug. 21 through Sept. 1.

The Netherlands sent a frigate to help in hurricane relief efforts last year and arranged for Dutch specialists to visit the city to give advice on rebuilding the levees. With much of the Netherlands below sea level, the Dutch have a long history of holding back the sea and fighting floods.

Florida Gallery Seeking Exhibition Proposals

The Downstairs Gallery in Melbourne, Florida is seeking proposals from all 2-D and 3-D artists, for exhibitions for Oct 2006, and for Jan, Mar, and May 2007. No entry fee.

Contact Renee Decator at decatjr@aol.com.

New Gallery Looking for Director

Long View Gallery has just opened a new space at 1302 Ninth Street NW, Washington DC 20001,(202) 232-4788 and they are looking for both a gallery director and a gallery assistant.

This is the second location for the gallery, as they have another gallery in Sperryville, Virginia. Compensation is base salary plus commission. Please send resume and salary history to william_waybourn@longviewgallery.com or via fax at 202-318-1173.

Welcome to DC!

Cloaca Poop

When a DC Art News reader sent me a link that then led to this site, at first I though that it was a joke.

It isn't.

Belgian artist Wim Delvoye has created a machine that reproduces the series of organic events that takes place in the human digestive system when a person eats, starting from swallowing the food via the mouth to discarding the fecal matter through your rear orifice.

Delvoye calls his machine the Cloaca.

He feeds the Cloaca ordinary food and eventually shit comes out from the other end. This Cloaca shit is then wrapped in plastic and sold to "art collectors."

And according to the Cloaca website, the shit is sold out! And the "remaining 100 feces have been held back for future capitalisation [sic]."

See the machine(s) here. Note that a couple of the shitmakingmachine logos are certainly within striking range of a lawsuit from Coke or Mr. Clean.

Update: Last year Charles Downey in Ionarts had this terrific piece on Delvoye and the machine and other projects, including the translation of an informative interview with the artist.