Wanna go to an opening in DC tonight?

New ceramic pieces by Howard graduate Tricia Bishop - this will be her first show in her old neighborhood! - And new works by DC area painter Sandra Warren Gobar (who is a faculty member of both the Smithsonian Institution and the Corcoran College of Art & Design) opens tonight at the new Longview Gallery in DC. The artists' reception is on Thursday, October 26, from 5-8pm.

Swamped

Back from New Mexico and New Hampshire and new wife, and swamped with work and emails. I will be posting often today and in the next few days, so keep checking!

P.S. Check out Alexandra's photographs of New Hampshire here.

Airborne today and heading back home from New Hampshire, where the leaf peepers abound.

Factory Work: Warhol, Wyeth and Basquiat

The Brandywine River Museum in Chadds Ford, Pennsylvania, by virtue of its gorgeous countryside location, is worlds apart from the typical urban setting where we expect to find a fine arts museum, and exists in an almost make-believe part of America that has been made famous by the Wyeth family of artists for the last three generations.

Currently on exhibition through November 19, 2006 is Factory Work: Warhol, Wyeth and Basquiat, an eye-opening exhibition that should cement firmly the artistic footprint of the youngest of the two active Wyeth artists: Jamie Wyeth.

Jamie Wyeth (born 1946) and Jean-Michel Basquiat (born 1960 and died 1988) were both young, successful artists with substantial reputations of their own, when Warhol invited them (Wyeth in the 70s and Basquiat in the 80s) to join him in New York and paint with Warhol’s at the Factory, Warhol’s famous New York studio.

Jamie Wyeth is the son of realist painter and American art icon Andrew Wyeth, and the grandson of illustrator N.C. Wyeth (and all three of the Wyeth’s share other salons in the museum). But while Andrew Wyeth and his father are well-known names in the iconography of American art, Jamie has somewhat been unfairly dismissed by the postmodernists and the usual town criers always screaming about the "death of painting," and Jamie Wyeth, above it all, is a painter in the most powerful and solid of all painting traditions.

The current exhibition at the Brandywine River Museum showcases and documents the results of Wyeth’s long and fruitful association with Warhol and also Warhol’s subsequent and similar association with Basquiat.

The Wyeth-Warhol relationship was a close one. The two shopped for antiques and taxidermy specimens together, attended art exhibition and gallery openings, and exchanged ideas and traded influences. Warhol also visited Wyeth's farm in Chadds Ford, several times and in fact documented one of these visits in his published diaries.

Furthermore, and perhaps the most interesting part of the exhibition, Warhol and Wyeth painted each other's portraits, as later did Basquiat and Warhol. It is in these portraits that we discover a close, even intimate (in a friendship way) relationship between these artists.

When I was visiting the museum, I was lucky to run into the fair Victoria Wyeth, grandaughter of Andrew and niece to Jamie. Through her, as she walked through the museum and talked about her talented family, some intimate insights into her uncle's relationship and influence from and to Andy Warhol was revealed.

30 years ago, a journalist referred to the 1976 exhibition of the Wyeth and Warhol portraits at the Coe Kerr Gallery in New York City as "The Patriarch of Pop Paints the Prince of Realism." Famed art critic Hilton Kramer referred to these same portraits as "an all male version of Beauty and the Beast."

And it is one of these portraits of Warhol by Wyeth ("Portrait of Andy Warhol," 1976, and presumably Kramer’s "beast") that really stands out as a unique insight into an artist whose face is perhaps second only to Frida Kahlo’s in the recognition factor among the artworld’s portraiture consciousness.

Wyeth has said about this portrait that Warhol’s "whole thing of absorbing everything, of recording – turning yourself into a sort of tape recorder – that appealed to me... Our work was diametrically opposite. But I loved the idea that he was a recorder. And I styled myself after it... And then I selfishly wanted to record him and paint every pimple that he had on his face. And he let me."

While I was at the museum, it was this portrait of Warhol that attracted the most attention, even from a visiting self-proclaimed Warholite, who told me that she had come to the exhibition just to see it (the painting is owned by the Cheekwood Museum of Art in Nashville).

It captures the illusion of Warhol as only a master portrait artist can, somewhat dazed and fragile, looking much as if Warhol had aimed his famed 16mm camera onto himself. This is Wyeth at his most spectacular, in full control of unbelievable genetic technical skills that were evident at a tender age (he had his first New York gallery show at the age of 20).

These early skills are seen at the exhibition in his "Portrait of Shorty" done in 1963 when Wyeth was 17, and a portrait of President Kennedy done four years later that apparently was applauded by his widowed wife but disliked by the Kennedy clan for it showed JFK as a worried leader biting his fingernails, as Kennedy did when under stress. The portrait former president John F. Kennedy was exhibited at the Coe Kerr Gallery in 1974 and in the catalogue for that exhibition, Ted Stebbins (now Director of the Boston Museum of Fine Arts), wrote that "James Wyeth is a genuine master of the portrait . . . at twenty eight he has reached artistic maturity."

Eighteen years his senior, Andy Warhol’s portraits of Wyeth are part of Warhol’s signature pieces: one is a projected line drawing done mechanically from Warhol’s Polaroid camera and the second a paint and silkscreen ink on canvas painting.

They depict Wyeth as a dreamy-eyed, handsome male prototype, a depiction that Warhol would revisit years later with Basquiat. In the drawings, Wyeth's lips are visited often by Warhol's pencil, delineating every line and crevice. "Jamie is just as cute in New York as he is in Chadds Ford," said Warhol in 1976, "and what I hope to reveal in the portrait is Jamie’s cuteness."

If Jamie Wyeth’s artwork was "diametrically opposite" to that of Warhol, it exists on another art history universe from that of art school icon Jean-Michel Basquiat.

New Yorker Jean-Michel Basquiat was the son of New York Rican and Haitian parents, and his aggressive graffiti slogans had entertained the New York art world in the late 70’s while pissing off the most other New Yorkers who were sick and tired of the thousands of graffiti "artists" (such as me actually - my "canvasses" were the subway cars of the LL train from Brooklyn and the 7 train in Queens, both of which I took daily to go to High School) who roamed the streets and subways of the seven boroughs. Like Wyeth, he experienced early gallery success and had his first one-man show in Italy in 1981, also at the age of 20.

Basquiat was a determined and ambitious teenager who was a product of the 80’s and who sought out Warhol (according to the museum's press release), "not so much to learn about painting, but to learn how to become a celebrity."

According to art historian Robert Rosenblum, Basquiat was a "crazy kid from Brooklyn who... began his meteoric career by raucously embracing a counter-cultural life, living in public parks, selling painted T-shirts on the street, spraying graffiti on city walls, succumbing to cocaine and heroin, and using a garbage-can lid as his painter's palette."

Warhol and Basquiat, like Warhol and Wyeth a decade earlier, painted each other's portraits and collaborated on a series of paintings that were exhibited in 1985.

Basquiat tried Warhol's silk-screen techniques, and Warhol created an "oxidation" (copper metal powder, Liquitex acrylics, and urine) portrait of Basquiat. In this process, Warhol mix copper pigment with water and gesso and apply it to canvas. He would then pee onto this wet paint, and the urine would react with the copper to make it change colors. Once dried, Warhol would silkscreen the image onto the oxidized canvas.

Still a developing artist (his painting career only spanned seven years), Basquiat died of a drug overdose a year after Warhol's unexpected death in 1987. According to Paige Powell, Warhol’s assistant who dated Basquiat, "Warhol provided fatherly advice" and Basquiat learned "how to be a professional artist, how to be a business person, how to schmooze the collectors and hold the line with the dealers."

In Basquiat’s "Sketch of Andy Warhol" (1983-84), he captures a shocking view of Warhol, exposing him – in a completely different visual representation, but identical artistic insight – much like Wyeth had done in 1976. Robert Rosenblum notes in the exhibition’s catalog essay that "Warhol must also have been attracted, in a masochistic way, to the shocking candor of both Wyeth’s and Basquiat’s portraits of him."

In addition to the artwork, the exhibition is rich in peripheral materials (photographs, magazines, videos, and even Basquiat’s famed garbage-can lid palette) supporting the relationship between Warhol and the younger artists.

While both Warhol and Basquiat met unfortunate and early deaths, Jamie Wyeth continues to create works saluting his relationship with Warhol. Wyeth's The Wind (1999) is a modern interpretation of a post-Pre-Raphaelite painting owned by Warhol. Factory Lunch (2004) depicts Warhol at the Factory, and Fred Hughes (2005) captures Warhol with his ever-present tape recorder and his business manager.

The exhibition was curated by Dr. Joyce Hill Stoner, who is an art historian, paintings conservator and Director of the Preservation Studies Doctoral Program at the University of Delaware. It runs through Nov. 19 and then it will travel to the Marion Koogler McNay Art Museum in San Antonio, Texas, from January 16 to April 8, 2007, and the Farnsworth Art Museum in Rockland, Maine, from May 6 to August 26, 2007. Unfortunately it is currently not scheduled for any Greater DC area museum, where I think it would be a resounding success and open some curious minds to react on the association of these three creative artists. In fact, I think that this exhibition, with its important documentation of two significant artistic crossroads, should be picked up by museums and venues at all of our major art markets. It would not only be a good thing for our art students, but also for our public, and even for our penny-pinching museum administrators looking for an important exhibition that is also of interest to the general public and to American art historians.

Located on U.S. Route 1 in Chadds Ford, Pennsylvania, the Brandywine River Museum is open daily, 9:30 a.m. to 4:30 p.m., except Christmas Day. Admission is $8 for adults; $5 for seniors ages 65 and over, students with I.D., and children; and free for children under six and Brandywine Conservancy members. For more information, call 610-388-2700 or visit the museum's website at www.brandywinemuseum.org.

Another Great Santa Fe Gallery Discovery

Strolled into the Lew Allen Contemporary gallery in Old Town Santa Fe and was pleasantly surprised not only to find the kind of artwork that is seeting Santa Fe apart as a key spot on the world art scene, but also an amazing and beautiful space.

The gallery is set on two levels, each one of which could swallow most of the Mid Atlantic's largest galleries.

On exhibition on the ground floor gallery was work by Jean Arnold, Ben Aronson, Daniel Morper in a really tight show entitled "Arnold/Aronson/Morper: Cities Different" and because it offered three distinctly different visions and takes of urban landscapes, it immediately appealed to me.

These three artists each has a singularly distinctive approach to depicting the urban settings that attracts their attention, and they have been placed together in a very strong show that manages to sew together their visions into a memorable tapestry of urban art.

Lew Allen Contemporary has so far impressed me the most in this short visit, but more later!

SITE Santa Fe

Today I'll be exploring SITE Santa Fe's Sixth International Biennial: Still Points of the Turning World curated by Klaus Ottmann.

Santa Fe

In my first visit to Santa Fe, New Mexico, a couple of quick impressions (lots more to follow later):

- At around 70,000 people, Santa Fe is a lot smaller that I imagined.

- It is a charming and beautiful place, and Gerald Peters deserves a lot, in fact most of the credit, for turning this amazing place from a little town full of "cayote" art spaces into the third largest art market in the world.

- There are a lot of art galleries here, at least 500% more that I had imagined.

- There are a lot of art galleries here that still deal in "coyote" art, but I am told by a couple of local art dealers that met with me yesterday that there's an equal huge number of galleries that offer good contemporary art in all the other genres.

- One of the good ones that I discovered yesterday was Chiaroscuro. More on them later.

- Loads of good restaurants as well. Last night had exceptional nopal leaves and carnitas and great live music at Los Mayas.

Church Rock

Is where I got married today! See the Rock here.

Airborne today and heading West to New Mexico. I'll be back Monday night but then leaving immediately for New Hampshire!

I'll try to continue to post, so keep checking!

Gould makes her CP debut and Rousseau nails FeBland

I am in New Mexico... but back in the DC area:

Jessica Gould makes her WCP debut with a really nice piece on the new Wilson Building Art Collection, in Washington, DC making an excellent subtle point on the lack of nudity in American (not just the Wilson's) public art. Read her colum here.

DC's other large public art collection (at the Washington Convention Center), as far as I recall, does not have a single nude in its roster, and precious few figurative works.

This new collection at the Wilson Building is the closest that we now have to a "DC Artists Collection" and curator Sondra Arkin deserves a lot of kudos for her hard work in putting it together.

In the Gazette (which is owned by the Washington Post), Dr. Claudia Rousseau reviews David FeBland's fourth solo at Fraser Gallery.

FeBland's is Fraser's best-selling artist, but that success has not come without a lot of hardwork from FeBland himself. Not only from an enviable work ethic, but also from a very savvy approach to the artworld.

Path of Escape by David FeBland

Gehry for Philly

The Philadelphia Museum of Art today announced its selection of Frank O. Gehry as architect for a 10-year master plan to "dramatically expand the Museum."

According to the news release, "In a departure from the sculptural buildings for which the architect is best known, Gehrys challenge at the Philadelphia Museum of Art will be to create dynamic new spaces for art and visitors alike without disturbing the classic exterior of a building that is already a defining landmark in Philadelphia. The project will add expansive new galleries for contemporary art and special exhibitions by excavating under the Museums east terrace on the hill of Fairmount, and will renovate the Museums existing interiors to create additional space for the display of its renowned collections. A total of 80,000 square feet of new public spacea 60 % increase is anticipated."

At the Board of Trustees meeting today, H. F. "Gerry" Lenfest, Chairman of the Board of Trustees, stated: "We have asked one of the world’s most respected architects to expand this world-class museum, and we look forward to working with Frank and his talented staff to realize a project that began as a dream and that today, in partnership with the city and the state, can begin to move full steam ahead."

A warning note to Anne d’Harnoncourt, Director of the Philadelphia Museum of Art: Corcoran.

What Gives?

I read somewhere the other day that in the last year, the US economy grew at such a healthy pace that its growth alone was like creating a brand new economy the size of China's entire economy. And every day I hear about how the stock market is setting new records. And everyday I hear about how the unemployment rate is the lowest that it has been in ages.

And yet, I've managed to pick the worst time in recent history to try to sell my house in Potomac, MD.

So, I have now reduced it in price by over $175,000 from its initial price and its "comp" value and by almost $200,000 from what HouseValues.com says that it is worth.

Buy the house here.

Opening at Vastu

Another DC area art venue that showcases original art is Vastu, located at 1829 14th Street, NW in DC, and tomorrow they will have an opening from 6-8PM for "Artworks," which is an exhibition by Greg Minah and Yao e. odamtten.

The exhibition goes through Nov. 6, 2006.

Opportunity for Photographers

Deadline: 29 December 2006

The Fraser Gallery (which I used to co-own) is hosting their Annual Bethesda International Photography Competition. Details and entry forms here or call the gallery at 301/718-9651.

Opportunity for Artists

Deadline: December 13, 2006

Washington, DC's Touchstone Gallery has a Call for Artists for its 9th Annual All-Media Exhibition. It will be juried by my good friend Jack Rasmussen, who is the Director and Curator of the American University Museum, in Washington, DC. Details and prospectus here.

Shauna Turnbull Joins Mid Atlantic Art News

When I began splitting my time between PA and DC, I announced that I would be getting help in covering the Mid Atlantic span between Philadelphia and the Greater DC region by a couple of additional writers.

Below is the first contribution by Shauna Turnbull, who will be helping me to cover the Greater DC area's art openings and art events. This piece by Shauna will be hopefully the first of many.

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Annie Leibovitz: Politics and Prose Bookstore – October 17, 2006

By Shauna Turnbull, Art Addicts

The good folks over at Politics and Prose Bookstore in Northwest DC had us packed in like sweltering sardines and the standing room only crowd gathered for one of the store’s most exciting author events ever. You never knew so many people could fit into such a cramped space without the fire department rushing in, but none of us cared very much.

We were all there (some of us up to three hours early) to stake out our own personal square footage just to see, hear, and be in the same room as American born celebrity photographer and portrait artist Annie Leibovitz.

A popular culturist and a modernist, Ms. Leibovitz (born Anna-Lou), was honored in 1991 with a major exhibition at the National Portrait Gallery. Her work has received major acclaim and criticism largely centered on the fact she’s concentrated on celebrities continuing since her early work with Rolling Stone Magazine.

Ms. Leibovitz read for about a half an hour from her new, highly praised retrospective "A Photographer’s Life."

The retrospective is a collection of work from 1990 – 2005. It is inspired in part, due to the death of Annie’s long time companion, Susan Sontag, and the death of Leibovitz’s father a mere few weeks after Sontag's death. Both black and white and color images span personality novelties of the rich and famous to more personal and intimate relational works on the author’s family. Of particular note is a photograph of Ms. Leibovitz’s mother in her late seventies, one the photographer loves because of its authenticity and its absence of pretension.

Ms. Leibovitz appeared unpretentiously to be in a mixed state of joy over her young children (she gave birth to her first daughter at the age of 51 and was 8 ½ months pregnant during September 11, 2001), while at the same time also fighting the clutches of resigned and unrelenting grieving. She bares her soul and describes her experience as being not primarily that of a photographer, but rather one as an observer of life.

Most interesting were her perspectives on the effect of engaging a subject in conversation prior to taking a photo. Leibovitz says no matter what you say to a person, it changes their face, changes their emotion, and changes the expression in the eyes. This is one of the reasons she most prefers unstaged and unposed photography.

She’s searching for who the person is – what’s their statement. When asked by aspiring photographers what the key to a successful life in photography is, she quips, "stay close to home."

So it seems the retrospective may be asking – who, where and what is home – does the definition of home change as people die – is home within – and can you find your home through Liebovitz’s expression and years of work?

Interns

The new Randall Scott Gallery in Washington, DC is looking for interns. Give him a call at 202/332-0806.

Two New DC Galleries

Meat Market Gallery opened at the end of September with a group show of its gallery artists. The new gallery is located at 1636 17th Street, NW in DC.

Opening this weekend is Dissident Gallery, located at 416 H Street, NE. The grand opening is Oct. 20 at 7PM.

DCing

I'm in and around DC today. Several posts coming later.

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The Evolution of Beauty

Watch this video is you want to know (in part) why our perception of a woman's beauty is so fucked up.