Interview

Contemporary Art Gallery magazine has published an interview with me in their most current issue.

Read the interview online here.

Jerry Cullum on Kretz's Jollie Painting

Curator and Senior Editor of Art Papers Jerry Cullum adds some insight into the issue of the Kate Kretz painting of Jollie as the Virgin Mary. Read it here.

Deborah McLeod's Top 10 DC Area Show

Deborah McLeod, who used to run (and did an excellent job) the McLean Project for the Arts in Virginia before relocating to Baltimore, where she now reviews art shows for the City Paper says:

I haven't seen most of the D.C. shows that were presented in 2006, but one I did see that I thought deserved mention was the "Sculpture Unbound" juried exhibition at PEPCO's Edison Gallery last Jan-Mar.

It was juried by Glenn Harper, and as you might imagine, he did an acute job of selecting and arguing it. It was a rich, inventive, and satisfying show for the strange object lover.

"Sculpture Unbound" was a joint Washington Sculptors Group and WPA/Corcoran project.

artDC

artDC is next April in Washington, DC and I've yet to hear squat about it from anyone. But I am getting emails from both artists and collectors and a few gallerists asking me what I know about it.

Zip!

Best Salad Bar in PA

I know that this has nothing to do with the visual arts, but the salad bar at Lancer's Diner, 858 Easton Road, Horsham, PA, telephone 215-674-5088, is a work of art!

For an amazingly affordable price, one has a choice of all you can eat supplies of a delicious cold calamari, Greek dolmas, two or three different tomato offerings, garbanzo salad, a couple of bean salads, a couple of potato salads, Greek olives, plus the usual assortment of salady things.

There's also plenty of fresh fruit and a killer bread pudding.

And, if you get a window seat, you can also enjoy the ferocious looking A-10's land and take-off across the street at the Willow Grove Naval Air Station.

Artomatic Events – Bethesda

This January and February, a number of galleries in Bethesda, Maryland will host group exhibitions showcasing works they have selected from artists who responded to a call for entries by uploading their images to the Artomatic virtual gallery at Artdc.org.

These Bethesda venues, with leadership from Catriona Fraser of Fraser Gallery, have worked with the Bethesda Urban Partnership's Arts and Entertainment District members and Artomatic to establish and implement this inaugural Artomatic Associated Events project.

Participating venues are: Creative Partners Gallery, Fraser Gallery, Gallery Neptune, Heineman Myers Contemporary Art, Joy of Motion Dance Center, Round House Theatre, Washington School of Photography/Capitol Arts Network, and The Writer’s Center.

In addition to these group exhibitions (which incorporate the work of 30 painters, printmakers, photographers and sculptors), the January and February events will also cover a vibrant range of performance offerings, including open dance rehearsals and free Salsa lessons, artist talks, "assembly line" portrait sittings, poetry readings, and live music sessions, as well as networking opportunities and portfolio workshops for Metro area creative professionals.

Artomatic Associated Events - Bethesda will kick off with an Artswalk and a variety of opening-related events on Friday, January 12th from 6 – 9 pm.

Further details on the roster of events throughout the month will be available at both Artomatic.org and ArtDC.org. More information about the ArtsWalk may be found at this website.

Cudlin on Gopnikosities

My good friend Jeffry Cudlin, the award winning art critic for the Washington City Paper, offers an intelligent and readable counterpoint to my dissection of Blake Gopnik's comments on the Kate Kretz "Jollie as Madonna" painting.

Read Jeffry's good points here.

I think that the line between illustration and fine art is sometimes real and a lot of times blurred, and many times erased by history, and sometimes entire cultures could be wrong, otherwise we'd still be considering Ukiyo-e as illustrations and manuals, and packing materials for tea vases to be shipped to Europe.

We're both making exagerated claims in a sense... Duchampian followers have a great time spending time deciphering the many stories and angles and intricate issues in Velazquez's "Las Meninas," but the opposite and immediate reaction is delivered equally well and without much deciphering in Goya's "3rd of May."

So the answer is that both can fit into our appreciation of art. And if it wasn't for Rockwell's "The Problem We All Live With," we'd have a very little footprint in contemporary 60's paintings of the Civil Rights struggle.



In some Rockwellian works like this one there's an example of an illustrator whose work crossed over and now - at least that piece and all the works from his civil rights imagery - crosses into fine art. It happened in the 1800s as well - Honore Daumier being the best-known example.



Were Gericault's "Medusa" to be painted today - say with the subject being Abu Ghraib, would that be art or an illustration? Oh wait - it has been done - Botero has done it and it's considered important political art!

In my opinion, and of course I'm opinionated and not necessarily right, Cudlin and many other writers are sometimes too wrapped up in theory and often resistant to just open up and enjoy the possibility of the simplicity of art for the sense of "just because..."

When I first started exploring, creating and writing about art 30 years ago, I too was all wrapped up in theory, and straining to find the meaning, the struggle, the clues, the angst, and the message in all the art that I was seeing. Without a message, the art was useless, I had been taught; if it stands on the shoulders of another artist, it cannot be good.

Among many other events that slowly changed my appreciation of art, somewhere along the lines I stumbled across a book titled: Idols of Perversity: Fantasies of Feminine Evil in Fin-de-Siecle Culture.

And all of a sudden, the vapid, sickly sweet, saccharine Romantic art of the Victorians became a whole new world of clues, deciphering images that had secret meanings to the Victorians, etc.

It was a triumph for what Duchampians believe should be good in art. Yet it was a Duchampian triumph wrapped up in a visual eye candy that looked more like parlor room art than fine art; And it made me realize that both camps could be accepted.

And now I refuse to believe that art has to do this or do that, or delay our reactions, of give us clues, etc. in order to be accepted as high art. Don't get me wrong, there are still plenty of hacks out there producing paintings that sometimes astonish in their vapidity and waste of canvas, but to take the galvanized, one-track train of thought that it's either a Duchampian success or it can't be real art, is a sure way to eliminate a lot of good art which simply may offer nothing but viewing pleasure.

Henri Matisse once said that "there is nothing more difficult for a truly creative painter than to paint a rose, because before he can do so he has first to forget all the roses that were ever painted." I think most painters almost subconsciously do this. In painting anything, unless one is outright copying an existing work (as it is taught in many art schools to teach painting techniques), a good artist is always creating something new. Something that until that moment, when the loaded brush is applied to the canvas and allowed to deliver its content, has never been done in that exact stroke, or manner, or hue, or shape, in the entire history of mankind.

Take a look at the book... it's by Bram Dijkstra, who was a professor of English literature at the University of California.

Pat Goslee's Top 10 DC area art show

Talented DC area artist Pat Goslee is one of the area's most active artists and exhibits widely around the city. She says:

I don't have a top 10 list. I say the ultimate BEST show of 2006 was:

Swarm at The Fabric Workshop and Museum, 3 December 2005–18 March 2006.

The husband and wife curatorial team of Ellen Lupton and Abbott Miller embraced the theme of swarm in an exemplary fashion — presenting a global ecosystem of contemporary art. The BEST example I have EVER seen of a COMPLETE curatorial effort, Lupton and Miller executed every detail with intelligence and precision... down to the t shirt in the gift shop.

Pat at Swarm under the piece called Long Division by Siebren Versteeg - a digital program output to projection on floor

Lou Stovall "Origin and the Landscape"

By Rosetta DeBerardinis

The Washington Printmakers Gallery selected master printmaker, Lou Stovall for its fifth annual invitational exhibit honoring his life and artistic achievements.

Stovall is a local DC area artist with international and national credentials. His array of spring floral prints "Origin and the Landscape" nicely coincides with Washington's current warm weather - thanks to global warming.

Stovall stood attired in fashionable gallery black on Friday night, at the first of his artist receptions, before his vibrant abstract floral prints that popped off the pristine Payne's gray walls. Several guests made references to Pollock, but anyone who knows art or Stovall saw no similarity.

Marguerite, Silkscreen Monoprint by Lou Stovall
The monoprint, "Finale, Alla Breve," has gestural black and green strokes that hop and skip across the surface. Each of its strokes has a beginning and an ending. "Marguerite," named for the character in a Faust opera, is composed of small colorful dots and circles with tiny arcs.

If you look closely at Stovall's work you see control. His arcs and gestural strokes unlike Pollock's, are intentional and he leaves nothing to chance. This show exemplifies the work of a true master technician.

The triumph of the human spirit is to rise above limitations to create a sense of order, a place of well-being, an attitude of possibilities, a desire for accomplishment.

Lou Stovall

---

Origin and Landscape
Jan. 3 - Jan. 28, 2007
Artists Reception: Sunday, January 7, 2007, 2-5 p.m.
Brown Bag Lunch Presentation: Thursday, January 11, 2007, 12 noon.
Washington Printmakers Gallery
1732 Connecticut Avenue, N.W.
www.washingtonprintmakers.com
202-332-7757

Fred Ognibene's Top Ten DC Area Art Shows

Ubercollector Fred Ognibene is not only one of the DC area's best-known art collectors, but also a very generous donor to our area's museums. Herewith his list of the Top 10 11 DC area art shows, in alphabetical order:

1. Barlow Curates at Addison-Ripley, especially the amazing sculptures of Elizabeth-Lundberg Morrisette (actually an artist I discovered at the last Art-o-Matic).

2. Bellini-Giorgione-Titian and the Renaissance of Venetian Painting at the National Gallery of Art-one of the most beautiful shows I have ever seen.

3. Christopher French: New Paintings: Contradictory Resemblances at Marsha Mateyka Gallery - a very complex show of color families painted on Braille paper with hypnotic results.

4. Kevin Kepple at Addison-Ripley - Kevin’s works have matured and are more complex; the new palette he is using resulted in beautiful paintings.

5. Dean Kessman: Plastic on Paper at Conner Contemporary - plastic shopping bags as art - beautiful and unexpected renderings from some horribly ugly satchels.

6. Jim Lambie: Directions at the Hirshhorn Museum and Sculpture Garden -thanks for showing his work.

7. Maggie Michael: Open End at G Fine Art - her paintings keep getting better and stronger and more complex.

8. Ledelle Moe: Congregation at G Fine Art and storefront installation on 14th Street - a sculptor willing to push the limits and with a very strong future.

9. Vesna Pavlovic: Collections/Kolekcija at Fusebox-a wonderful collection of images from an artist now in the Columbia MFA program... I am glad I bought her work early!

10. Erik Sandberg: Contrary at Conner Contemporary -h e is/will be significant competition for John Currin!

11. Ian Whitmore: Little Lies at Fusebox - a VERY talented artist with a guaranteed successful future.

Gopnikosities

I really, really try to stay away from constantly poking fun at the Washington Post's erudite Chief Art Critic, Blake Gopnik's curiously academic and outdated views on contemporary art, which are still somehow stuck somewhere in the 1960s - I think - but the man is a never-ending source of astounding agendart verbosity.

So here's the latest:

According to this AP story a "North Carolina artist intrigued by the public obsession with celebrity has found herself feeding that obsession with a painting of actress Angelina Jolie as the Virgin Mary hovering over a Wal-Mart check-out line.

Kate Kretz has painted for 20 years but none of her previous work has garnered the attention given 'Blessed Art Thou,' showing this weekend at Art Miami, an annual exposition of modern and contemporary art."

And so, this WaPo blogger asked Blake Gopnik for his opinion on the painting, and the Gopnikmeister delivered this brilliant Gopnikism:

"Kate Kretz's painting comes closer to magazine illustration than to the subtle fine art you'd expect to see in a major museum of contemporary art. It gets its messages across, alright. It presents Angelina Jolie as our nation's Madonna of Consumption. In a glory of siliconed breasts, collagened lips and foreign-adopted cherubs, Angelina reigns over Wal-Mart's banality -- its all-American brands, its all-American flag, it's all-American obesity. The problem with the picture, art-wise, is that its messages are way TOO clear. It's more like a puzzle-picture than a probing work of art: Once you've deciphered it, there's not much chance of giving it a second look. Its van-art technique, especially, is so generic that it hardly has a thing to say that hasn't been said a thousand times before -- often, much better. The crucial question, in our busy age: Why spend time with this work, when a 500-word Op Ed would do a better job expressing its opinions, and any number of Old Master paintings would mean more to an art-loving eye."

Let me decipher this a-la-Bailey; Gopnik is affirming that:

1. "Real" art must be subtle in order to be of museum quality.

2. "Real" art should never be TOO clear in its message (otherwise who'd need critics to interpret it for us?).

3. "Real" art should "say" something, but not too clearly, and that something shouldn't have been said too many times before.

4. Old Master paintings, because they're done by dead Old Masters, can say something in a heavy-handed way, and really clearly, but that's OK, because they're Old Masters and not some new painter who's clearly never gotten the memo that painting is dead.

More Congratulations...

To DC area artist Matt Sesow, who will be exhibiting in New York City as well. His work opens next week at the van der Plass Gallery (South Street Seaport, pier 17). The exhibition runs from January 12 thru February 28th, 2007.

Sesow is already having a spectacular 2007:

January: Group show at van der Plas Gallery in New York City. Group show in Bethesda at Creative Partners (part of the Artomatic show).

March: Solo show in San Diego (Oceanside) at D Gallery

April: Two-person show in Atlanta

May: Solo in Rockland Maine (coinciding with the Basquiat/Warhol/Wyeth)

June: Solo in Sacramento (Pamela Skinner Gallery)

July: 31 days in July..

August: Solo show in Denver, Colorado

September: Adams Morgan Day and Arts on Foot in DC

October: Show at Alcove in Atlanta

December: Possible self-taught group show in Miami (part of Art Basel extravanganza weekend).

Is that a hard-working artist or what?

Gross Clinic Goes on View

Thomas Eakins’1875 masterpiece, The Gross Clinic, goes on public view at 4 p.m. today at the Philadelphia Museum of Art, and in early March will hang at the Pennsylvania Academy of the Fine Arts. It is on loan to the Museum from Thomas Jefferson University until it is sold later this month by the University to the Museum and the Academy, which have joined in an extraordinary ongoing fundraising effort and have managed to keep the painting in Philly.

Congratulations too...

To Tim Tate, whose work will be included in "The Next Tortured Genius" exhibition in Chelsea's MonkDogz Urban Art Gallery, which opened amid much hoopla last year at 547 West 27th Street in NYC.

Congratulations

To DC area artist Elena Maza, whose work graces the cover of this month's Art Calendar magazine.

Walt Whitman, a kosmos

The National Portrait Gallery is holding a conference on Walt Whitman to coincide with the exhibition “Walt Whitman, a kosmos” on January 26th from 9 to 12.

They will have a stellar array of speakers: Jorie Graham, Pulitzer Prize winning poet; Alexander Nemerov, Yale University Art Historian; Sean Wilentz, Princeton University Historian and winner of the Bancroft Prize in History; and Michael Schmidt, Professor of Poetry at the University of Glasgow and managing editor of Carcanet Press, the leading poetry publisher in the United Kingdom.

For further information on the conference go to this website and click on the Events and Program link.

DC Area Blogger Summit

The Washington Post is hosting the first ever "DC Area Blogger Summit" next week, and although I've been invited, I will be unable to attend. I hope to have someone represent Mid Atlantic Art News and I'll let you know what took place.

Peter Panse Update

Remember the case of the High School art professor suspended for the nude model issue? (Read this if you don't).

According to this website:

The Hearing Officer's decision in the case of Pete Panse - the New York art teacher suspended more than a year ago for having suggested that his advanced students should be allowed to enter figure drawing classes - is "imminent."

Selected Art-O-Matic

No Art-O-Matic this year? No problem! The Examiner's Robin Tierney writes a nice pre-opening salvo of the mini-AOM joint exhibition that several Bethesda, MD galleries, AOM organizers and Jesse Cohen's ArtDC are putting together.

Conservative anti-AOM critics have cited the lack of a curatorial hand as AOM's main flaw, as opposed to a more liberal and democratic view of it as an open show. It will be interesting to see what comes out of the picks by well established and successful art gallerists.

The gallerists selections will appear at Heineman-Myers, Fraser, Neptune, Washington School of Photography, Creative Partners and other Bethesda galleries with joint opening receptions on Friday, January 12, 2007 as part of the Bethesda Art Walk. Details, maps, etc. here.

Kim Ward's Top Shows of 2006

Kim Ward is the hard-working WPA/Corcoran Executive Director and she comes in with the following:

"One exhibition that was, as Mary Poppins would say, 'practically perfect in every way,' in 2006 was the Hiroshi Sugimoto show at the Hirshhorn.

Picking a non-profit/alternative group, I think that Ashley Kistler is doing fantastic curatorial work at the Visual Arts Center of Richmond, an example being the latest show 'Time for Design' which is a micro view of design in the greater Richmond area --- fashion, architecture, etc.

DCAC is creating some fabulous panels discussing art topics that are timely and in need of community feedback.

I have found stunning work at the Arlington Arts Center Spring and Fall solo shows and I applaud Molly Ruppert and Jack Rasmussen for their commitment to art that is politically charged and difficult. They consistently show political work and have been doing so for quite awhile.