Caroline Altmann's Idea

Alexandria, Virginia artist Caroline Altmann writes to me:

Would love to plant an idea on expanding D.C.'s art audience.

A year and a half ago, I started sending out emails to non-artist friends who were interested in being informed on "must see" exhibits. It is a small effort on my part of a greater plan to increase awareness that D.C. has an important art scene worthy of national and international attention.

My observation is that people (including the well educated, observant, aesthetically sensitive) are afraid of art (Oh yes, artists are equally shy). Many are afraid that they don't know enough about art to be secure in their likes or dislikes. Even art buyers retain this "I am not an expert" humility. Many are unsure of what is art and therefore something that they could chose with confidence for themselves.

It is the responsibility of us in the field to make the subject seem less daunting.

One of the most important things we could do is to make art more accessible. How to do this? There are, of course, many ways. More information is a good start.

Isn't the British model wonderful of presenting works of art in context of history, culture and personal background of the artist? It demystifies the art. Nothing creates a greater barrier between the art and the viewer than the sparse labeling of art with titles and medium only.

Where do you find explanations?

In special shows.

So I created an emailing list to tell people of extraordinary shows in galleries and museums. At well-curated shows, learning is easy and enjoyable. Some of my past recommendations were "Sculpture Unbound" and Jean Pigozzi's extraordinary modern African art collection.

The response has been wonderful -- my friends appreciate the personal recommendations. And, I am respectful of their email inboxes and recommend only a few shows. I would love to eventually get all artists in the D.C. area to do the same.

Imagine several thousand artists sending out emails to interested folks who love personal recommendations on what they cannot miss. We could reach 50 - 100,000 individuals! The more people interested in art, the more local newspapers, including the Post will cover the non- museum world. In 5-10 years we would transform this town.

Must see show at the National Gallery -- Diptychs

You haven't heard about "must sees" from me for awhile since I was immersed in putting together my show for the 2nd half of last year. But I'm again going out and today saw an eye-popping, superb, international exhibit.

"Prayers and Portraits" is easy to pass up at 1st notice. (I went at the urging of a NY friend). 14th-16th devotional portraits of Dutch patrons coupled with religious images, many gory, do not usually attract crowds.

But there were plenty of folks in the rooms. Here God is in the details. The workmanship is exquisite, divine if you don't mind the pun. The history is interesting, and if you catch the Beloved tour guide at a 12:00 tour (check days) you will be enlightened. And don't be dissuaded by the images on the NG website. The wonder can only be seen up close (10 inches at times -- no pesky buzzers).

At the National Gallery of Art, West Building until Feb 4.

Photos and Lies

The Washington Post's Michael O'Sullivan has a really good marriage of two photographers' works in this review in today's WaPo.

O'Sullivan reviews "Self Possesed" (through Feb. 24 at Adamson Gallery in DC) and "Mini-Matic" (through Feb. 3 at Fraser Gallery in Bethesda, MD).

About "Self-Possesed" O'Sullivan writes:

"While the photographs are attributed to Prince, the show's publicity gives top billing to Mann, and, sure enough, in several of them she's holding the shutter release cable herself."

And he adds about "Mini-Matic"

A series of black-and-white photographs by Doug Sanford touches on a somewhat different interpretation of truth and lies in Fraser Gallery's group show "Mini-Matic." Using shots of printouts of angry e-mails sent by the artist's former girlfriend -- on whom he had cheated -- the works feature enlarged passages of text illustrating such hell-hath-no-fury passion as "I. Hate. You." and "I hope you suffer horribly" and "I know you're just concocting lies."

And so far it looks as I have at least one of these six predictions right.

Rousseau on Mini-Matic

Dr. Claudia Rousseau, in the Gazette newspapers, reviews the "Minimatic" multi-gallery exhibition going on in various Bethesda venues.

"Although it isn’t the Artomatic we have all come to love, it is certainly a lesson in what happens when gallerists are asked to choose from such a huge menu. The best tend to rise to the top, like cream in unhomogenized milk, to the point that duplicate picks had to be sorted out, and names familiar from previous exhibits turned up again, although some with new work. On the other hand, all the work is not great; some real bloopers are on view — just enough, perhaps, to give these exhibits a feel of the real Artomatic circus."

Read her review here.

Here's an idea for the Washington Post: the WaPo already owns the Gazette newspapers, which are published weekly in various counties and cities in suburban Maryland.

Since they already own those newspapers, they probably also own the copyright and reproduction rights to any and all stories and columns published in the Gazette.

So... why not "add" some of the Gazette gallery reviews to the Sunday Arts mix once in a while and give WaPo readers a "second" voice and a "second" set of eyes on the area's art scene?

Makes sense to me.

An idea for Washington, DC

Or for any other American city that it; but it is especially appropriate for the nation's capital.

A Photographer Laureate.

Yes, yes a Photographer Laureate.

The idea, inspired by historically successful photographic projects including the Farm Security Administration's WPA photographers, the National Endowment for the Arts, and most directly by the City of Tampa's Public Art Program own Photographer Laureate Program (now seeking its 5th Laureate), would be for the DC Commission on the Arts and Humanities to create and fund the program to have each yearly Photographer Laureate create a "volume" or portfolio of their city-focused work which then would be added to the City's Public Art Collection.

The subject matter would be open but thematically focused on the city itself, and may include images of specific sites and subjects such as landmarks, landscapes, architecture, etc., or more peripheral themes such as portraits, cultural diversity, labor, industry, the arts, families, education, etc.

Over the course of time, the District's collection would accumulate (and hopefully display somewhere) a full, continously growing representation of the multiple and diverse perspectives of the various photographers' views of the District.

Tampa has a $25,000 budget for this that they give to their Photographer Laureate to deliver work over the year's period. Certainly the District could come up with a similar budget to accomplish this.

McLeod on the Outwin Boochever Portrait Competition

Deborah McLeod is the former Director of Exhibitions at the McLean Project for the Arts, a former Trawick Prize juror and currently resides in Baltimore, where she reviews art shows for the Baltimore City Paper. Below she writes about the Outwin Boochever Portrait Competition at the National Portrait Gallery.

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I wanted to write about the National Portrait Gallery Portrait Competition for several reasons that I should reveal before taking the plunge. The first impetus had much to do with my brother in law, Rick Weaver, and his response to the show as a perfection-driven mannerist painter as well as a participating artist; the second had to do with the thoughtful, if protectively benefit-of-the-doubt exhibition catalog essay by Dave Hickey, and a subsequent bombastic review by Blake Gopnik; the third involved my own personal uncertainties on arguing this far-ranging, provocative collection of works and the hope that writing about it might gather it into a justly disposing order, at least for me.

Unlike the rest of the collection in the NPG, this show is not entirely about people but rather emphasizes portraiture itself. There is a great deal of converse and protective snobbery going on in and around the idea and its evidence, and that makes it especially interesting. In place of the more common event of bringing mutually minded authors together in a proportionately stretched envelope that doesn’t pop the glue, the NPG exhibition is like an envelope’s version of the world map busted apart and splayed. It is an idiosyncratic face off between traditionalist and iconoclast, each an acquired taste... but not by each other.

In lieu of Dave Hickey pondering how Alice Neel, Elizabeth Payton, Alex Katz, John Currin or Julian Opie portraits have faired so gracefully and exceptionally in the annals of art, let us imagine each of those artists early in their career (when we don’t know them), having one piece in this show. Would they stand out above the fray, look like Blue Chippers from the get-go, without their support machinery? I think that is the good and bad of this show – it is a fray – and fair or not it holds every artist in it individually accountable for their predicament, not just for summation through a single creation, but for boisterous interventions from their neighbors’ works.

If one Googles portraits, as I expect Hickey did in anticipation of his essay, and probably Gopnik too, it is easy to become somewhat crestfallen on the subject. This subcategory coexists with serious art as a commercial product potentially barren of any hierarchy. Even the silver-haired Portrait Societies offer a rather irregular insider vetting system.

On the other hand, turning the fame filters off, as well as allowing each participant only one work to defend their entire oeuvre as this show does, presents an opportunity to consider the modern predicament of humanity as a crowd of ones, how we transcend familiarities and inequities to intermingle in the disquieting presence and identity of other unlike individuals. The sitters in this array are essentially characteristic-studies for these portraits’ purposes, once separated from prepared, recruited places above some mantle or headboard. They are hardly the vanity patrons of the past, but despite bringing their own personal baggage to the studio, are principally the contrivance of the artist, just as it all is in Hickey’s “urban” art world.

This fluid exhibition diverts into two modes which relate to but barely coincide with Hickey’s breakdown of self, family and stranger. The two reduced to a nutshell genres are romanticism and journalism, with the latter being the most prevalent by far. Most of the artists demonstrate an aesthetic weaned on current event type shots, foreground personas posed in the aftermath of some notification, censure or honor (Jennifer Kryczka, Ginny Stanford, William Lawrance, Sharon Sprung, Armando Dominguez, and Amber Kappes incline in this direction), or candidly snapped in the midst of an event or phenomenon (Tina Myon, Bryan Drury, Jared Joslin), or looking provokingly antagonized by a recent adversity or long privation (Doug Auld’s overtly sensationalistic Shayla, Jenny Dubnau, Nathanial Lang, Catherine Prescott, Costa Vavagiakis’ poignant, palliative Arthur VI, and the epic portrait by James Seward).
There is no shortcoming in the close-up and personal stylistic approach. It is honest visual orientation that appropriately documents its period and place in this show. The subject’s location, far from being nowhere in time and space, is conventionally anticipated in an accompanying record; the “human interest” write-up. An imagined byline supplies the necessary rest in this cultural example. But there are many works of this sort that do involve journalistic backdrop compositions, even if reality is radicalized, or tampered with, such as David Lenz’s cover image, so I find it curious to read that Hickey feels the show bereft of them.

The romanticism of the portrait competition arrives in a variety of forms. But these forms are generally stitched together by the artists’ various indications of intimacy. Among this group are the most and least successful works in the show. Intimacy is a trap of sorts for the viewer. The most horrific example of romantic intimacy is Steve DeFrank’s Lite-Brite peg painting of his naked Mom and Dad aglow in acid green aura. It is retro brilliant in the way it envelopes the inauspicious subject in abject distaste. But it can’t be looked at for long, which could also mean DeFrank may one day be arranging for his Annie Leibowitz shooting. Other brands of portrait intimacy head for the more richly entwined emotions of empathy, tenderness and desire. This group does contain my personal favorites: Kris Kuksi’s utterly exquisite, fraught little Portrait of George Guillaume, the super-sized conning innuendo of Nina Levy’s hovering baby’s Large Head, the obscure, disorienting predicament that presents in Tina Newberry’s Epaulettes. The non-portrait by Nuno deCampos Magnet #3 whose stance, electrocardiograph dress, and taste in magnets and dinner options gives me much more satisfying information then Demi Raven’s useless, if au courant, absurdity, Monster v.4.

Above all, for me, is Joe and James by Brett Bigbee, which rivetingly flies above several late painters without ever exacting one in particular as it presents its two boyhood protagonists. Bigbee’s characters are inscrutable in some ways and on the other hand they are vulnerable, proud, predetermined, self-protective. Skinny boy-sphinxs, formed, but still waiting to be formed. And, because I’m drawn to the living film-strip format Sara Pedigo arranges in Winter to Spring, where the home milieu takes center stage periodically as the portrait, I would add this modest delight to my list.

I am however lost to understand what about Young Marriage by Justin Hayward garnered it a Commendation from the selection committee. It is sterile and self-conscious, bordering on that silly surrealist blip in time that we apparently just cannot shake, where special effects and unlikely attributes protect everyone from emotion.

The two paintings that Hickey identified as valorous and ennobling, by David Larned and Richard Weaver, are indeed. But, I cite that respectfully. What I shall say about their shared eloquent sensibility is how they each uniquely express in these portrayals a quiet, mythic longing, outside of time – in the fable of the resigned young woman who desires, in introspective solitude, something perceived as unattainable, or a liberator that doesn’t know of her whereabouts. This nineteenth century romantic intimacy seems silently signified in every line, shadow, curve and attribute, as it would have been then, its full story semi-disclosed in subtle clues. The subject may languish for requiring her dream, but her dream doesn’t languish for a byline.

The Outwin Boochever Portrait Competition’s in-depth coverage presents the choice conundrum for painters of people, and viewers of painting. That people do live subjectively as subjects, not objectively as objects, their stories are not symbols but allegories, even in the flashbulb fix of the news item. The artists that take them on do so that their art may track down the unruly and unfathomable interpretation of identity. If the NPG had settled on a collection of works that favored a particular sensibility or aesthetic, it might easily have slid backwards in time to become that silver haired European salon experience that one finds in their older installations. Their competition is made much more interesting, fresh, and thoroughly American by all the contrary, discordant arguments in their rooms. One needn’t find them all agreeable. To your corners now.

Deborah McLeod

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The Outwin Boochever Portrait Competition Exhibition at the National Portrait Gallery in Washington, DC runs through February 17, 2007.

The U.S./Japan Creative Artists Program

Deadline: February 1, 2007

This program offers an opportunity for contemporary and traditional artists from the U.S. to spend a 5 months residency in Japan. The focus of the program is to foster cultural understanding.

The program is open to professional creative artists in the following fields: artistic directors of dance or theater companies, choreographers, solo theater artists, media artists, designers, architects, visual artists, composers, playwrights, fiction and nonfiction writers. Open to U.S. citizens or permanent residents. Artists receive a monthly stipend for living expenses, funding for housing, and professional support services. Round-trip transportation (up to $6,000) is also provided. Application deadline: February 1, 2007. For more information, contact:

Japan-US Friendship Commission
1201 15th St., NW, Ste. 330
Washington, DC 20005

Peter Panse Trial Ends

Remember the case of Peter Panse, the upstate New York art teacher suspended over drawing classes, nudes and a ton of other allegations?

Well... The Times-Herald Recond reports that

A year, half a dozen days of testimony, and untold amounts of taxpayers' money later, Middletown High School art teacher Peter Panse gets a 15-day suspension without pay and will return to the classroom by mid-February.

School district officials sought to fire Panse, who has tenure, accusing him of bringing sex into his high school classroom and violating district policy by offering students a figures drawing class — which would include the use of nude models — off campus and for his profit.

An administrative law judge who heard testimony over the course of four sporadic months ruled Jan. 8 that Panse did violate the no-solicitation policy, but that the district failed to prove the teacher's talk of nude-model drawing rose to the level of sexual inappropriateness. In his ruling, Joel M. Douglas found that the testimony of some of the district's key witnesses was "evasive, vague and ambiguous."

Read the whole story here.

A Woman's Eye...

My good friend Sharon Burton from Authentic Art DC has a really good posting with loads of photos and an excerpt from Mike Giuliano's review in the Arts Section of The Columbia Flier on the opening reception for the exhibition View from a Woman's Eye at the Columbia Art Center.

Botero in DC

If my memory serves me right, Fernando Botero's career started accidentally in Washington, DC in the 1950s.

And now my good friend Jack Rasmussen, who runs the American University Museum at the Katzen is bringing Botero's most controversial work to the Katzen.

Read it all here.

WOW!

Opportunity for Artists

"Sex Issue" exhibition at Projekt30.

Announcing the second annual "Sex Issue" exhibition at Projekt30. An exhibition showcasing fine artists exploring or commenting upon issues of gender and sexuality in our society. We are accepting work ranging from the personal, to the political, to the near-pornographic. The exhibition will be publicly juried: All artwork submitted will be presented February 2-13, 2007 so visitors may help select what will be included, unlike other juried exhibitions everyone receives exposure. The final exhibition will consist of work from 30 artists. It will run from Valentines Day, February 14 to April 15th, 2007. Mailings will be distributed to over 50,000 galleries, collectors, and fellow artists. Fee: $35 for up to 10 images. Go to: this website for complete details or to www.projekt30.com to apply online.

If you don't get it

In 1999 the Washington Post sent out a letter to all their subscribers detailing some major changes in the paper which were designed to improve the newspaper itself.

The letter, signed by Donald Graham, the publisher of the Post, asked for feedback and opinions, and so I wrote them the below letter. In the letter I not only expressed what I thought were shortcomings in the WaPo's arts coverage, but also gave the WaPo several ideas for improvement.

Sadly, since then coverage has only become worse. The "Galleries" column is now published about 20 times a year instead of weekly, and "Arts Beat" is also no longer weekly, but apparently ad hoc.

All of the names mentioned in the letter have since left the Post, retired, or been replaced, but by a freelancer and by a chief art critic who does not write about Washington, DC art galleries and artists.

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

January 27, 1999

Donald E. Graham
Publisher
The Washington Post
1150 15th Street, NW
Washington, DC 20071

Dear Mr. Graham,

Thank you for your letter dated January 24, 1999. I'm eagerly looking forward to the new "improved" Washington Post.

Since you asked me for my opinion on how the new, improved Post can serve its readers better, I'm hereby sending you a few comments and some facts which may be of interest to you, and which may in fact help you in the future as you continue to improve the Washington Post.

One area of the newspaper, which continues to receive local attention and acute criticism, is the Post's lack of coverage of the metropolitan visual fine arts scene. While the Style section and the Weekend magazine combine to deliver a complete, in-depth coverage of many of the genres which make up a city's cultural life, (such as music, movies, theatre, opera, architecture and our museums) the Post continues to ignore largely the visual arts as defined by the art exhibited and the artists of the Greater Washington, DC area.

The immediate gut reaction of the Style editor might be "but Ferdinand Protzman covers the galleries on Thursday?" Yes, that is true and that answer may reflect the lack of understanding to the key to the problem. Not Protzman, but the fact that his weekly column is the only mention which local galleries and artists routinely get in the Post.

The "Arts Beat" column, which also appears on Thursdays, does on occasion cover a visual arts event, but that is the exception, rather than the rule. If we switch over to the Weekend magazine, it does not take a lot of research to discover that in the last few years (yes years) the "On Exhibit" section, although having a masthead which proclaims it to be about "Galleries, Museums and Art Spaces" has not covered a single fine art gallery in this city in years. It is devoted exclusively to museum shows in our city and other cities.

This lack of "participation" in the development of our city's visual art scene is shameful in a city which boasts over 200 art galleries and which once had one of the most vibrant local visual art scenes in the nation. What makes it even more astounding is the brilliant coverage that the other cultural genres receive from the Post.

Museums (or "dead artists" as living counterparts often refer to them) get brilliant coverage in the Post and I applaud this! With one of the best museum scenes in the world this is commendable. Thus, three of your art critics (Jo Ann Lewis, Burchard and Paul Richards) all write about museum shows and on very, very rare occasions write something which is "local" in nature. This is the exception, rather than the rule; it may happen once or twice a year. They even cover museum shows in other cities. These writers do not write about local art galleries -- only Protzman, and we must wait for his words to be decanted once a week, to read and breathe local visual arts.

Movies are reviewed or discussed nearly every day in Style and it is not unusual for the same movie to be written about (by different authors) in Style and in the Weekend section on Fridays. The same goes for theatre; even though there are more art galleries than theatres in this city, and the public is more exposed to them than to the theatre, every play in every recognized theatre gets exposure and reviews. The same goes for music, be it live, stage or recorded. This is all good, but it again highlights the huge differences in the coverage as compared to the local art galleries and visual artists.

Why is this phenomenon unusual? Because other major newspapers, especially papers as powerful as the Post do not act in the same manner. The Post is the only major newspaper that I know of which does not have a galleries art critic in its staff (as you know Mr. Protzman is a freelancer). I have been told that the New York Times has eleven gallery critics writing for them, The Seattle Times four, the S.F. Examiner three and the L.A. Times four.

Washington artists and art galleries deserve better. In fact, they deserve equal print space. Art criticism and art reviews are not easy to write; yet a variety of skilled critics do exist in our city, so the writing talent is here; this is not an excuse.

Your reading public deserves better. Mr. Protzman's weekly piece is just not enough and it's only one point of view. This is not healthy for our artists and for our art scene.

Several weeks ago, at the Art Symposium sponsored by the Washington Art Dealers Association, one of the representatives from the Post made the statement that the "reason that art galleries do not get reviewed in the Post is because they don't advertise." I refuse to believe, even in today's austere economic environment, that this could be the reason.

What is the reason for this lack of coverage -- especially when compared to the brilliant job which the paper does for the "other" local arts in general? In my opinion the reason is that the editors of both Style and Weekend do not feel that your reading public is interested in art galleries and local artists. They want to publish "only" what they feel their public wants to read. Even if this were correct, which I doubt it is, I think that this is not the attitude and goal for one of the world's greatest newspapers.

Why does this concern me? Three months ago I was contacted and commissioned by an ad hoc group of local artists who commissioned me to do a one year study on the coverage of the Washington Post to local art galleries and then quantify that coverage in terms of proportion to other arts coverage. The initial results, some of which I have mentioned in this letter, have been particularly astounding.

Secondly, I am deeply involved in the city's art scene. I am a member of the D.C. City Arts Projects Program Advisory Panel, an artist, a gallery owner and a regularly published regional art critic.

As such, I encourage you to perhaps think about refocusing more attention to our Washington artists and galleries. There is a variety of ways in which this can be done and my suggestions are:

(a) Assign one week out of the month to local gallery coverage in Weekend's "On Exhibit" section (or take 'Galleries' off the masthead).

(b) Keep Mr. Protzman's weekly "Galleries" column on Thursdays.

(c) Nicole Lewis' "Arts Beat" should not echo what has already been covered by music critics or theatre critics, etc. Devote at least 50% of that column, which runs concurrently with "Galleries," to visual arts. Keep Thursdays focused on Art Galleries (which it's supposed to be its focus anyway).

(d) Pick up a "pool" of local art critics and assign a different one each week (also on Thursdays) to write mini-art reviews to augment Mr. Protzman's more elaborate, in-depth art criticism.

(e) Six times a year assign one of your museum art critics to do a piece on a local gallery show, or local art movement, or local gallery groups, etc. Something flavored by the local arts.

(f) Have local art critics and even Mr. Protzman write more reviews and just "publish" them in your excellent web pages.

There were over 30 pieces written about the van Gogh exhibit by the Post, ranging from front-page coverage to the business section. This shows that someone at the Post recognizes the interest in your reading public about the works of art which hung so vociferously at the National Gallery; I submit to you that this same interest can be kindled for the van Goghs of the future.

Thank you for your attention,

F. Lennox Campello

The Art Market

Do people really believe the kitschy pictures of naked girls with pussy cats by German painter Martin Eder are any good or are buyers simply jumping on the bandwagon because his prices have reached $500,000? When we learn that a newish painting by the second-rate latter-day Neo-Expressionist Marlene Dumas sold for over three million dollars, does it alter how we think of her work? Does it alter the ways magazine editors or curators think about it?

The curator of Dumas's upcoming MOMA exhibition, the otherwise excellent Connie Butler, recently responded to one of my public hissy fits about the overestimation of this artist by saying, "Dumas has been making portraits of terrorists," as if to suggest that certain subject matter exempts art from criticism. In fact, this subject matter is not only predictable and generic, and in that sense utterly conservative, its perfect fodder for a culture in disconnect.

It's wonderful that mediocre women artists now command the same astronomical prices for their art that mediocre male artists always have. But do artists who don't sell for high prices have less of a chance to ever make money? Are Vito Acconci and Adrian Piper fated to forever being 'Lifestyles of the Poor and Famous' artists? If you're unknown and over 35 do you have a shot? In this era of the 30-month career, what happened to the idea of the 30-year career?

The Village Voice's Jerry Saltz intelligently rants and raves about the art market in a piece titled Seeing Dollar Signs - Is the art market making us stupid? Or are we making it stupid?

Read it here.

Re-examining the Camel Toe

I'm pretty sure that the above headline will get me some interesting Google referrals, but it's all about performance artist Kathryn Williamson, whose performance "Size Zero: Re-examining the Camel Toe" is done "as a commentary on America's obsession with female body image in popular culture."

Williamson says that she "will try to put on a pair of jeans that are several sizes too small. If Sarah Jessica Parker, Nicole Richie and the Olsen twins wear a size zero, why can’t I?"

The performance will take place at the Fraser Gallery in Bethesda at 4PM on Saturday, January 20 and it is part of a jam-packed week two of the Bethesda Artomatic events, which in addition to Williamson's performace at Fraser includes many other events for the four days stretching from Friday, January 19th to Monday, January 22nd.

There are talks by artists Matt Sesow and Elizabeth Morisette at Creative Partners Gallery, an open dance rehearsal and lecture-demo at Joy of Motion featuring Crosscurrents Dance Company, a free concert by area favorites Dead Men’s Hollow at the Round House Theatre, a headshot party at the Washington School of Photography (where WSP instructors will provide each attendee/artist with a free headshot on a CD, for use by the artist in promotional materials - bring your own CD), and much more.

To make it easier they’ve put together the day-by-day schedule of Artomatic associated events, as well as a walking map to the venues which can be found at this website.

Wanna go to an art event in DC tonight?

I am told that if you didn't RSVP that you can still show up! See below...

Congratulations

To former DC area artist Jiha Moon (represented locally by Curator's Office), and a past winner of the Trawick Prize, as two of her pieces have been acquired by the Hirshhorn Museum as a generous gift of my good friend Mario Cader-Frech, and Robert Wennett.

Buy Jiha Moon now!

Robin Tierney's Top 10

Robin Tierney writes art criticism and covers art events and issues in the Greater DC area for the Washington Examiner. Below is her list of her Top 10 DC area art shows:

"I'm going from memory. These are in no particular order of preferences, and I would prefer to list 15 or 20 in my top 10 (metaphysically speaking). These don't include big-gallery shows (like dada at NGA, Joseph Cornell at SAAM, Hiroshi Sugimoto at Hirshhorn & Sackler, the smartly focused "women" shows that Jack curated (non-locals) at AU/Katzen, etc.); just local artist-focused showcases.

1. Juke, Jefferson Pinder's video installation at G Fine Arts

2. City Hall "HeART of DC" Art Collection (because it's a fantastic array of local, diverse talents of several generations).

3. Katzen/AU: "Remembering Marc and Komei."

4. Warehouse shows such as Freak House (Dana Ellyn and Russell Richards...I hadn't known of him before; such a combination of imagination and precision/technique). And the Peace show (which may have also been called War).

5. Fraser Gallery: now how can one decide between Interface, Compelled by Content II and Annual Photo Show? Maybe Interface first.

OK, some that other folks may not mention:

6. Sculpture Unbound: like a playpen for the mind.

7. Touchstone's Mud, Earth... I am forgetting the name. But then again, now I'm thinking I was more pleasantly surprised by fiber creativity at Touchstone's Woven Tapestries by the Wednesday Group (a group of local fiber artists).

8. Rebecca Cross Mackenzie's Raku. Actually, CM had two shows that had many standout pieces. Some folks classify ceramics/pottery as 'other than art' but I respect Rebecca's efforts to show the art potential of such works and think her gallery helps build up the DC art scene's foundation.

9. Cupidity at Gallery Neptune. Liked the lively alchemy of this artful experiment (among other shows there).

10. Various rotating displays of member work at Washington Printmaker Gallery. Not necessarily a particular feature artist exhibition, but over a few visits there one can discover treasures along with magic etching tricks.

Jobs in the Arts

Assistant Professor, Arts Management American University, Department of Performing Arts - Washington, DC.

The Department of Performing Arts in the College of Arts and Sciences at American University invites applications for a tenure-track position at the rank of Assistant Professor in Arts Management, beginning fall 2007. Applicants must have a Master's Degree in Arts Management or in a related field. PhD, preferred.

Three years professional experience in arts management or a related field is required. Applicants should be prepared to teach graduate courses in marketing and public relations, arts programming, and related undergraduate level courses including General Education, advise and mentor both graduate and undergraduate students in arts management and related fields, and have demonstrated excellence in teaching and scholarship in arts management and/or a related field. Send letter of application addressing teaching and research interests and experience, curriculum vitae, and three letters of recommendation to:

SEARCH COMMITTEE
DEPARTMENT OF PERFORMING ARTS
KATZEN ARTS CENTER
AMERICAN UNIVERSITY
4400 MASSACHUSETTS AVENUE, N.W.
WASHINGTON, D.C. 20016-8053

For best consideration, applications should be complete by January 20, 2006 (yikes! that's tomorrow!). Direct inquiries to streeks@american.edu.

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Director of Development: Smithsonian Institution, Hirshhorn Museum & Sculpture Garden - Washington, DC

The Hirshhorn, one of the nation's leading contemporary art museums, seeks to broaden its base of private sector support to provide a platform for the art and artists of our time, to connect more fully with their regional and local community and to better serve the 750,000 visitors they welcome annually.

Building on the strength of an existing program, the Director of Development, will expand their capacity in individual and major gift campaigns, corporate and foundation relations and develop strategic alliances and sponsorship programs that will support the museum goals in exhibition, educational programming, and collections development. For a detailed position description and application procedures visit www.si.edu/ohr listing Vacancy announcement #EX-07-02, closing date 1/19/07. The Smithsonian is an Equal Opportunity Employer. Email or fax resume with a cover letter referencing experience and qualifications by closing date to lawrencet@hr.si.edu or fax 202/275-1115.

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VSA arts seeks Director of Outcomes and Evaluation - Washington, DC

A position description can be found at the Employment button of the Kennedy Center web site. Applications can be submitted from that web site. Interested individuals can also contact:

James E. Modrick
Vice President, Affiliate & Education Services
VSA arts
818 Connecticut Ave, NW, Suite 600
Washington DC 20006
202-628-2800

Jazz & Art at the Katzen

The Katzen at American University in having a free Jazz & Art night this coming Saturday at the museum from 7-9PM. See details here.

Bloomberg looks at DC art

Roger Atwood of Bloomberg.com checks in with a piece on some DC area art shows. Read it here.

Congratulations

Contemporary Art Gallery magazine has a nice article by Tia Marks on our own Rosetta DeBerardinis. Read it here.