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Friday, July 27, 2007
Cool Art Thing of the Moment
I don't know where DC artist Guy Mondo finds these things, but he is certain to find the oddest things in the world of fine arts.
"The images above illustrate the results of an unusual artistic collaboration between the French artist Hubert Duprat and a group of caddis fly larvae... Duprat, who was born in 1957, began working with caddis fly larvae in the early 1980s...
After collecting the larvae from their normal environments, he relocates them to his studio where he gently removes their own natural cases and then places them in aquaria that he fills with alternative materials from which they can begin to recreate their protective sheaths. He began with only gold spangles but has since also added the kinds of semi-precious and precious stones (including turquoise, opals, lapis lazuli and coral, as well as pearls, rubies, sapphires, and diamonds) seen here.
The insects do not always incorporate all the available materials into their case designs, and certain larvae, Duprat notes, seem to have better facility with some materials than with others. Additionally, cases built by one insect and then discarded when it evolves into its fly state are sometimes recovered by other larvae, who may repurpose it by adding to or altering its size and form."
Somerville, Mass' Nave Gallery's Young Turks returns for a second year with an exhibition featuring art and artists "taking a walk on the wild side." The show aims to highlight all that is not part of the status quo. They seek work that questions, confronts, and, yes, attacks ideas, images, and ideology that others take for granted.
No submission fee!
Anger, disassociation, a rejection of the societal norm are some of the emotions they expect artwork in this show to explore. Commentary on larger societal issues such as world poverty, the Middle East crisis, global warming or of issues closer to home such as the Big Dig mess, gas prices, gang violence, or drugs, left wing and right wing rhetoric, are just some examples of possible themes. Or it can be strictly personal, an illustration of the artist using the creative process to express a specific state of being or growth.
Artists are invited to submit work that addresses their connection with this theme as described above. Work of all mediums is encouraged. Both established and emerging artists are welcome to apply.
Applications should include: - Artist resume, email contact info, image list (medium, dimensions, year created) - Artist statement 150 words about artwork and relationship to the call - Supporting images may be either slides or digital. Label slides or CD-ROM with their full name, and the name of their piece. - Include a self-addressed envelope with adequate postage for return of materials - postmark deadline of Saturday August 18, 2007 - email submissions accepted: info@artsomerville.org
The Nave Gallery 155 Powderhouse Blvd. Somerville, MA 02144
And the answer is...
Zoe's answer to my question below is: "it's a close second to the biennial. It's in a "suite" area so it's not open to everyone who comes to a game. If it was in a public area, it might tie the biennial."
Thursday, July 26, 2007
Congrats!
To Philly's wonderphotog Zoe Strauss, who tells us that The Philadelphia Eagles will be purchasing a vinyl print of her photo "Mattress Flip" for display in the "Red Zone" at Lincoln Financial Field.
So what's cooler, being selected for the last Whitney Biennial or being selected by an NFL powerhouse?
Time for the 'skins to step up and ante up some artwork for their stadium.
Mary Coble
Mary Coble will be performing "Marker DC" this Saturday, July 28th, 2-5pm at the entrance to the U Street / Cardozo Metro Station (green line) 13th and U Street, in Washington,DC.
In Marker, performance artist Mary Coble "expands the focus of her previous performances, Note to Self 2005 (on Gay, Lesbian, Bisexual and Transgendered persons murdered in hate crimes) and Aversion 2007 (shock aversion therapy). The artist now invites viewers to emulate the physical + verbal assaults marginalized groups have endured by penning hate-inspired epithets such as 'dyke', 'spic' or 'nigger' on her body."
“We are delighted to collaborate with our colleagues in London and Ottawa on this major exhibition from public and private collections around the world to explore a little studied aspect of Renoir’s genius that is so central to his overall vision,” said Anne d’Harnoncourt, Director of the Philadelphia Museum of Art. “It will be especially gratifying to see the exhibition in the context of our own collections, which are renowned for their representation of Impressionism and particularly rich in figure paintings by Renoir. It will be a great pleasure to welcome visitors from throughout the United States and beyond to Philadelphia.”
Renoir Landscapes is organized by the National Gallery, London, The National Gallery of Canada, Ottawa, and the Philadelphia Museum of Art. The exhibition was seen in London and is currently on view in Ottawa through September 9, 2007.
Wednesday, July 25, 2007
Hard Questions
David Genovesi has an interesting list of 22 art questions that he hopes he is never asked in an interview:
- What is art?
- Does art have a purpose, if so, what is it?
- Who determines whether an artist is an artist?
- Why do you create?
- Does the art you create have any particular meaning?
- Does the art you create have any social implications?
- Does the art you create pay the rent?
- What effect is the digital revolution having on art?
- Who has the final authority for determining the “validity” of contemporary art?
- Would you advise a young person to become an artist?
- Must art be beautiful?
- Is there such a thing as "good art" or "bad art", if so, what's the difference?
- Is there such a thing as "a good artist" or "a bad artist", if so, what's the difference?
- Is painting still a valid art form?
- Is a print of a painting art?
- To what extent must an artist consider his audience?
- What’s the most important asset an artist needs to survive today?
- Why buy art?
- Is buying art a good investment?
- Who is the best living artist?
- Is a painting by Jackson Pollock worth 140 million dollars?
- If you’re such a good artist, why aren’t you rich and famous?
If it wasn't for the CP's visual arts coverage, all that we'd have in the nation's capital is the voice of a freelancer writing 20 odd columns a year for the WaPo's Style section and O'Sullivan's weekly column in the Weekend section.
Let's hope that the new ownership continues the CP's tradition of leading the visual arts coverage in the printed media in DC.
Using sound and large street drawings to interpret an archaic division of figure skating, this indoor and outdoor installation captures the sonic environment of practicing compulsory figures on ice, while visually striving to reproduce similar exercises on pavement. Opening : July 26, 6:30 - 8 PM.
Yes, another Annie Leibovitz exhibition at the Corcoran.
When I got the news release, I sent the Corcoran's director, Paul Greenhalgh (who by the way, has been doing a really decent job since taking over the reigns of the Corcoran) a couple of suggestions for future photography shows. One idea "augments" the Ansel Adams exhibition, which will hopefully add a new dimension to yet another Adams photo show.
To start, I will admit that "Moonrise Over Hernandez" is a great photograph and people will oooh and aaah over it, as they have done for the dozens and dozens of previous Adams' exhibitions over the years.
Here's my idea: The Library of Congress has a HUGE collection of Ansel Adams negatives that are the property of the people of the United States.
It is my impression that anyone can (for a nominal fee) get the Library of Congress to print them photos from the Adams' negatives (or any other negative in the public domain I suppose). Already the LofC has even worked out a deal with Zazzle.com to buy a lot of LofC repros/stuff online. In fact, here's an Ansel Adams photo that you can buy from them.
Here's the novel idea: Why not set up an electronic online booth(s) at the Ansel Adams Corcoran exhibition where Corcoran visitors can also preview the hundreds (if not thousands) of other negatives that the LofC owns the copyright to, and provide an easy way for visitors to the Corcoran exhibition to order Adams' photos?
Probably much rarer Adams' photos that seldom see the light of day, much less the moonriselight.
Ahead of time the Corcoran can set up a deal where a percentage of the costs of the Adams' photos would be donated to the Corcoran as a "pass-through-fee."
And then this is a win-win situation for all, as visitors come away with an Adams' photograph, the LofC gets some money out of it, and the Corcoran also gets some additional funds out of it.
The technology is the easy part; getting two separate institutions to cooperate is the hard part.
Nothing heard back from anyone yet.
Pediatric AIDS/HIV Care Fundraiser
The Pink Line Project will host a happy hour fundraiser to support Pediatric AIDS-HIV Care, an organization dedicated to children living with AIDS/HIV in the Washington metropolitan area. Their program employs creative approaches - including art and music - to help children cope with the stress and stigma associated with this disease.
Great video art from "barely emerging artist" Kathryn Cornelius, Jeff Wyckoff, Kathleen McGlaun, Koike Susumu, and Live Music by Ben Gilligan (from French Toast and Small Doses)!
Wednesday, July 25, 6 to 8 PM at 18th Street Lounge (1212 18th Street, NW in DC).
Monday, July 23, 2007
Spray Painting
Depending on many variables (most of which I think have to deal with culture, upbringing, formation, sense of inferiority, elitist aspirations, and hidden wanna-be issues), often artsy people stand on definite sides when it comes to what the art world describes as "low brow art" and "high art."
In the various earlier discussions here on what makes good art, a lot of theory and art history has been discussed and written about.
I'm of the opinion that the only proven and tested art critic of what makes good art is time.
And often what was once considered low brow art, or art that wasn't good enough, stands the test of time just as well (or even better) than what the contemporary critics or artsy folks of the time would have selected.
History is full of such examples: Ukiyo-e in Japan, Salon des Refusés in France, most 19th century steelpoints, Frida Kahlo in Mexico, Norman Rockwell in the US, most photography until Steiglitz dragged it into art galleries, Florida's Highway Men, and on and on.
But now, even though anything and everything is art, there's still a world of low brow art that makes most members of the artworld scene roll their eyes. We all do it.
On the other hand, some low brow art has managed to make the jump to the high art side.
Perhaps one of the most refreshing developments of the last few years has been the recognition of the artists sometimes described as "street artists." Many, like Banksy, and in the DC region artists like Kelly Towles and Mark Jenkins, have made the jump and show equally at ease in galleries. In Jenkins' case, he has become a worldwide fixture and now creates his street tape sculptures all over the planet.
A few weeks ago I was wandering around South Street in Philly, when I came across a group of people, including a cop, avidly observing a young man create artwork while kneeling down on the sidewalk at the entrance to the South Street Pedestrian Bridge. In front of him were displayed 20 or 30 pieces of art on cardstock... about 30 x 20 inches each.
He worked with amazing speed, to the tune of a very hip beat that played on the boom box next to him. His paper was taped to a spinning table, and he sprayed, dabbed, removed and spun to the beat of the music. We all watched hypnotized as image after image appeared.
It took him about 90 seconds to create a painting from scratch. "I may not be the best," he told me when I started talking to him during a break and while I was buying one of his pieces, "but I am the fastest spray painter around."
The subject imagery is of no consequence. It seemed to focus on otherwordly landscapes, Star-Trekkie vistas, or surrealist dreams. Mine was a mixture of some sort of a Anakin Skywalker viewpoint married to a glowing penis.
But the imagery is the least of the concerns here. What hypnotized and mesmerized the crowd was the performance of this young artist, arms flying, spray cans tumbling, music playing and the "ooohs" and "ahhhs" of the crowd as he created work after work every 90 seconds.
See for yourself in the below video (filmed in Mobile, Alabama earlier this year):
His name is Joshua Moonshine, and the streets of US cities are his galleries.
Saturday, July 21, 2007
Wanna go to a Tyson's Corner, Virginia opening today?
One can always count on the Reverend to add some spice to any argument. Herewith Bailey's opinion on What Makes Good Art?
I really have to agree with Kevin Mitchell’s comments regarding art critics and their biased definitions of "great art."
A self-proclaimed art critic attempting to spin a definition of "great art" strikes me as being remarkably similar to a self-proclaimed Supreme Court Justice cop pulling a citizen over and attempting to define that citizen's Miranda Rights. This is the point I was attempting to make with this post.
Just as a rogue cop thinks he has the right to render on-site Supreme Court rulings defining the limitations of a citizen's Miranda Rights, so too do art critics think they have the right to spin a biased definition of great art. What's long been amusing to me is that art critics inevitably invoke the name of Clement Greenberg to "prove" their one-sided definitions by pulling something out of context that Greenberg once said and either agreeing or disagreeing it.
If a citizen were to question a cop about that cop's definition of the citizen's Miranda Rights, that cop (and they're trained to do this) will inevitably invoke the latest Supreme Court decision that affects the definition of Miranda Rights to either "prove" or "disprove" his definition.
The issue is one of authority, who has it, how did they get it and what are they doing with it.
One can only imagine the violent confrontation that would occur if a private citizen attempted to pull over a cop for speeding, ask for that cop's driver's license, read that cop his Miranda Rights before attempting to question that cop, and then arresting that cop when that cop attempts to resist.
That's exactly what I am encouraging artists to do to with respect to art critics who want to define the phrase "great art."
Of course, to be open and honest about my own bias with respect to the debate between Jeffry Cudlin and Mark Cameron Boyd, I have to confess that I'm sympathetic to the arguments of Mark. Not because I think Jeffry is a bad art critic, but because Mark's opinions are not published in a weekly newspaper that features art criticism. A newspaper that publishes art criticism is somewhat like the Supreme Court publishing its decisions. I question every word of every published Supreme Court decision.
The more the Supreme Court attempts to “define” our Miranda Rights, the more the more those rights evaporate. The more an art critic attempts to “define” great art, the more great art becomes an illusion.
Jackie writes: "I have smoked cigarettes for over 20 years and am a cigarette and nicotine addict. On July 9th I quit smoking for what I hope is the last time and plan to document the process, my feelings, etc., through posts to the blog and the creation of related art work over the course of thirteen months. Two paintings that I created for this project, using cigarette butts and ash entitled Destruction I and II can be seen as DCAC Wall Mountables Exhibition until Sept. 6th.
I am also asking other smokers to participate in the project by asking them to send me their Last Cigarette so that I can include it in my artwork.
Studio 4903, a working artist space focusing on contemporary art jewelry, has space available for an artist, graphic designer, or other creative type. Each person has a space, but there are no walls dividing the room. The 1500 sq ft. studio is open, filled with light, hardwood floors, and 7 windows. Rent is $420 and includes all utilities, insurance, alarm, trash, wireless internet, and 24-hour access. We are located at 4903 Wisconsin Ave., 2nd floor, between Tenley and Friendship Hts. metros.
The Studio hosts regular arts-related events to create community and gain exposure. A good candidate would be serious about his art, want to grow and expand her business, and be eager to participate in events (past ones have been: live music, poetry reading, artist slide show & lecture, dance party, art shows and sales).
If interested, please contact Gayle at gaylefriedman@aol.com.
Mitchell on What Makes Good Art?
Reader Kevin Mitchell opines on the question and debate of "What Makes Good Art?"
We're all going to be a little wrong and a little right on our definitions of art especially since we're trying to arrive at a singular definition that art should be held accountable to.
Just when I had fashioned what I regarded as a prized response to art nitwitism a newsflash saved me some time. I could literally sit here forever refuting the changing idea of art but I'd be fighting with words a visual argument. The true testament to a work's greatness is that no amount of words can assail it... unless its premise is vocabulary, such as modern art.
Both Cudlin and Boyd could be refuted in instances but in the end as this thing of exploring new frontiers goes, why? As an artist, I didn't grow up interested in Greenberg or his principles and upon being force fed them and regurgitated in every other academic argument because justification has to refute, I still don't care.
Rosenberg, I don't care and if to understand a lot of the work of this genre, I have to read Rosenberg then it seems like he was part ring master and was able to create his own niche.
Which is why I agree with Boyd's last paragraph that art criticism currently isn't doing its job, even at a personal look at me level. If everyone is and can be an artist or it's learned or a matter of ideas, how come critics aren't artists?
Greenberg couldn't paint flatness? How come he couldn't be or convey his own ideas? It's worthless this definition thing.
I understand the purist way of thinking about materials and usage but in the words of a past teacher, stop headf'ing your canvas.
I think it's such a small market here that every word and every paragraph count in each write up whereas when I'm in Chelsea, I'm confronted with everything in its hordes and it's all accounted for.
If I had to fashion an argument it would be against styles. The progressive form of art is ended as soon as a style or label is applied, thus tying it to the past, regardless as to its completion or prospects. Rothko's are Rothko's and demonstrate Rothko qualities so they are no longer exploring or pushing. Art is the unknowing.
Having said this, I want nothing to do with this definition. Nobody can afford to sit in their studio not knowing what they're doing and effectively afford their studio. Art ended and renewed with the acceptance of the urinal.
See what you’re getting into... before you go there.
- Kevin Mitchell
Thursday, July 19, 2007
Wall Mountables at DCAC
Around DC, anytime that you have an open show (meaning a show without a juror or curator), the local critics tend to immediately savage it. This seems to be a predictable critical analysis somewhat unique to the capital area's visual arts and artists as viewed by most of DC area critics.
Once a year, the District of Columbia Arts Center (DCAC), through a show called "Wall Mountables," allows any and all artists to hang anything they want, so long as it fits within a two square foot space. It's usually one of my favorite shows and a terrific opportunity for artists to exhibit and sell their work.
DCAC will be accepting and allowing artists to hang their work today July 19th 3-8pm, and tomorrow July 20th 3-6pm. Spaces are available on a first-come basis. Details here.
The opening reception is Friday, July 20th 7-9pm. This is a great opportunity to obtain original artwork at very affordable prices. The show runs through Friday, Sept. 7, 2007.
The Beat Goes On
This is what makes creating, editing and publishing a good art blog interesting. Intelligent voices discussing and treating a very difficult question: "What makes good art?"
1) "The growing specialization of the arts is due chiefly not to the prevalence of the division of labor, but to our increasing faith in and taste for the immediate, the concrete, the irreducible. To met this taste... the various modernist artists try to confine themselves to that which is most positive and immediate in themselves, which consists in the unique attributes of their mediums. It follows that a modernist work of art must try, in principle, to avoid communication with any order of experience not inherent in the most literally and essentially construed nature of its medium." - - Sculpture in Our Time, Clement Greenberg, from The Collected Essays and Criticism, Vol. 4: Modernism with a Vengeance.
In any event, I mentioned Greenberg because obviously nobody buys this position anymore -- at least not the way it came to be framed. There's generally a consensus that Greenberg's arguments for art boiled everything down further and further -- until you reach the Minimalist art that Greenberg couldn't bring himself to accept, despite the fact that in so many ways it seemed like a perfected expression of his operating principles.
Here's the key point: I'm NOT saying that the HOW trumps the WHAT. Does the medium help or hinder? That's exactly the question I'm driving at. Apologies if I wasn't able to make that more clear.
2) Oh, the confusion over talent and creativity. Maybe it's the word "mastery" that's sending you into a tizzy: By quoting Ruskin, I'd hoped to avoid that -- thinking specifically here of On the Nature of Gothic, from The Stones of Venice.
3) As for the relation of the work to manifestos, the necessity of the critic to intervene --- Mark, you more than anyone should know that this is up for grabs.
We can describe how the mechanisms work, how the positions within the discourse seem to relate to one another -- but it's a fluid dynamic.
There's what the artist says in the work through representation, and what s/he says in the work through execution or style -- two kinds of content, in sympathy or not. The what and the how, as you say, and both are important.
There are also statements, and essays, and installations of the work.
The critic tries to determine both the content of the work by itself, and whether or not that can be reconciled with the rest.
It's imperfect; the critic is one voice among many, and s/he attempts to nudge the discourse as best s/he can. Doesn't mean the critic is the final arbiter, just one of many gatekeepers and interpreters -- fallible, human, making arguments rooted in a particular historical moment. So it goes. Doesn't mean that the job's not worth doing, or that it can't significantly add to -- or help sort out--this business of cultural production.
