And another new DC gallery

New to me anyway, is the R Street Gallery at 2108 R St. NW, in DC's Dupont Circle area. They will be having an opening reception on Sunday September 16th from 5:00 pm – 7:00 pm for the exhibition of Tom Wolff’s portraits and images of the famous and powerful, and Tracey Friedlander’s portraits and documentation of the people of Cuba.

Step One

I'm looking to open a new gallery space in the Philly area... maybe... maybe... and so far I am only working on a draft website.

Here's what and who I am thinking about.

First step: sell my own work to raise funds to pay the exorbitant cost to do some fancy art fairs.

Second step: hopefully make some bucks from the art fairs to open a "bricks and mortar" space.

Third step: Lose money for a while until I establish a Philly presence.

Fourth step: Become a respected Phildalphia gallery.

Fifth step: Open a gallery in Sedona, Arizona.

Sixth step: back to second step.

Oh God!

Move the damned Barnes

After reading this, I join the camp that says move the damned Barnes to Philly and stop whining.

New DC gallery

The Carroll Square Gallery has its grand opening tonight from 6-9PM with an exhibition titled "Botanica," which includes work by 2007 Trawick Prize finalist Mary Early, Susan Jamison, Dean Kessmann, Amy Lamb, Lisa Scheer, Zach Storm and others.

Details here.

The Rich are different... or are they?

Recently I've learned a couple of interesting and very surprising facts about America's rich people.

The stereotype American rich dude is always painted as a Republican, and the Republican Party has always been called "the Party of the Rich." But apparently America's wealthiest zip codes are overwhelmingly Democratic donors. That surprised me quite a bit, which shouldn't have, since my old neighborhood of Potomac, Maryland was and is definately a very pro-Democrat area and one of the wealthiest zip codes in the USA.

Yet another reason why I try really hard to ignore both the "vast right wing conspiracy" and the slightly less vast "left wing nutspiracy."

And now, to add to my confusion, the New York Times tells me that "the rich are giving more to charity than ever."

Roughly three-quarters of charitable gifts of $50 million and more from 2002 through March 31 went to universities, private foundations, hospitals and art museums, according to the Center on Philanthropy at Indiana University.

Read the NYT story here.

Perhaps the sky is not falling after all...

First Fridays in Philly and DC

There are at least 21 gallery openings tonight in Philadelphia, a city known for "legendary stinginess toward the arts" according to the Daily News' Tom DiNardo.

Details on the gallery openings here.

In DC, Heather Goss details some key gallery openings around the nation's capital, which I think could also be accused of saving a sheckel here and there at the expense of the arts. Check out DCist here.

Another One Bites the Dust

The WaPo's Jackie Trescott covers yet another resignation by yet another director of the National Museum of Women in the Arts.

Judy L. Larson, the outgoing director is the 10th director since the museum was founded in 1987 - that's one every two years.

Clearly something is really wrong with the NMWA, and its inability to keep its directors is just the most visible part of what's brewing under the surface there.

And although Mary Mochary, the president of the museum's board "declined to discuss any circumstances of Larson's departure. 'I can't say what was going on,' Mochary said," rumors have persisted for years about frustrated NMWA directors handcuffed perhaps too tightly to a museum founder (and now chairman of the board) still trying to deliver her vision through them.

I'd love to hear the thoughts of some former NMWA directors on this subject!

Space

Last fall the Philadelphia Museum of Art announced that it had selected Frank Gehry to design an underground expansion beneath the museum’s east terrace on Fairmount Hill. The Gehry expansion will cost around $500 million and add 80,000 square feet of galleries and renovated spaces. No date has been set for the start of construction.

Yesterday the newly refurbished Ruth and Raymond G. Perelman Building was unveiled and will open to the public on Sept. 15, and the 114,000 foot building was expanded by 59,000 feet at a cost of $90 million dollars.

And, as noted yesterday, thanks to a $500,000 gift from Wachovia, the Museum will offer free admission to its new Ruth and Raymond G. Perelman Building through the end of calendar year 2007.

Last weekend I walked the perimeter of both buildings, and in spite of the construction eye sores, and the masses of people who get pissed off when they get to to the top of the Rocky museum steps only to find out that the Rocky statue is no longer there (it has been relocated to the right side of the steps as one faces the museum), one still gets a really strong impression of a museum with presence and vision, and the new addition is a smart step forward.

Now let's see how the Gehry addition develops. I am sure that the unfortunate Corcoran experience with its own Gehry non-addition will be studied by Anne d’Harnoncourt and the savvy PMA director will learn from it.

Oh oh...

Can a critic be sued when the critic is wrong or makes a mistake that causes a loss of income or reputation?

Apparently so. The Philadelphia Inquirer's food critic Craig LaBan is being sued by a Philly area restaurant for allegedly making a mistake in the review, which then reflected unfavorably upon the restaurant.

Let' be clear, LaBan is not being sued because of his opinion, that's a right guaranteed by the Constitution. He's being sued for libel because he allegedly opined on a steak that he claims he ate at lunchtime when that steak is only served for dinner.

It would be like a gallery suing an art critic because that critic opined on a piece of work that the critic called a watercolor when in fact it was an intaglio etching... I think. By the way, something like that did happen in a major newspaper not too long ago. No one sued but we all sighed behind the critic's back.

Sounds confusing? the current issue of Philadelphia magazine just outed LaBan, who apparently likes to wear disguises when he visits restaurants. The issue has a great article by Steve Volks on the subject that will clarify this confusing issue... I think.

Read that article here.

Ben Tolman

I also first came across the work of Ben Tolman when I curated a huge, obsessive pen and ink by Tolman into "Seven" a couple of years ago.

In 2005, right after "Seven," the WCP profiled this most interesting DC artist (read that profile here) and today Kriston has a highly interesting article in the WCP again detailing a most unusual story about this highly unusual character. Read that here.

Nepotista Declaration: I now own a few of Ben Tolman's pieces.

Sara Pomerance

I first came across the work of Sara Pomerance when I curated her into "Seven" a couple of years ago.

Pomerance is one of the hardest working artists in the region, and some of her work will be at the 2007 Corcoran Alumni exhibition curated by Molly Donovan, curator of modern and contemporary art at the National Gallery of Art, and opening tomorrow, Thursday, September 6, from 6:30–8:30 p.m. at the Corcoran's North Atrium.

Also in Washington DC, three of her photographs are also on display at the Parker Gallery. These images were written about as "The real stand out in this crowd," by Kevin Mallema (read the review here).

And in Albuquerque, her newest video "Yellow Cake with Sprinkles," was on display this summer at the John Sommers Gallery, which is part of the UNM art museum.

And oh yeah... Sara is soon moving to NYC... sigh.

Trawick Winners Announced

The usual surprises!

Jo Smail from Baltimore, MD was awarded “Best in Show” with $10,000; Nicholas Wisniewski of Baltimore, MD was named second place and was given $2,000; Bruce Wilhelm of Richmond, VA was bestowed third place and received $1,000 and the “Young Artist” award of $1,000 was given to Kathleen Shafer of Washington, D.C.

The artists who had been selected as Trawick Prize finalists are:

Mary Coble, Washington, D.C.

Mary Early, Washington, D.C.

Suzanna Fields, Richmond, VA

Inga Frick, Washington, D.C.

Jeanine Harkleroad, Chesapeake, VA

Linda Hesh, Alexandria, VA

Baby Martinez, Washington, D.C.

Kathleen Shafer, Washington, D.C.

Jo Smail, Baltimore, MD

Bruce Wilhelm, Richmond, VA

Nicholas F. Wisniewski, Baltimore, MD

The jurors for this year's Trawick are Anne Ellegood, Associate Curator at the Hirschhorn Museum & Sculpture Garden; Amy G. Moorefield, Assistant Director and Curator of Collections for Virginia Commonwealth University’s Anderson Gallery and Rex Stevens, Chair of the General Fine Arts Department at Maryland Institute College of Art. Catriona Fraser, owner of the Fraser Gallery in downtown Bethesda, is the non-voting Chair of The Trawick Prize.

The Trawick Prize is clearly the DC area region's premier fine arts prize and once again kudos to Ms. Trawick! A public opening will be held at Creative Partners Gallery on Friday, September 14, 2007 from 6-9pm in conjunction with the Bethesda Art Walk. Creative Partners Gallery is open Tuesday through Saturday from 12-6pm.

Rabbi Series

For your viewing pleasure, and finished just in time for my birthday, as I have done for many years, is a new "series" of works. This year it is the "Rabbi Series," a tiny set of very small drawings, all under two inches or so, of very serious men with very light-headed thoughts.

See it here.

B'day

Today is my birthday.

My grandfathers died in their late 90s, and my father is in his early 80s, so I hope to be around a long assed time as well.

Modern Paints: Uncovering the Choices

Attention painters!

Next week Dr Thomas Learner, the Head of Contemporary Art Research at the Getty Conservation Institute will be delivering a presentation on the subject on Tuesday, September 11, 5:00 p.m. at the McEvoy Auditorium, Donald W Reynolds Center for American Art and Portraiture (8th & G streets NW in DC).

Numerous types of paints have been used by artists over the last 70 years, including those intended for household or industrial use. In this talk, Tom Learner outlines common classes of “modern paint” and the procedures used to determine which types are present in works of art.

Several well-known paintings will be discussed, including examples by David Hockney, Roy Lichtenstein, Morris Louis, Jackson Pollock, Bridget Riley and Andy Warhol.

Lecture presented by the Lunder Conservation Center.

If a reader attends, someone should ask the question to confirm or deny the urban legend that the Tate once sued David Hockney when it discovered that Hockney had used house paint to create the painting that the Tate had just spent a small fortune on and was already beginning to fall apart. I'm curious if that story is true.

Freebie

Thanks to a $500,000 gift from Wachovia, the Philadelphia Museum of Art announced yesterday that the Museum will offer free admission to its new Ruth and Raymond G. Perelman Building through the end of calendar year 2007.

Dana Ellyn

Ellyn is another super hardworking artist. In the remaining days of summer she has an amazing line-up: twogallery shows, two art festivals, a live TV appearance, an article coming in the Washington Post – all coming up in the next 9 days!

Too much to list; check it all out in her website.

Mean, Unfair and Plain Wrong

That's me!

My DC blogsphere colleague Kriston Capps, who just like me every once in a while is very fond of policing other folks' opinions, thinks that I am "mean... unfair... and plain wrong," in my recent rant at Jessica Dawson's inept review of Caitlin Phillips.

And while I respect Capps' right to express his opinions to my response to Dawson's review, I disagree 100% with his insinuation that a critic's interpretation of a body of works, absolves them/us of having a responsibility or need to gather information about an artist's intent; especially if they are preparing to deliver a public question or opinion that suggests that an artist is denigrating herself via that same body of works.

Let's be clear: Critics don't have to ask questions or gather information for every thing, even intent.

But if they're going to make the leap and portray an artist as denigrating herself because of what the images convey to the critic, at the very least they should try to find out what the artist thinks they're conveying or was trying to convey.

It just makes sense to me.

In this case, I think Dawson blew the review, and erred in her (let's assume) interpretation, because she didn't know (or cared to know) the photographer's intent - even if Phillips didn't deliver it very clearly, as could be the case - and although Dawson was keen enough to make a harsh interpretation about the intent, she wasn't curious enough to try to gather the easily available information.

And boo hoo... now I also think that Kriston is just mean, unfair and gets it plain wrong when he interprets that my post is suggesting that critics should go "around asking artists to tell them what to write in their reviews."

Especially since he knows me, and knows well that I would never suggest such an idiotic thing.

That makes two critics who should have asked a question before making such a knuckle-headed leap.

Read Kriston's opinions here.

DC Shorts Film Festival 2007

September 13 – 20, 2007 at Landmark’s E Street Cinema (11th and E Streets)

DC Shorts turns the spotlight on truly independent short films from all over the globe, created by new and established filmmakers in an era when the art of filmmaking is opening to all. They select films from every genre for their competition screenings — with a special focus on films created by metropolitan Washington, DC-based directors and writers. After each screening, filmmakers have the opportunity to speak to the audience as part of a moderated panel.

This year, they will present 89 films and seven live script performances, culled from 14 countries. Once again, their venue will be the Landmark E Street Theatre in DC's Penn Quarter. With new specialty competitions — High Definition Shorts and the Live Script Reading Competition — DC Shorts is growing into one of the most influential film festivals in the country.

For festival and ticket information visit www.dcshorts.com

Interview: John Anderson on Adrian Parsons

Anderson: Several months ago I contacted Adrian Parsons, shortly after he circumcised himself during a performance for the exhibition entitled Supple, at the Warehouse Gallery. He seemed agreeable to answer some questions, either in person or over e-mail. I shot the questions to him and waited for a response. At the beginning of August, he finally got back to me.

Adrian Parsons with his foreskin hanging on the wall
Parsons: Hello, wanted to take some time to separate the act from the hype. So here is the interview way, way post facto.

An earlier piece that I see documented on your blog involved inviting people to pull your mustache out of your face, one hair at a time, until it was gone. What is the basis for this work?

The idea was to take off the genetic predisposition for where my beard and mustache would be, to take the hairs and redistribute them. Once all the hair was off we were to mix it with melted wax and pour that on to the mold, that is, my face. The fact that I could rework a hairline with my hand and not my fathers was a weird, fun one.

Since you began Shrapnel (I am assuming this is the title) by pulling hairs from your face, is the act of auto-circumcision an extension of this previous piece? How do the two relate apart from self-mutilation (or invited mutilation to yourself)?

Both works come across chance and randomization. I was trying to get around my genes in Plucky, to disorder what is predetermined. But Shrapnel takes on the chaos of a suicide bomber, his body is distributed in to the walls of buildings, the skin of people. This kills random people, suddenly the attackers bone, physical matter, are implanted willfully in to another person. I read an account of a journalist who was nearby a suicide bomber and lived. He carries the bone of this guy in his body, his DNA's sitting right there next to his own. It's an incredible "fuck you."

How large was the audience?

30 people or so but it thinned out fast.

I was having video problems and was unable to gauge audience reaction. What was the response to you exposing yourself, removing a pocket knife, and the act of cutting? OR, were you even aware of it?

People were curious, kind of readying themselves, making small talk. Then when I started to rip out some of my beard and place it in to the wall they seemed to get that this was going to be something bloody. After the first cut, there were two responses, leaving the room or whipping out the cell-camera. You hear an ex of mine slip an "ohmygod" out of her mouth.

I would imagine this act required some psyching-up; what prepared you?

A friend said, "how'd you get the balls to cut your dick off?" Since I was going to the hospital right after I couldn't get wasted and I couldn't take vicodin or oxycotin or even smoke. If I'd come in to GW messed up I would've spent the night in the psych ward. Pulling the hair and the skin off my face helped get my adrenalin up, though.

Why a pocket knife? Why not something more medical, or kitchen-oriented?

This was a Swiss army knife that was given to me by my brother-in-law. It's only significance to the piece was that it was sharp. When people ask why I used a "dull, rusty knife" I say it took 5 cuts because it was a really sharp knife, not a dull one.

Looking at the Thinking About Art Interview from last year, you cited Jason Gubbiotti as an influence. And food. I'm going to admit I am having trouble seeing a connection in your (current) work. How is he an influence?

Food makes you go, it's the only thing you get to utterly chemically transform. It's a wonder that you masticate and acid bathe something and get to move, think and have sex because of a bowl of Chex and 1% milk. Every gesture in art is because you've got a calorie to spend.

Gubbiotti's altered canvasses, which aren't as big a deal for him now, are what I was referring too. He's got these gigantic color spaces, very placid, and then they just get completely shorn off by this violent jutting and curving wood. His paint reaches the edge of the canvas the way you might encounter the edge of the earth in some pre-Eratosthenes view of the world.

How's your dick? or have you seen a doctor since the act?

My cock is 100% thanks to Erin Krill, on-call urologist extraordinaire.