Wanna go to some Baltimore openings on Saturday?

Not only famous for its diverse art, but also for its sushi and good wines at their openings, Baltimore's Light Street Gallery opens its "Small Works Exhibit" on Saturday, November 17 from 6-9PM.

Also on Saturday, from 6-9 p.m. there's an opening reception at Gallery 211 for Washington, DC landscape artist Freya Grand. A catalogue of the show will be available at Gallery 211, with an introductory essay by Jack Rasmussen, Director of the Katzen Art Museum at American University in Washington, DC. For details phone 410-244-1340 or visit www.gallery211.net.

Wanna go to a Bethesda opening this Saturday?

Osuna Art Gallery in not-Brooklyn Bethesda opens The Washington Women Show with an opening reception from 5-8PM on Saturday, Nov. 17. The exhibition includes work by:

Nan Montgomery (painting)
Carol Brown Goldberg(painting)
Renee Butler(video installation)
Joan Danzinger (sculpture)
Dalya Luttwak (sculpture)
Nizette Brennan (sculpture)
Francie Hester (multi media)
Bernis von zur Muehlen (photography)
Dale Loy (painting)
Jean Meisell (painting)
Manon Cleary (painting)
Wendy Ross (sculpture)
Polly Kraft (sculpture)
Patricia Forrester (painting)
Lisa Brotman (painting)
Yuriko Yamaguchi (sculpture)
Andrea Way (painting)
Deborah Kahn (painting)
Sharon Fishel (painting)
Sherry Sanabria (painting)
Judy Jashinsky (painting)
Brece Honeycutt (painting)
Lisa Marie Thalhammer (drawing, mixed media)
Claudia Smigrod (photography)
Janet Fries (photography)
Jae Ko (sculpture)
Annette Polan (painting)
Emilie Brzezinski (sculpture)
Linn Meyers (drawing)

Ford Bell Responds

A few days ago I was puzzled by the answer given by Ford Bell, the new president of the American Association of Museums, to a question posed to him during an interview. Read all that here.

In response to my question, Mr. Bell emailed me a clarification:

Lenny:

Here is the context for my answer. Perhaps I wasn't clear enough.

Museum attendees, boards, staff, and volunteers do not reflect the diversity of our society. In Minneapolis, where I am from, we have the largest population of Somalis in the United States, the second largest population of Hmong, the largest population of Tibetans, and substantial populations of Hispanics and Native Americans. However, these ethnic and racial groups are substantially (almost completely) underrepresented on museum boards, and are not users of museums. I think it is incumbent on museums in this country to "demystify" museums, to make them less "white", both physically and programmatically, and to reach out to minority communities with creative, and relevant, educational, social and cultural programming. In the increasingly pluralistic society in which we are fortunate to live, museums will struggle if they are unable to reach out to different communities in meaningful ways.

In regard to the question, "Why would someone who has been elected to Congress in 2037 or 2047 have less 'experience' than someone elected in 2007 simply because they are from a different ethnic group?" I would submit that the vast majority of people now serving in Congress have experiences with museums, in fact, have visited museums since childhood. Today, school districts don't have the money for field trips, and school children don't go to museums in many states they way they did when I was a child. Will childhood trips to museums depend now on parents? And if the parents don't speak English, and/or are illegal immigrants and/or work three jobs and/or don't know what a museum is, are they likely to take their child to a museum?

AAM is committed to conveying - to funders, legislators, policymakers - the importance of museums to communities large and small, across the United States. We are committed to carrying the message that museum experiences are important for school children of all ages, and that these experiences contribute significantly to their educational progress and intellectual development. And, we hope to work with museums, our fellow museum service organizations, and museum professionals and educators to help insure that museums are welcoming and relevant to everyone in the community and that they resemble the community at every level - boards, staff and volunteers.

I hope that helps. Thanks for giving me the opportunity to clarify my answer.

Best wishes.

Cordially,

Ford

Stories

As the first African American museum built by a major American city, the African American Museum in Philadelphia is a pioneering institution that is dedicated to "Celebrating the Life and Contributions of a People." The museum focuses on what is unique about the African American experience, and does so by illustrating the intimate intertwining of one people's heritage, culture, and contributions throughout the fabric of the American experience.

Opening on November 15 and through January 21, 2008, they will host Kimberly Camp's "Stories." Camp’s paintings and dolls are a reflection of family and tradition, and have been shown throughout the United States and abroad in over one hundred prominent solo and group exhibitions.

Camp, a native of Camden, New Jersey, has also pursued a dual career as a museum administrator for the Barnes Foundation, the Smithsonian Institution and the Charles Wright Museum of African American History in Detroit.

RSVP to kcamp@kimberlycamp.com.

Open Studios in Arlington

On Saturday, November 17th, from 6:00-9:00 PM, the artists at the Columbia Pike Artist Studios in Arlington, VA will open their studios to the public - there will be art, food, wine, and many fine artists.

Wanna go to a Bethesda opening on Wednesday?

For a couple of years now I have been recommending to collectors that they should acquire art by Amy Lin.

On Wednesday, November 14th, Amy Lin’s "Silence" opens in Bethesda's Heineman-Myers. A reception for the artist will be held from 6 to 9pm and Amy will speak about her work at 7pm. This will be Lin's commercial gallery debut after a couple of highly successful solo art shows in non-profit art spaces around the DC area.

Besides my attention, Amy Lin has received considerable recognition for her work, including a terrific show recently at the District of Columbia Art Center curated by National Gallery of Art's curator Anne Collins Goodyear and a very positive review of her work in the WaPo for her solo at Northern Virginia Community College last year and a very cool profile by the Washington City Paper last December.

And Apple Computer company recently selected Amy’s work for their one-word campaign, which will showcase her work on college campuses across the US. Furthermore, Washingtonian Magazine recently picked Amy in their 2007 “40 under 40 to Watch.”

Buy Amy Lin now.

Wanna go to an Alexandria opening tomorrow?

Travels - Paintings by Jessie Mackay will be on exhibition November 11 - December 9, 2007 at Alexandria's beautiful Athenaeum, the only Greek revival building in the city.

William Zimmer, the contributing art critic for The New York Times has written that Jessie Mackay "is recognized in the art world as an artist who can go to the most desirable tourist destinations in Europe -- to the impoverished heart of Africa -- and the ability and desire to capture the colors of both places, as well as the people, with a great deal of sympathy, is a welcome, valuable resource."

The Opening reception is Sunday, November 11, from 4 to 6PM. When you get there, walk around this beautiful building and discover one of the hidden gems in the DC area.

For Women Artists

The National Museum of Women in the Arts has Archives on women artists. Eligible to women artists who have had at least one solo show in a museum or gallery. Files may include biographical information, resume, and up to 20 images (slides, transparencies, or photos). $10 fee. Send a SASE to:

Archives on Women Artists
The Library and Research Center
Nat’l Museum of Women in the Arts
1250 New York Avenue NW
Washington, DC 20005

Legal Seminar for Artists

November 15, 6:30 p.m. to 9:00 pm

Maryland Art Place (MAP) and Maryland Lawyers for the Arts (MLA) will present on Thursday, November 15, an Artists' Practicum: a guide to the basic legal knowledge necessary for artistic survival in the marketplace.

The session will cover contractual issues in the creative industry, copyright for nonlawyers, and the Visual Artists Rights Act of 1990. The panel includes MLA Board President Michael Yang, Esq., and board member Cynthia Sanders, Esq. The practicum will be held within MAP’s galleries. Admission is free and open to the public, but reservations must be made by calling 410-962-8565.

Grants for Philly Area Artists

Deadline: January 7, 2008 (Folk & Traditional Arts and Painting)

The Pew Fellowships in the Arts, a program of the Philadelphia Center for Arts and Heritage established by the Pew Charitable Trusts, awards grants to artists working in a wide variety of performing, visual, and literary disciplines. The grants provide financial support directly to the artists so that they may have the opportunity to dedicate themselves to creative pursuits exclusively.

PFA makes awards to artists working in twelve different discipline categories, which rotate on a four-year cycle. In 2008, applications are being accepted in the areas of folk & traditional arts, painting, and playwriting.

Fellowships may be awarded to artists at any stage of their career development, from early to mature, and to artists working in a wide range of aesthetics and traditions. Fellowship recipients are determined according to two primary criteria. First, and most important, applicants are judged on their artistic accomplishment and future promise. Second, panelists consider the impact that a fellowship will have on the applicant's career and artistic development.

Applicants must be practicing artists of demonstrated commitment and professional accomplishment, and must have resided in the five county Philadelphia area (Philadelphia, Bucks, Chester, Delaware, and Montgomery) for at least two continuous years at the time of application.

Up to twelve fellowships are awarded annually. As of the 2008 award cycle, the fellowship amount has increased to $60,000 from $50,000.

Visit the PFA website for complete program information.

Shauna Lee Lange on Andrea Reed's Sweet Struggle at The Target Gallery

Power Seeks a Vacuum

By Shauna Lee Lange

Years ago when I was working in Newport, Rhode Island, I had a mentor with whom I could safely share some of the idiosyncrasies of working with certain personalities. And I still remember what he said.

Power seeks a vacuum.

Meaning that power goes to where there is a void, to where the void can be filled by a personality larger than itself, and to where there is no competition.

And so it is with artwork that arrests us in its riveting, shocking, and disturbing elements. Powerful artwork causes one to shift entirely. And when that powerful artwork is directed at a subject that exists in everyday life, that we all walk around living with, but no one seems to really want to squarely address, well that's power seeking a vacuum.

Andrea Reed's problem, if she has one, is that she does not yet fully recognize the potentiality for the vacuum sucking up the her work or its message. If I had her here with me at this moment, I'd be doing some serious career planning with her and not just career planning the art world.

She's Al Sharpton and Jessie Jackson reincarnate. She's Rosa Parks and Harriet Tubman and Grandma Moses and Salvador Salgado, but she doesn't know it.

I wonder what's more dangerous: having the power, hitting the mark, daring to speak the communication, or doing all of that and not having any inkling of what you've accomplished.

I imagine it's kind of like sitting at a slot machine when you're an inexperienced gambler and then you hit the jackpot and you're not really sure what actually happened or what comes next. It's amazing, you're happy, you're thinking about the money; but you have no clue what it is you've actually done or how rarely it happens.

Several times during last night's opening reception at Alexandria's Target Gallery, one could hear the words, “powerful,” “disturbing,” “brave,” and “raw.” And all those adjectives are all true.

Reed seemingly does not completely recognize the timeliness of her black/racism/social condition message in a day of Duane Chapman, Don Imus, and Michael Richards and the controversies over demeaning language, its use, its application. Nor does Reed realize the power of an introspective and respectable examination of black stereotypes, black societal problems, and the black experience. She’s timely, she’s ahead of her time, and she’s behind the times all at once, it’s incongruent and it’s fascinating.

She says it herself: "I was fearful of how people would perceive the work."

And as you age, you realize that all that time you spent worrying about what other people think was time wasted. Why should she care what other people think of her blackface images? It’s honest. It’s true. It’s presented in a nonjudgmental way, almost like a mirror. I want Reed to walk proudly. What she’s done is amazingly brave. She’s worried the black population will see her as airing dirty laundry; she’s worried whites will see her as capitalizing on negative stereotypes; she’s worried about staying true to herself; and she’s swimming in a sea of contemplation. And I want her not to give a flying frog about what anyone else thinks, because when you’re a visionary, you get to stand alone.

And it’s lonely, and it’s scary, and it’s all the more powerful because you’re the only one responding to the call, listening to the drumbeat, answering the higher cause.

And as I was walking through the Target Gallery - and there's a lot of glare from the overhead lighting there - and I was thinking about how the glare in this case actually accentuates the large scale color photographs (a series of 10 diptychs on crimson/blood red background), giving a reflective appearance. It’s sort of like passing through the Vietnam Memorial; you can see yourself looking in at the picture. How powerful is that?

Today, the morning after, I find myself still conflicted about Reed. On the one hand, I feel bad that she herself honestly says, “I’m not exactly sure where I’m going to go. I don’t think the project is over and I want to continue with it.” She needs a serious mentor. She’s talent untapped. She’s it. She’s the real thing. And I’m thinking that Reed may not know where she's going to go, but I surely I have an idea.

I’m reminded of the time I saw Yoko Ono’s work in San Francisco. This is an artist! This is art!

And so it is with Reed. She has difficulty articulating what she’s trying to say, but the thing of it is - she doesn’t need to. It’s clear. It’s blackface. It’s the mask worn. It’s the clownish behavior. It’s the mask of who we are as a people and what we do. And who is behind the mask. We’re ignorant, you know, white and black, all of us – and what do we think about it? Killing each other, gang violence, fatherless homes, selling out in exchange for the big house, broken self esteem, trying to achieve unreachable ideals established by someone other than ourselves, searching through meaning in acquisition of money, and things, and respect, and acceptance. Oh Lord.

On the other hand, I’m so excited about Reed. She admits, “I’m young, I’m still growing, I’m still trying to find my voice.” One of the things about youth, and I would tell Reed this too, is that you don’t know what you had at the time you had it until much later in life. Any of us who goes back to look at a photograph of an earlier self may catch themselves saying, “Damn. I looked good.” But we didn’t really know it at the time, did we?

Reed doesn’t know what she has. She hit the jackpot, the end of the rainbow, the statement and work that takes some artists and photographers a lifetime to achieve. And she has it. She has it now. She could stop. Right here and never do another thing. She could go on tour. She could give lectures.

Commercially, she needs marketing; she needs exposure; she needs mainstream.

Personally, she needs serious representation. She needs mentors.

Reed can be the next voice of the people. Reed’s a revolutionary; she’s a seer; she understands; she gets it; she communicates it; she dares.

I go back through the gallery and I imagine the next life of these works. I’m thinking about redesigning the entire Barbie Doll Headquarters Enterprise. I’m imagining walking into a reception area with Reed’s “Barbie Girl” hanging behind a coiffed and reserved corporate greeter in front of a massively cold marble wall. “Barbie Girl” is an image that shows a young black woman, in hideous blackface makeup, squeezing the waist of a blonde, white Barbie Doll. A figure the woman will never have. A culture the woman will never relate to. And in the interim, the woman is holding her own mid-section. The smallest part of her is ever so enormous compared to the smallest part of the doll. This is what I mean by power.

Reed’s tapped into every woman’s pain. Every woman’s inability to reach Barbie Doll perfection. And it’s not enough that she points to this feminist, beauty, perfection complex, she then adds the experience of being black and being a black woman in this culture on top of it. It’s quiet, yet it yells. It’s subdued, yet it feels like being submerged.

Fear is a powerful thing. And I suspect Reed is fearful on some subconscious level of what she’s actually achieved. She has the vision of what she wants to say, yet she steps back from really standing firm in her own conviction. And this comes with age, too. She spoke last evening about how the experience of showing at the Target Gallery and the attending the exhibition was a bit overwhelming for her. She stumbles a bit as she speaks. She’s embarrassed when slide photos come up too dark on the viewing screen.

None of it matters.

You, Ms. Reed, overwhelm us! You’ve taken survey. You’ve taken a look around at the black experience. You’ve said this is what’s ugly to me and not only is it ugly to me; it should be ugly to all of us. And you’re right. Completely right.

Reed speaks about using the light in the photographs in an ominous way. And she shares the story behind “Crack Head” and her attempts in San Francisco to acquire a crack pipe for the photograph. She explains she went to several places and honestly communicated what she was trying to do and her vision for the photographs and still was met with resistance, mistrust, or disbelief. She states her own personal experience was altered from this difficult project. One attendee pointed out that the hand of the young man who is holding the crack pipe is dirty and grainy. Reed states this is a result of having each of her models apply their own blackface makeup and the residue resulting from that. And she says interestingly that once the models finished with their masks, there was a distinct transformation and a very different energy in the studio, one she tried to capture on film.

I wonder whether Reed considered not using blackface, and truly I was encouraged by the amount of research and background Reed conducted in approaching the project. The images of the elements of our culture would have been just as powerful without blackface as they are with. The blackface is an added and very strong message about the ridiculousness of such a life – who are we entertaining? Where is the enjoyment? Why is no one laughing?

Reed says she felt she needed to make a statement about how blackface started in the white community and then was an “art form” adopted by black artists. She says she struggles to portray these issues and all of sudden, the lecture space becomes electrified and a little nervous when one attendee asks whether it would have been a different viewing experience if Ms. Reed were white.

What? You have to be black to portray black issues?

You can’t understand what it is for the rich when you’re poor? You can’t understand or portray nature as an artist if you live in the city? My head started spinning; Reed handles the question with grace.

She’s young. She’s introspective. She’s from small town Peoria, Illinois, and she attended Howard University, and now lives in California. Her show features a piece entitled “The Bluest Eye.” It is inspired by Toni Morrison’s novel of the same name. And as I write this, my breathing becomes a little tight, for some reason, I still want to cry. The photograph shows a young woman removing the blue contact from one of her eyes and balancing it so gingerly on the tip of her extended finger. She has a skin condition, and she’s not Halle Berry. This is realism at its best. This is current, contemporary culture. Striving to be something we’re not out of rejection of what we are.

This is all of us, balancing some aspect of ourselves, whether its work, family, health, finances, ever so lightly on the tip of a finger, able to be blown away with the slightest wind.

Fragile.

So fragile and so fruitless this constant struggling to be something else.

Of the ten works, any one of Reed’s diptychs could stand alone. Fully alone in a one-woman show. And she’s clever, that Reed. You’re so fascinated by the semi-automatic pointed to a young man’s head that you hardly even see the weapon has the same embedded line as the young man’s wife-beater t-shirt.

Power. Care. Honesty. Shock.

Reed’s saying, I see it and this is what I do about it. I make it art so others can see it too. I ask the question. And if that’s not a leader, I don’t know what one is.

She speaks about the work from a technical perspective. The feel, the focus, the framing. She shares how she worked with people she knew to create authentic characters, used Polaroids for tests, and opted for the split frame. You see, when power finds the vacuum, power wants to fill it. So Reed split the frames into large format diptychs because she wanted to show racism’s fragmentation. The separation from the whole. And the black frame is impenetrable, a border that cannot be broken.

These are the reasons Reed won her spot on the highly competitive Open Exhibition Competition. I wanted to embrace the gallery management, and believe me; I rarely feel the urge to do that!

The Target Gallery's mission is to challenge perspective, and gallery operatives stated last night’s turnout was one of the best yet. Reed’s work was selected by a blind outside juror panel. The show runs to December 2, 2007.

Philly 1st Fridays Walkabout

Last Friday I went wandering through some of the galleries participating in Philadelphia's 1st Fridays gallery openings. The streets were packed with art loving people who obviously missed the Dawson memo that gallery crawls are dead.

My choices from the evening were actually located in the "back room" of the Rodger La Pelle Galleries. The gallery's main show was Matt Bollinger's "Auto Video," which was an interesting show on its own, but one of the wonders of being "new" to a city is discovering new artists, and in the back room of the gallery I discovered a series of breathtaking small paintings by Rachel Bess, who has a Gregory Gillespie thing going in her beautifully bizarre paintings.

I also liked Lauren Lyons photographs at Silicon Gallery, Christian Mendoza's maddeningly complex drawings at the huge Lineage Gallery and definately the three person show at Pentimenti but especially the film noir work of Matt Haffner.

Bethesda Art Walk tomorrow

Tomorrow is the second Friday of the month and thus its time for the Bethesda Art Walk with 13 participating venues.

My picks are once again focused on the really interesting group show at the Neptune Gallery - look for Jody Mussoff to stand out, and then what looks to be one of the best landscape photography shows of the year at Fraser Gallery. The photo to the left, "In Vitro Complex No.V" by Anna Druzcz, is simply amazing.

Also check out "On Myth" - mixed-media work on canvas and paper by Rob Hauck at Waverly Street Gallery.

Next week look to the long-awaited opening of Amy Lin at Heineman Myers.

More DC area openings here.

Come again?

Minnesotan Ford W. Bell, a former Democratic candidate for the US Senate, is the new president of the American Association of Museums, replacing Edward H. Able, who retired last years after 20 years at the association. Able earned $249,794 in 2006, so it's a well-paid and important art position!

Bell was interviewed by Nicole Lewis for the Chronicle of Philanthropy. Read that interview here.

One question's answer sort of caught me a little off guard:

What are your priorities?

How can we partner with other organizations around promoting diversity in the field. I'd like to set up a fellowship program with some of the historically black colleges and universities. Also, in 30 to 40 years, when 50 percent of the country is Hispanic, the halls of Congress are not going to look the way they do today. If the people in Congress then have had no experience with museums it's going to be hard to get support. And high on my list is collaborating more closely with other groups, including the Association of Art Museum Directors. We are not competing; if we succeed in strengthening museums, there is plenty of credit to go around.

Surely I am misreading this answer and Bell is not implying that the Congress people of the future, simply because they may be 50% Hispanic/Latino/Latina will have "no experience with museums"?

What does that mean anyway? Visiting a museum? Serving on a museum board?

Why would someone who has been elected to Congress in 2037 or 2047 have less "experience" than someone elected in 2007 simply because they are from a different ethnic group?

Am I misunderstanding Bell's answer? What "museum experience" do current Congress people have anyway that would be different in 30 years because of the ethnic demographic change being predicted?

Or is he saying that currently Hispanics have no "experience" with museums and thus the American Association of Museums needs to start working with Hispanics so that in 30-40 years...?

This gives me a headache. Surely I am misreading this answer in some way. I have sent the American Association of Museums an email asking for a clarification; let's see what response I get.

Art Jobs

11 art jobs and internships in DC.

Great deals

A really good art heads-up: There are some great deals to be had in this online auction of 124 lots by New York's Daniel Cooney Fine Arts.

Happy Anniversary!

The Maryland State Arts Council just celebrated its 40th anniversary with an exhibit of work by 40 Maryland artists, curated by Oletha DeVane, through December 19, 2007.

Check out the exhibition here.

The Blogger Show Opening Video

James Kalm posted the below video about The Blogger Show opening in New York a few days ago.

I have this drawing in the show at a steal for $100 which will be all donated to the galleries to help with the costs of the show. Call Agni Gallery at 917/683-0643 if you want to buy it or email them at agnizotis@yahoo.com.

In addition to showing the opening, the videographer talks to a lot of blogging artists about Charlie Finch's recent anti-blogger article.

Green

Like nearly everyone on the proper level of Maslow's hierarchy of needs, I am very interested and concerned about green issues in general.

My wife is an alumni of Sidwell Friends School in Washington, DC and because of that I am aware that all the construction going on there is on the leading edge of green architecture.

This is but one of many such projects going on around the nation. One of my cousins is one of 17 accredited "green" lawyers around the country, and she's now working with a task force to help counties and states "codify" the legal building codes of what makes a "green building."

I discussed with her that I thought that it would be ironic if "green buildings," once built, would then be filled with other enviromentally-colored objects, other than green, including art.

A green buildig full of possibly toxic objects? Does that muddy the "greenness" of the project?

I think so.

And thus a truly green project should whenever possible be then filled with green furniture, green appliances, etc.

Including green art.

In the Greater DC area, the only two green artists that I am familiar with are Erwin Timmers and Adam Bradley.

Both are exceptional sculptors who re-use artifacts, often discarded objects, to create works of art that are fresh and provocative. Both Timmers and Bradley have been doing this for years.

Timmers uses all kinds of objects, reuses common glass, etc. to deliver exceptionally intelligent sculptures which are so complex in character and materials that they are hard to label. See and hear Erwin discuss his work below:

Ever since he was an undergraduate student at GMU and then a graduate student at MICA, and now an Asst. Professor at a couple of DC area universities, Adam Bradley has been gathering metal and plastic car parts, rubber and other assorted junk and using them to create what can best be described as highly contemporary narrative works.

"Cast Iron" by Adam Bradley. Circa 2001
I am sure that there are other green artists out there - if so, drop me an email and a website address and I'll try to highlight some of you.

Be Green.

Update: NBC4 on Erwin Timmers

Job in the Arts

Howard County Arts Council is seeking a grants and program assistant. B.A., non-profit exp., strong computer & organization skills, able to handle multiple projects. Full-time, some evenings, salary mid-high 20s. No calls; send cover letter, resume, writing sample, and three refs by Nov. 16 to:

HCAC
8510 High Ridge Road
Ellicott City, MD 21043
Fax 410.313.2790
Email: coleen@hocoarts.org