Eakins update

The Philadelphia Museum of Art announced today that it has completed the funding of its share in the joint acquisition of Thomas Eakins’s heroic 1875 masterpiece, The Gross Clinic, through deaccessioning Eakins’s Cowboy Singing, which has been jointly acquired by the Denver Art Museum and the Denver-based Anschutz Collection, as well as two oil sketches for Eakins’s Cowboys in the Badlands, which have been acquired by the Denver Art Museum. The Museum acquired The Gross Clinic early last year with the Pennsylvania Academy of the Fine Arts from Thomas Jefferson University, amidst a spirited campaign to keep the painting in Philadelphia.

Above from the press release from a few days ago; details here.

Five ways to get sued for using people in your Art

Beth Russell is a musician and attorney admitted to practice law in New York, Connecticut and Wisconsin. She is the author of the book Art Law Conversations perhaps the key legal book for artists. Buy it here.

And Beth pens Five Ways to Get Sued for Using People in Your Art for Art Calendar magazine - which by the way is a must subscribe-to magazine if you're an artist looking for a great opportunites and business magazine for artists (disclosure: I've written tons of articles for Art Calendar over the years).

It's a great article; read it here.

Opportunity for Sculptors

Accepting Entries: May 2 to September 5 (received deadline)

The Washington Sculptors Group has a call out for "Aquifer," a sculpture exhibition to be held at the Edison Place Gallery (701 8th Street, NW Washington, DC 20001) and co-curated by my good friends Deborah McLeod and J.W. Mahoney.

The exhibition is open to members of Washington Project for the Arts and Washington Sculptors Group. Artists who are not current members may join either or both organizations. New members may request a membership form by contacting WPA at www.wpadc.org or WSG at www.washingtonsculptors.org.

For more info or details visit the The Washington Sculptors Group website.

New Look

Yes boys and girls... after five years with one of Blogger's earliest templates, I finally took the plunge and switched to a new template in order to allow comments.

You see, for quite a while I have been struggling to add comments to this blog; without an iota of success.

So then I decided to do a little research and quickly found out that my 2003 vintage blog template didn't support comments and that the only solution was to switch to a new one.

And so, countless hours later, here it is! Expects a few visual tweaks here and there.

Frida Kahlo at the Philadelphia Museum of Art

Seldom does an art review need a little context from the perspective of the reviewer's own historical involvement with the work being reviewed, as this one does.

In 1975, I visited Mexico City and discovered the works of Mexican painter Frida Kahlo. Almost immediately, I developed an artistic obsession with Kahlo's image and over the years I have created hundreds of works on that subject, including dozens of art school assignments at the University of Washington School of Art (1977-1981).

Although the vast majority of those works were sold over the years, a few years ago I had a solo show in Washington, DC that chronicled 27 years of preparatory drawings, etchings, oil paintings, watercolors and sculptures about Kahlo.

In 1975 my parents took their first vacation ever, at least in my memory. As Cuban exiles, the American tradition of yearly vacations was as removed from their routine as the Cuban tradition of Nochebuena is from American Christmas holiday customs.

Anyway, they decided to go to Mexico City for a week with another couple from New York, which is where my folks had been living since leaving Cuba as political refugees in the early 60s. In 1975 I was finishing my first year in the US Navy, where I had enlisted right after High School, and stationed aboard USS Saratoga, homeported in Mayport, Florida.

I had turned down a New York State Regents Scholarship, a Cornell University art scholarship and a Boston University art scholarship to satisfy my desire to see the world before I went to college.

Mexico City and its nightlife and food (and how far a dollar went) made such an impression upon my parents and their friends, that the one-week trip became two, and eventually they spent nearly a month in that huge, dirty city, enjoying the food, scenery, clubs and markets. They also asked me if I'd like to join them for a few days, and since they were paying for it, I got a few days leave and flew to Mexico City for about five days of my own, unexpected vacation.

I hardly spent any time with them. As a 19-year-old teenager, my interests were more focused on girls, cheap booze and plenty of great things to do. It was while visiting a museum during the last few days of my visit, that I accidentally discovered Frida Kahlo.

I remember walking into the museum salon where the Two Fridas hung. It was love, or more like witchcraft, at first sight. This large, spectacular painting swallowed my visual senses and attention as no work of art would do again until I first saw Velasquez's Las Meninas at the Prado in Madrid eight years later.

At that first exposure, and the ones that followed over the years, as I tried to absorb as much of Frida Kahlo as I could in my remaining Mexico City days, I became an addict for the work and imagery of this Champagne Communist Mexican virago. I recall sitting down in the room where the Two Fridas was hung, and copying the painting through a pencil sketch done on gift wrapping vellum paper from an earlier touristy purchase of a huge, saucepan sized solid silver belt buckle and brown cowboy etched leather belt that I wore for years and that thankfully has been now lost.

Kahlo left me gasping for knowledge about her and her work. Her imagery was like nothing I had seen before, even in my childhood's New York atmosphere that often included day-long trips to the Brooklyn Museum, the Met, MOMA and many other New York museums.

The more of her work that I discovered, the more I became obsessed with learning about her. In 1975 and the first few years that followed, this wasn't exactly an easy task. In those years, at least in Mexico, Kahlo was still just Diego Rivera's wife; a wife who also happened to paint.

And thus my burning interest in visiting the massive Frida Kahlo exhibition which opened a few weeks ago at the Philadelphia Museum of Art (PMA).

PMA is the only East Coast venue for this major exhibition, the first in nearly 15 years to be devoted to Kahlo's work. It includes more than 40 of Kahlo's paintings, including many that have never been exhibited before, and others which have never been seen in the United States. You can see the exhibition in the video below:



The exhibition was organized by the Walker Art Center working with the San Francisco Museum of Modern Art, and curated by Kahlo biographer Hayden Herrera, whose brilliant Kahlo biography is a must read for Kahlophiles worldwide, and by the Walker's associate curator Elizabeth Carpenter.

In addition to the Kahlo works, the curators have included over 100 photographs from Kahlo's personal collection, some of which have been annotated and drawn on by Kahlo.

Among them are images by Tina Modotti, Nickolas Murray, Gisele Freund and many others. They truly help to create a sense of place and time and aura around some of the most iconic imagery from 20th century art.

The PMA show also adds some additional materials from the museum's own collection. These works, mostly ex-votos works, really add a brilliant insight to Kahlo's influences. The PMA additions were curated by the PMA's Michael Taylor and Emily Hage; more on that later.

A proper Kahlo primer demands the reading of Hayden Herrera's Kahlo biography or at the very least the viewing of Selma Hayek's Frida movie.

The film was the most recent of a curious worldwide Kahlomania that shows little sign of slowing down. It is especially curious in the sense that the artist who now represents "Mexicanity" to its most profound depth, was essentially ignored in her own country for many years, both during and after her lifetime (Kahlo died in 1954), and only had one exhibition of her works in Mexico (in 1953), just before she died.

Kahlo was born in 1907, and in 1929 she married Diego Rivera. At the time he was perhaps Mexico's best-known artist and womanizer, and their relationship was turbulent, to say the least. It also provided the subject matter for some of Kahlo's best-known works.

Almost upon entry we see "Frieda [sic] and Diego Rivera," painted in 1931. Painted while Kahlo and Rivera were living in San Francisco, this work was first exhibited at the 6th Annual Exhibition of the San Francisco Society of Women Artists. It's a rather sad double portrait, where Kahlo paints Rivera's profession as an artist, and depicts herself as a traditional Mexican wife, even taking Rivera's last name when she signs the work "Frieda [sic] Rivera." Their hands barely touch each other.

Kahlo was a woman of multiple identities, but this one is far from the Frida Kahlo who has become an unexpected icon to the world's feminist movement. And yet this early work provides a seminal entry point to Kahlo's deep debt to Mexican folk art, and what Herrera calls "Mexicanidad" (or Mexicanity), a post-revolutionary idea formulated by Mexico's intelligentsia to carve out a Mexican identity based upon its own rich indigenous history and its mestizo culture.

And over the years a distinct and very Mexican icon would emerge. An artist who has also become a separate icon not only to the same Mexicans who mostly ignored her while she was alive, but also to the new culture of Mexican-Americans once known as Chicanos who have since adopted her as an iconic cultural leader of their re-discovered Mexicanity.

A genetic and iconic paradox emerges in this latter deification of Kahlo. In 1936's "My Grandparents, My Parents, and I (Family Tree)," Kahlo has depicted her own family tree proudly reflecting her own mestizo heritage, exhibited by her maternal grandfather's indigenous blood.

She also showcases her three Caucasian grandparents, and even depicts herself being sustained inside her mother and we also see the moment of creation as an European sperm enters her mother's mestizo egg. Kahlo shows herself as a small child in her Blue House, perhaps sadly stating the end of the line, as Kahlo was unable to bear children.

Kahlo's Mexicanity would grow and progress over the years, and she embraced the traditions of Mexican folk art and the colonial religious paintings known as "ex-voto" with a ferocity that is a perfect example why the post-modernist war cry of "it's been done before" fails immediately no matter how often repeated.

"So what?" would have answered Frida Kahlo as she used the ex-votos as guides for some of her most successful works.

In "The Suicide of Dorothy Hale," we have an opportunity that no one else got to see at the Walker or will see in SF. An opportunity to see, side by side, how Kahlo embraced an older tradition and brought it forward to her own painting dialogue.



Commissioned by Clare Booth Luce in 1939 (while Kahlo was living in New York as a bit of a Champagne Communist) to commemorate the suicide of her friend Dorothy Hale, I was told by Hayden Herrera that it "horrified" Luce when she first saw it.

It is a painting executed in the direct style of the ex-votos, and somehow the PMA has found in its own collection an ex-voto that almost matches the storyline of the Kahlo painting.

An ex-voto is a votive painting commissioned by someone to celebrate or record an event where someone has survived a dangerous event. In Mexico, it was generally painted on tin sheets. Often the ex-voto has a narrative style that shows the progression of the event, in a timeline, in the actual work.

In the Kahlo painting we see Dorothy Hale jumping to her suicide, first as a small figure jumping off her apartment building, which is surrounded by clouds echoing El Greco. We then see Hale's body in a close up of her fall, and finally the broken and bloodied woman on the ground. A banner at the bottom of the painting tells the story in Spanish, and Kahlo has bloodied her signature and even the frame.

In the PMA's ex-voto, titled "Fall from a Balcony," we see a Nanny and child falling through the floor of a balcony, which has given way under their weight. We also see them on the ground, having fallen and miraculously survived the fall. The banner at the bottom relates the story of the fall.

It's a brilliant juxtapositioning of two unrelated works that cement the powerful influence of ex-voto upon Kahlo's own work as no words can describe.

Brilliant artists borrow from all sources around. The Beatles' "A Day in the Life" borrowed from the morning newspaper headlines that Sir Paul was reading over his beans on toast:

I read the news today oh boy
Four thousand holes in Blackburn, Lancashire
And though the holes were rather small
They had to count them all
Now they know how many holes
it takes to fill the
Albert Hall

Kahlo's horrific "A Few Small Nips," painted in 1935, is a revelation in many ways. As Herrera tells the story, Kahlo was inspired to make this gruesome painting, which depicts a man in a bloodbath of an assault on a naked woman who has been stabbed many times, from a newspaper story relating the crime.

The killer, while being reprimanded by the judge, was quoted as responding that he had only given the victim a "few small nips."


The work came at a difficult time in Kahlo's own life, when her marriage to Rivera was on the rocks, because Rivera had an affair with Kahlo's younger sister Cristina. The painting is a visual bloodbath itself; Kahlo's misery is projected onto victim lying naked on a bloodied bed. There's blood everywhere, including the frame, which Kahlo has used to extend the bloodstains.

And there's something else that even a Kahlo expert such as Herrera first discovered when she saw this painting for the first time during this exhibition: Kahlo has also stabbed the frame repeatedly, extending her own anger onto the wood, giving it a few small nips of her own.

This is why sometimes even a familiar work of art yields new clues when examined for real; those angry stabs on the frame had not been revealed in the countless reproductions of this work.

This revelation alone is worth a trip to see this exhibition. See Hayden Herrera discuss the work below:



Another incarnation of Frida Kahlo was her ability to paint her own pain. Starting with a horrific accident in her youth, which left her body broken and subject to pain throughout the rest of her life as well as countless operations, Kahlo borrowed from her own physical pain to deliver images that makes us wince from a different place than the images of a suicide or a stab victim.

Physical pain that comes from a deep moist place inside us all, and which Kahlo has exposed via her painting many times.

It's there in "The Broken Column," (c. 1944) and also in "Without Hope," and perhaps in one of her best-known paintings "The Little Deer," where the pain becomes arrows on the deer's body.

There are surprises in this show as well. Even for a Fridaphile like me and I suspect for most acolytes of Fridamania. Such as "The Circle," a round work that is undated and look nothing like any Kahlo work that I have ever seen.

And then there is "The Two Fridas" just as I remember from my first exposure to it back in the mid 1970s. This is her largest work, painted in 1939 and occupying a place of honor in the exhibition.

Two gigantic Fridas sitting against an El Greco sky, holding hands and sharing a bloodline. One is a Mexican Frida in her Tehuana dress; the other Frida is bloodied and the dripping vein paints small red flowers on her white dress; perhaps a contemporary European wedding dress of the times.

See curators Herrera and Carpenter discuss the work below (the video is part 1 of 3; the rest are at YouTube):




I hope that this exhibition will kindle new interest not only from her legions of fans, but also from art scholars and researchers, as there are still many holes and gaps that need to be identified and expanded in this amazing life.

Kahlo's influence on contemporary art also needs serious examination by art scholars and researchers. Kahlo's obsession with her own image has been reflected in the work of many important contemporary artists and photographers who use their body and image as the canvas for their work.

And even as Fridamania continues to expand and her images commodified into Chinese made Mexican souvenirs of all kinds, Frida Kahlo is a major 20th century artist, perhaps even eclipsing her husband's place in art history.

Like Picasso, Kahlo refused to be labeled and refused to produce one style or genre of work. “God is really only another artist," once said Picasso, "He invented the giraffe, the elephant, and the ant. He has no real style. He just goes on trying other things."

Frida Kahlo is at the PMA through May 18, 2008. See a quick walk-through the exhibition below:

When bloggers bite

Read this.

Been done...

Remember the Washington Post "experiment" with violinist Joshua Bell playing outside a Metro station in Washington, DC, just to see who would notice?

(Via) And so someone (www.Klara.be a Belgian art radio/channel) has done a very controlled experiment for 48 hours with a painting by Belgian painter Luc Tuymans, one of the stars of the contemporary art world. They put one of his paintings out on the street and then filmed it for 48 hours and counted the people who ignored it (96%) and the people who stopped to look at it (4%). See the experiment below:

These kind of "experiments" are silly, because people out on the street, especially outside a Metro station - as was the case with the Joshua Bell experiment - are in the context of getting from A to B, and their senses are attuned to that task, not listening or viewing artwork.

A more interesting experiment would be to put a Luc Tuymans in a group exhibition of emerging artists in some artists' cooperative somewhere, under another name, and then see what happens with jury awards, visitors interests, etc.

Even there the context is a little sketchy, but a lot clearer than having it hung on a busy street.

Or put a John Currin painting on the streets and see how long before someone defaces it.

I personally just like to sit in front of "Watson and the Shark" at the NGA and see how it reels people in.

Hook-up!

A controversial German artist known for exploring death is searching for a dying volunteer to take part in an upcoming installation: taking his or her last breath while on display.

"Unfortunately today, death and the road to death are about suffering. Coming to terms with death — as I plan it — can take away the pain of dying for us," artist Gregor Schneider, 39, told the online edition of German daily Die Welt.

Schneider specified that that he is not just looking for anyone: the volunteer would have to fully understand the intention of the exhibit and have things in common with the artist himself.

Also, he added that he would seek the blessing of the volunteer's relatives and strictly control the location.

"It would be a private atmosphere with rules about visitors," said Schneider, who has been contemplating the installation for more than 10 years.

He is also looking for a gallery willing to serve as host.

Hey Greg! I got a gallery for you!

Call Códice Gallery in Managua, Nicaragua!

- Jeffry Cudlin's take on Gregor Schneider here.

- Richard Lacayo's here.

- "Crank Pisspot's" (read comments' section of post) here.

When artists and gallerists part

An overheated art market sets all kinds of things in motion. Big galleries with money to burn and multiple spaces to fill start circling smaller galleries, eyeing their most successful artists like the underdeveloped properties they sometimes are. Artists get itchy and think about moving up the gallery food chain. And boom or bust, even the friendliest, most mutually beneficial artist-dealer relationships can prove finite. They are outgrown or become stale. Suddenly, it’s time to move on.

Read this oh-so-true article by Roberta Smith in the NYT
here.

Artists' Website: Mike Schaffer

Condoleezza Rice by Mike Shaffer
Mike Shaffer "assaults the famous and the unknown from the DC environs, their identities obscured, abstractified, warped and altered. Maybe you'll recognize them. Maybe you won't." Visit his blogwebsite here.

Wanna go to a DC opening tomorrow

M. Andrés Svensson, the Chilean Cultural attache brings to my attention the opening of the show by Chilean painter Gustavo Schmidt at the Embassy of Chile in DC. The show opens on Thursday, April 24 at 6:30PM and will include some good Chilean wines and food as part of the opening. The exhibition runs through May 20, 2008.

Ancestral Rites by Gustavo Schmidt. 2006, Oil on linen, 65 x 55 in.
You must RSVP to 202/530-4118 or email RSVP to cultural@embassyofchile.org.

2%

Which of the 300+ Chelsea galleries to visit?

Wanna go to a Richmond opening on Friday?

Flora, Fauna, Fabulous & Fun! opens in Richmond, Virginia's Chasen Gallery with an opening reception on April 25, 2008, 6-9PM. The show runs from April 25 - May 25th. Work by Carl and Jody Wright.

Wanna go to a National Harbor opening on Friday?

I haven't been to National Harbor yet, but it sounds and looks really cool.

A good reason to check out this emerging new location on the shores of the Potomac is that Art Whino has the opening for an exhibition featuring the art of Leah Sarah Bassett, and also introducing four new artists to the Art Whino Collaboration: Francesco D'Isa, Lisa Adams, Patrick Fatica and Nicolas Gracey

The opening reception is April 25th, 2008 from 6pm to Midnight at their new National Harbor location. 173 Waterfront Street, National Harbor, MD 20745. The event is free and open to the public.

DJ Stylo will be on the turntables and there will be special performances by I.R.E and LaVondra Shinholster. The exhibition will run through May 25th, 2008.

For directions visit www.nationalharbor.com/Directions.aspx. National Harbor is also accessible by water taxi. Please visit www.potomacriverboatco.com for more info.

Quilts save town

What Italy provides for people who love food is what Paducah does for quilting. A small Kentucky town on the Ohio River halfway between St. Louis and Nashville, Tenn., Paducah has become one of the prime destinations for quilt tourism, 21st-century style.

In late April every year, the American Quilter's Society draws 35,000 quilt makers and quilt lovers to Paducah for one of the biggest quilt shows in the country. The niche craft has been used as an economic engine to revive this once-declining town. The story of Paducah also helps demonstrate why quilting is now a $3.3 billion industry, with an estimated 27 million enthusiasts.

Story here; best quilters in the world?

Gee's Bend.

And then...

Read this

It started with a dog

In 2007, when I first received a deluge of emails and pictures of the art installation by Costa Rican "artist" Guillermo Vargas "Habacuc," they were so disgusting and sick that I decided against posting any discussion about it, lest I add more publicity to the artist and the act.

He got a ton of publicity worldwide anyway.

But my recent posting about the German artist Gregor Schneider planning to show a person dying as part of an exhibition has re-started the deluge, plus some newish information was made available, and so here it goes:

In 2007 Guillermo Vargas created an installation (details in Spanish and loads of horrible images here), where the artist allegedly paid a couple of Nicaraguan children to chase and capture a stray dog, and then the animal was tied to the gallery wall at Códice Gallery in Managua, Nicaragua and allowed to starve to death.

The Spanish language arts blogsphere erupted in shock and nausea at this event, and subsequently the artist stated (Via):

"Hello everyone. My name is Guillermo Habacuc Vargas. I am 50 years old and an artist. Recently, I have been critisized for my work titled 'Eres lo que lees', which features a dog named Nativity. The purpose of the work was not to cause any type of infliction on the poor, innocent creature, but rather to illustrate a point. In my home city of San Jose, Costa Rica, tens of thousands of stray dogs starve and die of illness each year in the streets and no one pays them a second thought.

Now, if you publicly display one of these starving creatures, such as the case with Nativity, it creates a backlash that brings out a big of hypocrisy in all of us. Nativity was a very sick creature and would have died in the streets anyway."

By October of 2007, the Costa Rican newspaper La Nacion had picked up the story from the Spanish language arts blogsphere and delivered this story. In the story, Marta Leonor González, identified as the editor of the La Prensa cultural newspaper in Managua, confirmed that the dog had indeed died (by then lots of blog stories had come out that the dog had been fed in between shows, or that it had escaped alive).

She also stated that the installation included the statement (in Spanish) "You are what you read," written with dog food on the walls of the gallery. It also included an audio of the Nicaraguan National Hymn played backwards, photos and an incense burner, where 175 crack rocks and an ounce of marijuana were burnt.

In the same story the artist defends his installation and makes the point that "no one untied the dog, or gave the dog food, no one called the police. No one did anything." The piece was also an homage to a woman who had been killed by feral stray dogs.

A month earlier Guillermo Vargas had been also chosen to represent Costa Rica at the Bienal Centroamericana Honduras 2008. He already was part of Costa Rica´s Visual Arts Biennial (Bienarte) 2007 when the announcement that he and five other Costa Rican artists would represent their nation at the Bienal Centroamericana Honduras 2008 was made.

The fact that no one (at least in the English speaking world and to Google) had ever heard of this biennial was a little suspicious to me, until later on I figured out that it had been misnamed in the story and in countless other stories that followed. I think that the actual title is the "VI Bienal de Artes Visuales del Istmo Centroamericano."

The selection was made by a jury comprised of Ana Sokoloff (Colombia), Oliver Debroise (Mexico) and Rodolfo Kronfle Chambers (Ecuador).

This selection really incensed the Internet, and several boycott petitions were initiated (one is here), and by October of 2007, one of the best American visual art blogs -- Edward Winkleman -- discussed the issue at lenght and even published an explanation of the event by Códice Gallery defending the actions and claiming that the dog had been fed and that it had escaped.

By March of 2008, the Argentinean newspaper Clarin was reporting that over a million signatures had been recorded. In the same article the three jurors who selected Vargas to the Biennial defended their choice and stated that the work that Vargas offered up had no relation to the earlier installation and they also "rejected" the boycott campaign.

Then a few days ago Artnet.com discussed the story in the context of the dog, the gallery, and the supposed "Bienal Centroamericana Honduras 2008."

Like Artnet, I can't find any references or websites to the above titled Biennial, but what I have found is a letter from the one of the sponsors of the Honduran Biennial (different biennial) and also for the VI Bienal de Artes Visuales del Istmo Centroamericano, which I think may be the forementioned Bienal Centroamericana Honduras 2008. They are the Mujeres en las Artes “Leticia de Oyuela” and the letter about the Biennial, the dog and Vargas is here in Spanish.

To add confusion to the mix, the website of the Museo de Arte de El Salvador (MARTE) has the Biennial scheduled to take place at the museum from 27 May to 27 July of 2008, and back in October 2007 they had a press conference about the Biennial. Not in Honduras, but El Salvador.

And because in this interview of Rebeca Dávila Dada published in the Salvadorean newspaper La Prensa, one of the items in her resume list her as a consultant to the VI Bienal de Artes Visuales del Istmo Centroamericano, by now I should be pretty sure that the "Bienal Centroamericana Honduras 2008" is actually the "VI Bienal de Artes Visuales del Istmo Centroamericano" and will take place in El Salvador and not Honduras.

Clear?

Not so fast!

For here's the Call to Artists for Salvadorean artists who wish to be considered for the Biennial. They claim that it will take place in Tegucigalpa, Honduras.

Confused again... and now I think that what will happen in MARTE is the exhibition of El Salvadorean artists from which a few will be selected to represent El Salvador at the Biennial - not the actual Biennial itself!

And thus I have emailed a whole bunch of people in Spanish (in Central America) to see where and when this almost internet urban legend Biennial will take place.

One thing seems to be clear, the vile act focused upon the stray dog by Vargas accomplished exactly what this artist desired: immense publicity and horror.

Until he's raised one by Gregor Schneider's human plans. Let's hope that no one raises Schneider's sicker plan.

But I think that I know what is next. It was proven to be a hoax, but for a while ( Via) this story in the Yale Daily News discussed Art major Aliza Shvarts' art project during which allegedly she for nine months "artificially inseminated herself 'as often as possible' while periodically taking abortifacient drugs to induce miscarriages. Her exhibition will feature video recordings of these forced miscarriages as well as preserved collections of the blood from the process."

And I wouldn't be surprised that somewhere, a gallery and an artist are currently discussing some sort of live installation focusing on some sort of in situ abortion of some sort.

We've already had a live circumcision in DC.

And if the law allowed it, you can bet that some sicko would love to make cheap headlines by tying a homeless person to a gallery wall and watch him or her starve to death in the name of art.

It's all been done before by an artist group collective called "The Romans." They ruled the art world, in fact most of the Western world, for a few centuries. In fact, the massive gallery where they performed most of these vile installations still stands in Rome.

Aspiring shock artists should read Suetonius' The Lives of the Twelve Caesars , especially the chapter on Tiberius, to get a lesson on some really disturbing and shocking art installations done by this vile Roman Emperor artist over two thousand years ago.

Face it, it's been done!

Makes me sick.

PS - I bet that these Biennial calls are open to Salvadorean and Honduran born artists residing in the US. It would be a good opportunity to try for, and then if selected you can tell me if the Biennial did take place!

Update: Yale refuses to allow Aliza Shvarts' art project to go on display today; read the story here.

Congrats!

To Marsha Ralls, founder of The Ralls Collection in Georgetown in DC, who together with Seth Goldman, President and TeaEO of Honest Tea, were honored recently by The National Foundation for Teaching Entrepreneurship (NFTE) for their commitment to increasing education and economic opportunities for low-income youth, at NFTE’s 15th Annual Salute to the Entrepreneurial Spirit Awards Dinner in New York City.

Anne W. McNulty, JBK Partners, introduced Marsha Ralls (right) at the Awards' Dinner
Ms. Ralls chaired NFTE Greater Washington DC’s most successful Dare to Dream gala to date, helping the organization raise nearly $1 million to support its work in low-income communities.

Congrats Marsha!

Plexiglass House

Kriston responds to my rock here (missing the point a little, I think); no more on this subject from me unless a get together is arranged somehow.

But I'm not sure that I'm not gonna twitch the next time that he reviews the gallery that he curated a show for.

Update: OK, OK... one more thing here.

Opportunity for artists with disabilities

Deadline: Friday, July 11, 2008

Sponsored by VSA arts and Volkswagen of America, Inc. Open to emerging artists with disabilities, ages 16 -25, living within the U.S. Fifteen (15) artists will receive a total of $60,000 in cash awards. No entry fee.

"Green Light" challenges artists to pinpoint the motivation behind their work and the infinite possibilities that creativity provides. Eligible media include: paintings and drawings (oil, watercolor, acrylic, pencil or charcoal), fine art prints (lithographs, etching, intaglio, or woodcuts), photography, computer generated prints and two-dimensional mixed media - any media that may be represented in two-dimensions. Artwork should not exceed 60 inches in either direction.

New This Year: Sculpture and time-based media (video, film etc.) will also be considered. Sculpture should not exceed 24 inches in any direction. Fifteen (15) awardees will be honored at an awards ceremony on Capitol Hill during the Fall of 2008, and their artwork will be displayed in a nation-wide touring exhibition that debuts at the Smithsonian during September 2008.

To learn more about last year’s program, visit: www.vsarts.org/driven For additional information and to access the application, please visit: www.vsarts.org/VWcall or contact Jennifer Wexler at 800.933.8721 x3885; email: JCWexler@vsarts.org. Alternative formats of the application are available upon request.