Matt Sesow at MFA

I hear that Matt Sesow had a great opening at Mayer Fine Art in Norfolk with loads of sales. Congrats to both!

Wanna go to an Open Studio today?

What: J.T. Kirkland Open Studio

When: Saturday, October 3, 4-8pm

Where: 47762 Mariner Ct, Sterling, VA 20165

New Drawing

The first one in months!

Excuse(s): I've been away (spent all of July screwing around the desert in California), had to make a major move back to DC from Philadelphia, and had my third child arrive a month ago. I'm still unpacking yo! And getting less than 3-4 hours sleep a day!

The Killing of The Christ
Charcoal and conte on paper. 4 feet by 4 feet. 2009.
F. Lennox Campello
I may have to revisit this drawing... I couldn't remember exactly on which side Christ was pierced by the Spear of Destiny used by the Roman Centuriun Longinus.

I've drawn a slight reference to it on His left side, as my Catholic school background seems to recall that side, but since I am not very religious, I can't be 100% sure. I guess I will check the New Testament, unless someone can leave a comment and let me know. Then I will draw the wound.

Andrew Wodzianski's House opens next week

On Thursday, October 8, 2009, the place to be and be seen in the District is at Flashpoint, for the most unusual opening reception from 6-8pm of Andrew Wodzianski's House.

Let me start with a warning: prepare yourself for an art exhibition like no art exhibition that you’ve ever been to, in fact, an art exhibition like no one has ever been to.

Not that novel ideas for art exhibitions are anything new for Andrew Wodzianski, but this one takes the prize.

Years before Twitter, Wodzianski orchestrated a solo show at Fraser Gallery where visitors could use Yellow Arrows (Twitter’s predecessor) to text immediate criticism and comments about his work to an online site.

It was such a new and innovative marriage of art and emerging digital communications technology, that most of it completely went over the heads of art critics and visitors alike: “text what to where?” It did catch the attention of a University curator who gave Wodzianski a follow up exhibition of this novel pre-Twitter concept of immediate digital feedback.

He also once showed up to an opening dressed as a ninja, and once as a woman.

In this exhibit you will see thirteen artworks (not a coincidence), nine of which will be paintings. All nine paintings depict interior sets and props used in William Castle’s cult campy film 'House on Haunted Hill’, which celebrates its 50th anniversary this year. The paintings are a triumph of technical and creative visual minimalism as still images from the film are manipulated and juxtaposed onto tinted canvas, and obfuscated by multiple layers of white glaze and velaturas [literally, there is only white titanium oil paint on a pastel ground]. Much like the 1959 film, the paintings themselves appear veiled and slightly threatening and unresolved.

But there’s a lot of other stuff going on around this exhibition besides these uneasy images. There is a real casket, a haunted house, Andrew’s first “official” art performance, selective mailings, miniature coffins, a scavenger hunt, free artwork, nurses, funeral directors, pall bearers, Twitter feeds, a Halloween after-party, and O yeah… be prepared to meet Vincent Price (star of the film).

And most of all be prepared for an art experience like you’ve never experienced before.

October Art festivals

Lots of great art festivals coming to the area this month, starting this Saturday with one of the area's beat art and craft festivals: Alexandria's Art on the Avenue in Del Ray. Music, food, kids' activities and loads of good, affordable artwork.

Art on the Avenue
Saturday, October 3, 10-6PM
Mt. Vernon Avenue in Alexandria
www.artontheavenue.org

Crafty Bastards Arts n Crafts Fair
Saturday, October 3, 10-5PM
Marie Reed Learning Center on 18th NW St, NW at Wyoming.
www.washingtoncitypaper.com/cratfybastards

Bethesda Art Market
Saturday, October 10, 10-5PM
Bethesda Place Plaza, corner of Old Georgetown Road and Woodmont Avenue.
www.bethesda.org

Lee-Fendall House Art and Craft Show
Saturday, October 17, 10-4PM
Orinoco Street, Alexandria
www.leefendallhouse.org

12th Annual Bethesda Row Arts Festival
Saturday, October 17th from 11am – 6pm
Sunday, October 18th from 11am – 5pm
www.bethesdarowarts.org

Wanna sell some artwork in NYC this weekend?

Then the Autumn Art Bazaar at Lyons Wier Gallery, NYC may be for you!

Autumn Art Bazaar @ Lyons Wier Gallery
October 3rd and 4th, 2009

On the heels of the success of the summer ART BAZAAR, Lyons Wier Gallery is pleased to announce its Autumn Art Bazaar being held this weekend, Saturday & Sunday, October 3rd & 4th.

The ART BAZAAR is an OPEN CALL opportunity for any artist not represented by Lyons Wier Gallery to display and sell their work in the gallery, located on the NE corner of 20th Street and 7th Avenue. There is no price structure, no visual filter for inclusion and no politics for entrance other than a willingness to show up, step-up and sell their work.

The ART BAZAAR strives to be a grass roots venue that is a catalyst for collecting art. The ART BAZAAR offers a unique opportunity for unrepresented artists living in New York to establish a presence in the art community. It allows for an open dialogue between the artist and collector and is unabashedly about the transaction between artistic creativity and financial sustainability. Due to its spontaneous nature, there is no telling who or what will be represented. This summer, participants varied from the seasoned professional to the absolute novice, prices ranged from $50 - $4500, and every possible medium was shown.

The ART BAZAAR continues to utilize social networks like Facebook, eBlogger, Twitter, uTube, Tumblr. and uStream.tv and is streamed LIVE on www.ArtBazaar.tv. The ART BAZAAR opens to the public Saturday 11-7 & Sunday 12-7.

Lyons Wier Gallery
175 Seventh Ave. (@20th St.),
NYC 10011
(212)242-6220
www.lyonswiergallery.com

Rockwell coming to town next year

Clearly a blockbuster exhibition in the making:

“Telling Stories: Norman Rockwell from the Collections of George Lucas and Steven Spielberg” Opens at the Smithsonian American Art Museum July 2, 2010

The Smithsonian American Art Museum is organizing the first major exhibition to explore the connections between Norman Rockwell’s iconic images of American life and the movies. Two of America’s best-known modern filmmakers — George Lucas and Steven Spielberg — recognized a kindred spirit in Rockwell and formed in-depth collections of his work. “Telling Stories: Norman Rockwell from the Collections of George Lucas and Steven Spielberg” will be on view in Washington, D.C., from July 2, 2010, through Jan. 2, 2011. The museum is the only venue for the exhibition.

“Norman Rockwell is an artist and a storyteller who captured universal truths about Americans that tell us a lot about who we are as a people,” said Elizabeth Broun, The Margaret and Terry Stent Director of the Smithsonian American Art Museum. “Like Rockwell, both George Lucas and Steven Spielberg embrace the idea that ordinary people can become unlikely heroes. I am delighted that the Smithsonian American Art Museum is organizing the first exhibition to explore these new connections between Rockwell’s art and the movies.”

Rockwell was a masterful storyteller who could distill a narrative into a single moment, and his pictures tell stories about the adventure of growing up, of individuals rising up in the face of adversity, the glamour of Hollywood and the importance of tolerance in American life. His images contain rich character development, subtle scenic contexts and implied narratives that resemble movie-making strategies.

“Rockwell’s pictures highlight topical issues that emerged in movies, popular fiction and the news,” said Virginia M. Mecklenburg, senior curator and organizer of the exhibition. “This exhibition and its catalog offer new insights into why Rockwell chose to paint particular subjects with particular points of view and dramatically expands our understanding of Rockwell as an observant commentator on pressing issues of the day.”

The exhibition will showcase more than 50 major Rockwell paintings and drawings from these private collections that are rarely seen by the public. Excerpts from interviews in which Lucas and Spielberg talk about Rockwell and the works in their collections will be shown in the exhibition galleries. Booz Allen Hamilton, a global strategy and technology consulting firm, is supporting the exhibition.

“In Norman Rockwell’s art, we see ourselves, our families and our neighbors—the heart and spirit of America,” said Ralph W. Shrader, chairman and CEO of Booz Allen Hamilton. “We look forward to supporting the Smithsonian American Art Museum on this major project, including an exciting series of public programs.”

“Lucas, Spielberg and Rockwell perpetuate ideas about love of country, personal honor and the value of family in their work,” said Mecklenburg. “With humor and pathos, they have transformed everyday experiences into stories revealing the aspirations and values that have sustained Americans through good times and bad.”

Now for some easy predictions: the high brow elitist critics will all unite in one front and all hate this show. The public, being far more progressive and democratic in their acceptance of what is art (without silly obsolete notions of "high" art and all other art, and without ingrained notions of "illustration" versus "high art") will line out to see the exhibition and continue to love Rockwell as they have for decades.

I'm with the general public.

Talking about Lawrence at the Phillips tonight

Tonight I will be at the Phillips after 5 event in DC's Phillips Collection, where three local art bloggers have been invited to share their perspectives about some of their favorite works in the museum’s permanent collection on October 1st, and I will be discussing the work of one of my former professors at the University of Washington, Jacob Lawrence.

Jacob Lawrence, The Migration Series, Panel no. 57: The female workers were the last to arrive north., 1940 -- 1941, Casein tempera on hardboard; 18 x 12 in.; 45.72 x 30.48 cm.. Acquired 1942.
The schedule looks like this:

5:30 p.m.: Panel no. 57, Jacob Lawrence
Lenny Campello, Daily Campello Arts News

6:30 p.m.: The Open Window, Pierre Bonnard
Kriston Capps, Grammar Police

7:30 p.m.: Six O’Clock, Winter, John Sloan
Julia Beizer, Washington Post’s Going Out Guide.

Phillips after 5 is a "lively mix of art and entertainment on the first Thursday of the month. Other October highlights include a screening of selections from the Washington Project for the Arts annual Experimental Media Series."

WHEN: Thu., Oct. 1, 5–8:30 p.m.
COST: Museum admission and all programs, by donation. Cash bar
WHERE: The Phillips Collection, 1600 21st St., NW. Metro: Dupont Circle (Q St.)
PUBLIC INFORMATION: www.phillipscollection.org or 202-387-2151

See ya there!

This Friday in Norfolk


My good bud Matt Sesow opens in Norfolk's best art gallery, Mayer Fine Art. The opening reception is from 7-9PM.

Phillips after 5

One more reminder: tomorrow, as part of Phillips after 5 in DC's Phillips Collection, three local art bloggers have been invited to share their perspectives about some of their favorite works in the museum’s permanent collection on October 1st, and I will be discussing the work of one of my former professors at the University of Washington, Jacob Lawrence.

Jacob Lawrence, The Migration Series, Panel no. 57: The female workers were the last to arrive north., 1940 -- 1941, Casein tempera on hardboard; 18 x 12 in.; 45.72 x 30.48 cm.. Acquired 1942.
The schedule looks like this:

5:30 p.m.: Panel no. 57, Jacob Lawrence
Lenny Campello, Daily Campello Arts News

6:30 p.m.: The Open Window, Pierre Bonnard
Kriston Capps, Grammar Police

7:30 p.m.: Six O’Clock, Winter, John Sloan
Julia Beizer, Washington Post’s Going Out Guide.

Phillips after 5 is a "lively mix of art and entertainment on the first Thursday of the month. Other October highlights include a screening of selections from the Washington Project for the Arts annual Experimental Media Series."

WHEN: Thu., Oct. 1, 5–8:30 p.m.
COST: Museum admission and all programs, by donation. Cash bar
WHERE: The Phillips Collection, 1600 21st St., NW. Metro: Dupont Circle (Q St.)
PUBLIC INFORMATION: www.phillipscollection.org or 202-387-2151

See ya there!

Sixties Chicks


Left to Right: LaVone Hardison, Elise Campello, Jenny Shotwell, Melissa Fleming

For tonight

The D.C. Commission on the Arts & Humanities is currently crafting its next strategic plan. The next important step in the process is to open the dialogue to DC citizens who care about the arts in our community. At this Public Input session, they will talk about central themes that have emerged from the research to date, show you how things are being done in other relevant communities, and ask for ideas regarding three key areas: support of artists and arts organizations, arts education, and arts advocacy.

Tuesday, September 29, from 6:30 to 8:30 PM at the D.C. Commission on the Arts and Humanities, 1371 Harvard Street, NW.

New Acquisitions at University of Maryland

Yesterday I dropped by the UM's Stamp Gallery to see the work from:

In the spring of 2008, five gifted students were selected to be part of a committee that was taught the intricacies of contemporary art and sent on trips to New York City and Washington D.C, where they visited multiple galleries and artists ’ studios. The program concluded with the committee of students purchasing a number of pieces of contemporary art to be added to the collection of The Adele H. Stamp Student Union, Center for Campus Life.

The committee’s selections are currently on exhibition in The Stamp Gallery, located on the 1st floor of the Stamp. The exhibition runs through October 1st, 2009.

I'll have more to say once I discuss the acquisitions and this cool program with some of the students and the advisers. Stay tuned, as I've already got a major piece of advice for the program sponsors/faculty.

Art in Windows today

Take a walk through the DC Convention Center and see new art in their windows. The ribbon-cutting ceremony for this unusual exhibit with Mayor Adrian M. Fenty will be at 4:30 PM on Tuesday, September 29 at 7th & M Streets outside of the Mt Vernon Sq/7th St-Convention Center Metro entrance. At that time, young students from the New Community for Children will be finishing their three-panel art piece that shows their pint-size view of Shaw and awesome musician Kuku will perform.

The artists are: Beth Baldwin, Jason Clark, Tim Conlon, Liani Foster, Amber Robles-Gordon, Eve Hennessa, Michael Dax Iacovone, Anne Marchand, Cory Oberndorfer, Michael Platt & Carol A. Beane, Kelly Towles, Aneikan Udofia, Colin Winterbottom and featuring The New Community for Children.

At Flashpoint tonight


Celebrate the new season at Flashpoint. RSVP required.

Tuesday, September 29, 2009 . 6 - 8pm
Flashpoint . 916 G Street, NW

suggested donation $35.00

live theatre performances . visual art exhibition
tasty treats from Jaleo
Barefoot Wine . Southampton Publick House Beer

RSVP to rsvp@culturaldc.org

Let them eat cake

Ayr Hill Gallery will feature a special two-day exhibit of a large “cake canvas,” on Friday, October 2nd, 11 AM-5 PM, and Saturday, October 3rd, 11 AM-4 PM.

Following his popular exhibit last year, David Supley Foxworth, chef and cake artist at MallowDrama in Reston, will be creating a hand-painted reproduction of Claude Monet’s Woman with a Parasol - Madame Monet and Her Son, for this exhibit. Mr. Supley Foxworth will recreate this master work on a large fondant-covered cake, which will be cut and served at 4 PM on Saturday, October 3rd. Slices of this chocolate-cherry cake will be available for free, while they last.

The gallery is located at 141 Church Street NW, in Vienna, Virginia. For more information, visit www.ayrhillgallery.com or call 703-938-3880.

Fall 2009 solos at the Arlington Arts Center

Untitled, found implements, by David Page
Seldom does a visit to a multi-gallery space, such as the Arlington Arts Center is, yield so many different art exhibitions with one thing in common: they are all excellent shows in their own unique way.

By the way, this is a testament not only to the creative and technical talent of the artists whom I am about to discuss, but also to the superlative changes that the team of Jeffery Cudlin as curator and Claire Huschle as Executive Director have been able to effect upon the Arlington Arts Center during the relative short period that they have been there. Succinctly put, they have brought the Center to the 21st century dialogue of the visual arts at warp factor speeds.


The main level's Meyer Gallery hosts the work of Trawick Prize winner David Page, an artist of ultimate technical skill and living proof that this sometimes derided ability, when married to intelligent creativity, and in Page's case with a Gillespian sense of uneasy recognition, results in work that sets an artist apart from the rest.

As one enters the gallery, Page offers a table full of found implements that he collects as a way to trigger ideas in his unique mind; it is the found object that often kindles a reconstructed shape, often larger, with expanded properties. It is a fascinating and surprisingly attractive collection of "things."

Objects that when viewed individually are mostly common and innocuous. Here we see a set of ice tongs, there a planting scoop, here a metal spoon. The sort of objects that we'd expect to find in an artist's studio if that artist draws inspiration from them.

Objects that when viewed together seem dangerous and macabre. Here we see a stabbing knife, there a squeezing instrument, here an eye-popping scoop. The sort of objects that we'd expect to find in Hannibal Lechter's terror studio as his instruments of torture and death.

And the end result of Page's transmorphication of the images of the found objects into the fine art objects in this exhibition have a lot of profound artistic pedigree and creative intelligence, but also a healthy dose of Lechterian genetics. In fact I am told that Page was once commissioned to create some objects for one of the movies in the Hannibal Lechter series.


Page is a consummate technician, and what adds to a sense of unease that comes from a very deep and primitive place inside us, is the fact that he is able to take a very common object (a brush, or a wooden handle) and add a very refined leather extension or addition to it, and almost like magic that common object not only becomes a very beautiful work of art, but also projects a sense of alarming threat, depending on who is the user of the object, and who it could be used on.

Adding to this hard to describe uneasiness we return to the highly refined technical skills employed to transform the object. In doing so Page is so good that he delivers a sense of mass production in these unique pieces. It is as if there was a whole industry out there churning out leather-pointed ax handles for a consuming segment of the public where the exploration of the human body has few limits.

Page's neighbor on the other side of the Meyer Gallery is Cynthia Hron, who offers two untitled floor sculptures and several drawings of the same sculptural forms. It is the two floor pieces, the undercarriage made of wire and the "skin" made of thousands of black cable ties that are notable.

Hron's sculptures are both visually organic and also peculiarly recognizable in an odd way. The work clearly fits in the Dan Flavin school of artists whose supplies come from your local Home Depot, and seldom have cable ties been more elegantly employed as they are in these two pieces.

Across the hall in the Chairmen's Gallery, Philadelphia-based artist Roxana Perez-Mendez has delivered one of the best set of video installations that I have ever seen.

I am not a big fan of segregating artists by ethnicity or race, and yet in this case, Perez-Mendez employs her Puerto Rican ethnicity like a ferocious weapon that add a singularly Latina flavor to her works.

You can't hide from it. As soon as you enter the darkened space, your ears are filled with the salsa sounds of a decades old hit by Willie Colon (my favorite Willie Colon hit of all time is here). To the left is a video installation playing the Willie Colon record over and over. On the screen, Perez-Mendez dances uninterrupted and unable to stop, a treadmill is her dance floor, and while the Willie Colon orchestra's Hector LaVoe sings "Todo tiene su final, nada dura para siempre" (or "Everything has an ending, nothing lasts forever"), Perez-Mendez dances forever on the video, one sensual never ending salsa routine after another. It's a fascinating play on the words of the song that I suspect is only discernible to Spanish speakers, and then maybe even to just those of a Caribbean nature.

Todo Tiene Su Final (clip), Roxana Perez-Mendez. Pepper's ghost hologram, table, record player, record and sleeve, DV performance and mixed media. C. 2009
The two other video installations extend an artistic homage hand to the artist's fellow Latin American ancestry artists. One hand is extended southwest to Mexico and one south to Cuba. Both videos honor desperate people looking for a better life.

One is very easy to decipher. In "De Noche Sueño Contigo" (At Night I Dream of You), we see a toy truck in a desert scene, while a Pepper's Ghost Hologram disembark countless versions of the artist from the opened rear of the truck. They jump out of the truck, and run north to a better life. It is a never ending flood of illegal immigrants rushing out of the bowels of the truck. In the background we still hear LaVoe's voice crooning that everything has an end.

Roxana Perez-Mendez, De Noche Sueño Contigo (clip)
The other takes a lot more conceptual and historical depth to figure out. In this elegant video installation, a framework holds a small wood dingy, while a fan blows some bits of green shredded materials under the boat, giving the impression of water. On the rear screen, a Pepper's Ghost hologram of Perez-Mendez rows and rows and rows without end. Plastic bags at her feet are the luggage of the rowing woman on the screen.

When I first saw this installation, and before I knew of the artist's ethnic background, I immediately and incorrectly thought that she was Cuban, as over the last few decades Cuban artists such as K'Cho and Sandra Ramos have all but appropriated the subject of the boat or raft to represent the never-ending flow of balseros (raft people) that have been draining out of Cuba for decades now and drowning by the tens of thousands in their attempt to escape from that prison island.

The title gives it away.

It is titled "Caridad," the straight translation of which is "Charity."

And yet there's more there that takes a good dosage of Cubanosity to decipher. You say to a non Cuban person of Latin American heritage the word "Caridad" and they will think "charity."

You say "Caridad" to a Cuban and they know that you're are talking about Cachita (the nickname for the proper name of Caridad), or La Virgen de la Caridad del Cobre; Cuba's patron saint and its own unique incarnation of the Holy Mother.

And here Perez-Mendez gets even deeper into the clue-giving intelligence of the classic marriage of imagery with a perfect title. Dan Brown could learn a few new tricks from this artist!

The legend of the apparition of La Virgen de la Caridad del Cobre dates to 1604 or 1606. It is said that The Virgin appeared one day in the Bay of Nipe near Santiago de Cuba, in the Oriente province of the island, to two white brothers, Rodrigo and Juan de Hoyos, and to a ten-year old black child appropriately named Juan Moreno (Moreno in Spanish means "dark-skinned"). The three Cubans were out fishing in the Bay when a sudden storm began to toss their boat. Alarmed that they were about to capsize and drown, they prayed for divine intervention. Suddenly they heard a celestial voice that said "I am the Virgin of Charity." Then they saw Mary float above them and in one hand, the Virgin carried a baby Jesus; in the other, she held a cross. Because race has always been an issue in Cuba (and remains to this day), the racial attributes and compositions of all the players in this religious drama is important; essentially, it covers the entire racial makeup of the Cuban population. Just like Mexico has a mestiza native Virgin, Cuba has a Virgin who tends to both racial groups of the Cuban people. Since the Virgin of Charity had earlier appeared in Spain, the Cuban re-apparition was named after the nearby mining town of El Cobre. In the Afro-Cuban religion of Santeria, the Virgin is named Ochún and depicted as black, so Cachita is essentially a Holy Mother for all Cubans.

The three males on the boat (known in Cuba as "the three Juans", even though only two of them had that name) were saved from drowning by the Virgin, and they returned ashore and told everyone about the miracle at sea.

In the video installation, Perez-Mendez sails north, hoping for a miracle and a new life. Soon she may get to Florida, and if she's lucky she'll set feet on land and be allowed to stay. If she's caught at sea by the Coast Guard, she will be returned to Cuba, where she will be imprisoned for trying to escape. It is the hideous Clintonian "feet dry, feet wet" policy. In the background LaVoe's voice reminds the balsera that everything must end. Even her voyage ends one way or the other.

These two pieces are narrative art at its best. Perez-Mendez's work can transform and seduce people who usually do not enjoy video art in a way that I had not experienced before. This is an artist to follow and keep an eye on.

On the hall walls of the first floor of the Center, a set of elegant drawings by Pamela Phatsimo Sunstrum caught my eye when I first walked into the Center. As a lover of drawing, and specifically of representational drawing, this was not unexpected. The works are technically flawless and fresh and vibrant, and show the artist in a series of almost mythological perspectives.

But the real gems are the site specific works that Phatsimo Sunstrum created on the walls of the Tiffany Gallery.

The Center's Tiffany Gallery must be the most beautiful small gallery in the US - a set of large original Tiffany windows will do that to any art space. This gallery is also, easily, the most difficult place to hang art in the planet. Why? The beauty of the stained glass casts a never ending cacophony of dancing colors on the walls of the gallery space. Whatever hangs in this gallery better look good with a tint of purple here, a blaze of yellow there, always playing and shifting on its surface.

Phatsimo Sunstrum conquered the Tiffany Gallery and the real shame here is that all that beautiful site specific work will be destroyed when this exhibition is over.

There is a sensuality to the line in drawing that no other genre has. When in the hands of a talented and skilled artist, like this one, the line can tell stories like no brush can deliver.

It twists and grows and shrinks and expands; it dances on the surface to which it is being applied and reveals secrets about the artist creating the work. Through the stories gossiped by the line we learn about how the artist felt and reacted at that precise instant. The line in Phatsimo Sunstrum's wall drawings capture the moment in time when something went very right for this artist. We look and study the fluidity and sensuality of the line and we can almost smell the scent of the artist, face and eyes inches away from the wall, all visual perspective all but impossible, relying only on memories of size and scale, as her gifted hand dances on a once blank wall to create a work of ephemeral beauty that will only last for an exhibition.

Pamela Phatsimo Sunstrum, audax/viator. site specific drawing installation (detail), 2009.
Witness the results. In the panel above, a life sized (or larger) version of the artist takes us through three specific moments in time as she approaches the pond, gingerly dips her feet in it, and then stands to the right.

The color line that defines this drawing against the flatness of a rich black background that would otherwise absorb the figure is a triumph of minimalism and skill. Note how a simple line defines the erotic turn of the woman's stomach or the dainty turn of the ankle as she explores the water's temperature. Our own toes feel the coolness of the dark water as Phatsimo Sunstrum dips her toes into its primeval black wetness - it is a magical moment where a simple line has enchanted our logical brain into believing a two dimensional image.

The Center's lower level galleries host the sculptural works of Christian Benefiel and Jenn Figg.

Figg offers a sculptural installation made up of many cut-prints mounted on corrugated plastic. They give us a theatrical impression which feels as if we're behind the theatre's screen, peeping on a performance taking place. The subtle lighting applied to the works also project the sculptures onto the rear wall, reinforcing this theatrical experience.

Benefiel's large floor sculptures use a lot of cast iron, handsomely welded to host fragile insides that use blowers to inflate and deflate them. It is a successful marriage of fragility with strength.

The Fall Solo 2009 shows go through November 7 2009.

Artists' Websites: Kris Kuksi

When Fraser Gallery showed the works of Kris Kuksi in his first DC solo several years ago, the Washington Post wrote about his show that "...Painter Kris Kuksi's work, on exhibit at Fraser Gallery under the pretentious moniker "The Within," is masterfully rendered figurative art (Fraser's stock in trade). Ranging from full-color hallucinations inspired by medical illustrations, religious iconography and surrealism to straightforward (if oversize) black-and-white portraiture, Kuksi's images seem contrived to disturb and confront the viewer, which is probably why they don't..."

Through Death United (detail). Mixed Media Assemblage, 84x34 inches
They say that revenge is best served cold, and since those early days, Kuksi's stock in the art world has soared and later this year he will have his second major New York solo exhibition from November-December, 2009, at the Joshua Liner Gallery as well as being showcased in last year's Scope Art Fair in Miami.

Check out Kuksi's amazing artwork here.

Gedalio Grinberg

Today is the birthday of a very famous Cuban watchmaker, Gedalio Grinberg, born in born in Quivicán, Cuba on September 26, 1931.

Grinberg escaped from Cuba soon after the Castro revolution became a dictatorship of its own and he settled in New York, where he began to sell watches.

After reading Vance Packard's 1959 book, The Status Seekers, and its message of how American's were increasingly looking to project their status, Grinberg realized that he could convince Americans that wearing a quality watch was as much of a status symbol as owning a Cadillac in one's driveway. A 1988 Forbes profile cited by The New York Times described how "Grinberg helped make Americans conscious of their watches and made the glint of gold on a male wrist a status symbol" changing the American perception of a watch as a gift one received for their high school graduation.

As part of an effort to combat Japanese watchmakers, Grinberg invested in ultrathin quartz watches, culminating in 1980 with the Concord Delirium IV, which at 0.98 millimeters thick was the first watch thinner than one millimeter.

After acquiring the Movado in 1983, the firm was renamed the Movado Group. Under Grinberg, Movado heavily promoted the "Museum Watch" a modernistic markless black face with a single gold dot at the 12 o'clock position based on a design by Nathan George Horwitt in the collection of the Museum of Modern Art, selling millions of the watches in dozens of different versions.

Opportunity for Artists

Deadline: October 26, 2009

If you read this blog then you know that I've been always very impressed with the BlackRock Center for the Arts gallery's 1500 square feet of exquisite gallery space. With its high white walls and beautiful windows strategically placed, this gorgeous gallery allows in just the right amount of natural light. BlackRock Center for the Arts is located at 12901 Town Commons Drive Germantown, MD in upper Montgomery County, about 20 minutes from the Capital Beltway (495).

They currently have a call to artists and the call is open to all artists residing in Maryland, Virginia, and Washington, DC over the age of 18.

Original artwork only. All work must be ready for sale and to be presented in a professional manner to the public at the time of delivery.

This call will cover exhibits in the gallery from September 2010 through August 2011. An exhibit may include one applicant or a combination of applicants, based on the judgment of jurors (i.e., 1 or 2 wall artists may be combined with a pedestal artist). A jury will select the artists and create eight exhibits to be included in the exhibit year. The jury panel is comprised of my good friend and gallerist Elyse Harrison, Jodi Walsh, and yours truly.

Jurying: First Week of December
Notification: Early January
Exhibit Year: Sept. 2010 – Aug. 2011

How to apply: All correspondence will be done by e-mail, so contact Kimberly Onley, the Gallery Coordinator at konley@blackrockcenter.org and ask her to email you a prospectus.

Don't wait to the last minute! Get the prospectus now!