Migrations at the Embassy of Chile

This is the last week to see the "Migrations", a mini retrospective of the works of my good friend Joan Belmar, with works from 1995-2009. The exhibition is open from 8:30am to 6:30pm Monday-Friday and is closing on Nov 27th 2009 at 6:00pm.

The Chilean Embassy is located at 1732 Massachussets Ave., N.W., Washington D.C. 20036. Phone: (202) 785-1746.

Laurel Lukaszewski at Project 4

I first fell in love with the movies of Akira Kurosawa when I was a kid. Both my father and I really liked the action-packed masterpieces of Japan's best-known director and little did we know that his minimalist samurai sagas would be the artistic precursors of the martial arts films of today.

I fell in love with Laurel Lukaszewski’s work when I first discovered it in one of the past Artomatic free-for-all mega art shows in Washington, DC. Back then, I picked her work as the key find of that particular Artomatic, and then I sat back in self-righteous pleasure as I saw Lukaszewski continue to grow as an artist and artistic force around the DC region. Back then I had no idea that Kurosawa and Lukaszewski would one day share a moment in my mind's eye and live together forever in this review.

In the past I have also pointed to Lukaszewski as one of the District's artistic powerhouses that are dragging clay and other "crafty" substrates away from the craft world and into the rarified upper artmosphere of the blue chip fine arts world. I call them the Steiglitzes of the other side of the art tracks, dragging their media away from the craft and unto the fine arts arena.

For a couple of years after that Artomatic, in the DC region we all marveled at Lukaszewski’s spectacularly complex interwoven forms, which managed to take the visual sense of the Byzantine into a minimalist context – that’s an almost illogical bridge which would ruin most Vulcan minds.

But the sheer sharpness of this artist’s prowess did exactly that: she delivered these complex, tubular (not in the Californian sense) forms that interlocked in gorgeous wall hanging mazes that pulled us with a new found magnetic attraction to the media of clay.

“There is magic in them works,” someone wearing a Caterpillar ball cap and chewing on a chunk of grass might say, and that magic served Lukaszewski well as it pulled us very close to her work to examine how impossibly complex and how cleverly minimalist they were at the same time.

And now for the exhibition at Project 4.

“God is really only another artist,” Picasso once said. “He invented the giraffe the elephant and the ant. He has no real style. He just goes on trying other things.”

And that is what artists, real fire-in-the-gut artists, are supposed to do. And the fire that burns in Laurel Lukaszewski’s belly really came to a high roar in this exhibition at Project 4 gallery on U Street, NW in DC. And to say that I was left reeling from seeing what a huge new artistic footprint this artist has made in one show would be the understatement of the year.

There are only four pieces in the show: Sakura (a sculptural cherry blossom installation); Pause (a hanging ribbon installation); Ghost (sculptural leaves); and Floridan (an outdoor floor piece).

I’m going to take a chance and write about only one of them, because that one piece describes the new impression that the artist has left on me.

Sakura (detail) by Laurel Lukaszewski
In Sakura, the two-level gallery is used to showcase hundreds of small cherry blossom sculptures, each one individually pinned to the wall, to float and rise up from the main level, like a wave of starlings, from floor to floor. On the edges of the walls where the blossoms grow from, the floor is covered in delicate lost petals. Sakura is Japanese for cherry blossom.


Sakura (detail) by Laurel Lukaszewski
Each individual cherry blossom is a gorgeous example of a master sculptor at work - hundreds of them, floating up in a swirl of shadow-casting flowers is something else more akin to an Akira Kurosawa film come to life in a minimalist dream (for all you Kurosawa fans, I am referring to Sanjuro, specifically the part of the film where the camellia flowers in bloom are cut from the tree and dropped by the hundreds in the river to float down stream, as the signal for attack).

In this piece the artist bridges a paradox: minimalism is less – and she accomplishes that in the art form. And yet, her minimalism requires, no… demands - an entire “home” as its home.

What do I mean by that?

This gorgeous and enormous piece is a re-arrangeable work of art that can be set and re-set and re…ahhh… reset in many shapes, each one of which will yield new results, but the “less” part of minimalism in this case needs and covets more and more of the wall that it requires to anchor itself to.

I submit that Sakura is such a spectacular work of art that when a collector purchases it, and I hope that a savvy one will soon, the only way that it should be showcased would be as the only work of art in that room, home, condo, house or setting. Anything else hanging on those walls around Sakura would diminish the artistic power punch to the solar plexus that Sakura delivers.

It is the triumph of minimalism over space. And it is the triumph of a courageous artist not afraid to flex her own artistic muscles.

The exhibition goes through December 18, 2009. Go see this show and see the trailer for Sanjuro below:

Dramatic Dining

Now in its fifth year, the Food Glorious Food art show and associated 2010 calendar will be unveiled by the Zenith Community Arts Foundation (ZCAF) at Woolly Mammoth Theatre on Thursday, December 3, 6-10pm, with a Calendar Launch Celebration and Silent Auction to benefit the Capital Area Food Bank, celebrating its 30th anniversary in 2010.

Emcee for the evening will be WUSA 9 News Anchor Andrea Roane.

Cooked up by ZCAF in 2005, Food Glorious Food’s menu of food, art and charity is a recipe for success that has raised more than $100,000 for the food bank in four years, while pleasing the palates of art patrons and foodies through a unique collaboration between artists and restaurants. Area businesses add spice to the mix by sponsoring the calendar and donating items for the auction.

The overall project raises money through calendar sales, a percentage of proceeds from a related month-long food art exhibition and the Calendar Launch Celebration.

This year’s theme, Dramatic Dining, was inspired by ZCAF’s new partnership with Woolly Mammoth Theatre Company, who also in its 30th year, shares the same commitment to community values and the arts as ZCAF.

The new alliance, prompted by Food Glorious Food’s move from its former home on Seventh Street NW at Zenith Gallery, will bring a new audience of theatre goers to the show and event, and raise more money for the food bank to help feed the hungry.

Artists: Bert Beirne, Leslie Exton, Cassandra Gillens, Brenda Gordon, Philip Hazard, Robert C. Jackson, Life Pieces To Masterpieces, Chris Malone, Joey Manlapaz, Donna McCullough, Bill Mead, Davis Morton, Stephen Hansen, Michela Mansuino, Ron Schwerin, Bradley Stevens and James Tormey.

Restaurants: Recipes in this year’s Dramatic Dining Calendar have been donated by Acadiana, Bastille, BestCookie.com, Black Salt, Bourbon Steak, Central Michel Richard, Chef Geoff’s, Equinox, The Oceanaire Seafood Room, Oyamel, Teaism, Through the Kitchen Door and Zaytinya.

Calendar Launch Celebration: Highlights of the festive evening will include an exhibition of art in all media, created for the calendar; a silent auction with irresistible items; tastings of the chefs’ recipes featured in the calendar; a cooking demonstration of Central Michel Richard’s recipe and a complimentary calendar for each guest. Tickets, $75, can be purchased by calling the Zenith Community Arts Foundation at 202-783-8005 or emailing zenithcommunityarts@zcaf.org

Artworks on Display: December 3 – January 3, 2010. More details at Zenith Community Arts Foundation (ZCAF).

Little Junester in a drawing

Anderson Campello as a Merman Fingerling
Charcoal on Paper. 3 inches by 2 inches

The Creative List

Washington Life Magazine has a piece titled The Creative List: Visual Arts in its current issue.

They rave about John Smith, Director of the Archives of American Art, and DC area artists Maggie Michael and husband Dan Steinhilber, Manon Cleary, Chawky Frenn, Mark Jenkins, Laurel Lukaszewski, Lida Moser, Jefferson Pinder, Tim Tate and Postsecret's Frank Warren.

Check it out online here.

There's also a The Creative List: Written Word here.

Neptune Artist Market Place Starts Tonight


Over in Bethesda, hard working gallerist Elyse Harrison is having a whole bunch of events starting tonight at 7PM. Click on the image above for a whole schedule of events.

You can also pencil December 13 at 2 PM, which starts with a presentation and tasting with Cacao, fine European Chocolates immediately followed by "A Conversation with Lenny Campello" in which I will answer any and all questions about anything dealing with art: framing, approaching galleries, collectors, collecting, etc.

Wanna go to an opening today?

"Quiet Little Stories: The Art of Graham Francoise" opens today at Art Whino with an opening reception starting at 6:00pm.

Miniatures

THINKSMALL5 is the fifth Biennial International Miniature Invitational Exhibition at art6 and artspace galleries located in Richmond, Virginia. I was honored to have been invited to exhibit.

If you, like me, love to give art as Christmas presents (or any and all present-giving activities), this show is a terrific opportunity to grab some small works at really affordable prices.

Check all the artwork online here and then buy some.

Opportunity for Artists

Deadline: February 15th, 2010

Wanna be in the permanent collection of the Brooklyn Art Library?

We’ll send you a lined Moleskine journal. Fill it up with a narrative of some sort and send it back to us. It will be shown at the exhibition and then permanently reside at the Brooklyn Art Library for the public to see.

Details here.

Things that piss me off...

When you spend an hour framing something under glass, and no matter how much you clean and blow, there's always some debris under the glass trapped between the glass and matted artwork.

One worse than that: you've finally checked it a million times and it's all good, and so you go ahead and finish the framing, turn it over, and discover a hair that has magically materialized under the glass.

One worse than that: So you take it all apart and get rid of the hair, and re-do it all and check it and it looks great. And so you seal the back of the frame, put all the hardware on and bubble wrap it for transportation to the Miami art fairs.

Then you remember that you've forgotten to photograph the new artwork for your records and in order to have a digital image for the Certificate of Authenticity and the gallery's website.

Makes my head hurt...

Come again?

I was just looking at a contract sent to me by an artist. The contract was in response to a "portfolio review" for a group show in a New York City gallery.

The "curator" for the group show was very complimentary of this artist's work and selected a few pieces for the show. So far so good.

The contract details the following (somewhat edited to avoid court costs):

* Press Release will be written for the NYC group exhibition project and distributed via e-mail to World Art Media mailing lists consisting of select museums, galleries, curators, dealers, collectors, writers, art publications, artists, and art fair organizations around the globe. This release will be posted on www.---------- and other websites such as ......... to announce the event.

* ------------ Newsletter Listing announcing the ------ Gallery group exhibition mailed to subscribers in the U.S. and Europe.

* ------------ Daily Newsletter Listing announcing the group exhibition mailed to subscribers in the Far East.

* 500 invitation cards designed, printed and distributed for the show.

* Reception hosted by ------- Gallery.

* Artist’s Reception hosted by -------- Gallery.

* Review / Article: Selected writer will view the exhibition and write an essay on the participating artists’ works and the exhibition. This article will be published both online at ---------- and in print in --------- Magazine.

* Complimentary copies of the magazines with the feature article mailed to artist’s address.

Schedule & Payment Options

Total of $1,900 includes all features listed above. A deposit is due upon acceptance and signing. The payment can be made in full latest by --------.

The hefty $1,900 fee to exhibit immediately makes this gallery (and this show), a "vanity gallery" and certainly a "vanity exhibition" as the artists that will eventually end up in this show will be there based on their ability to fork $1,900 each to cover the costs of what are essentially the normal costs associated with running an independently owned commercial fine arts gallery.

That makes this a vanity show. This by itself is not illegal and there are dozens and dozens of vanity galleries in NYC operating mostly on the dime of the exhibiting artists.

But what caught my eye was the fact that the contract claims that a "Selected writer will view the exhibition and write an essay on the participating artists’ works and the exhibition. This article will be published both online at ---------- and in print in --------- Magazine."

The magazine in question is what (until now) I thought was a reputable NYC-based art magazine. I am puzzled as to how the organizers of this show, months ahead of the exhibition itself, already know that a writer from ------------ Magazine will write an essay about the group show and publish it both in the magazine and the magazine's website.

Words count. The contract never says "review." Instead they use the words "essay" first and then "article." So it appears that the author of this "article" or "essay" is in fact being paid by the organizers of the show to author the piece.

Paying someone to write an essay for an exhibition catalogue, or an essay for an artist's book, etc. is an ordinary event and happens all the time and I myself have been paid to do this dozens of time.

Paying someone to write an "essay" or "article" for a magazine devoted to write about art and artists and art reviews is (in my opinion) something else and I feel dishonest. The fact that the piece would appear in print in this magazine immediately relays to the readers that the author is writing about the show because of its merits (or because it is a bad show) but in all cases from a critical or examinatory viewpoint.

Not because the organizers paid him/her to write about the show.

Makes me wonder if (a) is this a common practice at ---------- magazine? or (b) if not, do the editors know that this writer is doing this?

Only way out of this mess: That the "article" or "essay" is a paid advertising page, and "boxed" in by a line all around it that says "paid advertising" as some newspapers and magazines do when someone takes out an ad and the ad looks like it's an article.

Makes my head hurt... any comments?

Update: The artist in question just discovered that the "curator" actually works for the magazine!

Makes my head hurt...

... an Arts Council project that typifies the standards we’ve come to expect from publicly funded art. Jarvis Cocker, the country’s foremost socialist pop musician, was sent to the Arctic for “inspiration” and to raise planetary consciousness, along with another two dozen artistic luminaries:

The ambition of the expedition was to inspire the creative team to respond to climate change... It was an amazing journey; 10 days of artistic inspiration, debate, discussion and exploration.

The ecological insights gleaned by Mr Cocker?

Men have produced a lot of great art over the centuries, or whatever... but... an iceberg kind of, basically, pisses on it.

Apparently this was a $250,000 publicly funded art project. Read all about it here.

Opportunity for Artists - Last Day to Apply!

Deadline: Nov. 20th, 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!

Wanna go to an opening today?

Georgetown ARTS 2009 has an Opening Reception on Thursday, November 19, 6-9pm, and my good friend and Govinda Gallery owner Chris Murray will talk about the Georgetown art scene at 7pm.

The Show continues on Friday, November 20, noon-8pm, Saturday November 21, 11am-6pm at 1209 31st Street NW in G'town at the former Smith and Hawken space.

As noted above, the opening reception this evening will feature Govinda Gallery owner Chris Murray talking about the history and evolution of the Georgetown art scene - drawn from his 34 years as a central presence in the ever-changing Georgetown art world.

And the show will feature more than 25 Georgetown artists and will include painting, photography, and sculpture. CAG's Georgetown ARTS 2009 will also be highlighted in the new Georgetown Gallery Gaze that takes place on Friday evenings.

Artists in the show include:
Michele Banks ~ Dede Caughman ~ Betsy Cooley ~Arthur Day ~ Barbara Downs ~ Anne Emmet ~ Heidi Hess ~ Michele Jacobson ~ Bo Jia ~ Sidney Lawrence ~ Wendy Plotkin-Mates ~ Christopher Matthews ~ Starke Meyer ~ Elba Molina ~ Rosie Moore ~ Johanna Mueller ~ Emma O'Rourke ~Isabella Page ~ Larry Parlier ~ Hayley Pivato ~ Joan Shorey ~ Elizabeth Smythe ~ Polly Townsend ~ Dariush Vaziri and Homayoun Yeroushalmi.

Opportunity for Artists

Deadline: February 5, 2010

What is disability? -- An International Call for Postcards

VSA arts invites your participation in a collaborative art project. They’re taking a creative approach to investigate the different ways people interpret the same word: disability. The call is open to everyone around the world — people of different cultures, ethnicities, geographic locations, and abilities. You do not have to consider yourself an “artist” to participate.

Please contact Liza Key, Artist Services Coordinator, at efkey@vsarts.org to receive a shipment of printed calls for the project (available while supplies last). Additional copies of the postcard and alternative formats are uploaded to this website.

The deadline for receipt of postcards is February 5, 2010. VSA arts will curate an exhibition, both online and in Washington, D.C., to represent the submissions as part of the 2010 International VSA arts Festival held June 6-12, 2010.

Everybody is a curator

Shaquille O’Neal, the 7’1” all-star center with the National Basketball Association’s Cleveland Cavaliers, has discovered that art is no slam dunk.

Moonlighting for the first time as a curator, O’Neal is overseeing “Size DOES Matter,’’ an exhibition on the theme of scale in contemporary art coming in February to New York’s nonprofit Flag Art Foundation.

Read about it here.

Tape Sotheby's: Go to jail

An artist's attempt to turn the exterior of Sotheby's into a piece of art by stringing masking tape across it Tuesday morning gained something other than artistic recognition--20 hours in jail...

Read all about it here.

WOW Mr. Gopnik!

"That makes her show one of the best I've ever seen in a commercial gallery in Washington."

Read the Washington Post's chief art critic do something he rarely does, review a local DC gallery as he raves about the photographs of Terri Weifenbach at Civilian.

Read it here.

More please Mr. Gopnik.

Studio Visiting...

At the end of the day I had some time to sneak a quick visit to Red Dirt Studio, Flux Studios and the Washington Glass School.

At Red Dirt my real reason was to hope to meet little Kyle, the newest addition to the studio, but the cute two-month old was asleep in the middle of a noisy, creative artmosphere. He did look very handsome in his blue hat and mom Margaret Boozer should be justifiably proud of the little feller.

At the Washington Glass School I sneaked a preview of Tim Tate's newest videos, as well as Michael Janis' latest work (Janis was the star of the recent SOFA Chicago, where Maurine Littleton Gallery sold nine of his pieces). I also saw the newest Erwin Timmers' works as he pursues his "green art" line of work.

At Flux Studios, I chatted with the very talented Novie Trump, whose recent solo at MPA so impressed me. There were huge clay bones being created for what sounds like an amazing installation in support of a performance. More on that later.

I also saw the really cool new work, a very minimalist work that boasts loads of elegance, by Elena Patiño, the newest member of Flux, and also discovered the newest work of Mia Kagan, which was also quite impressive and then went gaga over the amazing Laurel Lukaszewski, whose current solo show at Project 4 is a significant and intelligent new conceptual work for this very talented artist and a show that I will review soon..

Wanna go to an opening tomorrow?