Paneling

I'm part of the panel Special Seminar: Social Networking and Marketing Your Art, which is is today Saturday April 24, from 1-3PM. All the details are here.

Why not the visual arts?

A while back I was told by a writer (and later by a photographer) from the Gazette newspapers (which are owned by the Washington Post), that the WaPo has been using articles originally published/done for the Gazette to augment its coverage.

Years ago I suggested to the WaPo Arts Editor exactly the same thing: that they augment their visual arts coverage by publishing the reviews from the Gazette in their Style section, especially during the Dawson/Gopnik off weeks.

It made sense to me; they own the articles, so why not re-use them as needed. Like the Post has done with all of my constructive criticism and improvement ideas, they filed it in the round file and I've never heard back from them.

But apparently this "re-use" has been happening with some Gazette articles recently - but not the visual arts. I don't know which articles, and I don't know how to find out, and I am told that the Style section co-editor/editor (I'm not sure what he is) Scott Vogel doesn't answer emails, and I don't know who to ask.

However, it still makes sense to me. The Gazette has two really good writers in their employ to this end: Dr. Claudia Rousseau and Jordan Edwards.

Rousseau is a highly educated art critic and scholar with an impeccable pedigree and highly respected not only in our area, but also in Latin America, where she wrote art criticism in Spanish for many years before returning to the US. Read some of her recent reviews here.

Edwards is a journalist with a taste for the fine arts. Since I've been back living in the Soviet Socialist Republic of Montgomery County, I've been following his writing in the Gazette and he has earned my respect for the mind-boggling diverse genres of art that he covers for them. Check him out here.

How about it WaPo? If you don't get it, you don't get it...

Congrats!

The Cultural Development Corporation (CuDC) has announced the 2010-2011 Creative Communities Fund (CCF) grantees. Just over $50,000 will be awarded to 25 outstanding artists working in the DC-metro area. Grants will be given to artists participating in the Flashpoint Gallery, Mead Theatre Lab at Flashpoint and Source Festival programs.

Grantees include a wide range of visual, literary and performance artists; funds will support the creation of 12 new works for the stage and five exhibitions from visual artists.

“We are thrilled to provide cash grants to artists along with the space and support we offer through the Flashpoint and Source programs. The Creative Communities Fund enables Cultural Development Corporation to provide artists with the nurturing environment necessary to develop outstanding new work,” says CuDC Executive Director Anne Corbett.

Launched in 2005 by The Community Foundation for the National Capital Region, CCF seeks to improve the ability of artists to live, work and flourish in the DC-metro area. In 2008, CuDC was selected to be the Fund’s lead agency and entered into a two year partnership with The Community Foundation for the program’s transition.

The visual arts grantees are:

* Patrick McDonough, media: installation
* Adam Griffiths, media: drawing, installation, mixed-media and painting
* Adam de Boer, media: painting
* Alexa Meade, media: installation, mixed-media, new media, painting, photography, sculpture, video and performance art
* Michael Dax Iacovone, media: photography, installation

Also my good friend Kristina Bilonick for the Source Festival | Artistic Blind Dates.

Gleeks

My daughter Elise is auditioning for Glee's nationwide auditions. You can view her audition as she sings "Rehab" and then and vote for her here.

Statement

Glee | MySpace Video

Rehab

Glee | MySpace Video

Superman Flying Naked (version III)

"As The Man of Steel flew closer and closer to the sun, his Superman suit burned away, leaving him naked" c. 2010
F. Lennox Campello. 30 x 22.5 inches. Charcoal on Paper.

Bourgeon: A Local Arts Magazine

Bourgeon’s mission, through our online publication and community initiatives, is twofold: to increase participation in the arts and to improve access to the arts. Although artists and audiences are diverse, often they are not equally represented in the mainstream press. We believe that greater involvement in the arts can strengthen individuals and communities. Bourgeon is a program of the not-for-profit Day Eight.

It's an excellent resource (they've been around since 2005!) to our area's art scene. Check it online here.

New drawing of an old drawing

This is my second version of this drawing, image courtesy of my reliable source book of poses for artists. In this version I expanded the negative, clean space dramatically and it has a huge effect on the composition - both visual and psychological - on the drawing. This is my third drawing of 2010.

"Suddenly, on a Wednesday afternoon, she discovered that she wasn't afraid of him any longer."
Charcoal on Arches Watercolor Paper, c. 2010. 30 x 22.5 inches.


Detail

Katla

Having been to Iceland many times, I suspect that the disruptions caused by the current Icelandic volcano with the long-assed name would pale in comparison if Katla, also in Iceland, decides to burp.

Katla is a game-changer for the entire planet.

At Arlington

Good pics here of the Arlington Art Center's Spring 2010 Solo shows openings. My good bud Jeffry Cudlin keeps doing a great job there.

Wodziansking...

DC artist Andrew Wodzianski is living small. He's also living under public view.

POP-UP LIVING is Wodzianski's latest over the top performance piece (after a still-unconfirmed casket piece in October) that houses the second tallest man in the DC art scene into of a 100 square foot cube (Note: ubercollector Phillip Barlow has him beat by an inch).

The minimalist space is considered Wodzianski's home until May 1, and while he does leave once in a while to teach courses at the College of Southern Maryland, he's spending a lot of time inside his new box. While inside his new digs, he's under the constant observation from not only a 24/7 surveillance camera, but also curious pedestrians on U Street NW.

Wodzianski says, "The work has many discussion points, which makes it fascinating for a lot of people. At its core, I believe my performance is straddling two issues: living with less, and perhaps more provoking - the separation between reality and fiction."

Wodzianski's "performance" hours:

Sunday, April 18 10:00 AM - Monday, April 19 6:30 AM
Monday, April 19 3:00 PM - Tuesday, April 20 11:10 AM
Tuesday, April 20 10:30 PM - Wednesday, April 21 6:30 AM
Wednesday, April 21 3:00 PM - Thursday, April 22 6:30 AM
Thursday, April 22 8:30 PM - Monday, April 26 6:30 AM
Monday, April 26 3:00 PM - Tuesday, April 27 6:30 AM
Tuesday, April 27 3:00 PM - Wednesday, April 28 6:30 AM
Wednesday, April 28 3:00 PM - Thursday, April 29 6:30 AM
Thursday, April 29 8:30 PM - Saturday, May 1 5:00 AM

Read and then see the NBC4 TV News piece here.

Read the Washington Post article on the performance here.

Check out some videos of the performance here and here.

Location: 1318 U Street NW
Washington, DC 20009

POP-UP LIVING is Wodzianski's performance piece in a much larger collaboration and cause. Wodzianski partnered with The JBG Companies, Studios Architecture, and Coakley Williams Construction for the Cultural Development Corporation's Pop-Up Gala. An additional four partnerships were formed to create POP-UP structures across the region. Each structure is on display until May 1, when they will be relocated to the CuDC's Gala at Longview Gallery. More information about the Gala, CuDC, and the other POP-UPs can be found at this website.

New Drawing

This is only my second drawing of the year.

"Writing with her finger on the floor, she plotted her revenge against men."
8 x 40 inches. Charcoal and colored pencils on board. c. 2010


"Writing with her finger on the floor, she plotted her revenge against men". Detail.
8 x 40 inches. Charcoal and colored pencils on board. c. 2010

Wanna go to a Maryland opening tomorrow?

Artists Circle Fine Art has its first 2010 exhibition, featuring the works of five local artists who were selected for their "immensely diverse portrayal of different subject matter, unique use of materials and incredible craftsmanship." Artists Circle Fine Art considers these artists some of DC’s “hidden art gems”.

Francie Hester is a long-time resident of the Washington, DC area. Armed with a variety of power tools and refined palettes of paint, Francie tackles thick, waffled sheets of aluminum to create abstract, dimensional works that have a raw, industrial – yet aesthetically beautiful – look.

Angie Seckinger has thrived in the DC area as a corporate-industrial, studio product and editorial photographer for the past 25 years. Her little known secret? - She takes fantastic macro photos that are a testament to her technical mastery of the camera.

Alan Simensky is a self-taught artist residing just outside of DC. His bright, post-Pop-esque works incorporate recognizable imagery which have been referred to as both fanciful and witty. The show will feature several pieces from Alan’s Disgruntled series, portraying themes from the workplace.

Jessica van Brakle’s most recent body of work is inspired by construction in the DC area and an ongoing interest in nature and decorative textures. Jessica’s mix of precise, hand drawn lines with carefully painted organic patterns makes for an intriguing and striking body of work.

Pamela Viola began making photography-based images at the age of fourteen. Emerging as an outgrowth of her extensive experimentation with photographic transfer printing, her current photography work focuses on textural DC landscapes

The opening reception will be held on Thursday, April 22nd from 6 to 9pm.

Fierce Sonia at the Art League Gallery

The current “Paper Dolls” exhibition by photographer/model Fierce Sonia set all kinds of “new” for The Art League Gallery in Old Town Alexandria. For one thing, I am told that the opening reception and meet the artist function was one of the largest, if not the largest opening in the gallery’s long history.

And it wasn’t just the exceptional photography which caused all the “buzz” in the Greater DC arts community, but also the photographer herself (who is the subject of her own work), who contributed to the immense interest in this solo debut by one the area’s best known, drawn, photographed and painted art bodies. You see, Fierce Sonia is usually seen posing, rather than creating.

But a creator she is. Several years ago I came across her seminal photographic work, and even curated her into my WPA/Corcoran show "Seven", where her early photographs sold well. This new work, the first that I've seen since then, is a spectacular departure and growth from those early images of her nude body.

Ritual Repeat by Fierce Sonia
Her press release said it all:

“During her tenure as a figure model for The Art League School, Fierce Sonia quietly acquired a top-notch visual arts education. Motivated by the artwork she saw, she became eager to create her own work. She cabled her camera to her TV and released the shutter with an infrared remote. Sonia used herself as her own model, learning more about composition and technique based on what she saw on the screen.

Her figurative photography has evolved to a new and exciting place. The focus is on process. In Sonia’s latest series “Paper Dolls,” the same images reoccur with confident changes to the surface. Her work is no longer straight photography. With the integration of painting and collage into her images, Sonia’s work has reached a new level.

The black and white images of herself are often printed on paper that has been painted white, which creates a rich texture. Each piece is created in a unique way. Previous prints may be collaged to create depth. Multiple runs of the same print may be made on the same piece. More painting, layering might be necessary to create the desired effect. These alterations to the surface blur the identity of the original image, and make the series of work about the medium and the process, and not about the subject matter.

Sonia’s work has been exhibited and won accolades nationally. She is a professional art model and muse for artists and photographers and has worked with nationally and internationally known artists.”

And for years, this muse for artists has been absorbing, truly by osmosis, an art education that is truly remarkable.

For "Paper Dolls", Sonia used her camera like a weapon; trained it onto her own body, put a focused mind to work on the photographs, and created a memorable set of images that make her solo debut one of the best, if not the best, photography shows that I’ve ever seen at the Art League.

And Sonia doesn’t simply follow in the footsteps of those who have focused the camera to themselves; most notably Cindy Sherman and Nan Goldin. She does that and then twists the weapon a little deeper into our visual cortex: she manipulates the image, she manipulates the paper, she manipulates our most primeval erotic thoughts with images of her body and imagery of bones, and repetitive imagery of thoughts buried deep inside our moist hereditary memories.


Material Things 13x 29 inches.
This is an old soul being displayed on these 21st century images. We knew her in the caves of Altamira and Lascaux, and her image graced the walls of Egypt, Greece and Rome, and perhaps a standing stone or two in the ancient lands of the Picts.

But this new 21st century imagery has been now manipulated, twisted, tortured, reworked and updated by Sonia.

She brings it to a delicious 21st century dialogue where her image is no longer about herself. It is now about ideas, about texture, about layers, and about the sensually cognitive act of repetition. It is also most importantly about the harsh de-objectification of her own figure, or perhaps the attempt to do so, while leaving tantalizing remnants of her presence.

This is an artist who uses her body to make a living as a professional model. And in "Paper Dolls" she makes a bold statement about her own physical attributes that demystify that ancient quality that she possesses and re-invents her figure as part of the whole of her art, rather than the sole commodified subject of the art.

In refreshing this ancient imagery through a fresh set of eyes, Fierce Sonia accomplishment covers many roads and ideas, and seldom have they been traveled so successfully in a photographer’s solo debut.

The show is "Paper Dolls" and it is on through May 3rd at the Art League, inside the Torpedo Factory in Old Town Alexandria. Don't miss it.

Light at the end of the tunnel?

I think that the brutal dictatorship of the Castro brothers is beginning to show the secondary signs of the end of their world as they know it.

Cuba's Roman Catholic cardinal says the country is in one of its worst crises in recent times, with its people demanding political and economic changes sooner rather than later.

More evidence here.

Meanwhile the Damas de Blanco keep marching in Havana and keep getting beaten up by Castro's thugs; but they do not give up. Other than the local news in Miami, you'd never know what's going on in Cuba from the US main stream media.

How Linn Meyers draws

Also, on Friday April 30th at 12:30PM, Meyers will be giving a talk at the Hirshhorn Museum with Carlene Stephens, Curator of Time at the Smithsonian Museum of American History, and Ryan Hill, Curatorial Research Associate at the Hirshhorn. The talk is part of a series called "In Conversation".

MFA Thesis Shows

The MFA Thesis III and First-Year Shows at MICA will open next Friday, April 23. This preesents an opportunity to start keeping an eye on Katie Miller's work. She will have a new painting in the First-Year Show, located in the Pinkard Gallery on the first floor of MICA's Bunting Center, at 1401 West Mount Royal Avenue.

The graduating second-year MFA candidates are showing in the Fox Building next door. Both shows feature work from all of the graduate programs, generally encompassing painting, sculpture, photography, video, interdisciplinary, and installation.

Miller will be at the opening reception on April 23 from 5 - 7 pm. The opening involves both the Pinkard Gallery in the Bunting Center, and the Meyerhoff, Decker, and Fox 3 galleries in the Fox building.

MFA Thesis III
Friday, April 23-Sunday, May 2
A public reception with the artists takes place Friday, April 23, 5-7 p.m.
Gallery Talks: Tuesday, April 27, 3-5 p.m. and Wednesday, April 28, 1-3 p.m.
Fox Building: Decker, Meyerhoff, and Fox 3 galleries (1303 W. Mount Royal Ave.)

For a slideshow of Thesis (second-year) work, please visit this website.

See Katie Miller's work here.

Open Studios

April 24 & 25th - click on image for more info.

At George Washington University: More Photographs Than Bricks

By Bruce McKaig

There is only a couple of weeks left (through April 20) to catch an exhibition in DC at GW's Luther W. Brady Art Gallery that pushes the envelope about what a photograph can be. More Photographs Than Bricks (exhibition title and part of a quote from John Szarkowski) has assembled a myriad of works that explore the medium and act of photography in surprising ways, including photographs that are not pictures and a few works that are not photographs.

The artists chosen include emerging and world famous artists: Nancy Breslin, Edward Burtynsky, Chuck Close, Kim Keever, Ana Labastida, Amy Lamb, Bruce McKaig, Megan Marrin, Abelardo Morell, Yasumasa Morimura, Martin d’Orgeval, Sean Scully, Jeffrey Smith, and JeongMee Yoon.

Jeongmee Yoon, "Emily and her pink things" (2005)
Jeongmee Yoon was born in Seoul, South Korea and moved to New York in 2004. Her work, inspired by life experiences with her own children, examines cultural codes and gender-subjective consumerism. In Emily and her Pink Things, Yoon constructs then photographs a Pepto-Bismol world cute enough to make anyone sick to his or her stomach. This work does not stop at examining the way gender is used to market products. It is thoroughly personal – Emily is Yoon’s daughter, who “loves pink, like my son [Donghu and his Blue Things] loves blue” – so it is also a confession about having acquiesced, to being engulfed in the marketing strategy.

Martin d'Orgeval (French, b. 1973) lives and works in Paris. His work is an impressive use of space, history, and imagery. Touched by Fire blends tragedy and beauty with images from the entomology and taxidermy store Deyrolle, devastated by fire in 2008. These constructed still lifes have a temporal reference, depicting the passage of time less like a voyeur and more like a detective, or even an archivist trying to put the pieces back together.

Kim Keever (American) lives and works in New York City. Keever’s “landscapes” are studio productions, still lifes in fact. Keever constructs underwater scenes then photographs them, hence the moody weight to his images. Heavy atmosphere aside, the nature of the work requires Keever to capture the scene under a sense of urgency as the materials are in fact more fleeting than stable.

Ana Labastida (Mexican) lives in San Francisco. Her installations are composed of bugs and baskets, moths in this case, made from fabric and photographs printed on glass. From a distance, the installation wants to be playful – and it is – but on closer inspection, the urban imagery on the giant insect wings becomes somewhat disturbing.

According to Lenore Miller, Gallery Director, and Olivia Kohler, Assistant Director, the exhibit started by searching for works that could be academically classified as “new history” or “new landscape” and so forth, but months of conscientious and creative detective work uncovered photographic explorations that would not conveniently fit into “categories that had served to structure art from the 16th to the 19th century.” This discovery prompted the selection process to include some non-photographic works.

The exhibition catalogue has an essay written by Virginia K laying out some of the historical context for the visual dialogue between photography and painting. Many artists and authors have commented on the interaction between photography and painting, and some have examined the resurgence of 19th century techniques in contemporary art.

David Hockney makes a comparison between photography and painting with his assertion that “photography is really good for making pictures of drawings.” (Hockney on Art, 1999). Hockney insists that the lack of “hands on” in photography explains why paintings are better at depicting reality. However, in the same book, he also says that because society is increasingly less certainty that photography is ideally suited to depict reality, photography “has been brought back into the area that painting has always dealt with.” What would Hockney have to say about this exhibition? Another prominent figure in the art world, John Szarkowski, once said, “A photograph is essentially a picture. Not everything that is sensitive to light produces a photograph. A sunburn is not a photograph.” (Looking at Photographs, 1973) Where would Mr. Szarkowski place these works? Perhaps the curator, author and historian Jean-Claude Lemagny (French, b. 1931) best describes where to place these artists by asserting that some artists are photographers, some bump up against photography.

Nineteenth century photo techniques never entirely disappeared from the art world, but the last decades have seen a significant resurgence of these dated processes used to produce contemporary works. Photography’s Antiquarian Avant-Garde (Lyle Rexer, Abrams 2002) lays out an historical timeline to situate these processes, then proposes a number of contemporary artists’ twists on how they are used today (Chuck Close - also in this exhibit, Susan Rankaitis, Jin Lee, Ilan Wolff, Mark Kessell, Bruce McKaig, to site a few). In Rexer’s words, these artists “[work] in both mystical and material ways, letting the chemistry of the emulsion register chance and time, turning Talbot's ‘pencil of nature’ into a paintbrush."

More Photographs Than Bricks is the second of three exhibitions supported by Clarice Smith with a focus on creating a dialogue by bringing the highest quality art for display in the Luther W. Brady Art Gallery. Ms. Smith is a local patron of the arts who has supported numerous large-scale projects to help bring art and people together, and personally explores the arts through her paintings.

More Photographs Than Bricks
March 24-April 30, 2010
Luther W. Brady Art Gallery
The George Washington University
Media & Public Affairs Building, 2nd Floor
805 21st Street, N.W.
Washington, D.C. 20052
Gallery Hours: Tuesday - Friday, 10 a.m. - 5 p.m.

For more information about the Exhibition and the Luther W. Brady Gallery: Click here. For more information about the author: click here.

American Contemporary Art magazine

The April/May issue is out and there are several reviews of DC galleries as well as a DC-centric article by yours truly in pages 22-23.

You can also read it online here.

Calling all Artists: Win This House Essay Contest


The lead says it all. Details here.