Mid City Artists Open Studios Tomorrow

Twice yearly, the artists in the neighborhood between Dupont and Logan Circles invite visitors into their studios. Next one is this weekend: May 22nd and 23rd.

Plan your visits in advance by flipping through the artists' pages online to see what you like, who is new, and who is participating. You can also download a map to plan your route in advance and guide you along.

Some of the artists participating are: Sondra N. Arkin, Chuck Baxter, Jane Cave, Groover Cleveland, Robert Dodge, Thomas Drymon, Gary Fisher, Glenn Fry, Charlie Gaynor, Betsy Karasik, Hannah Naomi Kim, Joren Lindholm, Regina M. Miele, Lucinda F. Murphy, Mark Parascandola, Rebecca Perez, Dave Peterson, Brian Petro, Peter Alexander Romero, Nicolas F. Shi, Richard Siegman, George H. Smith-Shomari, Isabelle Spicer, Bill Warrell, Mike Weber, Robert Wiener, Colin Winterbottom and others.

Real Art DC Finalist Number 1

Jessica Dawson picks Joel D'Orazio as her first finalist for the Washington Post's Real Art DC contest:

So how come D'Orazio doesn't have a gallery? When I asked him for a conceptual read on his artworks -- What's the thinking behind them? What are they about? -- I got an inkling of the problem. For D'Orazio, making chairs and making paintings (which he turns out in droves) is instinctual stuff; he considers them open-ended experiments in form and color. There's no big idea here.

Joel, you can't be serious! To be relevant, art has got to have a conceptual underpinning, some reason why it exists. In particular, abstract painting is a minefield -- it can't be attempted in the 21st century without a plan of attack that positions the work against all that came before.

As Joel toured me around his home, basement studio and garage, I saw legions of his abstract paintings on panel, each with pigment pooled on their surfaces in chance patterns. The works were lined up one against the next, almost all without gallery interest or a collector awaiting them.

Read the whole piece here.

Questions for the masses: Does art have to have a conceptual underpinning? Or is that a fabricated aftershock of postmodernism or its predecessors? Or even worse, something that art critics and curators all believe in, but many artists choose to ignore?

Or is Joel right in essentially doing art for art sake's and enjoying creating droves of experiments in color and form?

I submit that only time, the only true art critic who wins all art debates, can tell. The most recent evidence of this is the spectacular sudden success of Carmen Herrera, who sold her first painting at age 89 and is now the new darling of the painting world at age 94.

I figure Joel has about 30-35 more years to go...

New Art Order Scam

Australia Order‏
From: Chris Matt (chrisolutionlimited@gmail.com)
Sent: Thu 5/20/10 11:12 AM
To: lennycampello@hotmail.com

Hello,
I am interested in purchasing some of your artwork, I will like to know if you can ship directly to Australia, I also want you to know my mode of payment for this order is via Credit Card.

Get back to me if you can ship to that destination and also if you accept
the payment type I indicated. Kindly return this email with your Website.

I await your quick response.
Kind Regards.

Chris Matt
1-7 CNR Ashley Park Drive & Wells Road, Chelsea Heights, VIC 3186
Tel :- +61 7 3276 1626 +61 7 3276 1626
Fax:- 61 7 9253 6910

Beware of this "Chris Matt"

Meet the Gallery Girls

Ryma Chikhoune of BYT has been profiling the gallery girls of the DC area art galleries in a very cool series of interviews.

Start with part 1 here, part 2 is here and part 3 is here.

We all hope that a series on DC gallery boys follows.

Wanna go to an opening this Saturday?

Megan Coyle's "Piece by Piece: Figurative Collage" will be opening at the Fisher Gallery on NOVA's campus in Alexandria, Virginia. The reception is on Saturday, May 22nd from 3:00 to 5:00p.m., with an artist talk at 4:00p.m. The show opened May 14th, 2010 and runs through June 13th.

The exhibition includes several 18”x24” collage works on paper. Each piece is made entirely from recycled magazines and depicts different figures interacting with the environment around them. Coyle is also having an upcoming solo show in July at the Art League Gallery that will feature different work than the Fisher Gallery show.

Margaret W. & Joseph L. Fisher Art Gallery
Rachel M. Schlesinger Concert Hall & Arts Center
3001 North Beauregard Street, Alexandria VA 22311

Gallery Hours: Monday - Friday, 10am - 4pm

Art Movie Night

Tomorrow night is Art Movie Night at Artists' Circle in North Potomac, featuring Who the #$&% is Jackson Pollock .

Saturday, May 22nd 7 to 9pm (seating limited; open to public with reservations). Please email vicinity@artcfa.com or call 301.947.7400 for inquiries or reservations.

Artists Circle Fine Art
13501 Travilah Road
North Potomac, MD 20878

Interview and Beautiful at GRACE

We Love DC has a terrific interview of fave photographer Victoria F. Gaitán here.

By the way, last weekend I dropped by GRACE in Reston and was awed by the Beautiful: Virginia Women Artists and the Body (through June 11, 2010) curated by Joanne Bauer. What a terrific show!

A moderated dialogue with the Pink Line Project's Philippa Hughes will take place next week, Tuesday, May 25, at 7:30 pm.

Go see this show... the work by Victoria F. Gaitán, Elizabeth Menges, Elissa Farrow Savos and Bernis von zur Muehlen (is that a supercool name or what?) will really leave an impression on you; this is one of the best GRACE shows that I've seen in years!

International Draw Mohammed Day

Today is the International Draw Mohammed Day.

"... an event organized to protest the violence faced by artists, cartoonists, and creators of all stripes who would exercise their free speech to parody or even depict the Prophet Muhammed as they would any other religious or political figure, and the chilling effect those threats have upon free speech."

Details here and below is my contribution:

At the celestial coffee shop, all the other deities hated it when Mohammed ordered to go

Battle of Dunnichen

Today is the anniversary of the Battle of Dunnichen or Battle of Nechtansmere (Scottish Gaelic: Blàr Dhùn Neachdain, Old Gaelic: Dún Nechtain, Old Welsh: Linn Garan, Old English: Nechtansmere), which was fought between the original indigenous people of present day Scotland, the Picts, led by King Bridei Mac Bili, and the English Northumbrians, led by King Ecgfrith on 20 May, 685.

"Egfrid is he who made war against his cousin Brudei, king of the Picts, and he fell therein with all the strength of his army and the Picts with their king gained the victory; and the Saxons never again reduced the Picts so as to exact tribute from them. Since the time of this war it is called Gueith Lin Garan."
— Nennius' account of battle from Historia Brittonum.

King Ecgfrith was killed in battle, and his army destroyed and this ancient battle ended with an unexpected and decisive Pictish victory which severed Northumbrian control of northern Britain and eventually assured the creation of a separate Scottish nation rather than a larger English nation.

More on the Picts here.

Viva Scotland!

Donnelly and Finsen at City Gallery


I'm hearing good things about the Nancy Donnelly and Jill Finsen show at City Gallery, 804 H St NE in DC.


Nancy's glass bird forms in colors, are now swooping around the gallery, the egg shapes, also in colors, are lit from below and are quite beautiful while Finsen continues her exploration of color in some beautiful paintings. Jill Finsen will be at City Gallery Saturday May 22 and Saturday May 29. All photos by Pete Duvall.

Opportunity for artists

ACLU-NCA is looking for DC photographers and artists.

They are looking for artwork that "depict local scenes that demonstrate the importance of statehood, liberty and freedom in Washington, DC."

13 pieces of artwork will be selected to appear in the ACLU-NCA's 2011 calendar as well as being on display at the ACLU-NCA's upcoming July 14th statehood event.

If you have any questions please contact amelia@aclu-nca.org.

New DC Gallery to Open

You should all go this Sunday to the champagne grand opening of the newest art gallery in town, Gallery 555 in Washington DC.

When: Sunday, May 23, 2010, 1-5 pm
Where: Lobby level, 555 12th St NW, 202.393.1409
Metro Center station

Jodi Walsh's new Gallery 555 is representing a group of terrific DC artists, including Michelle Cormier, Ani Kasten, Sabri Ben-Achour, Erwin Timmers and Ellyn Weiss.

And later more on a new gallery possibly opening in Bethesda.

Job in the Arts

The Washington Project for the Arts (WPA) has a good job opening; check it out here.

Gopnik on Eva and Franco Mattes

Blake Gopnik has a really fascinating article here.

It's not easy to impress an art critic these days.

So how about a piece of contemporary art that consists of fragments stolen from priceless major modern works? My head's still spinning.

As my good bud Bailey says, I find it interesting that Blake seems to be suggesting that since these artists have stolen artistic materials to create their own work of art from those materials, that it will no longer be necessary for others to do the same thing.

We both think that the fact that the Mattes did this is now an open invitation to other artists to one-up them.

Fascinating nonetheless...

Last weekend opening at Conner

Great pics of the Janet Biggs and Mary Coble openings at Conner Contemporary here.

Mid City Artists Open Studios

Twice yearly, the artists in the neighborhood between Dupont and Logan Circles invite visitors into their studios. Next one is May 22nd and 23rd.

Plan your visits in advance by flipping through the artists' pages online to see what you like, who is new, and who is participating. You can also download a map to plan your route in advance and guide you along.

Some of the artists participating are: Sondra N. Arkin, Chuck Baxter, Jane Cave, Groover Cleveland, Robert Dodge, Thomas Drymon, Gary Fisher, Glenn Fry, Charlie Gaynor, Betsy Karasik, Hannah Naomi Kim, Joren Lindholm, Regina M. Miele, Lucinda F. Murphy, Mark Parascandola, Rebecca Perez, Dave Peterson, Brian Petro, Peter Alexander Romero, Nicolas F. Shi, Richard Siegman, George H. Smith-Shomari, Isabelle Spicer, Bill Warrell, Mike Weber, Robert Wiener, Colin Winterbottom and others.

Opportunity for Artists

Deadline: Oct. 31st, 2010

Art House sends you the sketchbook, then you make the art. Then Art House is taking all the sketchbooks on a 6 city tour to galleries and museums across the U.S. The goal of the exhibition is to encourage anyone to create artwork and build a collective of sketchbooks made by artists from all over the world.

Sign up at www.thesketchbookproject.com.

Art House Gallery
309 Peters St.
Atlanta, GA 30313

McKaig on Eadweard Muybridge

Helios: Eadweard Muybridge in a Time of Change
By Bruce McKaig

Seen with 21st century eyes, the images and objects in this exhibition linger in a romantic, comfortable past, but their significance and impact on photography and cinema give the show a peculiarly contemporary presence, a mute visit from the past that coyly unveils the building blocks for much of photography and cinema today.

Eadweard Muybridge, a, walking; b, ascending step; c, throwing disk; d, using shovel; e, f, using pick. Plate 521, 1887. Collotype on paper. Corcoran Gallery of Art, Washington, d.c., Museum Purchase, 87.7.477.
A comprehensive retrospective of Eadweard Muybridge’s explorations in locomotion and photography is now at the Corcoran Gallery of Art through July 18, 2010.

Organized by the Corcoran and curated by Philip Brookman, chief curator and head of research, Helios: Eadweard Muybridge in a Time of Change includes numerous vintage photographs, albums, stereographs, lantern slides, glass negatives and positives, patent models, Zoopraxiscope discs, proof prints, notes, books, and other ephemera. The exhibit runs chronologically from his earliest works in stereo photography (3-D glasses are provided) to his landscapes of the American west, his surveys and work from Alaska to Panama, ending with extensive samples of his animal and people motion studies.

Looking at the beautiful albumen silver prints is a treat for anyone who stares at a computer screen much of the day. The material quality of the vintage prints is nothing short of majestic, with all the serenity and fortitude the glorious west of the past is expected to have. They only become melancholic, or tragic, if a viewer compares these images to contemporary aerial photography that shows the state of the land today.

In Muybridge’s motion studies, the subject matter is usually less majestic than Yosemite or the Pacific Coast. Although the motion studies were technical extravaganzas to achieve, the subject matter is simple and straightforward, often boring and banal. Frozen in time-lapse sequences, people and animals parody gestures that will never headline at Cirque du Soleil – tossing a hat, pouring a cup of tea, walking up and then down steps (OK, there are some more gymnastic gestures). In his efforts to document the mechanics of movement, Muybridge proceeded by splintering the movement into chunky slices. They might have been made as quasi-scientific motion studies, but when viewed based on how they look not why they were made, there is an edgy pathos to these flickering slices of movement, a futility akin to the myth of Sisyphus. It’s difficult not to contemplate the images based on how they look. Despite sporadic controversies about the quality of programming and leadership, the Corcoran is a museum of art.

Whereas movement can be equated with change, involving departure and arrival, these short flipbook-like clips endlessly loop through the same futile gestures, never leaving or arriving or sustaining – just moving. In the 1920s, Frank and Lillian Gilbreth attached glowing lights to wrists, arms, and legs of workers then filmed them working in the dark. These films were tools for consulting work on movement and efficiency. (Observing that surgeons spent too much time digging for tools, they suggested that surgeons keep their eyes on the patient and ask for tools as needed, thus, “Scalpel please.”) Like Muybridge’s locomotion studies, Gilbreths’ films, when contemplated for how they look not why they were made, evoke more misery than celebration, not the stuff for a propaganda campaign promoting the work ethic.

The exhibition ends with the brilliant idea of installing a few contemporary works whose influences can be traced to Muybridge. His influences spread over painting, photography, and cinema. Included in this part of the exhibit are works by Mitchell F. Chan and Brad Hindson (Canadian team), Stacey Steeks, and DC’s own William Christenberry, to name a few. The motion picture industries, motivated by commercial interests more than scientific study, have turned Muybridge’s chunky movements into fluid blockbusters. Last summer, I participated in a video piece by then-local artist Lisa Blas (currently living in Belgium) that directly references Eadweard Muybridge. In the piece, called The Jump (in progress, not included in this exhibition), Blas, replete with skirt and heels, repeatedly walks down the sidewalk and leaps over a pile of books on the history of art.

Eadweard Muybridge, Valley of the Yosemite. From Mosquito Camp. No. 22, 1872. Albumen silver print. Corcoran Gallery of Art, Washington, d.c., Museum Purchase, 2007.003.
There was a great deal of mobility in Muybridge’s life, both geographically covering vast regions of the planet, and professionally interacting with numerous individuals also working on photography, motion, and cinema. Born in Great Britain, Muybridge (1830–1904) first came to the United States in 1855 and worked as a publisher’s agent and bookseller. A few years later, following a serious stagecoach accident, he returned to Great Britain and learned photography. When he returned to San Francisco in 1866, he quickly established himself as a qualified photographer, working mostly with landscapes and architecture. These images were published under the pseudonym “Helios,” which, in Greek mythology, is the name of the god of the sun.

In 1872, businessman and race horse owner Leland Stanford – former Governor of California – hired Muybridge to use photography to answer the question: In full gallop, do all four horse hooves leave the ground at the same time? Unaided human observation cannot answer the question. Muybridge spent several years perfecting techniques to produce a series of photographs that do capture a moment with all four hooves in the air. Technically, this involved developing faster shutter speeds and faster emulsions to register the fleeting activity.

In 1874, Muybridge shot and killed his wife’s lover. Though he confessed to the crime, the court acquitted him, labeling the crime a “justifiable homicide.” Stanford had paid for his defense, which included a failed attempt to plead innocent by reason of insanity, claiming that the earlier stagecoach accident had damaged his brain.

After the trail, Muybridge traveled and worked in Central America before returning to the US in 1877. Between 1883 and 1886, he worked with the University of Pennsylvania and produced over 100,000 locomotion images. In 1893, Muybridge gave a series of lectures on the Science of Animal Locomotion in the Zoopraxographical Hall at the World’s Columbian Exposition in Chicago. He used his zoopraxiscope –“animal action viewer” -- to project his moving pictures, the first commercial movie theater. In 1894, he returned to England, published a couple of books, and died in 1904 at his cousin’s house where he had been living.

A catalog will accompany the exhibition, and with essays by Philip Brookman, Marta Braun, Corey Keller, Rebecca Solnit, and an introduction by Andy Grundberg.

Following its debut at the Corcoran, Helios: Eadweard Muybridge in a Time of Change will travel to Tate Britain in London from September 8 through January 16, 2011, and to the San Francisco Museum of Modern Art from February 26 through June 7, 2011.

For more information about the exhibition, visit the Corcoran's website here.

For more information about Bruce McKaig, check out www.brucemckaig.com.

Cabaret [re]ReVoltaire

Mark your calendar on May 17th for night 2 of Cabaret [re]ReVoltaire!

Washington Project for the Arts and The Pink Line Project present Cabaret [re]ReVoltaire, curated by my good bud Alberto Gaitán. Join them for four evenings of food, drinks, art, poetry and performances.

Cabaret [re]ReVoltaire celebrates the historic Cabaret ReVoltaire series which was presented by WPA in 1992.

Night 2: May 17, 2010
Time: 6:30 - 9:30pm (doors at 6:00pm)
dinner style seating, food and drink available for purchase
ticket price: $20 (50 available tickets)

Emcee: Dody DiSanto
House Band: Bob Boilen

Performances by:
Bradley Chriss,
Happenstance Theatre,
Karin Abromaitis, Kristina Bilonick & Tzveta Kassabova,
Reuben Jackson,
Kristin Garrison,
Jim Hesla,
Prosser Stirling,
and Matthew Pauli

Videos by: Anarchy in the Kitchen, Ayo Okunseinde, Vin Grabill, Champneys Taylor, and original footage of Cabaret Re-Voltaire from 1992 shot by Matt Dibble and edited by him and Linda Lewett

Tickets can be purchased here.

Note: You MUST have a ticket in advance. Tickets will not be sold at the door.

Ryan Hill opens at Civilian

Opening Reception: Friday, May 21, 2010

Civilian Art Projects artist Ryan Hill continues his process of exploring the contemporary cultural imagination through found images and word associations. The works on paper found in “SuperFacial” play with ideas of the spectacular, the facial and glamour. Drawings based on images of spa treatments, facebook profiles, fashion magazines, and entertainment websites ask the question “how do we look at faces?” “what happens if we are not sure if we are looking at a face at all?” and “what do faces mean to us anyway?”

Ryan was initially inspired to make this series of related works by a friends wedding reception on Halloween’s eve at a New Orleans mansion.

The artist found interacting with the masked wedding guests both confusing and exciting since he couldn’t read the social cues from people’s faces when they spoke or reacted to his responses. Also, the artist wore a range of fake noses and teeth throughout the night, evolving them from smaller to larger prosthesis as it progressed. This social experiment gave the artist both a sense of glamour and invisibility, allowing his face to be read in ways unfamiliar to him. People projected their fantasies on his new features in ways that allowed him to maintain a comforting sense of anonymity. He found parallels to this process of masquerade on social networking sights, celebrity discussion forums and even in the act of how the public interpretation of art is a private act done in public.

Images are drawn onto the paper with some areas blocked out by frisket. Ryan then sprays layers of washes over the drawing and works back into them with ink and brush.

Ryan's textworks are enlarged from copious notes he takes while drawing. Words are often drawings in themselves or overlaid on top of images as a way of complicating meaning.

He presently experimenting with cutting out text and hanging them sculpturally on the walls. Like previous exhibit, "Everything Must Go," the nature of the textwork are based on personal anecdotes and imaginary personas.

The artist will also show his related collages and textworks along with a video collaboration with local DC area experimental filmmaker Rob Parrish.