Fighting words

this post is from 2004 and yet artists, art dealers and other folks are still posting and arguing over it.

It's on the subject of "Vanity Galleries" and you can read it all here.

Top 10

Jamon Serrano: Quite possibly one of the top ten foods on planet Earth and one of the top 25 in this galaxy and one of the top 100 in the Universe.

MOCA DC Plea

After receiving the below press release from Georgetown's MOCA DC gallery, I asked its director, Dave Quammen, for permission to post it in this blog. Although it is raw and to the bone, and courageously reveals intimate personal issues, it also goes to show the amazing extent that some gallery owners go to in an effort to keep their art spaces open and running:

June Exhibit - Why Not?
The gallery has been in the same financial straits for a long time, but I could pick up the slack before. I can't do that anymore without major changes to the way that MOCA DC operates.

So, beginning with the June exhibit, I will accept one piece of art free from anyone, member or not. Art must be 36 x 40 max and meet the theme of the exhibit. Additional pieces may be entered for a nominal fee.

As of the June exhibit, I have kept the gallery open for 6 1/2 years, at a personal cost during that time well in excess of $25,000 - out of my pocket, not to mention the at least 70 hours per week, at no income from the gallery.

Well, folks - beginning right now, I ain't gonna do it anymore. Income this month and last has fallen a lot, mostly rental of the gallery, etc. If no one comes up with the $2,625 for rent by June 1, I ain't gonna pay it at all and let the chips fall where they may.

Same goes for the Figure Models Guild - which will be 10 years old this July. At the beginning, I made copies of the Model Registry, bought envelopes and paid the postage out of my own pocket. I also made copies of the guide I put together for models, held events and etc - all for nothing. No cost to models, no cost to all those who got a free ride - all the colleges, universities, schools, teachers, et al --- all for nothing.

I don't know how many know that in 2008 I was diagnosed with prostate and colon cancer - beat em both. In 2009, I had to have heart surgery on 2 different occasions. This year, or late last year, I was diagnosed with lung problems - emphysema and COPD, or pulmonary fibrosis. They put me on an inhaler for a while, but last month they changed it to a stronger one and added a 2nd. Problem is, this is one thing I can't beat, and it's a crap shoot as to how much time I have left - will be 72 in October, so I can't complain about longevity - I've done more in my life than most people do, so I don't have any regrets.

But I do have some other things I want to do, but I can't with this albatross around my neck. So if you want this to continue, figure out what these things are worth and come up with the cash, or I'm in the wind.

Well, Joe - this one's for you. Thanks for the push!

MOCA DC is one of the Canal Square Galleries at 1054 31st Street & M Street, NW in Georgetown.

Update: Kriston Capps reports on this issue here.

New Art Gallery in Georgetown

Today, the DMV welcomes its newest contemporary art gallery, Heiner Contemporary. The gallery is now open to the public, launching with a solo exhibition of work by Brooklyn-based artist Elizabeth Huey. The exhibition will run through July 2, 2011.

Located in the Book Hill neighborhood of Georgetown, "Heiner Contemporary features emerging and mid-career artists working in a range of media. The gallery is the culmination of owner and director Margaret Heiner’s long-term interest in promoting an understanding and appreciation of contemporary art. Her desire to make art accessible, which was at the heart of her business Aesthetica Art Consulting, remains an important facet of Heiner Contemporary."

“I want visitors to the gallery to feel the push-and-pull of the art displayed and to engage with the works on both a visual and emotional level,” says Heiner. “We want to forge connections and foster dialogue between individuals and artists, but we also want our clients to feel comfortable regardless of their collecting or art experience.”

In addition to exhibitions, Heiner Contemporary maintains an inventory of secondary market works available for sale. These pieces range from prints by well-established artists such as William Kentridge and Kara Walker, to paintings by up-and-comers including Allison Reimus.

Heiner Contemporary is located at 1675 Wisconsin Ave, NW. For more information about the gallery and upcoming exhibitions, email info@heinercontemporary.com or visit the website at www.heinercontemporary.com.

Next month!

The 100 Washington, DC Artists book should be out next month!

Pre-order your copy here.

This weekend

This weekend is the 20th Annual Northern Virginia Fine Arts Festival, one of the highest ranked outdoor art fairs in the nation.

Together with Judith Forst, who started it all 20 years ago and DMV area artist Erwin Timmers, I will be one of the judges awarding the prizes to the artists from all over the country who come down to Reston each year for this festival - expect around 50,000 people to come by over the weekend, as in addition to the fine arts and fine crafts there's all kinds of food and entertainment.

See ya there!

Read more about the festival here.

Tonight at Long View

I hear that about 300 people have RSVP'd to this opening tonight, so you may be a little crowded, but do not miss this show:

About the event: The Washington DC area has become internationally renowned as an emerging center of glass art. At the forefront of this charge is the Washington Glass School, where the instructors, artists and students have brought narrative and content into glass, dragging it away from decorative craft and into the rarefied atmosphere of the contemporary fine art scene. The Washington Glass School has produced artists whose art can be found in museums and collections world-wide and is advancing the Studio Glass Movement with its explorations of narrative, technology and skills. This represents the largest and most important movement in the Washington art scene since the Color School of the 70's/80's.

This May, the Washington Glass School celebrates a momentous milestone - its 10th year. DC’s Long View Gallery presents “Artists of the Washington Glass School – The First Ten Years” showcasing over 20 artists and 10 years of integrating glass into the contemporary art dialogue. While it recognizes the past and present, The First 10 Years is intended to instigate – and celebrate – the new directions contemporary glass is exploring through various artistic metaphors.

Featured artists include: Tim Tate, Michael Janis, Erwin Timmers, Elizabeth Mears, Syl Mathis, Lea Topping, Robert Kincheloe, Alison Sigethy, Dave D'Orio, Anne Plant, Jeffery Zimmer, Teddie Hathaway, Jackie Greeves, Kirk Waldroff, Debra Ruzinsky, Tex Forrest, Diane Cabe, Robert Wiener, Nancy Donnelly, Sean Hennessey, Cheryl Derricotte, Jennifer Lindstrom, Michael Mangiafico, Allegra Marquart and m.l.duffy.

In bringing The First 10 Years to Washington, DC, Long View asks artists and audience alike to cast aside traditional notions of glass art and participate in a new form of dialogue; one that looks to the future and not the past.

The Washington Glass School Movement has focused almost entirely on the narrative content aspects of glass, breaking away from the technique-driven vessel movement of the last millennium. By focusing on cross-over sculptural work, mixed media and new media (such as interactive electronics and video), the impact this movement has had on the work of contemporary art has been felt internationally. This is the perfect chance to see a cross section of artists who have led this evolution.

Washington Glass School: The First 10 Years
LongView Gallery
1234 9th Street, NW, Washington, DC
May 19 - June 19, Opening Reception, May 19th, 6:30-8:30 PM
Closing Reception Sunday June 19, 2-5 PM
phone: 202.232.4788
email :info@longviewgallery.com

Claire Huschle stepping down from the AAC

The Arlington Arts Center (AAC) has announced that its Executive Director, Claire Huschle, will step down as of August 1, 2011, after six years in that capacity.

What Huschle has done at the AAC over the last six years has been spectacular, to say the least. She took over the organization just after it had reopened after an unexpectedly prolonged renovation, and we're told, had limited earned income and very little foundation or corporate support.

Huschle not only turned that around, but she also put the AAC on the arts map of the DMV with a professional ferocity that nearly eclipsed everything else going on the visual arts in Arlington, and then (by example) led the way to make that city an unexpected rising artstar, some would say a leader, of the cultural tapestry of the greater DMV.

She leaves the AAC, a private, non-profit visual arts organization, on stable financial footing with a healthy operating reserve and respected exhibition, education, and studio residency programs. Board President Penne Nelson states, "The AAC has been privileged to have Claire Huschle serve as our Executive Director during the last six years. Her enthusiasm, professional leadership, and insight have guided the AAC through a period of incredible development, marked by increased community outreach and recognition. She has assembled a fantastic staff and cultivated new donors. The Board has enjoyed immensely working with Claire, and wishes her the best in her future endeavors."

Because I have known Huschle since she worked as the gallery director for the Target Gallery in Alexandria, and because I saw (over her tenure there) what a terrific job she did to change the rudder orders for that gallery and aim it in a direction which put Target at the head of all Alexandria galleries, that I knew that she was going to do great things at AAC when she took over that organization six years ago.

And because of what she has done now at AAC, I have little doubt that Claire Huschle will excel at whatever her next position or assignment is. I am told that "Huschle will continue teaching as an adjunct faculty member at George Mason University's Arts Administration graduate program and is considering a number of new projects in the arts."

A transition committee has been assembled and plans to appoint a new Executive Director this summer.

On behalf of all art fans around the DMV: Thank you Claire!

Tim Tate at the Taubman


See that gorgeous museum to the left that looks like it has been transplanted from Bilbao?

That's Virginia's breathtaking Taubman Museum of Art, and from Friday, June 3, 2011 through Sunday, August 14, 2011 they will be hosting Tim Tate's first museum solo show: "The Waking Dreams of Magdalena Moliere."

According to the museum press release:

For the Taubman project, Tate plans to create a room-sized environment, featuring his most ambitious video work to date, as well as five new glass reliquaries. Six projections will include three works referencing the films of surrealist artist Jean Cocteau, and three pieces continuing his interest in dreamers and sleepwalkers.

The Amazing Sharon Moody

The current issue of Elan magazine has the spectacular work of DMV artist and Georgetown faculty Sharon Moody. She fools your eye beyond "fooling" with a technical virtuosity that leaves the rest of us panting with envy.



Moody is represented nationally by Mayer Fine Art and in New York City by Bernarducci Meisel Gallery.

Celly Campello sings "Don't Cry For Me Argentina"

Celly Campello: Don't cry for me Argentina - Watch more Videos at Vodpod.

Open Studios

Today, Saturday, May 14th from 12 to 5pm the artists of The Washington Glass School and all the dozens of other artists in the Gateway Arts District will be having their annual spring open studio event in Mt. Rainier in the Gateway Arts District. The Washington Glass School figures prominently in this event, as well as such popular studios as Red Dirt and Flux Studio.

This will be a relaxed open house, featuring mostly the principal artists at Washington Glass School, Michael Janis, Erwin Timmers and Tim Tate. They will all be working on current projects.

Airborne
Heading back home from the Left Coast and flying on Friday the 13th... feh!

Washington Glass School: The First 10 Years

About the event: The Washington DC area has become internationally renowned as an emerging center of glass art. At the forefront of this charge is the Washington Glass School, where the instructors, artists and students have brought narrative and content into glass, dragging it away from decorative craft and into the rarefied atmosphere of the contemporary fine art scene. The Washington Glass School has produced artists whose art can be found in museums and collections world-wide and is advancing the Studio Glass Movement with its explorations of narrative, technology and skills. This represents the largest and most important movement in the Washington art scene since the Color School of the 70's/80's.

This May, the Washington Glass School celebrates a momentous milestone - its 10th year. DC’s Long View Gallery presents “Artists of the Washington Glass School – The First Ten Years” showcasing over 20 artists and 10 years of integrating glass into the contemporary art dialogue. While it recognizes the past and present, The First 10 Years is intended to instigate – and celebrate – the new directions contemporary glass is exploring through various artistic metaphors.

Featured artists include: Tim Tate, Michael Janis, Erwin Timmers, Elizabeth Mears, Syl Mathis, Lea Topping, Robert Kincheloe, Alison Sigethy, Dave D'Orio, Anne Plant, Jeffery Zimmer, Teddie Hathaway, Jackie Greeves, Kirk Waldroff, Debra Ruzinsky, Tex Forrest, Diane Cabe, Robert Wiener, Nancy Donnelly, Sean Hennessey, Cheryl Derricotte, Jennifer Lindstrom, Michael Mangiafico, Allegra Marquart and m.l.duffy.

In bringing The First 10 Years to Washington, DC, Long View asks artists and audience alike to cast aside traditional notions of glass art and participate in a new form of dialogue; one that looks to the future and not the past.

The Washington Glass School Movement has focused almost entirely on the narrative content aspects of glass, breaking away from the technique-driven vessel movement of the last millennium. By focusing on cross-over sculptural work, mixed media and new media (such as interactive electronics and video), the impact this movement has had on the work of contemporary art has been felt internationally. This is the perfect chance to see a cross section of artists who have led this evolution.

Washington Glass School: The First 10 Years
LongView Gallery
1234 9th Street, NW, Washington, DC
May 19 - June 19, Opening Reception, May 19th, 6:30-8:30 PM
Closing Reception Sunday June 19, 2-5 PM
phone: 202.232.4788
email :info@longviewgallery.com

Uh?

I don't know what's going on with Blogger, but it has been down for quite a while and now it seems like a bunch of posts have been deleted.

Critique the Critics

On the evening of Saturday, May 14, Arlington Arts Center (AAC) -- in partnership with DC Magazine -- hosts its annual Critique the Critics fundraiser.

Eight DC notables, opinion makers, and trendsetters go head-to-head in timed, amateur art competitions using childhood art supplies. In a mix of NCAA March Madness and American Idol, "critics" battle it out using play-doh, finger paints, legos, etc. Winners of each round are selected by the audience. The night will feature amazing contemporary art, an exciting silent auction, designer cocktails and open bar, delicious catering, and sexy tunes. Tickets are limited and can be purchased here.

This year's "Critics": ABC7/WJLA-TV's Maureen Bunyan, DC Magazine Publisher Peter Abrahams, the Newseum's Sonya Gavankar McKay, Delegate Patrick Hope from the VA House of Delegates, Svetlana Legetic from Brightest Young Things and Justin Young from Ready Set DC, Mary Beth Albright, contestant in the new season on Food Network Star, Kelly Rand and Ian Buckwalter, writers for DCist. Warming the "bench" will be David Foster from the VA Board of Education, and Peter Winant from WETA's Around Town. Philippa Hughes, the Pink Line Project's Chief Creative Contrarian will emcee the competition.

Firings at the WaPo

Just heard from a source who heard it from a friend who heard it from a cousin who is dating someone who works at the Washington Post that one of the freelancers who has been covering the DMV art scene has been fired.

Hard to tell who it is, since the WaPo employs so many different freelancers to cover various parts of the DMV art scene.

I've asked the WaPo for the name; let's see if they respond.

Enough is Enough!

It has been over a month since the Communist thugs who run China arrested artist Ai Weiwei and he hasn't been heard since.

It is time for all the museums and artists and art organizations which do business with China to boycott the ruthless bastards who run that beautiful nation. The fact that the ChiComs have brutalized their own people for generations, and that the world looks the other way in our thirst for cheap labor and commodities is the harsh reality.

But the art world should be better. We should all stop doing art business with China: no more art fair participation by non Chinese galleries, no more cultural exchanges, no more museum dealings, no more anything in the art world.

Boycott the whole damned gigantic country and send a small but powerful message to the criminals who run that Communist hell.

Hijos de puta!

Latino Art Museum: Still a Bad Idea!

Eight years ago, when the story first surfaced in the Washington Post about a Latino Museum on the National Mall, I opposed it.

Back then, Rep. Xavier Becerra (D-Calif.) introduced the bill to set up a commission to study the idea’s feasibility. The museum would be based in Washington, around the National Mall and “might be under the umbrella of the Smithsonian Institution.”

According to the 2003 article by Jacqueline Trescott, “This is one issue that unites our community,” said Raul Yzaguirre, the president of the National Council of La Raza.

In 2008, the Washington Post updated the issue and reported that “President Bush

... signed legislation yesterday establishing a commission to study the feasibility of a National Museum of the American Latino.

The measure, part of a larger legislative package, creates a 23-member bipartisan panel that will give the president and Congress recommendations about the scope of the project.

Over a two-year period, it will consider the location, the cost of construction and maintenance, and the presentation of art, history, politics, business and entertainment in American Latino life.

Since we're still arguing about it, let me once again disagree and state for the record that this is one of the worst, most divisive artsy ideas to have come out of creative Congressional & Hollywood minds in years.

Why have a separate, segregated museum for Latinos? Why not get more Latinos into the national museums, period.

I note once again, the use of the word “Latino” as opposed to the now almost not PC term- “Hispanic.” Otherwise we may have to take all the Picassos, and Dalis, and Miros, and Goyas and Velazquezs out of the mainstream museums and put them in a “Hispanic” museum…. gracias a Dios for that.

As it is now, we may have to take all the Wifredo Lams, Roberto Mattas, Frida Kahlos, etc. out of the “other museums” and put them in the “Latino Museum.”

But ooops! the Frida Kahlo in the nation’s capital is already in a segregated museum - in this case segregated by sex.

The misguided semantic/ethnic/racial debate about Latino or Hispanic is a good, if somewhat silly bucket of ignorant fun.

Anyway… Latino is (I think) now associated with people of Latin American ancestry… it apparently includes the millions of Central and South Americans of pure Native American blood (many of who do not even speak Spanish), and the millions of South Americans of Italian, German, Jewish, Middle Eastern and Japanese ancestry. It also includes the millions of Latin Americans of African ancestry.

It doesn’t include Spaniards, Portuguese, French or Italians…. you Europeans Latins are out!

According to the Post, “Felix Sanchez, the chairman of the National Hispanic Foundation for the Arts, said, “The museum is really a long-overdue concept. There is a void of presenting in one location a more in-depth representation of the culture and its presence in the mainstream of American consciousness.”

Mr. Sanchez: There is no such thing as a single “Latino culture.” In fact, I submit that there are twenty-something different “Latino” cultures in Latin America - none of which is the same as the various Latino mini-cultures in the US.

We "Latinos", no matter how hard you politicians and label-makers try to assemble and push us and label us into one monolithic group, are not such a group; we are as different from each other as the English-speaking peoples of the world are different from each other.

Call a Scotsman "English" and see what will happen to your face.

As an example, anyone who thinks that Mexico’s gorgeously rich and sometimes proud native heritage is similar to Argentina’s cultural heritage is simply ignorant at best. In fact Argentina purposefully nearly wiped out its own indigenous population in an effort (according to the war rallies of the times) “not to become another Mexico.”

And the cultural heritage of the Dominican Republic is as different from that of Bolivia and Peru as two/three countries that technically share a same language can be.

And for example, Mexican-Americans’ tastes in food, music, and politics, etc. are wildly different from Cuban-Americans and Dominican-Americans, etc.

Would anyone ever group Swedes, Danes, Germans and Norwegians and create a “Nordic-American Museum”? Ahhh… they have; silly ideas are not restricted to Congress, are they?

Or how about French, Spaniards, Rumanians and Italians for a “Latin-European-American Museum” - hang on - that doesn’t fit or does it? Makes my head hurt.

For the record, as I did in 2003 when I first learned about this issue, I still don’t believe in segregating artists according to ethnicity, race or religion. How about letting the art itself decide inclusion in a museum. And if not enough African American, or Native American, or Latino/Hispanic or “fill-in-the-blank”-American artists are in the mainstream American museums, then let’s fight that good fight and not just take the easy/hard route of having “our own” museum.

Comemierdas... What does Little Junes think about this issue?

Things we learned in New York

It never ceases to amaze me how often I run into stories of what I thought were ethical gallerists only to discover otherwise from artists.

One of the most common things that unethical art dealers do at art fairs is to inflate prices. This allows them to "deal" with interested buyers, and offer them discounts on the art. Facing galleries that inflate their prices up to 40% or more... in order to then appear to offer great deals, ethical gallerists then have to deal with collectors "used" to getting 40% price chops.

"I decided a while back to just add 40% more to my prices," confessed a dealer in New York last week. "I got tired of explaining to buyers that I couldn't give them a 40% discount."

Feh.

Then there's the very cool NYC photographer who has exhibited several times in DC. She relates the story of how her DC dealer sold some of her work, then decided to move from DC, and told her that he couldn't "afford to pay her." A few years later she's still waiting to get paid. "Now I just tell everyone that I know to stay away from this gallery," she adds.