Blake Gopnik has a really excellent article about Diane Arbus retrospective currently on exhibit at the San Francisco Museum of Modern Art. It is in today's Sunday Arts. Don't miss it!

By the way, I have a bitch with the way the Post does the byline on some of their employees. They list Gopnik as Washington Post Staff Writer, which is the same way they list everyone else, including the guy who writes the obituaries (which by the way is what Gopnik's predecessor did before being promoted to being an art critic). Blake Gopnik deserves the recognition of his pulpit, and should be listed as Chief Art Critic or Senior Art Critic or whatever his true title is.

Every other major newspaper that I can think of identifies the real title of their writers (when they have one). This seems like simple lazyness on the part of the Post, unless it has something to do with some ridiculous union issue.

If anyone from the Post reads this BLOG, I would appreciate an explanation to clarify the point. Email me.

Some local art news and openings:

The Hirshhorn Museum has appointed Glory Jones as Director of External Affairs. She will lead the museum's fundraising and communications program. Jones' past experience includes being an independent media-relations and events consultant to the US Pavillion at the 2001 Venice Biennale.

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On February 14, the Corcoran opens "The Quilts of Gee's Bend." This show is about the quilt-making tradition of a geographically isolated African-American community in southern Alabama.

Featuring 70 quilts dating from the 1930s to 2000, The Quilts of Gee’s Bend includes quilts made from everyday fabrics: corduroy, denim, cotton sheets and well-worn clothing.

The New York Times' Senior Art Critic, Michael "Dia" Kimmelman has called the quilts "some of the most miraculous works of modern art that America has produced," so I am really looking forward to the press preview and will let you know on February 10 what I think. With Kimmelman's endorsement, and because of the political incorrectness of dissing a show like this one, I suspect that Washington area critics will walk with tender feet on this exhibition and it will be well received and positively reviewed. In fact, lack of a major review or endorsement could be viewed as "disliking the show," so you better get your pens ready and take good notes at the press review boys and girls!

Organized by the Museum of Fine Arts, Houston, The Quilts of Gee’s Bend is on view at the Corcoran from February 14 through May 17, 2004. After I attend the press review and once I've seen and digested them, I will let you know what I think.

Ross Palmer Beecher is a Seattle-based artist that for 30 years has been taking the American tradition of quilt-making and taking it to a really modern setting. If Beecher lived in New York, I suspect that she would be an art superstar by now. Ever since I met her when I was a student at the University of Washington School of Art (she wasn't a student there, but we used to sell our artwork at the Pike Place Market), she's been refining her vision of contemporary quiltmaking and uses metals, found objects, cloth, beads, glass, costume jewelry, bottle caps, stamps, etc. in her quilts. Even back in the late 70's I knew that Ross was re-inventing quiltmaking as a contemporary art form, and I think that she would be an excellent choice for the next Corcoran Biennial.

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Numark Gallery in its really nice new location has a two-person show curently on exhibit until Feb. 21. On show is Adam Ross: In Between Places and Carter Potter: We Cure Everything.

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For lovers of contemporary landscape painting, The Alla Rogers Gallery in Georgetown has two exceptional Ukranian artists currently on exhibit until Feb. 18: Alexander Stephanovich Shurinov and Yelena Molchanova. Alla Rogers focuses her exhibitions on mostly former Soviet and Eastern European artists. The superb school training characteristic of artists from that part of the world is very evident in these two artists powerful brushwork and clear understanding of the power and nuances of color. It's an excellent landscape painting exhibition that is also very nicely priced (no painting is more than $2,000).

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Elizabeth Roberts Gallery in Dupont Circle has an opening reception on Friday, Feb. 6 from 6-8 PM for artists Brenda Moore and Sylvie van Helden. The two-person show runs until February 28, 2004. Moore is a 2001 American University MFA graduate who currently teaches at the Chicago Academy for the Arts, while van Helden is a 2002 MICA MFA graduate who now teaches at Loyola University in Baltimore.

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The Phillips Collection opens on Feb. 14, 2004 an exhibition titled: "Discovering Milton Avery: Two Devoted Collectors, Louis Kaufman and Duncan Phillips" . The show focuses on two of Milton Avery's most important patrons and their personal approaches to collecting. I will be attending the press preview on Feb. 9 and will let you know my thoughts on this exhibition by a truly independent artist who refused to be categorized and whose influences on giants such as Mark Rothko had often been ignored."some of the most miraculous works of modern art that America has produced,"

I was interviewed yesterday by Art Business News Magazine on the subject of Cuban art, which is "sizzling."

Recently The Arts and Humanities Council of Montgomery County (AHCMC) Board of Directors announced awards totaling more than $51,000 for arts and humanities programs in Montgomery County for the second half of fiscal year 2004 that began on January 1, 2004. Awards were given to around 40 institutions and ranged from $475 to $3,450.

Video artist and photographer Darin Boville smartly picked up on a very interesting issue that I think AHCMC should really consider.

Boville says:

This is ludicrous. Just over $50K spread scattershot over nearly forty recipients? This isn't support for the arts. This is more like the micro-loan programs that international agencies run in third world countries.

In grants of $600, of $1,000, of $2,000 you have to take very seriously the notion of subtracting out the time it took to fill out the forms, making the calls, having the meetings to decide to pursue the grant and so on from the value of the grant. From a policy point of view you also have to account for those cost of all those who applied but did not win. You have the take into account what it costs to administer the grant program.

Surely the real cost of giving away this money is larger than the value of the money that is given away.

So here is an idea for your list of things to do to make the DC-area a center for art:

Take the $50,000 for the next six months and don't give it to artists. This is like giving starving people just enough food to stay alive but not enough to do anything but wait for the next hand-out cycle. Instead, use it to hire a professional fund-raiser/PR person for the area art scene. That will pay for itself and then some. Stop the arts community from letting itself bleed to death.

Today is the Third Friday of the month, as thus the Georgetown's Canal Square Galleries opening night.

The four galleries (MOCA, Parish, Alla Rogers and Fraser) are in the Canal Square in Georgetown located at 1054 31st Street off M Street, NW.

See ya there!

One of the paradoxes of the Washington, DC art scene is the fact that our area has the second highest concentration of millionaires in the world (after Silicone Valley area), and yet an almost invisible local collector base to help support our area galleries, artists and cultural tapestry.

From my tunnel vision perspective, this phenomenom only seems to apply to the visual arts: The money is here, the galleries are here, the artists are here, and yet the collectors are not here - at least not in the same scale as in Miami, LA or SF. No one can challenge NYC, but one would think that Washington could certainly develop a collector base on the par with those other cities.

Why is that? I have several theories, which I will be mulling and blogging over the next few days. I also have the actual data (from our perspective) of where our sales go to, and interestingly enough, over half of our gallery sales go to collectors outside of Washington!

When we were working with Sotheby's to sell Washington artists' artwork, of nearly 1,000 lots that we sold in the last few years, all but two were bought by collectors from all over the US, Europe and Asia - only two to Washington area collectors out of nearly 1,000 sales! Worldwide collectors were buying Washington artists' art and Washingtonians were ignoring them.

Two out of 1,000.

Where do Washington area collectors go to buy art?

There are some local collectors and they do exist. We started our first gallery without a single name on our invitation list and had not stolen the collectors database from another gallery, so over the years we had to develop our "own."

And we have certainly developed several good collectors over the last few years - not just in Washington, but also other cities and countries, and in DC there are a handful of legendary art collectors (none of which are "rich" by the way), that we (and nearly every gallery in DC sells to) whose vast art collections are so large that nearly every Washington artist of note is hanging (wall-to-wall) in their homes. In one case, the collector has so many works that even his entire ceiling is covered with paintings!

But DC area art collectors do not exist in the numbers that a demographic like Washington's can and should deliver. We should have a collectors base of thousands, not dozens.

Why?

Part of the answer will be coming up soon here, but a hint is in the fact that while this goes on in DC, Miami struggles with dilemmas like this one. I wish we had their "problems."

The much maligned art of portraiture painting seems to move along forward even in the lost art nation of Great Britain, where even portrait painters (sigh) become art stars.

For a truly descriptive and eloquent piece on the art of creating a portrait painting (in this case the portrait of London's National Portrait Gallery's director Charles Saumarez Smith by artist Tom Phillips and filmed by Bruno Wollheim), read this cool piece in The Guardian.