Addison-Ripley in Georgetown has "Lost Images: Berlin Mitte," a photographic exhibition by Frank Hallam Day. The show goes on until March 27, 2004.

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Guillermo Silveira presents "The Cosmic Egg." This myth relates to the recent total solar eclipse. Silveira introduces us to an insane man who hopes to convince the audience that globalization will be possible if we all worship the Cosmic Egg. He sings, recites poetry, dances with cosmic chix, and creates a song with the audience, in his effort to find world unity and peace among nations and generations.

Location: The National Theatre
When: Monday, March 1, 2004 at 6:00pm and at 7:30pm

There are infuriating "high art" double standards that continue to bother me, as one discovers more and more variations upon the same theme.

The Theme:
J. Seward Johnson's "art" has been brutalized by the press everywhere. The reason given is not that Seward is a bad guy or even a bad artist, but that his concept of taking someone else's two-dimensional art works - in Seward's latest case the Impressionists - and making them into a three dimensional "new" work is both kitschy and reprehensible.

The Hypocrisy:
1. As I whined about it before, the British artist brothers Jake and Dinos Chapman's early work was based on the famous Goya etchings Disasters of War. Initially they used plastic figures to re-create Goya in a miniature three-dimensional form, and like Johnson (later on), one of these 83 scenes became a life-sized version using mannequins. Yet the Chapmans are darlings of the art world and were favorites in the last Tate show.

2. Whitney Biennial selectee Eve Sussman's "art" is to take Velasquez's Las Meninas and turn it into "ten minutes of a costume-drama feature film.”

3. Jane Simpson is one of Artnet.com's Artists to Watch for 2004. Her stellar reputation in the artworld has been acquired partially by her creation of sculptures based on Giorgio Morandi paintings.

Am I the only one who sees that all of these people are essentially working the same generic concept as J. Seward Johnson - but unlike Johnson, they are being lauded and praised?

What am I missing here?

Van Gogh Photograph

Purchased for one dollar in an antique store! Read the story here.

Photoworks at Glen Echo Hosts Portfolio Critique.

Photography enthusiasts are invited to bring their portfolios to Photoworks’ beautiful new studio space to be critiqued at no fee by professional photographers on the Photoworks faculty. Over coffee and bagels, photographers with all levels of experience will have the opportunity to share their work and receive feedback and comment and participate in fun and informal discussions with both amateur and professional photographers. Portfolios can consist of either digital or traditional work in either black and white or color.

When: Sunday, March 14, 2004 - 10:00 a.m. – 12:00 noon

Where: Photoworks, Glen Echo Park, Glen Echo, Maryland.

Founded in the early ‘70s, Photoworks is a self-funded photography program that offers classes, workshops, lectures, exhibit space and an open darkroom. The classes are designed to teach all levels of students camera, digital and darkroom skills and processes to make fine art photographs, and emphasizes a strong summer program for young people. All Photoworks teachers are professionals working in editorial, commercial and fine art fields, and Photoworks is proud to have launched the careers of many well-known area commercial and art photographers.

WETA's The Program radio show is supposed to be (according to their own description) about exploring "trends, events and issues in the Washington-area arts scene."

Sunday's program was about the story of Betsy, The Fingerpainting Chimp.

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The Call Box Project, a city wide project, is funded to make historical markers of the old, unused Fire and Police Call boxes. The Dupont Circle Citizen's Association (DCCA) has 23 boxes in the Dupont Circle Area and plans to mount a piece of art work in each box. DCCA does require that every picture include the fountain that is in the center of Dupont Circle, but the fountain doesn't have to be the only focus of the picture.

A description of the project, as well as the Artists' Call and Art Specs which give details on dates, times and methods of submitting art work, are available on this website.

Note: As the call documents state, the DCCA will not pay artists for their producing their work even if it is selected to be reproduced in a box. The artists who are chosen will still own their original art work and can sell, or do whatever they want, with it. Priority will be given to artists who live in, or work in, the Dupont Circle area. DCCA hopes to display art work from 23 different local artists, however, more than one piece may be accepted from an artist and art will also be accepted from artists who do not live or work in Dupont Circle. The level one submissions of art samples are due to March 31, but the deadline for final original art work that includes the fountain does not need to be submitted until the end of the year. More info: Carol Galaty carolgalaty@speakeasy.net.

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Deadline: Friday, April 2, 2004.
In2Words: Numbers & Words. An exhibition in two parts exploring the use of numbers and words in contemporary art. Hosted by Target Gallery in Alexandria.

Part One: Numbers, juried by Sarah Tanguy, Independent Curator, Washington, DC, exhibit dates: June 10-July 18, 2004.

Part Two: Words, juried by Krystyna Wasserman, National Museum of Women in the Arts, Washington, DC, exhibit dates: July 24-August 22, 2004.

Deadlines for both exhibitions is Friday, April 2, 2004. Fee is $25 for slides of up to 3 works. All artists/all media. Broad interpretations encouraged. Artists can apply to either or both exhibits. Awards up to $650.

Call 703.838.4565 ext. 4 or email Claire at targetgallery@torpedofactory.org or send SASE to:
In2Words
105 N.Union Street
Alexandria, VA 22314

Today's Sunday Arts in the Post is a rare treat with not only a Blake Gopnik review of Douglas Gordon at the Corcoran, but also an incredibly rare gallery review by Gopnik's predecessor, Paul Richard of a couple of area painters at Fusebox Gallery.

First Gopnik...

In his review of Gordon, Gopnik (who is a big fan of video art - in fact he was once asked "what should artists be doing today, if they are serious artists?" and he answered "only manipulated photography and video") gushes about Gordon. If the New York Times' Roberta Smith is giddy about Gordon, then Gopnik is nearly orgasmic as he heaves praise after praise on the Scottish artist's video work. You can also see a video of Blake discussing the show here. A video of a video show... if Blake slows it down to a video frame a minute... then is it great art redux?

I will visit this show next week and let you know which bodily function of mine it affects.

Paul Richard used to be the Post's Chief Art Critic until he retired a couple of years ago and was replaced by Gopnik. Unlike Gopnik, who rarely if ever visits area galleries and concentrates nearly exclusively on museum shows (at least so far), Richard's longevity at the Post allowed him to become deeply immersed in Washington area artists, galleries and scene. His review of Fusebox in today's Sunday Arts is a rare treat from the Post, and offers us an insight into a couple of things beyond the review itself.

First, this is the kind of visual arts coverage that the Post should be doing every Sunday, or at least once a month, not once or twice a year. Fusebox, which is a very hard-working gallery, gets the kind of coverage with this review that most area gallery owners would trade their first-born for (if any had children that is). That is good for Fusebox and for Washington art, and the Post should do it more often.

But the review itself is something else...

Richard uses his ample and first-hand knowledge of Washington art, artists and history to give painter Jason Gubbiotti something worse than a bad review (such as Jessica Dawson once gave painter Andrew Wodzianski when she destroyed him in this review). He gives Jason a patronizing review, expressing some interest here and there, but also handcuffing Gubbiotti too close to the Color School guys that Richard probably used to hang around with. He even dubs Jason's work as "fey."

I think that a review is good if it's really super passionate either way - such as Gopnik's glowing review of Gordon and Dawson's brutalizing of Wodzianski and C.M. Dupre or Gopnik's now famous destruction of J. Seward Johnson.

Richard treats Ian Whitmore, the other painter in the show, with less attention but a bit more kindness. I quite like Whitmore's work and have reviewed it favorably in the past, when he exhibited at "Strictly painting IV" at the McLean Project for the Arts - a show co-curated by Fusebox's Sarah Finlay.

But, in case you missed it, he also sends his successor, Blake Gopnik a not so subtle message in the last paragraph of the review. Blake's position on the issue of "painting is dead" is well-known. So Richard closes his review by writing:

"I liked these shows. What I liked best about them is that neither offers videos or blown-up back-lit photographs. It is nowadays a treat to encounter ambitious young artists who love the smell of paint."

Who says art criticism is boring? Am I the only one who'd love to read a review of the same show, independently done and written, by these two guys?

How about the The Quilts of Gee's Bend?

A week ago, someone named Will Haygood wrote a spectacular Washington Post review/article about the "Quilts of Gee's Bend" exhibition at the Corcoran.

It's not only well-written, but Haygood really gets to the human aspect of this exhibition - the strong, beautiful women of Gee's Bend - in a way that not many of us could. It is one of the best pieces of written art - about art - that I have read in the Post in years.

This was a major, multi-page review in Sunday Arts, and while it was brilliant, I am somewhat curious as to why this Post writer, rather than one of the Post's art critics, wrote the piece.

The New York Times dubbed this show one of the “ten most important shows in the world,” with high brow critics like Kimmelman heaping well-deserved praises all over it, and having seen it myself, I will tell you that it is without a doubt the best quilt show that I have ever seen.

So with a giddy endorsement from one of the most influential art critics in the nation, writing from the art pages of the most powerful newspaper in the world, it is curious that none of the Post's art critics covered this show (so far) and with the huge extravaganza of a review last Sunday, it seems that the Haygood review may be it.

Possibly because Blake Gopnik had reviewed the show earlier when it was in New York. And let me tell you - it is one of Gopnik's best written and more insightful reviews to date.

The show will be up at the Corcoran until May 17, 2004. Plenty of time for my theory (unlike Einstein's dark matter theory) to be proven wrong.