The Artomatic firestorm rages on!

Joseph Barbaccia responds to Jamie Wimberly's posting:

I wish someone would explain to me why people feel that art needs to be defined, ruled or standardized. WTF?! Doing so is the antithesis of art. Does requiring artistic standards allow people to feel secure? By setting up narrow path to creating art are they defining their own way of creating and trying to impose it on others?

I understand the need for structure. Our lives would be chaos without it. But art, at least in my life, is one of the few remaining areas that are free of standards and rules. I value that fact immeasurably. This one area of unlimited creativity is a rarity in today’s over-regulated world. It allows us total freedom of expression.

My work doesn't have to be labeled Art. I really don’t care what it is called. Call it crap, call it interesting, or call it great. A label does not deny art's existence or its effect. Look at the history. As forms of expression change they must break from "standards" and stand on new ground. Of course, in a matter of time these changes become the "standard" themselves and must be changed again. Look at the history.

Jamie's "standards" are wonderful; for HIM to work under. I believe that setting up a structure, or defining art with a set of rules on a personal level is OK. It’s part of the process. Bring out your scales! Artists do the same with every decision we make when creating a single piece. We define the work by our choices. But I see no reason to lay my creative structure on anyone else. I would no sooner tell a person how to create art than I’d tell them how to be happy. I don’t mind getting a license and taking a test to drive a car, but please, allow me the freedom to make my art the way I believe it should be done. Anything else smells of sour grapes.

Pat Goslee's Artomatic List

Area artist Pat Goslee is a well-known, talented and widely exhibited artist, and she has participated in several past Art-O-Matics, but is not involved in this year's show.

I first came across Goslee's work in 1995 or 1996 when I wrote this small review of her solo show for Visions Magazine for the Arts.

Below is her own unique list of finds and awards in the 2004 edition of Art-O-Matic (after several visits).

KARMA AWARD = Charles Sthresley

REGARDING BEAUTY AWARD = Linda Hesh + Ami Martin Wilber

AUTOBIOGRAPHICAL AWARD = Dylan Scholisnki

RECYCLING AWARD = Elizabeth Lundberg Morisette

BEST VAGINA AWARD = Elena Patiño

FLOP AWARD = Dave Savage

SYCOPHANT AWARD = Thomas Edwards

BEST TITS AWARD = Nicolas Syracuse

SAFETY AWARD = Bridget Vath

SCULPTURE AWARD = Stephon Senegal

CICADA AWARD = Betsy Packard

WELCOME HOME AWARD = Inga Frick

BERLIN AWARD = Marla McLean

BEST BARGAIN = Denise Juliano “Funny Farm” $45

RENWICK AWARD = Tim Tate

SOUL AWARD = Michael Platt

BEST USE OF SPACE AWARD = Ira Tattelman

PRIORITY MALE AWARD = Kelly Towles

PORTRAIT AWARD = Ian Jehle

VOWELESS NAME RECOGNITION AWARD = dns ynko

A friend emailed me a note about the Sunday NY Times article about JT LeRoy and LeRoy's words about the first time that he was reviewed:

"I cut the article out and put it on my stomach like it would heal me," Mr. LeRoy said in a twang left over from his West Virginia childhood. "But it didn't heal me. The thing about attention is it's like drinking. One drink is too many, and a million isn't enough."

My friend also adds that "as humans, we are responsible for tending to our own wounds. Is anyone really looking to Blake Gopnik to heal them? Art can heal, but one must do it for one's self. Now turn off the computer and go to the studio!"

Leigh Conner's Top Ten List

Leigh Conner, the hardworking gallery owner of Conner Contemporary, easily one of the best galleries in the region, walked Art-O-Matic last Wednesday and picked her top ten picks. She matched a few from mine and offers her own selections in alphabetical order:

Overall top pick: The Union Station Music Stage Room + Main Entrance

- JTW Black
- Alan Callander
- Richard Dana
- Liz Duarte
- Matt Dunn
- Linda Hesh
- Michael K. Ross
- Tim Tate
- Kelly Towles
- Ami Martin Wilber

Photographer James W. Bailey steps into the Artomatic firestorm with the following very inventive note:

Is Blake Gopnick possibly sending the art world a coded message about Artomatic 2004?

Anterograde Amnesia

Anterograde amnesia is a selective memory deficit, resulting from brain injury, in which the individual is severely impaired in learning new information. Memories for events that occurred before the injury may be largely spared, but events that occurred since the injury may be lost. In practice, this means that an individual with amnesia may have good memory for childhood and for the years before the injury, but may remember little or nothing from the years since. Short-term memory is generally spared, which means that the individual may be able to carry on a conversation; but as soon as he is distracted, the memory of the conversation fades.

It is now becoming apparent that while anterograde amnesia devastates memory for facts or events, it may spare memory for skills or habits. Thus, an individual with amnesia can be taught a new skill, such as how to play a game or how to write backwards. The next day, the amnesic individual will claim to have no memory of the prior session, but when asked to try executing the skill, can often perform quite well - indicating that some memories have been formed. It is an important area of current research to document exactly which kinds of memory can be formed in amnesia, and how this may be used to help rehabilitate amnesic individuals.

Is it possible that Mr. Gopnick suffered a severe trauma incident at Artomatic 2002 that has resulted in him being unable to form post Artomatic 2002 memories?

Is it also possible that Mr. Gopnick has formed the new ability to write backward and that his review on Artomatic 2004 was thus written backward?

I have taken the liberty, inspired by William S. Burroughs’ Word Cut-Ups method, and repositioned Mr. Gopnick’s paragraphs in what I believe to be their proper sequence.

I believe Mr. Gopnick may be trying to send us all a coded message.

Hanging Artomatic 2004 Is Good for It, Too
By Blake Gopnik
Washington Post Staff Writer
Thursday, November 11, 2004

Artomatic costs more than $100,000 to put on, drawing funds from the artists themselves as well as from the public and private sectors; it absorbs major gifts in kind and vast amounts of volunteer time; it gets plenty of media coverage and pulls in tens of thousands of visitors. And all the money and resources and attention that go Artomatic's way are, by definition, not going to serious art that needs a boost, and deserves a higher public profile. Artomatic isn't only good for nothing. It's bad for art that matters.

It's not as though we are a society that fiercely discourages the making of art, one that needs an Artomatic just to make sure anything gets made at all. More art schools turn out more trained artists every year, and they all have to compete for a slice of the same meager pie of patronage, funding and public attention.

What the District truly needs is more displays of carefully selected, quality contemporary art, so that local emerging artists -- and, just as importantly, their public -- would have more and better examples of how serious creativity can work. As things stand, too many local artists, as well as a few of our dealers, get attention they wouldn't get in any city where they faced some decent, savvy competition. The region needs its artistic bar raised another notch or two. Whereas Artomatic, of course, removes the bar entirely and invites anyone and everyone to stroll on in and strut their stuff.

Despite public perceptions, the art world isn't anything like a closed shop: Curators, dealers and critics are always on a desperate hunt for new makers of new kinds of art, and they'll take it absolutely anywhere they can get it. Well-known mid-career artists are the ones who tend to face neglect; the hot young things that no one's seen before are where the action is. I guarantee that anyone with talent who might be discovered at a show like Artomatic would have had a fine chance of being discovered anyway.

After all, there are already lots of institutions dedicated to finding and displaying novel talent in the arts. Several alternative and artist-run spaces in the Washington area -- DCAC, Flashpoint, Transformer and others -- consider almost anything that comes over the transom. Their organizers tell me that the problem isn't a surplus of submissions; programming tends to suffer because they have too few options to choose among.

There may be a remote chance that such a person has been laboring unrecognized in a garret somewhere in Washington and that only Artomatic could have coaxed him out of hiding. But it's about as likely as finding a genius cavity-filler lurking in our dental open house.

Real, worthwhile art, the kind that says something that hasn't been said a million times before, requires carefully honed, hard-to-acquire skills -- sometimes manual, always visual and intellectual. Almost all artists worth the time of day know what's come before them, understand what's being made around them, and then -- against the odds and with terrifically hard work -- manage, every now and then, to make an art object that can contribute to the larger cultural conversation.

But somehow, over several decades now, we've bought into the nutty idea that fine art matters so very little, and is such easy stuff, that everyone and anyone can make it. (Actually, the idea has disappeared almost entirely among the kind of art professionals and intellectuals who suggested it in the first place, around the turn of the last century. The idea of art-by-anyone at first met with stiff public opposition, even ridicule; I'm only sorry it finally managed to catch on.)

For almost the entire history of Western culture, art was not conceived as something just anyone could or should make. Imagine living in Renaissance Florence and telling one of your Medici pals that you were going to have the family altarpiece painted by Joe Blow the baker, who felt like giving it a try. It would have seemed a joke. An Artomatic would have seemed sheer lunacy. Ditto if you had lived in Rembrandt's Amsterdam, Gainsborough's London or the Paris of Monet. For most of the last 500 years, dentists have been seen as less professional a bunch than artists.

Or worse. A show like Artomatic, in theory organized and stocked by lovers and supporters of fine art, is actively insulting to all the genuinely talented artists who have managed the long slog to a professional career.

You'd think that the purpose of a public exhibition would be to give the public a fair chance of seeing interesting art. Or you might think that it could serve emerging artists, too, by giving them a chance to learn from the best work that's out there. But what useful purpose is served in showing work by anyone who wants to have it seen, however awful it may be? How can an art exhibition be counted as anything other than a dismal failure when it's so bad overall?

I don't blame the people who made this work, bad as it mostly is. This is, as they say, a free country, and if someone wants to mess around with art supplies at home, then only their nearest and dearest have the right to complain. It's the basic premise of this show that is so badly at fault.

There may just be a few decent things hidden in the mix -- with so many thousands of objects on display, the law of averages says there must be. But three hours' worth of looking didn't spot too many. Some of the glasswork looked all right. (Glass is such a gorgeous medium it's hard to screw it up, and you need some basic training even to begin to work in it.) There were a few political one-liners that had some heft. But with works hung pell-mell and cheek-by-jowl in every corner of five floors of shabby rooms and corridors -- lighted by fluorescent tubes and the cheapest clip-on floods -- anything good was bound to get obscured by mediocrity. There's not even an attempt to keep like works together, or to craft oases of somewhat more polished art.

I won't dwell on the art. And I certainly won't name names. No one needs to know who made the wallfuls of amateur watercolors, yards of incompetent oil paintings, acres of trite street photography and square miles of naive installation art that will be polluting this innocent old building for the next three weeks. There's something for everyone to hate. The rest are works only a mother could love.

The result is the second-worst display of art I've ever seen. The only one to beat it out, by the thinnest of split hairs, was the 2002 Artomatic, which was worse only by virtue of being even bigger and in an even more atrocious space, down by the waterfront in a vacant modern office building.

After all, it could hardly be more excruciating than this year's Artomatic, the fourth edition of the District's creative free-for-all, which opens tomorrow. Organizers have gotten about 600 local "artists" -- anyone who could ante up the $60 fee and 15 hours of his or her time, in fact -- to display their creations. They're on show in the sprawling, scruffy building in north Capitol Hill that once housed the Capital Children's Museum and several charter schools.

I'll be at the front of the line.

Here's a fine idea. Let's find an abandoned school and then invite local dentists to ply their trade, free of charge, in its crumbling classrooms, peeling corridors and dripping toilets. Okay, so maybe we won't get practicing dentists to come, but we might get some dental students, hygienists and retirees to join in our Happy Tooth festival. What the heck, let's not be elitists here: Why don't we just invite anyone with a yen for tooth work or some skill with drills to give it a go. Then we can all line up, open wide and see what happens.

MY [Bailey's] WORDS:

Let’s not be too rough on Mr. Gopnick. Antereograde Amnesia can be terribly debilitating and frequently leads to a great deal of confusion when communicating with a person who has lost the ability to form new memories.

Sincerely,

James W. Bailey

The Washington Post's online forum on Artomatic and Gopnik is finally accepting new comments. See them here.

J.T. Kirkland over at Thinking About Art steps into the Artomatic firestorm and gets an earful from his commenters. He also challenges Victoria McKernan's dismissal of Dan Flavin.

This is all a measure of Artomatic's success no matter what you think about the art. Both the BLOGsphere and the lamestream media are full of letters, comments, articles, etc. about the show.

This says that (regardless of how you feel about the art and the artists), this is the most important art event that happens in DC every couple of years.

And who knows whom the undiscovered jewels in this year's Artomatic are?

I have several top ten lists in the wings waiting to be published. Past Artomatics have given us people who are now well-known respected artists such as Dan Steinhilber, Tim Tate, Adam Bradley, Dumbacher Brothers, Richard Chartier, Scott Hutchison and many others.