Wednesday, March 02, 2005

Chan Chao Profiled in Photo-Eye
photo eye
Denise Wolff has a terrific discussion and interview with Chan Chao in the current issue of Photo-Eye.

Wolff discusses Chao's recent show at Numark Gallery, and almost right away makes an important point in placing Chao's elegant nudes within the always odd context of nudity in Washington, DC; Wolff goes as far as to describe Washington as a "town generally squeamish with nudity."

nude by chan chaoAnd (in my opinion) made even worse by a WaPo critic who is also "squeamish with nudity."

Among Wolff's many interesting questions to Chao (which revealed a few somewhat surprising facts - at least to me), I found this one particularly telling:

DW: As I looked at this work, I made a mental list of words that came to mind about the images. But I noticed later that my list didn't include the word erotic. Do you intend these photos to be erotic?

CC: No. I did not want these images to be erotic. I think it's too easy to create erotic photos. However, since they are nudes, the undertone is always there. And so even though I don't intend for them to be erotic, I do want to create some tension with it, or maybe even discomfort...
This is important, because I think that what makes Chao's display of the female nude stand out hinges on his ability to achieve precisely what Wolff identifies with this question: An ability to take an inherently sensual subject, present it in a manner that doesn't shout erotica, but retains a certain, unavoidable scent of eroticism; it can't be helped.

The first time that I saw these photos at Numark, I did not see them as erotic at all. And yet, a second visit to them left behind a slight footprint of eroticism in my mind; perhaps the direct gaze of the women - who knows? It's not important as to "why" but that it happened.

This Photo-Eye piece by Wolff leaves us watering at the mouth for more pieces (on national level magazines such as this one is) about some of our area artists; it a great start with one of our own art stars... but more please!

Bravo Wolff!

Olive Ayhens at Watkins Gallery

By John Anderson

Olive Ayhens was born in Oakland and studied at the San Francisco Art Institute during the tenure of Richard Diebenkorn, shortly after the reign of Rothko and Still influenced the department with their teachings of Abstract Expressionism. "I know abstraction well," she mentioned. "It’s all throughout my background."

Despite not using it directly in her work, she is aware that it has influenced her sense of plain, space and color. She recalled the climate of that period. "Berkley wasn’t hiring women at the time... until the Women’s Movement. When I was emerging I was in a lot of women shows." She pointed out how neither then nor now would one find a show entitled Eight Male Artists.

The sexism in the art world wasn't the only hurdle to overcome. Early in her career Ayhens also faced the challenge of racing two children as a single mother. Through various artist-in-residency positions throughout the Bay Area, other parts of California, Utah, Montana and Texas, Ayhens was able to manage artistic and familial obligations. Altering her medium to watercolor when her children were in their infancy forced Ayhens to approach her technique differently.

"I approached watercolor like an oil painter, moving the paint around opaquely. Eventually my technique loosened up." As a result, upon returning to oils, the paintings developed like watercolors, vibrant and juicy, nearly acidic in areas. Layers were constructed through thin washes in places, with thick impastos appearing intermitently. "I just love the paint, like my abstract teachers did. They reached me on that, and I hope that shows. They wanted me to give up my images as a young girl, and just move the paint around. But the images take me places."

In her current exhibition at Watkins Gallery, that place is New York City. "I’ve been in New York for nine years and I haven’t finished my work there." With both children attending college, Ayhens made the move to New York in 1996 after receiving the Marie Walsh Sharpe studio space grant - which afforded her a studio in Manhattan. Though she didn’t think she would stay in New York beyond that grant, she began experiencing modest successes, showing in galleries and having her work appear in Time Out and the New York Times. This was followed in successive years by a Gotlieb, her first Pollock/Krasner, and the World Views Residency through the Lower Manhattan Cultural Council on the 91st floor of the Trade Towers in 1999.

Tuesday, March 01, 2005

Missing Pentagon Art

Last July I wrote a posting on alleged missing Pentagon art and challenged local newshounds to follow the scent of the story. Although the story was picked up nationally by Arts Journal, no one has (to my knowledge) researched this story any further than what was posted here.

Because readers of DC Art News have more than quadrupled since last July, I am re-posting that story below in the hope that some enterprising soul will begin digging into the concerns raised herein:



This article in the Washington Post discusses how "a multimillion-dollar treasure trove of 19th- and 20th-century art has been discovered in basements, boiler rooms, closets and hallways in Philadelphia's cash-strapped public schools."

While the chances of DC area art schools having a hidden art trove is slim to none, let me tell you where I think there's a hidden treasure of artwork - not from the 19th century, but nearly all from 20th century (especially WPA period, and 50s and 60's): The storage buildings where the military's art collection (from the various services and mostly from closed bases all over the world) is "stored."

Not the significant and important art collection on display at the Pentagon, but the stored collection of thousands of works of art that a few years ago were stored in a couple of buildings at Andrews Air Force base. As I recall, there was some sort of investigation that discovered that the Department of Defense had little or no accountability or inventory for many of these works.

Sounds bad, but it is understandable. In fact I would submit impossible to have an inventory of artwork commissioned, donated, gifted, etc. to potentially thousands of U.S. military presences all around the globe in the last two hundred years.

As bases close, often things like artwork find their way back to this area, and they are/were stored at Andrews (at least ten years ago they were... not sure if they are still there). Sometimes they find their way to DLA and the various places where the public can buy anything being disposed of by the DoD (there used to be such as site around Fort Belvoir, Virginia).

But in any event, a DoD employee is/was resposible for maintaining accountability for this art collection, and in the mid 90s she was apparently fired/quit in part because a military Inspector General's team discovered that the works were generally unaccounted for and in many cases improperly stored (leaky buildings, rain, moisture, etc.).

All of these issues I am recalling from memory (I read the story initally in one of those air line magazines), but some things stuck in my head: the number of artworks mentioned in the story as being stored at Andrews (in the 100s of thousands) and the fact that there were many WPA pieces in the storage area, as well as possibly up to six unaccounted Norman Rockwell paintings.

Sounds like a good story for an enterprising Washington City Paper or Washington Post reporter to follow up on, uh? Maybe Teresa Wiltz? or Chris Shott?

I suspect that the accountability problem still exists. In fact I submit that the various services' art curators (each service has an art curator for its own art collection and they all have offices at the Pentagon) do not even have an accurate inventory of the artwork on display at the Pentagon today!

My suspicions were kindled when this story in Art News discussed the fact that US Army curator Renee Klish discussed the fact that four important paintings had been destroyed by the 9/11 attack, but says that eleven other artworks "may have been destroyed."

I am willing to bet that if the Andrews Air Force base artwork storage building still exists, that there are works in there worth hundreds of millions of dollars and maybe still being stored away in improper conditions. I hope I am wrong about the latter.


Update! An alert DCARTNEWS reader also recalls the story I mentioned (published in an air lines magazine in mid 90s) and she even recalled the name of the fired/dismissed/she-quit DoD Art Curator. I have it and will pass it to any enterprising reporters who want to follow up this story - in fact I even have contact info, since I recognized the name as someone still associated with the business of the arts in our area.

Today's Must Read Story

Joe Barbaccia sent me a link to this article in New York Metro and it is absolutely jaw-dropping. Read it here.

Is the child prodigy... a prodigy?

Remember 4-year-old Marla Olmstead, who is being touted as a painting prodigy, and who has gathered a lot of international attention, and whose large abstract paintings are selling as fast as she can finish them -- for as much as $24,000?

Well, it seems that 60 Minutes came a-calling and some issues and questions about this child have been raised.

In this report we find that Ellen Winner, who is a psychologist who has studied gifted children and specializes in visual arts was shown several of Marla’s works and was highly impressed, but noted that she had never seen such a young child working in an abstract manner. Her enthusiasm apparently turned to concern and suspicion when she was shown a videotape of the child painting:

"I saw no evidence that she was a child prodigy in painting. I saw a normal, charming, adorable child painting the way preschool children paint, except that she had a coach that kept her going."
Marla is currently having her first West Coast gallery show. It includes the painting captured on hidden camera by 60 Minutes, which has already been sold for $9,000.

Opportunities for Artists

2005 Photography Annual Competition
Deadline: March 15, 2005.

Sponsored by Communication Arts Magazine, is open to works first printed, produced, or aired for the first time between March 15, 2004 and March 15, 2005. The competition categories include: Advertising, Books, Editorial, For Sale, Institutional, Self-Promotion, and Unpublished. Winning entries will be published in the August 2005 Photography Annual. Entry fees range from $25-$40. For more information, contact:
2005 Photography Annual
Communication Arts
110 Constitution Dr.
Menlo Park, CA 94025

Phone: (650) 326-6040; Fax: (650) 326-1648; or email: shows@commarts.com. Complete guidelines also available online here.



Produce Gallery's "First Year Out"
Deadline: April 15, 2005.

Produce Gallery is currently reviewing work by artists in their first post-graduation year from college, for a group show entitled: "First Year Out," to be held in the Fall of 2005. All submissions should be from artists who have graduated from school in 2003 or 2004. Please send Slides, Resume and SASE, or Web site info to:
Produce Gallery
Tyler Exhibitions
7725 Penrose Avenue
Elkins Park, PA 19027


Woman Made Gallery's "Got Quirk?"
Deadline: March 16, 2005

A juried exhibition sponsored by Woman Made Gallery. Open to all artists, women and men. Seeking representational art works that is expressed in unusual, odd, peculiar, fantastic, grotesque, whimsical, or wacky ways. All media accepted. Entries must have been completed within the last 2 years. Cash awards available. Exhibition scheduled June 24-July 21, 2005. Entry fee: $20 for up to 3 slides. For details, contact:
Woman Made Gallery
2418 W. Bloomingdale Ave.
Chicago, IL 60647
Phone: (773) 489-8900; Fax: (773) 489-3600
email: gallery@womanmade.org or visit their website


Radius 250
Deadline: April 30, 2005

Thanks to ANABA for this one. Radius250 is a juried competition that will feature artists working within a 250-mile radius of Richmond. The juror is John Ravenal. You can enter the show via slides or online here. There's a $25 entry fee and $2500 in prizes.


9th Annual Georgetown International Fine Arts Competition
Deadline: June 3, 2005

An opportunity to exhibit in one of the most established DC area fine arts competitions and hosted by our Georgetown gallery. This competition has served in the past as the springboard for many area artists and national artists. Details and prospectus can be downloaded online here or send a SASE to:
Fraser Gallery
1054 31st Street, NW
Washington, DC 20007

NEA Accepting Nominations

The National Endowment for the Arts is accepting nominations of exemplary artists and arts patrons. Deadline is April 11, 2005.

The National Endowment for the Arts is now accepting nominations from the public of exemplary artists and arts patrons for the 2005 National Medal of Arts. To nominate, please go to this website and complete the form.

The deadline for public nominations is April 11, 2005.