WalMarting a museum for Arkansas

Lately, with a rare exception here and there, it has become very fashionable among art writers, bloggers and critics to demonize the efforts of Alice Walton’s no nonsense, robber-baroness approach to give the people of Bentonville, Arkansas a world class collection of art.

Regardless of how one feels about Ms. Walton’s wealth (she's the 20th richest person on the planet) and approach to buying art, Bentonville (population: 29,538) is not a place in which many people live, much less visit, and practically no one in the art world cares about.

But needless to say, flyover states deserve a look at America's art historical tradition, too.

But other than an infectious and personal dislike by these writers for Ms. Walton’s approach, the barely hidden implication in their written words is that metropolitan areas like Seattle, Washington, Forth Worth, Texas, and St. Louis, Missouri - places that people will visit - are more natural and deserving destinations for high art for our public American masses outside of New York.

This is elitist nonsense on a major scale.

There are very few places left in this nation where the reach of internationalism doesn’t touch. Early last year I was gallivanting all around the nation, and one of the places that I visited (for the first time in my case) was Arkansas. It’s rural OK, but it’s not what urbanites visualize.

Bentonville's next door neighbor, Fayetteville (population around 67,000) is the home to the 420-acre campus of the University of Arkansas (the only comprehensive, doctoral degree-granting institution in the state). Their enrollment has more than 14,600 students (more than 12,000 in undergraduate programs) and a diverse student population with 650 international students representing 86 countries.

And this place is rated by Money magazine as one of the top ten most desirable places in the nation in which to live or work.

There are several other towns in the area. Springdale is one where the impact of Wal Mart is amazing to see — luxury retailers and gargantuan homes; a real population and cultural explosion is happening there.

It doesn’t take a futurist to predict that this area will see a major urban growth in the next few decades, and when it does, it will be grateful to the vision of Alice Walton, which is perhaps a throwback to that of the moneyed folks who a century earlier built the collections that she now shops from.

And so I think that I will step aside from the rest of the art lemmings and applaud Ms. Walton’s Soviet-style approach to art politics in her effort to give the folks of Arkansas a world class collection of art.

Not only because she has billions of dollars to do so, but also because I think that she sees the location of this museum as something positive for an America that although politicians (and both leftwing and rightwing nuts) are often quoting as underserved Americans, they all perceive as a backwater populated by people who don’t care about art.

And yet, I hope that no one will disagree in that this coming exposure of the fine arts to this hard-working, modest segment of our population, who haven't generally had the opportunity to have it so close at hand, will be a good thing.

This is something to be applauded.

You go Alice Walton!

Update: Nikolas Schiller reacts to my thoughts with some really good points of his own. Read them here.

The Power of the web

Sunday I wrote about ARCO's "Expanded Box" project being curated by Claudia Giannetti, and asked for some of DC's illuminati to contact Ms. Gianetti in order to bring to her attention some of the area artists who are working with technology as part of their art.

Last night, amongst the hundreds of emails that I am still trying to read, there was a new one from Ms. Giannetti, and she's very interested!

I will discuss with her about the area artists that I am familiar with and who work with technology, but if there's other artists out there, from Philly down to Richmond, who are working with technology to deliver works of art, please contact me (hurry!).

Somebody pinch me

Will the aliens who kidnapped WaPo art critic Blake Gopnik and replaced him with an art critic who all of a sudden likes painting, please return him accept our thanks!

Writing from the Venice Biennale, Blake is shocked and surprised to discover that he likes the paintings of Mustafa Hulusi.

Together with other "painting is dead" acolytes, the Gopnikmeister suddenly discovers that disliking an entire form of the fine arts is never a good thing.

Barbara and Aaron Levine, Renée Van Halm and Blake Gopnik: welcome to the real world where minds are open to all art forms, rather than only to slogans and agendas and ideas.

Read his report here.

Airborne again today and heading to Denver. More later...

Claudia Giannetti, ARCO and DC curators

ARCO tells me that in 2008 they will have "Expanded Box," a project curated by Claudia Giannetti, which is a new section that "embraces happening tendencies exploring the influence and/or use of technology in art. It is basically conceived for works requiring a non-conventional exhibition space, and to encourage their acceptance in the contemporary art market."

Once again, if I was a power museum curator in Washington, DC, I would contact Ms. Gianetti and ask her if she would be interested in being exposed to the work of a group of DC area artists who are doing amazing things with the influence and/or use of technology in art.

I am referring to the artwork being produced and delivered by the artists and symbiots of the group known as Dorkbot DC. From the amazing techno-art of Thomas Edwards, or Phillip Kohn's collaborative video installations, or the sensory art of the Brain Wave Chick.

Also known as Paras Kaul, or the DC area electronic artist known in the art scene as the "Brain Wave Chick."

A reader who was present at the past Dorkbot meeting tells me that the stuff that Kaul does on computers "is totally over my head, but she said her father was a hypnotist and took her into altered states then he died when she was 14 — she said 'he programmed me.'

So at the age of 14 she started studying altered states and brain waves because she desperately wanted to get back to 'these places' that her father took her. She then met the dolphin man John Lilly and did work with him (the movie Altered States is about him). See what she's doing with all that and sensors and brainwaves here.

Or take Thomas Edwards' Talking Hosts project: A server sits in a colocation facility, every few seconds bothered by Web requests from viewing hosts around the world. The hostnames of the visitors are cryptic representations of where the viewers are and which ISP they are using. "Talking Hosts" uses voice synthesis to speak the hostnames of visitors as they hit the site. It is a stream of humanity, at once personal, yet scarily unending. How many hundreds of thousands have passed through? How many more will come?

Or that annoying Sycophant from a few years ago.

If I was Claudia Giannetti I would be a very ugly and hairy woman, but I may also be curious to discover what these DC area dorkartists are doing with computers, and robotics, and programming, and animation, and ahhh... brainwaves.

And were she to get a call (and I have her number) from say Anne Ellegood or Kerry Brougher from the Hirshhorn or Jonathan Binstock from the Corcoran, maybe, just maybe, Claudia may get interested enough to contact Dorkbot and seeing and hearing, and sensing what they're all about.

It's a long shot, but a shot that a hardworking DC area museum curator with some "humpf" behind his or her title, should take on behalf of an amazing group of dorks from his/her home city.

Congrats

To Philly area artist Frank Hyder and his mural projects in Merida, Venezuela. Frank was invited to do a collaborative mural with the students from the University of the Andes, a university of 30,000 students, together with a group of students from the Moore College of Art and Design in Philadelphia, the Mural Arts Program of Philadelphia and CEVAM, the bi-national center of Merida. In two intense weeks the students and the artist realized two dynamic murals.

The first, entitled "Return to Nature," involved a Mural Arts-style transformation of an ordinary 150 ft long by about 15 ft high city building from unsightly to a painted must-see sight. The goal of this project was to teach the techniques of mural painting as it is practiced in Philadelphia, one of the nation's most expansive and successful urban mural programs, and to introduce the concept of how impactful a mural can be in an urban setting.

Congrats to Frank, the students from Moore College of Art and Design and the University of the Andes and to all those involved behind the scenes.

Frank Hyder is represented in the Philly area by Projects Gallery.

Kate baby!

A set of six Kate Moss prints by Chuck Close printed and published by DC's own Adamson Editions, Washington, DC sold for four times their top estimate at a May 31st, 2007 auction by Christie's International. Close's prints made from daguerreotype studies of the model took $166,000, compared with a high valuation of $40,000.

Adamson Editions published the series of six pigment print images of model Kate Moss, in an edition of 25 prints in 2005. In recognition of this new auction record the remaining complete sets will be priced at $80,000 for the next three sets, increasing in $20,000 increments until all remaining sets are sold.

You can view the prints online here.