New Gallery Opens this Friday

Oerth Gallery, located at 420 S. Washington Street in Old Town Alexandria and owned by sisters Lorraine Oerth Kirstein and Linda Oerth Musselman, has its grand opening this coming Friday from 7-9PM with works by Ross Merrill. Merrill is a popular DC area art teacher, and conducts workshops throughout the United States. He also works as a Conservator at The National Gallery. The paintings will be on display from September 7 to October 28, 2007.


The gallery includes a first floor crafts gallery, a second floor fine arts gallery and a pottery studio. The building itself is an important historic property in Old Town, because it is the only freestanding Victorian building of its kind in Old Town.

Artists interested in portfolio reviews should contact Linda Musselman at 703-836-3784.

DC Gallery Moves

Leigh Conner and Jamie Smith have announced the purchase of 1358-1360 Florida Avenue, NE, Washington, DC as the new location for Conner Contemporary Art and *gogo art projects.

The property, a former auto body shop, is a 12,000 sq. ft. complex with two interior levels as well as an enclosed outdoor area for the exhibition of large-scale sculpture, video projections and installations. Conner Contemporary Art and *gogo art projects will occupy the 6500 sq. ft. ground floor space featuring two exhibition areas and a permanent video/sound room. The 4300 sq. ft. second-floor space is currently being developed.


During the renovation work this fall season, they will be open by appointment Monday through Friday 10am-6pm, while concentrating on participating in art fairs (Pulse London: October 11-14, 2007 and Pulse Miami: December 5-9, 2007).

The new gallery is accessible from the New York Avenue and Union Station Metro stations. On-site parking will be available by reservation and complimentary shuttle service will be provided from Union Station during certain hours.

$100M

"Damien Hirst, the U.K.'s wealthiest artist, is selling his diamond skull to an investment group for $100 million, said Frank Dunphy, Hirst's business manager.

The platinum skull, studded with 8,601 diamonds, has been on the market at least since June 3, when it went on show at London's White Cube gallery.

Dunphy, reached by telephone, said the price hadn't been discounted and would be paid in cash, though he wouldn't say over what period, or identify the investment group."

Read the story by Bloomberg's Linda Sandler here. By the way, I think that the title of the "U.K's wealthiest artist" does not belong to Damien Hirst, but to Scottish bad boy painter and worldwide king in the world of posters Jack Vettriano, but I could be wrong.

Scotland is planning to "devolve" from the British union and regain its independence one of these days, but so far, as far as I know, they are still part of the U.K.

In The Flesh

The new art shows and openings coming up over the next two weeks are so numerous that I will try to list 3-4 everyday for the next few days.

In Alexandria's Target Gallery, Tim Doud, who is in the Art faculty at American University has selected a show titled "In the Flesh" that opens Sept 13 from 6-8pm and runs through October 13, 2007. It includes work by DC area photographer Danny Conant, who is without a doubt one of the most innovative photographers in the region, and whose work has been often (in the past) an inspiration for several of my own drawings.

"Tearing the Sky"
Polaroid Transfer by Danny Conant

Ask a silly question...

The WaPo's freelance galleries critic writes in a review of sub-text at Randall Scott Gallery:

At Randall Scott, Caitlin Phillips's work proves particularly enervating. She's an attractive woman, slender and young, and she takes pictures of herself. In one picture she wears a simple dress and cute shoes and holds a tea set while looking blankly at the camera. In another, she stands on a beach, masked and perfectly still, dressed in a flowery shift. In a third, she's nearly naked, in curlers and hose, pouting for the camera.

What possesses a woman artist to denigrate herself like this? Photography, in its many forms, dominates artmaking. But can artists use it wisely?

Here's the question that her editor should have asked the critic: "Since you are asking the readers this question, did you ask the photographer?"

Of course not, Dawson's vitriol is generally reserved for the written word, and as most DC area gallerists know, and in my experience, she rarely asks questions when visiting a show, or even speaks, other than the social "hello," when she first arrives, and the occasional "ahah" when spoken to.

In the past this lack of asking questions (that she clearly has about the work, even rhetorical questions easily answered) has bitten her back, evidenced by some rather monumental errors in her writing, and in this case the answer to her question was easily available in the gallery's website and the obviously un-read news release about the exhibition; Caitlin Phillips writes:

During the summers when I was seven, eight, nine, I remember waking next to my grandmother in her heat soaked room, the bedding scarce, as we had tried to cool ourselves the night before. These humid mornings, which I recall vividly, were often spent admiring the photographs and the painted portraits that lined the faded wallpaper of the bedroom. Elegant, Victorian women gazed back from the walls, their pale skin accented by feathery dresses, my grandmother’s room, a modest representation of her own Victorian ideals. These summers spent at my grandparent’s home, my sisters and I feverishly practiced and displayed the ladylike talents my grandmother instilled and insisted upon us, naively mirroring our companions hung on the wall.

My photographs and videos attempt to discuss my current notions of lineage and posterity through deliberate manipulation of memory and dissection of my personal history. The imagery creates a mise-en-scene derived from personalized romance and girlhood nostalgia. It is a visual investigation of the conflicted self: a state of reflection glimpsing into the progression of feminine identity through years of experience, growth and longing.

Does that sound like a woman denigrating herself?

Abu Ghraib paintings to be donated to Berkeley Pentagon?

The series of paintings done by Colombian artist Fernando Botero based on the Abu Ghraib photographs may become part of the permanent collection of the University of California, Berkeley... or maybe not.

UC Berkeley chancellor Robert Birgeneau has tentatively agreed to accept the gift, the monetary value of which experts peg at $10 million to $15 million.

“We have a gentleman's agreement,” said Birgeneau, who saw the works when the exhibition opened at Cal's Doe Library in January and was impressed by “their emotional impact and technical brilliance. I've written the artist saying we'll accept them, subject to us being able to work out a reasonable set of conditions.”

Botero, who said he would never sell the jarring Abu Ghraib pictures, turned down an offer from the Kunsthalle Wurth museum near Stuttgart, Germany, to build a wing to house them.

There's a lesson in marketing there somewhere for all artists. And also a lesson on the power of representational visual art to drive home a point - a political point in this case - by using the narrative powers of representational art to underscore an issue.

These images, in a sense, were already part of our visual art scene.

After all, it was the photographs upon which they are based upon that exploded into our collective eyes when they were first released.

By basing his works on them, Botero skilfully recognized that in the 21st century painting is still king, and lifting an image from a photograph to create a painting still "elevates" that image to a higher fine arts realm in the minds of many people.

They're no longer just photos in our computer screens and newspapers; they're now fine art.

And it also brought Botero back into the fine arts limelight and contemporary dialogue and away from fat people paintings.

By the way, my good friend Jack Rasmussen over at the Katzen Arts Center scored a major coup a while back, as he will be bringing the first United States exhibition of the complete series, both paintings and drawings to the Katzen in November.

It sounds like Birgeneau has just written to Botero and nothing has been heard back from the wily Colombian.

Which gives me an idea.

I think that the best place for these paintings is not Left Wing Nut U in California, but right here in Washington, DC.

And not as part of the permanent collection of any of our great DC area museums, most of which already have Boteros in their collection, but as part of the permanent collection of the Pentagon.

As many of the people who have taken the free Pentagon tour know, the building has a really impressive art collection on its walls. As one would expect, it is mostly military subjects and historical paintings.

I think that the Abu Ghraib paintings belong on the Pentagon walls - not to "shame" our Army personnel, but to show the world that we're still the only nation not only willing to show pride in our successes, but also strong enough to recognize our mistakes and learn from them.

Abu Ghraib was the result of an Army which hadn't handled foreign prisoners in many decades and a handful of improperly trained, misassigned miscreants in the wrong place at the wrong time, and certainly nowhere near a representation of the quality soldier that makes up our all volunteer Army.

And definitely nowhere near the level of torture that takes place in silence on a daily basis in places like Cuba, Iran, Sudan, China, many, many Arabic nations and ahem, Colombia, but Abu Ghraib was definitely a low point and a harsh learning experience for our men and women in uniform as we learn to fight a new kind of war. As a veteran I am proud of our Armed Forces and how they respond to the spectacular demands made of them.

Put them on the Pentagon walls to shout out that we understand and learn from our military mistakes just as well as we are proud of our military successes.

I call on Renée Klish, Army Art Curator, U.S. Army Center of Military History, or whoever is the curator for the Pentagon's art collection to write a letter to Botero and have Botero donate the Abu Ghraib paintings to the Pentagon.

And I also call for Botero to now turn his formidable painting and marketing skills to create a new series of paintings about the daily torture going on in Castro's miserable prisons in Cuba (a nation that has refused to allow Amnesty International to visit since 1988), and then seeing if the Cuban dictatorship is willing to accept those paintings and hang them where their military and their citizens can see them every day.

Opportunity for Artists

Deadline: September 3, 2007

The new Workhouse Art Center at Lorton, VA is now reviewing portfolios for the studio rental jury process and Workhouse Artist Association membership. Submittal deadline: postmarked by 9/3/07. Download application at www.lortonarts.org or send a request to:

Lorton Arts Foundation
9601 Ox Road
Lorton, VA 22079