Congratulations

To DC area painter Elena Maza, who will be getting her first museum solo show at the Museum of Florida Art and Culture in Florida.

The show opens on Dec. 5, 2007 and closes January 17, 2008. Maza will be doing an artist talk at the museum on Jan. 17.

This museum, by the way, has a terrific collection of works by the Florida Highwaymen, one of the most educational art stories of how the only art critic of any permanence is time.

Opportunity for Artists

Deadline: January 11, 2008

19th National Drawing & Print Competitive Exhibition at the College of Notre Dame. A minimum of $1500 available in purchase prize money. Drawings and prints (not photography) in any medium are eligible.

Juror: Jed Dodds, Artistic Director, Creative Alliance at The Patterson, Baltimore, MD. A non-refundable entry fee of $30 entitles the artist to submit up to three entries. For prospectus vist this website or send a SASE to:

National Drawing and Print Competitive Exhibition
Attn: Geoff Delanoy
College of Notre Dame of Maryland
4701 North Charles Street
Baltimore, MD 21210

Tim Tate: I told you so...

I've received some emails from readers asking how artists get on my "buy now" list.

Disclaimer: zip objectivity. For years and years now I have been advising collectors to buy Tim Tate. He has been, and remains one of the key "buy now" artists on my list for collectors.

This advice comes from a place that's a mixture of savvy art dealer (I was one of Tate's art dealers until mid 2006), art collector, prognosticator, and experience in digging out the details of what makes an artist "tick," coupled in most cases with that artist's work ethic and talent and luck. Hopefully those hard to quantify details are what balance my resulting objectivity vacuum in regards to Tate.

When Fraser Gallery gave Tate his first ever solo show in 2003, collectors could have picked up an original Tate piece for as little as $300 - many did, as that show sold out, and those prices are already a distant fact of the past.

I acquired the work below, titled "Positive Progression;" a piece discussed in this Washington Post review of that first solo show. At that seminal show I also broke another piece while packing it, and thus bought that one as well, and over the years have accumulated the world's largest collection of broken Tim Tates.


Over the years Tate worked very hard in his own peculiar marriage of biography, social commentary and need to drag glass away from the crafts world and towards the fine arts arena. "The Hirshhorn," a Hirshhorn curator once emailed me, years ago, "does not collect glass."

He worked at a pace that was amazing to behold, and brought new things into the fragile glass world that were amazing to witness: cement, metal, found objects, AIDS and HIV imagery, ceramics, terracotta, and most recently videos and a dizzying array of technology (motion detectors, voice recordings, etc.).

Tim Tate discusses his work on Push Pause TV show
Filmed at his most recent Fraser Gallery solo show
He also worked very hard to make sure that people noticed what he was doing; no need to wait for a curator or art critic to come to you; as every museum curator and art writer in the Greater DC area knows, Tate has no issue in picking up the phone and cajoling you into visiting his studio or his latest solo show. And the coverage has been spectacular, especially for the Greater DC area. Only the Washington Post's Jessica Dawson has resisted the uberartlandslide and managed to avoid reviewing all four Tate Washington, DC area solo shows.

He also worked very hard in public art projects that brought a new refreshing look to public art: He was the winner for the International Competition to design the New Orleans AIDS Monument. Also Tate public works are at Liberty Park at Liberty Center, Arlington, VA; The Adele, Silver Spring, MD; at the US Environmental Agency, Ariel Rios Building Courtyard, Washington DC; at the National Institute of Health, Hatfield Clinic, Bethesda MD; at the Upper Marlboro Courthouse, Prince Georges County MD; at the American Physical Society, Baltimore Science Center, Baltimore MD; at The Residences at Rosedae, Bethesda MD; Holy Cross Hospital, Silver Spring MD; The Carmen Group, Washington DC and many others in process.

Hard work.

And now the payoff is beginning to taking place. In the last year alone, in addition to being represented by the Fraser Gallery in the Greater DC area, Tate has now picked up additional representation by the Maurine Littleton Gallery (outside of Greater DC area and arguably one of the world's leading fine art glass galleries), the Duane Reed Gallery in St. Louis, the Jane Sauer Gallery in Santa Fe, and he's also in the process of completing negotiations with three other major galleries in California and Idaho and Philadelphia. In 2008 his European debut will take place with a solo show at Gallery 24, in Berlin, Germany, and talks with a British gallery should start soon.

Acquisitions by several museums (including the Smithsonian American Art Museum and the Renwick in the DC area) have also all contributed to the development, and growth of this talented and ground-breaking artist.

The art fairs have also played an important part. SOFA NY was the start a couple of years ago, followed more recently by SOFA Chicago and AAF NY and also artDC. He's now heading to Art Basel Miami Beach where his work will be at FLOW. At the last fair in Chicago, Tate sold 14 sculptures (including a museum acquisition), and I am told that his newest video pieces were the buzz of the fair. In "Call for Redemption" (to the right), a motion detector triggers a video while a small speaker wails the Moslem call to prayers recorded by Tate at Istanbul earlier this year (where he was with Michael Janis teaching glass techniques at a workshop in Turkey).

The results from all these aggregate points and events yield an artist with a trail of many years of hard work now beginning to reap what he has sown. And because art is a commodity, prices are an indicator as well, and Tate's now start around $2,500 $3,500 and up, and look for the "up" part to continue to rise.

Buy Tim Tate now.

Update: [Added after Art Basel Miami Beach] And it looks like both collectors and museums are all in synch: Tim Tate's new and groundbreaking self contained video glass sculptures sold out at SOFA Chicago and sold out at Art Basel Miami Beach!

Too Funny...

Read this.

About time...

For years and years, when artists donated a work of art to a museum, all that they could deduct from their taxes was the cost of the materials to make the artwork.

However, this past March, Congressmen Jim Ramstad (R-MN) and John Lewis (D-GA) have introduced the "Artists-Museum Partnership Act" – a bill to provide a fair-market value tax deduction for works of arts donated by artists to arts institutions. By the way, Congressman John Lewis is an avid art collector himself and a very visible presence at the occasional art gallery opening in both DC and Atlanta.

This bill, (known in Congressional lingo as H.R. 1524) has been gaining Congressional co-sponsors, now standing at 58, with a number of them serving on the powerful House Ways & Means Committee.

The Senate bill, sponsored by Sen. Robert Bennett (R-UT) and Sen. Pat Leahy (D-VT), has 25 co-sponsors in the Senate.

Here's how you can help: The Congressional Arts Caucus recently circulated a “Dear Colleague” inviting members to join the bill as a co-sponsor. To see if your House or Senate member has co-sponsored this legislation, visit this website. If they have ignored HR 1524, then give them a call or email them a note scolding them for their apathy towards artists. You can email them or call them from here.

And if you don't do that, then you give up your right to bitch about everyone else's apathy towards the arts and the people who create it.

Slow Movin' Outlaw

Willie Nelson and Lacy J. Dalton (Lyrics by Waylon Jennings)

All your stations are being torn down a high flying trains no longer roar

The floors're all sagging with boards at a suffering from not being used anymore

Things're all changing the world's rearranging a time that will soon be no more

Where has a slow movin' once quickdraw outlaw got to go...

The whiskey that once settled the dust tasted so fine now taste so faint
And the mem'ries that once floated out come back stronger
And more clearly with each drink you take

And the women who warmed you once thought so pretty now look haggard and old

So where has a slow movin' once quickdraw outlaw got to go

This land where I travel once fashioned with beauty now stands with scars on her face

The wide open spaces are closin' in quickly from the ways of the whole human race

And it's not that I blame them for claming her bounty
I just wish they're takin' her slow

Cause where has a slow movin' once quick draw outlaw got to go

Tell me where has a slow movin' once quick draw outlaw got to go

Whitney Biennial 2008

The artists for the 2008 Whitney Biennial have been announced.

As usual, the list is essentially (again) the New York and California Biennial, with a sprikling of artists from a handful of other places.

Congrats to Philly's own Karen Kilimnik and the Charlottesville's Kevin Jerome Everson, who were some of the rare non New Yorkers in the show.

I just don't know how to fix this show so that it's just not another New York artists show...