Wanna go to a DC opening tomorrow?

Tomorrow, December 7 is not only the anniversary of the day when, according to John Belushi in Animal House, the Germans bombed Pearl Harbor, but also it is the last in the inaugural round of 9x10 exhibitions featuring the work of WPA member artists!

In tribute to the late William Warren Parker’s support for emerging DC artists, his family has generously donated space at the William W. Parker (WWP) Gallery – housed in Mickelson’s Fine Art Framing at 629 New York Ave NW - to the WPA for a new “nine-by-ten” exhibition series: 9 shows of 10 member artists each.

These shows provided a new outlet for WPA member artists, and each exhibition presented a diverse cross-section of the WPA membership to the public, showcasing works in all media.

Show #9: December 7, 2007 – January 4, 2008, featuring works by Michele Banks, Michael Kent, Preeti Gujral Kochar, Pepa Leon, Laurie Messite, Mary D. Ott, Bailey Rosen, Andrei Trach, Jennifer Trice and Irene Zweig.

OPENING RECEPTION: FRIDAY, DECEMBER 7, 6:30 – 8 pm
WWP Gallery (Mickelson’s Fine Art Framing)
629 New York Ave NW, 3rd Floor
Washington, DC 20001
Info: 202.639.1828 or here.

In addition, Michele Banks has a solo show of her abstract watercolors running at Gallery Frame Avenue in Bethesda through December 31.

McQuaid on Campello

The Boston Globe's Cate McQuaid reviews "Ozspirations" at The New England School of Art and Design Gallery at Suffolk University in Boston and has something nice to say about my drawings, although she pretty much dismisses the rest of the exhibition.

Read her review here.

New Acquisitions

A sculpture by Sol LeWitt and an oil painting by William D. Washington, a 19th century Washington, DC raised artist famed throughout the South for his "Burial of Latane" Civil War painting, have been acquired by the Virginia Museum of Fine Arts.

VMFA is a state museum with private endowments for art purchase. I think that this is perhaps the ideal public/private partnership, because art is purchased with private funds and then becomes the responsibly of the state for its ongoing care.

Throughout their history, they have benefited from many generous donors, including Mr. and Mrs. Paul Mellon, Rita Gans, Lillian Thomas Pratt, and Sydney and Frances Lewis, among many others.

The LeWitt was a partial gift of the Sol LeWitt estate and Pace Wildenstein in honor of Frances Lewis and in memory of Sydney Lewis, in addition to some funds from the Sydney and Frances Lewis endowment.

VMFA's new Sol LeWitt sculpture is titled "Splotch #22" and was created in acrylic on fiberglass this year. It stands just more than 12 feet tall.

"Much of today's art practice would be unthinkable without LeWitt's pioneering work in Conceptual Art in the 1960s and 1970s," says John Ravenal, VMFA's Sydney and Frances Lewis Family Curator of Modern and Contemporary Art.

"Our new sculpture is the largest and most complex of LeWitt's series of non-geometric sculptures. It is also LeWitt's last work."

Ravenal says that the artist made two drawings for "Splotch #22" on which he indicated colors and height. A fabricator then translated the drawings into 3-D using a computer. The result is a sculpture made of layers of industrial-grade foam that were laminated, carved and sanded before being coated with epoxy resin, fiberglass, and multiple layers of paint and varnish.

I am curious as to the technical aspect of this... once the "fabricator" has created a 3-D digital file, is it then fed to a machine which then "builds" the sculpture, or creates a mold for it? And who carves and sands the industrial-grade foam? Who coats it with resin and fiberglass and then applies the paint and varnish?

Possibly not LeWitt, and that's OK...

But is this the same general idea as a watercolorist creating a watercolor and then handing it over to a lab which then scans it into a hi resolution image and prints it into a canvas, and then another machine replicates the artist's original brush strokes in a finishing clear medium and recreates another work which is not the original piece.

We call those reproductions.

But then say that the artist's watercolor is scanned into a 3-D translation and made into a sculpture?

Makes my head hurt.

Miami Day One

As the entire human art universe is now focused on Miami, I thought that it might be fun and interesting to have an artist's viewpoint reporting from Miami.

Each day I will publish the District's uberartist Tim Tate's experiences from Miami. Here's the first installment:

A day by day impression of ArtBasel from the perspective of an artist showing there for the first time. Call it my mini blog for just these few days. One artist's journey through the most complex art maze on Earth.

The weather here is spectacular... about 75 degrees yesterday and cool and breezy. I cabbed in from the airport to my hotel (which is a totally adorable guesthouse in South Beach) then went to see my gallery space at the Flow Art Fair.

FLOW is one of the spin off shows from ArtBasel Miami Beach and is right next to Bridge and Aqua (two other art fair spin offs). And all are right next to "the" ArtBasel MB.

I arrived in late afternoon.... this is just set-up day. Wednesday is press preview at noon and the actual opening is Thursday night.

FLOW is being held at the Dorset Hotel. When I arrived it was a little underwhelming. It seems that each gallery that is participating in FLOW gets a hotel room.

FLOW is considered one of the best off shoot fairs as it's an invitation only show, which means that a gallery has to be invited to show there - in other words, a gallery can't apply to the show, it has to be invited.

I am showing here with a gallery with an incredible reputation, and they are totally featuring me. I can't quite believe it.

And a hotel room is what you get... a small hotel room.... about 15 x 20 feet.

It's all so odd. They have covered the toilet with fabric and it is its now a pedestal for a sculpture. They have covered the sink with a black disc and it is now another pedestal. Thank God that they also covered the flocked brocade wall paper that dominated the room!

It totally reminds me of just starting out in my art career when we would take over a friend's apartment for a home show.

So finally I am being represented at the largest art show in the world, and it feels just like I'm starting all over again. Just like Annie Adjchavanich's $100 art sales used to be in the District years ago!

But maybe that's the point: I am starting over. Just on an international level.

I am told that this is the way its done and so I am hopping on board for this ride. For better or worse, I will report it all to you.

Last night they threw a welcoming party for us on the roof of the Dorset Hotel. Tons of liquor and sushi; it was very nice. George Hemphill of DC's Hemphill Fine Arts, came over to me and said hi and welcomed me to FLOW (he is showing here too).

At the same time, right across the street was a huge VIP opening for the super-swells... klieglights... limos... furs... very fancy (I think Lenny was there).

And as I stood on this roof deck... klieg lights dancing across the buildings, George Hemphill saying hi... everyone coming up to me telling me how blown away they are by my video pieces... I thought: "maybe I have arrived."

But as my life has taught me... my hubris in these situations is always quickly corrected by the Universe... we will see as the days unfold down here.

More tomorrow...

Tim

New Hands

The District's Aaron Gallery has been around for a long time. Recently the director and owner passed away, and now the gallery is in the hands of the talented Sabrina Cabada and she's slowly but surely re-inventing the gallery, one step at a time.

And something new already!

They're having an art exhibition by gallery artists - as opposed to the same work hanging all the time as they used to be.

Join the gallery and artists on Friday, December 7th for an opening reception at 1717 Connecticut Avenue, NW, Washington DC at 6:30 to 8:30 pm. Contact info@aarongallerydc.com for further details.

Work by Chico Hardraker, Chris Milk Hulburt, Francine Shore, J. Aaron Alderman, John Blee, Mary Jennings, Matt Sesow, Rebecca D’Angelo and Sabrina Cabada.

New Director at the Phillips


Dorothy Kosinski, Senior Curator of Painting and Sculpture at the Dallas Museum of Art, has been selected as The Phillips Collection's new director.

"I am thrilled to have been selected as the next director of The Phillips Collection," says Dr. Kosinski. "I have long admired Duncan Phillips’s extraordinary record as a collector of modern art and his deep commitment to contemporary artists."

Dr. Kosinski will assume her post next Spring and succeeds Jay Gates, who announced his retirement in June 2007. Read the WaPo's Jackie Trescott's article on the subject here.

Welcome to the DC area!

Washington Color School