DCist Exposed

Even from far away Arizona I just wanted make sure that you all know that the DCist Exposed Photography Show opens tonight in DC!

The show is at Civilian Art Projects at 406 7th Street NW in Penn Quarter in DC -- a few blocks from the Chinatown metro, and the reception is from 7 to 9 p.m. and free. DCist Exposed received picks in all three Washington Post event guides, as well as the Washingtonian and other publications, and I bet that this year's show will be even better than last year's terrific exhibition.

Do not miss this opening and someone please email me some images of the opening crowds.

Sedona Art Scene Part III

Yesterday I used the example of Sedona's huge Exposure Gallery to discuss what I call the Southwest gallery model -- a gallery packed to the gills with art in a riot of color and fear of empty space -- as opposed to the more standard gallery model of a minimalist white cube for a gallery.

There are a lot of art venues in the Sedona area, nearly all of them, with one notable exception, follow this Southwest model. Most of the better spaces are listed in the Sedona Art Gallery Association website.

Of these, Kinion Fine Arts seems to offer a blend of the two gallery models. They recently moved from the Hozho Center (located at 431 Hwy 179 and home to several galleries) to uptown Sedona, relocating the gallery to a former bank building, safe room and all. The Kinions have divided the gallery into two rooms; at the entrance the Southwest model is in place, but the bank's vault is used for solo shows apparently hung in the cleaner, less cluttered style of the white cube. They're also one of the few art spaces in town where not everything is Southwest art centric.

A new gallery just up a few steps from Kinion Fine Arts, located at Hyatt Pinion Point, is the very beautiful space of the Vickers Collection (there are three of these galleries in total and the one in Sedona is called VC Fine Arts), opened just a year ago and by far the only gallery in the area that fits the cleaner white cube model.

Vickers uses the white cube model, and also offers the most diverse set of artists, not just a heavy-handed focus on Southwest art (as most Sedona galleries do, driven by the tourist art market).

It will be interesting to see if Vickers can survive as the sole Sedona gallery (at least that I've seen) that offers a diverse set of artwork; the type of art that could easily be seen in New York, or Philly or DC.

At VC I quite liked the bronze sculptures of Bill Starke, a refreshing change of pace from all the bronzes of horses, bears, javalinas, Indians, deer and cowboys that inundate most of this beautiful town's galleries.

I also liked Chris Nelson's smart and intelligent reverse paintings on plexi, which upon further examination are more than just paintings, since the artist also routes the verso of the plexi so that the textured reverse plexi interacts with the acrylic paint to actually create grooves and channels that on the front of the work create smart landscapes. As interesting as this work is, this artist has to be careful that he doesn't fall into a repetitive pattern in his work.

Since I have been in the advice-giving mood, an artist that would be a perfect fir and would actually sell like gangbusters all throughout the Southwest are the amazing storm paintings of the Washington DC area's Amy Marx, who recently had her first solo in New York and whose breath-taking, hyper realism captures massive storms and weather patterns like no artist that I have ever seen.

Another East Coast artist who would be an instant hit in the Southwest is Alexandria's Susan Makara, whose beautiful stacked stones series sell as soon as she is finished with them from her studio in Alexandria's Torpedo factory.

Still in uptown, the Sedona Art Center rounds up a very good artists' run membership gallery of local artists.

There are also quite a few galleries located in a faux Mexican village called Tlaquepaque; after two trips to Sedona, I still can't pronounce it. From there you can cross Oak Creek by foot and visit a whole bunch more galleries on Hwy 179, although the ongoing construction on 179 seems to be really hurting the gallery business on that road.

Later: A big surprise! why nearby Jerome has more interesting and diverse galleries than Sedona does.

Sedona Art Scene Part 2

When you drive up Highway 179 into Sedona, one of the first galleries that you come across is the huge Exposures Gallery, which is located on the right side of 179 as one approaches the city.

Over 20,000 square feet, not including the outside sculpture gardens (I assume) make this the largest art gallery in the state, and probably one of the largest in the nation.

Exposures is a perfect example of what makes most Southwestern art galleries so different from most other fine art galleries in the world; galleries which follow the white cube example of white walls and minimalist hanging styles, coupled with total lack of information about prices, etc.

Not so in the Southwest gallery model, and Exposures is a perfect example of this model for Southwest galleries.

Upon entering the huge spaces, the East Coast gallery sensibility is immediately assaulted by a riot of colors and by a fear of empty space that yields a huge gallery space filled to the brim with art, photography, sculpture, crafts and jewelry.

This is 21st century salon style presentation married to the joy of colors that is the Southwest.

There are probably a few thousand pieces of art hanging and displayed in this gargantuan space. In fact, so much artwork, and so much variety, that the snobbery of the art world would immediately tend to dismiss this gallery as another "art store" filled with "wall decor."

Not so fast.

There are plenty of art galleries in Sedona that offer wall decor, and the same in the Southwest, and for that matter all over the nation.

Don't be fooled by the sheer scale and invasion of the senses that Exposure offers. This is a very successful galleries which offers some very good artists, some so so artists and some mediocre artists. In other words, just like any other reputable art gallery, but definitely not a cheesy art store. This is a very good Southwestern gallery working flawlessly on that model.

Exposures' success is clearly evident not only in its size, but in the small army of people that it employs, as well as its history, which essentially repeats the usual gallery story: art-loving couple moves to Sedona, open a small gallery; they do well and open a huge one.

And because Sedona's art buying market is comprised mostly of visitors, this gallery has to operate on the model of exhibiting everything that it has to offer all at once.

It works for them.

So once we get past the fact that this overcrowded gallery space has found its formula for success, and we begin to look at the artwork itself, as I stated before, we find the same mix of great, good, average and mediocre that one finds in any gallery in the world because art truly is in the eyes of the beholder -- or in this case the husband and wife team that picks the artists that they choose to represent and sell.

And sell they do...

On exhibit are works by more than 100 artists; yep, 100... and prices, I was informed, range from $29 to $290,000.

The catchy price range seems to have done wonders for both the artists and the owners.

Not everything is about money and sales; but money and sales make most artists, and definitely most gallery owners happy.

About the artwork itself...

Nearly all of it shares a flawless technical skill and delivery that would make most postmodernists elitists raise their noses a few inches higher. As an admirer of technical skill, I have learned to respect technical skill, but also have learned to then look past it and see content, ideas, context and intelligence in the work.

But before I get to the few artists that stood out for me, I must note that the one thing that, in spite of over 100 artists, the gallery lacked was monochromatic or black and white works in this wildly colored universe of art. It could really use a few drawings here and there to break up the dominance of color and painting. But I am biased.

As far as I could see there were only two artists working in drawing. Of the two, the two delicate small graphite drawings by Charles Frizzell stood out like little orphans in an ocean of color.

The charcoal and watercolor pieces by an artist named Yuroz also could mostly be qualified as drawing, but the works themselves were rather forgettable, as Yuroz seems to be channelling several of Picasso's periods -- including a rather mediocre stab at cubism -- in his paintings and drawings. There is too much Picasso in Yuroz, but there is also too much of Yuroz in Exposures, which in economic terms means that someone must be buying lots of his work. I didn't like any of it.

Let me tell you what I did like.

There was some very good photography by Scott Peck, and yet I personally test all flower photography to the spectacular work of Andrzej Pluta, or Joyce Tenneson, or Amy Lamb. In fact if Peck's work is doing well in Exposures, then the art dealer in me is sure that Tenneson, Pluta and Lamb would do even better at Exposures.

Upon entering any business in Arizona that sells imagery, one is bound to find photographs of the desert rocks and formations. By the time that you visit a dozen galleries, one is sick and tired of desert photography.

And yet, one of the most memorable artists in Exposures is a photographer named Martii, whose spectacular desert shots, coupled with superb presentations, make his or her photography one of the best finds in the gallery. And in writing this, I think that another photographer whose work would do well here, would be the split reverse image digitally manipulated split desert photographs by John DeFabbio, who works out of the Washington, DC area. For years DeFabbio has been trekking around the world photographing nearly everything that he sees, then digitally mirroring each half of the image to discover amazing new images in the manipulated work.

But back to Exposures.

The best work in this amazing gallery are beautiful abstract pieces by a Brooklyn-born artist named Eric Lee, one of the rare non-representational artists in the space. Lee creates wonderful reverse paintings in glass that are standouts of skill and delivery. They are fresh and beautiful and add a calming effect to the gallery's riot of color.

There are two galleries in Sedona claiming to have been voted the best gallery in Sedona. I'm not sure who the voters were, but of the two, Exposures is by far the best and certainly one of the most amazing art spaces in the entire Southwest.

Trashy Art

Artist Robert Rauschenberg has filed lawsuits against a Florida artist and art gallery that give new meaning to the phrase "one man's trash is another man's treasure."

Read the story here.

AZ also has the familiar pattern

The pattern is familiar: Artists move into blighted urban areas to rent affordable spaces where they can live, create and show their work. The art attracts visitors, who in turn attract cafes and other small businesses. Property values rise, developers take notice and soon the artists are priced out of a community they helped create.

It's a perennial paradox, but it's one that gallery owners and public officials are working to reconcile as they make plans for a diverse downtown where art has a permanent place.

"We have the best relationship now than we've had in the past 20 years with the city of Phoenix," says artist and activist Beatrice Moore, who owns a studio on Grand Avenue and rents several spaces to other artists.

Read the Arizona Republic story here.

Sedona Art Scene - Part 1

While there's no doubt on the planet that Sedona, Arizona is one of the most beautiful places on the planet, as I discovered while there last year and again this week, it is also one of the most spiritual magnets to a variety of religions and beliefs, including the significant number of people attracted to Sedona as a result of it's "energy Vortexes."

Let there be no doubt that this is an area of profound beauty and full of a palpable sense of energy and power. I loved it and will be back many times, as there are dozens and dozens of trails and vistas to explore.

But on this second trip, I wanted to also focus some time and comments on the Sedona art scene, a "scene" with some national footprint, regardless of where you stand on the planetary scale of the art world. in fact, within a few minutes of anyone discussing that they're going to Sedona, someone will immediately pop in and describe the city's great art scene.

And so, let me approach these views with the prejudiced eyes of the artsy Easterner, accustomed to white cube galleries, minimally presented with austere framing, white matting, and where even title and price labels are often eschewed in preference of a discrete price list on the gallerist's white or light wood postmodern design table.

Let start with Sedona art galleries.

But first, extrapolating from to the city's website, the city probably has around 12,000 people, about 90% of them non-Hispanic whites, with a median household income roughly $100,000 less than Potomac, Maryland and paradoxically with a median house price about $100,000 more than Potomac's pricey homes.

It's the first of many paradoxes about this gorgeous place.

Depending on who you believe, Sodona also gets between four and five million visitors a year.

The Sedona Visitors Guide tells these millions of visitors that Sedona "not too long ago had 300 residents, now has 300 artists and more than 40 galleries." We also learn from the guide that Sedona averages one gallery per 300 residents, and for every dollar spent on art, the art buyers spend $12 on other Sedona stuff. The guide also claims that statistics show that approximately 33% of the city's visitors are attracted there by the art, and that these art aficionados thus spend between $200,000 to one million dollars in various Sedona businesses each day. We thus can extrapolate that around $16,666 to $83,333 dollars are spent each day on art in this small town.

One issue appears to be clear: it's the tourists who buy art, not so much the locals (does that sound familiar?). This makes sense, after all, how much art can 12,000 residents buy from 40 galleries?

"Locals don't buy any art," told me a former Sedona gallerist, who prior to opening a gallery in Sedona had been a dealer in Chicago. "There are a lot of retired people here [the median age is around 55] and although there are some very large multi-million dollar homes, there are also a lot of modular homes [a fancy way to described a souped-up trailer]."

To the prejudiced and minimalist Easterner eye, the riot of color, subjects and presentation that characterizes most Southwestern art is an assault to long-held visual sensibilities created by the black and white world of the East Coast and Left Coast artworlds and its European and Latin American brethren.

I am shocked to discover that perhaps there's something of an elitist in all of us, as the preconditioning of being an artist, an art critic and an art dealer raised in all those aspects, and mostly along the Eastern states, prejudices my eyes to what I've referred previously as "coyote art."

My better half, who many years ago interned in Santa Fe with the legendary Gerald Peters Gallery (and Peters is credited by many as energizing the interest in Southwestern art and placing Santa Fe and the Southwest in general on the art scene), tries to educate me somewhat as to the different sensibilities between what she labels "an Easterner, with an East Coast vision of what a gallery should look like, looking at a Southwestern space."

It will take time, but then again, at one point in his life Duncan Phillips hated Impressionism and then eventually was seduced by it and became the American champion for it.

On the other hand, Wisconsin farm girl Georgia O'Keefe, even in her Southwest years always kept her austere black and white world where colors were generally reserved for her paintings.

So I proceed with as open as a mind I can have, maybe somewhere between Phillips' eventual enthusiasm and O'Keefe's steadfast minimalism in personal tastes.

There are a lot of spaces in and around Sedona that sell artwork. I'm not really sure if there are 40 galleries, unless one includes a lot of spaces that sell a lot of Native American and Mexican crafts.

Sedona itself is sort of divided into two areas, and as one comes to it from Highway 179, Uptown Sedona is to the right and the other Sedona to the left. Most art spaces are either located on 179 itself or Uptown Sedona.

The first set of galleries one comes across on 179 are located on a shopping area to the right as one enters the city, with a spectacular view (from the shops) of the Sedona rocks and the city itself.

We'll go there first...

82/100

Is what the 2005 Campello Pinot Grigio received; not bad for a $6 bottle of wine.