Opportunity for Artists

Deadline: Saturday, October 10, 2009

Hurry! the deadline is this Saturday, October 10, for IMAGE/PROJECT, the Arlington Art Center's juried show for photography and video. Juror: Taryn Simon, a photographer who's shown at the Pompidou, the Whitney, the Met, and many other places.

The entry can be found here.

Congrats!

To my good friends Susan Jamison and Akemi Maegawa.

Susan Jamison will have a solo exhibition at the Taubman Museum, Roanoke, VA, in March, 2010.

Akemi Maegawa's work will be featured in a special installation at the NADA art fair in Miami Beach, "Hello Daruma, Hello Modern," sponsored by the Corcoran College of Art + Design.

They are both represented by Irvine Contemporary in Washington, DC.

First anti Rockwell salvo

The first shot at the guaranteed to be a very popular mega museum exhibition of Norman Rockwell's artwork in the collection of two very successful, and very progressive major contributors to the Democratic party have been fired.

When I announced the coming Rockwell exhibition opening at the Smithsonian American Art Museum on July 2, 2010 I wrote:

Now for some easy predictions: the high brow elitist critics will all unite in one front and all hate this show. The public, being far more progressive and democratic in their acceptance of what is art (without silly obsolete notions of "high" art and all other art, and without ingrained notions of "illustration" versus "high art") will line out to see the exhibition and continue to love Rockwell as they have for decades.

Boom! the first shot came across the bow of the exhibition a few days ago.

Boom! In an otherwise quite good and interesting article on the future of photography, the Washington Post's Oxford-educated (yields an Anglo-centric perspective on the world) Chief Art Critic writes that "It's not that art museums never show "low" painting. The Corcoran has shown Norman Rockwell..." It is the classic and antiquated (and uniquely American traditional view) critical perspective of high art and low art.

Separate everything; label everything, put everything and everyone in a box with a label: high art, low art, fine art, illustration, Hispanics, Latinos, Scots-Irish, Jewish-American, Cuban-American...

And don't let Rockwell get away with it; it's not high art, it's not high art, it's not high art.

The Obama Art List

Here's the Obama art list. After reviewing this list a little more carefully, and realizing that no politician ever does anything without some political reason, I now think that the Gopnikmeister may have been more on the ball on some of his thinking here than I gave him credit for.

Awright... he was right mostly and I was wrong... mostly. And I didn't know that Morandi was a fascist, but I bet that by now the Obamas do! Good job Blake.

One last thought: For a real political coup, what the President should have done, in a truly populist move, should have been to mix into the selections about a dozen works by emerging/mid level artists (rather than all museum level artists) and pick a dozen works from the vast holdings of the Arts in Embassies inventory. This is a missed PR opportunity for a PR-hungry White House. Imagine the impact on those artists' local media markets if a local artist would have been picked to adorn the walls of the White House? Whoever advised the Obamas on this caper missed a truly great chance to add votes to the move. By the way, my earlier advice was published here.

These will be in the President's residence:

· Josef Albers -- "Homage to the Square: Elected II" (1961) -- Hirshhorn Museum

· Josef Albers -- "Homage to the Square: Midday" (1954-57) -- Hirshhorn Museum

· Josef Albers -- "Study for Homage to the Square: Nacre" (1965) -- Hirshhorn Museum

· George Catlin -- "A Crow Chief at His Toilette" (1861-69) -- National Gallery of Art

· George Catlin -- "Camanchees Lancing a Buffalo Bull" (1861-69) -- National Gallery of Art

· George Catlin -- "Mired Buffalo and Wolves" (1861-69) -- National Gallery of Art

· George Catlin -- "Cheyenne Village" (1861-69) -- National Gallery of Art

· George Catlin -- "Grizzly Bears Attacking Buffalo" (1861-69) -- National Gallery of Art

· George Catlin -- "Grassy Bluffs" (1861-69) -- National Gallery of Art

· George Catlin -- "Game of the Arrow-Mandan" (1861-69) -- National Gallery of Art

· George Catlin -- "A Foot War Party in Council-Mandan" (1861-69) -- National Gallery of Art

· George Catlin -- "Ball-Play Dance-Choctaw" (1861-69) -- National Gallery of Art

· George Catlin -- "Buffalo Chase, With Accidents" (1861-69) -- National Gallery of Art

· George Catlin -- "Catlin and Indian Attacking Buffalo" (1861-69) -- National Gallery of Art

· George Catlin -- "K'nisteneux Indians Attacking Two Grizzly Bears" (1861-69) -- National Gallery of Art

· Edward Corbett -- "Washington, D.C. November 1963 III" (1963) -- National Gallery of Art

· Edgar Degas -- "Dancer Putting On Stocking" (c. 1896-1911) -- Hirshhorn Museum

· Edgar Degas -- "The Bow" (c. 1896-1911) -- Hirshhorn Museum

· Richard Diebenkorn -- "Berkeley, No. 52" (1955) -- National Gallery of Art

· Nicolas De Stael -- "Nice" (1954) -- Hirshhorn Museum

· Sam Francis -- "White Line" (1958-59) -- National Gallery of Art

· Winslow Homer -- "Sunset" (c. 1875) -- National Gallery of Art

· Jasper Johns -- "Numerals, 0 through 9" (1970) -- National Gallery of Art

· William H. Johnson -- "Booker T. Washington Legend" (c. 1944-45) -- Smithsonian American Art Museum

· William H. Johnson -- "Children Dance" (c. 1944) -- Smithsonian American Art Museum

· William H. Johnson -- "Flower to Teacher" (c. 1944) -- Smithsonian American Art Museum

· William H. Johnson -- "Folk Family" (c. 1944) -- Smithsonian American Art Museum

· Glenn Ligon -- "Black Like Me #2" (1992) -- Hirshhorn Museum

· Giorgio Morandi -- "Still Life" (c. 1955) -- National Gallery of Art

· Giorgio Morandi -- "Still Life" (c. 1955) -- National Gallery of Art

· Louise Nevelson -- "Model for 'Sky Covenant' " (1974) -- National Gallery of Art

· Susan Rothenberg -- "Butterfly" (1976) -- National Gallery of Art

· Mark Rothko -- "Red Band" (1955) -- National Gallery of Art

· Edward Ruscha -- "I think I'll . . ." (1983) -- National Gallery of Art

· Alma Thomas -- "Sky Light" (1973) -- Hirshhorn Museum

· Leon Polk Smith -- "Stretch of Black III" (1961) -- National Gallery of Art

· Unknown Artist -- "Chief Jumper of the Seminoles" (possibly 1837-1838) -- National Gallery of Art

Loaned art that will be in the West Wing

· Frank O. Salisbury -- "President Harry S. Truman" -- Harry S. Truman Library, Independence, Mo. (in the Cabinet Room)

· Lucy M. Lewis -- Vase (1962) -- National Museum of the American Indian (in the Oval Office)

· Jeri Redcorn -- Bottle, "Intertwining Scrolls" (2005) -- National Museum of the American Indian (in the Oval Office)

· Steve Smith -- Jar (c. 1980) -- National Museum of the American Indian (in the Oval Office)

· Maria Poveka Martinez -- Jar (1959) -- National Museum of the American Indian -- (in the Oval Office)

· Samuel F. B. Morse -- Telegraph Register patent model (1849)-- National Museum of American History (in the Oval Office)

· John A. Peer -- Gear Cutter patent model (1874) -- National Museum of American History (in the Oval Office)

· Henry William -- 1877 steamboat feathering paddlewheel patent model (1877) -- National Museum of American History (in the Oval Office)

Loaned art that will be hung in the East Wing

· Alma Thomas -- "Watusi (Hard Edge)" (1963) -- Hirshhorn Museum

Acquired, location yet to be determined

· Mark Rothko -- "No. 17" or "No. 15" (1949) -- National Gallery of Art

Spanish chocolates and Spanish photographs

Spanish Ghosts: Spain's Abandoned Architecture - Photographs by Mark Parascandola

Opening Reception: Thursday, October 8, 6:00-8:30. Free Spanish chocolate and wine tasting!

Studio B at Biagio Fine Chocolate
1904 18th Street NW (between T Street and Florida Avenue)
Washington DC

The landscape of Spain is dotted with abandoned structures, ghosts of a multi-layered history. Preserved in the arid climate, these architectural remains reveal the impact of time, weather, and transient visitors who have left their own mark. The subjects in this series of photographs include the Carabanchel prison in Madrid, a salt-eroded church on the coast of Almeria, leftover "spaghetti western" film sets, and the Cortijo del Fraile, the site of events that inspired Federico Garcia Lorca's Blood Wedding. The exhibit will be on display in Studio B at Biagio Fine Chocolate at 1904 18th Street NW throughout the month of October.

The exhibit and reception are part of a month-long series of activities planned by SpainDC to highlight Spanish culture in the Washington DC area.

Join them on Thursday, October 8, from 6:00 – 8:30 pm, to view the photographs, sample chocolates from Spain, and enjoy a tasting of three award-winning Spanish wines!

Spain has more vineyard acreage than any other country in the world. Tradewinds (Tradewinds Specialty Imports is Spanish wine import company based in Washington DC) will be sharing "three top-rated boutique wines they have hand-selected from family-run, estate-vineyards, across Spain. The wines being tasted, ranging from the more well known, to more secret, regions of Spain, are all available in Washington DC and are exclusively distributed by Tradewinds." Mark Parascandola is a photographer based in Washington DC with family roots in Almeria in the south of Spain.

Gopnik on the Obama's art taste

This is perhaps the most elitist art opinion article that I have ever read, and the reason why populists distrust and dislike the arts intelligentsia's brutally off putting look at everything from a left side of the brain perspective.

Gopnik is way off base on some of his perspectives on the artwork the Obamas have been choosing. Or is he?

I still think that he is a decent art critic, but he would make one shitty collector, if he really wastes brain cells like he does in this piece

Working with curators at the White House and at the local museums that made loans, the First Couple selected some works whose politics are explicit, and mild. They seem to redress past imbalances in the nation's sense of its own art. There are works by African Americans (seven paintings from three artists, out of a total of 47) and by Native Americans (four artists contributed three modern ceramics and one abstract painting). There are also 12 paintings depicting Native Americans, by the 19th-century ethnographic artist George Catlin.

But there are still only six works by women, vs. 41 by men. And there are no works at all by Latinos. (A work by the deceased Cuban American artist Félix González-Torres would have filled the gap perfectly, and added a nod to the country's gay culture. The Smithsonian's Hirshhorn Museum has one that could have been borrowed.)

Unless the brilliant Gopnikmeister is fucking with us and he's really writing this piece to get picked up by the AP and UPI and distributed all over the world.

Even the most positive of gestures made by the new White House loans can have complications wrapped around them. One of the African Americans with pictures in the Obamas' residence is William H. Johnson, a sophisticated artist who trained in Scandinavia in the 1930s. After returning to the United States to bide out World War II, however, he made pictures of Harlem that can seem falsely naive, as though buying into then-standard notions that "genuine" black culture was "simpler" than the culture of white Europeans. Why did one of the new White House Johnsons, showing impoverished parents and children in a modest room, get titled "Folk Family"? Did being poor and black make you more "folky" than other Americans?

As for the Catlin Indians, should we think of them as a positive nod to the original peoples of this continent, or are they all about a white colonialist gawking at exotic conquered peoples? Paul Chaat Smith, who curates contemporary art at the Smithsonian's National Museum of the American Indian, says that even he and other native peoples aren't sure of the answer. "They're not us, they're not for us," he says, but they're also "part of how we think about ourselves."

In today's art world, these kinds of debates and complexities are where you want to sink your teeth. In those terms, the Obamas could hardly have done a better job of choosing their loans.

Mmmm... maybe Gopnik is shooting for a MSNBC or Fox or some other divisionist network guest appearance.

Smart guy.

PS - On the Félix González-Torres idea... thank you but no thank you. We'd rather get picked on merit rather than by a need to fill ethnic niches. We Latinos don't like to be segregated or boxed in or labeled. We'd rather be chosen by an art collector or a President trying to get free loaners for the White House for our artistic merit rather than by our ethnicity. How many Italian-American artists are in the Obama collection? How many German-Americans? How many Arab-American? Stop putting labels on Americans. Stop trying to check all the boxes and choose artwork for art's sake.

Silly rabbit.

Wanna go to an arts panel tomorrow?

Thursday, Oct. 8; 7 p.m. Panel Discussion: Remembering the Things Past: A Conversation Celebrating Anne Truitt

On the opening night of "Anne Truitt: Perception and Reflection," join the Hirshhorn for a discussion moderated by Tim Gunn, chief creative officer at Liz Claiborne and a former student of Truitt's. Artist Martin Puryear, filmmaker Jem Cohen, photographer John Gossage and associate curator Kristen Hileman as they share their unique perspectives on Truitt's career as an artist, professor and author.

These friends and colleagues of the artist reflect on her important contributions to 20th-century abstraction and the Washington, D.C. arts community. The exhibition will remain open until the panel discussion begins. Admission is free. Tickets for the talk will be distributed on a first-come basis starting at 5:45 p.m. in the lobby.