Amy Lin at Addison Ripley

I used to have a friend who, if she found a perfect parking spot right away and right in front of wherever she was going, she'd describe it as "Doris Day parking."

"Have you noticed," she explained, "How in all the Doris Day movies she always manages to find a parking spot right in front of wherever it is that she is going?"

I knew that things had started on the right foot when last Saturday, as we drove to Addison Ripley (for the Amy Lin opening) in parking-poor Georgetown, we found a huge parking space right in front of the gallery's door.

After double checking all the parking signs to make sure that it wasn't some kind of new DC trick to give out more parking tickets (such as the trick they pulled a few years ago in G'town, when they extended the parking meters' coverage time from 6PM to 10PM without any warning, and for weeks they were in a ticket-giving orgy because people were used to the 6PM meter time and didn't realize they'd been extended to 10PM.

But I digress.

Readers of this blog know that I avoid being a detached, passionless writer and critic as much as I can. And for years now I have been very enthusiastic about the work and progress of this artist. And this opinion has been echoed by most other art critics in the region, as past Lin solo shows have both (a) received extensive and mostly positive critical attention and (b) have sold extremely well.

The one artistic danger that I once mused about in Lin's case was what I describe as the "Mondrian effect."

Picasso once said "God is really only another artist. He invented the giraffe, the elephant, and the ant. He has no real style. He just goes on trying other things."

As an art student and years afterwards I was always very attracted to the geometrical minimalism of Piet Mondrian. Then, a handful of years ago, I recall the massive Mondrian exhibition at the National Gallery, and what happened when I walked into gallery after gallery full of works so similar that they were almost indistinguishable from each other.

Mondrian had found a formula and stuck to it. He never went on "trying other things."

And in this current Amy Lin solo at Addison Ripley, I am happy to report that Amy Lin is not only trying "other things" from her signature minimalist works of individual groupings of small dots and small circles, but also that the new explorations are perhaps her best work to date.

Amy Lin. Cellular. 25 inch x 39 inch. Colored pencil 2010.
They explore new Lin interests that sometimes owe a lot to her training as a Chemical Engineer. They seem to trick the vision into reading formulas and charts and maps of color forms. The larger ellipses in some of the works almost assume figurative forms hidden inside deceptively complex drawings.


Amy Lin. Hydrolysis - 24 inch x 24 inch. Colored pencil.
The gallery was packed, and I am happy to report that Lin's past excellent sales record continues, as there were many red dots on the walls and several key DC area art collectors present and adding Lins to their collections.

The exhibition goes through April 24, 2010. Below are some images from the show.


Isabel Manalao, Amy Lin, Annie Adjchavanich and Dr. Fred Ognibene

Pat Goslee and Pink Line Project's Philippa P.B. Hughes

Little Junes' Mom and artist Amy Lin

Redding takes issue with Gopnik review

Robert "Rob" Redding Jr. is an artist, author, radio host and journalist and he:

...has won an Associated Press award for Internet news and has won numerous awards for his radio show. He has won an ADDY award for his nationally syndicated show. He has has also been called "one of the most respected names in the media" (Upscale magazine), "one of the most intellectual and intriguing radio talk show hosts since Tavis Smiley" (Radio Facts) and a "rising star" and one of the "100 Most Important Radio Talk Show Hosts in America" (Talkers magazine).

He also has an issue with last Sunday's review by Washington Post Chief Art critic Blake Gopnik titled National Gallery exhibit challenges traditional view of Rothko's black paintings.

Redding writes that "As an artist and journalist, I was horrified when I read the recent review by Washington Post art critic Blake Gopnik. Gopnik wrote a review of Mark Rothko's rehung black-dominated artworks at the National Gallery of Art."

Later he explains that "... As a black journalist, I find it disturbing that Gopnik decides to needlessly inject race into his art review. Gopnik points out the race of the 'notably dark' guards after he says that race should be considered when viewing Rothko's works."

Read Redding's case here.

Is the review racist or insensitive? Comments welcome.

Update: Philippa P.B. Hughes has an interesting viewpoint here.

If you wear a Che Guevara T-Shirt


Unless it is like the one on the left, you are wearing the image of a man whose own racist writing and actions are full of negative, racist remarks about Mexicans and Blacks, and Native Americans.

A killing psychopath whose image has been re-invented over the decades so that now he's viewed by a large, ignorant segment of the population as some sort of positive icon.

By the way, "Comemierda" is an almost unique Cuban insult...

The Negro is indolent and lazy, and spends his money on frivolities, whereas the European is forward-looking, organized, and intelligent.
-- Che Guevara

Mexicans are a band of illiterate Indians.
-- Che Guevara

Inform yourself!

You want the image of a real Cuban hero for your T-Shirt? How about Dr. Oscar Elias Biscet?

Shocker

I'm putting all my tax stuff in order for my accountant and I was a little shocked to find out that 2009 was my best year ever as far as sales of my own work.

The art fairs really did the trick, as my work seems to really do two key things to succeed at an art fair: (a) doesn't take a lot of expensive wall space, and (b) sells really well, and (c) I'm usually one of two or three artists doing drawings at any fair.

And 2010 started really nicely already; in fact, I'm having the best year in every aspect of my life so far!

Life's good...

Fierce Sonia at The Art League Gallery

During her tenure as a figure model for The Art League School, Fierce Sonia quietly acquired a top-notch visual arts education. Motivated by the artwork she saw, she became eager to create her own work. She cabled her camera to her TV and released the shutter with an infrared remote. Sonia used herself as her own model, learning more about composition and technique based on what she saw on the screen.

Her figurative photography has evolved to a new and exciting place. The focus is on process. In Sonia’s latest series “Paper Dolls,” the same images reoccur with confident changes to the surface. Her work is no longer straight photography. With the integration of painting and collage into her images, Sonia’s work has reached a new level.

The black and white images of herself are often printed on paper that has been painted white, which creates a rich texture. Each piece is created in a unique way. Previous prints may be collaged to create depth. Multiple runs of the same print may be made on the same piece. More painting, layering might be necessary to create the desired effect. These alterations to the surface blur the identity of the original image, and make the series of work about the medium and the process, and not about the subject matter.

Sonia’s work has been exhibited and won accolades nationally. She is a professional art model and muse for artists and photographers and has worked with nationally and internationally known artists.

“Paper Dolls” will be at The Art League Gallery in Old Town Alexandria from April 8 – May 3, 2010. The Opening Reception and Meet the Artist function is Thursday, April 8, 6:30-8:00 pm. Joe Chiocca, Old Town’s favorite band, will play during the Opening Reception and reunite with special guest singer Kim Kenny. Free and open to the public.

Wanna go to an opening tonight?

Come see Sidney Lawrence’s art at Baked & Wired coffeehouse (1052 Thomas Jefferson St., Georgetown (at the canal, below Barnes & Noble)).

Opening Party: Monday, March 15, 6 – 8 p.m. Exhibition continues through April 30.

Wanna go to an opening this week?

"Coming Home: A Collection of Works by Rosetta DeBerardinis" opens at The Corner Store, 900 South Carolina Avenue, S.E. @ 9th Street near the Eastern Market.

Reception: Friday, March 19th from 6 to 8 pm.

"Coming Home: A Collection of Works by Rosetta DeBerardinis" marks the artist's return to the D.C. market upon the completion of a three-year artistic residency at School 33 Art Center in Baltimore, Maryland. The work demonstrates her expansion from color field painting to abstract expressionism to urbanscapes, monoprints, sculpture and to drawings while retaining her signature energy and strong use of color.

DeBerardinis has exhibited at commercial galleries and art venues throughout the Washington metro area, Richmond, Dallas, New York City, Houston, New Jersey, Delaware, Michigan and internationally in Croatia, Madrid, Beijing, India and France. She has shown at the Dallas Women's Museum, The Corcoran Gallery of Art, the Woman's National Democratic Club, The African-American Museum in Dallas, the City Museum of Varazdin in Croatia and the Yaroslavl Art Museum in Russia. Her work and words have been published in Washington Spaces magazine, the Virginia-Pilot Ledger Star, SoBo Voice, Radar Redux magazine and u-tube, Thinking About Art:The One Word Project, the Hill Rag, Voice of the Hill and in catalogues with comments by art aficionados like Doreen Bolger, Director of the Baltimore Museum of Art. A recent work is part of the Art on Call public art project in the Trinidad neighborhood in the District of Columbia.

During the residency, DeBardinis began to meld her ceramics with objects found on the streets of Baltimore and drove the finished sculptures back to DC for exhibition at Zenith Gallery last year. Her responses to Charm City's rawness and grit are reflected in much of her studio work. While there, she temporarily abandoned painting 9 ft. canvases to create work suitable for tiny Baltimore row houses. After downsizing in response to the architectual limits of the city, she began to exhibit surfaces as small as 2 1/2 inches, or the size of trading cards. She found compressing her energy into tiny space took practice and amazing focus and welcomed the challenge.

The former Washington, D.C. and Bethesda art tour guide, Liquitex Artist of the Month and frequent contributor to DC Art News is busy reinventing herself. An artist with academic credits and/or degrees from the following institutions: Vassar College, The University of Baltimore School of Law, Rice University, London School for Social Research and the Fashion Institute of Technology. It is appropriate that Rosetta DeBerardinis begin her artistic revival on Capitol Hill where she resided for more than a decade and maintains close ties with former neighbors and friends.

Don't miss this show!