Artwork Worth Millions in a Dumpster!

A Connecticut mechanic named Jared Whipple "found hundreds of artworks in a dumpster at an abandoned farmhouse. He took them home, thinking he might use them as Halloween decorations for his indoor skatepark. As it turns out, the art was anything but trash. Per Adriana Morga of CT Insider, the collection constitutes the life work of Abstract Expressionist artist Francis Hines—and it could be worth millions."

Read the story here.

11th highest ranked Art blogsite on the planet!

 WOW! Even I am impressed!

DC ART NEWS is now ranked as the 11th highest ranked art blog on the planet! And brought to you without a single annoying ad or a tracker!

See the rankings here!

What a gorgeous laugh!

Over the years I have written about the strange seductive power of a voice over the airwaves, where one has no idea of the physical attributes of the speaker.  I've wondered about "the most beautiful voice on the planet", one that I would bet belongs to somewhat tall (a voice like that needs an appropriate vehicle) and I just know that she has a long, elegant neck. Not as long as Parmigianino's Madonna dal Collo Lungo (Madonna with Long Neck), but she'd make a perfect model for a contemporary interpretation of that Mannerist masterpiece. It takes a breath-taking neck like that to deliver the melody that is her voice.

I've also mentioned another interesting voice in the air is that of WMAL's Maria Leaf and discussed the strangely-patterned diction of Michael Barbaro, who is an American journalist and the host of The New York Times news podcast, The Daily.

I also lamented and discussed the uniquely young American female phenomenon of "vocal fry." Young women, that is, until Dr. Christine Blasey Ford's spectacularly annoying voice made its debut during the attempted lynching of now Justice Kavanaugh.

WAMU's Lauren Ober and Lauren Landau's radio voices  have also been commented upon.

And now my new voices that have seduced my ears across the FM airwaves - they belong to a couple of morning hosts for Radio Sputnik, a commie radio station blasting Russian-funded noise at 105.5 FM in the general DC area - it's pretty hard to get it once you start heading north to Baltimore on 95 from the Beltway.

“This radio programming is distributed by RM Broadcasting on behalf of the Federal State Unitary Enterprise Rossiya Segodnya International Information Agency, Moscow, Russia. Additional information is available at the Department of Justice, Washington, D.C.” 

One voice belongs to someone named Jamal Thomas and the other to (and I am not sure of the name as it is hard to distinguish it when either hosts says it, and I always try to avoid seeing what the owners of the voices that catch my ear look like - so no Googlin' of them) Erin/Ferin Fransac/Fronsek (????).

Thomas' voice is not the usual voice that one finds on the air.  His voice pedal drives at normal speed and then in the middle of a sentence steps on the gas on a word or two and ramps it up.  It is a constant and interesting change of speed cadence which "wakes" up the ear.

His show partner - since I can't figure out her name let's call her Erin - has a most seductive voice (different from my NPR ad lady's glorious voice). It is a young voice, probably coming out of late 20s-early 30s vocal chords, and crucially wedded to a spectacularly gorgeous laugh and an even more hypnotizing chuckle.

It is that combo (voice plus laugh) which makes Erin such an interesting case.  I have no idea what she looks like or how old she is, but Erin's voice and laughter belongs to the lady whose laughter, catches the ear and subconsciously draws attention as in the following example:

Let's say you are in a large party - like a wedding reception - and everyone is standing around talking in groups. The bride and groom have not arrived yet and all the guests are chatting.  Erin laughs in whatever part of the room she is in... as soon as the laugh sounds travel, every male in that room who hear the laugh subconsciously turns an eye to seek the source of that chuckle or laugh.  A few women look as well.

Art Clinic Online (ACO)

Art Clinic Online - Saturday, May 28 from 10:30 -11:30am

Join me at the Art Clinic Online for a discussion and Q&A about nearly everything you wanted to know about being an artist, garnts, resume-building, approaching galleries, etc.

About Art Clinic Online (ACO)

The Art Clinic Online community aims to create a friendly artsy environment and bring together artists who may have taken classes with us before or who are contemplating it and want to learn from one another in an online community-based setting. As such, they are not didactic sessions but a forum for the equal exchange of art ideas and art information as well as an opportunity to share art challenges and breakthroughs. The Stone Tower resident artists created the ACO after hearing the need for such a forum expressed by many of their students. If you are interested in joining, click the button below and email Mariana to join! Yes, it's still FREE.

Location: Glen Echo.

Hirshhorn’s Sam Gilliam Exhibition

Over the decades that I have lived in the DMV (an acronym that I invented), one constant of the DMV's museum art scene (with the exception of the beautiful American University art museum and most recently the Phillips Collection) has been the immense apathy that art museums located in the capital region show to their area artists.

Once, while a guest at the old Kojo Nmandi radio show on NPR (WAMU), i noted that it was "easier for a DC area museum curator to take a cab to Dulles to catch a flight to Berlin to visit some emerging artists' studios in Berlin (or London, Madrid, wherever) than to catch a cab to Adams Morgan to visit a DC area emerging artist studio."

Years of communicating this frustration to "new" museum curators and directors as the wonder in and out of their positions at the Hirshhorn, the old Corcoran, various Smithsonian museums, all area University museums, etc. have yielded zero response -- since 1992 or so, the only museum director who ever met with me to discuss why their museum ignored local artists was Olga Viso when she ran the Hirshhorn decades ago.

And it takes an artist of the stature of Sam Gilliam, whose career was almost extinguished by apathy just a decade or so ago... until "rediscovered" by New York and other forces and placed where this great artist always deserved to be - at the top - the "break" into a local museum with an exhibition which should have happened years and years ago.

Hirshhorn: Thank you for exhibiting Sam Gilliam and shame on you that it took outside forces to make this happen.

Hirshhorn’s Sam Gilliam Exhibition Will Spotlight His Decades-Long Investigation Into Abstraction

“Sam Gilliam: Full Circle” Will Debut New Paintings, May 25–Sept. 4

This spring, the Hirshhorn Museum and Sculpture Garden will present an exhibition by pioneering abstractionist artist Sam Gilliam. Between May 25 and Sept. 4, “Sam Gilliam: Full Circle” will pair a series of circular paintings (or tondos) created in 2021 with “Rail” (1977), a landmark painting in the Hirshhorn’s permanent collection. Filling the museum’s second-floor inner-circle gallery, Gilliam’s first solo exhibition at the Hirshhorn will reflect the breadth of his multilayered practice and mark the first exhibition in Gilliam’s chosen hometown of Washington, D.C., since 2007. “Full Circle” is organized by Evelyn C. Hankins, the Hirshhorn’s head curator.

In the 60 years since moving to Washington, Gilliam has produced a prolific body of abstraction across media through which he has continually pursued new avenues of artistic expression. He initially rose to prominence in the late 1960s making large, color-stained manipulated, unstretched canvases. Gilliam continues to experiment with staining, soaking and pouring pigments, elaborating on the process-oriented tradition of Morris Louis, Kenneth Noland and other Washington Color School artists. In 1972, Gilliam represented the United States at the 36th Venice Biennale, and returned in 2017 with “Yves Klein Blue,” a draped work that welcomed visitors to the Venice Giardini. Gilliam’s approach focuses keenly on the cornerstones of abstraction—form, color and material—from which he creates artworks that reflect his career-long engagement with art history and the improvisatory ethos of jazz.

“The Hirshhorn’s institutional support for Sam Gilliam began with the acquisition of his landmark painting “Rail” within a year of its creation,” said Hirshhorn Director Melissa Chiu. “The museum has since championed his practice by presenting this and other major works in exhibitions. “Full Circle” shows Gilliam’s most recent works in recognition of his indefatigable vision, presented in his chosen hometown on the National Mall at the national museum of modern art.”

“I am greatly looking forward to premiering this new body of work,” Gilliam said. “The tondo series introduced in this show encapsulate many of the ideas that I have been developing throughout my career. Just as importantly, they reflect my current thinking about color, materials, and space. These spaces determined by color and texture are limitless.”

Sam Gilliam’s most recent engagement with the Hirshhorn reflects his tireless propulsion of the through lines of abstraction. His tondos expand the body of beveled-edge abstract paintings that Gilliam first pioneered in the 1960s. Ranging in size from 3 to 5 feet in diameter, each tondo begins with a beveled wood panel, which the artist loads with layers of dense, vibrant pigments, their aggregate effect heightened through the addition of thickening agents, sawdust, shimmering metal fragments, wood scraps and other studio debris. Using a stiff metal rake along with more traditional tools, Gilliam then abrades, smears and scrapes the coarse surfaces to reveal a constellation of textures and colors below.

The series will be shown alongside “Rail” (1977), a stellar “Black” painting by Gilliam in the Hirshhorn’s collection work that marks some of the artist’s earliest experiments with pronounced materiality. With its immense scale of more than 15 feet in length, stained underpinning, pieced canvas structure and deep tones, “Rail” offers a resonant counterpoint to the artist’s recent tondos.

Travis Childers: Borrowed and Not Returned

Join Tephra Institute of Contemporary Art (Tephra ICA) for an in-person opening reception of Borrowed and Not Returned, currently on view at Tephra ICA at Signature, where you will hear from Fairfax, VA-based artist Travis Childers and Tephra ICA's Associate Curator Hannah Barco. The reception will take place at the outdoor courtyard at the Signature Apartments on Wednesday, April 20, 6pm. Free and open to the public. Please RSVP at info@tephraica.org.

About the Exhibition

Borrowed and Not Returned includes three recent and ongoing series by artist Travis Childers. Childers’ work is concerned with our society’s extractive relationship to nature, though he often approaches the topic with humor and a healthy dose of culpability as he acknowledges his own participation. In his new Story Tellers series, Childers employs miniature, model railroad materials to create landscapes that, despite their small size, imply the depth of the earth and boundlessness of the sky. In contrast, Childers' collage work in the Vegetation series presents opaque facades and coverings that create expansive fields of borrowed images.

Altered and constructed landscapes serve as anchors across Childers’ work, creating a common thread between a wide variety of human experiences. Underlying his practice, is the sensibility that in our human relationship to landscape, there is something borrowed and not returned.

Gallery visitors are welcome Tuesday–Saturday from 11am–5pm. Face masks are required to enter. The gallery is located at the Signature apartment building at 11850 Freedom Dr, Reston, VA. 

Call for Artists: The Horse in Art

The Horse in Art - A Juried Exhibition at Artists in Middleburg Gallery.

The Anita Baarns Awards

Best in Show! $200

Second Place $100

Third Place $50

Submissions due: Friday, April 29, 3:00 PM

Exhibit dates: May 14 - June 12, 2022

Artists notified: May 4th, or before

Delivery of art: May 9 - 11, 12:00-5:00

Click here to go to the information sheet.