Airborne really early tomorrow morning and heading back home with a ton of stuff to post and discuss!

Galleries move to Saturday

The WaPo tells me that the reason for the move of the galleries column to Saturdays is that color is available on page two on Saturdays.

They also said that they "hope that one day we'll have a second galleries columnist, but that's currently on hold."

A new level

At the airport last night I pilfered a discarded Sunday WaPo and discovered that the Chief Art Critic of the WaPo now has a new category of artists: barely emerging!

As far as I can remember, artists have unfortunately been referred to as: emerging, mid-career and established. Even those terms are kind of silly, but make somewhat sense.

But in this mention of the current show at Curator's Office, Gopnik tags DC artist Kathryn Cornelius as a "barely emerging" artist.

As everyone else knows, Kathryn Cornelius has exhibited extensively in the DC area, (and most recently in NYC), was the subject of a profile in the Washington Post Express while she was sort of a leading arts activist student at Georgetown, and her work was recently acquired by the Heather and Tony Podesta collecting team at Seven.

Could we at least consider her an "emerging artist?" Methinks Kathryn passed this new "barely emerging" stage a while back.

Ahhh! the silly things we artsy folks argue about...

Tate is the word that we've heard (part II)

Last night I headed off to the Left Coast again, and I am now looking at the Pacific, but hope to be back in time for Tim Tate's opening of his third solo show with us. The opening is Friday, November 11, 2005 at Fraser Bethesda.

This show comes in the wake of two sold out earlier solo shows in 2003 in Georgetown and 2004 in Bethesda, as well as the immensely successful "Compelled by Content" show that Tate curated for us.

And in my obviously biased opinion, this promises to be the best exhibition yet by one of Washington's best-known artists and a leading and very involved member of our arts community.

Tate has absolutely been driven in creating new work for his show, probably because he's under extreme pressure as he's getting kicked out of the spaces that the Washington Glass School (of which Tate is the co-director) occupies. The School is being kicked out as part of the eminent domain scam that allows the city to kick out the people that they attracted to the neighborhood a few years ago, but that they now need to build a stadium for the Nats.

And Tate, who hates being called a "glass artist," nonetheless continues to break new ground (and a lot of glass in the process) by continuing to add and expand a new vocabulary to the glass genre: A vocabulary made of a narrative content that requires an understanding of what the artist wants to express.

In doing so, Tate has absolutely changed and refined his art and vision, a change that was first kindled by the death of his mother, which he expressed by an obsessive desire to create small, beautiful glass hearts, which have nothing to do with religion, but childhood memories of JFK imagery in his home and a receptacle for memory.

In another new series of glass slices that project from the walls, encased in steel, Tate offers us Cryptologic clues to events, influences, social and political statements, as well as the ever-present dialogue about disease and recovery.

Tate, who is HIV-positive, thus continues to incorporate his daily issue with HIV and AIDS into these works, some of which represent his own ideas of surviving the disease. In the wall glass slices, the narrative panels and the reliquaries, are hidden clues and figures that offer a constant desire for a cure that refuses to come into focus.

Don't miss this show. The opening reception is Friday, November 11 from 6-9PM at Fraser Bethesda.

Dupont Gallery Crawl

After finding a sweet Doris Day of a parking spot at 6:15PM in the usually next-to-impossible (to find a parking spot) Dupont Circle area, I visited a few galleries on Friday night.

First on the agenda was Wayne Gonzales at Conner. One can pretty much count on Leigh Conner for two things every month: to have a bright white newly painted space and to have a solid visual art show, with loads of interesting people always hanging about. And Wayne Gonzales did not dissappoint, as his exhibition showcases a few smart, sharp paintings done in the artist's trademark pointillist-like style that's a blend of Seurat, Lichtenstein and Gonzales.

Next we skipped over to Washington Printmakers, where I was not too taken by the current exhibition by Trudi Y. Ludwig. The work, while technically adequate, did not pique my interest for more than a few minutes. It's an otherwise lackluster show in a gallery known to showcase the best printmakers in our area.

Irvine Contemporary Art was the next stop, where I ran into Kristen Hileman from the Hirshhorn, and a pack of recent VCU graduates, including the fair and talented Alessandra Torres, who is currently working out of Brooklyn after her recent graduation from VCU. On exhibit were the elegant mixed media abstractions of Christine Kesler. I also had a chance to meet Irvine's new director, Heather Russell, who's already doing great things for this two-year-old gallery; congratulations to Prof. Irvine on his 2nd anniversary.

At Irvine I also ran into Kriston Capps, who pens Grammar Police, and Capps gave me a heads up on the show at JET Artworks, which he had quite liked.

I skipped a couple of galleries, as it was getting close to the last half hour or so, and headed directly to JET, where I discovered that Mr. Capps was quite on mark with his assessment of Peregrine Honig's Washington, DC debut: it ended up being the best show that I saw all night; a show titled: Albocracy.

At 29, the California-born artist already boasts an impressive resume, and in her DC debut at JET, was unfortunately (and erroneously) compared in her small WaPo review (scroll down) to the "back to basics" of Marcel Dzama, but with a "femeninist bent." I disagree completely.

In fact, Honig has little, if anything to do with the doodling Canadian artist, other than the fact that she also draws and colors her austere drawings, and that they both live in North America. This talented artist is both original and intelligent in her own work, which in this exhibition aligns with my latest interest: the marriage of art and text.

Honig creates a series of very delicate, sexy, and fragile drawings on paper, using a very sensual line, and sometimes a dab of watercolor. The power of the marriage of words to art come alive as she begings to title them, either in a delicate cursive, tiny writing style, or using an old typewriter to leave behind the nearly forgotten clumsy footprint of the typewriter key.

And she gives us titles like: "Opsomania. Obsession with sweet and delicacies" which depicts a delicate nude wearing nothing but shoes (which introduces an element of erotica into the drawing) and growing candies out of her body, where the sweets double visually as festering boils of gigantic proportions.

There's also Anthophobia (Fear of flowers), Ablutomania (Obsessive cleanliness), Tricophagus (Hair eater) and others in those unusual realms, including Albocracy, from which her exhibition derives its title.

Ms Honig writes:

"Albocracy – imbued with the hope of colorless rule. How quickly it flips, with the blink of one pink eye, to a white ruling class. Purity becomes purification. In the moment in between, there is a pale-skinned pink-eyed fragile beauty. White wig and glove, pearls and lace, a flawless virtue, until she is made to rule."

According to JET, this series of drawings "illustrates the flux of language and art, exploring unusual phobias, manias, and social structures. The drawings case rare fears and sexual obsessions in Honig’s highly stylized figurative work. Her small scale works on paper offer the intimacy of children’s book illustrations with unnerving themes and complex and tragic neuroses."

What Honig has done, and done surperbly well, is to flex intelligent artistic muscles to show us the immense power of art and words to deliver ideas and thoughts and fears and obsessions. And they are not be segregated as femeninist creations just because she's a woman, but artwork, period, because she's a talented and innovative artist, perhaps standing on the shoulders of great artists (certainly not Dzama), but adding to the contemporary dialogue in her own unique voice.

WaPo's rare Saturday treat

Update: I must have missed it last Thursday, but the WaPo announced that the "Galleries" column would be moving to Saturdays. I wonder is the column will also now review galleries and museums.

Jessica Dawson reviews a NYC and a Baltimore show in yesterday's WaPo. Read the review here.

Secret Number Two

Nothing like amazing success to make one's critics eat crow.

Who's got the second highest ranked BLOG in the entire world wide web?

None other than our own Frank Warren!

And the hardcover book by Frank Warren based on the phenomenal PostSecret project started by Frank at the last Art-O-Matic is being released November 29, 2005.

The PostSecret Book, "PostSecret: Extraordinary Confessions from Ordinary Lives," is now available from Amazon.

Pre-order the book here.

And next December 15, 2005 through January 8, 2006, the WPA\C presents Post Secrets.

Opening Reception: Thursday, December 15, 2005 from 6-10pm
Fundraiser: Wednesday, December 14 from 6-10pm for Kristin Brooks Hope Center ($10 suggested donation)
Location: Former Georgetown Staples Store, 3307 M Street, NW, Washington, DC 20007
Exhibition Hours: Wed, Thurs, Fri 6-10pm, Sat & Sun 2-10pm