Monday, December 24, 2007

What about art?

This article by the Washington Post's ombudsman Deborah Howell exemplifies the sort of stuff that drives me batty about the Washington Post's coverage of the visual arts.

While one one hand they claim that they deliver fair and appropriate coverage, and while new editors all promise to look into the complaints about lack of appropriate coverage, and while they also promise to expand it, the truth is that it continues to shrink while the WaPo tells us that if we "don't get it, we don't get it..."

Ms. Howell writes an interesting article titled "The Critics Have Their Critics," and it goes along like this:

Who decides whether a play, concert or dance performance gets reviewed in The Post and whether the review is favorable? Readers complain about the absence of a review, an unfavorable one, or a review they think is given insufficient length or prominence.

Post Arts Editor John Pancake says the chief critics, all based in Style, decide what to review and who will review it -- a staff writer or a freelancer. A critic's job is to be, well, critical. While culturally sophisticated people can disagree, the critics' decisions to review and the review itself are The Post's guide to readers in the performing arts. The critics also write news and feature stories.
She then goes on to quote, discuss and explain away the theatre, dance, classical music, and pop music.

Two questions:

What about art?

What about Blake Gopnik, Michael O'Sullivan (not based in Style, but nonetheless a Washington Post art critic) and freelancer Jessica Dawson?

The Post already has the most minimalist of arts coverage of any major newspaper in the US, and its Chief Art Critic is the only one that I know of who is allowed not to report on his city's art galleries, a job and task that he had in his previous art critic assignment for a Canadian newspaper.

Maybe Ms. Howell will soon be doing a separate article discussing the spectacular apathy that the Post exhibits towards its city's art galleries and artists.

Yeah...

Second question: My good friend John Pancake says "the chief critics, all based in Style, decide what to review and who will review it -- a staff writer or a freelancer."

This is interesting news to me, as it reflects a change in how gallery reviews were done in the past, where Jessica Dawson pretty much had a free hand on what she chose to review and who and what gallery she chose to ignore. Apparently, according to Pancake anyway, now Blake Gopnik tells Dawson what her assignment is...

Interesting uh?

Sunday, December 23, 2007

Just like you were there...

Of all the Miami reports that I've seen so far, Joanne Mattera's is by far the best.

Read her report and see her images from her extensive coverage of the artistic orgasm that was Miami earlier this month here.

Saturday, December 22, 2007

Elyse Harrison's Favorite Artwork

Elyse Harrison is the hardworking and talented gallery owner and director of Bethesda's Neptune Gallery, and she responds to my request for readers' favorite artworks. Elyse writes

Joan Miro's "The Farm" has been an important painting in my life. "The Farm" predates Miro's shift into higher abstraction yet contains numerous examples which interpret everyday objects as exquisite abstract compositions. I really enjoy the simultaneous views of exterior and interior spaces and the skill of his brush work. The palette is beautiful, extremely well balanced. I can gaze into this piece deeply, meeting the magic of Joan Miro over and over again. This work has made me want to be an artist.

Joan Miro - The Farm

"The Farm" by Joan Miro (Catalan, 1893 - 1983)

Friday, December 21, 2007

Chelsea Gallery Crawl


More on Amy Lin

The Amy Lin avalanche continues; not only has her commercial solo gallery debut has received heaps of critical press coverage, and sold well, but as several of you pointed out to me, it was covered by the rare television coverage as well.

Check out Amy Lin’s work on Maryland Public Television’s program “Artworks This Week” in the “Salon Highlight.” The show will broadcast again on Saturday, December 22 at 8:30am .

The Amy Lin show at Heineman-Myers in Bethesda closes this Sunday. Hurry!

Thursday, December 20, 2007

Laura Roulet's Fave Artwork

Laura Roulet is an art historian and a terrific independent curator and writer, and she responds to my request for readers' favorite artworks. Laura writes:

Asking an art historian for her favorite art work is like asking a mother to choose her favorite child. Impossible!

But here are three Washington DC masterpieces that I love to revisit, always finding more to see and ponder: Leonardo da Vinci, Ginervra de Benci (the only da Vinci painting in the Americas) in the National Gallery of Art, Jackson Pollock, Number 1, 1950 (Lavender Mist), also the NGA and Maya Lin, the Vietnam Veterans' Memorial.

Ginevra de' Benci by Leonardo
Ginevra de' Benci, c. 1474-1478, Leonardo da Vinci

Number 1, 1950 (Lavender Mist) by Jackson Pollock
Number 1, 1950 (Lavender Mist), 1950 by Jackson Pollock (American, 1912 - 1956)

Jeffry Cudlin's Fave Artwork

Jeffry Cudlin is a talented painter, the hard-to-please award-winning art critic for the Washington City Paper, a fellow blogger, and the curator at the Arlington Arts Center and he responds to my request for readers' favorite artworks. Jeffry writes:

None of the that answers I come up with seem sufficient. Maybe Bonnard's The Open Window at the Phillips -- or, really, any Diebenkorn that's handy. Bonnard's sense of light and temperature, the way he leans on saturated colors and analogous/complementary harmonies instead of tonal contrast --very tasty. Diebenkorn's compositions and ways of massing in color are just perfect -- he only makes a handful of decisions in every piece, and they're all correct.

At the NGA: El Greco's Laocoon, or maybe a Chardin -- Soap Bubbles? I always liked thinking of that Mannerist strategy of modelling your figures in clay before you paint them. I don't know if that's what El Greco did here, but his bodies have that strangely compelling unreality -- like lumpy, lighted figurines in a diorama. Chardin's just exquisite, period.

Wait, wait, maybe I want a Cezanne from the NGA instead -- I'll take either House in Provence or Chateau Noir.

And for purely sentimental reasons, a creepy painting from the Hirshhorn: The Golden Days, by Balthus. Wait, wait; maybe that painting of Leigh Bowery by Freud instead. Or those two studies for a portrait of Van Gogh by Bacon. None of those have anything to do with what I like about painting now, but when I first saw them, many years ago as an art undergrad, they made quite an impact on me.

Well, there you have it: ten paintings I can't really decide between, for wildly divergent and/or irrational reasons.

El greco - Laocoon
Laocoön, early 1610s, El Greco (Domenikos Theotokopoulos) (Greek-Spanish, 1541–1614)

Bonnard - The Open Window
The Open Window, 1921, Pierre Bonnard (French, 1867-1947)