What goes for shocking in NYC and what goes for shocking in the DMV are two different things.

Our current exhibit of Caroline Danforth and Scott Hutchison paintings has raised the ugly issues of nudity and art and complaints and censorship.

Because of the visibility of the Bethesda Gallery, Scott Hutchison large nudes have apparently offended some people and we're apparently being complained about. This morning a Channel 7 news crew came and interviewed Catriona and will air a segment about the whole issue at 6 PM tonite.

Our landlord supports us, and so do some of our neighbors, but perhaps this is as good an opportunity as any to discuss this show from the perspective of what goes for "shocking" in the Washington area is still the human figure.

Opportunities for artists:

Deadline: January 31, 2004. The Marie Walsh Sharpe Art Foundation's "Space Program" offers free studio spaces in New York City's Tribeca neighborhood for visual artists 21 and over.

Studios are available beginning Sept. 1, 2004 for up to one year. Postmark deadline is January 31, 2004. Applications should include: 8 slides of recent work or video, an annotated slide list or video description, a resume, a one page statement on why studio is needed, and a SASE for return of slides.

Send applications to The Space Program, The Marie Walsh Sharpe Art Foundation, 830 North Tejon Street, Suite 120, Colorado Springs, CO 80903.

This coming Thursday is the third Thursday of the month, as as such Third Thursday extended hours by the downtown area galleries. See locations and details here.

And Friday is the third Friday of the month, and therefore the four Canal Square Galleries in Georgetown will have their new show openings from 6-9 PM. Openings are free and open to the public and catered by the Sea Catch Restaurant.

Thanks to Modern Art Notes for a great link to the images of the 8th Bienal de La Habana.

Aimée García, a very young Cuban artist being showcased at the Bienal, and whose first American solo show sold out last year at the Robert Berman Gallery in Santa Monica, will make her Washington, DC debut next November 2004 with a solo show at our Georgetown gallery.

The Washington Post website sports a new look today. Museums and galleries are now on this page. Their listing of 142 area art galleries is here.

When the Post first launched their website a couple of years ago, they used to augment their printed newspaper coverage of the visual arts by allowing a few freelance writers (myself included) as well as their "regular" galleries critic (at the time Ferdinand Protzman) to write additional weekly reviews of gallery and museum shows. Then their online Arts Editor (at the time John Poole) was promoted and the "job" was left open for a very long time and all the online gallery reviews ended.

Maura McCarthy is now the online Arts Editor and doing a pretty good job, but obviously the budget to have contract writers do additional gallery reviews no longer exists and she doesn't have the luxury to augment the print version's already skimpy coverage of area galleries and artists.

Of all the moronic, dimwit, tunnel-visioned, agenda-driven, academic, peer-pressured reasons to clamor and claim (for 40 years now) that "painting is dead," this is probably the only good reason to kill painting.

Warning: The link above is rather gross, as it depicts artist Keith Boadwee in the process of "painting" via the use of his asshole. This is definately "mixed media."

And this artist may be a close second.

The Washington Times art critic, Joanna Shaw-Eagle offers her view of the Washington Convention Center's Public Art Collection.

Why the Washington Times doesn't have a "regular" weekly "Galleries" column, like most major metropolitan newspapers in the world offer, has always been a mystery to me.

Another great mystery: Considering how inexpensive storage is, and how easy it is to store an article online once it has been created. Why doesn't the Washington City Paper archive its articles?

The Corcoran tells me that Salvadorean artist Muriel Hasbun, who lives in DC and is a longtime Corcoran faculty member, and who represented El Salvador at the last Venice Biennale, and is represented locally by Conner Contemporary will be having a solo show at the Corcoran opening on March 6, 2004 and curated by Paul Roth, the Corcoran's Associate Curator of Photography and Media Arts. An excellent essay about Hasbun's work by Andy Grunberg can be read online here.

Opportunity for artists:

These are "open" mail art exhibitions (as opposed to "juried"). This means that all submissions will be included in the exhibition. Entries are sent via mail and are usually not returned. Mail art is usually created on a blank postcard and sent through the mail to the exhibition.

Deadline: Dec. 31, 2003
Group 78, Tokyo's English-language local group of Amnesty International, the worldwide human rights organization, will adopt the theme "Violence Against Women" as a major campaign priority next year. To publicize this and to reach out to women's groups, human rights groups and other concerned people, they are appealing to the mail art artists for suitable submissions on the theme. They intend to exhibit in Tokyo and possibly other cities in Japan, and to produce a documentation of the submitted works. Every contributor will receive a copy of the documentation.

MEDIA/TECHNIQUE: free
SIZE: from postcard size to A4 size (29 X 21 cm) 2D only.
DEADLINE: Dec. 31, 2003

Send to:

Chris Pitts
Kyoritsu Women's College
3-27 Kanda-Jinbocho
Chiyoda^ku
101-0051 Tokyo
Japan

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Deadline: February 1, 2004
"Bras for Breast Cancer." Embellish a bra for an exhibit to be held at Northwood University in Cedar Hill, Texas in April of 2004. Bras will be exhibited along with paintings, poetry, videos, installations and assemblages created by women and men who have stories to share about themselves and or loved ones who are coping with Breast Cancer. All entries will be exhibited. No Jury. No Returns.

Send all entries to:
Junanne Peck
P.O.Box 177528
Irving, Texas
75017-7528
Email questions to junannepeck@mac.com

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Deadline: February 1, 2004
The Boulder Museum of Contemporary Art is requesting mail art submissions for an exhibit in February 2004 on the theme "Sense of Place." Artists are encouraged to respond by providing works that examine changing conceptions of place, borders and nationalism on a global scale. How would you represent your sense of place in today's world? What has happened to your sense of place since the rise of globalization? Since 9/11? How has the spread of internet communications altered perspectives on near and far?

Each work should not exceed 20 inches in any direction and may be 3 dimensional. Please include contact information: name, address, email. Due to space limitations, not all submissions can be exhibited. However, all submissions will appear on BMoCA's website and all submitting artists will be acknowledged. Exhibited works will be listed in the catalogue and on the BMoCA website. Submissions will not be returned unless SASE is included. Questions to Brandi Mathis at 303/443-2122.

Boulder Museum of Contemporary Art
1750 13th St.
Boulder, CO 80302

British art critic Matthew Collins, who is often credited with helping to launch many YBA's, and modern video and installation art now says:

"We don't live in a great time for art; we live in a time when art is very successful as a leisure activity. Art is very amusing, but within that culture there's still a hierarchy of better and worse. I'm interested in that hierarchy but I recognise that modern art and pre-modern art were very important, and postmodern art is rubbish, really."

Collins has a new TV series on British television that begins next Sunday. Read the whole story in The Observer here.

Blake Gopnik gives us a look at the Havana Bienal today in the Sunday Arts section of the Post.

By the way, I know it's pedantic, but if we call the Venice Biennial the Biennale then we should refer to the Havana Biennial as the Bienal, which is the Spanish word for Biennial, just as Biennale is the Italian word for it.

Although he mentioned it at the beginning, he skimmed lightly over the very important issue of censorship and this was very disappointing to me. More on this issue here and from the Prince Claus Fund, the main financial supporter of the past Bienal. They withdrew support from this Bienal because of Castro's recent human rights abuses and artist censorship.

More on the desperate situation of human rights in Cuba from Human Rights Watch and from Amnesty International.

Otherwise the article was very readable and somewhat predictable, as Blake does not mention a single painter and shows his colors by writing: "A visit to the main art school showed student work as good as you'd get anywhere, even in relatively newfangled fields such as performance and video art."

Newfangled? Hardly. As a child, I recall being dragged to "enjoy" performance art in the 60's in New York by various artsy members of my family, so that's been around for 40 years or more and video art came out as soon as the first video camera came out in the 70s and by the time I went to art school at the University of Washington (1977-1981) in Seattle, my then girlfriend Susie K. was boring us to sleep with her video art, which consisted of her recording the Seattle skyline from the Space Needle Restaurant as it slowly rotated around the Needle.

Same crap that Tacita Dean did decades later at the revolving restaurant atop the TV tower at Alexanderplatz in Berlin. Susie K did it in 1979.

Also today, Paul Richards reviews Philip Guston's retrospective at the Metropolitan Museum of Art. Guston is one of those artists that are very difficult to digest, but the more you talk to people, especially young artists, about him, the more influential he seems.

"If someone bursts out laughing in front of my painting," Richards says Guston wrote in 1973, "that is exactly what I want."

The retrospective, curated by Michael Auping, was organized by the Modern Art Museum of Fort Worth and will travel to the Royal Academy of Arts, London, after closing in New York.

Terry Teachout, who BLOGs about the Arts for ArtsJournal.com has a very interesting posting about Jennifer Howard, a contributing editor of Washington Post Book World, and an article that she wrote, compalining about the direction that she feels the BLOGosphere is heading.

And further to my post below, what goes for shocking in New York or London is certainly different from what is still considered shocking around Washington, DC.

We're getting a lot of flak from our neighbors and some of the public in Bethesda about Scott Hutchison's large female nude paintings currently on exhibition. Especially this one which is five and half feet tall.

John Rockwell, writing in the New York Times, says that "for centuries new art has offended, challenging the purely pleasurable" and also that "in the end all art must seek to disturb and provoke" and ends with "great art is always shocking."

So because Seward Johnson takes Impressionist paintings and makes sculptures from them, his work is crap. But when the Chapman Brothers take Goya's war etchings and make sculptures out of them, their work may be great - because it's shocking.

I initially thought that they were both crap, but now I get it.

Opportunities for Visual Artists:

Deadline: January 15, 2004. Open Exhibition Competition for a show at the Target Gallery in the Torpedo Factory Art Center. Open to all individual artists and groups in all media in North America. Jurors: Annie Adjchavanich, Executive Director, Washington Project for the Arts/Corcoran; B.J. Adams, noted fiber artist; James and Jenna Blalock, Washington area collectors of fine art and craft. Deadline for Porposals: January 15, 2004. Show dates: October 20-November 28, 2004. Fee: $35 for 20 images (slides or JPEG CD) and proposal. For appliocation, contact targetgallery@torpedofactory.org, 703/838-4565 x 4, or send SASE to Open 2004, Target Gallery
105 N. Union Street, Alexandria, VA 22314

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Deadline: December 15, 2003. The Humanities Fine Arts Gallery of the University of Minnesota Morris has a call for exhibition proposals for 2004-2005 and 2005-2006 academic years. Send 10 to 20 slides of recent work, artist's statement, resume, and SASE to be considered for solo or group show. No prospectus and better still: no entry fee. Deadline for Submissions is December 15th, 2003. Send proposal to:

Michael Eble
Division of the Humanities
University of Minnesota Morris
Morris MN 56367

Email questions to meble@mrs.umn.edu

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Deadline February 2, 2004. Ivyside International Juried Exhibition at Penn State Altoona. Open to all visual artists in all media. Entries must have been completed within the last two years. Artists will be selected from slides, CD Rom, or VHS/DVD by a faculty committee. Up to six artists will be awarded annually with a gallery exhibition in one of two gallery spaces (each approximately 13' x 25') at the Community Arts Center at Penn State Altoona. There is no entry fee.

Send:
1. CV - One copy, no more than 2 pages.

2. Artist statement - One copy, no more than 1 page.

3. Slides - A maximum of 12 (24 for three dimensional work) slides may be submitted for review. Clearly label slides with, name, title, date, medium, size (h x w x d) and an indication of top of image. Submit in a plastic slide sheet, in order, with a SASE. Artists are entitled to enter a maximum of 12 slides for review. Two-dimensional work one slide/work may be submitted for consideration. For three-dimensional work two slides per entry are allowed. Provide one copy of a slide list on 1 8 ½ x 11 sheet.

4. Or CD Rom: A maximum of 12 (24 for three dimensional work) jpeg or tiff images may be submitted for review. Submit on a CDR IBM compatible disc in order. Title each image on the disc. Provide one copy of an image list on one 8½ x 11 sheet. Submit with SASE.

5. Or DVD/VHS: A maximum of 10 minutes will be viewed by the gallery committee. Your tape or DVD may be a compilation tape, but one full length piece must be present. Submit with SASE.

Accepted artists will be notified May 1, 2004 and then artwork may be hand-delivered or shipped prepaid to Ivyside Juried Exhibition, Penn State Altoona. Within reason, Penn StateAltoona will return ship, via UPS ground. Each exhibition will have labels, a poster, postcard, gallery reception, and simple checklist.

Ivyside Juried Art Competition
Penn State Altoona, Community Arts Center
3000 Ivyside Park
Altoona, Pennsylvania 16601

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Deadline: December 12, 2003. District of Columbia Art Center 8th Annual Exhibition Raffle. An annual opportunity to win a six-week show in the DCAC gallery. Tickets are only $50 each for DCAC members and $100 for non-members. Note that a year's membership to DCAC costs as little as $30 making it possible to become a new member and enter the raffle for only $80. DCAC also encourages artists to join together with other artists and share the price of a ticket.

Tickets may be purchased at DCAC during gallery and theater hours of Wed-Thurs 2-7 PM; Fri- Sat 2-10 PM. Tickets will also be available at the December 7th's MUSE, hosted by Faith Flanagan.

For more information, please call (202)- 462-7833.

Lots of good stuff happening around the DMV's visual art scene:

Tonite is the Bethesda Art Walk from 6-10 PM.

The Art Museum of the Americas will be hosting “An Architect of Surrealism,” an exhibition of paintings by Roberto Matta, one of the most celebrated artists of the 20th century. The exhibition includes work ranging from a drawing from the late 1940’s to a pair of etchings from 1985, as well as four paintings and a dozen gouache, etching and lithograph works.

Ten of the pieces have been loaned by Walker Fine Art of San Diego, while the rest of the pieces are from the Art Museum of the Americas' permanent collection. This exhibit will open on Wednesday, November 19 at 6:00 PM with a reception at the Art Museum of the Americas (201 18th Street, NW), and will continue through March 7, 2004.

The third edition of the Guerrilla Film Fest (GFF3) will be held at the Carnegie Institution in DC on Saturday November 22, 2003. The program for GFF3 consists of 8 award-winning short films. You can get program details here or email John Hanshaw for info.

In conjunction with the ongoing citywide arts festival, "Blues and Dreams: Celebrating the African American Experience in Washington, DC," the The District of Columbia Arts Center gallery has an opening tonite from 7-9 PM. It's a four artist group show which includes work by painter Shinique Smith, performance videos by Jefferson Pinder, lightbox-mounted, quasi-documentary photographs by Djakarta Jacobs, and Nekisha Durrett's photographs - confrontational portraits of proud, young African American lesbians.

In reference to my frustration with the Post's galleries' coverage, photographer Jim Steele adds that he'd "hate to think [that] the lack of coverage by the Post implies a lack of respect for local artists, but I suspect this is a large part of the problem."

In the Post today, Style's Friday focus is movies, and appropriately enough, there are four movie reviews in the section. There is also one theater review and three different music reviews by three different writers. Nothing "extra" on the visual arts, of course.

Over in the Weekend section, Michael O'Sullivan reviews Jim Sanborn's great show at the Corcoran and at Numark Gallery. This show was earlier reviewed by Blake Gopnik on October 31.

As it happens almost every Friday, Weekend movie critics manage to review the same movies that the Style section critic reviews.

So three of the movies reviewed in Style are also reviewed, by different critics in Weekend. This is a great way to see how critics can differ - not just in movies but in any genre of the arts. So while Stephen Hunter says that Master and Commander: The Far Side of the World "suffers from what might be called colonitis," and generally dislikes the movie, his fellow critic Desson Howe offers that the movie is not only a "masterful performance" but also that "[the movie] isn't just a fabulous seagoing spectacle. It's one for the ages."

Guess which critic will end up quoted in those one line mini-quotes that movies use in their advertising?

As I've noted at least twice before, wouldn't it be great if once in a while the Post would send Blake Gopnik and Paul Richard to review the same gallery or museum show, and publish it the same day, to give us readers two different perspectives on one show?

This happens (not by planned assignment, but just because the Style section editor and the Weekend editor are different editors and do not "synchronize" who and what will be reviewed) very frequently with movies and theatre. It also happens on a rare ocassion (like today), when O'Sullivan reviews a show that either has already been reviewed, or is later reviewed by either Dawson (if it's a gallery show) or Gopnik (if it is a museum show).

But what this practice of multiple movie and theatre reviews does prove, is that the (sometimes offered) excuse that the reason that the Post does not review more galleries is due to lack of print space is an invalid reason not to expand galleries coverage to the same level as theater, music, and fashion.

Weekend also has an army of contract writers that provide mini reviews of dozens of music and theater events (and of course movies) throughout the area, but not a single contract writer to do mini gallery reviews.

Why not?

I don't know, but I would guess that the Weekend editor, Joyce Jones, does not think that offering the same level of coverage to art galleries and art museums as she gives to our wonderful theaters, night clubs, performance venues and cinemas is as important and that her readers are not interested in a gallery art show in Dupont Circle, Georgetown, downtown or Bethesda to the same level as in a play in Olney or a dinner theatre production in Woodbridge, etc.

Today is "Galleries" focus day at the Post's Style section, and Jessica Dawson reviews a library show in Baltimore.

In the "Arts Beat" column, Chris Richards discusses the Convention Center's art collection. For my opinion on that subject, read my Nov. 11 posting.

And just as I predicted yesterday, there are two music reviews in the paper.

This gets to the heart of the matter of my bitching about the Post's gallery coverage. Because Jessica is the only freelance writer that the Post employs to review galleries, and because not only does she review gallery shows, but also sometimes museums, and also embassy shows, and university shows, and alternative spaces shows, and library shows, and because (as she did today) she sometimes includes Baltimore in her geographical area, there just isn't enough coverage in the newspaper on a par with what the Post does for music, theatre, performance and even fashion!

In fact, a quick check online reveals that since April 25, 2002 the Post has published 146 columns on fashion while Dawson has only written 76 in the same time period.

How can the Post justify having several contract writers for all those other art genres but only one for our area galleries?

I believe that they feel that their gallery coverage is appropriate and see no need to expand it to the same degree of coverage that they provide in Style for music, theatre, fashion, etc. I disagree, but I am certainly not objective about the issue.

Why does the Post feel that way?

Simple: Because no one complains except gallery owners. And of course from our perspective the coverage could always be better and to them it is just sourgrapes.

But do the readers care?

I don't know, but the Post obviously thinks that they don't care. This is clear because once in a while, when Jessica is away or on vacation, they just skip the column.

I guess that we should be grateful that the world's second most powerful newspaper allows one freelance writer to write an (almost) weekly column to cover all of our area galleries, plus Baltimore's, plus embassies, and libraries, etc. And also lucky that over in the Weekend section Michael O'Sullivan has been allowed by his editor to expand his column from just covering museums and also include galleries in his coverage.

Thank you guys.

Today's Style section in the Post has the kind of coverage that one wishes the paper would give the visual arts on their "Galleries/Art News focus" day (Thursdays).

Wednesday is "Pop Music" focus day in the Style section, and there are eight separate columns or reviews by seven different writers (plus three different theatre reviews although Tuesdays is "theatre focus day" not today).

So at least for music and theatre, Style has several different critics and writers who provide us with fairly good coverage, offering a widely ranging set of reviews and opinions - dealing with both national level artists and Washington area artists and venues. Many of these Post writers are "contract" writers (freelance), allowing the Post to hire (and fire them) fairly easily I assume, while saving on having to provide 401K's and medical insurance, etc.

Nonetheless, I applaud the Post's interest in helping to cover our area's rich musical and theatrical scene. It certainly deserves the coverage given.

But on Thursdays - "Galleries and Art News focus day" - Why then only one column on "Galleries" by only one contract writer? And the Arts Beat column, which is published twice a month on Thursdays, often covers the entire spectrum of the "arts" - it is not just a visual arts column by far.

It's not fair to Jessica Dawson, who has to spread her single column all over the region, sometimes as far as Baltimore and often to embassies, and it's not fair to the many, many area galleries, who must all compete for the ear of just one Style critic, it's not fair to the many area artists and other good exhibitions which get ignored because of lack of coverage, and most of all, it's not fair to the readers of Style who must all just read only one critical voice and perspective when it comes to our area's art galleries and who often are also unaware of important exhibitions that go uncovered due to lack of print space allowed by Style to the visual arts on "Galleries" day.

In fact, I am willing to bet that tomorrow's paper, on their assigned "Galleries/Art News" focus day, will have more theatre and music reviews than galleries reviews.

Washington area artist Jae Ko, who shows at Marsha Mateyka Gallery on R Street will be exhibiting (through Dec. 21) at the opening exhibition of the newly renovated Peabody Essex Museum in Massachusetts.