News via Artsjournal.com: Don't miss this interesting Miami Herald article on the evolution and origin of art which discusses the issue of the 30,000-year-old ivory figurines found in Germany (see my earlier posting) now add to a growing body of evidence suggesting that modern humans have always displayed sophisticated artistic ability throughout their existence and questioning the "need" to go to art school to learn to be an "artist."

Opportunities for artists:
Deadline: February 1, 2004.
The Rijksakademie in Holland offers sixty artists (resident artists) from around the world the possibility to work for a period of time (maximum of two years) on research, projects and production. Every artist has their own studio, a stipend and the opportunity for dialogue with visiting artists, art critics, curators and other advisors. In addition to extensive technical workshops and advice, the facilities include a library, artists’ documentation and art collection. The Rijksakademie offers a unique blend of the features of artists’ residencies, research centers and postgraduate programs at the highest international level. The Rijksakademie also organizes the Prix de Rome, the oldest and most prestigious "state prize" of the Netherlands.

Applications for the residency 2005 can be obtained through their website or contact them at:
Rijksakademie van beeldende kunsten
Sarphatistraat 470
NL 1018 GW
Amsterdam
Netherlands

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Opportunities for Miniature Artists
Deadline: February 2, 2004.
The 7th Annual International Biennale of Miniature Art in Quebec, Canada has a call for miniature artists to be invited to participate. Jury will select artists. Every artist may present a maximum of two works. Entry fees: $20 for the first work $10 for an additional work. The fees are payable in Canadian funds with international drafts or money orders. Visit their website for details.

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For Printmakers...
Deadline: February 28, 2004.
The Sumei Multidisciplinary Art Center in New Jersey hosts the Sumei National and International Juried Print Exhibition 2004 . This biennial exhibition is dedicated to the memory of Cuban artist Belkis Ayon, who committed suicide a few years ago. Juror is David Kiehl, Curator of Prints at The Whitney Museum of American Art. Open to all artists, original works created within the last three years, any print media. Giclee prints accepted in separate category. For prospectus you can download the form from their website or send SASE to:
Sumei Juried Print
19 Liberty Street
Newark, NJ 07102

Opportunity for artists and curators:
Deadline: Ongoing.
P.S.1 Contemporary Art Center's Clocktower/P.S.1 Projects provides free, non-residential space for the creation and/or exhibition of specific projects. Studios are located on the 13th floor of the Clocktower Gallery in Lower Manhattan and at P.S.1 Contemporary Art Center in Long Island City. Artists are invited to submit proposals for projects which can be created within three months or less. P.S.1's curatorial team will select projects based on quality of work, the probability of its execution, its relevance to other P.S.1 programming, and other curatorial considerations. Applications will be accepted throughout the year.

Download the application and read further info here.

Submit completed application to:
P.S.1 Contemporary Art Center
Attn: Clocktower/P.S.1 Projects
22-25 Jackson Avenue at 46th Ave.
Long Island City, New York, NY 11101-5324

Opportunities for artists:

Deadline: March 9, 2004. Greenhouse Gallery in San Antonio, Texas has a juried competition that is a project of the International Museum of Contemporary Masters of Fine Art and is dedicated to seeking and promoting artistic excellence. Slide entries will be juried by the owners of Greenhouse Gallery of Fine Art. $20,000 in cash award prizes. March 9, 2004 - Last day for acceptance of entry forms and all required materials. Entries must arrive at Greenhouse Gallery of Fine Art, 2218 Breezewood, San Antonio, TX 78209. Contact the gallery at (800) 453-8991 for a prospectus.

The Washington Sculptors Group, one of the most active area artists' organizations will be exhibiting "Flora - Sculptures of the Natural World." This is a special sculpture exhibition celebrating the 20th Anniversary of the Washington Sculptors Group. The exhibition will be at the United States Botanic Garden Conservatory and runs from January 19 through March 27, 2004 (Hours: 10am to 5pm Daily) and a opening reception on Saturday, January 24, 2004, 6-8PM. The United States Botanic Garden Conservatory's West Gallery and West Orangerie is located at 100 Maryland Avenue, SW, Washington, DC 20024. For directions go to www.usbg.gov/education/events.

The Washington Sculptors Group was recently awarded an Award for Excellence in Service to the Arts during the 19th Annual Mayor's Arts Awards.

Blake Gopnik has a really excellent article about Diane Arbus retrospective currently on exhibit at the San Francisco Museum of Modern Art. It is in today's Sunday Arts. Don't miss it!

By the way, I have a bitch with the way the Post does the byline on some of their employees. They list Gopnik as Washington Post Staff Writer, which is the same way they list everyone else, including the guy who writes the obituaries (which by the way is what Gopnik's predecessor did before being promoted to being an art critic). Blake Gopnik deserves the recognition of his pulpit, and should be listed as Chief Art Critic or Senior Art Critic or whatever his true title is.

Every other major newspaper that I can think of identifies the real title of their writers (when they have one). This seems like simple lazyness on the part of the Post, unless it has something to do with some ridiculous union issue.

If anyone from the Post reads this BLOG, I would appreciate an explanation to clarify the point. Email me.

Some local art news and openings:

The Hirshhorn Museum has appointed Glory Jones as Director of External Affairs. She will lead the museum's fundraising and communications program. Jones' past experience includes being an independent media-relations and events consultant to the US Pavillion at the 2001 Venice Biennale.

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On February 14, the Corcoran opens "The Quilts of Gee's Bend." This show is about the quilt-making tradition of a geographically isolated African-American community in southern Alabama.

Featuring 70 quilts dating from the 1930s to 2000, The Quilts of Gee’s Bend includes quilts made from everyday fabrics: corduroy, denim, cotton sheets and well-worn clothing.

The New York Times' Senior Art Critic, Michael "Dia" Kimmelman has called the quilts "some of the most miraculous works of modern art that America has produced," so I am really looking forward to the press preview and will let you know on February 10 what I think. With Kimmelman's endorsement, and because of the political incorrectness of dissing a show like this one, I suspect that Washington area critics will walk with tender feet on this exhibition and it will be well received and positively reviewed. In fact, lack of a major review or endorsement could be viewed as "disliking the show," so you better get your pens ready and take good notes at the press review boys and girls!

Organized by the Museum of Fine Arts, Houston, The Quilts of Gee’s Bend is on view at the Corcoran from February 14 through May 17, 2004. After I attend the press review and once I've seen and digested them, I will let you know what I think.

Ross Palmer Beecher is a Seattle-based artist that for 30 years has been taking the American tradition of quilt-making and taking it to a really modern setting. If Beecher lived in New York, I suspect that she would be an art superstar by now. Ever since I met her when I was a student at the University of Washington School of Art (she wasn't a student there, but we used to sell our artwork at the Pike Place Market), she's been refining her vision of contemporary quiltmaking and uses metals, found objects, cloth, beads, glass, costume jewelry, bottle caps, stamps, etc. in her quilts. Even back in the late 70's I knew that Ross was re-inventing quiltmaking as a contemporary art form, and I think that she would be an excellent choice for the next Corcoran Biennial.

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Numark Gallery in its really nice new location has a two-person show curently on exhibit until Feb. 21. On show is Adam Ross: In Between Places and Carter Potter: We Cure Everything.

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For lovers of contemporary landscape painting, The Alla Rogers Gallery in Georgetown has two exceptional Ukranian artists currently on exhibit until Feb. 18: Alexander Stephanovich Shurinov and Yelena Molchanova. Alla Rogers focuses her exhibitions on mostly former Soviet and Eastern European artists. The superb school training characteristic of artists from that part of the world is very evident in these two artists powerful brushwork and clear understanding of the power and nuances of color. It's an excellent landscape painting exhibition that is also very nicely priced (no painting is more than $2,000).

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Elizabeth Roberts Gallery in Dupont Circle has an opening reception on Friday, Feb. 6 from 6-8 PM for artists Brenda Moore and Sylvie van Helden. The two-person show runs until February 28, 2004. Moore is a 2001 American University MFA graduate who currently teaches at the Chicago Academy for the Arts, while van Helden is a 2002 MICA MFA graduate who now teaches at Loyola University in Baltimore.

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The Phillips Collection opens on Feb. 14, 2004 an exhibition titled: "Discovering Milton Avery: Two Devoted Collectors, Louis Kaufman and Duncan Phillips" . The show focuses on two of Milton Avery's most important patrons and their personal approaches to collecting. I will be attending the press preview on Feb. 9 and will let you know my thoughts on this exhibition by a truly independent artist who refused to be categorized and whose influences on giants such as Mark Rothko had often been ignored."some of the most miraculous works of modern art that America has produced,"

I was interviewed yesterday by Art Business News Magazine on the subject of Cuban art, which is "sizzling."

Recently The Arts and Humanities Council of Montgomery County (AHCMC) Board of Directors announced awards totaling more than $51,000 for arts and humanities programs in Montgomery County for the second half of fiscal year 2004 that began on January 1, 2004. Awards were given to around 40 institutions and ranged from $475 to $3,450.

Video artist and photographer Darin Boville smartly picked up on a very interesting issue that I think AHCMC should really consider.

Boville says:

This is ludicrous. Just over $50K spread scattershot over nearly forty recipients? This isn't support for the arts. This is more like the micro-loan programs that international agencies run in third world countries.

In grants of $600, of $1,000, of $2,000 you have to take very seriously the notion of subtracting out the time it took to fill out the forms, making the calls, having the meetings to decide to pursue the grant and so on from the value of the grant. From a policy point of view you also have to account for those cost of all those who applied but did not win. You have the take into account what it costs to administer the grant program.

Surely the real cost of giving away this money is larger than the value of the money that is given away.

So here is an idea for your list of things to do to make the DC-area a center for art:

Take the $50,000 for the next six months and don't give it to artists. This is like giving starving people just enough food to stay alive but not enough to do anything but wait for the next hand-out cycle. Instead, use it to hire a professional fund-raiser/PR person for the area art scene. That will pay for itself and then some. Stop the arts community from letting itself bleed to death.

Today is the Third Friday of the month, as thus the Georgetown's Canal Square Galleries opening night.

The four galleries (MOCA, Parish, Alla Rogers and Fraser) are in the Canal Square in Georgetown located at 1054 31st Street off M Street, NW.

See ya there!

One of the paradoxes of the Washington, DC art scene is the fact that our area has the second highest concentration of millionaires in the world (after Silicone Valley area), and yet an almost invisible local collector base to help support our area galleries, artists and cultural tapestry.

From my tunnel vision perspective, this phenomenom only seems to apply to the visual arts: The money is here, the galleries are here, the artists are here, and yet the collectors are not here - at least not in the same scale as in Miami, LA or SF. No one can challenge NYC, but one would think that Washington could certainly develop a collector base on the par with those other cities.

Why is that? I have several theories, which I will be mulling and blogging over the next few days. I also have the actual data (from our perspective) of where our sales go to, and interestingly enough, over half of our gallery sales go to collectors outside of Washington!

When we were working with Sotheby's to sell Washington artists' artwork, of nearly 1,000 lots that we sold in the last few years, all but two were bought by collectors from all over the US, Europe and Asia - only two to Washington area collectors out of nearly 1,000 sales! Worldwide collectors were buying Washington artists' art and Washingtonians were ignoring them.

Two out of 1,000.

Where do Washington area collectors go to buy art?

There are some local collectors and they do exist. We started our first gallery without a single name on our invitation list and had not stolen the collectors database from another gallery, so over the years we had to develop our "own."

And we have certainly developed several good collectors over the last few years - not just in Washington, but also other cities and countries, and in DC there are a handful of legendary art collectors (none of which are "rich" by the way), that we (and nearly every gallery in DC sells to) whose vast art collections are so large that nearly every Washington artist of note is hanging (wall-to-wall) in their homes. In one case, the collector has so many works that even his entire ceiling is covered with paintings!

But DC area art collectors do not exist in the numbers that a demographic like Washington's can and should deliver. We should have a collectors base of thousands, not dozens.

Why?

Part of the answer will be coming up soon here, but a hint is in the fact that while this goes on in DC, Miami struggles with dilemmas like this one. I wish we had their "problems."

The much maligned art of portraiture painting seems to move along forward even in the lost art nation of Great Britain, where even portrait painters (sigh) become art stars.

For a truly descriptive and eloquent piece on the art of creating a portrait painting (in this case the portrait of London's National Portrait Gallery's director Charles Saumarez Smith by artist Tom Phillips and filmed by Bruno Wollheim), read this cool piece in The Guardian.

"Nobody ever likes the work in the Turner Prize. Conceptual installation art is worthless and people don't want it. Galleries are desperately trying to find young artists who can draw..."

Above quote by well-known British artist Sir Kyffin Williams, who also accuses modern artists of being more interested in fame than art and describes teaching in art schools as "disgraceful."

Read The BBC story here.

One of my favorite painters, Eric Fischl (who one day we hope to bring to a show here in DC) will be in town Thursday, March 11 at 7pm at the Hirshhorn's Ring Auditorium.

Fischl, whose painting The Funeral: A Band of Men (Two Women) Abandonment! was acquired by The Hirshhorn in 1990 and is one of my favorite pieces in the Hirshhorn permanent collection (it is currently on view by the way), will discuss his work and the current direction of figurative art, which according to a couple of our local art critics is dead and "has been done."

The Russian Cultural Centre of the Embassy of Russia has a showing of the same show by the International Artists Support Group Art Exhibition that took place in St. Petersburg, Russia.

The Cultural Centre is located at 1825 Phelps Place, NW, Washington, DC, Mon-Sat, 10am-6pm. Call for directions: 202-265-3840. The show comes down on January 30, 2004.

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Eve Hennessa opens this Friday, January 16 at Parish Gallery in Georgetown's Canal Square. All four Canal Square galleries (MOCA, Fraser, Parish and Alla Rogers) will have their January openings and have opening receptions from 6-9 PM.

My Pictish Nation drawings are on exhibit at Fraser. I usually do the January or December show because everything is dead, especially if the "S" word (snow) is mentioned. The show received a nice review by John Blee in The Georgetowner and a very nice review by Joanna Shaw-Eagle in The Washington Times. To learn more about Pictish culture, click here.

Deadline: January 30, 2004.
Pandamania 2004, DC Panda Sculpture Design
The DC Commission on the Arts and Humanities is looking for Artists to submit designs for 150 Panda sculptures that are 5½ feet tall. Like the elephants and pandas that enlivened the city's streets nearly two years ago,these whimsical characters will be placed on the streets of Washington during the spring, summer, and fall of 2004. The deadline for artwork is January 30, 2004. Artist Stipend per Panda is: $1,500.00 To participate in Pandamania's Call to Artists obtain an application here or email alex.macmaster@dc.gov or call 202.724.5613.

Artists must mail or deliver all original art submissions no later than Friday, January 30, 2004 to the DC Commission on the Arts and Humanities, Fifth Floor 410 8th Street, NW, Washington, DC 20004.

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Spring 2004: Entries for Bethesda Arts Festival
The Bethesda Arts and Entertainment District is accepting applications for the 2004 Bethesda Fine Arts Festival, an outdoor Fine Art and Fine Craft festival that will take place in the Woodmont Triangle area of Bethesda, Maryland. The festival will take place, rain or shine, on Saturday, May 15 and Sunday, May 16. 150 booth spaces are available, $275 for a 10' x 10' booth, $25 application fee. All original fine art and fine crafts are eligible, no mass produced or commercially manufactured products are allowed. $2,500 in prize money. Deadline for applications is March 1, 2004. To download an application form, visit here or send a SASE to Bethesda Urban Partnership, Bethesda Fine Arts Festival, 7700 Old Georgetown Road, Bethesda, MD 20814.

For more information contact the festival Director, Catriona Fraser, at (301) 718-9651.

Faith Flanagan organizes MUSE, which is a monthly art salon at DCAC. Each session is an opportunity to talk about contemporary art at a monthly get-together. Each salon features a discussion with a member(s) of the local arts community, followed by a chance for audience members to show slides or samples of their work.

The next MUSE is Sunday, February 1, 7:30pm when the guests are Robert Lehrman, gallery owner George Hemphill, and Washington Post art critic Blake Gopnik. They will be joining MUSE this month to discuss collecting art, museum trusteeship and stewardship. For more info email Faith at salon@dcartscenter.org.

Massachusetts Co-op looking for new members.
Deadline Feb 14, 2004. Massachusetts Gallery seeks new members. 108 Gallery in Somerville is seeking submissions for inclusion in its new artists' co-op. The co-op will include 12 artists who are actively producing mature work. Submissions will be juried by a panel of artists and curators. Contact: Kate Ledogar, 108 Gallery, 108 Beacon St, Somerville MA 02143 or call 617- 441-3833 or email her at kateledogar@yahoo.com.

Deadline: March 31, 2004. The 7th L'Oreal Art and Science of Color Prize. The theme is "the meeting of science and art in color." The Gold Prize is presented to one person and carries with it an award of Euro 30,000. The Silver Prize is presented to one person and carries with it an award of Euro 20,000. The Bronze Prize is presented to one person and carries with it an award of Euro 10,000. Winners will be invited to the awarding ceremony to be held in autumn of 2004 in Tokyo. Send materials designated in their website to the Foundation in Japan via post mail or delivery services. No commission. For additional information contact: www.art-and-science.com or email lasf@gol.com.

2003 saw a lot of Cuban art shows in the Greater Washington area and I think 2004 will see an avalanche. As the travel restrictions to Cuba are tightened, I suspect that the interest in Cuban artists will rise, and then when Olga Viso's retrospective of Ana Mendieta opens at the Hirshhorn Museum from October 14, 2004 - January 2, 2005, it will be the shot that will really start a nationwide avalanche.

Next month we have our own Cuban exhibition at the Georgetown gallery, by three spectacular Cuban photographers: Marta Maria Perez Bravo, Cirenaica Moreira and Elsa Mora. The show opens (and there will be a reception for the artists) on Friday, February 8 from 6-9 pm.

Although the works of these photographers have been the subject of numerous museum exhibitions worldwide -- including shows at the Los Angeles County Art Museum, Museum of Modern Art in Mexico City, Bronx Museum in New York, Museo del Barrio in New York, St. Louis Art Museum, Fridericianum Museum in Germany, Telhai Museum in Israel, Museum of the Americas in Denver, the Boulder Museum of Contemporary Art, Pori Art Museum in Finland, Cuevas Museum in Mexico City, Alejandro Otero Museum in Venezuela, Fries Museum in Holland, Photography Museum in Colombia, Camilo Gil Museum in Mexico, Daros Museum in Switzerland, Museum of Contemporary Hispanic Art in New York, Mucsamock Museum in Budapest, Lima Art Museum in Peru and the Monterrey Metropolitan Museum in Mexico -- this exhibition, (with the exception of Elsa Mora) will be their first ever exhibition in Washington, DC.

Marta Maria Perez Bravo was born in Havana, Cuba in 1959 and studied at the San Alejandro Academy of Fine Arts from which she graduated in 1979. She then studied and received her postgraduate education at the Instituto Superior de Arte (ISA) also in Havana, from which she graduated in 1984. Her work has been exhibited worldwide, including in several international biennials and she has had more than one hundred solo and group shows in museums and galleries around the world. She is considered by many to be the leading Cuban photographer of her generation. Her photographs, which nearly always employ her body as the model, focus on the secret rituals, dualities, images and stories of the secret “Santeria” religion of Cuba’s former slaves. She currently lives in Monterrey, Mexico, where she is on a teaching exchange program.

Cirenaica Moreira was born in Havana in 1969 and graduated from ISA in 1992. Formally trained as an actress, Moreira’s work begins with a complex and intelligent tableau that she builds around the center character of her own image. Coupled with Cuban proverbs and sayings, they deliver sharp, intelligent criticism that touches many taboo subjects of Cuban society, such as sex, racism, emigration and freedom as they freeze a moment where the actress becomes the subject of the photograph. She currently lives in Havana, Cuba.

Elsa Mora was born in Holguin, Cuba in 1972, where she attended the Vocational School of Art and graduated in 1986. She then attended the Professional School of Visual Arts in Camagüey, Cuba, from where she graduated in 1990. Mora has exhibited her work worldwide and has been a visiting artist and visiting faculty to many American Universities and Schools, including The Art Institute of Chicago and the Art Institute of Boston. Her work often uses her own image to deliver cutting commentary on issues such as loss of freedoms and racism. For this exhibition Mora will show her most recent work, which was part of the collateral exhibition at the recent VIII Havana Biennial. She currently lives in Los Angeles, California.

I am really excited about hosting this exhibition and hope that you can all come and see it.

Thanks to Artsjournal.com for this bit of interesting news:

The oldest figurative art in the world has been unearthed in Germany. It consists of three small ivory carvings, possibly more than 30,000 years old, already showing a high level of artistic skill.