I'll be goddamned if this is not what I've been bitching about for the last 11 years that I've been living in the Washington, DC area!!!!

"The failure to challenge is a fundamental flaw in US arts journalism..... And how did this happen? Because there are few cities with multiple critical voices."

I've been frothing at the mouth about having more than one writer reviewing all 200-plus art galleries, non-profit art spaces, embassies and alternative art venues in our area - and a freelancer at that! -- it's not fair to Jessica Dawson, and it's not fair to Washington Post readers, and it's not fair to artists, and it's not fair to gallerists! (I ignore the Washington Times because Joanna Shaw-Eagle is seldom allowed to review local area artists - although I do thank the Times (and bite the hand that reviewed the dog) because they gave me a great review in my last art show).

But --- the point is that we need more than one point of view when it comes to galleries criticism - why don't our Art Editors (in both the Post and Times) get that when it comes to the (galleries) visual arts criticism/reviews?

There's several movie critics, several music critics, several visual art museum critics, several dance critics, a whole pride, bevy, ton, tribe... of theatre critics.... why only one gallery critic? The Post has many talented and qualified writers already: Wiltz, Trescott, Frey, Lewis,... plus freelancers like Protzman, Jacobson, Shannon, Mahoney. There's no lack of qualified art critics! It's ironic that the only paper that article author Norman Lebrecht praises is the Washington Post - but then, from a music perspective, the Post does offer superb critical coverage of music.

And yes - I do realize that once in a blue moon Blake Gopnik, or Michael O'Sullivan (or his freelance replacement on Weekend), is "allowed" to review a local gallery - but the bottom line is that we need more than ONE point of view.

Nobody asked me, but my opinion nonetheless...

We don't have a Artes Mundi Prize equivalent around here, but we do have the $14,000 Trawick Art Prize, and all Virginia, Maryland and DC area artists are eligible to apply for it. Visit this website for details. The deadline is May 21, 2004. Hurry!

The 2003 winners were Richard Cleaver, a sculptor from Baltimore, MD, who was awarded the top honor with $10,000; James Huckenpahler who was named second place and was given $2,000; Linn Meyers of Washington, DC who was bestowed third place and received $1,000 and the “Young Artist” award of $1,000 (and sponsored by us) was given to Jose Ruiz of Washington, D.C.

The 2004 jury members for the Trawick Prize are Jeffrey W. Allison, The Paul Mellon Collection Educator at the Virginia Museum of Fine Arts; Peter Dubeau, Associate Dean of Continuing Studies at the Maryland Institute College of Art and Kristen Hileman, Assistant Curator at the Hirshhorn Museum and Sculpture Garden.

Anyone wishing to add funds to this regional art prize structure should contact Stephanie Coppula at (301) 215-6660. Time for some of our area's megacompanies to step up.

Why most modern art sucks:

The winner of the first £40,000 Artes Mundi Prize is a message written in dust. Martin Gaylord, writing in The Telegraph wonders "What has art become? It's hard to answer that question, except to say, "Very weird."

And Ben Issario, writing in the NY Times discusses the fact that "Internet Art" is dead and has reached digital exhaustion. Yet it wasn't that long ago that curators and critics - enamoured of what's new rather than what's good - were labeling Internet Art projects as the "new king of art."

This is what happens when novelty (sometimes coupled with shock or gimmick) is allowed to rule exclusively.

Both above links thanks to ArtsJournal.com.

Jessica Dawson's "Galleries" column in today's Post "scraps the art criticism and talks religion instead."

Jessica reviews Lane Twitchell at G Fine Art, in Georgetown (Annie, please update your website!).

She asks: "After all, religion and art can't occupy the same conversational space, can they?"

Catriona pointed out to me: How about America's best selling "artist"? Now that Thomas Kinkade is having a solo at a "real" art gallery, we've all faced with the question of the legitimacy of America's best-selling painter as an artist. And isn't Kinkade's huge success because of his marriage of art and religion?

I do not like it, will never like it and don't understand people who amass Kinkade's "art," but now that the "artworld" has cracked the door open for him, the ensuing dialogue (and food fight) that will follow, will be both interesting and good for art.

In fact, if any gallerist in Washington (not us, thank you) wants to really make the national headlines, they should contact Kinkade and offer him his first solo in a commercial fine arts space. Then we'd let Blake and Dixon loose on him, and the rest would be great publicity and probably a sell-out show.

Hey! Maybe that's what those missing DC art collectors are buying?

Pilfered from Art Addict: The greatest mistakes of this well-known art collector are the works that she didn't buy!

By the way - Art Addict is a must read BLOG.

So far, it looks like the rest of America thinks that it is a good idea to keep the Whitney Biennial in New York and not infect the rest of us with it.

I disagree.

Read the original idea by Tyler Green here and the responses here.

I was on the radio again today, on Voice of America broadcasting to all of Latin America in Spanish.

I was discussing the impact of Cuban painter Jose Maria Mijares, who died in Miami a few days ago - read the Miami Herald story here.

Mijares, who won the Cuban National Painting Prize in 1950, lived for a while in New York, where the Abstract movement had a tremendous impression on his work.

When he escaped Castro's jailed island in 1968, Mijares returned to representation to express the loss of his homeland and his work became very important to the powerful Cuban footprint on American art.

He will be missed.

Some spectacular (and famous) works of art will be auctioned by Sotheby's on May 15 in New York. They are 44 paintings from the collection of Mr. & Mrs. John Hay Whitney and they have the secondary art world market watering at the mouth. See some of them here.

Some DC area artists in past Sotheby's auctions:

Gene Davis

Sam Gilliam

Catriona Fraser

Maxwell MacKenzie

You can also find a lot of more detailed auction records at Askart.com

Guerrilla FilmFest IV this coming Saturday...

The Guerrilla Film Fest (GFF) was established to provide an alternative venue for independent and foreign filmmakers who work outside the Hollywood & Indywood system (and who are therefore largely marginalized by the mainstream entertainment industry in the United States).

Next showings:
Carnegie Institution (1530 P Street - NW)
and Resources for the Future Bldg. (1616 P St - NW), Wash., DC
When: Saturday, April 3, 5:00pm to 10:30pm

TICKETS:
--$10 for Shorts or Feature Program
--$15 for both Shorts AND Feature Programs
--Ticket includes RECEPTION
--Buy tickets at door to Carnegie Institution or buy online in advance here and pick it up at the door.

Check out the film schedule at the website.

The feature film, being shown at the Carnegie Institution from 8:15PM - 10:00PM is "The Creature of the Sunny Side-Up Trailer Park." . Starring our own (she lives in Potomac) Lynda Carter ("Wonder Woman"), Shirley Jones ("The Partridge Family"), Bernie Koppel ("The Love Boat"), and Frank Gorshin ("Batman")..... gotta go see The Riddler!

After the screening, Director Christopher Coppola will be available for Q&A. Coppola began his film making career at an early age by creating Super 8mm films that starred his brother, Nicolas Cage. Since then, he has completed eight feature films.

For further info, contact John Hanshaw, Director, Guerrilla Film Fest at gfilmfest@yahoo.com or call him at 202/ 234 2889.

I'd show this guy in a New York second.

A trade for John Currin perhaps?

Last night I was at a cocktail party in the home of Dr. David Levy, Director of the Corcoran. The party was to host all the local alumni of the Sotheby's Institute of Art.

I also came away with the impression that the Corcoran College of Art & Design may be working together in the future with the Sotheby's Institute of Art.

My good friend and Washington Post photographer Rebecca D'Angelo is having an exhibition of her photographs at Cornerstone Architects, 23 West Broad in Richmond. Opening reception is April 2 from 7-10 PM.

DC Commission on the Arts and Humanities FY 2005 grant applications now available online.

The DC Commission on the Arts and Humanities announces that the FY 2005 grant applications are now available online. To obtain a copy, you may download them from their website. Hard copies of the applications will be available after April 15, 2004 and will only be mailed out upon request by calling (202) 724-5613.

Tyler Green, Washington's first art BLOGger, has an excellent idea for the Whitney Biennial. Read it here first.

His idea to send the Whitney Biennial on the road is an interesting idea that deserves a hard look by the new Whitney director Adam Weinberg.

The idea of traveling art shows is nothing new, but the idea of America's best known group show hitting the road is a novel way not only to expose what the leading lights of today's curating cadre see as the "state of the arts" in America, but also to get a reaction about what the "rest of us" outside New York City think about their choices.

Is there art (and opinions) outside of NYC, LA, SF and DC? Let's find out!

I disagree that the Biennial would become stronger by culling it to a dozen artists. True that a Biennial of 108 artists spans a wider range of art, artists and visual offerings - but that's precisely the great challenge of a good group show! It doesn't dilute it - it just offers more to see, discuss and form an opinion about.

This is even more important since today's Biennials - especially this one - are the 19th century's salons with a new name.

The name has changed, but the gist is the same... a select a chosen few – back then the academicians, and now the "hot" curators - pick who and what they feel represents the best of what is "good" in art. But the more the better, maybe not for the Biennial, but for art itself.

Today’s Biennial is supposed to take a "pulse" of the art state of the nation, our nation, and then the complaining begins. Not everyone is happy with a group show, any group show (I’ve curated many, many of them). But especially if it's one with the power and pull of what the Whitney has managed to accomplish all of these years.

And a lot of times (back in the 19th century and also now) the curators are wrong, off-base, out of tune, nearsighted and not in touch with the front battle lines of art. And sometimes they are dead on! But wouldn't it be fun, and good for American art, to find out what Seattle thinks about the show, as opposed to what San Diego thinks?

A salon, I mean Biennial, with 15 or 20 different cities in the schedule, and those cities' regional critics giving their opinions, and making people interested in art again, and maybe making true art stars of a local boy picked for the show.... but wait, Mmmm... Not too many artists outside of New York, or LA, or SF, or wherever the curator is from, are seldom included in this "pulse of American art" of a show.

Hey! That could be another benefit of a traveling Biennial!

Imagine curators, or critics, or artists, or dealers from Columbus, or Boise, or Phoenix or Detroit adding to the mix by bringing forth "their" local artists, who may have never otherwise come to the attention of a Whitney curator.

Then the Whitney Biennial may truly, one day become an American salon, I mean Biennial. And perhaps finally accomplish what it has been failing to do all these years: Survey New American art and perhaps upset a whole nation instead of a few high brow critics in a few cities – and this would all be good for art!

Sometime this week, DCARTNEWS will receive its 10,000th page view! This proves the tremendous amount of interest on the visual arts and issues revolving around the visual arts in our area.

Why the mainstream media doesn't get it has been the subject of much of my verbosity for the last few months...

Just received the Corcoran's extended show schedule. Next year includes the 2005 Biennial, which is being curated now by Dr. Jonathan Binstock. He is the Corcoran's Curator for Contemporary Art.

The Biennial used to be the only Biennial left in the country which was all about painting. This made it stand out; however, Binstock's predecessor was one of those who seemed to agree with the "painting is dead" crowd and "expanded" the Biennial to include everything else that goes for art these days. In my opinion, that vastly diluted the uniqueness of the Biennial.

Anyway, Binstock has already established a reputation as a curator who actually goes to gallery openings and visits artists' studios, etc. This is a great improvement over his predecessor.

He included one area artist in the last Corcoran Biennial (and the first that he curated), and we all certainly hope that he continues to expand on that. One of the biggest complaints that gallerists and area artists have, is the fact that historically a lot of our area museum curators have ignored their own back garden, something I discussed on air the last time I was a guest at the Kojo Nnamdi Show on WAMU.

Who would have thought that a painting exhibition by a DC area art professor would have out-controversied Damien Hirst when they both exhibited concurrently at Dartmouth University?

Read the story published in The Dartmouth here.

The controversy was started by this article written by a student guest columnist to The Dartmouth.

Another student then responded with this letter.

And this letter, also published in The Dartmouth, from the exhibition's curator, responding to the debate caused by the above two, can be read here.

A few postings ago, I was sort of kidding when I talked about Thomas Kinkade having an art show outside his kitschy mall stores and in a real art gallery or museum.

I'll be goddamned if "the painter of light" proved my joke posting right... read it and weep.

Kinkade's paintings are to be on exhibition at the Grand Central Art Center, California State University at Fullerton (CSUF) and that city's main art gallery.

Grand Central - CSUF's funky facility in Santa Ana's Artists Village - has "steadily built a reputation for hosting cutting-edge exhibits of outsider, noncommercial art. And the Main Art Gallery has showcased student and faculty work for years." And Richard Chang from The Orange County Register further writes:

"Mike McGee, CSUF gallery director and professor.... explained that the Kinkade show is being curated by Jeffrey Vallance, an internationally respected curator (and "cultural provocateur," McGee said) known for placing popular phenomena in a contemporary art context....

Vallance's plan is to create a life-size Kinkade chapel and fill it with the artist's Christian art. He also aims to build a Kinkade living room, dining room, bedroom and Bridge of Faith. Kinkade knickknacks will abound.

"There's no financial motivation for us to do this," McGee said. "It's for the sake of stirring things up, creating dialogue."

The scary part is that.... it will probably work, and whoever painted all those big-eyed kid paintings for Sears when I was a kid, or the dogs playing pool, or Elvis-on-velvet, better start contacting Vallance, as I think this may be the next big trend in art.

Riiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiight....

C'mon Blake.... go to California and review this show for us... please!!!

Thanks to ArtsJournal.com...

Since the economy is booming, the art market is apparently very hot. The secondary art market that is!

A while back I had a rant about wealthy DC area people and their art collecting habits.... from my viewpoint (and generalizing).

Another case in point. Our recent Three Cuban Female Photographers show was a spectacular success. It received a couple of nice reviews in the press; it was one of our most visited shows ever, and it sold well.

All but one of the sales was to someone not from around here... New York, Great Britain, etc. Sales to private collectors and museums alike.

With the exception of one very sharp collector, and although the show was very heavily-attended by locals, only one photo was sold locally.

The price ranges were $600 to $1500, which for contemporary photography, by photographers in museum collections worldwide, is more than a fair price.

Blake Gopnik, writing all the way from London, delivers a superb review and an art lesson history with his review of the Donald Judd retrospective at the Tate.

Why isn't this show coming to America?

This paragraph from the review is how I've always seen Judd's work:

"Describe the [Judd] piece and it sounds terribly, even ridiculously simple. It can even sound like some conceptual-art trick meant to test precisely how little it takes to make an object count as art -- Judd's sculpture sometimes gets billed as working like Marcel Duchamp's urinal, only using objects even less inviting to the eye. But experience the work in person, and things get much more complex than that. "

An yet, by the time Gopnik finishes the review, he's actually convinced me that I've been looking at Judd's work completely wrong all these years!

I won't blow the ending... read the review here.

And in order to see how art criticism can differ, you should also the Adrian Searle review in The Guardian.

The retrospective was curated by Tate director Nicholas Serota, a Judd fan since 1970. Read his viewpoint from a fan's point of view, here.