Trawick and Sondheim

Tomorrow the Washington Post's Michael O'Sullivan will have this excellent piece on the Sondheim Prize in Baltimore. And O'Sullivan makes a couple of key observations about the two major art prizes in the Mid Atlantic region:

The Trawick Prize better watch out. There's an upstart contemporary art award in town, and it stands to give the Bethesda-born competition -- which has been handing out $14,000 in prize money to artists from Maryland, Virginia and Washington since 2003 -- a run for its money.

Okay, so maybe the Baltimore-based Janet and Walter Sondheim Prize isn't exactly "in town." Now in its second year, the art contest, named for the late Baltimore public servant and civic leader and his late wife, is open to visual artists working in the Baltimore region. (This year that includes two D.C. artists.) Examples of work by the 2007 finalists are on view at the Baltimore Museum of Art. The winner of the Sondheim Prize's $25,000 purse, which unlike the Trawick does not get divided among first-, second- and third-place finishers, will be announced Friday at the museum.

There's another critical difference between the contests, beyond the disparity in the cash value of the prizes. It doesn't have to do with the caliber of the entrants either. (Baltimore sculptor Richard Cleaver, whose painted and bejeweled ceramic-and-wood figures are part of the BMA show of Sondheim finalists, took home the Trawick's $10,000 first prize in 2003. So there's a lot of cross-fertilization of the talent pools, which is good.) Rather, the edge that this year's Sondheim Prize exhibition has over any version of the Trawick competition I've ever seen is in the choice of venue. The art just looks better in the BMA's spacious galleries than anything ever will at the Creative Partners Gallery, the cramped storefront on the ground floor of a downtown Bethesda office building that has been the Trawick's unfortunate exhibition space of choice since its inception.

I agree with O'Sullivan about the Trawick's exhibition location, and in fact I have some strong indications that next year's Trawick may "upgrade" and move to a better location, mostly because (I am told) Creative Partners no longer wants to host the show. But it will probably be to one of Bethesda's top galleries (that leaves 2-3 choices).

But O'Sullivan's article says also something about the difference between the way Baltimore museums looks at Baltimore artists and events and the way the DC area museums do.

Bethesda doesn't have a museum. So the Trawick will just move to another gallery.

But DC has more museum space per person than any other city in the world. That is a mathematical fact.

And yet, while Baltimore's main museum is part of that area's main art prize, no DC area art museum is involved in exhibiting the Trawick Prize exhibition.

Let this be a call for the Hirshhorn or the Corcoran or the Phillips to work out a deal with the Trawick Prize to host the finalists of the DC area's main art prize in one of those museum's galleries.

If Baltimore can do it, so can DC. And I am also making a call to my fellow DC area art bloggers and writers to join me in this call - let's see if we can make something like this happen.

If you think that this is a bad idea, then ignore it; otherwise, please join me in calling for a museum venue for next year's Trawick Prize.

Audio files of the radio discussions

Unfortunately the online segment starts about 15 minutes into the show, but you can listen to the rest of today's highly animated Kojo Nnamdi show with Jeffry Cudlin, Dr. Claudia Rousseau and myself here.

It starts with us arguing about the Bethesda Painting Awards.

I think that this was the best show so far and I also think that Jeffry, Claudia and I make up a great radio argumentative team! Now all we need is a sponsor to talk to WAMU about sponsoring an "Art Talk" show once a month or so.

Call me

Around one o'clock today I'll be on the Kojo Nnamdi Show discussing the Greater Washington area visual arts and artists and art stories as I usually do once or twice a year. Tune in to WAMU 88.5 FM around one. I'll be there together with my good friends Jeffry Cudlin from the Washington City Paper and Dr. Claudia Rousseau from the Gazette newspapers.

You can call us during the show at (800) 433-8850 or you can email us questions to kojo@wamu.org.

Pool woes

When I was a kid in Brooklyn, our neighbors on Sackman Street (Paula and Augie) had one of those above ground pools. Because our backyard and theirs was only separated by a chain link fence, it was easy for me to climb it and use their pool at will, which was OK with Augie, but not OK with Paula, which was a weird thing, because she was always feeding me alongside her kids, as she was a stay-at-home-mom, while my Mom had a job as a seamstress at one of the nearby factories that used to exist in Brooklyn where people like my Mom would work and get paid by what was then called "piece work."

But Augie was the one always working and doing stuff all year round to keep the pool working for those really hot NY summers, although he really hated me dive-bombing into the pool from the second floor fire escape ladder... you had to be good, and sort of belly-flop the water entry (the pool was only around five feet deep), otherwise you'd break your legs or seriously pop your knee caps. But Augie loved kids enjoying his pool!

Anyway, when I was house-hunting last year, I quickly discovered that houses in Media, PA are a lot more affordable than Potomac, MD, so I ended up in a cool house. And yet I was reticent to sign up, because the house came with a pool.

Pools are money pits.

And we quickly discovered that this pool, like many other pools, an hour after the warranties expire, leak. It's hard to hold water in a concrete bubble.

First estimates to fix the pool came in around a ton of money... as time went by, and more and more crap was removed from the pool (apparently built somewhere in the 60s) the "this-is-what's-wrong" stuff kept piling up and now we're up to around two tons of money and I am one good drunk away from filling the fucking thing with soil and planting pachysandras in the hole.

Wanna go to a DC opening tomorrow?

Carolina Mayorga will be having her opening event at Transformer tomorrow at 6:30PM. And then Robert Parrish's opening will be a week from tomorrow at the same time, same place.

The DC Commission on the Arts and Humanities is on the move

On July 17, 2007, The DC Commission on the Arts and Humanities will be moving uptown to a new location at 2901 14th Street NW, First Floor, Washington, DC 20010 and their phone is 202-724-5613.

Another Artomatic this year?

Blake Gopnik may have a fit, but I am told (as I mentioned before) that there's a pretty good chance of another AOM this year - this time in DC as usual.

Stay tuned!

PS - Sorry Blake... slammajamma two posts in a row; my bad.

Blake Gopnik got lost in Europe

If you think that DC area artsy writers, and DC area museum staffers, and DC area artists, and DC area gallerists, and Washingtonian magazinists, and DC area art collectors, and WaPo readers are the only ones almost always rolling their eyes over what and how Blake Gopnik writes about art, then you should read what Floridian Glenn Weiss, over at Aesthetic Grounds writes about the Gopnikmeister's recent European dispatches.

Wanna go to a Virginia opening this afternoon?

I know it's hot out there, so why not slip into the League of Reston Artists' opening this afternoon?

The opening is Wednesday, July 11 from 4:30 – 6:30 pm in the main hallway of the National Center Gallery of the U. S. Geological Survey in Reston, VA - details and directions here.

NY Arts Magazine Looking for Editor

NY Arts magazine is seeking a new editor.

The applicant should have at least two years of editorial experience, but should likewise have a significant knowledge of emerging and established contemporary artists, galleries, project spaces, art fairs and biennials. Daily responsibilities will include constant correspondence with artists, curators, directors and writers in pulling in and section editing up to 4 sections of the magazine per issue, online research, copy and line editing up to 200 pages of content per bi-monthly issue, updating, uploading and revamping our website and compiling a daily newsletter of art-related events for distribution. While editorial experience and art knowledge are key, excellent communication and managerial skills are also a must within our busy office space and attached gallery.

Submit resume, cover letter and two published clips (preferably art-related) to editor@nyartsmagazine.com with subject line "Editorial Position for Art Magazine."

Job in the Arts

The Delaware Center for the Contemporary Arts (DCCA), a non-collecting museum located on Wilmington's revitalized Riverfront, is looking to hire a full-time curator beginning fall 2007.

The DCCA is conveniently located on the I-95 corridor, within walking distance to an Amtrak/SEPTA station, and 30 minutes from Philadelphia. The DCCA currently presents nearly 30 exhibitions annually of regionally, nationally, and internationally recognized artists in its seven galleries, offers on-site studios to 26 working artists, and carries out an active schedule of educational and community outreach programs. The Curator is responsible for initiating, developing, implementing, and interpreting a schedule of temporary exhibitions. Central to the job is the ability to cultivate and maintain relationships with an active community of artists, collectors, curators, and patrons. Close connection to the contemporary art world is paramount. Strong organizational, research, written and oral communication skills are necessary; ability to work as part of a team of dedicated professionals is essential. Requirements include a graduate degree in art history (Ph.D. preferred) or an allied field and at least two years of full-time curatorial experience. Salary is competitive.

Please send letter, CV with contact information for three references, and writing samples to:

DCCA
200 South Madison Street
Wilmington, DE 19801

Or to info@thedcca.org. No phone or in person inquiries.

On the air on Thursday

Later this week (on Thursday, July 10, 2007) I'll be on the Kojo Nnamdi Show discussing the Greater Washington area visual arts and artists and art stories as I usually do once or twice a year. Tune in to WAMU 88.5 FM around noon - I'll be up around 1 o'clock together with my good friend Jeffry Cudlin from the Washington City Paper and Dr. Claudia Rousseau from the Gazette newspapers.

Wanna know where to get good affordable frames? Wanna know how to approach a gallery? Wanna know when the Friday openings are and where? Wanna know how to properly frame a photograph? Wanna know how to start an art collection? If you have any questions or art issues, you can call Kojo during the show at (800) 433-8850 or you can email me questions to kojo@wamu.org.

After the show I will post here all the websites and information that we discuss on the air.

Mad as Hell

Bailey is mad as hell not only at scumbag New Orleans politicians, but also furious at the increasing numbers of carpetbagging artists who are profiting off the misery of New Orleans.

According to Bailey, "Robert Polidori has now licensed the use of his Katrina imagery (most of the images published in his book were captured inside the homes of Katrina victims WITHOUT their permission, which is called trespassing everywhere in this country, for use in an anti-smoking campaign."

Details here.

Tapedude Update

It's no secret that I think that Mark Jenkins is one of the most original DC-based street artists. Over the years his tape creations have continued to amaze me and thousands of other pedestrians in cities around the world.

And Mark has been busy!

Check out some of his recent outdoor artwork here.

Urban Code Magazine

Issue number two of Urban Code magazine is out and looks great!

The magazine has excellent coverage of the arts, including multiple reviews of DC area gallery shows. You can subscribe for free to the electronic version of Urban Code by sending an email to urbancodemag@gmail.com

Gee's Bend quilts in Baltimore

Deborah McLeod was as impressed by the Quilts of Gee's Bend as I was when I saw the exhibition at the Corcoran in 2004. She reviews the exhibition, currently at the Walters Art Museum in Baltimore through Aug. 26.

Read Deborah's review here and just for kicks, see mine from three years ago below:

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The Quilts of Gee’s Bend

There are some museum exhibitions that almost from the first seeds of their conception are destined to great success. And thus I will reveal in the second sentence that I will join the chorus of art critics, writers and curators across America who have lavished nothing but praise on “The Quilts of Gee’s Bend,” currently on exhibition at the Corcoran Gallery of Art in Washington, DC until May 17, 2004.

But in addition to the visual power that this exhibition brings to the viewer, I believe that it also teaches several lessons that I think have so far been missed, or perhaps avoided, by all the reviews and articles that I have read about this show. I will thus concentrate on those aspects of this ground-breaking show, but first a little background.

The Quilts of Gee’s Bend display the craft produced by the women (mostly) of Gee’s Bend, Alabama, a very isolated, small African-American community in southwestern Alabama. As one of the quilters put it herself at the press preview, “the road ends in Gee’s Bend and there’s nothing else past us.” Descended from the former slaves of two area plantations, the inhabitants of Gee’s Bend (who call themselves “Benders”) have been historically an agricultural society that was geographically isolated and nearly self-sustaining at a bare survival level through agriculture.

And the women of Gee’s Bend not only plowed and planted and worked in the fields alongside their men, but also reared large families, cooked and kept house and made beautiful quilts; not as art, but out of necessity. These quilts first began to emerge outside Gee’s Bend in the 1960s, but are only now making a true impact across the rarified upper crust of the fine arts world; a world usually too pre-occupied by what’s new, rather than “discovering” the art of common people such as the wondrous ladies of Gee’s Bend.

And because the quilts were created out of necessity, and driven by the availability of material (a torn shirt here, a worn out pant-leg there, etc.) their designs grew out of practicality, rather than a conscious attempt to deliver art. This practicality, plus the physical constraints of making a quilt, then unexpectedly drives the designs of these quilts towards an astounding visual marriage with modernist abstract painting. But not by design, and not by intention – but by a combination of necessity, natural design talent and availability of materials.

Whodda thunk it? Art abstraction without art theory.

Ignore the fact that they are quilts, look at the exhibition and the Gee’s Bend quilts’ designs immediately “pass” for abstract paintings that can be absorbed into the modern abstract genre without a second thought. But unlike the work of abstract painters, schooled or browbeaten into art theory by curators and art critics, the quilts’ original designs come out of a “homegrown” and highly developed collective talent for structure, design and color. So much for “teaching” and force-feeding art theory.

“The quilts,” said Arlonzia Pettway, one of the quilters, “were made to keep us warm.” Art faculties all over the world should make a note of this.

The quilts are also now teaching us powerful lessons, not only about art, but also about American history, art criticism and political correctness.

The New York Times dubbed this show one of the “ten most important shows in the world,” and art critics who one would imagine would rather have their eyes poked out with a blunt butter knife than hang a quilt as “art” in their post-modernist flats have all lined up to applaud this show and connect the bridge between craft and fine art for the quilts of Gee’s Bend.

Is this honest art criticism? Are we applauding the artwork, or are we applauding the quilters?

I submit that they (and I) are doing the former not only because some of us recognize the visual power of the craft, but because we are also completely enthralled by the latter. Once you meet the beautiful, serene, elegant and honest women whose hands created these quilts, you cannot help but realize that there are no losers in their success.

Mary Lee Bendolph is 67 years old, and she responded to one of my questions by saying that when she was eight years old, her mother sold the quilts as cheap as $1.50 and even Mrs. Bendolph has sold them as cheap as $5.00. These days, an Arlonzia Pettway or Mary Lee Bendolph quilt can go for as much as $6,000, as the fame of the quilting community spreads around the world.

“The Good Lord provides,” they both say. You don’t hear that very often in a hoity-toity art gallery or museum.

Gee’s Bend is certainly not the only quilting community in the United States, probably not even the only African-American quilting community in the South, and as beautiful and historically important as the quilts are, they nonetheless fit right into the well-known “secret language” of visual arts among African Americans in the South – Gee’s Bend is a tiny, but important, component of that language.

I don’t think that this is a language that has been clearly understood by mainstream critics and curators so far, as it is a traditional language – far from the giddy, rarified atmosphere of contemporary art. Seldom is anything traditional in the radar of today’s art scene. And thus, this is a traditional visual arts language that has been largely ignored by most high brow art critics and institutions, so preoccupied and focused on what’s new, rather than what’s good.

It is thus ironic, given the Civil Rights history of the quilters, that the quilts of Gee’s Bend suddenly cross the art segregation line between craft and art; in fact a bridge that seldom a “craft” has crossed before, and also present an insurmountable dilemma to art critics and curators worldwide, as this is a show that would be suicide (because of today’s political correctness) to dislike via a bad review.

The quilts force tunnel-visioned art critics and curators to look outside the latest “trendy” videographer or back-lit photographer with mural sized boring photographs. This is an unrecognized accomplishment of this show.

And I also submit that these works should no longer be boxed into a segregated label of “African American art” or “fine crafts” or whatever – they are simply brilliant examples of what common people, without art theory, without labels, without “isms”, without agendas, without grants, without endowments and without college degrees can deliver: sublime fine art.

Great American art.

New Baltimore Gallery

The Baltimore City Paper's Jason Hughes delivers an extensive report on Baltimore's newest art space, the Metro Gallery, directed by Sarah Williams.

Read the article here.

Reminds me of the fact that in the last year or so about half a dozen new art spaces have opened in the Greater DC area. Maybe the Washington City Paper needs to write an article focusing some much needed attention on these new venues?

New Arts Blog

Central Intelligence Art is a new blog by talented DC area artist Rex Weil, who also teaches at Maryland and is the DC area editor for ArtNews.

Visit him often here.

Opportunity for Pennsylvania Artists

Deadline: August 1, 2007

The Pennsylvania Council on the Arts invites applications for the 2008 Individual Artists Fellowships. They are now accepting online applications to the 2008 Individual Artists Fellowship program, which offers $5,000 to $10,000 fellowships.

Discipline categories for this year's fellowship program are as follows: Dance -- choreography; Folk and traditional arts -- performing traditions and apprenticeships; Literature -- poetry; Media arts -- narrative and documentary; Music -- classical composition; Theater -- scriptworks; and Visual arts -- drawing, artists books, printmaking or new technologies or painting.

Artists applying for a PCA Fellowship must be permanent residents of Pennsylvania who have established residency for at least two years prior to the application deadline. Students in high school, undergraduate, or graduate programs at the time of application are ineligible to apply for a fellowship.

Application guidelines are available on the PCA Web site.

Jericho

I am a big fan of the CBS show "Jericho," which is a terrific and harshly realistic view of a small Kansas town in a post-nuclear America. It is a superbly crafted drama set in a very scary world where terrorists (or is it them?) have wiped out several key American cities with nukes. Because of its location, Jericho survives the fallout and must now face a post-nuclear America.

This SF show almost bit the dust due to sickly ratings in the right demographics, but when CBS announced that it was cancelling the series, fans began mailing CBS bags of peanuts as a protest.

Peanuts because in the last episode the lead character, when asked to surrender at the end of an assault by the neighboring town, echoes Gen. McAuliffe's famous WWII reply when also asked to surrender by the Germans when McAuliffe was surrounded during the siege of Bastogne: "Nuts!"

20 tons of peanuts later, CBS has the show back on the slate for six new episodes.

CBS Entertainment President Nina Tassler called the online outcry a "probably unprecedented display of passion in support of a prime time television series" and said CBS has ordered seven more episodes of the show for mid-season.

Gets me to thinking about what we could mail the WaPo and other moribund paper media to get them to pay attention to the visual arts?