Wanna go to a DC opening tonight?

We're being assured that the artist opening tonight at the Randall Scott Gallery in DC is the real Cara Ober.

"Painting as a mode of thinking" is the way Holland Cotter described the landscapes of Poussin in a recent New York Times review. He likened Poussin's artistic practice to a certain kind of poetry in which "antique references, modern speculation and sensual delirium" check and fuel the import of each component. A viewer might do well to keep this conflicted discursiveness in mind when looking at the paintings of Cara Ober. Her art can look deceptively inviting, almost reassuring in its Hallmark Hall greeting card sort of way, as if the meaning of her jumbled references to old-time dictionary illustrations, sentimental silhouettes, wallpaper patterns and middle class sense and sensibility were simply meant to give us pleasure, the concatenation of images and words an apotheosis of middlebrow taste somewhat like the effusions of Jeff Koons, another notable graduate of the Maryland Institute College of Art. But you would be mistaken to think so.

Perhaps like Ober you too are a product of suburban America, perhaps like her you too feel conflicted about the comfortable sources of your pleasures, how often they are rooted in a familiar environment, the taste of chocolate cake, a submissive pet, a doting mother, a non-threatening mate. Perhaps her older work made it easy for you to feel some such generational kinship but the new paintings are darker in color, more subtly threatening in their selection of quotes and definitions, more aggressive in their critique. They will remind you that you are not like Cara Ober.

-- excerpt from "New Paintings and a Wall by Cara Ober" -an essay by Dr. Michael Salcman

The opening is tonight, 7-9PM.

The Five Senses

Over the many years that I have been curating, creating, discussing and writing about art, I never cease to be surprised at the constantly changing and always surprising quality that is human creativity.

When the Target Gallery asked me to curate "The Five Senses," I must admit that I was a little concerned about the sort of work that I would eventually review for selection. The harsh brainwashing of the post-modernist mafia is a hard thing to avoid, even if you sometimes try to rebel against it.

But leave it to the creativity and intelligence of the artists submitting entries to not only surprise me, but also to delight me and open my eyes to a whole new genre of creativity, new media, fresh ideas and enviable talent from all over the nation.

David Bausman (Texas). Ideas, Sterlig Silver & Mixed Media, c.2005

All the jurying was done in the blind, and I never knew the artists' names until after the selections were made.

I was floored by the sheer diversity of interpretations of the theme, including a lot of three dimensional entries, which are usually represented by a small number, in a juried call for artists such as this one.

Not this show! There was a surprising number of 3D pieces in this call and a significant number in the selected pieces.

J. Lewis Takahashi (New Jersey). Senses - Taste - Watercolor c.2007

Not to say that the 2Ds were not represented; after all, J. Lewis Takahashi's gorgeous watercolors and Thomas Schlotterback's superb charcoal drawing make a very strong presence for the wall works.

Sun Kyoun Kim (Illinois). Triad II, Sterling Silver, c.2007

But as I write these words, I can't wait to see and get my hands on Sun Kyoung Kim's "Triad II" or "Restriction I." Or see or walk around Anjali Srinivasan's "(Re)Flexion" and Adam Bradley's "Cherubs," or wear and use Gary Schott's "Thought Stimulators."

This exhibition is a triumph of the human mind and talent over those who want to reduce the creation of art to just ideas or wall text about ideas, and it has been my honor and pleasure to have been a part of it.

See some of the selected artists here.

The exhibition is up now and through April 6, 2008, and the opening reception (free and open to the public) is Thursday, March 13, 6-8pm and I will give a gallery talk on that night at 7PM and present the awards.

See ya there!

Opportunity for photographers

The Baltimore Museum of Art has invited 19 photographers to respond to the exhibition "Looking through the Lens" with their own work.

The 19 were chosen by by artist Peter Bruun, Urbanite magazine creative director Alex Castro, and photographer/BMA Trustee Connie Imboden, the participating artists are: Beth Barbush, Jennifer Bishop, Laura Burns, Marshall Clarke, Cory Donovan, Peggy Fox, J.M. Giordano, Camille Gustus-Quijano, Regina DeLuise, Ellis Marsalis, Dan Meyers, Christopher Myers, Ken Royster, Jacqueline Schlossman, Sofia Silva, Lynn Silverman, Michelle Woodward, Erik Whipple, and Jack Wilgus.

Their images will be on view in the Looking Now Digital Gallery at the BMA from March 16–June 8, and also as part of a special feature in the April issue of Baltimore’s Urbanite magazine.

But on April 23 - June 8, the Digital Gallery expands with images by teens in the Youthlight after-school program. Founded in 2001 by photographer Marshall Clarke, Youthlight is committed to engaging young people in using photography as a means of self-expression.

And then other photographers can join Looking Now by visiting Looking through the Lens, creating your own digital images inspired by the exhibition, and uploading them to BMA beginning in mid-March. The best of the images submitted online will be on view at the BMA in the Looking Now Digital Gallery. April 23–June 8, 2008.

Submission inquiries may be directed to looking@artbma.org.

B&W

One of the posts that I lost in the last two weeks was an announcement for the opening of "black and white and... all over," the group show of 19 Greater DC area black and white photographers curated by fellow artsblogger J.T Kirkland for H&F Fine Arts.

I'm hearing good things about this exhibition, and from the images on JT's site, I really like the way that the show was hung - it looks really good.

It's a shame that when Lou Jacobson left the Washington City Paper, no one there has picked up the slack in focusing reviews on photography shows, as there are several good photography shows going on the DC area this month.

Airborne


And heading home from beautiful Arizona. As most of you know, my desktop died a couple of weeks ago, and a few days later my laptop was stolen, and then I came out West for a week.

Between all of that, I have lost a ton of pre-prepared postings and I am at least 500 emails behind, and I'm still struggling a little with the cool, new tiny laptop.

Jerome Art Galleries

Jerome, Arizona sits straddling the side of a mountain about a mile high from sea level and less than 30 miles from its more famous cousin Sedona.

"America's most vertical city" -- I am told -- is home to about 400 people, but once boasted 16,000 inhabitants and a brothel madam who was Arizona's richest woman.

Although the whores are long gone, today the town still manages to attract a few million tourists a year, not only for the spectacular views that it affords from nearly every vantage point in this tiny and beautiful town, but also because of a budding gallery scene that although seemimgly having fairly established roots, it only seems to be blossoming out recently with a significant number of art galleries and venues and a rather successful monthly art walk on the first Saturday of the month. With 30 galleries and artists' studios participating in the art walk, it reflects the huge impact of the fine arts in a town of 400.

Most of Jerome's art galleries seem to fit the Southwest style of galleries that I discussed earlier in reference to Sedona. However, and very surprising to me, Jerome's art spaces seem more individual and original -- in most cases -- than Sedona's cookie cutter model of galleries.

There are several cooperatives that I observed, most noticeably the Jerome Artists Cooperative, where the hilarious (and smart) watercolors of Dave Wilder were on exhibit on that day that I visited. Full of irony and delivered with superb technical expertise, Wilder flexes well-developed observational skills that challenge the genre of "cowboy art" in a new refreshing manner.

The Spirit Art Gallery, although an independent commercial art gallery, seems to be run like a coop as well, with work by 30 artists on display at once, with some very good talent among them. I liked the feisty owner, who really believes in her artists and is a breath of fresh air for gallery owners.

My Mind's Art Gallery, which features the work of its owner, Ukrainian painter Joanna Bregon, a surrealist artist who has found a home in this unusual little town, also stands out from the cookie cutter cluttered gallery model.

It was refreshing to see diversity in art and rugged individuality in each art space, regardless of how one feels about the quality of the art itself, in some cases.

And then, while walking through the various galleries and talking to some of the owners and artists, it dawned on me that the Jerome galleries and shops is what I had expected to see in Sedona: unique, one-of-a-kind shops, art venues and art galleries.

I also discovered that nearly everyone that I talked to in this tiny town where everyone seems to know everyone else, seems to have a grudge against either the land developers and the expansion of homes in nearby areas (and competition for water) and/or against the Jerome city fathers for a variety of reasons, most dealing with construction issues.

Finally I trekked down to the town's former High School, an ancient multi-story set of buildings that has been converted into artists' studios and workshops - 20 of them.

There the work of Michael MacDonald and Derryl Day really stood out, especially some of Day's older portraiture works, which were exquisite color pencil pieces full of personality and grace, as well as tremendous technical skill. But the key here, with an exception here and there, is that these were all artists in the overall, rounded, sense of the adjective -- not just "Southwest art" artists; it was refreshing and interesting.

As small as Jerome is, it's clear that the town's colorful past, coupled with its amazing location and vistas, and more recently married to a creative artistic community and over-protective city fathers, all act as an irresistible magnet to the hordes of tourists that visit it every year.

It's also clear that there's something special about this place; it can be felt in the air, in its people and in its streets, and the dealer in me wonders if this special spot would not be an ideal place for some sort of very specific and focused art fair - a mini model of my "new art fair model."

Sedona and Jerome are like kissing cousins of the Arizona tourist draw. I think that together, they can also become complimentary partners for an art draw of its own.

DCist Exposed

Even from far away Arizona I just wanted make sure that you all know that the DCist Exposed Photography Show opens tonight in DC!

The show is at Civilian Art Projects at 406 7th Street NW in Penn Quarter in DC -- a few blocks from the Chinatown metro, and the reception is from 7 to 9 p.m. and free. DCist Exposed received picks in all three Washington Post event guides, as well as the Washingtonian and other publications, and I bet that this year's show will be even better than last year's terrific exhibition.

Do not miss this opening and someone please email me some images of the opening crowds.

Sedona Art Scene Part III

Yesterday I used the example of Sedona's huge Exposure Gallery to discuss what I call the Southwest gallery model -- a gallery packed to the gills with art in a riot of color and fear of empty space -- as opposed to the more standard gallery model of a minimalist white cube for a gallery.

There are a lot of art venues in the Sedona area, nearly all of them, with one notable exception, follow this Southwest model. Most of the better spaces are listed in the Sedona Art Gallery Association website.

Of these, Kinion Fine Arts seems to offer a blend of the two gallery models. They recently moved from the Hozho Center (located at 431 Hwy 179 and home to several galleries) to uptown Sedona, relocating the gallery to a former bank building, safe room and all. The Kinions have divided the gallery into two rooms; at the entrance the Southwest model is in place, but the bank's vault is used for solo shows apparently hung in the cleaner, less cluttered style of the white cube. They're also one of the few art spaces in town where not everything is Southwest art centric.

A new gallery just up a few steps from Kinion Fine Arts, located at Hyatt Pinion Point, is the very beautiful space of the Vickers Collection (there are three of these galleries in total and the one in Sedona is called VC Fine Arts), opened just a year ago and by far the only gallery in the area that fits the cleaner white cube model.

Vickers uses the white cube model, and also offers the most diverse set of artists, not just a heavy-handed focus on Southwest art (as most Sedona galleries do, driven by the tourist art market).

It will be interesting to see if Vickers can survive as the sole Sedona gallery (at least that I've seen) that offers a diverse set of artwork; the type of art that could easily be seen in New York, or Philly or DC.

At VC I quite liked the bronze sculptures of Bill Starke, a refreshing change of pace from all the bronzes of horses, bears, javalinas, Indians, deer and cowboys that inundate most of this beautiful town's galleries.

I also liked Chris Nelson's smart and intelligent reverse paintings on plexi, which upon further examination are more than just paintings, since the artist also routes the verso of the plexi so that the textured reverse plexi interacts with the acrylic paint to actually create grooves and channels that on the front of the work create smart landscapes. As interesting as this work is, this artist has to be careful that he doesn't fall into a repetitive pattern in his work.

Since I have been in the advice-giving mood, an artist that would be a perfect fir and would actually sell like gangbusters all throughout the Southwest are the amazing storm paintings of the Washington DC area's Amy Marx, who recently had her first solo in New York and whose breath-taking, hyper realism captures massive storms and weather patterns like no artist that I have ever seen.

Another East Coast artist who would be an instant hit in the Southwest is Alexandria's Susan Makara, whose beautiful stacked stones series sell as soon as she is finished with them from her studio in Alexandria's Torpedo factory.

Still in uptown, the Sedona Art Center rounds up a very good artists' run membership gallery of local artists.

There are also quite a few galleries located in a faux Mexican village called Tlaquepaque; after two trips to Sedona, I still can't pronounce it. From there you can cross Oak Creek by foot and visit a whole bunch more galleries on Hwy 179, although the ongoing construction on 179 seems to be really hurting the gallery business on that road.

Later: A big surprise! why nearby Jerome has more interesting and diverse galleries than Sedona does.

Sedona Art Scene Part 2

When you drive up Highway 179 into Sedona, one of the first galleries that you come across is the huge Exposures Gallery, which is located on the right side of 179 as one approaches the city.

Over 20,000 square feet, not including the outside sculpture gardens (I assume) make this the largest art gallery in the state, and probably one of the largest in the nation.

Exposures is a perfect example of what makes most Southwestern art galleries so different from most other fine art galleries in the world; galleries which follow the white cube example of white walls and minimalist hanging styles, coupled with total lack of information about prices, etc.

Not so in the Southwest gallery model, and Exposures is a perfect example of this model for Southwest galleries.

Upon entering the huge spaces, the East Coast gallery sensibility is immediately assaulted by a riot of colors and by a fear of empty space that yields a huge gallery space filled to the brim with art, photography, sculpture, crafts and jewelry.

This is 21st century salon style presentation married to the joy of colors that is the Southwest.

There are probably a few thousand pieces of art hanging and displayed in this gargantuan space. In fact, so much artwork, and so much variety, that the snobbery of the art world would immediately tend to dismiss this gallery as another "art store" filled with "wall decor."

Not so fast.

There are plenty of art galleries in Sedona that offer wall decor, and the same in the Southwest, and for that matter all over the nation.

Don't be fooled by the sheer scale and invasion of the senses that Exposure offers. This is a very successful galleries which offers some very good artists, some so so artists and some mediocre artists. In other words, just like any other reputable art gallery, but definitely not a cheesy art store. This is a very good Southwestern gallery working flawlessly on that model.

Exposures' success is clearly evident not only in its size, but in the small army of people that it employs, as well as its history, which essentially repeats the usual gallery story: art-loving couple moves to Sedona, open a small gallery; they do well and open a huge one.

And because Sedona's art buying market is comprised mostly of visitors, this gallery has to operate on the model of exhibiting everything that it has to offer all at once.

It works for them.

So once we get past the fact that this overcrowded gallery space has found its formula for success, and we begin to look at the artwork itself, as I stated before, we find the same mix of great, good, average and mediocre that one finds in any gallery in the world because art truly is in the eyes of the beholder -- or in this case the husband and wife team that picks the artists that they choose to represent and sell.

And sell they do...

On exhibit are works by more than 100 artists; yep, 100... and prices, I was informed, range from $29 to $290,000.

The catchy price range seems to have done wonders for both the artists and the owners.

Not everything is about money and sales; but money and sales make most artists, and definitely most gallery owners happy.

About the artwork itself...

Nearly all of it shares a flawless technical skill and delivery that would make most postmodernists elitists raise their noses a few inches higher. As an admirer of technical skill, I have learned to respect technical skill, but also have learned to then look past it and see content, ideas, context and intelligence in the work.

But before I get to the few artists that stood out for me, I must note that the one thing that, in spite of over 100 artists, the gallery lacked was monochromatic or black and white works in this wildly colored universe of art. It could really use a few drawings here and there to break up the dominance of color and painting. But I am biased.

As far as I could see there were only two artists working in drawing. Of the two, the two delicate small graphite drawings by Charles Frizzell stood out like little orphans in an ocean of color.

The charcoal and watercolor pieces by an artist named Yuroz also could mostly be qualified as drawing, but the works themselves were rather forgettable, as Yuroz seems to be channelling several of Picasso's periods -- including a rather mediocre stab at cubism -- in his paintings and drawings. There is too much Picasso in Yuroz, but there is also too much of Yuroz in Exposures, which in economic terms means that someone must be buying lots of his work. I didn't like any of it.

Let me tell you what I did like.

There was some very good photography by Scott Peck, and yet I personally test all flower photography to the spectacular work of Andrzej Pluta, or Joyce Tenneson, or Amy Lamb. In fact if Peck's work is doing well in Exposures, then the art dealer in me is sure that Tenneson, Pluta and Lamb would do even better at Exposures.

Upon entering any business in Arizona that sells imagery, one is bound to find photographs of the desert rocks and formations. By the time that you visit a dozen galleries, one is sick and tired of desert photography.

And yet, one of the most memorable artists in Exposures is a photographer named Martii, whose spectacular desert shots, coupled with superb presentations, make his or her photography one of the best finds in the gallery. And in writing this, I think that another photographer whose work would do well here, would be the split reverse image digitally manipulated split desert photographs by John DeFabbio, who works out of the Washington, DC area. For years DeFabbio has been trekking around the world photographing nearly everything that he sees, then digitally mirroring each half of the image to discover amazing new images in the manipulated work.

But back to Exposures.

The best work in this amazing gallery are beautiful abstract pieces by a Brooklyn-born artist named Eric Lee, one of the rare non-representational artists in the space. Lee creates wonderful reverse paintings in glass that are standouts of skill and delivery. They are fresh and beautiful and add a calming effect to the gallery's riot of color.

There are two galleries in Sedona claiming to have been voted the best gallery in Sedona. I'm not sure who the voters were, but of the two, Exposures is by far the best and certainly one of the most amazing art spaces in the entire Southwest.

Trashy Art

Artist Robert Rauschenberg has filed lawsuits against a Florida artist and art gallery that give new meaning to the phrase "one man's trash is another man's treasure."

Read the story here.

AZ also has the familiar pattern

The pattern is familiar: Artists move into blighted urban areas to rent affordable spaces where they can live, create and show their work. The art attracts visitors, who in turn attract cafes and other small businesses. Property values rise, developers take notice and soon the artists are priced out of a community they helped create.

It's a perennial paradox, but it's one that gallery owners and public officials are working to reconcile as they make plans for a diverse downtown where art has a permanent place.

"We have the best relationship now than we've had in the past 20 years with the city of Phoenix," says artist and activist Beatrice Moore, who owns a studio on Grand Avenue and rents several spaces to other artists.

Read the Arizona Republic story here.

Sedona Art Scene - Part 1

While there's no doubt on the planet that Sedona, Arizona is one of the most beautiful places on the planet, as I discovered while there last year and again this week, it is also one of the most spiritual magnets to a variety of religions and beliefs, including the significant number of people attracted to Sedona as a result of it's "energy Vortexes."

Let there be no doubt that this is an area of profound beauty and full of a palpable sense of energy and power. I loved it and will be back many times, as there are dozens and dozens of trails and vistas to explore.

But on this second trip, I wanted to also focus some time and comments on the Sedona art scene, a "scene" with some national footprint, regardless of where you stand on the planetary scale of the art world. in fact, within a few minutes of anyone discussing that they're going to Sedona, someone will immediately pop in and describe the city's great art scene.

And so, let me approach these views with the prejudiced eyes of the artsy Easterner, accustomed to white cube galleries, minimally presented with austere framing, white matting, and where even title and price labels are often eschewed in preference of a discrete price list on the gallerist's white or light wood postmodern design table.

Let start with Sedona art galleries.

But first, extrapolating from to the city's website, the city probably has around 12,000 people, about 90% of them non-Hispanic whites, with a median household income roughly $100,000 less than Potomac, Maryland and paradoxically with a median house price about $100,000 more than Potomac's pricey homes.

It's the first of many paradoxes about this gorgeous place.

Depending on who you believe, Sodona also gets between four and five million visitors a year.

The Sedona Visitors Guide tells these millions of visitors that Sedona "not too long ago had 300 residents, now has 300 artists and more than 40 galleries." We also learn from the guide that Sedona averages one gallery per 300 residents, and for every dollar spent on art, the art buyers spend $12 on other Sedona stuff. The guide also claims that statistics show that approximately 33% of the city's visitors are attracted there by the art, and that these art aficionados thus spend between $200,000 to one million dollars in various Sedona businesses each day. We thus can extrapolate that around $16,666 to $83,333 dollars are spent each day on art in this small town.

One issue appears to be clear: it's the tourists who buy art, not so much the locals (does that sound familiar?). This makes sense, after all, how much art can 12,000 residents buy from 40 galleries?

"Locals don't buy any art," told me a former Sedona gallerist, who prior to opening a gallery in Sedona had been a dealer in Chicago. "There are a lot of retired people here [the median age is around 55] and although there are some very large multi-million dollar homes, there are also a lot of modular homes [a fancy way to described a souped-up trailer]."

To the prejudiced and minimalist Easterner eye, the riot of color, subjects and presentation that characterizes most Southwestern art is an assault to long-held visual sensibilities created by the black and white world of the East Coast and Left Coast artworlds and its European and Latin American brethren.

I am shocked to discover that perhaps there's something of an elitist in all of us, as the preconditioning of being an artist, an art critic and an art dealer raised in all those aspects, and mostly along the Eastern states, prejudices my eyes to what I've referred previously as "coyote art."

My better half, who many years ago interned in Santa Fe with the legendary Gerald Peters Gallery (and Peters is credited by many as energizing the interest in Southwestern art and placing Santa Fe and the Southwest in general on the art scene), tries to educate me somewhat as to the different sensibilities between what she labels "an Easterner, with an East Coast vision of what a gallery should look like, looking at a Southwestern space."

It will take time, but then again, at one point in his life Duncan Phillips hated Impressionism and then eventually was seduced by it and became the American champion for it.

On the other hand, Wisconsin farm girl Georgia O'Keefe, even in her Southwest years always kept her austere black and white world where colors were generally reserved for her paintings.

So I proceed with as open as a mind I can have, maybe somewhere between Phillips' eventual enthusiasm and O'Keefe's steadfast minimalism in personal tastes.

There are a lot of spaces in and around Sedona that sell artwork. I'm not really sure if there are 40 galleries, unless one includes a lot of spaces that sell a lot of Native American and Mexican crafts.

Sedona itself is sort of divided into two areas, and as one comes to it from Highway 179, Uptown Sedona is to the right and the other Sedona to the left. Most art spaces are either located on 179 itself or Uptown Sedona.

The first set of galleries one comes across on 179 are located on a shopping area to the right as one enters the city, with a spectacular view (from the shops) of the Sedona rocks and the city itself.

We'll go there first...

82/100

Is what the 2005 Campello Pinot Grigio received; not bad for a $6 bottle of wine.

Romano on the "New Art Fair" model

Eric Romano is the producer of the highly successful PULSE art fairs, and he read my ideas on a new art fair model and adds some thoughts on the subject:

Hi Lenny,

I just had a look at the blog and would kindly give you my thoughts… although, unfortunately, I don’t think they are very insightful.

There are a huge number of factors involved in creating a successful art fair, mostly tangible and some intangible. The key to the success of Basel, Frieze, Basel Miami, ARCO (a bit different) and the Armory lies in the draw of an international group of collectors that travel to each show.

These are the “major collectors” that the galleries love so much, which also includes curators. The majority of work sold at the big fairs, and fairs like ours, is from this population, which is why all the other fairs have sprung up around them.

The model that you are proposing, with large institutional support, would resemble ARCO, which is partially funded by the Madrid regional government and attracts over 200,000 visitors.

ARCO is a regional fair, if you look at Spain as a whole, but mostly attracts a local audience.

They do, however, pay for and fly in a group of over 200 collectors from around the world which helps push sales. FIAC is another example of a strong regional fair that mainly attracts Parisians.

I would look at this as a regional fair, for the reasons you sited, Miami is in December and New York is, well New York.

As a regional fair, it would have to pull on the local collectors and moneyed set... as you pointed out.

A huge fair, with institutional backing and government backing, does offer a wide range of opportunities to create buzz and multiple programming... i.e. performance art, lectures, an architecturally designed space, installations, curated video sections etc...

This can, if done well, create a community happening or event that transcends a traditional art fair and become the must see event for the entire community that creates a true dialog between art and the public in an atmosphere that is more open and dynamic than a museum. This is what happens at ARCO.

As with anything else, it would all depend on the people organizing the fair, their vision and their ability to work with the community, the government, and the museum.

All the best,

Eric

Akemi Maegawa at Irvine Contemporary in DC

Airborne again today and heading first to Salt Lake City, and then to Sedona, Arizona for a little R&R and a lot of hiking in those amazing red rocks and some extensive gallery hopping, and other gallerish things... more later.

Support the Corcoran

Deadline: February 29, 2008 (to register) and April 25 (to deliver art)

The Corcoran Gallery of Art and FRIENDS of the Corcoran will be hosting their first Art Anonymous fundraiser, benefiting the Corcoran College of Art + Design’s BFA Scholarship Fund.

This is a by-invitation-only fundraiser, but they asked me to invite you artists who read this blog, to offer for sale original, postcard-sized works to be exhibited and sold alongside the creations of students, faculty, and staff of the Corcoran College of Art + Design and the Corcoran Gallery of Art. All works are donations and will be sold for $100 — the catch is that your identity will not be known by the buyer until after the purchase.

The works of art will be on view from May 1 through May 10, 2008 prior to the culminating event in the Corcoran’s Gallery 31. On the evening of Saturday, May 10, the public will have their chance to purchase the work of their choice and then join them for a celebratory reception – drinks and dancing included. This event is free for all participating artists, so kindly let them know if you will be there. The preview will begin at 6 p.m. and drinks and dancing will continue until 11 p.m.

We hope that you will contribute to this exciting new event by contributing your work. They would be delighted for you to join them and to be able to list your name as a participant for this event on the Corcoran's advertisements, invitations and website. But they need to know those details by Feb. 29!

All works must be brought or shipped to John Deamond at the Corcoran College of Art + Design Student Affair’s Office by Friday, April 25 between 9 a.m. and 5 p.m. Monday through Friday and they must be exhibition-ready. All pieces must be 5x7, two-dimensional and un-framed, and you may submit up to three works for this event. Signatures need to be on the back on the work to be allowed entry into the exhibition.

If you have any questions, please feel free to contact Megan Sharp at (202)639-1753 or via email msharp@corcoran.org and tell her that Lenny Campello invited you to participate in the Art Anonymous fund raiser.

Art Anxiety

"Mitchell Gold, the co-founder of Mitchell Gold & Bob Williams furniture, shares Mr. Higgins’s aversion. “I can’t stand going into galleries,” he said. “They don’t put prices on, you get all worked up, you don’t know the price is $20,000 and you think, Gee, I don’t want to spend that.”

Read this.

I hate to admit how much of the above is sooooooooooooooo true!

Last Copy

"Last Copy." Charcoal on Paper. 6 x 4 inches. c.2008 by F. Lennox Campello

Am I Still Shouting to the Wind?
Glass3 in Georgetown

This is the story of a new arts movement -- what is usually called a "school" in art history books -- taking place right here in the Greater Washington, DC area. Allow me to refresh your memory a little and provide some background. Bear with me.

Point One: The British sister city to Washington, DC is Sunderland.

Why Sunderland and not London? After all, most other sister cities to DC are the capitals of other countries - but Sunderland is George Washington's ancestral hometown, so that's why!

Sunderland is also where the United Kingdom has their National Glass Centre and, by the way, glass has been made in Sunderland for around 1,500 years.

When most people think of glass in the art world, they think of craft. A few decades ago, a similar reaction occurred with photography.


Point Two: George Koch is one of the District's true art icons: he's a talented painter, the founder of A. Salon, Ltd., a board member of the Cultural Development Corporation, a founding board member of the Cultural Alliance of Greater Washington, a Commissioner of the DC Commission on the Arts and Humanities, board member of Hamiltonian Artists, and the Board Chair of Artomatic.

They don't get much bigger, influential, or harder working for the District's artists and arts organizations than George Koch.

DC area artists and DC's arts scene owes a lot to George Koch.

And George has been working very hard to get the British to bring the United Kingdom's premier glass artists to an exhibition in the US, while at the same time bring some attention to the many and talented glass artists working around the Greater DC region.

I think that Koch recognizes that something special is going on in the DC area with glass.

So Koch has been orchestrating the process to bring the Brits to DC in a major show, somehow tie it to the Artomatic organization, use it to showcase Washington area glass artists, and also tie the whole effort into a nascent Toledo, Ohio Artomatic-type organization.

Yes Artomatic haters... that open, no curators allowed, artist-run extravaganza is growing in other cities!

Point Three: If you paid attention in art school, then you know that Toledo, Ohio is also historically one of the glass centers of the colonies, and an important placeholder in art history.

In 1962, Harvey Littleton, Professor of Art at the University of Wisconsin, (and DC gallerist Maurine Littleton's father) and Dominick Labino (a glass scientist with the Johns-Manville Fiber Glass Corporation), presented a glass workshop in conjunction with the Toledo Museum of Art.

These men are recognized internationally as the "fathers" of the American Studio Glass Movement and certainly the first two to take the seminal steps to bring glass from the high end crafts to the fine arts world.

Convinced that it was finally possible for an individual artist to undertake glass art by working entirely alone - as compared to being part of a glass factory, Littleton and Labino provided information on furnace construction, glass formulas, tools, techniques, etc. They sowed the seeds that eventually sprouted thousands of individual kilns, furnaces and glass studios and schools around the United States and the world.

The Toledo workshop was the beginning of the American Studio Glass Movement. Since then, American glass artists are acknowledged worldwide as the undisputed leaders in creativity and originality and the continuing battle to bring glass to the fine arts dialogue.

Point Four: The final key player in this showcase of three glass centers is the Washington Glass School, bringing to the show about 15 area glass artists who are either instructors of the now nation wide famous content-driven art glass facility, or curated into Glass3.

For years now I have been shouting to anyone who will listen that something new and different has been cooking in the kilns of the glass artists around our area. We have in them artists who are bringing narrative and context to glass, and slowly dragging it away from the vessel and the bowl and towards the fine arts end of the rarified upper artmosphere of the art world.

And now to the actual review... start by looking at part one of a short video on the exhibition below; the second part is at the end of this post.

This show, titled Glass3 since it involves three cities, easily shows why DC area artists are doing something new with glass.


But before we get to that, there are some standouts in the works by the Brits and the Ohio artists.

First and foremost, Vanessa Cutler from the Sunderland visitors almost steals the show with her gorgeously minimalist pieces in this exhibition. Cutler uses a high technology water jet that can be programmed to cut and shape glass using high pressure water. Her elegant work fits in the dialogue of the minimalists, using as little form and shape to deliver deliciously complex – and thus a paradox – pieces that are the bright leaders of the new British works.

I am not a big fan of vessels and bowls and all of the non-descript “pretty” glass things that always seem to suffocate a glass show – and there are plenty in Glass3 by the way – and yet I was drawn to Kathy Wightman’s (also a Brit) “I am touched” pieces, which are beautiful glass objects wrapped or covered in a truly sensual black, velvety material that almost makes them sexual objects to be desired and touched.

Rounding up the British artists, the also minimalist neon works by Sarah Blood stood apart from the sea of bowls and platters and vessels. Impossibly delicate, Blood married them with objects such as crates to offer us something clean and elegant and different.

Among the Ohio artists, Kristine Rumman’s “War at Home,” stood apart from the rest. Using clear glass as the delivery mechanism, Rumman offers us a rifle firing clear glass bullets. The bullets float away from the wall, casting delicate and watery shadows onto it. It’s a fascinating marriage of the delicate with the heavy and dangerous and works well as the best piece from the Ohio artists.

I found too much of Dale Chihuly’s influence on Homer Yarito’s otherwise technically brilliant work, and unless James Maskrey and Danny White are going for some sort of irony that escapes me, I found their work too cutesy and a little saccharine to enjoy it besides their odd prettiness.

Glass is undergoing a revolution, but unlike most revolutions, there's room for all: both artists and crafts people.

Among the locals Syl Mathis’ elegant boat forms continue to evolve in the right direction and represent some of the best abstracted forms in the show. I also liked Sean Hennessey’s and Kirk Waldroff's wall pieces, where both artists excel at using glass as a mean to deliver complex visual works that demand interpretation, rather than just admiration.

Hennessey and Waldroff at Glass3
Evan Morgan also stands out – he is able to flex his technical skill muscles (always a needed requirement in the world of glass), but also offer up pieces that immediately fit into a modern dialogue and make us not care or ignore that it’s a glass show. Morgan is going places; mark these words. I don't know if Morgan is represented by any DC area gallery, but this guy will be up there one day; pick up one of his pieces now.

“Green” artist leader Erwin Timmers makes his by now solid point about green art with his re-used and recasting of discarded glass and other elements to also deliver abstract works that are as contemporary and new as the art movement that Timmers leads in our area.

Enough has been written and said about Michael Janis and Tim Tate.

Their contributions to this show, a life-size scraffito puzzle-like piece by Janis and three of his newest video and technology sculptures by Tate, stand apart from the rest of the show as a Jackson Pollock must have stood out in a group show in the 1950s.

These are leaders in a movement to bring glass to a new place in the arts world, and their explorations of the narrative, biography, technology and skill continue to deliver nothing but success. If you collect DC area artists and have yet to add these guys to your collection, price wise you're almost too late; the get-a-small-piece-for-a-few-hundred-bucks days are long gone and now you better be ready to dish out $8500 for a Tate, and I wouldn't be surprised if those prices double by the end of the year.

Bottom line: a historic art event is taking place Washington, DC (though March 9, 2008). Three educational leaders in today's Contemporary Art Glass movement have joined forces to present a representative survey of the exciting artists and techniques surfacing at these three facilities.

Two of these institutions, the Toledo Glass Pavilion and Sunderland Glass School together represent centuries of a rich glass-making tradition while the Washington Glass School has emerged as a new and vibrant player on this field and is perhaps leading the way to a new future for glass.

The show is at the lower level of Georgetown Park Mall in Washington, DC through March 9th, 2008 and this "International Glass Invitational" was presented as a partnership with Art-O-Matic, and the Sister City Program, with help from the Georgetown Business Improvement District (BID).

By the way, once this show closes, the Mall's management should continue to offer this great space to arts organizations for free on an ad hoc basis until they can find a permanent renter for the space. They have not been able to rent it, and it's quite an eye sore (empty) in this tony mall - it looks great now and I am sure that if they allowed arts organizations to use it for free until rented, it would (a) make the mall look better and (b) make a perspective renter more eager to rent it.

But I'm just the cheerleader-in-chief. Video Part II of the exhibition is below.