Wanna go to an opening this Saturday?

Apronology.

It’s defined as “the study of the art of the apron,” and it’s a word that appeals to Virginia-based artist Trudi VanDyke, curator of the upcoming mixed media exhibit “Personal Armor: Artists’ Concepts of Aprons” at BlackRock Center for the Arts.

“I thought that was just a hoot,” said VanDyke, an independent curator, consultant and juror who is also an adjunct professor of art management at George Mason University, a freelance writer on the arts and the former director of both the Ellipse Arts Center in Arlington and Alexandria’s Torpedo Factory. “But I like to work with themes that artists can interpret independently – and I’m always on the lookout for artists whose work I admire, because I want to see how their work might come together in the show.”

In this show, which runs from Wednesday, January 06, 2010 through Friday, January 29, 2010, the work of 31 artists from Maryland, DC, Virginia, Colorado, Florida, South Carolina and Pennsylvania reflect on the common theme of the apron – with intriguing results.

“What does the apron represent?” muses VanDyke. “There are a lot of feminist statements in the work: for some artists it represented how they’d been held back by the apron, the Father Knows Best sort of theme.”

Other artists used the apron to represent their own apron-wearing mothers; VanDyke says even the plight of battered women comes to light in the exhibit. Wood, wire, glass and metal make appearances, along with more unusual media, and the moods run from sentimental to mysterious to whimsical.

VanDyke points out that the Artist Reception will be held on Saturday, January 9, from 5:30 - 7:30 p.m. She hopes art lovers will gather to learn more about this unusual and interesting show – whether they themselves wear aprons or not.

Personal Armor: Artists’ Concepts of Aprons
Wednesday, January 06, 2010 through Friday, January 29, 2010
BlackRock Center for the Arts
Gallery Hours: Monday to Friday 10 a.m.-5 p.m.
Saturday 10 a.m.-2 p.m.
Admission is free
Artist Reception Saturday, January 9, from 5:30 - 7:30 p.m.

MIA – Day One: Travel and Hang

0200 – I’m having trouble sleeping, and the alarm is set for 2:45AM, and the taxi will arrive at 3:30AM. I look at the alarm clock and it reads 2:07. I hope to catch at least half an hour more of sleep. Today will be a long day, as I’m flying down to Miami with a 6:10AM departure from BWI. It’s installation day for the Miami International Art Fair (MIA), which opens formally tomorrow with a VIP reception.

0245 – The alarm rings and I’m surprised that while I thought I was awake most of the time, I was actually catching some Z’s. I spring from bed, hoping that Little Junes will not awake, and proceed to what the morning wake-up ritual known in the Navy as “shit-shower-and-shave.”

0305 – I’m out of the shower and dressed, and I close the luggage and carry it from the bedroom to the front door, hoping that the squeaky hardwood floors will not wake up Little Junes. My wife awakens and follows me to the door and kisses me goodbye. I send her back to bed; this will be a tough week for her as a single mom to a four month old. I pack up the laptop, remember to grab a box of red dots and then step outside to the 25 degree Potomac early morning to get my Blackberry ear plugs out of the van. Bones (that’s his real name), my cab driver, is already there in the driveway and waiting for me.

0320 – On the way to BWI Bones tells me about his daughter who is about to graduate from Maryland. This burly cab driver has three daughters and he’s put all three of them through college. He is a hero. Bones is originally from Nigeria, and he likes to talk about art. On this trip I discuss the work of artist Viktor Ekpuk for him. Bones dissects the name and tells me where in Nigeria Viktor is from. He promises to look for Viktor’s work in the Internet.

0410 – We arrive at BWI. Outside the airport is quiet, almost deserted. Inside it is also deserted except for a huge line at the American Airlines counters. I’m flying AA, so I resign myself and join the line. I’m really early anyway. A gregarious AA Skycap is herding people along to the check in counters. When I check in I discover that AA now charges $20 for your first checked in bag. It used to be $15. It also used to be explained that the charge was because the price of airline fuel was so high and was “temporary.” But now that the price of fuel has dropped, the checked-in charge not only remains but has increased. And flights are packed but airlines still lose money. Something doesn’t make sense to me in this industry.

0430 – I’m surprised to find the security line almost non-existent and go through the TSA portals. Something in my laptop backpack catches their attention and they search for it. The backpack is filled to the brim with assorted electronic junk such as the GPS unit (I find that now I can’t drive without GPS aid), the removable hard drive, the Flip video recorder, the digital camera, assorted power cables and books. Finally they find the offending item: a wine corkscrew. I had no idea that it was inside the backpack. Since the corkscrew doesn’t have a blade, it’s OK and I’m passed through.

0440 – I find a seat by a wall outlet and plug in the laptop to do some Facebooking and surfing. A teen it’s a couple of seats from me and begins to alarm me with his coughing, sneezing and snorting. It is obvious that he has a cold. It is also obvious that no one has told him that he should cover his mouth when he sneezes. I debate whether to move seats or tell him to cover his mouth. As electric wall outlets are not easy to come by at BWI, I elect for the latter and tell him. He doesn’t respond, but simply moves away from me, to infect someone else.

0540 – We begin boarding. The flight goes to Miami and then to Cancun. It is loaded with folks dressed for tropical weather and who earlier on froze their butts getting to the airport, but by noon will be sipping Margaritas by the beach while I’ll be installing the artwork at the Miami Beach Convention Center.

0610 – We actually depart on time, and I get prime seating on the first row, with the extra leg space and on the aisle with two empty seats in my row. Good start to the flight day. I’m reading “Seven Days in the Art World” by Sarah Thornton and rediscover what an asshole Chris Burden is.

0840 – We actually land a few minutes ahead of time.

0915 – 1100 - I swing by Casablanca Bakery in Hialeah and have breakfast (eggs, Cuban bread, ham and coffee for $3) and pick up two boxes of Cuban pastries and two Cuban breads. I visit my parents in Hialeah and my aunt in Miami Beach, drop the pastries and bread. I am also forced to eat in both places even though I am full.

1130 – I arrive at the Miami Beach Convention Center; the big leagues of art fairing and home to Art Basel Miami Beach. I meet Philadelphia artist Frank Hyder and his wife, Helen, director of Philly’s hardworking Projects Gallery. They are my Philly dealers and we’re doing this fair together. They tell me that my booth has been moved to a new location by the fair management. Also, about 75% of the booths still have not been finished nor painted. There is clearly a lot of work still to be done before a single thing can be hung.

1230 – 1430 – Lunch at the Hyder’s Miami Beach condo – the one with a breathtaking view of the ocean. We load up a vanload of artwork and take to the Convention Center. Poor Frank is hobbling because he took a nasty spill in Philly ice recently. The booths are still far from being finished. Lots of painting and wall re-arrangements being done. Frank Hyder walks me through the spectacular sculptural works by Federico Uribe. His work, done from shoe laces, sneakers (Puma gave him 30,000 running shoes for a particular project), and other common objects – including a toilet plunger which has been transformed into a flower via the use of wooden clothes’ hangers – make him the best WalMartist that I have ever seen. Uribe’s work alone is worth the price of the entrance to the fair. The bright yellow sun made out of yellow shoelaces, thousands of them is a transformative piece worth of worship by the Egyptians.

1500 – I find the guy in charge of painting and construction and tell him (more like beg him) that my booth has been moved from its original location and now the booth design closes up the booth too much and I need one wall moved. The booth still needs to be painted. It may be hours before a crew can get to it. I used the Cuban angle and the HMFIC sends the painting crew to my booth. Now I just need to get one wall moved to open up the gallery.

1700 – Construction guy shows up and says that the wall will be moved in ten minutes. 45 minutes later I am still waiting.

1800 – Wall crew arrives. They are very friendly and quite experts at their work. After a 15 minute Union-mandated break, they start adding a new wall and removing the blocking wall in my booth. It is hard work.

2000 – All the booth hard labor is done. The crew has done a terrific job. And I have a shiny, newly painted booth, in a new arrangement and in a new spot. Now at G-11 instead of G-13.

2001 – I hang one large photograph by Cuban artist Cirenaica Moreira, and exhausted call it quits for the night. Loads of other galleries are nowhere to being close to being ready.

2015 – The Hyders and I have a terrific meal at a Peruvian Restaurant called Chalan in Miami Beach (at 1580 Washington Ave) . I have one of the most amazing seafood dishes that I’ve had in a long time. It has a rather forgettable Peruvian name, Cau Cau something. It is very yummy.

2345 – I'm at my cousin's beautiful home in Little Havana, staying in his empty maid's quarters' apartment in the rear of his home. I post this blog and exhausted get ready to sleep a few hours. Tomorrow we hang the artwork and by 6PM the VIPs arrive.

Great exhibition opportunity for artists

Deadline: January 17, 2010

This is the kind of opportunity that I like: absolutely no fees to submit and zero commission on sales: click here for the prospectus.

I'll be jurying this show, which will be in Norfolk's best gallery (in my opinion).

Airborne

Heading to Miami for the Miami International Art Fair at the Miami Beach Convention Center. Fair is from 6-10 January.

If you want some free tickets to the fair, drop me an email.

Drawing Show Extended

More art writing

Philippa has a superb round-up of the sudden surge in visual art writing around the DC region. Read it here.

I agree with her. I also know that now that I'm back in the DC area, I plan to get back to my old ways and write a lot more about the DC area visual arts.

Running for cover(age) Tonight

Running for cover(age) is a panel discussion on arts criticism in the DC area presented by the WPA.

Moderator: Kriston Capps
Panelists: Jeffry Cudlin, Isabel Manalo, Danielle O’Steen
When: Monday, January 4, 2010 from 6:30-8:00pm
Where: Capitol Skyline Hotel (lounge), 10 I Street SW, Washington, DC 20024
(Free and open to the public)

Coverage of Mera Rubell’s DC studio tour by journalist Jessica Dawson in The Washington Post touched a critical nerve in the DC arts community, and set off impassioned conversations here and on social networking websites such as Facebook here, about the quality of life for artists in the area. Artists, writers, and arts professionals weighed in on aesthetics, isolation, ambition and support for the visual arts.

This panel discussion will address questions about local arts media coverage and its effect on the cultural life of the city. During the Q&A portion of the program, panelists will provide suggestions of both existing and new models for generating dialogue about the arts.

I've noted this before, several years ago, but when I was the co-owner of the Fraser Galleries, one thing that I noted, and thus qualifies as empirical, rather than anecdotal data, was that we would get a lot more responses and new visitors to the gallery when our show was mentioned in the recommendation section on the first page of the Post's Weekend section.

You know the section that I mean (its title escapes me now)... the one where someone recommends a theater show, or a dance show, or a visual arts show?

I know this for a fact, because the usual mention would detail a bit about the gallery show, give the gallery name and the phone number. For the next few days our phone would ring off the hook with people wanting to know the gallery's address.

In fact, a mention on that Weekend section spot did a lot more to get new visitors to the gallery than any review in the Galleries column! I suspect this is because the Galleries column's demographics tend to be mostly people interested in art: artists, gallerists, art symbiots and the rare collectors. On the other hand, the people who glance and read that recommendation section in Weekend are your average reader and average public; precisely the "new" section of the population that a gallery hopes to reach.

Interesting huh?

Congrats!

To former DC artist (now residing in Brooklyn) Matthew Langley, who is having a show at New York's Blank Space (along with Heejo Kim). The show 0pens January 14, 6 - 8pm - The exhibition runs into February.

Blank Space
511 25th Street Suite 204
New York, NY 10001

DCist Exposed Photography Contest -- 4 days left!‏

The 2010 DCist Photography Show is currently open for entries -- but only until January 6, this Wednesday! Heather Goss' Ten Miles Square is a sponsor of the fourth annual exhibit, which will be held at Long View Gallery in March.

Over 1000 people attended last year's opening reception of photography featuring the music and nightlife, sports and recreation, and the historical as well as the quiet moments of the people who live and work in D.C. It's only $5 to enter three photos -- head over to DCist for all the details. Hurry!

Happy 2010 to All!

Amidst all the economic and political woes of 2009, the year was a magnificent year for the Campello clan, highlighted by the arrival of the extended Campello family's first boy since my own birth (my family genetics tends to favor women, and Anderson is his grandfather's first boy and his great-grandfather's first name-keeping great-grandson).

I wish a great 2010 for all of you!

Running for cover(age) this Monday

Running for cover(age) is a panel discussion on arts criticism in the DC area presented by the WPA.

Moderator: Kriston Capps
Panelists: Jeffry Cudlin, Isabel Manalo, Danielle O’Steen
When: Monday, January 4, 2010 from 6:30-8:00pm
Where: Capitol Skyline Hotel (lounge), 10 I Street SW, Washington, DC 20024
(Free and open to the public)

Coverage of Mera Rubell’s DC studio tour by journalist Jessica Dawson in The Washington Post touched a critical nerve in the DC arts community, and set off impassioned conversations here and on social networking websites such as Facebook here, about the quality of life for artists in the area. Artists, writers, and arts professionals weighed in on aesthetics, isolation, ambition and support for the visual arts.

This panel discussion will address questions about local arts media coverage and its effect on the cultural life of the city. During the Q&A portion of the program, panelists will provide suggestions of both existing and new models for generating dialogue about the arts.

Kriston Capps is a critic, reporter, and commenter. He contributes regular news and reviews to the Guardian, Art in America, Art Papers, Art Lies, the American Prospect, Huffington Post, and other publications. Kriston taught a graduate studio colloquium at the University of Maryland College Park and will teach an arts journalism course through the WPA ArtScribe program at George Washington University in the Spring.

Jeffry Cudlin is an artist, curator, art critic, and musician living and working in Washington, D.C. He serves as the Director of Exhibitions for the Arlington Arts Center and writes for the Washington City Paper.

Isabel Manalo is an artist represented by Addison Ripley Fine Art and Assistant Professor at American University’s Art Department in Washington, DC. She runs the award-winning blog The Studio Visit which features artists from the DC region in their studios.

Danielle O'Steen is a freelance journalist, contributing to publications such as Art + Auction, Capitol File, Flash Art and Washington Post Express. She previously worked as an editor at Art + Auction magazine in New York. Currently, she is also a graduate student in art history at George Washington University, specializing in modern and contemporary art.

Bruce McKaig on CHAW's 4th Annual Photography Exhibition

By Bruce McKaig

Why have an exhibition of contemporary photography? Why send out a call-for-entries, review submissions, select some to hang on the walls of a gallery? Why have an opening reception, attended mostly by the participating artists and their social circles, then return most of the work to the artists a few weeks later? How did such a ritual begin and why does it persist?

Exhibitions at art galleries are a fairly modern practice. As submitted by Ethan Robey in The Utility of Art: Mechanic’s Institute Fairs in New York City 1828-1876, they are an offshoot of state or national fairs, where booths are set up and visitors can look at mechanical gadgets, scientific discoveries, jellies, pies, and well-bred livestock. By the late 19th century, some artists were hosting public receptions in their studios.

Eventually, some entrepreneurs – like Steiglitz and his Gallery 291 – decided to propose a year-round place where art and public could meet. As I looked at submissions for CHAW’s fourth annual photography exhibition, and as I gear up for my next solo exhibit at the Orlando Museum of Art, I find myself asking: Why not open year-round places for public and livestock to meet? Who doesn’t love beautiful sheep, especially a young one? Would a galerie des moutons be more preposterous than an art gallery?

Photography became public property in 1839 when Daguerre read his process out loud to the French senate. Photography was democratized in the 1880s when Thomas Edison invented 35mm film and George Eastman invented the word Kodak. In the mid-to-late 19th century, both the making and the viewing of photographs were not so much a daily bombardment as they were occasions. In most cases, if several people were to look at a photograph, they would usually be in the same room at the same time.

Clearly, that has changed.

According to The Camera and Imaging Products Association (CIPA), the number of digital cameras shipped in 2008 was 119,757,000, not including cell phones. As of October 2009, there were four billion images on Flickr. With over 300,000 images uploaded to Facebook every second, there are over 850 million images added every month. Last summer, I photographed a wedding and had to edit out numerous images that were overexposed because of how many other flashes kept firing. It seemed like most guests were also photographers.

On a recent field trip to the US Botanical Gardens, the number of people taking pictures was truly phenomenal. From cell phones to cumbersome SLRs with hefty attached flash units, people were lining up to photograph or be photographed in front of various floral arrangements amidst the holiday decor. Such colossal production rates beg the question, how much time do people spend looking at photographs? Has the priority, the principle activity, become making, not viewing?

The persistence of exhibitions and the excitement over the Internet coexist because one confronts confusion with a semblance of order; the other confronts the semblance of order with confusion. The gallery’s elitist approach strives to select and organize works in a momentary setting, as much an event or performance as a body of work, all in an effort to provide ground for discovery, debate, and direction.

The Internet’s democratic approach strives to neither select nor organize images, and the 24/7 open call-for-entries results in a bubble that can never burst because it has no dates, deadlines, or locale. The perception that the Internet is everywhere and always open implies both a trust in its availability and a lack of urgency, or even preciousness, when it comes to discovery, debate, or direction.

I suggest that people go to exhibitions because sometimes there is a precious urgency to discovery, debate, and direction.

The Fourth Annual Photography Exhibition at Capital Hill Arts Workshop is, once again, a sampling, an across-the-board look at diverse ways artists chose to approach the medium of photography, produce a piece, and connect with a viewer. By no means exhaustive, the diversity of the works conjures thoughts on defining what is an artist and what is a successful photograph. The diversity, however, does not succeed in masking the various themes that appear across the works when compared and contrasted.

Several of the images are formal studies, exploring shape and color. Red Deck, by Mark Walter Braswell, is a color image of the side of a building. Not an architectural study, with a confusing rather than informative perspective, the geometry and color are all that is left, is needed, to contemplate. Sue Weisenburger’s works are also formal studies. Foundation is more rigid, V&A in December is more organic, but both brush up against the narrative with their poetic use of geometry. In Vickie Fruehauf’s black and white scenes of water, the formal qualities have been wedded to an almost spiritual presence, in her words, “the silent observers within the natural world.” Judy Searles’ images are close-up looks at elemental materials. The materials, initially man-made, have been shaped and colored by the battering of weather and time. The temporal aspect to her work is explored in different ways by several other artists in the show.

Time as an element in photography is explored in several artists’ works, through the blurry stretching of time, or the juxtaposition of images side-by-side or sequentially in a slideshow format. Tom Pullin layers the fourth dimension of time into Fussa-Tokyo33107 thanks to a slow exposure. Similarly, Jim Blackie’s Down depicts an isolated traveler descending a quivering escalator. In the Motion Studies portfolio by Mark Issac, temporality is explored through, in Issac’s words, “the manner in which solid objects break apart and dematerialize.” Patricia Goslee and Siobhan Hanna both work with multiple images and the juxtaposition of different angles or objects has an element of time travel. In the back-and-forth observation for a viewer, the passage of time becomes a part of the experience. Leland Bryant also uses multiple images, but strings them out in a slide show. In this format, the images move by at the author’s chosen pace, not the viewers, and they run from first to last per author’s selection. Goslee, Hanna and Leland all use somewhat cumbersome titles or text that the viewer is left to appreciate or ignore.

Photo documentary works are also part of the exhibition. Gabriela Bulisova exhibits three images of anonymous Iraqi refugees. Heads cut off – by the picture frame – or eyes banded – by a wooden railing – or the human body replaced by its shadow, these images speak both of the individual and the collective. Kristoffer Tripplaar exhibits five images from Galveston Texas in the wake of a natural disaster. There are no people in Tripplaar’s images, just man-made structures with signs of nature’s rage. The absence of people succeeds in broadening the images’ story to a more universal struggle between urban humanity and nature. Another image in the show that uses absence to create atmosphere is Christopher Schwartz’s Off Duty, a shot of a deserted lifeguard station. Without people or activity, the strong colors come across bleak and doll-like. People are full-face present in Michael Stargill’s documentary sports images in a somewhat comical, somewhat iconic mixture of reportage and theater.

Photo by Jared Ragland
Several other artists in this exhibition turn directly to iconic elements and theatrical approaches. Jared Ragland’s socio-political commentary uses iconic items to construct blunt social commentaries. Ragland’s artist statement says, “While not always adhering to the traditional structure of narrative I seek nonetheless to open relationships between fragments of content and combine images to form loose associations and representations of the subconscious.” Whereas Raglan constructs his choreography with photomontage, Carolina Mayorga goes directly to theatrics in her exploration of religious ritual and rhetoric. Mayorga’s artwork addresses issues of social and political content and are produced as a mixture of drawings, sculptures, videos, or performances.

This exhibition fails to answer my questions about photography but succeeds in furthering the discovery and debate. I still don’t know how much time people spend looking at photographs. I still don’t know if a gallery of sheep would be more or less preposterous than a gallery of art.

What: CHAW”S 4th Annual Photography Exhibition
When: Jan 9th – Feb 4th 2010, opening reception Sat Jan 9th 5-7pm
Where: Capitol Hill Arts Workshop 545 7th Street SE WDC 20003
202 547 6839
www.chaw.org

Opportunity for artists

Deadline: Januray 15, 2010

Art of the Soul: A Woman’s View of Sexism & Oppression

If oppression was art, what would it feel like? If sexism was art, what would it look like? Art of the Soul is an exhibition of the feelings, thoughts, and prejudices of those often unheard, in this event, women! Since the Victorian age, women have been a target of sin and disgracefulness, an oppression that has affected our sexuality, self-esteem, and character. Through the collaboration of fashion and visual arts, this event will educate the public on issues affecting women that are often deemed “inappropriate” to talk about.

This 18 day exhibit will explore the prevalence of female injustice present in our community. Our collaborative event will strive to facilitate communal dialogue surrounding female related issues and explore ways we can contribute to overturning these injustices, both collectively and individually. Art of the Soul will highlight and discuss the topics of self-esteem, judgment, sexism, AIDS, beauty, domestic violence, FGM (female genital mutilation), and many other issues affecting women.

What we are seeking are visual artists of all disciplines; painting, sculpture, photography, film, etc. to take part in this movement. Art of the Soul will be featured in a unique space in downtown Washington, DC with over 1200 sq ft. of wall space, large windows for display, and heavy foot traffic. We have paired up with local and national organizations, Hamiltonian Gallery, and Albus Cavus organization/artist collective, to gear this exhibit towards success.

Be a part of something great by becoming an Art of the Soul featured artist. You have the option to sell or auction your art and take part in our opening reception with over 150 expected guest where you can discuss your work, network, or explore future opportunities in the DC metropolitan area. With programming scheduled within the space throughout the life of the exhibit, Art of the Soul is more than just a collection of art but a voice for women and all others that have been oppressed.

If interested or if you have any questions, comments, or concerns, please feel free to contact Kaira Johnson at theartandsoul.dc@gmail.com. Also, if you know any organizations or persons that would like to organize a program or workshop under the Art of the Soul, please forward this information to Kaira as well.

Art of the Soul
Feb 12-28, 2010
486 K Street, NW
Washington, DC

Presented by Fever Couture and Sponsored by Hamiltonian Gallery and Albus Cavus.

Opportunity for Artists

Deadline: Feb 28, 2010

The M-NCPPC space in the Gateway Arts Center is actively seeking both exhibition proposals for the 2010-11 season, as well as craft artists interested in showing & selling work at the center.

Craft proposals are being reviewed immediately and on an ongoing basis.

The next deadline for exhibition proposals is Feb 28, 2010.

The Gateway Arts Center (formerly called the Brentwood Art Center) will celebrate it’s grand opening on March 19, 2010. The center, located at a gorgeous space at 3901 Rhode Island Ave. in Brentwood, is dedicated to presenting and promoting the visual arts.

It is home to a dozen artists’ studios (Studio rents are starting at $13 s/f, plus utilities. For more information or to make an appointment to see the studios call John Paradiso at 301-864-3860 ext.3.), a gallery operated by the Gateway CDC, and the Prince George’s African American Museum & Cultural Center and certainly the heart of a new area home to many artists studios and several emerging art galleries.

The Maryland-National Capital Park & Planning Commission occupies approximately 1/4 of the building, featuring a gallery, a contemporary craft store, and an arts class/meeting room. It is a place for people of all ages to meet, engage and learn about art, purchase one of a kind craft objects, and explore new talents.

Proposals/applications should include:

* A résumé or CV
* Appropriate digital documentation with a list of images that includes titles, media, size, and dates.
* Exhibition proposals should include and artist/curator’s statement.

Send to:

Attn: Gateway Arts Center
Arts & Cultural Heritage Division, M-NCPPC
7833 Walker Dr. Suite 430
Greenbelt, MD 20770

If you have any questions, would like additional information or a full prospectus, please contact:

Phil Davis, phil.davis@pgparks.com

tel. 301-277-2863; tty. 301-446-6802; fax. 301-277-2865

Museum woes in 2009

So, what's a museum, with all its fixed costs, supposed to do at a time when people have less money (or less confidence) to give? One solution may be to just give up. The Gulf Coast Museum of Art in Largo, Fla., the Claremont Museum of Art in California and the Las Vegas Art Museum all closed for good. North Carolina's Fayetteville Museum of Art, with a $400,000-plus debt and no funds coming from the Arts Council of Fayetteville-Cumberland County, is on life support and its building is listed at $1.2 million. Add also to the list the Fresno Metropolitan Museum in California, which defaulted on a $15 million loan (as part of a $28 million renovation) and is expected to close "in the very near future," according to a statement by the bankruptcy lawyer representing the museum.

Read the WSJ article here.

Kirk Waldroff at NVCC

Saint Funiculus | 2009
left: woodcut on unryu | 3.5" x 24" | edition of three
middle: glass, oak, flourescent lighting | 9" x 30" x 6"
right: concrete, grout, gold leaf | 3.5" x 24"
Kirk Waldroff, a DC-based printmaker and sculptor who uses traditional woodcut techniques to create non-traditional prints in glass, concrete and on paper has been for quite sometime one of my favorite up-and-coming artists around here.

Why? It helps that we seem to share an interest in some of the same subject matter that interests me as his work often depicts invented saints and never-told fables.

He invents the saints in the same way that I invent medals and ribbons for non-existing conflicts and he invents new or non-existing fables while I often draw inspiration from the real ones.


Candy for Sachiko | 2009
left: woodcut print on Rives BFK | edition of one | 7" x 32"
right: glass and oak | 11" x 36" x 6.5" (closed) | 22" x 36" x 6.5" (open)
He has a show opening this coming January at Northern Virginia Community College's Waddell Gallery in Sterling, VA and the reception is Friday, January 22, 6:30pm - 8:30pm and there's also a gallery talk on Wednesday, January 20, at noon.

Saints and Fables
Prints and Print-based Sculpture
January 11 - February 12, 2010
Waddell Art Gallery
Northern Virginia Community College
1000 Harry Flood Byrd Highway
Sterling, VA 20164

Gallery Talk: Wednesday, January 20, noon
Reception: Friday, January 22, 6:30pm - 8:30pm

Tapedude Update

Mark Jenkins on Flavorpill.

Empty wine glasses

Philippa on Gopnik:

Blake Gopnik began a series in this morning's Washington Post on his experiment with "extreme connoisseurship," which entails looking at "a tiny corner of one work. If the art is really good, there will be at least a morning's worth of looking in a few square inches of it." In his first foray, he visits The Phillips Collection to look at the wine glasses on the table at the center of that collection's most famous work, "Luncheon of the Boating Party," by Pierre-Auguste Renoir. Gopnik admits that, "It isn't how most of us look at pictures. It's not even how most critics or scholars get to look at art, most of the time. But give it a chance, and it's the best kind of looking there is."

Read the whole thing here.

I'll have to re-read the Gopnik piece, which at first reading just sounded like art jargon semantic kabuki to me. But a closed mind is just as bad, so I'll give it a try again. The WaPo readers' comments (as usual) are also precious!

Opportunity for Artists

Deadline: January 14, 2010

Searching for God at The Ohio State University at Marion. This exhibition focuses on the visual appearance of, the manifestations of, or the individual explorations of God. Works should address what is the visage of God? How do we search for God? What do we find? And what do these findings reveal? This exhibition is open to traditional and non-traditional systems of belief and also seek those beliefs that challenge the notion of God and religion.

All media considered. Submit work on a CD or DVD and include
1. 10-12 image slideshow in PowerPoint only, each slide labeled with number, artist, title, medium, date, and dimensions.
2. JPG files of each image, 1mb+.
3. For video, submit up to 3 videos as Quicktime files. 10 min max per video.
4. A statement explaining how your artwork relates to the concept of the show, 500 words max, and one-page CV.
5. image/video list.

Searching for God
Kuhn Fine Art Gallery
Attn: Sarah Weinstock
1465 Mount Vernon Ave.
Marion, OH 43302

614-292-5072. Email: weinstock.15@osu.edu

Opportunity for Artists

Deadline: March 5, 2010

The Visual Arts Committee at the University of Minnesota organizes nine solo, group, or theme-based exhibitions per year at the St. Paul Student Center's 520 sq. foot Larson Art Gallery. It also organizes four solo exhibitions at Coffman Memorial Union's Coffman Art Gallery.

To be considered: Please make sure to include all of the following: Note which Gallery you are applying for (Coffman or Larson). 3-5 slides of your artwork or digital images in jpeg format. Artists' statement and contact information. Self-addressed stamped envelope for return of images. Send proposals to:

Visual Arts Committee
University of Minnesota
Coffman Memorial Union RM 126
300 Washington Ave SE
Minneapolis, MN 55455