Monday, March 06, 2017

Jarrett Gregory is Newest Addition to Hirshhorn Curatorial Team

Jarrett Gregory Photo - byJonathan Urban
The Hirshhorn Museum and Sculpture Garden announces the appointment of Jarrett Gregory as curator as of Monday, March 6. Serving under the leadership of Hirshhorn Director Melissa Chiu and Chief Curator Stéphane Aquin, Gregory will be responsible for the development of the museum's contemporary international collection as well as a rotating schedule of exhibitions, commissions and special programs.

"We are very pleased to welcome Jarrett as the Hirshhorn's newest curator," said Chiu. "Jarrett has organized exhibitions of some of the most consequential international artists working today, including Pierre Huyghe and Stephen Prina, and we look forward to the experience and expertise she will bring to the Hirshhorn as the national museum of contemporary art."

"This is an exciting moment for the Hirshhorn," said Aquin. "As the fourth curator to join the museum in the past two years, Jarrett will contribute to a diverse and dynamic group of individuals, all of whom play an integral role in shaping the cultural conversation in Washington, D.C. and beyond."

Gregory most recently served as Associate Curator of Contemporary Art at the Los Angeles County Museum of Art (LACMA), where she oversaw LACMA's iteration of Pierre Hyughe's retrospective, awarded the Best Monographic Exhibition Nationally by the International Association of Art Critics (AICA). Previously, Gregory held curatorial positions at the New Museum of Contemporary Art, New York, and the Whitney Museum of American Art, New York, working on exhibitions of work by Lawrence Weiner, Urs Fisher and Dorothy Iannone. This year, Gregory curated the Focus section of the 2017 Armory show.

Gregory sits on advisory board for the Lusanga International Research Centre for Art and Economic Inequality (LIRCAEI) in Lusanga, Democratic Republic of the Congo, as well as on the advisory council for The Gogova Foundation and Artist Residency in Baku, Azerbaijan. Additionally, Gregory has guest lectured for USC and UCLA's MFA programs.

Ellyn on The Hill Rag



American Gentrifiers by Dana Ellyn
American Gentrifiers by Dana Ellyn
26"x30"
oil on canvas
$1000
DMV artist Dana Ellyn's painting, "American Gentrifiers", is on the March cover of the Hill Rag newspaper. The original painting is currently on exhibit (and still available!) at the HillCenter which has an opening reception this Wednesday March 8th 6-8pm.

Wanna meet the artists?
Before the show (from 4:30-6), you can find the artists at Mr. Henry's (601 Pennsylvania Ave SE) – join them for a few drinks.

Sunday, March 05, 2017

United/Divided at Photoworks


UNITED/DIVIDED
A JURIED PHOTOGRAPHY EXHIBITION
JUROR
Robert Miller
Deputy Director of Photography
The Washington Post
 
EXHIBITION DATES
March 3 - April 2, 2017
 
RECEPTION | GALLERY TALK
Saturday, March 11, 5-7PM

 

Image by Tom Mullins
PhotoworksGallery, located in Historic Glen Echo Park, is proud to present United/Divided, a juried exhibition of photography. As an art institution showcasing photographers in the Washington Metropolitan Area, Photoworks is in a unique position to initiate a visual dialog that explores the connections and divisions that currently exist in our nation, and in our nation's capitol.
Robert Miller, Deputy Director of Photography at The Washington Post, serves as the juror for the exhibition.
Miller's journalistic focus is on the news and news images.
He is currently covering the new administration, and for the last eighteen months covered the presidential campaign, as well as national enterprise for The Washington Post.
The exhibition features 23 local photographers, who artistically and effectively document the twin themes of unity and division.

EXHIBITING ARTISTS


Richard Batch

Cristina Frey

Bob Friedman

Gina Genis

Ernesto Giron

Ari Golub

Natalie Fay Green

Susan Green

David Heagy

Michael Jourdan

Chip Kahn

Bridget Murray Law

Geoff Livingston

Josh Marks

Kathryn Mohrman

Tom Mullins

Victoria Pickering

Sarah Hood Salomon

Steven Steury

Chris Suspect

Gayle Rothschild

Ginger Werz-Petricka

John J. Young


PHOTOWORKS GALLERY
Gallery Hours: Saturdays 1-4PM and Sundays 1-8PM
(and anytime a photography class is underway)
7300 MacArthur Boulevard, Glen Echo, MD

Saturday, March 04, 2017

A collection of bad things...

Bad things galleries do to artistsUnethical galleries will take in a piece of artwork by an artist, and when the price is discussed, the gallery says: "What's the price?" and the artist says: "$1000" The gallery nods OK and the artist leaves, knowing that if sold, he'll get $500 (most commercial galleries charge 50% commission -- in NYC some are as high as 70%). The gallery then sells the piece, but for $2,000, sends the artist a check for $500 and pockets the extra $1,000. That is why artists should insist on having a contract with a gallery, and the contract must specifically address that the artist will get 50% of the actual sale price.

Bad things artists to do galleries

A reputable gallery gives an artist a show, and goes through all the various expenses associated with doing so (rent, electricity, staff salaries, publicity, ads, post cards, opening reception catering, etc.) So far the gallery has put forth a considerable investment in presenting the artist's works. An interested novice collector meets the artist at the opening and expresses interest (to the artist) in buying some of his artwork. The artist, wishing to stiff the gallery for their commission says: "See me after the show and I'll sell it to you directly and save myself the gallery commission." This is not only unethical, but it's also guaranteed to ruin the artist's reputation in the city, as these things always come out in the wash, and soon no gallery will exhibit any work by this artist.



More Bad Things Artists do to GalleriesThis actually happened to a gallery in Georgetown, in Washington, DC in the 1990s:

Back when there were eight galleries in Canal Square, one of the galleries had given a show to a local -- at the time "hot" artist -- who was a painter (I say "was" because I haven't heard of the dude in years).

The artist was supposed to deliver and help hang all the paintings on a Wednesday, in order to be ready for the Georgetown third Friday openings. He did show up on Wednesday with about 50% of the work, and brought some more (freshly finished) on Thursday and to the gallerist's horror, even brought some more on Friday, and even as the show was opening at 6PM, was adding the last painting touches to several of the works.

Needless to say, several of the oils were actually wet when people starting showing up. On opening night, it was crowded, and someone apparently rubbed against one of the paintings and smeared some of the oil paint.

Now the gallerist was faced with a very irate person, demanding that his suit be cleaned (it eventually had to be replaced) and with a furious artist, demanding that the gallery pay him in full for the damaged painting.

If I am to believe the gallerist, the case actually went to court, where the judge threw it out.

More Bad Things Galleries do to Artists

This has happened to artists several times in my memories, both in the US and in Europe:

Artist and gallery owner agree to do a show of the artist's work. The gallery, like many all over the world, also has a side business as a framing shop, and tells the artist that they will take care of the framing.

The artist agrees on a handshake, and never asks for a contract, or costs, assuming that the gallerist knows what he is doing.

On opening night the artist shows up and is not too keen about the framing, but it's too late for any real discussions, as people are beginning to show up. Several pieces are sold, and the artist is very happy with the opening.

At the end of the show, the artist gets a letter in the mail from the gallery. Excited to see the payment for the sold work, the artist opens the envelope and finds a framing bill.

The bill details the cost of the framing, substracts from that amount the artist's commission from the sold work, and bills the artist for the remaining amount, as framing is very expensive.

Anger follows...

More bad things that (a) galleries do to artists or (b) artists do to galleries or (c) galleries do to collectors
here, and here and here.


Bad things galleries do to art collectors...

Our area, like most major metropolitan areas, is peppered with stores that have the word "gallery" in their business name, but are very much far removed from what one would consider a true art gallery.

You will always find them in high traffic areas; main thoroughfare streets where "real" galleries could never afford the rent. You also often find them in malls.

I am speaking of the places that sell mass produced decorative works, either by
Kinkade wannabes, Spanish-surnamed painters and worse still, the following scam:

Some of Picasso's children inherited many of the plates used by Picasso to create his etchings. Since them, some of those plates have been printed ad nauseam by the current owners, and are sold around the world as Picasso prints.

And then, to make matters worse, some of the plates are signed "Picasso" by his offspring owner, who is (of course) technically also surnamed Picasso.

The sales pitch, which is not technically illegal, but certainly unethical, goes something like this:

"This is a real Picasso etching, printed from the original plate and it is signed."

Note that they never state who signed the print.

Hapless buyer purchases the print for a pretty good chunk of change, takes it home and brags to his friends about his signed Picasso.

This will be a hell of a mess for the
Antiques Road Show experts to detangle in a couple of hundred years.

And don't even get me started on the
great Dali art fraud.

Friday, March 03, 2017

Opportunity for DMV high school sophomores, juniors and seniors


The Friends of The Yellow Barn Studio & Gallery's



18th Annual High School Student Art Exhibition



March 18 and 19, 2017



Saturday, 12 to 5PM and Sunday, 12 to 5PM



Reception Sunday, March 19 from 4:00 – 5:00pm

The Friends of the Yellow Barn Studio and Gallery is sponsoring an art competition for all high school sophomores, juniors and seniors from Montgomery County, Maryland, Northern Virginia, and Washington DC. Click here for an application form.

The Friends of the Yellow Barn, with support from Plaza Artist Materials, will award a First Prize of $500, second prize of $250, and Third prize of $150. $25 gift certificates will also be awarded to the other 37 works selected for the exhibition. Selecting the work this year will be Lenny Campello, outstanding artist and arts promoter for the DC, Maryland, and Virginia area. Award ceremony and judge’s comments take place Sunday, March 19th from 4:00 – 5:00pm.

The Friends of the Yellow Barn is also pleased to recognize three Outstanding Teachers with a monetary prize of $250. This is our third year of enabling high school students to nominate and award their high school art teachers with a monetary prize of their own. Three outstanding art teachers will be acknowledged the night of the reception for their year round hard work in cultivating and inspiring young minds.

DC Gallery Show Opportunity

Deadline: March 15, 2017.

Foundry Gallery in Washington, DC will host a guest solo exhibit for the month of August 2017. This call is open to artists residing in the US working in 2-D media. Proposals by both individuals and groups will be considered.

 

Thursday, March 02, 2017

Chris Shea at Strathmore Opens Tonight

DMV artist Chris Shea is easily one of the great masters of the almost arcane art of metalworking...


His work is included in a new exhibition focusing on contemporary craft and design at Strathmore. Along with several pieces on loan from a major private collection, this will be the first public showing of his recent collaborative project with ceramic artist Sarah Nikitopolous


Opening: Thursday, March 2
7pm - 9pm

THE MANSION AT STRATHMORE
10701 Rockville Pike
North Bethesda, MD 20852-3224

Amy Lin opens in NYC tonight!


Wednesday, March 01, 2017

The interesting story of my American flag

The American flag that I sometimes hang outside my house has a most interesting story. As you can see below, it is a gold-fringed flag, which we used to call "a Navy flag" back in the days, because of who knows why... when I was an Executive Officer at the Naval Security Group Activity Skaggs Island, California in the 1990s, I was told that it was because it represented the ability to execute/hold a Captain's Mast.

But I meander away from the history of this flag... my flag.


In 1983 I was the OZ Division Officer for USS Virginia (CGN-38), and the ship was assigned Naval Gunfire Fire Support (NGFS) patrol off the coast of Beirut, Lebanon, in support of the US Marines ashore in Beirut as part of the Multi-National Peacekeeping Force.



We would routinely fly ashore for meetings, etc., and one day I will scan and show you a description that I put on my journal (in pre-blog days) many years ago where I described one such meeting and the interesting event that happened, with 50 cal bullets flying all over the place. Below is a picture of me, ashore in Beirut with the USMC.


From HistoryNet:
At 6:22 on Sunday morning Oct. 23, 1983, a 19-ton yellow Mercedes stake-bed truck entered a public parking lot at the heart of Beirut International Airport. The lot was adjacent to the headquarters of the U.S. 8th Marine Regiment’s 1st Battalion, where some 350 American soldiers lay asleep in a four-story concrete aviation administration building that had been successively occupied by various combatants in the ongoing Lebanese Civil War. Battalion Landing Team 1/8 was the ground element of the 1,800-man 24th Marine Amphibious Unit (MAU), which had deployed to Lebanon a year earlier as part of a multinational peacekeeping force also comprising French, Italian and British troops. Its mission was to facilitate the withdrawal of foreign fighters from Lebanon and help restore the sovereignty of its government at a time when sectarian violence had riven the Mediterranean nation.
... Marine sentries initially paid little attention to the Mercedes truck. Heavy vehicles were a common sight at the airport, and in fact the BLT was expecting one that day with a water delivery. The truck circled the parking lot, then picked up speed as it traveled parallel to a line of concertina wire protecting the south end of the Marine compound. Suddenly, the vehicle veered left, plowed through the 5-foot-high wire barrier and rumbled between two guard posts.
By then it was obvious the driver of the truck—a bearded man with black hair—had hostile intentions, but there was no way to stop him. The Marines were operating under peacetime rules of engagement, and their weapons were not loaded. Lance Corporal Eddie DiFranco, manning the sentry post on the driver’s side of the truck, soon guessed the driver’s horrifying purpose. “He looked right at me…smiled, that’s it,” DiFranco later recalled. “Soon as I saw [the truck] over here, I knew what was going to happen.” By the time he managed to slap a magazine into his M16 and chamber a round, the truck had roared through an open vehicle gate, rumbled past a long steel pipe barrier, threaded between two other pipes and was closing on the BLT barracks.
Sergeant of the guard Stephen Russell was alone at his sandbag-and-plywood post at the front of the building but facing inside. Hearing a revving engine, he turned to see the Mercedes truck barreling straight toward him. He instinctively bolted through the lobby toward the building’s rear entrance, repeatedly yelling, “Hit the deck! Hit the deck!” It was futile gesture, given that nearly everyone was still asleep. As Russell dashed out the rear entrance, he looked over his shoulder and saw the truck slam through his post, smash through the entrance and come to a halt in the midst of the lobby. After an ominous pause of a second or two, the truck erupted in a massive explosion—so powerful that it lifted the building in the air, shearing off its steel-reinforced concrete support columns (each 15 feet in circumference) and collapsing the structure. Crushed to death within the resulting mountain of rubble were 241 U.S. military personnel—220 Marines, 18 Navy sailors and three Army soldiers. More than 100 others were injured. It was worst single-day death toll for the Marines since the World War II Battle of Iwo Jima.
Aboard USS Virginia, the ship's crew went into action, and within minutes our helo was airborne, carrying our ship's doctor and his Navy corpsmen to help with the wounded Marines. Minutes later the helo came back, looking for people and equipment to help assist with digging out the people from the collapsed building. Because my division was the only one that had an Arabic linguist, they came to us to see if he (Sgt. Bobby Jack Irvin, an amazing linguist and as far as I know the only Marine ever to qualify for the Enlisted Surface Warfare pin) could go ashore to help facilitate our doctor's mission, as he had radio'd that several Lebanese doctors had already come up to help him, and he might need language help.


Irvin and I had been ashore the day before (that's him in the photo a few paragraphs above - Irvin is to my left and to my right is Warrant Officer Carnes), but because of our shipboard mission, I felt that he could really help more by staying on the ship and doing what he did best.

Later on, they asked for volunteers to help ashore, and together with some other crew members, we headed to Beirut - other than Irvin, I was the only person on the ship who routinely flew back and forth between Beirut and the ship, and thus I wanted to ensure that I was part of the volunteer crew.
When we arrived at the airport, it was essentially controlled chaos, and dozens of bodies were already being tended to, and our ship's helo - along with others - began taking the wounded to a hospital in Sidon. There were also plenty of black body bags already filled.

With our doctor frenetically working to triage the wounded Marines, and since most Lebanese doctors actually spoke English, after donating blood, I left the medical area and began to help with the digging operations.

This story is not about that part, which was brutal and heart-breaking. This story is about the flag that I found in the rubble.

My American flag.

At the time, it seemed like a natural thing to "rescue" it from the rubble. I brought it back to the ship, where it flew often, as our mission shifted from routine patrol to Naval Gunfire Support (NGFS). When I left the ship, it was given to me, along with a ship's plaque. When I retired from the Navy two decades ago, I used it as my retirement flag and it was presented to me again, after flying over the Capitol - I never put it in a shadow box, as is the custom, but kept it flying every once in a while, as a flag deserves to do.
Last Saturday, when I hung it outside, it dawned on me that the history of this flag should merit some notice, and thus now I'm going to reach out to the Navy and/or the USMC to see if they are interested in receiving it back.

Tuesday, February 28, 2017

Time to apply for the Trawick Prize!

It’s time to apply to the 2017 Trawick Prize: Bethesda Contemporary Art Awards!


Entries are due 4/7/17


 
The jury will select up to 10 finalists for a group exhibition in Bethesda in September 2017. The Best in Show winner will receive $10,000.
 
Applicants must be 18 years of age or older and permanent, full-time residents of Maryland, Virginia or Washington, D.C. All original 2-D and 3-D fine art including painting, drawing, photography, sculpture, fiber art, digital, mixed media and video will be accepted.

The Art of Legacy Exhibit

The Art of Legacy Exhibit, in the historic former space of the Georgetown Theater 1351 Wisconsin Ave NW, Washington, DC.


Sponsored by Marsha Ralls Founder & CEO of Closed Monday Productions LLC along with architect Robert Bell.


Cocktail reception Thursday, March 9 from 6 and 8 PM. Hours are 12 noon until 5 PM or by appointment March 9th- March 19, 2017.
See 
https://www.facebook.com/events/1050411408417740/ for more info.


How do you mend a broken heart by Barbara Januszkiewicz -Acrylic on metal panel with resin, 42x44



Closed Monday Productions LLC presents the Art of Legacy exhibition at the newly renovated Old Georgetown Theater, a former silent movie house from the 1900s.The exhibition features Washington DC artists, John Blee, Barbara Januszkiewicz, Anne Marchard, and photographers Tom Wolff, Marissa White and Matt Leedham. 

The Pop up exhibition will be on view from March 9-19, 2017. An opening reception will be held on Thursday, March 9, 2017, from 6-8 pm at the newly renovated space located at 1351 Wisconsin Avenue NW in Washington DC, Georgetown.
“I’m delighted to welcome spring with these iconic DC artists and photographers, and share their work in this historic space that has been lovingly restored,” says Martha Ralls, “It’s a perfect meeting of historic DC with artists whose work reflects the very nature of the city.” Ralls, the curator and CEO of Closed Monday Productions, worked closely with architect Richard Bell to create a showcase for some of her favorite artists.
Closed Monday Productions LLC was established in 2014 as a private art dealership. CEO Marsha Ralls was the former owner of the Ralls Collection Inc. an art advisory group that expanded in 1991 with the opening of a gallery bearing the same name. The gallery specialized in contemporary painting, photography, prints, and sculpture.

Monday, February 27, 2017

39 years of Zenith Gallery!




39 Years: Rejuvenate with Art, Accent on the Positive, Let’s Celebrate!



March 17 – April 29, 2017  

1429 Iris St., NW, Washington, DC 20012



Opening Receptions to meet the Artists:

Friday March 17th 4-8pm, Saturday March 18, 2-6  

&
Closing Reception: Saturday April 29, 2-5 pm



Featuring: Kim Abraham, Jan Paul Acton, Doba Afolabi, Mason Archie, David Bacharach,   Andrea Barnes, Bert Beirne, Caroline Benchetrit, Harmon Biddle, Binder, Francesca Britton, James Butler, Lenny Campello, Eric Elhenberger, Katie Dell-Kaufman, Renee DuRocher, Elissa Farrow-Savos, Richard Fitzhugh, Robert Freeman, Carol Gellner-Levin, Cassandra Gillens, Julie & Ken Girardini, Margery Goldberg, Carolyn Goodridge, Stephen Hansen, Len Harris, Chris Hayman, Philip Hazard, Tony Henson, Frank Holmes, Marcie Wolf & David Hubbard, Hubert Jackson, Robert Jackson, Gloria Kirk, Joan Konkel, Michael Madzo, Chris Malone, Paul Martin Wolff, Donna McCullough, Hadrian Mendoza, Davis Morton, Carol Newmyer, Ibou N’Daiye, Tom Noll, Keith Norval,  Katharine Owens, Larry Ringgold, Preston Sampson, Gavin Sewell, Sica, Ellen Sinel, Bradley Stevens,  Jennifer Wagner,  Curtis Woody, Joyce Zipperer and many more!


For almost 4 decades Zenith Gallery has been a pillar in the DC arts community. We attribute our success to our ability to transform with the ever-changing times by combining our longstanding commitment to unique artworks with our personalized, high quality customer service.  Commitment to celebrating the creative spirit of our artists is the core value at the heart of Zenith Gallery. As Owner and celebrated artist, Margery Goldberg, is fond of saying, “With billions of people on the planet, for someone to come up with an original idea and execute it in an original way is what has kept me in business all these years.”
Starting in its humble Rhode Island Avenue location, Ms. Goldberg established one of DC’s first artist studio complexes, expanding from her woodworking shop and expanding to painters, sculptors, and artists who work in the widest variety of medium, along with The Dance Exchange and Studio Theater. All this lead to the 14th St. Arts Corridor.  The gallery then moved to 7th Street helping turn downtown into the newest art district in Washington back in the mid 80” s.  Our present-day location in Shepherd Park, which has been featured on WRC/NBC news Fox, News Channel 8, Washington Post, and many more continues to pay homage to well-known and emerging DC artists, as well as artists from far reaching corners of country and globe.  Zenith’s vast and unique collection and layout gives our visitors a more comprehensive idea of the scope of our mission, rather than the traditional white walls galleries giving both the Gallery experience in our onsight gallery and the feeling of a salon gallery throughout the home. This also includes two sculpture gardens front and rear, one in a down emptied swimming pool.   
The gallery’s collection ranges in size from monumental sculpture to one-of-a-kind pieces works. Paintings, sculpture, fine crafts, mixed media has also helped cement our reputation. Whether you are new to collecting art or a long-time buyer, we are sure to inspire the art lover you. We can confidently say that our collection is unlike anything you have seen before!

Zenith Gallery est. 1978
Celebrating 39 Years in the Nation’s Capital 
1429 Iris St., NW, Washington DC 20012-1409 
202-783-2963
 art@zenithgallery.com

Sunday, February 26, 2017

Artomatic registration opens today!



It is with great excitement that I am honored to announce that Artomatic 2017 Registration is opening today, Sunday February 26, at 8:00 p.m. So get ready and get prepared to take part in one of the most anticipated arts event in town! 

All you have to do is go to their website at artomatic.org beginning 8:00 p.m. Sunday and you can follow the prompts guiding you through the registration process. 

The site selection process for visual artists will begin on March 4th based on the registration sign up order. The fee for visual artist is $140.00. Performing arts and film fees range from $15 to $25.

Remember, EVERYONE is welcome to join AOM. Visual artists, sculptors, musicians, dancers, filmmakers, poets, flame eaters - no matter what the discipline of creative arts you are passionate about, they have a space for you at Artomatic. 

So don't wait, tell everyone, spread the news and make sure you are standing by to sign up for an exhilarating Artomatic 2017 event.

There is easy access to Artomatic with the Crystal City METRO Station, Yellow and Blue lines, as well as plenty of parking and bus stops nearby.
LOCATION:
1800 South Bell St
Arlington,VA