Airborne again

Flying to San Diego.

Exhausted

After a really long day, marred by delays everywhere, finally arrived in Denver in the wee hours of the morning. I even accidentally checked the book that I was supposed to read on the flights.

More later...

Airborne today

Flying to Denver.

On the way there I will be reading Zorro by Isabel Allende.

Wanna go to an opening?

As part of the rekindling of the WPA/C, they have started an exhibition series called "Turning the Pages," which will exhibit artists from the WPA/C Artists' Directory.

The first installment features Edda Jakab, Christopher Saah and Nicolas F. Shi.

Curated by Ingrid Nuss and Ding Ren, The Turning the Page series will provide an opportunity to examine and explore more closely the work of select artists represented in the 2006 WPA\C Artist Directory.

When: Thursday, July 14, 7-9 PM

Where: Coldwell Banker - Dupont
1606 17th Street, NW
Washington, DC 20009

Exhibition hours: Mon-Fri 10am-6pm or by appointment (202) 387-6183

Wanna do a mural?

Deadline: September 1, 2005.

In fact the largest mural in Maryland!

The Baltimore Mural Program and Maryland General Hospital is seeking an artist or group of artists to design and execute the Maryland General Hospital mural: a 20,000 square-foot project, which will be the largest mural in Maryland.

Full RFP is posted here (click on "Arts" and then "Baltimore Mural Program").

For additional information, contact Ms. Randi Vega, BOPA Director of Cultural Affairs, at 410-752-8632 or rvega@promotionandarts.com.

Art Walk in Silver Spring

The fair Candy Keegan has a nice listing of today's Art Walk in Silver Spring.

Details here.

New England

Today was a spectacular New England day; the kind of day that makes one realize why they called this part of the nation New England. It looked, felt and smelled like the Home Counties, but prettier! (And I know, as I spent six weeks in Harrogate, England a few years ago).

Lectures and presentations and conferences went well; and I heard a question from a billionaire that I'd have thought would never be asked by someone in her tax bracket; she actually asked: "How much is that?"

Live and learn.

Next: Airborne from New Hampshire to Philly and Joneseying something fierce.

Gallery Round-up

Kirkland has a set of new gallery reviews here.

Chalk 4 Peace

"Chalk 4 Peace" - Chalk Painting Competition

The Mayor's Office on Asian Pacific Islander Affairs, the DC Commission for the Arts and Humanities and the Museum of Modern ARF are co-sponsoring a chalk painting competition at the Martin Luther King Jr. Memorial Library Promenade in Washington, DC on Friday, July 15, 2005 11:30 am - 4 pm.

More info here.

Wood

The "gun" fired by the punk in California that was heard around the art world and caused Chris Burden to freak out turns out to have been made of wood!

Read it here.

Burden, the shot and the whole event did inspire Bailey's I Shot Chris Burden online project.

Opportunity for Artists

Deadline July 31, 2005.

Afrika Midnight Asha Abney passes that there will be a community wide Art Exhibition at 21st & S St NW Washington, DC on 31 July. Free and Open to the public. Interested artists should contact Todd Smith at smitty11@gwu.edu.

In New England

After an incredible start this morning that ended up in me having to buy a new ticket... that story later.

But I am here after a brief stop in New York City.

New York from the air
New England is absolutely gorgeous! My friend Rich (who's from Boston) picked me up at the airport, and even he was commenting how gorgeous New Hampshire looks.

Airborne today

Heading north to New England. Re-reading Vonnegut's Breakfast of Champions on the flight there.

Don't forget, today is the is the Bethesda Artists Market, inside Bethesda Plaza and around our gallery. From 10 - 5PM. Details here.

Heading off

Tomorrow, Sunday July 10 is the Bethesda Artists Market, swing by and see 35 or 40 fine artists and craftsmen selling their work inside Bethesda Plaza and around our gallery. From 10 - 5PM. Details here.

I won't be there, as I am flying up North to New England for a while, and then to Colorado and finally to the Left Coast; I'll be back home by the end of July.

I'll continue to try to post from the road.

The Gallery

Last night we had a very large opening, although somehow all the sales took place today, although Saturdays are usually pretty quiet in Bethesda.

Seven

A couple of artists featured in Seven have emailed me and have found galleries interested in them! An unexpected benefit for them, but something that I knew was a possibility and thus why I asked my fellow gallerists to come and see the show, and why I dug deep into the WPA/C files for new names.

CNN will be doing a segment on Seven next week. I'll miss it as I will be somewhere out West, but Kim Ward from the WPA/C will represent! As soon as I have a viewing schedule, I'll pass it along.

Donations Needed

Artwork is needed to be donated for an online art auction to benefit the Whitman-Walker Clinic in DC, the leading provider of HIV/AIDS services in the DC metro area.

It's being forced to drastically reduce its services due to a shortage of funds. The Washington Blade's June 10th article has more details.

Artists who participate in the benefit to gain attention and promotion of their work through the auction and are listed in link to artists' own web pages. Email or call Basla Andolsun if you are interested or with questions. I intend to donate work and hope that some of you will do as well.

Mammaries

I've already heard good things about "Angst for the Mammaries," which opened yesterday at Touchstone Gallery, and where artists Candace Keegan, Adrienne Mills, Raymonde Van Santen, Amy Glengary Yang and Joyce Zipperer confront "growing angst over the artistic depiction of bare breasts in an era of diminishing personal freedom. Viewers are invited to explore and document their opinions on bare breasts in contemporary art and culture."

A discussion with the artists, moderated by Judy Jashinsky, will take place at 7 pm, on Friday, July 15, 2005.

Opportunity for Artists

1460 Wall Mountables

1460 Wall Mountables: DCAC's Annual Open Exhibit: July 29 - September 4, 2005.

DCAC Membership Benefit Opening: Friday, July 29th from 7-9 PM

Don't miss DCAC's annual fundraising event where you can show your art, sell your art, and compete with other artists to win $100! Buy your own 2' x 2' space or just come to the opening reception on July 29th. This is one of the best artists' opportunities in our city. Everytime that that I've done this show, I've sold all the work and had a great time in the process! Here's how it works:

· Each 2 ft. x 2 ft. space is only $10.
· DCAC members receive one free space.
· Become a DCAC member at the event and receive three free spaces for a total of four free spaces.
· Art must be 2 feet x 2 feet or smaller (spaces may not be combined.)
· All art must be wall mountable.
· $100 prize for the most interesting and innovative use of a 2' x 2' square.
· Artist may hang anytime Wednesday, Thursday or Friday, July 27, 28 between 2-7:00 PM and July 29 between 2 and 6.
· Spaces are available on a first come basis.
· Bring your own hanging tools.

Call 202/462-7833 for more information.

OPTIONS artists announced

Dr. Libby Lumpkin has selected the artists for the OPTIONS 2005 exhibition. Read the news release here.

The selected artists are listed below; I am familiar with a name or two, but do not know the work of any of them, except for Field's paintings in Strictly Painting V:

Bayo Abiodun
Judy Baumann
Jorge Benitez
Anne Benolken
Sheila Blake
Chad Caldwell
Kimberly Caputo
Tim DeVoe
Suzanna Fields
Lynn Galuzzo
Emily Hall
Lori Larusso
Ryan Mulligan
Mark Robarge
Lindsay Rogers
Amanda Sauer
Gary Thompson
George Tkbladze
Randy Toy
Susan Vaughan

Gallery Tales

A while back, at a very crowded opening in our Bethesda gallery, one of the persons in attendance was this huge man, dressed like Neo from the Matrix movies (all in black in some kind of Father Sarducci leather outfit). Long hair and a huge Satanic ornament around his neck-chain completed the costume, although with this dude, you could tell that he dressed like that normally.

Anyhoooo... As this Neo-wannabe is swishing around his huge six foot five frame in his leather skirts; drinking our Sangria from one end of the gallery to the other, he knocks down a small framed piece under glass.

It hits the floor, and because it's fairly small, the glass doesn't shatter. Neo-wannabe attempts to re-hang it as I approach him.

"That's OK," I say, "I'll take care of it," and as I re-hang it, I notice that the glass is chipped in one corner. No big deal, the art is OK, and after all, it was an accident. I wave off to the alarmed artist, who is on the other side of the gallery, but has noticed that her work was in harm's way.

Neo sees me notice the broken glass and says: "The glass was already broken."

I turn around, look up to his face, and say: "No sir, I framed these myself yesterday, and the glass was not broken, it just broke when it fell; that's OK we'll replace the glass."

Neo says: "No man, the glass was already broken."

I breathe deeply, trying to control the Brooklyn streets side of me. "The glass was not broken... all you had to say was 'I am sorry.'"

"No way!" says Neo, "the glass was already broken," and he starts to walk away.

I grab his leathered arm, and say to him: "Get out of my gallery."

He turns and looks at me a bit confused. "Get out of my gallery," I say again.

"Look man, OK, I am sorry," he mutters.

"Get out of my gallery," I say a little louder, and people are now nervously noticing the confrontation. He starts to walk away towards the door, as he gets by the front desk, he actually turns around and offers me his hand. "No hard feelings," he says.

Brooklyn is barely under control now, raging in my chest and scratching and itching to get out. Catriona Fraser, behind the desk, looks incredibly alarmed. "Please get out," I growl to Neo, "you don't know how close you are to an ass kicking."

He swishes out. I turn around to face our opening crowd of white-faced, silent art lovers, and try to find the place inside me to again try to sell some art.

Another day in the life of an art dealer.

Artists' Talk

Movies based on books -- not to mention plays, TV shows and even other movies -- are pretty common. Contemporary art exhibitions with literary roots are harder to find. Taking their inspiration from Jonathan Swift's 1726 satirical allegory "Travels Into Several Remote Nations of the World" (aka "Gulliver's Travels"), the artists' collaborative known as KIOSKdc is presenting "Traveling With Gulliver" at the D.C. Arts Center through July 24. The four artists, whose work involves installation, drawing, video and cartoon "chapters," will discuss the show and its themes on Sunday [July 10]at 3. Call 202-462-7833.

-- Michael O'Sullivan

For more info on District of Columbia Arts Center, visit their website.

Seven Pictures

The WPA/C website has loads of photos from Seven's opening.

See them here.

Openings tomorrow

Tomorrow is Bethesda's time to showcase their galleries, as it is time for the Bethesda Art Walk, with 17 participating galleries and art venues.

Galleries will host their openings from 6-9PM.

Free guided tours begin at 6:30pm. Attendees can meet their guide at the Bethesda Metro Center, located at the corner of Old Georgetown Road and Wisconsin Avenue. Attendees do not have to participate in tours to visit Art Walk galleries.

We will host our Summer Group show, with new work by gallery and invited artists.

Collector walk-through

I walked one of our best collectors through Seven today and he picked up three pieces from the exhibition.

These collector walk-throughs will continue throughout the exhibition; after all, Seven is supposed to be a fundraiser for the WPA/C.

CNN to cover Seven

CNN News will videotape coverage of Seven sometime next week.

Since it is (apparently) of national interest... perhaps the local papers can consider it of local interest as well?

48

Tonight, when I got home from a really nicely fierce day, I had 48 emails from people who wrote to me that they had submitted a question to Steve Reiss, Asst. editor of the Style section of the Washington Post.

Since he only patronized my question (as far as the visual arts anyway), I recommend that you email your question to Mr. Reiss directly, while info'ing his boss (Deb Heard) and the Post's Arts Editor: John Pancake.

Heard can be emailed here: heardd@washpost.com

Pancake can be emailed here: pancakej@washpost.com

Reiss can be emailed here: reisss@washpost.com

Patronizing

Few things make me madder than someone patronizing me. Here's the Assistant Style Section editor's answer to my question:

Question: By the time that one adds up commercial art galleries, non-profit art galleries, alternative art spaces, embassy galleries, and cultural art center galleries, there are over 100 new art shows every month in the Greater Washington, D.C. area, making it one of the largest and most active visual art scenes in the nation.

And yet the Style section has diminished its already dismal gallery art coverage to a twice a month schedule by Jessica Dawson. And The Post's Chief Art Critic (Blake Gopnik) focuses exclusively on museum shows, and does not review local art galleries. By comparison, his colleagues at the NY Times and LA Times (for example) review both museums and their cities' local galleries. The Arts Beat column also focuses on arts news events and rarely on local galleries.

What can the Style section do to improve local gallery coverage, say to the same (or even 50%) of the level as local theatre coverage (which is covered in Style on a nearly daily basis)?

Steve Reiss: I understand that no one likes to hear that their gallery show isn't going to get reviewed. But while we've got a lot of talented critics and reporters in the Style section (Thank you, Don Graham!), we don't have enough people or money to cover everything we would like to and we have to make choices. Some of those choices are based on quality, some are based on popularity, some are based on the interests of the individual critics. A while back, we reconfigured one of Jessica Dawson's monthly columns so it would feature a half-dozen galleries instead of just one or two. As for Blake Gopnik, he is a prolific writer and I find it hard to argue that we should be giving up reviews of major museum shows so he can write more about galleries that have a much smaller audience.

Now, do you see why this is a losing battle for our area's art galleries and our visual artists, when these sort of answers are being given?

By the way, the Jessica Dawson "reconfiguration" so that it would "feature a half-dozen galleries instead of just one or two:"

(a) predates Style reducing her coverage from weekly to twice-a-month, and

(b) I suspect was made by the WaPo following a suggestion that I discussed with their Arts Editor (a really nice guy and a very hardworking editor named John Pancake) when Ferd Protzman left the Galleries column... as a means to review more galleries.

WaPo site down

The WaPo website that takes the questions for Steve Reiss is down.

I suppose that you can try to email Mr. Reiss the questions here: reisss@washpost.com

URGENT!

Today, at noon, Steve Reiss, Asst. editor of the Style section of the Washington Post takes questions about arts coverage in the Washington Post.

This is an opportunity for those of us who have been concerned for years about the Style section dismal coverage of the visual arts, especially since the Galleries column went to a twice a month schedule, to ask Mr. Reiss as to why the Post does not cover the local visual arts to the same level as local theatre, music, performance, etc.

You can submit questions here. Please be intelligent and respectful.

Here is my question to Mr. Reiss:

By the time that one adds up commercial art galleries, non-profit art galleries, alternative art spaces, embassy galleries, and cultural art center galleries, there are over 100 new art shows every month in the Greater Washington, DC area, making it one of the largest and most active visual art scenes in the nation.

And yet the Style section has diminished its already dismal gallery art coverage to a twice a month schedule by Jessica Dawson. And the Post's Chief Art Critic (Blake Gopnik) focuses exclusively on museum shows, and does not review local art galleries. By comparison, his colleages at the NY Times and LA Times (for example) review both museums and their cities' local galleries. The Arts Beat column also focuses on arts news events and rarely on local galleries.

What can the Style section do to improve local gallery coverage, say to the same (or even 50%) of the level as local theatre coverage (which is covered in Style on a nearly daily basis)?

Devlin show in the news

Our current Andrew Devlin exhibition in Georgetown has received a couple of nice mentions in the press. Eliza Findlay writes here for The Connection newspapers, while Beverly Crawford writes here for the Times Community newspapers.

See the exhibition online here.

Wanna go to an opening?

Heather Levy opens at Cafe Luna tomorrow. The reception for Levy is from 7-9PM.

Cafe Luna is located @ 1633 P St., NW Washington, DC (202) 387-7400. The show runs until Aug. 6th, 2005

Inspiration

This next five city travel that I have commencing next Sunday will give me an opportunity to catch up on reading; with half a dozen flights involved, I can knock off at least six or seven books.

And I think that I will re-read one of my favorite books of all time: Gunter Grass' "The Flounder."

This will be my third or fourth reading of this fascinating book, which is sort of a macabre, dark re-telling of the story of the talking fish who grants wishes. It all begins in the Germanic Stone Age, when the magical, talking fish is caught by a fisherman at the very spot where millennia later Grass's home town, Danzig, will arise.

Like the fish, the fisherman is now immortal, and down through the ages they move together, as the fish teaches the fisherman art, and breaks him away from the power and dominance of Teutonic women. He then blends German history, cooking recipes and a healthy dose of darkness into a fascinating story, where at the end, so tired of the mess men have made of the world, the fish allows itself to be captured by three Socialist East German women, who promptly put him on public trial for offenses to womanhood.

This book, everytime that I read it, inspires artwork from me. Below is "Sieglinde Huntscha and The Flounder," circa 2000. About 5 x 20 inches, and somewhere in a private collection in Cleveland.

The Franz and Virginia Bader Fund

Deadline: September 30, 2005

The Franz and Virginia Bader Fund welcomes applications from visual artists aged 40 years or older, who live within 150 miles of Washington, D.C. and can demonstrate that they have the potential to benefit as artists from a grant.

The Franz and Virginia Bader Fund does not, however, accept applications from filmmakers, video artists, and performance artists. In December 2004 the Franz and Virginia Bader Fund awarded three grants, one of $20,000 and two of $15,000 each.

The deadline for applications is September 30, 2005. Application forms may be downloaded from the fund's web site: www.baderfund.org or may be requested by sending an email to grants@baderfund.org or by calling 202-288-4608.

Short (Busy) Week

I've got a hell of tight week for the next few days, as I am flying North to New England on Sunday afternoon and will be away for the next two weeks on a five city swing.

Bad timing for this trip, as I have some really fierce reasons to be home, but such is destiny.

In addition to my normal workload, because Catriona is in Scotland shooting (photos not deer), this week I have to deinstall the current Bethesda Painting Awards show, which ends tomorrow. The show did surprisingly well, with quite a few sales, especially multiple sales by transplanted New Yorker John Aquilino, who actually has a solo opening this coming Sunday at Strathmore. Then on Thursday I have to install the next Bethesda show, which is our annual Summer Group Show (opening is this coming Friday from 6-9PM).

I also got to prepare everything for the opening by the way...

Somewhere in there I got fit in meeting one of the major art collectors in the area, and give him a tour of Seven, as he's specifically interested in discovering some new work by our area artists, and I also have a deadline for the Crier newspapers, as well as a catalog intro essay deadline for an artist in New Orleans (the artist who won the huge Frida Kahlo exhibit that I juried for Art.com), picking up the fair Catriona from the airport as she returns from Scotland, and then deliver and install a ton of Tim Tate's recent sales.

And yet... one makes time for what's really important.

Close call

I have a "to do" list in my house closely approaching the size of a Stephen King novel, and so on Independence Day I decided to tackle a couple of the most immediate ones.

And thus I climbed the roof(s) to clean the gutters and install a gutter gard so I won't have to do this absolutely gross task every few weeks. Can you already see where this is going?

My house has three separate levels of roofs and five gutter lines, so I need one ladder to climb to the first roof, and a second ladder to reach the second level roof.

At the risk of blowing the ending to this story, let me remind you that I've already fallen off this roof once last year, when I was stung by a wasp and lost my balance and managed to fall and somehow not even get a scratch.

Yesterday, as I finished the top roof, and was climbing down to the lower roof, the ladder slipped, and as it did, my legs went in between the ladder steps as ladder and I rolled down the roof. I was able to stop rolling near the edge of the roof, but my lower legs sandwiched between the ladder steps received an immense pressure blow that really F%$&*@ hurt. I sat on the roof top just inhaling the pain and wondering how close death sometimes whizzes by us on a daily basis. Tonite my shin bones have a couple of blood knots on them the size of half a golf ball. I also managed to scrape the top layer of skin off the palm of my hands.

I've been shot at (twice: once in Brooklyn as a teen and once in Lebanon as a Navy officer); I've been in a helicopter crash at sea near Larnaca, Cyprus; I've capsized in a small boat in the Bay of Naples and a second time off Benidorm, Spain; I've fallen off a moving motorcycle in Monterey, California; I've been in a fight with three guys with knives who tried to mug me in a bathroom in Philadelphia; I've been hit by a car (resulting in an eight month stay at Kings County Hospital in Brooklyn); and I've been stung by a scorpion in a bed in Virgin Gorda, BVI.

And yet, it's the little, unexpected things like a slipping ladder, that remind you that life should be enjoyed everyday, lest darkness fall at the most unexpected time.

Kirkland on Seven

Thinking About Art has some really good photos from the Seven opening.

See them here.

New art blog

John Martin's Art in the City is a new art blog (new to me).

Visit often!

Shoot and Sue

Photographer Philip-Lorca diCorcia is being sued by subject over a long-distance street shot. Read it here.

And loads of interesting comments on the general subject at Your Future is Used.

Bailey... ehr... being Bailey

Congrats to James W. Bailey, whose photograph Man on a Crutch has been published in the current issue of 3rd Floor Magazine, a terrific art/literary publication out of Baltimore. And below Bailey with a guest piece:

"All Ya’ll Yankees Are Warmly Invited to Come on Down South Anytime and See Ya’ Kin and ‘Kindred Spirits’!"
By James W. Bailey

Well, if there were any doubts, rest assured that American culture is up to its ass in alligators now, according to two recent Washington Post articles, "Upscale Tastes Invade Wal-Mart’s Hometown," and "Durand’s ‘Kindred Spirits’ Debuts at National Gallery."

It seems as though little ole Bentonville, Arkansas, the womb of all commercial things trash de blanc, is shedding its redder than redneck-trailer-park-gigantic-satellite-disc-in-the-front-yard-next-to-the-broke-down-pick-up-truck-on-cinder-blocks flyover state reputation as a shopping paradise for NASCAR worshipping Southern Baptist families with 2.1 children and 3.9 Rottweilers in favor of a more impressionable tourist destination as being the Rodeo Drive of the South that caters to upscale diamond-drenched gold-laced hot-springs-spa-relaxed divinely cultured Southerners whose parrot-head mullet-topped men have jettisoned their Jimmy Buffett “Margaritaville” muscle shirts designed for Budweiser induced pot-bellies and whose pregnant-before-13 women have abandoned their starched buffon hairdos and glued-on painted fingernails of Christ on the Cross for the more elevated continental experiences of dining on foreign owned exotic chain restaurant cuisine, buying pimped-out Confederate-glory-themed painted Hummers and, this is the really funny one, perusing and collecting real art in a gin-u-wine brand new “Painter of Light ™” inspired art gallery district!

And what’s inspiring this radical post-TVA electricity modernized hillbilly make-over of a place in the middle of nowhere named Bentonville, Arkansas? It may be the favorite American artists and art-museum-for-American-artists-only-dream of an Arkansan billionaire woman named Alice Walton.

As we have for generations said in Mississippi: “Thank God for Arkansas!”

A lot of strange, weird and funny things have been known to happen in the incestuous isolated coves of the Ozarks, but nothing is funnier in the pretentious liberal world of New York City ivory tower high art than watching the painfully serious inside art players like Michael Kimmelmann of the New York Times spin in a mesmerized panic when they’re facing a cultural crises that involves the collapse of civilization – the fall of the American high art empire in this case being the chance that some of the meaningless jobs and puffed-up reputations of New York City’s finest art elites may have to be exported across the Mississippi River to the gravel dirt road hinterlands of the Razorback State; and, man, are the Artfanistas spinning like a bunch of psychotic tops now that Alice Walton has “stolen” their precious “Kindred Spirits” from right out under their noses as a seed for future planting in the fertile American museum gumbo moonshine soil of Bentonville.

How in the world did this “travesty” happen?

Well, many of us cutting-edge right wing conservative artists (I know, you’re snickering in a foul mood about that phrase because you didn’t know we existed, right? Well, don’t blame us for your ignorance. Try directing that dismayed anger toward ArtForum, Flash Art and Art in America for keeping you in the dark!) have been arguing for quite some time that the next pivotal art movement in the continued hemorrhaging of the cultural divide in America will be the unstoppable rise of the right wing conservative contemporary artist and their concomitant support through a intricate sympathetic web of mega-rich Republican personalities and conservative foundations far removed from the debauched east coast urban liberal cultural mecca of New York City – and not to gloat and rub it in your face, but with the recent wonderful announcement from the Walton Family Foundation that a treasured piece of American art is going to be moved to the founding hometown of Wal-Mart, we finally get to tell you we told you so!

For far too long right wing conservative artists have been virtually ignored, or worse, violently marginalized, by the postmodern art establishment whose ground zero is in Manhattan. We took our hits and we patiently waited for our moment and we studiously drew our inspiration for future success by watching a lot of reality themed television shows like the “Survivor” and listening to far too much AM talk radio. The right wing political and cultural punditry, as exemplified by such good folk as Bill O'Reilly, Rush Limbaugh, Sean Hannity, etc., showed us the righteous path to our glorious victory by demonstrating an amazing level of skill and success at the mass-media level of entertainment.

These people are funny as hell and they're truly entertaining. The left can ridicule them all they want, but we all know that the left WATCHES and LISTENS to them.

Of course, we were as well - and we were also taking great notes.

But the dirty little secret in the world of leftist high art, however, was that for a very long time nobody was watching or listening to the celebrated corral of the usual suspect leftist artists but leftists; and as far as note taking went, it was mostly confined to the shallow recording the pretensions of the vapid.

Some of us out there in the heartland have been predicting the ascendancy of a group of critically reviewed right wing artists that will literally blow the roof off the art world with some high energy C-5 explosive art and draw Americans by the tens of millions into a new cultural mainstream of right wing avant-garde art.

The future is now and forget about stupid rotting sharks in tanks, people!

The Museum of Modern Art will have to change its name, undertake another capital campaign and maybe increase its size by eighty fold this time to accommodate the wild Daytona Beach-spring-break-party-style crowds that will turn out to see great conservative works of art, such as an installation performance piece jointly sponsored by the NRA (National Rifle Association) and the PBR (Professional Bull Riders) in which Ted Nuggent blows the heads off live wild deer with a .357 Smith & Wesson revolver with a laser scope in the Red, White and Blue Gallery of the Neo-Right Wing Conservative Museum of No More Bullshit Postmodern Art for Americans Only!

Although New York City (because it let its liberal arrogance induce its failure to see the bright future of American artists who are registered voting Republicans taking the art world by storm) will continue in its rapid decline as being a hot bed for creative artistic energy, at least the red flyover state of Arkansas got the message about where art in America is destined to head and will soon be rivaling the Left Bank of Paris in the early 20th Century as the place for all real artists to be to be seen, heard and discovered.

Hopefully, the Walton Family Foundation sponsored Crystal Bridges Museum of American Art will stimulate the fast-track ascendancy of right wing conservative artists into the mainstream of high art experiences; and, prayerfully, that new movement will quickly force disgruntled burned-out visionless leftist artists into underground caverns located among those mysterious coves of the Ozarks where they and their incestuous sycophant postmodern cheerleaders will be compelled to rethink their projects and approaches – similar to what’s happening at the political level in this country right now with the Democratic party.

Eventually, these left wing artists and their obliging art philosophers might return to the real world with a new energy and commitment to engaging a wider spectrum of thought and to delivering it to an earned audience that doesn’t jump up and down in masturbatory celebration of every dumb thing they create – but, honestly, I wouldn’t hold my breath too long hoping for that to happen because the peculiar disease of postmodern leftism in contemporary American art is a terminal condition that devours the minds of its deconstructed creators, as well as ravages the pretentious pedantic thoughts of its hyper-ventilating critical promoters, reductive therapy obsessed approving critics and Xanax zoned-out head-bobbing spiritually zapped ritually depressed fans.

But in the meantime, as a rock solid born-again hard-core right wing conservative artist from Mississippi who’s been empowered by the Holy Spirit to see the aesthetic future light of America, and who’s also extremely jealous and somewhat begrudgingly proud of this aggressive aesthetic action by my déclassé Arkansas brothers and sisters in Christ, I want to let all ya’ll Yankees in New York City know that you’re warmly invited to come on down South anytime to see your kin and “Kindred Spirits”. I’ll have my kin folk in Arkansas leave the front porch light on for you in case you get into town late.

"How ya’ll been doin’, darlin’? Welcome to Wal-Mart’s Crystal Bridges Museum of American Art! Ya’ll don’t forget now to stop by our two-hundred thousand square foot gift shop on the way out."

"‘Mam, we’ve runnin’ a three for one special on ‘Kindred Spirit’ Martex bath towels that ends today! And sir, the Automotive Department of the gift shop just got in yesterday some of those brand new NASCAR Thomas Hart Benton signature series seat covers for the Ford F-350. And ya’ll are especially blessed to be with us this mornin’ ‘cause in just thirty minutes the Reverend Jerry Falwell, one of America’s leading Christian art critics, will be presentin’ a lecture in the St. Ronald Reagan Conference Room #1 entitled, 'Modern Art Paintings That Jesus Would Hate and the Devil Would Love'."

"And please remember in the South we usually close down early in the evening during week days and we’re open till 6:00 pm on Saturdays, so plan your trip accordingly; of course, we’re closed all day on the Lord’s Day, except for Wal-Mart."

James W. Bailey
Experimental Photographer

Early Seven Reports

Tracy Lee reports on Seven here.

And Alexandra Silverthorne has some Seven favorites.

And Amy Watson has some early observations here.

New Art Blog

Amy Watson has a new DC-based art Blog: The Artery.

Welcome to tbe Blogsphere and please visit The Artery often!

Art Walk

Where: Located between New York Avenue and H Street, NW at the former Convention Center Site.

The DC Commission on the Arts and Humanities is seeking 14 artists to take part in a thought provoking giant outdoor exhibit entitled Metamorphosis.

The goals of the Exhibit is to bring together 14 diverse individuals to create an unusual and stimulating exhibit that will draw the attention of residents and visitors to this new venue. This is part of the Arts Commission's new downtown public art initiative with the Washington Convention Center to develop an Art Walk for the former Convention Center site, through the DC Creates Public Art Program.

The debut exhibit will showcase the work of 14 artists with visual imagery created around the theme Metamorphosis. This can include but is not limited to artists who work with mixed media, 2-D, fiber, sculpture, glass, light, the written word, etc., and other materials and techniques, which can create texture and depth when transferred into a digital print. The artwork can be color or black & white. The artist's interpretation of the word Metamorphosis is the premise of the exhibition.

Landscape architects Rhodeside & Harwell, Incorporated and the engineering company of David Volkert & Associates have developed a pedestrian friendly parking facility design, which will transform the former Convention Center site into a fashionable place to park. The design incorporates large trees, colorful recycled glass, eco-friendly materials and an Art Walk, which features 14 display units each stretching 24 ft wide x 6'6" ft tall. Integrated lighting features will illuminate the work at night. The Art Walk will be located between New York Avenue and H Streets, NW creating a venue to showcase two and three-dimensional works of art and over the course of three years.

SELECTION PROCESS: A panel representing diverse interests and expertise will review your original digital image proposed and will recommend 14 artists to form the nucleus of the exhibition. The 14 selected images will be printed on to the exhibit panel size measuring 24 ft long x 6'6' high. The images must have the resolution capacity to be enlarged to that size.

Alexandra J MacMaster
Public Art Program Manager
The DC Commission on the Arts and Humanities
410 8th Street, NW 5th Floor
Washington, DC 20016
Direct (202) 724-5617
Fax (202) 727-4135
TDD (202) 727-3148

Non representational opportunity

If you are a non-representational, abstract or minimalist artist, read this.

Opportunity for Photographers

Deadline July 15, 2005.

W. Eugene Smith Grant in Humanistic Photography.

An annual grant of $30,000 is awarded to a photographer whose work follows the tradition of W. Eugene Smith's work as a photographic essayist. Contact:

W. Eugene Smith Memorial Fund
c/o International Center of Photography
1133 Avenue of the Americas
New York, NY 10036

Opportunity for Artists

Deadline July 11, 2005

All visual artists in the U.S. and abroad working in all media are invited to submit to Role Play: The Definition of Self in Society. Artists are encouraged to think broadly in responding to the theme.

The juror is my good friend JW Mahoney, who is an independent curator and Corresponding Editor for Art in America.

Cash awards up to $650. Submission fee: $25 for images of 3 works (slides or JPEG).

For prospectus, e-mail: targetgallery@torpedofactory.org or send SASE to:
Target Gallery
105 North Union Street
Alexandria, VA 22314
703/838-4565.

Bethesda Artist Market Returns

Next Sunday, July 10, from 10am-5pm, the Bethesda Artist Market returns to Bethesda Place Plaza, 7700 Wisconsin Ave, Bethesda (one block from the Bethesda Metro stop). The event features artwork and fine crafts for sale by nearly 30 regional and local artists working in painting, photography, jewelry, turned wood, blown glass, metalwork and mixed media.

Details here.

Opportunity for Artists

The Maryland State Arts Council's Individual Artist Awards Program is now administered by the Mid Atlantic Arts Foundation. The deadline for applications is July 28. For an application, visit www.midatlanticarts.org or e-mail/call Rebecca Scollan at Rebecca@midatlanticarts.org (or call her at 410-539-6656 ext. 101).

Funding Opportunity

The Carl M.Freeman Foundation launches third Annual Major Grants Cycle.

The Carl M. Freeman Foundation (CMFF) has announced its third annual cycle of major grants; a minimum of $250,000 will be awarded. For the first time, the Foundation has created a $100,000 "Opportunity Grant" to help a past beneficiary expand its work in a significant way with a one-time gift.

In addition, all non-profit groups are eligible for other Major Grants awards. For this program, organizations should submit a simple, two-page preliminary application for the Foundation's consideration by August 1st at 5 p.m. The Board of Trustees will review the preliminary applications and request full applications from semi-finalists in September. Grant recipients will be announced in December. Non-profit organizations interested in applying for grants will find guidelines, deadlines, and the applications online at www.freemanfoundation.org. CMFF donates over one million dollars each year, primarily in Montgomery County, MD and Sussex County, DE.

Withdrawn

As posted here, on June 28, Sen. Tom Coburn withdrew from consideration his floor amendment to the Interior Appropriations bill which would have cut FY 2006 funding for the National Endowment for the Arts (NEA) and National Endowment for the Humanities (NEH) by $5 million each.

It became clear to Sen. Coburn that his amendment had little support for passage, in large part because of the outcry from thousands of art advocates. Assuming the Senate passes its version of the bill, as is expected, both houses will then convene a conference committee the week of July 11 to craft a final bill, reconciling any differences between their separate versions.

DC Art News favors the House version, because it contains a higher funding level for the NEA, and also because it would fully fund the NEA's Challenge America program, which primarily supports arts programs in underserved areas. Therefore, we encourage you to contact your Senators and Representatives and urge them to support the House-approved level of $131.3 million, including full funding for Challenge America, during the House-Senate conference.

Contact your elected representatives here.

Me at Seven opening, courtesy of Adrienne Mills.

Breedloves... and Seven opening photos


Those of you who attended the huge opening of Seven last Thursday at the Warehouse, know that one of the highlights of the opening was the magnificent voice of Hisham Breedlove, who delighted the crowd with not only his painted body, but also with his magnificent voice.

Hisham walked around the seven galleries that make up the show, singing a variety of opera solos; and he was spectacular!

Adrienne Mills recorded the Breedlove's transformation in this series of photographs from the opening of Seven. See them here.

More photos from the opening below (all courtesy Adrienne Mills):

Breedloves talking with Seven co-curator Sandra Fernandez

Philip Barlow and Vivian Lassman

Breedloves with Rebecca Cross in front of her work

Hisham with Andrew Wodzianski and friend