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Archive for January, 2009|Monthly archive page

sculptor carl wright pops in

In Uncategorized on January 31, 2009 at 5:57 pm

One of the things I love about Carl Wright is he’s always thinking.  A prolific source on Linked In, he is connecting wherever he goes.  Here’s an insight into a sculptor’s life and how Carl has been growing and working and challenging all around him.

Over the last 18 months I have been writing art related articles on my blog http://www.wsggallery.blogspot.com.  These articles include:  Visiting an artist studio, Buying artwork from a gallery, Hanging artwork, and On corporate artwork.  These articles will be found on the right hand side of the blog under Selected Art Posts.

 I thought one of these articles was particularly appropriate for you in your art consultant business.  The article is entitled:  How to Commission a Sculpture.  The article link is http://wsggallery.blogspot.com/2007/09/how-to-commission-custom-sculpture.html .  It is not very often that you will be selling sculpture but this article could be used as a handout to clients who were thinking of getting a custom sized or themed sculpture.  Feel free to use any of my articles as handouts, as long as I get credit as the author.

 New articles for this year include: Art Basics: Commission a Painting, Corporate Art: What purpose does it serve?, Home: Thinking about Exterior Sculpture, and Home: Installing a Painting.

 If there are any subjects that you would like covered in the art vein email me; I will be glad to look at them.  Have a great day and a wonderful weekend.



Carl Wright
WSG Gallery
330 Winchester Avenue
Martinsburg, WV  25401



Image Shown:  “Embrace” – Carl Wright – available through Bucks County Gallery.


an eye on ny's alan klotz gallery

In Uncategorized on January 31, 2009 at 5:42 pm

Alan Klotz has been showing some very beautiful and simple narrative photography and we’ve had our eye on them for some time.  See their most recent newsletter below.  

Alan Klotz Gallery

A Winter’s Bounty:
Recent Acquisitions

Harry Callahan  Chicago, 1950 

                           Harry Callahan  Chicago 1950


  January 22nd – March 7th 2009
As prices fall throughout the art market it is time for those who are perennially optimistic to pull out their checkbooks.  I am a dealer, therefore I am optimistic.  The gallery is currently displaying some of the treasures, recently acquired, while more timid souls wring their hands, or pay their mortgages.  As is my wont the current harvest is a mixed bag of 19th, 20th and 21st century gems. A partial list includes:
Carolyn Marks BLACKWOOD

Carleton WATKINS
Robert FRANK

W. Eugene SMITH
  Brett WESTON

            Joseph Sudek  The Coming of Autumn                                             Brassai   Bal Musette

Aaron Siskind  Acolman, Mexico 1955                                         Robert Frank  Welsh Miners, Caerau 1953


As you see, most works are vintage, but we are featuring a work by Carolyn Marks Blackwood our most recent contemporary “acquisition”.  We will be introducing her work at the AIPAD show, March 26-29. She is scheduled for a solo exhibition at the gallery in September.

                                              C.M. Blackwood  Ice #2

The entire show may be previewed on our website:

Choose Current Exhibition on the Home Page.
Gallery hours: Wednesday-Saturday noon to 6 pm or by appointment.

Alan Klotz Gallery                                            212 741 4764

511 West 25th Street # 701                info@klotzgallery.com
New York, NY10001


Alan Klotz Gallery | 511 W. 25th Street, Suite 701 | New York | NY | 10001

70 days sober from Coca-Cola and still addicted

In Uncategorized on January 31, 2009 at 5:36 pm

Today marks my 70th day cold-turkey sobriety from Coca-Cola and I can still whole-heartedly say I am VERY STRONGLY addicted (I figure I’ve been drinking it for 35 years).   Even the mention in today’s New York Times that Coca-Cola will be dropping “Classic” from their labels is enough to send me into a tailspin.  It is a conscious and daily choice.  Tomorrow, I start trying to give up all soda entirely.  


Wolf Vostell, Coca-Cola, 1961. De-collage, paper on Masonite 82 5/8 X 122 in. Museum Ludwig, Cologne. © 2008 Estate of Wolf Vostell / Artists Rights Society, New York / VG Bild-Kunst, Bonn. Photo ©Museum Ludwig, Cologne. 




join artdc.org in a 02/28/09 DC gallery tour

In Uncategorized on January 31, 2009 at 5:11 pm



It’s time to get out and expereince some DC culture.  We have some excellent galleries in this city.  The time will come soon, where we will all have to leave our studios and see what some other artists are doing!  First we will be visiting the opening at Irvine on February 28.  Details below.   We should plan to stop by a few other galleries in the area.  Then we’ll go out for some dinner to discuss art, artdc.org, and our lives in the city.  We did this once before at Thaitanic www.thaitanic.net …   Let’s keep the energy moving.  Reply only if you can make it!  

Let’s meet at Irvine at 6:30pm

If there are other openings that you’d like to attend earlier in the month, please do PM or email me.  We’re going to focus on going out to actually see some more art in person this year.  

Melissa Ichiuji: Lesser Madonnas
New Sculptures
February 28, 2009 – March 28, 2009
Opening Reception: Saturday, February 28, 6-8PM

outsider art fair: an intelligent review

In Uncategorized on January 31, 2009 at 5:07 pm

Still searching

I promised myself I’d pass on Manhattan’s Outsider Art Fair this year. After all, there was little more the venue could offer me, and my internal debate on the nature of art was getting old.  Apparently my feet disagreed, and as I left Penn Station I found myself once again transported to this affair of outsiders.

7-west-34th-streetThe 2009 fair was held at a new location:  7 West 34th Street, near the intersection of 34th Street and Fifth Avenue, opposite the Empire State Building. A far distance from SoHo’s Puck Building, the fair’s location for the past 16 years, in more than just geography. I missed the informal “Puck-ishness” of the Puck building, what Roberta Smith terms its “outsiderish rusticity.” The Puck Building exhibition space, cramped and ostensibly half-finished, the street outside lined with itinerant and wanna-be outsider artists, seemed just the thing.

The new location, just a few blocks from Penn Station, is on the 11th floor, past a service desk with uniformed staff pointing the way to the elevator. The exhibition space is carpeted, well lit, with roomy and hard-walled exhibition booths. The outsiders moving on up in the world.

Upon entering, a sign encourages visitors to check their coats, bags and satchels, all subject to inspection.  Explicit warnings forbid bringing “outside” art into the fair, that is to say unsanctioned outside art. There will be no works sold without dealer approval.  There are no artists lining the curb, selling their works in a gloriously informal trunk sale. Ross Brodar’s 24-foot rental truck, loaded up with paintings, is missing.  Now Brodar is found in Booth 27, Olof Art Gallery.


Outsider artist Ross Brodar

Where is outsider art positioned in today’s art world?  Does the new fair location imply that outsider artists are now insider artists, having entered the “circle of art,” and come in from the cold?

Art is a circle, You’re either in or out.  –Edouard Manet

Three years after my first visit to the fair I’m still debating the answers to these and other questions: What is the meaning and import of outsider art? What can be learned from the works of untrained artists?

Fortunately I was able to join up with Brooke Davis Anderson, director and curator ofThe Contemporary Center of the American Folk Art Museum, as she led a small group of visitors on a tour through the fair, speaking knowingly and passionately onHenry DargerEugene Von Bruenchenhein, and Martin Ramirez, all artists represented in the Museum’s permanent collection. First on the agenda: to define “outsider art.” Apparently the terminology itself has evolved over the past 60 years.  What was once called raw, visionary, intuitive, naive, marginal or outsider art, is now simply labeled “art created by untrained and self-taught artists”.

Beyond the issue of definition, Anderson painted a picture of outsider art that is very much part of the contemporary art world, art that shares many of the attributes of insider or mainstream art.  The value of outsider art is not derived from any inherent aesthetic value, to be valued for its workmanship or material.  Rather value can be attributed to a variety of non-aesthetic factors.  Foremost is the story or narrative that accompanies the artist.  Ramirez’s immigrant story includes residence in a mental institution.  Von Bruenchenhein’s dietary history includes consumption of buckets of fast food chicken. These stories add value to their creations.

Untitled Bone Chair (Pink and Green) by Eugene Von Bruenchenhein. Chicken bone, paint. 6 ½ x 4 x 4 inches. Hammer Gallery.

Untitled Bone Chair (Pink and Green) by Eugene Von Bruenchenhein. Chicken bone, paint. 6 ½ x 4 x 4 inches. Hammer Gallery.

Evidently the artistic medium and technology used do have some value. In an interesting aside, Anderson spoke admiringly of the skilled technique of artist Eugene Von Bruenchenhein, whose sculptures constructed out of painted chicken bones where held together not by wire, screw or glue, but by the paint itself. I couldn’t help but wonder if there was any virtue left in Von Bruenchenhein’s chicken & turkey bones that could be brought out with a liberal application of boiling water and vegetables.

More and more, art’s real value, whether insider or outsider, is in its ideas, its ability to convey originality of concept, and other undefinable qualities.  Or so the art world would have us believe.  To these factors I would add two more:

1. The affirmations of art world aficionados, the dealers, collectors, gallery owners and curators, that this is good art, and
2. The marketability and sale of the artwork.

Anderson moved with fluidity and easy familiarity through the fair, greeting with a smile and by name dealers and gallery owners, part of an intimate community of art world denizens brought together by the idea that outsider art is good art, that is has value to society. These cultural gatekeepers define value, controlling access to the market, granting success to artists like Brodar and failure to others through the application of measures of quality that are consensual even if often undefinable.

One measure of value is easily quantifiable: The marketability and sale of the artwork.  Consumers of outsider art, whether collectors, dealers, or museum curators, are willing to vote with their dollars that outsider art is indeed good art.

“Making money is art and working is art and good business is the best art.” –Andy Warhol

I’d like to believe that outsider art is not fashion art, the flavor of the moment, the current fad, championed by cynical producers and consumers to create a profit, to be discarded once the market fails.  But I’m not sure I can.  Von Bruenchenhein’s throne of bones is not in the same league as the art of Monet and Van Gogh, of Manship and Saint-Gaudens.  But it is art.  One must respect the creative energy the artist put into his work.  It just isn’t great art.  And that may have to be enough.

Article Source:  http://madsilence.wordpress.com/2009/01/26/still-searching/

gallery west 12th annual national juried show

In Uncategorized on January 31, 2009 at 5:03 pm

"Ghost Tree"

Gallery West presents 12th Annual National Juried Show

For Immediate Release

Contact: Gallery West
1213 King Street
Alexandria, Virginia
Gallery hours are Wednesday – Sunday, 11a.m. – 6 p.m

Gallery West presents 12th Annual National Juried Show

(Alexandria, Virginia)- Gallery West is pleased to announce the 12th Annual National Juried Show which will be on exhibit from February 4-March 1, 2009. A reception will be held on Saturday, February 7, 2009 from 4 – 7 pm. It will take place at Gallery West,1213 King Street in Alexandria, Virginia.

About Gallery West

Gallery West is “an artist’s cooperative gallery located in the West End of Old Town Alexandria, just across the Potomac from Washington, DC. Gallery West, founded in 1979, is owned and operated by Washington area artists of all media.” For more information visit http://www.gallery-west.info/about.htm

san diego's lowbrow art in pop surrealism

In Uncategorized on January 31, 2009 at 4:53 pm

Indepth Arts News:“LOWBROW ART: Nine San Diego Pop Surrealists” 
2009-01-25 until 2009-05-24 
Oceanside Museum of Art 
Oceanside, CA, USA United States of America 

Blurring the boundaries of high and low art, Oceanside Museum of Art brings the Lowbrow art of 9 San Diego artists into the museum with the upcoming exhibition LOWBROW ART: Nine San Diego Pop Surrealists. Referencing multiple dimensions of pop culture, this exhibit highlights alternative styles of expression that comment on the subculture of San Diego. The exhibition presents Mary Fleener, Scott Saw, Tim McCormick, Scrojo (Craig Haskett), Jason Sherry, Charles Glaubitz, Ron Wharton, Pamela Jaeger and Jen Trute. Each artist extols their narrative world of fantasy through a personal approach reflecting the regional underground culture. A preview reception introduces the exhibition on Saturday, January 24th from 5:00- 7:00 p.m. OMA’s receptions are known for their party atmosphere complete with wine and scrumptious hors d’oeuvres prepared by OMA’s own Culinary Arts Council. Admission to the reception is $8. Members of the museum enjoy complimentary admission as a benefit of membership. The exhibition will be on view through May 24, 2009.


Everyone who has watched cartoons, read a comic book, listened to rock music, watched horror movies, seen Elvis on black velvet or surfed has been in the throws of lowbrow counterculture. The roots of Lowbrow date back to California in the late 1950s with Ed (Big Daddy) Roth and Southern California hotrods, “kustom kars.” During the 1960s the underground comix of Zap, Robert Williams and R. Crumb added to the growing alternative art world. Continuing to gain in popularity this genre picked up influences from ‘60s TV sitcoms, psychedelic rock music, Japanese anime, pulp fiction, beatniks, graffiti and street culture. The Lowbrow “art movement” is associated with 1994; the year Lowbrow pioneer Robert Williams founded Juxtapose, a magazine devoted to subculture art.

This exhibition is sure to surprise and delight with a wide range of imagery from around San Diego. Scrojo has been making illustrative posters for the Belly Up Tavern in Solana Beach for years and created a special poster for the exhibition. Jen Trute brings the iconic Barbie back to life with a dark humorous twist in her detailed oil paintings. Mary Fleener references retro and psychedelic influences in her funky vibrant paintings. Tim McCormick, Pamela Yager and Charles Glaubitz, will mesmerize with their pop surreal narrative imagery that draws you in beyond the surface.

Jerry Waddle, co-curator with Michael Gross, will be giving a gallery talk on Thursday, February 26 from 7:00-9:00 p.m. at the museum. Jerry is the owner of Ducky Waddles Emporium, a book store, art gallery and center for cultural studies in Encinitas. The talk is free for OMA members as a benefit of membership and $5 for nonmembers.

Article Source:  http://www.absolutearts.com/artsnews/2009/01/26/35379.html

hamiltonian gallery opening reception 01/31/09

In Uncategorized on January 31, 2009 at 12:00 pm



Hamiltonian Gallery and Hamiltonian Artists are proud to announce the opening of their fourth exhibition featuring the work of Mark Cameron Boyd, Christian Benefiel and Leah Frankel. Using archetypal objects, commonly used in their own practices, each artist manipulates, strips, cleaves, shrouds and sheathes their source material into new forms yet diametrically preserves its essence.

In “Theories and Documents,” Mark Cameron Boyd paints his own sentences as the subjects of his visual works, and through this practice, Boyd investigates text as a language for painting. Boyd’s art making process is directly apprised from his teaching and reading of art theory texts. In Boyd’s latest series, “Documents and Theories,” he creates numerous 4 x 6” blackboard panels on which drawn notecards are copied verbatim from his teachings of contemporary art theory, then, bisected. Also included in this body of work are large interactive panels that engage the viewer to read, decipher and literally complete the meaning of the text.

Drawn to construction or demolition objects, such as welding rods and chain-saw chains, that distinctly carry an air of strength and power, yet are disposable, Christian Benefiel disunites these objects from their working ensemble and preserves them in iron or paper. The natural chemical processes that render these objects useless in the first place, have, in turn, preserved them from their destruction. In his mélange of sculptural works, Benefiel has constructed a bread market, although the bread is iron-casted. In this installation, Benefiel uses two universal staples of culture – bread and iron – and demonstrates that both commodities share the same qualities of market-driven consumption.

Leah Frankel deliberates over the functionality of language in this quickly amalgamating world. Employing hundreds of books written in many different languages, Frankel transforms these pages and shells of the books into a visual imagery that, in her eyes, is far more expressive than the bounds of language would ever allow. Ripping out page after page – releasing them from their “binds” – then manipulating them in wax, Frankel authors a new contextual environment of organic, repetitive forms that are born from the text that she now deems secondary.

For additional information please contact: 
Jacqueline Ionita
, Gallery Director 
Hamiltonian Gallery
1353 U Street, NW (14th and U Streets)
Washington, DC 2009
jackie at hamiltoniangallery.com


thoughts on drawing

In Uncategorized on January 31, 2009 at 7:00 am

Drawing is the art of being able to leave an accurate record of 
the experience of what one isn’t, of what one doesn’t know. A 
great drawer is either confirming beautifully what is commonplace
or probing authoritatively the unknown.
::: Brett Whiteley :::

hemphill's selections from the barnett-aden collection

In Uncategorized on January 30, 2009 at 5:01 pm


Bob Johnson Presents
Selections from the Barnett-Aden Collection:  
A Homecoming Celebration

Jeffrey Stewart, Curator
Professor and Chair, Department of Black Studies, 
University of California, Santa Barbara

January 31 – March 7, 2009

Opening Reception
Saturday, January 31
6:30 – 8:30pm

1515 14th Street, NW
Washington, DC 20005

Image Credit: John N. Robinson, Myself, n.d., oil on canvas mounted to paperboard, 17″ x 13″