Thinking About Art

NoVa Gallery Roundup

UPDATE: Text has finally been added to this post. See below.

Checking in today with images from my visits of Northern Virginia galleries over the weekend. This is a lot of photos. I hope to not do this again, but in the meantime, enjoy! Text will follow later as usual.

Deja Vu @ Arlington Arts Center

Erik Sandberg

Erik Sandberg's painting stands out among a very weak crowd. Though semi-curated (meaning that all artists who submit get in but the curator selected from the submitted images which piece would be shown) the show was pretty bad. Regardless, small gems like this shine through all the muck.

John M. Adams

Adams' piece also stands out. In this piece it's clear that the artist is pursuing something serious. A small but powerful work, it occupies its space with great presence and rewards prolonged looking. Adams is interested is surface and painting for painting's sake. Each of his paintings have a personality that while subtle is always there. Adams also enjoyed the honor of having the first piece sold and the only sold piece as of the end of the opening night.

I would be wrong not to at least mention Richard Dana's drawing. Dana makes fantastic work and although it's not my favorite piece by him, it is strong. Unfortunately I did not capture an image of it.

Photo 2006 @ Ellipse Arts Center

The juried photo shows at the Ellipse always seem to disappoint. And they always highlight the challenge of photography: anyone can make an average photo but hardly anyone can make a great photo. There is a lot of average photography in this show. Works that I'm sure the photographer's mother thinks is nice but in the grand scheme of things is lacking big time. This show also suffers from inclusiveness. The juror seems to want to fill up every part of the wall that they sacrifice quality for quantity. I think this goes to show why I hardly recognize the names of any of the photographers. Why aren't better photographers submitting?

Anyway, the above image won the juror's top prize. Yes, it is as unexceptional as it appears.

This piece popped out to me as a really clean, spiffy study on architecture and somewhat about consumerism. The technical quality of the photo was exquisite and the presentation even better. Though I forget the artist's name, he/she should be commended for taking the work so seriously.

I loved this piece as well. It is a relatively large piece - maybe 30" x 30" - and gives a wonderful sensation of drowning...but a beautiful drowning. The water is purple and there a plants all around. It feels calm but like the calm before a storm. I'm not sure what technique was used here but it is well executed. Again, presentation was top-notch. This would have been my selection for best in show.

This piece was a conceptual masterpiece! Apparently the artist went to Hecht's home furnishing department and bought one of the decorative pictures with a gaudy frame and submitted it to an art show - and it got in. It's a comment on decorative art in Washington, DC. It addresses a common desire among rich Washington home owners to purchase art that goes above the couch.

Actually, I made all that up. I have no idea what the piece is about. But if someone made this has original art and framed it so hideously, then this is a perfect example of how not to present your contemporary photographs. It's just dreadful

Melissa Laitsch @ McLean Project for the Arts

Laitsch's works are fairly standard exploration in digitally manipulated photography. We see a lot of this today. While bright and cheery, on it's own it doesn't pack much of a whollop. My question to Laitsch would be, what do you feel you are adding to this dialogue? If nothing, what are you doing?

I'm a stickler for presentation and I was wowed by these frames. They are elegant and lush wooden frames. Sometimes I was more interested in the wood than the photograph. Kudos to her for going all the way for presentation.

Alyssa Salomon @ McLean Project for the Arts

Salomon's work can be a little bit of everything. From quirky collage to elegant cyanotypes, I very much enjoyed these works. Each one gave me something new to think about. It seems that Salomon is having fun with her work and at the same time making great objects. As good as it is, it's a shame it had to be followed by the "Casting a New Light" show. Salomon's work can stand up to a lot of things, but not this show.

Casting a New Light @ McLean Project for the Arts

I'm not going to comment much on this show. Suffice it to say I thought it was absolutely brilliant. It's an incredible look into alternative photographic processes, ones that I am in no way qualified to comment on. I had an awesome time viewing this show and I wholeheartedly recommend it to everyone. If you are a photographer, you must see this show. Follow this link to read a bit more about it.

The MPA is enjoying a fantastic set of shows right now and for photography lovers, it's like a candy factory. There may be hits and misses, but it shows what skilled photographers can do. I imagine that if Laitsch entered Ellipse's photo show she might have won the top prize!

I'd like to assign the artists in the Ellipse show a field trip to McLean's show. After spending an hour with the works I'd assign 30 minutes of contemplation about their own work versus what they just saw. I'm curious what the photographers would have to say then.

Artists Interview Artists: Anabela Jevtovic

Anabela Jevtovic, a Toronto based artist, participates in the Artists Interview Artists Project. Below Anabela responds to another artist's five questions (Eridanus Sellen from Sacramento, CA). In order to participate, Anabela had to provide me with five questions for some other artist to answer. The assigning of questions to artists is completely random. If you're an artist and interested in participating, let me know.

Fairy Tale
Mixed media on canvas
75cm x 55cm

1. How do you market your art work?

I don’t. At least I don’t do it in a way of today’s practice. I let word of mouth be my strongest advertisement. Obviously, I need a little help in that field.

2. Do you consider your art your career?

I would definitely call myself an artist. Not long time ago I considered this labeling quite egocentric, but now I understand that art is great part of my being. My main profession is interior design apart from the fine arts. So, definitely, art (whether applied or not) is my career as I can not picture myself doing anything else.

3. Do you ever find yourself making art for a buyers market or is it always for yourself?

I do respond to the buyers market, however, I do it in a manner of my own style. If it gets accepted, it’s great. If not, then I would never sign or make something just to sell. Sure, this path I choose is more difficult, but I have a strong belief in what I’m doing. I actually trust that every single individual is to choose own course. In other words, I never criticize the work people do to answer the buyers market (for which I believe in big percentage has nothing to do with art). Even when I design an interior, I would never accept a job that I suppose is going to be something I wouldn’t approve. For that reason I believe artists and designers exist. We are there to educate potential buyers to separate art from kitsch.

4. How do you feel when you hear someone critique your work?

I actually crave for criticism, but an honest one. Quite often I hear people say they like it, they think the painting or drawing, or whatever is good… and so on. That doesn’t help me! Mostly I ask for more detailed explanation of what they see. If there is something they feel towards my art, I then believe that I achieved something. Sure it hurts little when I hear bad criticism. Then, for a slight second I tend to believe my art is not appreciated enough, or the person criticizing has poor understanding of art. Anyhow, I always take it positively. I learn from critiques.

5. What is your favorite piece that you have created?

That is a hard question. Few years ago I had my favorite piece of work. It was a painting of a tree on silk. Now, I don’t see that image representing my style anymore. I mostly appreciate my drawings as I believe them being quite personal, therefore representing my artist personality. I go trough different periods where I like different things that I’ve done. But in all honesty, I adore the work I created being completely ‘naked’ to the world. Being honest with myself. And for me that is just the most difficult thing to do. Unfortunately, I can rarely dare to use those moments and present them.

The Looks
Mixed media on cardboard
82cm x 110cm

Previous Interviews:
Juno Doran (questions by James W. Bailey)
Josh Feldman (questions by Joseph Barbaccia)
Lisa Stephenson (questions by Whitney Lynn)
Joseph Barbaccia (questions by Josh Feldman)
James W. Bailey (questions by Matt Hollis)
Matt Hollis (questions by Juno Doran)
Carol Es (questions by James Leonard)
Alexandra Silverthorne (questions by Ami Lahoff)
Christine Buckton Tillman (questions by Carol Es)
Douglas Witmer (questions by Alexandra Silverthorne)
Sky Pape (questions by Douglas Witmer)
Whitney Lynn (questions by Lisa Stephenson)
Heather Levy (questions by Joanne Greenbaum)
Heather Lowe (questions by Samantha Wolov)
Samantha Wolov (questions by Heather Levy)
Timothy McClellan (questions by Heather Lowe)
James Leonard (questions by Sky Pape)
Joanne Greenbaum (questions by Timothy McClellan)
Richard Kooyman (questions by Robert Walton)
Candy Keegan (questions by Warren Craghead)
Robert Walton (questions by Candy Keegan)
John M. Adams (questions by Richard Kooyman)
Prescott Moore Lassman (questions by Mary Addison Hackett)
Mary Addison Hackett (questions by Prescott Moore Lassman)
Andrew Wodzianski (questions by Nathan Manuel & D.Billy)
Nathan Manuel & D.Billy (questions by Andrew Wodzianski)
Michael Janis (questions by Scott Listfield)
Scott Listfield (questions by Michael Janis)
F. Lennox Campello (questions by Sean Hennessy)
Matt Andrade (questions by Adrian Parsons)
Sean Hennessy (questions by F. Lennox Campello)
George Wayne (questions by Michelle McAuliffe)
Eridanus Sellen (questions by Anabela Jevtovic)

Artists Interview Artists: Eridanus Sellen

Eridanus Sellen, a Sacramento, CA based artist, participates in the Artists Interview Artists Project. Below Eridanus responds to another artist's five questions (Anabela Jevtovic from Toronto). In order to participate, Eridanus had to provide me with five questions for some other artist to answer. The assigning of questions to artists is completely random. If you're an artist and interested in participating, let me know.

1. In a real life, apart from working on your art, do you believe an artist senses are more defined then those of other people (for example, you are able to perceive more, you're more emotional, etc.)? If so, how do you take it? Is it a bad or a good thing? (in the context of a bad thing I mean that an artist could get a pile of these information and be burnt out)

Yes! As a child I was overly sensitive to others, their emotions, etc. As an adult, I have learned coping skills as all of us do, but still have that overwhelmed by my senses feeling - esp. when sick, tired, lonely - you know.

I was a drug addict for a large part of my childhood, grew up... on the streets for a long while. At 26 after many failed attempts I found a twelve step program that helped me deal with feeling "different than" emotions and have been clean 10 years now.

My heart FEELS at certain sites, I percieve beauty in rust stains, oil and water puddles creating rainbow like effects, water stains on a cement parking lot wall, the way the woman across the restaurant handles her wine glass with the tips of her fingers. I see a sunset, and see not only the beauty of the event, but where the shadow falls, where the moon is rising, and always wish I had my brush to paint it. Luckily, I have found a coping skill to deal with that as well, I travel with my camera at all times now.

2. Is there a philosophy (or any other brain activity that cannot be achieved without above average IQ) involved in a process of making art? In other words, can it be unconscious and is it an art then?

Everything we do is conscious and unconscious. Everything we see, do, and are, has already happened, already been done. We are walking a thin line thinking we are creating something new, something smart. History repeats, someone has been right where we have been before. I don't think we are infinetly wiser than others, but maybe that we percieve things differently, and that is of course, unconscious.

3. Do you believe that art should always provide a message to the rest of the world and if so, how much do you find yourself responsible for that?

I do not. Though I think those that create art to send a message are wonderful, and intriguing, and... well, thinking that what they have to say is the absolute and whole truth takes a lot of denial, don't you think? I do not want to have the kind of power it involves to have a message the whole world needs to hear. I have found myself creating a lot of womans rights, and a lot of religous statements into my collage works, and those, quite honestly, I have chosen to keep in my private collection.

4. Do you dream a dream of inventing something new in art? If you do, how do you plan to achieve your goal?

Again, history repeats. I DO however dream my paintings before I create a large portion of them. Those minutes where everything flies by from your day, when you first lay your head on the pillow in silence can say a lot if you lay silent and listen. I get images of colors, of lights, of scenes. I keep a notebook by my bed, and write them down when that happens as they are really fleeing flashes I would otherwise forget.

As far as Art goals, mine are simply to paint. To create. If it is new, so be it. If it is hated, so be it. If it is loved, then... great!

5. Is there such a thing as moral (ethics) in art?

Of course there is. Whether the morality is real, the ethic valued by some, is not shared by others. Does everyone have limits? Doubtful. But, that is something else to stand in awe of and take note.

Previous Interviews:
Juno Doran (questions by James W. Bailey)
Josh Feldman (questions by Joseph Barbaccia)
Lisa Stephenson (questions by Whitney Lynn)
Joseph Barbaccia (questions by Josh Feldman)
James W. Bailey (questions by Matt Hollis)
Matt Hollis (questions by Juno Doran)
Carol Es (questions by James Leonard)
Alexandra Silverthorne (questions by Ami Lahoff)
Christine Buckton Tillman (questions by Carol Es)
Douglas Witmer (questions by Alexandra Silverthorne)
Sky Pape (questions by Douglas Witmer)
Whitney Lynn (questions by Lisa Stephenson)
Heather Levy (questions by Joanne Greenbaum)
Heather Lowe (questions by Samantha Wolov)
Samantha Wolov (questions by Heather Levy)
Timothy McClellan (questions by Heather Lowe)
James Leonard (questions by Sky Pape)
Joanne Greenbaum (questions by Timothy McClellan)
Richard Kooyman (questions by Robert Walton)
Candy Keegan (questions by Warren Craghead)
Robert Walton (questions by Candy Keegan)
John M. Adams (questions by Richard Kooyman)
Prescott Moore Lassman (questions by Mary Addison Hackett)
Mary Addison Hackett (questions by Prescott Moore Lassman)
Andrew Wodzianski (questions by Nathan Manuel & D.Billy)
Nathan Manuel & D.Billy (questions by Andrew Wodzianski)
Michael Janis (questions by Scott Listfield)
Scott Listfield (questions by Michael Janis)
F. Lennox Campello (questions by Sean Hennessy)
Matt Andrade (questions by Adrian Parsons)
Sean Hennessy (questions by F. Lennox Campello)
George Wayne (questions by Michelle McAuliffe)

Do not adjust your monitor!

Inspired by the always evolving artblog.net (nice work Franklin!), today I decided to make a change around here. For about 18 months my blog has had the same design and it's about time for a change. As you can see, we have a new header, new background color, new link colors and new heading colors. I imagine it'll take some time to get accustomed to this change. It may evolve a little more as I tweak things here and there but I think it's good for now.

I welcome any and all feedback and suggestions. What do you think about the new digs?

UPDATE: Apparently some people are still seeing the old blue site. If you haven't already, try hitting refresh. I've tested the site on a few other computers and it is appearing. I don't know why it won't on some though, even after repeated refreshes. All I can say is keep coming back... it'll show up eventually I think.

7th St. Gallery Roundup - UPDATED

I've completed the 7th St. Gallery Roundup with the addition of commentary for each show. Either click here or scroll down to view it.

Artists Interview Artists: George Wayne

George Wayne, an Alexandria, VA based artist, participates in the Artists Interview Artists Project. Below George responds to another artist's five questions (Michelle McAuliffe from Washington, D.C.). In order to participate, George had to provide me with five questions for some other artist to answer. The assigning of questions to artists is completely random. If you're an artist and interested in participating, let me know.

Formation #8b
Digital photograph
2005

1. Which sense do you use the most as an artist?

Sight is the main sense that I use as an artist.

2. How long does it take for an idea to appear on paper?

Usually, an idea is realized immediately, once I put pencil/pen to paper or when I open up a graphics program and start creating lines and shapes.

3. What do you hope to get out of your work?

Professionally, I hope to find a larger audience who will appreciate and enjoy my work.

4. How do you find your influences?

My work is mainly inspired by Minimalist music, and I usually find my influences by accident when I discover new composers.

5. How do you nurture your creativity?

By thinking about and creating new artwork on a daily basis.

Untitled #1b
Digital rendering
2005

Previous Interviews:
Juno Doran (questions by James W. Bailey)
Josh Feldman (questions by Joseph Barbaccia)
Lisa Stephenson (questions by Whitney Lynn)
Joseph Barbaccia (questions by Josh Feldman)
James W. Bailey (questions by Matt Hollis)
Matt Hollis (questions by Juno Doran)
Carol Es (questions by James Leonard)
Alexandra Silverthorne (questions by Ami Lahoff)
Christine Buckton Tillman (questions by Carol Es)
Douglas Witmer (questions by Alexandra Silverthorne)
Sky Pape (questions by Douglas Witmer)
Whitney Lynn (questions by Lisa Stephenson)
Heather Levy (questions by Joanne Greenbaum)
Heather Lowe (questions by Samantha Wolov)
Samantha Wolov (questions by Heather Levy)
Timothy McClellan (questions by Heather Lowe)
James Leonard (questions by Sky Pape)
Joanne Greenbaum (questions by Timothy McClellan)
Richard Kooyman (questions by Robert Walton)
Candy Keegan (questions by Warren Craghead)
Robert Walton (questions by Candy Keegan)
John M. Adams (questions by Richard Kooyman)
Prescott Moore Lassman (questions by Mary Addison Hackett)
Mary Addison Hackett (questions by Prescott Moore Lassman)
Andrew Wodzianski (questions by Nathan Manuel & D.Billy)
Nathan Manuel & D.Billy (questions by Andrew Wodzianski)
Michael Janis (questions by Scott Listfield)
Scott Listfield (questions by Michael Janis)
F. Lennox Campello (questions by Sean Hennessy)
Matt Andrade (questions by Adrian Parsons)
Sean Hennessy (questions by F. Lennox Campello)

7th St. Gallery Roundup

UPDATE: I've completed the review. Scroll down to see the added text.

Below are images from three current shows in the 7th St. area. Reviews will be posted in a day or two.

David Shapiro @ Numark Gallery

David Shapiro's solo show at Numark Gallery is something to see. But, I'm not sure why it's something to see. Is it the artwork? Or is it the installation? When I saw the show on it's opening night, I was immediately impressed with how the space was transformed. I was overwhelmed with the feeling that the gallery had been tranformed into a pristine small museum. Everything looked perfect!

Shapiro's paintings and drawings impressed me mainly on one level. That is, Shapiro is very well versed in the art that he makes. It's beautiful work but not very exciting. The juxtaposition of the separate areas in each painting seems to be an attempt at introducing a sense of tension but in the end comes across as formulaic. I did not get the sense that the work was very expressive. Instead, Shapiro has created lovely art objects that won't fight you as a viewer now will they seduce you. Instead, they come across as meditative pictures. Soothing and unconfrontational.

The price list revealed that the pieces in the show are quite expensive. And that seems appropriate given the type of clientele I imagine would be interested in this art. I don't want to go down the road of discussing corporate art or above-the-couch art. But I do want to tell you that I don't want to go down that road, if that makes sense.

I had the chance to meet Shapiro at the opening and he was a nice enoug guy. To his credit, he knows that his work isn't what's "hot" right now. He lives in NYC and expressed to me that he feels lost in the current art world. Given that, you have to give him credit for sticking to it and demanding the prices that he does. Also, I should mention that his work seems a bit out of place in Numark. I found the opening reception to be very sparsely attended but this might have had more to do with the Sculpture Unbound show opening the same night. I'll say that I did enjoy seeing Shapiro's work and I found it to be well-crafted. However, his images are not something that will linger in my mind for very long.

Sculpture Unbound @ Pepco's Edison Place Gallery

Charlotte Andrew (this image was taken at the show, the following were not)

Andrew's sculptures are composed of knitted (I guess) plastic bags. Her organic shapes flow and dance as they droop down from the ceiling. The colors, limited by the bags that are available, are still interesting enough to hold the viewer's attention. Andrew forces this to be so by breaking the compisition with bolder colors. The bags are transformed into something more than they ever will be by themselves. I also enjoyed that ultimately Andrew has taken a useful bag and created another bag (upside down) that potentially could be leveraged by a giant. I haven't seen enough of her work to understand where it is going but I will be watching. Additionally, at $750 for such a large sculpture, I think that's a steal. This was my second favorite work in the show.

David Meyer

I firmly believe that David Meyer is one of the best artists in our area. His work is quickly a standout. It's beautiful and elegant, and it attracts a roomful of attention. This piece is composed of a white base and a top layer of flour. Yes, flour. Meyer presses into the flour a form that when lifted leaves a wonderfully pure relief. The creamy white is set off with these indentations of geometric forms. I think even if you didn't know it was flour, the work would still be successful. The fact that it is flour opens up another world for the work. One of fragility and impermanence. It's exquisite work, refrshing every time you see it.

Amanda Davies

I can't say much about Davies work except that it was very intriguing. The mass of people at the opening made it very difficult to view the work. But, my memory and the above image combined reinforces my earlier judgment . This piece immediately caught my eye. That's enough for me.

Vincent Donarski

Donarski's installation is another that immediately caught my attention. Though the final product is a striking image, what impressed me most was thinking of the process behind the work. The piece suggests that it was made by dragging a rock (I guess) through blue pigment. I can feel Donarski pulling the rock down the table. I can imagine him having to start over if he made some sort of mistake. I like the idea that everytime the piece is installed it's always a little different. It's a strong image.

Adam White

White's installation of ribbon (it looks like wood veneer to me) is full of motion and energy. It swoops down from the wall, into the viewer's environment and immediately back up the wall. It seems to want to play but we feel that the piece is too elegant and too fragile to touch. It occupies its space with dignity. At the same time, it doesn't really feel foreign. The material and the texture of the piece is familiar to us. Though we can't touch, we feel we know it. We feel we can relate to it.

As for the show overall, let me first make a disclaimer: I applied for it but was rejected. I honestly feel that a lot of the show is trash, literally and figuratively. Although, I can imagine every piece being in Sculpture Magazine (the juror is the editor of the magazine). When I was rejected I had a good idea of what I'd see in the show. I'm pleased to say I was right. I was surprised to see so much wood work in the show though and one even caught my eye. However, one wood piece was absolutely dreadful - I won't call that one out. Some work repulsed me and others triggered a yawn. If told that I had to juror a show of art that I felt was "cool" now this is the same show I would select. However, with all that said, it is an exciting show for our art scene and one worth seeing.

Assimilation Dissolution @ Flashpoint Gallery

The Flashpoint Web site states:

Assimilation/Dissolution is the result of an intensive collaboration between DC-based artists Jefferson Pinder, Christopher Hoeting and Jeffry Cudlin. Generated over the course of six months, this cycle of works forms an extended conversation on the issues of shifting geographic boundaries and community identities in Washington, DC. At once a creative experiment and critical conversation, the process began with each artist creating one piece inspired by the current real estate boom and related issues of gentrification in DC. Every two weeks, the artists would then trade completed artworks and craft new responses to one another's efforts. The 30 resulting paintings, videos and mixed-media collages each trace intersections and divergences among the artists’ individual perspectives on race, class, urban geography and cultural and artistic histories.

I'm going to be honest here. I ran into the gallery to pick up a new piece of art for my collection (more about that later) and was double parked, and therefore had only enough time to snap some pictures of the show. I find the concept, while not necessarily very original, to be quite intriguing. The outcome of this sort of collaboration is incredibly dynamic and engaging. It warrants enough time to fully consider each piece with knowledge of who the artist is and what pieces surround it. It's a show that unlike Shapiro at Numark requires effort on the part of the viewer to become involved. While the installation can at first seem chaotic and off-putting, really there's a distinct language present, one with a story to tell.

I found the works on display to be incredibly expressive. The artists did not hesitate to experiement with color and material and were the better for it. I think there are hits and misses as in all group shows but in the end I don't think that's the point. While the show will certainly be rewarding to viewers, I think it will prove to be more useful to the artists. Something tells me this was a fantastic opportunity to grow and learn from other artists.

Artists Interview Artists: Sean Hennessy

Sean Hennessy, a Washington, D.C. based artist, participates in the Artists Interview Artists Project. Below Sean responds to another artist's five questions (F. Lennox Campello from Washington, D.C.). In order to participate, Sean had to provide me with five questions for some other artist to answer. The assigning of questions to artists is completely random. If you're an artist and interested in participating, let me know.

The elixir of dreams
Mixed media
15” x 27”

1. In the 1968 Beatles song "Glass Onion", written by Lennon, and featured on the White Album, Lennon sings, "Here's another clue for you all, the walrus was Paul." What hidden clue about your artwork are you leaving behind for future generations to decipher?

I feel that to successfully pull off such a marketing/ creative feat of genius such as the “Paul is Dead” mystery, you’ve got to be huge. You have to have enough people that care about the esoteric aspects of your work for it to succeed. Currently, the people that would care about such a thing have my phone number and just call me, obliterating any kind of mystery buzz my arcane sense of novelty could muster.

Could the exhibition of Fine Art produce such a buzz? That’s more difficult I’d imagine, since fewer people see original art than listen to recorded music. I don’t believe it could happen until I start mass producing something, like a book or my work.

Still, marketing aside, my work is full of secrets and clues to aspects of my life. All the elements that I use; light bulbs, door, windows, gears, are clues into my life and come from certain instances that mark my growth. My work is a metaphor of my interpretations of living.

2. Would you rather have a really, really catastrophic review of your solo show or no review at all. Why?

A really catastrophic review. Hands down. You got to start up the conversation to have any kind of dialogue. Being panned is the worst thing. I think that most artists would agree with that. Getting your name out there, having people think that damn, they really ought to see this show that someone felt was important enough to rag on seems like a great amount of interest to me.

3. What big name artist has caused the most damage to the way the general public feels about contemporary art and why?

Marcel Duchamp was the most damaging to the way the public feels about contemporary art. I think that until Duchamp, art was by and large understandable to people who hadn’t studied it. While he was not a prolific artist, he changed the way other artists made work, and thought about work. He laid the foundation for conceptual art and a modern sense of content. He intellectualized the experiences of “seeing” art. While I appreciate his work and thoughts, I feel that it reversed a trend that had been growing in European Art since the mid 1800’s ( if not sooner) of making art more about everyday people, not just the rich and the royalty. I think the work and influence of Marcel Duchamp reinitiated an elitist divide that had slowly been disappearing.

4. What will the "Antique Road Show" of the year 2200 say about your work?

“Look at all these clues hidden in these Hennessey masterpieces!”

5. If you had a choice to buy an artist's original work (any artist) between two works, and you liked one better than the other, and the one that you liked better was not signed (and the other was signed), which one would you buy and why?

I usually don’t buy things unless I know where I’m putting it, unless it is art supplies or tools. So I would be faced really with the thought, ”Am I buying this as an investment, or is it going to actually go on my wall for me to look at everyday?” If I have a place for it and will display it, then it’ll be about the one I like better. If I just want a piece buy this certain artist but don’t have a place for it, then I’d want the signed one.

Worshippers of the invented sun
Mixed media
15” x 27”

Previous Interviews:
Juno Doran (questions by James W. Bailey)
Josh Feldman (questions by Joseph Barbaccia)
Lisa Stephenson (questions by Whitney Lynn)
Joseph Barbaccia (questions by Josh Feldman)
James W. Bailey (questions by Matt Hollis)
Matt Hollis (questions by Juno Doran)
Carol Es (questions by James Leonard)
Alexandra Silverthorne (questions by Ami Lahoff)
Christine Buckton Tillman (questions by Carol Es)
Douglas Witmer (questions by Alexandra Silverthorne)
Sky Pape (questions by Douglas Witmer)
Whitney Lynn (questions by Lisa Stephenson)
Heather Levy (questions by Joanne Greenbaum)
Heather Lowe (questions by Samantha Wolov)
Samantha Wolov (questions by Heather Levy)
Timothy McClellan (questions by Heather Lowe)
James Leonard (questions by Sky Pape)
Joanne Greenbaum (questions by Timothy McClellan)
Richard Kooyman (questions by Robert Walton)
Candy Keegan (questions by Warren Craghead)
Robert Walton (questions by Candy Keegan)
John M. Adams (questions by Richard Kooyman)
Prescott Moore Lassman (questions by Mary Addison Hackett)
Mary Addison Hackett (questions by Prescott Moore Lassman)
Andrew Wodzianski (questions by Nathan Manuel & D.Billy)
Nathan Manuel & D.Billy (questions by Andrew Wodzianski)
Michael Janis (questions by Scott Listfield)
Scott Listfield (questions by Michael Janis)
F. Lennox Campello (questions by Sean Hennessy)
Matt Andrade (questions by Adrian Parsons)

Misc.

Some quick-hit thoughts:

1) This morning DC Blogs wrote up a very nice acknowledgment of my Postsecret analysis. I'm glad readers have found that post to be useful.

2) Modern Art Notes discusses a soon-to-be-released film about Sally Mann. My tongue is wagging in anticipation of seeing that film. As an aside, the last time I spoke to Sally she told me that I should be excited about her upcoming solo show at Gagosian. I'm not sure when it will be but apparently she's working on another series of images that will continue to push the boundaries of her subject matter. She wouldn't disclose much to me but I think it will be fascinating.

3) Images for the upcoming WPA\C Auction Gala to be held at the Corcoran are posted online. Though oriented around a benefit, this show will prove to be a very strong showing of regional art. If you're looking for quick glimpse into what's being made in our area and what the chosen curators have found interesting, do not miss the show.

4) For those not familiar with the young jazz singer Jamie Cullum, you should really work to resolve that. His latest CD, Catching Tales, is extraordinary. He blends jazz, pop, hip hop and a raspy voice to create fantastic music. Based in London, he hasn't blown away the U.S. market (his first album sold 2 million copies, but only 400K in the U.S.). I highly recommend Catching Tales. It's the best complete album I've heard in a ling while. You can preview tracks on his Web site.

Drawings

Barbed
Ink on paper
6" x 6"
2006

For anyone interested, I've updated my Web site to display my best assortment of drawings. Go here to see them all in one place.