artPark

Trawick Prize winners

I reported earlier about this year’s Trawick Prize and its Charlottesville connections: Former 2nd Street Gallery director, Leah Stoddard, was one of the three jurors, and Cville’s fantabulous artist Warren Craghead was one of the 14 finalists.

Yesterday the winners were announced. Maggie Michael from Washington, D.C. was awarded "Best in Show" with $10,000; Dan Steinhilber of Washington, D.C. was named second place and was given $2,000; Bernhard Hildebrandt of Baltimore, MD was bestowed third place and received $1,000; and the "Young Artist" award of $1,000 was given to Ryan Browning of Mount Airy, MD. Congrats to all.

The 14 finalists’ work is currently exhibited at the Heineman Myers Gallery in Bethesda, MD. The show looks terrific.  Get a sampling of everyone’s art here.

“Repossession” by ROBIN BLACKSHIRE

Nobody likes the repo-man… unless of course Mother Nature is doing the repo. That’s exactly what photographer Robin Blackshire has captured: the natural cycle of manufactured goods being reclaimed by the earth and its elements. In her series exhibited at Migration, Robin uses recollections of her childhood environment in her digitally enhanced photographs. The "junked cars and trucks" that her father frequently brought home and stored in the family’s backyard offered her a plethora of lighting and composition possibilities. The color of the automobile paint and the wear of the metal were always developing, as were the natural elements surrounding the abandoned vehicles. And, the varied effects of the sun’s rays on any given day made a walk through her own backyard an artist’s dream.

Aside from showing the interaction of decay and growth, Robin’s photographs exploit the color of the automobiles using innovative digital scanning technology. The transparent film that Robin uses and the process of oil mount drum scanning allows her to give detailed, individual enhancements to each of her photographs. Slight adjustments to the tones of the hues in the digital files allow each image to become a color study of the original, improve the overall image of each photo, and give a cohesion to the entire series.

 

Robin got her start in photography by chewing bubble gum. As an eleven year old girl she saw an ad on a bubble gum wrapper that said if you saved fifty gum wrappers you could earn a camera. So she chewed gum like crazy until she had enough wrappers to get that camera. She took it everywhere with her, and her love affair with photography began.

Robin earned her BFA in Photography and minor in Graphic Design at Shepherd College in Shepherdstown, West Virginia. Robin’s vibrant photographs have been displayed in such high traffic areas as the windows of Tiffany’s in Philadelphia, PA, and Tyson’s Corner, VA. This is Robin’s first solo gallery exhibition.

Migration will celebrate the opening of "Repossession" with an artist attended reception this Friday starting at 5:30pm. Please join us and meet one of Central Virginia’s newest photography stars.

Alex Nyerges

Laura and I received a special visit yesterday at Migration. While in Charlottesville for a meeting at Monticello, Alex Nyerges, the Director of the Virginia Museum of Fine Arts, and his lovely wife, Kathryn, took time from their day’s schedule to tour the gallery.

For those who don’t know, Alex Nyerges has been the director of the VMFA since August 2006. He took the reigns from Michael Brand after Dr. Brand left Richmond to direct the J. Paul Getty Museum in Los Angeles (nice step up). With the director’s position, Alex inherited the current 165,000 square-foot expansion of the Museum scheduled to be completed by the end of 2009. This was the first time either Laura or I had met Alex.

In addition to being impeccably dressed, Alex displayed an abundance of grace, good manners, a wealth of knowledge, and, most importantly, a sharp eye for contemporary art. It was a pleasure getting his frank feedback on many of the artists we are currently exhibiting. In particular, he pointed out the beautiful content and design of Alan Dehmer’s gum bichromate printed photographs, the instinctual eye of Robin Blackshire, the subtle beauty of Bill Emory’s black and white photos, and Craig Meacham’s natural artistic and story-telling style.

What really caught Laura and me off guard was how both Alex and Kathryn talked about their frequent visits to the gallery scene in Richmond and in their travels around the country. Throughout my career in the arts, I have known many museum administrators and plenty of directors. As I look back, it surprises me how few of these museum professionals actually spend time in the art trenches (i.e. studios and galleries). Alex clearly has a love of the arts and supports it on every level from the bottom to the very top. Nice.

The Commonwealth of Virginia is fortunate to have Alex Nyerges as its leading steward of the visual arts. He is championing the VMFA into the future with a forward sighted vision and profound respect for the art and history it carries with it. Laura and I are eagerly awaiting the grand opening of the VMFA expansion… and the many parties associated with it.

Pricing Art (part 3)

We’ve devoted the previous 2 posts to the subject of pricing art and the theories behind art pricing. Discussing the numerous and varied concepts is a little like nailing jello to the wall... Not so easy. But, to boil it down, I would say this:

For Artists: Price your work as (reasonably) low as you can for as long as you can.

For Buyers: If you love it and can afford it, buy it.

At Migration: Laura and I have long believed that if someone loves a particular piece of art we will do all we can to make sure they own it and have it in their lives.

Pricing Art (part 2)

Our summer intern, Katie Jenkins, was presented with the question of how art is priced. After talking about it with us, she did a little research of her own. Here’s what she has to say on the subject of pricing art:

 

A few recent comments about the pricing of many of the clay pieces currently at Migration, including a question from a gallery visitor regarding the "value" of one of Steve Mitchell’s ferric chloride pots, made me consider the undoubted flexibility of the art market. (The client wanted to know why the work, at $425, was so inexpensive and whether it would increase in price.) Laura came to my aid, loaning me Talking Prices: Symbolic Meaning of Prices on the Market for Contemporary Art by Olav Velthuis (2005, Princeton University Press) a book loaned to her by one of Migration’s artists, Randall Stoltzfus. (If you don’t have time to read the book, the extensive notes and tables are pretty interesting by themselves.)

After reading the ethnography, I got a strong sense that the art market is not a true capitalistic environment generally associated with the word "market" due to its ambivalence about the process of assigning value to its products. The ambivalence comes naturally from the fact the art dealers are part of the capitalist structure by necessity and part of our cultural life by choice. (With chapters titled "Exchanging Meaning", "Promoters versus Parasites" among others, you quickly begin to understand the strange and rarefied world inhabited by the art market.)

So then, how should we attempt to understand why the art market simply cannot function as a normal market does, especially when it comes to pricing?

I believe that the answer might lie in the symbolism within the art world. Everyone can interpret the symbolism within art itself, but there are also clues to the larger art world found in the way that people communicate within the market. There is significantly less explicit discussion about the dealing of the art than about the art itself. Velthuis’ observed a basic dichotomy in every gallery he entered that embodies the communication within the art world. The architecture of galleries- art in the front and business in the back- is the perfect example of how the art world operates. While the visual design of galleries generally emulates museums- crisp white walls, solid floors, and the art- the business operations of the gallery are all hidden. The complex intricacies of a billion dollar industry therefore are represented by a minimalist design, making it look "easy." There is as much artifice in the art market as there is art – and without it, people are suspicious. Straight dealing is perplexing.

But art does not just communicate visually, and neither does the market. The verbal communication between artists, their gallery representatives, and their clients is another symbol of how the art market operates. The poetic language used to describe any piece of art is often transferred into the methods of describing prices, sales, and business relationships so that numbers, ratios and other data on value are rarely discussed in economic terms. The stories told by the gallery owners that Velthuis interviewed used words like "humble" and "seductive" to describe certain prices of artworks.

As for advertising art, gallery owners wisely let the piece of art be the primary marketing tool for the gallery, receptions and the artist - just as they should let the art work explain its own value. Other dealers let factors outside of the individual piece symbolize its market value, especially who made it (the fame of the artist), who has it (a prominent collector or gallery), or who wants it (auction prices or museum acquisitions). These references unfortunately can have more of an impact on the value of a piece than the quality of the art itself.

Velthuis describes the art market as being a "communication market" as much as an art market and a "dense fabric of mutual gifts and favors"; and I think most people would agree. Regular quid pro quo transactions and numerous discounts to acquaintances encourage the flexible market. This equally beneficial relationship between buyers and sellers definitely is exclusive to the art market.

This brought to mind an exhibit I saw in NYC last fall: a series of photographs of gallery desks. You saw the occasional decorative flower on the counter, guest book, or even the top of the gallery attendant’s head, but other than that, every single image was pure white. While the artist Andy Freeberg described his exhibit "Sentry" as an attempt to examine the question "are we setting up barriers to the simple eye-to-eye contact that affirms our humanity", I think it is also relevant to the representation of the market within the galleries that supports a system that ultimately allows individuals to interpret and set a unique value to art, ideally with limited interference. While you can attempt to set a price of a piece of art based on the costs of production, the size of the piece, or the quantity produced, the real value undoubtedly lies in the essence of the art.

I think the best example of correct pricing methods was mentioned on page 136 of Talking Prices. When asked why he had priced one artist’s work lower than the expected $4,000 tag, one gallery owner claimed "it (the artwork) does not want that price yet".

Pricing Art: Through the Looking Glass and Down the Rabbit Hole

(Laura’s note: Rob should probably be writing on this since he gave a talk on pricing art at a symposium for craft artists a few months ago, but I thought I’d give him a break from the heavy lifting.)

In the process of doing research prior to opening Migration, I talked with a very respected, long-time gallery owner in my hometown of Chapel Hill. He has since moved his gallery to Durham. Go here for a virtual tour of the new and spectacular gallery. Joe has been a gallery owner and art dealer for almost 40 years. I asked him many questions during the three hours he generously allotted for our meeting. The advice that was most sticky was this: "Tell your artists to price as low as they can as long as they can." Now, Joe represents many artists whose works approach and exceed $20,000, which may not seem low, but that was not his entire point. His point was that it’s good to start low at the beginning of your career and finish high. He and I have no problem explaining a low price to a client; it’s much harder, especially in a small market like Charlottesville or Durham, to explain a high price, especially for an artist with a short resume.

Pricing art and craft is tricky. Some craft artists price by the square or cubic inch. Some painters price their work depending on how much they like it. [Insert sound of shuddering.]

As a gallery owner and art buyer, I like prices to make sense. Sometimes they make sense because an artist is famous (Damien Hirst internationally or Dean Dass locally). Sometimes they make sense because the work is simply spectacular and obviously technically difficult and time consuming (Joachim Knill). Sometimes they make sense because of value for size ("Hey, I can get an original work of art to hang over my sofa for about the same price as my sofa. Cool!")

But often prices baffle the uninitiated buyer. In an attempt to de-baffle the pricing of contemporary art, I had our wonderful intern, Katie Jenkins, think about this issue and read an interesting book on the subject, Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art, by Olav Velthuis, published in 2005 by Princeton University Press.

The book promises to address "How do dealers price contemporary art in a world where objective criteria seem absent?" Velthius attempts to answer this question from a sociological perspective. I would argue that objective criteria are not always absent, but that’s just quibbling.

I would sum up my advice on buying art this way: If you like it and can afford it, buy it. My advice to artists would be the same as Joe’s. Unless you have the larger art world contacts to "make it work" (as Tim Gunn would say), don’t bother with pricing a work higher that the price you want for it just so people will think it’s valuable. Those aren’t long term customers anyway.

Stay tuned for part 2.

Are you a DaVinci or a Velvet Elvis?

Over the past couple of weeks, I paid attention to those individuals and groups who are in a position to promote the visual arts in Charlottesville and decided whether or not they are actively making this town the "cultural and creative capital of Central Virginia" like it says it is. I named people either a DaVinci or a Velvet Elvis based on their performance. Congratulations to the DaVincis. And here’s to hoping the Velvet Elvises start doing a better job.  The winners and losers are:

    DaVinci – Beryl Solla, Elizabeth Breeden, Rob Tarbell, Maggie Guggenheimer, Dave Simpson

    Velvet Elvis – University of Virginia Art Museum, Charlottesville City Council, Pinkie and cvilleMUSE

So, as I bring this ceremony to an end, I ask… Do you brag about how much art there is in Charlottesville? Do you believe you live in one of the coolest, grooviest, hippest and artsiest towns in the country? Do you consider yourself an arts supporter? A fan of the visual arts? Does your participation in the local art scene include more than gallery hopping the first Friday of each month and drinking free wine and eating free cheese? What have you done lately in support of Charlottesville’s visual arts? In other words… Are you a DaVinci or a Velvet Elvis?

It takes more than just saying Charlottesville is the "cultural and creative capital of Central Virginia" for it to be true. It takes action from a wide range of people and groups. From some we expect it, and from others it surprises us. Ultimately, I hope we all understand that for Charlottesville to be a true "arts town," it takes a lot more than just calling it one.

DAVE SIMPSON, aka “Mr. DaVinci”

This post is part of a continued series distinguishing individuals and groups by presenting a DaVinci award or a Velvet Elvis award for their role in promoting Charlottesville as the "cultural and creative capital of Central Virginia".

 

This DaVinci award goes to Dave Simpson. Most of us know Dave as the long time owner of the C&O Restaurant. Dave is one of Charlottesville’s best restaurateurs, but did you know he is also an art aficionado and an aesthete?

In addition to the restaurant, Dave manages the C&O Gallery - which is located next door to the restaurant. Now, people who know me know that I hate the trend of hanging art in the local restaurants, bars, coffee shops, law firms and chiropractor’s offices and calling it an "exhibition." Quite honestly, I consider it a step below vanity galleries. The C&O Gallery is not this. Dave has a true love of art and its professional presentation. He also has a huge desire to see artists succeed. By making a portion of his space available for exhibiting art (rather than loading the floor space with tables and chairs and selling more food and drink), Dave shows us all his commitment to his passions by using the space as an art gallery.

And don’t think Dave doesn’t have an excellent eye for the best art this town has to offer. He has brought us shows by the likes of Bill Emory, Michael Fitts (the same show that sold out in New York City), Leah Fanning Mebane, Tom Cogill, John Hetzel and others. Not bad for a guy who specializes in food and wine.

The truth is Dave doesn’t have to do this. He owns (in my opinion) the best restaurant and catering service in Charlottesville. The C&O Restaurant combines a top notch menu with the best wine selection I can think of. So, adding the struggles of managing an art gallery shouldn’t be a priority for Dave. But it is. He has admitted his simple love of doing it and the satisfaction he gets from it. To us, it shows.

Some people may think this DaVinci award is based more on personal feelings rather than objective facts. But, bear with me… Dave has been a real champion of Migration and the kind of business we are bringing to Charlottesville. Laura and I have repeatedly been buoyed by Dave’s support and friendship. Thanks, Dave!

Award SCORECARD:

DaVinci – Beryl Solla, Elizabeth Breeden, Rob Tarbell, Maggie Guggenheimer

Velvet Elvis – University of Virginia Art Museum, Charlottesville City Council, Pinkie and cvilleMUSE

A DaVinci Award for MAGGIE GUGGENHEIMER

This post is part of a continued series distinguishing individuals and groups by presenting a DaVinci award or a Velvet Elvis award for their role in promoting Charlottesville as the "cultural and creative capital of Central Virginia".

With a name like Guggenheimer, you know she’s got to have a little of the arts in her. And that’s exactly what Charlottesville is finding out about the Piedmont Council of the Arts’ Executive Director, Maggie Guggenheimer.

  

For those of you who are unfamiliar with PCA… It provides arts information and services, builds and enhances cultural partnerships, and strives to showcase Central Virginia as an arts destination. PCA’s vision is to serve as a "nexus for all things arts-related" in the community and provides services with and for artists, arts organizations, and arts educators.

Maggie took over PCA a little over a year ago when the organization appeared to be rudderless. In just a handful of months she has put PCA back on the map, and we are seeing some of the fruits of her leadership and energy. What impresses me the most is knowing how much Maggie is getting done with very few resources. Thus far, PCA has implemented new arts education and access programs with local government, area educators, and community partners; it recently launched a new and improved website; and it has relocated its offices to the more visible (and appropriate) McGuffy Art Center. All of this on a budget that barely covers wages and rent.

For the future, I envision Maggie taking on a bigger role in PCA’s fund raising and really getting PCA’s goals off the ground (we all know money is what makes things move). Partnerships with nonprofits will expand to partnerships with commercial businesses. Artists, arts organizations, educators, students and the public will all benefit. Although it’s a 30 year old organization, I see Maggie giving PCA a bright new beginning. Gosh, I hope my crystal ball is working.

Award SCORECARD, thus far:

DaVinci – Beryl Solla, Rob Tarbell, Elizabeth Breeden

Velvet Elvis – University of Virginia Art Museum, Charlottesville City Council, Pinkie and CvilleMUSE

Bud Potts - In memoriam

Usually I’m good for comic relief, but this time I’d like to share a shortened version of remarks I made at my Uncle Bud’s funeral last week. He was 86 and had lived a long and happy life. He was immensely proud that Rob and I ran an art gallery, which meant a lot to me. He was impressed by anyone who, like him, owned and managed a business. Not that he knew anything about art, other than duck decoys, but he knew a lot about setting goals and integrity and responsibility. I thought you should meet him.

In the way he lived his life, my Uncle Bud taught me all I know about possibility. And life to me is about possibility, what’s around the corner.

I was 7, almost 8, in 1973 when my mom’s brother flew his family from Des Moines, Iowa to visit us in Durham, NC. Literally. Flew with his own hands and my Aunt Sue’s help. In a tiny plane, a Piper Comanche 250.

It started as a tiny dot. Mom and Dad and I shaded our eyes against the sun and watched it grow to a larger and larger dot. Finally, you could hear it. Then it actually took the shape of a plane. Standing on the tarmac, watching it materialize out of thin air, land and then taxi over was the most exciting and exotic thing in my life at the time and might still rank in the top 2 or 3. The vastness of the world had come to me, and Uncle Bud made it happen

It’s funny; the only photos I have of the arrival are of me and my Aunt Sue, she who was the most grounded of all of us, yet a willing and vital participant in all adventures. In one, I am standing on the wing. My Aunt Sue is standing on the ground next to the wing, probably to cushion my expected fall, and her head reaches over the roof. This was a tiny plane. In the other, I am in the co-pilot’s seat. It looks just like I am sitting in a car. Red leather seats, a steering wheel, windows, sun visors. The plane is red, white, and blue. I have on a blue and white coat and red pants. We matched, in more ways than one. I have such a grin on my face. I had only seen planes like that in movies. My family had stepped out of a movie.

It was winter. February. And the sky was that blue you only get in the winter. Nothing around other than another plane, this one a little larger, maybe a six seater. I had not experienced such vastness before. Such possibility.

Something connected that day and forged as strong a bond as there is in this world. I feel honored to share the same blood as my Uncle Bud. As I have grown older, I see that he, like all people, was full of flaws. But nothing ever diminished my love for him. It is fierce and unshakable and full of admiration. Maybe I didn’t know him that well, but I knew enough. Maybe it’s easiest to love from a distance, the fierceness and crystal clarity not dulled by daily existence. I wouldn’t have it any other way. Everyone needs someone to mythologize, and Uncle Bud was my myth.

I have long told stories of his exploits and basked in the reflected glory. Stories involving planes and grizzly bears and skiing and diving. Wow. What a ride to even know him, much less be his niece. I will miss him, but I will never forget him. It would be impossible.

PINKIE is my favorite Velvet Elvis

This post is part of a continued series distinguishing individuals and groups by presenting a DaVinci award or a Velvet Elvis award for their role in promoting Charlottesville as the "cultural and creative capital of Central Virginia".

 

There is a website/blog/chat room based here in Charlottesville called Cvillain. It’s part of the Spicy Bear network which boasts that it "reaches over 50,000 visitors each month and engages more users than any other media publication in central Virginia." A spin-off from Cvillain is a site called CvilleMUSE which claims to feature discussions and the promotion of the Charlottesville and Central Virginia arts. Here is their own description:

Whether we in Charlottesville explore the arts through the actors on a stage, the lens or line of a brushstroke, or the raising of voices in song, cvilleMUSE is here to promote, connect, and celebrate the artists and audiences of our community.

This is your place to discover new music, to find out about the performers and performances in our area, and to share your thoughts and opinions on what’s happening in and around Charlottesville. And if we happen to have a little fun along the way, we’ll consider it icing on the cake.

So, as I read it, CvilleMUSE has taken it upon itself to promote the arts and artists in Charlottesville. Through the writings and postings of Shaun Harvey, it seems to do good job with the music scene. But for the visual arts… ugh. It is falling painfully short.

Cville MUSE’s correspondent for the visual arts is a woman who goes by the online name Pinkie (writer’s note: I honestly have no idea who this person’s real identity is). Initially, I was amused by Pinkie’s quaint posts. They were regular, covered a variety of quirky subjects, and I could see she was really trying hard. But then I realized if CvilleMUSE is reaching even half as many people as it claims it does, Pinkie’s posts were not making the grade in the promotion and relevant discussion of the visual arts in Charlottesville. More and more, her inexperience and naiveté was exposed in her… er… musings and quips.

    

If Pinkie is unable to adequately handle the job, fine. But, hey, Spicy Bear, get someone who can do it some justice. Please! You have taken it upon yourself to promote the arts to your thousands of readers - now do it. At no point have I seen a consistent compilation of exhibit listings; there are virtually no compelling reviews of exhibits or artists; and, you have completely missed the recent headline worthy news that has affected this town’s arts (e.g. the juicy firing of Jill Hartz, the unceremonious dismissal of Leah Stoddard, and the boot given to Les Yeux du Monde). Charlottesville’s visual arts landscape is changing right before our eyes. And, instead of thoughtful comments and insights about exhibitions, artists and news, we get discussions about the "awesomeness" of something found on a local restaurant’s wall or painted on a chunk of cardboard. To me, CvilleMUSE and Pinkie appear to be out of the loop.

For this, I honor Pinkie and CvilleMuse with a Velvet Elvis. Maybe if they find a visual arts correspondent who can devote the necessary time and energy into giving a fair shake at really promoting the visual arts and artists in this town, then I’ll consider it for a DaVinci award.

[Above left image: untitled drawing by Pinkie.]

SCORECARD, thus far:

DaVinci – Beryl Solla

Velvet Elvis – University of Virginia Art Museum

DaVinci – Elizabeth Breeden

Velvet Elvis – Charlottesville City Council

DaVinci – Rob Tarbell

ROB TARBELL, a master of all

This post is part of a continued series distinguishing individuals and groups by presenting a DaVinci award or a Velvet Elvis award for their role in promoting Charlottesville as the "cultural and creative capital of Central Virginia".

The history books refer to Leonardo DaVinci as the original Renaissance man. He experimented in many artistic, creative and scientific disciplines and set new standards of excellence in each. Since arriving in Charlottesville, Rob Tarbell has proven to be a modern day Renaissance man. Seems fitting that Rob receive a DaVinci award.

Rob has made his presence in the Charlottesville art scene known with gusto during 2008. Seems you can’t turn around without running into his work. Whether driving down 250 racing past his masterfully whimsical metal sculpture "A Bad Case of the Mondays" (pictured left), or his fantastical porcelain dipped stuffed animal collection exhibited at Second Street Gallery last February (any regular gallery-goer totally screwed up if they missed that one), or his magically delicate smoke drawings at Les Yeux du Monde in April (pictured below), or, most recently, his curated show "The Others" at PVCC’s Dickinson Building.

In Rob’s words:

In my practice, making art is as much directing intent as it is about scientific tinkering. All of my diverse work is linked by the transformation and manipulation of traditional materials and the exploration of non-traditional ones. The loss of an original and the use of elaborate processes are inherent to the creation of the smokes, paintings, and porcelain series. The work intends to both balance accident with control and give permanence to the ephemeral.

In the visual arts world, artists must walk a thin line between exposure and over-exposed. Crowds can be fickle. One day they love an artist’s work; but after they have seen it a couple of times, they tend to give it a luke-warm reception. Rob Tarbell, however, stands far from the risk of over-exposure. His mastery of each diverse project keeps his work fresh, hot, and pushes into the realm of "important". For the past year, he has been giving Charlottesville a top-of-the-line one-man-show. Rob is raising the bar of artistic excellence in Charlottesville, and we are all benefiting from it. I consider Charlottesville fortunate to have him here and even more fortunate that he continues to be prolific pumping out great work both in front of the curtain and behind it.

SCORECARD, thus far:

DaVinci – Beryl Solla

Velvet Elvis – University of Virginia Art Museum

DaVinci – Elizabeth Breeden

Velvet Elvis – Charlottesville City Council

Charlottesville City Council gets a Velvet Elvis

This post is part of a continued series distinguishing individuals and groups by presenting a DaVinci award or a Velvet Elvis award for their role in promoting Charlottesville as the "cultural and creative capital of Central Virginia".

As touted on the city’s website, Charlottesville anoints itself as the "arts, entertainment and cultural center of Central Virginia." And, invariably, we have all heard what a great arts community Charlottesville is. Heck, little ‘ol C’ville advertises itself as such and lures tourists with promises of the best the arts has to offer. Too bad the city keeps letting opportunities to actually advance the visual arts and really make this town an arts destination slip through their fingers.

For this, I give Charlottesville’s City Council a big, fat Velvet Elvis award. A Bronx cheer goes to Dave Norris, Julian Taliaferro, Holly Edwards, Satyendra Huja and Dave Brown.

I have a question for you: Have you ever heard of Charlottesville’s "Percent For Art" program? Like a good number of major cities in this country (New York City being one of them), the city is supposed to  allocate 1% of the budget of every public building project to the arts. In theory, when a new building goes up, new art should go up too. Bet you didn’t know that. And, I bet you didn’t know that because you haven’t seen any new public art going up associated with the huge amount of building that this city has experienced over the past 10 years.

Now, here comes a whopper of a public building project right down Main Street: the hotly debated re-bricking of the historic Downtown Mall. In short, we’re spending $7.5 million to tear up perfectly good bricks (and toss them in a landfill) and replacing them with fresh new bricks. The City Council gave this project its unanimous approval. Hard to believe it was unanimous after hearing a couple of Councilors express their "grave concerns" regarding the project (are you listening Holly Edwards?). And, I’m still struggling with the concept of how much physical waste this will create - oh, yes, C’ville considers itself an innovative "green" city too.

Let me get back on track here… Despite my (and many other’s) pessimistic feelings about the re-bricking, what made me let out a yelp was noting how the $7.5 million dollar public project does not include any artwork. At a minimum, Percent For Art should allow for $75,000 in the budget for art. Instead, any inclusion of outdoor art and/or sculpture was zapped from the budget and architectural plans. The reasoning behind this exclusion… Apparently, the City Councilors believed that art would clutter the Downtown Mall. Say what?!?! Art is clutter! Thanks guys. You could have made a positive statement here, but instead, you have approved $7.5 million for the Downtown Mall to be zambonied and stripped of any artistic life. Now it looks like we will be subjected to three more decades of innocuous, cast iron silhouettes as our sole slice of art on the Downtown Mall. A golden opportunity for prime public art has slipped through the City Council’s fingers.

There is a lot of talk about what a great city Charlottesville is. Much of this talk is based on its cultural resources. Until its elected leadership begins to show more interest in promoting visual art that isn’t made of red brick and white columns, I give the five City Council members a Velvet Elvis.

SCORECARD, thus far:

DaVinci – Beryl Solla

Velvet Elvis – University of Virginia Art Museum

DaVinci – Elizabeth Breeden

ELIZABETH BREEDEN – a true DaVinci

This post is part of a continued series distinguishing individuals and groups by presenting a DaVinci award or a Velvet Elvis award for their role in promoting Charlottesville as the "cultural and creative capital of Central Virginia".

Elizabeth Breeden has been a poweful cog in the Charlottesville arts wheel for nearly 3 decades. For years, she and her late husband, David, opened their Biscuit Run home to artists and anyone interested in the arts for dinners, gatherings, viewings and just plain old talk. It was a focal point of creative thinking in this town.

Born from some of those hippy-esque gatherings was Art In Place. Art In Place satisfied a citizens’ cry for the promotion of public art in Charlottesville. Elizabeth has been president of the non-profit organization since its inception in 2000.

The primary function of Art In Place has been the selection and placement of numerous large-scale, public art sculptures. Since most of the sites are found on the sides of busy roadways, Art In Place is often referred to as "40 mile an hour art." Although the art gets maximum exposure, viewers get an average of 1.78 seconds to study it, and enjoy it. Better than nothing, I guess.

For me, one of the real beauties of the Art In Place project is that it is "refreshed" on an annual basis. Each year, new work is selected and placed in the set locations throughout the city. So, if you get a little tired of seeing the same stainless-steel towering sculpture on your daily commute to work, fear not, a new one will replace it soon enough (and maybe the next one will be stone or clay or wood).

Recently, Elizabeth was kind enough to invite me to join the panel of jurors for the 2009 version of Art In Place. My first impression was: this is not your normal selection committee. We were a team of eight extremely diverse people charged with selecting the specific pieces to be exhibited. Some had experience in the arts; some didn’t. Some were civic leaders. A couple were there because of their knowledge of landscaping. And a couple… well…. I’m not sure what they brought to the table. Bottom line: Elizabeth did an excellent job of juggling our viewpoints and maintained artistic integrity and civic needs/requirements with the challenges of placing giant sculptural structures. No small feat. And we are all the beneficiaries of her organizational talents and tireless passions for bringing art to otherwise vacant landscapes.

Bravo, Elizabeth, Bravo. For this I award you a DaVinci

(Above photo of Elizabeth by Jen Fariello.)

Scorecard, thus far:

DaVinci – Beryl Solla

Velvet Elvis – University of Virginia Art Museum

And the first Velvet Elvis Award goes to...

This post is part of a continued series distinguishing individuals and groups by presenting a DaVinci award or a Velvet Elvis award for their role in promoting Charlottesville as the "cultural and creative capital of Central Virginia".

My first Velvet Elvis Award goes to... The University of Virginia Art Museum.

The UVa Art Museum earns this award for the firing of its Museum’s director of 11 years, Jill Hartz this past December. [Note: Technically, the Museum did not fire Jill, rather the University did. Ipso facto, this award should go to the University of Virginia as a whole]. As a quick reminder: Jill was unceremoniously dismissed from her position as director of the Museum and given 2 days to clear out her office (don’t let the door hit you on the way out). Adding insult to injury, this was done just days before Christmas – nice touch UVa. Not only was this a complete surprise to Jill (and her entire staff) but it was embarrassing, handled in a mean and sloppy manner, and appeared to ratify a personal agenda (are you listening John Casteen and Larry Goedde?).

During her tenure, Jill led the Museum into the modern era. Most notably, she was instrumental in updating the Museum’s mission and for the Museum receiving the all important accreditation from the American Association of Museums - no small feat. A big part of this new dawn for the Museum was its increased role as a community resource.  That's good for everyone, right?

What makes this whole thing smell even fishier is UVa’s hiring of Elizabeth Turner just a few months prior to Jill’s dismissal. Beth Turner left a long career at the Phillips Collection in Washington, DC to come to UVa. On the surface that seems harmless enough. But, the fact that the University did not announce Jill’s departure, rather they announced the advancement of Beth to Vice Provost of the Arts and Interim Museum Director (this fancy title has given her the order of "overseeing the University's programmatic and physical growth in the arts, an initiative that will make the arts central to University life") makes things seem far more sinister. The cloaked and callous administrative act of firing Jill is an example of the University circling its wagons and closing itself to the greater central Virginia citizenry. Ugh.

Regarding the Museum’s upcoming calendar of exhibitions, don’t get too excited. Other than pulling dusty work from its own collections, the Museum will feature the work of the great Russian futurist, El Lissitzky. Unfortunately, this is a rehashed show from the Phillips. Sound familiar? Speaking as a moderately educated and traveled person, I would think a progressive calendar of exhibitions would include something other than a re-hanging of its own collections or a second run show from DC (makes it sound like a $2 movie theater with sticky floors).

My big question is, does the Museum plan on removing the "Interim" moniker from Beth Turner’s title, or are they actively looking for a permanent replacement? Personally, I’m hoping for a replacement. As Charlottesville’s primary (some would say only) art museum, some transparency from UVa on this subject would be refreshing.

Something I’m sure UVa never considered: Losing Jill Hartz creates a wide ripple affect on the arts in Charlottesville. Not only has Jill left us and moved on to greener pastures in Oregon (congrats, Jill), but her husband Richard Herskowitz will soon follow. Why is this a problem? Since 1996, Richard has been the director of the wildly successful Virginia Film Festival here in C’ville. Singlehandedly, Herskowitz married national clout to a local commercial art enterprise through the promotion of filmmaking. Jill and Richard were a power couple in Charlottesville’s art scene. They will both be sorely missed. Thanks a lot UVa. For this, you deserve the first Velvet Elvis.

Oh, and one other thing… Will someone at the University authorize the Museum getting a fresh coat of paint on its walls? It has one of the drabbest interiors I have ever seen. I’m thinking there’s enough money in the University coiffeurs to spruce the place up and make it just a little bit nicer.

And a DaVinci award goes to... BERYL SOLLA

This post is part of a continued series distinguishing individuals and groups by presenting a DaVinci award or a Velvet Elvis award for their role in promoting Charlottesville as the "cultural and creative capital of Central Virginia".

[Sound of fanfare music, followed by a hush, then the tearing of an envelope]  And the winner of a DaVinci is... Beryl Solla.

Since arriving in Charlottesville in 1999, Beryl has been the leading mover and shaker in Charlottesville’s art scene who you probably have never heard of (despite having a cool name). While keeping a moderately low profile, Beryl has been a grass roots supporter and promoter of the arts for many years. Simply put, she is instrumental in what people see, how they see it, and how it is created.

In her day job as Associate Professor of Art at PVCC and heading the art department, Beryl has been instrumental in elevating PVCC’s Fine Arts Department (part of the Humanities, Fine Arts and Social Sciences Department) to national stature through her teaching, curating, and leadership. Recent exhibits found at PVCC’s Dickinson Building included "Let there be Light" (a one-night-only-and-you-should-not-have-missed-it exhibit) and "Wonder Women." Both outstanding shows.

In her more public roles, Beryl is often called upon to assist with the selection and/or judging of local arts in the area. Contributing her keen eye for high quality and evocative art has ensured we see only the best Charlottesville has to offer. Beryl is also a member of various boards and committees. Until recently, she sat on the Piedmont Council of the Arts board during a time when great changes took place in that organization. She is also a member of Second Street Gallery’s Artist Review Panel.

If all that isn’t enough… Beryl has become one of the areas’ biggest proponents of creating collaborations joining various organizations in the community. Keep your eyes open for her next project called "Yard Art" – art installations created in people’s own yards popping up all over town.

No matter what I say about Beryl, I think one of the best sources of unadulterated feedback is directly from her students. Here is a small sampling of what they have said:

Beryl we love you. Take her class or miss out on the best.

awesome, awesome teacher. i love art, and still she made me love it more!!

Lady is off her rocker, but she's firkin great. I learned a lot in a very relaxed and chill environment. I will definitely take her for future classes if possible. She's hilarious.

Excellent professor. She's crazy, and fun, and allows you to express your creativity.

Love Her Class!!! Encourages you to do your best work. Respects her students but enjoys joking around.

you want a real art teacher..beryl is it!

‘Nuf said. Congratulations Beryl. You are a true DaVinci in my books.

 

Who deserves a DaVinci or a Velvet Elvis?

For a city that bills itself as the "cultural and creative capital of Central Virginia" and often lures visitors with promises of the best the arts has to offer, I thought it was time to put Charlottesville's breast beating to the test and start handing out awards to those individuals/groups who actually live up to these lofty standards… and expose those who fall desperately short.

Since I am acting as judge and jury here, the focus will primarily be on the visual arts – you know… the stuff we see… like painting, sculpture, photography, etc. Maybe someone else will carry the torch for theater, dance, and music.

For this, there will only be two awards: the "DaVinci" for those who are doing something truly positive and promoting the visual arts in Charlottesville, and the "Velvet Elvis" to those who, despite their elevated position in the cultural scene, are dragging the visual arts backwards.

    

So, follow me during the next couple of weeks as I reveal my picks for Velvet Elvis winners and those who earn a DaVinci distinction.

Naturally, as I expose the most deserved, I encourage comments in support or rebuff.

Come along… this will be fun.

Keeping Up With… Beth Cavener Stichter

Beth Cavener Stichter reports from her new home in Eastern Washington that she has been back to work following the purchase of and move to a new home, building a new studio, and recovering from a hand injury. Despite the turmoil, she has produced a new body of work that is on exhibit at the Art Spirit Gallery in Coeur d'Alene, ID. The exhibit is titled "Apologia." Read a review here.

    

There’s no question in my mind that Beth’s new work is equally as powerful as all that I have seen before. She continues to make some of the most visually and emotionally powerful sculpture seen today.

As part of Migration’s summer show "Conscious Clay", one of our hopes has been to show the varied ways that clay is used in art. In other words – pottery is not just about pots. Although we did not include any figurative work in the exhibit, please consider Beth’s sculptures as a sort of "virtual addendum" to the show.

 

   

Images include: Top left, The Wilderness Within; Top right, Hare Leaping Over Nothing; Middle, A Rush of Blood to the Head; Bottom left, Beth at work; Bottom right, Breathe.

Hanging (and re-hanging) art

When Rob and I used to live in Atlanta and I had free time (this usually happened when Rob was out of town) I cut things. I cut everything from my hair to the sleeves on t-shirts to limbs from the pine trees in our front yard. Now, when I have free time (i.e. trying to procrastinate), I move art around in the house. 

Over the many years of doing this, I’ve found that when we bring a new piece of art home, we find a place for it that best suits its size and shape. A no-brainer. What can happen, though, is that you often don’t get to see your favorite pieces when you are actually at rest and can enjoy them. They may make the room look great for a photograph, but if you are walking by them and not seeing them, you won’t feel the joy that living with challenging and beautiful and meaningful art can bring. (Assuming that’s the kind of art you buy!)

Case in point is a tall folk art painting Rob and I bought about 5 years ago. It was, and is, a favorite piece and it deserved a place of honor. It looked great hanging on the wall directly opposite the front door. We always saw it when we walked in. Great, right? The problem, which somehow I noticed when I had other work to do… but ah, that could wait, the art problem was urgent… was that coming home was the only time we saw it. So I moved it to another wall where we now enjoy it when we eat breakfast and dinner. It is a little cramped in its new space, but we can see it and see it often. I’m certain no "decorator" would place it there, but the piece has become a living thing to me. A spectacular trade off, in my opinion, and something to consider when you hang art. When will you get to look at it is as important as whether it looks good over your sofa.

Living with your art collection hung in a variety of different places makes sense to us. Eventually, you will find the exact place for a specific piece. But, make sure you have a good supply of putty and paint to patch your nail holes. Disposable foam brushes or even q-tips are great if you develop a habit such as mine.

Stampington's Artful Blogging

This past Sunday, after a tough swim workout, Laura and I dropped into Downtown Athletic to pick up a couple of bits of sports gear (Tyr fins of Laura and K-Swiss tennis shoes for me). We then dropped into Chipotle for a big, fat burrito lunch. Needing to walk off the poundage we each downed, we hiked over to the local Barnes & Noble to check out the latest issue of Runner’s World. [How’s that for a few sentences of pure product placement?] While perusing the magazine shelves, I found something that caught my eye: A glossy magazine called Artful Blogging.

Stampington & Company has now begun producing this glossy quarterly to go along with their collection of other art related magazines. This was all new to me – didn’t know it existed. Artful Blogging advertises itself this way:

Even if you’ve never read a blog, you’re sure to find inspiration in the art-filled pages of Artful Blogging magazine. With hundreds of full-color photos from bloggers around the world, this publication is a feast for the eyes as well as the soul. Share the journey of self-discovery, creative expression and the growing community of artful bloggers everywhere.

As the sport of blogging gains strength (in numbers) every day and is commonly considered a cancer to traditional print publications, I find it interesting that there is a magazine actually promoting blogs and blogging. At $15 an issue, we’ll see how long that lasts. But, hey… Maybe they’ll consider running a feature on artPark.

31 by 31 in 31 for $31

Randall David Tipton reports from Portland, Oregon…

Following the very successful "Thirty!", Artists for the Arts in Portland, Oregon is producing "Thirty-One".

During the month of July, 31 artists will have 31 days to create 31 paintings. The resulting 961 new paintings will be unveiled at the Artists for the Arts opening extravaganza on August 1st. Each painting (7"x7") will be for sale for $31 each. There will also be 31 larger paintings (20"x20") silently auctioned at the opening (opening bid... $31, naturally).

The show is curated and organized by Flora S. Bowley, a painter and arts organizer living in Portland.

The "Thirty!" shows connect groups of Portland artists, inspire new bodies of work, showcase emerging artists, provide affordable artwork to the Portland community, and raise money for non-profit arts organizations. Based on the time line, artists are encouraged to explore new territory, experiment, loosen up and have fun!

The proceeds from "Thirty-one!" will be donated to Artist for the Arts whose mission is to ensure that the arts remain an integral part of education for children in Portland Metro-area schools. AFTA raises funding and awareness through the collaborative efforts of artists, businesses, educators, organizations and the community.

For the event, Randall has created a blog to chart his progress through the month. So far so good. Check it out here. As you know, Laura and I adore Randall’s loose and beautiful landscape paintings. About his work in general, Randall says:

My solution to just about anything and everything is to go outside. Since I was a kid, I’ve just wanted to sit on the porch, lie in the grass, or walk in the woods and look at what’s before me. I’m obsessed with landscapes. Before painting one, I’ll study closely a view or subject. Either I’ll do a quick drawing or take a photograph to keep the impression alive. In the studio, the painting evolves in a trial and error process. Though the original experience is important, once I begin a painting, the process has its own life. I’ll make countless decisions and experiments trying to get it "right". With tenacity and luck, I’ll arrive at something interesting, in the spirit of the place.

What Katie says: Joel-Peter Witkin

Katie Jenkins is Migration’s summer intern. She will be a senior this fall at James Madison Universi