It has come to my attention that I have yet to submit a single essay for you thus far in this new year. However, apologies will not be forthcoming for my life has been anything but static because of my focused energies on physical and theoretical fronts since 2014 began.
The Corcoran saga continues, of course. As adjunct professor, my profile is relatively low thereabouts, even as my theory courses have run sequentially each semester since 2004. However, the angst pervading the ranks, both tenured and contracted, has provoked some of us to speak our minds publicly and in print. My own comments, though edited and taken somewhat out of context in this GW Hatchet article, expressed my gut concern for the “Corcoran experience” to survive this inevitable Academic Merger. And I was humbled to find my name amongst those “key” faculty mentioned by Corcoran students in Kriston Capps’ somber piece on “The Final Failure.”
I must tell you that the thought of finding myself adrift, untethered from academia and my students, is simultaneously depressing and exhilarating. As an artist who teaches, my steady, part-time employment at Corcoran has been a godsend, ever more so because I deal with language, texts, and the discourse that enables this art experience that we are all so enamored of and fortunate to know. However, as a practicing artist I will undoubtedly benefit from those extra hours that would be returned to me if I were not reading about, lecturing on and teaching art theory.
And so it goes. We will not know how it will go until George Washington University and the Corcoran hammer out the details. Nevertheless, I have a good feeling that I will continue as a professor in their resultant institutional organization.
Meanwhile, I will be jurying two upcoming Virginia art exhibits: first, for Gallery Underground’s “Mayhem” show that opens April 29, with the opening reception on Friday, May 2, 2014; then for Target Gallery's Open Exhibition 2014, opening July 19, 2014. Submissions for both shows have closed and I look forward to viewing all of the artwork this month.
Finally, my "Readymade @ 100" exhibition for the American University Museum at Katzen Arts Center is heating up with my planned research visit to the Norton Simon Museum's Archives in the coming weeks. My interest is Marcel Duchamp's 1963 retrospective and the Archives have generously agreed to my request to peruse all correspondence, interviews and ephemera associated with that exhibit. Seeking mid-Twentieth Century perceptions of Duchamp's readymade concept, it is also my fervent desire to spend some quality time with the Norton Simon's Bottle Rack and La Joconde.
I promise that I will touch base periodically with updates, enlightenments and critiques as time permits. This little soapbox is still one of my true loves and I shall not ignore you loyal readers of this site.
IMAGE: L.H.O.O.Q. or La Joconde, 1964 (replica of 1919 original); colored reproduction, heightened with pencil and white gouache, edition of 35, No. 6 (Arturo Schwartz edition); Norton Simon Museum, Gift of Virginia Dwan; © 2008 Artists Rights Society (ARS), New York / ADAGP, Paris / Succession Marcel Duchamp.