Flavor of The Month

'08 American University MFA grad Cory Obendorfer is having a solo exhibition at Flashpoint DC this month.
Show Dates: January 9- February 13 2009
Opening Reception: January 9, 6-8pm

Cory Oberndorfer at G Fine Art!!

G Fine Art

is pleased to announced

Ryan Hackett
Cory Oberndorfer




September 13 – October 11

Reception for the artists on
Thursday September 11, 6:30 – 8:30pm

And public opening with the artists on
Saturday September 13, 6:30 – 8:30 pm


Hackett’s recent work focuses on body language, physical traits, and specific characteristics of selected animals as a structure to develop various multimedia works. Growing from initial impulses such as heart rates, body language, bones, and fur, the work pushes and pulls between the synthetic and the natural suspended in ambiguous hypnotic manifestations.

Hackett uses painting to trap, isolate and transform sections of images both moving and stationary. Much like an electronic musician might sample a beat and transform it into something new, Hackett uses paint to “sample” part of an image and transform it according to the images anatomical clues. The result is an image that grows through a system of atmospheric channel-like extensions.

The installation, Hive Transmissions 9/13/08 – 10/11/08 positions the honeybee as performer. Hackett will organize the effects and channels that receive and transform sounds from the hive. These sounds are taken in real time and interpreted through effect processors creating a transition from the agitated state of the hive to the serene environment emerging from the system. The bees essentially perform a one month long set of ambient electronic music born from the sounds circulating through the hive.

Ryan Hackett graduated with an MFA from the San Francisco Art Institute. He was a founding member of the DC artists’ collaborative Decatur Blue. Most recently Hackett’s work was featured in the exhibition Freaks of Nature at the Bronx River Art Center in New York and in a solo exhibition titled Evolutions of Paint and Sound at Spur Projects in Portola Valley, CA.

Project Room

Oberndorfer works from his own personal history growing up in suburban Middle America, without risk or rebellion, he remembers wondering what it would be like to step outside the boundaries of his “sugarcoated” lifestyle. He describes his childhood heroes as those who questioned propriety and were “not known for their sweet and pleasant exterior but for the strength, confidence and conviction that lies beneath.”

His paintings of roller derby girls explore their and his shared interest in stepping outside boundaries; Oberndorfer’s idolization comes from the derby girls’ success in redefining these boundaries. They reject the “sugar and spice and everything nice” role with courage and determination. Roller girls invent their own personas and pseudonyms that reveal their aspirations or essential qualities. They choose costumes that are sexy and cute while playing a damaging game that requires a tough body and mind. His works reflects the fierce beauty of the women and the delightful experience of watching them. The paintings themselves are mouthwatering in their candy inspired color schemes and the high quality of the work.

Cory Oberndorfer graduated with an MFA from American University. He was included in the WPA\C OPTIONS Biennial in 2007 and the Brightest Young Things Relaunch, in 2008.
Gallery hours: Tuesday –Saturday 11am - 6pm

G FINE ART
1515 Fourteenth St. NW
Washington, DC 20005
T. 202.462.1601
F. 202.462.1604
www.gfineartdc.com

Once Again, Again: Rhythm and Repetition at McLean Project for the Arts

Recent AU alum Cory Oberndorfer has work in "Once Again, Again: Rhythm and Repetition" at the McLean Project for the Arts.

The opening reception will be June 19, 7 - 9 pm in the Emerson Gallery. See below for more information, and visit MPA's website.




Once Again, Again:
Rhythm and Repetition
Juror: Annie Gawlak,
Director, G Fine Art
JUN 19-JUL 26
EMERSON GALLERY
Reception June 19, 7 - 9 pm

A juried exhibition of work by artists who employ multiple images or repetition as part of their concept and/or technique.

Jesse Lehson
Kyan Bishop
Mary Early
Suzi Fox
Pat Goslee
Jose Varela
Linn Meyers
Kay Hwang
Ryan Hill
J.T. Kirkland
Jay Lee
Joey Manlapaz
Cory Oberndorfer
Thom Sawyer
Linda Hesh

Art from Brightest Young Things

AU artists' work created for Brightest Young Things website relaunch party...

Josh Baptista



Bradley Chriss



Amy Misurelli Sorensen



Cory Oberndorfer



Great job, guys- way to represent!!


What is "Brightest Young Things," you might ask. Well, here's what you need to know, straight from the source: (quoted directly from brightestyoungthings.com)


Brightest young things is a website
for
the entertainment of your own
DC making.
Written by the young and urban of DC for the young (at heart) and urban of DC.

...

BYT contains things you need to know to survive the nation’s capital:
the parties you want to go to
the dance moves you want to have
the desserts you want to eat
the pools you wish to crash
and
the people you want to brunch with every saturday, sunday and monday
(if only you did not have to work).
welcome to our and your playground.

Check it out!

Brightest Young Things, May 3rd

Website relaunch party, featuring music, dancing, and LIVE ART by:

Kelly Towles

AND American University MFA art stars:

Josh Baptista
Brad Chriss
Cory Oberndorfer
Amy Misurelli Sorensen

My Latest Obsession

by Cory Oberndorfer


For those who have not stopped by Irvine Contemporary recently, you are missing out! Montreal-based Heidi Taillefer is currently exhibiting Muses and Heroes until May 10. With her first US solo exhibition, Taillefer reminds us that skilled painters can still exist and show in a contemporary gallery. It wasn't until my second visit to see the show that I began notices such fine details as a perfectly drawn spring that helps construct a cyborg horse in Horse with Bird, and the spring is only about a sixteenth of an inch wide. You've never seen mythology illustrated quite like this. I've included a short description from the Irvine press release below, but it only hints at what these works contain.

Taillefer's oil paintings on canvas and panel are an original creative fusion of contemporary realism and mythology combined with popular traditions ranging from Victorian romanticism and fantasy illustration to science fiction. She has developed a compelling new approach to contemporary questions in painting surrounding realism, surrealism, myth, and the human body in the machine and cyborg age. Her striking imagery combines painterly surrealism and hyper-realism with current cyborg fantasies--Max Ernst meets The Matrix. Heidi Taillefer's Muses and Heroes runs from April 5 to May 10 with an opening reception with the artist on Saturday, April 5, 6-8PM.

Images from Proximity: MFA Thesis Show

These are a few selections of work by AU's graduating MFA class. "Proximity" will be on display at the Katzen until May 18th.


Geoffrey Aldridge

(video)



(detail from drawing)



Brian Barr








Andrew S. Blair








Tim Campbell









Bradley Chriss








Lily Desaussure




(detail)





Katherine Knight











Amy Misurelli Sorensen










Max Perry




(video)




Cory Oberndorfer





(photos by Alex Ebstein)




Lauren Rice









Sharon Servilio





(image from art book)


Come check it out!

Proximity: MFA Thesis Opening, this Friday!!!

Proximity

An exhibition of this year's graduating MFA candidates

Opening Reception Friday, April 18th, 6-9 pm

Featuring the work of:

Geoffrey Aldridge
Brian Barr
Andrew S. Blair
Tim Campbell
Bradley Chriss
Lily Desaussure
Katherine Knight
Amy Misurelli Sorensen
Max Perry
Cory Oberndorfer
Lauren Rice
Sharon Servilio

Work will be exhibited from April 19- May 18 at the Katzen.
Click here for museum information.

Is Graffiti Dead?

Banksy, "Laugh now, but one day we'll be in charge"

By Josh Baptista

Is the war over? Are there still starving kids out there? Maybe our views are too fucken narrow; maybe, we have been living in a fantasy world where the comments and convictions we make no longer have any meaning, but who knows, maybe I'm wrong.

I think we need to open the picture up. First of all, we have been communicating with graffiti from the beginning of time. It was not dead for the cave painters, the Egyptians, or the French revolution -- the birthplace of the stencil. However unfortunate it may be that "suits" have taken a hold of graffiti's marketable quality, the power of real graffiti has not diminished. I am moved every time I see a Swoon or a Banksy in a public space and cannot imagine that the intentions of the artists were for Urban Outfitters to get a hold of their influence. This is a huge concern and a problem not just for graffiti artists, but also for all alternative lifestyles. On the other hand, good graffiti has a message, and so, if the art receives attention, then more people will be exposed to the message.

Sterile surroundings provoke ideas of change in highly motivated kids. When people believe in what they are doing enough, they disregard their own safety and well being in order to benefit others. This is an ever-evolving energy that does not make sense to the corporate world, and thus, is something the corporate man will never obtain. All they do is ape the idea of graffiti without understanding exactly what graffiti really is. For example, a Rambo poster is not graffiti, no matter how hard Hollywood tries to make us think it is. It is waiting to become graffiti though, but that can only happen at the hands of artists.

The untrained person that encounters the Rambo poster that Cory Oberndorfer referenced in his review "Graf is Dead" on this blog might consider the poster to be graffiti, but then again, that same person might be wearing a graffiti-inspired t-shirt from Urban Outfitters. The poster lacks the convictions of an artist.

I would like to take a minute to question the nature of graffiti -- an art that constantly comments on its environment. With that said, do you think with an ever changing world there will be ever changing questions? In addition, yes, the suits will get a hold of that freedom that makes graffiti what it is, but this is only a cheap imitation, and it can never be authentic. This is the cycle, and the fact that it's becoming commercialized I think will only make this cult stronger. So how can the innovators die? The market needs graffiti and graffiti needs the market.

A world that has become desensitized to television, commercial stores like Urban Outfitters, and the ever-growing leeches of the marketing world. The corporate will always be trying to suck the marrow out of the honest nature of graffiti, but advertising could never possess the qualities this art has. Advertising will never be graffiti. The nature of the beast is never ending, and graffiti just keeps pushing on. As time has gone on, graffiti has just reinvented itself to stay ahead of the market. The language has only become more elaborate and sophisticated. Naïve people will always interpret advertising as graffiti, and it is job as the public writers to educate them so we do not get confused.

The exposure graffiti has received has spread worldwide awareness through the work. Graffiti is a virus of potent information and there will never be a cure for it.

Jumping In Art Museums

A Self-serving Essay About My Art Jumping Blog



By Allison Reimus


It has often been said that one will "jump for joy" when exuberantly happy. That is exactly what three young Midwesterners did two years ago. We were in the tiny mountain town of Skykomish, Washington (population 208) for a job that allowed us to travel the United States caring for the nation's only traveling art museum on a train, Artrain USA. Exhausted and a bit surly from repeatedly answering the same questions from the public for eleven hours straight, we congregated on the back of the caboose. These meetings were usually reserved for making fun of people, sharing a cigarette, or making our dinner plans. This day was different. A heavy silence surrounded our tired bodies and we stared off into the distance, following the railroad tracks as far back as we could see. It was dusk and the last glimmering of pink sun was reflecting brightly off of the metal. It was this track that brought us the farthest west of Chicago that any of us had ever been. It was this train, Artrain USA, which served as the catalyst for our friendship. We quickly got over ourselves and realized how good we had it. We were lucky. We were happy. We jumped for joy and took pictures of it.

To "jump for joy" is the basic premise on which the Jumping in Art Museums blog was founded. Very simply, while visiting art museums and galleries, I am so excited by what I see that it is impossible to not jump for joy. However, "art jumping" as I like to call it, means different things to different people. Take for example the story of Ms. Lesley Stanley, a writer from Chicago. Lesley has been an art appreciator for her entire life and an avid art jumper for about 6 months now:

AR: Lesley, you've contributed many art jumps to my blog. Can you speak about what drives you, a non-artist, to jump for art?

LS: I might not always understand why exactly a piece of work is in a museum. All I know is that I like it. The colors, the scale, and the way it makes me feel. It's almost like the work of art chooses me. When that happens, I jump.

AR: Has art jumping helped in any way to contribute to your knowledge of art history?

LS: Actually, yeah it has. I've noticed that after I jump for a work of art that I am more likely to remember the title and the artist who made it. It's like the jump makes a special place in my memory for the work. The next time I visit the museum, I tell whomever I am with about the jump I did for it, the way the picture turned out, etc. Not to mention, I am more likely to visit an art museum now- just so I can get some new art jumping pictures.

AR: Obviously you can't take a picture of yourself art jumping. Do you always visit art museums with the same friend? What does art jumping do to enhance that relationship, if anything?

LS: I don't always go with the same friend. Some people are great to jump with because they are good with a camera and are capable of capturing the jump. It is important to have a good photographer with you. It is also important to go with someone who is up for sneaking around the security guards. The most memorable art jumping afternoon was with my new roommate. She was a bit shy at first, you know, worried about getting kicked out. After she got over the fear, we really had a great time. It was good for us to bond in that way so early on in our lease.

AR: What does it do for you to see your art jumps posted on the JAM blog?

LS: It might sound a little self-serving, but I just enjoy seeing my efforts posted on the web (the blog is looking great, by the way). I e-mail my friends once you've posted the newest jump, too. They really get a kick out of seeing the pictures.

Lesley brings up an important element of JAM. She referred to seeing her jumping pictures on the web as "self-serving". She is not alone. There have been other contributors who submit photos on this very premise. In the last two weeks, I have had three different artists submit photos to the blog where they are jumping for their own work, or to announce a show they are participating in. Let it be known that I have absolutely no problem with this. In fact, I encourage it. I think it is important for young artists to be able to promote themselves in any way they can and I am happy to help.

I would not be honest if I said I had not thought of how the blog may benefit me in some way. Let's take for example a recent post highlighting AU's own Cory Oberndorfer. His pictures were amazing and he wanted people to see them. He linked to JAM on an internet networking site so that his friends could see his jumps. In turn, all of those people who visited the JAM blog for Cory's sake now know who I am. It is a win-win. Another recent example comes from last weekend’s trip to Baltimore galleries. While visiting Paperwork Gallery, a group jump (almost the entire first year class) was organized to honor a work done by Zoë Charlton. Embarrassed as Zoë may have been and as crazy as the gallery owners thought I was, they will not forget the experience. Now when people visit JAM, they will learn about the newly opened Paperwork Gallery by clicking on the link I have provided with the photo. More people learn about them and they won’t forget the girl who made people jump in their gallery. Once again, a win-win situation for all involved.

Art jumping is just plain awesome. I encourage you to jump for whatever brings you joy (and if that happens to be art, then please take a picture and submit it to JAM!)

Jumping in Art Museums can be found at www.jumpinginartmuseums.blogspot.com


AU's first year MFA students jump for a painting made by their instructor Tim Doud.

Novelty

The Derby Project and Cory Oberndorfer present Novelty, a collection of murals in both Rotunda Galleries.


Closing Reception
Thursday, January 17th 6-8pm
Katzen Arts Center
4400 Massachusetts Ave, NW
Washington, DC

GRAF IS DEAD

A Mournful Note from Cory Oberndorfer.

I always hate to be the bearer of bad news, but in the world of popular culture all good things must come to an end. Perhaps you all remember the height of Snoop Dogg's "izzle" talk. First it was clever and funny and unique to Snoop. Then everyone jumped on the bandwagon. Then one day I heard the "izzle" death knoll in the form of Fran Drescher's annoyingly screachy voice in an Old Navy commercial. Don't remember? Here's a remix of that moment.

Restizzle in Peacizzle Snoopizzle Speakizzle.

Unfortunately I must announce the news that another fad is quickly nearing its demise. Graffiti. But before you get too weepy, realize that the graffiti boom has had quite a long run. What we know as modern graffiti raged in the mid to late '80s as artists covered entire New York commuter trains. The graffiti culture has always been tied to subculture movements like hip-hop, punk and skating. Then along came Banksy. In recent years he has been gaining international attention with his guerilla art movement, often armed with only a can of spraypaint, a stencil, and a humorous yet biting message.
But then the suits took notice. People like graffiti. Paint drips = street cred.
Don't believe me? Walk into any Urban Outfitters, a store that quickly eclipsed Hot Topic as the largest offender of retailers selling out a subculture phenomenon. In Urban Outfitters you are sure to find graffiti influence on everything from tennis shoes to t-shirts, but most importantly you will find no fewer than a dozen books on graffiti. For a while I enjoyed the fact that street art was becoming available for public viewing. I was even excited recently to see Vanina Holasek Gallery in New York's Chelsea district presenting a show of Banksy's work. As I stood in the gallery looking at the price list of his work I realized that no matter how it's presented, the rebellious nature of his work was dead to me.
Then, several days later I found an even stronger message that graf is dead. It came in the form of a Rambo movie poster for Stallone's new movie. Yes, the 61 year old actor is cashing in on yet another sequel in the form of John Rambo, gratuitous defender of the oppressed, voice of the little man, and co-opter of hip stencil street art.


Need more proof? The Sundance Film Festival has long encouraged the voice of the creative artist. In recent years they have branched beyond film to include other sorts of media arts. In January they will be hosting the Graffiti Research Lab as they present L.A.S.E.R. TAG. L.A.S.E.R. Tag is a Weapon of Mass Defacement (WMD) that gives individuals the power to communicate their thoughts on buildings, ski slopes, and snowbanks, using a 60-milliwatt laser and a big-ass projector. The G.R.L. will bomb screenings, party events, and other random targets for the duration of the Festival. I'm sure these hard core subversive street artists weren't lured into the festival by the promise of big money at what is known as the largest and most expensive Hollywood shopping mall. I'm sure their messages and technology won't be exploited to sell the latest vodka or designer underwear. I'm sure they'll "keep it real".


But who knows...maybe I'm wrong.

Luster

LUSTER
An art happening by Project 4 and The Pink Line Project

Saturday, October 13, 7:00pm - 12:00am
Music by eightyeight
Sunday, October 14, 12:00pm - 5:00pm
Champagne, mimosas and music by Yoko K. (Aphrodizia)

Lee Jensen Brake Shop : 1333 14th Street NW Washington DC 20005
$10 suggested donation at door to benefit The Pink Line Project's emerging artist grant program.

Featuring the work of:
Steven M. Cummings, Daniel Davidson, Drew Ernst, Kate Hardy, Ju$t Another Rich Kid, Geoffrey Mann, Gregory McLellan, Ted Noten, Cory Oberndorfer, Painted Lady Performance Project, Chris Tousimis, Rene Trevino, Trevor Young

Project 4 and The Pink Line Project present LUSTER an evening of decadence to benefit emerging art and music in Washington DC. The event will feature cocktails, live music, and an art exhibition that explores ideas of luxury and excess amid the debris of an abandoned brake shop.

The questioning of high-end retail and luxury goods has become a strong current in contemporary art and culture, specifically focusing on the obsession with consumption and luxury in America. The artists featured here incite this contemplation, using the tools of commercialism and the allure of gold to appeal to your desires as a consumer.

At a time when it is more important than ever to support and promote a creative culture in Washington, this collaboration expands the reach of contemporary art by redefining the notion of what is art. We believe that everyone's life can be enriched and transformed by the arts and we intend to set the gold standard for raising awareness about contemporary art.

Project 4 is a new voice in the growing Washington D.C. art scene. The gallery's programming promotes an international, forward-thinking exhibition schedule of contemporary art and design. Focusing on one-person shows and thematic exhibitions by mid-career and emerging artists, the gallery also invites guest curators to host exhibitions emphasizing trends in contemporary art and design. It is, in effect, a room for art and ideas spanning a range of cultural issues.

The Pink Line Project supports outstanding artists who contribute to excellence in the arts in Washington, DC. Founded by Philippa P.B. Hughes, The Pink Line Project fosters intellectual and artistic innovation through programs and events that are fueled by the transformative power of art.

PROJECT 4
www.project4gallery.com

THE PINK LINE PROJECT
www.pinkline.org

Cédric Delsaux @ Project 4

Cory Oberndorfer



Cédric Delsaux's show Landscapes/Star Wars on Earth reminded me why I love art. It made me smile. Sounds so simple, doesn't it? Here's a segment from the press release:

Delsaux's digital photographs combine myth and reality. The work is subtle and serene in his Landscapes series, and overtly humorous in his Star Wars on Earth Series, in which Delsaux photographs toy figurines and then digitally places them in Parisian suburbs. His training in commercial photography is evident with his play on branding in the Star Wars on Earth series. Conversely, in Landscapes, traces of human existence are either remote or totally absent. In both series, the expansive and dream-like scenes combined with colors that contrast the washy with the bold is what captivates.

If you have the opportunity, check it out.
Project 4 Gallery is located at 903 U Street NW in Washington, DC. Wed-Fri 2-6pm, Sat noon-6pm

Introductions3 @ Irvine Contemporary

by Cory Oberndorfer

This past Saturday, Irvine Contemporary closed its Introductions3, their annual exhibition of recent art school graduates. From their national call, the selection committee chose 12 artists from over 250 submissions. The eclectically curated show included paintings, sculpture, installation, photography and animation. Some of the highlights for me were Maura Brewer's meticulously starched tuxedo shirts folded into an origami-like structure, Erin Colleen Williams's hybrid sculputral items which blend the look of patent-pending inventions using technology culled from the last 150 years, and the collaborative video project of Stephanie Williams & Jesse Thompson. With imaginative and highly styled sculptured figures and miniature set, the pair create an animated video story of a child creating a story from an overheard conversation and phrases found in the bible.
Overall, the show presented a positive outlook for the future of emerging artists, but my major point of interest in this show lies in Irvine's selection committee. There are many shows that curate recent grads, but most are chosen by gallery directors or a juror who is usually an artist, critic, curator or one who is linked to arts management. Irvine instead chose a panel of area collectors. These are art enthusiasts who promote the creation of new work and support the success of artists through their own purchases. Through this process, these collectors have a direct influence on the work that is introduced to the public. Whether their decision-making is based on long-term investment or a simple matter of taste, they have the ability to give us an idea of the appeal and marketability of these chosen artists.

OPTIONS 2007

SEPTEMBER 13 - OCTOBER 26, 2007

Pepco's Edison Place Gallery
702 Eighth Street NW
Washington, DC 20001

Curated by PAUL BREWER

Originally developed in 1981 by the WPA board of directors, the first
WPA OPTIONS biennial was curated by legendary artist Gene Davis and Washington Review editor Mary Swift. Continuing with this historic and eagerly anticipated exhibition, OPTIONS 2007 curator Paul Brewer, Director of the Hudson Valley Center for Contemporary Art, has selected 10 emerging artists who represent the creative diversity of the region. 2007 marks the 12th year of OPTIONS and the ongoing dedication of the WPA\C to support, promote and encourage new and emerging talent, as well as to stimulate dialogue between established and emerging artists, and the regional community.

2007 OPTIONS ARTISTS:

TAYLOR BALDWIN
ANNE CHAN
NEIL FEATHER
ELI KESSLER
CORY OBERNDORFER
PAT O'MALLEY
SIOBHAN RIGG
KATHLEEN SHAFER
SAYAKA SUZUKI
RENE TREVINO

OPENING RECEPTION: Thursday, September 13, 6:30-8:30 pm
CURATOR TALK: Sunday, October 7, 2:00 pm
ARTIST TALK: Friday, October 26, 6:30-8:30 pm

The Rock 'N Roll Lifestyle (documented)

Cory Oberndorfer

I was fortunate enough about a year and a half ago to catch a screening of a film at Sundance called Everyone Stares: The Police Inside Out. It was composed almost entirely of archived footage shot by The Police drummer Stewart Copeland on his Super 8 camera. Over twenty years after the dissolution of the band, Copeland began sorting through reels of home videos made from early in the band’s existence up until their very last photo shoot. It reinforces the “life on the road” standard for touring musicians. A life of performances, photo shoots, traveling and, after success, throngs of adoring fans and groupies. All of this is done with an entourage of bandmates, roadies and organizers. The opportunity to play with Super 8 is obviously a pleasant distraction.
The film itself does not formulate too much more than home movies documenting moments in time. The playful nature overshadows the opportunity that would have been available to provide an intimate look inside one of the biggest bands of the time. Instead, we see a few guys just goofing off, enjoying their celebrity. This was reinforced during Copeland’s Q & A session, where he seemed to still be living in the time when he was a celebrity and relished in his stories of fame, wealth and women. His solipsistic attitude explained why the camera was focused on him during most of the film.
The film did not disappoint my expectations. It provided a healthy dose of nostalgia for those who grew up enjoying the band’s music and is more than likely one of the instigating factors for their current reunion tour. More than anything, Stewart Copeland merely passed on his “pleasant distraction” for 74 minutes.

Eighteen months later, The Police have kicked off their world tour, selling out large venues and enjoying their moment on top once again.

One day in late June I wandered into Frank Pictures Gallery in Santa Monica, California. The gallery was displaying a show of photographs taken by Andy Summers, The Police’s guitarist. Recalling my experience the year before, I was looking forward to a fun little experience with a musician and a camera. Instead, I found an artist who invested care, time and understanding to his craft. During his time on the road, Summers took some 25,000 pictures with his Leica camera. It is obvious that he found a sort of focus (pun not intended) with his camera. Rather than filming his existing world, Summers created his own universe from the world around him.
From the 32 photographs in the exhibit, the life of a musician is certainly documented in an expected fashion, but the execution of the photography transcends the mundane standard. Today, photographers have the luxury to snap off thousands of pictures and review them to find the few that turn out (I count myself among the guilty). However, Summers’ Leica forced him to plan his compositions and invest greater care in each image. Do these pictures only promote the sex, drugs and rock ‘n roll stereotype? Certainly. But the results also capture an intimacy that can only be told from the inside. It’s photographs such as these and Annie Leibovitz’s that define the era of music. Cameron Crowe and John Toll were certainly influenced by these artists when they filmed Almost Famous.
Needless to say, the photographs of Andy Summers filled the void that Copeland did not even attempt to enter, and for those wondering, Summers is lugging around camera equipment on his current world tour.



Everyone Stares: The Police Inside Out is available on DVD.
I’ll Be Watching You: Inside the Police 1980-83, a book of photographs by Summers printed by Taschen is soon available, including over 600 photographs.

C'mon c'mon

Come support our friends, writers and above all, talented artists. Geoffrey Aldridge, Cory Oberndorfer, Lily deSassure, and Graham Childs work available at Meat Markets Auction.

This Friday, 6-9 at Meat Market

Barbering: A Dying Craft (And An Undergraduate Show, Floundering At Best)

Cory Oberndorfer

As a child, I spent little time alone with my father. He played the traditional role of the family breadwinner and house handyman. But once a month, we would get haircuts. Being raised in the Midwest, this meant a trip to the barbershop. It was easy to spot with the rotating white, red and blue barber pole outside. The clientele consisted of men. Old men with little hair, middle-aged men with slightly more hair, and on Saturdays, men with their sons. There was also no shortage of mustaches in the area. For years I was under the impression that barbers were required to have names with three letters or less. There were always men like Ed, Ted, Tim, Mac, Bud, Bob, Joe and at least two Jims per shop. Barbering was a family tradition and there were usually brothers or fathers and sons running the shop, and one thing was always certain—when you came in you would get a haircut. And by this, I mean you would get “the haircut”. There were only slight variations on the outcome of the haircut.

Today, for the first time in many years I visited a place I was proud to recognize as a true, honest-to-god barbershop. Hidden in a nearby residential area next to a bowling alley(natch) was the Westwood Barbershop. I didn’t need to make an appointment as the place only takes walk-ins and cash. As I walked though the door the nearest barber removed the cape from the back of his chair in a silent invitation to sit. He was a man I would estimate to be in his 80’s and I could only assume he held this profession his entire life. He deftly wrapped my neck, draped the cape over me and proceeded to begin his work with an electric razor. He used his comb to part my hair on one side and asked how I wanted my hair to lie. It took me a second to understand what he meant since I haven’t owned a comb or parted my hair in over fifteen years and my hair rarely “lies” in any particular fashion, if it “lies” at all. He emphasized that I would require hair gel to get it to lie properly at the length he was cutting it. Apparently, he takes great pride in getting hair to lie in a certain way.

As he worked on my hair with nary a word spoken, I enjoyed the time to drink in the surrounding atmosphere. The shop was small, with room for five barber chairs lined up near a counter on one wall and red vinyl chairs lining the opposite wall. There were no sinks, as a barber does not provide washes. There were no hairdryers or styling products. In the vinyl chairs sat several older gentlemen reading the paper, an act I can only assume they would continue for most of the morning. In the other barber chairs were several more gentlemen with hair only on the sides and back to be cut, as well as a man in his 30’s sitting in a chair adjacent to his 10-year-old son getting a haircut. There were probably four generations being represented. Very few words were spoken in the shop. The only conversation I could hear was that of the man next to me discussing what type of fertilizer he uses(he used to use manure but now uses this processed stuff that contains no phosphorus). The five barbers all wore the same hairstyle and matching short-sleeved blue shirts that zip up the front. None seemed under the age of 65. I’m sure the barber in his 60’s was probably referred to as “the kid” or “the new guy”. From my vantage point, I was able to see several of the name plaques displayed in the stations. They read “Joe Santini”, “Nick Santini” and “Nickolas Santini”. It just seemed right that they were all family, despite the fact that some of the names were longer than three letters.

I watched as the men displayed a mastery of their craft. In the ten minutes that my haircut lasted, Nick worked effortlessly with his razor. He never needed to check the lengths or even out the sides, as they were executed perfectly on the first pass. The top was trimmed with just a few passes of the scissors. He then placed warm shaving cream around my ears and along my neckline before taking care of the edges with a straight razor. I peeked over at Joe in time to catch him trimming the nose hair of his client.

At this point you may be asking yourself why I’m writing an art review of my trip to get a haircut. The answer is simple…pride and dedication to craft. These men had all chosen their lot in life and honored the tradition that came with it. Just as a painter makes a mark, the barber works his shears. He provides a work of art for the individual to present to the world. Call me nostalgic, but I can’t help holding the highest level of respect for these barbers and their art. Plus, Art is a perfect barber name.

American University Undergraduate Exhibition


As an American University MFA candidate, I was very curious to see what our program was churning out on the undergraduate level. After all, these are the students representing my school and its reputation. But having high hopes and expectations runs its risks…it’s easy to be disappointed. After viewing the show, I was wishing I were merely disappointed. Instead, I was appalled and ashamed.

I am well aware of the fact that the visual arts department does not emphasize Bachelor of Fine Arts degrees and that very few students seek this degree. But I also know that there are many students introduced to the arts through curriculum requirements. I also know that American University has pedigreed faculty members teaching these students. So what went wrong?

I did not see any sort of art education or instruction in the work presented in this show. There were drawings and paintings of a very naïve nature. Knowledge of line, value, contour, form and content were hinted at, at best. I did not see what I would consider a single finished piece. Most were incomplete or presented as studio sketches stuck to the wall with pins. The museum wall, I should add.

Was this show representative of the curriculum? If so, the requirements have a misguided standard. Were the advanced students not represented? Doubtful. Most artists would be thrilled at the opportunity to display their work in a museum. Is it possible that our high-quality instructors do not push the students? Perhaps they do not push them to create “finished” work, but even if the exploration of the work is the focus I could assume at least a few final products would slip through. Does the problem lie in the facilities provided? Although the new Katzen Art Center is not extravagant, the studio spaces are definitely functional and should not be a hindrance to the process.

These are just a couple of the questions the administration should be asking themselves in search of a significant improvement to the program. It is now weeks later and I am still speechless over what I saw. I could as more questions or make more observations but to be honest, I am at a loss for words.

There were, however, two parts to this show. The second part being that of the graphic design students. In my opinion, this part of the show faired better than that of the drawings and paintings, but the standards and expectations are different. Most design students with a bachelors degree are expected to enter directly into the professional world. Unfortunately, with the accessibility of computer-based design programs this field is not as elite as it used to be. There are now many graphic design degrees that can be completed over the internet, in condensed programs and through night classes. This severely ups the ante of what is expected from a quality University program. Pleasantly, it was obvious that craftsmanship is stressed in this program. Not only was the work well-presented, but the cleanliness in the layout and content was also apparent. Which leads me to the one word I would use to describe the design part of the exhibit…predictable. I saw no work that varied from the aesthetic prevalent in Print Magazine. This is often what happens when design is being taught in an educational environment by other designers. I have a feeling that many of these students will be disappointed and frustrated when they begin positions in the professional world. A world full of restrictions, and worse, clients. Their once beautiful product layouts fall victim to cost issues, quality issues of inks, paper and other materials, the bad taste of clients who feel obligated to override any decision the designer has made, and the issue of overall practicality.

To the design students, I applaud your efforts and wish you luck in your pursuits. It is not your University education that will form your career, but the first few years floundering in the real world. Brace yourself.


**With this criticism, I am admitting the fact that I am making generalizations of the show as a whole and intentionally do not mention the success or failure of individual artists.