Dear Artomatic… please come back in 2021!

By F. Lennox Campello

 

Dear Artomatic… please come back in 2021!

That would be the best DMV sign that things are getting back to normal and the end of The Covidian Age.

If you are an artist or art lover reading this post, then chances are that you already know what ARTOMATIC is and all about this amazing spectacle.

But just in case, a little review.

Over the last few decades, about once a year or so, under the guiding hand of a board of hardworking artists and volunteers, a large, unoccupied building in the Greater Washington, DC area is identified, and eventually filled with hundreds of artists’ works, loads of theatre and dance performances, panels, and everything associated with breathing a powerful breath of energy into the Greater DC art scene.

Let’s review: The idea behind ARTOMATIC is simple: find a large, empty building somewhere in the city; work with the building owners, and then allow any artist who wants to show their work help with staging the show, pay a small fee and work a few hours assisting with the show itself.

Any artist.

Artists love ARTOMATIC, but most DC area art critics hate it.

Why?

I think that in order to write a proper, ethical review of ARTOMATIC, a writer must spend hours walking several floors of art, jam-packed into hundreds of rooms, bathrooms, closets and stairs. And I think that this is one of the main reasons that most art critics love to hate this show. It overwhelms them with visual offerings and forces them to develop a “glance and judge” attitude towards the artwork. It’s a lot easier to carpet bomb a huge show like this than to do a surgical strike to try to find the great art buried by the overwhelming majority that constitutes the great democratic pile of so-so artwork and really bad artwork.

A fire dance performance at Artomatic 2008. Photo by M.V. Jantzen

Add on top of that, an outdated, but “alive and kicking” elitist attitude towards an open show, where anyone and everyone who calls him or herself an artist can exhibit, sans the sanitizing and all-knowing eye of the latest trendy curator, and you have a perfect formula for elitist dismissing of this show, without really looking at it. Practically every art critic and every art writer that I know is a liberal in nearly everything that faces them… except when it comes to an “open” show.

This harsh and elitist attitude towards art is not new or even modern. It was the same attitude that caused the emergence of the salons of the 19th century, where only artists that the academic intelligentsia deemed good enough were exhibited. As every art student who almost flunked art history knows, towards the latter half of that century, the artists who had been rejected from the salons (because they didn’t fit the formula of good art) organized their own Salon Des Refuses, sort of a 19th century Parisian Art-O-Matique.

Photo by David Baker

And a lot, in fact most of the work in the Salon Des Refuses was quite feh! but amongst the dreck there were also pearls like Manet’s Le Dejeuner sur ‘Herbe (Luncheon in the Grass), Monet’s Impression: Sunrise, (and we all know what art “ism” that title gave birth to) and an odd and memorable looking portrait of a young lady in white (The White Girl, Symphony in White, No. 1) by an American upstart by the name of James McNeill Whistler.

Everyone who was anyone in the art world hated and dismissed this anti-salon exhibition; except for the only one that really counts: Art History.

But how does a writer cover an arts extravaganza of the size of ARTOMATIC once the eyes and mind become numb after the 200th artist, or the 400th or the 1,000th?

ArtOMatic-Arteology

As an art critic, I once started a review of a past ARTOMATIC by complaining how much my feet hurt after my 5th or 6th visit to the show, in a futile attempt to gather as much visual information as possible in order to write a fair review of the artwork. Over the years I have discovered that it is impossible to see everything and to be fair about anyone; the sheer size and evolving nature of the show itself makes sure of the impossibility of this task. But ARTOMATIC is not just about the artwork.

As a gallerist, I also have visited ARTOMATIC looking for new talent amongst the vast numbers of artists who come together under one roof. Over the years, together with my fellow DC area gallerists, we have plucked many artists from the ranks and files of ARTOMATIC. Artists who since their first appearance at past ARTOMATICs have now joined the collections of museums and Biennials and have been picked up by galleries nationwide. Names like Tim Tate, the Dumbacher Brothers, Kelly Towles, Michael Janis, Kathryn Cornelius, Richard Chartier Robin Bell, and that amazing worldwide phenomenon and best-selling author Frank Warren of PostSecret fame. But ARTOMATIC is not just about the emerging superstar artist.

As an artist, one year I decided to participate in ARTOMATIC, just to see what the guts of the machine looked like. “I know the monster well,” wrote the poet Jose Marti, “for I have lived in its entrails.”

by David Baker

My volunteer hours patrolling the halls on a Wednesday night at midnight, and still seeing people come in and out, and explore art on the wee hours of the morning, also left a footprint on the public impact of the exhibition. Dealing with prima donna artists, recharging my own artistic batteries from hundreds of fellow artists, many of them in their first public exposure, also left an impression. But ARTOMATIC is not just about the public.

ARTOMATIC is two things to me:

It is perhaps the nation’s most powerful incarnation of what it means to be a creative community of hundreds of working creative hands all aligned to not only create artwork, but also put together a spectacular extravaganza that re-charges the regional art scene as no museum or gallery show can. ARTOMATIC is a community of artists employing the most liberal of approaches to art that there exists: the artists are in charge, and the artists make it work, and the artists charge the city with energy and zeal. And these descendants of those brave souls who challenged the academic salons of the 19th century face the same negative eye from the traditional art critics and curators of our museums, who challenge not just the art, but the concept of an open, non-juried, most democratic of art shows: a community of artists in charge of energizing the community at large. All good group shows must be curated! shout these chained critical voices.

And Artomatic is certainly the easiest and most comprehensive way to discover contemporary art at its battlefront lines, right at the birth of many artists, paradoxically showcasing the area’s artworld’s deepest and also its newest roots. This is where both the savvy collector, and the beginning collector, and the aspiring curator, and the sharp-eyed gallerist can come to one place with a sense of discovery in mind. And the ones that I missed in the past, and who were discovered by others, are ample evidence of the subjectivity of a 1,000+ group art show.

Artomatic… please come back in 2021!

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: