James W. Bailey's Top Five DC Shows of 2004
Leave it to James W. Bailey to take a simple listing of the top visual art shows from our region and end up with several thousand words on the subject.
Bailey’s had quite a good year in 2004 himself, with several national level group exhibitions, plus his premiere Washington, D.C. area solo exhibition, "The Death of Film," which opened in August of 2004 at the Rachel M. Schlesinger Concert Hall and Arts Center in Alexandria, Virginia. Bailey’s "Rough Edge Photography" will also be featured in two solo exhibitions in 2005: "Stealing Dead Souls," which opens in January at the Black Rock Center for the Arts in Germantown, Maryland, and, "Burnversions," which opens in August in Reston, Virginia. Bailey will also be curating a found photography exhibition, "i found your photo," that will open in November of 2005 in Reston, Virginia.
Bailey won three major national art awards in 2004: An Honorable Mention Prize for "Circle Theatre – New Orleans" at the 3rd Bethesda International Photography Competition, awarded by William F. Stapp, the first Curator of Photography for the National Portrait Gallery; The Albert J. Turbessi Award at the 47th Chautauqua National Exhibition of Art for "Woman at the Tomb," awarded by Dr. Donald Kuspit, considered as one of America’s leading art critics and art historians; The Juror’s Choice Award at the Peninsula Fine Art Center Biennial 2004 for "Angel of Death," awarded by curator for the High Museum of Art, Carrie Przybilla.
Here's his Top Five List:
2004 – The Year a Small Army of Mississippi Rebel(lious) Artists Invaded Washington, D.C.For the last couple of years I have enjoyed some success (well, some might say so!) as a critically acclaimed experimental photographer who has been exhibited across the country, internationally, as well as right here in the Washington, D.C. area. As a native son of Mississippi, I have been proud and honored to represent my home state with my art.
I currently live in Northern Virginia and my wide range of artistic activities keeps me in constant contact with many independent visual artists, as well as with a large number of arts professionals who work with some of the most important museums, art centers and art galleries in the country.
Wherever I travel to exhibit my photography, my Mississippi background seems to quickly become the subject of intense conversation. Art knowledgeable people outside the South are fascinated by Mississippi; yet, the question I get asked most often lately by non-Southern art elites goes something like this: "How did an open-minded liberal white artist like you ever manage to develop in such a backward state that is on the bottom of every list that is so steeped in racist attitudes with such a hate filled history and populated with so many ignorant conservative Republican Christians?"
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