Constructive Dialogue
By F. Lennox Campello

The Corcoran's newest curator discusses local artists, Post critics, and the impact of finance on art.

There is a perception, perhaps somewhat warranted, that those who dwell in the rarified upper crust of what is sometimes called "high art" are stereotypically fussy, old, myopic, and snobbish characters, who look down from their dusty offices and pass judgment upon art and artists from the seclusion of empty museums and public galleries. A few years ago, local painter Joe Shannon made fun of them in a series of vibrant, caustic canvases, in which he referred to them as the "art cabal."

It takes Dr. Jonathan Binstock, the new curator of contemporary art at the Corcoran Gallery of Art about 30 seconds to shatter that image. Binstock exhibits a refreshing perspective on one of the most prominent and important curatorial art jobs, not only in Washington, but on a world art stage, where the Corcoran has recently emerged as a major player.

A Positive Attitude

The former assistant curator at the Pennsylvania Academy of the Fine Arts in Philadelphia (prior to replacing Terrie Sultan at the Corcoran in January of last year), Binstock brings an extensive knowledge of Washington art and an impeccable pedigree to the job, including a Ph.D. dissertation on renowned DC artist Sam Gilliam. More importantly, he brings a vigorous, positive attitude for his work, for art and artists, and for this city.

In talking to this charismatic young man, it's clear that he feels his job extends beyond the confines of the Corcoran, and that constructive communication is a key part of his work ethic. In the context of the perception that the Corcoran ignores Washington-area artists, Binstock describes his curatorial focus.

"My focus is balanced between artists living inside and outside of DC," he says. "I don't plan to show artists just because they live in DC, but I do realize that there is quality work being made here. I intend to get out and see this work and organize occasional exhibitions featuring area artists deserving national attention. The challenge, of course, is to determine what stands out, what is best among the art being made here." He continues, "Just as important, I intend to contribute to the Washington scene by participating in dialogues between artists, dealers, collectors, curators, and critics."

I press him on the subject, commenting that his predecessor was not known as much of a gallery visitor or involved with the regional art scene. "I like working in the art world, which includes the ground under my feet," he says forcefully. "I like visiting artists' studios and going to exhibitions -- and not just those in museums or established commercial galleries. I like hanging out with dealers and artists and engaging in dialogue -- I'm interested in the totality of the scene. In my first five months on the job, I had already been to well over 20 artists' studios in the area, and to most of the galleries in Dupont Circle, Georgetown, and 7th Street, as well as a few coffee shop art openings."

Binstock uses the word "dialogue" several times -- good news, so far, for Washington artists and for the Corcoran's image in the DC arts community.

"There's precious little coverage in the DC media of Washington artists and galleries, yet this is a significant component of any city's cultural life and dialogue," I say. "What about the media and the critics?"

"The critics at The Washington Post occupy destiny positions. I mean, they are big stuff. In a city as small, concentrated, and important as Washington, and working for a paper as good as the Post, there is the potential for them to be major forces, to shape the arts community in which we work and live," Binstock says.

"I don't only mean by telling us what they like and don't like, though this is essential, but also by contributing to the cultural life of the city. As you suggested, print-media coverage is crucial to the vitality and validity of any art scene. How can criticism, whether negative or positive, be constructive in a town with an art world that needs help on all fronts, save its museums? How can art criticism contribute to a sense of community in a city where community is vastly underrated and greatly needed? This would be so much more productive than following Capitol Hill's lead and deriving a false benefit from building up divides.

"I'm not referring to the community of museums, which is so prevalent in Washington," he continues. "I'm referring to the disparate art world, those people in and around town who struggle independently out of love as artists, curators, dealers, and the like. Trash the show -- not gratuitously, hopefully -- but make the art world a better place in the process. Raise the bar on quality, but do so with a sense of responsibility for your audience; do so with the purpose of adding to the sum total of Washington's scene.

The Only Critical Gig in Town

"The regular audience for art criticism in Washington is primarily our little art world, not the hundreds of thousands of people in the metropolitan area who work in fields connected to the city's dominant industry, politics," he says. "And let's face it; the Post is, for all intents and purposes, the only critical gig in town, the one opportunity to have a printed, public forum, a recorded dialogue. One gallery article on Thursday, one museum piece on Friday, and another on Sunday -- this is typically all we get. Why not make the most of it? I'm not saying this kind of criticism is easy to write but, rather, that this is the challenge. I would like critics to be more generous, to nurture what's trying to grow here, which does not mean being more lenient."

Binstock is then brutally honest in surveying the Washington City Paper's cultural coverage. "Their irreverence towards the visual arts in this city contributes nothing to the local scene, which, unlike the Post, is the City Paper's only concern," he says bluntly. "It has the audience. I read it every week. But it could be so much more. The regional art world deserves more from its regional paper."

"Museums and curators are sometimes under pressure to deliver financially successful shows --are you under such pressure from the Corcoran?" I ask.

"No pressure," he says. "From time to time, the Corcoran does mount exhibitions that turn out to be major draws. I would add that these exhibitions accurately reflect the breadth of the Museum's mandate and its permanent collections. But I am not told to organize these exhibitions. In fact, as curator of the contemporary art program, I am encouraged to generate my own exhibitions and to take risks. This latter point is one of the most exciting aspects of the Corcoran's outlook and my job. No other museum in the District takes the kinds of risks we do. As a result, our programming is exciting and diverse. Also of interest to me is the fact that, historically and presently, no other museum is as connected with contemporary artists in this town. This also sets us apart."

"What about young artists?" I ask, recalling retrospectives in the 1980s at New York's Whitney Museum of Julian Schnabel and Eric Fischl, who were in their forties and relatively unknown at the time.

"As an example of that, as one of my first shows, I organized an exhibition, albeit not a retrospective, of three emerging artists who deserved national exposure. 'Primary Properties: Mary Judge, Joseph Dumbacher, John Dumbacher' featured artists who work in vastly different ways with dry pigment and maintain the powdery quality of that medium in their finished work. Mary lives in Brooklyn, and the brothers split their time between DC and Pasadena, CA. It was great seeing art made in the District in the context of art made elsewhere. It was a beautiful, if very formal, presentation."

My final question seeks to determine an early appraisal of his job. "What do you hope to be remembered for after your tenure here?"

His answer is a testimony to the zeal for his work: "There's a trend for curators of contemporary art to become freelancers, itinerant curators who work out of their home and get significant remuneration for their efforts." He has set me up, and somewhat surprised, I expect him to say that he would be interested in heading in that private direction.

"This is not my ambition," he states purposefully. "I am very rooted in the discipline and history of art history, and, within that, professional museum practice. I like working for an institution, even with the incredible amount of paperwork unrelated to exhibitions and acquisitions that such a job inevitably entails. Part of my long-term goal is to leave a mark on the history of the institution. I intend to accomplish this by bringing a good deal of ambition and humility to the job; by keeping pace with the Corcoran's reputation and expectations; by organizing the best exhibitions I can and building the Museum's collection; and by tapping into the greatness of the organization and contributing to it."

He ponders a second, then adds, "I imagine that I would derive a great deal of satisfaction from being associated in an ongoing way with such a venerable art institution, one that will outlive me and everyone I know. Success, in the end, might be as simple as a casual reference, such as, 'Those were the years when Binstock was curator of contemporary art.'"


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F. Lennox Campello is a widely published art critic and writer, an award winning artist, curator and the co-owner of the two Fraser Galleries. He also serves on the Advisory Panel of several local art organizations, including the DC Commission for the Arts and Humanities. For more information, visit: www.geocities.com/lennoxcampello