Amid a projection storm of current exhibition videos, brainstormers watch the Contemp's new PR Video of women walking through the new obscurred new building, vidding up their noses at the ceiling — them purring non sequiturs like "cutting edge," perhaps punning the building's prior purpose as a metal fabricator. Much hype. Little substance. A dull and demeaning beginning to a planning session for visually intelligent artists.

I'm giving up on The Contemporary. Have given up. I still want to, but I just can't care anymore. Takes too much time and energy on a lost cause. Joan's going to make of it what she had hoped to make of the Arlington Museum before they fired her. What she hopes to sell to folks richer than us artists. Tough luck for who still need a community exhibition venue.

No one at the meeting mentioned showing Dallas artists as a possible goal for the reorganized geographically Dallas center, so I may be the only one left who needs that place to follow its founding purpose, which it oddly shared with the Dallas Museum of Art and other spaces that have long since abandoned founding principles. If attendance at this meeting is any indication, darned few local artists care about the center's future, anyway.

The inexplicably Saint Patrick's Day flavored meeting, called an "open mic" March 17 at The Dallas Contemporary, formerly known as the Dallas Center for Contemporary Art, Dallas Visual Art Center, D-Art, etc. It was a brainstorming session, though it was neither advertised nor conducted as one. Like much that involves that institution and Dallas artists — except when they need our work to raise money, it was not well advertised or long planned.

As if an afterthought — of so little consequence it wasn't promoted months or more ahead in the center's widely distributed newsletter or on their website. After it was repeatedly suggested at this meeting, Joan promised to have more such meetings "three times a year" into the foreseeable future, and I wonder what, if anything, will come of this first one's suggestions, since there will have been at least four more by the time the new space finally opens.

Green beer, a white pleated trash can, green napkins and projected videos

This meeting was heavy on green: green beer, green napkins, green cups, green cookies and green decorated cupcakes, few of which were eaten, bright orange potato chips and mostly green bottled drinks, with hot dogs and vegetarian burgers, though no burger buns, hot off the barbie. Only one attending artist wore The Green, although center workers were uniform in green tops. [in the dark end above]

Most who attended apparently did not get invitational emails, many of which Joan Davidow explained, burrowed into junk mail folders. Many others bounced back, suggesting their email lists are not well kept. Several attendees got a phone call instead.

Did you? No? Me, neither. Perhaps our presence was not much in demand.

I got the email and posted the invitation on top of the Events, Tours, Talks & TV section of the DARts Calendar soon as I saw it but didn't RSVP till the day of since I thought I'd be working. I can't find the original now, so I don't know when it was posted. It's impossible to distinguish personal from my DARts email. I never know if I was or we were invited.

new Open Mic - What is your vision for the new Dallas Contemporary?. You and your friends are invited for hot dogs & green beer. 6-8 Monday March 17 at 2801 Swiss Avenue. RSVP operations@thecontemporary.net or Holly at 214-821-2522

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Twittering Mini-blogger and co-curator with John Pomara of the surrounding
Real Time video show, Dean Terry across the table from Sally Packard

I suspect the meeting was designed to lend some Dallas artists the sense they'd participated in the future of an organization that's been redirected to ignore most Dallas artists' needs. Some Dallas artists, including the few at this meeting, already have much to say about the center's future. Others of us have little or none.

I'd thought I would say what I always say, what I have written countless times, what anyone who has read any of my stories about the Dallas Center for Contemporary Art and D-Art before it, would know, maybe word for word. That the best and easiest way to save The Contemp or make it successful or popular among the Dallas artists they say they want to attract, is to show Dallas artists somewhere besides back halls.

I was there as history gatherer, an extension of my long-ago appointed task as D-Art Archivist, possibly why I've been so adamant. I likewise attended the last meeting of Allen Street Gallery, when they decided to be buried with their precious nonprofit status. I am attracted to turning points and have been wondering whether I was the only Dallas artist who still cares about the center's founding purpose and the niche that community center filled for its first decades.

If no one suggested showing more Dallas artists, probably I should cease and desist my complaints.

Misty Keasler

The Contemp needn't abandon its plans for contemporary art world domination. Simply throw a little serious local art into the mix. One annual or biennial competitive exhibition could do it. That's what its namesake cross-town competitor has. Remember the old Critic's Choice, more recently defiled into winning keys to the back hallways?

I get the feeling what local artists sometimes call "the contempt" only shows our work when they can make money off us. As someone at the meeting said, "It would be nice to go to the center sometime other than when they want something from us."

Show more Dallas artists, and we will support you. Don't, and struggle your existence from less interested benefactors and collectors with more money.

Artists Kathy Robinson Hays, Terry Hays and Vincent Falsetta 

An Open Mic, usually thought of as a poetry reading, is not likely an event to draw artists with ideas. And it didn't. 15 artists showed up for green beer and hot dogs and talk about the future of The Contemp. I was first to arrive, slightly early. Then Kathy Robinson Hays. "Texans are not known for our punctuality," I explained to Joan's temporary executive in charge of the meeting. Eventually, others, including Joan's fiancé arrived, though he left well before the meeting's conclusion. I did not count him as an artist.

Even though those in attendance seemed hand-picked, the number was remarkably low. Only fifteen Dallas artists braved the session.

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Artists and UTD Teachers Greg Metz and John Pomara

Three male artists arrived well after the discussion began, probably late from work. 6 pm is early for commuters. Not counting the six women on staff — including Director Joan Davidow, and event coordinator Robinson — only four women Dallas artists attended. I don't know whether any staffers are also artists.

Maureen Robinson later lamented she would not be around when whatever happened happened — to see the results of our ideas. Joan said the new building would not be ready for another 18 months. Like many who work at the center, Robinson is a temp. A semi-executive but only temporary. An outside agitator expert in starting something consultant. Don't know if she is paid. I assume so.

Brian Gibb of The Public Trust

Five young women who work there also attended, sitting at the opposite end of the table from Davidow. They didn't say a word past introducing themselves, around the table, as we all did to start. I said few words but none of them were what I came to say, though Maureen Robinson repeatedly asked what we came there to say. That same old thing I always say. That no one wants to hear anymore of, and even I am getting tired of saying, wondering whether I should just drop it. During this meeting, I decided to cease my opposition, although I did tell Joan and Maureen afterward that all they had to do was show Dallas artists, and we would support her every other endeavor. But that was the last time I'll sisyphus that worn-smooth stone.

I listened to what others said until I couldn't stand it any longer. I was part of the founding board of DARE. I've heard all those ideas many times. I'd brought my camera, so I photographed all the ardent and vague young and aging artists and administrators.

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unidentified Shamrock Fan Came Prepared for the Green

Greg Metz, who co-founded DARE, that short-lived institution whose purpose was to show and promote Dallas artists, did not mention showing Dallas artists. None of the other Dallas artists in attendance mentioned it. Greg said the center should have more to do with the world out there, transitioned to a muddled diatribe against the war and trailed off.

I shot five, too-short videos, most starting after the points had been made. One shows John Pomara suggesting a show to alternate with the now annual Legends exhibition involving "young artists and young curator that are up and coming — three to watch," he called it. Not, perhaps, unlike his recent Critic's Pic2 at UTD. He did not say Dallas artists.

Others said The Contemp needed a rotating set of four visiting artists in residence in the little side building at the new site. That the Contemp could be where artists gathered after openings on nearby Dragon Street and keeping it open late. Green beer was oft mentioned, possibly because there was an abundance left from the poorly attended first dreamers' meeting. An architect suggested shows involving architects. Someone who'd attempted an artists gathering in college suggested one here. There was a  lot of sucking up to Joan.

The guy sitting across the table behind a laptop, who said he was twittering mini-blogs of the meeting as it happened, suggested the center have a more active and interactive web presence. Someone suggested a Facebook page. Each artist around the table proffering first-person singular ideas.

Maureen Robinson, DCCA Strategic Planning Facilitator

It's how communities work. How they should work. How a brainstorming session should operate, although a real brainstorm should have been more spontaneous, quicker paced, with new ideas branching quickly from others — and no one asking grandiose, long leading questions. Like a good brainstorm, there was no negativity about other people's ideas. At the end and along the way there was some discussion of a few ideas.

I didn't take notes, and I did not record the event. It looked as if the center did. Several sizes of microphones stood on the table. Instead, I walked around and made photographs. No flash. Of people mostly. Camera set on manual, so I could adjust exposure. Most exposures a fifth, a fifteenth or so of a second. Shoot, look at it for a couple seconds, shoot again, wishing the damned thing would not beep every time it attained focus. I turned all the other noises off. At least twice during the meeting Joan aimed and fired a fully flashed camera at someone speaking.

Joan Davidow, Director

I'll attend the center as often as I have these last few years. It's there, then it will move over well off Dragon Street [See our map]. I'll review shows. I just won't get involved as always before, when I thought there was hope it would actually serve the artists of Dallas, would show and promote us.

It's gonna be what it's gonna be, and me grousing about it is a waste of all our time. I am a proud member of the original Contemp, The McKinney Avenue Contemporary, whose last name Joan stole when she turned the Dallas Visual Art Center into "The Contemporary," and neither of them have been perfect, but they're what we got.

 

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