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Index of DARts Reviews
Short Reviews of 2002 Shows
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|Yrjo Edelmann at Craighead-Green||Georganne Deen at The MAC|
|Reserved Seating at the Bath House||Billboards - Real Art for Real Life?|
|Dale Chihuly at Pillsbury Peters||John Alexander at The MAC|
|John Abrams at Xposition||Iris Bustillos' Germinate installation at 500X|
|All Things Glib at Barry Whistler||Texas and Neighbors at Irving Arts Center|
|Building Blocks at DCCA||The MAC Homes & Gardens Tour|
|Manafeasto at Plush||John Alexander at Pillsbury Peters|
|Jim Love & David McManaway at Pillsbury Peters||Loteria, Loteria at The Bath House|
|Jazz at Boyd||Cidnee Patrick Contemporary|
|Grand Re-opening of Conduit||Heri Bert Bartscht Estate at Valley House page moved|
|The Last Art Movie Night|
It turns out I attended the last Art Movie Night November 12. I hadn't been in awhile, and I'd missed the group and the usual discussion after. 11 people showed -- about average for the old days. One was Dallas surrealist artist Valton Tyler, and it was a treat to meet and talk with him. Only two other artists from the original group were there, and one of those was current AMN organizer Karen Weiner. Many people arrived late and left early.
The smallish TV was uncomforatably high on a pedestal in the middle of the big, echoing front hallway. Volume was sufficient, but understanding the dialog was very difficult. Tape quality was poor, and it didn't help that the film was mostly simultaneously interpreted French. Utterly riddiculous music added to the surrealism, perhaps on purpose. Peggy Lee singing Fever all the way through seemed anachronisticly absurd.
The early 60s flick, comprising long conversations with the Paris Surrealists in French, was historically interesting, visually repetitive (but fascinating) and seriously lacking historical context. We rarely saw Ray's larger works entire. Instead, they were panned and scanned, always filling the screen with illogical movement.
Three different people asked when and where Man Ray was born and when he died. Because of the acoustics, however, only a few people could hear any question. And no one knew the answers. In fact, any conversation at all was difficult in the reverbing hall, which Weiner had made no headway trying to move from.
Besides the terrible acoustics, there was no attempt to hold a discussion or establish a sense of community, although that's why AMN originator Anita Horton had set it up, and probably why director Joan Davidow wanted it at the DCCD. Anita would have looked Ray up on the Net and known about his love life.
According to a Man Ray Biography online, Emmanuel Radnitsky was born in Phladepphia in 1890, raised in Brooklyn, met Duchamp in New Jersey, lived most of his life in Paris and died there in 1976.
The DCCD First Friday series is expected to continue to show art movies (tapes), but Art Movie Night is dead. -JRC
a 40-by-90-foot sculpture with reflecting pool designed by Spanish architect, engineer and sculptor Santiago Calatrava, was unveiled October 8, 2002.
preparing Calatrava's Wave in
front of SMU's Meadows Museum of Art.
The perpetually moving sculpture is the first large scale work by Calatrava to be permanently installed in the United States. It is on the street level plaza in front of the Meadows Museum on the SMU campus.
The design for Wave incorporates a large shallow pool of water with 129 rocking bronze bars running its length. The bars will move sequentially, creating a four-cycle wave motion in space above the water. The bars will not touch the water; instead, their wave motion will be reflected in the pool.
The pool is made of black granite, with slow-moving water about four inches deep, which will create an almost-still reflecting surface. Lighting in the pool will provide illumination from underneath the sculpture at night.
at the new I-30E Gallery at 2830 Samuell Boulevard, one block off I-30 at Winslow, east of downtown features work by owners, local ad guys Dale Rushing and Darren Weirich, continuing.
"Introducing -30E Gallery, a contemporary art gallery in a renovated vintage 1947 movie theatre setting featuring traditional and abstreact art in all media by regional and national artists, as well as occasional works from its two business owners, Dale Rushing and Darren Weirich."
In the 70s, the building was The Lido, strip club and sleazoid bar. In the 90s a group refurbished it to be an art theatre, which also failed. Calling it the I-30E is a little absurd, because it's not actually on I-30, just near it, visible from there maybe. And that area is hardly an elegant one, having long earned a reputation for being a rough and rowdy bar strip. It's across from one of Dallas' largest and oldest City parks, the beautiful Samuell Grand Park. - JRC
with Helen Altman, David Bates, Julie Bozzi, Kate Catterall, Vernon Fisher, Brian Fridge, Sam Gummelt, Trenton Doyle Hancock, Joseph Havel, Annette Lawrence, Lisa Ludwig, David McGee, Melissa Miller, Amy Myers, Nic Nicosia ( below ), Sam Reveles, Linda Ridgway, Laurence Scholder, Christian Schumann, Maththew Sondheimer and Liz Ward at Dunn and Brown Contemporary through July 13
Untitled 2002 #6, 2002, archival pigment ink on watercolor paper -- one of Dallas native Nic Nicosia's manufactured fantasies. As we explore deeper into this lilting, layered composition, we see a lipsticked, pink-cheeked little girl in a party dress; unreadable, expansive gesture; interior/exterior light confusion; a puffy-clouded sunset that becomes balloons; that are more than a litle strange; with eerie, makeup faces.
JR was entranced, Kathy dismissed it as vapid.
Grand Re-opening of Conduit in the Dallas Design District
Lance Letscher's trio of color collages at Conduit's new
gallery were subtle and superb. Jessup's stuff was big.-jrc
The grand opening of Conduit Gallery in their new digs at 1626-C Hi Line Drive last weekend featured Robert Jessup's Prometheus and Annabel Daou, Lance Letscher ( above ), Johnny Robertson and James Sullivan, through June 15
So much nicer a space than their Deep Ellum digs, this grand new Conduit is open, airy and extended. Parking's a little limited, however, and though the address is on Hi Line, Nancy Whitenack's new space is actually notched into the back corner of the building facing west on the north side of the street. There is a sign, but it's sublte. The space, however, is not.
Jessup large paintings were okay, but we especially liked the subtle warm tones of one and the colorful wedges ( above ) in Lance Letscher collages near the front door of the new space.
Be careful when you leave, all starry-eyed from the art there, we nearly walked out over an unfenced concrete drop off at their loading dock, thinking we were heading for their porch stairs. - JRC
¡Lotería, Lotería! at the Bath House
Media La Chalupa by Linda Gossett
Fifty-one artists — Alvaro Abrego, Jesse Alcazar, Jesus Alvarado, Karin Michelle Anderson, Cynthia Veronica Anzaldua, Rita Barnard, Kathy Boortz, Annie Brady, Carolyn Brown, Fifi Caballero Benson, Alfredo Calderon, Sara Cardona, Jose N. Correa, Viola Delgado, Frances Dezzany, Amalia Elmasri, Pablo Esparza, David Fisher, Maria Teresa Garcia Pedroche, Dean Garrett, Linda Gossett ( above ), Michael Hawkins, Juan J. Hernandez, Anita Horton, Ann Huey, Larry-Paul Jones, Mark King, Sonia King, Santiago Lopez, III, Eli Lorenz, Cesar Mateos, Ray Navarro, Skip Noah, Kevin Parma, Dan Peeler, Elva Perez, Jorge Rivero, Blanca Reyna, Eloy Rodriguez, Rebecca Romanek Johnson, Charlie Rose, James Michael Starr, Terri Stone, Maria Tenrreiro, Samuel Torres, William M. Vaughn, Michael Van Enter, Angilee Wilkerson, Kathy Windrow, Vicki Wright and Elizabeth Zaremba — reimagine the Mexican Lotería deck, opening at The Bath House Cultural Center through May 25
One of the better things about the Bath House shows is that once you're in one, you're likely to get invited back again and again. So we get to watch artists grow, if they do. It's also a drawback, as there are many other fine artists in this community, who aren't automatically invited. Nonetheless, the show is another gem, with much to appreciate.
Our own appreciations were on different wavelengths that evening. Kathy liked Linda Gossett's La Chalupa ( above ) best, although JR found that image oddly simplistic and couldn't shake the feeling he'd seen something similar, although he loved the gilded, metalic quality of the canoe scribbled with words he didn't understand.
Meanwhile, JR liked Sonia King's subtly 3-D, very restrained El Mundo mosaic best, especially its irregular stars, caligraphic tradewinds and bits of even darker sky -- Black Holes?
Kathy also noted Kathy Windrow's loose but interestingly composed La Mano painting ( above ) , and JR loved the gentle colors and sturdy reality of Cesér Mateos' La Dama photograph. Neither of us could quite figure out the other's choices, however. - Kathy Dello Stritto + JR Compton
James Surls' A Life Force, John Alexander works on paper at Pillsbury Peters through May 4
Intriguing contrast of styles from SMU grad John Alexander. His fabulous, slashing, splashy, gutsy, passionate, large scale, protesty High Murk were at The MAC for remembering what a vital artist he once was. Then, a few blocks south, his new, very expensive, precious realism of delicately rendered watercolor swamp critters at Pillsbury Peters to buy. - JRC
The MAC Homes & Gardens Tour
"Join The MAC at the homes and gardens of four MAC members, 5:30-7:30 May 2. The evening party features spring flowers, artful conversation, Mi Cocina food, refreshments, a serene Japanese retreat, a lush lawn and a tour of two amazing art collections including works by Roy Liechtenstein, Keith Herring, Chuck Close, Andy Warhol, Dan Rizzie, David McManaway, James Surls, and John Alexander, among others.
The party is a benefit for The MAC to sign-up new members and renew old members. The tour includes two homes and two art collections. Tickets are $20, or sign up for a $50 or higher MAC Membership and get two tickets to the event plus a year of MAC membership. Tickets available at The MAC or by phone at 214 953-1212. Space is limited.
I liked the chance to finally see the long touted David & Loraine Gibson home and collection good enough a prize to join The MAC.
It was an intriguing comparison of Art Collections and exhibitioon styles.
The Gibsons art hung in their rambling home and around their extended, labyrinthine gardens like they loved being around this art stuff. Their neighbors down the street had a giant wall of Warhols in the dining room more like they were so proud of their major investment that they couldn't wait for you to comment.
The differences were jarring. I could have spent hours inspecting every tiny nuance of the largely Dallas art collection in the Gibson's wonderful home. Unfortunately, we were shuffled off down the street to a much less intimate house for food and conversation.
I need to write more about this comparison, and put in several of the many pictures I shot. But I'm not ready yet. - JRCompton
Texas and Neighbors show at the Irving Arts Center
Even though she'd been in it several times before, Kathy was trepidatious about entering this year. The prospectus gave it away as an amateur hour endeavor. But she entered, and her piece was accepted.
Then, they classified her acrylic on gessoed paper painting -- which is as strong as canvas -- as a watercolor. And in their narrow, provincial minds, a watercolor needed a new frame and a protective Plex box around it. "Because they have a lot of children go through the center."
They wouldn't tell her if she'd won money. But she couldn't afford reframing it, anyway. And besides, it's mine, and I didn't want a heavy Plex box and frame around my light, airy painting of the sky. I decided the the Irving Arts Center was retarded, and Kathy declined their offer.
Then I got an E-mail from an elated local artist friend, Ann Huey.
She said, "Hey, guess what???? I got a first in painting at the Texas and Neighbors show this year! With cash and everything!" However, she confided, "I can't go to the reception Sunday. I really don't want my picture taken and have to wear a medal around like a prize heifer at the county fair!"
In the next E-mail, she continued,
"On the one hand, I REALLY appreciate them choosing my work three years in a row, and I love the Irving Arts Center for its diversity and sheer quantity of interesting exhibits. And they also always have a lovely spread of beautiful horse d'ovaries upon which to snack."
Kathy and JR both loved Iris Bustillos' Germinate, 2002 - peat pot installation in the special projects room at 500X
John Alexander - Visions, Vows and That Old Time Religion at The MAC through April 21
Intriguing contrast of styles from SMU grad John Alexander. His fabulous, slashing, splashy, gutsy, passionate, large scale, protesty High Murk at The MAC for viewing ( above, and some for sale, too ) and remembering what a vital artist he once was. Then, a few blocks south, his new, very expensive, precious realism of delicately rendered watercolor swamp critters at Pillsbury Peters to buy. - JRC
Real Art for Real Life?
I've obscured the beer label and the name of this billboard company, because I don't want to promote either. But everything else in this contemporary genre painting is as you can see it along highways around Dallas and the rest of that beverage's distribution range.
I don't particularly want to discuss the phallic shapes of the bottle tops on the right 40% of this frame or their bubbly, warm red translucence, although as the brightest object in the "photo" it naturally attracts the most attention. And, of course, that symbolism is important in the work's overall message. But ...
It's the scene at left that interests me. The trendy young woman holding the bottle in front of her gold braided, bared midriff gets the full light of attention, second only to the bottles. The hand holding the bottle has a string around the wrist, which appears to link her to the beer.
She's thin, draped in an odd, barely attached bib-like top and even smaller denim vest that accentuate her smallish stature with ambiguous shape and space that needs double-taking to figure out what just what she's wearing. Her shiny shoulder and rib wrinkled front is illuminated via strange, bright, inferred light, almost as if it were emanating from the bottle she grips -- her source of enlightenment? And the upper arm clasp seems painted on.
Thick, almost pouting lips open slightly, as if in surprise or appreciation. She stares towards, but just past the viewer. The long, seductive slope of her buttocks is exposed over dark trousers pulled down slightly in the back.
The masked dark, implied space behind projects her into a almost credible three-dimensionality. Vestigially as we drive by at a mile a minute, a hetero couple engages in veiled foreplay. She in low cut top, scoop of breast implied in a soft splash of light from a mysterious above. This woman is reaching an impossibly thin arm to the bushy-haired man's nearly obscurred body, which is soley deliniated by a long, rumpled, vertical shaft of light, although a hint of wrist dangles below. Both figures are lightly rim lighted from behind, separating their dark forms from the solid blackness. Is she pulling back his shirt to expose his chest? Does he have a beard? We don't know much about either of them. But we know instantly what they're about.
Staring at our heroine with her long, scraggley, bunched and braided, reddish hair is a taller white haired, darker complected, older male in veiled darkest blue, contrasting the couple opposite's reddish glow His thick arm bulges from a black, muscle T-shirt, a thin white X over his heart, hands on his hips, his shadowed face watching. Mirroring the surreal longneck of the bottles beside him, he leans into them and watches Pouty Lips intently.
The message is clear.
Fort Worth native Georganne Deen at The MAC through March 17
"Deen's ... paintings are psychodramas .... She has developed an intensely personal style by juxtaposing the seductive trappings of fashion marketing with words and images plucked from the disparate worlds of rock-and-roll, perfume ads, new age anything, beat poetry, and nursery rhymes. The result is a peep show into the fierce and fragile comedy of the human psyche that many of us would be loathe to lay open."
Georganne's show continues The MAC's overlong tradition of significant showings by BTAGFOOT ( big time art guys [ and gals ] from out of town ) and the local artists who've made it big elsewhere -- but rarely the living, local artists DARE ( The MAC's sponsoring nonprofit ) was created a decade ago to promote and present. -JR Compton
Jazz Art show at Boyd
We liked the concept, but we were less than enthusiastic about the art. JR liked the small reproductions in the press kit, but the life-sized images seemed repetitious, except for one, moody blue and black painting in the back room that Kathy especially liked.
We didn't stay around long enough to borrow the CD player, so we didn't hear any of the music, but Kathy noted that those who were hooked up to earphones seemed confused. JR promises to go back when it's less crowded to listen to the tunes and watch the paintings, but he's much less enthused about the project now.
I went back, spent some time with the paintings, began to really like a couple, listened to the music. Now I know why those people were confused. I still like the idea of the exhibition, but the execution lags.
The CD is a CD, not a guide to the show, which is not laid out in any logical fashion, so listeners have to search to find the appropriate work for each tune. That's not clear, and it only gets worse.
I rarely spend more than a few seconds on art I don't like immediately. Having to stand there with music busting through my ears while I try to figure out what it has to do with what I am looking at was too much work. I went upstairs, sat into the comfy couch and listened to what I could of the CD, which sounded familiar, not exactly scintilating, except maybe for Walking Wounded. I could see some vague visual clues in the visual from the music, but the music had no clues to the visual. -JRC
one i at a time - revisited: Jim Love and David McManaway at Pillsbury Peters, through March 9
I was fascinated by the funky objects in this show, and want to go back and visit them without the distraction of all those people at the opening. Kathy thought the pair's works were just too cute. We both continue to be amazed by the Chihulys. - JR Compton
Which to event attend and support? Both probably.
But if you had to choose one. Consider. One literally and financially supports local artists in need. I know. EASL helped me after my nearly fatal accident three years ago. Paid some very important bills and saved me from a lot of others. Heaven sent. I owe EASL bigtime.
The other is busy changing its name, ignoring its membership and trying to forget its original goals. Like many other DVAC members, Kathy and I feel abandoned. - JR Compton
Plush presents Manafeasto: A Student Show, through March 2
Plush has moved a couple of doors further away from downtown and closer to the street. It's now a genuine storefront. But director Randall Garrett continues to present peculiar little exhibitions that bend and baffle our minds. This show, dedicated to bad art teachers, expands Garrett's fascination with art so bad it's almost good.
Building Blocks at DCCA
Artists who use repeated elements in their work - & Mix! Series - work by Stefan Chinov open at The Dallas Center for Contemporary Art (also known and rarely understood as D-Art) is up through March 2.
San Antonio artist Riley
Wal-Mart / K-Mart, aluminum beach chairs, zip ties
We liked Building Blocks much better, with its inherent sense of humor and elegant simplicity. We liked Janet Tyson's lego brick extravaganzas, were gently awed by San Antonio artist Jennifer Agricola's site-specific masking tape installation in the far corner, Michigan artist Jessica Halonen's stacked cast sugar, Celia Mendoza's variously arranged paint can tops, and Christine Bisetto's paper stacks. Another lilting, Joan Davidow spare exhibition, Blocks looks good in the extended galleries in the big Post Modern castle on Swiss Avenue. -JR Compton and Kathleen DelloStritto
Michael Miller - All Things Glib Barry Whistler, through February 9
JR loved the colorful assault at the Barry Whistler Contemporary, where he was bombarded by big color. Simple. Graphic. Direct. Kathy thought it was clip-art gone bad and big. The artist must have been molested at an impressionable age by a bad four-color printer. - Kathleen DelloStritto
Edith Baker or Sidney Patrick Contemporary
Kathy thought Edith Baker art was getting weirder with more shock value. JR figures it's just that new owner Sidney Patrick -- who now owns Edith Baker Gallery -- is finally showing her own tastes.
JR's heard that Sidney wants to change the venerable name to Sidney Patrick Contemporary. Oh yeah, we desperately need another Contemporary just now. But we guess Cynthia Mulcahy's got the " Modern " franchise already locked away. - JR Compton & Kathleen DelloStritto
John Abrams at Xposition through January 31.
At the Xposition Contemporary, we were pleased to find John Abrams' work ressurected. Nice to see an old friend in the neighborhood -- John was one of the first artists to live in the Fair Park / Exposition Avenue area.
Xposition is showing lots of figural work with his signature painterly blotches of muted color, and three-dimensional structure. The back hall is lined with nudes, notable for their nipples in relief. The Butterfly [ Above ] is as complex as Three D Man is uncomplicated and graceful. - Kathleen DelloStritto
New sculpture by Dale Chihuly at Pillsbury Peters, through January 26
Wow. This stuff is exciting to look at and powerful to behold. We were consistently amazed at Mr Chihuly's range and strength. This one's the best, no this, no this. All the way through the galleries. Maybe the real best was the large, white chandelier in the long room with the blue one we liked mightily also. Such incredible energy. Oof! - JR Compton + Kathleen DelloStritto
Reserved Seating at the Bath House through January 26
Reserved Seating, a chair exhibition at the Bath House Cultural Center juried by Terri Stone featuring work by Laura Abrams, Rita Barnard, Katherine Baronet, Ann Brady, Chris Fulmer, Scott Finch, Amy Green, Jeff A. Green, Lara Gough, Michael Haskins, Anita Horton, Ann Huey, Rebecca Romanek Johnson, Sonia King, Danny Kamerath, David McCullough, Kevin Parma, Zad Roumaya, Daniel P. Sellers, Gail Sellers, Terri Stone, Elise Techentine, Liz Wagner, Jan Wilson and Peggy Wright, through January 26
Peggy Wright - Winged Chair - left; Anita Horton - Easy Chair, Lawn Chair, Arm Chair - above; and Danny Kamerath - Robert - below
On to the Bath House Contempoarary. After looking at the art along the perimeter of the room, I discovered Danny Kamerath's elegant, asymmetical and sensual wood chair entitled Robert. Everyone wanted to touch and stroke it. Other notable work included Peggy Wright's Wing Chair ( above ), which uses common, ordinary materials made glorious, and Anita Horton's Easy Chair, Lawn Chair, Arm Chair which is simple, clever and humorous. -Kathleen Dello Stritto
Yrjo Edelmann - Engagement I
2001, oil on canvas 25.5 x 31.5 inches
Courtesy Craighead-Green Gallery
Yrjo Edelmann at Craighead-Green, through January 6
Yrjo's apparent three-dimensionality so completely startled and amazed me, each time I've seen these delightful marvel, I've had to come up close and look at it sidewise to make sure it's all really flat. It is. Seeing ten of them all together in one gallery was a joy.
Kathy thought Craighead-Green art was getting more refined, showing a better eye. We both believe Edith Baker and CG are still the beast double- feature gallery in Oak Lawn. - JRC + KDS