6:30-Midnight Saturday March 23. Tickets are $30, $25 for members, includes dinner, wine and beer. "Come bedecked in silver or billowing attire." Preview art for free March 15 - March 23. At the Swiss Avenue Contemporary.
e got a quick run-through preview of the upcoming uh... uh... ( oh, drat! I've made fun of D-Art's latest name so often recently, that now I can't even remember it )'s Wish auction hanging, while comprising 67% of the Art Movie Night crowd March 12. Neither of us were much impressed with the overall exhibition design, but we should note that it was more of an auction than show, and it was still in progress.
Still, we were surprised it didn't look any better than that. Kathy and I are both members of D-Art's latest incarnation. And we thought that if all its members had been invited to contribute works to the auction, we could have improved the look somewhat. But we weren't.
Compared to the true community feel of last week's quickie, three-day wonder-ful Garden of EASL auction, this one seemed less fun and slightly lower quality, overall. We can't afford to attend the gala party this weekend, and probably wouldn't go anyway. But it might have been interesting to compare the two events.
Still, loping down the walls and around the inner spaces, I found a bunch of photo-worthy works. One of the first to capture my attention was Kelli Connell's spirited, large color photograph, Giggle, 2002, which was seriously misidentified and absurdly cropped in DCCA's Spring Newsletter, which arrived just after the event it was promoting.
There are a couple of names I always look for in any big, group show, and high on that list is Sherry Owens. Her crepe myrtle, dye and wax piece here, called Hope, 2001 was compact and wall-mounted, much smaller and simpler than her piece at EASL.
I've almost always admired Nicholas Wood's work and never quite know what to expect next, although he's not seen that often in Dallas. Maybe just not often enough. This large acrylics on wood pill, Night & Day, 2002 grabbed me instantaneously. I may have to go back and visit its intricacies.
Brad Ellis' 12-inch square encaustic and oil on board, One Wish, 2002, is quietly lush, simple, straightforward and lush. Lovely textures, sweet cherry red on mostly white. A precious delight.
Except for the unfortunate juxtaposition with the thermostat, Lawrence Vineyard's Wish III ( Do Come True ) is quietly spectacular amid all its shadows extending its inner reality. On the sign-in sheet, Lawrence notes, "The piece also moves slowly due to air circulation in the room." And, he reminds his viewers, "Don't hesitate to blow on it and Make a wish."
James Watral's luscious, etched metalic and other textural colors plate is a logical extension of his masterful, painterly ceramic style.
Todd Hagler's acrylic and charcoal on wood panel Sunflower is anything but quiet. Those reds may have overpowered by delicate camera. It's a painting that assumes command in any lineup of wallflowers.
Lisa Ehrich's clay with wood base, Recital offers a shapely mantel of gentle shapes, quiet colors and a slight complexity of dimensionality.
Art Shirer's painted steel Kinetic Study, 2002 notes that it is "from an ongoing series of wind driven sculptures." We've seen and been amazed by at least one of those full-sized whirlers at The HOP in Frisco last summer. That one has since spun parts of itself nearly to smithereens a couple of times, but Art keeps fixed and moving like the wind.