DADA Gallery Walk 2001 &
DADA Do Benefit Bash

September 15, 2001

One of the images from the Dallas Sores
project, across Maple from Edith Baker
+ Craighead Green galleries.


by Kathleen Dello-Stritto + J R Compton

Valley House - Chris Jaegers' is no ordinary realism. The best piece was bravely and crudely blacked out when he didn't like the original composition. In his case, crude is powerful, and he's only 23. Sobering to this 51 year old painter.

We dawdled long at Joel Cooner, where JR works Mondays and had already listed four works he wants in his collection when he wins the Lottery: A wild, black one side, white the other crepe myrtle twig sculpture by fellow gallery worker Sherry Owens; the smaller of two, hulking, hollow, rusted steel, contemporary sculptures near the front of the gallery; one of several dragon nutcrackers; and the shield ( above left ) that looks like an escapee from a early Picasso -- with sketchy, muted whites and vivid one-headed, two-bodied central figure.


Solomon Island currency made of hundreds of Scarlet Honey-eater bird feathers. Called Tevan, these rolled feather belts are usually 5 cm wide by up to 9 meters long. Reputed to have healing qualities, these symbolically male forms will seem to vibrate if they're for you.

We agreed on two shields for two reasons. Liked everything, kept seeing something else fabulous. Tribal hats, a delicious woven spiral currency display ( above left ), knives, and lingham healing stones ( above right ), which we had to handle.


American, next door. Flashy, lurid colors. We saw Enrico Embroli's incaustic pieces there, but Kathleen'd seen his private work at home that she liked much better. His sculpture may also be stunning, but she's only seen them in pieces ( in his Albuquerque studio ).

Nothing moved us at Craighead Green, except the always great wrapped package painting that JR has managed to not get a good photograph of now after three separate attempts. Vivid, very three-dimensional looking. He had to practically touch the surface again to believe it's still only a painting.


At Edith Baker next door, Norman Kary saved the day, again. There's something anatomically incorrect about those Lui Liu ladies -- like they lack shoulder bones. But we'd probably have had the same gripes with El Greco and Modigliani...




 Works by Sharon Kopriva.

At Pillsbury Peters our souls were saved by Sharon Kopriva. And I thought I had issues... Kathleen says. Tiny paintings and macabre figures ( above ). The best was the pointy- headed papist with the insipid look, holding the passionately red cardinal in a gilded cage.

Sharon Kopriva, Bird In Hand [ detail ], 2001
papier mache and mix media

From the haunting tableaux at Pillsbury to the Frank Reaugh Texana at The MAC, we were forced to decompress. Reaugh's delicate little pastel landscapes were accompanied by yodeling, and Judy DeSanders' glass paintings with their jewel and sooty tones whose main imagery looks like headlights on a midnight road, were in the New Work gallery.


Afterimage of the witty and wonderful hippo photo ( below ), had another shot of fabulous flying fox wings and clawy little hands, and many other fun, often giggle out loud funny animal photos, plus a pair of large, beautiful, subtly unnaturally colored marshgrass photos with a note from the photographer saying that the bank that had bought them was having to "deacquisition" them -- a sign of the times.

Male Hippopotamus Guarding Territory,
Botswana, Africa, 1991 by
Greg Dimijian.
Image from Afterimage Gallery E-mail

Ann Hughes - Contemporary decorator's haven

Victorian - Old decorator's haven. For 16 to 28,000 dollars a pop, why can't they afford food? This is obviously NOT Fort Worth.

Photographs Do Not Bend - 1925 Edward S. Curtis photos of New Mexico pueblos and inhabitants. One portrait of two shamen was very nice, full of amazingly contemporary textures. These antique photographic images have an aesthetic history that too many galleries lack.

Stone By Stone - another artist with textural proclivities - very Generation X taste.


a great puddle in the Dunn & Brown courtyard


Dunn & Brown - 5 x 7 x X show was a great idea. Everybody's art the same, smallish size and price to benefit the Texas Fine Arts Association.

Still no food, and almost no bottled water until the far half of the gallery. It appeared that they'd given space to Bed, Bath & Beyond for a September White Sale, but the water cooler was full...

One of our favorite five by sevens was this yet-unsold ( and we got there late ) series of a girl eating flowers. You wanted a work, you take the number tag, stand in a line for forty-five minutes, and pay your hundred bucks.

Around the corner and up the street to
our unValet parked car we found this dark wall
and wonderful white flowers like onions
falling from the sky.


Boyd - Witty still lifes (floating things). Real FOOD! Even a painting of our favorite candy, butterscotch. And one was already unwrapped.

Barry Whistler - Easy parking. A bad sign. Big fuzzy photos of spots. In and out for us.

Conduit - more parking available -- hmmm. Small pencil drawings of undefinable things and two, large found-object constructions by Robert Dale Anderson. The larger is wonderful. We wanted the drawings to explain the constructions. Any meaning would have been appreciated.

DVAC - Linda Ridgeway's work was serene, but unfortunately, so was the party crowd for the DADA Do benefitting EASL ( the Emergency Artists Support League, that helps artists with emergency medical expenses ) -- at first.

Pin © 2001 by Ann Huey, who gave
us each one at the EASL party

Long lines for booze and Ellen Soderquist palm reading ( below ). Canned music and jiggly water light show on the ceiling in the main gallery disturbing Ridgeway serenity. More good food, though, and everyone we know. Almost nobody danced.

At the end, we were exhausted. Only later did we realize we'd skipped several must-see shows -- Fairytales and Western Trails at Plush; Danny Williams at 5501 Columbia, which sounds like a MAC show, only no nearby gallery selling the same artist's work; Susan Miiler at Continental Gallery, and probably at least one something else important... We were whupped.


Unless otherwise noted,
Photographs ©2001 by JR Compton

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