Paintings baffle me. I like them. I have more than forty paintings on my walls at home. They are easy to hang, add a lot of color and don't intrude into my space. I've always had a feeling for artists of all media. But I've never truly understood the medium of painting.
Sculpture, however, is something I can wrap my mind around. If it's big enough, I'll walk through it. If it looks like it should move, I try to move it. Touching is important. I've probably been yelled at by every art cop in a hundred miles. "Don't touch," they warn.
But sculpture needs to be touched. If you can't feel the texture, mass or shape, it's just a photograph in your mind's eye. If you can feel it, it is real.
Writing about sculpture is a joyous challenge. The trick is to make it as real as possible to the reader-without getting lost in all the mumbo-jumbo intellectualism of traditional art reviews. If I can make it real enough for you, you can touch it, too. Then it's real for both of us.
Most of the stories in this book were published in periodicals I either edited or published. The majority were in Dallas Arts Revue, which I still publish occasionally-the official publication schedule is "when and if."
A rare few were free-lanced to other magazines. I could have sold more, but it never seemed worth ten, twenty or fifty bucks, when it is so much easier to edit my own work into DARts. The tag at the end of each story tells where and when each story first appeared.
Several of these stories originated as segments of my thrice-weekly, five-minute radio show on KNON-FM in the early 80s. Called The Dallas Arts Kazoo (ta-doot-ta-dooz), it covered "news, views and reviews from the world of visual and experimental arts in Dallas." When I retired from radio reviews, Kazoo scripts became Revue's articles.
Some of the following have never, before these pages, seen print or radio or any other media. A couple of them were written especially for this book.
J R Compton