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The Art Here Lately Index and The Latest Art Here Lately page

Art Here Lately #10
Words + Photographs by J R Compton

Art Ranch, Conduit, Craighead Green, Plush, Marty Walker   November 20 2010

Tom Orr Reflections - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Tom Orr   Reflection Screen 1, Reflection Screen 2, Black Reflection Screen   2010
each wood & plastic   8 x 9 x 9 inches   $900 each

The best things all night at galleries and spaces were Tom Orr's presentations of deceptively simple object reflections and projections at Marty Walker, James Michael Starr's very large and sparer new sculpture at Conduit, and the amazing, superb, utterly wow Shreepad Joglekar and Ian F. Thomas Ergonomics of Futility [below] performance art at 411 Tyler, a few doors up from MFA in Oak Cliff. A lot of other art in between, some of which is worth mentioning here, and show and tell we will.

Tom Orr's trio of color and black & white reflective screens were small tour de forces of illusion and delusion. More about those down the page.
 

Jim Bowman Rolling Blown Glass - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

My Traditional Jim Bowman Glass Blow Photo

We started at the Art Ranch in The Cedars during their annual art tour, but we didn't go any farther — Anna's still nursing a twice-broken foot, and I need more time between those things. We did what we usually do, watch Jim Bowman blow and manipulate glass before a gathered crowd.
 

Rick Maxwell - Crocadile - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Rick Maxwell   Crocodile Totem   (detail)

In a studio around the inside corner in that same extended, corrugated space, a bunch of artists showed work in crowded circumstance, too often unidentified. I attribute this totem-topping crocodile with bifurcated lower mandibles to Rick Maxwell, who often shows startling wood notions in that space. If it's not Rick's, somebody let me know.
 

blue print - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Blue Print

But this remains completely unknown, shown more because it was there and eventually useful than any part of an organized gallery-like exhibition. An inside-out blueprint for a print perhaps. Everything of it was backwards, and drew me to its the complexity of force-field lines emanating like energy waves melding into the dark sky. Much as I liked it in reverse, I tried photographically reversing it, and left it better dark blue.
 

Three Globes on a Bench - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Three Globes Cooling on a Bench

Fresh blown glass jugs and a bowl enjoying the cool night air amid conversation and community out near the front gate of the Tin Art Ranch, which is what we've been calling the extended, Jim & Mary Lynn Bowman, James Watral and Rick Maxwell, et al Spaces on the edge of Downtown almost overlooking the Canyon since before there was a Cedars Tour.
 

James Michael Starr - box spiders

James Michael Starr   Ripples   2010   Book covers and welded steel   98 x 76 x 68 inches

Showing an obvious lineage from my 'Box Spider' piece Jim made for the 30th Anniversary DallasArtsRevue show last winter, these four-legged book bugs towered over gallery-goers at Conduit that Saturday night in the big front room at Conduit. Masterful use of all that space, great lines and fine shadows. I had thought he didn't care for the form, why he let it go, but maybe its absence centered him on the conceptual figuration. Mine dominates my sculpture room, these could do a fair bit toward taking control a much larger space.
 

 James Michael Starr - Shooting Starr - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

James Michael Starr   Continental Divide   2010 
Iron shot, book and rotogravure newspaper images, steel   24.75 x 40.5 x 15.25 inches

This urban area-targeting comet falling fast and jangly toward earth has Starr's familiar sepia toned image on the metal ball at its base, then trails jagging millions of miles through space. Not an altogether different form factor from his Daddy Longlegs, but not immediately connectible. A feeling of headlong rushing toward a small planet lost in time.
 

 Robert Mungia - Expira

Roberto Munguia   Expira   2010   casein and gouache on panel   24 x 24 inches

Rich colors and precious objects, some more than others, in the big room at the back of the gallery.
 

Roberto Mungia

Roberto Munguia

Velvety soft circular folds and down into, and the colors are all wrong, but is that what I'm thinking it might be? With all its glitter and plush curcum folds? Precious object indeed.
 

Ellen George

Ellen George   Tis   2010   polymer clay and steel pins   35 x 25 x 2 inches

I remember Steve Wyman scatter grouping like-color plastic found objects on walls in the 1980s when that technique was newer. Now every gallery has at least one champion of the form. I liked the preciousness of this medium, with its soft rounded shadows, and individuated rhythm of shapes. Then wondered whether we'd ever get past those shape dance gatherings on white walls around us.
 

Marla Ziegler

Marla Ziegler   Twilight Tide   glazed clay   60 x 108 x 5.5 inches

Speaking of which. Marla Ziegler of a remarkable history of soft ceramic shapes and subtly polished precious objects has got herself into squiggles and splats not so much new and different as familiar but with a different beat, and among all that rhyming shape not much room for her markings, oversized textures and Watral-like pattern colorations that prove the art of it. I could see one of those black drizzles in my living room — wonder if she'd sell them by the piece. Simplifying sometimes runs the risk of over-simplifying. Needs more than just new shapes. I could dance to it. But I miss her gentler rhythms.

blue box

Nancy Brown   Gold into Turquoise   2010   acrylic on canvas   8 x 16 inches

Plush's grand re-re-reopening, this time on the early end of Dragon Street in a space fronting Cunningham Architects' army of office spaces in a big room with a giant "Please Keep Out Of" ... something ... sign at the beginning of a long line of low cubicles. Fascinating how Randall Garrett always finds intriguing spaces (now on Dragon, yet) and shows work that's fresh, in startling new forms, as often beautiful as they are consternating simple.
 

Brandon Benning - Boxes

Brandon Behning   Lavender Box and Brown Box   2010   acrylic on cardboard, tape, wire
5 x 4.75 x 1.75 inches and 7.5 x 4.5 x 4.5 inches

A band was setting up in the middle, but when we arrived, the front room that is now Plush was almost empty. As I concentrated on several species of small furry art, suddenly the room filled with art-interesteds. Even less traditional forms were nearby. This felt safe to appreciate, but ....
 

Brandon Benning

Brandon Behning   Hieronymus Victoria Alouwicious Leviticus Lionel
Selgenerallen   2008   mixed media sculpture   5.25 x 5.25 x 3 inches $450 and
Raoul Axana Pantera Bioul   2008   mixed media sculpture   7 x 2.5 x 2.5 inches   $450

This shook my understandings. I recognize Dali's dripping clock on the right unraveling distance and time, but what's maybe a herd of gold lamé cows or sheep at left caught my unawares. I shot these then wondered how I could possibly either explain what they were or why I was so attracted to them. I almost didn't show them I was so baffled by both questions. But that's how new forms work.
 

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Billy Zinser   Macrodon   on top of Marty Walker Gallery

Anna recognized this soon as we saw it and were wowed by the unanticipated scale. I liked the colors and juxtaposition atop a serious gallery, especially for a show called Small Works, even if it is right before Christmas. Those are certainly rich painterly Zinser colors. More, generally smaller, Macrodons are available online considerably less expensive than the five- to twelve-hundred dollars ones there. My guess it's six or seven feet tall. A blast of color and shape.
 

Thomas Feulmer

Thomas Feulmer   Asleep with Shadows   2010  
bronze, ceramic, mattress ticking, nylon, string, felt, pompom balls   6.5 x 7 x 8 inches

Many artists are mixing common, odd or untraditional elements into three-dimensional and flat art these post Post-Modernist times. Some thought-boggling good like this, which puts me in mind of the more or less two-dimensional work of Dallas artist Bernardo Cantu and then I stumbled on Sedrick Huckaby [down this page] and probably other artists beyond North Central Texas, mixing and matching the unmixable unmatchables, hard black & white and soft color materials.

Especially enjoyed the gallery's illustrated price list, with tiny color images of every piece with name, title, year date, size and medium information. Perfect for my purposes. Plenty of information. Impressive. Fun show but so packed with people in that tiny space I could hardly photograph anything.
 

Tom Orr - Grayscale vs. Color - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Tom Orr   Black Reflection Screen   2010   wood and plastic   8 x 9 x 9 inches

Left Brain thinkers engage the obvious evidence in front of their eyes in this intriguing combination of illusory reflections and projections, while us Right Brain watchers enjoy the toy-like fun of it without delving into optics and theory.

What we have are three deceptively simple and essentially similar devices, each holding open-ended geometric shapes, which are completed into cubes by our eyes, minds and the artist's manipulations, then the projected images of those optically illusionary objects are reflected and/or projected onto their receptive or reflective back surfaces, adding yet another layer of illusion by manifesting white and light-colored edges and corners as black on the white screens and black edges on the black screen.

Color or black and white, the bases of all three are mirrors. The color ones' shapes are reflected onto white backs, while the clear half-shapes we perceive as cubes are projected onto the black plastic back as black-edged cubes of light, white or gray sides and an abundance of other lines.

Or something like that. Our eyes complete the shapes or confuse what there is with what we want to see.

It was way too crowded when we got there to get all three in one shot or move our eyes around enough to test theories of optical delusions. I didn't take time then but got hooked staring at these images. Each is finished with Orr's usual quietly elegant care and craftsmanship, so the illusory devices, the illusions and the objects altogether qualify as as amazing fine art. $900 per.
 

On The Bounding Main - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Artist and Title unknown

Walker's adjacent front space, curtained off, cool and nearly dead quiet with only a couple hyperactive kids till the dad showed up asking them to be gentle around the art in there, like this large, wildly romantic high seas adventure only mildly interrupted by updated sea and sky. 18th Century sky and seascapes glowing anew.
 
 

Ergonomics of Futility    performance   411 N. Tyler   7-10 pm November 20 2010

Ergonimics Expert - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Photographer, Money-burner, Central Figure, Audience Member
in Room with Areas and Directions Denoted with Dotted Lines

Ergonomics of Futility by Ian F. Thomas and Shreepad Joglekar, was presented by Ro2 Art & Ryder Richards [above) in the latest of their lengthening series of temporary art in temporary spaces. Like the performance, this story about it skips around in time and space and understanding. A lot going on at once in different areas and to differing points. More ongoing than end, beginning and middle. Though I didn't see it stop. Might still be going.

Performance Art is so many different things — and most often done badly — that many people don't get it. Like any other art form — or potential art form — you have to engage the thing. Like theatre, which it sometimes resembles in too many ways, you have to employ a willful suspension of disbelief. Go with the flow, if there is any.

Follow the logic. What's going on? Are there ideas in or behind it? Does it make sense or does it engage your sensibilities? What does it look like or sound like? How does it feel? Is it beautiful or ugly, insightful or vapid, intelligent or stupid? Can you identify with what's going on? Does it, like a good movie, follow its own rules?

Is there enough complexity to keep your mind busy as you watch? Do the elements pull together and reinforce each other? Do you get to put it all together yourself or are its ideas forcefed to you?

Performance Art, at its best, is a much more complex undertaking than a painting or a sculpture. Both for its perpetrators and its audience. Trouble is, there's so few good examples of the genre that we don't get to practice understanding or enjoying it often enough. It remains elusive. Its payoffs are far and few between. It's as difficult to find as it is to know it's good.

This one happened to me. I wasn't expecting performance. I was expecting a new space. If I'd know what it was to be, I would not have bothered. What I expect when someone says Performance Art is that I will not enjoy it, that it will be stupid. I was happily surprised to discover that this one was not.

Once we pulled up in front, and I saw that it was cool in there and visually intriguing, and as I began thinking it through and finding that the pieces fit, I took the bait and swam with it. It helped that I had a camera.

Luckily for me, there wasn't a crowd.
 

Lie - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Lie

Another tub just under the table where sawed books were posted said "TRUST."

Near as I can figure, a central figure, guy in suit and tie, writing in a ledger, holding what is either a white cane or giant golf tee or club while tracking ... well something. Maybe lots of somethings. Like an efficiency expert, deciding the best way, the right steps through the absurdity all around.
 

Sawing Books in Thirds - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Shreepad Joglekar Sawing Books

Another guy at a small desk under a bright light at the back meticulously burns and/or defaces or refaces one-dollar bills. A woman near the front window sits and types longform text onto an extended paper loop ratcheting up from a box near the reflecting "LIE" pan, through her typewriter and up over a curtain rod at the top of the front window. The text she retypes appears to be pages from sawed books. Occasionally, the bean counter checks the data as it comes back down over the curtain rod.
 

shelf - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

I thought of Duchamp's R.Mutt Readymade and
his quote, "all associations are permitted."

The sawyer saws books whose pieces are delivered to a low table in either an efficient or random manner. Hard to tell. The color dotted lines on the floor give direction, flow and a sense of dollhouse scale. A visual sensibility obtains that's logical, serene and inter-connected, if absurd and void of easy meaning. Visual puns and synchronicity occur. Burning money. Typing forever. Four persons do what is done. The futility palpable but it felt utterly normal. The ritual tedious, but of interest because that's our lives there.
 

Typing - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Rosemary Ramirez Typing

I considered Kafka. Much there is in all this — tepid action/reaction ritual/rote — that is redolent of government and so-called organizations and their rules and stupidities. Wars are run like this. The four players are industrious, steadfast and unconcerned with the people who stand over their shoulders and in their faces watching, documenting, talking among themselves.
 

Pushpin Tally - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Pushpin Tally

For awhile, it was difficult to determine who was performer, audience or documenters, many of whom were photographers. Never a lot of either. Besides Ro2 (Susan Roth Romans and Jordan Roth) outside, most there were audience, kept at distance by the proscenium of storefront windows and front door. I dared enter the storefront space to see and photograph what was going on in detail. Other documenters, too, then smatterings of audience sifted into the performance space. I am still not convinced the man in shadow below is not a secret participant. But then I accept conspiracy theories.
 

Back of Main Room - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Ian F Thomas Burning Money in the Back of Room  and Counterpoint Watcher

Small-scale art and art-like presentations in varying forms of display gather around the room. Intrinsic yet enigmatic parts of the story, the theme, the progression going on in and around watchers, doers and documenters.
 

Photographer As Art - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Photographer As Art Object Photographs Sawyer Sawing Books

Images projected in the back left corner and in an ersatz space in the back. Empty of people when I curiositied in. That intense red, direct and slants of reflected light blaring, a tool bench and open-ended projection booth but no obvious tools or activity. Co-producer Jordan Roth later said it was a break room, but why the glaring lights and cartoon projections?
 

Stages of Monetary Destruction - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Stages of Monetary Mutilation

It has been illegal to burn the flag here in this country, and it is still illegal to reproduce them at the same size, but America has a long tradition of trashing money and defacing dollars. To paraphrase Paul Rogers Harris, if you can explain art otherwise, why do it? Performance art is a slippery supposition that's best understood experiencing it, then thinking about it later — not writing or reading about it.
 

 Rear Projection - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Projection Booth in Back

In the moment, the connections are obvious though often unsubstantiated. Later the individuated acts merge into experiential truths. You had to be there replacing deep-seated meanings, purpose and intentions. Like making any other art form, performance art changes everything. The plot thickened by sticking to the story. Self-discipline kept the players in their separate temporary realities, apart from the smattering of audience, ears, eyes and lenses.

She focuses in on the sawed edges of the book, not sawed in half, but between Power and Play in its title on the spine.
 

Photog and

Photographer, Sawed Books, Pan Reflecting TRUST, Pushpin Tally and Low Table

I didn't want to learn what the backroom projection taught in lurid 50s cartoon colors. Never more than a dozen people gathered outside the front door or scattered inside the performance room/stage. What if they gave a performance art and nobody came but photographers.
 

Searing Dollar Bills - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Searing Dollar Bills

Since the late Jerry Hunt banged and drummed on suitcases in the echoing chambers of the Dallas Museum of Art, Tiffaret Israel and other resonant spaces, few performance art productions have been as organized or visually intelligent. Here rote replaced ritual. Sounds of shuffling and low typing shushed Jerry's exclamatory shouts through the years. I remember Ann Harkness death-still in a coffin hearing her unknowing audience gathered around the presumed manikin muttering about the art of a body in an open casket. There have been others but long ago till Robert Boland ran spiral at the Coffin Factory early this century.
 

Checking Stats - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Checking the Typed Data

Purposed and accidental plays of light accented areas and concept. Here, paper's translucency lends the image of a bureaucrat lost in his data. I never saw any of the four performers inch away from character as they completed and recompleted their assigned tasks in inconsequential choreography. Following dotted lines arcing through the space or staying in the gridded areas. A game on a delineated field.

Wisdom - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

$1 U.S. Postage Stamp   Wisdom   Rockefeller Center   with Simple Lens Bending Light

Not just in Dallas, most Performance Art is terrible. Boring. Puerile. This one's great gapping holes of logic and ritual patterns held it together. I asked them not to but Ro2 sent me a synopsis of the night's purpose. Like most artists statements it was gobbledygook, and I only remember the parts I already agreed with. Artists, and especially promoters, have no real idea what their work is about. Asking begs hype.
 

Back Room Inexplicable - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Break Room Inexplicable Red

Attenuating heat allows subtler burns. Almost inevitably the 'decorations' become more subtle and controlled.
 

Hung Money - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Hung Cash

A learning curve obtains that shows in the dollars on the wall and in the empty work patterns of insane and absurd projects that project artless idiocies into fine art performance rich with understandings of the pointlessnesses in our lives. That the motions and spectacles of it were valid, compelling, credible, cogent and coherent made it something of a triumph.
 

Cut & Paste   Enrique Cervantes Fernández & Gordon Young at U of D   November 17 2010

Gordon Young

Gordon Young   Memento Mori 3   collage   2010   (detail)

Two artists who cut and paste using differing paradigms are featured in an exhibition in the University of Dallas' Beatrice M. Haggerty gallery. Young employs the traditional techniques of analog tearing, cutting and and pasting selected portions of printed pages to elicit emotions, not I think, tell stories, although there may be some of that here, too. Cervantes captures parts of other images digitally and pastes them into his photographic compositions via software.
 

Gordon Young - silhouettes

Gordon Young   Memento Mori 6   collage   2010   (detail)

When I told Gordon how much we liked his big collages, he said they were about losing Peter, his long-time partner. Thus all the backs of people in these image-juxtaposed collages, as if they were going away. Leaving. But then there's near-violent visual weather, billowing smoke and cloudscapes peopled with dark silhouettes. Collected into long, wide compositions of appropriated black and white, sepia and mostly monochromatic published images, Young's carefully constructed combinations evoke raw emotions and are the obvious stuff of Strum Und Drang, passion and regret.
 

Gordon Young - Altered Postcard

Gordon Young   Altered Postcard   collage    2010

His vivid cartoon postcard collages are even more vivid, and less amusing. Here, a macho cowboy's evisceration births classic beauty. Not sure what that means, but the image is strong, the collage on-target. It could be the artist doing the cutting here, but it looks more like the younger Picasso.
 

Enrique Fernandez Cervantes

Enrique Fernández Cervantes   The Switching of the Babies Finally Discovered   2010   archival pigment print  

There's more emotional distance in Cervantes' newer work. It's as if he's battled his demons and is settling into the more objective aspects of his craft, although I hope the demons come back, because those involved searching self-expositions that were intriguing to watch and savor. I want more connection among the elements of his constructed photographs.

We saw several pieces — including the giraffes — in his recent, but much smaller solo show at Brookhaven College, and others of his stronger but more diffuse emotions in pieces I curated into Fierce at the now defunct 14th Street Gallery in 2008 when I discovered he could do so much more than the exquisite little black & white genre scenes I liked enough to invite him to show.
 

Enrique Cervantes Fernandez

Enrique Cervantes Fernández   The Man Who Sang the Blues for Five Years   2010
archival pigment print    23 x 26.25 inches   image courtesy of the artist

His newest work is technically more proficient — the lines of demarcation smoother, and the pieces and objects in them more realistic, though still with deep undercurrents — pun thoroughly intended for this one. I keep seeing this as a CD cover for a New Orleans blues band after the flood, and the distant birds are an eloquent touch. The sun's gonna shine again.

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The Deep Elm Art Walk     October 9 2010

Lawrence Lee - Conversion   2010

Lawrence Lee   Conversion   2010   ink and charcoal on paper   72 x 72 inches   at Barry Whistler

This large drawing on this wall is similar in lush monochrome textures and light negative space ways yet remarkably similar while remaining remarkable and dissimilar with another large lush drawing I remember photographing in that same past-the-front-desk-on-the-way-to-the-office room not that long ago. But I can't find it, and I've just gone through all nine other Art Here Lately pages — and added links at the end of each, so we can all link from one page to the next now.

That Wall in That Room at Barry Whistler's - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

That Wall in That Room at Barry Whistler's

Not surprisingly, Michael Miller's Today I Am Thankful For All I Have at Barry Whistler was thought-worthy, but the visceral assault of it was a shock. I've photographed pristine art in this room so often, this much color and image-and-shape diversity is startling. Nice turnabout for the gallery. Strange art for Barry Whistler. Nice.

Michael Miller - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Michael Miller   Squeaky Fromme is Free to roam   at Barry Whistler

Imbued with the flavor of Deep Elm, Barry's wasn't our first stop, just the best.

Wit's Front Room - copyright 2010 Anna Palmer

Wit's Front Room

Our first stop was at The Wit, deep on Exposition Avenue, a stone's throw from the very active now Fair Park, and nearly impossible to find a place to park, so we took turns. I liked several colorful abstractions but not overwhelmingly. I looked around and went back to the car momentarily standing in front of a drive in parking area, so Anna could go in.

Art at Wit - by Anna Palmer

unknown artist   and title

I hadn't taken pictures, didn't know where to start, was in there less long than I usually am in galleries, new or not. While I waited in the still running car, so we weren't illegally parked, just semi-legally standing, Anna took these to give us a lay of the land, and the big rolling parking garage door whose entrance we blocked went up and down once, but no vehicles entered or left or honked.

Trying to track down the title or artist's name, I learned online that The Wit's "current" show was in July, though it didn't say what year.

sculpture at Centraltrak

Martin Gerwers Sculpture at Centraltrak

Second stop was Centraltrack, which I've been informed has no capital T in the middle like so many other techy names. The show, Martin Gerwers' The Matter of Matter, was pleasant, even angularly and folded-back interesting, but it posessed little of the space's usual bent for the amazing or even remarkable.

Martin Gerwers

Martin Gerwers   untitled

More perhaps than the usual bends and corners with planes and space left over, but nothing to knock anybody's mind off the usual kilters. Easy to admire, but no shock potential. Not, perhaps, up to Centraltrak standards, while simultaneously not being at all bad. The priceless price list listed all the pieces but somebody neglected to mark them or say which color which was or where. Oddly amateurish.

` Gesela Heidi Strunck - Kite Post - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Gisela Heidi Strunck   Kite Post   poplar, bubinga, mdt board,
wenge, maple, birch, cherry, purple heart, pvc, metallic floss, acrylic

Mokah meanwhile is generating a quiet but generally deserved reputation for showing high quality art and artists and being brave enough to label everything on the wall next to the pieces, even if Strunck's piece on their site is crooked.

They introduce new, and hold steady with outstanding long-term artists. Quite a feat in trendy Deep Elm. This show was tactile, befitting a legally blind artist, and beautiful, with all those exotic woods so carefully blended. There should have been signs, "Touch the art," but don't sweat on the luscious wood.

break dancing - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.
Break Dancing at eXcuses

The most exciting thing at eXcuses was, hands-down-and-feet-in-the-air, the break dance contest. The art —. Well, the art ... It is a good thing someone is showing all those fledgling artists. Most need the practice.

Savannah Lindsley - Goggles

Savannah Lindsley   Goggles   acrylic   $350

Next stop was 2826 Arnetic, another bar where were few stand-outs, although standing out there is different from standing out in the better art spaces anywhere. Though these might have stood out in other wheres, also.

Shadowy unto pitch black coal-ness is pictorially interesting, but I would like to have seen some more face under those goggles, though I appreciated the distortions. Especially dark eyes, but that may be the point we either see or don't. Good illustration style, I'd like to peruse the fiction this depicts. All but the bathroom art here was perched impossibly high, the last place you'd expect to find art.

Though there was a nice woman selling her fairly inexpensive pots off in the far corner.

`Men's Room Door at 2826 Arnetic - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Shaun Reeder   Thom Yorke   Men's Room Door at 2826 Arnetic   copied from a famous photograph

But no-doors barred my fave and possibly the most interesting piece at Artnetic was this on the Men's room door. There was a similar painting on the Women's door, but it didn't have the flair or impact. Both are, as I unfortunately learned from a brief Goog, singers in bands, and copies of famous photographs — a lot of that sort of unoriginality rampant in the upper reaches there, but I was happy, even a little excited about it till I learned the grisly truths.

Mitchell Building Atrium Gallery Space

Last time I was in the Mitchell Building, somewhen in the 80s, friends lived there and instead of walls between "apartments," there were floor-to-nearly-ceiling chain-link fences. Georgia and Lisa were artists, so there was a lot of good and strange art happening in what I called "Women In Cages." Now it's posh and slick, with real walls and a swankish atrium — a far cry from its former self. But a necessary upgrade. The rent's probably gone up, too but most of their taste in art has gone in the opposite direction.

Rocket Ship Sculpture - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission. `

Trace Hayes   unknown title for either piece

The art between the front door and the stairway atrium gallery and a lot of what was in the stairway space itself was less and less-than, but we both liked Food Stylist Trace Hayes' rocket ships and the planetoid disks behind. The slatted ceiling made shooting up into the high-hung space a little dicey, but we liked leaning back to watch them blast through space.

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DADA's 25 Anniversary Walk & Party     September 25 2010

Francisco Alvarado - Sonrisa

Francisco Alvarado   Sonrisa (smile)   oil on canvas   Brookhaven College

I was expecting High School students, but these college artist winners of Edith Baker Scholarships were remarkably good. No holds barred. This is fabulous. Garish. Shocking. In and out of context. Anatomically correct and then some. That blurs into splotches and smears of pure color that fits right in. Superbly composed. In our face humanity. Strong work.

Antony Sarelli - untitled

Antony Sarelli   untitled   charcoal on paper   Eastfield College

I can't be nearly as specific about this giant drawing. I liked it soon as I saw it. Reminded me a little of Francis X. Tolbert's verve and bravado. Big drawings in a world of paintings have to be strong to have a prayer of keeping up. This surpasses. Fantasy character tree with bumps abounding all around.

As real as anyone could hope for. Great, encapsulated negative space. Almost goes overboard with nose and eyes, but saves itself with all the white rubble. Do I see birds in the pond? Imagination runs wild.

Pavlina Panova

Pavlina Panova   Memories from a Distant World: Bulgarian Spring
clay, pressed leaves, dried flowers, corn husk on wood   North Lake College

Much more restrained. Nearly rigid composition of wild things, real, once-growing worldly, things pressed in service as art, but in a few weeks or months they goes back to fade and rot and dishevel. Brave heart putting it together in temporary almost abstractions to remember home.

Mineko Grimmer - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Mineko Grimmer   Gongs Wires Bamboo

Also showing at the Irving Art Center were boxes of tightly-strung wires and lattices of bamboo. The object hung above them comprises ice and pebbles. As the ice melts, the pebbles fall in ones and little bunches. When the pebbles hit and ricochet off the wires, we get an abstracted form of rhythm and music once removed.

The boxes are acoustic, the music simplified but resonant. Took some thinking to figure where the sound was coming from. Before I got into it, I was deeply reminded of the sorts of utterly simple boxes Dallas sculptor emeritus Linnea Glatt used to create to hold her long-ago concepts.

No paint. Raw materials their own contrasts. Ice pyramids suspended every morning at 10:30 and Thursday evenings at 5. As the sign announcing this fact ends, "Ice pyramids last 3-4 hours." Grimmer's show, Gongs.Wires.Bamboo continues through October 31.

In Lieu of a Sunset - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

In Lieu of a Sunset

Then flying off to our next stop as evening fell with the clouds.

Sam Theis

Sam Theis   Portrait of Basquiat   mixed media

We had watched the new Oak Cliff Cultural Center from the outsides of its big picture windows a couple doors down from the historic (Lee Harvey Oswald's Waterloo) Texas Theatre. Interesting show of professional artists who live and work in Oak Cliff. Although several artists I fully expected to be there, weren't, plenty were.

I have mixed feelings about contemporary artists drawing like famous artists but this colorful and creature-full painting stole my heart. Perfect compositions, plenty of tonal and shape variety. Texture galore. Beautiful, strange and memorable. Impressive. More than a little shocking. Reminds me of the best of George Bailey, but different, of course, and better in some ways.

Jose Vargas - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Jose Vargas  He Enjoyed Wearing a Green mask   acrylic on wood

This wasn't officially in the exhibition, but it should have been. It may be the best thing there, hung alone in the office on a big, what I remember as an otherwise empty wall opposite the desks and worker (We only saw one but assume there's a growing staff.), because it's remarkably good and would easily stand out in the great premier show at the center, and because Jose hangs their shows. Strong, colorful, intense, human, wow.

Dark Chairs at OCCC - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Dark Chairs at Oak Cliff Cultural Center

Meanwhile, I fell in love with the gentle moiré of the loose chairs facing what must have been or was going to be a panel discussion. It's the only Dallas cultural center without a theatre to provide cash flow — both ways. Should be interesting.

Roses at OCCC - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Tulips at Oak Cliff Cultural Center

I thought of these as roses till I got this image here on this page, but it's tulips. Comfortable in its texture, color and shape among the brochures and flyers on the table by the OCCC's front door.

Morton Rachofsky at The MADI - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Morton Rachofsky at The MADI

Next stop, barely in time, but they were gracious as always and still open and entertaining a mixed group of young people, then us. I'm always shy about photographing inside, but took this opportunity after thoroughly investigating every piece that caught my eye or attention inside, to get this superb piece by our friend Morton Rachofsky in just the right garish MADI night colors.

DADA Flowers - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

DADA Flowers

Then to The Contemp, which is a great party space, for the 25th Anniversary Dallas Art Dealers Association's After The Walk Party benefiting the Edith Baker Scholarship Fund.

Nice Tie - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Nice Tie

Even J R dressed up for the occasion. He wore a hat Anna gave him for his birthday and long pants. This guy had a great tie.

Red Dress - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Red Dress

It seemed that everyone had more hues than usual. Party party party. Fun, too. Lots of food, drink and things to do and watch and be startled by.

Glitz Dancers at DADA 25 - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Glitz Fashion Dancers

I'm sure they have a better title. There were other people dressed up who spoke Dada, as opposed to DADA. They weren't the best Dada performers we ever saw. Those were probably the original Victor Dada troupe, who had their timing and vocalizations down pat, but it was a party and a good one.

Photographer - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Photographer

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Blue Dancer - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Blue Dancer

I had my fun little pocket camera, which is usually good for art, but not for action. There was not much chance I'd catch this dancer in action with a Point & Shoot, but once I got her blurring here or there in the stage area, funning with the camera and Post-Production later was gangbuster fun like the party was, each of us doing our party things.

Blue Dancer - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Blue Dancer

Seemed a potentially great place for performance art if you don't mind standing on concrete and pushing ways to the front to take a picture or two or see what was going on. No chairs except for eaters and not nearly enough of those, but plenty going on, so it was best to be mobile anyway.

Valets - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Valets

Then eventually we had enough, fetched our car and drove off into the darkness still smiling.

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Sustenance  337 Singleton   September 11 2010

Tom Orr - Snow Cone - with people - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Tom Orr   Snow Cone   colored cellophane, acrylic panels, light, shadow and reflection   with people

I read somewhere that the big show in Dallas last weekend was at the possibly terminal Centraltrak, which showed slick comic book upgrades in dense colors and even denser dialog [See below]. Nope, Sustenance is easily the most interesting and important show in Dallas this week, maybe this month or longer.

It continues through October 3. Its effects will linger longer.

The space is a gutted warehouse in a colorful recharge neighborhood, deep in the metaphorical shadow (if the sun shone from the north) of Our First Calatrava Bridge under construction and already ugly, in the immediate vicinity of what appears to be an urban landscape edging toward a new Farmer's Market just south of the river.

This event is deeply redolent of Modern Ruin last February [in Art Here Lately #8, another long page, give it time to load], curated by Christina Rees and Thomas Feulmer. This show is another temporary use of an iffy, semi-permanent building to show new art and forms, although that was a much more pleasant building that was razed shortly after that thee-day show.

Sustenance was organized by Anne Lawrence and Stephen Lapithisophon. At 337 Singleton and reported on, more or less, at sustenanceexhibition.blogspot.com.

Across Singleton Boulevard are scattered bits of colorful sculptural objects pushing nearly no boundaries whatsoever, except maybe color. Buildings in that hood are brilliant primary colors. On the Sustenance side, art is less obvious, not kinetic and more visceral and intellectual. Art and installations to think visually about, windows and doorways into perceptual understandings that neither can nor should be put into words. But I'll try.

There's some fine, imaginative and sometimes deep-thought work almost hidden in plain, sometimes trip-over sight around the temporary-use space, but there's much, less accessible and more cerebral work, too. More of the latter than the former, though touring the up and downstairs spaces was a tingling thrill to absorb the visual and aural acoustic intentions from some of this area's best two- and three-D artists.

Get more than a few of our best edgy artists together and what comes out could be — or might be perceived as — dangerous. As the best of this art is. The worst of it is almost too easily overlooked and stumbled over, thus dangerous in an other dimension that's much less perilous.

Frances Bagley - The Garden

Frances Bagley   The Garden   rubber tubing, apples (real and fake) and sound (stage whispering breathing)

Frances Bagley's The Garden is more than a little reminiscent of her Hanging Garden of Babylon [on our Tom & Frances Do Their First Opera page] here with real and fake apples suspended and that empty-brick-rooms-filling, stage-whisper breathing audible throughout the first floor. Might have heard it upstairs, too, but by then I'd forgot I was hearing it. This soft, pipe insulation wrapped and looped and strung horizontally; that hung in vertical rigidity, or what looked it.

Darryl Lauster - Pictures of Fires - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Darryl Lauster   Pictures of Fires Big and Small in Which Persons Lose Their Lives
sandblasted acrylic, pencil, laser-etched map, Monopoly and Battleship game parts

This series of hot boxes has hot art, in the sense of immense heat, no fans or AC, no hint of a breeze, just big and little, open spaces in a building gaping with covered and transparent holes to the outside, qualifies. Once was an office building I don't know whose. Upper and lower shelves in an oven, percolating unformulaic art forms. Too hot for comfort, but hot art comforting in other senses, beyond temperature.

Under Construction - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Michael Mazurek   Hypostyle XL   scaffolding, lumber, concrete masonry units, extension cords, dock lights
Beyond which is Kristin Mariani's Fuller - Ready-made glow-in-the-dark Oxford cloth,
thread, pencil pleating, drapery hooks, aluminum rods, plastic sliders

There's plenty here that faintly resembles Tom Orr's past dissembles [not as eloquent as his deconstructed cabinets at Modern Ruin] just inside the entrance, off to the right, is an assembly — or disassembly — of a room that, if it were simpler, classier, more elegant and eloquent, might have been like Orr's piece at last winter's hit-and-run temp building exhibition.

This one, though, Michael Mazurek's Hypostye XL - scaffolding, lumber, concrete masonry tints, extension cords and dock lights, seemed to fit into this dis- or re-sheveling place, and only the lights illuminating it made it any semblance of art or articulated forms.

More repetition, shape, order or density or something might have made it. When I first saw it I decided upon careful investigation it was what it at first seemed, not art and not trying to be, just there, kind of a mess waiting till after the show for someone to haul it away. This photo is from the afternoon after, when I finally became convinced it was Mazurek's art.

If he says so, well, maybe.

Sedrick Huckaby - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Sedrick Huckaby   Girl World   Boy Toys   The Big Deal  and  The Truth about Hip Hop   mixed media collage, acrylic

No such hesitance about Huckaby's giant faces of magazine stories further breaking down into smaller faces and words in headlines and captions and text. The whole of head and shoulders portraits seem seem disjuncted and un-resolutioned from distance. A little jarring, perhaps.

Sedrick Huckaby - The Truth About Hip Hop - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Sedrick Huckaby   The Truth About Hip Hop   mixed media collage, acrylic

They start shouting when we instinctively draw near to discover their details and stories, whose intricacies nonchalantly clude in socket boxes and load-bearing poles right up the middle of this mosh vibrating with detailed colors and shapes and that obvious red grid. Vibrant and alive in the dusking darkness opening night yet still awake and alert the next afternoon.

Bird of Paradise - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

artist unknown   light on vase of Bird of Paradise flowers  

Each time I saw it, this damp, wet space unnoted on the map except the white curtained proscenium off to the left by the main door — Kristin Mariani's Fuller, a ta-daaah! curtain opens to nearly nothing except a sideview of this but no mention of a fluttering vase of Birds of Paradise lit by a single lamp shining down onto the flowers just left of this doorway at the beginning of Sedrick Huckaby's corner of collages that suck us in to its clipped art details.

Linnea Glatt and Jim Cinquemani - Social Circle - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Linnea Glatt and Jim Cinquemani - Social Circle
A Watermelon Social — Benches built by the West Dallas Chapter of Alcoholics Anonymous. Majority of wood salvaged and recycled from long-closed lumberyard building on Main Street. Locally grown watermelon, lights.
Donations benefit Hunger Busters. Look at all those big puffy clouds.
 

And outside, a delight to see something simple in full 3D from long-time Oak Cliffies Linnea Glatt and Jim Cinquemani. She lately of sewn circles, he of bending metal. She formerly of simple Places — to ponder, perform and be. Everything extraneous carefully strained out of a sculpture large enough to interact in. A Place to Eat Watermelon. A picnic table hexagram with light posts connecting zig-zagged lights wired from a central pole.

I can almost see little flickering lights over picnickers sloshing down on home-grown melon. I wanted dirt in pots between the poles along the outer perimeter for spitting seeds into — something to grow when the tables go, but all that's irrelevant, immaterial, superfluous for this undercomplicated set.
 

Sustenance continues: it will be open 11 am - 6 pm Saturdays and 1-6 pm Sundays  through October 3, by which time Bagley's real apples will be much less difficult to tell from the fake ones, and those Birds of Paradise should be seriously wilted.
 

Craighead Green, Conduit, The Mercantile Coffee House,
Latino Culture Center, 500X and Centraltrak 

all   September 11 2010

Heather Gorham -

Heather Gorham   Hear No, Speak No, See a Little   $3,600
acrylic and graphite on wood   30 x 40 inches

After Sustenance we made a quick trip through Marty Walker's oversimple abstraction, a leisurely stay in Craighead Green's cool, white space, where we found our nourishment with Heather Gorham's ouvre upgrade and big, sumptuous chairs to cool out a sugar low, wowed by smaller art in the hall nearby.

Gorham's latest iteration of those kids who've lived in her paintings long as I can remember, seem older, more experienced, maybe wiser, at least not fighting it, the background pitted with understanding, growing like cells. The monkeys benevolent, helping creatures now. Kids with collars are growing up.

Carolyn Brown - Peony Pink - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Carolyn Brown   Peony Pink   photograph   24 x 24 inches   $1,800

Carolyn Brown's brilliant flower photographs, which she kept insisting employed no filters, like that was some heinous crime kept reminding of Georgia O'Keefe vs. all those painters still afraid to paint flowers, because art school taught them it was trite, when really, nothing is.

Cloud with Red and Wires - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Cloud with Red and Wires

Outside CG was this sudden growth of an enormous white cloud climbing into the sky we kept seeing the rest of the day between gallery hop-scotching around the inner city, where the tornado toyed last week, before disappearing into a cloud and not coming back.

Vincent Falsetta

Vincent Falsetta   Untitled CX 10-3 (detail)   2010   oil on canvas   60 x 60 inches   $11,000

Vincent is the painter's painter and maybe the teachers' teacher who squiggles his careful lines and conscientious corners carefully with a big, looks like toothy serrated knife. Exquisitely vigilant in every angled turn and short, slow curves. Standing with my nose inches from those tiny rows and furrows, wanting even closer.

Cloud Past Conduit - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Cloud Past Conduit

Outside, we caught back up with the glowing cloud over Moat City, and followed it downtown to see 500X' new coffee shop affiliate, The Mercantile Coffee House at 1800 Main, just down from the new park and new Bernardo Cantu's odd amalgum of flat and leotard-stretched dimensional add-ons there. Fruit-churned ice cream and topped with more.

Bernardo Cantu -

Bernardo Cantu   The Temple of Chalupes   2009   mixed media   24 x 24 inches

Don't get that solid impression of someone onto something wholly other that often. Cantu's work has it in spades. So foreign to experience, often disconcerting and sometimes beautiful.

Sheraton Cloudscape - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Downtown Cloudscape

More clouds and a leisurely layover at the Latino Culture Center for twin traveling shows of exquisite little artworks. We'd been told not to miss the exquisite, almost tactile engravings of Michoacán artist Mizraim Cárdenas, whose burin engravings commemorate the 200th anniversary of Mexican Independence.

Las Galsas de scientes - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Mizraim Cárdenas   Las Calsas de Scientes

But we were still taken aback by their delicate intricasies, as we slowly toured the big room up front to soak in as many craftfully etched subtleties as we could stand. Subtleties only vaguely apparent in this attempt to reproduce one of Cárdenas' amazing engravings.

Angeles Torrejon - Mother of the Disappeared - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Ángeles Torrejón   Mother of the Disappeared   1988   silver gelatin print

Another set of small works, El Ojo Fino (The Exquisite Eye) by three generations of Mexican women photographers all round another room gave us more fine views. I sometimes choose local over traveling works, but work in both these shows are superb.

sunset sky - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

The clouds meanwhile were turning gray and purple and red into the setting sun.

Next stop: 500X, where the latest bunch seems caught in the task of discovering who they are, especially in relation to everybody else there. This early in their three-to-five year progression, this show shows just how far apart they are. But there's some interesting inclinations. It'll be fun to watch them grow and mix together and play off each other.

Then suddenly apart, and a new gang starts.

Shelby Cunningham - B24 Bombing

Shelby Cunningham   B24 Bombing   2010   watercolor paper, fleece   $350

I've been up to here with soft toy art for more than a decade, but this simple collage was the second piece to catch my eye at the big X this time. The first, downstairs in the members space, could as easily have been an actual lettuce ball resting in a chip-and-dip bowl multiply pierced with toothpicked canapes of cheese, olives, pickles and sausage. Proposed art where life-like is only a beginning, not an end.

Kerry Pacillio - Odyssey of Food - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Kerry Pacillio   Odyssey of Food   2010   NFS

Then I saw Cunningham's soft B24 bombing anachronistic missile heading the other way. Maybe the best way any war should bomb anyone anyway. I liked the trees, the altitude and the attitude. But I'm still sick of soft toy art till somebody can do something altogether different.

Rebecca Carter - Friend Ribbons - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Rebecca Carter   Friend Ribbons   2010  thread   $350

This is lovely. A part, no doubt, of The New Sincerity. Man on the radio just told me irony is dead. Long live sincerity and direct honesty. Like friendship this wad of ribbons and threads comprise and push back at us eye to eye. Now, scrolling down and up through these last three images, I am discerning a simple pattern runs through them. A pierced and piercing detalia. A complexity of simple. Might that be the new X mantra?

Mark Collop - He's Out

Mark Collop   He's Out: Angels   2010   oil on aluminum   5 x 7 inches   $125

500's newest crew is yet to coalesce in a serious threat to the old way of doing things, mostly mired themselves in a variety of Old Ways — as are we all, but what caught my eye and made me think awhile was that here suddenly was Art about Baseball that's not schlock, even with pink negative space cut-outs — like Collop's been doing since college, including a couple-years-ago nearly-non-stop visit we had for the DallasArtsRevue exhibition, Fierce, when we visited and scattered larger figures around this end of town.

Adding baseball to art reminds too much of LeRoy Neiman and all the jetsam that floats in my memory's mind. But these "You're Out!" moments involving differing teams and players in edges of vari-colored uniforms holds together without a hint of smarm. Well, maybe a hint, that is pink. Still a nice way to incorporate Collop's cut-outs, into something that makes sense and forces thought.

Sunst from 500x's window - Photograph Copyright 2010 by J R Compton. All Rights Reserved. No Reproduction in Any Medium Without Specific Written Permission.

Sunset Clouds from 500X' Upstairs Window back at downtown

We were hungry and heading down Exposition Avenue after 500X for a favorite Mexican Restaurant off in the neighborhood when we saw opening hubbub at Centraltrak. Went in, enjoyed the art updated comix and high-con colors, talked with friends, then saw people standing around an outside porch area eating food.

We headed in, found real Mex from Taqueria Peorito Tacos on Capitol and East Jefferson but no chairs (except in the office where we snuck in to finish our sampled soft taco meal). Serving sit-down food without offering chairs seemed a misdemeanor, at least.

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Ruben Nieto   title unknown

More pink negative space, compliled with a dense abstraction of Batman-flavored commentary and decades deep comix-style motion and narrative progression.
 

Continued on Art Here Lately  #11

The Art Here Lately Index is always at the bottom of the current Art Here Lately.


See the continuing
ThEdblog for oddly illustrated notes on my progress through this website and the rest of my life.
 

All Contents of this site are Copyright 2009 or before by publisher J R Compton.
All Rights Reserved. No Reproduction in any medium without specific written permission.

 

 cumulative index count

 #10

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= since September 13 2010

1432 @ #9 w ro2 & Levee
279 when dada up