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THIS PAGE Tom Orr - Tightrope at Barry Whistler Gallery Chaos at RO2 Downtown
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With Fort Worth's Kimbell Art Museum's Gustave Caillebotte: The Painter's Eye November 8, 2015 – February 14, opening soon, I thought someone else might be interested in seeing a collection of "all  his works" arranged chronologically. It was a booger to find, so here's the starting point to a long series presented as a timed slide show (Speed it up by clicking on the double-arrows.) of full-screen images.
Tom Orr Tightrope Barry Whistler Gallery through October 10 2015
Tom Orr Paladin 2015 carpet, mirrored aluminum 24 x 144 x 84 inches $24,000
I attend an awful lot of art shows. Not as many as I did 37 years ago when I started DallasArtsRevue — and there's some galleries I never go to, and others I wouldn't ever want to. But the categories change. Some get better. Most worse. Two vastly different galleries where I almost always find something to like are Ro2Downtown and Barry Whistler in Deep Elm. There are others, but these two have or had shows I recently found and liked exorbitantly. I just hope I can find words for them both, although I might just let Tom Orr's work do some of its own talking through my photographs.
I keep trying, but most of what I want to say about Tom Orr's work feels excessive. I've probably said it before, and I want to say it again. But for a little while down this page, I'll just show some pictures.
Tom Orr Paladin 2015
Both Tom Orr Installations from the front door
Tom Orr Mr. Lucky 2015 wood, aluminum tubing, mirrored aluminum 84 x 192 x 120 inches $35,000
Tom Orr Mr. Lucky 2015 from the far end of the gallery
Tom Orr Mr. Lucky 2015
The more I considered adding words to the above photographs, the less I thought of it.
Later, I realized I had seen this piece at their open studio party in May 2015, when and where I got verbal permission to shoot their work. But permission always seems tinged in iffyness, and I didn't want to wear out my welcome. But my relationship with them has a lot to do with words, pictures and my appreciations for their work. Sometimes Frances' seems more important in my way of sensing. Sometimes Tom. But these things are always changing.
The greatest leap forward for this piece from that party is the setting — set and setting, like an acid trip or deep meditation. These are far more elegant digs than the Bagley-Orr ranch, so each piece gains all the attention under the best lighting with near ideal backgrounds. So careful it just seems to belong right here, and I wonder if someone buys it, where do they put it? And would anybody else ever get to see it? I could stare at it for hours. Every angle, join and transition. So carefully considered, balanced and. Just there perfect.
I already fell hard for it in Tom's even-lighted studio last May. Here at Barry's it's spectacular, and I may need to go back for longer stares. I guess maybe a particularly thoughtful and intelligent institution would be a best setting, not that I get to decide.
Previous Frances Bagley and Tom Orr mentions on this site can be explored by Googling "Tom Orr" or "Frances Bagley." There's too many to list here, but I will try:
Exploring the Art of Tom Orr and Frances Bagley
Fighting Words: Should The White Rock Lake Water Theatre Be Destroyed? [It was.]
Tom & Frances Design Verdi's Nabucco
Essential Space I
Essential Space II
Modalities of the Visible
The White Rock Lake Water Theatre
Tom Orr Moiré
Chaos at Ro2 Downtown August 1 — September 12, 2015
Cheryl Finfrock $750
Nicest thing about Chaos shows is there's variety. Worst thing about it is that the work's crammed into every square inch of display space and the IDs usually attached to works can't always be seen or photographed — and there's no room for titles, sizes or media. From the very beginning, I was impressed with the work. There's deep-down quality in spades here. These two portraits are way better than I expected at a free-for-all like this. We got brush strokes dancing, and these look like real people. There's an impressive animated humanity here. I guess that's down to good gathering by the ROs.
Cheryl Finfrock $750
I looked around awhile, noshed on chips, wished I had an extra hand for some ice in water as well as my camera in both hands, then came back to the beginning and photographed every piece that caught my fancy, usually only finding out who did them after I'd shot it. So there was a devil-may-care, no-holds-barred feeling to racing around the room finding gems, photographing them best I could under the poor and changing light and hope to find an I.D, then on to the next.
I started shooting at 7:44:32 PM for the guy in a green shirt, hat and the feathery chicken, and stopped after shooting Alex Paulus's hands and faces at 8:08:45 PM — quicker than it felt. I tried to get whites to go white and colors somewhere in the vicinity working them up, too. But I didn't get too finicky, and for that I apologize.
Joshua Chambers $300
I assume the gallery had something to do with the prices. They usually do. I didn't register the work or the prices. I just shot what I could find that I liked, then on to the next and the one after that, a little slap-dash and a little careful. I paid attention, but I was making accurate photographs as well as choosing work, so I may not stand for these as the best there. If I couldn't figure out who dunnit, it didn't go in. And some didn't.
If you know titles for these that don't have them, send them to the Contact page link atop every DallasArtsRevue.com page.
Julia L. Trinh $200
There was a whole Color As Color & Texture section, but I misfocused several, so more aren't here. Happens when I'm too busy choosing or something else than being photo careful.
Jennifer Lee Jones $150
After several iterations of color samples stacked close — there was form and transition in this presentation, but who put it up probably had about as much time as I did to take them on. This ocean view was pleasant respite after several successive rainbow slash stacks and squidly color squiggles.
Kathy Robinson Hays $625
And though this fit right in there, I didn't know what to think about it. Bumps and global textures. Maybe a map or several. I only vaguely recollected that I knew the artist and knew her work. Did this or did this not meet my today's criteria. Yup. Click. On to the next.
Yunni Lee $250
I appreciate who put this show up putting similars together. Nice jobs, Ro & Ro. I wish I'd been as careful, but some pieces need be here even without exact focus. I wasn't always sure if it was me, my camera or the work.
Kate Colin $300
This one, I think, needs words. I liked it. I liked the colors and the textures and the lines and slashes and paint and linear wire textures, and I like that they piled up to become continents on this rather diversified planetoid. I admire its topography and the mesh where nothingness wins. I always get lost in painterly textures.
Mark Burt $500
I needed the toyness of this, red fuzz — and all those eyes. Art should get to look back at people sometimes.
Nomadic Fungi Institute $450
I am astounded that a lot of this stringy/wiry piece is sharp, although the car may not be quite. And I love its title, which few other pieces got. Whoever did this wins a prize for naming it instead of their own, and for making this without — we hope and assume — going nuts. All those red worms are arrayed out from a central beige spiral, like frenetic energy. And its locus for a little humor. Very nice.
Squiggle Bowl $
I may have seen that texture in pots before. Not sure what made it, but I enjoyed it, then I didn't, then I did again in just a little while, almost like in and out breath as I watched it.
Alex Paulus $250
Multiples of eyes, noses, mouths and ears are difficult to pull together rendering unity and not end up being just some mess — especially amid that red plaid ground. Bravo. More hands might have wrecked it. Great juxto of faces, fingers, parts and textures all wound down into a singularity. Lot going on here. A looker and a cooker.
TJ Griffin $350
This one is nice enough, but a tad timid, maybe tepid. Definitely a like, but a mitigated one.
TJ Griffin $425
But this one worries me. Somewhere in between these images, might have been better or worse. Hard to say. They're both here, because I couldn't decide, but this minds me too much of bad Disney, even if it's good Griffin.
As always, if you see something that's just not right or know of a link that should go on this page, let me know. I want these stories to be as accurate and true as I possibly can, and you can help by emailing me at the contact link at the top of every DARts page. Thanks..
All Contents of this site are Copyright 2015 or before by publisher J R Compton.
All the artworks shown on these pages are copyrighted by their originating artists. Unless otherwise noted, all photographs are copyright J R Compton.
All Rights Reserved. No reproduction in any medium without specific written permission.
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