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E-mail the editor with positive, negative or other comments or feedback to anything on this site or in Dallas art. Tell what page you are referring to. Sign it or don't sign it or use a fake name, if you'd prefer. Note if you do not want your letter published, although I'd prefer to get your opinion without a signature that not get it. Letters will only be edited for space and sense. If you're mean or stupid, we won't edit, at all.

December 6

Dear JR,
Thank you for putting up this lovely show and for all the hardworking hours dedicated to serving the art community --
We all wish that there were more people like you with such great passion for the arts and the same unselfish attitude!

Also, thank you for your kind words,


I'd said her works were some of my very favorites in the show.

November 23 2008

I recently came across the art review of my exhibition in HCG Gallery. Thank you for a lengthy review and the impressive pictures of my artwork.

However, I did not think it was necessary to quote my wrong use of grammar and commenting about the Bush joke. i fail to see how that describes the art, the overall exhibit, or how enhances your article. Perhaps my answer to the Bush remark would have been to offensive for a "red state", or maybe I was nervous about the show. Either way, what was your point?

Adriana Carvalho

Normally, I would not have written about your work, since you are not a Dallas artist.

That story was an assignment from The Dallas Observer, who that time wanted a story about the ambiance at an opening, so it would fit with their bar reviews every other week. They wanted local color, as well as art review. The editor told me he wanted readers to feel like they were there.

All of which I explained.

I didn't care about your politics. Still don't. I never knew them. Neither do I care about red-state mentality, if any. I was careful to quote you precisely. Because of your thick accent, I rarely knew what you were talking about.

October 15 2008

J R –
I want to thank you very much for your reviews of the Texas Sculpture Association shows and Symposium. I thoroughly enjoyed reading both reviews and critiques, and you brought Surls and Pillsbury’s talks back to life for me again. Absolutely delightful! Thank you.
Nan Phillips
President, Texas Sculpture Association

October 6 2008

J R,
Really appreciate the reviews of the shows connected to TSA events. Thanks for paying attention. Brought up some good points I thought. Thanks,

August 25 2008

J R,
Well, I’ve waited a while before writing to see if the DO guys would call you up and say something like “Oh gosh J R, sorry we didn’t get back to you, but we were busy arranging our sock drawer and were just too busy,” or something similar. Can’t believe they didn’t call you back.

That’s not just unprofessional, that shows a complete lack of consideration and an inadequate supply of male sexual organs.

So you’re right, you know. You don’t need to work for or with these jerks. I thought maybe they were okay; after all, they called you.

I do have to admit to you though, that my excitement at the prospect of you working at the DO was just a tad bit coming from that perverse part of me that just wanted to see you rip through their comfort zone, to create some excitement in their cool world, to introduce some J R anarchy and righteous chaos. Like you, I don’t know how long you would last in their world; too many editors (obviously one would be too many) would ruin your work and then what would be the point? Still, there was just the idea of the fun of it, J R runs wild through the DO! If it had been for real it would have been great fun, although probably more fun for me to watch over here than for you to actually do over there!

Still, I’m glad you’ve figured it out, and even though it’s infuriating, the DO has made your decision pretty easy. Please pick one of the following options:

1) Work with a bunch of goobers that will mangle your writing and probably end up taking you for granted.

2) Work doing what you do best and enjoy, and write for yourself, world be damned.

What a choice!


July 9 2008

Dear Mr. J.R.,
In fact, I did my own interpretation of two pieces. Arp's "Torso with Buds" (I polished off a couple six packs of you-know-what and hung the empties off my sweater with paper clips and slipped my arms inside my sweater) and then tried my luck with Borofsky's "Walking to the Sky." Almost made it, too. That Nasher crowd was real encouraging (took me three tries), and the management couldn't of been nicer. Two very well dressed gentlemen escorted me to my pickup to make sure nothing happened to me.

Had to forego the bounce house as I was about to upchuck by that point; and here I thought those Nasher folks would be real pointy heads. I even taught Mr. Nasher the Texas Rangers secret handshake!

Sincerely yours,

July 6 2008

The opening last night was wonderful. You did a great job incorporating so many different types of work into a really cohesive and fun show.

I was honored to be among the artists you included and happy to be surrounded by so many talented folks.

Thanks for all of your hard work,
Heather Gorham

June 30 2008

Dear Mr. J R Compton,
You're most likely experiencing the last minute headaches of putting "Fierce" together so know that you have already done an amazing thing that can't help but turn out well. Your "Fierce" studio visits are a real page turner. I sat down to check my e-mail at 7:30 a.m. and stayed glued to your site until 9. In spite of many other things to take care of this morning, couldn't stop. I am stunned by the inspiring local artist you have gathered in one gallery.

This never happens in Dallas. Usually they are scattered in different pockets of town. I had to write my first fan letter ever.

Bravo — and a great many thanks. I can't be in town for the opening but will camp out at the show while it's up.

Johanna Roffino-Hulsey
(a not so fierce but working on it artist)

June 17 2008

J R:
Thank you very much for posting the story about your visit to my house. I don't have titles for the paintings that are included with the story because the pieces are not quite finished yet. I usually wait until the paintings are completely finished before I give them a title.

I have enjoyed reading the other stories about the rest of the artists. They are very insightful. The experience of viewing the artwork of these artists is imbued with a more intimate sense of intimacy once you read not only about the art but also about the creators of the art. Your stories give the show a deeper human element. I really enjoyed your visit. After you left, I started finding more of my work in boxes, under the bed, in closets, in my truck... I have been feeling like I have been neglecting my own art at times; however, your visit and words were very inspiring and invigorating. Thank you for everything.

Enrique Fernández Cervantes

What a picture of Richard — he LOVES it — I of course think it is very weird.

Your words about Richard's Buckner series was fun to read; he is lucky to have someone that really SEES his work (besides me of course). Not all artists are fortunate to have anyone really LOOK at their work. JR, your serious interest in artists and their work, is rare, and thank you for the unbelievable hours you spend writing about art.

I hope one day, someone might encourage you to publish your DallasArtsRevue into a Book about Dallas Art. The heart of the book is already written.

We enjoyed the visit and appreciate having a record of the visit online - the only picture missing is one of you with the big camera lens with blue tape holding it together. Wish I had pointed a camera at you too the other day.

Looking forward fiercely to July 5 opening of Fierce.


As I told Marty:

Thanks, my book is online. I don't need anyone else to publish it. It won't waste any paper. Anyone anywhere can access it. It's organized spatially; a lot of it's linked together.

No idiot other editor is going to go through it and change all my words and delete most of my best pictures

; j r

June 9 2008

Your Studio Visits for Fierce has become one of my regular stops. I don't know if your stats reflect it, but I would expect it to be one of your most popular features. I guess it's that behind-the-scenes peek at how other artists work, what their environment's like, etc. And that Flash-animated photo of Ann really cracked me up this morning. I had to call Alison over to look at it.

James Michael Starr

May 28 2008

To: [Writer's Name Withheld]

If you'll read my or other DARts contributor's work linked from the bottom middle column of the cover, you'll see that we write simple, straightforward text without high-falutin' language like "invoking the passionate spirit of Romanticism that swept through European literature, music and…"

Largely because that is a complexified view back through history. That's not what the egomaniacal Turner was really up to.

Nor did he "formalize his interest in the visual arts." He went to the Royal Academy. You might even say he studied or painted there.

I'd suggest you cut out about 70% of your words, quit adverbs altogether — they only get writers stuck into thick, gooey paste, anyway — seriously cut down on the adjectives and compound complex sentence structures.

Don't try to impress with anything but your understanding of what is going on and that shows in someone's work. He didn't try to elevate, he tried to paint better.

I dare you to diagram your sentence, "Though several Turner works on display portray peaceful pastoral scenes, many works convey humankind's tense relationship with nature and the precarious position of humanity within the natural world, as well as man's weaknesses in war."

Rethink florid prose. At DallasArtsRevue, you'd be writing for human beings who devote their lives to art and probably know more about it than you do. You won't be able to baffle them with your bullshit. You'd have to impress them with what you actually know and can see and intuit.

Write about Dallas art, artists or institutions, and I'll wake up and smell the words.

; j r

May 27 2008

Dear M. Compton,

I will soon be seeking art representation in Dallas and was wondering if your organization could give me some recomendations about galleries in your area. I am looking for galleries that are reputable and treat their artists well. I'm not looking for the snootiest or the trendiest. One gallery that has caught my eye is Monty Walker. Can you tell me something about him?

Thanks for your help. I look forward to hearing from you.
James Wall

Aren't we all. DallasArtsRevue provides information. It's up to you to use it. I don't do other people's due dilligence.

; j r

April 8 2008

J R -

In your article Verse & Eggs [actually, Tats, Sistahs, 50/50, Verse & Eggs, you describe "Ann Huey and Julia McLain-Echol's silly, Easter-themed Eggsabition" and show photos of Ann's work, but don't provide any example's of Julia's work. This "two chick" collaboration was a long time in the making. Even if you have no verbiage that you wish to express, at least there should be some balance of visuals.

Julia McLain-Echols

Julia McLain Echols - cropped per attachment

(attachment for your convenience)

- Chris


I am the editor/publisher of DallasArtsRevue, which means I'm who gets to decide what images and words go on this site. When I review a show, I do not necessarily show images of everyone in the show, just the pieces I am drawn to or am interested in. There is no such thing as "a balance of visuals." The Dallas Morning News, Art Forum and I share the concept that we only publish the images we want to. Perhaps you do not understand the concept of an art review.

I decided some time ago, not to go out of my way to put down work I don't like, although I have and express my own opinions forthrightly. There are dozens of shows every month I see but don't even comment on.

I've seen that image previously, and I did not wish to publish it, except of course, now I have.

My usual criteria for writing about something is that words pop into my head when I see it. Nothing comes for those images.

; j r

March 28 2008

Dear J R,

Thank you for your review of my piece, which was shown earlier at the Critic's Choice Show and also, more recently my smalls at Haley-Henman.

You have no idea how heartening something like that can be! Thank you!

How did we get you in this town anyway? Was it plain, insane luck?

Beth Mahey

I've been in the Dallas area since 1962, when I started college at University of Dallas. After that it was mostly inertia and the need to not move again after moving nearly every year growing up.

Since I am an artist and like most every other artist, crave attention for my work, I do know precisely how heartening something like that can be. My art doesn't sell, or I can't seem to sell it, so a little attention, a few words in the media would be fabulous.

Glad I could help.

March 23

Brainstorming the Contempt,

After attending the “Artist Open Mic Nite” I was disappointed to learn it was less about listening to artists and more about how the contemporary can better serve the local collectors to fill their coffers. It appeared to be a staged forum for the airing of previously discussed ideas.


March 19 2008

I feel the same way about The Contemp.
I truly enjoy your website. Nice work.

Thank you,
Greg G

March 4 2008

J R,
Regarding the questions in the latest feedback letter, no one is given a license proclaiming them an artist ... or an art critic. If I didn't respect you and your web site, I wouldn't be a member. I find "food for thought" in your writing, even when I don't agree. Your web site vicariously takes me to galleries, art walks, etc. that I often don't have time to visit. It is one of my resources for keeping abreast of the Dallas art scene.

The recognition you received from your current solo exhibit of your bird photographs at the Bath House Cultural Center is long overdue.

Keep on keeping on.
Jeanne Sturdevant

February 11 2008

You are so prententious [sic] and your reviews are so worthless as to have no value at all. Can you deal with reality?

Your narrative about your searching the local art scene is so sophmoric [sic] as to generate no comments and the screaming answer is one that is non-responsive.

Why should anyone talk to you - when you are such a jerk?

I only hope your readers realize you know absolutely nothing about art and your report is from the eyes of a wanna-be who has no talent at all.

So get real and get a real job (hahahahahaha)

And write your polemic [sic], without hesitation, and go down in history for - how stupid and ignorant you really are.

Bless you.

Susan, meet Scooter, whose letter was far more scurrilous a polemic.

J. R.,

You did a piece on me several years ago after coming to my studio when I lived in Dallas. I'm very grateful for it and it led to several shows around the Dallas area.

Since that time, I have relocated to New York, my work has moved in an entirely different direction and am preparing for my first solo show in Manhattan. I'm wondering if it would be possible for you to remove the piece or at least the images of those first paintings I made from DallasArtsRevue? I know this seems like a strange request, but because they tend to be the first thing to appear via internet searches I have had to explain them numerous times to more collectors, curators and gallerists. Thank you so much for writing the article and for your consideration in removing the images at the very least.

Jason Roskey

This smacks of historical revisionism. I am opposed.

I replied:

I don't think so. It's history. The pieces are clearly marked by date. I talk about seeing something in the work that would grow to something else. I think it's too valuable to just trash. I am in no way responsible for what comes up in Internet searches, but you can pay somebody like Google to take your new web site, page, whatever, to the top.

Glad to hear you are succeeding. I knew you would.

Then I suggested he send larger images of more recent work, so the history would continue, obviating need to stamp out the past. He's considering.

January 15, 2008

You say you liked Wayne Loucas' Black Dog, Cerillos, NM sepia print best, yet you presented it on this site the way you think it should have been done. It's not your work now is it? It's disrespectful to alter in any way someone else's work as part of your criticism. I may fully agree with you but I certainly can't make that judgment based on what is here because I'm not given the chance to see it in full. Not liking something and writing about it is one thing; changing it is altogether something else and nothing short of presumptuous.

Guy Reynolds
Photo editor
The Dallas Morning News
508 Young St.
Dallas TX 75202


i had to alter the stupid thing because it presented problems the way I shot it. no piece of art is ever presented in its original size, color, contrast, texture, shape or anything else.

you ever see a work of art mangled into tiny little dots at 53 lpi in some stupid newspaper. talk about disrespectful. My story was written very soon after the opening. if you really wanted to see the piece in its original size, color, contrast, texture, shape or anything else you could have gone to see it

; j r

Then, after careful consideration, I removed the offensive image and stuck with my criticism of it.


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