DallasArtsRevue
Visual art news, views & reviews in Dallas, Texas, USA

Home Join us Resources SSiT Other Search

the newest feedback (2006)   2005 feedback    2004 feedback     less new feedback     oldest feedback

The Current Feedback Page & Feedback Index

FEEDBACK 2004

Letters from   2010   2009   2008   2007   2006   2005   2004   2003 - 2002   2002   2000 - 2002

E-mail the editor with comments or feedback to anything on this site.
Be sure to include the URL for the page you are referring to.

December 21, 2004

ymuchas gracias for the following quote: " ...off to Plush in dankest sleezoid downtown Dallas" while perhaps not literally true, it's certainly something we strive for ... that collision of fragile beauty with delinquent street corner trash (cf. photo of crushed milkshake).

hasta,
randall

November 20, 2004

Hi J.R.
Your Recent Survey of Art in Dallas was a real gem. Just the right tone and the right piece after this scary election. Through the years you have made it seem easy to write this kind of reviews, and I took it for granted that anyone could do it. It appears seamless, effortless and obvious. Thanks to the other reviewers/writers who are now contributing to your site, I now realize what an art it really is and that NOT everyone can do it. Keep going...

C

November 7, 2004

JR.,
I just want to tell you thankyou for doing such a great job of informing us on the upcoming shows and events. I had not visited your site in a while, while being too emersed in my work, so I missed a few good shows. Think I need to go walking, and get motivated again. Anyway, I know I'll have some of my work ready for show in Dallas by this Spring. Perhaps, sooner.One of these days, you'll get to see my work. I've chosen Dallas for my arena.

Have a great day,
Debbie

 

September 18, 2004

WOW! Your recent "nightlights" imagry in the WRJ are beautiful, I'm less and less surprised by your ability to see beauty and then capture it in your camera. I'm coming to expect it now.

@rt

September 4, 2004

JR-
You're hilarious and the Arts Revue site is great. I bookmarked it to return to in the future and I live in MINNESOTA.

You were pretty straightforward about unwanted, unsolicited e-mails, but I've always been a bit thick in the head so I'm doing it anyway and you can trash me if you want.

My name is C.J. Gustafson and I'm writing brief essays about various cities for publication on ArtSchools.com, a site that gives potential art students an idea of what they can expect from a city if they go there to study art. The site averages over 80,000 visits each month, so it's clearly being utilized by people interested in art.

I plan to include a brief notation about your publication and was able to gather
that info from the website. I've also researched all the boring statistical stuff about galleries, climate, population, blah, blah, blah.

I wanted to make the article more interesting by including a quote or two from someone in the arts community who can add some personal insight about the city and its arts scene. With your flare for words and humor, I think you are the perfect person for the task, and I hope you will be willing to answer two brief questions related to art in the city of Dallas. I'll be sure to credit you and give a synopsis of your arts involvement (although it's quite extensive so that will test my editorial skills). Here are my questions:

1.) What about the Dallas area would appeal to visual arts students — i.e. important/unique galleries or artists groups, cultural areas, environment, employment opportunities, well known artists, a welcoming attitude toward the arts, etc.

2.) What about the city inspires you?

That's it, I just want to give the students a feel for the Dallas area that they can't get from statistics or links to organizations. I know the questions are lame. They were given to me with instructions to refrain from changing the wording. That's why I asked you. Who else could take these Teen Magazine-type questions and turn them into an interesting read? (That's sincere flattery by the way, not just a cheap
attempt to win you over to my cause.)

I'm hoping to get the articles completed by the end of next week, so anything you have to offer would be greatly appreciated! If you don't have the time or inclination to respond, please feel free to pass the e-mail along to someone who might.

Thanks for your time.

C J

You might be surprised how many young writers want me to write their assignments for them. I'm barely writing anything for DARts lately. So I'm sure not going to tackle any of these questions. But I'd be happy to entertain anyone in this community's answers to CJ's questions.

E-mail me.

August 27, 2004

Michael Helsem,

I am an artist showing at Artist' Showplace [sic]. I am also represented by the esteemed Edmund Craig Gallery in Fort Worth, and show at various national competitions and exhibitions.

Don't worry — I don't have a complex or anything, and am not trying to pump up my own ego. I know where I stand right now, since I [am] my own worse [sic] critic as I sit behind the easel, striving to produce work with not only technical excellence, but also emotional and "psychic" content.

i couldn’t ask for more.

I have been showing my work for 2 years now, since I have been on leave as a flight attendant. I guess you could say that I "put on my artist outfit" and am trying my luck as an artist. I did my "reading up," by studying art at the University of Texas at Austin, and studying old masters' works in museums around Europe, and by suscribing to artists' magazines and reading books during my years of living and working abroad. I joined the Artists' Showplace to gain exposure while I work hard to improve and build a body of work to approach other galleries in the area and nationally.

commendable professionalism. i’m sure there does exist a market for it; & i doubt anything i say here will hurt your chances there.

Obviously you weren't the least bit impressed with any representational work in the gallery, which probably means you aren't impressed with any such work anywhere.

that isn’t necessarily true, but when faced with walls & walls of indifferent views indifferently executed, i admit it takes something extra special to stop me in my tracks. Van Gogh once stated his conviction that a canvas covered with paint HAS to be worth more than a blank one. there appear to be many of this persuasion among us...

I find this very tragic, since your words are read by many people out there who look to something like the Dallas Arts Revue to gain insight on what the visual art world in Dallas has to offer.

it would be tragic indeed if i regarded any medium or genre as inartistic in itself. (the closest i come in that regard is contemporary country music — but after more extensive exposure, i did start to like a few particular songs.) and if people came to DallasArtsRevue & found nothing but nicey-nice blurbs, i wonder if they’d really trust anything said there at all; whereas dialogue & debate, it seems to me, better indicate a flourishing arts scene.

Representational art is not something to be thrown into one category called "bourgeois art.”

it was revolutionary when Courbet did it. “the party on the left/ is now the party on the right.”

With every piece I paint, I aim to stike some chord with the viewer's emotions, and much thought goes into design, values, color contrasts, edges, etc., to achieve that special something that makes a viewer relate in some way to that scene. This is why I paint, and I do not believe for a minute that my I am less of an artist for this.The last thing on my mind is to produce something to decorate a yuppie suburbanite's Pottery Barn living room.

if there were no other pictures in the room, & no other destinations clamoring outside it, some sort of pleasantly unfocussed relating to that picture would be guaranteed. the real context is quite otherwise (see below) — & it’s part of the artist’s unenviable task both to realize this fully, & to try to overcome it.

Auden once stated his ambition was to create something that a man on Death Row would not feel insulted by. i don’t know that he often succeeded; i do know that once having understood this thought, it’s very hard to take seriously any art whose only goal is to furnish a career for its manufacturer.

I know that I speak for many fellow artists, such as Kevin Macpherson, Alexander Titovets, Clyde Aspevig, David Leffel, Matt Smith, Desmond O'Hagan — the list goes on and on. Or do you even know these people?

‘fraid not. i do realize there is a considerable subculture devoted to “traditional painting,” & it wouldn’t surprise me to find someone even as good as Norman Rockwell among them. (i LIKE Norman Rockwell.)

what does surprise me is that in a world full of an almost infinite number of things that have not been painted yet, & an even larger infinity of ways of looking at & prsenting those things, the few people still interested in representation seem utterly content to reproduce typically artistic subject matter — without even introducing (as far as i can tell) either their own immediate experience as nonbucolic city-dwellers, or their own anxieties & desires as 21c. citizens in a world of shattered foundations & mind-boggling enormities.

i would welcome these things being painted. their decisive absence is what makes this kind of painting “bourgeois,” not the style of it.

Maybe you should do some reading up.

you know, as much as i despise commercial films, i am not infrequently amazed that they continue to come up with a product, however conventionalized, that i can still relate to. that’s because, in spite of the belief that viewers want nothing but escapist fantasy, they will go ahead & fill those escapist fantasies with realistic images of human transcendence & suffering. contemporary novelists, likewise.

i have yet to meet a representational artist who even knows what the “Ash Can School” was — much less, wants to pick up where they left off.

Judy Gelfert

 

Comments in red above are by DallasArtsRevue writer Michael Helsem.

More Helsem feedback is below.

* = no web site

 

As I earlier responded to Ms Gelfert, I visited that gallery to take photographs for Michael's story, and with few exceptions agree with his comments, which is unusual, since his and my tastes usually differ significantly.

I posted those exceptions — which include Ms Gelfer's work.

I don't know any of the artists Ms. Gelfert cites, either. Does anybody out there?

J R Compton
Editor

art by Pamela Nelson

Pamela Nelson - Graceland,
1987 - wood, buttons, paint

August 23, 2004

Dear Sales,

I'm highly interesting in purshasing the following product in your store.They are listed below,

Pamela Nelson ...........30pcs

Then i will like you to calculate the total cost of them including shipping cost to Lagos Nigeria. I will then send you my credit card details for the mode of payment, Then i will like the goods to be shipped via UPS 2-3 Days Express to my contact address below.

Contact Address:
____ off Ilupeju Road
mushin, Lagos
23401
Nigeria

I will like to hear from you soonest.
best regard
prince egun

 

Maybe I should go into the art mail order bidniz. The Pamela Nelson art he wants 30 of (above) was on the DARts cover when he saw it. Feedback is feedback. I love it.

I later learned this was probably a con, but I still love it.

; j r

 

August 16, 2004

Mr. Compton,

I am a local artist who would be interested in having you review and critique my artwork. What are your requirements for submitting artwork for review?

Sincerest regards,
T. Scott Stromberg

 

T,

I don't have requirements nor any procedure to submit for review. It might be an interesting idea, I just never thought of doing it that way.

Mostly, I find something somewhere public and either write about it or not.

Do you have a small JPEG (less than 100 k) of your work, so I could see if I'd be interested? You could attach that to an E-mail and send it. Please do not attach any larger files or I'll auto delete it. I'm on a slow dial-up.

What sort of work do you make? Has it ever been exhibited?

; j r

 

August 2, 2004

I saw [Kathy Boortz]' Illegal Immigrants in The Houston Chronicle, and the image haunts me still. This morning, I decided to see if she had a website and found this one. I was surprised that II was a sculpture — my husband and I both thought it was a photograph of real birds. We're both bird lovers — as I think you must be too, now that I have seen some of your work. I have read about the smuggling of exotic birds; but, I guess I never envisioned that their transport would be so inhumane. I don't think anyone could look at II and not be moved. Thank you for your art and heart to do this work. I hope it speaks its powerful message to many.

Respectfully,
Marva Culver

July 30, 2004

i very much enjoyed michael helsems review of my show at the mac. it made me laugh. i am baldly goofy quite a lot of the time. (insert silly emoticon here.)

cathey miller

July 25, 2004

Congratulations!

James Michael Starr and another one from Art Shirer

Congratulations on the D Magazine "Best Of" Award... absolutely my heart-felt congrats!

Kevin Obregon

 

I appreciated the notice in D Magazine. Well deserved after being in the trenches all of these years.

Lyle Novinski

Lyle was (still is) the Art History instructor at the University of Dallas who turned me on to art 40 years ago. -JRC

D Magazine certainly gave you all the credit you deserve! This might inspire you to keep going.

Elisabeth Schalij

 

I will keep going, I'm just on hiatus from writing long articles about art (though I am peppering the calendar and the cover with short bits of opinion. I keep expecting my art ennui to flee in the middle of some night like an overstayed houseguest, but the snoring continues from my spare bedroom. -JRC

 

July 14, 2004

Hi JR

Your website is wonderful!!!!! — exciting and very supportive of our arts community — we do need this kind of representation and you are doing such an excellent job.

I am currently in Italy for 6 weeks living the life of a simple artist drawing painting every day. There are so many wonderful views and and ambient light throughout the day and into the evening — does not get dark until 10 pm.

Again I am so pleased to be able to look at your website and the constant suppport that you provide our creative group in our fair city of Dallas.

Happy Summer.
Dahlia Woods,

ART is Life

 

July 7, 2004

I have had the calendar page of your website bookmarked for quite some time. I probably visit the calendar every other week to help me find exhibits to attend.

At least once a month when I have more time, I read your critiques and such. When I have the fortune of exhibiting my own work or organizing a show of other artists' work, I always take a look to see if the events are listed.

I'd like to say I look strictly as a matter of thorough public relations, but must concede that there is a smidgen of ego there too :D

I'm glad to hear the plush move made the news section of your site. I haven't been to your site in at least a month though. I am exhibiting at plush on the 17th, organizing a d.verz art showing much later that evening in deep ellum, exhibiting on the 24th in Houston at a show I'm organizing there and preparing to exhibit again in August at Art Bar. So I've been a
busy girl.

As to how I found your site, I believe I googled for an art calendar a year or two ago. Considering the scarcity of my findings, I must express the respect I have for what you do with dallasartsrevue.com. I spent three years working as an editor for the school paper & creating an organized, informative space is a lot of work. Your dedication to our art community is
appreciated.

Suza Kanon

A piece of Suza's later appeared in DallasArtsRevue.

July 6, 2004

JR, thanks for that.

When the curator contacted me about finding Nancy Ferro, I E-mailed my friend and DARts member Nancy Ferro.

I now have a show (of my own!) planned for March 11-April 26 in Midland at The Museum of the Southwest. It is part of their contemporary series called "The Shape of Content".

This was largely due to my exposure in DallasArtsRevue. Thank you very much.

That same week my work was accepted for the October issue of New American Paintings. ... Boy, am I perked up! Marty told me that you are going to be on The Tour this year. I am so happy for you. It is so much fun.

For me it has always been more of an Open House than about sales, but I love visiting, usually about 300, or so, people. I look forward to doing this with you! Yea!

Nancy Ferro

June 28, 2004

Hi, I read your comments on the show. I was forewarned about the juror, but I finally rejoined after 5 years or so. (I still like the space though).

I did talk to the juror, who confirmed what I had heard about him.

I am glad you liked Margaret Ratelle's work. I think she is a great artist / painter / printer. We both go to Cedar Valley College for the printmaking facilities there.

By the way, I was happy to have my piece next to hers, because I think my linocut of Snow in Texas was pretty good, too. It's a good spot. and I got a lot of feedback.

Anyway I enjoy reading your opiniated opinions.

Elisabeth Schalij

 

In the following letters, writer Michael Helsem responds to his critics in red, indented text in the manner of E-mail:

June 28, 2004

Mr. Helselm, (sic)

oy

Your assessment of my work would like your readers to believe that after seventeen years as an exhibiting painter I have progressed no further than to make "badly" painted soulless copies of the old masters. And if that weren't enough, my "art school foolery" is a futile attempt at some sophomoric joke.

No other explanation occurred to me, looking at the paintings.

Seriously, I'm not going to waste time here on educating you on my love and respect for painting's traditions and history. Let's just say I've given it due attention. The fact that you can't identify the humanity or beauty in my work isn't my problem to solve, nor is it a problem with my painting.

I am well aware of the beauty of drabness, fuzziness & fragmentation. My problem was, really, the incompatability of this with the aims & results of the Old Masters. If the intent was something beyond irony, it is necessary to communicate this better.

You owe it to your readers to be less melodramatic and more accurate and insightful. Despite your opinions on all that my paintings lack, your writing brought nothing new to the table.

I suppose i could have tried harder to imagine reasons for these pictures, but they didn't move me farther than to seek the nearest exit.

Try treating people with the same respect and humanity that you claim I'm not privy to.

Well, assuming it wasn't lack of skill in reproduction that kept these from being good copies — is a kind of respect.

By the way, who's Vermeer?

Fella who lived in a world without art reviews. I assume other things kept him going.

David Crismon

Thank you for writing.

m.

June 15, 2004

I read a review written on David Crismon by Michael Helsem.

always gratifying

I do not know what type of journalistic credentials Michael has but I would be surprised if he has much academic art training.

if i were properly indoctrinated i might "get it"? what if i get it, but i disagree? my academic training consisted primarily of looking at slides. later, i learned by looking with my own two eyes. you might consider the message of a process which privileges the former over the latter.

I am an art historian and I happen to know of David Crismon's work and find it very impressive.

de gustibus

In your review you wrote as if David Crismon had no grasp of Vermeer or the old master's. David Crismon happens to be a professor of art history, so I am quite sure he can grasp the old masters.

but does he love them? and if so, how is it that his work doesn't communicate that to me?

I find nothing in his work to suggest he lies about beauty.

that was a metaphor.

I don't think he was trying to reproduce old masters. This is not art school foolery. It is a study on how the brain interprets the image as if it is correct when in all actuality it is far from correct.

if that is all he's doing, then why choose such subject matter for his perceptual studies? and why do the same demonstration over & over? the work itself should furnish its justification. i found the repetition of it empty & oppressive, which is why i reacted the way i did.

Possibly you didn't pick up on this concept or maybe you didn't read the artists statement. I can understand if you didn't grasp this concept but if you didn't take the time to digest the show that is inexcusable.

artist's statements are generally hooey. i don't want to know the story the artist told himself after it was over. i hate the idea that painting is a science where you think of a problem & then carry out a procedure based on your thought. that misunderstanding of art has been developed over the last couple of centuries by people who wanted to say something about art but weren't artists. but what's worse is when other people try to make art based on this model. it has no direct roots in the human situation.

Try digging deeper next time.

advice one can never get too much of

You should start by calling Craighead Green to see if the show was successful.

Thomas B. Smith

good for him if he made some money. can't be too many successful artist

m.

 

DARts Readers,

Decades ago, I chose Michael Helsem to write for DallasArtsRevue (then published on paper) precisely because he was/is such an amazing writer and because his opinions and mine so rarely coincide.

The opinions he expresses in the above interchanges are rare exceptions to that longstanding rule. I agree with everything he says and a lot he doesn't that maybe somebody ought to interject, but I won't. I back him completely. I found Crimson's images tedious.

As Michael Helsem (note correct spelling) pointed out in his most recent reply, "This is fun." -JRC

 

June 7, 2004

Mr. Compton,

Thank you so much for the kind words about our work! I got on your site to E-Mail you and was totally blown away by the pictures and coverage in general.

Ramona and I regret we didn't get a chance to meet you Saturday night — it all seemed (and still does) like a blur. Such accolades coming from you makes this show all the more worth it; I thought your works in the Hall Gallery show were outstanding, with most bordering on "Damn You For Being So Talented" good!!!

Thank you again for your support; hopefully someday I can recount in person some of the back-stories about our piece for your amusement. Regards,

Dennis Placke

Dennis' piece was on the cover when I posted this letter. It is now on the Eat Art page. -JRC

 

April 24, 2004

Hey J.R.,

I look to you because I know you have opinions and experience. Not to mention, Dallas Arts Revue is, in my opinion, a filament within the local art scene.

I am preparing a small study on Dallas' local art scene and the "Arts District" with a focus on a couple things:

  1. Extant splintered factions:
    (Why is there not a more communal effort, free from elitism & stratifications?)
  2. Where does the local art industry need to go?
    (What are the most needed improvements?)
  3. Can you enlighten and offer up some points on these topics?
    Feel free to inject any venom regarding long-standing issues not-yet-addressed. If you’d rather meet with me instead of yet more computer work, let me know.

Thank you so very much,
Future member of DARts,

R. Kevin Obregon

 

That's a tall order I'm not up to for awhile. I'm on hiatus from the art scene and from most DARts activities (except the calendar and the issue of navigating a 600-page site) while I work on my self — and I will be till June or so.

I may answer more between now and then. I might even turn it into a story. It's hardly worth writing unless i publish it.

But for now, realize this: The last thing Dallas needs is another pro-art group. They are all disasters. Elitism and stratifications are important elements in any community that accomplishes anything.

Luckily, I don't get to decide where the "local art industry" needs to go. That's up to the local artists, not some aging journalist.  — JRC

 

April 22, 2004

Hello there J.R. Compton,

I was curious about the Dallas Arts Review website after receiving a link in an e-mail.

Well, I went there and I, uh, and I, uh, don't want you to think of me as a jerk but, the Dallas Arts Review website is a mess. I mean it in a nice way because you have a lot of interesting content, I think. It's layout is rather awkward. There is a lot of scrolling, dead-space - it's really disorganized---it's all over the place.

a.. It's kind of like trying to cross a deep, rapidly running creek. You're hopping from rock to rock but, the rocks are very small and spaced a little too far apart.

b.. It's kind of like trying to read the newspaper in a crowded back-seat of a car rolling down a bumpy dirt road. But, it's really just a dream so you can't focus or make sense of anything. Then you wake-up with a sense of disconnect and incompleteness.

I know you are trying to attract members. I thought you would appreciate some feedback from an artist familiar with website design who wasn't motivated to become a member after visiting the website.

Is there a chance you were thinking the same thing? Do you need help with the website?

Best of all worlds,
Monte Krause
Fine Art Design

Something there is that loves a kind offer of help.

Apparently, in the current climate, it is stylish to put down, as much as possible, the target web site, in an attempt to gain another client.

It's always amazed me how someone who thinks so highly of himself as visually perceptive can look at this site so carefully, then misspell the name... JRC

 

April 15, 2004

Say, how do you get the DAR-listed artists to become so well 'searchable' on the web?

Cheers,
Mark Williamson

Didn't know that I had. Probably by mentioning that they are DARts members everytime I see their names in a show or something otherwise listed, and link their DARts pages to their names whenever I can.

The more links back you accrue on the web, the more easily Search & Found you are. - JRC

 

April 13, 2004

I thought you were joking! You don't REALLY have a 404 page that you promote?? If so - where is it?? I don't know how you keep up with that huge site. I have gotten lost in there so many times. Some pages seem to be in a loop that you can't get out of!

Robin Walker

Robin had sent in a report of an image that did not load (and I fixed it). I'd just decided to offer the next person who did that the opportunity to have a picture on the immensely popular (most hit page on this site) 404 page. My reply to her above letter was:

Who needs to promote the damned thing? It is by far the single most popular page on this site. More people see it every day than any other page here. The sites's supposed "Error Rate" is less than a half percent, yet the 404 page gets thousands of hits. Who can explain it?Not me, that's for sure.

Type any URL that starts with www.DallasArtsRevue.com/ that isn't a page already, and you've got it. Why mess up a bad thing by giving you the exact correct URL?

I don't "keep up with this huge site." I add pages from time to time, kinda vaguely keep up with the calendar, ignore the whole silly mess most of the time, and pretend I'm the editor.

[[ I am, these days, attempting to have a life again. To do that, I gotta first figure out how I screwed up the last one I thought I had. That exploration is in my ongoing Transition pages.]]

Anything else is gravy.

You think you get lost here? I can't find my way out of neighborhoods sometimes. No sense of direction.

Which way is up in this web site? Who would ever know? Name a loop page and win a prize...

... Since you've sent in a bad link report, you're eligible for a pic there, of my choice once I see what choo got. Has to load fast. Look nice. I don't care much beyond that. Mine's there till May 1. Yours would be there a full month (at least). Advertise your member page, anything on this site. (Since that's what 404 pages are for — to help people find their way on this site).

You up for it?

; j r

April 8, 2004

Just thought I'd let you know that I've been able to really take advantage of the Member Ops lately.

Last Saturday in Houston I conducted the Master Workshop for high school students at the VASE event sponsored by the Texas Art Education Association.

After getting home, I started on Monday morning putting together my submission for the Water Utilities Residency Project, and dropped that off at their offices Tuesday afternoon.

Then today I put together an entry for the Lawndale Billboard Project, which could be very fun.

All of these I found on your site, which makes me realize that I need to watch that page more carefully in the future. Thanks a whole lot for doing that.

James Michael Starr

 

The best Artists Opportunities show up on the Members-Only Art Ops page, which is where James Michael found his. Members and Subscribers get a users i.d and a password, which enables them to access Members-Only pages. Subscribers pay $35/year for access only. Members pay $75/year for access, a web page to show off their work and eligibility for the ocassional DallasArtsRevue Membership Exhibitions, like the one that might happen next year at the Bath House. -JRC

 

March 31, 2004

JR, I learned so much more about you Sunday night and am even more impressed and glad to know you. How can you have all the talents you have? A writer, a photographer, a poet, a videographer and an interesting speaker, and of course, a rebel forever.

I'm glad you live in Dallas and you push the buttons and take the pictures and write the words that help to make people think. Im really glad you gave the talk at my favorite bookstore too. I learned about the upstairs room I'd never visited before. What a really neat place and bunch of people we have at the Paperbacks Plus. Congratulations on a successful "Evening with JR" event.

Marty

 

March 26, 2004

Your site, which I gather is a labor of love for you, is one of the best I've seen for disseminating arts information in the DFW area and it would be great for us if you could list these upcoming [art] programs. Thanks!

Yours sincerely,
Cristina Kowalczyk,
KERA-TV Publicist

March 9, 2004

JR,

I told someone I finally did a piece that you really liked and you were taking a hiatus from writing reviews... so thank you for posting such a nice one.

Rita Barnard

February 15, 2004

Hi JR,

Thanks for that very heartfelt and moving tribute to Carol. Many of us are hurting right now and can't see our way to the light but your remembrances make us all realize that there is light and Carol would want us to see it as we move forward in an often cruel-seeming world.

She was a very positive force in the Dallas art community and she will be sorely missed. Thank God she produced so much wonderful work so her spirit will live on forever in the form of her creativity.

Peace,
Vicki Meek

February 14, 2004

Dear J.R Compton,

My name is Katiuska (Kati for short) and I'm a mother of two young boys and a wonderful loving husband. I'm unable to do much of my own artwork at the moment while my boys are still so young, but I try to keep in touch with the art scene through the web.

As I was just surfing the web looking up different art sites I came upon your sad note about Carol Wilder being killed in a car accident.

I don't know her or of her work. I just wanted you to know that I feel for you and her family for the pain that you all are currently going through.

My prayers are with you all.

Love from Melbourne, Australia.

Kati

February 14, 2004

hello. my name is brad goldberg.

i am still trembling over the news about carol and charlotte.

i had been a panelist in fort worth last wednesday night on the subject of public art. after the panel, both carol and charlotte approached me and we had a long and delightful conversation.

i had never met either of them before, yet had been corresponding with carol by email for about a year. i have curated the dart art and design program for the past six or seven years, and both carol and charlotte were eager to participate in that program. they both gave me their cards. when charlotte gave me hers, i looked at it and realized that she lives just a block away from me (not more than 100-200 yards) and that i drive by her home at least twice a day, yet we had never met. i looked at her house this morning in fact and all looked ok. i was especially taken by the mosaic address on the steps leading up to the front of her house. there was no question to me that this was her place.

the accident occurred as they were returning from the event at the fort worth community arts center....within an hour of having that conversation with them. I want to say that there was an energy in both carol and in charlotte. an energy that was looking ahead to future creative possibilities....to participate in an ever broadening world.....of art.

despite what is clearly such a tragedy, my deepest feelings today are in the knowledge that carol was pursuing her dreams right up to the end of her life; and the hope that charlotte has the strength and will to pull through this, recuperate and pursue that creative energy that i felt so keenly this past wednesday evening.

sincerely,
brad goldberg

top

February 12, 2004

JR...

Times like these, I'm really glad that you have created your web site and that it is more kind, more gentle and more compassionate.

Katherine W

See also James Edgar Crowe's wake story.

February 9, 2004

J.R.

Thank you so much for the beautiful article in Dallas Arts Revue!!! That is really a very special tribute to Jim and I know he would have loved it! It was very nice of you to headline him like that! Of course, I think he deserves it!!!

Thanks again a million times over!!! Sincerely,

Carol Crowe

the newest feedback (2005)    less new feedback (2004)     less old feedback     oldest feedback

Site Contents

top

  since october 14, 2005