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CAC vs. 2600 City of Keller vs. Art The 2006 MAC Member Show The NEWEST Letter
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 simply not signing it is usually better for DallasArtsRevue, because this page needs opinions. Letters will probably only be edited for space and sense.
December 9 2006
Your photograph "Bright Triangle" seems a fitting metaphor for the thrill and fear we experience as we hover above the void of the unknown, certain that growth requires risk. Thanks for the great article on pushing our boundaries. Your writing makes me think...and stretch in my art. Regarding the temptation to discard/paint over/never exhibit our scary art...Peter London in No More Secondhand Art, wrote: "Those dimensions of our being that are audacious, outrageous, searing, dark, giddy, profound rarely see the light of day because they stand opposed to propriety and it is along the threshold of propriety that much of our affection is won."
London, Peter. No More Secondhand Art: Awakening the Artist Within, Shambala, 1989. page 62.
November 2? 2006
We are the couple who bought the two wonderful works by Norm Kary [whom] you dissed in your article.
I did not dis Norman Kary, who is a good friend, fine artist and a DallasArtsRevue Supporting Member who was incredibly important to the success of Big As Night, Too — as the story clearly states. [Editor's comments on this page are indented and in gray.]
We also happened to have brought Cheryl & Kevin Vogel to Big As Night with us so we were also indirectly responsible for Kathy Boortz being invited to show her work in their next show.
For the record, we were at the end of an evening of dinner & Big As Night was an add-on and by the time we did the show and bought Norman's works, we had spent quite some time at Big As Night & Mighty Fine Arts, etc.
My husband had worked that Saturday as did Cheryl & Kevin and we all wanted to get home. We too live and work in Far North Dallas & would not have been able to come back to pick up the work we bought until the following weekend at the soonest & it seemed kind of silly and wasteful to force us to make a round-trip for that reason since the show was indeed closing in 30 minutes.
Ask your buddies Cheryl & Kevin Vogel if Valley House Gallery would have allowed you to take a work down during the opening reception of one of their exhibitions. I'd love to photograph their faces when you suggest that possibility.
Why did you feel it necessary to even make a comment on this? We are ardent supporters of the Dallas art community and it would seem — particularly if we were indeed the only buyers that evening — that instead of insulting us and calling us rude — that you might have instead asked us about our collection or why we bought these works or you might have not commented at all.
You're kidding, right? Rude is rude.
Read other comments about collectors in DARts Contributor Tom Moody's Profiles In Aesthetic Courage from our First 25 Years Archives.
I know you do a lot for the community and for the most part you have a wonderful and informative site but it does seem that you frequently like to bite the hand that feeds you so to speak.
I did not name you. I described your action.
He says with deep irony: Send me money, and I'll see what I can do. Complete retraction = $1,000. I have doctor bills to pay. )
Meanwhile, name one hand that has actually fed me that I have bit.
My constituency is the artists of Dallas. I serve them, and it is they who support this site. Galleries don't. Museums and schools do not. (Frankly, I'm not sure how to classify some of my benefactors, so I'm not going to put down Collectors in general. Besides, I consider myself a collector, although The J R's Collection section needs updating.
Artists support DallasArtsRevue because DallasArtsRevue speaks for them and to them and about them. That may be what confuses you into thinking I am biting hands that feed me, when I am actually serving my constituency.
The reason I am publishing this letter is that it brings up important ideas that need debate — and I can link readers into other portions of this site. That's what this page does.
Your commentary was irrelevant and unnecessary particularly as it did not relate to the show itself and particularly as Norman Kary himself had no problem with us taking the work home. So why did you?
My commentary related directly to the show. Isn't that where you did what you did?
It was extremely hurtful to paint us in such an unflattering light. We do hope you publish this on your site unedited.
The only text I edited from this unsigned (Name purloined from email address) but lengthy letter is in my original story, which I continue to stand by. -JRC
November 9 2006
The White Rock Lake Studio Tour story and images is fabulous, J R. I really enjoyed what I managed to see, and your reportage makes me regret I could get around to everyone.
Tom & Frances' efforts for The Dallas Opera looks like a perfect fit, and all I can say is "WOW." They've really done something special. So glad you were there to capture some of it and share.
November 10 2006
JR, We can identify anyone you need. I haven't seen your pictures yet, but Tom said that they were fabulous!!! We are still really busy, but here is a line up of the cast and you can go to the Opera web site and get a synopsis of the story... Who do you need to know?
November 9 2006
JR, Your pictures are fantastic!!! Thank you so much for coming to the dress rehearsal and for photographing the OPera. You are on our guest list for Sunday afternoon and for the talk afterward. Check your invitation, It starts at 1:15pm. Below I have tried to help with identification of your photos. Actually even though there is direct influence of each of us in this Opera neither of us did anything completely on our own. It was a total collaboration with each other as well as with the stage director, lighting designer and most of all, the technical director of the Dallas Opera, Drew Field who is talking to Tom in one of your photos.
November 7 2006
In reference to page two of the review of the White Rock Artists Studio Tour and the absolute pan of Betsy's Mud Puppy Studio all I can say is well, wow. First of all I did not realize this was a review of the studio and if the author of this review had maybe ventured a glimpse inside this "cramped garage" he/she might have had the opportunity to gaze among some beautiful ceramics hand crafted by this artist's hands and inspired from her heart and soul.
This studio is the one I never miss on the tour. Her fun fish adorn the walls and gardens of many Little Forest Hills homes and her magnificent crosses have been cherished gifts within my own family and friends for some time. I am honored to support this artist and her work and I truly hope that none of this artist's close following of clients and fellow artists ever waste their time reading this hasty and shallow review.
November 6 2006
Super J R — thank you so much for giving the Art Tour a history each year to fall back on with photos and all. I loved you being on the Tour and liked what you did last year — but have missed you getting to come to the tour and give your photo essays.
Thank you for the very nice compliments to all the artists - and it is always fun to see the things you discover in our studios and document by photos.
I enjoyed the Oak Cliff show very much — the gallery looked like it should remain in place as a gallery — looks better than some professional gallery spaces actually. What a team effort that you put together — sorry Richard and I were on the sidelines this time — will participate in any future show — after you are rested up from this one.
Thank you again for the nice documentation of the Art Tour and your thoughts.
Hi to Anna!
November 6 2006
Thank you for the very sensitive, accurate words about David. You seem to have captured the other artists as well. I especially like your picture of the ladders against the studio. You really do see art everywhere. Next year will be the 15th tour. I believe your summary could be edited to use as a promotional tool next. Maybe get the DMN to do something (sure).
November 6 2006
J R, thanks for the lovely write-up about the wr tour. I am especially glad that you and Anna had a chance to visit my home. I enjoyed your article and the positive plug about my glass and my very last ceramic piece I had completed, now I might have to get back to ceramics. Thanks again,
CAC vs. Studio 2600
These letters pertain to the same subject so are here chrono unlogically placed:
December 10 2006
Just a final comment about the Gallery 2600 ping pong game of words...
I didn't see my final email about Gallery 2600's response to my letter. Sorry if I missed it. They did respond politely and actually said they would be reviewing their policies. It was an unexpected reply and I give them credit for it.
To be fair, the emails I wrote were originally addressed to a few artist friends and not meant to be broadcast to the entire Dallas Arts Revue readership, although I had absolutely no problem with you publishing them.
But, to the mosaic artist who was offended by my comments, I was genuinely curious about whether I was the only who thought they were out of line and set out to get feedback from my friends. I wasn't out to get them — as if I could. I'm sure they're lovely people at Gallery 2600 and I wrote them with care and respect. They most certainly have the right to do business however they see fit. I was just mad at another "call for dollars" whose promises carried a high price tag.
I tend to exaggerate when I write.
Just wanted everyone to know I am not a total shrew... just a partial one!
October 24 2006
Greetings from the local chapter of Gallery Police...
Thought I'd give a quick update on this Studio 2600 deal and then let my righteous indignation fade like a cheap sweater...
If you will remember, they sent out a call for entries looking for art in conjunction with CAC's fundraising auction. They were charging $26 PER ENTRY, with which I, and others, took issue. I went to their website and they, indeed, had a pretty nice looking mosaic show there (Sonia King was among the artists) in September.
Editor's note below
Last week, I sent them an oh-so-sweet email congratulating them on their opening and wishing them lots of luck. I suggested that perhaps $26 per entry was out of line and that they weren't going to get as many artists to participate if they tried to make money off of them up front (I really was nice). Haven't heard back, but don't really expect to.
Now, today, my dear ones, I received yet another call for entries from this den of vipers... One was for a kind of crafty sale — ornaments, jewelry, etc. For $26 PER CATEGORY (!) you can enter up to 10 pieces to sell (can't remember what their cut of that is). The second was for an auction (ack! not again) benefiting The Covenant School. Guess what? Yes, they're charging $26 TO ENTER AN AUCTION! Are you believing this? Who the heck is The Covenant School and why would we want to give away art for them? Why don't they ask The Covenant School parents to give away something they spent hours, maybe days, to make?
Well, I was miffed, pissed and put out. I wanted to spit, too.
Anyway, I will not be wasting my time writing Studio 2600 again. Or supporting them. And that's unfortunate. If any of you would like to let them know that they have stupid ideas, feel free. I say we storm the Bastille every chance we get.
September 21 2006
Hello, fellow travellers!
I'm curious and slightly miffed over something I received today. If some of you have gotten one of these "call for entries" from Studio 2600 and have thoughts about it, please share.
Here are my thoughts (look out):
This call for entries is from the new gallery, Studio 2600, who is sponsoring the exhibit at the Creative Art Center's annual fundraiser (I am not participating in that either since my new motto is NO MORE FREE ART). They have very professional letterhead and I only noticed one typo. They say they've hired a "professional marketing company" and "art consultants."
So far, so good.
My first puzzlement: "As a new gallery we find ourselves with empty walls for the three weeks in October between our current exhibition and the Creative Art Center Fundraiser." Huh? A new gallery opening within one month with empty walls? (Shoulda hired those "professionals" a little sooner.)
So, of course, they need jpegs of each piece by October 2 — about a week from now (if you're like me, I really appreciate more than a week to think about something or have something scanned).
Now, all of this is still doable and deserves consideration, until...
Entry fees: $26 PER PIECE THE ARTIST SUBMITS FOR CONSIDERATION. Ouch! Are they kidding? Now, I can see $26 per 3 pieces, but get real! Personally, I don't know many artists who can afford to gamble with $26 for one entry. It looks like this is a fundraiser for Studio 2600!
I've decided not to participate in any event (with the exception of something like EASL) that preys upon the artist. They bank on an artist being so hungry to be seen, that they'll settle for nothing and sometimes pay for the privilege of being humiliated when their piece either doesn't sell or sells at some heinously low price. And this new thing they're trying, where it looks like a juried show with well-known art pros as jurors and the "winners" have their pieces auctioned!? They sell it to us as "exposure." I call it bull_ _ _ _! And these auctions are staged by the very organizations that exist to support the artists!
If you have time and feel like it, I'd like your thoughts. I'd like to know if anyone out there is going to participate in this particular show. I intend to write Studio 2600 with my thoughts, as well.
There are a couple of good things about their set-up, the artist gets a 55% commission and they have a reception with snacks!
Thanks for your time!
Response(s) to Ann Huey's Letters:
October 30 2006
I read with great disappointment, the letter written by Ann Huey regarding Studio 2600. Though I am new to the world of mosaic art I have a deep passion for it. As such, any outlet through which local and area artists are able to display their work is to be commended, not condemned. When an individual has such deep-felt compassion and love for the arts as does the Studio 2600 owner/director, Diane Dunaway, we need to do all we can to support them.
In today's economy it is difficult at best to start a bootstrap business and make it a success. Competition alone by galleries owned, not by one individual but by business groups and corporations, tend to eat up new market entries. I wonder how Ms Huey expects Diane to make a living as a gallery owner? The building and lot were not donated to her! The local taxes are not waived! I had absolutely no ill feeling at all, nor any hesitation, in submitting pieces for the "Bits and Pieces" exhibit. When you are working a gallery with only one or two people you do not take down, rearrange, and put up another exhibit overnight. Especially when you are first starting out.
As for charging to put pieces into an auction, again, was Diane supposed to do the planning, the orchestration, etc. free? Not hardly! I only have wonderful compliments for Diane, Karen and Samantha! They are all great people with fantastic love for art. Keep up the good work!!!!!!! We need more people like you to be associated with.
Ann Huey is entitled to her opinion, as I am mine, and you to yours.
Real galleries do not charge artists for the possible potential priviledge of exhibiting or having their work auctioned. They make their money when they sell work — or, as often as not, by doing something else, like framing or freighting.
Honest nonprofit organizations request art to be auctioned, then offer a portion of the selling price back to contributing artists. They do not charge artists a fee to contribute work.
It would be a mistake to commend any outlet, regardless of their policies. Some businesses seek to profit from the inexperience of artists desperate to show their work.
It appears to be a conflict of interest for the director of a nonprofit institution to run a commercial gallery selling work by students or instructors of that institution.
The basic rule of nonprofit corporations is that profit shall not acrue — nor appear to acrue — to that organization. CAC can pay someone a salary or legitimate expense, but she is not allowed to share profits, which this has the appearance of. —JRC
There's one more mention of the 2600 on this page from last July. Bob Miller, who has exhibited at Studio 2600, has meanwhile sent another angry letter:
October 31 2006
It sounds to me as if you are not sure "how" things are run at the gallery. Maybe BEFORE you publish a letter as damning as Ann's you might want to check out its accuracy first. After all, it is Diane Dunaway's reputation at stake, and her rep is not a bad one. So I ask you, why do you so willingly allow her assassination by the printed word?
Uhmm. The words "assassination" and "damning" are way over the edge in the context of expressing opinions. We all have them. And here, at least, we get to express them, though not ad infinitum. Try to remember that they are only opinions. I stand by mine, and I am eager to print those of other artists. —JRC
November 6 2006
My guess is that Studio 2600 is named after the $26.00 fee to exhibit in their space. I have yet to see this "gallery" or hear anything much about it, so I have no opinion about their methods.
My basic thoughts on the topic are, the more the merrier! If an artist doesn't like a gallery's approach, don't associate with them and don't bitch about it until you actually have something worth bitching about. Getting a perspectus you don't agree with or appreciate is not an issue.
Beyond sweeping floors, all artists have a working knowledge of trash cans and I suggest they make better use of that skill.
October 26-31 2006
I'm an artist here in dallas with an established following. I plan on attending the october 28th show on tyler. ... let me know what you're about.
I'm about Dallas art and artists, all 1,042 pages, so far.
; j r
I deleted our exchange after his first e above and the one below. In those, Robb asked if he could join our gallery. People often confuse DARts with a gallery (?), so I replied that "I am not a gallery, I am a web site." Ignoring that, he repeatedly asked what I was about, and I kept replying that he should read the website to discover for himself. I pasted this E without revision.
I don't think I ever asked you if you were a gallery, I was just inquiring as to what you guys were doing in oakcliff. It was just odd hearing a group of artist that used the name of dallas's transportation system as there name....how original! My work is far mpore advanced than what I seen on your site. It's kind of funny considering the names I've worked with in the art world and I get some email from some farm boy with a camera! Oh well!
good luck boy!
When DallasArtsRevue began publishing in December 1979, the Dallas Transit System was all buses, and Dallas area transit was anything but rapid. See A Short History of DallasArtsRevue.
I told Mr Conover that I didn't want to have to promote his lame art (he sent a wreched little jpeg) as I would if he were a DARts Member, and he responded:
Thanks...but my art is hanging in the New York metro...Dallas art Museum and 17 other art museums in the US and Europe. What bathrooms display your photos? I was really impressed by the rock animal paintings. You should do a book on those and sale it at target.
Lame , that's funny! It shows me how ignorant your raving about what you think is art. I probably sale one painting for more than you make in 50 years of work. Thanks for your opinion. You know what they say about that.My work has even been featured in seven major motion pictures and has been displayed and used by Disney Studios.
No need to reply your email is blocked from this address farmer boy!
Thank Goodness for that. Notice he misspells or miswords the musums' names. Feedback was appropriate. —JRC
J R, Is this guy for real? I am highly irritated. Can someone honestly be that arrogant? WOW! I googled him. There was only one link. His oil paintings are very good, but his pop art is ordinary. Leave the abstractions to Warhol, Fancypants!
Have you ever heard of Rob Conover before these emails?
(Keep me anonymous if you repost this one. Don't want to burn bridges with fancypants-art-gods...)
Never heard of him. Glad I'm off his list. I will delete any further Es from him. Another reader wrote:
I googled Robb Conover and this is what I found [link deleted by the editor who doesn't want to promote this turkey, but you can google him yourself.]
googled robb, and found your link. i thought you would be interested to know that i contacted a few artists and let them know that he is using their images as his own. mr. conover is not talented, and is a faker. if you look at his blog spot, notice the diversity of the works. close up on the signatures, and you will see they are all different. i was able to read a few, making it possible to google the real artists, and contact them personally. i hate it when people steal our work, and try to pass it off as their own!
November 6 2006
I don't know who this artist is... a graphic designer? You should have posted the jpg and let your readers have a peek at this famous entity.
He blocked your email? OMFG!
I too googled Robert Conover and found a prolific artist.
Printmaker and painter Robert Conover studied at the Philadelphia Museum School, the Barnes Foundation, the Art Students League and the Brooklyn Museum Art School. He taught for many years at the Lenox School and the Newark School of Fine and Industrial Art. He was a member of the National Academy of Design and is a member of the Society of American Graphic Artists.
His wonderful images of derelict structures are both realist and abstract. These images often show images of the city rarely seen.
Except this notable printmaker, painter and widely collected artist born in 1920 passed away 1998.
.... Oh, I met a woman at the White Rock studio tour who warned me about you. She seems to think you are somewhat of a grinch.
Anyway, it made me laugh, because in Houston where I went to art school, everyone had something nasty to say, and if you didn't grow some thick skin, you wouldn't survive. I think people in this art community are way too nice. It's kind of fake. Yours is the only critical writing I've found. Someone has to be honest — How would anyone grow as an artist? There are things that need to be said even if some toes get stepped on. That's what art is about.
I think Dallas needs a few more Grinches and a few less Cindy Lou Whos.
I am a self-confessed curudgeon who prides himself on his Grinchiness. -JRC
October 12, 2006
This was a long time ago, but I wanted to thank you for the positve review you gave me several years ago at the Young Masters exhibit at the DMA. I recently googled "Nathan Jernigan" and that's the first thing that pops up, and it was nice to see me getting some credit for doing something right ;)
I'll be graduating from the Kansas City Art Institute this year and you can see what I've been making the past couple years here: www.texjernigan.com. If I move back to Dallas I might consider becoming a member of the Dallas Arts Revue, I like some of the stuff on there, and I enjoyed looking at your photos.
You are entirely welcome. I love that annual show — such a font of young talent, but I can't even get the new PR person at the DMA to respond, so I haven't seen Young Masters for a couple of years — one nearly needs an armed guard to photograph anything there.
If you do come back, be sure to let me know about any shows you are in.- JRC
October 4 2006
My name is J.C. Miller and I work within our editorial group at Encyclopaedia Britannica. Our group basically decides what topics are covered and what information is detailed within these topics.
Another thing we do is that for most of our topics, we identify and screen other Web sites to supplement our own content. These Web sites, called iGuide sites, are then presented as recommended resources for our online readers. Our reason for doing this is that we realize that other sites, like yours, also offer high quality content and we want to share that with our members.
As such, I'm writing to inform you that your Web site has been approved as a Britannica iGuide site. This means that when one of our members searches on a topic relevant to your site, we not only present Britannica information, but also provide a link to [DallasArtsRevue.com] for that topic. If you wish, you can promote this fact on your site by downloading a small iGuide button from Britannica's iGuide information page
Secondly, I also wanted to let you know that we've also made it easier for sites like yours to link back to any of our articles, even the ones that normally require a subscription. Now, a link to any Britannica article from an external referrer will provide free complete sample of
that particular article. The article is not truncated and it doesn't require a subscription to read.
Please note that this free sampling functionality will only work from links on a web server, so you won't be able to view the full text of the articles from your local environment. If you want more details on this, you can check out our Webmaster page.
Director - Editorial Content Management
Encyclopaedia Britannica, Inc.
This is the button that links to The Britannica.
Okay by me. Here, try this button. I sure hope this thing works. Beware of the nefarious pop-up windows! If you succeed in getting it to work — or not, please email me what you think of this "feature." Thanks, -JRC
It appears you can get full articles from clicking on the Ency Brit link; however, the site is set up so much like a newspaper (and so little like any encyclopedia I ever saw), it's hard to tell. It has more links than a case of sausage. There 's no apparent end to that rabbit trail.
September 26 2006
Is there any support-protest-group activity for the art teacher just fired for taking her students to the Dallas MFA where they saw nudity?
an art teacher
August 10-11 2006
MAC 2006: The Trinity
These letters are in reference to the 2006 The MAC Membership Show.
Very nice write up. Thanks for including my piece. The river depicted in the front photo is the Euphrates, in Iraq. They are protecting the oil wells. Again, thanks,
Thanks! It's a great article. I'm glad you liked my piece. I do make Artist Books but don't show them very often. I also teach an Artist Books workshop at Creative Arts Center. I really liked your piece. The bird is so elegant.
thanks for the press. Membership shows are either scary or exciting depending on your vantage point! I was a bit afraid when I brought my art in, but now I'm not, thanks to you.
Thank you sooo much! That is uplifting today!
Thanks for the coverage on the Trinity show. You picked some of the best work in an otherwise mess-of-a-show (as membership shows are). I would have liked to have my piece in the Small Works room along with yours, Ms Cunningham and Rita Barnard. Those were my favorite works.
Hope all is well with you,
Way cool. Thanks! I appreciate your comments.
Thanks for the write up. I really do appreciate that. Also glad that you, too, became intrigued by Short Shift. (As I look at it again it seems topographic and tribal? ... and my piece trashy and melancholic)
Thanks, j r
I'm not sure that I've ever had anyone write a poem about my work before! ....
I really like the crispness of your digital photo in the show.
Will you please straighten my piece? Thanks.
August 11 2006
Hi JR, just wanted to let you know art consultant for the Palomar, Jenny Goodson, saw my work on the [DallasArtsRevue] site, contacted me through my gallery. Norwood Flynn, formerly Studio 3318, and Sue Flynn helped place my work at the Palomar, which is building a high-rise complex near Mockinbird and Central. The pieces are being displayed in their spec condo which is fab! Thanks, thought you might like to know,
August 11-21 2006
Kim Probasco of the City of Keller Public Arts Board sent information for a series of events to start in a couple months. Then they sent another email with the same information in large, bold letters, as if I should already have published their information.
I replied (unedited):
good god, lady, it's not till two months from now, and you're all het up it's not in yet. get a life.
She replied ungrammatically (unedited):
Is this how you promote your reviews and the people that want to utilize your "service"?
This is how I operate my calendar. Except for important local events, I rarely list shows that do not start for a couple months. The Calendar is a large page, jammed with information. There is only so much space. It loads too slow already. Because it is so large, the HTML file tends to corrupt easily. I try to not overload it.
My service is free. If you paid for it, you might have reason to complain. I am the only person here. I do not have a staff. No one, including me, gets paid for doing this.
Many DallasArtsRevue readers appreciate my personal touch. You may not.
On August 21, she responded (unedited):
Love the way you did not include all of my email information to you in your erroneous posting regarding Keller's Art Show. I especially like the way you said that we insisted you post the art show information immediately, which WE DID NOT DO. Also, thanks for not including the very nice, and unnecessary, email that I sent apologizing that I had somehow offended you, when indeed you had offended me. I suppose that's what an editor gets to do — leave out the truth.
unsigned (Kim Probasco, City of Keller)
Because I know how human (to err is...) we are, and because I used to send a lot of angry letters myself, I love to publish them here, and readers may find much more venomous letters elsewhere on these Feedback pages. (Links thereto)
It's probably true I edited and rewrote her information for the calendar. I edit and rewrite most of what I get, because it is not in the format I strenuously request in my Submission Guidelines, which I probably directed her to.
You can read about the Keller show in the calendar (until it is over October 22). Here's my all-time favorite, although there are many others.
From Kim Probasco's latest email I cannot tell if it is this back & forth here on the Feedback page or the calendar listing that is "containing or derived from error; mistaken: erroneous conclusions." (According to my American Heritage English Dictionary CD)
It is probably true that I misunderstood her sending the same information twice (much of it in big, bold letters the second time) as insistence that I run their information forthwith. I also did not include all of our emails in this ongoing lunacy, which has probably gone on just about long enough.
I apologize. I like doing the calendar less than anything else on this site, and I pondered several seconds whether to publish anything from Keller, and now I'm sorry I did.
But events and show listings are valuable to readers, and readers who initially read only the calendar page often go on to find other pages to their interest among the more than one thousand on this site. Which is why I do it.
I do not, however, do the calendar or this site for small-town promoters of "internationally renowned artists" I've never heard of. If someone has to say that about an artist, it probably is not true.
J R Compton
July 25 2006
I'm sorry. I had your email address grouped with others. I will make a point not to send images or attachments with your email.
While l I have your attention, do you know anything about Diane Dunaway (Pitchard) and her gallery at Gallery 2600 at 2600 Hibernia, Uptown area. I got a packet from her to enter upcoming shows, but seems as though she doesn't have everything ready in her gallery.
Do you know anything about her or the Gallery? I spoke with her this morning, and without being rude, I wondered what her background in the arts was. I did find out their parking is limited, and they are going to have valet parking for their show/receptions.
Just as there are no prerequisites for writing about art, there are none for starting a gallery. - JRC
July 6 2006
I just got word from Steve Cruz about the photos and article on The DallasArtsRevue about the Oh6 Art Collective Trunk Show. Thank you so much for coming out and enjoying yourself at our show.
The pictures are great! I will add a link to our website to direct them towards your article for sure. I missed being introduced to you then, but please know I appreciate your support and enthusiam for our event and work.
May 3 2006
Have you had a chance to see the show of Suzi Matthews work at the Plush Gallery on Commerce. I know Suzi's parents. They live in New York City and know nothing of Dallas' art scene, such as it is.
They were disappointed in the opening night turn-out and wonder about the owner's credibility. I could tell them nothing. Do you know anything about the gallery and its reputation?
Randall Garrett is one of Dallas' best gallery owners. Period.
He writes the best publicity, he shows very interesting art.
He is, however, unlikely to be a financial success. He risks much to show what he considers the best artists, but because they are not necessarily commercially viable choices, he may not sell their work.
That's not really his fault. He's in the business of showing and offering art for sale, not selling. Selling art is not just a matter of getting it shown once and becoming a big success.
Most gallerists only show work they know will sell. Randall shows artists he likes and thinks are doing interesting or important work. Your friend should stick it out. Selling is a gradual thing, there are few instant successes.
May 1, 2006
Thanks so much for your wonderful review of the M-Streets/Lakewood Tour. In particular, as a fan and friend of Barbara West's, I was SO TICKLED to see your complimentary comments about her in the opening section of the review. Barbara is a wonderful (and too often underappreciated) resource to the Dallas Arts Community and I'm so glad you mentioned her in your review!
Bye now and thanks again,
April 27 2006
I am sorry for this unusually approach. My name is Helen. I found your website from search engine, and know that you have business about work of art. I have interest to cooperate with you. I have rare stone, antique and many kinds of work of art, also I wholesale of imitation old painting.
Hope that you have interest to have business with me. Waiting for your reply soon.
March 20, 2006
Here's the scoop on the "English Couple." I received 2-1/2 times the money owed me in the form of money orders, I called the bank they were written on, and all of them are already cashed out. I looked into the "shipping agent" and can find no information on the business, phone number or person.
I did report it to the police fraud unit, and was told that they are most likely a group of Nigerians who target people desperate for money (I wonder what made them start picking on us artists?). Their goal is not the merchandise, but to get you to cash out the bad money orders and send them the leftovers.
Their recommendation is to cease all communications with them. Unfortunately, catching them is not at all likely. Please pass this information on to anyone that was contacted by them — DO NOT deposit the money orders — they're worthless and worse yet, the officer suggested that the person who deposits the checks could also be held liable, and to just ignore their emails.
February 19 2006
You in error listed Lee Baxter Davis as the department head at East Texas State University ... it's a small thing but I was the department head at the time and was the one who hired him along with Karl Umlauf, Barbara Frey, Jerry Dodd, James Watral, and many others. It is a little sad that no one brought this to your attention, especially Lee.
[I doubt if Lee ever saw the story.]
Nevertheless I enjoyed your show and comments...
[and later, after I asked]
The lizard cult is Lee's invention ... Lee was an assistant professor and later an associate professor ... generally in charge of the printing (fine art) program. He never was department head but Karl Umlauf was for a short time when I stepped down to semi-retirement.
Lee had a gift for the use of words which made him a wonderful teacher. As good an artist as he was I always felt he would have been an even more powerful writer. You might be surprised to know that at the age of 78 I'm still working ... I'm writing mystery novels, new age music, doing computer art and still watercoloring ... it's been a great life ... you can see some of my work on www.lulu.com (Search for McGough to see a list of words, music and art.) as well as other places on the Web ...
you're doing a good job ... keep it up
February 3 2006
I actually did try to get a couple of Tom's older paintings but he wanted to stick to his most current work for now. Mostly I like the new work because it's such a lofi-cyberpunk approach — most of the work we're showing is done with an abandonware painting program from 1992...
I'm also interested in blogs as webart and their use for collaboration between artists, which is what the other videos are related to. The videos are basically bootlegged directly from his blog, recorded from a web browser. Some of them are collaborations/remixes between Tom and other net artists.
Visit Tom's weblog.
January 31 2006
My name is Mary Nangah, I am an Art student at the University of Texas at Dallas. I will be graduating in May 2006. I am interested in finding out about Art opportunities. I would like to receive emails about any art opportunities.
DallasArtsRevue posts opportunities online. We do not send out emails. You have to browse to them. Our Ops page at www.DallasArtsRevue.com/resources/ops.shtml lists every opportunity we get.
January 22 2006
This morning I read your review of the work of Georgia Stafford titled “Stuck in a World Not My Own.” How did I happen on this retrospective?
I was a classmate of Georgia’s at Centre College in the 70s, lived down the hall from her freshman year, and took art classes with her — there were only a handful of us graduating with a BA in Art in 1978. That year, Georgia won the art prize at graduation; I was perturbed when she won, because I just didn’t get her work. Of course she deserved the award and Tom Gaines, our art prof, could see what I could not.
We lived in Yerkes Hall and in December 1978, she drew my name as my Secret Santa. She gave me a copy of “The Pill Versus the Springhill Mine Disaster” and I thought it was the weirdest present I’d ever received.
I actually think it was searching for art exhibits on Tom Gaines that led me to search the name of Georgia Stafford this morning. I remember reading in our alumni magazine that Georgia had died, but it was only an obit.
Thank you for showing some of her paintings on your website. It is interesting because even though it was so incredibly long ago that I was an acquaintance; I recognize her style, just like a signature. I didn’t really care for her work when we were in college, it was a bit too raw for my naïve view of the world. I find her work very intriguing now and am sorry that there is limited access to it.
I am sorry her life ended at such a young age. Thank you for preserving her memory on that web page so that by chance someone like me could happen upon the site and remember her.
January 20 2006
Hello! Guess what? You posted my search (on the Lost Artists Page) for artist Judith Hearst and she contacted me this week!!! I'm so excited! Thank you so much for letting me post my search on your site, I really appreciate it!
since we posted this page on our new web host, probably in May of 2004