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 than not get it. Letters will only be edited for space and sense. If you're mean or stupid, I won't edit at all.

Jule 15 2009

J R,

WOW!  I am totally blown away by your comments. That is the kind of review you expect in the New York Times. Something informative, thought-provoking, and insightful. You win my Howard Hughes Award for Excellence in Critical Writing.

Rock on Bro,
Norman

June 6 2009

I enjoyed your article on the D-Art Slam. I dared to venture back into the art world to get my work out there. It reaffirmed for me that my joy is in painting, not wasting my time dragging it to 12 feet of wall space downtown.

I stood for 3 days in a back corner next to a guy who lost his day job and decided to start a career in stippling. For the most part was bored off my ass. Was very disappointed with the art slam, both artisst and visitors. Interesting choice of words you used about my paintings though.

Many artist have inspired my work, but to “rip” something off, you would have to have see it in the first place. I don’t know ms. Owens work. I checked out her site. Nice stuff.

David McGlothlin

My point was there were lots of ripping off going on among the artists at the slam. I was wrong to infer that you ripped anyone off; I apologize for saying that; and I hope to see more of your work sometime.

I had neither the time nor enthusiasm to ferret out all the rip-offs at the slam. I spoke with friends later, and they were amazed at the number of them. I've changed the wording in the story — as I often do, but original artists were far between and few there.

May 6 2009

Wow you are one arrogant dude who thinks very highly of himslef (sic) and his work which is mediocre at best. Not good form to slam gallery owners. Your website is a self centered tribute to an average photographer who is obviously hard up for business-best of luck to you.

iftoudouze@msn.com
 

I can be arrogant.

But perhaps you should re-read the ThEdblog entry. I did not criticize the gallery owner at all, and I have great respect for her. She shows amazing art and makes us think about it. But why would galleries be sacrosanct? You think maybe I should only critique artists?

April 8 2009

Mr. Compton,

I only recently saw the nice write-up and photo that you did about my piece "Composite Quarter Sphere" at Gray Matters back in October.

I just wanted to thank you for such a positive review.

Sincerely,

J. Neil Lawley

April 5 2009

Though you were inaccurate and left out parts of my email I want to thank you for putting my email among the ones at the top of the list. As they say "even negative press is better than none."

And finally, your need to poke at people/organizations and have the last word by commenting at the bottom of each one says more about you than anything you say.

But I will say your honesty about what you said or commented on is a good thing as it lets readers know your duality. I admire your talents and good points but this need to poke and be the "authority" on the truth about others is amusing and all-telling. With the possibility of causing organizations harm with your words, you become someone full of himself and your organization one to avoid.

One at the top ten of the list
Thanks again
unsigned
 

It sure sounds like me. I do enjoy the poking — Check out the Mark Twain quote on our Contact Us page, where you got my email address. I love angry letters. I just wish they were more intelligent.

This Feedback page may be "the list" she refers to. Internet savvy folk know that on the Internet, the bottom line is on top, so that's where new entries or letters are added. As I say above, I edit letters "for space and sense," and it's a long journalism tradition for editors to answer letters to them in print [or pixels].

Hard to imagine it being good press when we don't know her name, and she doesn't cite my “inaccuracy.” I know it happens, but if I knew where or how, I could correct it. Luckily for humanity, my organization is mostly just me, and here I am the authority.

March 27 2009

Thanks for sending the link, JR. You are the best source for what is going on because you give us an in-depth look at a show. The Biennial looks strong but it definitely seems to have a look. I guess that is what they were after with one curator.

Frances

March 26 2009

Dear J.R.,

I enjoyed your review of the Biennial and am really pleased that so much of the show won your attention. I'm very proud of the Kelly Fearing tribute and tried in my short essay and the gallery text to give an idea of what my intentions were in highlighting his work.

For me, contemporary art is too often considered without a context to the past. Kelly offers a living connection to a generation of Texas artists who have been considered "regional" but whose works couldn't be more sophisticated and "global" in scope. I would have loved to have had a solo venue for his work but I couldn't find any Austin institution willing to give me a small room — or even a single wall!

I definitely tried to find a spot! The TXB is an independent organization with no funding (none to speak of really) and therefore no clout with institutional types. The inclusion of Kelly's works on the blue walls in the two group shows was the best way I thought I could integrate his work into the broad spectrum of TXB.

Plus, because of SxSW and other city-wide events, the city of Austin is kind of accustomed to things being presented in multiple venues. I think for a lot of people the mix worked well.

Thanks for your attention and I truly appreciate your review.

Best wishes,
Michael

Michael Duncan was the curator for the 2009 Texas Biennial.
 

Gladys Gostin at Work at the Creative
Arts Center's Sculpture Workshop

March 12 2009

Dear Sir/Madam:

I have come across an original sculpture by Gladys Gaston in Fort Worth that the dealer is asking $2k for. The reason that I am inquiring is that I would like to purchase this item as an investment. It stands on a pedestal and is of two women intertwined (white in color) and is quite large. Any information you could possibly have on this piece would be greatly appreciated. Is there a market for her work? Is this price reasonable for re-selling purposes. Any suggestions?

Thank you.
Lisa Marino-McIntosh

The artist's name is Gladys Gostin, not Gaston. We ran an obituary of her in April 2004. It contains some information about her. There certainly is a market for her work, and she traded often with friends, some of whom were outstanding artists.

As I have often written, like any other commodity, art is worth what you can get for it. There is no intrinsic value. Like gold, the prices vary day to day, customer to customer and especially dealer to dealer.

If you think you can get more for it later, it's worth it. If not, it's not. I wonder whether you will ever be able to recoup it.

I liked Gladys and I enjoyed her work. I don't know if he'd know anything about Glady's work specifically, but I usually route such questions to Kevin Vogel at Valley House Gallery and suggest you mention my name.

I don't like to give investment advice. I say, if you like the piece and will display it in your home and love it and care for it, pay whatever you like for it. If you're buying it only out of some warped sense of investment, don't.

February 9 2009

Hi J R,

I came across your review of the "expo" the other day. I was so happy to see my work featured on it. Thanks for kind review. Again, it really made my day.

Thanks,
Bryce

February 5 2009

JR

Thank you for the positive review of my work, Singularity, at the Bathhouse Cultural Center's show Sum of All Parts II curated by Sonia King. I was out of state and did not have a chance to attend the opening. Heard about your positive review of the show from Sonia when I picked up the piece last weekend. She hinted I would be pleased, and I am!

I enjoy using shadow and light in mosaics which are often considered a flat 2d medium,trying to go beyond that in some of my work. Would love to do something like this, large on a sunny wall outside and be able to watch it change thru the year. Thanks for appreciating it!

All the best,
Greg Haas

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