Modern Inconveniences
& Paper Group

by Kathy DelloStritto and JR Compton
Photographs by JR Compton

 

Modern Inconveniences - Tom Pribyl at Edith Baker during DADA's Winter Gallery Walk through March 16, 2002

Kathy thought Tom Pribyl's paintings were best viewed from a distance, so viewers will see the distortion introduced by the wavy, wide-angled camera perspective the artist uses. But JR felt comfortable looking at them right up close, fascinated by the wonderful colors. Kathy noted the little discrepancies and inconsistencies that make his work interesting. Her favorite was The Collector [ above ]. She wondered whether the empty chairs and empty beds are the artist's (re)collection of absent friends and lovers.

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While she was busy with the main show up front, JR drew her attention to Norman Kary's Souvenirs from My Conversation with Mona, 2002, mixed media, 27 x 12 x 3 - in the back room. Noman told us that a friend had told him to check out Ebay, where there was "a Mona Lisa with something missing." 9 of the absent puzzle pieces are enshrined in bell jars at the bottom of the 'finished' jigsaw.
 

Another piece in the back room that JR was enthusiastic about was Frank Brown's large, 40 x 60 inches oil on canvas, Las Vegas Souvenir, 2001, ( Has Brown been hung out to dry? Lost his pants, lost his shirt? ), which JR thought was much more charming, light-hearted and lyrical than Brown's recent work.

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Group Paper - Mary Hood, Theodora Varnay Jones, Nora Pauwels and Beata Szechy at Craighead-Green, through March 16

Kathy considered Craighead-Green the more intellectual of tonight's openings. Mary Hood's work was, she said, profound. She was quietly awed by Ms Hood's concepts, the organic materials and said Ms. Hood's quiet presentations "stir my soul," although she didn't see anything that she hadn't seen a year ago. Quoted Kathy, "She works as slowly as I do."

We both wondered why galleries have back room exhibits that look like bargain tables at at a Flea market.

Fuzzy, floating black figures in the alcove were more light hearted, Kathy said. But what she liked was that they were... "these huge frames, these little figures pingiing around in all that space."

We were both impressed by three quietly busy, little ( 8.25 inches square ), drawings by Theodora Varnay Jones. Made of incense burns, metal powder and beeswax on paper, they were enigmatic and lovely. Each surface oriented piece was delicate and minute in presentation of its particular element, caligraphic script, dots and tonal areas. We liked the subtle juxtaposition.
 

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