A R T L E T T E R
The Timely Magazine of Art
#2 | <!>previous/ next>!> Artletter index | April 1, 1995 |
Abstraction from Two Coasts (part I) at Lawing Gallery 4/20 The aura of professionalism emanating from the works by Nancy Haynes, Susan Humphries and John Zinsser underscores their vacancy. These are products, inviting admiration with luscious surface and unusual technique while carefully avoiding real engagement with the viewer. Better are Richmond Burton's poetic conglomerations of dabs. -B.D. Worlds Apart: Core Fellows 1995 at the Glassell School 4/23 This work acknowledges itself as part of the real world instead of hiding behind pristine gallery trappings. Even if you don't sit in Don Carroll's penalty box, it works: it isn't fussed over and the sign is not too nice nor too ugly. The word "penalty" added to the box is a slight flaw (too clever). When you sit in Don's car it's dirty and smelly and has mildew in it: it's good the way art is supposed to be, as a very tangible physical experience. I like Mark Allen's weird prickly drawings but they sit uneasily in their serious frames. -Delfina Liz Ward at Moody Gallery 4/29 Drawings of tree rings on plywood and paper. The beautiful congruency between the growth processes of a tree and the process of these delicate drawings is stated best in the simplest drawings on pastel paper, like scientific contour maps and intricate doodles at the same time. Other works are slightly marred by atmospheric backgrounds and unneccesary overlapping. Ward pushes the tree-ring connection too hard by adding darker "growth" lines at intervals and inserting lines of pointed irregularities simulating branches which weaken the spontaneous doodle-like quality of the best drawings.-B.D. Ibsen Epada at McMurtrey Gallery 4/29 These formulaic paintings are made without mistakes, and without surprises: one layer is filled in after another with little or no connection. First the canvas is divided into halves with some color areas, then ladder-like printed stripes and several layers of Juan Gris neo-cubist lines are added, until the painting is full. This is lazy work.-B.D. Address correspondence to: Bill Davenport, 801 Tulane St., Houston, TX 77007 Look for ARTLETTER #3 on April 15