A R T L E T T E R
The Timely Magazine of Art
#26 | <!>previous/ next>!> Artletter index | April 1, 1996 |
letter: Brilliant! at the CAM I was disappointed to read Greg Tramel's blurb about the Brilliant! show (AL 25). "Sophomoric" is too easy a criticism. If the work seems immature and overconfident, perhaps that's because many of the artists are only 3 or 4 years out of their respective M.A. programs. What's wrong with young artists getting to show and sell work? As far as the hype is concerned, one cannot criticize artists for the press they recieve. I do agree that this might not be the best work available from these nine artists and that there are some glaring omissions in artist selection (i.e. Gavin Turk and that Blood Head Guy). Mr. Tramel glossed over the strongest, most interesting work in the show: Georgina Starr. I don't understand why self-indulgence is a negative characteristic. I thought that the accompanying photos, video, and sound were necessary for the installation and not just art-wank accoutrements. Many of Houston's young artist community would jump at the chance to exhibit abroad. In both Houston and London many artists opt to organize their own shows. Albeit, many of these Brilliant! artists now show at commercial spaces, but only because of the threat of lost business. The galleries wanted their cut.-Patrick Phipps Brilliant! at the CAM 4/14 Underground art with a sky's-the-limit budget. I just won't wait around to watch video in galleries, and I'm not dazzled by technology: Georgina Starr's CD-ROM installation made absolutely no sense without instructions. -B.D. Debbie Riddle at Lawndale 4/13 Unlike many installation works, Riddle effectively transforms Lawndale's small gallery into another kind of space. The most interesting aspect of the show is the evocation of the personality of the inhabitant of the room through their stuff, although it relies too heavily on kitchy cliches of lowbrow trailer life. Riddle's photographs are badly integrated, popping up in awkward places to mar the illusion that this is someone's home.-B.D. Snapshots at Diverseworks 4/28 Badly curated. A snapshot show should be snapshots, not a free-for-all photo show. The focus is lost. Nevertheless, looking at other people's lives is interesting, and usually the least "artistic" photos are the best: Andy Mann's old Navy snapshots, the white dog pictures, the string of old boyfriends, and many other tasty tidbits are hidden among the clutter.-B.D. Address letters to: Bill Davenport, 801 Tulane St., Houston TX 77007 Mail subscriptions $15/year. Look for Artletter 27 on April 15. (TOP OF PAGE 2) Hawkins and Galaska at West End 4/27 Hawkins' weak, bland landscapes seem lazy. Do you ever look at art and think that the person that made it is half asleep? When I first saw Galaska's work I thought it was kind of cool, like folk gameboards or old fashioned puzzles. Materials and pattern suck you in, but leave you feeling cheap and fooled. Big puzzle screen seems most sincere.- Louise Cranston Material + Spirit at Barbara Davis 4/27 Standout piece is Agnes Martin's square of paper, gridded with pencil and ruler into small rectangles. Mancuso's rubbery white latex paint surfaces are bisected by parallel or concentric lines formed by the edges of the overlapping layers of paint. Lipski fills a large instrument case with white candles. The materials are seductive like a fresh bar of Ivory soap, but to call something pure or spiritual just because it's white and waxy is a misnomer. Horn's motorized butterfly and oyster shells are too creepy. Kiki Smith's glass sperm are only good for a sophomoric yuk. -Delfina Texas Art Celebration '96 at Cullen Center, 1600 Smith This show is one of the most disappointing Assistance League shows in the last few years. Mediocre abstract paintings and sculptures and b/w snapshot photographs dominate the show. Hernandez's wall sculpture on the invitation postcard is a monstrosity. The trend of combining paintings with sculpture seldom works. In Parker's first-place winner where the addition of the 3-D pear appears to have been an afterthought. The same holds true in the work of Hill and Kary. There are very few pieces worth noting. Souza's art is always surprising and his unique cut newspaper assemblage is no exception. McCleary's collage shows a mastery of her medium. Davenport's Oldenburgesque soft sculpture is well executed. Woest's ethereal silkscreen and clay piece is an innovative use of materials. Eagle's photographs of her cake decoration creations are more ambitious than her current show at Lawndale.-Greg Tramel