A R T L E T T E R
The Timely Magazine of Art
#31 | <!>previous/ next>!> Artletter index | June 15, 1996 |
Richard Misrach at the MFAH 8/25 Misrach moralizes on the antagonistic drama between man and nature, casting humanity as the heavy. In Desert Fire #153 one man points a rifle at another; both laughing as the grassland around them burns. Misrach suggests a vanished human presence by its leavings: a beer can, a tire track, a bomb crater. The desert is made to serve as a frame, intensifying the ugliness which takes place within it. In Outdoor Dining, Bonneville Salt Flats, Utah, 1992 chairs and tables are arranged with a surreal neatness on an endless, empty salt flat. Misrach arrives with his camera after everyone has left to document desolation. Misrach aestheticises horrors, portraying bomb-blasted trucks and maggot infested animals in beautiful picture postcard images. Bomb Crater and Destroyed Convoy, Bravo 20 Bombing Range, Nevada, 1986 is eerily detached; a reddish crater gapes like an open sore while in the background, a crumbling post-apocalyptic plain is strewn with picturesque bits of rusted war machinery. In his series The Pit, animal carcasses sprawl in obscene heaps. Although one would expect to be horrified, the stronger impression is of fine photographic technique. Emphasizing color, texture and composition, Misrach dares the viewer to appreciate these photos on a formal level.-B.D. Terry Allen Prints at Moody Gallery ? soon Dirty little etchings suitable for a bathroom stall or a sailor's arm, with an endearing boneheaded humor. Allen is prevented by the constraints of printmaking from junking up his work with the usual pretentious assemblage, leaving his sense of humor and raunchy joi de vivre intact.-B.D. Matisse: Brook with Aloes at the Menil ongoing Looks best close up. Matisse views the world as a active interplay of energies, depicted as unruly chunks of color. In a ruckus of viridian streaks, gray pyramids and blue tentacles the rusty desert rushes down by angles and setbacks (aloes waving and gesturing) to the brook, where a pool reflects a glint of violet like a radiant jewel, lying still at the center of the explosion of rocks, hills, gulleys, and plants it engenders. Water, the prime mover of the desert landscape communicates directly upwards along the painting's left edge with the sky, two eternals with all the untidiness of life squashed in between.-B.D. Artletter is available free the 1st and 15th of every month at Brazos Books, Lawndale, Glassell School, Inman Gallery, Menil Store, CAM Store, Brazil Cafe, Houston Art League, MFA bookstore, and Diverseworks. Mail subscriptions $15/year. Address letters to: Bill Davenport, 801 Tulane St., Houston TX 77007