A R T L E T T E R
The Timely Magazine of Art
|#15||<!>previous/ next>!> Artletter index||October 15, 1995|
Shawn Wallis at Davis/McClain ends 11/18 Two-tone gray panels, oh-so-sensitively scuffed and rubbed to a smooth graphite finish. This work is tailor-made to speak to your refined, understated taste, like a chic marble floor. It looks just like art, classy and smug, which makes me sigh with boredom and with frustration at its pretentious triteness. Uninteresting and dismissable.-Delfina Catherine Colangelo at The Jung Center 10/27 An unusually firm sense of design is evident in these elaborately patterned painted paper and cloth pieces, but the references to Indian and African fabrics make me think of these as good proposals for scarves and skirts. What's missing is a really unshakeable idea, a sense of a clear, purposeful vision: that leap from just design to art that kicks you in the head.-Delfina Paul Kittelson at The Art League Courtyard 12/21 Kittelson's technique is unassailably cool: he drips dyed hydrocal over chicken wire forms and then sands away the outside surfaces to reveal layered color patches that are integral to the material itself. The blackened banana peel, that icon of garbage on the modern sidewalk, is utterly convincing, in a novelty kind of way. The orange peel is great too, though, well, real orange skin is actually all puckered. The zucchini is perfect in the details of the stem and the end, and the color is great, but, uhm, why is it hollow? The pumpkin at first looks strangely eroded by persnickety laser-worms: then you notice it's incongruously cut away in exactly the shapes of the earth's continents. Why? Seems like a throwaway neat-o idea, which is a fundamental problem that nags all four pieces.-Delfina Meg Webster, Joe Havel and George Stoll at Hiram Butler 10/28 George Stoll's tiny city of tupperware fruit cups and popsicle molds precisely mimics aged plastic while retaining the cool, faintly translucent monumentality of a marble bust. Stoll compares a sense of timeless antiquity with plain old obsolescence. Meg Webster's Sugar is as solid and as ephemeral as a snow fort, complete with magical crystalline sparkles. Webster orchestrates subtleties of scale, texture, staining, and thickness to generate an impression of pure sensual presence. The impulse to touch it or lick it is irresistible.-B.D. Jack Pierson at Texas Gallery 11/11 Hip installation of old sign lettering and objects evoke a stereotypical hollywood movie about the corrupting influence of fame and money, Las Vegas style. Interesting contrast of junky memorobilia and slick billboard photomural.-B.D. Address letters to: Bill Davenport, 801 Tulane St., Houston TX 77007 Mail subscriptions $25/year. Look for Artletter 16 on November 1.