A R T L E T T E R
The Timely Magazine of Art
|#6||<!>previous/ next>!> Artletter index||June 1, 1995|
Kim O'Grady at Lanning Gallery 7/1 Nine assorted untitled paintings definitely worth looking at: #1: Like an old linoleum floor. #2: Red glop is good and beefy, big brushstrokes seem slightly forced, blue squares arbitrarily stuck-on. #3: Best of show by far; complex, layered space, uses but is not controlled by techniques. Purposeful and unexpected. #4: Interesting dark tile with poodle. #5,6,7&8: Atmospheric, romantic, dull. #6: Mossy headstone. #7: Waterlilies. #8: Lard clouds. #9: Snappy but too small: surface overwhelms image.-B.D. Kim O'Grady at Lanning Gallery 7/1 Untitled #3 is a wonder in a show that seems created by "the 3 faces of Eve". A bit of flat pebbled tile-texture mixed with a patina from a wall in Rome. The best part is guessing whether the figurative element is the head of a cigar box Indian or a very demented map of the U.S.A. P.S.: Take away this woman's power sander! -Louise Cranston Martonette Borromeo at Sally Sprout Gallery 7/1 Only the perceptual effects work in the paintings: black on black rectangles flicker in and out of existence, lines and dots hang suspended in a spatially ambiguous limbo. The aimless compositions of lines, rectangles and arcs act as throw-away props for Borromeo's visual gymnastics. The drawings, lacking the perceptual effect of the paintings, have nothing. -B.D. Melissa Miller at Texas Gallery 6/24 In the 80's, the fatuous trend for oversize, overcolored, wormy paintings of tragic deer fighting mangy wolves was so disheartening I wanted to quit art. Miller's imagery to me is hokey. Vaguely mythological, it doesn't yield to interpretation: we just aren't meant to look too closely. Why is a tiger shedding a deer skin? No one knows. The fine, if soddenly brushed, illustrative craft of these works, though rarely seen, shouldn't make them harder to dismiss than any other insincere narrative paintings. -Delfina Blinky Palermo vs. Brice Marden at the Menil fall Palermo's Times of Day I and II are simple, concrete, literal, almost folky. Brice Marden's Four Seasons (at the other end of the Menil) is lyrical and transcendent. Palermo's colors are familiar, like crayons; his surfaces drippy and unkempt, his scale modest. Marden's colors are moody, like the color swatches from a Tweeds mail order catalog. All three of these cool works are from 1974-75.-B.D. Address letters to: Bill Davenport, 801 Tulane St., Houston TX 77007. Mail subscriptions: $25/year. Look for Artletter 7 on June 15.