Excellent Show Folks!

I’ve been to many shows over the past few weeks and the Texas Hot Chilly show at 500X might be one my favorites. I do not have any images and have lost my gallery sheet with my notes. Let’s just say this is a non-post encouraging you to go see a show. The whole show is, more or less, great and very well curated. My favorite pieces are these intricate wood sculptures; one, in the center of the main floor, consists of a wooden foot form (mannequin?) with many slivers of wood stacked neatly inside (think Jenga for the intricate, meddling type). The accompanying artists work is upstairs and is equally as riveting. I’ll tell you what. I’ll try to sneak down there to get some proper information and photos, meanwhile just take my word for it. And while you’re there run over to the state fair and grab a funnel cake. You’ll be glad you did (on both accounts).

Sandi Edgar


Who the #$&% is Richard Hamilton? (And why should you, *|FIRSTNAME|* *|LASTNAME|*care?)

Richard Hamilton, the father of pop art, passed away this morning. The Independent Group (a collective of British art historians, artists, sculptors, et al.) formed in 1952 at the London Institute of Contemporary Art to address, without irony, popular culture and its implications. A major influence on future generations of pop artists, Richard Hamilton was a member of this pioneering group along with Eduardo Paolozzi, John McHale, Alison and Peter Smithson, and Reyner Banham. In 1956, Hamilton, a disciple of the “Readymade” Marcel Duchamp, created Just What Is It That Makes Today’s Homes So different, So Appealing? This collage was created from American magazine advertisements depicting a “modern” apartment adorned with products from mass culture: an Earth “ceiling” taken from Life magazine, a Hoover vacuum cleaner, a Stromberg-Carlson television, wall “art” of the cover to the Young Romance comic book (attention Roy Lichtenstein!), a tin of Armour Star ham, a newspaper, Armstrong flooring, a Reporter tape recorder, and a Ford emblem lampshade. These items, reminiscent of a consumer paradise, are encapsulated within a downtown apartment directly across from the Warner Cinema which was showing The Jazz Singer featuring Al Jolson. The image is flanked by two provoking nudes. The first, “Eve”, is a large-nippled female (American painter Jo Baer) wooing on the couch at her mate “Adam”: a muscular body builder (Irwin ‘Zabo’ Koszewski, winner of Mr. L.A. in 1954) who grasps a phallic Tootsie Pop. This theme of interior, which Hamilton revisits many times during his prolific career, depicts a social anxiety that this new consumerism could not be sustained. ‘Adam’ and ‘Eve,’ true to their story, must soon leave this consumer paradise. As John -Paul Stonar points out in Pop in the Age of Boom “Hamilton’s little picture seems to say that, in an Age of Boom, things sooner or later must go Pop”. This concept is eerily recognizable as the American economy (along with many others) tries to recover from the great “Pop”. Hamilton was eighty-nine.

Sandi Edgar

today in the news…

UTD students and graduates collaborate for group art exhibition in September
by Meg Furey of The Assignment Desk, DFW, Pegasus News

DALLAS — 14 +1 art collective is making its Dallas debut next weekend with a unified performance called HELLO! The inaugural event of this freshly-formed collective will consist of works by local artists. In its manifesto, the 14+1 collective aims to incorporate various artistic mediums to “release the latest currents of thought and inspiration” by pulling apart and putting together their respective works, concepts, and points of view.

Performing and exhibiting at the event are Andy Amato, Emily Loving, Robin Myrick, F Kites, Frank Tringali, Hillary Holsonback, Paul Snelson II, T.J. Griffin, Val Curry, Willie Baronet, Yaseen Benhalim, and Danielle Georgiou and two art writers/historians: Leigh Arnold and Sandi Edgar. Together, these 14 attend or attended the University of Texas at Dallas where they studied art and humanities, in the disciplines of aesthetic studies, art history, or art and technology. They have all decided to come together to promote the arts in Dallas, specifically the creative process. Their aim is to “document the evolving process of producing work.”

Each artist will display three pieces of original work that could stand alone or be interpreted by the viewer as an integrated sum of parts brought together to make a whole, thus altering the experience of viewing art entirely. Works on display will consist of sculpture, photography, painting, and performance.

As for the + 1, well, that’s the audience, the alternate viewing collective that becomes a part of the work by virtue of being present.

Artist Danielle Georgiou has created a dance installation called “bien dans sa peau” (translated to “comfortable in one’s skin”) that will be performed at various times throughout the evening. Her aim is to introduce dance theatre in an alternative space. It is an interactive piece that will happen in and around the crowd at the gallery. Playing on the concept of “a happening,” once popularized in the mid-to-late 1960s as a multi-disciplinary performance that can take place anywhere with active participation of the audience, it is an effort to make the audience a part of the art. Georgiou cites her performance as one that keeps with the collective’s manifesto in that it “seeks to catalyze discussion and extend your mental problematic,” according to the manifesto. What does that mean? The collective can function as separate artistic entities or come together to create one piece of art, she explained.

Georgiou says the audience can expect an eclectic show that will introduce them to each artist but will also show that a diverse group of artists can work together toward a common goal and display a cohesive collaborative spirit.

The show is Saturday, September 10 from 5-8 p.m. in the Design District. Free drinks will be provided by Armadillo Ale; donations are welcome.
The Assignment Desk, DFW
Pegasus News Content partner – The Assignment Desk, DFW