moderndallas.net Special “Eye” to Watch June Mattingly // contributing art writer
Two Dallas Galleries with Recent Openings to Visit Today...
HCG Gallery in the Dallas Design District and Barry Whistler Gallery in Deep Ellum
HCG’s show “Fancy Footwork: Paraphernalia of the lower limbs, sculpted, painted and assembled” features “a highly original take on everything from waist down, included but not limited to legs, feet, socks, and shoes,” an apt description. Besides promising to offer an original group show…
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“what is equally compelling is the gallery’s plan to become the driving force for a shoe drive benefitting children in Haiti” by requesting their followers drop off shoes to be donated to this still devastated country. For the fearless, this particularly adventurous opening encouraged jam skating – “a blend of dance, gymnastics and roller skating” to fit into the theme.
Busily installing the show before the official opening were Kayla Brown (the director), and Kirk Harper (the owner), pictured above at the opening. In spite of the address being on Dragon, the gallery’s glass facade and welcoming front doors face Howell Street that runs into Dragon a half a block away. In approximately 3,000 thought-out square feet, and what all gallerists wish for, an extra-large flexible wall, lots of track lighting and loft-like open ceilings, HCG has shown since 2008 exemplary cutting-edge, emerging artists with all sorts of exhibiting needs, styles and mediums.
One Artist to be Particularly Aware of in this Group Show
Running through May 22 look for the artwork of Kevin McCartney, the visual director of Barney’s New York in Dallas. “His secret? Show-stopping designs that work well as sculpture while simultaneously luring clientele into perhaps the most stunning store in the Western Hemisphere. Look for his assemblages of Armani mannequin legs, skates, bic lady razors, shoes and garter hose in the store front of HCG’s gallery windows. You can also check his work out in the windows of Barney’s Beverly Hills during his HCG exhibition.”
Andrea Rosenberg’s solo show at Whistler’s
Left: “Untitled,” 2002, lithograph on Rives White BFK 300 gram paper, Printed at Flatbed Press, 38 3/4 x 33 ½ inches, AP/Trial Proof
Right: “Untitled,” 2002, spit bite aquatint on Somerset Vellum paper, Printed at Flatbed Press, 33 1/4 x 26 inches, ed. 3/8, photographs courtesy Allison Smith
The “Printed Image,” the show’s official title presents a gallery full of Andrea’s prints created in the last 20 years and a beautiful show it is! This is her first show with Barry. I know Andrea since she had her studio within blocks of my gallery in the early 80s. This is our first blogging experience and Andrea doesn’t use a computer; she relies on her husband’s. Barry and I were friends before he opened his gallery in 1985 when he worked for my main competitor. It’s been a pleasure to watch Barry’s continuing success in discovering and promoting his stable, most of who hail “big and bright” from deep in the heart of Texas.
Rosenberg received two degrees from Case Western University in Cleveland after attending the Art Students League in New York. Look up her impressive career on Internet. Select local commercial collections include American Airlines, Exxon, Four Seasons Hotel, Frito-Lay, Modern Art Museum of Fort Worth, Rosewood Hotel, Westin Hotel, and University of Texas Health Science Center.
The variety of Rosenberg’s printmaking modes – etchings, lithographs, monoprints and spit bites exemplifies her technical skill in this challenging medium. Being up to date in this art world full of crossovers and blurring categories – her nonchalant spontaneity, depiction of colors limited to muted tones mixed in with black and white, gestural, linear qualities, preconceived overall white spaces, and the sensual, organic images’ natural presence on a paper surface transform Rosenberg’s prints into a strong similarity to drawings.
Rosenberg’s unswerving style and abiding affinity to printmaking makes Flatbed Press in Austin the non-ending resource on her collaborations to create limited edition prints. In this 18,000 square foot facility near the U of Texas campus fine printing is practiced from woodcuts and etchings to contract work with private publishers. The Internet site lists the distinguished artists’ works in inventory.