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| 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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| Also, regularly read regularmain.com, June Mattingly's personal blog on art. |
| receive moderndallas.weekly |
“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.
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
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.”
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.
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.
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.
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