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at Goss-Michael Foundation through july 27
by Todd Camplin

The British embassy of contemporary art in Dallas, otherwise known as the Goss-Michael Foundation
artists I saw back in 1999 at the Sensation show at the Brooklyn Museum of Art. Rees is a Pop, Neo-
Dadaist, with an edge of pure irony which made me love and hate this “Gravel Master” show.
At first I was repelled as I walked into the front gallery. The room was filled with washed out canvas
that looked to be crumbly painted. These abstract works felt unfinished and unresolved as art
pieces. However, I don’t think each painting was meant to be an individual piece, but rather
all the works were hanging on coat rack nobs which unified all the paintings together into one
art work. Thus, Rees was creating an installation, rather than an exhibition of paintings. I felt the
homey decorative pegs added to the cheapness of the paintings, like these were throw away
works and anything could have taken their place. I left this room disappointed, because Dan
Rees’ intent to murder Painting was just an attempt.
The back gallery was a completely different experience. Wildly thick expressive paint, charged
with muddy to vibrant colors. The paint was caked on the canvas and then mocked by the
Installation View