at RE Gallery through September 06
by Todd Camplin
If you find yourself south of I30 and between I35 and I45, you will find yourself in a place
that is in a kind of strange transition. Some new residence spaces are there, other areas
are under construction, yet other places are abandoned. The change there is organic
and in the middle of it is Re Gallery. By driving around the gallery's neighborhood,
I understand Wanda Dye's inspiration for titling the show Space/Non-space, because
lots of examples inside and outside the gallery space can be found. Her background
in architecture probably had some influence too.
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|todd camplin weekly...
|Caroline Gary Sharpless had depictions of empty bookshelves and empty rooms. In her
paintings, I feel like I could be shopping for a home or business store front. There is potential,
but nothing is being fulfilled yet. Peter Ligon paints houses that feel nondescript and
cramped in by the small canvases. Very painterly and loss, Ligon makes the houses lose
definition thus lose place.
Jeff Baker, Chris Bexar, Shelby Cunningham, and Mark Lamster are also in the show and very
much worthy of your consideration. The show runs through September 06 with a closing
reception on September 03. Just in time for gallery season to gear up. note gallery will be closed
from July 25-September 1.
|on the idea. Photography is a great mode of operation when it comes to describing this
contradiction. I fell in love with Allison V. Smith’s Maine series a few years back and I was
excited to see her in this show. I had visited Maine about a year before I saw her show, and
when I walked in and saw the work, (before I’d even read the work was about Maine) I knew
I was experiencing that place again even though the images were not of anything particularly
iconic or any particular place I had been. Her Marfa Texas series also captures a feeling of West
Texas without capturing the expected image. Paho Mann’s take was photographing store fronts
with the same basic architecture and showing the similarities and differences. These businesses
have changed hands and been repurposed. Many are convenient stores that seem like eye
sores, but also function as places that service their community and passersby traffic. Mann
has made sure the weather is the same and the shot is set up the same as well. Thus the
space feels familiar, even though I likely haven’t visited these places. Then again, how
would I even remember that I did, because the places are so similar? I must say, after
looking through a stack of them, I began to appreciate the variations. I just wouldn’t want
to walk out with just one, but rather a set of three, four, or more to create a great dialog
between images. Debora Hunter’s Storage Units is a great example of place and non-place.
Storage units place objects out of use into a kind of non-place. The items are not in landfills,
but not exactly fulfilling a purpose either. A kind of object purgatory and Hunter chose to
photograph one that is in a field with a great view of the mountains. These units make the
view even less of a place.
|Paul Kremer’s Great Art in Ugly Rooms is a stroke of genius. I don’t think I have ever said that about
anyone, but I am glad to reserve it for this body of work. Iconic paintings, sculptures, and pictures
placed in the ugly rooms, ordinary hallways, bathrooms, trashed hotel rooms, etc. Outside the
context of museums, these cultural objects seem demystified and of course, out of place.
Marcel Duchamp’s painting leaning against 1970’s style wood paneling and thick brown
carpet or a Dan Flavin hung on the wall over a toilet is just a taste.