Art Lies, Volume 48, Fall 2005 Page: 44
120 p. : ill. ; 28 cm.View a full description of this periodical.
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Jesse Amado, Untitled, 2003
Mixed media
Installation viewAs the content of the exhibition began to form, some works were
exactly as they were depicted in the submissions process, chosen
from slides, CDs, etc., but an organic and more unpredictable devel-
opment also manifested itself in the works of certain artists-Henry
Rayburn, Gilberto Tarin and Mister Danny Geisler, for example. At
Rayburn's studio, presented against a wall (and thus displayed almost
in relief) was an assemblage full of mysterious objects trouves. But as
we talked, the idea of it moving from a studio wall and out into a gal-
lery space changed the relief to a three-dimensional work-one that
would change over the duration of the exhibition as the artist continu-
ally added to and altered it (thus the title Acquisitions, which refers to
both the piece and process).
Gilberto Tarin talked at length about a painting that was just a
sketch-a suggestion-but he described the symbols and the content
of the work with such graphic intensity that I asked if he'd have the
finished work for the exhibition. He said he'd try but didn't know if it
would all "come out right." We agreed to risk it.
At Mister Danny Geisler's studio, we also saw a work that didn't
exist quite yet but all the component parts were present-bits and
pieces spread around the room. Scale and form were yet to be deter-
mined. So if this installation work were to be included in Blue Star 20, it
would be completely new yet also the continuation of work with which
the visitor might already be familiar. At this point, Bill (to his great
credit and that of his crew) raised no objections save to say that I might
have to withdraw some invitations if we simply ran out of space.This issue came home with a vengeance at Joey Fauerso's spacious
studio, where I saw an enormous, major work that in the end was impossi-
ble to exhibit. (Eventually, via the Internet, we negotiated the loan of a dif-
ferent but equally powerfully work.) All this made it clear that a final list
of works was going to be difficult to choose and that compromises would
have to be made. I was acutely conscious that work in electronic media
would be a major problem-works that required dimmed space or in which
sound was a key element. My self-criticism here is that while there are San
Antonio artists making fine work in multiple trans-media formats, they are
inadequately represented in Blue Star 20.
The final list came down to about 125 works by some 50 artists. Not
all works were in the possession of the artist, and so many artists kindly
interceded, arranging loans to Blue Star for the duration of the exhibition-
two large drawings by Vincent Valdez, for example. Others, like Heather
Edwards, submitted works that confused me. Was that painting of an old
Texas drive-in theater by the same artist who made that slightly spooky but
straightforward seated portrait? (Yes, by the way, it was indeed.)
Curators have responsibilities but they also delegate them. I had no
involvement in the final hanging, except to work with Fitzgibbons in the
final week when it appeared that, for various reasons, it was necessary to
substitute works when pieces I'd chosen simply weren't available. Bill's
crew did all the hard work, making arrangements with the artists for deliv-
ery and installation, which was difficult due to the sheer quantity of works.
I expected to be criticized for overcrowding and, at the opening, I was. (Yes,
I came in from Chicago for the opening and was not run out of town. Instead
I was drawn into both the celebration and more serious issues of what this
exhibition said about art in San Antonio.)44 ARTL!ES Fall 2005
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Bryant, John & Gupta, Anjali. Art Lies, Volume 48, Fall 2005, periodical, 2005; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth228013/m1/46/: accessed April 26, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .