Art Lies, Volume 25, Winter 1999-2000 Page: 2
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2 I ARTLIES WINTER 1999-2000ArtLies would like to thank the following people who made
our 6th Anniversary Benefit Gala
a resounding success:
Connie and Armando Arismendi * J. Hill and Hillevi Baar * Elizabeth
Reese and Darrell Barger * Ann and Bengt Bengston * Harvey and
Margaret Bott * William A. Camfield * Jane Campbell * Linda Haag
Carter * Penny Cerling * Isabelle S. Chapman * Joan Davidow *
Robert T. Davis * John Devine * Julietta Parra Ducote * Michelle
Engelman * Lee and Karen Fairchild * Kathryn and Erin Ferguson *
Paul Flemming * Dixie Friend Gay * Mary and Tim Glover * Diane
Griffin Gregory * Andrea Grover * John F. Guess Jr. * Nancy and Tim
Hanley * Billy Hassell * Janet Hassinger * Hanley-Hicks Gallery *
Thomas A. Hughen Jr. * Cathy and Stephen Hunt * Kerry Inman *
Selven O'keef Jarmon * Jeanne and Michael Kline * Sharon and Gus
Kopriva * Lance Letscher * Donna G. Lewis * Victoria and Marshall
Lightman * Nancy Littlejohn * Benito H. Lozano * David Lozano * Adair
Margo * Keith Marshall * Diane Marks * Lester Marks and Marks
Family Dealership * Thelma and Sol Meltzer * Dee Mitchell * Janaki
Lennie and Graham Oppenshaw * Mr. and Mrs. Mark Rauch * Pamela
Reingold * Lauri and David Robinson * Pasal/Robinson Galleries *
Richard Roederer * Patrick Ryan * Marvin and Sarah Seline * Richard
Stout * MaryRoss Taylor * Emily Todd * Toby Topek * Ann Trask
* Clint Willour *attempting to remain accessible to all branches of the art community. Issues of
ArtLies are distributed throughout Texas and individual complimentary copies
are mailed to over ninety major art institutions across the country. ArtLies is a
non-profit 501(c)(3) organization.Editor's Statement
"There is no there there." Gertrude Stein in reference to Oakland, Ca.
Closer to home-and in reference to Texas, the nation's third-largest
community of artists and site of several internationally renowned
museums-this issue of ArtLies rephrases Stein and echoes a query
some of us might remember directing at our parents. First: Is there a
there here? Second: Are we there yet?
But Stein isn't around to answer that first-although she visited Fort
Worth once upon a time-and the second only begs countless other
questions:
Who, in the case of charting the journey of Texas art, are our moms
and dads?
Are they the mavens in New York? Are they this state's senior artists,
many of whom were interviewed in ArtLies' Fall issue?
Are they the globe-trotting curators who work in this state and
occasionally consider art that is made here, or who work elsewhere and
stop by a few studios when they visit Texas?
Or are they ourselves? And who are "we"? Artists, curators, critics,
collectors, dealers? Are we the ones who, ultimately, have the answer to
the question? And, if we are, how can we be equipped to provide an
honest and accurate response?
Do we have enough information? Are we sufficiently objective that
we're not fooling ourselves? Do we have enough subjectivity that our
instincts remain vital? Should we be feeling bullish or bearish?
Who has the compass and map? Would a thermometer help? A fin-
ger in the wind? Is there a tall tree someone can climb, so they can get
a good look around?
Are we there yet? Does this road we're on even go there? Where are
we now, anyway?
Who, what, where, when, how? Which?
How about one declarative sentence-although not necessarily an
answer? Which is: We're not going to get "there" by leaving here.
In other words: We may not have arrived, quite yet. But we are with-
in spitting distance and we need to know that.
And we've gotten to this point, for the most part, by digging into
what is here and then roping and dragging home whatever else it was
we realized we needed to import from elsewhere.
And I think it's that balance of native and naturalized knowledge
and talent that makes Texas not only an important place, a viable place,
for us to be (here and now) but also a place (at once "here" and "there")
from which other places to learn.
That is what we need to be asking ourselves, then: Not how can we
get there, but how can we let others know how to get here?
-Janet S. Tyson
ArtLies is a free quarterly art journal that is designed to broadly examine con-
temporary art issues throughout Texas. ArtLies' mission is to provide an open
forum for artists, curators, gallery directors, critics and collectors, to present a
variety of ideas and opinions. ArtLies provides this forum with the conviction
that art criticism is an indispensable part of our community. The Board of
Directors maintains a policy of rotating editors to ensure that contributions
remain diverse, inclusive and representative of our multifaceted community.
ArtLies operates on a modest budget, is produced by a volunteer staff and relies
on advertising, subscriptions and contributions for its subsistence-while
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Tyson, Janet S. Art Lies, Volume 25, Winter 1999-2000, periodical, 1999; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth228055/m1/4/?q=communication+theory: accessed July 17, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .