|  January
21, 2008
Talk
of The Town in
The New Yorker
"CATHERINE
LEE
The underappreciated minimalist exhibits
her “Mark Paintings,” a suite of labor-intensive, calligraphically
meditative works made between 1977 and 1979. Working on unprimed canvas,
she filled strictly ruled grids with repetitive, quasi letter-shaped
marks. Black H- or Z-like squiggles (in ink and acrylic) sit softly
on buff-colored surfaces. Most works are fixed to the wall with nails.
(Some are pierced with grommets for that purpose.) Expressing a painting-as-page-as-tapestry
relationship, the panels marry cerebral and sensual moods; one may
be reminded of Hanne Darboven, Agnes Martin, or Eva Hesse, but Lee
has a touch all her own."
Thursday,
January 17, 2008
by
RACHEL
COOK
Austin Chronicle
"Catherine
Lee
Moving fluidly through the landscape"
"Catherine
Lee grew up in the Panhandle plains of Texas and spent the last 30
years in New York City. Recently, the acclaimed artist came back to
Texas and decided, of all the places she could live, the Hill Country
was where she felt most at home. Now, Lee has a pair of prominent
projects showing locally: a two-person exhibition with Bodo Korsig
at D Berman Gallery, opening this week, and the display of her work
Raku Amends at the Blanton Museum of Art...."
Click
to read more...
January,
2008
by Anne Elizabeth Wynn
Tribeza
Report
From Austin
Art By Southwest
"Honey
is all over the floor. She is painting with her toes in the dust.
Her mother, Faith Gay, buzzes around dberman gallery’s exhibition
space, stacking into sculptural form the chromatically pyrotechnic
rocks she makes by encrusting big balls of paper with just about everything
from neon post-it notes to “on sale” dot stickers, all scrimmed in
a translucent sheen of clear packing tape. . ."
Click
to read more...
December,
2007
by Charles Dee Mitchell
ART IN AMERICA
Report
From Austin
Art By Southwest
"The
gallery scene in Austin has grown exponentially in the past few years.
It has expanded so quickly, in fact, that d berman gallery, though
relatively new, finds itself the most established venue..."
Click
to read more...
Friday, December 21, 2007
by
Benjamin Genocchio
THE NEW YORK TIMES
Catherine
Lee: ‘The Mark Paintings 1977-79’
at
Galerie Lelong
"The best of Ms. Lee’s
paintings, however, deserve recognition in the pantheon of early Minimalism,
among them “Red. Black. Calligraphic Painting” (1978), a picture of
such nuance and beauty that it genuinely deserves to be called a masterpiece..
. . ."
Click to read more...
Thursday,
September 27, 2007
by
Jeanne Claire van Ryzin
Austin American-Statesman
Finding
inspiration in the ordinary
From ancient arrowheads to plastic toys, it's all good for artist
Faith Gay
"Faith
Gay is busy. All the time. She likes it that way. It's second nature.
Habit. Part of her upbringing.
. . ."
Click to read more...
Wednesday,
July 31st, 2007
by Jeanne
Claire van Ryzin
Austin American-Statesman
Tom Hollenback at d berman gallery
"
Tom Hollenback’s fluorescent plexiglass and steel constructions
might at first seem just perfunctorily clever in the way that much
minimalist sculpture is. The 13 works now on view at d berman gallery
— all but one wall-based sculpture — are painstakingly neat and tidy
. . ."
Click
to read more...
May
18, 2007
by Corinna Kirsch
...might be good
Joseph
Phillips and Jared Theis at d berman gallery
"Joseph
Phillips and Jared Theis both present parts of recent series, where
each work is a subtle variation on a theme, at dberman. Their works
open up hidden spaces, while others lead to spaces only to close off
what could be revealed.
. . "
Click
to read more...
Thursday,
May 3, 2007
by
Jeanne Claire van Ryzin
Austin American-Statesman
Joseph Phillips
and Jared Theis at d berman gallery
"The ideals
of utopias. The allure of theme parks. The privatization of nature
and public space.
Joseph Phillips suggests all
these in his alluring drawings now on view at d berman gallery. Using
delicate precise lines and wonderfully exploiting the luminous quality
of gouache pigment, the Austin artist renders imaginary playgrounds
and fantasy outdoor spaces...Complementing Phillips' masterly drawings
are the equally beguiling imaginative landscapes created in clay by
Jared Theis. Riffing on bulbous natural forms (wasps' nests, coral
clusters, ant hills), Theis creates miniature, and mysterious, archaeological
ruins. Are these the remnants of some otherworldly tiny civilization?"
Click to read more...
Thursday,
MARCH 9, 2007
by
Salvador Castillo
Austin Chronicle
"Owen
McAuley: New Work"
"Owen McAuley returns to
Austin and shows off some finely rendered images. Both his paintings
and drawings exhibit technical expertise in a photo-realistic style.
Nighttime scenes lit by street lamps and other artificial sources
suggest a relationship to Edward Hopper and the "Interchanges"
series of photographs by "22 to Watch" alum Mike Osborne..."
Click
to read more...
Thursday,
January 26, 2007
by Amanda
Douberly
Austin Chronicle
"Christopher
Schade: Islands"
"It's not often that
my initial response to a painting is a feeling of seasickness, but
that's exactly how I felt standing in front of Christopher Schade's
Colossus Island (2005). Fields of choppy sea, night sky, and pure
pattern appear to converge in a vortex that is just beginning to spin
out of control. In the foreground of the 6-foot-by-6-foot canvas looms
a surreal creature that could be a robot, an alien, or a landmass
come to life. It lunges, weightless, through a strange landscape made
up of the stuff of this world – ocean, earth – or else a parallel
universe that actually consists of paint. If we suspend our disbelief
while standing in a gallery, we could arguably make this observation
about any painting. In Schade's case, however, the impression seems
particularly apt, as the works included in "Islands" are,
above all else, paintings about painting..."
Click
to read more...
Thursday,
January 11, 2007
by Erin Keever
Austin American-Statesman
Exhibit Captures
the Art of the Island
"Some paintings are as
much about the act of painting as anything else. This is the case
with Christopher Schade's "Islands" at d berman gallery..."
Click
to read more...
November
2, 2006
by Cynthia Houchin
The
Daily Texan
Lance Letscher
and Sydney Yeager profiled.
Click
to read more...
October
5, 2006
by Aisha Burns
The Daily Texan
Arts
Review
Buttons
redefined as artwork
"To the everyday person, buttons are nothing more than a decorative
way to fasten up a shirt, but to local artist Lauren Levy, they mean
a thousand times more..."
Click
to read more...
August,
2006
by
Michael Barnes
Profile in Glossy
Denny
McCoy- Blue Paintings
"Look closer. What do you see?Colors, of course, and sometimes
obscure lines. We knew that. But what else?In Denny McCoy's paintings,
light and hue meet in lingering, glowing associations. Everything
alters slightly as the viewer moves in relation to the canvas, or
as natural light shifts..."
Click
to read more...
September
8
, 2006
by
Nikki Moore
Austin Chronicle
Arts Review
"Gladys
Poorte and Naomi Schlinke"
"What
surprises me every time I hear artists and curators speak or write
about process art is that the emphasis is always on the interaction
of materials in an environment or under specific conditions, and what
goes unmentioned is the "creatorly" power of the artist
herself. d berman's joint exhibition of work by Naomi Schlinke and
Gladys Poorte is an illumination of this tension in the extreme .
. ."
Click
to read more...
JULY
, 2006
by
Nikki Moore
Tribeza
Pick
"Jeffrey
Dell and Marjorie Moore"
"Image
and catagories. There has to be more to life than this. . .or is there?"
Click
to read more...
AUGUST
11, 2006
by
Amanda Douberly
Austin Chronicle
Arts
Review
"Below
the Surface: A Different Order"
"Jeffrey
Dell's latest prints mark a decisive break with "Running Amok,"
the large-scale mezzotints of Venice he showed at Flatbed Press in
2002 and at the Austin Museum of Art last year. All representational
imagery has been cast aside in a new body of screenprints that delves
deeply into process. Dell printed layer upon layer of acrylic paint
onto sheets of cotton rag paper, then bent, scraped, and otherwise
violated this support to get below the surface, as the title for his
half of this joint show with Marjorie Moore makes plain. Strata of
pink, red, and white paint are hidden underneath the top coat, which
tends toward an institutional blue in much of the work. Dell has also
broken a few rules of printmaking and allowed fingerprints, plus pushpin
holes, to remain visible..."
Click
to read more...
JULY
, 2006
Arts
Review
"Moore
and Dell Explore Under the Surface"
"Marjorie
Moore and Jeffrey Dell team up at d berman this month in Below the
Surface: A Different Order.
Moore's part
is an installation of her paintings and drawings as well personal
collections of quasi-scientific items and "curiosities."
She references the wonder cabinet or Kunstkabinett meaning a cabinet
of curiosities. These cabinets and their contents, date to the 17th
century, emphasize the exceptional, the rare, and the marvelous, and
often blur lines between fact and fiction because they included both
scientific specimens and suspicious mythical creatures...."
Click
to read more...
JULY
7, 2006
BY
NIKKI MOORE
Austin Chronicle
"HEAT"
d berman gallery, through July 8
"Take d
berman gallery's current exhibition "HEAT," for example.
Each of the works in this summer show draws its viewer into a realm
that is, frankly, neither here nor there. Cynthia Camlin's Grotto
series, with its watercolors resembling stained-glass, creates "false"
depth perceptions on flat paper. Faith Gay's playful and nearly neon
sculptures are certainly not made for this life, and we could never
actually inhabit Sarah Greene Reed's graphically designed visual environments,
due to their mixed scales. Christopher Schade's gouache and acrylic
environments offer tiny virtual realities of the sort where right-bending
tree limbs burn in brilliant but unmixed patterns of red, yellow,
and orange against designed and dreamlike backgrounds, and Steve Wiman's
timeless work with found objects plays on our need for recognition,
yet transforms common pieces of stuff into endearing landscapes of
color and history that have surely never existed outside of his creation.
As each of these works conjure other worlds, ..."
Click
to read more...
June
19, 2006
by Hillary McMahan
Cantanker
Heat
at d berman
"On the day I saw the summer
group show “Heat” at d berman gallery, it had been about 100 degrees
outside for over a week. I’d just seen “An Inconvenient Truth,” and
I’d been driving around burning fossil fuels to do my necessary errands
while listening to assorted environmental horrors on NPR. So I was
in an anxious/irritable/we’re-all-doomed kind of mood when I stepped
into the calm and cool of the gallery. This show delights the eye
and collectively envisions a more benign and creative collaboration
between man and nature, so it was the perfect antidote to my apocalyptic
state of mind, however briefly...."
Click
to read more...
Thursday,
May 11, 2006
by
Erin Keever
XLEnt in
the Austin American-Statesman
Jimmy
Jalapeeno
“No
One Place” You Might Recognize
"Jimmy Jalapeeno joked
that he "is an artist about whom little is known," at his
talk at d berman gallery. Facetious perhaps, however maybe he joked
because not only has it been a while since d berman has presented
an exhibition of Jalapeeno's work, but also because he paints landscapes,
which historically have been underappreciated..."
Click
to read more...
Spring,
2005
by
Retha Oliver
Arts Review
in ARTL!ES
Hillevi Barr
and Beverly Penn
d berman gallery
"Contemporary art
struggles to understand the role of nature in our postindustrial,
pre-posttechnological era—an age in which we keep our heads spinning
with the latest tunes on our iPods and take pictures of friends with
our mobile telephones. Simple plants now seem more alien to us than
cell towers, their stamens and pistils peculiar and otherworldly.."
Click
to read more...
Thursday,
June 2, 2005
by Jean Scheidnes
Austin American-Statesman
"Ann
Matlock: Tapestry Weaver"
"Ann
Matlock weaves intricate tapestries of subtly shaded natural forms.
She uses silk yarns that she dyes and spins herself. In all her work,
she seeks to convey a feeling that the weaving is just a fragment
of something larger, and not something contained by its edges.."
Click
to read more...
January
21, 2005
by
Jacqueline May
Austin Chronicle
"Pocket
full of posy (all fall down)"
d berman gallery, through Mar. 26
"Susan Whyne's show at
d berman is a dreamlike reflection of her emotions surrounding the
events of 9/11. The exhibition title sets the emotional tone..."
Click
to read more...
January
21, 2005
by
Jacqueline
May
Austin Chronicle
"Janet
Kastner, Joseph Janson, and Brad Ellis"
d berman gallery, through Feb. 12
"At first glance, you might
not think these three artists' works have that much to do with one
another. But with extended looking, a number of commonalities emerge
in this interesting exhibit."
Click
to read more...
September
3, 2004
by
Jacqueline
May
Austin Chronicle
"Hillevi
Baar + Beverly Penn"
d berman gallery, through Sept. 18
"When most of us think
of sculpture, we think of weighty, earth-bound artworks. Artists Beverly
Penn and Hillevi Baar break this stereotype with crisp structures
composed as much of light and shadow as of mass. . ."
Click
to read more...
Thursday,
May 7, 2004
by
Madeline Irvine
Austin Chronicle
The Book on Lance Letscher
What lies behind the buzz of Austin's hot collage artist
Thursday,
June 24, 2004
by
Molly Beth Brenner
Austin Chronicle
'Books and Parts of Books: 1996-2004'
Austin Museum of Art Downtown, through Aug. 29
" Lance
Letscher has more than buzz going on; he has mystique workin', too.
The buzz comes from Letscher's art: poetic collages concocted from
"found" papers – album covers, books, handwritten recipes,
notes, and magazine clippings among them – which are meticulously
cut and arranged into intriguing patterns and textures that open up
worlds of thoughts and associations. It's part of what's led the Austin-born
and -bred artist to have two shows up in town simultaneously: "Books
and Parts of Books: 1996-2004," a traveling survey at the Austin
Museum of Art, and "Provisional Beauty" at d berman gallery.
The pairing is brilliant: One can see and trace the artist's progress
– and wonder where it will go next, as Letscher is barely in midcareer.
. . "
Click
to read more...
Saturday,
June 12, 2004
by
Jeanne Claire van Ryzin
Austin American-Statesman
Local
artist sparks his own Lance Fever
Collages collect a devoted following
"Lance Fever has struck
Austin again.
No, not the excitement that
every summer surrounds cycling champion Lance Armstrong when he races
in the Tour de France.
This brand of Lance Fever surrounds
artist Lance Letscher, the 42-year-old native Austinite who in the
past half dozen years or so has emerged as one of the most popular
-- and most collected -- artists in Austin. Now, thanks to an eight-year
survey of his work at the Austin Museum of Art and a simultaneous
show of new work at d berman gallery, Lance Fever is once again running
at full throttle. . ."
Click
to read more...
Thursday,
May 7, 2004
by
Molly Beth Brenner
Austin Chronicle
Piece
of Work
'Portraits'
"Sandra Fiedorek + Naomi Schlinke," at d berman gallery,
through May 22
"I can't tell you exactly what Sandra Fiedorek's "Portraits"
depict; they're not narrative. But they did lead me through a curious
string of personal mental narratives as I took them in. Her "Portraits"
offer only suggestions as to what referents a viewer could match them
up with, leaving the viewer with the task of choosing which interpretation
– or string of interpretations – fits best. . . ."
Click
to read more...
May
2004
by
Erin
Keever
Fiedorek
+ Schlinke
d berman gallery
"d
berman gallery presents another accomplished show juxtaposing the
work of Sandra Fiedorek and Naomi Schlinke. The work of these two
artists looks beautiful together in a formal sense, repeating organic
circular shapes set within the rectilinear (Schlinke) versus square
(Fiedorek) formats. Their work is equally challenging and difficult
to decipher. Fortunately for the viewer, the similarities end there.
. ."
Click
to read more...
Sunday,
March 21, 2004
by
Jeanne Claire van Ryzin
Austin American-Statesman
Three
from UT at d berman gallery
Zoe Charlton, Holly Fischer and Edward Monovich share a talent for
figurative art -- and politics
"For
all the conceptual, video, film and performance-based art that nowadays
spills regularly out of university art schools, including the University
of Texas, it might be easy to overlook some of the very strong figurative
work that's percolated in the ivory tower too.
Ditto
with the self-involved navel-gazing that pervades the subject matter
of young art school art -- not everybody's doing it.
Certainly
not Zoe Charlton, Holly Fischer and Edward Monovich, who now share
an exhibit at d berman gallery. . . '
Click
to read more...
Winter
2003/
2004
byKelly
Baum in
in
ARTL!ES
Reviews,
Austin
Cynthia
Camlin + Irene Roderick at d berman gallery
"I decided early on that
my review of Cynthia Camlin and Irene Roderick's show would argue
not for the
quality of the work, which is indisputable, but for its importance.
In my opinion, both Camlin and Roderick actively participate in one
of the most pressing debates facing artists today: the status of visual
pleasure in contemporary art.. . ."
Click
to read more...
Thursday,
February
6, 2004
by
Rachel
Koper
Austin Chronicle
"Malcolm
Bucknall + Bale Creek Allen"
"I've been looking forward
to this show for weeks. An exhibit of Bucknall's work last year proved
him to be a master when it comes to technique, the use of fine brushes,
and classic European composition; he's as technically astute a living
painter as I've ever seen. And d berman has paired him with conceptual
and mixed-media artist Bale Creek Allen, whose work is of a completely
different nature: varied common materials and a white, pure
wit. . ."
Click
to read more...
Thursday,
December
4, 2003
by
Jacqueline May
Austin Chronicle
Sydney PhilenYeager's
“LittleMysteries”
Arthouse, through Jan. 11
"In this 10-year survey
of Yeager's paintings, we see a progression of a talented artist's
work over time. Yeager creates thickly textured paintings, often in
a large scale. The works of the early 90s include figurative elements
forming a personal vocabulary. In the current decade's work, we see
an explosion beyond figuration into a new and dynamic abstract territory,
where order and chaos come to dance. . . ."
Click
to read more...
Thursday,
December 4, 2003
by
Jeanne Claire van Ryzin
Austin American-Statesman
Sydney
Yeager's layered paintings
An Austin artist gets her exhibits
"Sydney
Yeager is a great painter.
Why?
She's in love with paint. Not
just the act of painting, but the physical properties of oil paint,
with all its sumptuousness, dexterity and drama. Yeager loves the
intensity of the color, the way paint catches, reflects or holds the
light; the way it can gather in rich textures and organic forms on
the canvas; and the way paint can capture the imprint and movement
of the brush. . . "
Click
to read more...
Monday,
November 17, 2003
by
Jeanne Claire van Ryzin
Austin American-Statesman
Local
artists intrigue and alienate
A double exhibit at d berman gallery is an odd coupling
"Katy
O'Connor rocks. Last year, in the Austin Museum of Art's "22
To Watch: Art From Austin," she impressed with large oil paintings
of everyday people in everyday settings (bedrooms, shopping malls,
street corners) seen from not-so-everyday perspectives. Now, the 30-year-old
Austin artist reveals an even more impressive gathering of work at
d berman gallery. . . "
Click
to read more...
Thursday,
November 14, 2003
by
Molly Beth Brenner
Austin Chronicle
Piece
of Work
KATHERINE
Oil on canvas by Katy O'Connor
"I'm strolling through d berman gallery, drinking in the fabulously
imaginative, chunkily painted creaturescapes of Robert Jessup.
Presently I turn a corner
and am faced with a string of large, vividly hued paintings resembling
Polaroid moments caught in oils. These are the works of Katy O'Connor.
Scanning the wall, my eyes fall on Katherine, and it's there that
my fascination heightens . . ."
Click
to read more...
Summer, 2003
by
Andrew Long
in
ARTL!ES
Reviews,
Austin
Michael Ray Charles at d berman
".
. . The dialogue about racism by African American artists within the
white American artworld is a fairly new discussion, relatively speaking.
Artists such as Renee Cox, Keith Antar Mason, and
Fred Wilson, to name just a few, have brought forth a national dialogue
that bears witness to blackness within whiteness. . . ."
Click
to read more...
Summer,
2003
by
Rebecca S. Cohen
in
ARTL!ES
Reviews,
Austin
Michael Ray Charles at d berman
".
. . It is tempting to focus, one more time, on
Michael Ray Charles' use of racial stereotypes and whether his work
leads to productive discourse on social issues or perpetuates the
underlying hatred and ugliness that spawns those images in the first
place. In interviews, the artist admits that his latest installation
at dberman gallery in Austin. . ."
Click
to read more...
Summer,
2003
by
Lorenzo Thomas
in
ARTL!ES
Reviews,
Austin
Michael Ray Charles at d berman
".
. . There's an old joke that, once upon a time, you could have heard
in many college towns. "What do you say if you meet a black man
on the street?" Answer: "Great game last night!"
Even now, on too many university campuses-where the only African Americans
in evidence are either dining hall staff, groundskeepers, or scholarship
athletes-the line would still be, like most good jokes, funny because
of its truth.
Michael Ray Charles's powerful and subversively ludic installation
titled The Property Of... addressed the exploitation of black athletes
by transforming Austin's d berman gallery into a sort of vaudeville
basketball court/cabaret . . ."
Click
to read more...
Sept/Oct,
2003
by
Susan E. Richmond
In Art Papers Magazine
REVIEWS
I SOUTHWEST
Michael Ray Charles at d berman
". . .
lets Austinites experience the latest work of resident artist and
University of Texas Professor of Art Michael Ray Charles. Charles'
international reputation has taken his attention far afield in recent
years, making this show a much-anticipated homecoming. Though known
pri-marily as a painter, Charles lately has moved into sculpture and
installations. This shift in media, however, is not a dramatic depar-ture
for the artist, whose work continues to explore historical and contemporary
instances of racial stereotypes and prejudices. . ."
Click
to read more...
Summer,
2003
by
John Devine
in
ARTL!ES
Reviews,
Austin
Randy
Twaddle: Reversal Drawings
d berman gallery
".
. . Randy Twaddle's Reversal Drawings, which ended an eight-year hiatus
from the Texas art scene (during which he built a business and started
a family) prompted feelings of gratification and annoyance in about
equal measure: gratification because the work is so sharp and beautifully
executed; and annoyance because he's deprived us of the pleasure of
it for so damn long. . . ."
Click
to read more...
Summer,
2003
by
J. Bedgood
ARTL!ES
Sydney
Philen Yeager: Little Mysteries
(Travelling Exhibition)
and
New Paintings, McMurtrey Gallery, Houston
". . . Written deep in the fluid layers of Sydney Philen
Yeager's lush oil paintings, the interdependence of man and nature
reveals itself. Her introspective analysis of everyday perceptions
infuses the large-scale paintings with an unexpected intimacy. The
retrospective exhibition, Little Mysteries, at the Galveston Arts
Center, consisting of paintings from 1992-2002, offers viewers the
means to decipher her current show, New Paintings, (2002-2003) at
McMurtrey Gallery, Houston. . ."
Click
to read more...
Thursday,
August 1, 2003
by
Jacqueline May
Austin Chronicle
"This
show, the first curated solely by d berman gallery's Associate Director
Anastasia Budziszewski, reveals her impressive talents. "Light"
is the right word for this exhibition, which features artworks that
are light in weight, playful in content, and share an interest in
luminosity. . ."
Click
to read more...
Thursday,
July 24, 2003
by
Jeanne Claire van Ryzin
Austin American-Statesman
Don't
hate this exhibit because it's beautiful
"Anastasia
Budziszewski isn't afraid to admit that she admires pretty art. "Pretty,"
however, isn't considered a very cool word. "People always qualify
their use of the word "pretty" by saying 'I hate to say
this, but . . .' " the 29-year-old associate gallery director
says. "I think it's because if they call a work of art pretty,
that might mean it's just decorative 'sofa art.' Art can be about
beauty for beauty's sake. . . "
Click
to read more...
June,
2003
by
Jennifer Chenoweth
Voices
of Art Magazine
Volume 11, Issue 2, 2003
"The
Property of. . . "
Michael Ray Charles at d berman
"Michael Ray Charles' new
installation at the d berman gallery in Austin is a welcome whoosh
of air. An installation in a gallery that usually caters to the tastes
of wall art. . ."
Click
to read more...
Thursday,
May 8, 2003
by
Sarah Boxer
The New York Times
Cockroaches
as Shadow and Metaphor
"Catherine
Chalmers's SoHo apartment is alive with the sound of imminent death.
Crickets, food for a rubbery green tree frog, chirp loudly. The frog
sits in a terrarium, a big grin on its face. What's not to smile about?
Plenty of other food, a horde of crawling mealworms, is nearby. .
."
Click
to read more...
Sunday,
April 13, 2003
by
Jeanne Claire van Ryzin
Austin American-Statesman
Of
sacks and race
With
exhibit that's a slam-dunk on the exploitation of black hoopsters,
UT artist again shoots to challenge
Click
to read more...
Thursday,
March, 21, 2003
by
Molly Beth Brenner
Austin Chronicle
Piece
of Work
Rock
n' Roll, Drugs and Sex
Charcoal on paper by Randy Twaddle
in "Randy Twaddle: Reversal Drawings
Click
to read more...
Thursday,
February 13, 2003
by
Jeanne Claire van Ryzin
Austin American-Statesman
Beyond
the Academy: Encouraging New Talent from Texas'
Art
that evolved from a Lone Star state of mind (At ArtHouse)
".
. .Perhaps
the clearest trajectory of influence can be seen in the work of Michael
Ray Charles and his former students Zoe
Charlton and Edward Monovich . . ."
Click
to read more...
Tuesday,
January 28, 2003
by
Jeanne Claire van Ryzin
Austin American-Statesman
Button, button
Shoal Creek mom's got the buttons -- and the imagination to use them
artistically
". . . Levy's
beguiling sculptures may be so appealing because they are at once
familiar and unfamiliar, domestic and eccentric -- not unlike Levy
herself. . ."
Click
to read more...
Tuesday,
November 19, 2002
by
Jeanne Claire van Ryzin
Austin American-Statesman
A poet in scrap paper
Lance Letscher pieces together collages of minuscule details to form
grand concepts
".
. . Rich, mesmerizing and wondrous collages that are portals to another
wholly developed world . . ."
Click
to read more...
Fall,
2002
by
Mark L. Smith
in
ARTL!ES
New
Work by Denny McCoy and Troy Woods
"The
paintings of Denny McCoy and the sculpture of Troy Woods transformed
the d berman gallery into a secular temple of art. Upon entering,
one felt immediately a palpable quietness, much like that in the British
Museum's Elgin Marbles gallery..
. ."
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to read more...
Sunday,
October 6, 2002
by Michael Barnes
Austin American-Statesman
"Doubt
and, ultimately, pleasure creep into the paintings of Denny McCoy
and sculptures of Troy Woods, placed like Zen devotionals throughout
the demure gallery. . ."
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October,
2002
by Melissa
Kuntz
Art in America
"The viewer is drawn
close by Letscher's exquisite color and striking compositions, and
is then rewarded by the lively details of the letters, notes and scraps
of paper . . . "
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Monday,
August 19, 2002
by
Jeanne Claire van Ryzin
Austin American-Statesman
Seeing
faces in a different light
"Using his unique mirror-lined box, renowned photographer George
Krause illuminates the secrets hidden in his large-scale portraits.
For George Krause, the image doesn't work if there's too much reality
in it. It's not that the 65-year-old photographer is trying to disguise
anything. Quite the opposite. He reveals the dream world, captures
the secrets, exposes what's in the shadows. His lens sheds light on
the psychological and emotive undercurrents of our
lives. . ."
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Thursday,
July 11, 2002
by Jeanne Claire van Ryzin
Austin American-Statesman
Flashcard Artistry
(Conclusions Not Included)
". . Fiedorek's work does convince you to stop and look
-- and wonder what it is you're looking it. For the past several years,
each of her works has featured a single image presented simply and
directly -- almost as if it were a sign or a flashcard. Oftentimes
these images are arranged in a grid or row, like the untitled piece
that stretches across 6 feet of the gallery wall in "Refrigerated
Air," the current group show at d berman gallery. Fiedorek's
entry is 13 pieces of 8-inch high bi-colored laminate, each with a
circular form -- it might be a sprocket or gear or bicycle chain ring
(Fiedorek won't say) -- etched into the shiny plastic: black layered
under yellow, yellow layered under red, peach layered under black.
. ."
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Summer,
2002
by
Rebecca Cohen
ARTL!ES
New
Work by Robert Dale Anderson and Sydney Yeager
"Theirs
was one of the best exhibitions to date at the Austin gallery, no
small feat, given the overall quality of the work shown by Berman.
In fact the dialogue that occurred between Anderson's small
graphite drawings and Yeager's large, intensely colored canvases set
such a high standard that the artists' real challenge was competing
with their own work for the attention of the audience..."
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Sunday,
May 26, 2002
by Michael Barnes
Austin American-Statesman
Two views of
nature compete for attention
"At d berman gallery, Jimmy Jalapeeno and Billy Hassell arrive
at the natural world from competing perspectives. Hassell sees big
planes separated by distinct shadings. His oversized subjects vibrate
against flat, decorative backgrounds. Jalapeeno, for the most part,
plays with droplets of light that coalesce into different images,
depending on the position of the viewer. . ."
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April
17 2002
by Mario Naves
The New York Observer
Currently Hanging
Lance
Letscher in New York City
"A Texas Treasure Hunt: Letscher’s Stunning Chelsea Debut
As if to prove that the most exciting contemporary art is made by
the least usual of suspects, here comes Lance Letscher from Austin,
Texas. Mr. Letscher, who is having his first solo New York exhibition
at the Howard Scott Gallery, is unusual not just in terms of his geography,
but also in his aesthetic. Uninterested in fashion,
resistant to pomp and constitutionally incapable of the rote or superficial,
he’s something we don’t encounter too often: an artist of substance,
grit and purpose. . ."
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January,
2002
by Kenneth
Hale
Voices of Art Magazine
Saturation.
The exhibit of drawings by Robert Dale Anderson and paintings by Sydney
Yeager are pure saturation. The combined effect of the installation
is one of sensory overload in the best sense of the phrase. . .
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February
15, 2002
Austin Chronicle
Sydney Yeager
finally brings abstractions to the surface in her art,
What Lies Beneath
"The faint whiff of the studio permeates the d berman gallery,
where Sydney Yeager's paintings ring the walls. These eight paintings
are new for Yeager, and not just because the vapors of oil paint still
smell so fresh. They represent a departure in the artist's work, a
potential turning point. . .
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January
31, 2002
By Jeanne
Claire van Ryzin
Austin American-Statesman
I'm nervous I'm not in the studio right now."
It seems like a strange statement for Sydney Yeager to make as she
sits on a bench in d berman gallery surrounded by her paintings. After
all, the night before, the well-known Austin artist celebrated the
opening of an exhibit of her work -- eight large oil paintings representing
a year's worth of labor -- at a festive, crowded opening (she shares
the show with Austin artist Robert Dale Anderson).
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December
20, 2001
by Jeanne
Claire van Ryzin
Austin American-Statesman
".
. . d berman gallery pulls no punches with its group show.
For starters, the title doesn't say anything more than it has
to: "Winter Group Exhibition." And the modesty is
undeserved. This is a stellar show with nary a weak
moment among the 37 works by eight artists. . . "
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November
15, 2001
by Jeanne
Claire van Ryzin
Austin American-Statesman
An
exhibit of black and white, plus some rich hues
"... Zoë
Charlton's paintings and drawings are unwavering in
their directness. The former Austinite looks into the cultural
chasm between contemporary black and white Americans
and questions -- with her fluid sense of line and symbolic,
dreamlike scenes -- how both groups wrestle with a
segment of history that hasn't fully been illuminated.
Dee Wolff's . . . drawings read like palimpsests, the
complete image erased or rubbed away and therefore
tantalizingly out of reach. They're like sweet but incompletely
recalled memories. . .
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September
13, 2001
by Jeanne
Claire van Ryzin
Austin American-Statesman
"Malcolm
Bucknall can tell you how to annoy him. "One of the worst things is
being asked, 'What is that supposed to mean?' " complains the 66-year-old
artist. "I think it's necessary to suspend disbelief. By doing so,
you keep all your options open. . ."
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Summer
, 2001
by Rebecca Cohen
ARTL!ES
"Catherine
Chalmers + Rob Ziebell
Two Photographers"
reviewed In ARTL!ES
" I love when art intrudes on life, muscling its way into quotidian
events, conveying new significance to the status quo.
The other day I noticed what appeared to be a couple of twigs
stuck to one side of our back door. Upon closer inspection I discovered our ordinary portal had
become the love nest for a pair of mating mantises. I ran outside every 15 minutes for the next hour, hoping to
be there for the main event.
My sudden attentiveness to the in | 