September FFAT Review

The past Labor Day and First Friday’s new exhibitions were scattered further afield than they usually are. In FFAT’s usual neighborhood, presented this month are a selection from the Dynamite Museum in Amarillo, “Panhandle Rivalry” in the CASP artist studios and Susan Marinello’s “Beauty in the Forgotten” at 5th and J Gallery.

"Panhandle Rivalry" featured signs and photos of signs erected in less-than-official locations around Amarillo in the late 1990s and early aughts. They represent the late Stanley Marsh’s distinct impression of Lubbock, featuring such objective truisms as “Lubbock Makes Bubbles in the Bathtub and Bites Them” and “Lubbock is Sour Ice Cream in a Tin Spoon”, all set in ineffable Helvetica on yellow diamond road signs. The exhibition intends no more than a lighthearted jabbing at Lubbock, and it achieves just that.

Panhandle Rivalry at Jeff Wheeler's CASP Studio/Gallery

Marinello’s “Beauty in the Forgotten” displays an impressive variety of photographs from abandoned and condemned buildings all around the country. The individual stories and histories of these places and the people who occupied them frozen in seemingly permanent stasis loom behind her work. The ideas and the means to convey them are very familiar to those who take interest in photography, but the work does hold value for its technical execution and conceptual restraint. While by no means original, Marinello is able to communicate her notions well.

Susan Marinello "Beauty in the Forgotten" CASP 5&J Gallery

The Texas Tech MFA Candidate and Faculty show centers not around a theme, but around the best work of the exhibition’s entrants. Andrew Martin’s “Mixed Signals 2”, Terry Morrow’s “1966: Color Television Comes to Rural America”, and Ghislaine Fremaux’s “Agito (Conor)” illustrate the impressive diversity of the work of Tech’s faculty. Martin’s work concisely, and in a remarkably analog fashion, suggests digital progression and decomposition. Morrow’s “1966” comically and somewhat enigmatically interweaves rural culture and the influx of images from the era’s cathode ray screens. Fremaux’s drawings are the fleshy, sensuous converse of Lucien Freud’s portraits. Both the MFA candidates’ and faculty’s work will hang in the Texas Tech Art Gallery until this month’s end and are open for viewing weekdays. They are well worth the visit.

Ghislaine Fremaux "Agito [Conor]" Landmark Arts Gallery, TTU Faculty Show

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