Art Lies, Volume 23, Summer 1999 Page: 9
60 p. : ill. (some col.) ; 28 cm.View a full description of this periodical.
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so of collecting. They are a constant source of
inspiration and respect for the creative process. I
imagine they would be the things I would rescue
in a house fire.
How have art institutions influenced your
purchasing?
Liz Carney and Don O'Toole: (Liz) Visiting art
museums helped refine our artistic awareness and
put us in touch one-on-one, with the artists.
We'll never forget our first occasion to see a
Richard Diebenkorn Ocean Park Series painting.
We felt that if we had that painting, a bed and
perhaps a small kitchen would be all that we
would ever need for the rest of our lives.
What are some of your favorite pieces?
Janet and Bruce Flohr: (Janet) A huge mezzotint
of Hong Kong Harbor by Craig McPherson. It
took him over a year just to prepare the plate.
Also, a recent Robert Rauschenberg etching
produced at ULAE using photo techniques that
were new to him; a tiny Tom Otterness etching of
himself at work with an evident erection! (Art is
moving in many ways.) Finally, from Hare and
Hound Press, Kent Rush's photogravure that
captures the liquid look of his photographic work
and the Cesar Martinez block print, which we are
publishing right now.
Janet and Gary Sweeney: (Gary) I would have to
say my favorites are the John Baldessari pieces,
because he had such a huge impact on my art
education, not to mention the world of art in
general. I'm also very fond of Dennis
Oppenheim's work; I've followed his work for the
last 25 years, and he's never ceased to dazzle me.
The Robert Crumb prints are recent finds. Not
only are they beautiful and rare, but they remind
me of the many hours spent during my youth
laughing hysterically over his twisted stories in
Zap Comix. I'm also proud of my collection of
artwork I've bought from friends. The crown
jewel of this is my Ken Little bronze.
Is there a thread of similarity that you can trace
throughout your collection?
Joe A. Diaz: Not really, but all of my work has an
impact; makes a strong statement. For example,
My Alamo, by Kathy Vargas, makes a statement
about growing up as a Hispanic in San
Antonio-how Hispanics look at the Alamo,
versus white people's views of the Alamo.
Wanting to be in Fiesta and having a fancy
dress yet being left out of it, even though
almost everything about Fiesta is derived from
Hispanic culture.Luis Jimenez
La Sherry, 1976
Courtesy of Joe Diazclockwise from upper left:
Vernon Fisher, Chapter 8, 1995
Luis Jimenez, Longhorns-from Progress II, 1
Linda Pace, Swirling World, 1994
Courtesy of Carolyn and John Seal.
John Baldessari
Blue Stripe, 1987
Courtesy of Janet and Gary SweeneyWhen collecting, do you have certain guide-
lines?
Irene and Leo Edwards: Definite economic
restraints. I have to work with people who can
do monthly payments for what I collect. I have
also collected what I have researched and
liked, or just liked for itself without any
research.
Carolyn and John Seal: Contemporary Texas
artists have been our focus, because it became
apparent to us early on that they were equally
high quality artists as national or international
artists.
Do you know many of the artists whose
pieces you collect?
Carolyn and John Seal: We love to hear artists
talk about their work. The way artists think
and process information is very intriguing.
Therefore, getting to know the artist whose
pieces you buy adds a new dimension to the
work.
What's important to you about the place-
ment for your art?
Joe A. Diaz: Placement is not important to
me; if I find the art interesting I can be
engaged with the work no matter where it is,
even if it's on the floor.
Tinka and Lewis Tarver: (Lewis) Because
design is important to us, placement of our
pieces is itself a creative process.
What do you consider contemporary?
Irene and Leo Edwards: Our view of what is
1976
contemporary incorporates artists from the
1940's and onward. The 'feel' of artists who
painted then is similar to the feel of what's
being painted today.
Janet and Bruce Flohr: (Janet) Almost every-
thing I have is by living artists so it's contem-
porary in the literal sense. However, print
techniques are very old and some pieces, like
John Albert's drypoint of the Alamo Cement
Plant, looks like it was done last century, so is
it contemporary?
Carla Stellweg and Roger Welch: (Carla)
Contemporary art is challenging, innovative,
progressively critical, and has an authenticity
of purpose that is many-leveled. Contrary to
the New York Times category, "Arts and
Leisure," contemporary art is an ongoing exer-
cise in wisdom and pleasure. It is an art where
the nature of the content is not a factor. It cele-
brates freedom of expression. OARTLIES SUMMER 1999 9
B
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Lightman, Victoria H. Art Lies, Volume 23, Summer 1999, periodical, 1999; Houston, Texas. (https://texashistory.unt.edu/ark:/67531/metapth228053/m1/11/?q=%22Bryant%2C+John%22: accessed June 5, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .