James Surls & David McCullough: Art in Exposition Park — 1973
by Paula Bosse
by Paula Bosse
Above, a postcard advertising a 1973 art show at 839 1/2 Exposition (Parry & Exposition, across from Fair Park), featuring the work of James Surls (right, next to one of his sculptures) and David McCullough (left, in front of one of his paintings).
James Surls (b.1943), originally from East Texas, came to Dallas in the late-’60s to teach sculpture at SMU’s Meadows School of the Arts, from 1969 to 1976. His first mention in The Dallas Morning News, though, was on Sept. 12, 1967, when a 23-year-old Surls was mentioned as a participant in a group sculpture show at Atelier Chapman Kelley (on Fairmount Street) alongside major artists such as Georges Braque, Henry Moore, Louise Nevelson, and Henry Bertoia. Surls made his first professional impact on the art world while he was living in Dallas, and for years he was known as a “Dallas artist.” Surls eventually left Dallas for Spendora, Texas, and he now lives and works in Colorado and is an important internationally admired and collected sculptor.
After studying in Boston and Kansas City, and after a stint in California working on “happenings” with Allan Kaprow and Dick Higgins, David McCullough (b. 1945) moved to Dallas in 1970 where he quickly became part of the local art scene. After only seven months as a resident of the city, McCullough was commissioned by the Dallas Museum of Fine Arts to execute “Baggie Mantra Sanctorum March,” an art and performance piece which was Dallas’ first outdoor environment “happening.” A respected artist, McCullough continues to create and continues to call Dallas his home.
The McCullough/Surls show touted in the above postcard paired the two local artists, and it was well reviewed by Dallas Morning News arts critic Janet Kutner, an early fan of Surls’ work. (Click for larger image.)
For a FANTASTIC look at this period in Dallas’ contemporary art scene, Ken Harrison’s 1975 documentary “Jackelope” (which aired on KERA, Ch. 13 in January, 1976) is absolutely essential.
“Jackelope” subjects Wade, Green, and Surls
It profiles Surls, George Green, and Bob “Daddy-O” Wade (who will forever be known in Dallas as the creator of Tango’s dancing frogs), and the Surls and Wade portions are extremely entertaining. I watched this documentary earlier this year, and I’ve found myself thinking about it frequently. I highly recommend this deliberately slow-moving documentary for anyone interested in Texas art (…or just art). Or for anyone who’s a fan of incredible Texas accents (why don’t we hear accents like these anymore?). To view the full documentary, click here. (UPDATE: Argh. The film is no longer available on the Texas Archive of the Moving Image site! Keep your eye out for it, though — it’s great. I see it was included in the 2015 Dallas Video Festival.)
Below is Janet Kutner’s review.
Postcard is from the Paul Rogers Harris Gallery Mailings Collection, Dallas Museum of Art Archives; found as part of the interesting article “Fair Park-South Dallas: The City’s First Arts District” by Leigh Arnold, here.
To view the DMN article which first mentioned James Surls, “Kelley to Unveil Sculpture Show” by John Neville (Sept, 12, 1967), see here.
There were a couple of unusual articles that appeared in the DMN while Surls lived in Dallas. One was an article about the bronze movie awards — the “Sams” — which he created for the 1972 USA Film Festival — read the article here. Also, there was a thoroughly delightful interview about “The Dog Show,” a 1975 group show at SMU consisting of over 50 artists (!), which Surls organized (and created a sculpture for) on a $50 budget (“It’s both serious and non-serious, maybe ‘arf ‘n ‘arf…”); read it here.
For a profile on David McCullough that appeared in The Lakewood Advocate, click here. To watch an entertaining video in which he paints before a crowd at the Dallas Arboretum as the Dallas Wind Ensemble plays, followed by an interview, see the YouTube video here. McCullough’s website is here.
Copyright © 2015 Paula Bosse. All Rights Reserved.