For Immediate Release  3/27/12                                        Contact:
Event: Fallas Dart Air

Shamrock Hotel Studios, 4312 ½ Elm St., Dallas

Reception: Saturday, April 14, 2012, 5 – 9pm

Thru April 28.  Open Saturdays 12-5pm and by appointment.

Featuring work by: Kristen Cochran, Lanie Delay, Vince Jones, Kirsten Macy, Margaret Meehan, Ludwig Schwarz,
Marjorie Schwarz, Edward Setina, Lizzy Wetzel

And open studios of: Lily Hanson, Peter Ligon, Marianne Newsom, Brian Ryden, Noah Simblist, Sunny Sliger, and
Saul Waranch

The Shamrock Studios, Dallas, TX, in collaboration with Mai Koetjecacov Editions, Wichita Falls, TX, proudly presents
the first official Fallas Dart Air. Since 1996, the Shamrock studios has been an active and vibrant small community of
rotating artists and poets working and/or sleeping in undersized studios that would even make New Yorkers shudder.
What holds the place together is mastermind Peter Ligon, who has emphasized a community atmosphere and offers
himself as both artist and host. Imagine David Koresh stockpiling not arms, but romaine lettuce. It's not a compound
per se, but a place where his fellow artists/inmates are willing to drop everything for a lecture on lettuce. The
Shamrock is both private club and social hall, a place to break bread. The creations in the small community kitchen
seem to link the members of the Shamrock together far more than their individual art practices. This age old studio
tradition gained national attention circa 1988 after the infamous Philly Cheese Steak massacre at Soft Studios in
Philadelphia, where a disgruntled sculptor shot and killed three local art collectors and a renowned NY critic.  

Mr. Koetjecacov met Mr. Ligon during the first day of Occupy Dallas. Mr. Ligon was finishing architectural pen and ink
studies, wondering why there were all of these people suddenly blocking his view, and Mr. Koetjecacov, always trying
to find new talent for his gallery, was looking for the next Tracy Emin. Both falling a bit short, Mr.Ligon immediately
befriended Mr. Koetjecacov when he overheard him say "what a wash" in the distance.  

That night, Mr. Koetjecacov was privy to an "insider" dinner of both Shamrock residents and local artists, where plans
were being discussed for an open studios exhibition, a semi-annual event where friends and the local art community
are invited to peruse the adorned common spaces and private studios. This one though would have a twist; the
residents would no longer use the main spaces to extend their studio spaces but invite artists from the community at
large to bear the brunt of this burden. Some would still allow access to their studios, opting for the full vanity benefits
in a more "natural'" setting. Rumors were circulating that the residents were perhaps using the invited artists to
exhibit their wares in the common space, functioning somewhat as a retail outlet, in order to draw the anticipated
eighteen hundred collectors expected to attend into their private studios, offering "studio prices" for similar product.
Lasagna and wine flowed at an irreverent pace. Drawings were made. A cigarette was smoked outside.
Mr. Koetjacacov sensed urgency in the group and a communist to his left. He offered suggestions that were readily
mocked by the keen wit of a closet anthropologist. One artist of considerable height threatened him with a crayon.
The evening ended with a resounding thug.

Having learned over dinner that the Shamrock was once a brothel, it became clear to Mr. Koetjecacov that it would
indeed be the ideal place for an art fair, and the following day he spoke with Mr. Ligon about this possibility. To avoid
conflict, he requested that he be the only dealer allowed. Having been rejected from several art fairs in the past for
arguing the merit of booth fees, the opportunity was perfect. He would gladly accept Mr. Ligon's recommendation on
artists involved so long as he would be able to secure representation of said artists for the four-hour duration of the
event. Commissions would be nominal, as long as he didn't have to pay for a booth. He figured since he was the first
US art dealer to show the entire collection of Rudolph Schwarzkogler's nose clippings his demands would be met with
ease. Nonetheless, he offered Mr. Ligon and all of the Shamrock artists a forthcoming exhibition at his future Amarillo
Kunsthalle annex, a work in progress only requiring "backers, a building, and an undiscovered architect willing to
design the space for a 20% discount on "all artwork purchased" through the Amarillo location, not the Wichita Falls
location, obviously.

Open studios are dead. Art fairs are dead. Art is dead. Long live rock.