Come Monday, AGE Community Arts welcomes the public to its new home (21 W. Brundage St.) and a show curated by Arin Waddell, “The Long Line: From Beginner to Master in Drawing.”
The event begins at 4 p.m. and is a collaboration between SAGE, Sheridan Public Arts Committee and the WYO Theater. A new sculpture by Santa Fe artist Alan Houser will be unveiled at the corner of Main and Brundage. Frackelton’s will host a “Dining for a Cause” fundraiser which will benefit SPAC, SAGE, and the WYO.
At 7:30 p.m., singer/songwriter Spencer Bohren returns to Sheridan in concert.
The five artists who will be at the reception and will be featured during the show’s run through June 6 are Joel Ostlind, Montana Lewis, Rox Corbett, Tim Main, Nate Cassie. Ms. Waddell teaches drawing at Sheridan College.
Kate Harrington, the director at SAGE, welcomes the public to a lively evening of art, dining and music. All on three street corners in historic downtown Sheridan.
The writer Gary Cartwright has died. Never truly “big time” famous, his magazine essays were read, re-read, savored, and saved. He tried the literary world of New York City, but as one critic noted of Cartwright, he was “too feral” for the big city. He was published in top national magazines like Sports Illustrated, Harper’s, Rolling Stone, Esquire and worked for newspapers in Dallas and Fort Worth along with more famous brethren, Dan Jenkins and Bud Shrake. Cartwright eventually planted his flag at Texas Monthly, a writer’s magazine, and circled back there often during an accomplished career. He specialized in empathy, or as another writer observed, “bizarre turns of logic and allusions of having focused on counterintuitive subjects.” He wrote about high school football in Texas, ghosts, food, gangster molls, true crime, society matters, shady private detectives. His writing had swagger. Cartwright’s 2015 memoir, “The Best I Recall,” is sweet and dark and emotional.
• Cartwright wrote of the outlaw nature of Southwest Conference football teams: “The schools are on probation and the players are free on bond.”
• Of then-new Dallas Cowboys owner Jerry Jones: “Cellphone at the ready, so full of himself he squeaked.”
• His interview with exotic dancer Candy Barr, upon release after a 15-year prison bit for a small amount of pot, is endemic of his writing and subject choices. She greeted him in a cheap housecoat, her face “as blank and bleached as driftwood,” her pale-green eyes “collapsed like seedless grapes too long on the shelf.” Barr led Cartwright to her dressing table where she transformed herself from the harsh light of her kitchen to a “young girl ready for a hayride.”
• About Jack Ruby, “if there is a tear left, shed it for Jack Ruby. He didn’t make history; he only stepped in front of it. When he emerged from obscurity into that inextricable freeze-frame that joins our minds to Dallas, Jack Ruby, a bald-headed little man who wanted above all else to make it big, had his back to the camera.”
“The bigger the hair, the closer to God.”
— Dolly Parton, American songwriter/singer/musician/actor