This morning, John Baldwin wrote in his “Desolation Row Information Service” bulletin he attended a preview of Bob Dylan’s newest art exhibit, “Mood Swings.” He has kindly permitted me to reprint a slightly edited version of his review here. You can read more about the exhibit at the Halcyon Gallery website.

Thursday, November 14, was the press day for the exhibition at the Halcyon plus for a small group of individuals who were given private guided tours of about an hour’s duration. For some reason, I was one of the lucky ones to have a private tour in the morning.

The entire gallery was buzzing with camera crews from all over Europe and reporters in interview with gallery management. Other than that general organized chaos, what struck me immediately on walking through the door was the enormity and beauty of the exhibition. I’d gone along expecting to be disappointed but I was awestruck ... to the extent that when my appointed salesman came over, I couldn’t speak for a short while because I was simply lost for words.

The gates, of which there are eight, some single, some double, form the centerpiece of the exhibition, but there are also four tables and a number of metal wall ornaments. All were based on the same theme - carefully chosen, reworked and positioned scrap metal that tells a story - in true “Dylan sense,” any story you want it to be.

Look at the detail and you cannot but be impressed with the little added extras: The birds here, the guitar there, the musical notes, the skate, the mincer, the spurs, cog wheels, pistons, etc., all lovingly turned into works of art. There was nothing in the metalwork section that I didn’t like; there was nothing that I did not want to take home with me, if only I could afford it.

Move downstairs to see the gangster car doors, each with a poster detailing the life and times of a particular hoodlum such as Pretty Boy Floyd or Machine Gun Kelly and each has been riddled with bullet holes in the metalwork and glass by Mr. D. in person, and touched up with paint or artificial rust to give it a particular feel ... inspired.

In the same room you’ll find the Revisionist paintings, but they are mainly different from the ones exhibited in NYC and, in my opinion, more amusing, more pithy and more of a piss-take on modern society. One is particularly rude, involving an almost naked lady with legs wide open; this is meant to be an attack on the mad state of the art market (but I’ll spoil your fun if I tell you how).

Go up to the top floor and see some original Drawn Blanks and the new Train Tracks range – Spare Tracks – which are a disappointment. There are only three on display out of the 320-odd available. They are all orange and all have added original art work by Dylan, with some clouds and extra details on the track sidings, etc. They are all very slightly different and, because Mr. D. has spent a few minutes adding some extra detail to make it almost a one-off, you pay £25,000.

Turn your back on them and look to the other side of the room – or perhaps you notice it as soon as you walk in – there is the biggest Train Tracks you’ve ever seen, the biggest Bob has ever done, some 12 foot by 8 foot (or at least that’s what it seemed to be to me), landscape rather than portrait, far more colour, far more detail, far more vibrant, far more expensive. Look out for the glass around the stairwells on which they’ve etched copies of Bob’s paintings ... very effective.

There is a catalogue of the metalwork aspect of the exhibition that is available at the desk. I think it was £40 or £45 but I’m pleased to say that I got mine for free. Also, look out for the special limited edition giant, luxury, Drawn Blank catalogue. They weren’t available for sale on the day but I’ve ordered my copy.

I honestly cannot believe that you won’t enjoy this exhibition thoroughly. Oh, and people were buying and quite a few pieces were sold that very morning. I was standing in front of my favourite piece (cost £145,000) and someone walked over and said, “Sorry, you can’t have it. I’ve just bought it.” He came all the way over from the Carolinas for it and told me that the gallery manager had informed him that one of our royal princes (he couldn’t remember who) had ordered a gate on commission from Bob as a present for her Maj or, more likely, Prince Charles, and that Bob was supposed to be popping along to Buck House whilst he’s in London.