Department of Art & Art History
Office hours: By Appointment
Annie M. Labatt graduated from Saint Mary's Hall in 1997. Since then, Labatt graduated from Columbia University with a bachelor of arts in history. She then went on to The University of Glasgow to earn a master in philosophy in 2003. Labatt earned an additional two masters degrees in art and philosophy from Yale University in 2006 and 2007, respectively, and her PhD also at Yale in Byzantine art history. She received the Georgiana Pimentel Contiguglia Grant from Barnard College in 2001, the Phyllis G. Gordan/Samuel H. Kress Foundation Pre-Doctoral Rome Prize in 2008 and the Sumner McKnight Crosby Fellowship Fund from Yale University from 2006 - 2009. She has lead an eight-part Art History 101 lecture series at the San Antonio Museum of Art, and currently serves as Assistant Professor in Art History and Criticism at the University of Texas at San Antonio. Additionally, she speaks six languages, including English, Greek, Latin, German, Italian and Spanish.
Department of Art & Art History
Office hours: By Appointment
Research area: Printmaking, Drawing, Painting
M.F.A., University of Texas at San Antonio, 2011
B.F.A., University of Texas at San Antonio, 2009
B.A., University of Texas at San Antonio, 2009
A.A., Laredo Community College, 2006
Advanced Printmaking: Screen Printing
Painting for Non Art Majors
Drawing for Non Art Majors
2 Dimensional Foundations
I have lived in a border town (Laredo, TX) where different cultures clash and yet expressions and emotions coalesce. However here in the US, its traditions, racism, and stereotypes have introduced me to the reality of being an immigrant in a different country.
Working representationally and sometimes with the surreal I portray images of the typical Mexican-American’s life, iconography, and beliefs. My objective is to bring people together, with sentimental, satirical, sarcastic, and comical themes. I hope to evoke self-awareness and then to superimpose that awareness on the experiences of life.
Department of Art & Art History
Office: SCG 1.212
Office hours: by appointment
Research area: Sculpture, Installation
Buster Graybill earned his MFA in Sculpture from the University of Texas at Austin and his BFA in Sculpture from the University of North Texas in Denton. He utilizes sculpture, installation, video, performance, and photography to traverse and reconnect with often-overlooked places found in the rural landscape. His works have been exhibited in museums and galleries throughout Texas, New York, Boston, and Mexico. Awards include a Skowhegan Artist Residency and Fellowship, an Idea Fund Grant through the Andy Warhol Foundation, Artist Foundation of San Antonio Grant, and a solo exhibition/residency at Artpace in San Antonio, TX.
M.F.A., University of Texas at Austin, 2008
B.F.A., University of North Texas in Denton, 2001
3- Dimensional Foundations - Art 1013
Sculpture: Basic - Art 2613
Introduction to Visual Arts – Art 1103
Sculpture For Non Art Majors-Art 1143
2013 Feral: Buster Graybill, Art League Houston (Main Gallery), Houston, TX.
2011 Progeny of Tush Hog, Austin Museum of Art, Austin, TX. Curated by Andrea Mellard
2010 Tush Hog, Artpace, San Antonio, TX. Curated by Helen Molesworth
2006 Oklahoma Snorkel, The Donkey Show, Austin TX. Curated by Risa Puleo
Natura, nurture, torture, Instituto Cultural de Leon, Guanajuato, Mexico
Map, Artist Foundation of San Antonio, San Antonio, TX
Faculty Exhibition, UTSA Art Gallery, San Antonio, TX
Art League Houston, 65th Anniversary Gala, Art League Houston, Houston, TX
Prolegomena, Jack Hanley Gallery, New York, NY
Frieze New York, Jack Hanley Gallery Booth, New York, NY
Looking at Animals, Gallery 219 Eastfield College, Mesquite, TX
Faculty Exhibition, NLC Art Gallery, Universal City, TX
TX Contemporary Art Fair: Artpace Booth, Houston, TX
Luminaria, Hemis Fair Park, Curated Project by Chris Sauter
Artists in Academics, Beeville Museum of Art, Beeville, TX Curated by Ken Little
Faculty Exchange, Weil Gallery, Texas A&M University, Corpus Christi, TX
Faculty Exhibition, NLC Art Gallery, Universal City, TX
Faculty Exhibition, UTSA Art Gallery, San Antonio, TX
Post-Now, Marty Walker Gallery, Dallas, TX
Texas Biennial: Temporary Outdoor Commission, Austin, TX
Viewfinder, Dallas Contemporary, Dallas, TX
The Big Show, Lawndale Art Center, Houston, TX
Juror: Laura Fried, Assistant Curator for the Contemporary Art Museum, St. Louis
20 to Watch: New Art In Austin, The Grace Museum, Abilene, TX
20 to Watch: New Art In Austin, Diverse Works, Houston, TX
49th Faculty Exhibition, Sam Houston State University Gaddis Geeslin Gallery, Huntsville, TX
20 to Watch: New Art In Austin, Blue Star Contemporary Art Center, San Antonio, TX
Viewfinder, Houston Center For Photography, Houston, TX
New Faculty Spotlight, Sam Houston State University Gaddis Geeslin Gallery, Huntsville, TX
20 to Watch: New Art In Austin, Austin Museum of Art, Austin, TX
XIII, Visual Art Center, University of Texas, Austin, TX
Aqua Art Miami, Art Palace, Miami, FL
Selections from the Texas Biennial, Blue Star Contemporary Art Center, San Antonio, TX
Texas Biennial 2007, Bolm Studio’s, Austin, TX
2007 Outdoor Sculpture Exhibition, The Irving Art Center, Irving, TX
Garland Fielder, Critic’s Picks:Buster Graybill, Artforum, 2011
Smith, S.E., Buster Graybill: Tush Hog, Pastelagram Issue #3, 2011
Van Ryzin, Jeanne Claire, Tush Hog, Austin American Statesmen, Dec 10, 2011
Steve Bennet, Whole Hog, San Antonio Express News, Sunday, April 25, 2010
Ben Judson, IAIR 10.1, Artlies, Issue 66, 2010
Dan R. Goodard, Artpace IAIR 10.1, Glasstire.com, April 2010
Ben Davis, Miami Post Mortem, ARTNET, December 2007-Febuary 2008
JR Compton, Putting the ‘Bi’ in the Texas Biennial, Dallas Arts Review, 2007
Castillo, Salvador, Buster Graybill: The Oklahoma Snorkel, Austin Chronicle, November 17, 2006
Van Ryzin, Jeanne Claire, Love Song to East Texas, Austin American Statesmen, November 9, 2006
Erika Morawski, Buster Graybill, Catalog Essay Making it Alone, July, 2006
I harvest memories, stories, language, and objects from the rich cultural geography of rural America and use it as creative fuel. I am compelled by the subtle shifts and rapid changes that are occurring in the landscape as urban sprawl continues to consume and displace both nature and culture. My projects explore these moments and places of change, addressing themes of adaptation, displacement, and re-contextualization.
With one foot firmly planted in the rural landscape and the other constantly testing the waters of contemporary art, I find myself thriving in the brackish water of the “in-between”. Like the ebb and flow of the ocean’s tides pushing and pulling against the river’s current, my artwork fluctuates between the conflicting vernaculars of country grammar and art speak; between formal and conceptual; between intuition and intellect; and between performance and production. I find poetry, beauty, ingenuity, and humor in the fringe areas that lie “in-between”- places where culture, nature, objects, and aesthetics collide, overlap, adapt and sometimes co-exist.
Artist Foundation of San Antonio Grant, 2012
Idea Fund Grant, Andy Warhol Foundation, 2011
Best 40 Public Works of Art in US and Canada, Americans for the Arts, 2010
Bemis Center For Contemporary Arts Residency, 2010
Artpace International Residency, San Antonio, TX 2010
Best of 2010:Visual Arts, San Antonio Express News, San Antonio, TX 2010
Animal Instinct Award, Contemporary Art Month, San Antonio, TX 2010
Juror’s Cash Award, The Big Show, Lawndale Art Center, Houston, TX 2009
Juror: Laura Fried, Assistant Curator for the Contemporary Art Museum, St. Louis
Skowhegan School of Painting and Sculpture Fellowship & Residency, Skowhegan, Maine 2007
Department of Art & Art History
Office: ART 4.01.18
Office hours: by appointment
Research area: Painting, Drawing, Video
Jason Pearce Willome was born in San Antonio, Texas, and studied art at San Antonio College before earning a B.F.A. in Studio Arts from the University of Texas at Austin in 2000, and an M.F.A. from the University of Colorado at Boulder in 2003. In addition to teaching art full time at the University of Texas at San Antonio, Jason has taught art for the Alamo Colleges, the University of Colorado, Boulder, and was a tenure-track assistant professor at the University of Hawai'i Manoa for two years. Jason has exhibited his work in Honolulu, New Orleans, Texas, Colorado, Kentucky, Tennessee, Colombia, and the Middle East. Jason currently lives and works in San Antonio.
M.F.A., University of Colorado at Boulder, 2003
B.F.A. University of Texas at Austin, 2000
Color Theory & Practice,
Web site: http://www.jasonpearcewillome.com
Dacheux, Stacy, "Everyday Abstraction, A Conversation with Jason Willome," Revising Lonliness: Looking for Art Every Day (blog). May 9, 2013. http://revisingloneliness.com/2013/05/09/everyday-abstraction-a-conversation-with-jason-willome/
Dacheux, Stacy, "Portraits And Abstract Paintings Inspired By Glitter Bombed Lindsay Lohan." Beautiful Decay, April 10, 2013. http://beautifuldecay.com/2013/04/10/portraits-and-abstract-paintings-inspired-by-glitter-bombed-lindsay-lohan/
When I am honest with myself, I have very little experience with seeing actual art; like many people, I rely most on vicarious encounters with reproductions. This limitation is interesting to me: the tension between perceiving something as actual and/or mental. Often my work is a struggle to remake or fill in the gaps in my experience. Reproduction, analogue, and artifice are ways of propping open sensations and ideas, so I can get at the truth of the experience – is the image more real as an object, or as it exists in my head? I try to emphasize the edges of these ___; the areas of sensation where the image and the object confuse each other and perforate the firmament that we cling to for ___. In the end, it is not a question of representation, so much as a fluid, psychological continuity - a description moving between separate encounters. When a raven is like a writing desk.
Department of Art & Art History
Research area: Painting
Field, a native Californian, received his B.A. from Stanford University and his M.F.A. from the University of Washington. His teaching career of 37 years included the University of New Mexico, the University of Texas at San Antonio, The University of Texas at Austin, Western Illinois University and the American Institute for Foreign Study in London. He is a Fellow of the Ballinglen Arts Foundation in Ireland and was San Antonio Art League's Artist of the Year 2005. He retired from UTSA in 2002.
Field began to explore landscape painting in 1974, and, according to Diana Roberts of The Center for Spirituality and the Arts, his works document the encroachment of cities into pastoral landscapes with "an aesthetic tension in these scenes, with clues that nature is, in small ways, reclaiming itself."
He has had more than 25 solo and extensive group exhibitions and is represented in many public collections which include:
The Austin Museum of Art
El Paso Art Museum
Illinois State Museum
Southwestern Medical School, Dallas
University of Texas at San Antonio
M.F.A. University of Washington
The immediacy of plein-air painting is exhilarating. I can see and feel the enormous sweep of nature with all elements in motion. In the studio, my approach is as direct as when I am working in the field. I have painted on the remote coasts of Ireland, Nova Scotia, the Pacific Northwest, as well as Tuscany, New Mexico, the Texas Hill Country and Gulf Coast. Many of my paintings might be called "skyscapes," as the infinite space and illumination of the sky are key to my compositions. I love to move paint and color in response to the challenge of natural form, space and light.
Department of Art & Art History
Office: ART 4.01.06B
Office hours: By Appointment
Research area: Sculpture, Ceramics
Gregory Elliott has been making and exhibiting sculpture for the past 30+ years. He holds 3 degrees including a B.F.A. from Stephen F. Austin State University with concentrations in Commercial Art, Printmaking and Ceramics; an M.A. from Stephen F. Austin Studio Art, Ceramic Sculpture and his M.F.A. from Southern Methodist University focused in Sculpture. Elliott was the first artist in residence for the Ysleta Independent School District in El Paso, Texas from 1980 to 1983 and was part of the faculty of the El Paso community college from 1983 to 1985, teaching sculpture, ceramics, drawing and design. From 1985 to1988, Elliott was a faculty member at Brookhaven College, in Dallas, Texas, teaching ceramics and sculpture. He spent 14 years as part of the faculty at Louisiana State University (LSU) from 1988 to 2002. While at LSU he served as both the Coordinator of Graduate Studies and the Area Head of Sculpture for the Art Department. From 2002 to 2008, Elliott served as chairperson for the Department of Art at the University of Texas at El Paso. Currently, Gregory Elliott serves as the chairperson of the Department of Art and Art History at the University of Texas at San Antonio.
M.F.A., Southern Methodist University, Dallas, TX 1988
M.A., Stephen F. Austin State University, Nacogdoches, TX 1980
B.F.A., Stephen F. Austin State University, Nacogdoches, TX 1978
Intro to Visual Arts
Topics: COLFA in Urbino
Practicum in the Visual Arts
Department of Art & Art History
Research area: Drawing, Painting, Photography
Professor Emeritus James Broderick served UTSA from 1983 to 2003 in varying capacities as Professor of Art, Division Director, Department Chair and Founding Chair of the UTSA Public Art Commission. During his tenure, the department added tenure-track faculty positions, the number of undergraduate and graduate art majors regularly increased, and a master of arts degree in art history and criticism was added to the existing B.F.A. and M.F.A. degrees. A native of Chicago, Broderick earned degrees from St. Ambrose University and the University of Iowa. He has taught in higher education since 1966 and administered three university's art programs since 1970.
Broderick's major external leadership contribution has been to the National Association of Schools of Art and Design. NASAD is the only national professional accrediting agency for educational institutions in the visual arts. Broderick has served NASAD in a number of capacities including: President of NASAD, Executive Committee of the Board of Directors, Chairman of the Commission on Accreditation, Chair of the Committee on Research, as well as Program Evaluator, Consultant, and Accreditation Visit Team Director on campuses of over sixty institutions of higher education.
Since his retirement from UTSA Broderick continues to serve as Consultant to a wide variety of other institutions of higher education. He also accepted numerous invitations to serve as Chair of NASAD Visiting Accreditation Teams to art schools, colleges, and universities.
For four years Broderick served on the art discipline screening committee for Senior Fulbright Scholar awards through the Council for International Exchange of Scholars. He served as the first Chair of the National Council of Arts Accrediting Organizations and its Board of Trustees. A member of the National Council of Art Administrators (NCAA) since 1971, Broderick actively served on the NCAA Board of Directors and has planned, organized and co-hosted two of their national conferences. He served on the boards of directors of the Texas Association of Schools of Art and the Texas Art Education Association.
Broderick taught undergraduate and graduate classes in a variety of studio disciplines including drawing, printmaking, photography and mixed media. He is an artist with a national exhibition record spanning 40 years, exhibiting his artworks in group-shows throughout the U.S. and in solo shows in Iowa, Missouri, Colorado, Texas and Peru. His current studio work is in various forms of drawing, painting, and photography.
BA St. Ambrose University 1962
MA University of Iowa 1966
Department of Art & Art History
Office: ART 1.01.26
Research area: New Media
Department of Art & Art History
Research area: Pre-Columbian and Latin American Art History
Jacinto Quirarte is a professor emeritus and former Dean of the College of Fine and Applied Arts at the University of Texas at San Antonio (UTSA). As an art historian, he concentrated on Pre-Columbian art history. In addition to numerous articles, Quirarte wrote The Art and Architecture of the Texas Missions, which was published by the University of Texas Press in 2002. He was also the author of Mexican American Artists and Izapan Style Art--A Study of Its Form and Meaning.
Born in 1931 in Jerome, Arizona, a small mining town, he lived in an area of town referred to as "El Barrio Méxicano" or "El Barrio Chicano." His father was an immigrant from Mexico and his mother was born in the United States. He received bachelor of arts and master of arts degrees from San Francisco State College (in 1954 and 1958, respectively) and his Ph.D. degree from the National University of Mexico in 1964. Prior to coming to UTSA, Quirarte taught at the Colegio Americano in Mexico City, the University of the Americas in Mexico City, and the University of Texas at Austin.
Jacinto Quirarte became UTSA's Dean of the College of Fine and Applied Arts upon its inception in 1972. As Dean, he was among the first academic officers charged with building the new University. He oversaw the College's move to its permanent location on the new UTSA campus at Loop 1604 in 1975. He resigned as Dean in 1979 to be the full-time director of UTSA's Research Center for the Arts at UTSA.
Quirarte lectured at conferences and museums in the United States and other countries. He was appointed to the Federal Advisory Committee on Affirmative Action in Employment at Institutions of Higher Education. He was also a panelist-columnist for the National Endowment for the Humanities. Additionally, he served on the boards of directors of the San Antonio Symphony, the San Antonio Arts Council, and the Harvard Journal on Chicano Affairs.
The Department was saddened by the death of Dr. Jacinto Quirarte, 80, who passed away July 20, 2012. Dr. Quirarte inspired and guided countless students throughout his career. As an art historian, he published several books on Latin American art and was among the first to identify and study the Chicano art movement. In 1996, Dr. Quirarte was interviewed for the Oral History Project for the Archives of American Art, Smithsonian Institution where he reflected on his life experiences. Our deepest sympathies go out to his family.
Doctor of Philosophy, Mexican University, Art, 1964
Master of Arts, San Francisco State University, Education, 1958
AHC 1033 Masterworks in Art
AHC 4333 Topic: Latino/Chicano
AHC 5123 Seminar: Research Method & Writing
AHC 5853 Topic: Choque de Culturas
AHC 6953 Seminar: Artists in Film
Comprises papers, speeches, and related materials by Jacinto Quirarte. Also includes works by others collected by Quirarte.
When no author is listed in the folder description, the author is Jacinto Quirarte. Original order and folder titles have been retained.
"Diferencias Arcitectonicas en dos Ciudades Mayas: Uxmal y Chichen Itza,"Boletin, Venezuela, 1966 May 5
"El Arte del Mexico Antigua,"Pro Arte, Revista Cultural, Maracaibo, Venezuela, 1967 May
Lecture on "Maya Vase/Mural Painting" given at University of Colorado, Boulder, 1968 April
Lecture on "Sidney Janis and His Collection" at The Museum of Fine Arts, Houston, Tex., 1968 November
"Izapa - A Link Between Olmec &amp; Maya." Paper presented at 35th Annual Meeting of S.A.A. [Society for American Archaeology], Mexico City, 1970 May
"The Ballcourt in Mesoamerica: Its Architectural Development". C.A.A. (St. Louis, Mo.) - first draft and two carbons of final version; also notes and other data, 1968 January
"El Juego de Pelota en Mesoamerica: Su Dearollo Arquitectonica."Estudios de Cultura Maya, Vol. VIII, 1970
"El Juego de Pelota en Mesoamerica: Su Dearollo Arquitectonica."Estudios de Cultura Maya, UNAM - English typescript, 1970
"The Ballcourt in Mesoamerica: Its Architectural Development," in Pre-Columbian Art History (Palo Alto, Calif.), 1977
Preliminary draft, u-shaped element paper (first draft for typist and several memograph copies; also illus. used with preliminary draft, undated
"An Interpretation of the U-Shaped Element in Izapan, Mayan, &amp; Zapotec Monuments," New York, 1970 July
Izapan-Style Art: A Study of Its Form &amp; Meaning. Studies in Pre-Columbian Art &amp; Archaeology, No. 10. Dumbarton Oaks (Washington, D.C.) - work papers, 1973
Izapan-Style Art: A Study of Its Form &amp; Meaning. Studies in Pre-Columbian Art &amp; Archaeology, No. 10. Dumbarton Oaks (Washington, D.C.), 1973
George Kubler, "Studies in Classic Maya Iconography," in Ameircan Anthropologist, Vol. 74, 1972
Tulane University Symposium on Art of Latin America, 1972 April
Carlo T. Gay, "Xochipala. The Beginning of Olmec Art," in Hispanic American Historical Review, Vol. 53, No. 1, 1971
Munro S. Edmonson, "The Book of Counsel: The Popol Vuh of the Quiche Maya of Guatemala," in American Anthropologist, 1971
J. Eric Thompson, "Maya Hieroglyphs with-without Tears," in American Anthropologist, 1973 December
Charles R. Wicke, Olmec: "An Early Art Style of Pre-columbian Mexico," 1971, in Journal of Ethnic Studies, 1973 Fall
"The Relationship of Izapan Style Art to Olmec and Mayan Art: A Review,"L.A.S., California, 1976
"The Relationship of Izapan Style Art to Olmec and Mayan Art: A Review," undated
"The Relationship of Izapan Style Art to Olmec and Mayan Art: A Review." Paper presented at the Symposium at UCLA (Los Angeles, Calif.) - copyedited text and galleys, 1973 February
"Izapan &amp; Mayan Traits in Teotihuacan III Pottery," Paper presented at Society for American Archaeology (San Francisco, Calif.), 1973 May
"Izapan &amp; Mayan Traits in Teotihuacan III Pottery," UCARF, 1973
"Izapan &amp; Mayan Traits in Teotihuacan III Pottery," Paper presented at Society for American Archaelogy (San Francisco, Calif.) - work papers, 1973 May
"Mayan &amp; Teotihuacan Traits in Classic Maya Vases," published in Proceedings of the IX International Congress of Anthro. &amp; Ethno. Sciences (Chicago) - work papers, 1973 September
"Mayan &amp; Teotihuacan Traits in Classic Maya Vases," published in Proceedings of the IX International Congress of Anthro. &amp; Ethno. Sciences (Chicago), 1973 September
"Mayan &amp; Teotihuacan Traits in Classic Maya Vase Painting of the Peten,"CCM, The Hague (Paris), 1978
"Izapan Style Antecedents for the Maya Serpent in Celestial Dragon &amp; Serpent Bar Contexts,"23rd International Congress of Hist. of Art. (Granada), 1973 September
"Izapan Style Antecedents for the Maya Serpent in Celestial Dragon &amp; Serpent Bar Contexts,"23rd International Congress of Hist. of Art. (Granada) - work papers, 1973 September
"Izapan Style Antecedents for the Maya Serpent in Celestial Dragon &amp; Serpent Bar Contexts,"CIHA (Granada), 1973
"The Representation of Earth &amp; Sky in Izapan Style &amp; Early Classic Maya Art," paper presented Mid. Am. College Art Assoc. (Albuquerque, N.M.) - work papers, 1973 November
"Terrestrial/Celestial Polymorphs as Narrative Frames in the Art of Izapa &amp; Palenque," paper presented Primera Mesa Redonda de Palenque (Mexico) - work papers, 1973 December
"Terrestrial/Celestial Polymorphs as Narrative Frames in the Art of Izapa &amp; Palenque," paper presented Primera Mesa Redonda de Palenque (Mexico) , 1973 December
"Terrestrial/Celestial Polymorphs as Narrative Frames in the Art of Izapa &amp; Palenque," undated
Lecture on "20th century Mexican Muralists &amp; Their Immediate Predecessors," UT Health Science Center, 1973 November
Lecture on "Contemporary Mexican &amp; Mexican American Artists," UT Health Science Center, 1973 November
Work papers [for] article "The Murals of El Barrio,"Exxon USA, 1974 December
Chicano art project - Murals - General (Barrio Art Exhibit - Exxon), undated
"How to Look at Pre-Columbian Art,"The San Antonio Light, 1974 April
"Mixtec Presence in Santa Rita, Belice" - paper presented at symposium (Mexico) - work papers, 1974 September
"Mixtec Presence in Santa Rita, Belice" - paper presented at symposium (Mexico), 1974 September
"The Wall Paintings of Santa Rita, Corozal,"Nat. Studies vol. 3 (Belize), 1975 July
"Early Art Styles of Mesoamerica &amp; Early Classic Maya Art," paper presented at Conf. on Origins of Civil. in the Maya Lowlands (Santa Fe), 1974 October
"Early Art Styles of Mesoamerica &amp; Early Classic Maya Art," (Santa Fe, N.M.) - version II, 1974 October
"Early Art Styles of Mesoamerica &amp; Early Classic Maya Art," (Santa Fe, N.M.) - version III - work papers, 1974 October
"Early Art Styles of Mesoamerica &amp; Early Classic Maya Art," (Santa Fe, N.M.) - version III, 1974 October
"Early Art Styles of Mesoamerica &amp; Early Classic Maya Art," 1974
"Early Art Styles of Mesoamerica &amp; Early Classic Maya Art," University of New Mexico (Albuquerque), 1977
"Creative Art As Ritual," 1974
Lecture on Izapan Style Art, Univ. of Calif. at Santa Cruz, 1974 June
Lecture on Masks: Ancient &amp; Modern Mex. at Amon Carter Museum, Ft. Worth, Texas, 1974 November
17 Artists Hispano/Mexican Am/Chicano, 1975
Preface to Iwonski in Texas - Painter and Citizen, 1975 November
Present a paper on "Space in Maya Painting" at Society for American Archaeology in Dallas, 1975 May
Present a paper on "Space in Maya Painting" at Society for American Archaeology in Dallas - work papers, 1975 May
"Actual and Implied Visual Space in Maya Vase Painting: A Study of Mirror Images and Two-Headed Compound Creatures" for publication in Contribution of the UCARF - work papers, 1975 May
"Actual and Implied Visual Space in Maya Vase Painting: A Study of Mirror Images and Two-Headed Compound Creatures" for publication in Contribution of the UCARF , 1975 May
"Actual and Implied Space in Maya Vase Painting: A Study of Double Images and Two-Headed Compound Creatures" , 1978 January
"The Underworld Jaguar in Maya Vase Painting: An Iconographic Study,"New Mexico Papers in the Fine Arts, University of New Mexico, 1976 March
UW Jaguar in Maya Vase Painting - work papers, undated
Paper on "Chelo" prepared for Journal of the Los Angeles Institute of Contemporary Art, 1975 May
Lecture on "Place of the Arts in the Bicentennial," American Issues Forum, San Antonio, 1975 July
Speak to West Side Lion's Club on "Art and Music Courses at UTSA," 1975 September
Lecture for CON SAFO Art Group - "Creative Art as Ritual: Mexican and Chicano Art," 1975 December
"The Underworld Jaguar in Maya Vase Painting: An Iconographic Study,"New Mexico Papers in the Fine Arts, University of New Mexico - work papers, 1976 March
"The Underworld Jaguar in Maya Vase Painting: An Iconographic Study," University of New Mexico, 1976
"The Representation of Underworld Procession in Maya Vase Painting: An Iconographic Study," 1978 February
"The Representation of Underworld Procession in Maya Vase Painting: An Iconographic Study," undated
"Methodology in the Study of Pre-Columbian Art" at I.C.A. Annual meeting (Paris, France), 1976 September
"Methodology in the Study of Pre-Columbian Art" at I.C.A. Annual meeting (Paris, France) - work papers, 1976 September
42a [Untitled folder]
"Methodology in the Study of Pre-Columbian Art," 1976
Paper on "Sculptural Documents on the Origins of Maya Civilization," ICA meeting, Paris, 1979 September
Paper on "Sculptural Documents on the Origins of Maya Civilization," ICA meeting, Paris - work papers, 1979 September
"Sculptural Documents on the Origins of Maya Civilization,"ICA, vol. VIII, 1976 September
Lecture at the Cleveland Museum of Art on "Classic Maya Vase Painting," Cleveland, Ohio, 1976 November
The identification of a Historical Personnage named U-Caan Inverted Ahau on Three Guatemala Highland Vases, 1976
Altun Ha Style (work papers), undated
"Tricephalic Units in Olmec, Izapan Style, and Maya Art" - original, 1977 September
Paper on "Bicephalic Compound Creatures in Maya Vase Painting" (preliminary remarks), 1976 August
Tricephalics paper - drafts and work papers, undated
"Tricephalic Units in Olmec, Izapan Style, and Maya Art" - workpapers, 1977 September
"Tricephalic Units in Olmec, Izapan Style, and Maya Art" - typescript, undated
"Tricephalic Units..." work papers and correspondence, 1977
"Tricephalic Units in Olmec, Izapan Style, and Maya Art", 1981, 
Creative art as ritual (Tulane), 1977 April
"The Representation of Place, Location, and Direction on a Classic Maya Vase," 1978 October
48 [Untitled folder]
"The Representation of Place, Location, and Direction on a Maya Vase," UTSA, undated
"The Representation of Place, Location, and Direction on a Maya Vase," 1978 October
"The Representation of Place, Location, and Direction on a Maya Vase," TMRP, California, 1979
New Santa Rita paper - work papers, undated
"The Santa Rita Murals: A Review," UTSA, 1980
Santa Rita paper - first draft, undated
50 [Untitled folder]
"The Santa Rita Murals: A Review"
Quick-copy copies, undated
Art Journal article, undated
"Synchronic Links with the Past: Sources of Chicano Art,"Art Journal (not published)
"The Borderlands...", published in Imagine, undated
55 [Untitled folder]
"Antecedents of Chicano Art," Austin talk, Florida also, 1979 September
Austin talk: Archaeological site of Montealban, 1979 October
Catalogue paper rollouts
A Proposal for a Catalogue of Classic Maya Pictorial Vases
Catalogue paper - vessel preparation
57 [Untitled folder]
Copies and work papers: catalogue/Maya vases
Funerary bundles paper (work papers)
"Funerary References in Two Maya Polychrome Vases"
Jaguar bundles - text, work papers
"Funerary References in Three Maya Polychrome Vases", Circumpacifica and IIE-UNAM(begun 1980, published 1990)
Original text with illustrations
Cacaxtla drawings and cut and paste illustrations
Cacaxtla "clean" Xeroxes (cut and paste Xeroxes)
"Outside Influence of Cacaxtla," 1980 October
"Pre-Columbian Art" University of Texas Health Science Center, 1981 November
63a [Untitled folder]
"The Art and Architecture of Mesoamerica: An Overview," 1985
65 [Untitled folder]
1981-6, "Confluence of Cultures" lecture, D.O.; "Border Art: Interior - El Paso," 1981 October
The Coatlicue in Modern Mexican Painting. RCA Review, 1982
ANUIES meeting, Tijuana, 1983 October
Public lecture: "Contemporary Art of Mexico and Venezuela," 1983 June
Merle Greene Robertson, The Sculpture of Palenque 1983; 1985 vols. I &amp; II, reviews for New Scholar
"Palenque the 'Beautiful'"New Scholar, 1986
"Palenque, the 'Beautiful'", New Scholar (review of the Merle Greene Robertson publication)
"Mexican and Mexican-American Artists in the U.S.: 1920-1970," Bronx Museum, begun 1985
Professional: Bronx Museum exhibition (begun 1985)
Prof. Quirarte ball court paper""
"Chicano and Mexican Art: A Search for Identity," Intl. Long. H.A., 1986 August
"A Search for Identity: Mexican and Chicano Art" XXVth Intl Cong. Hist. Art, 1986 August
CARA exhibit - newspaper articles
Travel - Wight Gallery UCLA - Defining Chicano Art planning session, 1987 July
"Izapan Style Art" encyclopedia text, begun 1986
Hispanic American Art, American Museum, Washington, D.C., begun 1986
Hisp. Am. Art / Arte Hisp. Am, American Museum, Washington, D.C.
Diego Rivera: A Retrospective, catalogue review, Americas Society, NYC, 1987 July
Diego Rivera: A Retrospective, prepared for Americas Society, not published
Travel - Houston Museum, Hispanic Arts in the U.S. exhibition and symposium, 1987 April-May
"The Background of Hispanic American Art in the U.S." Houston symposium, 1987
"Hispanic Trad. in Am. Arch / URB" symposium at Columbia, 1987 October
Masterworks book project, 1988 Summer
How to Look at a Masterpiece - work papers
How to Look at a Masterpiece - revised, 1998 Summer
Masterworks - appendices, work papers
Art of the Americas, 1989
"What Is Latin American Art?", 1989
Typescript, review of exhibit "Hispanic Art in the U.S." for Santa Fe Recorder, 1988 July
"Cuzco Painting" lecture (Tyler, Tex.), 1989 April
"Chicano Art" lectures, Kansas City Art Inst.
Travel - Santa Fe, N.M., lecture part of Hispanic Arts in U.S. exhibition, 1988 September
Images of Mexico presentation, Dallas Museum of Art, 1988
"Mexican American Art and Artists: a History", 1988
Manu. review, 1989
Art of the other Mexico
Art of the other Mexico project
Artes de Mexico lecture series, Rockefeller project, 1989
Splendors of Thirty Centuries: events related to the exhibition, 1989
Artes de Mexico - lecturers (consultants - honoraria; travel), 1989
Artes de Mexico grant award, Rockefeller Foundation, 1989
Artes de Mexico miscellaneous items, 1989
Artes de Mexico lecture series, SAMA, begun 1989
Missions book contract
Herran, Our Gods - text for Met exhibition, 3000 Years of Mexican Art
Julio Castellonos - text for Splendors catalogue
Splendors of Mexico catalog entries - correspondence
Splendors catalog entries
Rivera, Angelina Beloff, 1909
Rivera, Sailor at Lunch, 1914
Lecture on "Hispano Mexican American, &amp; Chicano Art: Review," Denver Art Museum, 1975
Paper from Loch Haven, Orlando, Florida, "Hispanics in Florida," 1979
Lecture: Mexican art, Fort Wayne, Indiana, 1989
"Epigraphers, Iconographers and other Tourists in the Realm of Maya Art," 1989
Mason City project
Lecture, McNay Art Institute, "Art of Guatemala: From Ancient to Present," 1989
El Dia de los Muertos, 1989
"Mex. and Mex Am Art," Beaumont, TX, 1992
"Chicano Art and Altars," San Bernardino, 1992
Chicano Art conf. Mex. Am. and Latino Identity in Texas, ITC, 1992
Chicano Aesthetic - UTEP project, 1992
Santa Barbara lectures, SAMA comm. assign., 1993
Editorial Board, Americas, 1993
CAA session (cancelled), 1993
Art/music lecture, SAMA, 1993
"Maya Vase Ptg," Trinity University, 1994
UTEP Art Program review, 1995
Lecture, Colonial art, San Antonio Museum of Art, 1995
Lecture, "Frida Kahlo," 1995
NCAD conf. Luis Jimenez intro, 1995
Faculty leave proposal, 1996
Travel - Dallas, Museum of African American Art, 1997
Maya symposium (cancelled), Muralist conference (cancelled), 1997
Oral history conference, New Orleans, 1997
The Ballcourt in Mesoamerica - UT Austin, 1968
Lecture series, continuing education, UTHSC [University of Texas Health Science Center], 1973
Lecture on Plans for UTSA in the cultural life of S.A., Jr. League of S.A. Provisional, McNay Museum, 1974
Travel - Austin, Texas (Lecture), 1979
Travel - Austin, Texas (UT) (Conference on Latin Amer. visual arts), 1980
Portales, New Mexico, 1980
Brownsville talk, 1981
Hispanic Ethnic Studies TV series: University of Wisconsin-Milwaukee-Spanish Speaking Outreach Institute (the producers), 1981
Filming of "La Morenita," Adan Medrano (notes), 1981
The Uses and Abuses of PreColumbian Art in Mexican Murals, UNAM, San Antonio, Texas, 1982
Travel: Tulsa, Oklahoma, Latin American Conference, 1983
NCECA Conference Lecture, San Antonio, Texas, 1986
Travel - NCECA Conference, 1986
Texas A&amp;M Conference, 1986
Travel - UCSB, "Chicano and Mexican Art," 1986
Travel - Cranbrook, "Chicano and Mexican Art," 1986
Travel - El Paso, TX - NCAA Conference/Roundtable, 1990
Original order and folder titles have been retained.
Book Project: Art and Architecture of the Texas Missions, UT Press, Deadline for typescript: 5-01-01
Correspondence, UT Press - Theresa May
Correspondence, UT Press - Carolyn Cates Wylie
Correspondence, UT Press - Rachel Chance
Photos/negatives - missions book
Witte Museum Photos, Huffstuttler, missions book
Mission: illus. DRT Library Utterback
Women of Color exh., Commentary, Guadalupe Cultural Center, San Antonio, March 8, 1990
Advisory Editorial Board, Latin American Art Magazine, 1990-3
"Mex. and Chicano Muralists," Denver Art Museum, May 24, 1990
NCAA Roundtable, Nov. 29-Dec. 2, 1990
Consultancy, TCH Historical Minutes for 1992 Celebrations, Colonial topics
Rivera, Terrasse du Cafe, 1915
Rivera, Portrait of Ramon Gomez de la Serna, 1915
Rivera, Still Life with a Green House, 1917
Rivera, The Mathematician, 1918
Rivera, The Balcony, 1921
Rivera, The Grinder, 1924
Rivera, Flower Day, 1925
Rivera, Tortilla Maker, 1925
Rivera, May Day Sketchbook, 1928
Rivera, Dance in Tehuantepec, 1928
Rivera, Agrarian Leader Zapata, 1931
Rivera, The Flower Carrier, 1935
Rivera, Guadalupe Marin, 1938
Rivera, Self-portrait, 1941
Rivera, Nocturnal Landscape and The Temptations of St. Anthony, 1947
Quirarte - Rivera galleys, Splendors, exhib. cat.
Mexico Nueve, 1991
Salinas text, Handbook of Texas (begun 1990)
Hispanic Almanac contract
Hispanic Almanac correspondence
Hispanic Almanac, photos, diag. not used
Tejanos catalogue text (begun 1990)
Splendory Esplendores video (begun 1990)
Commentary on Ruiz paper, August 29, 1992
Encyclopedia of L.A. history entries on Mexican artists
Getty project, April 9, 1991
Guadalupe Cultural Center project (begun 1991)
Our Lady of Guadalupe, Explorations in Ethnics Studies
25 Masters of Latin American Art - Orozco, Rivera, Siqueiros texts, work papers - correspondence
Texts on Rivera, Orozco, and Siqueiros - 25 L.A. Mstrs
Splendors exhibit - related events, 1991-1
Splendors library talks, 1991-1a
SAMA lectures, 1991-1b., 1c.
"The Altar as Format and Content in Chicano Art," Detroit, 1991
Lecture: Northward Movement into Texas, 1519-1794, 1991
Octavio Medellin sculpture appraisal, 1991-4
Ramon Favela (begun 1991), 1991
Chicano art exh., Phoenix, AZ 1997
1991 projects not completed, 1991-8, 10, 12, 13
Cambios: The Spirit of Transformation in Spanish Colonial Art
Cambios colonial art exhib. Santa Barbara Museum of Art, May 5, 1992
"Siquieros."The World Book Encyclopedia (begun 1992), 1992
CARA project at Guad. Cul. Ctr.
CARA exhib. - Guest Curator (begun 1993)
SBC catalogue text, 1994
Machorro text review, 1994
Cesar Martinez, August/September 1995
Altars paper, Roanoke, Virginia
Maya conf., Cocoa Beach, Florida
Bellas Arte Colloquio
Bellas Artes Symp. Mexico D.F.
Jose Arpa project, January 24, 1997
Jose Arpa text, fax invitation, January 24, 1997
Brazos forum, 1997
Mus. of African American Art, 1997
Art critic panel, 1997
The Virgin conf., 1998
Missions project: copies of clippings
The Texas Missions, 1992
Orig. reproduction - altar dwgs.
S.A. Missions project
Decorative and applied arts at the missions - newspaper clippings
Missions text sent to reviewers
Assorted photographs and slides
Index and editor copy
Work papers - by chapter; bibliographic texts used for research
For a detailed description of the collection please visit the source site for the above: http://www.lib.utexas.edu/taro/utsa/00178/utsa-00178.html
Department of Art & Art History
Office: AR 2.01.08
Office hours: By Appointment
Research area: Drawing, Printmaking
Dennis Olsen is professor of printmaking, drawing, and digital media at The University of Texas at San Antonio. He received his M.A. degree from UCLA in 1967 and in that year was awarded a Fulbright grant to study printmaking in Italy. In 1970 he co-founded the Santa Reparata International School of Art (SRISA) in Florence, Italy. and served as Director of classes and Professor of printmaking until his return to the United States in 1981. He serves currently as President of SRISA.
Mr. Olsen's work in printmaking, painting, drawing, and ceramics has been exhibited in over 160 exhibitions during the last 40 years, including more than 30 one-person exhibits.
B.A., University of California at Los Angeles, 1964
M.A., University of California at Los Angeles, 1967
Fulbright Grant to study printmaking in Italy, 1967
Printmaking In, Gallery of Tartu Artist House, Tartu, Estonia (curated group exhibition)
Gothic, Orange County Center for Contemporary Art, Santa Ana, CA (juried exhibition)
Living with Others, Glies Gallery, Eastern Kentucky Univ., Richmond, KY (juried exhibition)
Americas 2012: Paperworks, Northwest Art Center, Minot University, Minot, ND Merit Award, Juror: Michael Barnes
The Human Experience 2012, Pacific Lutheran University, Tacoma, WA
Fictive Portraits, Saimaan University, Tieto Talo Gallery, Imatra, Finland (solo exhibition),
Book and Print Gallery, St. Petersburg, Russia (solo exhibition)
Boston Printmakers, Danforth Museum, Framingham, MA (juried exhibition)
Purchase Award, Juror: Jim Dine
Delta National Small Prints Exhibition, Bradbury Gallery, Arkansas State
Purchase Award, Juror: John Caperton, Curtor, The Print Center, Philadelphia
22nd National Drawing & Print Exhibition, College of Notre Dame of Maryland, Baltimore, MD (juried exhibition) Juror: Jose Dominguez, Dir. Pyramid Atlantic Purchase Award
Americas 2011: Paperworks Exhibition, Northwest Art Center, Minot, ND (juried competition) Purchase Award, Juror: Victoria Goro-Rapoport
24th Annual McNeese Works on Paper, McNeese State University, Lake Charles, LA (juried exhibition) Juror: Dan Cameron, Visual Arts Director of the New Orleans Contemporary Arts Center
X International Biennale of Engraving Acqui Prize 2011, Acqui Terme, Italy (juried exhibition)
Ink and Clay 37, Kellogg Gallery, Cal Poly, Pomona, CA (juried competition)
Going Solar, St. Louis Artist' Guild, St. Louis, MO (juried exhibition)
Biennale Internationale D'Estampe Contemporaine de Trois-Rivieres, Canada (juried competition, June)
Tempting Equilibrium, SGC (Southern Graphics Council) International juried exhibition, Des Lee Gallery, St. Louis, Juror: Mark Pascale, Curator of Prints and Drawings, The Art of Institute of Chicago, Martin Museum of Art, Baylor University, Waco, TX (three person exhibition) International Print Center New York (IPCNY) New Prints 2011/Winter, NYC (juried exhibition), REM Gallery, San Antonio, TX (solo exhibition) Schreiner University, Kerrville, TX (solo exhibition)
Stories/Objects, Pool Art Center, Drury University, Springfield, MO (group exhibition)
Bookends: Forty Years and Counting, Columbia College, Columbia, MO (solo retrospective exhibition)
A Show of Heads, Limner Gallery, Hudson, NY (juried exhibition)
Family, Southwest School of Art, San Antonio, TX (juried exhibition)
Paper in Particular, Columbia College, Columbia, MO (juried exhibition) awarded Best in Show by Columbia art faculty.
Survey of Contemporary Printmaking, Wellington Gray Gallery at the School of Art and Design, East Carolina University, Greenville, NC (invitational exhibition)
Samplings: Recent Intaglio-Type prints by Dennis Olsen, Rochester Institute of Technology
Here's Looking at You: Contemporary Portraits, Schmidt Art Center, Southwestern Illinois College (curated group exhibition)
23rd Annual McNeese Works on Paper Exhibition, McNeese State University, Lake Charles, LA (juried exhibition) Purchase Award Juror: Peter Frank
44th Annual National Drawing and Small Sculpture Show, Del Mar College, Corpus Christi, TX (juried exhibition)
Hidden Agendas / Embedded Signatures, trade portfolio exhibited at the Crane Center, Philadelphia, PA during the Southern Graphics Council annual conference
Learning and Remembering: A Gift of Time, trade portfolio exhibited at Temple University, Philadelphia, PA during the Southern Graphics annual conference.
Past Imperfect, R.E.M Gallery, San Antonio, TX (solo exhibition)
Ink and Clay35, Kellogg University Art Gallery, Pomona, CA (juried competition)
Rimanenze: Lost and Found, Blue Star Contemporary Art Space, Gallery Four, San Antonio, TX (solo exhibition)
Breath of Light, Biblioteca di Montcalieri, Torino, Italy (group exhibition)
Printed in Omaha: A Retrospective Exhibition of the UNO Print Workshop", University of Nebraska, Omaha
Catching Light, The University of Texas at San Antonio, (group exhibition)
The Book: Ever After, The University of the Mainland, Texas City, TX (invitational exhibition)
Printing with Light, Kastellani Gallery, Tallin, Estonia (group exhibition), University of Texas, Tyler, 22nd Annual print Exhibition (juried exhibition)
Past Perfect: Recent Monoprints & Porcelain, Hyde Gallery, Springfield, MO (solo exhibition)
Past Continuous, Capital Gallery, Frankfort, KY (solo exhibition)
Re:Marks, Southwest School of Art and Craft, San Antonio, TX (solo exhibition), Bilkent University Library Gallery, Ankara, Turkey (two person exhibition), Gallery 10, Washington D.C., (solo exhibition), Capital Gallery, Frankfort, KY (group exhibition)
Paper in Particular, Columbia College, Columbia, MO (juried exhibition)
Contemporary, Galeria Ortiz, San Antonio, TX (group exhibition)
Temple University in Rome, Rome, Italy (solo exhibition)
Galleria FYR Florence, Italy (solo exhibition)
Center for Spirituality, Incarnate Word University, San Antonio, TX (solo exhibition)
In Full Color, Benefit for the Epilepsy Foundation, Radius Bldg, San Antonio, TX
Andrew & His Italian Connection, Toby's, West Marin, CA (group exhibition)
Solarplate Revolution, Gray Gallery, Quincy University, Quincy, IL and Center for Contemporary Printmaking, Norwalk, CT
Solarplate Revolution, Whitney Art Works, Greenport, NY (group exhibition)
Brigham Young University, Provo, UT (two person exhibition)
Recent Work, Capital Gallery, Frankfort, KY (two person exhibition)
Interferenze: Attualita & Tradizione, Casa Cordati, Barga, Italy (three person exhibition), Quincy University, Quincy, IL (solo exhibition), Joan Grona Gallery, San Antonio, TX (two person exhibition), Webster University Group Print Exhibtion, St. Louis, MO
Pictionary: A Paperless Portfolio, Museum of South Texas, Corpus Christi, TX (group exhibition)
Texas Prints 2001, Flatbed Press Gallery, Austin, TX (group exhibition of trade portfolio)
Saints and Sinners, (group exhibition of trade portfolio) exhibited at: University of Georgia Print Symposium, Cortona, Italy; Corcoran School of Art and Design, Washington DC; Temple University, Rome; Tyler School of Art, Philadelphia
Martin Museum of Art, Waco, TX (two person exhibition)
Sette Artisti in Casentino, Castle of Poppi, Poppi, Italy (group exhibition)
Then and Now 1991-2000, Walnut Street Gallery, Springfield, MO (two person show)
Drawn from the Built Environment, Drury College, Springfield, MO
Red Dot Exhibition, Blue Star Art Space, San Antonio, TX (group exhibiton)
Group Exhibiton, Center for Spirituality, College of the Incarnate Word, San Antonio, TX
Works Reproduced in Books:
James, Christopher, The Handbook of Alternative Photographic Techniques, revised (computer generated print and porcelain tablet reproduced) 2008
James, Christopher, The Handbook of Alternative Photographic Techniques, 2001 (computer generated print reproduced)
Muir, Pauline and Dan Welden, Printmaking in the Sun, Watson Guptil, 2001 (computer generated print reproduced)
Moser, Joanne, Singular Impressions: The Monotype in America, Washington D.C.,Smithsonian Institution Press, 1997, (p.184,186, reproduction and description of technique)
Fisher, James L. ed. Forty Texas Printmakers, Fort Worth, TX, The Modern Museum of Fort Worth, 1990, (p 58-59, reproduction and biography)
Verbruggen, Jan A., Etsen, Hanboek voor de praktijk, Amsterdam,Vitgeverij Ploegsma,l98l (print illustrated in manual)
Peterson, Basic Concepts of Mathematics, Boston, Prindle,Weber and Schmidt, l978 (Color Print used as cover)
Eichenberg, Fritz, The Art of the Print, New York,Abrams, l976, (Color Print illustrated)
Pratt Institute, Artist Proof, New York,,Vol. 6, Nos.9-l0, l966 (print illustrated)
World Wide Web:
Smithsonian Institution, National Museum of American Art web page, (one of 13 featured artists from Singular Impressions exhibit), April 1997
Reviews and Works cited in articles: Reviews and Works cited in articles: Goddard, Dan, Olsen porcelain pieces recall ancient tablets, San Antonio Express-News, December 24, 2006 (Review of exhibition)
Goddard, Dan, Obliterated Words a Fascinating Notion, San Antonio Express-News, January 23, 2005 (Review of exhibition)
Harrison, Helen A. Solarplate Revolution, N.Y. Times, May 8, 2003, p.16 (cited in review of exhibition)
Whitney, Susan, Exodus, Dan’s Papers, May, 2003 (cited in review)
Edmonds, Patricia, Under the Impression, Southern Accents, November, 1997, Vol.20, No. 6, pp. 106-110, (color reproduction of my work and discussion of my technique as a focus of article)
Daniel, Jeff, A Big, Fresh, Whopper of a Show, St. Louis Post Dispatch, Aug.21, 1997, (Review of exhibition, Summer ‘97: A group Exhibition)
Wright, John, Summer ‘97: A Group Exhibition, The Riverfront Times, July 23-29, 1997, (Review of exhibition at Elliot Smith Contemporary Art, reproduction and extensive discussion of work)
BIBLIOGRAPHY Reviews and Works cited in articles:
Steinberg, Norma S., The Digital Print, Contemporary Impressions, Spring 1997, vol. 5, #1,p.6, (reproduction and extensive discussion of technique)
Smith, Judith, Digital imaging, traditional printing offer conflicting messages, ASU Insight, Aug. 30, 1996, vol. 17, no. 9, p. 8 (reproduction and description of exhibition)
No by-line, Sobre computación y artes plasticas disertará experto norteamericano, Nuevo Norte, Trujillo,Perú, March 29, 1996. p.10
No by-line, Curso de computación artístico en el ICPNA, La Industria, Trujillo, Perú, March 29, 1996, p.B6
No by-line, Curso de computación en el arte en el ICPNA, La Industria, Trujillo, Perú, March 28, 1996, p.B6
No by-line, Charla sobre computación y pintura, Diario La Republica-Perú, Lima, Perú, March 28, 1996, p.9
No by-line, La computación al servizio de la pintura, La Industria, Trujillo, Perú, March 27, 1996, p.B6
Planas, Enrique, Buscando la Arcadia Virtual, El Sol, Lima, Peru, March 25, 1996, p. 2C (reproduction and discussion of work)
Vallejo, Mario, Arte Cibernetico, La Republica VSD, Lima,Perù, March 22, 1996 (reproduction and discussion of work)
Escaráte, Aurora, Arte por computadora expone Dennis Olsen, El Comercio, Lima, Perú, March 22, 1996, p.C8, (reproductions and interview)
No by-line, Grabados por computadora, Gestion, Lima, Perù, March, 19, 1996, p.B2 (reproduction and discussion of work)
No by-line, Exhiben grabados por computadora, El Comercio, Lima, Perù, March 16, 1996, (reproduction and discussion of work)
No by-line, Grabados por computadora, La Republica, Lima, Perù, March, 15, 1996 (reproduction and discussion of work)
No by-line, Trazo en Mouse: Grabados en computadora de Dennis Olsen, Caretas, Lima, Peru, March 14, 1996, (reproduction and discussion of work)
No by-line, Gallery Openings This Weekend, Journal-Courier, Jacksonville, IL, Thursday Feb. 29, 1996, p. 13 (reproduction of colored pencil drawing)
Frost, Wendy, RAMdom Acts of Teaching, Sombrilla, Fall 1995, p.1, (reproduction and feature article)
Goodman,Linda, Living on Italian Time: Print Workshops in Florence, The California Printmaker, 1995, p.7-8, (photo and discussion of Santa Reparata workshop)
No by-line, Digital Dramas: Computer-Generated Photography + Video, Texas Fine Arts Association Arts News, Nov.-Dec. Jan. 1995, p.2 (reproduction of print)
Skinner, Jaunneth, A New Technology in Printmaking: An Interview with Dennis Olsen, The Journal for the Mid-America Print Council,, Summer/ Fall 1995, (reproductions and extensive interview)
Goddard,Dan, Prints, graphics featured in ‘Putting It on Paper, San Antonio Express-News, July 10, 1994
Jennings, Kate, Guild’s print show is wild, witty and wonderful, Darien News-Review, Thursday, February 24, 1994 , A34 (reproduction of monotype)
Goddard, Dan, Italy Inspires Printmakers, San Antonio Express-News ,October 17, 1993 (Review of exhibition)
Rook, Cyndi, Focus on San Antonio, Voices of Art, Vol.1, No.4, Nov. 7, 1993, p.19 (Review of exhibition)
Shepley, Carol Ferring ,St.Louis Post Dispatch, June,21, 1992, (Review of Exhibition)
Romoser, Chris, A Gathering of Art, Palm Beach Daily News, Sunday, Jan. 20, 1991, P B1 (reproduction of monotype)
Weser, Marcia Goren, San Antonio Express News, Sunday, April 29, 1990, p. K2 (Mentioned in review of group exhibition)
Pisano, Marina, Bella Villa! Family buys Italian Village, San Antonio Express-News, June 25, l989, p.1-G , (feature article)
No by-line, UTSA sponsors etching course in Italy this summer, San Antonio Express-News, April 4, 1989
No by-line, Fraze collage works featured at Center, Amarillo Sunday News-Globe, May 1, 1988, p.6-E
No by-line, ICPNA: Concurso sin Premio, Expreso, Lima,Perù, October l3, l988, p. 22,
No by-line, Grabador norteamericano inaugura muestra manana, El Comercio, Lima, Perù, October ll, l988, p.C-8
Gazzolo, Ana Maria, Dennis Olsen y el Grabado, Oiga, Semanario de Actualidad, Lima, Perù , October l0, l988, p. 68, (feature article)
Goodman, Linda, Print Workshops in Italy, Print News, The International Journal of Contemporary Prints, Winter l986, vol.8, no.1, p.14
Goddard,Dan, Designs that must be Scene, San Antonio Express-News, Art Watch, February 23, l986.
No by-line, Newsletter, McNay Art Museum, Spring l986.
Bennett, Steve, Olsen's Sketchbook Opened, San Antonio Light, March 2, l986
Bennett, Steve, Nine Texas Printmakers, San Antonio Express-News, Art Watch, January l2, l986 (review of exhibition)
Ames, Richard, Santa Barbara News Press, February, l977 (Review of exhibition)
Peters, John Brod, Former St. Louisans' works at Clayton Gallery, St. Louis Globe Democrat, January 8-9, l977 (Review of exhibition)
Gheno,Dan, Olsen's Graphics-Pleasing Printing, News and Review, Santa Barbara, January 28, l977 (Review of exhibition)
Evans,E.S., Art of Success in Florence, St. Louis Post Dispatch, May l5, l975 (Feature article)
No by-line, Michelangelo, Florence, Italy, l972 (Interview)
No by-line, Maestria grafica quasi certosina, Il Lavoro, Florence, July l3, l969. (Review)
The intaglio portraits of 2009-2012 represent a departure from my subject matter of recent years, linked only by a rendering style asociated with engravings and historical documents of the past.
The series, “Samplings”, is derived from bank note engravings from around the world, however, my borrowings from those notes do not respect their provenance. Like musical samplings after which they are titled, they are composite faces: kings, queens, tyrants, heroes, saints and sinners. They are a complex visual mixing that melds facial appearances of ethnicity, gender, and class.
All of the images were drawn on Mylar, then exposed to ImageOn plates and printed as intaglios. They are entitled “Samplings” to acknowledge the fact that virtually all of the marks originated on bank notes but were recombined to form new images through drawing and frottage.
As the Mylar drawings emerge from the page distinct personalities are formed and I allow them to develop unhindered. Like authors who frequently say that their fictitious characters take them in unexpected directions, such journeys lead me to places that I have never visited and demand a resolution that can only be described as discovery. I permit myself to explore themes I have never used in previous work: humor and silliness, vulnerability and pomposity, anger and tenderness.
Except for the rudimentary decision of size I begin each drawing “tabula rasa”, with only the idea of a portrait in mind. I cannot know what will result, and indeed I often begin by putting down marks that are difficult to resolve. Many of the images were drawn upside down: without seeing them “correctly” until the very end. The struggle to make a coherent image and work myself out of visual binds leads to unforeseen conclusions and unlikely solutions. Until a distinct personality emerges I do not complete the drawing, and I make numerous erasures to that end.
These personalities are a mystery to me, and therefore I make no attempt to interpret their meaning or significance, but I do write narratives suggested by each finished print.
HONORS AND AWARDS:
1996: Partners of the Americas Travel Grant to Perù (Lima, Trujillo, Cuzco, Arequipa) to give lectures on digital printmaking (in Spanish)
1995: 9th National Parkside Small Print Competition, University of Wisconsin-Kenosha (purchase award) Juror: Garo Antresian
1994: 8th National Parkside Small Print Competition, University of Wisconsin-Kenosha (purchase award) Juror: Ruth Weisberg
UTSA Faculty Research Grant, High-Tech/Low-Tech: An Exploration of Printing Techniques for Computer Generated Art ($4750)
1992: 24th Bradley National Print and Drawing Exhibition,Peoria, IL Purchase Award
1990: University of Texas at San Antonio, President's Distinguished Achievement Award for Excellence in Creative Activities
One of a Kind, international juried exhibit of monoprints and monotypes Sigma Gallery, New York City; Stamford Museum, Stamford, CT (merit award)
1988: Partners of the America's Travel Grant to Perù; in order to conduct workshops on color printing and attend solo exhibition of etchings
1986: Purchase Award, l6th National Works on Paper Exhibition, Minot State, North Dakota Purchase Award, 60 Square Inches Maximum, Small Print Exhibition, Purdue University, West Lafayette, Indiana
1972: Purchase Prize, University of North Dakota l5th Annual Print Exhibition Premio G. B. Salvi, Sassoferrato, Italy Purchase Prize, Davidson National Print and Drawing Competition
1968: Mostra Internazionale della Grafica, Florence, S.I.P. Award
1966: Purchase Prize, Los Angeles Printmaker's Society 3rd Annual All California Print Exhibit
Award, Second International Miniature Print Exhibition, Pratt Graphic Art Center
Purchase Prize, Brooklyn Museum, l5th National Print Exhibition
Fred Grunwald Memorial Prize for Distinguished Printmaking at UCLA
Department of Art & Art History
Office: ART 4.01.20
Office hours: By Appiontment
Research area: Drawing
Place of birth: Elmhurst, Illinois
Training: Colorado Institute of Art (Advertising, 1981); San Antonio Art Institute (1991); University of Texas at San Antonio (B.F.A. 1993: M.F.A., 2000)
Profile: Multidisciplinary artist (sculpture, ceramics, drawing)
Residencies: Two-month residency partially funded by the N.E.A., at Sculpture Space in Utica, New York (2006). Constructed ten, four-foot tall steel armatures based on the “banana people” from the OmiGosh Series.
Professional Affiliations: Co-founder of the cactus bra Space, which was the longest running alternative space for emerging artists in San Antonio. (1993-2013)
Brief Exhibition History: Works included in the following exhibitions: International Sculpture Center, Hamilton, NJ; University of New Mexico Art Museum, Albuquerque, NM; Laredo Center for the Arts, TX; Art Museum of South Texas Institute for the Arts, Corpus Christi, TX; Art Alliance Center at Clearlake, TX; McNay Art Museum and Southwest School of Arts and Craft, San Antonio, TX; Mass Gallery, Austin, TX.
Masters of Fine Art in Sculpture, UNIVERSITY OF TEXAS AT SAN ANTONIO 1997-2000
Bachelors of Fine Art in Sculpture, UNIVERSITY OF TEXAS AT SAN ANTONIO 1992-1995
Degree in Advertising Design, COLORADO INSTITUTE OF ART, Denver, CO 1979-1981
ART 1213 Drawing I
ART 1223 Drawing II
ART 3223 Drawing: Figure
ART 4233 Drawing III
ART 4953 Special Studies In Art
Infestation, Sala Diaz, San Antonio
Subject Properties, David Shelton, San Antonio, TX
Texas Biennial, MASS GALLERY, Austin, TX
Omigosh, REM GALLERY, San Antonio
Solipsist and the Other, REM GALLERY, San Antonio
Pressed, VISUAL ARTS BUILDING SAN ANTONIO COMMUNITY COLLEGE
Pressed and Confined, UTSA GALLERY (downtown campus)
And Then, ART ASYLUM, San Antonio
Perceptions, FINE SILVER BUILDING, San Antonio
Arte Nuevo, UTSA Gallery, Juror: Catherine Lee, SA, TX
Texas Biennial, Big Medium, Austin, TX
The State of Drawing, Invitational, The Gallery of the University of Texas at Arlington
Impromptu Completed, Flight, San Antonio 2010
2009 Winter Group Show, 3RD WARD, Brooklyn, NY 2010
Foretopia, David Shelton Gallery, San Antonio 2010
Texas Draw I, SOUTHWEST SCHOOL OF ART AND CRAFT, San Antonio 2009
Waterflow, SAN ANTONIO MUSEUM OF ART 2009
Impromptu, JAC STUDIO, San Antonio 2009
On, Of, or About: 50 Paper Works, TEXAS STATE UNIVERSITY, San Marcos 2009
Begin/Begin Again, GALERIA ORTIZ CONTEMPORARY, San Antonio 2008
2006Show Offs, UNIT B, San Antonio 2006
30-Year Gala, RADISSON HOTEL, SCULPTURE SPACE, Utica, NY 2006
Insanely Sick, I2I GALLERY, San Antonio 2006
Home is San Anton. . . NEW BRAUNFELS MUSEUM OF ART AND MUSIC 2005
H20: Arts Consider the Hydrosphere, SOUTHWEST SCHOOL OF ART AND CRAFT, San Antonio 2004
Stray Show, Chicago, Illinois 2004
Blue Star 18, Terrie Sultan, curator, BLUE STAR ART SPACE, San Antonio and Austin 2003
Neon, Neil Ryan, curator, THE ART ALLIANCE CENTER AT CLEARLAKE, TX 2003
Steel Grrls, Chip Ware, curator, UNIVERSITY ART MUSEUM, University of New Mexico, Albuquerque, NM. 2002
New Images: M/F, LAREDO CENTER FOR THE ARTS, Laredo 2002
Art Foundation’s Biennial 2000 Craft Competition, (two-person 2002exhibition) ART MUSEUM OF SOUTH TEXAS INSTITUTE FOR THE ARTS, Corpus Christi 2002
2001 Expo, 500X GALLERY, Dallas 2001
Fall/Winter 2000/2001 Exhibition, INTERNATIONAL SCULPTURE CENTER 2000 award for Outstanding Student Achievement in Contemporary Sculpture, Hamilton, NJ. 2000
Fibrous, Karen Mahaffy, curator, SOUTHWEST TEXAS UNIVERSITY GALLERY, San Marcus 2000
Revelations Texas, UNIVERSITY OF HOUSTON, Houston 2000
Jayne Lawrence and the Architecture of Insects, Jacob Burris, San Antonio Current (May 8, 2013)
Exploring natural connections, Elda Silva, Express News (May 18,2013)
Four heads are better than one, Scott Dickens, EXAMINER.COM 2009 (July)
Texas Draws, Scott Dickens, EXAMINER.COM 2009 (July)
Texas Biennial 2009, JR Compton, DALLAS ARTS REVUE 2009
Texas Biennial Multiple Venues, Frances Colpitt, ART IN AMERICA 2009 (June/July)
Supernatural Selection, Michael Duncan, Exhibition catalog 2009
Carefully drawn Conclusions, Dan Goddard, SAN ANTONIO CURRENT 2009(July 14-18)
The Art Capades: Passionate observers and dancing bananas, SAN ANTONIO CURRENT 2006(Sept.6-12)
Beauty and symmetry, SAN ANTONIO CURRENT 2003(Sept.18-24)
Blue Star’s Survey of San Antonio art 'poetic, SAN ANTONIO EXPRESS NEWS 2003(July 20)
Artists take a functional turn toward home, SAN ANTONIO EXPRESS NEWS 2003(Jan, 12)
Women break through with metal, ALBUQUERQUE TRIBUNE 2002(Nov. 17)
Craft Show Exhibit, CORPUS CHRISTI CALLER-TIMES 2001(May 13)
International Sculpture Center 2000 Outstanding Student Achievement In Contemporary Sculpture Awards, SCULPTURE MAGAZINE, VOL.19, No. 8
A Recipe for Intellectual Stimulation
Combine the following. Amounts may vary.
Land, culture, and practice.
Color, form, and texture.
When combining make sure to stir often.
Co-founder/owner, cactus bra Space Gallery, San Antonio, TX 1993- present
Full-time faculty, senior lecturer, UNIVERSITY OF TEXAS AT SAN ANTONIO 1999- present
Ceramics instructor, SAN ANTONIO COMMUNITY COLLEGE 1999- present
Associate Professor of Art
Department of Art & Art History
Office: S&CG 1.01.08
Office hours: by appointment
Research area: Ceramics, Sculpture
Ovidio is a first generation American of Cuban heritage. He’s had the opportunity to live and work in Spain, Colombia, Venezuela, Italy, and many states throughout the US. Ovidio came to ceramics from a background in sculpture, having worked in steel, marble, wood, fiberglass and other materials. As he began to explore his ideas in clay, he became increasingly engaged with the rich history and tradition of ceramics. After a series of self-generated apprenticeships in furniture restoration, studio pottery and marble carving, Ovidio attended the University of Florida where he earned his MFA degree in Ceramics. From there he moved to Montana where he had the privilege of being a resident artist at The Archie Bray Foundation for two years. Over the next few years, he pursed various temporary teaching opportunities including New Mexico State University, Central Washington University and Alfred University College of ceramics in New York. The breadth of experience he has gained traveling and working serve to inspire his art as well as his teaching. Ovidio currently lives and works in San Antonio, Texas where he heads the Ceramic program at the University of Texas at San Antonio. He has been invited to present workshops and lectures throughout the U.S. including NCECA, Haystack Mountain School of Crafts, California State University Chico, University of Hartford Connecticut, and the University of Montana. His work has been published in Lark Books “500 Figures”, “The Figure in Clay, Ceramics Monthly and Ceramics Art and Perception magazines. Ovidio’s works are exhibited nationally in museums, galleries, college and university venues.
visit his website: ovidiog.com
M.F.A. University of Florida, 1996
B.S. Florida State University, 1991
ART 2713 Ceramics: Basic
ART 4673 Sculpture: Advanced
ART 4753 Ceramics
ART 5753 Ceramics:Graduate
ART 4983 Senior Seminar
ART 6843 Master of Fine Arts Exhibition
Contemporary Latino Art. Texas A&M Cultural Arts Center, San Antonio, TX. Invitational.
Calculated Efforts. South Texas College. McAllen, TX. Invitational
Slight of Hand. Northwest Vista College, San Antonio, TX. Solo show
A Show of Hands. Tucson Museum of Art, AZ. Curated.
From Yellow Clay to Black Gumbo. Pollock Gallery, SMU University, Dallas, TX. Invitational.
Texan’s and Ex’s. Winter Street Gallery. In conjunction with NCECA, Houston, TX. Invitational.
Earth Movers in the Lone Star State. Winter Street Gallery. In conjunction with NCECA, Houston, TX. Invitational.
From the Ground Up XXVI. Las Cruces Museum of Art, NM. Juried.
Vases and Teapots. Southeastern Louisiana Univ. Hammond, LA. Invitational.
Signal to Noise. Southwest School of Art. Russell Hills Roger Gallery, San Antonio, TX. Solo show
Home in San Antone. Beeville Art Museum, Beeville, TX. Invitational.
Ovidio Giberga and Merrie Wright. Goldesberry Gallery, Houston, TX. Two-person show.
30 North by 84 West. FSU Museum of Fine Arts, Tallahassee, FL. Curated.
Material Matrix. Tempus Gallery, Tampa, FL. In conjunction with NCECA conference. Curated.
Resonance. The Studio @620. Tampa, FL. In conjunction with NCECA conference. Curated.
Turbid Space. Satellite Space Gallery. San Antonio, TX. Solo show
San Angelo National Ceramic Competition. San Angelo Museum of Fine Arts. TX. Juried.
Regional Expressions in Vitrified Clay. Texas Tech University Gallery, Lubbock, TX. Held in conjunction with the 2010 TTU Ceramics Symposium. Invitational.
Fill-adelphia. Show of Hands Gallery, Philadelphia, PA. Held in conjunction with NCECA 2010. Juried. Thoughts About Tea. Parchman Stremmel Gallery, San Antonio, TX. Juried. Best of Show.
Biennial Juried Ceramics Exhibition. NAU Museum of Art. Flagstaff, AZ. Juried.
Beyond the Brickyard. Archie Bray Foundation, Helena, MT. Juried.
SAPG 15th Annual Juried Show. Parchman Stremmel Gallery, San Antonio, TX. Juried. Best of Show.
Teapots; Functional, Formal, Narrative. Foster Gallery, University of Wisconsin-Eau Claire. Invitational.
Say Si 12th Annual Small Scale Work; Exhibition/Auction. Say Si Central. San Antonio, TX. Invitational.
Teaching Clay in Texas. 18 Hands Gallery, Houston, TX. Invitational.
Body Perspectives. Funke Fired Arts Gallery, Cincinnati, OH. Invitational.
Art of the Pot. Amarillo Clay. Austin, TX. Invitational. Upcoming in May.
Beyond Shared Language: Contemporary Art and the Latin American Experience. Society for Contemporary Craft, Pittsburgh, PA. Curated. Upcoming in May.
Ovidio Giberga. Blue Star Contemporary Art Center, Gallery 4, San Antonio TX. Solo Show.
SAPG 15th Annual Juried Show. Parchman Stremmel Gallery, San Antonio, TX. Juried.
Surface, Form & Substance. Amaco/Brent Contemporary Clay Gallery, Indianapolis, IN. Invitational.
NW Connections: Contemporary Works in Clay. Esvelt Gallery, CBC. Pasco, WA. Curated.
Extending Influence. South Texas Collage Art Gallery. McAllen, TX. Invitational.
Say Si 11th Annual Small Scale Work; Exhibition/Auction. Say Si Central. San Antonio, TX. Invitational.
New Art/Arte Nuevo. UTSA, 1604 Gallery. San Antonio, TX. Juried.
Sculpture Network of Texas. Texas Tech University Center, Junction, TX. Group show.
CraftForms 2007. Wayne Art Center, Wayne, PA. Juried.
Sculpture Network of Texas. Gallery, Texas State University, San Marcos, TX. Juried.
Bihl Haus Arts 3rd Anniversary Exhibition and Fundraiser. Bihl Haus Arts, San Antonio, TX.
Red Heat: Contemporary Work in Clay. Alexandre Hogue Gallery, University of Tulsa, OK. Juried.
Fired Forms. The Art Gallery, Collins County Community College, Plano, TX. Invitational.
Visions and Voices. Kentucky Museum of Art and Craft, Louisville, KY. Invitational.
Amarillo Biennial 600: Clay. Amarillo Museum of Art, Amarillo, TX. Juried.
Texas Uprising. UTSA, 1604 Gallery, San Antonio, TX. Invitational.
South Texas Ceramic Sampler. South Texas Collage Art Gallery. McAllen, TX. Invitational.
The Six Pack Show. Armadillo Glass Studio, Austin, TX. Invitational.
From the Ground Up. Las Cruces Museum of Art, NM. Juried. 1st Place Award.
CraftHouston. Ellen Noel Museum of Art, Odessa, TX. Invitational.
13th Biennial Art Faculty Exhibition. University of Texas at San Antonio, TX.
77th Annual San Antonio Artist Exhibition. San Antonio Art League Museum, TX. Juried.
Say Si 10th Annual Small Scale Work; Exhibition/Auction. Say Si Central. San Antonio, TX. Invitational.
NCECA Clay National Biennial Exhibition. Kentucky Museum of Art and Craft, Louisville. KY. Juried.
Figures in Clay. AMACO Contemporary Clay Gallery. Indianapolis, IN. Invitational.
History in the Making. Gallery at Genesee Pottery, Rochester, NY. Juried. 2nd Place Award.
CraftHouston 2006. Houston Center for Contemporary Craft, Houston, TX. Juried. Merit Award.
Local Loteria. R.H.R. Gallery, Southwest School of Art and Craft, San Antonio, TX. Invitational.
SAPG 13th Annual Juried Show. Parchman Stremmel Gallery, San Antonio, TX. Juried.
Ink and Clay 32. Kellogg Art Gallery, California State Polytechnic University, Pomona, CA. Juried
Viewpoint: Ceramics 2006. Hyde Art Gallery, Grossmont College, El Cajon, CA. Juried.
Biennial Faculty Exhibition. Sarah Spurgeon Gallery. Central Washington University, Ellensburg, WA.
Pygmalion’s Gaze Reimagined; The Figure in Contemporary Ceramics. Creative Alliance, Baltimore, MD. In conjunction with the American Crafts Council Fair, and NCECA 2005. Invitational.
Slipcast Objects. Steamboat Springs Arts Center, Steamboat Springs, CO. Juried.
ANA 35. Holter Museum of Art. Helena, MT. Juried.
Ceramic Form. Huneke Gallery, Spokane Art School, Spokane, WA. Invitational
Former Archie Bray Residents. Red Sky Gallery. Spokane, WA. Invitational.
Gigantic: Ceramic Figurines. Kirkland Arts Center, Kirkland, WA. Juried.
48th Annual Central Washington Artists Exhibition. Larson Gallery, Yakima Valley Community College, Yakima, WA. Juried.
Archie Bray Foundation. Warehouse Gallery. Helena, MT. Invitational.
Generations: Impending Lineage. Arts and Industry Gallery. In conjunction with NCECA 2003. San Diego, CA. Invitational.
CWU Biennial Faculty Exhibition. Sarah Spurgeon Gallery. Central Washington University, Ellensburg, WA.
47th Annual Central Washington Artists Exhibition. Larson Gallery, Yakima Valley Community College, Yakima, WA. Juried. Bloxom Artist Appreciation Award.
46th Annual Central Washington Artists Exhibition. Larson Gallery, Yakima Valley Community College, Yakima, WA. Juried.
Clay Rocks. Florida Craftsmen Gallery, St Petersburg, FL. Juried.
Collections. Yellowstone Art Museum, Billings, MT. Invitational.
NMSU Faculty Exhibition. New Mexico State University Art Gallery. Las Cruces, NM.
47th Florida Craftsmen. St. Petersburg Art Center. St. Petersburg, FL. Juried.
35th Faculty Exhibition. Harn Museum of Art. Gainesville, FL.
Flora & Fauna. Curated by Cary Esser. Traveling Exhibition;
Pensacola Museum of Art, Pensacola, Florida.
Karl Drerup Gallery, Plymouth State College, New Hampshire.
H&R Block Artspace, Kansas City Art Institute, Missouri.
Florida Craftsmen Gallery, St. Petersburg, Florida.
Old Faces / New Places. Focus Gallery. University of Florida, Gainesville. Group show.
Tragic Heroes. Archie Bray Foundation, Helena, MT. Solo Show.
Archie Bray Foundation Resident Artist Exhibitions: NCECA “98”, Dallas/ Ft. Worth, Texas.
Beall Park Gallery, Bozeman, Montana.
A.B.F. Gallery, Helena, Montana.
Ceramic Viewpoint “98”. Hyde Gallery, Grossmont College, El Cajon, CA. Juried.
Standard Operating Procedure. Myrna Loy Center, Helena, MT. Solo Show.
Archie Bray Foundation Resident Artist Exhibitions:
Relative Distances; MFA Exhibition. University of Florida Gallery, Gainesville.
Monarch National Ceramic Competition. Kennedy-Douglas Center for the Arts, Florence, AL. Juried. Merit Award.
New Voices. California State University, Chico, CA. Juried.
Dysfunctional Clay. College Gallery. Okaloosa-Walton Community College, Niceville, FL. Group show.
Herencia Hispana. The Gallery. J.W.Reitz Union, University of Florida, Gainesville. Group show.
Florida National, Combined Talents. Fine Arts Gallery. Florida State University, Tallahassee. Juried.
Juried Student Exhibition. University Gallery. University of Florida, Gainesville. Outstanding Achievement Award.
Suwannee Valley Regional. Art Center. Lake City Community College, Lake City, FL. Juried.
Identity. Shands Hospital, Gainesville, FL. Solo Show.
Trooth. J.W. Reitz Union Gallery. University of Florida, Gainesville. Two person show.
Bodies, Prosthetics, Processes. Focus Gallery. University of Florida, Gainesville. Group show.
Upper Division Ceramics Exhibition. Focus Gallery. University of Florida, Gainesville. Group show.
Although my work does not deal with religious subject matter explicitly, the residue of my Catholic upbringing manifests itself in my work through my interest in the figure and the use of symbolic and narrative forms of expression. In my current work I often use the human form as a sculptural vessel to suggest ideas of internal and external forces in conflict. This struggle is sometimes expressed through the juxtaposition between surface and form and other times more explicitly as two forms interacting. I draw inspiration from personal experience, my immediate environment, and interpersonal relationships. Clouds are recurring theme in my work, rich with associative and symbolic meaning. Clouds have been thought of as portents of the future and associated with fertility. They have the capacity to inspire our imagination (nephelococcygia is the act of finding shapes in cloud forms) or obscure our vision.
Professor of Art
Department of Art & Art History
Office: ART 2.02.18
Office hours: By Appointment
Research area: Drawing, Photography, Printmaking
Kent Rush was born in Hayward, California (the “East Bay” of the San Francisco Bay Area) in 1948. He spent his formative years absorbing the artistic, intellectual and political milieu of the Bay Area of the late 60's. He studied art, drawing and printmaking, at the then California College of Arts and Crafts (CCAC) with Robert Bechtle, Charles Gill and Jeryl Parker receiving his BFA in 1970 amid the tumult of People's Park and the Berkeley Viet Nam Moratorium.
In the mid 70's he earned a Masters Degree at the University of New Mexico in Albuquerque where he studied art and lithography under Garo Antreasian while he also worked as a printer's assistant and photographer for the Tamarind Institute of Lithography. Shortly thereafter he moved to San Antonio, Texas to start up the printmaking program for the then San Antonio Art Institute,1976. While teaching and working there he completed an MFA Degree at the University of Texas at Austin in 1979. He moved back to California that year where he set up his studio and began showing at Art Space Gallery in Los Angeles. He then taught at the California College of Arts and Crafts ('80-'81) and the San Francisco Art Institute (Spring '82) and began showing also at the Bluxume Gallery, San Francisco.
Rush returned to San Antonio in 1982 where he has spent the past 27 years making art and teaching at the University of Texas at San Antonio. His work has been exhibited extensively in the United States in solo, two and three person and group and competitive shows. Internationally he has also shown in London, Brazil, Peru, Mexico, and France.
Coming from a background in printmaking, drawing and painting Rush, over the past 20 years, has appropriated photography as a means of making images. Specifically he collects (on film) mundane objects and surfaces (primarily concrete) from urban and suburban sites and presents them in a monumental format.
BFA 1970 California College of Arts and Crafts (currently California College of the Arts)
MA 1975 University of New Mexico
MFA 1979 University of Texas at Austin
ART 1213 Drawing I
ART 1223 Drawing II
ART 4233 Drawing III
ART 4433 Printmaking: Advanced
ART 4983 Senior Seminar and Exhibition
ART 5353 Printmaking
ART 6023 Graduate Studio Seminar: Professional Practices
Southwest School of Art and Craft, San Antonio, Texas
Art Gallery, Center for Fine and Performing Arts, Texas A&M International University, Laredo, Texas
College of the Mainland, Texas City, Texas
Stonemetal Press, Oddments: Photographs in Ink by Kent Rush, San Antonio, Texas
Amarillo Museum of Art, Kent Rush: Works on Paper, Amarillo, Texas
Legion Arts/CSPS, Kent Rush: Photographs, Cedar Rapids, Iowa
Center for Spirituality and the Arts, Kent Rush: Recent Works, Sisters of Charity of the Incarnate Word, San Antonio, Texas
McNay Art Museum-Kent Rush: A Retrospective, San Antonio, Texas
Parchman-Stremmel Galleries, Kent Rush: Drawings, Prints and Paintings, San Antonio, Texas
Milagros Contemporary Art, Kent Rush, San Antonio, Texas
[ArtPace], Long Shots: Camera Images by Kent Rush, San Antonio, Texas
Martin Museum of Art, Kent Rush: Photography, Baylor University, Waco, Texas
Richard Levy Gallery, Kent Rush: Recent Photographs, Albuquerque, New Mexico
Dowd Fine Arts Center Gallery, Recent Works of Kent Rush, State University (SUNY) College at Cortland, New York
Old Dominion University, Norfolk, Virginia
Coke Gallery, University of New Mexico Art Museum, Kent Rush: Recent Work, Albuquerque, NM
Instituto Cultural Peruano Norteamericano, Kent Rush: Grabados, Lima, Perú
Texas Women's University Fine Arts Gallery, Images: Photo Processes by Kent Rush, Denton, Texas
The Photographer's Gallery, Kent Rush: Embankments, London, England
Art Space, Kent Rush: Embankments, Los Angeles, California
Galeria Del Taller De Las Artes Plásticas, Rufino Tamayo, "Obra Gráfica de Quince Años de Trabajo del Maestro Kent Rush," Oaxaca, México
Koehler Cultural Center, Kent Rush: Embankment Series and Other Works, San Antonio College, San Antonio, Texas
Art Space, Kent Rush: Paintings and Prints, Los Angeles, California
University of Wisconsin Fine Arts Gallery, Kent Rush: Drawings, Prints, Collages, La Crosse, Wisconsin
Bluxome Gallery, Kent Rush: Paintings and Limited Edition Book, 'Snake', San Francisco, California
Trinity University, Kent Rush: Paintings, San Antonio, Texas
McNay Art Museum, Kent Rush: Snake, San Antonio, Texas
University of Wisconsin, Kent Rush: Lithographs and Works on Paper, Department of Visual Arts Gallery, Superior
Dorothy Katz Gallery, Kent Rush: Lithographs and Mixed Media Paintings, San Antonio, Texas
McNay Art Museum, Kent Rush: Works on Paper, San Antonio, Texas
Montalvo Center for the Arts, Kent Rush: Lithography and Collage, Saratoga, California
SELECTED GROUP and COMPETITIVE EXHIBITIONS:
Martin Museum, Baylor University, 3 person exhibition, Waco, TX
Delta National Small Prints Exhibition, (Juror: David Kiehl, Curator of Prints, Whitney Museum of American Art), Bradbury Gallery, Arkansas State University, Jonesboro, AR
McNay Art Museum, works from the permanent collection, San Antonio, TX
Prints USA 2009, (Cash Award Winner), Springfield Art Museum, Springfield, MO
The Machine Stops (or Inkjet My Foot), (organized by Andrew Polk, Professor, University of Arizona – traveling from 2008) University of Arizona Art Museum, Tucson, AZ
McNay Art Museum, American Art Since 1945: In a New Light, inaugural exhibition (works selected from the permanent collection) in the newly completed Jane and Arthur Stieren Wing, San Antonio, TX
Texas National 2008, Stephen F. Austin University, Nacogdoches, TX – judge: Roger Shimomura
The Machine Stops (or Inkjet My Foot), organized by Andrew Polk, University of Arizona
Southern Graphics Council Conference, Richmond, Virginia
University of Louisiana at Lafayette, LA
Washington State University, Fine Arts Gallery II, Pullman, WA
Collotypes, Northlight Gallery, Arizona State University, Tempe, AZ
St. Bride Printing Library Collotype Exhibition, organized by Dr. Paul Thirkell, London, UK
Toledo Friends of Photography 2006 National Juried Photography Exhibition, University of Toledo Visual Art Gallery, Juror: Kathy Vargas, Toledo, OH
The Gallery at UT Arlington, Black, White (& Gray), Arlington, Texas
San Antonio Museum of Art, Diverse Camera Works, San Antonio, Texas
Anomalies, (four person) Fort Worth Community Art Center Gallery, Fort Worth, TX
Original/Reproduction: An exhibition of past work from an international range of collotype studios, practitioners and artists, Centre for Fine Print Research, University of the West of England, Bristol, England, curated by Paul Thirkell
Prints U.S.A. 2005, Springfield Art Museum, (cash award) Juror Marilyn Symmes, Springfield, MO
2005 Delta National Small Prints Exhibition, Arkansas State University, State University, AR
McNay Art Museum, 50 Years and Counting: Anniversary Celebration at the McNay, Selected works from the Permanent Collection, San Antonio, TX
Artifacts, Midwestern State University Art Gallery (as part of the Regional Society for Photographic Education Annual [SPE] Conference), Wichita Falls, TX
Ink and Clay, Cal State Polytechnic Univ., Pomona, CA
Texas Printmakers, Texas State University at San Marcos, Texas
16th Annual McNeese National Works on Paper Exhibition, McNeese State University, Lake Charles, LA
Kuai Skatzauktum (Mission Dreams), sponsored by Mexico-North Research Network, Inc., Curator: Michael Mehl, traveled to: Instituto Cultural Chihuahuenza, Chihuahua, Mexico and International Airport Spaces, San Antonio, TX
2002 Delta National Small Prints Exhibition, (Purchase Award) Arkansas State University, State University, AR
Masters of the Print, 416 West Gallery, Denison, TX
Loosely Landscapes, Parchman-Stremmel Galleries, San Antonio, TX
Blue Star 17, (invitational), Blue Star Art Space, San Antonio, TX
Boston Printmakers 2001 North American Print Exhibition, 808 Gallery, Boston University, Boston, MA
Texas Prints 2001, Flatbed Press (exhibition part of the Kent Rush 2001 Southern Graphics Council Conference), Austin, TX
Spirituality and Creativity: Photography Invitational, Southwest School of Art and Craft, San Antonio, Texas
Photographic Myths from the South Texas Missions, sponsored by Mexico-North Research Network, Inc., Curator: Michael Mehl, International Center, San Antonio, Texas
Institute Franco-American, U.S. Printmakers: The Artist Inker's Almanac, Rennes, France
Mid America Print Council Invitational Print Exhibition, St. Cloud State University, St. Cloud, Minnesota
Southern Graphics Council Traveling Exhibition,
San Antonio Art League Museum, Photo S.A., San Antonio, TX
Southwest School of Art and Craft, Impressed, Russell Hill Rogers Gallery, San Antonio, TX
Hayden Library, Arizona State University, Printmaker's Artist's Books, (in conjunction w/Southern Graphics Council), Tempe, AZ
Louisianna State University Union Art Gallery, Printmaker's Artist's Books, Baton Rouge, LA
Gerhard Wurzer Gallery Contemporary Prints from Hare and Hound Press, Houston, Texas
Vesuvius Gallery, Rock Paper Scissors: A Print, Paper and Artist's Book Show, Glenn, MI
Stephen F. Austin State University, Image and Text II: a National Book Arts Symposium and Exhibition II, Nacogdoches, Texas
New York Artist's Book and New Editions Fair (Richard Levy Gallery), the Drawing Center, New York, NY
North Light Gallery, Arizona State University, 25th Annual Exhibition and Auction, Tempe, AZ
Parchman-Stremmel Gallery, group photography exhibition, San Antonio, TX
McNay Art Museum, Pop and Beyond: Contemporary Prints from the McNay Collection, San Antonio, TX
Southeast Museum of Photography, FRESH WORK, Daytona Beach Community College, Daytona Beach, FL
Beyond Silver IV, North Light Gallery and Image Dot Gallery (http://www.public.asu.edu/~anarsynd), Arizona State University, Tempe
Southwest Texas St. University, Darkness and Silence, (3 person), San Marcos, TX
Art Chicago '95 (Richard Levy Gallery), Chicago
1203 Art Space, San Antonio, TX
Houston St., Blue Star on Houston St., organized by Blue Star Art Space, San Antonio, TX
Richard Levy Gallery, Prints, Albuquerque, NM
Arkansas State University Art Gallery, Cliché -verre, Jonesboro, AR
Milagros Contemporary Art, CAA Group Show, San Antonio, TX
The Artist's Gallery: Aviart, Prints: Recent Works, San Antonio, TX
Satellite Space, UTSA Collaborative Editions and The Exquisite Corpse Project Exhibition, San Antonio, TX
Diverse Works, Drawing/Crossing the Line, Houston, TX
Laguna Gloria Art Museum, Compelling Spaces, Austin TX
San Antonio Museum of Art, American Photography: A History in Pictures, San Antonio, TX
Blue Star Art Space, Texas Dialogues: Houston/San Antonio, San Antonio, TX
McNay Art Museum, Putting It On Paper: Contemporary Graphics by San Antonio Artists, San Antonio, TX
California State University, Chico, Ken Hale/Kent Rush, CA
Art Museum of South Texas, Matrix I: Kate Petly/Kent Rush, Corpus Christi, TX
Haggar University Gallery, Univ. of Dallas, From San Antonio TX
Santa Fe Museum of Fine Art, Crossing Territories, NM
The Center for Photography at Woodstock, NY and the
Ulrich Museum of Art, Wichita, KS, Social Studies/Public Monuments
Selby Gallery, Ringling School of Art and Design, The Everpresent Moment: Contemporary Drawing, Sarasota, FL
Richard Levy Gallery, Albuquerque, NM
Emison Art Center, DePauw University, Contemporary Texas Printmakers, Greencastle, IN
Arlington Museum of Art, On Photography, Arlington, TX
Art St Louis, 1991 M-AAA Award Winning Photographers, St.Louis, MO
Longview Museum and Art Center, In the Tradition: Printmaking Today, Longview, TX
Hagger University Gallery, Univ.of Dallas, Irving, TX, 12th University of Dallas National Print Invitational, traveled to:
Richard Levy Gallery, Albuquerque, NM
Blue Star Art Space, Texas Dialogues: Austin/San Antonio, San Antonio, TX
University Art Museum, University of New Mexico, Fundamentals of Photography: A Survey of Photographic Processes, Albuquerque
Montclair Art Museum, Ellis Island Project, NJ
Art Space, Balance Brought Forward, Los Angeles
Drake University Harmon Fine Arts Center Gallery, 9th Biennial Print Symposium Exhibition, Des Moines, IA
Universidad Nacional Autónoma de México Extención, (two person) San Antonio,TX
Baylor University Gallery, Printmaking Invitational (three person), Waco, TX
Mexicarte Gallery, Texas Printmaking Invitational 1989, Austin, TX
San Antonio Art Institute, Forms and Attitudes (two person), San Antonio, TX
Lawndale Art and Performance Center, Texas: Exploring the Boundaries (FOTOFEST '88), Houston, TX
McNay Art Museum, McNay and Texas Artists, San Antonio, Texas.
Laguna Gloria Art Museum, Texas Annual '87, Austin, Texas.
St. Mary's College, Florence Prints: Works from Santa Reparata, Notre Dame, IN
Adams/Middleton Gallery (three person), Dallas, TX
Blue Star Art Space, The Blue Star Exhibition (inaugural), San Antonio, TX
Museu de Arte Contemporanea Internacional, Papel Arte, Bahia, Brasil
San Antonio Museum of Art, Nine Texas Artist Printmakers,TX
San Antonio Museum of Art, SAMA Open '86 (Merit Award), TX
Blue Collar Gallery, Recent Photography, San Antonio, TX
McNay Art Museum, Paperworks, San Antonio, TX
Olin Fine Arts Gallery, Washington and Jefferson College, Washington and Jefferson National Painting Show (Prize Award), Washington, PA
Haggerty Art Center Gallery, University of Dallas, Irving, TX , 9th National Print Invitational," traveled to: Lamar University, Texas Christian University, Abilene Fine Arts Museum, Midwestern State University, East Texas State University, Warehouse Center for the Living Arts.
Museo del Chopo, La Exposición Bienal De La Facultud De La UTSA, Mexico City, México.
Lawndale Art and Performance Center, Discoveries II Houston, TX
Dickson Art Center/UCLA Art Library, Artist's One of A Kind Books, Los Angeles
The Print Club, The Print Club: 61st Annual International Competition of Prints and Photographs, Philadelphia.
University Art Gallery, Cameron University, Cameron National Print Exhibition, Lawton, OK
Patrick Graphics Gallery, Across Texas, Austin, TX
Charlton Gallery, Printmakers, San Antonio, TX
Bluxome Gallery, Small Format Exhibition, San Francisco
World Print Council Gallery, Prints from the California College of Arts and Crafts, San Francisco
Honolulu Academy of the Arts,6th Hawaii National Print Exhib.
Bradley University, 19th Bradley National Print and Drawing Competition, Peoria, IL
Bluxome Gallery (two person), San Francisco
Bradford Galleries, Seventh British International Print Biennale, Bradford, England
Art Space (two person), Los Angeles. .
Kaiser Center, Approaches to Reality: Lithographs by Bay Area Artists, Oakland, CA Union St. Gallery (two person), San Francisco
Art Space (two Person), Los Angeles
Detroit Institute of the Arts, Detroit, Michigan and Museum of Fine Arts, Houston, Cliche-Verre: Hand-Drawn, Light-Printed Objects Gallery, San Antonio, TX
Atkinson Art Gallery, Santa Barbara City College, Small Images, CA
Witte Memorial Museum, Paperworks:An Exhibition of Texas Artists, San Antonio,TX
University Union Gallery, California State Polytechnic University, Texas Art, CA
Memphis State University Art Gallery, National Exhibition of Works On or Of Paper or Clay, TN
New Orleans Contemporary Arts Center, First Southeast Graphics Annual
Los Angeles Printmaking Society 5th National Exhibition (purchase award), Northridge Art Gallery, Cal State Univ., Northridge
Minot State College, 8th National Print and Drawing Exhibition, Minot, ND
Madison Art Center, Works on Paper by Contemporary American Artists, Madison, WI
Koehler Cultural Center, San Antonio College, 2nd Annual Regional Invitational, San Antonio, TX
University of Texas Health Science Center, 200 Years of American Prints in San Antonio Collections, San Antonio, TX
Santa Fe Museum of Fine Arts, 1975 Santa Fe Biennial, Santa Fe, NM
Southern Connecticut State College, In Their Own Image?, New Haven
University of Northern Illinois, Exposure '74, DeKalb.
Contemporary Prints from American Universities, USIA traveling exhibition:
San Jose Museum of Art, 3rd Annual Regional Art Competition, San Jose, CA
Oakland Museum, Phelan Awards: Photography 1971, Oakland, CA
- Indianapolis Museum of Art, Young Printmakers 1970, IN
Glowen, Ron. Kent Rush: Forms and Attitudes. San Antonio: San Antonio Art League, 1989.
Heasley, Charles. Recent Works of Kent Rush. Cortland: Dowd Fine Arts Gallery, State University of New York, 1992.
Leeper, John Palmer. Works on Paper - Kent Rush. San Antonio: Marion Koogler McNay Art Museum, 1977.
Williams, Lyle. Kent Rush: A Retrospective. San Antonio: Marion Koogler McNay Art Museum, 1998.
Articles/essays/reviews: (*w/reproductions of artwork)
Armitage, Diane. "Kent Rush: Recent Photographs" (review). THE magazine, V. 2, No. 6, December, 1993, p 65.*
Boswell, Peter. "Urban Imagery" (review). ARTWEEK, 31 July, 1982, p 5.
Bradley, Steven. "The Blue Star Exhibition" (catalog essay). The Blue Star Exhibition,
San Antonio: Contemporary Art for San Antonio, 27 June 1986, p. 7.*
Brunner, Kath & Riedel, Eric. "Discoveries II" (review). The Lawndale Inquirer, December 1985, p 24.
Brunon, Bernard. "Drawing/Crossing the Line" (essay). Drawing/Crossing the Line, Houston: Diverse Works, 1994, pp.14, 17.*
Edwards, Jim. "Matrix Series I: Kate Petly/Kent Rush" (gallery guide essay). Corpus Christi: Art Museum of South Texas, 1993.*
Gardener, Colin. "West L.A." (review). Los Angeles Times, 4 April, 1986, IV,p. 11.
Gaston, Diana. "Kent Rush: Recent Works" (gallery guide essay). Albuquerque: Fine Arts
Museum, University of New Mexico, October 1990.*
Goddard, Dan. "Redefining Beauty: Kent Rush challenges our perceptions..." (review). San Antonio Express and News, July19, 1998, p. 7H.*
Gupta, Anjali. "Found Abstraction." San Antonio Current Magazine, June 14-20 2001.*
Hammond, Pamela. "Kent Rush at Art Space." Images and Issues, Spring 1982, p 87.*
Hemmerdinger, William. "Toward the Finish Line"(review). ARTWEEK, May,1980,p.6.
Heinkel-Wolfe, Peggy. “Anomalies: Fort Worth Community Art center.” (review) Art Lies, Summer 2005, p.106.*
Johnson, Partricia C. "Printmaking Exhibit shows works of varied techniques" (review). Houston Chronicle, July 29, 1998, p. 1D.
Lombardi, D.D. “SCAPES at the Lab Gallery.” dArt INTERNATIONAL, F 2006.
Mason, Wally. "The Everpresent Moment" (catalog essay). The Everpresent Moment: Contemporary Drawing, Sarasota: Selby Gallery, Ringling School of Art, 1993.
Muchnic, Suzanne. "The Galleries: West Los Angeles" (reviews). Los AngelesTimes, 4 March1988, 30 October, 1981and18 April, 1980.
O’Brien, Titus, “Show explores the colorful possibilities of black and white” (review). Fort Worth Star Telegram, 19 November, 2006.
Pincus, R.L. "The Galleries: West Los Angeles" (review). Los Angeles Times, 7 October 1983, VI, p. 13.
Rutledge, Virginia. "Social Studies/Public Monuments: Partial Documents: Contemporary
Photography on the Street"(essay and illustrations). Photography Center Quarterly #55, Spring 1993, pp. 4-11 & 13.*
Smith, Mark Lesly. "Reflections on the Art-Life Continuum" (catalog essay and illustrations). Compelling Spaces: Site-specific Artworks. Austin: Texas Fine Arts Assoc., 1995. *
Solon, Marcia Goren. "Work of Artist Kent Rush Makes Concrete Abstract" (review). San Antonio Light, 8 February 1987.
Symmes, Marilyn. "Cliche-Verre in the 20th Century." Cliché -Verre: Hand-Drawn, Light-Printed, Detroit: Detroit Institute of the Arts, 1980, pp 122, 160.*
Reproductions of artwork appearing in: 12th University of Dallas National Print Invitiational. (catalog) Dallas: University of Dallas, 1992
16th Annual McNeese National Works on Paper Exhibition (catalog w/introduction by Frances Colpitt), Lake Charles: McNeese State University, 2003
23 Artists in Residence at the Ringling School of Art and Design (catalog). Sarasota:Ringling School of Art and Design, 2000. p.9.
2005 Prints USA, (catalog) Springfield: Springfield Art Museum, 2005, p. 19.
2005 Delta National Small Prints Exhibition (catalog). Jonesboro: Arkansas State University, 2002, p. 32
2002 Delta National Small Prints Exhibition (catalog). Jonesboro: Arkansas State University, 2002, p. 21
Casey, Katheryn, ed. FOTOFEST 1988. Houston: Fotofest, 1988, pp. 78,79.
Collotype: Past, Present, Future. Ed. Dr. Paul Thirkell. Bristol: Impact Press, 2006.
Colpitt, Frances. "Report from San Antonio: Jewel in the Rough." Art in America, February 2002, pp.58-65.
Exposure. Kansas City: Mid-America Arts Alliance and the National Endowment for the Arts, 1991.
FRESH WORK (w/introduction by Alison Devine Nordstrom). Daytona Beach: Southeast Museum of Photography, Daytona Beach Community College, 1996, p.12.
La Exposición Bienal de la Facultad de la Universidad de Tejas en San Antonio, México, D.F.: Universidad Nacional Autónoma de México, 1985.
Modern Art at the McNay: A Brief History and Survey of the Collection. San Antonio: Marion Koogler McNay Art Museum, 2002, p. 225.
San Antonio Museum of Art Open '86 (w/essay by George Neubert). San Antonio: San Antonio Museum Association, 1986 (no pagination).
Texas Prints 2001 (w/essay by Mark D. Smith). 2001, Austin: University of Texas, Austin p.15.
Texas National 2008. Stephen F. Austin State University. Nacagdoches:, 2008, p. 21.
Rush, Kent. " Collotype Printing from Film Matrices: An Extension of Lithography." The Tamarind Papers, V. 10, No. 2, pp. 78-83.*
Rush, Kent. "An Intuitive Search," ed. M. Martinello, et al. Modes of Inquiry: Voices of Scholars Across the Fields of Study, Carrollton, Texas: Alliance Press, 1999, pp. 87-89.
Kent Rush was born in Hayward, California (the East Bay side of the San Francisco Bay Area) in 1948. He spent his formative years absorbing the artistic, intellectual and political milieu of the San Francisco/Berkeley area of the late 60′s. He studied art, drawing and especially printmaking, at the California College of Arts and Crafts (CCAC) with Robert Bechtle, Charles Gill and Jeryl Parker and received his BFA in 1970 amid the tumult of People’s Park and the Viet Nam War Moratorium.
In the mid 70′s he earned a Masters Degree at the University of New Mexico in Albuquerque where he studied lithography under Garo Antreasian while he also worked as a printer’s assistant and photographer for the Tamarind Institute of Lithography. Shortly thereafter he moved to San Antonio, Texas to start the printmaking program for the (then) San Antonio Art Institute,1976. While teaching and working there he completed an MFA Degree at the University of Texas at Austin in 1979.
He has spent the past 27 years making art and teaching in San Antonio at the University of Texas at San Antonio since 1982. His work has been exhibited extensively in the United States in solo, two and three person, group and competitive shows. Internationally he has also had works shown in London, Brazil, Peru, Mexico, and France.
Coming from a background in printmaking, drawing and painting Rush, over the past 20 years, has appropriated photography as a means to making images. Specifically he collects (on film) mundane objects and surfaces (primarily concrete) from urban and suburban sites and presents them in monumental format.
Senior Fulbright Fellowship, Research/Lectureship, Oaxaca, Mexico
Partners of the Americas Grant, Lima, Peru
Mid-America Arts Alliance/NEA Artist’s Fellowship in Photography
Invited Artist-in-Residence, Tamarind Institute
Department of Art & Art History
Office: ART 2.02.20
Office hours: By Appointment
Research area: Painting, Performance
Christie Blizard is an Assistant Professor of Painting and Drawing at the University of Texas at San Antonio. She is a nationally and internationally exhibiting artist, working in a variety of media merging painting and drawing with social engagement practices. Since 2006, she has been featured in over 70 national and international art exhibitions including those curated by several renowned art figures such as: internationally known artists Mel Chin and Pradip Malde; Dr Charissa Terranova, Assistant Professor of Aesthetic Studies and Director of Centraltrak Artist Residency at UT Dallas; Rene Barilleaux, Chief Curator at the McNay Art Museum in San Antonio, Carter Foster, Curator of Drawings at the Whitney Museum of American Art; Heather Pesanti, Assistant Curator of Contemporary Art at the Carnegie Museum of Art, and Antoine Guerrero, Director of Exhibitions at PS1. Recent exhibitions include an invitation to the Texas Biennial 2011 and 2013 curated by Virginia Rutledge held in Austin, New American Paintings 96 and 108 West Editions, and solo exhibitions at Lawndale Center for Art in Houston and Women and Their Work in Austin. Other recent residencies and fellowships include the MacDowell Colony in Peterborough, NH and Centraltrak Artist in residence program through the University of Texas at Dallas, and the SIM Artist Residency in Reykjavik, Iceland. A recent performance project of hers was featured in Art in America, September 2013.
M.F.A., Painting and Drawing. Georgia State University, Atlanta, GA. 2005
B.F.A., Painting, Highest Distinction, (summa cum laude) Herron School of Art and Design. Indiana University—Purdue University, Indianapolis, IN. 2001
ART 2113 Painting-Basic
ART 4133 Painting/Drawing IV
ART 4233 Drawing III
Texas Biennial Invitational, Curated by Virginia Rutledge and Michael Duncan, Lawndale Art Center, Houston, TX.
Performance during Miami Basel, UNTITLED Art Fair, Miami, FL.
New American Paintings West, Vol 108, Juror’s Award, juried by Veronica Roberts., Curator of Modern and Contemporary Art, Blanton Museum of Art, Austin, TX.
Women and Their Work Gallery, Austin, TX * solo
Lawndale Art Center. Houston, TX. *solo
I am intrigued by the connective tissues between painting and performance, public and private, and the spectacle and the hidden. I started being an artist as a painter at the age of 17, but I do not paint any more. I wanted to bring it back to find something that I had lost and incise my way past fear into a more personal and provocative space. Much of this practice involves a reinvigoration of action painting, through exploring the margins between painting and performance, both a gesture back to action painting, one of the pivotal inspirations for performance art, but also a gesture forward as a way to reinvigorate contemporary painting more directly off the wall. As Barry Schwabsky writes: “In particular, the whole phenomenon of “painterliness” has a different value today than it did in the past. It functions less as a signifier of the individual artist’s stylistic signature or as the trace of emotional expression ( . . . ) than as a way of allowing the painting to linger in the condition in which things are still unsettled, metamorphic, in transition, (Schwabsky, Barry accompanying text, About Painting, Transition Editions, London, 2011.p. 77). I am interested in the idea of the “unsettled painting” and all its potential facets and metaphors.
Department of Art & Art History
Office: SC 1.02.01
Office hours: by appointment
Research area: Sculpture, Ceramics, Performance
Ken Little was born in 1947 in Canyon Texas. He was a graduate in the first Bachelor of Fine Arts class at Texas Tech University in 1970. He went on to earn a Masters of Fine Arts at the University of Utah in 1972. Since 1972 he has held tenured positions at major universities, including The University of Montana at Missoula, The University of Oklahoma in Norman. Since 1988 he has been a professor of Art in Sculpture at The University of Texas at San Antonio.
Ken Little is a nationally recognized artist who has been granted two Visual Arts Fellowships by the National Endowment for the Arts in1982 and 1989. Since 1993, he has maintained a working studio and Rrose Amarillo, an alternative exhibition space in downtown San Antonio. His work in various media has been shown extensively both nationally and internationally. In south Texas he has exhibited at such venues as ArtPace, Finesilver Gallery, The Southwest School of Art and Craft, and the Blue Star Art Space where he was a board member from1989 to 1995. He currently serves on the Board of Directors at Artpace, San Antonio.
Over the years, Little’s work has been featured in over 40 one person exhibitions in national and international venues such as: The Washington Project for the Arts, Washington DC; The John Michael Kohler arts Center in Sheboygan Wisconsin; The Forum for Contemporary Art, St. Louis; Diverse Works in Houston; and The Honolulu Academy of the Arts. His work has also been featured in over 200 group exhibitions at institutions like: The Contemporary Art Museum in Houston; The Renwick Gallery of the Smithsonian Institute in Washington, DC; and The Museum of Fine Arts in Boston.
1972 M.F.A. - University of Utah, Salt Lake City
1970 B.F.A. Texas Tech University, Lubbock
ART 4673 Sculpture
ART 4753 Ceramics
ART 4983 Senior Seminar and Exhibition
ART 5553 Sculpture-Graduate
ART 6023 Graduate Studio Seminar
Shell Games: the work of Ken Little One Person Exhibition at the Dupree Art Center of Hope College, Holland Michigan
Texas Chair Project Group Invitational Exhibition organized by Damion Priour and the Austin Museum of Art, Austin Texas ( catalog published and traveling exhiobition)
OK, Two Artist’s meet in Texas… Two person exhibition at Jay Jay Gallery, Sacramento California
Art Guys Hear No Evil Silver Jubilee Tribute Album and Variety Show Discovery Green, Houston Texas (Group show and CD published)
Second Prize The 78th Annual Juried Art Exhibition at the San Antonio Art League
Juror: Toby Kamps, chief curator of the Houston Museum of Fine Arts
New Art/ Arte Nuevo Juried Group Exhibition at the UTSA Art Gallery, San Antonio, Texas catalog published
Invitational Group Exhibition, Melissa Morgan Fine Arts, Palm Desert, California
Grand Opening of the Stieren Galleries: the permanent collection of the McNay Museum,
San Antonio Group Exhibition
Grand Opening of the South Texas Blood and Tissue Center Permanent Art Collection
Group Exhibition, San Antonio Texas
One Man Show Heavy Metal, Glow, Bucks, and Dough: New Work by Ken Little Finesilver Gallery, Houston, Texas
Amistad: Texas Art in Peru curated invitational group exhibition; The National Museum of Peru, Lima; and traveling to the Museum of Modern Art, Truillo, Peru
Yoko Ono Cut Piece Performance; The Alla Canaria; UTSA Downtown Campus, San Antonio, Texas
Invitational Group Exhibition Phillip Johnson Towers, San Francisco, California
Pulse London Art Fair Finesilver Gallery booth, London, England
Camp Marfa Curated Group Invitational Exhibition; Women’s Pavilion, Marfa, Texas
Reopening of the Permanent Collection San Antonio Museum of Art, San Antonio, Texas
Ken Little: Artist of the Year honoree and exhibition at the Blue Star Art Space, San Antonio, Texas
Group invitational Exhibition, Jay Jay Gallery, Sacramento, California
The Texas Uprising Invitational Group Exhibition, Blue Star Art Space, San Antonio, Texas
Ulterior Motifs #10 Invitational Group Exhibition, Arlington Museum of Art, Arlington, Texas
13th Biennial Faculty Exhibition Group Exhibition, UTSA Art Gallery, San Antonio, Texas
Arte Fiera Art Fair, Finesilver Gallery booth, Bologna, Italy
Homeland Security sculpture commissioned by the Griffnerhaus, Griffen Austria, for the XYZ2
Artists residency and Symposium
Oso Bay Biennial Invitational Sculpture Exhibition The Art Galleries, Texas A&M University, Corpus Christi, Texas
One Man Show Ken Little Redbud Gallery, Houston, Texas
American Dream: In Question Group invitational Exhibition, The Belger Arts Center, Kansas City, Kansas
Blurring Boundaries: Musicians Who Create and Artists Who Play Group Invitational Exhibition Ellen Noel Museum, Odessa Texas
The Game Show Group Invitational Exhibition, Contemporary Crafts Museum, Portland Oregon
AAF Contemporary Art Fair, Pier 92, Ch’I Gallery; New York, New York
ART4ALL Group Exhibition; Permanent Collection and Grand Opening of the Missoula Museum of the Arts, Missoula, Montana
Collectors X 3 curated group Exhibition, The Houston Art League, Houston, Texas
Around the Figure Group Inivitational Exhibition, Ch’i Gallery, Brooklyn, New York
Sculpture Now Curated Group Exhibition, The Williams Tower Gallery, Houston, Texas
Beast curated Group Exhibition, Finesilver Gallery, Houston, Texas
New Acquisitions to the Permanent Collection The Museum of Texas tech University, Lubbock, Texas
Dawn Bronze Sculpture installed on the grounds of the McNay Museum, San Antonio, Texas
Bridge Art Fair: Miami ‘06 Ch’i Gallery, Miami, Florida
Storytelling: Collaborative Prints from the Donkey Mill Art Center Invitational Group Exhibition Studio 7 Fine Arts Gallery, Halualoa, Hawaii
Insanely Sick I2I Gallery, Invitational Group Exhibition, San Antonio, Texas
The Texas Sculpture Symposium, Members Group Exhibition, Texas Tech University, Junction Campus, Junction, Texas
One Man Show , The Buck Stops Here Untitled Art Space, Oklahoma City, Oklahoma
One Man Show Stremmell Gallery, Reno, Nevada
Rock, Paper, Scissors Invitational Sculpture Exhibition, Arlington Museum of Art, Tx.
Home in San Antone Group Invitational Exhibition, New Braunfels Museum of Art and Music, New Braunfels, Tx.
State of Texas, Clay group Invitational Exhibition, Art Gallery, University of Texas at San Antonio. Tx.
Ulterior Motifs #9 group invitational exhibition, Wheeler Bros. Studio, Lubbock, Texas
Risk a collaboration with Richie Budd; Blue Star Art Space, San Antonio, Texas
Summer Heat: Summer Salon group exhibition; Ch’i Gallery, Brooklyn, New York
Group Exhibition, MiKiJio Fine Arts, Seattle Washington
Blue Star 20 curated group exhibition, Blue Star Art Space, San Antonio, Texas
9th International Shoebox Sculpture Exhibition invitational, University of Hawaii Art Gallery, Honolulu, Hawaii (three year tour)
Artissima 12 Group Exhibition, Finesilver Gallery, Turin, Italy
Western Biennial of Art group exhibition, John Natsoulas Center for the Arts, Davis, California
Inaugural Group Exhibition Finesilver Gallery, Houston, Texas
Art Miami: 16th Annual International Art Fair Finesilver Gallery, Miami, Florida
Little Changes One Man Exhibition traveling retrospective exhibition:
One Man Exhibition John Natsoulas Gallery, Davis California
10th Annual Arts and Eats, Blue Star Art Space, San Antonio, Texas
The Hunt: Ritual and Narrative group invitational exhibition, Sun Valley Center for the Arts, Sun Valley, Idaho
The Figurative Point of View group invitational exhibition, Santa Rosa Junior College Art Gallery, Santa Rosa, California
Ready to Wear invitational group exhibition, The John M. Kohler Art Center, Sheboygan, Wisconsin
Texas Uprising invitational group exhibition, Blue Star Art Space, San Antonio, Texas
Vibrant Vessels and Neon group invitational exhibition, Art Gallery, Coastal Bend College, Beeville, Texas
Southern States Sculpture Exhibition group invitational exhibition, The Center for Contemporary Art, Southeastern Louisiana University, Hammond, La.
12th Biennial Faculty Exhibition, The Art Gallery at the University of Texas at San Antonio, Tx.
Beyond the Academy: Encouraging New Talent in Texas Invitational Exhibition at the Texas Fine Arts Association, Austin, Texas; traveling to The Galveston Art Center, Galveston, Texas; The Abraham Gallery, Wayland Baptist University, Plainview, Texas
The Figure Twice Removed: Frances Bagley, Kelli Connell, and Ken Little The Art Gallery at the University of Dallas
One Man Exhibition Little Changes Retrospective Exhibition and Catalog opening at The Southwest School of Art and Craft and scheduled to travel through 2005: The Salt Lake Art Center, Salt Lake City, Utah
25th Anniversary Retrospective Exhibition, The Fabric Workshop Museum, Philadelphia, Pa.
XI Biennial Faculty Exhibition, The Art Gallery, University of Texas at San Antonio
The Pilot Hill Collection of Contemporary Art, The Croker Art Museum, Sacramento, California and The Art Museum of South Texas, Corpus Christi
SOFA/Chicago:2003 John Natsoulas Gallery, Davis California
The Montana Collection: Past-Present-Future group exhibition, The Yellowstone Art Center, Billings, Montana
Ken Little, Chris Ramsey, Takeshi Takara group invitational exhibition, Ball State University Art Gallery, Muncie, Indiana
One Man Exhibition, inaugural exhibition, Scott White Contemporary Art, Telluride, Colorado
3D Chicago Outdoor Sculpture Invitational Exhibition curated by Dave Hickey, Navy Pier, Chicago, Illinois
3D Chicago Maquettes The Field Museum, Chicago, Illinois
Red Hot: Cast Iron in the 21st Century national invitational group exhibition, The Grounds for Sculpture at the Johnson Atilier, Mercerville, New Jersey
Second Nature group exhibition, 1313 Gallery, Austin, Texas
Drawing in San Antonio The McNay Museum, San Antonio, Texas
South Texas Outdoor Sculpture Exhibition International Sculpture, San Antonio, Texas
Easy as 1,2,3 RC Gallery, San Antonio, Texas
Between Past and Future: Blue Star 17 The Blue Star Art Space, San Antonio, Texas
Finesilver Gallery group exhibition at the Navy Pier International Art Exhibition, Chicago, Ill.
Visual Perspectives: 14 Years of the Virginia Groot Foundation Awards Invitational at the 215
Superior Gallery and The SOFA Navy Pier International Art Exhibition, Chicago, Ill.
Up and Down: Ken Little and Jesse Amado The Art Gallery of the University of Texas at San Antonio
Gallery Artists Exhibition, Barry Whistler Gallery, Dallas Texas
Acadia Summer Arts Program Invitational Exhibition, Mount Desert Island, Maine
Dawn sculpture on exhibition at the South Texas Art Museum, Corpus Christi, Texas
Victory and Defeat sculpture on outdoor exhibition loan to the Town of Lincolnwood, Ill.
BorderArt/GrensKunst group invitational exhibition, Galerie Klinger, Goerlitz, Germany
Guten Tag group invitational exhibition, UTSA Satellite Space, San Antonio
Hotel Pupik 01 group invitational exhibition, and musical performance, Schrattenberg, Austria
Creature Discomforts group invitational exhibition, The Arlington Museum of Art, Arlington, Texas
X Biennial Faculty Exhibition UTSA Art Gallery, San Antonio, Texas
Group Exhibition, Stremmel Gallery, Reno Nevada
Drawings group invitational exhibition, Barry Whistler Fine Arts, Dallas, Texas
Artists Exhibition, Finesilver Gallery, San Antonio, Texas
One Man Exhibition Singing on the Range, Galveston Art Center, Galveston, Texas
Houston Sculpture 2000 Central Texas Exhibition at the International Sculpture Conference Houston, Texas
The Really Big Shoe Show The City Museum, St. Louis, Missouri
Drawn group exhibition, Barry Whistler Fine Arts, Dallas, Texas
Selected Recent Acquisitions: in Memory of Price Amerson Richard Nelson Gallery, Univ. Of California at Davis
Anderson Ranch Faculty Exhibition Snowmass, Colorado
Celebrating Texas Art Houston Assistance League, Texas
Jurors Prize 27th Annual Juried Competition Mazur Museum of Art, Monroe, La.
Jurors Prize Texas National juried exhibition, Stephen F. Austin University Art Gallery, Nachodoches, Texas
Chicago Navy Pier Exhibition, Finesilver Gallery
San Francisco International Art exhibition, Finesilver Gallery
Expanded Visions: Ceramic Art from the 70’s and the 80’s The Bayley Art Museum, University of Virginia, Richmond, Virginia
One Man Exhibition Ken Little: New Bronzes The Finesilver Gallery, San Antonio, Texas
ART2KpaSA? a survey of San Antonio Artists, at the San Antonio International Airport
Out of the Closet: Clothing as Imagery in Contemporary Art an invitational exhibition, Salt Lake Art Center, Salt Lake City, Utah
Gallery Artists Exhibition, Stremmel Gallery, Reno, Nevada
OSO Bay Biennial X invitational sculpture exhibition, held jointly at Corpus Art Museum and The Art Galleries at Texas A&M University at Corpus Christi
Texas invitational exhibition, Pirate: A Contemporary Art Oasis, Denver, Colorado
Alumni Exhibition Landmark Arts Gallery, Texas Tech University, Lubbock Gallery
Art at Work: selections from the Persis Collection The Contemporary Museum, Honolulu Hawaii
Transformation inaugural group invitational exhibition, Southwest School of Art and Craft, San Antonio, Texas*
The First Decade: Highlights from the Museum Collection The Contemporary Museum, Honolulu, Hawaii
One Man Exhibition Adult Dilemmas The Center for Contemporary Art, Fort Worth, Texas
Recycle/Reinvent, group invitational exhibition, Jo Ann Rapp Gallery, Scottsdale, Arizona
One Man Show, Ken Little: Rrose Amarillo, The Forum for Contemporary Art, St. Louis, Missouri
Cecil Casebier Memorial Award 67th Annual San Antonio Art League Juried Exhibition, San Antonio, Texas
TRASHFORMATIONS: Recycled Materials in Contemporary American Art and Design, Touring
Through 2001 Invitational Exhibition organized by the Smithsonian; Whatcom Museum of History and Art, Bellingham, Washington; The Boise Museum of Art, Boise, Idaho; The Mobile Museum of Art, Alabama
One Man Show Ken Little: Native Son, Amarillo Art Museum, Amarillo, Texas
Green Mountain Foundry Artists, Group Exhibition on the grounds of Green Mountain Foundry, Crowley, Texas
One Man Exhibition, Rrose Amarillo: The San Antonio Works, at Laramie County Community College Art Gallery, Cheyenne, Wyoming, November 1996
Casts of Character, National Invitational Exhibition works from the Arts Industry Program of the J.M. Kohler Art Center, Sheboygan, Wisconsin
The Fine Art of Craft & Sculpture, National Group Exhibition, Horowitch Lewallen Gallery, Santa Fe, New Mexicio
One Man Exhibition, Milagros Contemporary Art, San Antonio
Group Exhibition, Tracy Savage Fine Art, Portland, Oregon
Obres Sobre Papel, Instituto Peruano Norte Americano, Lima, Peru
Shirts & Skins, Invitational Exhibition, The Contemporary Museum, Honolulu, Hawaii
Made in San Antonio, Invitational exhibition, Dowd Fine Arts Center, State University of New York at Cortland, New York
Exquisite Corpse Project, UTSA Satellite Space, San Antonio, Texas
Drawings, Dean Moniz Gallery, Sacramento, California
Soaring - the Rule of Engagement, New Works 95.4 an exhibition of the International Artist in Residency Program, ArtPace, a foundation for contemporary art, San Antonio
Group Exhibition, Milagros Contemporary Art, San Antonio, Texas
Group Exhibition, Jo Ann Rapp Gallery "The Hand & Spirit," Scottsdale, Arizona
Group Exhibition, Savage Fine Art, Portland, Oregon
UTSA Faculty Exhibition, Instituto Cultural Peruano Norteamericano, Lima, Peru
Genesis in Fire: Works from the Green Mountain Foundry, The Glassell School of the Museum of Fine Arts, Houston
Distinguished Fires: A Survey of Montana Ceramics, Yellowstone Art Center, Billings, Montana
Group Exhibition, Dean Moniz Gallery, Sacramento,California
Beyond the Personal: Ken Little and Patti Warashina Invitational exhibition, Art Gallery, New Mexico State University, Las Cruces
One Man Show, Dean Moniz Gallery, Sacramento, California
Texas Dialogues: Houston/San Antonio curated by Caroline Huber, The Blue Star Art Space, San Antonio, Texas
Working with Harry, group exhibition, D-Art, Dallas, Texas
Biennial Art Faculty Exhibition, Art Gallery, University of Texas, San Antonio
Putting it on Paper, Invitational exhibition, McNay Art Museum, San Antonio, Texas
The Scenic Loop: Ken Little and Henry Stein, A collaborative installation, The Art Gallery, California State University at San Bernardino
Methods and Materials in Contemporary Sculpture, The Columbus Museum, Georgia
Target South Texas: Depth of field, Art Museum of South Texas, Corpus Christi, Texas
Group Exhibition, Cliff Michel Gallery, Seattle, Washington
Group Exhibition, Dean Moniz Gallery, Sacramento, California
Group Invitational, Myra Morgan Gallery, Kansas City, Missouri
One Man Show, Diverseworks, Houston, Texas
24th Annual Art Exhibition Auction, to benefit the Yellowstone Art Center, Billings, Montana*
Relativities Alumni Exhibition, Texas Tech University, Lubbock Fine Arts Center
The VI Biennial Faculty Exhibition, UTSA Gallery, San Antonio, Texas
Blue Star VII Exhibition curated by Betty Moody and Barry Whistler, Blue Star Art Space, San Antonio, Texas
Transport, Invitational Group Exhibition, Palo Alto Cultural Center, Palo Alto, California
23rd Annual Art Exhibition Auction, to benefit the Yellowstone Art Center, Billings, Montana*
5th Anniversary Exhibition group, Barry Whistler Gallery, Dallas, Texas
Robert Pfannebecker Contemporary American Crafts Exhibition, Kauffman Gallery, Shippensburg University, Shippensburg, Pennsylvania
One Man Show, Nelson Gallery of Art University of California at Davis
One Man Show, Jennifer Pauls Gallery, Sacramento, California
Tell Tale Heart, an installation of "Elements of Progress: Dreams Escape," Washington Project for the Arts, Washington, D.C.*
Sculpture Exhibition, Anne Reed Gallery, Sun Valley, Idaho
Invitational Exhibition and Auction, Center for Contemporary Art, Santa Fe, New Mexico
Fifth Biennial Faculty Art Exhibition, Art Gallery, University of Texas at San Antonio
Hot Sauce Studio, San Antonio Art Institute, Texas
Sacramento Exhibition, San Francisco Museum of Modern Art Rental Gallery, California
Feather, Fur & Fin invitational exhibition, Laguna Gloria Art Museum, Austin, Texas
The Politics of Cloth: Selections from the Fabric Workshop, Philadelphia, The Craft Gallery, Ontario Crafts Council "New Dimensional Forms by West Coast Artists," Virginia Breyer Gallery, San Francisco, California, invitational group exhibition
Working With Harry, Invitational group exhibition, Art Gallery, University of North Texas, Denton, Texas
Let's Play House, Group Exhibition, curated by Ruth Fine, Fabric Workshop, Philadelphia, Pennsylvania
Rodeo Remembered/Rodeo Romance, group exhibition, The Philbrook Museum of Art, Tulsa, Oklahoma
1991 Invitational Exhibition, Roswell Museum and Art Center, Roswell, New Mexico
One Man Show Elements of Progress, The Fabric Workshop, Philadelphia, Pennsylvania
A Century of Sculpture in Texas, 1889-1989, Archer M. Huntington Art Gallery, University of Texas at Austin, traveling to the Amarillo Art Center and the San Antonio Museum of Art*
The Nature of the Beast, The Hudson River Art Museum, Yonkers, New York
Five Texas Installations: Blackburn, Geffert, Little, Mims & Waters, The Blue Star Art Space, San Antonio, Texas*
Texas Art Celebration '89, Houston, Texas
Yellowstone Art Auction, Yellowstone Art Center, Billings, Montana
Factory Art, from the Arts/Industry Program, J. M. Kohler Art Center, Sheboygan, Wisconsin
Zoomorphism: Animals in Art, Trammel Crow Center, Dallas, Texas
Tracking Ideas: Drawings by Sculptors, Amarillo Art Center, Texas
Works on Paper, Barry Whistler Gallery, Dallas, Texas
One Man Show, Elements of Progress: Dreams Escape, Art Gallery, Southwest Texas State University, San Marcos, Texas
U.T.S.A. Faculty Exhibition, Unserhaus, San Antonio, Texas
Lost and Found, Fabric Workshop, Philadelphia, Pennsylvania
Yellowstone Art Auction, Yellowstone Art Center, Billings, Montana
3rd International Shoebox Sculpture Exhibition, Art Gallery (3 years touring) University of Hawaii, Manoa
Animal Imagery, Susan Cummins Gallery, Mill Valley, California
Excellence 88, National Juried Exhibition, Texas Sculpture Association, Plaza of the Americas, Dallas, Texas
Dog Show, Braunstein/Quay Gallery, San Francisco, California
Sculptural Assemlage, Cliff Michel Gallery, Seattle, Washington
Mary Warner - Ken Little, Art Gallery, University of Texas at San Antonio, Texas
3 D Animal Exhibition, Joan Robey Gallery, Denver, Colorado
Second Hand, J. M. Kohler Art Center, Sheboygan, Wisconsin*
Juror's Cash Award, Dimensions '88, Lenexa National Art Exhibition Kansas
Purchase Award & Jurors Cash Award "Vision Makers, Kirkpatrick Center Gallery, Oklahoma City, Oklahoma
The Garment as Metaphor, San Jose Art Gallery, California
Armadillo to Zebra invitational exhibition, Armarillo Art Center, Texas
One Man Show - Mabee Gerrer Museum, Shawnee, Oklahoma
Sculpture: Looking into Three Dimensions, invitational exhibition, Anchorage Museum of Art, Alaska
Group Show, Carson Sapiro Gallery, Denver, Colorado
The Right Foot Show, San Francisco International Airport, California
The Eloquent Object, touring through August 1989,
Shave, Jennifer Pauls Gallery, Sacramento, California
Animals, Art Gallery, California State University, Fullerton, California
20th Birthday Celebration, John Michael Kohler Art Center, Sheboygan, Wisconsin
Excellence '87, Juried Exhibition, Texas Sculpture Association, Dallas, Texas
Celebration: Fur, Feathers, and Scales, Bellevue Art Museum, Washington
One Man Show, Ken Dawson Little: Selected Sculpture 1982 - 1985, Traveling to Blanden Memorial Art Center, Fort Dodge, Iowa; Cheney Cowles Memorial Art Museum, Spokane, Washington
Artists of the Western Stairstep: Original Parody, Patrick Gallery, Austin, Texas
Voyages, invitational exhibition, J.M. Kohler Art Center, Sheboygan, Wisconsin
Couples: A Party of Two, invitational exhibition, Chico State University Art Gallery, California
Ken Little - John Roloff, two person show, Maryland Institute, College of Art Galleries, Baltimore, Maryland
One Man Show, Portland Center for the Visual Arts, Oregon
Works on Paper, Fort Worth Gallery, Texas
Space Invaders, Invitational traveling exhibition through June 1986, originating at the Norman MacKenzie Art Gallery, University of Regina, Canada*
Body and Soul: Recent Figurative Sculpture, Invitational exhibition touring through June 1987; originating at the Contemporary Arts Center, Cincinnati, Ohio*
Chicago International Art Exposition, Navy Pier, Quay Gallery, Chicago, Illinois
One Man Show, Fort Worth Gallery, Texas
Best of Show (cash award), Lenexa National Juried Art Exhibition, Legler Barn Museum, Lenexa, Kansas
Juror's Cash Award, O.K. - U.S.A. National Juried Sculpture Competition, Cameron University Art Gallery, Lawton, Oklahoma
Texas Fantasies, Invitational Exhibition, Tyler Museum of Art, Tyler, Texas
13th Chunichi Shimbun International Ceramics Exhibition, Nagoya, Japan*
Blossom, performance, Big Red Art Clubs 2nd performance night, Meacham Auditorium, University of Oklahoma, Norman
Fleming, Mariscol, Warashina, Little, Invitational Exhibition, Kansas City Art Institute Gallery, Missouri
The House That Art Built, Invitational Exhibition, Gallery of Art California State University, Fullerton*
Inaugural Exhibition, Morgan Gallery, Kansas City, Missouri, (traveling section)
One Man Show, Susan Caldwell Gallery, New York City, New York
Habitats Group Invitational, Klein Gallery, Chicago, Illinois
The Raw Edge, traveling section to the Everson Museum of Art, Syracuse
One Man Show, Utah Museum of Fine Arts, Salt Lake City, Utah
A Passionate Vision, Ceramics from the Daniel Jacobs Collection, DeCordova Museum, Lincoln, Massachusetts
One Man Show, San Antonio Art Institute, Texas
The Great Buffalo Exhibition, Cameron University Art Gallery Lawton, Oklahoma
Painting and Sculpture Today 1984, Indianapolis Museum of Art Indianapolis, Indiana Group Show, Fort Worth Gallery, Texas
Ken Little, John Hadley, Two-Person Show, Gallery Karl Oskar, Kansas City, Kansas
Group Exhibition - Becky Levy Gallery, Austin, Texas
One Man Show, Brown Lupton Gallery, Texas Christian University, Fort Worth, Texas
One Man Show, Meredith Long Gallery, Houston, Texas
Winterworks, Oklahoma Art Center, Oklahoma City, Oklahoma*
Invitational Group Exhibition, Patrick Gallery, 4th Texas Sculpture Symposium, Austin, Texas
One Man Show, Quay Gallery, San Francisco* Traveling to:
Constructions, Group Exhibition, San Francisco Airport, California
Remains To Be Seen Group Exhibition, John M. Kohler Arts Center Sheyboygan, Wisconsin*
Clay in New Mexico '83, Invitational Section, Art Museum, University of New Mexico, Albuquerque
Warashina/Little, Two Person Show, ASA Gallery, University of New Mexico Student Union, Albuquerque
Clay: A Medium for Personal Iconography, Invitational Exhibition, Elements Gallery, New York City, New York
Benefit Auction, Yellowstone Art Center, Billings, Montana*
American Clay Artists: Philadelphia '83, Clay Studio, Pennsylvania
Caprock Too!, performance commissioned for Clay AZ Art conference University of New Mexico, Albuquerque (45 min.) also performed:Meacham Auditorium, University of Oklahoma, Alberta College of Art, Calgary, Canada (Video tape is available 3/4" color)
One Man Show, "Ken Little: Shattered Portraits and Unlikely Heros," John M. Kohler Art Center, Sheboygan, Wisconsin*
The Raw Edge: Ceramics of the 80's Invitational Exhibition Hillwood Gallery, C.W. Post College, New York City*
A Sense of Humor, Invitational Exhibition, Visual Arts Center of Alaska, Anchorage
Southern Fictions, Invitational Exhibition, Contemporary Art Museum, Houston, Texas*
A Midsummer's Nights Dream, Invitational Exhibition. Security Pacific Bank Building, Los Angeles, California
Pets & Beasts, Trans America Pyramid Building, San Francisco, California
Sculptors at U.C. Davis: Past & Present, Richard Nelson Gallery of Art, University of California at Davis
Sculpture, Sacramento, Alta Gallery, Sacramento, California
First Annual Wild West Show, Alberta College of Art Gallery, Calgary, Alberta, Canada Faculty Exhibition, Museum of Art, University of Oklahoma
JUROR CASH AWARD, The Lawndale Competition, Lawndale Annex Gallery, The University of Houston, Texas
Group Exhibition, Municipal Art Gallery, Los Angeles, California
Paint on Clay, John Michael Kohler Arts Center, Sheboygan, Wisconsin*
Inside/Out: The Self Beyond Likeness, Newport Harbor Art Museum, Newport Beach, California*
Animal Images, Renwick Gallery of the Smithsonian Institute, Washington, D.C.*
Clay Invitational, Art Galleries, University of SouthernCalifornia, Los Angeles, California*
Fire & Fibre, National Invitational Exhibition, Austin College Sherman, Texas
The Taft Menagerie, The Taft Museum, Cincinnati, Ohio*
Western Art Show, Carson Sapiro Art Gallery, Denver, Colorado
National Clay, Invitational Exhibition, University of Hartford Art School, West Hartford, Connecticut
Contemporary Ceramics, From J. Mannheimer Collection, The University of Iowa, Museum of Art, Iowa City*
Northern Rockies Clay 1981, Touring to Hockaday Art Center, Kalispel, Montana Sun Valley Center Gallery, Idaho; Fine Arts Gallery, Bozeman Montana; Jackson Hole Center for the Wyoming, Wyoming State Art Gallery, Cheyenne
JUROR'S CASH AWARD, O.D.C. Tri-State Exhibition 1981, Museum of Art, University of Oklahoma, Norman, Oklahoma
Faculty Exhibition, O.U. Museum of Art, Norman, Oklahoma
Haystack Benefit Exhibition, Cooper Lynn Gallery, New York, New York
Purchase Award, "Westwood Ceramic National," Downey Museum of Art, California
Invited Purchase Award, "National Cone Box Show," Purdue University Art Galleries, West Lafayette, Indiana*
Wind and Dust, University of Houston's Lawndale Annex, Texas
The Image of the House in Contemporary Art, University of Houston Lawndale Annex, Texas*
Wind and Dust II, Springfield, Missouri
"New Clay Forms," The Virginia Museum of Fine Arts, Richmond
"Clay Invitational," Carson Sapiro Art Galleries, Denver, Colorado
One Man Show, Quay Gallery, San Francisco, California
"Clayworks '80," National Invitational, University of South Dakota Art Galleries, Vermillion*
"The Mask as Metaphor," Craft and Folk Art Museum, Los Angeles, California*
"Ken Little and Mary Warner," Jennifer Paul's Gallery, Roseville, California
SELECTED REVIEWS AND PUBLICATIONS:
Tradition and Change: The New American Craftsman, by Julie Hall, Watson-Guptill, 1978, p.21 (photograph)
History of American Ceramics: The Studio Potter, by Paul Donhauser, Kendall Hunt Publications, 1978, p. 206 (photograph)
Ceramics in the Pacific Northwest, A History, by Lamar Harrington, University of Washington press, p. 175 (photograph)
"N.C.E.C.A./Supermud Conference", Ceramics Monthly, by Ron Lang, Vol. 27, no. 6, pp. 28- 37 (photograph, p. 31)
100 Years of American Ceramics, Garth Clark, M. Hughto, p. 227 (photograph and biography)
"Disjunctive Ambitions" by Jeff Kelly, Art Week magazine, Oct. 9, 1982 p. 23
"1982 NEA Artist's Fellowships", American Craft Magazine, Vol. 42, no. 6, p. 5
"Clay AZ Art Conference", Artspace magazine, by Patricia Mathews, Vol. 7, no 3, Summer 1983, pp. 70-71 (photographs)
Ken Dawson Little: Catalog of Works, 1983, published by Quay Gallery, San Francisco in conjunction with traveling exhibition 1983, essay by Susan Havens Caldwell, 25 pages, reproductions
"Ken Little at Quay Gallery," review by Jeff Kelly, Vanguard magazine May 1983, pp. 34-35
Southern Fictions group exhibition catalog published by the Contemporary Arts Museum, Houston, Texas, text by William Fagly and Dr. Munroe Spears, August 2 - September 4, 1983
The House That Art Built group exhibition catalog published by the Art Gallery, University of California, Fullerton, October 28 - December 7, 1983
Ken Little: Shattered Portraits and Unlikely Heroes, Perspective series publication, John Michael Kohler Art Center, September 18 - November 13, 1983, 8 pages with essay by Joanne Cubbs
"Ken Little's Call of the Wild," review by Dan Rubey, The Missoulian newspaper, September 9, 1983, Sec. A-5 (photographs)
"Ken Little at Susan Caldwell, Inc.," review by Rose Slivka, Art in America Magazine, Summer 1984, p. 171 (photograph)
"Ken Little at the San Antonio Art Institute," review by Elizabeth Skidmore Sasser, Artspace magazine, Vol. 8, no. 3, Summer 1984, p.58 (photograph)
"Tall Tales: Ken Little's Portraits of the West," by Ed Forde, American Ceramics Magazine, Vol. 3, no. 3, pp. 18-25 (photograph)
"If the Shoe Fits, Bear It," essay by Dave Hickey, pamphlet in conjunction with exhibition at Brown Lupton Gallery, Texas Christian University, Fort Worth, Texas, August 28 – September 16, 1984
Space Invaders, catalog for group exhibition published by the Norman MacKenzie Art Gallery, Feb 1 - Mar 24, 1985, University of Regina Saskatchewan, Canada; essays by Sandy Nairne and Bruce Ferguson, 128 pages (photo)
Ken Dawson Little: Selected Sculpture: 1982-1985, catalog published by the Bladen Memorial Art Center, Fort Dodge, Iowa, and the Cheney Cowles Memoria Museum, Spokane, Washington, essay by Dave Hickey, 20 pages, reproductions
"Ken Dawson Little: A Bestiary of Damaged Goods," by Dave Hickey, Artspace Magazine, Spring 1986, pp. 26- 28 and cover illustration
The Eloquent Object, catalog accompanying touring exhibition, edited by Marcia and Tom Manhart of the Philbrook Museum of Art, Tulsa; University of Washington Press, Seattle 1987 (289 pgs.) photo and text p. 193
Second Hand: an exhibition of contemporary found object art catalog published by the John Michael Kohler Art Center, Sheboygan, Wisconsin, 14 pages, reproduction, September,1988
Blackburn, Geffert, Little, Mims, and Waters: Five Texas Installations, catalog published by the
Blue Star Art Space, San Antonio, Texas, 19 pages, Reproductions, February, 1989
"Elements of Progress: Ken Little at the Fabric Workshop," review in the Philadelphia Enquirer, Jan. 19, 1989
"Ken Little at the Blue Star Art Space" by Dan Goddard, Sculpture Magazine; Sept., Oct., 1989; Vol. 8 No. 5
The Tell Tale Heart, an exhibition catalogue and artist's book published by the Washington Project for the Arts, Washington, D.C., February 1990
"Psychic Projections" review by Anthony W. Lee, Art Week Magazine, March 15, 1990, Vol. 21 No. 10
"Social Animals" review by Victoria Dalkey, Sacramento Bee, March 4, 1990
"What Makes Us Tick: The Tell Tale Heart at the WPA" review by Mike Welzenbach, The Washington Post, March 15, 1990
"Ken Little" by Anthony Lee, Art of California Magazine, pg. 16-20 and cover photograph, March 1991, Vol 4 No. 2
"Pause to Think" by Ruri Yampolsky, Seattle Arts 1991; a publication of the Seattle Arts Commission; Vol. 14 No. 9, Sept. 1991, pg. 12- 13.
1991 Invitational Exhibition, catalogue, The Roswell Museum and Art Center essay by Laurie Rufe, 12 pages, September 1991
Blue Star Seven (plus) 7, exhibition catalog, The Blue Star Art Space, July 3-August 23, 1992
Target: South Texas/Depth of Field, exhibition catalog, Art Museum of South Texas, Corpus Christi, Mary 26-June 26, 1993
New Works 95.4: Leonardo Drew, Cisco Jimenez, and Ken Little; Artpace International Artist in Residency Program Catalog; interview with Laurence Miller and photo; published by Artpace: a Foundation for Contemporary Art, San Antonio, Texas, 1995
“Hairy Atom Bomb and Giant Chocolate Bear Invade Artpace” review by Dan Goddard for The Express News; October 15, 1995, page 3-4G
Practical Handbook for the Emerging Artist, by Margaret Lazzari, Harcourt Brace Publishers, Photo / Interview 1995
Trashformations: Recycled Materials in Contemporary Art and Design, by Lloyd Herman catalog of four year traveling exhibition under the auspices of the Smithsonian Institution, Washington, DC; 1997
“Into The Void” by Annabelle Massey Helber, review in The Met; Fort Worth; 1996
“Ken Little: Meaning in Masquerade” by Glen Brown, Focus article of Sculpture Magazine, September 1998 Vol.17 No.7, pg. 14-15
“Ken Little: Native Son” by Glen Brown, review of Amarillo Museum Exhibition, New Art Examiner Magazine, January 1998
Transformation, by Paula Owen, catalog for inaugural exhibition of the Navarro campus of Southwest School of Art and Craft, San Antonio; 1998
“Animal Instincts; Humor, irony stalk exhibit” review by Dan Goddard for the Express News, San Antonio, Texas; December 22, 1999; pages 1&8G
BorderArt/GrensKunst; a catalog of an International exchange Residency/ Exhibition in Goerlitz Germany; artists Ken Little, Chuck Ramirez, and Roland Rodriguez
A Creative Legacy: a History of the N.E.A. Visual Arts Fellowship Program; Jennifer Dowley and The National Endowment for the Arts
"Visual Perspectives: 14 Years of the Virginia Groot Foundation Awards"; Exhibition catalog with essays by Margaret Carney and Candice Groot; published by the Groot Foundation, Chicago, Illinois 2002
“Outside Art” by Dan Goddard; for the Express News San Antonio, Texas; August 14, 2002; Section G, pages 1&10G (photo)
Navy Pier Walk: The Chicago International Sculpture Exhibition; curator: Dave Hickey: catalog published by Navy Pier and 3-D Chicago; May 10-November 10, 2002
The Pilot Hill Collection of Contemporary Art; by John Fitzgibbons, for the Crocker Art Museum, Sacramento, California; page 118-119 with photo; 2002
Beyond the Academy: Encouraging New Talent from Texas; exhibition Catalog published by the Art House at the Jones Center, Austin Texas, 2003
Ken Little: Little Changes; a Survey Exhibition and New Works Catalog with essays by Dave Hickey and Kay Whitney; published by the Southwest School for Art and Craft, San Antonio, Texas; 2003; 64 pages; ISBN 0-9742914-0-4
Dreaming Red: Creating Artpace; by Linda Pace, Jan Jarboe Russell, Elenor Heartney, and Kathryn Kanjo; Published by Artpace, a Foundation for Contemporary Art, San Antonio, 2003, Photo page 253
New Material as New Media: The Fabric Workshop and Museum; by Marion Bolton Stroud; copublished by the Fabric Workshop and Museum, Philadelphia, Pennsylvania, 2003; page 18&20
“Little Changes: Ken Little at the Southwest School for Art and Craft” Sculpture Magazine; July-August 2003; vol. 22 no. 6; page18
“Head to Head: Vincent Valdez and Ken Little” conversation excerpted by Laura Fries; The San Antonio Current; July 10-16, 2003; page12
“A Lot of Little” review by Dan Goddard for the Express News, San Antonio, Texas; August 3, 2003; section J, pages 1&3J
“Origin of a Species” review by Anjali Gupta for the San Antonio Current Magazine; July 31-Aug. 6, 2003; page
“Little Changes: Ken Little Retrospective” a review by Christopher French for Glass Tire: Texas Visual Arts on Line at glasstire.com; July 2003
“Little Goes a Long Way” a review by Mary Brown Malouf, The Salt Lake City Tribune; Oct. 26, 2003; section D, page 12
“Hollow Man” by Jenny Thomas, Salt Lake City Weekly, November 20, 2003, pg. 27
“Ken Little: Little Changes” San Antonio Review, by Anjali Gupta, Artlies Magazine; Fall 2003, pg. 72
“The Best of 2003/Art” by Dan Goddard, San Antonio Express News, December 23, 2003; section J, page 1 and 3
“The Surreal World/ Ken Little: Little Changes” review by Sherry Jones; The Missoulian, Jan.29, 2004: section E, page 18 with photos
“Insider SA: Guide to San Antonio” by Dan Goddard, San Antonio Express News; Jan.30,2004, section F, page 1 and 10 /Photo
“Sculpture show full, even jarring” reviewby Dan Goddard, San Antonio Express News: Feb. 15, 2004, section J, page 1 and 3
“Texas Uprising: Indoor and Outdoor Sculpture” San Antonio Review by Retha Oliver for Artlies Magazine; Spring 2004, page 102
“Regionalism Without Apology” article by Frances Colpitt for Artlies Magazine; Summer 2004, page 34-37, with photos
“The Buck Stops Here: a conversation with Ken Little” by Kathleen Whitney, Sculpture Magazine; December 2004, pages 50-55 /photos
Artists Salute ArtPace, a catalog of the Benefit Auction at Christies in New York City April 2005
“As Good as Anywhere” by Elaine Wolff, for the San Antonio Current; April 28, 2005; pg. 18
“Sculptures That Surprise” by Janet Kutner, Dallas Morning News; Nov.8, 2005; sec. G, pg.1
“AMA’s Sculpture Could Use Some Elbow Room” by Peggy Heinkel-Wolfe, Fort Worth Star Telegram; November 13, 2005
The Sculpture Reference Illustrated by Arthur Williams; Sculpture Books Publishing; 2005 Sculpturebooks.com; photograph pg. 216
Western Biennial of Art, catalog of Exhibition at the John Natsoulas Center for the Arts; John Natsoulas Press; Davis California; photographs, pg. 58-59
“A Stellar Achievement” by Dan Goddard; San Antonio Express News; June 26, 2005; Sec J; pg.1-6
“Eye of the Beholder” by Kelly Milner; Wyoming Tribune; July 18, 2005; Sec. A; pg 1-18
“A Raucous Reunion” by Dan Goddard; The San Antonio Express News; July 20, 2005; Sec. G; pg1-3
“Strange Plastics Unify Trio” by Dan Goddard The San Antonio Express News; July 11, 2005; Sec. C; pg1
“The Art Capades” by Catherine Walworth; San Antonio Current; July 7, 2005; pg 18
“Southwest School of Art and Craft” D Art International Magazine; winter 2005; pg16-18
Voices of Art Magazine; Cover Photo; Volume 13; issue 2
Blanton Museum of Art: American Art Since 1900; edited by Annette DiMeo Carlozzi and Kelly Baum; published by the Blanton Museum of Art; University of Texas Press; 2006; pages 176-77 (photograph/essay)
“Tasty Tread: Downtown Stops” by Sean Carroll, Review of “Beast” Exhibition; Glasstire; Texas Visual Arts Online
“Beast” Exhibition Review by Bill Davenport; Glasstire: Texas Visual Arts Online
XYZ2, GriffnerHaus Symposium 06, catalog published by the Griffnerhaus, Griffen, Austria; pg. 5,26-29 (photographs and text)
“Footwear Make the Statement” by Patricia Johnson, The Houston Chronicle; Oct 27, 2007; Photo; pages 1-3
“Heavy Metal, Glow, Bucks, and Dough” The Houston Press; Nov 1-7; pg 41
Amistad: Texas Art in Peru; Exhibition Catalog; The Museo de la Nacion; photo pg. 25
Amistad: Texas Art in Peru; Exhibition Catalog; The Museo de Arte Moderno, Trujillo, Peru
“The Big World of Ken Little” by Randy Lankford; Ovations Magazine; College of Liberal and Fine Arts, UTSA; winter 2007
“Ken Little, Houston” review by Christopher French; Dec 2007; pg 57-8 photos
“Ken Little: Pink Grizzly” cover of Arte Fiera Art Fair; Finesilver Gallery; Bologna, Italy
Art at Your Doorstep: San Antonio Writers and Artists; edited by Nan Cuba and Riley Robinson; Trinity University Press, San Antonio, Texas
“Artists Ken Little and Kim Squaglia: One Student, One Teacher, One Exhibit at Jay Jay Gallery” D’ Art Section; Sacramento News and Review; cover photo, review
“Shell Games: the work of Ken Little” One Person Exhibition at the Dupree Art Center of Hope College, Holland Michigan Chair: The Texas Chair Project by Damian Priour; Exhibition Catalog; text by Dana Fris-Hansen and Damian Priour; The Austin Museum of Art, Austin Texas
“Art Snot” Art Guys Hear No Evil Silver Jubilee Tribute Album CD published
New Art/ Arte Nuevo: A juried Competetion Group Exhibition Catalog; text by Benito Huerta and Kathy Vargas; published by the UTSA Art Gallery, San Antonio, Texas
The South Texas Blood and Tissue Center: a Collection of Art; Group Exhibition Catalog published by The South Texas Blood and Tissue Center, San Antonio, Texas
For You: Solidarity/Solitude; an Artist’s Book edited by Nate Cassie; published through Blurb.com; (two artworks reproduced)
My work reflects a need to invent and evolve. I like to move through things and onto others and then come back through again in a new way. I was a ceramic sculptor for about ten years. In about 1980, I made the transition to using a number of media making sculpture, installations, and performances. My work has almost always been figurative in one way or another. Readings have run the gamut from the literal autobiographical to more universal ruminations on themes from the world of ideas.
As early as I can remember, I knew that I wanted to be an artist. That has remained consistent in my life since I was hand painting china with my grandmother when I was six years old.
My idea of what an artist is and what they do has evolved allot. When I was a kid I wanted to animate for Walt Disney. As a young man, I wanted to emulate the western artists like Charlie Russell. In college, I learned of Abstract Expressionism, Pop Art, Conceptual, Process, and Minimal art. Now I guess it’s Postmodernism? I think that I have taken something from all these experiences as well as life and the more popular culture.
I work with my hands and my head. Really, I guess, in a sort of antique way. I usually don’t know where I am going or exactly what I am going to make until I establish some sort of dialog between my process or materials and my ideas or subject matter. I can’t really say that one comes before the other. In fact, when things are working best, I am really transported somewhere else doing something that I could never have imagined or planned.
Department of Art & Art History
Office: ART 3.01.16
Office hours: by appointment
Research area: Photography, Performance
Master of Fine Arts, Art Photography, Syracuse University, Syracuse, NY, 1996
Bachelor of Fine Arts, Art Photography, University of Northern IA, Cedar Falls, IA, 1993
ART 2313 Digital Photography-Basic
ART 3513 Photography-Intermediate
ART 4533 Advanced Photography-Performance
ART 4533 Photography-Advanced
ART 4533 Photography-Advanced Alternative Processes
ART 5453 Photography-Graduate
*Inside/Out, United Photo Industries, Brooklyn, NY, photography, invited to exhibit during 2014-2015 season, invited
*At Home, Morlan Art Gallery, Lexington, KY, installation, digital video, photography, refereed, (scheduled, Jan-Feb)
A Woman In Her Place, E.B. White Gallery, Butler Community College, installation, Invited, (scheduled, March-April)
Family As Vernacular, Bradshaw Gallery, Dallas Public Library, Dallas, TX, photographic Refereed, installation, lecture, (scheduled, June-July)
Family As Vernacular, Mason Murer Gallery, Atlanta, GA, photographic installation, lecture in conjunction with exhibition during Atlanta Celebrates Photography, three-person exhibition with H. Jennings Sheffield and Margaret Hiden. refereed, (scheduled, October)
Performance Series, Waterloo Center for the Arts, Waterloo, IA, performances, Invited, (scheduled, November)
Foto Septiembre, The Plaza Club, Frost Bank Tower, San Antonio, TX, photography, Invited, (scheduled, September)
Spinning Yarns, Blue Star Contemporary Art Museum, San Antonio, TX, photography, refereed
Family As Vernacular, The Gallery in Bloch Hall, University of Montevallo, Montevallo, AL, photographic installation, three-person exhibition with H. Jennings Sheffield
and Margaret Hiden, refereed
Women in Art and Academia, Martin Museum of Art, Baylor University, Waco, TX, Photography, invited
Pearls of Wisdom and Thank you, Fuck You, Off-Stage Performances series, Fountain Art Fair New York 2014, 69th Regiment Armory, solo performances, refereed
Spinning Yarns, Media Arts Gallery, Delaware County Community College, Media, PA, Photography, invited
*Pink, Malone Gallery, Troy University, Troy, AL, photography & installation, refereed
Spinning Yarns, Media Arts Gallery, Robert Morris University, Moon Township, PA, photography, December 2013-January 2014, invited
*(sub)Division & Inside/Out, Mildred Harrison Dent Fine Arts Gallery, Spartanburg, SC, photography, photographic installation, invited
Spinning Yarns, Newspace Center for Photography, Portland, OR, photography, refereed
Pearls of Wisdom, Red Arrow Contemporary, Dallas, TX, performance, invited
The Sweetest Taboo, Red Arrow Contemporary, Dallas, TX, installations, digital video, invited
Family As Vernacular, Clyde H. Wells Fine Arts Center Gallery, Stephenville, TX, photographic Installation, three-person exhibition with H. Jennings Sheffield and
Margaret Hiden, invited
*Dwellings, Croft Gallery, Waco, TX, photography, invited
Spinning Yarns, Photo Center Northwest, Seattle, WA, photography, refereed
Spinning Yarns, Martin Museum of Art, Baylor University, Waco, TX, photography, refereed
*Selections from Pink, Ameen Art Gallery, Nichols State University, Thibodaux, LA, installation, digital video, image, invited
*Living In Two Worlds, Ground Floor Gallery, Nashville, TN, photography and installation, invited
Nothing Ventured Noting Gained: The Creative Risk, SPESC Members Exhibition, Mississippi State Department of Art Gallery, Starkville, MS, photography, refereed
TAKE CARE: Biomedical Ethics in the Twenty-First Centrury, Wright Museum of Art, Beloit College, Beloit, WI, sculpture, refereed
The Butcher’s Shop: An Evening of Photography, Short Video, and Music, Guadalupe Crossing Market, Waring, TX, photography, invited
Borrowed People| Constructed Places, Wynwood Project Space, University of Miami, Miami, FL, photographic installation, refereed
Spinning Yarns, Sleeth Gallery at West Virginia Weslyan College, Buckhannon, WV, Photography, invited
Art in the Chamber, Chamber Lobby Gallery, San Antonio, TX, photography, invited
TAKE CARE: Biomedical Ethics in the Twenty-First Century, Lawton Gallery, University of Wisconsin, Green Bay, WI, sculpture, refereed
TAKE CARE: Biomedical Ethics in the Twenty-First Century, Trahern Gallery, Austin Peay State University, Clarksville, TN, sculpture, refereed
7th Annual Kinsey Institute Juried Art show, Grunwald Gallery of Art, Kinsey Institute, Bloomington, IN, photography, refereed
Joyce Elaine Grant Photography Exhibition, Texas Women’s University fine Art Galleries, Denton, TX, juror Anne Lynden, Associate Curator at the J. Paul Getty Museum, Feb-March, photography, refereed
TAKE CARE: The Art & Science of Bioethics, traveling exhibition curated by Adrienne Outlaw, Pool Art Fair, Miami, FL, December, sculpture, refereed
*Selections from Pink, Gallery 4, Blue Star Contemporary, San Antonio, TX, installation and video, invited
Family, curated by Barbara Justice and Adriana Barrios, Southwest School of Art and Craft, San Antonio, TX, November, photography, refereed
Trace Elements, curated by Rebecca Deitz, Visual Arts Gallery, San Antonio College, San Antonio, TX 78212, invited
Domicile, A Smith Gallery, Johnson City, TX, photography, refereed, award
Never Chaste, curated by Darrell Taylor, Kamerick Art Gallery, University of Northern Iowa, Cedar Falls, IA, photography & video, invited
*Grand Prix, FotoFestival 2010, Lodz Art Center, Lodz, Poland, photography, refereed
Dwellings and Ramblings, Todd Gallery, Middle Tennessee State University, Murfreesboro, TN, two-person, photography, refereed *The Story of Libby, Galleria del Grifo e l’Associazione Culturale “il Grifo e il Leone”, Montepulciano, Italy, Summer
*Pink, University Gallery, Louisiana Tech University, Ruston, LA, September-October, photography/ video/ sculpture/ installation
These Fruits of Society, Gallery F, Sarritt Bennett Center, Nashville, TN, video
Members Exhibition, Ameen Art Gallery, Department of Art Nicholls State University, Thibodaux, LA, juried, photography
TAKE CARE: The Art & Science of Bioethics, curated traveling exhibition, Inaugural Exhibition: ARTPRIZE 2009, juried International, Gallery 114, Kendall College of Art & Design, Grand Rapids, MI, sculpture
Paducah Photo 09, Yeiser Art Center, Paducah, KY, juried, photography, 2nd place award
Building Vernacular Imaginations: Paho Mann and Libby Rowe, UTSA Satellite Space, San Antonio, TX, photography.
*Pink, Jacksonville State University, Jacksonville, AL, January, photography/video/ sculpture/ installation
7th Feminist Research Conference, Gendered Cultures at the Crossroads of
Imagination, Knowledge and Politics, Utrecht, Netherlands, June 4-7, performance, installation, video
And You Think That’s Funny??, Woman Made Gallery, Chicago, IL, January-February, Sculpture
*Pink, Arts West Gallery, Elon University, Elon, NC, September –October, photography/ video/ sculpture/ installation
*Pink, THE ARTS Gallery, Collins College, Plano, TX, November-December, photography/ video/ sculpture/ installation
SPE South Central Members Exhibition, Jones Hall Gallery, University of Memphis, Memphis, TN, invitational, photography
82nd Annual International Competition: Photography, The Print Center, Philadelphia, PA, March-April, photography, juried, Blind Spot Award
Photo Salon, Old Firehouse Art Center, Longmont, CO, March-April, photography, three-person
I Love You Love Me, Main Gallery, Northern Kentucky University, Highland Heights, KY, juried, sculpture
Sculpting America, Museum of Art, The University of Southern Mississippi, Hattiesburg, MS, January-February, installation
*Pink, Leu Gallery, Belmont University, Nashville, TN February-April, photography/ video/ sculpture/ installation
Threads, Main Gallery, Memphis College of Art, Memphis, TN, (catalog) invitational, sculpture
SECAC 2007 Members Exhibition, The Cultural Center, Charleston, WV, juried, photography
Stacked: artwork influenced by reading material, Allen County Public Library, Fort Wayne, IN, juried, sculpture
Exchange &Community, Architecture Gallery, University of Texas at Arlington, Arlington, TX, invitational, photography
Invitational Salon Exhibition of Small Works, New Arts Program, Kutztown, PA, invitational from juried pool, photography
National Small Photo Exhibition, Gallery 1905, Sycamore, IL, juried, photography
It’s Photography II, Art League of Northern California, Novato Arts Center, Novato, CA, juried, photography
Love: an art exhibit, 930 Art Gallery, Louisville, KY, juried, installation
Krappy Kamera VIIII, Soho Photo Gallery, New York, NY, juried, photography
Beaux & Eros© II, Peninsula Museum of Art, Belmont, CA, juried, sculpture
Juried Exhibition-Photography, Sixth Street Gallery, Vancouver, WA, juried,Photography
*Obscured Views, Arts at the Airport, Nashville, TN, photography
Vanderbilt Faculty Exhibition, E. Bronson Ingram Art Gallery, Vanderbilt University, Nashville, TN, invitational, installation
SPESC Faculty Members Exhibition, E. Bronson Ingram Art Gallery, Vanderbilt University, Nashville, TN, invitational, photography
Identity, Gallery 621, Tallahassee, FL, February-March, three-person exhibition, sculpture/installation
Oh mY…, Secret Show Series, 310 Chestnut Gallery, Nashville, TN April, two-person exhibition, sculpture/installation
* Pink, Western Kentucky University Art Gallery, Western Kentucky University, Bowling Green, KY, sculpture/installation
Suspended, Secret Show Space, Nashville, TN, invitational, photography
* Pink, Zone Gallery, Kansas City, KS, sculpture/installation
Ramblings, Ankeny Art Center, Ankeny, IA, two-person exhibit, photography
Diverse Visions 2005, Vanderbilt University Fine Art Gallery, Nashville, TN, sculpture/installation
* Circus of the Unremarkable, Centrum Gallery, Oregon College of Art & Craft, Portland, OR, photography
* Obscured Views, Buckley Center Gallery, University of Portland, Portland, OR, photography
Portrayal: a photographic exhibit, In The Gallery, Nashville, TN, invitational, photography
ARTifact, UAG Gallery, Fain Fine Arts Center, Midwestern State University, Wichita Falls, TX (catalog), juried, photography
Empire Builders, Zeitgeist Gallery and Ruby Green Gallery, Nashville, TN, curators: Lain York and Chris Campbell, invitational, photography
First Annual National Juried Exhibition, Marin Society of Artists, Ross, CA, juried, photography
Photography Now! South Shore Art Center, Cohasset, MA, juried, photography
Through Her Eyes: an Exhibition of Contemporary Women Photographers, the
Jack Robinson Gallery of Photography, Memphis, TN, juried, photography
Annual Competition, Toledo Friends of Photography, Toledo, OH, juried,
* The Story of Libby, Cameraworks Gallery, Portland, OR, photography
Sideshow, Kendall Art Gallery, Kendall College of Art & Design, Grand Rapids, MI, invitational, photography
CraftSummer 2003 Faculty Exhibition, Heistand Hall North Gallery, Miami Univeristy, Oxford, OH, invitational, photography
* Venusification, Nine Gallery, Portland, OR, sculpture/installation
Artist in Residence 2002, Hoffman Art Gallery, Oregon College of Art & Craft, Portland, OR, invitational, art book
Faculty Biennial, Hoffman Art Gallery, Oregon College of Art and Craft, Portland, OR, invitational, sculpture/installation
@Large, Morlan Gallery, Transylvania University, Lexington, KY, curator: Andrea
Fisher, juried, sculpture/installation
* Re-defined, In Cahoots Gallery, Portland, OR, photography
Craft Biennial: A Review of Northwest Art & Craft, Hoffman Gallery, Oregon College of Art & Craft, Portland, OR, juried, photography
Palimpsest, Hoffman Gallery, Oregon College of Art & Craft, Portland, OR, juried, Linoleum print
Southwest Road Trip, Centrum Gallery, Oregon College of Art & Craft, Portland, OR, invitational, photography
CraftSummer 2001 Faculty Exhibition, Heistand Hall North Gallery, Miami Univeristy, Oxford, OH, invitational, photography
Photography Portfolio 2001, Traveling Exhibition, Oregon College of Art and Craft, Portland, OR, invitational, photography
Print Portfolio 2000, Traveling Exhibition, Oregon College of Art and Craft, Portland, OR, invitational, print
Photography Portfolio 2000, Traveling Exhibition, Oregon College of Art and Craft, Portland, OR, invitational, photography
Faculty Biennial, Hoffman Art Gallery, Oregon College of Art and Craft, Portland, OR, invitational, photography
Erotica 2000, Brian Marki Gallery, Portland, OR, juried, sculpture/installation
* Re-defined, Sol Mednick Gallery, University of the Arts, Philadelphia, PA, photography
*Me as the People in Your Neighborhood, Antique Row Café Gallery, Portland, OR, photography
Tackling Meaning, The Curator’s Playbook, Red Chair Gallery, Kansas City, MO, juried, installation
Pacific Standard Time, Hiestand Hall North Gallery, Miami University, Oxford, OH, invitational, sculpture/installation
* The Ideal Woman, still searching, FotoCircle Gallery, Seattle, WA, Photography
* Think Pink, Laverne Kraus Gallery, Eugene, OR, sculpture/installation
Alumni Show, Maucker Union Expansion Art Gallery, Cedar Falls, IA, photography
Faculty Exhibition, University Art Gallery, Truman State University, Kirksville, MO, invitational, photography
* The Ideal Woman, Marshal Gallery, Syracuse, NY, photography
* Me as the People in Your Neighborhood, SRO Gallery, Lubbock, TX, photography
* Works By Libby Rowe, Mayor's Choice Award Program, City Hall Annex, Cedar Falls, IA, photography
Women in the Visual Arts, 10th Anniversary Exhibit, Erector Square Gallery, New Haven, CT, juried, photography
9th National Computer Art Invitational, Gallery of Art, Eastern Washington University, Cheney, WA (Traveling Exhibit: 1996-1997), juried, photography
MFA 1, Lowe Art Gallery, Syracuse University, Syracuse, NY, invitational, photography
Syracuse Photo Graduate Students, Pyramid Art Gallery, Rochester, NY, photography
Magic Silver, Eagle Gallery, Murray, KY (Catalog), juried, photography
Portraits of I, Hearst Center for the Arts, Cedar Falls, IA (Traveling Exhibit: 1995-1996, Catalog), juried, photography
In Conjunction II, Matrilineage Symposium, College of Law Gallery, Syracuse, NY, invitational, photography
Arti-FACE, Light Work Gallery, Syracuse, NY, juried, photography
Everson Biennial, Everson Museum of Art, Syracuse, NY, juried, photography
Postage Due, SRO Gallery, Lubbock, TX, juried, photography
Strange Angels, Syracuse Stage, Syracuse, NY, juried, photography
Summer Exhibition, Lowe Art Gallery, Syracuse, NY, juried, photography
Work by Women, Women's Information Center, Syracuse, NY, juried, photography
Au Bon Pain, Mail Art Show, Harvard Square, Cambridge, MA, juried, photography
11 and One, 118A Gallery, Syracuse, NY, invitational, photography
In Conjunction, Matrilineage Symposium, White Cube Gallery, Syracuse, NY, invitational, photography
Magic Silver, Eagle Gallery, Murray, Kentucky, Juror: Daniel S. Williams, Professor of Art, OH University (Catalog), juried, photography
Large Scale Art, Visual Arts Showcase #8, John H. Mulroy Civic Center, Syracuse, NY, juried, photography
Techno Art, Visual Arts Showcase #7, John H. Mulroy Civic Center, Syracuse, NY, juried, video
* The Many Shades of Libby, Maucker Union Expansion Gallery, Cedar Falls, IA,
BFA Thesis Exhibit, photography
Art Show 5, Hearst Center for the Arts, Cedar Falls, IA, juried, photography
Magic Silver, Kamerick Art Gallery, Cedar Falls, IA (Catalog), juried, photography
F/2.8, Shaffer Hall, Syracuse, NY, invitational, photography
Annual Juried Art Exhibition, Kamerick Art Gallery, Cedar Falls, IA, 1993, 1992, 1991, & 1990, juried, photography, drawing, installation, sculpture
IA Artists 1992, Des Moines Art Center, Des Moines, IA (Catalog), juried, photography
Two Women, Dean's Triangle, Cedar Falls, IA, invitational, photography
Art Show 4, Hearst Center for the Arts, Cedar Falls, IA, juried, photography
Summer Sensations, Maucker Union Expansion Gallery, Cedar Falls, IA, juried, photography
Frisky Gorilla 3, Maucker Union Expansion Art Gallery, Cedar Falls, IA, invitational, sculpture
Cerro-Gordo County Art Exhibition, Mason City Art Gallery, Mason City, IA, juried, photography
Frisky Gorilla 2, Maucker Union Expansion Art Gallery, Cedar Falls, IA, invitational, sculpture
One Less Than a Fourth, Maucker Union Expansion Gallery, Cedar Falls, IA, invitational, sculpture
“Take Care? Take Care!” Linda Weintraub, Art Critic Review. January 2009 (catalogue)
“The Artists of Take Care”, Tonya Vernooy, Art Critic Review. February 2009 (catalogue)
“Catalogue Essay – Take Care” Veronica Kavass, Critical Art Review, October 2008 (catalogue)
“Interactive interpretation: New art exhibit explores definitions of femininity,” Deidre Long, The Anniston Star, January 15, 2009, p. 1B and 3B. Image on cover.
“Best Interactive Work”, Best of Nashville, David Maddox, Nashville Scene, October 16, 2008, Volume 27, Issue 37, p.88
“Pink: Not Her Favorite Color,” Chuck Beard, Number: 61, Fall 1/2008, Volume XXI, No. 4, p.8-9
“Pink is my favorite color,” Tawney Milam, Vanderbilt Hustler, February 6, 2008
“Seeking Art’s Funnybone: Find out what’s so funny about art at an Artposium,” Denver Westword Calendar, October 2, 2008
“Pink Exhibition in Arts West Explores Femininity,” Pendulum, October 1, 2008, Volume 34, Edition 5, p.17
“Belmont exhibit: “Pink” is my favorite color,” Versus, February 7, 2008, no. 4, p. 6
“USM art students think outside the box,” Student Printz, January 29, 2008, Vol 92, Issue 35, p. 8
“Rowe’s ‘pink’ art asks what it means to be a woman,” The Tennessean, January 27, 2008, p. 12.
“The Threads are Loosely Connected: Threads 11 x 1—Eleven Artists—A Single Vision at Memphis College of Art,” Commercial Appeal, October 19, 2007, www.commercialappeal.com.
“Exhibit sparks Feminist Debate,” College Heights Herald, November 15, 2005, p. 8.
“Different Viewpoints,” Ankeny Press Citizen, August 10, 2005, p. 13.
“Empire Builders,” Susan W. Knowles, Number:50, Fall 2004, p. 18-19
“Stretching the Canvas,” The Tennessean, Weekend Spotlight on Art, Friday, July 30, 2004, p. 10F-12F and cover image.
“The Exhibit as Art Clinic at Red Chair,” Review: New Features and Art in Kansas City, Vol.2 No.2 (January 2000) p. 19.
“Artists examine self-image in Miami exhibit,” Hamilton Journal-News, Sunday, Sept. 19, 1999.
“Libby Rowe: Re-defined,” Philadelphia Citypaper, Sept. 24-Sept. 30, 1999, #749, p. 35.
“Fotocircle Gallery,” Art Access, Vol.7 No.9 (November 1998) p.38. Image, Eugene Weekly, July 16, 1998. p. 13. Cover Photo, IA Arts and Culture Tractor, Summer 1996.
"Saving Face," IA Arts and Culture Tractor, Summer 1996, p. 43-44.
"The 1994 Everson Biennial," Syracuse Herald American, Stars Section, Sept. 25, 1994 p.16-18.
"PORTFOLIO," Northern IA Today: The University of Northern IA Magazine, Volume 77, Number 1,Summer 1993.
"UNI Gallery's Magic Silver Show presents many photographic images," Waterloo Courier, February 22, 1993.
"Juried art exhibit reveals plenty of student talent," Waterloo Courier, Sunday, April 18, 1993, p.E6
I am interested in the subtle differences between pondering, reflection, meditation, rumination and when these seemingly harmless contemplations turn to a more decidedly negative, and often detrimental, dwelling.
I am intrigued by the dual meaning of the word dwelling. How the “mental state” of dwelling is seen as definitively negative, but the “home” dwelling is at definition neutral but in reality holds the potential for both positive and negative associations.
This series of photographs uses physical dwellings made from materials that, along with their environments, suggest a subject that may be the source of a state of brooding. The conceptual source for this series stems from my interest in the domicile as a primarily feminine space.
Professor of Art
Department of Art & Art History
Phone: (210) 458-4389
Office: ART 4.01.14A
Office hours: By appointment
Research area: Painting, Drawing
Professor Connie Lowe has taught painting, drawing, and contemporary studio issues courses in the MFA and BFA programs since 1991. She is a recognized artist whose work spans drawing, painting, sculpture, collage, and installation, and is been widely exhibited. Her exhibitions include Phoenix Art Museum, Phoenix, Arizona; San Antonio Museum of Art; ArtPace, San Antonio; Southwest School of Art, San Antonio; Trinity College, Hartford, Connecticut; Thomas Barry Fine Arts, Minneapolis; and Monash University, Caulfield, Australia. Her work is represented and exhibited by Ruiz Healy Art, San Antonio -- most recently in the 2015 solo exhibition Air to Ground (catalog) -- and included in a number of public and private collections.
Lowe received a 2007 Visual Arts Award from the Artist Foundation of San Antonio and was a participant in the ArtPace International Artist in Residency Program in 1998. She has also taught at the Minneapolis College of Art and Design, the Kunstakadamiet, Trondheim, Norway, and Santa Reparata International School of Art, Florence, Italy.
My current work consists of mixed media collages and shaped panel paintings which formally and conceptually evolve from NASA landsat photography depicting center-pivot irrigation patterns, particularly a well known one that includes my family’s extensive farm property in western Kansas. These aerial survey images often code the crop formations in unnatural (“false”) color to track crop growth and harvest, water use, and surface changes.
The works draw upon a repertoire of media and materials that includes translucent drafting film, varying surface qualities of acrylic paint, the waxy skin of colored pencil, photographs of clouds, wool felt, and leather, as well as the agency of color. Under the influence of the legacy of geometric abstraction, these elements are used to push, displace and layer the shapes and space of these flat land patterns to charge formal structure with perceptual dislocation and sensory engagement, suggesting how our natural environment and our relationship to it is increasingly distanced, contingent and abstract.
An interest in how particular visual and material vocabularies and perceptual experiences generate possibilities – rather than specificities – of meaning runs throughout all of my work.
Department of Art & Art History
Phone: (210) 458-5153
Office: ART 4.01.14C
Office hours: By appointment
Research area: Painting, Special Topics: Berlin, Photography
Ron Binks was born in Oak Park, Illinois. He attended the Rhode Island School of Design on a National Scholastic High School Scholarship. Summer studies included photography with Minor White and Beaumont Newhall at the George Eastman House and fellowships to the Cummington School of the Arts and the Robert Flaherty Foundation.
After receiving his Bachelor of Fine Arts Degree from RISD he received a Fulbright –Hays grant to study at the Hochschule für bildende Künste in Berlin Germany which was renewed for a second year. He returned to the United States and Yale University where he received his Master of Fine Arts degree and had the opportunity to work with Rico Lebrun, Josef Albers, Herbert Matter, Norman Ives and Paul Rudolph. After Yale he was awarded the Rome Prize and returned to Europe for two years as a fellow in painting at the American Academy in Rome.
He taught at the Rhode Island School of Design, where he established the degree program in Film. He currently is Professor in the Department of Art and Art History at the University of Texas at San Antonio.
He has exhibited paintings, drawings and photographs in galleries and museums in the United States, Europe and Latin America and is represented in numerous private and public collections, including the Ammon Carter Museum, the San Antonio Museum of Art, the Museum of West Texas, the Roslyn Museum of Art, Del Mar College, Yale University, and the University of Texas at San Antonio, He has been published in Art in America , Art News , and Aperture and is on the advisory board of Photographers Forum.
The camera is a recorder of encounters in time, fixing images that can evoke multiple readings in differing contexts. Time has become, for me, the singular quality of photography. I have painted and photographed during most of my life, with a professional career in both fields. While there has never been a direct crossover between the two , my photographs are informedwith a painter’s sensibility. The image organization and, to a degree, the selection of subject matter reference, painting .
Recently, I began using multiple images. This can extend the viewer contact with the pictures, like a movie, inviting cross referencing that can cause dissimilar connections or paradoxical comparisons, permitting the viewer to participate in the photographer’s looking-seeing process of visual thinking. It is reflection actively extended in time and place.
Associate Professor of Art
Department of Art & Art History
Phone: (210) 458-5154
Office: ART 4.01.06E
Office hours: By appointment
Research area: Painting, Drawing
Armendariz was raised in El Paso, Texas, which borders Las Cruces, New Mexico and Juarez, Mexico. There he was surrounded by a mix of romanticism for the American landscape and the hybridization of Mexican, American, and indigenous cultures. Images that have cultural, biographical, and art historical references are carved and burned into the surface of the paintings and drawings.
Armendariz's new work depicts narco-culture, faith healers and poisonous love set against a western sky. This is a continued exploration of forces shaping the landscape between the US and Mexico Border. Mysticism, the nefarious aftermath of narco-activities, and corrosive love affairs are explored in this most recent body of work.
Selected Solo Exhibitions
I was born and raised in El Paso, Texas which borders Las Cruces, New Mexico and Juarez, Mexico. There I was saturated by a mix of romanticism for the American landscape and the result is the hybridization of Mexican, American, and indigenous cultures. Images that have cultural, biographical and historical lineage are carved into the surface of the painting. Text, in the form of original song lyrics, are carved and/or added to the titles to draw further connection to a Western aesthetic and the tradition of Tejano and country music. The aesthetic combination of Western imagery coupled with contemporary and art historical influences are a foundation for my work. My goal with this body of work is to elevate the perception of landscape-genre painting, and contribute to its long-standing history in art.
Assistant Professor of Art History
Department of Art & Art History
Phone: (210) 458-7854
Office: ART 4.01.24
Office hours: By appointment
Research area: Pre-Hispanic (Pre-Columbian) Art, Architecture, and Archaeology; Colonial Latin American Art; Spanish Baroque Art; Looting, Forgery, Collecting, and the Art Market; Antiquities Trafficking; Ceramic Technology; Whistling Vessels; Object Conservation
Juliet Wiersema is Assistant Professor in the Department of Art and Art History at the University of Texas, San Antonio. She specializes in the art, archaeology, and architecture of the pre-Hispanic Americas. She holds an MA from the Institute of Fine Arts (NYU) and a Ph.D. from the University of Maryland.
Before joining the faculty at UTSA in 2012, she taught at University of Maryland (2008-2012) and at Santa Clara University (2010-2011). She has held research positions at The Metropolitan Museum of Art (2011-2012), the Smithsonian Institution’s National Museum of the American Indian (2007), and The Library of Congress (2006). She was a US Student Fulbright Fellow to Peru in 2007-2008.
Her research and teaching has centered on the artifacts, art, and architecture of the pre-Hispanic and Spanish Colonial Americas. Juliet has been affiliated with the Brooklyn Museum of Art and the Fine Arts Museums of San Francisco. She has collaborated with Interactive Knowledge on web projects including Off the Map, an interactive guide to global Visionary Art, created for The Visionary Art Museum in Baltimore (http://www.pbs.org/independentlens/offthemap/) and Del Corazón, Smithsonian American Art Museum’s Latino Voices site (http://www.delcorazon.si.edu). She has also worked with the US Department of Justice and Immigrations and Customs Enforcement on issues of antiquities trafficking and cultural patrimony.
Her approach to art and artifacts is interdisciplinary, collaborative, and object-based, drawing upon art historical as well as anthropological theory and methods. She has worked with museum conservators at the Smithsonian Institution in Washington DC and at the Museo Nacional de Antropología, Arqueología e Historia del Perú (MNAAHP) in Lima to understand the history of production, artistic process, and technical style of objects and paintings. With musicians and ethno-musicologists, she has analyzed acoustical characteristics of Andean ceramic whistling vessels produced by pre-Hispanic cultures, gleaning information about connections between tonality and cultural identity.
Her doctoral dissertation (2010) examined the role of ceremonial architecture and its representation in ceramic objects made for burial by the Moche of Peru (200-850 AD). This work received the 2010 University of Maryland Distinguished Dissertation Award, College of Arts and Humanities. A revision of this research, Ceramic Diagrams of Sacred Space. Architectural Vessels of the Moche, has been written into a book for University of Texas Press. Its anticipated date of publication is 2014.
While she considers northern California home, she has lived in Barcelona, Spain; Lima, Peru; Siena, Italy; San Francisco; CA; Washington D.C., and New York City. She resides currently in San Antonio, TX. Before undertaking graduate study in 2000, Juliet worked for the Space Science Division at NASA Ames Research Center and the SETI Institute. She also freelanced for the San Francisco Examiner Travel section.
● Art and Architecture of Europe and the Americas, 1250-1700 AD
● Representations of Death, Burial, and the Body in Art
● Looting, Forgery, Collectors, and the Art Market
● Art and Archaeology of the Ancient Americas
● Latin American Art, 1521 AD-present
● Art, Empire, and Identity in Latin America
“Vasijas arquitectónicas Moche. Pequeñas estructuras, grandes consecuencias,” in Microcosmos, visión andina de los espacios prehispánicos,” ed. Adine Gavazzi, in press.
“Moche Architectural Vessels: Small Structures, Big Implications,” Andean Past 10:67-98, 2012.
“La relación simbólica entre las representaciones arquitectónicas en las vasijas Mochica y su función ritual,” in Modelando el mundo. Imágenes de la arquitectura precolombina, ed. Cecilia Pardo (Lima: PUCP Fondo Editorial and Museo de Arte Lima), p. 165-191, 2012.
“House Models of West Mexico,” in The Jay I. Kislak Collection at the Library of Congress, ed. Arthur Dunkelman (Washington DC: Library of Congress), p. 45-46, 2007.
Professor of Art History
Department of Art & Art History
Phone: (210) 458-4356
Office: ART 2.02.14
Office hours: By appointment.
Research area: Late Medieval Spanish Painting, American Popular Culture, Jewish Art, Italian and Northern Renaissance Art
Judith Berg Sobré is Professor of Art History in the Department of Art and Art History at the University of Texas at San Antonio and has been in the department since 1974. Previously, she taught at the University of Oregon (1968-1974). She holds a B.A. from New York University (1962) and Her M.A. (1964) and Ph.D. (1969) from Harvard University.
Her publications include three books, numerous articles, catalogue contributions to exhibitions and various reference works, and papers and presentations.
Most of her early publication dealt with painting in late medieval Spain, including two books Behind the Altar Table, the Development of the Painted Retable in Spain, 1350-1500 (University of Missouri Press, 1989) and Bartolomé de Cárdenas “El Bermejo,” Itinerent Painter in the Crown of Aragon (International Scholars Publications 1996/1997) and an exhibition catalogue for a show she co-curated at the Isabella Stewart Gardner Museum in Boston (1996).
Since 2000, she has also been active in popular culture studies, and has published a third book, San Antonio on Parade (Texas A & M University Press, 2003)dealing with 19th century festival studies. She has produced a blog, the result of following the 1494/5 journey of Hieronymus Münzer in Spain to see what survives of what Münzer described (http://www.Munzerama.blogspot.com). She is currently engaged in translating entries from the Spanish website http://www.aragonmudejar.com dealing with Aragonese Mudéjar architectural sites, and also in a research project concerning Goya’s image in fiction, film and theater.
Her present emphasis in her courses is in art within its cultural context.
Among the courses she has recently taught at the undergraduate level are the Early Italian Renaissance, Ars Nova in Flanders and northwestern Europe, The Vatican, Jewish and Judaic Art, and the Visual arts of Medieval Spain.
At the graduate level, she has taught graduate Research Methods, Holocaust and Genocide Film, Topics in Medieval Spain, and Seminars on Sacred Spaces and Goya.
She has supervised numerous M.A. theses including topics concerning El Greco’s Greek Orthodox connections, Zurbarán’s images of Saint Francis, the iconography of Saint Quiteria in France, Spain and Portugal, a Catalan Processional Cross, The American-Jewish silversmith Myer Myers, and the Melisande Psalter.
Besides English, Dr. Sobré is fluent in Spanish and Catalan.
Behind the Altar Table. The Development of the Spanish Painted Retable, 1350-1500, Columbia Mo., University of Missouri Press, 1989.
Bartolomé Bermejo, "el Bermejo," Itinerant Painter in the Crown of Aragon (English and Spanish versions), Bethesda, MD., International Scholars Publications, 1996-7.
San Antonio on Parade, Six Historic Festivals, 1866-1900, College Station, Texas A & M University Press, 2003.
Exhibition Catalogues and Catalogue Entries
Julià Mateu, Barcelona, 1968
McNay Art Museum Catalogue, [entries on Oppenheimer Collection paintings], San Antonio, TX, McNay Art Museum, 1980
[With Lynette Bosch}, The Artistic Splendor of the Spanish Kingdoms. The Art of Fifteenth-Century Spain, Boston, Trustees of the Isabella Stewart Gardner Museum, 1996. [Principal catalogue essay and all painting catalogue essays].
"The Sculpted Retable in Spain, 1500-1750," catalogue essay in Spanish Polychrome Sculpture (1500-1800) in United States Collections, New York, Dallas, Los Angeles, 1998.
"Virgen de la Leche" [catalogue entry], El Mundo de los Osonas, Museu Sant Pius V, Valencia Spain, 1995, repeated in Madonnas y Vergines, Museu Sant Pius V, Valencia Spain, 1996
ˆBartolomé Bermejo y su epoca, La pintura gótica hispanoflamenca, [Introductory essay and catalogue entries], Barcelona, Museu Nacional d'Art de Catalunya and Museo de Bellas Artes de Bilbao, 2003.
Entries concerning 14th and 15th Spanish Panel Painting in Martha Wolfe (General Editor)Northern European and Spanish Painting before 1600 in the Art Institute of Chicago, New Haven, Yale University Press 2008
Associate Professor of Art History and Gallery Director, UTSA Art Gallery and Satellite Space
Department of Art & Art History
Phone: (210) 458-4402
Office: ART 1.01.56A
Office hours: By appointment
Research area: Modern and postmodern visual art, performance, literature, and intellectual history; Curatorial practices; Histories of civil rights, sexuality, and gender; Theoretical and lived constructions of space.
Dr. Scott A. Sherer’s interdisciplinary background contributes to his positions as Associate Professor of Art History and Director, UTSA Main Art Gallery and Satellite Space. Sherer earned a BA in Architecture from Yale University, a MA in Art History, from the University of Kentucky, and a PhD in Comparative Studies in Discourse and Society from the Department of Cultural Studies and Comparative Literature at the University of Minnesota. Sherer teaches a range of courses and seminars in modern and contemporary art, and he organizes exhibits and programs with local, regional, national, and international artists. His research continues philosophical and artistic traditions that examine the inherent conceptual distance and opportunities between lived sensory experience and artistic representations.
Department of Art & Art History
Phone: (210) 458-7248
Office: ART 3.01.13
Office hours: By Appointment
Kristy came to UTSA in 2005 to study with Dr. Judith Sobre in the MA Art History Program. After completing her studies with an emphasis in Medieval Spain, she continues at UTSA as an instructor of art history courses. Kristy teaches mostly introductory art history classes and is helping to develop the new Introduction to the Visual Arts class for non-majors.
Art History Core Assessment Committee, UTSA
Art History Program Assessment Committee, UTSA
Satellite Space, University of Texas at San Antonio, San Antonio, TX
National Museum of Wildlife Art, Jackson, WY
Associate Professor of Art History
Department of Art & Art History
Phone: (210) 458-7429
Office: ART 4.01.24
Office hours: By Appointment
Julie Johnson earned her MA at the University of Iowa and her PhD at the University of Chicago, specializing in the art and architecture of Central Europe, with a minor in film. She has held residential fellowships in Vienna from Fulbright, the International Center for Cultural Studies (IFK), NEH (summer teaching institute), and at Cornell University (DAAD summer seminar on gender and sexuality in the German-speaking world). Her teaching addresses the history of art and architecture in Vienna 1900, women artists, spectatorship theory and gender issues, histories of display, and modern and contemporary art. She is the author of The Memory Factory: The Forgotten Women Artists of Vienna 1900 (Purdue University Press, 2012), an essay on parodies and joking in Vienna 1900 in the Oxford Art Journal, and articles on women artists and the display cultures of Vienna 1900 in several anthologies and exhibition catalogues. The most recent of these is on women as portraitists in Facing the Modern: The Portrait in Vienna 1900, edited by Gemma Blackshaw (National Gallery of Art, London October 9, 2013-January 12, 2014). Her next major research project is on the bird’s-eye view and the visual culture of Vienna 1900.
Her recent publication The Memory Factory is the first book in English on women artists in Vienna 1900. Its primary purpose is to tell the stories of the forgotten women artists of its subtitle, and to explain how they came to be left out of the dominant histories of the period. While many women artists have been subject to cycles of rediscovery, these women’s lives were interrupted by the Holocaust, and in several cases their works were destroyed or dispersed. Such erasure has been so thorough that even today there is a mistaken belief that women were not allowed to exhibit their works publicly in Vienna 1900. The book takes a new approach to women artists by focusing on readings of where their works were displayed, including in some of the most famous Gesamtkunstwerk exhibitions of the Secessionists. It documents how women artists took part in the public art world and creative culture of Vienna 1900, not only exhibiting their works in the major shows of the Secession and Kunstschauen but also pioneering alternative exhibitions.
Among the courses she has taught at the undergraduate level are: Contemporary Art, Topics: Nineteenth-Century Art, Cultures of Display, Vienna 1900, Women Artists, and Art Nouveau
At the graduate level she has taught: Vienna 1900; Topics in Contemporary Art: The Artist’s Studio; The Art Museum, Central European Art, Suburbia and Architecture in Contemporary Art and Gender Issues in Art
Department of Art & Art History
Phone: (210) 458-4617
Office: AR 3.01.12
Office hours: By Appointment
Teresa Eckmann attended the University of Massachusetts at Amherst for her B.A. in studio art and received her Ph.D. from the University of New Mexico (UNM) in Latin American Studies with a concentration in post-Independence Latin American art history. She was an Assistant Curator at the National Hispanic Cultural Center and held a Post-Doctoral Fellowship at UNM’S Center for Southwest Research prior to coming to UTSA in 2008.
Dr. Eckmann specializes in modern and contemporary Latin American art, with a focus on Mexico. Her book, Neo-Mexicanism: Mexican Figurative Painting and Patronage in the 1980s was published in 2010. She has published articles and reviews in Anales del Instituto de Investigaciones Estéticas de la Universidad Nacional Autónoma, and British Print Quarterly (forthcoming), chapter essays in ¿Neomexicanismos? Ficciones identitarias en México (Mexico City: Museo de Arte Moderno, 2011) and Latin American Posters: Public Aesthetics and Mass Politics (Santa Fe: Museum of New
Mexico Press, 2006) as well as essays in numerous exhibition and auction catalogues.
She has curated or co-curated several exhibitions in her field including Posada’s Broadsheets: Of Love and Betrayal (UTSA Art Gallery, 2012) Rocío Maldonado: Ecos (Museo Casa Diego Rivera, Guanajuato, 2011) Neo-Mexicanism, A New Figuration: Mexican Art of the 1980s, (Instituto Cultural de México, San Antonio, 2010), and the traveling exhibition Latin American Posters: Public Aesthetics and Mass Politics (National Hispanic Cultural Center, 2006-09). Her research, scholarship, teaching, and curatorial projects continue to be focused on art and visual culture of Latin America—principally, on cultural nationalism and identity in 20th century Mexico and the Caribbean.
Neo-Mexicanism: Mexican Figurative Painting and Patronage in the 1980s (Albuquerque: University of New Mexico Press) 2010
“No Bounds: Luis Cruz Azaceta” in the exhibition catalogue No Bounds (Augusta: Gertrude Herbert Institute of Art) 2008
“The Latin American Poster: Image, Message, and Means” in the exhibition catalogue Latin American Posters: Public Aesthetics and Mass Politics (Santa Fe: Museum of New Mexico Press) 2006
Curator, Posada's Broadsheets: Of Love and Betrayal, UTSA Art Gallery, San Antonio, Texas, 2012
Curator, Indigenous Dress and Sacred Text: The Art of Carlos Merida, The Gallery at the Center for Southwest Research, Zimmerman Library, UNM, 2008
Curator, Revisioning Tradition: Rafael Lopez Castro and Delilah Montoya, The Gallery at the Center for Southwest Research, Zimmerman Library UNM, 2007
Co-Curator, New Mexico Pics: The State of Photography II, Curated with Holly Roberts and Miguel Gandert). Harwood Art Center, Albuquerque, New Mexico, 2007