Marshall Thompson, Joy O. Ude
Brazos Gallery: Oct 18- Nov 2
Opening Reception: Thursday, Oct 18, 5:30-7:30 p.m.
Artist Demo: Wednesday, Oct 24, 2 p.m.
Richland College presents Stitched: Subculture/Subtext featuring Marshall Thompson and Joy O. Ude, Oct. 18-Nov. 2, 2012, in the Brazos Gallery, Richland College. Curated by Anne Lawrence and Victoria DeCuir, Stitched examines the subversion of traditional handcraft techniques to express signifiers of subculture through image and text. The opening reception will be Thurs., Oct. 18, 5:30-7:30 p.m.
Marshall Thompson first used counted cross-stitch to evoke the sentimental in Good/Bye, 2000, made for his final participation at the Good/Bad Art Collective space in Denton, Texas. Thompson, known for his use of technology, including circuit bending, combined with a devotion to details when fabricating his sculptures or wall pieces, found in cross-stitch a synthesis of his particular skills and interests. He uses specialized software to draft his cross-stitch patterns, reducing them to images much like those found in 8-bit gaming, then meticulously follows a rigid set of self-imposed standards for the technical execution. Thompson draws on the vocabulary and images of geek subculture, making references to classic comics, elementary school portraits, the Satanic music scare, and television sitcoms. The work is overtly humorous and deliberately sentimental in a way that both acknowledges and disguises the nostalgia and its accompanying sense of loss.
Thompson and others have subverted traditional needlepoint gender and imagery associations. Sometimes called “manbroidery,” there is an entire community online that shares images, tips, and inspiration on flickr, Facebook, and blogs, encouraging every man and woman to take up the needle and stitch their own favorite Sarah Silverman quote.
Joy O. Ude’s work includes embroidered and silkscreened panels that investigate the displacement, misplacement, misspelling, and dispelling of racially ambiguous language and which involve a merging of handcraft, mechanical, and digital techniques. In all of these works, Ude thinks about a sense of identity constructed through language – written as a profile status on Facebook and pieced together using embroidery floss on Nigerian wax fabric – and through a sense of place, which takes the form of written directions screen printed on stitched panels as part of the “Make Yourself at Home” project with fellow University of North Texas graduate student, Delaney Smith.
Ude is motivated by an interest in culturally constructed notions of race and how the language of race is used and misused by both the people whose Facebook status she trolls, but also by the artist, as she picks and chooses phrases and words from those statuses. These snippets are de-contextualized and then painstakingly embroidered on Nigerian wax fabric, loaded with references to the artist’s heritage. Ude explores an affected use of language in a casual and social setting that is mediated by a distance provided by that very context, that is, a faceless digital community where social mores and distinctions are more easily displaced and even perverted. In her work, Ude incorporates not just craft, but also reference to craft through mechanical and digital means, into a conceptually-driven practice that investigates notions of heritage and home, and reflects her understanding of a constructed identity through language and subtext.
Thompson was a member of Good/Bad Art Collective for four years; he received a double B.F.A. in sculpture and metalsmithing from University of North Texas in Denton, Texas. Notably, he was included in Come Forward: Emerging Art in Texas, at the Dallas Museum of Art and recently debuted his cross-stitch art in Seattle. Thompson works as a microchip layout designer at Texas Instruments. Ude received a BFA in fashion design and is a current MFA candidate at UNT. Currently, her work is included at CraftTexas 2012 at the Houston Center for Contemporary Craft. This summer, she was included in a group graduate student exhibition at Cohn Drennan Contemporary in Dallas.
Slow Measure: for Cornelius
Brazos Gallery: Sept 13- Sept 28
Opening Reception: Thursday, Sept 13, 4-6:00 p.m.
Richland College is proud to present Slow Measure: for Cornelius, an installation in the Brazos Gallery by Maryland Institute College of Art professor John Penny. A series of recorded “events,” including several constructions, will occupy the gallery paying homage to mentor and composer Cornelius Cardew. Referencing the space between abstract notation and drawing, Penny’s works will consider drawing as a material record of an action, as a non-autographic other composed of non-standard materials. Please join us at the opening reception for this reconsideration of drawing as constructed events on Thursday, September 13th from 4:00- 6:00 p.m.
Deriving the term “allographic” from Nelson Goodman’s “Languages of Art”, Penny’s works embrace the handling of material and it’s subsequent physical transformation as implied drawing, allowing the acts to convey the genus of idea rather than presenting ideological distillation through standards of traditional drawing. The subtle, conceptually formulated works espouse a formal beauty, often executed with reference to measurement, mark making, and spatial or time consideration.
ABOUT THE ARTIST: John E. Penny has taught sculpture, drawing, fine art, and theoretical studies in Australia, Great Britain, and the United States. After graduating from Maidstone College of Art, UK, he then completed his MFA in sculpture, with a minor in drawing, at Ohio State University. In 2003 he received a PhD in theoretical studies from the University of Leeds, UK. Since 1974 he has exhibited work in Australia and Great Britain, and recent work has been exhibited in Baltimore. Occasional writings have been published in Australia, Great Britain and the USA. He currently teaches in the Baltimore area.
More information on Allographic drawing: ALLOGRAPHIC DRAWING synopsis
Shayne Murphy: Transient Space
Lago Vista Gallery: Aug 29-Oct 5
Reception: Wednesday, Aug 29, 4-6:30 p.m.
Richland College presents Transient Space, new works by Shayne Murphy drawing from narrative memory and fragmented logic systems. Utilizing multiple styles within each work Murphy fuses figurative realism with linear abstraction to create mysterious spaces within his paintings. Developed from the distortions in dreams and memory, figures in the work take on a surreal aspect as they navigate the mathematically iconic interiors. Murphy will be responding to the challenge of the curved walls in the Lago Vista Gallery as the works transform into an installation, allowing a complex evolution of illusory perspectival space into physical space.
Murphy, born in Houston, is completing his Masters in Fine Arts in Painting/Drawing from the University of North Texas, Denton. His ability to balance strong design with deft rendering has earned him “Best in Show” from UNT’s Student Art Competition and a purchase award from the Beaumont Art League, as well as inclusion to Craig Head Green’s New Texas Talent 2012.
Oil on canvas, 60″x48″.
Capture the Flag, 2012.
Oil on canvas, 55″x70″.
Benjamin Terry and Giovanni Valderas
January 11-March 29, 2012
Lago Vista Gallery, Richland College, Dallas
artist reception: Thursday, Feb. 9 from 4-7 PM
Richland College presents Fragment, new art installations by artists Benjamin Terry and Giovanni Valderas. Expanding their unique styles of painting and figure/ground abstraction the artists embrace the challenge of working on two curved walls in the Lago Vista Gallery. Both artists currently explore notions of loss and erasure through layering, providing persistent figurative content as a platform for conceptual and formal inquiry. The exhibition will run from January 11th through March 29th, 2012 with an artists reception on Thursday, February 9th from 4-7 PM.
Valderas focuses on personal relationships and situations to generate his imagery. After rendering the figures Valderas builds up heavily textured areas with paper and collage techniques, eradicating detail while enhancing focus on the fragmented content. Similarly, Terry draws a series of self-portraits, carefully obliterated and cautiously revealed to present a disrupted narrative. At once densely layered yet achromatically subtle, the works reveal only fragments of face, garment, and intent. Benjamin Terry and Giovanni Valderas are both completing their MFA in Painting at University of North Texas, Denton.
Fragment and all related events are free and open to the public. The Lago Vista Gallery, located in the Library at 12800 Abrams Rd, Dallas, is open from 9AM-9 PM Monday through Thursday, 9AM-4PM Friday and Saturday 12-4PM.
www.benjaminjamesterry.com _ BenjaminTerry_statement-resume2011
www.giovannivalderas.com _ GiovanniValderas_resume-statement2011
Midway to Madness
Brazos Gallery, Richland College, Dallas
Jan9 – Jan 27, 2011
Reception: Thursday, January 26, 2012 from 12-1 PM
Richland College’s Brazos Gallery presents Midway to Madness, a series of large scale digital prints by Richland Faculty Dwayne Carter. The banner size images blend photography and digital painting into narrative compositions, echoing their origin from Carter’s self published photo novella: Midway to Madness #2. Copies of the zine will be available during the exhibition and at the reception on Thursday, January 26 from 12:00 to 1:00 PM. The exhibition will run from January 9th through January 27th, 2012.
Referencing madness in contemporary society, the story focuses on groups and individuals competing for power. Non traditional in approach, the works utilize a pop culture format handled with a painterly style to convey conceptual and emotive resonance. Characters in the narrative experience betrayal and torment as they compete for control of the fictional circus midway serving as an analogy for social order. The edgy narrative reflects Carter’s long term interest in story telling and his continued work with the figure.
Dwayne Carter has exhibited his digital art, figurative paintings, animations and videos in the Dallas area for almost thirty years. Carter has participated in recent art events and exhibitions at the Latino Cultural Center, Kessler Theater and the University of Texas at Dallas.
Midway to Madness and all related events are free and open to the public. The Brazos Gallery, located at 12800 Abrams Rd, Dallas, is open from 10 AM – 4 PM, Monday- Friday with extended viewing hours by appointment. For more information please contact Gallery Coordinator Ryder Richards at (972) 238-6339 or firstname.lastname@example.org.
(For a campus map please click on MAP. )
REVIEW: Dallas Arts Revue “Can Painting be Saved?” by Michael Helsem
JUROR: Colette Copeland
We are pleased to have Colette, an extraordinary artist, arts writer, and new instructor at Richland College juror this years exhibit.
Meghan Dahlke’s “Pandora’s Ball: Tears of Joy or Sorrow”
color photo Garland HS J. Thompson Senior
Darby Fields’ “Untitled”
watercolor, crayon Rowlett HS C. Wilkinson Senior
Estella Garza’s “Urban Totem”
mixed media, ceramic North Garland HS L. McBride Junior
List of all participants: Richland High school juried exhibit-2011_participants
Chaddy Dean Smith and Andrew Douglas Underwood
September 8- 24, 2011
Brazos Gallery, Richland College, Dallas
opening reception: Thursday, September 8 from 4-7 PM
Richland College’s Brazos Gallery presents Reconstructing Perspective, featuring the multi-perspective landscapes of Chaddy Dean Smith and the research-inspired displays of Andrew Douglas Underwood. The exhibit re-evaluates optical and historical objectivity as inevitably subjective, offering geographic sites as the source of inquiry. The exhibition will open September 8 and run through September 24th, 2011 with an opening reception and artist talk on Thursday, September 8th from 4-7 PM. The exhibition will be open from 2-4 PM on Saturday the 24th of September for the DADA Fall Gallery Walk.
Brazos Gallery, Richland College, Dallas
Aug4- Sep 2, 2011
Reception: Wednesday, August 31, 4-7 PM
Richland College’s Brazos Gallery presents the first collaborative effort of TBA. During a month long installation an 8’ crate will be transformed into a response to the uncertainties of nature. Stuffed with components salvaged from previous art works, the minimalist cube releases artistic detritus from which shelter and chaos may take form. The exhibition opens August 4th with a RECEPTION on Wednesday, August 31st from 4-7 PM.
NEW MEXICO WORKSHOP
June 10-June 30, 2011
Brazos Gallery, C140
Richland College, Dallas, Texas
Reception: Friday, June 10, 7-9 p.m.
Live music will be provided, food catered by Blue Mesa.
Wayne Loucas and Roy Cirigliana have made the 17th Annual New Mexico Photo Workshop another resounding success. Taking 13 students to Northern New Mexico the instructors compiled a series of excellent sites in order to facilitate the tremendous scenic and cultural photography on view in the exhibition.
Participating artists: Sara DelRegno, Logan Dunne, Della Eaker, Nicole Elder, Rebecca Espinosa, Sisay Gebremariam, Marie Hansen, Beatriz Moncada, Mindy Robbins, Sonia Rodriguez, Aaron Thomas, Earl Ward, Brittney Young, Roy Cirigliana, Wayne Loucas
For selected images: www.richlandcollege.edu/photography
Installation images: (coming soon)
Ryder Richards: Pow[d]er
Art Corridor II, Tarrant County College- SE
2100 Southeast Parkway, Arlington, TX
March 24- April 23, 2011
Opening reception: March 24, 4-6:30 PM
“Pow[d]er” explores power structures as systems of reproductive ideology and seduction. Richards, artist and gallery director at Richland College, Dallas, offers new gunpowder drawings and large sculptures drawing associations between weaponry and beauty.
The work is an investigation into the power of the subliminal ideas or ‘temes’ within society, featuring an architectural installation pulsing with activity and sound along with several new, intricate drawings, made by igniting gunpowder on paper. The imagery offers organic patterns disguising and disrupting rifles set to impregnate the space –or the mind. (insert sinister laughter here)
(Art Corridor II is located on the second floor of the C-wing of campus. )
Video of the installation piece “Power: The Combine”