Tag Archives: brazos

Stitched: Subculture/Subtext

Stitched: Subculture/Subtext
Marshall Thompson, Joy O. Ude, Delaney Smith
October 18-November 2, 2012
Opening reception: Thurs., Oct. 18, 5:30-7:30 p.m



Stitched: Subculture/Subtext
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.

Robert Andrade


Robert Andrade: Ruined State(s) No. 2
Brazos Gallery: Aug 9- Sept 7
Reception: Thursday, Aug 9, 4-6 p.m.
Artist Talk: Wednesdayday, Aug 8, 7-9 PM @ The MAC

Richland College is proud to present Ruined State(s) No. 2, an exhibition by San Diego artist Robert Andrade, showcasing plans for a West Dallas public artwork. The exhibition will present a sculptural variation of the proposed earthwork along with several drawings and digital images. By excavating the city plan of Washington DC into an estranged urban lot, the proposed public work explores shifting states of dominance through symbolic markers of power. An opening reception will be held at the Brazos Gallery from 4-6 PM on Thursday, August 9th , 2012.

Art in the Public Sphere,” a project discussion developed by The Art Foundation, will take place at The McKinney Ave. Contemporary on Wednesday, Aug 8th at 7 p.m. featuring several participants and  Andrade’s proposal for the city of Dallas.

Similar to the public art proposals of Jean Claude and Christo, the process by which to gain support is through civic interaction, exposure, and discourse. Andrade welcomes the discussion surrounding his proposed earthwork as integral to the process of public art. The exhibit at Richland College acts as a bridge between the conceptual culmination of ideas and the physical manifestation of the actions needed to realize such a large scale project.

Finding a forgotten, derelict site with a view of the downtown Dallas skyline, Ruined State(s) No. 2 imagines a temporary sculptural excavation. Disrupting the site to imbue it with new context, the work will allow community interaction as a way to contemplate systemic entrenchment and urban/political decay. Exposing sentiment as the underpinning of cultural value and stability the work considers the grandiose as comparable to the banal.


About the artist: Robert Andrade recently received his Masters in Fine Arts from Cornell University in Ithaca, NY. Researching spaces of power as both flat symbols of diagrammatic planning and living spaces imbued with history, his work exposes the temporarily of architecture as beautiful and sardonically perverse. Exhibiting numerous times in Chicago, IL and New York City, NY this will be Andrade’s first exhibition in Texas.

Dwayne Carter: Midway to Madness

Midway to Madness
Dwayne Carter

Brazos Gallery, Richland College, Dallas
Jan9 – Jan 27, 2011
Thursday, January 26, 2012 from 12-1 PM

Dwayne Carter_Midway to Madness- page19_Richland College

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.

page17Referencing 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 rrichards@dcccd.edu.

(For a campus map please click on MAP. )

REVIEW: Dallas Arts Revue “Can Painting be Saved?” by Michael Helsem

Art & Seek


Dallas Observer

Art Knowledge

Smudge Studio

In the Interest of Time
an installation by Smudge Studio

Brazos Gallery, February 2- March 2


Reception: Brazos Gallery, Richland College,  Monday, Feb. 13th, 2012 from 4-6 PM
Artist talk: McKinney Avenue Contemporary,  Monday, Feb. 13th from 6:30- 7:30 PM

Richland College’s Brazos Gallery presents In the Interest of Time, an installation by Smudge Studio, NY.  Investigating and documenting instances of convergence between humans and the land, Smudge Studio offers a reconsidered, holistic relationship of human/land interactions within a geologic time scale. Displaying photos and videos, as well as a geo-architectural field guide to New York City, the installation provides a consideration of “deep time” through projects mapping lake beds from the Pleistocene that now hold suburban tract housing and visits to several nuclear testing sites in America.

For the past six years Smudge Studio, comprised of Jamie Kruse and Elizabeth Ellsworth, has practiced a version of what Nicolas Bourriard in The Radicant called “the journey form.”  According to Bourriard, “the journey has become a [contemporary art] form in its own right . . . a compositional principle.” Smudge states that, “For us, the journey form has been a means to access, traverse, and feel for ourselves, a number of sites where the geologic and the human converge with intensity.  At such sites, we have used the journey form, along with the concept of deep geologic time, as compositional principles for creatively responding to the complex of forces (natural, built, historic, social, strategic and the imagined) we encounter.”


Recently Smudge Studio received a “2012 Architecture, Design and Planning Grant” from NYSCA for Repository: A Typological Guide to America’s Ephemeral Nuclear Infrastructure and their geo-architectural field guide to New York City, Geologic City, was funded in part by a grant from Brooklyn Arts Council and was included in the exhibition Mapping the Surface at Central Booking, NY. Exhibiting nationally and published in the New York Times, Smudge has also given presentations in Oslo, Norway, Madrid, Spain, Parsons School of Design, The New School, New York, The Center for Land Use Interpretation, Los Angeles, and Ann Arbor, Michigan.

Jamie Kruse is an artist and designer living in Brooklyn. She has a BFA in Visual Communication and an MA in Media Studies from The New School in New York.  Elizabeth Ellsworth is a Professor of Media Studies at The New School in New York. She has a Ph.D. in Communication Arts, Film Studies from the University of Wisconsin-Madison.

smudge studio-worlds to come-richland college

In the Interest of Time 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.

smudge on glasstire

REVIEW: “In the Interest of Time” at Brazos Gallery, by Colette Copeland


Work: Annual Art Faculty Exhibition

Annual Art Faculty Exhibit

Brazos Gallery, Richland College, Dallas
Nov 17-23, 2011
Opening Reception: Nov. 17, NOON.

work_richland faculty opening2-800

Participating faculty include:

Dwayne Carter, Roy Cirigliana, David Collins, Colette Copeland, Sheila Cunningham, Eric Eley, Tim Jones,  Wayne Loucas, Brenda McKinney, Robert Galindo, Tom Motley, Vicki Mayhan, Ryder Richards, Jennifer Rose, Jim Stover, Keith Williams, and Kristin Vilbig

Reconstructing Perspective


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.

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Alvaro Perez: “Gun. Fly. Plane. Brain.”

Gun. Fly. Plane. Brain.

Alvaro Perez

Brazos Gallery: Sept. 29- Oct. 21
Artist Talk & Opening Reception: Thursday, Sept. 29, 4-7 PM

AlvaroPerez_ERR PLAIN

Richland College’s Brazos Gallery presents Fort Worth artist Alvaro Perez’s new sculptural works in Gun. Fly. Plane. Brain. Machined from aluminum or acrylic, the works take the form of small interchangeable discs arranged as diagrammatic directions portraying iconic symbols such as planes, bullets, or birds. Acting as both narrative structures and linguistic, conceptual traps, the works question our current sociological climate and the folly of simplification in the face of increasing turmoil and complexity. The exhibit will run from September 29th through October 21st, 2011 with an opening reception and artist talk on Thursday, September 29th from 4-7 PM.

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Eric Eley, Patrick Schneider, and David Willburn

Aug 5th– Aug 26th, 2010
Closing Reception: Thursday, Aug 26th, 2010
from 12-1 p.m. in the Brazos Galelry (C140)

flotsam_1-smallRichland College’s Brazos Gallery is proud to present Modular featuring the art of Eric Eley, Patrick Schneider, and David Willburn. Modular implies an infinite number arrangements resulting from the ability to manipulate modules. Each artist in this exhibition utilizes modules, manipulating the units according to an aesthetic sense, questioning and searching, and ultimately creating a new solution. The exhibition includes a large wall hanging structure built from wood and twine, several exploded architectural drawings, and stitching on fabric forming trapezoidal units derived from and overlaying natural shapes. The artists will give a gallery talk on this fascinating exhibition from 12-1 p.m. on Thursday, August 26, 2010Modular will remain on display from August 5 through August 26, 2010.

patrick schneider_HouseOnAshTreeLane2_editModular presents three views exploring the possibility of mathematical and architectural discourse. The works engage a form of structure and space, alternately questioning and disproving the truth of established logic. The works become a personal exploration under the guise of architectural inquiry as the works reveal nuances and narratives alluding to personal space.

minor_arch2_1-smaThe Brazos Gallery, located in Crockett room 140 on the Richland College campus, is open Monday through Friday from 10 a.m. to 4 p.m. For viewing outside of these hours please contact Gallery Coordinator Ryder Richards. Modular and all associated events are free and open to the public.

Modular- gallery questions


Eric Eley, born in 1976, has recently moved to the Dallas area from Seattle where he received his MFA from the University of Washington. Eley’s work has been exhibited throughout the United States as well as internationally in Belgium, Germany, the United Kingdom, Italy and Switzerland. Most recently Eley had solo exhibitions at the Platform Gallery in Seattle and Hamburg, Germany while participating in group shows in Cologne, Germany; Vancouver, Washington and Basel, Switzerland. www.ericeley.com

Patrick Schneider, born in 1984, received his MFA from Southern Methodist University in Dallas. Schneider’s current work documents architectural space by exploding the architecture to a point where each space is alienated while retaining an integral role in the composition. These spaces are mapped from personal documentation and as choices are made the assumption that a mathematical inquiry would be neutral dissolves as personal decisions and fingerprints are discovered on the surface.

David Willburn, born  in 1970, received his MFA from Vermont College of Fine Arts in Montpelier, Vermont.  Much of Willburn’s studio practice relates to domestic acts and ideas.  This can be found in much of the imagery he chooses—scenes from Pottery Barn catalogs and of areas within his own home.  His most recent work focuses less on knowable imagery and more on ideas of space, pattern and materials.  The domestic reference, however, remains intact through his use of hand-embroidery and craft materials.  Willburn’s work has been exhibited in New York, Helsinki, Finland, Portland, Oregon and Lubbock, Texas.

Intricate Spaces

W_Harvey-the kissIntricate Spaces

Andrea Moon and Wesley Harvey
Brazos Gallery, Richland College, Dallas
Dec 9, 2010 – Jan 28, 2011
Closing Reception/ Artist Talk: Friday, Jan 28 from 5-7 PM

Richland College’s Brazos Gallery is proud to feature Intricate Spaces, the sculptural ceramic works of Andrea Moon and Wesley Harvey. The exhibition questions identity through the object and its emotional association. Harvey’s work subverts traditional figurines into metaphors for sexual validation and inquiry while Moon’s raw structural pieces expose a delicate, disrupted emptiness. The exhibition will run from December 7th through January 28th, 2011 while the classes are in session. Please join us for the closing reception and artist talk on Friday, January 28th, 2011 from 5-7 PM.
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