Silver: 25th Anniversary Exhibition THe Gallery at UTA

THE GALLERY AT UTA

SEPTEMBER 6 - OCTOBER 15, 2011

Š 2011 by the authors, artists, and The Gallery at UTA. All rights reserved. No part of the contents of this book may be reproduced without the written permission of the publisher. Printed in the United States of America by Branch-Smith Printing, Fort Worth, Texas.

Curator: Benito Huerta Essayists: Al Harris-Fernandez, Benito Huerta, Jeff Kelley Editor: Patricia Healy Designer: Gladys Chow Photography: Jesse Barnett, Robert Crosby, Caleb Dulock, David Wharton Silver: 25th Anniversary Exhibition September 6 – October 15, 2011 cover: The Gallery at UTA, 2011, photograph by Caleb Dulock inside cover: Private Collections, 2001, installation view photograph by Robert Crosby

The Gallery at UTA, a division of the Department of Art and Art History, the University of Texas at Arlington, is sponsored by Arlington Camera, the Hanley Foundation and the Hilton Arlington.

Special support for Silver: 25th Anniversary Exhibition has been provided by Dr. Beth Wright, Dean of the College of Liberal Arts, Dr. Donald Bobbitt, Provost and Vice-President for Academic Affairs, and the National Endowment for the Arts.

The Gallery at UTA

CONTENTS

TRE ARENZ CONNIE ARISMENDI FRANCES BAGLEY ED BLACKBURN JULIE BOZZI

4

Lenders

5

Foreword

6

Acknowledgments

9

CRCA 1986 - 1990 | Jeff Kelley

17

CRCA: The Crossroads 1991 - 1994 | Al Harris-Fernandez

25

From CRCA to The Gallery at UTA 1997 - 2011 | Benito Huerta

32

Exhibiting Artists 1986 - 2011

34

Plates

59

25th Anniversary Exhibition Artists’ Biographies

66

Exhibitions/Performances/Artists 1986 - 2011

MARGARITA CABRERA MEL CHIN JAMES DRAKE VERNON FISHER LINNEA GLATT

JOHN HERNANDEZ ANNETTE LAWRENCE HUNG LIU MANUAL: SUZANNE BLOOM AND ED HILL CÉSAR AUGUSTO MARTÍNEZ

DAVID MCGEE VICKI MEEK CELIA ALVAREZ MUÑOZ ROBYN O’NEIL TOM ORR

JIM POMEROY LINDA RIDGWAY PHILIPP SCHOLZ RITTERMANN ANN STAUTBERG VINCENT VALDEZ

LENDERS

Connie Arismendi, Austin, Texas Frances Bagley, Dallas, Texas Toni & Jeff Beauchamp, Houston, Texas Ed Blackburn, Ft. Worth, Texas Hiram Butler Gallery, Houston, Texas Pam & William Campbell, Ft. Worth, Texas Dallas Museum of Art, Dallas, Texas Joe A. Diaz, San Antonio, Texas James Drake, Santa Fe, New Mexico Talley Dunn Gallery, Dallas, Texas Nick Fennel, Seattle, Washington Susan kae Grant & Richard Klein, Dallas, Texas Nancy & Tim Hanley, Dallas, Texas The Gallery at UTA, Arlington, Texas Linnea Glatt, Dallas, Texas Holly Johnson Gallery, Dallas, Texas Hung Liu & Jeff Kelley, Oakland, California Vicki Meek, Dallas, Texas Moody Gallery, Houston, Texas Celia Alvarez Mu単oz, Arlington, Texas Tom Orr, Dallas, Texas John Reoch, Dallas, Texas David Shelton Gallery, San Antonio, Texas Vincent Valdez, San Antonio, Texas Barry Whistler Gallery, Dallas, Texas

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FOREWORD

The University of Texas at Arlington and the Art + Art History Department are proud to present Silver, a twenty-five year anniversary exhibition and its accompanying catalogue which provide a glimpse into the dynamic life of The Gallery at UTA. I would like to thank and recognize the curator of the exhibition, Benito Huerta, Director of The Gallery at UTA, and Assistant Director, Patricia Healy for their vision and commitment to this project. It is due to their dedication and hard work that this important and meaningful exhibition has been realized.

Each museum, art center, and gallery has its own personality. These special spaces dedicated to presenting the visual arts many times reveal a sense of order, a focus and a creative spirit that enable the viewer to experience the essence of the artists’ intentions.

The endurance of the programming within our gallery is proof of the power in the creative spirit. Most importantly it is a significant testament to the role that art plays in our lives.

A unique facet of this exhibition is the opportunity to understand the fascinating way that curators create and develop a personal, thought provoking process to deliver an exhibition. Each curator of our gallery, past and present, has left an important legacy and vision that still resonates. This exhibition provides a glimpse into the past… a past that continues to be a solid foundation for future programming. To the artists and curators, Jeff Kelley, Al Harris-Fernandez, Sue Graze and Benito Huerta… who previously contributed to the meaningful experiences within The Gallery at UTA we extend our greatest expression of thanks and appreciation.

To the lenders, to the exhibitors of this current survey, we owe our enormous debt. Their willingness to lend works for an extended period is an expression of their belief in sharing the work and its unique visual and conceptual vocabulary. The design of Silver: A 25th Anniversary Exhibition provides a fresh context in which to consider each of the works and offers the viewer, artist, and collector a new experience.

Finally I would like to thank President James Spaniolo, Provost Donald Bobbitt, and Dean Beth Wright for their support, which enables the Art and Art History Department to implement and expand the important mission of The Gallery at UTA.

Robert F. Hower Professor and Chair The Department of Art + Art History

ACKNOWLEDGMENTS

The Gallery at UTA is very proud to present Silver: 25th Anniversary Exhibition and its accompanying catalogue. The scope of these projects required an incredible effort over the last couple of years and many people were integral in bringing them to fruition.

I would like to thank the following who were instrumental in various facets of the project. A big thank you to: Sam Clark, Pam and Bill Campbell; Rose Candela, Toni Beauchamp and Mel Chin; Cassy Sands, Ann Stautberg, Linnea Glatt and Barry Whistler; James Drake and Holly Johnson Gallery; John Reoch; Vernon Fisher, Annette Lawrence, Courtney Tennison, Meredith Leyendecker, Talley Dunn and Talley Dunn Gallery; Hiram Butler Gallery; Connie Arismendi; Nick Fennel, Walter Maciel Gallery, Nidia Holquin and Margarita Cabrera; Glen Howe, Jeff Kelley and Hung Liu; Vincent Valdez and David Shelton Gallery; Susan kae Grant and Richard Klein; Ed and Linda Blackburn; Frances Bagley and Tom Orr; Nancy and Tim Hanley, Jeff Zilm and Tricia Dixon at the Dallas Museum of Art; John Hernandez and Joe A. Diaz; César A. Martínez; David McGee; Celia Alvarez Muñoz; Lee Steffy and Betty Moody Gallery; Gerardo Gibbs, Glenn Nerwin and Nerwin & Martin Fine Art Services; David Wharton for his diligence in photographing some of the more elusive works.

I would also like to thank our donors for their consistent support of the gallery over the years since my appointment here at UTA in the fall of 1997. The support of Arlington Camera, Nancy and Tim Hanley and Hilton Arlington has assisted with exhibitions, brochures, lectures and receptions. We very much appreciate your continued belief in the gallery! Thank you to our chair Robert Hower, for his commitment to the gallery and its activities. A special thank you to Dr. Beth Wright and Dr. Donald Bobbitt for their additional support of the exhibition and catalogue and also to the National Endowment for the Arts for providing extra support for our educational programs.

A special thank you to Jeff Kelley and Al Harris-Fernandez for their insightful essays about their tenures directing the gallery. We are sorry that Sue Graze, Director 1994-1996, was not able to participate due to scheduling conflicts. Thank you to Gladys Chow for a wonderful catalogue design. Thanks to Caleb Dulock and Jesse Barnett, the gallery’s graduate assistants for some of the gallery photography and whose research into the gallery’s history was invaluable. Again, I would like to make a bow of gratitude to Patricia Healy, who has been with the gallery as long as I have and whose tireless and professional efforts have made this a more workable and enjoyable experience.

I could not have done this without her. I would like to thank my wife, Janet Chaffee, for her patience, kindness and her love, which sustain me. Finally, I thank all of the artists who have exhibited in the gallery in the past and all we will be working with in the near future.

Benito Huerta Professor and Director The Gallery at UTA

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JON FISHER AND JEFF SHORE from LiveFeed, 2004 mixed media installation

PHILIPP SCHOLZ RITTERMANN Whitewashing 1987 photograph, 41 ½” x 63 ½” Collection of Hung Liu and Jeff Kelley, Oakland, California

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CRCA 1986 – 1990 Jeff Kelley

In 1986 I was hired as the first director of what used to be called the Center for Research in Contemporary Art, or CRCA. Today it is called The Gallery at UTA. Originally, it was the UTA Art Gallery.

The idea for CRCA began in the mind of Dr. William Spurlock, then art department chair, and it involved the creation of, as he put it, an “intermedia, integrated research and exhibition facility for advanced study in the visual arts” – or a kind of third-coast Bauhaus. I was attracted to such ambition as well as to the possibilities of doing pioneering work in North Texas. The art world was still conceived of then in terms of geographic regions, having not yet become fully globalized or digitized as a stratum of the Internet, and so ideas like the “third coast” still carried a minor vestigial thrill from pioneer times – as if Texas had yet to be settled, art-wise. UTA, positioned equidistant between Fort Worth and Dallas (the West and the South?), offered a kind of strategic advantage if one’s objective was to establish an avant-garde outpost in the Metroplex, circa 1986. It would be Arlington with some “there” there.

We don’t often get the chance to name an art gallery, but I did. “The Center for Research in Contemporary Art” was a phrase that was both pretentious and difficult to say, but which also compressed into a deft acronym: CRCA. A verbal play on the preposition “circa,” which art historians use to denote an artwork’s approximate date of origin, CRCA was easy to say, looked good as a graphic, and had the currency of an experimental if ambiguous moment (the present).

GUILLERMO GOMEZ-PEÑA AND EMILY HICKS from Documented/ Indocumentado, 1987

Almost immediately, CRCA became shorthand both for the gallery and the program philosophy it framed. That philosophy, simply stated, was that CRCA, rather than functioning as a conventional university teaching gallery, would become a center for experimental activity by artists invited to come to UTA and conduct their own creative research – to investigate some aspect of their practice as artists that would be less likely in, say, a commercial gallery space, a museum, or a

university teaching gallery. In this sense, the intellectual axis shifted from what might be thought of as the more corporate axiom of “production and display” to the more academic “research and publication.” Although closer in spirit to an alternative space from the 1970s, CRCA embraced the methodological bias of its being in a university by emphasizing the “what-if” scenarios posed by and to artists.

For example: What if an artist created a site-specific installation about the tempos of a typical workday for the inside gallery while it was closed for construction? (Louis Hock, 1986) What if an artist created a site-specific installation of undersized steel “hospital beds” with copper wire hanging above them in order to activate the light, space, sound, and psychological timbre of the renovated gallery space that had never before been seen, as such, by the students? (Robert Morrison, 1986) What if an artist painted a brightly colored mural of a far away landscape and its people (those of Ireland’s Aran Islands) directly on the newly white gallery walls, knowing that the imagery would soon be painted over by CRCA’s next artist? (Patricia Patterson, 1987) What if an artist painted-out Patterson’s colorful mural with wands of fluorescent light as a performance in front of the open shutter of a camera so that the light illuminating the mural in the gallery space whitewashed it in the photograph? What if that same artist worked with students to take long-exposure photographs at night using only ambient light?

(Philipp Scholz Rittermann, 1987) What if otherwise famous performance artists were invited to “play” with the tools of the television production studio and enact the first ever performance art at UTA? (Guillermo Gomez-Peña and Emily Hicks, 1987)

What if another performance artist turned the television production studio into a kind of inventor’s garage in which low tech household items – beach balls, shower curtains, lights, leaf-blowers, cardboard tubes – were juggled into a mesmerizing alchemy of Cold War era wizardry? (Jim Pomeroy, 1987) What if a painter conducted research by literally re-searching a twenty year period of his own paintings in order to skim-off those which represented the image of the surface of water? (Christopher Brown, 1988) What if an artist enacted a retrospective of Happenings that had already happened?

(Allan Kaprow, 1988)

LINNEA GLATT AND FRANCES MERRITT THOMPSON from installation, 1989

What if an exhibition of digital photography was exhibited for the first time at UTA? (Digital Photography, 1988)

What if an artist proposed to install a pair of concrete monoliths with facing concavities – “listening vessels” – in which you could sit and listen or talk quietly to a facing partner fifty feet away in an Arlington park near a long abandoned graveyard for stillborn infants? (Doug Hollis, 1988) What if Dallas-Fort Worth artists were invited to create works of art about what they had remembered and forgotten of the Kennedy assassination? (Memory, 1988) What if artists made acoustic music directly from the walls, floors, and ambience of the gallery space? (Austin Acoustics: Jimmy Jalapeeno, Ellen Fullman, 1989)

PATRICIA PATTERSON from Itinerant Painter, 1987

What if an artist explored the process of collaboration with other artists to create a kind of open book in the gallery space? (Celia Muñoz, 1989)

What if two artists merged photography and sculpture in an installation responsive to the nearby infant graveyard? (Linnea Glatt and Frances Merritt Thompson, 1989) What if a Fort Worth painter exhibited contemporary paintings of Bible stories? (Ed Blackburn, 1989) What if North Texas artists working in photography and video were invited to consider the “mediation, distortion, resistance, simulation, projection, screening, irony, inversion, and interpretation” – rather than the veracity of technological values – inherent in their own works? (Mediations, 1990) What if artists working along the California/ Mexico border staged a performance whose video images were transmitted into the gallery live over international phone lines? (Border Arts Workshop/Taller de Arte Fronterizo, 1990) The results of these what-if scenarios were usually works of art, sometimes “published” as exhibitions, sometimes as performances, once in a while (if we had the money) as a catalogue.

Especially in the first year, artists created new works specifically for CRCA. Occasionally the gallery hosted existing exhibitions that were either research projects themselves (Digital Photography, 1988), or had some resonance with Texas (Between the Cracks, 1988; The First Texas Triennial, 1989). In April 1988, Allan Kaprow’s retrospective (Precedings, 1988-89), which I curated, took the form of “reinvented” enactments of roughly a dozen of Kaprow’s seminal Happenings from between 1959-1983, as well as four evening “lecture performances” by the artist and a day-long symposium on “participation” in contemporary art that included such luminaries as, besides Kaprow, David Antin, Claes Oldenburg, George Segal, Michael Kirby,

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Richard Schechner, Barbara Smith, Moira Roth, Lucy Lippard, Ingrid Sischy, Jim Pomeroy, Robert Morgan, and Suzanne Lacy, among others. Some of the reinvented Happenings were enacted outside of Texas (so, in a sense, “Precedings” travelled). The research question here was, How can you retrospect a Happening (which, by definition, had already happened)? The answer, it turned out, was to reinvent and enact each Happening according to the present. “Precedings” set the stage for the flurry of major retrospective projects that opened and travelled in Europe and the US around the time Kaprow died (2006). It also provided me the impetus to complete two subsequent books on Kaprow: Essays on the Blurring of Art and Life (which I edited) UC Press, 1993, and Childsplay: The Art of Allan Kaprow, UC Press, 2004.

CHRIS BROWN from The Water Paintings, 1988

ALLAN KAPROW from Precedings, 1988

The Bay Area painter Chris Brown accepted the invitation to conduct research by proposing to gather together his paintings that represented the surface of water (The Water Paintings, 1988).

It was easy enough to invite artists working in so-called experimental media to conduct research at CRCA. But for the idea of research to be legitimate as a pedagogical trope, I felt it had to be applicable to studio painters as well. While Patricia Patterson had experimented by painting the light and color of her beloved Aran Islands directly on the gallery walls, Chris Brown took research in a more conservative direction by looking back and reflecting upon a decade’s worth of his own paintings in which the image of water was represented. In effect, he curated a show of his own past works that would otherwise have never been seen together – the exhibition made the research visible to an audience, not least the artist himself. Equally important, CRCA invited New York critic John Yau to come and discuss with Brown the implications of his water paintings, and especially the tension between the physical surface of a painting and the image of the surface of water.

Thus, the what-if scenarios embodied in CRCA’s exhibitions, installations, proposals, performances, and conversations were not only for artists working in expressly experimental media – at the time, video, performance art, environmental art, Kaprowesque un-art, political interventions, and so forth. Artists who worked in conventional media, too, had to be part of the experiment (although many did not wish to be). And CRCA was an experiment: its ongoing challenge was in discerning what the most interesting research question might be for each artist in turn. Most often, that question was formulated by me.

Almost as often, it morphed in discussion with the artist. Occasionally, the artist came up with it alone. Sometimes, these what-ifs played themselves out in a group show (What-if I can’t remember the Kennedy assassination?). Even the semi-annual faculty show – “Open Slot / Open Studio” – was offered as an opportunity to experiment (or not) in the university context.

In one case, an art historian (David Merrill) installed his collection of diminutive rusty artifacts as kinds of found sculpture. Meanwhile, “Thicket,” a self-described “research project” by faculty member Nicholas Wood, afforded him the occasion to reflect upon “the parallels and differences between work once completed but then reworked over time,” and new works in process. Dalton Maroney, David Keens and Celia Muñoz participated as well. Of course, CRCA also sometimes made itself available as a kind of laboratory to North Texas artists whose works were either in development and needed support to reach fruition (the electro-Baroque performance of “X-Static: The Reveries of Saint Teresa”

by Laney Yarber and Philip Lamb, 1989), or just plain needed a place (Ed Blackburn’s “The Bible Paintings,” oils-on-canvas concerned with popular visual narrative and its relation to Bible stories, 1989).

Looking back between the years of 1986 and 1990, I think it’s fair to state that most of

ROBERT MORRISON from Tongues, 1986

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KEN DIXON from West Texas Artists, 1990

LANEY YARBER AND PHILIP LAMB from X-Static: The Reveries of St. Theresa, 1989

CRCA’s programming was an expression of its ambition – which was to invite research, not of, but as contemporary art. This meant that the gallery itself – then newly converted from an architecture jury room to a minimalist 4,700 square foot exhibition space – was the focal point of an idea about inviting artists to investigate something they might not otherwise be invited to investigate in a commercial or museum setting.

Thus, not all programs took place in the gallery: some were located in the black box theater (Allan Kaprow’s retrospective of Happenings), others in the television production studios (performances

by Jim Pomeroy, Guillermo Gomez-Peña and Emily Hicks, Pat Olsezko, Laney Yarber and Phillip Lamb), and still others were enacted in the hallways and stairwells of Cooper Hall (Louis Hock, Allan Kaprow, and others). Programs also took place in New York, Oakland, Los Angeles, and along the coast of Holland (Kaprow).

Though set in a university, and thereby expected (in theory at least) to encourage research and publish data, CRCA avoided the cold clutching fingers of academicism. The gallery had to be a place where something was always happening, and where what was happening was new. Not only were the exhibitions and performances experimental, but CRCA itself was an experiment. Partly, it was a social experiment. In 1986, for instance, the UTA Art Gallery was a place whose opening receptions were brief affairs held on weekdays after class before everyone went home. By the fall of 1990, opening receptions at CRCA (now on Friday nights) had become an art-world destination in the Metroplex. Students came from TCU and SMU. Artists came from all around. And we drank beer (with proper ID) and filled up the shrill acoustics of the minimalist drywall & concrete gallery with a critical mass of chatter that sounded to me like the background hum of a place to be.

The larger question for me was tied to the idea that art – the creative process – was a form of experimentation. Since the 1960s, with the decline of monumental abstraction in painting, the beginnings of minimalism, and the emergence of

forms of aesthetic experience based in phenomenological observation and systems theory, it had become commonplace to think of artists no longer as alienated poets, but as researchers of a subjective vein of experience. This sense of art as a quasi-science made, and still makes, many in the art world(s) anxious. Fair enough. The struggles between conventional and experimental media and attitudes in the arts continues to be interesting – even more so now, given the digitization of the material world in the time since I left Texas for California.

Suffice it to say that by the first few days of December 1990, CRCA had become something more concrete than the theoretical vision of an “intermedia, integrated research and exhibition facility for advanced study in the visual arts.”

Rather, it became a place where, in collaboration with artists, art itself was enacted as a form of creative research. This was its – and my – ideological slant. The theory had to be put into practice (it was an art department after all), and the way I chose to do so was by inviting artists to turn research into art. Certainly, this slant did not – could not, and in fact was never intended to – represent the broad swath of thinking and feeling by which artworks are made in our society. The idea of the creative process as a quasi-scientific method in which research and publication are emphasized over production and display is not the only idea that makes sense for artists and students in a university. But it was in keeping with its times, an experimental period in American art that preceded and in some ways anticipated the technological and social revolutions that gained power in the 1990s, starting in Silicon Valley and reconfiguring the world – as well as our sense of reality – according to the digital devices we carry in our pockets and the communications networks to which we are tethered. Of all the artists who worked with CRCA, it may have been Jim Pomeroy (1945-1992) – a Bay Area Texan whose performance persona was based on Mr. Wizard of the 1950s – whose art of everyday gadgetry in the service of aesthetic anarchy and devastating social critique came closest to enacting, and to some extent informing, the experimental ethos

of CRCA. For better and worse, the early 21st century probably looks a lot like Jim imagined (and feared).

So, did the experiment add up to something?

What was at stake, it seemed to me, was the legitimacy of research as an artistic process in an academic institution. That sounds like a bigger deal than perhaps it was. Still, when you are in the middle of something it’s hard to see – you can only sense – the edges of the big picture. Ideas, careers, institutions come and go. Something, though, remains if there was enough of a struggle to remember. What remains for me of CRCA is the memory of a clear (and controversial) idea and a short but intense period of time to try and carry it out.

With this Silver Anniversary exhibition and catalogue celebrating The Gallery at UTA, CRCA’s legacy at UTA and in North Texas can now be considered in a broader context.

In 1966, twenty years before CRCA’s inception, Allan Kaprow wrote and published a kind of manifesto he called “Experimental Art.” For him, the experimental arts of his generation were those that had not yet been recognized as art. It was only later, when they became accepted as art history, that society came to recognize them as art. The point wasn’t merely to upset old tables of crockery and flat champagne, but to compose alchemies from the ordinary materials and everyday experiences of the modern present. To invite artists to do something they were unfamiliar with.

Something that made them – and us – feel alive in the moment. Kaprow put it aptly in his essay: Imagine something never before done, by a method never before used, whose outcome is unforeseen.

That sounds a lot like imagination to me.

| Jeff Kelley was the first director of the Center for Research in Contemporary Art from 1986–1990. He has been a practicing art critic since 1977, having written reviews and essays for such publications as Artforum, Art in America, and the Los Angeles Times. From 1993–2005 he taught Art Theory and Criticism at UC Berkeley and edited/authored two books on Allan Kaprow published by the University of California Press.

Kelley was also Consulting Curator of Contemporary Art at the Asian Art Museum of San Francisco from 1998–2008, where he developed the museum’s contemporary exhibitions and publications programs. He is currently writing about Chinese contemporary art and is working on a book of collected essays.

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BARBARA DEGENEVIEVE AND MERIDEL RUBENSTEIN from Labyrinths, 1990

LESLIE SAMUELS Cantiga Santa Maria performance from Death Warmed Over, 1991

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CRCA: THE CROSSROADS 1991 – 1994 Al Harris-Fernandez

The first thing I did was renovate the gallery and paint the walls white. I wanted all the focus on the art. As a practicing artist I’m sensitive to the necessity of keeping the artwork in the center of the experience. (The Fort Worth Gallery and William Graham in Houston represented me during this period.) I had also just come from a job as director of a visual artist organization, The Bridge Center for Contemporary Art. Simply put, visual arts organizations were committed to diversity, engaging their communities, treating artists as professionals, and including them as an integral part of the decision making process of the organization.

My commitment to these principles thoroughly informed my approach to the Center for Research in Contemporary Art. Of course, the guiding light of CRCA was Bill Spurlock who, in 1986, created CRCA as an “intermedia, integrated research and exhibition facility for advanced study in the visual arts.” Together each of our goals complemented the other and the result, in retrospect, was an extraordinarily fertile period of research and reflection on, and appreciation of, contemporary art.

JAMES DRAKE from Force Fields/Pure Light/ Voids, 1991

BILL LUNDBERG Compass and Curriculum, 1991

or for the next, the remarkable Spiral Journey, a faculty initiative of UTA’s Kenda North featuring the work of Linda Connor. This lack, however, would be remedied with the third exhibition.

Force Fields/Pure Light/Voids: The Work of James Drake was the first in my Texas Artists Series, an annual exhibition planned to recognize and promote the state’s visual artists and art writers who were selected by a committee of curators from across the state. The primary focus of the series was the exhibition itself with a supporting essay, but another component was an examination of the various approaches writers used to address art. Drake was allowed to choose his essayist and his excellent choice was Becky Duval Reese, then the interim director of the Huntington Archer Gallery at the University of Texas. Her biographical approach was but one of the numerous methodologies that would come to light as the series developed and grew.

A large part of my time at The Bridge was spent raising money, always a challenge for an artist-run organization. It was with great pleasure that I found CRCA to be adequately funded (especially with additional TCA grants and donations from Richard and Nona Barrett, collectors of contemporary Texas art), a fact that enabled me to focus all my energies on the quality of the program.

Such opportunities are few and far between.

While at the Bridge in El Paso, I developed an interest in both reading and writing about art, and was looking forward to developing a forum in which this interest could be furthered. In writing about art I became aware of the disparity between my thoughts before and after an exhibition was pulled together. I found myself reflecting on how my pre-exhibition essay would have been different if I had written if after the show was installed. With this in mind, one of the first projects I designed for CRCA was a new program in which each exhibition would be accompanied by two viewpoints, expressed in both a pre- and post-exhibition essay.

With a solid vision, strong support, and a newly remodeled gallery, I was determined the first show would be a lively event. In January 1991, Death Warmed Over, complete with harp music in the background of Leslie Samuel’s performance, was my unlikely but well-received plunge into the Dallas/Ft. Worth art scene. In addition to Samuels, the exhibition featured the work of Sharon Kopriva and Kathy Vargas. Time did not allow for documentation of this first exhibition,

Commissioning an essay both before and after an exhibition succeeded beautifully in opening up a dialogue around the work. That fertile groundwork of multiple voices and manifold interpretation both acknowledged the complexity of the artworks under discussion and the diversity of viewers along with their individual interests, assumptions, and associations. And of course the artists were gratified at being guaranteed a review of their work.

With these benefits in mind I published the following program and Research Subscription (CRCA/RS) description: The Center for Research in Contemporary Art (CRCA) is predicated on the philosophy that artistic practice is research within the total practice of inquiry and discovery, and that integral to the artwork is the dialogue that both forms and is formed by the work.

The CRCA/RS was designed to include both preand post-exhibition essays, as well as an annual overview. Each of these publications was threehole punched and sequentially page numbered so that those that received them in the mail could compile them into a book format resource. In addition we also produced a number of bound copies for 1991-1992, 1992-1993, that were available for purchase at the gallery. The following statement regarding CRCA/RS was published in the 1991-1992 publication:

CÉSAR A. MARTÍNEZ from Border Issues, 1991

CRCA/RS is designed to give equal status to research (the artist’s engagement with other texts), experience (the display of the artist’s research as manifested in the art object), and critique (the discourse generated by and around the work). Its goal, as is CRCA’s is to place artistic activity within the context of an ongoing critical dialogue.

The next year saw my hopes and plans realized.

Six exhibitions were enjoyed by the public and considered in depth by two different writers.

LAURIE MCDONALD Beyond the Shadow, 1992

In October 1991, I commissioned Tom Moody, then Texas editor of Art Papers, to write the post-exhibition comments for artist Bill Lundberg. Lundberg’s own essay introduced his ideas about the relationship of his drawings, video and mixed media constructions with poetry. Moody’s emphasis was to “describe work as carefully as I can, as a way of documenting it and discovering its strengths and weaknesses. Increasingly I am trying to put these descriptions into an historical context, so they make sense outside the familiar sphere of what’s up and down in Texas.”

An exhibition of works by UTA faculty followed with post-exhibition comments by doctorial candidate Robert Cook, who examined the ethics of teaching through the lens of The Little Mermaid.

Border Issues: Negotiations and Identity was comprised of works by César A. Martínez, C. Meng, Celia Muñoz, Hachivi Edgar Heap of Birds, and Marilyn Waligore. Poet Phyllis Price interviewed the artists and distilled the interviews into artist statements that reflected the individuality of each, while art critic Janet Tyson avoided a “rigid critical identity” and instead provided “a sampling of thoughts and personal responses” to the work of the artists.

A program I continued from the previous director, Jeff Kelley, but with a different title was “Curatorial Initiatives.” Its purpose was to provide UTA Art and Art History faculty the opportunity to publish research in the form of curating an exhibition at CRCA. As part of Curatorial Initiatives, UTA faculty Nicholas Wood used the exhibition, Presence, which he curated, to both situate his own work within a larger context and to define the common concerns of a group of artists with which he shared an affinity with revealing process in the invention of form. Art critic Charles Dee Mitchell tried to convey how the these “physical objects succeed or fail in taking on a rich metaphorical life in the world.” The group show featured work by Andrew Bennett, Patricia Forrest, Sam Gummelt, Joe Guy, Tracy Harris, Ken Luce, Brian Portman, Chris Powell, Linda Ridgway, Andrea Rosenberg, Randy Twaddle, Michael Whitehead, Danny Williams, and Nicholas Wood.

Also part of the same program, Jim Pomeroy curated Public Notice: Photomontage by John Heartfield and Klaus Staeck. Pomeroy used the exhibition to “establish the origin and continued use of photomontage as an artistic strategy for social criticism,” a practice employed in his own work. UTA Historian Gary D. Stark wrote

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MOIRA DRYER from Abstraction: Continued, 1993

from the perspective of how the German government tried to censor certain types of political artistic expression and its impact on artists.

nocent eye,” which he felt would more accurately reflect the highly personal nature of Water’s work.

In the second Texas Artist Series, video artist Laurie McDonald was teamed with San Antonio Museum of Art curator Jim Edwards. Being familiar with her work over the years, Edwards wrote about the development of the artist’s work over time and its relationship to commercial mass media. Cultural psychologist Robert Sardello wrote the post-exhibition essay in the form of a plea, arguing the work of “art is unlike other objects in the world…, that they are a particular kind of living being and we must take care in how we write about them.”

In the next show I placed the work of Otis Jones in the context of the modernist/postmodernist debate, playing devil’s advocate, arguing both for and against formalist abstraction, which denies narrative in favor of the sensuous. In the second essay Sue Graze, past curator of the Dallas Museum of Art, emphasized the importance of direct experience, knowledge of contemporary art, and knowledge of the artist’s intentions to the work of interpretation.

The final exhibition of the 1991-92 academic year was Domestic Violence, featuring the works of A.R.M.S., Robert Colescott, Manual, and Nic Nicosia. As curator, I wrote about the exhibition, arguing that innovative, socially responsive art can provide useful models for understanding complex social issues. Artist Vicki Meek, in her post-exhibition comments, noted that because art has the potential to communicate a sympathetic understanding of others, artists have the power to not only comment on their own relationship to society but to examine their society as a whole and pose problems, solutions, or simply to present realities.

The next year was to continue with the same format.

A.R.M.S. (STARNES/MCAN) from Domestic Violence, 1992

Artist Sara Waters, was introduced by Susan Fruedenheim, the previous art critic at the Ft. Worth Star Telegram, who concluded that the artist was transcending the isolation implied by her earlier work and starting out on a journey of enlightenment. In the post-exhibition comments Texas Christian University art historian/ critic Mark Thistlewaite noted his plan to take a different approach than his usual one. (I had requested that the writers discuss their approach to the subject.) Instead of interviewing the artist and reading what had been written on the work, he attempted to approach the work with an “in-

Vicki Goldberg, photo critic of the New York Times introduced Contact: Photojournalism Since Vietnam, a faculty initiative of UTA photographer Larry Travis. She focused on the politics of photojournalism in which what is not seen is as important as what is. Photographer and UT Austin professor Julianne Newton went beyond previous writers to address the ethics of photojournalism and the exhibition of the death and suffering of individuals on a gallery wall.

Abstraction: Continued, a group show featuring the work of local, national, and internationally known painters, was introduced by Karen Emenhiser, writer and art-critic of the Dallas Observer and, as it turned out, my future wife. Karen placed the work in the context of rapidly changing philosophical paradigms, concluding that the work’s focus on materiality, the fundamental aspects of paint and support, was in part a reaction to the uncertainty of the postmodern present.

My own comments in the post-exhibition essay reflected my interest in how we think of, and where we locate, meaning. The artists were Ian Davenport, Lydia Dona, Moira Dryer, Stephen Ellis, Jacqueline Humphries, Bill Komoski, Daniel Levine, John Pomara, and John Zinsser.

The next show, More is More: the Art of the Oak Cliff Group 1969-74, was discussed by Charles Dee Mitchell and Janet Kutner, both critics for the Dallas Morning News. Dee Mitchell placed his view in the context of an art historian looking

THANA LAUHAKAIKUL from Texas Artist Series III, 1993

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into the recent past and defining not a school or a movement but an “Art Moment.” Janet Kutner took the position that to impose issues of style or theory on the exhibition would impose standards on the work that the artists never intended.

The last exhibit of the 1992-93 year featured a large-scale installation by Thana Lauhakaikul, a Thai native then teaching in UT Austin. This was the third show in the Texas Artist Series. Guest essayist Glenn Brown, of Texas Tech University, introduced the show, drawing a parallel between Lauhakaikul’s experience as an immigrant, the indeterminacy of that state, and the postmodern tendency to neutralize the dialectical action of modernism by resisting closure. In her post-exhibition comments UTA English professor, Luanne Frank, took the position that the critic’s interpretation of the artist is also an interpretation of the critic, herself. “Interpretation is always, first of all, for the sake of a given interpreter embraced by a given involvement with a given world.”

The success of the CRCA/RS program was gratifying and enthusiasm within the community led me to explore various options for expanding the program beyond the gallery walls.

The magazine, Circa: the Texas based Journal on Contemporary Art grew organically from CRCA’s emphasis on dialogue. The program itself was well documented with the Research Subscription and the great variety of writers who had contributed thoughtful analysis and interpretation of the artworks in the exhibition program.

That brief but well received exchange of ideas had created an ideal platform that suggested an expansion beyond the gallery walls into the spirited art scene of the Dallas/Ft. Worth area and the rest of Texas.

Texas has the third largest concentration of postgraduate artists in the nation, but because of its geographic location, is rarely recognized in national and international art journals. Circa was to address this issue by engaging nationally

recognized experts in dialogue with Texas based artists, critics and scholars, creating and strengthening valuable networks.

The plan was that each issue would contain a specific theme. One of the essays would be commissioned from a nationally recognized authority, and that essay would then be addressed by two or three regional writers with the intent of placing regional issues within the context of a larger dialogue.

The first issue focused upon a joint venture between CRCA and DARE, Dallas Artists Research and Exhibition.

The first issue of Circa was edited by Karen Emenhiser, at this point a UTA Masters candidate. She began her “Letter from the Editor” with an appreciation of the vigorous and varied viewpoints offered by the twenty writers engaged in the first edition and summarized the relationship to the Dialogue Series as follows: Looking for fertile ground in which to nurture this diversity the subject of activist art was chosen as the topic of this first issue— a topic that, not incidentally, was already under debate in the 1993 fall series of the DARE (Dallas Artists Research and Exhibition) Dialogue Series. (Al Harris was a member of the Program Committee, and the first two Dialogues were co-presented by CRCA.) Donald Kuspit had been invited to readdress his essay “Crowding the Picture: Notes on Activist Art Today,” and Victor Burgin was to speak the next month on his very different views concerning the same subject. This issue features an essay Kuspit wrote after his own involvement in that series, as well as the reflections of three local artists and writers…

Both Kuspit and artist Robert Cook offer a scathing critique of the motives behind activist art as well as any possibilities of its success, however their respective antidotes are in direct

opposition to each other. Artist Marilyn Waligore offers a firm defense of activist art based in traditional feminist theory. Artist Michael Odom discovers an alternative path towards Kuspit’s ideal of the “autonomous individual” pointing, along with Cook, to a more responsibly responsive - less egocentric - subject as art’s ultimate audience. In the next section, “The Consumer Report,” Al Harris F. examines the same issue in the more commonplace light of “Moe Willy and the Ball.”

The last three shows at CRCA were not included in a CRCA/RS. They consisted of Victor Burgin: Family Romance, Texas Artist Series IV: Mirjam Hoekman, and Forging Ahead. The artists in Forging Ahead were Arron Parazette, Jennifer Silitch, Lilly van der Stokker, Tom Moody, Martin Delabano, and Mark Monroe.

I wrote about Burgin’s work as a postmodernist artist and theorist whose work illuminates the relationship between the observer and observed, as well as the difference between modernism and postmodernism. Mark Frohman, art editor of Houston’s alternative weekly, Public News, was selected to write about Mirjam Hoekman’s work.

Frohman described the artist as involved in making signs, using military surplus, that are formally beautiful and also loaded with historical meaning, but avoiding the trap of being judgmental.

During the last year, CRCA/RS came to an end as I prepared to take the show on the road to SUNY Buffalo. Karen Emenhiser and I married, then moved to Buffalo as a team to design and implement a new gallery program, University of Buffalo Art Gallery. Forging Ahead, my last show at CRCA, would become our first in Buffalo, morphing into Faith in Doubt: A Speculation on the Function of Humor in Contemporary Art. Looking back, my time at UTA and in the Dallas/Forth Work art community was a very rich and satisfying experience. I continue to be indebted to William Spurlock’s vision of a gallery in forming my views of how an art gallery in a university setting should function. Karen and I are gratified to find that the publication program now compiles an impressive historical source that documents an impressively fertile period in Texas contemporary art. And, of course, we both have very fond memories of the friendships we formed in the community, the UTA faculty, DARE, and artists throughout the state.

| Al Harris-Fernandez was the director of the Center for Research in Contemporary Art, The University of

Texas at Arlington from 1991–1994. He earned his MFA in painting from Stephen F. Austin State University in 1985 and has been a practicing artist since that time. In addition, he has been the director of numerous prestigious arts organizations including the Bemis Center for Contemporary Art in Omaha, NE; the University at Buffalo Art Gallery/Research Center, State University of New York at Buffalo; and the Bridge Center for Contemporary Art, El Paso, TX. He is currently Director of the Sioux City Art Center in Sioux City, Iowa.

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MIRJAM HOEKMAN from Texas Artist Series IV, 1994

INSTALLATION VIEW from Points of Convergence, 2008

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FROM CRCA TO THE GALLERY AT UTA 1997 – 2011 Benito Huerta

Agendas, Change and Discovery My first year at UTA was fraught with change and discovery. The gallery was well known nationally, but I only became aware of its reputation as a result of my occasional visits to North Texas from Houston. I realized that it was the largest university gallery other than a university museum in the Metroplex but, at the time of my hire, I did not know the full story of what had recently happened here with the Center for Research in Contemporary Art. After my arrival as assistant professor and curator in 1997, I was immediately asked to imagine a new name for CRCA, as it was then known. As an observer of popular culture, I noticed that movie titles were becoming less poetic and more generic like The Doctor or The Professional and not too far from campus was The Ballpark in Arlington where the Texas Rangers play. These cues enabled me to envision The Gallery at UTA, which was descriptive, geographically located and aligned with the University of Texas system.

I had ideas, some of which were informed by being an artist myself, that I wanted to implement within the given restrictions of the gallery – which were mostly space-related and financial (the gallery did not have the budget it used to have under the previous directors -- but that is another story). The main idea was to reflect the diversity of the curriculum of the Department of Art and Art History. I viewed the gallery as a teaching/educational tool for professors to utilize for their students on a daily basis. Another was to focus on contemporary art in Texas and occasionally feature national artists. An initial plan was to complement the Arlington Museum of Art programming, which usually consisted of group exhibitions by countering with two person exhibitions in our gallery. This allowed us to exhibit more work from each artist, whereas the AMA exhibited more artists with less work by each. This is still very much the case today: exhibitions usually accompanied by illustrated lectures that provide visitors with a more in-depth perspective into artists’ work. We would sporadically showcase a group exhibition to represent a

broad spectrum of styles, media and ideas. An important curatorial current running through the planning of these exhibitions was to avoid any cultural and racial segregation or bias. I was opposed to organizing a specifically Hispanic or African American or Asian American exhibition.

Instead I wanted to integrate artists into exhibitions in which their visual concepts were the focus of the show and allow for a comparative analysis between and within each artist’s oeuvre.

Documentation of each exhibition has always been an important concern, and in the winter of 1998, President Robert Witt, after hosting a donor dinner in the gallery, extended an offer to publish the first exhibition brochure under my tenure (Connie Arismendi and Kathy Vargas). A simple, full color, tri-fold brochure has been the workhorse design we have used ever since that time. Writers are commissioned to write their essays after viewing the work within the context of the gallery, as I felt the essayists’ visceral and intellectual responses would be more direct and unfettered. The artists are given copies and many are mailed to curators at museums and university galleries throughout the country.

One of the complaints I hear regarding museums is the lack of attention paid to artists of the region. Many of these artists are being presented in national venues as opposed to the local art museums. Why is it that many artists in Texas do not receive more local survey and retrospective exhibitions that they deserve? Early on I decided that as curator of a university gallery, I wanted to fulfill this sense of responsibility. I extended an invitation to Arlington artist Celia Alvarez Muñoz to participate in a twenty-year survey exhibition of her photography and text work. This exhibition concept developed into Stories Your Mother Never Told You, which debuted in 2002 and traveled throughout the state.

Practical issues with the gallery’s physical space included the dream of extending the walls from ten feet high up to the ceiling, adding another four feet. As a result of artist Joe Mancuso’s request in 2000 to raise one section of the wall

for his exhibition, we realized that it was easy enough to accomplish and also fairly inexpensive to complete. We proceeded over the next few years to elevate the other walls except for those with vents. To finish this project we needed the university’s cooperation, which they provided in 2007 as part of a gallery renovation, that also resulted in the placement of acoustic ceiling tile clouds, a new desk, and removing the remainder of the fluorescent lights.

Highlights and Standouts Since I have been here for more than half of the gallery’s twenty five-year history, it is difficult to write about every exhibition in limited space; instead I will review a few exhibits that were standouts to me in terms of conceptual framework. I feel that these exhibitions were thought provoking and inspiring to our students and community audience alike.

CELIA ALVAREZ MUÑOZ from Stories Your Mother Never Told You, 2002

“Vision and Movement 2000: Public Art/Public Transit” As an artist working in the public art arena over many years, I was aware that public art was quite varied in quality. Public art was a fairly new phenomenon in the nineties with more and more public art programs sprouting up in municipalities throughout the United States; so the turn of the century seemed to be an appropriate time to examine its relation to visual aesthetics. (Ironically, our gallery operates within a city that to this day does not have a public art program.) The exhibition Vision and Movement 2000: Public Art/Public Transit contained three components: drawings and models of public art projects that already existed in Dallas (Fort Worth at that time had no public art program, as it does now); drawings and models borrowed from the Dallas Area Rapid Transit public art program; and large photographs we took of six different sites in Arlington for which we asked eighteen artists to create conceptual public artworks. This latter part of the exhibition traveled, after the initial debut here, to Arlington City Hall where we hoped it would stir up some conversation about a public art program for the city. Unfortunately,

it did not. In addition, we conducted a symposium to examine public art from various perspectives that included an architect, an artist, a city administrator and a public art administrator.

The university at one point seemed on the brink of beginning a public art program; however, President Witt, a supporter of the plan, left a year or two after the idea was initially discussed and it was never brought to fruition. The idea was suggested in the Campus Master Plan a few years ago but again the idea stagnated.

“Celia Alvarez Muñoz: Stories Your Mother Never Told You” In December of 1985 I first met Celia Muñoz while doing studio visits throughout the state for an exhibition that I was organizing in Houston.

Though originally from El Paso, she was and still is living in Arlington. Within a few years her work was part of the 1991 Whitney Biennial and countless other national one-person museum exhibitions. Her provocative photography and text encompassed within well-crafted objects was a mix of old-fashioned storytelling along with her ideas about language and cultural disparities.

Since our initial meeting, her work had expanded to include installations and public art but the gallery’s size could not accommodate a full-scale retrospective. I decided to concentrate on the photography and text over a twenty-year period for which she was well known. The exhibition Celia Alvarez Muñoz: Stories Your Mother Never Told You would include twenty-three works, from the intimate, Enlightenment #2: Double Bubble & WWII, 1980-1982, to the monumental, El Limite, 1991. The exhibition traveled for two years beginning at Blue Star Artspace in San Antonio and then throughout Texas. A seventytwo page, fully illustrated color catalogue was printed in commemoration of the exhibition for which Annette Dimeo Carlozzi, curator at the Blanton Museum in Austin, wrote the essay.

Texas Paper, Seriotoons and BlackWhite(&Gray) Several exhibitions have resulted from numerous studio visits over the years and my realization that some artists work within some manner of

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INSTALLATION VIEW from Seriotoons, 2001

RICHARD KAMLER from OnDeathRow, 2000

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rigorous linear framework that I wanted to illuminate. These three exhibitions focused on artists that were working exclusively with paper; or incorporating cartoon imagery; or working within a limited palette range of black and white.

During the nineties hi-tech media such as video installations and web-based art were the trend.

Texas Paper was intended to examine the process of working on paper, whether painting, drawing or collage, a simple and direct method of art making, which I felt was still vital as an art form but vastly overlooked.

INSTALLATION VIEW from Seriotoons, 2001

Seriotoons featured the work of three artists who worked with cartoon imagery to confront issues that were of particular interest to them.

Rachel Hecker dealt with gender issues. John Hernandez’ work was about power and its corrupting influence on our society. Roger Shimomura dealt with issues of Japanese internment during World War II. All used the humorous visual language of cartoons and the accompanying color schemes to create impact by attraction.

BlackWhite(&Gray) was surprising in that as I did further studio visits, I realized that a number of artists had intentionally chosen not to work with color and were creating works that seemed simple, yet, mysterious. There was an exhibition at the Rice Museum in Houston years ago titled, Grisaille, in which all of the work was black, white and grays. I also was aware of Al Held who had created monumental hard edge black and white abstract paintings for 10 years before introducing color to his canvases. All of these thoughts led me to the conclusion that this could be a beautiful exhibition.

INSTALLATION VIEW from BlackWhite(&Gray), 2006

OnDeathRow The Gallery at UTA has a policy of not censoring work or curatorial concepts. I feel strongly that since the gallery is within a university environment, it should be a forum for a variety of ideas to be expressed, analyzed and discussed, however controversial they might be. Now, that does not

imply that the work or exhibition should be created only to be shocking and without substance.

Rather, the exhibition should be created with an intellectual rigor so that our viewers, particularly our university community, can see the best ideas being created from throughout the region and the country.

In 1999, Richard Kamler, an artist from San Francisco, submitted a proposal for an installation about Death Row. The next year was an election year and George Bush, the governor of Texas at that time, decided to run for president of the United States. Texas was, and still is, known as the death capital of the country so this topic would likely be debated during the presidential election. The gallery decided to accept the proposal and to augment it with an installation by Vicki Meek and photography by Robert Ziebell. The exhibit OnDeathRow was not meant to pontificate on one side of the issue or the other, or to look at why people were on Death Row to begin with, but was intended to look at the issue from a personal, human perspective.

Mr. Kamler’s installation was a recreation of the last room in which a Death Row inmate would be waiting before being put to death. This room is where the convict would meet with friends and family and eat their last meal. Vicki Meek’s installation consisted of various types of dinner tables portraying differing socioeconomic classes.

This body of work pointed out who could or could not afford good lawyers, which, in many cases, had a direct impact on the verdict the defendant received. Robert Ziebell’s photographs were depictions of food, and written lists of the actual last meal requests of death row inmates.

A panel discussion about the pros and cons of the death penalty accompanied the exhibition.

Publicity prior to the exhibition resulted in the university being inundated with calls from people who supported the death penalty and were angry that we were doing such an exhibit. Interestingly, once the exhibit opened, the furor quieted down.

No incidents happened at the reception or at the panel discussion.

ERIC AVERY from Texas Paper, 1999

INSTALLATION VIEW from Points of Convergence, 2008

Points of Convergence: Masters of Fine Art Robert Hower, the new chair of the Department of Art and Art History wanted the gallery to compete for a grant to host the official exhibition and print a commemorative catalogue for the 2008 College Art Association Annual Conference. Our department had just started a Master of Fine Arts program. Also, most contemporary artists earn a MFA degree to compete for the limited university tenure-track teaching positions, so the theme of successful MFA programs and their graduates seemed timely. The idea was simple enough: to locate well-known artists from across the country that we wanted to exhibit and research where they had earned their MFA degrees; then to request those institutions choose a current MFA candidate to represent them in the exhibition. The artists I selected and their respective schools and MFA candidates were Janine Antoni – Rhode Island School of Design - Heather Leigh McPherson; David Bates – Southern Methodist University – Eric Chavera; Ross Bleckner – California Institute of the Arts – Louisa Conrad; Enrique Chagoya – University of California, Berkeley - Ali Dadgar; Michael Ray Charles – University of Houston – Kelli Vance; Ann Hamilton – Yale University School of Art – Betsy Odom; Donald Lipski – Cranbrook Academy of Art – Samuel Rowlett. It was an exciting mix of work and a great opportunity for the graduate students to exhibit with well-known artists who were alumni of their universities. The gallery published a forty-four page, color cata-

logue of the exhibition with an essay by Dallas Morning News art critic Janet Kutner.

Silver: 25th Anniversary Exhibition We have been planning this current exhibition and catalogue for the last several years. The selection process was both meticulous and intuitive and began by reconstructing the exhibition history -- no minor task. Once that was complete, we examined the list of artists who had exhibited here and selected ones who were included in multiple exhibitions under different directors.

Others were selected because they were fairly new on the art scene when they were originally shown here, but are now making an impact on a national level. Twenty-five works by twenty-five artists who have shown in the gallery over the last twenty-five years is what we came up with.

We could have shown many more because there was an abundance of excellent artists to select from, but finances, time and space were also major considerations in the selection process.

This anniversary exhibition is an important milestone not only for the gallery but also for the art community at large. We celebrate this time, this gallery and all who have participated in this endeavor - the artists, the previous directors, the staff, the collectors, the galleries, the curators, the faculty and the students who have played an important role in creating our history.

| Benito Huerta is a professor at the University of Texas at Arlington where he has been Director/Curator of The

Gallery at UTA since 1997. Co-founder and executive director of Art Lies, A Texas Art Journal, he has written and lectured extensively about contemporary art for over three decades. As a curator, he has organized traveling surveys for artists Luis Jimenez, Mel Chin, and Celia Alvarez Muñoz as well as curating or jurying over 75 exhibitions for art institutions throughout the United States. The 2002 recipient of the Dallas Center for Contemporary Art’s Legend of the Year Award, Huerta is an active exhibiting artist with 49 solo exhibitions and 280 group exhibitions since 1976. His work can also been found in numerous national museum, university and corporate collections.

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INSTALLATION VIEW from Vision and Movement: Public Art/Public Transit, 2000

EXHIBITING ARTISTS Marina Abramovic Future Akins Keith Alcorn Bill Allen Terry Allen Nick Alley Helen Altman Jesse Amado Larry Anderson Barbara Andrus Ant Farm/T.R. Uthco Janine Antoni Miguel Aragon Diane Arbus Don Arday Tre Arenz Connie Arismendi Yareli Arizmendi A.R.M.S. (Robert McAn/ Anne Starnes) Richard Ash III Eric Avery Nancy Azara Hillevi Baar Frances Bagley Radcliffe Bailey Jack Balas Lewis Baltz Michael Barnes Alice Bateman David Bates Paul Berger Barbara Bell Andrew Bennett Julie K. Bennett Phil Bennison Rosemarie Bernardi Willie Birch Ed Blackburn Nayland Blake Anitra Blayton Ross Bleckner Suzanne Bocanegra George Bogart Christian Boltanski Randy Bolton Paul Bonelli Richard Bonner Paul Booker

Kate Borcerding Robert Bordo Frank Born Derek Boshier Louise Bourgeois Julie Bozzi Fons Brasser Kate Breakey Michael Brodsky Christopher Brown Peter Brown Steve Brudniak Jim Bryant Lisa Bulawsky Victor Burgin Christopher Burnett Serena Lin Bush Margarita Cabrera Rimer Cardillo Dwayne Carter Carmela Castrenjon Enrique Chagoya Michael Ray Charles Mel Chin Chong Keun Chu Hyun Ju Chung Chuck Close James Cobb Carmon Colangelo Willie Cole Robert Colescott Warrington Colescott David Conn Ann Conner Linda Connor Michael Conroy Robert Cook Matt Cooper Jeff Cowie Margaret Crane Terri Cummings Chris Cunningham Steve Currie Ian Davenport Suzi Davidoff Gary Day Barret DeBusk Barbara DeGenevieve Harm de Grijs

Ad de Keijer Martin Delabano Danny DeLoach Alec Dempster Lucien den Arend Dre Devens Nick DeVries Daniel Martin Diaz Norman Dilworth Jim Dine Rick Dingus Ken Dixon Michelle Dizon Dornith Doherty Lydia Dona Doug Dowd James Drake Lise Drost Moira Dryer Chuck Dugan Thad Duhigg Mark Alice Durant Tim Ebner Stephen Ellis George Ely Gaspar Enriquez Steve Fagin Matt Fajkus Vincent Falsetta Heidi Fasnacht Patrick Faulhaber Bill Fick Sandra Fiedorek Jeanne C. Finley Julia Fish Jeff Fisher Vernon Fisher Tommy Fitzpatrick Carol Flax Jo Flynn Patricia Forrest Janet Frankovic Sally French Carlos Fresquez Brian Fridge John Frost Ellen Fullman Verne Funk Matthew Geller

Lari Gibbons David Gibson Zandra Gillespie Sonja Gladbach Linnea Glatt Ann Brody Glazer Jean Goehring Steve Goff Guillermo Gomez-Pe単a Maria Gonzalez Mark Goodman Antony Gormley Robert Grame Susan kae Grant Earlene Green George Green Leamon Green Holly Greenberg Tad Griffin Kathy Grove Manuel Guerra Sam Gummelt Joe Guy Marian Haigh Ken Hale Ann Hamilton John Hancock Trenton Doyle Hancock Nicole Hand Jack Hanley Siebe Hansma Kana Harada Susan Harrington Tracy Harris John Hartley Billy Hassell Joseph Havel Bill Haveron Edgar Heap of Birds John Heartfield Rachel Hecker Jon Held Jr. Jane Helslander Anthony Hernandez John Hernandez Patricia Hernandez T. Paul Hernandez Emily Hicks Tracy Hicks

Gary Hill John Hitchcock Louis Hock Mirjam Hoekman Glen Holland Doug Hollis Martha Horvay Robert Hower Dale Hoyt Thomas Huck Sedrick Huckaby Benito Huerta Leticia Huerta Jacqueline Humphries Kate Hunt Allison Hunter Cindy Hurt David Hynds Seiji Ikeda Mr. Imagination Tom Iverson Emily Jennings Frans Jacobi Jimmy Jalapeeno Acoustic Ensemble Sarojini Jha Johnson Marilyn Jolly Joan Jonas Otis Jones Jim Jordan Bertha Jottar Pon Juan Isaac Julien Richard Kamler Allan Kaprow Janet Kasner Cima Katz David Keens Deborah Maverick Kelley Mel Kendrick Paul Kittleson Richard Klein Michael Klier Bill Komodore Bill Komoski Sharon Kopriva Michael Krueger Karen Kunc L. Jean Lacy

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19 8 6 - 2 011 Philip Lamb Dick Lane Pacho Lane Meg Langhorne Thana Lauhakaikul Darryl Lauster Annette Lawrence Thomas Lawson Jody Lee George Legrady Lance Letscher Daniel Levine Lauren Levy Roy Lichtenstein Donald Lipski Ardele Lister Hung Liu Casey Logan J. Salvador Lopez Richard Lou Rick Lowe Ken Luce Bill Lundberg Beauvais Lyons Doug MacWithey James Magee Robert Malone Tierney Malone MANUAL (Suzanne Bloom/ Ed Hill) Joe Mancuso Stephen Marc Dalton Maroney Frank Martin César Martínez Richard Martinez Arielle Masson Skeet McAuley Rita McBride Mary McCleary Paul McCoy Laurie McDonald Lawrence McFarland David McGee Phyllis McGibbon Leighton McWilliams Vicki Meek Laura Melancon Lloyd Menard

C. Meng David Merrill Angelbert Metoyer Rosemary Meza Melissa Miller Sherry Millner Jack Mims Mark Monroe Delilah Montoya Michelle Moode Tom Moody Jiha Moon Adriana Moran Clarence Morgan Yasumasa Morimura James Morris Dave Morrison Robert Morrison Mark Mueller Celia Alvarez Muñoz Steve Murakashi Mary Murphy Steve Murphy Lee Murray Michelle Murillo Wangechi Mutu Fran Myers Osamu James Nakagawa Pam Nelson Elizabeth Newman Floyd Newsum David Newton Carla Nickerson Nic Nicosia Mike Noland Kenda North John Obuck Bonnie O’Connell Pat Oleszko Kermit Oliver Robyn O’Neil Kathy Ornish Tom Orr Andrew Ortiz Judith O’Rourke Brian Overly Nancy Palmeri Gail Panske Esther Parada

Arron Parazette Leroy Parker Patricia Patterson Michael Pavlosky Beverly Penn Lucia Perez Mark Perlman Janet Chaffee Peterson Katie Petley Jack Pierson Sheila Pinkel Johntimothy Pizzuto John Pomara Jim Pomeroy Liliana Porter Brian Portman Chris Powell Steven Price Robert Pruitt Nadia Prvulovic Joel Quintans Juan Miquel Ramos Alan Rath Robert Rauschenberg Narcel Reedus Cheri Xmeah ShaEla ReEl Kathy Reeves Elaine Reicheck Jaime Reiman Steve Reynolds Linda Ridgway Barbra Riley John Risseuw Philipp Scholz Rittermann Dan Rizzie Jack Robbins Jim Roche Lordy Rodriguez Herb Rogall Andrea Rosenberg Meridel Rubenstein Alex Rubio Kent Rush Michael Salter Leslie Samuels Robert Sanchez Peter Saul Margo Sawyer Michael Schnorr

Cameron Schoepp Laurence Scholder Jan Schoonhoven Albert Shaw Jim Shaw Thom Shaw Roger Shimomura Jon Shore Shazia Sikander Jennifer Silitch Barbara Simcoe Carroll Harris Simms Mark Sisson Debra Small Charlotte Smith David Smith Isaac Smith Kaneem Smith Kim Smith Lee M. Smith Luther Smith Ya’Ke Smith Matthew Sontheimer Al Souza Fred Spaulding Nancy Spero Gael Stack Klaus Staeck Bonnie Stahlecker Sean StarWars Joseph Stashkevetch Ann Stautberg Sandi Stein Frank Stella Joe Stokes Fred Stonehouse Annelies Strba Gisela Heidi Strunck Jurgen Strunck Madhvi Subrahmanian James Sullivan Donald Sultan P.M. Summer James Surls The Susans David Szafranski Elaine Taylor Tore Terrasi Prince V. Thomas

Frances Merritt Thompson Terri Thornton James Tisdale Frank X. Tolbert Rochelle Toner Robert Trammel Breanne Trammell Ellen Frances Tuchman Randy Twaddle Robin Utterback Vincent Valdez Lilly van der Stokker Theodore van Dijk Kathy Vargas Woody Vasulka Regina Vater Joe Vitone Bob Wade Marilyn Waligore Lloyd Walsh Liz J. Ward Andy Warhol Sara Waters Wendy Watriss Ron Watson Derek Webster Barton Weiss/Marian Henley Michael Whitehead John Wilcox William T. Wiley Casey Williams Charles Williams Danny Williams Jon Winet Joan Winter Nicholas Wood Onis Woodard Jim Woodson Dick Wray Laney Yarber Sydney Philen Yeager Gordon Young Judy Youngblood Robert Ziebell Dean Zimmerman John Zinsser

TRE ARENZ Bang 2000 glazed ceramic, 48 ½” x 22 ½” x 20 ½” Collection of Pam and William Campbell, Ft. Worth, TX

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CONNIE ARISMENDI The Leaf & the Flame 1996 cast hydrastone, velvet on wood, 57” x 45” Courtesy of the artist

FRANCES BAGLEY The Match 2003 fabric and foam, 82” x 66” x 27” Courtesy of the artist

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ED BLACKBURN Jesus and the Lame Man 2001 acrylic on canvas, 56” x 76” Courtesy of the artist

JULIE BOZZI Storefront (Dismantled for Demolition) 2007 gouache on paper, 8 ¼” x 11 ¼” inches Courtesy of the artist and Talley Dunn Gallery, Dallas, TX

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MARGARITA CABRERA Yellow Backpack 2006 vinyl, thread and mixed media, dimensions – variable Collection of Nick Fennel courtesy of Walter Maciel Gallery, Los Angeles, CA

MEL CHIN The Elementary Object 1993 briarwood, steel, plastic, concrete/vermiculite, excelsior packing material, flannel, paper tag, fuse cord, triple F blasting powder, 3 ½” x 12 ½” x 10 ¼” Collection of Toni and Jeff Beauchamp, Houston, TX

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JAMES DRAKE White Bird with Lizard 2008 graphite, tape on hand-cut paper, 102” x 76” (framed) Courtesy of the artist and Holly Johnson Gallery, Dallas, TX

VERNON FISHER The Incorrigibility of Pain 2007 acrylic and oil on canvas, 60” x 64” Courtesy of Hiram Butler Gallery, Houston, TX and Talley Dunn Gallery, Dallas, TX

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LINNEA GLATT Fold 2010 thread and sized mulberry paper, 66 ½” x 66 ½” Courtesy of the artist and Barry Whistler Gallery, Dallas, TX

JOHN HERNANDEZ Kuklasaul 2009 mixed media, 71 ½” x 58” x 11 ¼” Collection of Joe A. Diaz, San Antonio, TX

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ANNETTE LAWRENCE September 1994 mixed media on paper, 15 ½” x 9 ¾” Collection of John Reoch, Dallas, TX

HUNG LIU Souvenir 1990 oil on canvas and mixed media, 48” x 64” x 8” Collection of the artist and Jeff Kelley, Oakland, CA

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MANUAL: SUZANNE BLOOM AND ED HILL Chrome Yellow vs. Fall Girl 2010 archival pigment print, 2 panels @ 43 ½” x 20 ½” each Courtesy of the artists and Moody Gallery, Houston, TX

CÉSAR AUGUSTO MARTÍNEZ Venus de Mi Milieu 1998 monotype, 22 ¾” x 22 ¼” Private collection

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DAVID MCGEE Bitch 1999 linocut, 46 ½” x 31 ½” Courtesy of The Gallery at UTA, Arlington, TX

VICKI MEEK Faith/Action 2011 mixed media installation, 84” x 72” x 30” Courtesy of the artist

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CELIA ALVAREZ MUÑOZ La Sirena 1997 Lambda print, 60” x 40” Courtesy of the artist

ROBYN O’NEIL Tyrannosaurus 2002 graphite on paper, 60” x 37” Collection of Nancy and Tim Hanley, Dallas, TX and fractional gift of Mr. and Mrs. Hanley to the Dallas Museum of Art in honor of Suzanne Weaver

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TOM ORR Bank/Red House 2011 wood, metal, plastic, 68” x 144” x 30” Courtesy of the artist

JIM POMEROY Beating a Dumb Joke to Death to Death to Death circa 1974-75 mixed media, 20” x 78” x 4 ¾” Collection of Susan kae Grant and Richard Klein, Dallas, TX

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LINDA RIDGWAY Yves Rose 2010 bronze with patina and ink, unique, 23” x 3” x 3” Private collection

PHILIPP SCHOLZ RITTERMANN Dealey Plaza 1987 photograph, 41” x 52” Collection of Hung Liu and Jeff Kelley, Oakland, CA

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ANN STAUTBERG 11.3.02, P.M. Big Bend #7 2005 oil on black and white photograph, 49” x 64” Courtesy of the artist and Barry Whistler Gallery, Dallas, TX

VINCENT VALDEZ I’m Your Brutha, From a Different Mutha 2009 pastel on paper, 42” x 88” Courtesy of the artist and David Shelton Gallery, San Antonio, TX

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ARTISTS’ BIOGRAPHIES TRE ARENZ Born 1953, Portland, OR Died 2003, Austin, TX MFA, 1988, University of Texas at Austin

CONNIE ARISMENDI Born 1955, Corpus Christi, TX Resides in Austin, TX MFA, 1986, School of the Art Institute of Chicago, IL

FRANCES BAGLEY Born 1946, Fayetteville, TN Resides in Dallas, TX MFA, 1980, University of North Texas, Denton

ED BLACKBURN Born 1940, Amarillo, TX Resides in Ft. Worth, TX MA, 1965, University of California, Berkeley

Selected Exhibitions and Installations: 2004 Tre Arenz - One of Us: A Retrospective, Women and Their Work,

Austin, TX (solo) 2002 Tre Arenz – Perfect, William Campbell Contemporary Art,

Ft. Worth, TX (solo)

Big Heads, Southwest School of Art and Craft, San Antonio, TX (solo) 2000 Almost Home, Galveston Art Center, Galveston, TX (installation)

Giddi-up Herd, Connemara Conservancy, Plano, TX (installation with

Jake Gilson)

Selected Recent Exhibitions and Projects: 2009 Cesar Chavez Memorial, Terrazas Public Library, Art in Public Places

Program, Austin, TX (in collaboration with Laura Garanzuay)

Paradise, Weil Gallery, Texas A&M University, Corpus

Christi, TX (solo)

Flutter, Mexican American Cultural Center, Austin, TX (solo) 2008 Trail of Tejano Legends, Town Lake Trail, Parks & Recreation

Department, Austin, TX 2007 Paradise, Patricia Correia Gallery, Santa Monica, CA (solo)

Selected Recent Exhibitions and Projects: 2009 Performance/Art, The Dallas Museum of Art, Dallas, TX

Mixed Messages, Marty Walker Gallery, Dallas, TX (solo) 2006 Designed sets and costumes for Verdi’s Nabucco, The Dallas Opera,

Dallas, TX (in collaboration with Tom Orr) 2005 To Float, One City Centre, Houston, TX (solo) 2004 Echoes – Frances Bagley, Untitled Gallery, Oklahoma City, OK (solo)

Selected Recent Exhibitions: 2011 Jumping Across (The River), Old Jail Art Center, Albany, TX (solo) 2009 Glimpse: 1973 to the Present, Horton & Co., New York, NY (solo) 2008 News, Artspace 111, Ft. Worth, TX (solo) 2006 Bible Paintings, Sunday Gallery, New York, NY (solo)

As Good As Your Next Gig, Walter Maciel Gallery, Los Angeles, CA

ARTISTS’ BIOGRAPHIES JULIE BOZZI Born 1943, San Jose, CA Resides in Ft. Worth, TX MFA, 1976, University of California, Davis

MARGARITA CABRERA Born 1973, Monterrey, Mexico Resides in El Paso, TX MFA, 2001, Hunter College, City University of New York, NY

MEL CHIN Born 1951, Houston, TX Resides in Burnsville, NC BA, 1975, Peabody College, Nashville, TN

JAMES DRAKE Born 1946, Lubbock, TX Resides in Santa Fe, NM MFA, 1970, Art Center College of Design, Los Angeles, CA

Selected Recent Exhibitions: 2009 A Cottage in a Cornfield, Dunn & Brown Contemporary,

Dallas, TX (solo) 2004 New Visions: Contemporary Landscapes, El Paso Museum of Art,

El Paso, TX (solo)

Texas Vision: The Barrett Collection, The Meadows Museum,

Dallas, TX 2003 Landscapes 1975 - 2003, Modern Art Museum of Fort Worth,

Ft. Worth, TX (solo) 2000 New Works on Paper, Texas Gallery, Houston, TX (solo)

Selected Recent Exhibitions: 2011 Pulso y Martillo (Pulse and Hammer), Sweeney Art Gallery,

UC Riverside, CA (solo) 2010 Space in Between, Box 13 Artspace, Houston, TX (solo) 2008 Arbol de la Vida, Sara Meltzer Gallery, New York, NY (solo)

Phantom Sightings: Art after the Chicano Movement, Los Angeles

County Museum of Art, Los Angeles, CA (traveled in U.S. and Mexico) 2007 Margarita Cabrera, Walter Maciel Gallery, Los Angeles, CA (solo)

Selected Recent Exhibitions and Projects: 2010 Disputed Territories, Museum Het Domein, Sittard, Netherlands

(solo traveling) 2008 Safehouse, St. Rock Community, New Orleans, LA (installation)

Close Encounters: Facing the Future, American University Museum,

Washington DC

Wunderkammer: A Century of Curiosities, Museum of Modern Art,

New York, NY 2007 Lamentations, Frederieke Taylor Gallery, New York, NY (solo)

Selected Recent Exhibitions: 2010 James Drake, Gallery Paule Anglim, San Francisco, CA (solo)

A Thousand Tongues Burn and Sing, The Station Museum of

Contemporary Art, Houston, TX (solo) 2009-11 James Drake, El Paso Museum of Art, El Paso, TX (solo) 2007 52nd International Venice Biennale, Venice, Italy 2006 City of Tells, Museum of Contemporary Art, San Diego, CA (solo)

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ARTISTS’ BIOGRAPHIES VERNON FISHER Born 1943, Ft. Worth, TX Resides in Ft. Worth, TX MFA, 1969, University of Illinois, Champaign

LINNEA GLATT Born 1949, Bismarck, ND Resides in Dallas, TX MA, 1972, University of Dallas, Irving, TX

JOHN HERNANDEZ Born 1952, San Antonio, TX Resides in San Antonio, TX MFA, 1980, University of North Texas, Denton

ANNETTE LAWRENCE Born 1965, Rockville Center, NY Resides in Denton, TX MFA, 1990, Maryland Institute College of Art, Baltimore

Selected Recent Exhibitions: 2011 Vernon Fisher: 1989-1999, Dunn & Brown Contemporary,

Dallas, TX (solo) 2010 Vernon Fisher: K-Mart Conceptualism, Modern Art Museum of

Fort Worth, TX (solo) 2009 Vernon Fisher: Dead Reckoning, Dallas Contemporary,

Dallas, TX (solo) 2007 Vernon Fisher: Two Decades of Prints and Drawings, Landfall Press

Gallery, Santa Fe, NM (solo) 2005 Vernon Fisher: American Tragedy, Charles Cowles Gallery, New York,

NY (solo) Selected Recent Exhibitions: 2010 With In, Barry Whistler Gallery, Dallas, TX (solo) 2009 Drawing In, ArtLab, Dallas, TX 2008 Alchemy or Change, University of Texas at Dallas, Richardson, TX 2005 Natural Beauty, Galveston Arts Center, Galveston, TX (solo) 2004 Lifeworld, 2004 Legends Artist Show, The Dallas Contemporary,

Dallas, TX (solo)

Selected Recent Exhibitions 2009 San Antonio Museum of Art, San Antonio, TX (solo) 2005 Joan Grona Gallery, San Antonio, TX (solo)

Serie Project, Mexic-Arte Museum, Austin, TX 2004 Arte Caliente: Selections from the Joe A. Diaz Collection, Art

Museum of South Texas, Corpus Christi, TX (traveled to New Mexico

and California) 2002 The Grace Museum, Abilene, TX (solo)

Selected Recent Exhibitions: 2010 String Monuments, Gordon Art Galleries, Old Dominion University,

Norfolk, VA (solo) 2009 Free Paper, Presented by Austin Green Arts @ Flatbed Press,

Austin, TX (solo) 2008 Houston Collects, The Museum of Fine Arts, Houston, TX 2005 Edge, Dunn and Brown Contemporary, Dallas, TX (solo)

Annette Lawrence, Betty Cuningham Gallery, New York, NY (solo)

ARTISTS’ BIOGRAPHIES HUNG LIU Born 1948, Changchun, China Resides in Oakland, CA MFA, 1986, University of California, San Diego

MANUAL (SUZANNE BLOOM/ED HILL) Suzanne Bloom: Born 1943, Philadelphia, PA MFA, 1968, University of Pennsylvania, Philadelphia Edward Hill: Born 1935, Springfield, MA MFA, 1960, Yale University, New Haven, CT

CÉSAR AUGUSTO MARTÍNEZ Born 1944, Laredo, TX Resides in San Antonio, TX BS, 1968, Texas A & I University, Kingsville

DAVID MCGEE Born 1962, Lockhart, LA Resides in Houston, TX Attended Prairie View A & M, Prairie View, TX

Selected Recent Exhibitions: 2011 First Spring Thunder, Alexander Ochs Gallery, Beijing, China (solo) 2010 Drawing from Life & Death, Rena Bransten Gallery, San Francisco,

CA (solo)

Leap, Andrew Bae Gallery, Chicago, IL (solo)

Za Zhong, 10 Chancery Lane Gallery, Hong Kong, China (solo) 2009 Hung Liu: Apsaras, Nancy Hoffman Gallery, New York, NY (solo)

Selected Recent Exhibitions: 2011 Galveston Arts Center, Galveston, TX (solo) 2005 Hood Museum of Art, Dartmouth College, Hanover, NH (solo) 2004 Museum of Fine Arts, Houston, Houston, TX (solo) 2003 Samara Museum of Art, Samara, Russia (solo) 2002 International Center of Photography, New York, NY (solo traveling)

Selected Recent Exhibitions: 2008 C/S, Contemporary Chicano Art from the Joe A. Diaz Collection,

National Museum of Mexican Art, Chicago, IL 2007 Yuma Art Center Museum, Yuma, AZ (solo) 2006 Vistas of the Frontera, Tucson Museum of Art, Tucson, AZ (solo) 2002 Chicano Visions: American Painters on the Verge, San Antonio

Museum of Art, San Antonio, TX (traveling nationally) 1999 César A. Martínez: A Retrospective, McNay Art Museum, San Antonio,

TX (solo)

Selected Recent Exhibitions: 2010 Ready Made Africans, Menil Collection, Houston, TX (solo) 2008 Prints, Mumbo Jumbo Gallery, New York, NY (solo) 2007 El Sonador Elegante, DiverseWorks, Houston, TX (solo) 2006 New Zealand Artist in Residence Project, in collaboration with

Contemporary Arts Museum, Houston, TX and traveled to New

Museum, New York, NY 2005 Paintings and New Works on Paper, Stefan Stux Gallery, New York,

NY (solo)

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ARTISTS’ BIOGRAPHIES VICKI MEEK Born 1950, Philadelphia, PA Resides in Dallas, TX MFA, 1973, University of Wisconsin, Madison

CELIA ALVAREZ MUÑOZ Born 1937, El Paso, TX Resides in Arlington, TX MFA, 1982, University of North Texas, Denton

ROBYN O’NEIL Born 1977, Omaha, NE Resides in Houston, TX BFA, 2000, Texas A&M University, Commerce Graduate studies, 2001, University of Illinois, Chicago

TOM ORR Born 1950, Dallas, TX Resides in Dallas, TX BFA, 1973, Rhode Island School of Design, Providence

Selected Recent Exhibitions: 2011 Generations: a woman’s conversation, African American Museum,

Dallas, TX 2010 Project Row Houses: Round 31- Life Path 5: Action/Restlessness,

Houston, TX (curated and site specific installation) 2007 Griots of Fiber - Wrapped in The Feeling: The Story Coat Exhibition,

Kansas African American Museum, Wichita, KS 2006 Uncle Tom to Peeping Tom: Race & Gender Matters, Wisconsin

African American Women’s Center, Milwaukee, WI 2004 African American Art from the MFAH Collection, Museum of Fine

Arts Houston, TX Selected Recent Exhibitions: 2010 A.T.M.! y P.!, Maestros Tejanos, Latino Cultural Center, Dallas,

TX (solo)

Mutha’s Day Special, Mighty Fine Art Gallery, Dallas, TX (solo)

Ni Una Mas, The Juarez Murders, Pearlstein Gallery, Drexel University,

Philadelphia, PA 2009 Rostros y Cronicas: Women of Juarez, National Museum of Mexican

Art, Chicago, IL 2008 Quinceanera, The Serie Project, MexicArte Museum, Austin, TX

Selected Recent Exhibitions: 2011 Robyn O’Neil, Susan Inglett Gallery, New York, NY (solo) 2010 Come, all that is quiet, Dunn and Brown Contemporary, Dallas,

TX (solo) 2009 A World Disrupted, Roberts and Tilton Gallery, Los Angeles,

CA (solo)

The Dismantled, Praz-Delavallade Gallery, Berlin, Germany (solo) 2007 This is a descending world, Clementine Gallery, New York, NY (solo)

Selected Recent Exhibitions: 2011 Kobe Biennial, Kobe, Japan 2010 Ghost Stories, Marty Walker Gallery, Dallas, TX (solo)

Tom Orr, Recent Work, Brookhaven College, Dallas, TX (solo) 2009 Performance/Art, Dallas Museum of Art, Dallas, TX 2008 Prints 2008, International Print Center, New York, NY

ARTISTS’ BIOGRAPHIES JIM POMEROY Born 1945, Reading, PA Died 1992, Arlington, TX MFA, 1972, University of California, Berkeley

LINDA RIDGWAY Born 1947, Jeffersonville, IN Resides in Dallas, TX MFA, 1973, Tulane University, New Orleans, LA

PHILIPP SCHOLZ RITTERMANN Born 1955, Lima, Peru Resides in Escondido, CA

ANN STAUTBERG Born 1949, Houston, TX Resides in Houston, TX MA, 1972, University of Dallas, Irving, TX

Selected Exhibitions: 1991 Eadweard Muybridge and Contemporary American Photography,

National Museum of American Art, Washington, DC (traveling) 1990 Views, Amarillo Art Center, Amarillo, TX (solo)

Spinners, Photography Gallery, Rhode Island School of Design,

Providence, RI (solo) 1988 Stereo Views, CEPA Gallery, Buffalo, NY (solo) 1986 Reading Lessons and Eye Exercises, California Museum of

Photography, Riverside, CA (solo)

Selected Recent Exhibitions: 2009 A Boy’s Will, Dunn and Brown Contemporary, Dallas, TX (solo) 2008 30th Anniversary Exhibition, Arthur Roger Gallery, New Orleans, LA 2007 Between, John Berggruen Gallery, San Francisco, CA (solo) 2005 Reconsider, El Paso Museum of Art, El Paso, TX (solo)

while, Charles Cowles Gallery, New York, NY (solo)

Selected Recent Exhibitions 2011 Emperor’s River, Museum of Contemporary Art San Diego, La Jolla,

CA (solo) 2009 Light Drawings, FotoSeptiembreUSA, San Antonio, TX (solo)

Expanse/Expansion, Lishui International Photography Festival, Lishui,

China (solo) 2007 Diorama/Panorama, The Athenaeum, La Jolla, CA (solo)

A Personal Vision of Landscape, San Diego Natural History Museum,

San Diego, CA (solo)

Selected Recent Exhibitions 2010 Ann Stautberg, (a FotoFest Exhibition), Parkerson Gallery, Houston,

TX (solo) 2008 Unique, Barry Whistler Gallery, Dallas, TX (solo) 2007 Houston Wilderness: A Collaboration, Museum of Fine Arts,

Houston, TX 2006 Silver, 25th Anniversary Exhibition, Houston Center for Photography,

Houston, TX 2003 Oriental, Stephen L. Clark Gallery, Austin TX (solo)

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ARTISTS’ BIOGRAPHIES VINCENT VALDEZ Born 1977, San Antonio, TX Resides in San Antonio, TX BFA, 2000, Rhode Island School of Design, Providence

JOE MANCUSO Installation View, 2000

Selected Recent Exhibitions 2010 Flashback, The Southwest School of Art, San Antonio, TX (solo)

Stations, Mesa Contemporary Arts Center, Mesa, AZ (solo) 2009 Burn, Federal Art Project, Los Angeles, CA (solo)

El Chavez Ravine: Vincent Valdez and Ry Cooder, San Antonio

Museum of Art, San Antonio, TX (solo) 2008 Angelenos: Painters of Los Angeles, Los Angeles County Museum of

Art, Los Angeles, CA

EXHIBITION HISTORY 1986 - 2011 1987

1988

September 26 – October 31, 1986 WORK IN PROGRESS: Louis Hock November 7 – December 5, 1986 TONGUES: Robert Morrison February 6 – March 6, 1987 ITINERANT PAINTER: Patricia Patterson March 13 – April 10, 1987 NIGHT/LIGHT SCENARIOS Philipp Scholz Rittermann September 11 – 24, 1987 UTA FACULTY: RECENT WORK October 2 – 24, 1987 PAINTINGS: Tim Ebner October 8 – 22, 1987 VIDEO DISCOURSE: MEDIATED NARRATIVES Steve Fagin, Jeanne C. Finley, Matthew Geller, Gary Hill, Dale Hoyt, Joan Jonas, Michael Klier, Ardele Lister, Sherry Millner, Woody Vasulka October 23, 1987 DOCUMENTED/INDOCUMENTADO Guillermo Gomez-Peña, Emily Hicks October 30 – November 25, 1987 A RETROSPECTIVE: Jan Schoonhoven November 6, 1987 CELESTIAL MECHANIX: Jim Pomeroy January 29 – February 19, 1988 BETWEEN THE CRACKS Julie K. Bennett, Phil Bennison, Dwayne Carter, David Hynds, Barbara Simcoe, Joe Stokes Curated by Greg Metz February 19, 1988 WAR n’ PIECE: WHERE FOOLS RUSSIAN Pat Oleszko

1989

1990

1991-92

1992-93

1993-94

1994

1995

February 26 – March 18, 1988 NEVADA: Lewis Baltz, Anthony Hernandez OPEN SLOT/OPEN STUDIO David Keens, Dalton Maroney April 1 – 28, 1988 THE WATER PAINTINGS: Christopher Brown April 12 – 16, 1988 PRECEDINGS: Allan Kaprow September 9 – 30, 1988 DIGITAL PHOTOGRAPHY Paul Berger, Michael Brodsky, Christopher Burnett, Carol Flax, George Legrady, Esther Parada, MANUAL, Sheila Pinkel, Jim Pomeroy, Alan Rath Curated by Marnie Gillett and Jim Pomeroy October 7 – 28, 1988 OPEN SLOT/OPEN STUDIO: Robert Cook SITE PLANS & PROPOSALS: Doug Hollis November 4 – 30, 1988 MEMORY/25th Anniversary of JFK Assassination Ant Farm/T.R. Uthco, Future Akins, Ed Blackburn, Derek Boshier, Dwayne Carter, James Drake, Susan kae Grant/ Richard Klein, Susan Harrington, Jon Held Jr., Thomas Lawson, Doug MacWithey, Skeet McAuley, Vicki Meek, Tom Moody, Lee Murray/David Smith, Nic Nicosia, Pam Nelson, Brian Overly, Jack Robbins, Barbara Simcoe, Debra Small, P.M. Summer, Robert Trammel, Randy Twaddle, Bob Wade, William T. Wiley, Jon Winet/Margaret Crane, Gordon Young November 11, 1988 FOUR TEXAS VIDEO ARTISTS: WORKS FROM A DECADE Laurie McDonald, Kim Smith, Lee Murray/David Smith January 21, 1989 SPINOFFS: Ellen Fullman THE NEW STRANGE MUSIC: Jimmy Jalapeeno Acoustic Ensemble

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1996

1997

1998

February 24 – March 17 1989 OPEN SLOT/OPEN STUDIO Don Arday, Celia Muñoz March 31 – April 26, 1989 Linnea Glatt Frances Merritt Thompson September 8 – 29, 1989 UTA FACULTY: NEW WORK October 6 – 27, 1989 THICKET: Nicholas Wood BIBLE PAINTINGS: Ed Blackburn November 3 – December 2, 1989 THE FIRST TEXAS TRIENNIAL James Cobb, Jeff Cowie, Chuck Dugan, George Ely, Jean Goehring, Jack Hanley, Tracy Harris, Rachel Hecker, Deborah Maverick Kelley, Paul Kittleson, Bill Kommodore, Jesse Lott, Rick Lowe, Bill Lundberg, Frank Martin, Celia Muñoz, Mark Perlman, Brian Portman, Randy Twaddle, Robin Utterback, Regina Vater, Wendy Watriss, Michael Whitehead, Casey Williams Organized by the Contemporary Art Museum, Houston November 17 – 18, 1989 X-STATIC: THE REVERIES OF SAINT THERESA Laney Yarber and Philip Lamb January 23 – February 17, 1990 DUTCH GEOMETRIC ABSTRACTION Norman Dilworth, Lucien den Arend, Harm de Grijs, Fons Brasser, Siebe Hansma, Dre Devens, Ad de Keijer, Theodore van Dijk January 26 – February 16, 1990 AN INSTALLATION: Vernon Fisher THE NEW NARRATOLOGY Jack Balas, Nayland Blake, Mark Alice Durant, James Morris, Margaret Crane, Jon Winet February 23 – March 16, 1990 Pacho Lane, David Merrill, Kenda North

1999

2000

March 30 – April 27, 1990 MEDIATIONS Robert Cook, Susan kae Grant, Skeet McAuley, Celia Muñoz, Lee Murray, Nic Nicosia, Jim Pomeroy, David Smith, The Susans, Frances Thompson, Barton Weiss/ Marian Henley September 7 – 28, 1990 BORDER WATCH II Border Arts Workshop/Taller de Arte Fronterizo: Yareli Arizmendi, Carmela Castrenjon, Bertha Jottar, Richard Lou, Robert Sanchez, Michael Schnorr October 5 – November 2, 1990 WEST TEXAS ARTISTS: Ken Dixon, Emily Jennings November 9 – 30, 1990 LABYRINTHS: Barbara DeGenevieve, Meridel Rubenstein January 24 – February 20, 1991 DEATH WARMED OVER Sharon Kopriva, Leslie Samuels, Kathy Vargas February 28 – March 20, 1991 SPIRAL JOURNEY: Linda Connor Organized by the Museum of Contemporary Photography, Chicago March 28 – April 17, 1991 FORCE FIELDS/PURE LIGHT/VOIDS: James Drake September 11 – October 2, 1991 Bill Lundberg October 10 – November 6, 1991 RESEARCH: UTA FACULTY EXHIBITION November 12 – December 4, 1991 BORDER ISSUES Hachivi Edgar Heap of Birds, César Martínez, C. Meng, Celia Muñoz, Marilyn Waligore

2000

2001

January 29 – February 19, 1992 PRESENCE Andrew Bennett, Patricia Forrest, Sam Gummelt, Joe Guy, Tracy Harris, Ken Luce, Brian Portman, Chris Powell, Linda Ridgway, Andrea Rosenberg, Randy Twaddle, Michael Whitehead, Danny Williams, Nicholas Wood Curated by Nicholas Wood PUBLIC NOTICE: John Heartfield and Klaus Staeck Curated by Jim Pomeroy February 25 – March 25, 1992 Laurie McDonald April 1 – 25, 1992 DOMESTIC VIOLENCE A.R.M.S. (Robert McAn/Anne Starnes), Robert Colescott, MANUAL (Suzanne Bloom, Ed Hill), Nic Nicosia September 10 – October 11, 1992 Sara Waters Curated by Nancy Griffin Otis Jones October 16 – November 28, 1992 CONTACT: PHOTOJOURNALISM SINCE VIETNAM Curated by Robert Pledge & Arron Schindler January 23 – February 14, 1993 ABSTRACTION: CONTINUED Ian Davenport, Lydia Dona, Moira Dryer, Stephen Ellis, Jacqueline Humphries, Bill Komoski, Daniel Levine, John Pomara, John Zinsser Co-curated by Karen Emenhiser February 20 – March 20, 1993 MORE IS MORE: Oak Cliff Group 1969 – 1974 George Green, Jack Mims, Jim Roche, Robert Wade Curated by Charles Dee Mitchell March 27 – April 27, 1993 Thana Lauhakaikul September 11 – October 17, 1993 FAMILY ROMANCE: Victor Burgin

2002

October 30 – November 30, 1993 FACULTY BIENNIAL January 22 – February 19, 1994 Mirjam Hoekman February 25 – April 9, 1994 FORGING AHEAD Martin Delabano, Mark Monroe, Tom Moody, Arron Parazette, Jennifer Silitch, Lilly van der Stokker April 30 – June 26, 1994 LOW TECH Jesse Amado, Suzanne Bocanegra, Steven Currie, Heidi Fasnacht, Mel Kendrick, Donald Lipski, Joe Mancuso, Elizabeth Newman, Katie Petley Curated by Dalton Maroney September 17 – October 23, 1994 COLD TURKEY: Jennifer Silitch A PROJECT FOR PUBLIC SPACE: Tad Griffin November 1 – December 4, 1994 AT HOME IN AMERICA: Elaine Reicheck January 31 – February 21, 1995 VIDEO ART: 1st 25 Years March 30 – April 30, 1995 LITERALLY ABSTRACT Bill Allen, Robert Bordo, Sandra Fiedorek, Julia Fish, Rita McBride, David Szafranski, John Wilcox September 28 – October 29, 1995 WHITE FLOATING: Jesse Amado THE SAN ANTONIO DRAWINGS: Antony Gormley November 6 – December 3, 1995 ICONIC STRUCTURES 90-95: Willie Cole February 1 – March 3, 1996 FACULTY SPOTLIGHT

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2003

March 9 – April 21, 1996 BOAT ENTERING STREAM ENTERING Marina Abramovic October 14 – November 30, 1996 SCULPTURE AND OTHER WORKS Nancy Azara, Nancy Palmeri January 22 – March 1, 1997 INSTALLATIONS: Frances Bagley, Tom Orr March 6 – April 12, 1997 LONESTAR: RECONSIDERING THE TEXAS LANDSCAPE Peter Brown, Rick Dingus, David Gibson, Steve Goff, Mark Goodman, Jim Jordan, Lawrence McFarland, Luther Smith, Ann Stautberg, Joe Vitone Curated by Kenda North September 5 – October 11, 1997 FACULTY BIENNIAL October 17 – November 26, 1997 MECHANICS AND INSTINCT Richard Ash III, Michael Barnes, Hyun Ju Chung, Chong Keun Chu, David Conn, Gary Day, Lise Drost, Thad Duhigg, Zandra Gillespie, Martha Horvay, Cima Katz, Karen Kunc, Robert Malone, Mary Murphy, Linda Ridgway, Mark Sisson, Gisela Heidi Strunck, Jurgen Strunck, Rochelle Toner Co-curated by Nancy Palmeri January 20 – February 14, 1998 Connie Arismendi Kathy Vargas February 20 – March 17, 1998 Andrew Bennett Kate Breakey

2004

March 24 – April 25, 1998 RAISED, ASSEMBLED, CONSTRUCTED Tre Arenz, Richard Bonner, Michael Conroy, Nick deVries, Janet Frankovic, Verne Funk, Marian Haigh, Janet Kasner, Paul McCoy, Steve Reynolds, James Tisdale, Nicholas Wood Curated by Nicholas Wood August 29 – October 3, 1998 Susan Harrington César Martínez October 10 – November 17, 1998 PERVASIVE IMPRESSIONS: POLITICAL PRINTS Larry Anderson, Rosemarie Bernardi, Randy Bolton, Kate Borcerding, Carmon Colangelo, Warrington Colescott, Doug Dowd, Jo Flynn, Ken Hale, Thomas Huck, Frans Jacobi, Beauvais Lyons, Phyllis McGibbon, Steve Murakishi, Fran Myers, Bonnie O’Connell, Judith O’Rourke, Gail Panske, Kathy Reeves, Jaime Reiman, Thom Shaw, Nancy Spero, Judy Youngblood Curated by Nancy Palmeri January 23 – March 3, 1999 EXILE OFF MAIN STREET: Benito Huerta, David McGee March 11 – April 24, 1999 CORRELATION & COLLECTION: Tracy Hicks September 1 – October 2, 1999 FACULTY BIENNIAL October 9 – November 17, 1999 TEXAS PAPER Eric Avery, James Cobb, Patricia Forrest, Manuel Guerra, Bill Haveron, Patricia Hernandez, Annette Lawrence, Lance Letscher, Tierney Malone, Angelbert Metoyer, Floyd Newsum, Terri Thornton

2004

2005

January 22 – February 29, 2000 VISION AND MOVEMENT 2000 PUBLIC ART/PUBLIC TRANSIT Anitra Blayton, Thad Duhigg, Linnea Glatt, Joe Guy, Susan Harrington, John Hernandez, Tracy Hicks, Leticia Huerta, Kate Hunt, Jody Lee, Dalton Maroney, Vicki Meek, Celia Muñoz, Chris Powell, Steven Price, Cameron Schoepp, James Sullivan, Ron Watson; projects by Alice Bateman, Barret DeBusk, David Newton, Michael Pavlosky, Herb Rogall, Sandi Stein March 9 – April 22, 2000 ONDEATHROW Richard Kamler Vicki Meek Robert Ziebell September 5 – October 7, 2000 Marilyn Jolly Andrew Ortiz October 14 – November 21, 2000 Barbara Andrus Joe Mancuso January 22 – February 24, 2001 SERIOTOONS Rachel Hecker John Hernandez Roger Shimomura March 3 – April 21, 2001 PRIVATE COLLECTIONS -- Work from local collections: Jesse Amado, Barbara Bell, Christian Boltanski, Julie Bozzi, Robert Colescott, Patrick Faulhaber, Patricia Forrest, Ann Brody Glazer, Earlene Green, Leamon Green, Billy Hassell, Joseph Havel, Trenton Hancock, Mr. Imagination, Tom Iverson, L. Jean Lacy, Douglas MacWithey, James Magee, Rosemary Meza, Melissa Miller, Kermit Oliver, Leroy Parker, Robert Rauschenberg, Cheri Xmeah ShaEla ReEl, Linda Ridgway, Albert Shaw, Shazia Sikander, Carroll Harris Simms, Isaac Smith, Lee M. Smith, Gael Stack, Madhvi Subrahmanian, James Surls, Derek Webster, Charles Williams, Onis Woodard, Dick Wray

2006

September 4 – October 13, 2001 T. Paul Hernandez Michael Whitehead October 15 – November 20, 2001 FACULTY BIENNIAL January 22 – March 2, 2002 THE FIGURE: 3 + 3 X 3 Tre Arenz, Frances Bagley, Frank Born, James Cobb, Rosemary Meza, James Sullivan March 11 – April 20, 2002 JURIED ALUMNI EXHIBITION Keith Alcorn, Matt Cooper, Terri Cummings, Chris Cunningham, Danny DeLoach, Matt Fajkus, Sonja Gladbach, Jane Helslander, Glen Holland, Dick Lane, Casey Logan, Mark Mueller, Kathy Ornish, Janet Chaffee Petersen, Joel Quintans, Prince V. Thomas, Dean Zimmerman September 3 – October 5, 2002 STORIES YOUR MOTHER NEVER TOLD YOU Celia Alvarez Muñoz October 14 – November 20, 2002 Vincent Falsetta Casey Williams January 21 – February 25, 2003 ALTERED STATES: DIGITAL ART Osamu James Nakagawa, Stephen Marc, Delilah Montoya, Adriana Calatayud Moran, Prince V. Thomas Curated by Andrew Ortiz March 5 – April 17, 2003 Nadia Prvulovic Kaneem Smith September 2 – October 4, 2003 DRAWINGS: Annette Lawrence LITTLE MYSTERIES/PAINTINGS 1992-2002 Sydney Philen Yeager Organized by the Galveston Art Center

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2007

2008

October 1 – November 1, 2003 FACULTY BIENNIAL January 26 – February 28, 2004 PERSONAL ENVIRONMENTS George Bogart, David Gibson, Tracy Hicks, Meg Langhorne, Andrea Rosenberg Curated by Marilyn Jolly March 8 – April 2, 2004 Steve Murphy Linda Ridgway August 30 – October 2, 2004 LIVEFEED: Jeff Fisher and Jon Shore EMPTY CLOUD: John Frost October 11 – November 16, 2004 OBJECTIFICATION Hillevi Baar, Paul Booker, Lance Letscher, Lauren Levy, Rosemary Meza, Charlotte Smith, Fred Spaulding, Ellen Frances Tuchman Curated by Nicholas Wood January 24 – February 26, 2005 STILL: John Hartley, Leighton McWilliams March 7 – April 23, 2005 ANTHROPOLOGY IN PRINT Nick Alley, Michael Barnes, Paul Bonelli, Jim Bryant, Lisa Bulawsky, Mel Chin, Bill Fick, Lari Gibbons, Holly Greenberg, John Hancock, Nicole Hand, Tom Huck, Benito Huerta, Michael Krueger, Laura Melancon, Lloyd Menard, Michelle Moode, Dave Morrison, Lucia Perez, Johntimothy Pizzuto, John Risseeuw, Bonnie Stahlecker, Sean StarWars, Breanne Trammell Curated by Nancy Palmeri August 29 – October 5, 2005 Richard Martinez Jim Woodson October 10 – November 15, 2005 FACULTY BIENNIAL

2009

January 23 – March 4, 2006 Beverly Penn Michael Salter March 20 – April 22, 2005 Dornith Doherty Serena Lin Bush September 5 – October 7, 2006 Maria Gonzalez Curated by Andy Anderson 1963: Narcel Reedus October 16 – November 21, 2006 BLACKWHITE(&GRAY) James Drake, Susan kae Grant, Joe Guy, Kana Harada, Arielle Masson, Clarence Morgan, Alex Rubio, Kent Rush, Elaine Taylor, Vincent Valdez January 22 – March 3, 2007 Margarita Cabrera Billy Hassell March 19 – April 7, 2007 Gaspar Enriquez Joseph Havel September 4 – October 8, 2007 ADDENDA: Al Souza Organized by the Galveston Art Center October 15 – November 17, 2007 NIGHT JOURNEY: Susan kae Grant Organized by Kenda North CONTEMPORARY GERMAN PHOTOGRAPHY Andrej Barov, Wolfgang Zurborn, Dominique Auerbacher/ Holger Trülzsch, Christian Wolter, Oliver Sieber, Katja Stuke, Frank Rothe, Lukas Roth, Marc Räder. Ralf Meyer, Eva Leitolf, Frederic Lezmi, Oliver Kern, David Klammer, Johannes Hepp, Sibylle Fendt, Anja Engelke, Ute Behrend Curated by Tina Schelhorn

2009

2010

January 22 – March 4, 2008 POINTS OF CONVERGENCE Janine Antoni, David Bates, Ross Bleckner, Enrique Chagoya, Michael Ray Charles, Ann Hamilton, Donald Lipski & MFA students: Eric Chavera, Louisa Conrad, Ali Dadgar, Heather McPherson, Betsy Odom, Samuel Rowlett, Kelli Vance March 12 – April 19, 2008 FACULTY BIENNIAL September 2 – October 4, 2008 Allison Hunter Cindy Hurt Michelle Murillo October 13 – November 15, 2008 Steve Brudniak Cameron Schoepp January 26 – March 7, 2009 WITHOUT END: Michelle Dizon, Vincent Valdez March 23 – April 25, 2009 Rimer Cardillo Darryl Lauster September 4 – October 10, 2009 GEOMETRY IN REFLECTION Tommy Fitzpatrick, Margo Sawyer October 19 – November 14, 2009 FACULTY BIENNIAL January 25 – March 6, 2010 PRIME PERCEPTION: Robert Grame, Robert Hower March 22 – April 24, 2010 OUTSIDE INFLUENCES: Mike Noland, Fred Stonehouse Curated by Marilyn Jolly

2011

September 8 – October 16, 2010 PRIVATE COLLECTIONS II - Art from Four Metroplex Collections: Jesse Amado, Diane Arbus, Radcliffe Bailey, Willie Birch, Louise Bourgeois, Michael Ray Charles, Chuck Close, Robert Colescott, Jim Dine, Vernon Fisher, Joseph Havel, Roy Lichtenstein, Yasumasa Morimura, Robyn O’Neil, Joseph Stashkevetch, Frank Stella, Annelies Strba, Donald Sultan, James Surls, Andy Warhol October 25 – November 20, 2010 INTRODUCTIONS: Seiji Ikeda, Ya’Ke Smith, Tore Terrasi January 18 – February 12, 2011 EPICENTER: John Hitchcock TEXAS PRINT SURVEY Terry Allen, Helen Altman, Miguel Aragon, Eric Avery, Margarita Cabrera, Enrique Chagoya, Ann Conner, Suzi Davidoff, Alec Dempster, Daniel Martin Diaz, Sally French, Carlos Fresquez, Brian Fridge, Kathy Grove, Manuel Guerra, Kenneth Hale, Trenton Doyle Hancock, Billy Hassell, John Hernandez, Leticia Huerta, Sarojini Jha Johnson, Pon Juan, Isaac Julien, J. Salvador Lopez, Cesar Martinez, Mary McCleary, David McGee, Delilah Montoya, Jiha Moon, Wangechi Mutu, Carla Nickerson, John Obuck, Robyn O’Neil, Jack Pierson, Liliana Porter, Robert Pruitt, Dan Rizzie, Juan Miquel Ramos, Lordy Rodriguez, Alex Rubio, Peter Saul, Laurence Scholder, Jim Shaw, Shahzia Sikander, Matthew Sontheimer, Frank X. Tolbert, Vincent Valdez, Lloyd Walsh, Liz J. Ward, William Wiley, Joan Winter February 21 – April 2, 2011 Sedrick Huckaby Barbra Riley September 6 – October 15, 2011 SILVER: 25TH ANNIVERSARY EXHIBITION Tre Arenz, Connie Arismendi, Frances Bagley, Ed Blackburn, Julie Bozzi, Margarita Cabrera, Mel Chin, James Drake, Vernon Fisher, Linnea Glatt, John Hernandez, Annette Lawrence, Hung Liu, Manual: Suzanne Bloom and Ed Hill, César Augusto Martínez, David McGee, Vicki Meek, Celia Alvarez Muñoz, Robyn O’Neil, Tom Orr, Jim Pomeroy, Linda Ridgway, Philipp Scholz Rittermann, Ann Stautberg, Vincent Valdez