JIM CULBERSON • KEN MAZZU • RICHARD STOUT
three Houston artists reflect on places and moments of consequence
Ke n M azz u, A n Ol d Pow ers t at ion , 2016, wa terco l o r, 18 x 12 i n ch es .
R i c h a r d St o ut , A n o t h e r Wo r l d , 2016, a c r y l i c o n c a nv a s , 60 x 48 i nc h e s .
In this exhibition, Transient Views: The Places of Our Lives, three generations of Houston artists’ work reflect on places and moments of consequence which they have encountered in their own lives, their respective aesthetic expressions of placing firm hold on their own personal moments of transiency, freezing and perpetuating their views for themselves and all who follow. The exhibition skillfully balances stunning contemporary architectural abstractions of the Glassell’s Ken Mazzu, with recent paintings of the legendary Richard Stout, steeped in the artist’s reflections upon neighborhood and home; and historic mid-century photography of the late Jim Culberson. The selections in this exhibition show the remarkable facility of three home town artists whose works mark the moments of their lives in Houston. In Transient Views, the viewer is invited to take a moment to focus and reflect on the glory of what is here now, in this specific time and place in our city, and to recognize the importance of this moment, looking at times both past and present. Each of these artists deal directly or indirectly with the idea of transience and the ever-changing face of the city of Houston. Specifically, architectural elements of both familiar and transitional spaces are focused on within this body of work. Here, we are able to reflect upon their encounters melding them with our own, to see though the eyes of three great artists three views of this place called Houston.
After sixty years having lived in the Bayou City, Richard Stout continues to find solace in the moments of importance found in his everyday life. In this newest body of work, his paintings focuse on places immediately around him. In Stout’s pausing to reflect on those places of the everyday—the alley behind his studio, specific buildings and streets in the Montrose area where artist lives and takes daily walks, construction around the city's own great institution of art (which directly relate to Ken Mazzu’s works), and views from his morning coffee shop overlooking the bustling cars on 59, heading to and from downtown Houston (which reminds of Jim Culberson's images of Houston’s freeways and downtown skyline), Stout gives weight to specific places that have
over time become part of us, part of our daily lives, and the backdrop for our personal mythologies. His reflections on places of the present blend with memories of places past, conflating what was and what is into things remembered—visions from the artist’s childhood seep into his current world view. In this, we see Stout’s childhood home placed on the now familiar street of his Montrose neighborhood, transforming into a seamless, dreamlife transition of time and space. In his work, Stout evokes ideas from Come the Restorer where Texas modernist writer William Goyen wrote, “We only see the visible city, not what's been lost.”1 Each composition is a framed journey, moving through experiences, desires, and difficulties, comprising a life lived which can be used as a lens for the viewer to see through, allowing the artist’s own sense of reality to come into view. Within the paintings, there is a subtle but firm sense of movement that transports the viewer from one place to another, leading to some end, to an uncertain future, to an unknown. Straddling Goyen is Ken Mazzu whose paintings explore the beauty of what is lost in transitioning cities, elegantly documenting deconstruction of buildings from Houston's past, capturing moments in-between their past and future. In his specific sites of reflections, Mazzu records the passing, and final states of the defining places and structures in the community, including both the ever-changing downtown cityscape and the recent construction at the Museum of Fine Art, Houston’s Glassell School of Art. Of his work, Mazzu states:
In the past, my investigations in painting have focused on landscape ideas of industrial decay and urban detritus. Such works were painted intuitively, from imagination, without the aid of photographic reference… More recently, I have become focused on a series of paintings which began with the influence of an older series of photographs which I had taken in the city.
1
William Goyen, Come, The Restorer: A Novel. Evanston: Northwestern University Press, 1974.
These cityscape paintings allow for new interpretations of the urban landscape and are composed in transparent watercolor as well as oil on canvas. Further, I have begun to think of these cityscape paintings in a historic Houston context since they borrow from specific architectural sites within the city. This work is now organized chronologically as my “Houston History Series”.2 In viewing Mazzu’s works, one is instantly reminded of George Bellows (a leader in the Ashcan School of American Realism) and his acclaimed painting Pennsylvania Excavation, 1907-09, one of four paintings produced early in his career that document the construction of New York’s Penn Station, the hub of a monumentally ambitious project that would transform national transportation and commerce. Bellows’ depiction of the construction site—described by a critic in the New York Sun as a “great gaping wound in the dirty earth”—earned the artist early critical acclaim for capturing the raw vitality of the city’s growth.3 While Mazzu’s paintings, like Bellow’s excavation series, could be viewed as moments of de-construction of past structures, they are not intended as destruction in a negative sense. Instead, it is through this destruction that something new emerges, beauty in that moment of transition; but also, a reminder that with each of these “ruins in reverse”, on these sites there is potential—the new construction that would eventually be built. As opposed to “romantic ruins”, these sites of debris rise into ruin before the new can be built.4 Mazzu finds beauty amongst rubble. Inherent to the nature of implosion and debris, the abstract qualities accentuated in his paintings create a magnificent surface of shape, color and forms grouped together, on top of, and beside itself, blending into a single point of focus within a much larger composition, hinting at the chaotic structure once underneath. In finding beauty amongst destruction, author Graham Greene’s idea that, “Destruction, after all, is a form of creation” is evoked.5 Instead of 2 Ken Mazzu’s artist website, <http://www.kenmazzu.com>. Accessed December 12, 2016. 3 David Peters Corbett, “Decreation and Undoing: George Bellows’ Excavation Paintings, 1907-1909” essay. New York Sun, 1907, cited in Sarah Newman, “Working Life: Pennsylvania Station Excavation, 1907-1909”, in Charles Brock, ed., George Bellows, exhib. cat., National Gallery of Art: Washington DC, 2012, p.91. Sarah Newman, “Working Life: Pennsylvania Station Excavation, 1907-1909”, in Charles Brock, ed., George Bellows, exhib. cat., National Gallery of Art: Washington DC, 2012, p. 93. 4 Robert Smithson, “A Tour of the Monuments of Passaic, New Jersey”, 1967 essay. 5 Graham Greene, “The Destructors” short story, published first in 1954.
focusing on the negative impacts of, and/or silently commenting of the ever-changing nature of modern Houston, Mazzu singles out elements containing an exquisite interplay of line and color creating unique and beautiful compositions. In his work, Mazzu focuses on the details of the quotidian, and on the changing architectural face of the city, where we are constantly in moments of transition, the past torn down and replaced with something new, history vanishing and being made in the same instance all around us. In his re-examination of our built environment, the viewer is focused on places typically passed by and unnoticed by the typical observer until the next phase is complete. As Mazzu recognizes the importance of these moments in time, he allows the viewer to acknowledge the life before, focusing on its present state, where future plans are not yet realized. Always moving—bigger, better, taller, faster, forward. These paintings connect the viewer to that moment in the life of the building - the life cycle of a structure, mirroring our own life cycle, where structures are built with the excitement of creation, used in its glory days until no longer functional, then removed to make way for the next generation of skylines. In this liminal space, ideas of transience and temporality remain. Structures as tokens or reminders for that which has come before and past; and that which is with us now, but will not always be, as time moves forward in a linear fashion. Serving as concrete visual evidence of earlier moments, the photographs by the late Houston commercial and fine artist and photographer Jim Culberson anchor the exhibition looking at places and spaces of past moments captured with their artful approach to Houston as subject at midcentury. Images of Houston as it once was—the downtown skyline, Buffalo Bayou before all the development, the budding suburbs, and ship channel from the late 1950-60s—allow viewers a chance to see what was; and may no longer be. Within this body of work Culberson edited carefully, his eye for design is depicted throughout his work by a proclivity for clean lines, strong use of negative and positive space, and an ability to capture images with strong narrative qualities which continue to speak fifty years later. By singling out moments of solitude, whether with children at play, a sea of cars in traffic, or men waiting in shadows for a day’s work, Culberson’s photographs serve reminders of the ever-changing nature of our city.
As Houstonians begin yet another momentous year, Transient Views offers patrons a moving and contemplative art experience, with lots of personal moments for reflecting upon the meaningful places and moments of our own times, times past and times yet to come. These artists celebrate the intimacies of time and space in the Bayou City and through their work, the exhibition asks each viewer to take a moment and think about the place which we call home. Just in time for Houstonâ&#x20AC;&#x2122;s grand exposure in early February for the Super Bowl where hundreds of thousands will flock to Houston for an event of international importance to sports fans worldwide, how, then, do we liveâ&#x20AC;&#x201D;for yesterday, today, or tomorrow?
Sarah Foltz, William Reaves | Sarah Foltz Fine Art.
No.
Artist
Title of Work
Date
Medium
Size (inches)
JIM CULBERSON 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
Jim Culberson Jim Culberson Jim Culberson Jim Culberson Jim Culberson Jim Culberson Jim Culberson Jim Culberson Jim Culberson Jim Culberson Jim Culberson Jim Culberson Jim Culberson Jim Culberson Jim Culberson
Buffalo Bayou Banks, Houston 1960 gelatin silver print 8.5 x 11.5 Buffalo Bayou, Houston 1960 gelatin silver print 11 x 9.75 Downtown Houston c. 1960 gelatin silver print 13.75 x 10.75 East Texas c. 1960 gelatin silver print 7.25 x 9.5 Gulf Freeway c. 1960 gelatin silver print 9.5 x 14 Houston Ship Channel c. 1960 gelatin silver print 11.75 x 9 Houston Suburb 1959 gelatin silver print 10.5 x 13.75 Kitchen c. 1960 gelatin silver print 9.5 x 8.5 Richmond Silos c. 1960 gelatin silver print 13.75 x 9.5 Sidewalk Construction c. 1960 gelatin silver print 9.5 x 4.25 Traffic c. 1960 gelatin silver print 9.5 x 15 Untitled c. 1960 gelatin silver print 10.75 x 8.5 Untitled c. 1960 gelatin silver print 13.75 x 10.75 Waiting for Work c. 1960 gelatin silver print 10 x 10 Yard Sale c. 1960 gelatin silver print 6.75 x 9.5
KEN MAZZU Charcoal 16 17
Ken Mazzu Ken Mazzu
Be Careful with those Glass Blocks 2016 charcoal 22 x 30 Glass Block Bldg. #12 2016 charcoal 22 x 30
Large Paintings 18 Ken Mazzu 19 Ken Mazzu 20 Ken Mazzu
Echoes of Oblivion (HCC West Wing ) 2012 oil on canvas 50 x 70 Glassell Block Bldg. #16 2016 oil on canvas 50 x 70 Terra Incognita II 2012 oil on canvas 60 x 70
No.
Artist
Title of Work
Date
Medium
Size (inches)
21 22
Ken Mazzu Ken Mazzu
Unknown Structures (Rice Village) 2016 oil on canvas 40 x 50 Wall Behind the Faรงade 2012 oil on canvas 40 x 30
Small Canvas 23 Ken Mazzu 24 Ken Mazzu 25 Ken Mazzu 26 Ken Mazzu 27 Ken Mazzu 28 Ken Mazzu 29 Ken Mazzu
Glimmer 2014 oil on canvas 16 x 20 Old Ben Milam Hotel #4 2015 oil on canvas 16 x 20 Old Bovay Bldg. 2012 oil on canvas 11 x 14 Old Houston Club #1 2014 oil on canvas 11 x 14 Old Prudential Tower #2 2012 oil on canvas 11 x 14 Unknown Structure #1 2013 oil on canvas 11 x 14 Unknown Structure #2 2012 oil on canvas 11 x 14
Watercolors 30 Ken Mazzu 31 Ken Mazzu 32 Ken Mazzu 33 Ken Mazzu 34 Ken Mazzu 35 Ken Mazzu 36 Ken Mazzu 37 Ken Mazzu 38 Ken Mazzu 39 Ken Mazzu 40 Ken Mazzu 41 Ken Mazzu 42 Ken Mazzu 43 Ken Mazzu
An Old Powerstation 2016 watercolor 18 x 12 Glass Block Bldg. #17 2016 watercolor 9 x 12 Glass Block Bldg. #3 2016 watercolor 5.5 x 15 Glass Block Bldg. #5 2016 watercolor 22 x 15 Old 3400 Montrose #5 (Skybar) 2016 watercolor 22 x 30 Old 3400 Montrose #4 (Skybar) 2016 watercolor 11 x 30 Old 3400 Montrose #2 (Skybar) 2014 watercolor 15 x 22 Old County Records Archives #5 2013 watercolor 15 x 22 Old Downtown Foleys #2 2015 watercolor 15 x 22 Old Downtown Y #3 2011 watercolor 9 x 12 Old Downtown Y #9 2013 watercolor 22 x 30 Old Downtown Y #11 2014 watercolor 9 x 12 Old Slovay America Bldg. 2016 watercolor 15 x 11 Old Houston Club Bldg. #2 2014 watercolor 11 x 15
No.
Artist
Title of Work
Date
Medium
Size (inches)
RICHARD STOUT 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62
Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout Richard Stout
Against Loss 2016 acrylic on canvas 60 x 30 An Exit 2016 acrylic on canvas 60 x 48 Another World 2016 acrylic on canvas 60 x 48 Fear Not 2016 acrylic on canvas 60 x 30 Morning is Breaking 2016 acrylic on canvas 48 x 60 On the Road 2016 acrylic on canvas 60 x 40 The Way 2016 acrylic on canvas 30 x 48 To Hitchcock 2016 acrylic on canvas 30 x 48 Untitled (Back Alley) 2016 acrylic on canvas 24 x 18 Untitled (Home) 2016 acrylic on canvas 30 x 48 Untitled 2016 acrylic on canvas 18 x 24 Untitled 2016 acrylic on canvas 20 x 16 Untitled 2016 acrylic on canvas 20 x 16 Untitled 2016 acrylic on canvas 20 x 24 Untitled 2016 acrylic on canvas 24 x 20 Untitled (Morning Coffee) 2016 acrylic on canvas 30 x 60 Untitled 2016 acrylic on canvas 40 x 60 Untitled (Castlecourt) 2016 acrylic on canvas 48 x 30 Untitled 2016 acrylic on canvas 60 x 40
JIM CULBERSON
1. Jim Culberson, Buffalo Bayou Banks, Houston, 1960, gelatin silver print, 8.5x11.5
2. Jim Culberson, Buffalo Bayou, Houston, 1960, gelatin silver print, 11x9.75
3. Jim Culberson, Downtown Houston, c. 1960, gelatin silver print, 13.75x10.75
4. Jim Culberson, East Texas, c. 1960, gelatin silver print, 7.25x9.5
5. Jim Culberson, Gulf Freeway, c. 1960, gelatin silver print, 9.5x14
6. Jim Culberson, Houston Ship Channel, c. 1960, gelatin silver print, 11.75x9
7. Jim Culberson, Houston Suburb, 1959, gelatin silver print, 10.5x13.75
8. Jim Culberson, Kitchen, c. 1960, gelatin silver print, 9.5x8.5
9. Jim Culberson, Richmond Silos, c. 1960, gelatin silver print, 13.75x9.5
10. Jim Culberson, Sidewalk Construction, c. 1960, gelatin silver print, 9.5x4.25
11. Jim Culberson, Traffic, c. 1960, gelatin silver print, 9.5x15
12. Jim Culberson, Untitled, c. 1960, gelatin silver print, 10.75x8.5
13. Jim Culberson, Untitled, c. 1960, gelatin silver print, 13.75x10.75
14. Jim Culberson, Waiting for Work, c. 1960, gelatin silver print, 10x10
15. Jim Culberson, Yard Sale, c. 1960, gelatin silver print, 6.75x9.5
KEN MAZZU
16. Ken Mazzu, Be Careful with those Glass Blocks, 2016, charcoal, 22x30
17. Ken Mazzu, Glass Block Bldg. #12, 2016, charcoal, 22x30
18. Ken Mazzu, Echoes of Oblivion (HCC West Wing ), 2012, oil on canvas, 50x70
19. Ken Mazzu, Glassell Block Bldg. #16, 2016, oil on canvas, 50x70
20. Ken Mazzu, Terra Incognita II, 2012, oil on canvas, 60x70
21. Ken Mazzu, Unknown Structures (Rice Village), 2016, oil on canvas, 40x50
22. Ken Mazzu, Wall Behind the Faรงade, 2012, oil on canvas, 40x30
23. Ken Mazzu, Glimmer, 2014, oil on canvas, 16x20
24. Ken Mazzu, Old Ben Milam Hotel #4, 2015, oil on canvas, 16x20
25. Ken Mazzu, Old Bovay Bldg., 2012, oil on canvas, 11x14
26. Ken Mazzu, Old Houston Club #1, 2014, oil on canvas, 11x14
27. Ken Mazzu, Old Prudential Tower #2, 2012, oil on canvas, 11x14
28. Ken Mazzu, Unknown Structure #1, 2013, oil on canvas, 11x14
29. Ken Mazzu, Unknown Structure #2, 2012, oil on canvas, 11x14
30. Ken Mazzu, An Old Powerstation, 2016, watercolor, 18x12
31. Ken Mazzu, Glass Block Bldg. #17, 2016, watercolor, 9x12
32. Ken Mazzu, Glass Block Bldg. #3, 2016, watercolor, 5.5x15
33. Ken Mazzu, Glass Block Bldg. #5, 2016, watercolor, 22x15
34. Ken Mazzu, Old 3400 Montrose #5 (Skybar), 2016, watercolor, 22x30
35. Ken Mazzu, Old 3400 Montrose #4 (Skybar), 2016, watercolor, 11x30
36. Ken Mazzu, Old 3400 Montrose #2 (Skybar), 2014, watercolor, 15x22
37. Ken Mazzu, Old County Records Archives #5, 2013, watercolor, 15x22
38. Ken Mazzu, Old Downtown Foleys #2, 2015, watercolor, 15x22
39. Ken Mazzu, Old Downtown Y #3, 2011, watercolor, 9x12
40. Ken Mazzu, Old Downtown Y #9, 2013, watercolor, 22x30
41. Ken Mazzu, Old Downtown Y #11, 2014, watercolor, 9x12
42. Ken Mazzu, Old Slovay America Bldg., 2016, watercolor, 15x11
43. Ken Mazzu, Old Houston Club Bldg. #2, 2014, watercolor, 11x15
RICHARD STOUT
44. Richard Stout, Against Loss, 2016, acrylic on canvas, 60x30
45. Richard Stout, An Exit, 2016, acrylic on canvas, 60x48
46. Richard Stout, Another World, 2016, acrylic on canvas, 60x48
47. Richard Stout, Fear Not, 2016, acrylic on canvas, 60x30
48. Richard Stout, Morning is Breaking, 2016, acrylic on canvas, 48x60
49. Richard Stout, On the Road, 2016, acrylic on canvas, 60x40
50. Richard Stout, The Way, 2016, acrylic on canvas, 30x48
51. Richard Stout, To Hitchcock, 2016, acrylic on canvas, 30x48
52. Richard Stout, Untitled (Back Alley), 2016, acrylic on canvas, 24x18
53. Richard Stout, Untitled (Home), 2016, acrylic on canvas, 30x48
54. Richard Stout, Untitled, 2016, acrylic on canvas, 18x24
55. Richard Stout, Untitled, 2016, acrylic on canvas, 20x16
56. Richard Stout, Untitled, 2016, acrylic on canvas, 20x16
57. Richard Stout, Untitled, 2016, acrylic on canvas, 20x24
58. Richard Stout, Untitled, 2016, acrylic on canvas, 24x20
59. Richard Stout, Untitled (Morning Coffee), 2016, acrylic on canvas, 30x60
60. Richard Stout, Untitled, 2016, acrylic on canvas, 40x60
61. Richard Stout, Untitled (Castlecourt), 2016, acrylic on canvas, 48x30
62. Richard Stout, Untitled, 2016, acrylic on canvas, 60x40
JIM CULBERSON (American, 1928 â&#x20AC;&#x201C; 1997)
1952 BFA, University of New Mexico, Albuquerque, NM; University of Houston 1953
Established Culberson, Glass and Dubose Graphic Studio in Houston, TX
1955
31st Annual Exhibition of Works by Houston Artists, Museum of Fine Arts, Houston
1955
30th Annual Exhibition of Works by Houston Artists, Museum of Fine Arts, Houston
1960 Curated Architectural Graphics, Contemporary Art Museum of Houston 1950-70s
Instructor at St. Thomas University
1966
John Tower Campaign
Instructor at Museum of Fine Arts, Houston
Born October 23, 1928, in the community of Lone Oak, Jim Culberson grew up among the Piney Woods of East Texas; like many of his generation, he interrupted his education to answer his country's call to arms during World War II, and he also served with distinction in the Korean War; and while a student at the University of New Mexico, he fell in love with Eleanor Abney, and the couple married in 1950; he completed his college education at the University of Houston, and after working as an art director for a Houston advertising agency, he established his own graphics studio in 1953; and he went on to teach art and photography at the University of Houston, St. Thomas University, and the Museum of Fine Arts, but his career took a new path when he handled the photography, cinematography, and graphic design for Senator John Tower's reelection campaign in 1966; his remarkable talent and media savvy quickly became apparent, and he has become a much sought after force in the campaign world. Culberson was one of the
partners at the Houston-based studio Culberson, Glass and Dubose. Culberson, both a fine and commercial artist, had ambliopia (lazy eye), and he promoted himself as "The best cock-eyed artist in Houston".
For over three decades, Culberson earned great renown for his expertise in the field of campaign planning and political graphics and design, and the Texas House of Representatives is proud to honor him for his many achievements. Throughout his distinguished career as a political counselor, Culberson has performed voter analysis and strategic campaign planning for nearly 200 congressional, gubernatorial, and other statewide races around the nation, and he worked with several aspiring presidential candidates as well, including former President Ronald Reagan; known for his unrelenting perfectionism and dedication to quality, he has limited his work in recent years to local races, enabling him to work directly with candidates while maintaining full creative involvement, and his impressive resume includes work on the following campaigns:
John Tower for U.S. Senate, Texas, 1966, 1972;
Paul Eggers for Governor, Texas, 1968;
Rubel Phillips for Governor, Mississippi, 1967; Richard Nixon for President, partial, 1968;
Hagen Thompson for Congress, Mississippi, 1968; and Louie Welch for Mayor, Houston, 1969.
While Culberson has had great influence over the policies of this state through the election of many of this body's members, his greatest contribution to this state has been to send, with enthusiasm and learned counsel, his own son, Representative John Culberson, to the Texas Legislature. In all aspects of his life and career, Culberson has embodied the highest standards of integrity and excellence; his example of hard work and dedication has been an inspiration to all who know him.
(American, b. 1967)
KEN MAZZU
B.F.A. Lamar University 1992
M.F.A. University of Houston 1997
Campbell Center For Historic Preservation Studies, Mount Carroll, Illinois 1998 Member, American Alliance of Museums, 2014 - Present
2011 2010
Instructor, Glassell School of Art, Studio School, 2006 - Present AWARDS & HONORS:
Scholarship Grant, Leslie T. and Frances U. Posey Foundation, Sarasota, Florida 1995
Two - Person Exhibition: Before Time, We Stand And Crumble, University of Texas at San Antonio, UTSA Satellite Space, San Antonio, Texas. May 31 - June 17, 2012. Group Exhibition: Gambol: Art League Houstonâ&#x20AC;&#x2122;s 2011 Juried Member Exhibition, Houston, Texas. December 2 - December 31, 2011. Group Exhibition: 20 On Paper, Williams Tower Gallery, Houston, Texas. December 7, 2010 - January 7, 2011.
Group Exhibition: A Homecoming: A Tribute To Professor Emeritus Jerry Newman, Dishman Art Museum, Lamar University, Beaumont, Texas. October 7 - November 10, 2010. Group Exhibition: Artists In Academics: Works By Houston Arts Faculty, Beeville Art Museum; Beeville, Texas. May 3 - July 17, 2010.
Friends of Art Scholarship, University of Houston 1995 Selected EXHIBITIONS
2008
Detrital Terrain, Lone Star College- North Harris, Houston, Texas
2016
2000
Ken Mazzu: Excavations, The New Gallery, Houston, Texas
FINALIST: 2016 Hunting Art Prize!
2015 SOLO EXHIBITION: Deconstruction Beauty, Katy Contemporary Arts Museum, Katy, Texas. September 17 - November 15, 2015.
2014
Group Exhibition: Structure, Bank of America Center Lobby, 700 Louisiana Street, Houston, Texas, August 13 - December 9, 2015. Organized by Kinzelman Art Consulting. Group Exhibition: Beyond Graphite: Fab 15 + Performance, G Gallery, Houston, Texas, July 5 - 25, 2014. Curated by Catherine D. Anspon.
2013 Faculty Exhibition: 35 Years in the Glass Block Building, Laura Lee Blanton Gallery, The Glassell School of Art, Museum of Fine Arts, Houston, December 13, 2013 - February 23, 2014. SOLO EXHIBITION: Echoes of Oblivion, Art Car Museum, Houston, Texas. June 29 - August 25, 2013.
FINALIST: 2013 Hunting Art Prize! 2012
Group Exhibition: Texas A&M University, MSC Forsyth Center Galleries, 4th Annual Regional Juried Art Exhibition, College Station, Texas. April 21 - August 19, 2012.
2007 1997
Artifacts of Reason, Poissant Gallery, Houston, Texas
Recent Paintings: Ken Mazzu, Small Projects Gallery, The University of Houston, Houston, Texas
CORPORATE COLLECTIONS:
The Williard Law Firm, L.P., Houston, Texas Weingarten Realty, Houston, Texas
Vinson & Elkins, LLP, Houston Texas
Longhorn Steel & Flamecutting, Houston, Texas PUBLIC COLLECTIONS:
Museum of Fine Arts, Houston, Texas
South Main Baptist Church, Houston, Texas
Dishman Art Museum, Lamar University, Beaumont, Texas Beaumont Art League, Beaumont, Texas
RICHARD STOUT RICHARD GORDON STOUT (b. 1934) Richard Stout was born in 1934 in Beaumont, Texas. He quickly discovered his interest in art and, while still in high school, studied at the Art Academy of Cincinnati during summer visits with family in Ohio. Stout received a scholarship to attend the School of Art at the Art Institute of Chicago, where he earned his bachelor of fine arts degree. He completed graduate studies and earned his master of fine arts degree at the University of Texas at Austin. From 1959 to 1967, Stout was an instructor at the Museum School of the Museum of Fine Arts, Houston. After completing his MFA, he began teaching art at the University of Houston, a career he maintained until his retirement in 1996.
Selected Biographical and Career Highlights • 1934 Born in Beaumont, Texas • 1952–53 Art Academy of Cincinnati, Ohio • 1957 BFA, School of the Art Institute of Chicago, Illinois • 1957 Yale-Norfolk, Norfolk, Connecticut • 1959–67 Faculty, Museum School, Museum of Fine Arts, Houston, Texas • 1968 Yaddo, Saratoga Springs, New York • 1969 MFA, University of Texas at Austin, Texas • 1969–96 Professor, University of Houston, Texas • 1976 Travel Grant, Museum of Fine Arts, Houston, Texas • 2004 Texas Artist of the Year, Art League of Houston, Texas • 2010 Artist of the Year, Center for the Advancement and Study of Early Texas Art (CASETA) • Resides in Houston, Texas Selected Prizes, Awards • Purchase Prize 1962 Texas General; Prize 1976 Houston Area Exhibition; Materials Prize 1958 Houston Annual • 1958 (December) Materials Award, Apocalypse, oil, 33rd Houston Annual • 1962 Purchase Prize, Feast, oil, 24th Texas Annual • 1975 Prize, Houston Area Exhibition Selected Exhibitions • 195152 Beaumont Art League, Beaumont, Texas • 1952−53 Cincinnati Art Academy, Cincinnati, Ohio • 1953−57 School of the Art Institute of Chicago, Illinois • 1955–78 Tri-State Annual, Beaumont Art Museum, Beaumont, Texas (regular
• • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
exhibitions) 1956 The 1014 Art Center, with Jack Beal, Chicago, Illinois 1957 Chicago and Vicinity Exhibition, Art Institute of Chicago, Illinois 1957 Denver Museum of Art, Annual Exhibition, Denver, Colorado 1957 Momentum, Mid-Continental Exhibition, Chicago, Illinois 1957−58 Wells Street Gallery, Chicago, Illinois 1957−58 Cushman Gallery, Houston, Texas 1958 Solo, Beaumont Art Museum, Beaumont, Texas 1958 Texas Oil ’58, A Salute to the Oil Industry of the State by Texas Painters, Museum of Fine Arts, Houston, Texas, traveled to: Bank of the Southwest, Houston; Dallas Public Library, Dallas; Republic National Bank of Dallas, Texas (catalogue) 1958 (December) 33rd Annual Houston Artists Exhibition, Museum of Fine Arts, Houston, Texas (materials award) 1958−59 Museum School, Museum of Fine Arts, Houston, Texas 1958−60 New Arts Gallery, Houston, Texas 1959 Solo, New Arts Gallery, Houston, Texas 1959 34th Annual Houston Artists Exhibition, Museum of Fine Arts, Houston, Texas 1959 Solo, Hayden Calhoun Galleries, Dallas, Texas 1959 Made in Texas by Texans, Dallas Museum of Contemporary Art, SheratonDallas Hotel, Dallas, Texas (catalogue) 1960 Delgado Museum of Art, Annual Exhibition, New Orleans, Louisiana 1960 35th Annual Houston Artists Exhibition, Museum of Fine Arts, Houston, Texas 1960 Butler Institute of American Art, Annual, Youngstown, Ohio 1960 American Provincetown Exhibition, Provincetown, Massachusetts 1960−61 Fifth International Hallmark Art Award Exhibition, Wildenstein Gallery, New York, New York; Museum of Fine Arts, Houston, Texas in 1961 1960−70 Sun Carnival Annual Exhibition, El Paso Museum of Art, El Paso, Texas 1960−80 Meredith Long & Company, Houston, Texas and New York, New York 1961 Contemporary Arts Museum, Houston, Texas 1961 Solo, Beaumont Art Museum, Beaumont, Texas 1961 Second Triennial of Original Watercolor Graphics, Basel, Switzerland 1961−70 Oklahoma Annual Exhibition, Oklahoma City, Oklahoma 1962 24th Annual Texas Painting and Sculpture Exhibition 1962–1963, circulated: Witte Museum, San Antonio; Centennial Art Museum, Corpus Christi; Beaumont Art Museum, Beaumont; Dallas Museum of Art, Dallas, Texas (purchase prize) 1962–63 Museum School Faculty Exhibition, Museum of Fine Arts, Houston, Texas 1963 13th Southwestern Exhibition of Prints and Drawings, Dallas Museum of Art, Dallas, Texas 1963 25th Annual Texas Painting and Sculpture Exhibition 1963–1964, circulated:
RICHARD STOUT • • • • • • • • • • • • • • • • • • • • • • • • • • •
Dallas Museum of Art, Dallas; Centennial Art Museum, Corpus Christi; Beaumont Art Museum, Beaumont; El Paso Museum of Art, El Paso; Witte Museum, San Antonio; University of Texas at Austin, Texas 1963–85 Meredith Long & Company, Houston, Texas (solo and group exhibitions) 1964 Houston Dimension Exhibition, Houston, Texas 1964 Festival of the Bible in the Arts, Temple Emanuel, Houston, Texas 1964 Solo, Kansas City Art Institute, Kansas City, Missouri 1965 Texas Painting & Sculpture Annual, Dallas Museum of Art, Dallas, Texas 1966 100 Contemporary American Drawings, Museum of the University of Michigan, Ann Arbor, Michigan 1967−80 Faculty Exhibition, University of Houston, Texas 1968 Solo, Yaddo, Saratoga Springs, New York 1968 The Sphere of Art in Texas, Texas Fine Arts Commission, Texas Pavilion, Hemisfair ‘68, San Antonio, Texas 1968 Solo, McNay Art Institute, San Antonio, Texas 1968–70 Contemporary American Art, U.S. Department of Commerce, toured Australia 1970 Award Winners Exhibition, Museum of Oklahoma, Oklahoma City, Oklahoma 1970 The Larger Canvas, RepublicBank, Houston, Texas (catalogue) 1970 The Highway, Rice University, Institute for the Arts, Houston, Texas (catalogue) 1970−71 Texas Fine Arts Association, Austin, Texas 1971 Solo, McNay Art Institute, San Antonio, Texas 1971 Other Coasts Exhibition ‘71, California State University, Long Beach, California (catalogue) 1971 Larger Canvas Two, RepublicBank, Houston, Texas (catalogue) 1971 Main Street One, City of Houston, Texas 1971 New Works of Former Award Winners, Texas Fine Arts Association, Austin, Texas, traveling exhibition 1972 Three Americans, Texas Fine Arts Association, Austin, Texas, traveling 1973 Solo, Tyler Museum of Art, Tyler, Texas (catalogue) 1973 Houston Area Exhibition, Blaffer Gallery, University of Houston, Texas 1974 Abstract Painting and Sculpture in Houston, Museum of Fine Arts, Houston, Texas 1974 Davis and Long Gallery, New York, New York 1975 Richard Stout: Recent Paintings, Contemporary Arts Museum, Houston, Texas 1975 Houston Area Exhibition, Blaffer Gallery, University of Houston, Texas (catalogue) prize
• • • • • • • • • • • • • • • • • • • • • • • • • • • •
1975 Five Painters, Pollock Galleries, Southern Methodist University, Dallas, Texas 1976−78 Beaumont Art Museum, Beaumont, Texas 1977 Houston Area Exhibition, Blaffer Gallery, University of Houston, Texas 1977 Texas Twenty, Nave Museum, Victoria, Texas 1977 Art Today: U.S.A. III, Tehran, Iran 1977 International Art Fair, Cologne, West Germany 1979 Doors: Houston Artists, Alley Theatre, Houston Festival, Houston, Texas (catalogue) 1979 Achenbach & Kimmerich, Dusseldorf, West Germany 1980 Solo, Jurgen Schweinebraden, Berlin, Germany 1980 Man and the Environment, International Graphic Portfolio, 50 invited artists, Jurgen Schweinebraden, East Berlin, Germany (catalogue) 1980 Eros, Julius Hummel Kunsthandlung, Vienna, Austria 1980 Gallerie Thommen, Basel, Switzerland 1981 Gallerie de Arti Pellegrino, Bologna, Italy 1982 Art from Houston in Norway 1982, Stavanger Kunstforening, Norway; Tromso Kunstforening, Norway; Christiansand Kunstforening, Norway; Oslo Kunstforening, Norway (catalogue) 1983 Solo, Touchstone Gallery, New York, New York 1983 Triennial, New Orleans Museum of Art, New Orleans, Louisiana (catalogue) 1983 Southern Fictions, Contemporary Arts Museum, Houston, Texas (catalogue) 1983 New Art From a New City: Houston, Salzburger Kunstverein, Salzburg, Austria, traveled to: Galerie an der Stadtmauer, Villach, Austria; Museum of Modern Art, Vienna; Frankfurter Kunstverein, Frankfurt, West Germany (catalogue) 1984 Solo, M.S.C. Gallery, Texas A&M University, College Station, Texas 1984 1984, Contemporary Arts Museum, Houston, Texas 1985 Fresh Paint: The Houston School, Museum of Fine Arts, Houston, Texas, traveled to: Institute for Art and Urban Resources, Inc. (MoMA PS1), Queens, New York; Oklahoma Contemporary Art Center, Oklahoma City, Oklahoma (catalogue) 1985 The Avant Old Guard, 1600 Smith, Houston, Texas 1985 Works on Paper: Eleven Houston Artists, Museum of Fine Arts, Houston, Texas (catalogue: same as 1983 New Art from a New City: Houston, traveled to Austria and Germany) 1985 25th Anniversary Exhibition, Meredith Long & Company, Houston, Texas 1986 The Texas Landscape, 1900−1986, Museum of Fine Arts, Houston, Texas (catalogue) 1987−89, 1991 Solos, W. A. Graham Gallery, Houston, Texas 1988 Houston ’88, 1600 Smith, Houston, Texas 1988 McNay Museum of Art, San Antonio, Texas
RICHARD STOUT • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •
1988 Drawn from Life, Sewell Art Gallery, Rice University, Houston, Texas 1988 Texas Art: An Exhibition selected from the Menil Collection, Museum of Fine Arts, Houston and Trustee’s Collection of the Contemporary Arts Museum, Menil Collection Richmond Hall, Houston, Texas 1989 Looking at Color, Transco Tower, Houston, Texas 1989 The Food Show, Grand Central Galleries, New York, New York 1989 Texas Figurative Art, Art Museum of Southeast Texas, Beaumont, Texas 1991 Texas Art Celebration ’91, Assistance League of Houston, Texas 1992 Island Inspired, Galveston Art Center, Galveston, Texas 1993 Conventional Forms/Insidious Visions, Glassell School of Art, Houston, Texas 1993 Texas Art Celebration ’93, Assistance League of Houston, Texas 1994 Solo, Richard Stout’s Paintings, Davis-McClain Gallery, Houston, Texas 1995 Faith in Vision, Transco Tower Gallery, Houston, Texas 1996 Solo, Barbara Davis Gallery, Houston, Texas 1996 Houston Area Exhibition, Blaffer Gallery, University of Houston, Texas 1996 Texas Modern and Postmodern, Museum of Fine Arts, Houston, Texas (catalogue) 1997 Solo, Texas A&M University, College Station, Texas 1997 Richard Stout: Structures of Intimacy, Houston, Texas 1997 Richard Stout: Paintings & Drawings, Museum of East Texas, Lufkin, Texas 1998 Richard Stout, Galveston Art Center, Galveston, Texas 1998 Richard Stout: Paints, Mario Villa Gallery, New Orleans, Louisiana 1998 Richard Stout: Paintings, Mulcahy Modern, Dallas, Texas 1999 Richard Stout: Intimate Journey, Art Museum of Southeast Texas, Beaumont, Texas; Brevard County Museum of Art and Science, Melbourne, Florida (catalogue) 1999 Richard Stout: Vernacular of Beauty, Houston, Texas 2000 Richard Stout, Art Museum of Melbourne, Florida 2000 Pillsbury & Peters Fine Art, Dallas, Texas 2001 Richard Stout: In Pursuit of the Sublime, Pillsbury and Peters Gallery, Dallas, Texas 2003 Richard Stout: Recent Work, Pillsbury and Peters Gallery, Dallas, Texas 2004 Richard Stout: Approaching the Limits of Space, Houston, Texas 2004 Richard Stout: Texas Artist of the Year 2004, Art League of Houston, Texas 2004 Richard Stout: 2004 Texas Artist of the Year, Chase Bank Heritage Hall, Houston, Texas 2004 A Selection of Art Made in Houston 1950−1965, Brazos Projects, Brazos Bookstore, Houston, Texas 2004 Richard Stout: New Photogravures, Tembo Collaborative Studio, Houston,
• • • • • • • • • • • • • • • • • • • • •
Texas 2005 Inaugural Exhibition, Holly Johnson Gallery, Dallas, Texas 2006 Houston Art in Houston Collections: Works from 1900 to 1965, Heritage Society Museum, Houston, Texas 2006 Richard Stout: Recent Paintings, Sculpture, Photogravures, Holly Johnson Gallery, Dallas, Texas; Houston, Texas 2006 Richard Stout: The Arc of Perception, Artist’s home, Houston, Texas 2007 Jack Boynton and Richard Stout: Early Works in Houston, William Reaves Fine Art, Houston, Texas 2007 Texas Modern: The Rediscovery of Early Texas Abstraction (1935−1965), Martin Museum of Art, Baylor University, Waco, Texas (catalogue) 2009 Painting West Texas: 35 Artists/100 Years, William Reaves Fine Art, Houston, Texas (catalogue) 2009 Solo, Gulf Coast Communion: 35 Impressions of the Texas Coast 1950−2009 , William Reaves Fine Art, Houston, Texas (catalogue) 2009 A Texas Sampler: Vintage Paintings by Thirty Texas Artists, William Reaves Fine Art, Houston, Texas 2009−10 The Texas Aesthetic: Contemporary Texas Regionalism, Annual Exhibition, William Reaves Fine Art, Houston, Texas 2009 Back to the Future: Elements of “Modern” in Mid-Century Texas Art, William Reaves Fine Art, Houston, Texas 2009 Texas Paper: Watercolors, Pastels and Drawings from the Lone Star State, 1938−2008, William Reaves Fine Art, Houston, Texas 2009–10 Texas Art Seen, Grace Museum, Abilene, Texas 2010 Water Rites: Rivers, Lakes, and Streams in Texas Art, William Reaves Fine Art, Houston, Texas 2010 Richard Stout: Alternate Realities, Beeville Art Museum, Beeville, Texas 2010 Third Anniversary Show: A Tribute to Houston Artists, William Reaves Fine Art, Houston, Texas 2010 Richard Stout Paintings—Sky, Sea & Earth, UAC Gallery, Houston Baptist University, Houston, Texas 2010 The Presence of Light: Sky and Light in the Texas Landscape, William Reaves Fine Art, Houston, Texas 2010 Texas Collages: A Tribute to Kurt Schwitters, William Reaves Fine Art, Houston, Texas 2011 Southeast Texas Art: Cross-Currents and Influences 1925–1965, Art Museum of Southeast Texas, Beaumont, Texas 2011 Richard Stout: Painting and Sculpture from 2010 and 2011, Artist’s home, Houston, Texas
RICHARD STOUT • • • • • • • • • • • • • • • • • •
2011 Lone Star Modernism: A Celebration of Mid-Century Texas Art, William Reaves Fine Art, Houston, Texas 2011 Richard Stout: The Early Years, William Reaves Fine Art, Houston, Texas 2011 Portrait of Houston: 1900–2011, Alliance Gallery, Houston Arts Alliance, Houston, Texas (catalogue) 2011 Breakthrough: Sixty Years of Texas Abstraction, William Reaves Fine Art, Houston, Texas 2012 A Survey of Texas Modernists, William Reaves Fine Art, Houston, Texas 2012 Texas Expressionism, William Reaves Fine Art, Houston, Texas 2013 Restless Heart: The Collectors’ Quest to Find Texas in Art, San Angelo Museum of Fine Arts, San Angelo, Texas 2013 A Tribute to Texas Rivers, William Reaves Fine Art, Houston, Texas 2013 Rhythms of Modernism, William Reaves Fine Art, Houston, Texas 2013 Richard Stout: The Last Home Show, Artist’s home, Houston, Texas 2013 Summer Encore Exhibition, William Reaves Fine Art, Houston, Texas 2013 Lives Played Out on Canvas: Paintings by Otis Huband, Richard Stout and Dick Wray, William Reaves Fine Art, Houston, Texas 2014 Houston Founders at City Hall Art Exhibition, City Hall, Houston, Texas 2014 Pursuit of the Sublime: The Art of David Cargill & Richard Stout, William Reaves Fine Art, Houston, Texas 2014–15 Macrocosm/Microcosm: Abstract Expressionism in the American Southwest, Fred Jones Jr. Museum of Art, University of Oklahoma, Norman, Oklahoma 2014 A New Visual Vocabulary: Developments in Texas Modernism 1935−1965, One Allen Center, Lobby Gallery, Houston, Texas 2014 Lone Star Masters of Modernism, William Reaves Fine Art, Houston, Texas 2015 Bayou City Chic: Progressive Streams of Modern Art in Houston, Art Museum of South Texas, Corpus Christi, Texas (catalogue)
Selected Public Collections • Art Museum of Southeast Texas, Beaumont, Texas • Butler Institute of American Art, Youngstown, Ohio • Dallas Museum of Art, Dallas, Texas • Kupferstichkabinett, Museum of Fine Art, Dresden, Germany • McNay Museum, San Antonio, Texas • Menil Collection, Houston, Texas • Museum of Fine Arts, Houston, Texas • University of Houston, Texas • University of Texas at Austin, Texas
•
Welch Foundation, Houston, Texas
About William Reaves | Sarah Foltz Fine Art
H OUSTON’S T EXAS- C ENTERED G ALLERY
William Reaves | Sarah Foltz Fine Art, originally established in 2006 in Houston, Texas, is dedicated to the promotion of
premier Texas artists of the late nineteenth and twentieth centuries, focusing particularly on historically significant artists active in the state during the period of 1900‒1975.
The gallery showcases many of the state’s most accomplished and recognized talents, all of whom have significant
connections to Texas and have evidenced the highest standards of quality in their work, training, and professionalism. In addition to its general focus on Early Texas Art, the gallery places special emphasis on the rediscovery and presentation
of midcentury works by Houston and South Texas artists. William Reaves | Sarah Foltz Fine Art is the foremost provider of
Texas Modern Art, which includes midcentury masters and pioneering expressionists working in the state. The gallery also
represents a dynamic group of contemporary artists, known as the Contemporary Texas Regionalists, actively showing their works in annual gallery exhibitions as well as traveling exhibitions throughout the state.
William Reaves | Sarah Foltz Fine Art is a comprehensive gallery offering fine art appraisals, consultation, collections
management, brokerage, and sales services. The gallery exhibits artists working in a variety of media including painting, sculpture, works on paper, and photography. In order to promote interest and broaden knowledge of earlier Texas art,
William Reaves | Sarah Foltz Fine Art supports related gallery talks, community events, scholarly research, and publications. Gallery hours are Tuesday-Saturday, 10am-5pm and other times by appointment.
Gallery Contacts:
William Reaves, President william@reavesart.com
Sarah Foltz, Director sarah@reavesart.com