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Nov 14, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


South and North of the Border: Houston Paints Houston

 

At The Heritage Society

1100 Bagby Street

Houston, TX 77002

In October 1894, James Perkins Richardson wrote from Galveston to his sister, Emma Richardson Cherry, then living in Denver, to discourage her from relocating to a “mud-hole called Houston.” At the time, Houston was a town of barely 30,000 people; Richardson was a recent Yale graduate who would one day found the prestigious Prosso Preparatory School in the city; and Cherry was a professional artist who would almost singlehandedly lay the foundation of the vibrant art center that Houston would become. Barely 70 years later, by the 1960s, the population of the city had grown 30 fold, and Houston was known worldwide as “Space City.”  Mud-hole to Space City in a single lifetime: What a trajectory. And what a revolution in visioning the city such a transformation required.

Showing that re-visioning through the eyes and works of Houston’s own artists is the goal of the exhibition Houston Paints Houston. It is our hope that by bringing together, from public and private collections, more than 60 works created over more than 130 years, we can help present-day Houstonians better understand how the vision of the city evolved, and helped create the modern city in which we live.

A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 15, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


South and North of the Border: Houston Paints Houston

 

At The Heritage Society

1100 Bagby Street

Houston, TX 77002

In October 1894, James Perkins Richardson wrote from Galveston to his sister, Emma Richardson Cherry, then living in Denver, to discourage her from relocating to a “mud-hole called Houston.” At the time, Houston was a town of barely 30,000 people; Richardson was a recent Yale graduate who would one day found the prestigious Prosso Preparatory School in the city; and Cherry was a professional artist who would almost singlehandedly lay the foundation of the vibrant art center that Houston would become. Barely 70 years later, by the 1960s, the population of the city had grown 30 fold, and Houston was known worldwide as “Space City.”  Mud-hole to Space City in a single lifetime: What a trajectory. And what a revolution in visioning the city such a transformation required.

Showing that re-visioning through the eyes and works of Houston’s own artists is the goal of the exhibition Houston Paints Houston. It is our hope that by bringing together, from public and private collections, more than 60 works created over more than 130 years, we can help present-day Houstonians better understand how the vision of the city evolved, and helped create the modern city in which we live.

A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 16, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


South and North of the Border: Houston Paints Houston

 

At The Heritage Society

1100 Bagby Street

Houston, TX 77002

In October 1894, James Perkins Richardson wrote from Galveston to his sister, Emma Richardson Cherry, then living in Denver, to discourage her from relocating to a “mud-hole called Houston.” At the time, Houston was a town of barely 30,000 people; Richardson was a recent Yale graduate who would one day found the prestigious Prosso Preparatory School in the city; and Cherry was a professional artist who would almost singlehandedly lay the foundation of the vibrant art center that Houston would become. Barely 70 years later, by the 1960s, the population of the city had grown 30 fold, and Houston was known worldwide as “Space City.”  Mud-hole to Space City in a single lifetime: What a trajectory. And what a revolution in visioning the city such a transformation required.

Showing that re-visioning through the eyes and works of Houston’s own artists is the goal of the exhibition Houston Paints Houston. It is our hope that by bringing together, from public and private collections, more than 60 works created over more than 130 years, we can help present-day Houstonians better understand how the vision of the city evolved, and helped create the modern city in which we live.

A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 17, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


South and North of the Border: Houston Paints Houston

 

At The Heritage Society

1100 Bagby Street

Houston, TX 77002

In October 1894, James Perkins Richardson wrote from Galveston to his sister, Emma Richardson Cherry, then living in Denver, to discourage her from relocating to a “mud-hole called Houston.” At the time, Houston was a town of barely 30,000 people; Richardson was a recent Yale graduate who would one day found the prestigious Prosso Preparatory School in the city; and Cherry was a professional artist who would almost singlehandedly lay the foundation of the vibrant art center that Houston would become. Barely 70 years later, by the 1960s, the population of the city had grown 30 fold, and Houston was known worldwide as “Space City.”  Mud-hole to Space City in a single lifetime: What a trajectory. And what a revolution in visioning the city such a transformation required.

Showing that re-visioning through the eyes and works of Houston’s own artists is the goal of the exhibition Houston Paints Houston. It is our hope that by bringing together, from public and private collections, more than 60 works created over more than 130 years, we can help present-day Houstonians better understand how the vision of the city evolved, and helped create the modern city in which we live.

A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 18, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


South and North of the Border: Houston Paints Houston

 

At The Heritage Society

1100 Bagby Street

Houston, TX 77002

In October 1894, James Perkins Richardson wrote from Galveston to his sister, Emma Richardson Cherry, then living in Denver, to discourage her from relocating to a “mud-hole called Houston.” At the time, Houston was a town of barely 30,000 people; Richardson was a recent Yale graduate who would one day found the prestigious Prosso Preparatory School in the city; and Cherry was a professional artist who would almost singlehandedly lay the foundation of the vibrant art center that Houston would become. Barely 70 years later, by the 1960s, the population of the city had grown 30 fold, and Houston was known worldwide as “Space City.”  Mud-hole to Space City in a single lifetime: What a trajectory. And what a revolution in visioning the city such a transformation required.

Showing that re-visioning through the eyes and works of Houston’s own artists is the goal of the exhibition Houston Paints Houston. It is our hope that by bringing together, from public and private collections, more than 60 works created over more than 130 years, we can help present-day Houstonians better understand how the vision of the city evolved, and helped create the modern city in which we live.

A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 19, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


South and North of the Border: Houston Paints Houston

 

At The Heritage Society

1100 Bagby Street

Houston, TX 77002

In October 1894, James Perkins Richardson wrote from Galveston to his sister, Emma Richardson Cherry, then living in Denver, to discourage her from relocating to a “mud-hole called Houston.” At the time, Houston was a town of barely 30,000 people; Richardson was a recent Yale graduate who would one day found the prestigious Prosso Preparatory School in the city; and Cherry was a professional artist who would almost singlehandedly lay the foundation of the vibrant art center that Houston would become. Barely 70 years later, by the 1960s, the population of the city had grown 30 fold, and Houston was known worldwide as “Space City.”  Mud-hole to Space City in a single lifetime: What a trajectory. And what a revolution in visioning the city such a transformation required.

Showing that re-visioning through the eyes and works of Houston’s own artists is the goal of the exhibition Houston Paints Houston. It is our hope that by bringing together, from public and private collections, more than 60 works created over more than 130 years, we can help present-day Houstonians better understand how the vision of the city evolved, and helped create the modern city in which we live.

A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 20, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


South and North of the Border: Houston Paints Houston

 

At The Heritage Society

1100 Bagby Street

Houston, TX 77002

In October 1894, James Perkins Richardson wrote from Galveston to his sister, Emma Richardson Cherry, then living in Denver, to discourage her from relocating to a “mud-hole called Houston.” At the time, Houston was a town of barely 30,000 people; Richardson was a recent Yale graduate who would one day found the prestigious Prosso Preparatory School in the city; and Cherry was a professional artist who would almost singlehandedly lay the foundation of the vibrant art center that Houston would become. Barely 70 years later, by the 1960s, the population of the city had grown 30 fold, and Houston was known worldwide as “Space City.”  Mud-hole to Space City in a single lifetime: What a trajectory. And what a revolution in visioning the city such a transformation required.

Showing that re-visioning through the eyes and works of Houston’s own artists is the goal of the exhibition Houston Paints Houston. It is our hope that by bringing together, from public and private collections, more than 60 works created over more than 130 years, we can help present-day Houstonians better understand how the vision of the city evolved, and helped create the modern city in which we live.

A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 21, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


South and North of the Border: Houston Paints Houston

 

At The Heritage Society

1100 Bagby Street

Houston, TX 77002

In October 1894, James Perkins Richardson wrote from Galveston to his sister, Emma Richardson Cherry, then living in Denver, to discourage her from relocating to a “mud-hole called Houston.” At the time, Houston was a town of barely 30,000 people; Richardson was a recent Yale graduate who would one day found the prestigious Prosso Preparatory School in the city; and Cherry was a professional artist who would almost singlehandedly lay the foundation of the vibrant art center that Houston would become. Barely 70 years later, by the 1960s, the population of the city had grown 30 fold, and Houston was known worldwide as “Space City.”  Mud-hole to Space City in a single lifetime: What a trajectory. And what a revolution in visioning the city such a transformation required.

Showing that re-visioning through the eyes and works of Houston’s own artists is the goal of the exhibition Houston Paints Houston. It is our hope that by bringing together, from public and private collections, more than 60 works created over more than 130 years, we can help present-day Houstonians better understand how the vision of the city evolved, and helped create the modern city in which we live.

A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 22, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


South and North of the Border: Houston Paints Houston

 

At The Heritage Society

1100 Bagby Street

Houston, TX 77002

In October 1894, James Perkins Richardson wrote from Galveston to his sister, Emma Richardson Cherry, then living in Denver, to discourage her from relocating to a “mud-hole called Houston.” At the time, Houston was a town of barely 30,000 people; Richardson was a recent Yale graduate who would one day found the prestigious Prosso Preparatory School in the city; and Cherry was a professional artist who would almost singlehandedly lay the foundation of the vibrant art center that Houston would become. Barely 70 years later, by the 1960s, the population of the city had grown 30 fold, and Houston was known worldwide as “Space City.”  Mud-hole to Space City in a single lifetime: What a trajectory. And what a revolution in visioning the city such a transformation required.

Showing that re-visioning through the eyes and works of Houston’s own artists is the goal of the exhibition Houston Paints Houston. It is our hope that by bringing together, from public and private collections, more than 60 works created over more than 130 years, we can help present-day Houstonians better understand how the vision of the city evolved, and helped create the modern city in which we live.

A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 23, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


South and North of the Border: Houston Paints Houston

 

At The Heritage Society

1100 Bagby Street

Houston, TX 77002

In October 1894, James Perkins Richardson wrote from Galveston to his sister, Emma Richardson Cherry, then living in Denver, to discourage her from relocating to a “mud-hole called Houston.” At the time, Houston was a town of barely 30,000 people; Richardson was a recent Yale graduate who would one day found the prestigious Prosso Preparatory School in the city; and Cherry was a professional artist who would almost singlehandedly lay the foundation of the vibrant art center that Houston would become. Barely 70 years later, by the 1960s, the population of the city had grown 30 fold, and Houston was known worldwide as “Space City.”  Mud-hole to Space City in a single lifetime: What a trajectory. And what a revolution in visioning the city such a transformation required.

Showing that re-visioning through the eyes and works of Houston’s own artists is the goal of the exhibition Houston Paints Houston. It is our hope that by bringing together, from public and private collections, more than 60 works created over more than 130 years, we can help present-day Houstonians better understand how the vision of the city evolved, and helped create the modern city in which we live.

A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 24, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


South and North of the Border: Houston Paints Houston

 

At The Heritage Society

1100 Bagby Street

Houston, TX 77002

In October 1894, James Perkins Richardson wrote from Galveston to his sister, Emma Richardson Cherry, then living in Denver, to discourage her from relocating to a “mud-hole called Houston.” At the time, Houston was a town of barely 30,000 people; Richardson was a recent Yale graduate who would one day found the prestigious Prosso Preparatory School in the city; and Cherry was a professional artist who would almost singlehandedly lay the foundation of the vibrant art center that Houston would become. Barely 70 years later, by the 1960s, the population of the city had grown 30 fold, and Houston was known worldwide as “Space City.”  Mud-hole to Space City in a single lifetime: What a trajectory. And what a revolution in visioning the city such a transformation required.

Showing that re-visioning through the eyes and works of Houston’s own artists is the goal of the exhibition Houston Paints Houston. It is our hope that by bringing together, from public and private collections, more than 60 works created over more than 130 years, we can help present-day Houstonians better understand how the vision of the city evolved, and helped create the modern city in which we live.

A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 25, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 26, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 27, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 28, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 29, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]

Nov 30, 2018

A Visual Epilogue: Linda Ridgway & Harry Geffert

At The Grace Museum, 102 Cypress St., Abilene, TX. 76901

Geffert was born in 1934 in Live Oak County, TX (between Corpus Christi and San Antonio), and lived in Crowley, TX. Harry Geffert’s legendary reputation establishes him as an expert sculptor, educator and major contributor to the continuum of Texas art history. In his over fifty-year career, he has had numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. 

A Visual Epilogue will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 


A Visual Epilogue: Linda Ridgway & Harry Geffert

10:00 AM - 05:00 PM

A VISUAL EPILOGUE will be the first and last, two person exhibition of drawings and sculpture by two contemporary artists who worked together in life and in the studio for decades. For years, Geffert ran his foundry at the service of other artist clients in need of just such fabricating—Frances Bagley, Tom Orr, Linda Ridgway, among others—but he never stopped making his own work. He taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

The original concept for the exhibition has been transformed by the November 2017 tragic, sudden death of Harry Geffert.  A selection of Geffert’s recent sculpture and new drawings by Ridgway will be a celebration of their life and work. 

Texas Moderns: Sam Gummelt

06:00 PM

The Old Jail Art Center
201 South 2nd Street
Albany, TX, 76430

Sam Gummelt’s reputation as one of Texas’ leading non-objective abstract artists began in the early 1970s. By that time, the current of Postmodernism—a reaction to the dogmas of Modernism—became the dominant trend in art. Since that period, he has continued to stay the course and commit himself to “modernist” visual pursuits. 

Childhood experiences related to sewing with his grandmother and exposure to the German folk art tradition of painting on the reverse side of glass were early influences on his creative processes and continue to be so. Boarded storefronts, doorways, windows, and other geometric structures that Gummelt discovers, photographs, and analyzes are often the visual sources and inspiration for many of his creations incorporating a multitude of materials. 

As seen in many series of works, Gummelt literally “builds” his paintings by assembling and adhering wood panels resulting in modular constructions. Often he manipulates flat surfaces by cutting shallow horizontal and vertical grooves into the panels. These grooves serve as linear elements and also produce a multi-panel effect. The grooves and surfaces then receive a multitude of non-traditional materials such as caulk, asphalt, and polyurethane among others. 

Most recently, Gummelt appropriates and utilizes common cardboard boxes as the structure for his paintings. The works transform from utilitarian objects to art objects, and the pre-existing life and function of the boxes read as formal elements. Whichever substrate he selects, Gummelt employs an inventive process of applying a variety of media layer upon layer. The process, though controlled by the artist, welcomes chance effects as a result of the many stages and materials involved. The application of pigments and finishes results in thick, rich, and deep patinas that welcome surprising alchemical reactions.

Exhibit Opening, Saturday, Sept 15, 6 pm

[From the OJAC Website]