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Oct 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.

South and North of the Border: Houston Paints Mexico

At the Houston Public Library
Julia Ideson Building
550 McKinney Street
Houston, Texas 77002
Through November 10, 2018

Texas and Mexico are neighbors who have been intertwined economically, culturally and imaginatively for centuries. It is thus no surprise that Houston artists have long been intrigued by our exotic neighbor to the south, a land of sights, scents and sounds flamboyantly unlike those that surrounded them at home. Starting in earnest in the 1920s, Houstonians joined the growing numbers of American artists making the journey south. This exhibition showcases more than 60 works by earlier Houston artists who were influenced by their travels and experiences in Mexico.

Stella Sullivan: A Retrospective

At William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

This exhibition will pay tribute to the life and work of Stella Sullivan, a true pioneer of Modernism in Texas. Stella Sullivan (1924-2017) was born in Houston, Texas. Early in life she received private lessons from artist, Ola McNeill Davidson, and attended classes at Museum School of the Museum of Fine Arts, Houston. After graduating from St. Agnes Academy, she studied architecture, earning a Bachelor of Arts degree from Rice Institute (now Rice University) and worked for her father in architectural drafting. Sullivan then moved to Michigan where she studied at the Detroit Society of Arts and Crafts, later transferring to the Cranbrook Academy of Art where she graduated with her Master of Fine Arts degree. Sullivan was an instructor at the Museum School (now Glassell School) of Art, the University of Houston, Sam Houston State University, and the University of Delaware. She established the Stella Sullivan School of Art where she taught painting, drawing, design, and silk-screening during the 1970s. Her career as an artist and teacher in Houston spans seven decades. This exhibition will include Sullivan’s paintings, prints, textiles, life-drawings, and ephemera from her private collection.

Mid-Century Mod in Motion

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Just over two years after the opening of the exhibition This WAS Contemporary Art: Fine and Decorative Arts in Houston 1945-1965 organized by The Heritage Society, Center for the Advancement and Study of Early Texas Art (CASETA), and the Houston Early Texas Art Group (HETAG), Reaves | Foltz Fine Art revisits the often-overlooked Houston Handmakers group among others, highlighting many important works by artists Margaret Baum, Bill Condon, Henri Gadbois, Ruth Laird, Frank Dolejska, Stella Sullivan, and more.The inner gallery space will become a menagerie of prints, textiles, garments, ceramics, sculpture, paintings, and source photographs. This compelling installation will open up a mid-century time capsule that may feel oddly familiar to today's Mod connoisseur.

"Houston Handmakers Gallery Talk with Tam Kiehnhoff

Saturday, Sept 15, 6 pm

Transformed

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Two-dimensional and three-dimensional works and dynamic pieces that exist somewhere in between will also be on display. A dialogue occurs and poses the question, "What happens when an artist lets go of traditional expectations of medium?" Jack Boynton and Richard Stout attempt to answer this question by elevating everyday materials to create truly memorable works. 

Early West Texas: Waypoint and Home

El Paso Museum of Art
Dede Rogers Special Events Gallery
One Arts Festival Plaza
El Paso, TX 79901

Early West Texas: Waypoint and Home
Through November 4, 2018

Historically a point of passage, West Texas has fostered a community composed of artists both passing through and making the El Paso region their permanent home. Painters, printmakers, and draftsmen alike devoted themselves to capturing the border region’s unique landscape and culture. With EPMA’s rich collection of early Texas art alongside works from local collectors, this exhibition examines the border as waypoint and home. Through rarely exhibited paintings, prints, drawings, and photographs, Early West Texas begins with an overarching view of the region’s landscape, continually narrowing its focus to scenes of daily life and portraits of those who, at one point or another, have called El Paso home.

Support for this exhibition is provided by Texas Commission on the Arts.

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]

Oct 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.

South and North of the Border: Houston Paints Mexico

At the Houston Public Library
Julia Ideson Building
550 McKinney Street
Houston, Texas 77002
Through November 10, 2018

Texas and Mexico are neighbors who have been intertwined economically, culturally and imaginatively for centuries. It is thus no surprise that Houston artists have long been intrigued by our exotic neighbor to the south, a land of sights, scents and sounds flamboyantly unlike those that surrounded them at home. Starting in earnest in the 1920s, Houstonians joined the growing numbers of American artists making the journey south. This exhibition showcases more than 60 works by earlier Houston artists who were influenced by their travels and experiences in Mexico.

Stella Sullivan: A Retrospective

At William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

This exhibition will pay tribute to the life and work of Stella Sullivan, a true pioneer of Modernism in Texas. Stella Sullivan (1924-2017) was born in Houston, Texas. Early in life she received private lessons from artist, Ola McNeill Davidson, and attended classes at Museum School of the Museum of Fine Arts, Houston. After graduating from St. Agnes Academy, she studied architecture, earning a Bachelor of Arts degree from Rice Institute (now Rice University) and worked for her father in architectural drafting. Sullivan then moved to Michigan where she studied at the Detroit Society of Arts and Crafts, later transferring to the Cranbrook Academy of Art where she graduated with her Master of Fine Arts degree. Sullivan was an instructor at the Museum School (now Glassell School) of Art, the University of Houston, Sam Houston State University, and the University of Delaware. She established the Stella Sullivan School of Art where she taught painting, drawing, design, and silk-screening during the 1970s. Her career as an artist and teacher in Houston spans seven decades. This exhibition will include Sullivan’s paintings, prints, textiles, life-drawings, and ephemera from her private collection.

Mid-Century Mod in Motion

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Just over two years after the opening of the exhibition This WAS Contemporary Art: Fine and Decorative Arts in Houston 1945-1965 organized by The Heritage Society, Center for the Advancement and Study of Early Texas Art (CASETA), and the Houston Early Texas Art Group (HETAG), Reaves | Foltz Fine Art revisits the often-overlooked Houston Handmakers group among others, highlighting many important works by artists Margaret Baum, Bill Condon, Henri Gadbois, Ruth Laird, Frank Dolejska, Stella Sullivan, and more.The inner gallery space will become a menagerie of prints, textiles, garments, ceramics, sculpture, paintings, and source photographs. This compelling installation will open up a mid-century time capsule that may feel oddly familiar to today's Mod connoisseur.

"Houston Handmakers Gallery Talk with Tam Kiehnhoff

Saturday, Sept 15, 6 pm

Transformed

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Two-dimensional and three-dimensional works and dynamic pieces that exist somewhere in between will also be on display. A dialogue occurs and poses the question, "What happens when an artist lets go of traditional expectations of medium?" Jack Boynton and Richard Stout attempt to answer this question by elevating everyday materials to create truly memorable works. 

Early West Texas: Waypoint and Home

El Paso Museum of Art
Dede Rogers Special Events Gallery
One Arts Festival Plaza
El Paso, TX 79901

Early West Texas: Waypoint and Home
Through November 4, 2018

Historically a point of passage, West Texas has fostered a community composed of artists both passing through and making the El Paso region their permanent home. Painters, printmakers, and draftsmen alike devoted themselves to capturing the border region’s unique landscape and culture. With EPMA’s rich collection of early Texas art alongside works from local collectors, this exhibition examines the border as waypoint and home. Through rarely exhibited paintings, prints, drawings, and photographs, Early West Texas begins with an overarching view of the region’s landscape, continually narrowing its focus to scenes of daily life and portraits of those who, at one point or another, have called El Paso home.

Support for this exhibition is provided by Texas Commission on the Arts.

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]

Oct 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.

South and North of the Border: Houston Paints Mexico

At the Houston Public Library
Julia Ideson Building
550 McKinney Street
Houston, Texas 77002
Through November 10, 2018

Texas and Mexico are neighbors who have been intertwined economically, culturally and imaginatively for centuries. It is thus no surprise that Houston artists have long been intrigued by our exotic neighbor to the south, a land of sights, scents and sounds flamboyantly unlike those that surrounded them at home. Starting in earnest in the 1920s, Houstonians joined the growing numbers of American artists making the journey south. This exhibition showcases more than 60 works by earlier Houston artists who were influenced by their travels and experiences in Mexico.

Stella Sullivan: A Retrospective

At William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

This exhibition will pay tribute to the life and work of Stella Sullivan, a true pioneer of Modernism in Texas. Stella Sullivan (1924-2017) was born in Houston, Texas. Early in life she received private lessons from artist, Ola McNeill Davidson, and attended classes at Museum School of the Museum of Fine Arts, Houston. After graduating from St. Agnes Academy, she studied architecture, earning a Bachelor of Arts degree from Rice Institute (now Rice University) and worked for her father in architectural drafting. Sullivan then moved to Michigan where she studied at the Detroit Society of Arts and Crafts, later transferring to the Cranbrook Academy of Art where she graduated with her Master of Fine Arts degree. Sullivan was an instructor at the Museum School (now Glassell School) of Art, the University of Houston, Sam Houston State University, and the University of Delaware. She established the Stella Sullivan School of Art where she taught painting, drawing, design, and silk-screening during the 1970s. Her career as an artist and teacher in Houston spans seven decades. This exhibition will include Sullivan’s paintings, prints, textiles, life-drawings, and ephemera from her private collection.

Mid-Century Mod in Motion

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Just over two years after the opening of the exhibition This WAS Contemporary Art: Fine and Decorative Arts in Houston 1945-1965 organized by The Heritage Society, Center for the Advancement and Study of Early Texas Art (CASETA), and the Houston Early Texas Art Group (HETAG), Reaves | Foltz Fine Art revisits the often-overlooked Houston Handmakers group among others, highlighting many important works by artists Margaret Baum, Bill Condon, Henri Gadbois, Ruth Laird, Frank Dolejska, Stella Sullivan, and more.The inner gallery space will become a menagerie of prints, textiles, garments, ceramics, sculpture, paintings, and source photographs. This compelling installation will open up a mid-century time capsule that may feel oddly familiar to today's Mod connoisseur.

"Houston Handmakers Gallery Talk with Tam Kiehnhoff

Saturday, Sept 15, 6 pm

Transformed

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Two-dimensional and three-dimensional works and dynamic pieces that exist somewhere in between will also be on display. A dialogue occurs and poses the question, "What happens when an artist lets go of traditional expectations of medium?" Jack Boynton and Richard Stout attempt to answer this question by elevating everyday materials to create truly memorable works. 

Early West Texas: Waypoint and Home

El Paso Museum of Art
Dede Rogers Special Events Gallery
One Arts Festival Plaza
El Paso, TX 79901

Early West Texas: Waypoint and Home
Through November 4, 2018

Historically a point of passage, West Texas has fostered a community composed of artists both passing through and making the El Paso region their permanent home. Painters, printmakers, and draftsmen alike devoted themselves to capturing the border region’s unique landscape and culture. With EPMA’s rich collection of early Texas art alongside works from local collectors, this exhibition examines the border as waypoint and home. Through rarely exhibited paintings, prints, drawings, and photographs, Early West Texas begins with an overarching view of the region’s landscape, continually narrowing its focus to scenes of daily life and portraits of those who, at one point or another, have called El Paso home.

Support for this exhibition is provided by Texas Commission on the Arts.

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]

Oct 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.

South and North of the Border: Houston Paints Mexico

At the Houston Public Library
Julia Ideson Building
550 McKinney Street
Houston, Texas 77002
Through November 10, 2018

Texas and Mexico are neighbors who have been intertwined economically, culturally and imaginatively for centuries. It is thus no surprise that Houston artists have long been intrigued by our exotic neighbor to the south, a land of sights, scents and sounds flamboyantly unlike those that surrounded them at home. Starting in earnest in the 1920s, Houstonians joined the growing numbers of American artists making the journey south. This exhibition showcases more than 60 works by earlier Houston artists who were influenced by their travels and experiences in Mexico.

Stella Sullivan: A Retrospective

At William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

This exhibition will pay tribute to the life and work of Stella Sullivan, a true pioneer of Modernism in Texas. Stella Sullivan (1924-2017) was born in Houston, Texas. Early in life she received private lessons from artist, Ola McNeill Davidson, and attended classes at Museum School of the Museum of Fine Arts, Houston. After graduating from St. Agnes Academy, she studied architecture, earning a Bachelor of Arts degree from Rice Institute (now Rice University) and worked for her father in architectural drafting. Sullivan then moved to Michigan where she studied at the Detroit Society of Arts and Crafts, later transferring to the Cranbrook Academy of Art where she graduated with her Master of Fine Arts degree. Sullivan was an instructor at the Museum School (now Glassell School) of Art, the University of Houston, Sam Houston State University, and the University of Delaware. She established the Stella Sullivan School of Art where she taught painting, drawing, design, and silk-screening during the 1970s. Her career as an artist and teacher in Houston spans seven decades. This exhibition will include Sullivan’s paintings, prints, textiles, life-drawings, and ephemera from her private collection.

Mid-Century Mod in Motion

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Just over two years after the opening of the exhibition This WAS Contemporary Art: Fine and Decorative Arts in Houston 1945-1965 organized by The Heritage Society, Center for the Advancement and Study of Early Texas Art (CASETA), and the Houston Early Texas Art Group (HETAG), Reaves | Foltz Fine Art revisits the often-overlooked Houston Handmakers group among others, highlighting many important works by artists Margaret Baum, Bill Condon, Henri Gadbois, Ruth Laird, Frank Dolejska, Stella Sullivan, and more.The inner gallery space will become a menagerie of prints, textiles, garments, ceramics, sculpture, paintings, and source photographs. This compelling installation will open up a mid-century time capsule that may feel oddly familiar to today's Mod connoisseur.

"Houston Handmakers Gallery Talk with Tam Kiehnhoff

Saturday, Sept 15, 6 pm

Transformed

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Two-dimensional and three-dimensional works and dynamic pieces that exist somewhere in between will also be on display. A dialogue occurs and poses the question, "What happens when an artist lets go of traditional expectations of medium?" Jack Boynton and Richard Stout attempt to answer this question by elevating everyday materials to create truly memorable works. 

Early West Texas: Waypoint and Home

El Paso Museum of Art
Dede Rogers Special Events Gallery
One Arts Festival Plaza
El Paso, TX 79901

Early West Texas: Waypoint and Home
Through November 4, 2018

Historically a point of passage, West Texas has fostered a community composed of artists both passing through and making the El Paso region their permanent home. Painters, printmakers, and draftsmen alike devoted themselves to capturing the border region’s unique landscape and culture. With EPMA’s rich collection of early Texas art alongside works from local collectors, this exhibition examines the border as waypoint and home. Through rarely exhibited paintings, prints, drawings, and photographs, Early West Texas begins with an overarching view of the region’s landscape, continually narrowing its focus to scenes of daily life and portraits of those who, at one point or another, have called El Paso home.

Support for this exhibition is provided by Texas Commission on the Arts.

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]

Oct 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.

South and North of the Border: Houston Paints Mexico

At the Houston Public Library
Julia Ideson Building
550 McKinney Street
Houston, Texas 77002
Through November 10, 2018

Texas and Mexico are neighbors who have been intertwined economically, culturally and imaginatively for centuries. It is thus no surprise that Houston artists have long been intrigued by our exotic neighbor to the south, a land of sights, scents and sounds flamboyantly unlike those that surrounded them at home. Starting in earnest in the 1920s, Houstonians joined the growing numbers of American artists making the journey south. This exhibition showcases more than 60 works by earlier Houston artists who were influenced by their travels and experiences in Mexico.

Stella Sullivan: A Retrospective

At William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

This exhibition will pay tribute to the life and work of Stella Sullivan, a true pioneer of Modernism in Texas. Stella Sullivan (1924-2017) was born in Houston, Texas. Early in life she received private lessons from artist, Ola McNeill Davidson, and attended classes at Museum School of the Museum of Fine Arts, Houston. After graduating from St. Agnes Academy, she studied architecture, earning a Bachelor of Arts degree from Rice Institute (now Rice University) and worked for her father in architectural drafting. Sullivan then moved to Michigan where she studied at the Detroit Society of Arts and Crafts, later transferring to the Cranbrook Academy of Art where she graduated with her Master of Fine Arts degree. Sullivan was an instructor at the Museum School (now Glassell School) of Art, the University of Houston, Sam Houston State University, and the University of Delaware. She established the Stella Sullivan School of Art where she taught painting, drawing, design, and silk-screening during the 1970s. Her career as an artist and teacher in Houston spans seven decades. This exhibition will include Sullivan’s paintings, prints, textiles, life-drawings, and ephemera from her private collection.

Mid-Century Mod in Motion

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Just over two years after the opening of the exhibition This WAS Contemporary Art: Fine and Decorative Arts in Houston 1945-1965 organized by The Heritage Society, Center for the Advancement and Study of Early Texas Art (CASETA), and the Houston Early Texas Art Group (HETAG), Reaves | Foltz Fine Art revisits the often-overlooked Houston Handmakers group among others, highlighting many important works by artists Margaret Baum, Bill Condon, Henri Gadbois, Ruth Laird, Frank Dolejska, Stella Sullivan, and more.The inner gallery space will become a menagerie of prints, textiles, garments, ceramics, sculpture, paintings, and source photographs. This compelling installation will open up a mid-century time capsule that may feel oddly familiar to today's Mod connoisseur.

"Houston Handmakers Gallery Talk with Tam Kiehnhoff

Saturday, Sept 15, 6 pm

Transformed

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Two-dimensional and three-dimensional works and dynamic pieces that exist somewhere in between will also be on display. A dialogue occurs and poses the question, "What happens when an artist lets go of traditional expectations of medium?" Jack Boynton and Richard Stout attempt to answer this question by elevating everyday materials to create truly memorable works. 

Early West Texas: Waypoint and Home

El Paso Museum of Art
Dede Rogers Special Events Gallery
One Arts Festival Plaza
El Paso, TX 79901

Early West Texas: Waypoint and Home
Through November 4, 2018

Historically a point of passage, West Texas has fostered a community composed of artists both passing through and making the El Paso region their permanent home. Painters, printmakers, and draftsmen alike devoted themselves to capturing the border region’s unique landscape and culture. With EPMA’s rich collection of early Texas art alongside works from local collectors, this exhibition examines the border as waypoint and home. Through rarely exhibited paintings, prints, drawings, and photographs, Early West Texas begins with an overarching view of the region’s landscape, continually narrowing its focus to scenes of daily life and portraits of those who, at one point or another, have called El Paso home.

Support for this exhibition is provided by Texas Commission on the Arts.

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]

Oct 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.

South and North of the Border: Houston Paints Mexico

At the Houston Public Library
Julia Ideson Building
550 McKinney Street
Houston, Texas 77002
Through November 10, 2018

Texas and Mexico are neighbors who have been intertwined economically, culturally and imaginatively for centuries. It is thus no surprise that Houston artists have long been intrigued by our exotic neighbor to the south, a land of sights, scents and sounds flamboyantly unlike those that surrounded them at home. Starting in earnest in the 1920s, Houstonians joined the growing numbers of American artists making the journey south. This exhibition showcases more than 60 works by earlier Houston artists who were influenced by their travels and experiences in Mexico.

Stella Sullivan: A Retrospective

At William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

This exhibition will pay tribute to the life and work of Stella Sullivan, a true pioneer of Modernism in Texas. Stella Sullivan (1924-2017) was born in Houston, Texas. Early in life she received private lessons from artist, Ola McNeill Davidson, and attended classes at Museum School of the Museum of Fine Arts, Houston. After graduating from St. Agnes Academy, she studied architecture, earning a Bachelor of Arts degree from Rice Institute (now Rice University) and worked for her father in architectural drafting. Sullivan then moved to Michigan where she studied at the Detroit Society of Arts and Crafts, later transferring to the Cranbrook Academy of Art where she graduated with her Master of Fine Arts degree. Sullivan was an instructor at the Museum School (now Glassell School) of Art, the University of Houston, Sam Houston State University, and the University of Delaware. She established the Stella Sullivan School of Art where she taught painting, drawing, design, and silk-screening during the 1970s. Her career as an artist and teacher in Houston spans seven decades. This exhibition will include Sullivan’s paintings, prints, textiles, life-drawings, and ephemera from her private collection.

Transformed

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Two-dimensional and three-dimensional works and dynamic pieces that exist somewhere in between will also be on display. A dialogue occurs and poses the question, "What happens when an artist lets go of traditional expectations of medium?" Jack Boynton and Richard Stout attempt to answer this question by elevating everyday materials to create truly memorable works. 

Early West Texas: Waypoint and Home

El Paso Museum of Art
Dede Rogers Special Events Gallery
One Arts Festival Plaza
El Paso, TX 79901

Early West Texas: Waypoint and Home
Through November 4, 2018

Historically a point of passage, West Texas has fostered a community composed of artists both passing through and making the El Paso region their permanent home. Painters, printmakers, and draftsmen alike devoted themselves to capturing the border region’s unique landscape and culture. With EPMA’s rich collection of early Texas art alongside works from local collectors, this exhibition examines the border as waypoint and home. Through rarely exhibited paintings, prints, drawings, and photographs, Early West Texas begins with an overarching view of the region’s landscape, continually narrowing its focus to scenes of daily life and portraits of those who, at one point or another, have called El Paso home.

Support for this exhibition is provided by Texas Commission on the Arts.

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]

Oct 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.

South and North of the Border: Houston Paints Mexico

At the Houston Public Library
Julia Ideson Building
550 McKinney Street
Houston, Texas 77002
Through November 10, 2018

Texas and Mexico are neighbors who have been intertwined economically, culturally and imaginatively for centuries. It is thus no surprise that Houston artists have long been intrigued by our exotic neighbor to the south, a land of sights, scents and sounds flamboyantly unlike those that surrounded them at home. Starting in earnest in the 1920s, Houstonians joined the growing numbers of American artists making the journey south. This exhibition showcases more than 60 works by earlier Houston artists who were influenced by their travels and experiences in Mexico.

Stella Sullivan: A Retrospective

At William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

This exhibition will pay tribute to the life and work of Stella Sullivan, a true pioneer of Modernism in Texas. Stella Sullivan (1924-2017) was born in Houston, Texas. Early in life she received private lessons from artist, Ola McNeill Davidson, and attended classes at Museum School of the Museum of Fine Arts, Houston. After graduating from St. Agnes Academy, she studied architecture, earning a Bachelor of Arts degree from Rice Institute (now Rice University) and worked for her father in architectural drafting. Sullivan then moved to Michigan where she studied at the Detroit Society of Arts and Crafts, later transferring to the Cranbrook Academy of Art where she graduated with her Master of Fine Arts degree. Sullivan was an instructor at the Museum School (now Glassell School) of Art, the University of Houston, Sam Houston State University, and the University of Delaware. She established the Stella Sullivan School of Art where she taught painting, drawing, design, and silk-screening during the 1970s. Her career as an artist and teacher in Houston spans seven decades. This exhibition will include Sullivan’s paintings, prints, textiles, life-drawings, and ephemera from her private collection.

Transformed

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Two-dimensional and three-dimensional works and dynamic pieces that exist somewhere in between will also be on display. A dialogue occurs and poses the question, "What happens when an artist lets go of traditional expectations of medium?" Jack Boynton and Richard Stout attempt to answer this question by elevating everyday materials to create truly memorable works. 

Early West Texas: Waypoint and Home

El Paso Museum of Art
Dede Rogers Special Events Gallery
One Arts Festival Plaza
El Paso, TX 79901

Early West Texas: Waypoint and Home
Through November 4, 2018

Historically a point of passage, West Texas has fostered a community composed of artists both passing through and making the El Paso region their permanent home. Painters, printmakers, and draftsmen alike devoted themselves to capturing the border region’s unique landscape and culture. With EPMA’s rich collection of early Texas art alongside works from local collectors, this exhibition examines the border as waypoint and home. Through rarely exhibited paintings, prints, drawings, and photographs, Early West Texas begins with an overarching view of the region’s landscape, continually narrowing its focus to scenes of daily life and portraits of those who, at one point or another, have called El Paso home.

Support for this exhibition is provided by Texas Commission on the Arts.

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]

Oct 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. 


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.

South and North of the Border: Houston Paints Mexico

At the Houston Public Library
Julia Ideson Building
550 McKinney Street
Houston, Texas 77002
Through November 10, 2018

Texas and Mexico are neighbors who have been intertwined economically, culturally and imaginatively for centuries. It is thus no surprise that Houston artists have long been intrigued by our exotic neighbor to the south, a land of sights, scents and sounds flamboyantly unlike those that surrounded them at home. Starting in earnest in the 1920s, Houstonians joined the growing numbers of American artists making the journey south. This exhibition showcases more than 60 works by earlier Houston artists who were influenced by their travels and experiences in Mexico.

Stella Sullivan: A Retrospective

At William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

This exhibition will pay tribute to the life and work of Stella Sullivan, a true pioneer of Modernism in Texas. Stella Sullivan (1924-2017) was born in Houston, Texas. Early in life she received private lessons from artist, Ola McNeill Davidson, and attended classes at Museum School of the Museum of Fine Arts, Houston. After graduating from St. Agnes Academy, she studied architecture, earning a Bachelor of Arts degree from Rice Institute (now Rice University) and worked for her father in architectural drafting. Sullivan then moved to Michigan where she studied at the Detroit Society of Arts and Crafts, later transferring to the Cranbrook Academy of Art where she graduated with her Master of Fine Arts degree. Sullivan was an instructor at the Museum School (now Glassell School) of Art, the University of Houston, Sam Houston State University, and the University of Delaware. She established the Stella Sullivan School of Art where she taught painting, drawing, design, and silk-screening during the 1970s. Her career as an artist and teacher in Houston spans seven decades. This exhibition will include Sullivan’s paintings, prints, textiles, life-drawings, and ephemera from her private collection.

Transformed

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Two-dimensional and three-dimensional works and dynamic pieces that exist somewhere in between will also be on display. A dialogue occurs and poses the question, "What happens when an artist lets go of traditional expectations of medium?" Jack Boynton and Richard Stout attempt to answer this question by elevating everyday materials to create truly memorable works. 

Early West Texas: Waypoint and Home

El Paso Museum of Art
Dede Rogers Special Events Gallery
One Arts Festival Plaza
El Paso, TX 79901

Early West Texas: Waypoint and Home
Through November 4, 2018

Historically a point of passage, West Texas has fostered a community composed of artists both passing through and making the El Paso region their permanent home. Painters, printmakers, and draftsmen alike devoted themselves to capturing the border region’s unique landscape and culture. With EPMA’s rich collection of early Texas art alongside works from local collectors, this exhibition examines the border as waypoint and home. Through rarely exhibited paintings, prints, drawings, and photographs, Early West Texas begins with an overarching view of the region’s landscape, continually narrowing its focus to scenes of daily life and portraits of those who, at one point or another, have called El Paso home.

Support for this exhibition is provided by Texas Commission on the Arts.

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]

Oct 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. 


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.

South and North of the Border: Houston Paints Mexico

At the Houston Public Library
Julia Ideson Building
550 McKinney Street
Houston, Texas 77002
Through November 10, 2018

Texas and Mexico are neighbors who have been intertwined economically, culturally and imaginatively for centuries. It is thus no surprise that Houston artists have long been intrigued by our exotic neighbor to the south, a land of sights, scents and sounds flamboyantly unlike those that surrounded them at home. Starting in earnest in the 1920s, Houstonians joined the growing numbers of American artists making the journey south. This exhibition showcases more than 60 works by earlier Houston artists who were influenced by their travels and experiences in Mexico.

Stella Sullivan: A Retrospective

At William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

This exhibition will pay tribute to the life and work of Stella Sullivan, a true pioneer of Modernism in Texas. Stella Sullivan (1924-2017) was born in Houston, Texas. Early in life she received private lessons from artist, Ola McNeill Davidson, and attended classes at Museum School of the Museum of Fine Arts, Houston. After graduating from St. Agnes Academy, she studied architecture, earning a Bachelor of Arts degree from Rice Institute (now Rice University) and worked for her father in architectural drafting. Sullivan then moved to Michigan where she studied at the Detroit Society of Arts and Crafts, later transferring to the Cranbrook Academy of Art where she graduated with her Master of Fine Arts degree. Sullivan was an instructor at the Museum School (now Glassell School) of Art, the University of Houston, Sam Houston State University, and the University of Delaware. She established the Stella Sullivan School of Art where she taught painting, drawing, design, and silk-screening during the 1970s. Her career as an artist and teacher in Houston spans seven decades. This exhibition will include Sullivan’s paintings, prints, textiles, life-drawings, and ephemera from her private collection.

Transformed

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Two-dimensional and three-dimensional works and dynamic pieces that exist somewhere in between will also be on display. A dialogue occurs and poses the question, "What happens when an artist lets go of traditional expectations of medium?" Jack Boynton and Richard Stout attempt to answer this question by elevating everyday materials to create truly memorable works. 

Early West Texas: Waypoint and Home

El Paso Museum of Art
Dede Rogers Special Events Gallery
One Arts Festival Plaza
El Paso, TX 79901

Early West Texas: Waypoint and Home
Through November 4, 2018

Historically a point of passage, West Texas has fostered a community composed of artists both passing through and making the El Paso region their permanent home. Painters, printmakers, and draftsmen alike devoted themselves to capturing the border region’s unique landscape and culture. With EPMA’s rich collection of early Texas art alongside works from local collectors, this exhibition examines the border as waypoint and home. Through rarely exhibited paintings, prints, drawings, and photographs, Early West Texas begins with an overarching view of the region’s landscape, continually narrowing its focus to scenes of daily life and portraits of those who, at one point or another, have called El Paso home.

Support for this exhibition is provided by Texas Commission on the Arts.

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]

Oct 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. 


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.

South and North of the Border: Houston Paints Mexico

At the Houston Public Library
Julia Ideson Building
550 McKinney Street
Houston, Texas 77002
Through November 10, 2018

Texas and Mexico are neighbors who have been intertwined economically, culturally and imaginatively for centuries. It is thus no surprise that Houston artists have long been intrigued by our exotic neighbor to the south, a land of sights, scents and sounds flamboyantly unlike those that surrounded them at home. Starting in earnest in the 1920s, Houstonians joined the growing numbers of American artists making the journey south. This exhibition showcases more than 60 works by earlier Houston artists who were influenced by their travels and experiences in Mexico.

Stella Sullivan: A Retrospective

At William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

This exhibition will pay tribute to the life and work of Stella Sullivan, a true pioneer of Modernism in Texas. Stella Sullivan (1924-2017) was born in Houston, Texas. Early in life she received private lessons from artist, Ola McNeill Davidson, and attended classes at Museum School of the Museum of Fine Arts, Houston. After graduating from St. Agnes Academy, she studied architecture, earning a Bachelor of Arts degree from Rice Institute (now Rice University) and worked for her father in architectural drafting. Sullivan then moved to Michigan where she studied at the Detroit Society of Arts and Crafts, later transferring to the Cranbrook Academy of Art where she graduated with her Master of Fine Arts degree. Sullivan was an instructor at the Museum School (now Glassell School) of Art, the University of Houston, Sam Houston State University, and the University of Delaware. She established the Stella Sullivan School of Art where she taught painting, drawing, design, and silk-screening during the 1970s. Her career as an artist and teacher in Houston spans seven decades. This exhibition will include Sullivan’s paintings, prints, textiles, life-drawings, and ephemera from her private collection.

Transformed

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Two-dimensional and three-dimensional works and dynamic pieces that exist somewhere in between will also be on display. A dialogue occurs and poses the question, "What happens when an artist lets go of traditional expectations of medium?" Jack Boynton and Richard Stout attempt to answer this question by elevating everyday materials to create truly memorable works. 

Early West Texas: Waypoint and Home

El Paso Museum of Art
Dede Rogers Special Events Gallery
One Arts Festival Plaza
El Paso, TX 79901

Early West Texas: Waypoint and Home
Through November 4, 2018

Historically a point of passage, West Texas has fostered a community composed of artists both passing through and making the El Paso region their permanent home. Painters, printmakers, and draftsmen alike devoted themselves to capturing the border region’s unique landscape and culture. With EPMA’s rich collection of early Texas art alongside works from local collectors, this exhibition examines the border as waypoint and home. Through rarely exhibited paintings, prints, drawings, and photographs, Early West Texas begins with an overarching view of the region’s landscape, continually narrowing its focus to scenes of daily life and portraits of those who, at one point or another, have called El Paso home.

Support for this exhibition is provided by Texas Commission on the Arts.

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]

Oct 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. 


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.

South and North of the Border: Houston Paints Mexico

At the Houston Public Library
Julia Ideson Building
550 McKinney Street
Houston, Texas 77002
Through November 10, 2018

Texas and Mexico are neighbors who have been intertwined economically, culturally and imaginatively for centuries. It is thus no surprise that Houston artists have long been intrigued by our exotic neighbor to the south, a land of sights, scents and sounds flamboyantly unlike those that surrounded them at home. Starting in earnest in the 1920s, Houstonians joined the growing numbers of American artists making the journey south. This exhibition showcases more than 60 works by earlier Houston artists who were influenced by their travels and experiences in Mexico.

Stella Sullivan: A Retrospective

At William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

This exhibition will pay tribute to the life and work of Stella Sullivan, a true pioneer of Modernism in Texas. Stella Sullivan (1924-2017) was born in Houston, Texas. Early in life she received private lessons from artist, Ola McNeill Davidson, and attended classes at Museum School of the Museum of Fine Arts, Houston. After graduating from St. Agnes Academy, she studied architecture, earning a Bachelor of Arts degree from Rice Institute (now Rice University) and worked for her father in architectural drafting. Sullivan then moved to Michigan where she studied at the Detroit Society of Arts and Crafts, later transferring to the Cranbrook Academy of Art where she graduated with her Master of Fine Arts degree. Sullivan was an instructor at the Museum School (now Glassell School) of Art, the University of Houston, Sam Houston State University, and the University of Delaware. She established the Stella Sullivan School of Art where she taught painting, drawing, design, and silk-screening during the 1970s. Her career as an artist and teacher in Houston spans seven decades. This exhibition will include Sullivan’s paintings, prints, textiles, life-drawings, and ephemera from her private collection.

Transformed

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Two-dimensional and three-dimensional works and dynamic pieces that exist somewhere in between will also be on display. A dialogue occurs and poses the question, "What happens when an artist lets go of traditional expectations of medium?" Jack Boynton and Richard Stout attempt to answer this question by elevating everyday materials to create truly memorable works. 

Early West Texas: Waypoint and Home

El Paso Museum of Art
Dede Rogers Special Events Gallery
One Arts Festival Plaza
El Paso, TX 79901

Early West Texas: Waypoint and Home
Through November 4, 2018

Historically a point of passage, West Texas has fostered a community composed of artists both passing through and making the El Paso region their permanent home. Painters, printmakers, and draftsmen alike devoted themselves to capturing the border region’s unique landscape and culture. With EPMA’s rich collection of early Texas art alongside works from local collectors, this exhibition examines the border as waypoint and home. Through rarely exhibited paintings, prints, drawings, and photographs, Early West Texas begins with an overarching view of the region’s landscape, continually narrowing its focus to scenes of daily life and portraits of those who, at one point or another, have called El Paso home.

Support for this exhibition is provided by Texas Commission on the Arts.

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]

Oct 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. 


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.

South and North of the Border: Houston Paints Mexico

At the Houston Public Library
Julia Ideson Building
550 McKinney Street
Houston, Texas 77002
Through November 10, 2018

Texas and Mexico are neighbors who have been intertwined economically, culturally and imaginatively for centuries. It is thus no surprise that Houston artists have long been intrigued by our exotic neighbor to the south, a land of sights, scents and sounds flamboyantly unlike those that surrounded them at home. Starting in earnest in the 1920s, Houstonians joined the growing numbers of American artists making the journey south. This exhibition showcases more than 60 works by earlier Houston artists who were influenced by their travels and experiences in Mexico.

Stella Sullivan: A Retrospective

At William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

This exhibition will pay tribute to the life and work of Stella Sullivan, a true pioneer of Modernism in Texas. Stella Sullivan (1924-2017) was born in Houston, Texas. Early in life she received private lessons from artist, Ola McNeill Davidson, and attended classes at Museum School of the Museum of Fine Arts, Houston. After graduating from St. Agnes Academy, she studied architecture, earning a Bachelor of Arts degree from Rice Institute (now Rice University) and worked for her father in architectural drafting. Sullivan then moved to Michigan where she studied at the Detroit Society of Arts and Crafts, later transferring to the Cranbrook Academy of Art where she graduated with her Master of Fine Arts degree. Sullivan was an instructor at the Museum School (now Glassell School) of Art, the University of Houston, Sam Houston State University, and the University of Delaware. She established the Stella Sullivan School of Art where she taught painting, drawing, design, and silk-screening during the 1970s. Her career as an artist and teacher in Houston spans seven decades. This exhibition will include Sullivan’s paintings, prints, textiles, life-drawings, and ephemera from her private collection.

Transformed

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Two-dimensional and three-dimensional works and dynamic pieces that exist somewhere in between will also be on display. A dialogue occurs and poses the question, "What happens when an artist lets go of traditional expectations of medium?" Jack Boynton and Richard Stout attempt to answer this question by elevating everyday materials to create truly memorable works. 

Early West Texas: Waypoint and Home

El Paso Museum of Art
Dede Rogers Special Events Gallery
One Arts Festival Plaza
El Paso, TX 79901

Early West Texas: Waypoint and Home
Through November 4, 2018

Historically a point of passage, West Texas has fostered a community composed of artists both passing through and making the El Paso region their permanent home. Painters, printmakers, and draftsmen alike devoted themselves to capturing the border region’s unique landscape and culture. With EPMA’s rich collection of early Texas art alongside works from local collectors, this exhibition examines the border as waypoint and home. Through rarely exhibited paintings, prints, drawings, and photographs, Early West Texas begins with an overarching view of the region’s landscape, continually narrowing its focus to scenes of daily life and portraits of those who, at one point or another, have called El Paso home.

Support for this exhibition is provided by Texas Commission on the Arts.

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]

Oct 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. 


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.

South and North of the Border: Houston Paints Mexico

At the Houston Public Library
Julia Ideson Building
550 McKinney Street
Houston, Texas 77002
Through November 10, 2018

Texas and Mexico are neighbors who have been intertwined economically, culturally and imaginatively for centuries. It is thus no surprise that Houston artists have long been intrigued by our exotic neighbor to the south, a land of sights, scents and sounds flamboyantly unlike those that surrounded them at home. Starting in earnest in the 1920s, Houstonians joined the growing numbers of American artists making the journey south. This exhibition showcases more than 60 works by earlier Houston artists who were influenced by their travels and experiences in Mexico.

Stella Sullivan: A Retrospective

At William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

This exhibition will pay tribute to the life and work of Stella Sullivan, a true pioneer of Modernism in Texas. Stella Sullivan (1924-2017) was born in Houston, Texas. Early in life she received private lessons from artist, Ola McNeill Davidson, and attended classes at Museum School of the Museum of Fine Arts, Houston. After graduating from St. Agnes Academy, she studied architecture, earning a Bachelor of Arts degree from Rice Institute (now Rice University) and worked for her father in architectural drafting. Sullivan then moved to Michigan where she studied at the Detroit Society of Arts and Crafts, later transferring to the Cranbrook Academy of Art where she graduated with her Master of Fine Arts degree. Sullivan was an instructor at the Museum School (now Glassell School) of Art, the University of Houston, Sam Houston State University, and the University of Delaware. She established the Stella Sullivan School of Art where she taught painting, drawing, design, and silk-screening during the 1970s. Her career as an artist and teacher in Houston spans seven decades. This exhibition will include Sullivan’s paintings, prints, textiles, life-drawings, and ephemera from her private collection.

Transformed

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Two-dimensional and three-dimensional works and dynamic pieces that exist somewhere in between will also be on display. A dialogue occurs and poses the question, "What happens when an artist lets go of traditional expectations of medium?" Jack Boynton and Richard Stout attempt to answer this question by elevating everyday materials to create truly memorable works. 

Early West Texas: Waypoint and Home

El Paso Museum of Art
Dede Rogers Special Events Gallery
One Arts Festival Plaza
El Paso, TX 79901

Early West Texas: Waypoint and Home
Through November 4, 2018

Historically a point of passage, West Texas has fostered a community composed of artists both passing through and making the El Paso region their permanent home. Painters, printmakers, and draftsmen alike devoted themselves to capturing the border region’s unique landscape and culture. With EPMA’s rich collection of early Texas art alongside works from local collectors, this exhibition examines the border as waypoint and home. Through rarely exhibited paintings, prints, drawings, and photographs, Early West Texas begins with an overarching view of the region’s landscape, continually narrowing its focus to scenes of daily life and portraits of those who, at one point or another, have called El Paso home.

Support for this exhibition is provided by Texas Commission on the Arts.

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]

Oct 31, 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.

South and North of the Border: Houston Paints Mexico

At the Houston Public Library
Julia Ideson Building
550 McKinney Street
Houston, Texas 77002
Through November 10, 2018

Texas and Mexico are neighbors who have been intertwined economically, culturally and imaginatively for centuries. It is thus no surprise that Houston artists have long been intrigued by our exotic neighbor to the south, a land of sights, scents and sounds flamboyantly unlike those that surrounded them at home. Starting in earnest in the 1920s, Houstonians joined the growing numbers of American artists making the journey south. This exhibition showcases more than 60 works by earlier Houston artists who were influenced by their travels and experiences in Mexico.

Stella Sullivan: A Retrospective

At William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

This exhibition will pay tribute to the life and work of Stella Sullivan, a true pioneer of Modernism in Texas. Stella Sullivan (1924-2017) was born in Houston, Texas. Early in life she received private lessons from artist, Ola McNeill Davidson, and attended classes at Museum School of the Museum of Fine Arts, Houston. After graduating from St. Agnes Academy, she studied architecture, earning a Bachelor of Arts degree from Rice Institute (now Rice University) and worked for her father in architectural drafting. Sullivan then moved to Michigan where she studied at the Detroit Society of Arts and Crafts, later transferring to the Cranbrook Academy of Art where she graduated with her Master of Fine Arts degree. Sullivan was an instructor at the Museum School (now Glassell School) of Art, the University of Houston, Sam Houston State University, and the University of Delaware. She established the Stella Sullivan School of Art where she taught painting, drawing, design, and silk-screening during the 1970s. Her career as an artist and teacher in Houston spans seven decades. This exhibition will include Sullivan’s paintings, prints, textiles, life-drawings, and ephemera from her private collection.

Transformed

William Reaves | Sarah Foltz Fine Art
2143 Westheimer Rd.
Houston, TX 77098

Two-dimensional and three-dimensional works and dynamic pieces that exist somewhere in between will also be on display. A dialogue occurs and poses the question, "What happens when an artist lets go of traditional expectations of medium?" Jack Boynton and Richard Stout attempt to answer this question by elevating everyday materials to create truly memorable works. 

Early West Texas: Waypoint and Home

El Paso Museum of Art
Dede Rogers Special Events Gallery
One Arts Festival Plaza
El Paso, TX 79901

Early West Texas: Waypoint and Home
Through November 4, 2018

Historically a point of passage, West Texas has fostered a community composed of artists both passing through and making the El Paso region their permanent home. Painters, printmakers, and draftsmen alike devoted themselves to capturing the border region’s unique landscape and culture. With EPMA’s rich collection of early Texas art alongside works from local collectors, this exhibition examines the border as waypoint and home. Through rarely exhibited paintings, prints, drawings, and photographs, Early West Texas begins with an overarching view of the region’s landscape, continually narrowing its focus to scenes of daily life and portraits of those who, at one point or another, have called El Paso home.

Support for this exhibition is provided by Texas Commission on the Arts.

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]