• Homeward SGC Portfolio

    Homeward SGC Portfolio

    We all come from somewhere else. Whether first or the tenth generation of exiles or wonderers, a home and identity was left behind. Arriving to a new place, a new life and identity is created. The transition from one’s heritage has a direct influence on how we live and experience our world. Sometimes this departure is traumatic and directly impactful. For some, the journey became lost and is barely influential. Sometimes we know our familial homeland by hearsay or fantasy. By moving, a part of who we are is lost but another part is gained by who we become. This portfolio includes artists whose imagery is inspired by their heritage, who let their distance inform the work, as a space for questioning, for departures and returns.

    Artists
    Sophie Knee, Sang-Mi Yoo, Irena Keckes, Michael Litzau, Serena Perrone, Xenia Fedorchenko, Elizabeth Klimek, Jose Rodriguez, Jesus De La Rosa, Mumu Wang, Marzi Rahmani, Lila Shull, Jade Hoyer, Jason Scuilla, Gloria Shows, Mariana Smith, Preeti Sood, Ani Volkan

  • Slinging Ink In The South

    Slinging Ink In The South

    This session will call on the experiences of artists “slinging ink in the South.” Throughout most of its history, the South has cultivated artists who rely on their resourcefulness, determination, and community to survive. This reliance has informed a new generation of artists who are adept practitioners in a rapidly changing landscape of print. Each panelist will discuss his/her experiences with pulling prints in the South and how they feel the legacy of southern printers and printmakers have informed their work and community. The panel will then open for a question and answer period, in order to further confront the historical complexity of what it means to sling ink in the South.

    Thursday: 1:30 - 3 pm, Kennesaw State University
    Carmichael Student Center
    395 Cobb Avenue
    Student Leadership Room

    Panelists

    Nicholas Silberg (panel chairperson)
    Chair of Fine Arts, Humanities, & Wellness and Associate Professor of Art
    Savannah State University, Savannah, Georgia
    Margot Ecke, Graphic Designer, Professional Printer
    Smokey Road Press, Athens, Georgia
    Jesus De La Rosa, Associate Professor of Art
    Texas A&M University, Kingsville, Texas
    Scott Smith, Associate Professor and Program Coordinator
    Alabama A&M University, Huntsville, Alabama

  • Selections

    Selections
  • Inexplorado Exchange Portfolio

    Inexplorado Exchange Portfolio

    Inexplorado is an exercise in traversing what has not yet been considered. Please examine how you interpret uncharted territory, the unexplained, or unexplored. Describe a situation, experience, or activity as you travel to the new or unfamiliar; a mystery, riddle, or situation of uncertainty reveals it self, perhaps... This portfolio exchange is about shifting an emphasis from typical individual style which you have established within your work to some idea, concept, or process which has yet to be explored.

    The theme for this year's print exchange is Inexplorado. The prompt asks and challenges each participant to genuinely move out side the comfort zone of their typical stylistic work. This project aims to offer a sustained platform for initiating dialogues, developing a network among artist professionals, and furthering collaboration.

    Paper Size: 15 inches x 11 inches (15 x 11”)

    Edition Size: 30
    This includes a set for archives, one exhibition set, and a set for special collections, TBD.

  • Print Austin celebrates art on paper with month of events

    Print Austin celebrates art on paper with month of events

    Austin American Stateman
    LIFE By Luke Quinton -Thursday, January 12, 2017

    Printmakers make art for the masses — at least that’s how it seems. The medium looks more approachable than the dark arts of oil paints and conceptual art, although, it, too, can take eons of study to master.
    Austin is increasingly becoming known as a respected nexus for printmaking, and the month-long Print Austin features the full range, from highly conceptual fine art prints that make leaps into sculpture, to gnarly, eye-popping gig posters for Red River clubs.

    The events for Print Austin are sprinkled throughout the city at galleries, museums and oddball spots, from parties with live printing at Leona Gallery to full-fledged exhibits at Carver and Cepeda library branches and even one show at a doctor’s office. This is Print Austin’s fourth year.

    “We started with 20 events and now it’s grown to 40 throughout Austin,” says Elvia Perrin, one of the organizers, as well as a noted printer. The event draws print makers, vendors and art school departments from all over the country.

    This being art made in Texas, there are a few oddball events. The one sure to raise eyebrows among these is undoubtedly prints made with a steamroller. Perrin seemed relieved to not be in charge of this event, in which Jesus De La Rosa, associate professor of art at Texas A&M in Kingsville, will be running over pre-carved woodblocks, yes, with a steamroller (there are 25 spots for artists with $35 registration each; sign up at the Print Austin website).

    Here are some highlights from Print Austin 2017, which runs Jan. 15-Feb. 15 and includes a variety of affordable classes:

    Miscellanea
    Interdisciplinary artist Paloma Mayorga has curated a show from contemporary print artists of color, to show at a doctor’s office. Dr. Robert E. Cantu has a little space outside of his office, Perrin says, where the prints will be displayed. He catered last year, she says. “It felt a little like a fun house,” including a band crammed in the corner. (Opening reception, hosted by Dr. Cantu, from 7 p.m. to 9 p.m. Jan. 21. Exhibit open during office hours through Feb. 18. 2911 Medical Arts Street, Bldg. 13).

    Print Expo / Bin Fest / Steamroller Printing
    The sprawling rabbit warren of complexes makes a stop here a no-brainer. A show by Kevin McNamee-Tweed is next door at the Museum of Human Achievement, while you can also peruse prints for sale by 30 artists, check out the Art Science gallery, Modern Rocks, artist studios and offerings from printing presses from across the country (Noon to 5 p.m. Feb. 11, RSVP through the event website for location.)

    Orna Feinstein
    This art shimmers and buzzes. “It makes you rethink print,” says Perrin. Orna Feinstein prints on plexiglass, and turns print into sculpture.
    (Reception 6 p.m. to 8 p.m. Jan. 13 at Camiba Art Gallery, 2832 E Martin Luther King Jr. Blvd. #111. Exhibit continues through Feb. 11.)

    The Contemporary Print
    Susan Tallman juried the print competition, which narrowed down 900 entries to 34. “She’s pretty big in our world. She’s the chief editor for ‘Art and Print’ magazine, a well-read art historian, and she juried the show,” Perrin says. “So she chose from artists who hang from all over the country.” (Reception 6 p.m. to 8 p.m. Jan. 20 at O2 Space at Flatbed Press Headquarters, 2832 East Martin Luther King Jr. Blvd. Exhibit through Feb. 18.)

    Art Werger: Tidal Shift
    Dreamy, photorealistic prints of both the mundane and the mundane with a hint of mystery, in stunning detail. (Reception 6 p.m. to 10 p.m. Jan. 20 at Slugfest Workshop and Gallery. Runs through Feb. 18.)

    The Art of the Print
    Tucked away in a project room, for one night only, prints pulled from the Blanton Museum of Art’s extensive holdings will be on display for the public. “They actually opened up their private collection,” says Perrin. “You can get close with the magnifying glass — there’s a crazy amount of monitors who are watching you, but it’s pretty great. … You can go up to a (Francisco) Goya, and just see what an actual piece of paper, inked, looks like, instead of just a slide. So it’s a pretty rare opportunity to do that.” (5:30 p.m. to 7 p.m. Jan. 19, Julia Matthews Wilkinson Center for Prints and Drawings in the Blanton Museum of Art, 200 E Martin Luther King Jr Blvd.)

    Print Austin The celebration of works on paper includes dozens of artists and venues and runs Jan. 15-Feb. 15. See the full list of participating artists, venues and events at printaustin.org.

  • PrintAustin 2017 PrintExpo + Steamroller

    PrintAustin 2017 PrintExpo + Steamroller

    We invite you to our PrintExpo, featuring 30+ artists, live demonstrations + Steamroller printing which will be fun for the entire family.
    * us February 11 from 12-5pm @ Museum of Human Achievement, near Canopy, home of Big Medium (916 Springdale, ATX)*

    Please join us for PrintAustin’s first Steamroller Print Event on Saturday, February 11, 2017 in the parking lot of Canopy (916 Springdale Road). Nearby will be our PrintExpo and Bin Fest at the Museum of Human Achievement. The steamroller print event is organized by PrintAustin in partnership with Texas A&M University-Kingsville Department of Art, Communications and Theatre, and is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department, and the Still Water Foundation.

    The steamroller print event generates an environment of community engagement, teamwork and education. Please keep your blocks family-friendly.

    PrintAustin
    916 Springdale Rd, Bldg. 1, Unit 218
    Austin, TX 78702

    Poster Design - Carlos Hernandez

  • IDOLS AND IMPOSSIBLE STRUCTURES: NEW PRINTS 2017/WINTER

    IDOLS AND IMPOSSIBLE STRUCTURES: NEW PRINTS 2017/WINTER

    ON VIEW JANUARY 19 - APRIL 01, 2017

    International Print Center New York presents Idols and Impossible Structures: New Prints 2017/Winter, on view from January 19 to April 2, 2017 in its gallery at 508 West 26th Street, 5th floor. The 55th presentation of IPCNY’s New Prints Program, this group exhibition features several innovative methods by artists testing the limits of the medium, including the use of UV-reactive ink, glass powder as pigment, and three-dimensional printed objects, as well as traditional techniques like lithography, etchings, and linoleum cut. With work from a diverse cohort of 39 artists, the show also distinguishes itself through recurring themes of history, nation, and violence, expressed through portrayals of individuals, as well as depictions of impossible structures and precarious consumer products. Both varied and topical, the exhibitions reflects print’s immediacy and its continued capacity to channel popular conversation.

    Opens on January 19: artist talks with Yoonmi Nam, Gary Michaels, and Anne-Marie Lavigne from 5-6pm, reception from 6-8pm.

    The exhibition was juried by Noel W. Anderson, Assistant Professor of Printmaking at NYU/Steinhardt, Anne Coffin, Founding Director and Trustee of IPCNY, Caitlin Condell, Assistant Curator, Drawings, Prints, & Graphic Design at Cooper Hewitt, Smithsonian Design Museum NY, Lucia Hierro, artist, Martin Nash, collector and IPCNY Trustee, and Françoise de Saint Phalle Associate at Dominique Levy Gallery, who together pored over more than 2,000 submissions from around the world.

    Artists are: Kathy Aoki, Miguel A. Aragón, Mildred Beltre, Lauren Cardenas, Maria Providencia Casanovas, Akanksha Vikash Chhajer, Lindsey Clark-Ryan, Steven Daiber, Ryan Davis, Jesus De La Rosa, Donna Diamond, Nicole Eisenman, Kirsten Flaherty, Nabil Gonzalez, Valerie Hammond, Marco Hernandez, Anna Hoberman, Elisapee Ishulutaq, Anne-Marie Lavigne, Liza Lou, Jennifer Manzella, Donald Martin, Michelle Martin, Frederick Mershimer, Gary Michaels, Michelle Murillo, Yoonmi Nam, Joe Nanashe, Tatiana Potts, Benjamin Rinehart, Jenny Robinson, David Sandlin, Yesuk Seo, Mizin Shin, Susannah Stark, Philip Van Keuren, April Vollmer, Brandon Williams, and Imin Yeh.

    Presses and Publishers: 10 Grand Press & FIAR (NY), LeRoy Neiman Center for Print Studies (NY), Manneken Press (IL), Red Trillium Press (MA), Royal College of Art (UK), Purgatory Pie Press (NY), Saturday Press (NV), Studio PM (Canada), and World House Editions (CT).

  • International Print Center New York, New Prints Winter/2017

    International Print Center New York, New Prints Winter/2017
  • The Contemporary Print Austin 2017

    The Contemporary Print Austin 2017

    PrintAustin's 4th annual juried national exhibition “ The Contemporary Print” to be held at O2 Gallery at Flatbed Press Headquarters during PrintAustin 2017.

    The Contemporary Print exhibition is a survey of the traditions and the innovations of contemporary printmaking happening today. While non-traditional or digital output is accepted as a print element, submissions must utilize traditional print media as their primary technique including: Lithography, Relief, Intaglio, Silkscreen, and Monotype.

    *The Contemporary Print held at O2 Space @ Flatbed Press Headquarters
    Austin, Texas*

    January 10–February 18, 2017
    Opening Reception: January 20, 6-8pm
    Closing + Awards Ceremony: February 9, 6-8pm

    JUROR: Susan Tallman.

    The Contemporary Print 2017 Selected Artists:

    Miguel Aragon
    David Avery
    Selene Bataille
    Helene Bautista
    Win Bruhl
    Dawnielle Castledine
    Harry Clewans
    Brian Cohen
    Jesus De La Rosa
    Jeffrey Dell
    Babara Duval
    Mike Elko
    Kate Fleming
    Barbara Foster
    Ken Frink
    Brandy Gonzalez
    Adriane Herman
    Robert Howsare
    Jayne Reid Jackson
    Javier Jimenez
    Alexia Kraus
    Jim Lee
    Juliet Mattila
    Matthew McLaughlin
    Larinda Meade
    Hannah Neal
    Lynn Peterfreund
    Zackery Petot
    Sheila Pitt
    Milo Reid
    Kelsey Stephenson
    Allison Valdivia
    Summer Ventis
    Chris Warot
    Art Werger
    Jack Wood

  • Wild Horse Desert Print Fair & Exhibition at Beyond Arts Gallery

    Wild Horse Desert Print Fair & Exhibition at Beyond Arts Gallery


    Beyond Arts gallery proudly presents “Wild Horse Desert Print Fair & Exhibition” curated by Jesus De La Rosa of Kingsville, TX with Guest of Honor B. A. G. Board Member, Nancy Russell of Harlingen, Texas. Catering by Frank Macias of Franke Flav’s, Harlingen.

    The area between the Nueces and Rio Grande was known as the Wild Horse Desert, a place where boundless numbers of magnificent wild horses roamed the countryside. In its second edition the Wild Horse Desert Print Fair and Exhibition revises the version of this scenario. Instead of the wild mustangs the print fair displays hand-pulled prints metaphorically galloping across South Texas. Regional Artists will display fine art etchings, lithographs, silkscreens and hand-carved relief woodblocks that were printed under the drum of a 2-ton steamroller.

    The opening is scheduled for Saturday July 9th from 6:30 pm
    to 9:30 pm and is free and open to the public.
    The exhibition will be on view until September 2, 2016

    The public will have the opportunity to sign up for a relief printmaking workshop scheduled from 1:00-4:00pm Saturday July 9th. Register by visiting, www.ogprints.com/workshop.

    For more information please contact Beyond Arts Gallery.
    114 N. A. Street Harlingen, Texas 78550, (956)230-2859
    Jessica Salazar McBride
    Beyond Arts Gallery Director
    144 North A. Street
    Harlingen, TX 78550
    (956) 230.2859
    www.beyondartsgallery.com

    ARTWORKS BY:
    UTRGV- Brownsville Campus: Student Artists
    under the direction of Noe Palmenez:
    Gabby Guajardo
    Miriam Hernandez
    Sam Melchor
    Gabby Guajardo
    Sinthia Martinez
    Josh Berry
    Alex Garcia
    Sinthia Martinez
    Clarissa Martinez
    Jesus Trevino
    Eliana Araujo
    Jaime Alamilla
    Blanca Soberanes
    Jesse Barciaga
    Annette Sosa
    Saul Arellano

    STEAMROLLER PRINT ARTISTS:
    Sold steamroller prints benefit the
    Texas A&M University- Kingsville Art program.

    Jimmy Snowden
    Celeste De Luna
    Omar Gonzalez, OG Prints
    Rigoberto A. Gonzalez
    Todd Lucas
    Charles Wissinger
    Fulden Wissinger
    Julian Rodriguez
    Alisa Bautista
    Dwayne Kraatz,
    Carlos G. Gomez
    Stephanie Ortiz
    Juan Salinas
    Lorenzo Garcia
    Angela Pineda
    Ronda D’Lorm
    Samantha Diaz
    Gonzalo Alvarez
    Audra LaCour

    PRINTFAIR ARTISTS:
    Andrea De Angel
    Lisette Chavez - Holy Press
    Celeste De Luna
    Lenard Brown - Print Haus
    Juan Salinas - Dark INK Prints
    Omar Gonzalez - OG Prints
    Jesus De La Rosa - Maverick Press

  • Secrets featured on 1870 Magazine

    Secrets featured on 1870 Magazine

    Printmaking is in all kinds of things,” Sophie Knee tells me, gesturing to the advertisements posted across the walls of the café we’re sitting in. She’s an artist herself, and spent her undergrad years in the printmaking labs at Ohio State.
    But printmaking is often overlooked, even within art communities, and between the less than promising job market and the title of “starving artist” looming overhead, it’s hard to stick with a career in the fine arts. So when the influence of one professor can keep so many of his former students in the craft, it’s something worth celebrating.

    That’s exactly what happened with Professor Emeritus Charles Massey. A printmaking teacher, Professor Massey’s dedication to inspiring and creating meaningful relationships with his students has paid off, as they have recently honored him with a printmaking exhibition entitled “Secrets.”

    “It’s a tribute to how many people have worked with him and are still active in printmaking,” said Sophie, the curator of the exhibition. She, along with two of Massey’s former students, felt motivated to honor their professor when they met up by chance at an art conference and realized they had all been taught printmaking by Massey.

    “Charles brought people together,” Knee said, and everything she told me about her experience with him exemplified that point. As one of the artists putting out calls for prints to honor Massey’s retirement, she was shocked with the number of printmakers who had been touched by Charles Massey.

    As an undergraduate at Ohio State, she was one of those students. “The printmaking lab became a place I could belong and wanted to belong,” said Knee.

    Belonging, in this case, involved getting along with her professor, even as she struggled through learning the basics of a new art medium. “If you’re going to be happy in the printmaking lab, you have to learn to be a good citizen,” she said, recounting her early experiences in Massey’s classes.

    In the end, the effort paid off. Massey’s teaching guided Knee to the printmaking she does today, and inspired the exhibition’s other contributors to pursue their own goals.

    The exhibition Knee has curated brings together the work of students Massey has taught throughout his career. It brings together artists across generations, across cultures, across all kinds of possible identity lines, and although each artist worked around the same theme of “Secrets,” the prints are as unique to one another as their artists.

    “Charles encouraged people to go out and make what they’re most interested in making,” said Knee. “He was careful not to turn out students who were clones of himself.”

    “Most of the artists made prints they wanted to make anyway,” she said, citing Hilary Hilario’s work in “Secrets.” Hilario is known for creating prints of the people she meets on travels, her contribution to the exhibition following that trend.
    The influence Massey had on these artists is still visible in many of the pieces. One print by Ann Heineman includes a portrait of the man himself surrounded by printmaking tools, while another by Keith Garubba incorporates quotes from Massey into its framework.

    This collection of work has been shown several times in the past few years, originally under the name “Spheres of Influence.” This month’s exhibition will also include works by Charles Massey for the first time.

    “Secrets,” which is both the title and theme of the exhibition, is inspired by Professor Massey’s focus on bringing out the “secrets” in things—whether through optical illusions in his own work or by influencing his students to create art that is truly a reflection of themselves.

    “Secrets” will open July 5th and run through September 2nd at The Ohio State University Faculty Club.

  • Artists in Brownsville find a shared common humanity

    Artists in Brownsville find a shared common humanity

    By LINDA LEWIS | SPECIAL TO THE MONITOR
    Jun 27, 2016 (1) 6.27 SURFACE TREATMEANT

    The title of this exhibition, Un/Provincial is predicated upon the notion that the media casts a shadow of provincialism over South Texas artists, who defiantly claim their right to localism and assert that their work stands up to standards established by the metropolitan center.

    I believe they have proven their point.

    The spacious lobby of the Brownsville Museum of Fine Art features a large abstract painting by Candé Aguilar. Gathering inspiration from the local landscape, he recreates surfaces that suggest a process of decay, transformation and renewal. His compositions are energized by the interplay of vibrant color, texture and image. His thoughtful use of different media reinforces a sense of history and memory.

    Nancy Moyer’s photographic prints are lovely chiaroscuro abstracts with soft cloud-like shapes. Surprisingly, the “clouds” are roughly textured washcloths. The prints range from soft muted tones to bright hues. Smaller images are encased inresin and juxtaposed against precious metals and stones in necklaces and brooches.

    In her artist’s statement, Moyer refers to excess waste in the textile industry. “Since washcloths are used to cleanse the body, I drew a connection to a

    15th century painting by Robert Campin titled the ‘Mérode Altarpiece,” Moyer wrote.

    In it, a basin and washcloth symbolically illustrate the cleansing of the sins of the world. Moyer’s celestial clouds may be a reminder to us to make sacrifices to create a better world.

    Mark Clark skewers what he considers to be downright foolish and ruinous behavior on the part of individuals and corporations in his pseudo-primitive style paintings. Instead of being isolated incidents, the dramas are played out in very close proximity to each other, evoking a sense of magnitude. No one and nothing is exempt from his satirical critique whether they be local or national.

    In his 3:10 minute video “Casa Iceberg,” Mauricio Saénz conveys a sense of psychological disturbance. In a nightmarish mindscape, the artist wanders through a decaying abandoned residence in an apparent state of dissociation. These are symptoms of a mind that has been negatively affected by the many obstacles facing immigrants, such as exclusion, isolation and displacement.

    A clear message of instability stands out in Veronica Jaeger’s assemblages. Geometric shapes reminiscent of architectural elements float independently, in a column, on the wall. The parts hover in a seeming state of suspended animation, creating a feeling of tension. The disembodied head of a woman floats on its side. This is a small version of a woman’s portrait with an expression of worry, sadness and resignation that is Jaeger’s signature style.

    Patterns of violence are expressed in Jesus de la Rosa’s designs. Hand grenades are transformed into floral designs, and bullets become repeat patterns found in household goods. The designs suggest that the ubiquitous presence of violence invades our homes. In his Borderland Child with Gun Halo, de la Rosa expresses his deep concern for his own children.

    David Freeman utilizes carpets as a backdrop for his abstract expressionistic figurative paintings in the manner of deKooning. Scenes of violence in the Middle East, fracking, and American meddling in foreign affairs take place within the borders of the carpet. The carpets are a reminder of the intimacy of violence.

    The graphic icon is becoming prevalent as a means of communication in our digital world. Jorge Puron renders his own icons in the style of hard-edge paintings, but he incorporates figurative imagery, perspective and depth. In La Vista de Calle Juárez St. a stylized apple, orange and knife rest on a table in front of a window.

    It is a nostalgic depiction of the view from his bedroom in his childhood home in Piedras Negras, Mexico.

    The goal of these eight artists in expressing their own humanity is to find a shared or common humanity. This impetus is not simply a local phenomenon, but takes place throughout the world.

  • Secrets

    Secrets


    Secrets A group exhibition of prints by Professor Emeritus
    Charles W. Massey, Jr. and his former students

    The Ohio State University Faculty Club
    On View: July 5, 2016 - September 2, 2016
    Reception: Friday, July 8, 2016, 6-8pm

    Artists
    Dennis Applebee (Macon, Georgia)
    Kristen Applebe (Macon, Georgia)
    Marty Azevedo( Mobile, Alabama)
    Christopher Daniggelis (Kansas City, Missouri)
    Benjy Davies (Gallipolis, Ohio)
    Jesus De La Rosa (Kingsville, Texas)
    Keith Garubba (Bethlehem, Pennsylvania)
    Elizabeth Gerdeman (Leipzig, Gremany)
    Rachel Heberling ( Cincinnati, Ohio)
    Ann Heineman (Columbus, Ohio)
    Hilary Hilario (Columbus, Ohio)
    Sophie Knee (Columbus, Ohio)
    Michael Litzau (Edmond, Oklahoma)
    Michelle Martin ( Tulsa, Oklahoma)
    Peter Massing (Huntington, West Virginia)
    Blake McAdow (Columbus, Ohio)
    Kathy McGhee (Columbus, Ohio)
    Saegan Moran ( Athens, Georgia)
    Gina Reynoso (Atlanta, Georgia)
    Ian Ruffino (Columbus, Ohio)
    Jennifer Slezak (Columbus, Ohio)
    Jeremy Stone
    Sang-Mi Yoo ( Lubbock, Texas)

    The Ohio State University Faculty Club will present a collection of prints in a group exhibition including the works of Professor Emeritus Charles W. Massey, Jr. and his former students. The exhibition, titled "Secrets," will be on display from July 5, 2016 through September 2, 2016. An opening reception will be held on Friday, July 8, 2016 from 6:00 - 8:00 p.m. at The Ohio State University Faculty Club. Please call 614-292-2262 or email the club at facultyclubosu@yahoo.com for more information or to RSVP.

    Charles W. Massey, Jr. was professor of printmaking at The Ohio State University from 1974 to 2013. In those thirty-nine years, he had a profound influence on generations of students, many of whom are still printmakers today. This collection of prints was created by former students of Professor Massey as a tribute to this great teacher and printmaker and to commemorate his many years of tireless dedication to his students. The theme of the portfolio, "Secrets," is inspired by Professor Massey's own body of work in printmaking. He always emphasized that each of his students must explore their own vision, make their own work, and find their own voice. For this reason, each artist interpreted the theme in their own way, with free choice of printmaking media, to create work characteristic of their own individual style.

    In a previous solo exhibition of his work at the Faculty Club, Professor Massey made this statement about his creative process: "When I was a child, I liked it that Superman could discover secrets with his x-ray vision. Since then, I have wished for the power of x-ray vision so that I could see beyond the obvious and know more about what is in front of me. I attempt, through my prints and drawings, to make visible the "secrets" I sense in the things I see. I am always looking for something of substance, of consequence."

    "Secrets" represents the work of over twenty former students and includes the four main types of printmaking: relief, intaglio, lithography and silk screen. The exhibition has been curated by artist and printmaker Sophie Knee, whose inspiration it was to honor Professor Massey with a portfolio exchange of prints from his former students. Knee states, "A portfolio exchange continues a long-standing tradition in the printmaking art form of collecting and disseminating a body of work. In this case, I sent out a call for participation to a number of former students as a way of honoring Charles at the time of his retirement. The gathered prints were then bound into book form as a gift to Charles before we presented it at the Southern Graphics Council International (SGCI) conference."

    These prints (excluding those of Professor Massey) were exhibited at the SGCI's conference at The University of Tennessee (Knoxville) in 2015 under the name "Spheres of Influence." Additionally, they have been exhibited at Texas A & M University's Ben Bailey Art Galleries (Kingsville Campus) and at the University of Central Oklahoma in Edmond.

    Established in 1923, The Ohio State University Faculty Club is located at 181 South Oval Drive on the Columbus campus of the university. The art exhibition program features the work of selected Ohio State University faculty, staff, students and alumni. Exhibitions are held throughout the year. All exhibitions are free and open to the public. For more information, please call the Faculty Club at 614-292-2262. For images of the artwork featured in the current exhibit, please contact lisa@ohio-statefacultyclub.com.

    FOR IMMEDIATE RELEASE
    Contact: Lisa Craig Morton
    Home Office: 614-294-2849
    Lisa@ohio-statefacultyclub.com

  • Un/Provincial

    Un/Provincial

    Un/Provincial, refers to the ever present contrast between the simplified view of south Texas promoted by the media and the reality of local artists creating a 21st-century aesthetic on an international level. These south Texas artists, working in a highly informed and sophisticated way, refuse to be isolated by geography or stereotypes. Their work is serious, even when presented with humor; serious, sophisticated, deeply thoughtful and highly professional. By refusing to ignore the provincial and local, the artists find rich source material in the surrounding landscape, languages, and blending, clashing cultures. Viewers are drawn in by the intricacy, absurdity and mystery of the art only to find upon closer inspection layers of meaning that push the audience to reflect on the complex, tumultuous, constantly changing world of south Texas.

    Un/Provincial is curated by Jennifer Cahn, Ph.D., Head Curator, International Museum of Art & Science, McAllen, Texas.

    Exhibit Openning: Saturday June 11, 2016, 6PM

    Brownsville Museum of Fine Art
    660 Ringgold St., Brownsville, TX

  • Artists utilize steamroller in large-scale printmaking

    Artists utilize steamroller in large-scale printmaking

    Lawrence Journal World
    Artists utilize steamroller in large-scale printmaking
    By Joanna Hlavacek, Saturday, May 31, at noon

    Artists gathered at the Lawrence Arts Center, 940 New Hampshire St., to watch a 8,500-pound roller pass over blocks of wood the artists carved to create prints Friday. Artists gathered at the Lawrence Arts Center, 940 New Hampshire St., to watch a 8,500-pound roller pass over blocks of wood the artists carved to create prints Friday. Richard Gwin/Journal World Photo.From left, Dana Rudolph, St. Joe Mo. helps Sally Piller, remove her print as artist's gathered at the Lawrence Arts Center at 940 New Hampshire to watch a city 8,500 lb. roller driven by Andy Breedlove of the Public Works Department pass over blocks of wood artists carved various ides into, creating block prints on Friday May 30, 2014. John McCaughey carefully rests the 3-by-4-foot plank of wood on the asphalt, covering it with two layers of muslin and a sheet of thermoplastic polycarbonate. A one-inch foam board provides the final layer before an 8,500-pound steamroller, driven by Andy Breedlove of the Lawrence Public Works department, slowly inches across the mound. A few moments later, McCaughey and an assistant triumphantly lift up the finished product— a previously spotless piece of white fabric, now adorned with a design in striking black ink. The crowd of about 50 people erupts in cheers, congratulating the artists on a job well done. The Lawrence Arts Center hosted the printmaking project Friday night outside its location at 940 New Hampshire St. as part of the kickoff festivities for Saturday’s Art Tougeau parade. John McCaughey, an artist-in-residence at the center, along with visiting artist Jesus De La Rosa of Texas A&M University-Kingsville, led a group of about 20 artists from across Kansas in the endeavor. Using a steamroller to create large-scale prints has become something of a trend in the art world. Similar events are sprouting up “all over the country,” McCaughey explained. “You spend 40 to 80 hours carving these blocks, and have a steamroller come in,” he said. “It’s really fun to watch.” Several of the participating artists at Friday’s production were students in McCaughey’s printmaking class at the arts center. Dana Rudolph, a graduate student at the Pacific Northwest College of Art, took the class as part of her independent study program. The St. Joseph, Mo., native helped McCaughey set up the prints along New Hampshire Street on Friday evening. Her own design featured a children’s wading pool with a large “chopped-up snake” hovering above it, forsythia blooms crawling up the sides of the fabric. Much of Rudolph’s work emphasizes the darkness of childhood memories, she said. The inspiration for Friday’s print came from an encounter she had with a snake when she was little. Initially, the steamroller proved challenging, Rudolph said. On her first try, the print was “a little under-inked,” she said. The second one, however, “came out great.” Rudolph said she’ll take the print back to her professors for critique. The other artists might take them back home, or perhaps try their hand at selling the work. “Some people have even been inquiring, ‘Are you selling?’” McCaughey said. “So, we’re going to through artists individually. Hopefully they’ll do well.”

  • The Lawrence Arts Center - Steamroller Prints

    The Lawrence Arts Center - Steamroller Prints

    The Lawrence Arts Center will for the first time host a steamroller printmaking event. Organized by John McCaughey, Printmaker-in-Residence at the LAC, and Visiting Artist Jesus De La Rosa.

    Saturday, May 30, 2015, 3PM - 7PM
    Lawrence Arts Center
    940 New Hampshire St.
    Lawrence, Kansas 66044

    Twenty-Five artists from all over the state will participate by printing large woodblocks they carved. This event is in conjunction with the Art Tougeau block party and will be fun for the whole family.

    Their will be live music and alcohol for sale (Free State and Boulevard). So come watch the steamroller doing what it does best... making big prints!

    Participating Artists:
    Jesus De La Rosa (Texas A&M University - Kingsville)
    Sally Piller (Lawrence Artist)
    Barr Jasonn (Lawrence Artist)
    Alicia Kelly (Lawrence Artist)
    Katie McMahon (Lawrence Artist)
    Grace Peterson (Lawrence Artist)
    Nola Cat (Lawrence Artist)
    Rose Kopf (Lawrence Artist)
    Dana Rudolph (Lawrence Artist)
    Paulette Manville (Lawrence Artist)
    Rebecca Riden (Lawrence Artist)
    Chris Garcia (Wichita State)
    Sydney Fish (Wichita State)
    Joe Moss (Wichita State)
    Phillip Nellis (Wichita State)
    Carlos Paolomino and Issac Choe (Wichita State)
    Wendi Valladeres (Wichita State)
    Landon Schmidt (Wichita State)
    Darren Jones (Wichita State)
    Meredith Moore (Wonder Fair)
    Jolynn Reiguluth Collaboration (K-State)
    Kathleen Murray Collaboration (K-State)
    Washburn Rural High Students

  • Tokens

    Tokens

    Tokens for Today
    The Monitor
    Nancy Moyer | Posted: Monday, May 5, 2014 9:22 am

    An enjoyable and relevant exhibition is now being shown at the McAllen Public Library. Token Gesture Portfolio is a series of stunning black and white relief prints bringing together the wit and imagination of several professional printmakers. Stefanie Dykes of Saltgrass Printmakers, an organization based in Salt Lake City, organized the project. Originally exhibited at IMPACT8 in Dundee, Scotland, it is displayed in the Lobby Gallery. Historically, tokens are cultural objects that reflect a history of colonialism, exploitation, and modern consumerism. The token was a pledge redeemable for goods and services, such as wooden nickels — coin-like objects used instead of currency during hard times. Specific trade tokens were often designed and given to placate employees, persuade voting populace, or entice customers to purchase merchandise. Some of you might remember discount bus tokens.The artists participating in this portfolio project were asked to design a token based on a contemporary issue (financial, environmental, social, political, etc.). And this portfolio is the result. Presented as a 24-inch or 18-inch print, these robust designs address issues ranging from the very personal to the universal. While tokens of the past usually offered a direct empirical usage, most of these tokens have a psychological bite built into them and eschew practicality. Some of them speak of disillusionment, such as the “Obama=Zero Cents” token by Brian Taylor. The token states that it is “false change, redeemable for any loss of hope.” Humor, or possibly a warning, is contained in “Redeem Token for a Chance to Open a Big Can of Worms” by Adam Larsen. Cynicism is easy to find. “Empty Words” by Travis Janssen speaks of the insincerity often found in company or organizational appreciation plaques and gestures. “Facts,” by Lewis J. Crawford, suggests presenting this token to your local TV news agency for one story based on factual information. Nick Mendoza suddenly turns a scary corner. His token, “Good for One Border Crossing,” leaves us with an uneasy feeling in these days of Border violence; isn’t the bearer going to come back? The wit and imagination go on. The technique used in making these prints may be interesting to some of you. Moving beyond the early 20th century aesthetic of the skill-based art product, this print exhibit endorses the idea/concept as the paramount aspect of an artwork. The design for each print was fed into a computer using CNC (computer numerical control) and a relief plate was laser cut in a fraction of the time it would have taken the printmaker to cut it manually. But with a nod to the traditional block-print craft, the plates were hand-inked and printed. On loan from Jesus De La Rosa, assistant professor of art at Texas A&M University-Kingsville, Token Gesture Portfolio is sponsored by the International Museum of Art and Science and will be up for another month. In addition to being a fun art experience, this exhibit offers some serious insights into our contemporary life.

    Nancy Moyer, Professor Emerita of Art from UTPA, is an art critic for The Monitor. She may be reached at nmoyer@rgv.rr.com
    SURFACE TREATMENT
    What: Token Gesture Portfolio
    Where: Lobby Gallery, McAllen Public Library, Nolana at 23rd Street
    When: Until June 9, 2014, Library hours

  • Sphere of Influence SGCI Exchange Portfolio

    Sphere of Influence SGCI Exchange Portfolio

    Viewing and Pick-Up : Thursday, March 19, B Session
    12:00pm-1:30pm KCC 200DE
    Organized by Sophie Knee, Email: sknee@ccad.edu

    This portfolio brings together the former students of Charles Massey, Jr., who has taught printmaking at The Ohio State University since 1974. In those 39 years, he has had a profound influence on generations of students, many of whom are still printmakers today. The portfolio is intended to commemorate his many years of tireless dedication to his students. The theme of the portfolio, “Secrets”, is inspired by Charles's own body of work in printmaking. One of Charles's many strengths as a teacher is that he always emphasized that each student must explore their own vision, make their own work, and find their own voice. Please interpret the theme to create a print characteristic of your own personal style.

    Paper Size: 11 x 14 inches
    Edition Size: 30
    Technique: any print media

    PARTICIPANTS:
    Dennis Applebee (Macon, Georgia)
    Kristen Applebe (Macon, Georgia)
    Marty Azevedo( Mobile, Alabama)
    Christopher Daniggelis (Kansas City, Missouri)
    Benjy Davies (Gallipolis, Ohio)
    Jesus De La Rosa (Kingsville, Texas)
    Keith Garubba (Bethlehem, Pennsylvania)
    Elizabeth Gerdeman (Leipzig, Gremany)
    Rachel Heberling ( Cincinnati, Ohio)
    Ann Heineman (Columbus, Ohio)
    Hilary Hilario (Columbus, Ohio)
    Sophie Knee (Columbus, Ohio)
    Michael Litzau (Edmond, Oklahoma)
    Michelle Martin ( Tulsa, Oklahoma)
    Peter Massing (Huntington, West Virginia)
    Blake McAdow (Columbus, Ohio)
    Kathy McGhee (Columbus, Ohio)
    Saegan Moran ( Athens, Georgia)
    Gina Reynoso (Atlanta, Georgia)
    Ian Ruffino (Columbus, Ohio)
    Jennifer Slezak (Columbus, Ohio)
    Jeremy Stone
    Sang-Mi Yoo ( Lubbock, Texas)

  • PRINTHOUSTON 2013

    PRINTHOUSTON 2013

    HOUSTON PRESS
    Contemporary Works Take Over the Museum of Printing History*
    By Meredith Deliso Thu., Jun. 27 2013

    By name alone, the Museum of Printing History may seem like the last place you'd find contemporary work in the print field. But among the permanent displays that chronicle the history of printing can be found impressive works that experiment with the form and subject matter. So it is with the "PRINTTX," the first juried exhibition of contemporary Texas artists as part of PRINTHOUSTON 2013, a summer-long event celebrating both traditional and contemporary printmaking in the state. Peter S. Briggs, the Helen DeVitt Jones Curator of Art at the Museum of Texas Tech University, has pulled together 23 works of varying sizes and materials by 20 artists for the show. Some of the more engaging pieces aren't what you'd think of when you consider prints. Ann Johnson's Sky's Nest is a sphere of intaglio and found objects suspended from the ceiling by a string. Inside this enclosed nest is, curiously, a faint, ghost-like image of a girl printed on feathers -- it's obvious but unexpected at the same time. Orna Feinstein's The Fan is less mysterious. This sculptural wall piece consists of a blue and black monoprint on a plexi and metal part. The circular spots of color repeat the fan's shape over and over in circles themselves, making it all about whirring motion of this geometric form. Among the more typical prints, Evan Leigh Rottet's photographic lithograph Trash? is a beautifully saturated piece that depicts a pile of garbage in great sepia tones, implying that these discarded items may still have value. Trash? indeed. Other prints have grander, more political implications. Jesus De La Rosa's lithograph Party is Over is a bright pink piñata with bullets for ears and a look of what seems to be concern in its piñata eye. The small bold print definitely catches your attention, but then keeps you as it makes a commentary on the "hidden nature of the US/Mexican war on illegal drugs," says the artist. There are plenty of these subtle details, including the button and shirt tag of Joëlle Verstraeten's cool blue monoprints, in a show that offers plenty to admire.

    "PRINTTX" at the Museum of Printing History, 1324 W. Clay Street, runs now through September 14. For more information, call 713-522-4652 or visit www.printingmuseum.org.

  • Slice: Cohn Drennan Contemporary

    Slice: Cohn Drennan Contemporary

    Slice Exhibition Opening Reception
    Saturday, May 21 6:00p to 8:00p
    Cohn Drennan Contemporary, Dallas, TX

    Slice is an exhibition curated by artist Cande Aguilar exploring the similarity of line, color, texture and surface of four Texas artists – Michael Blair, Jesus De La Rosa, Jorge Puron and Cande. Cande began searching for and reaching out to artists with comparable sensibilities in an effort to share ideas, concepts, techniques, and possibly even develop a forum or peer group to identify with.

    SLICE: review Lanny Quarles
    June 2011

    The first exhibition I saw at Cohn Drennan Contemporary was of Cande Aguilar's, and at the time I remember having thoughts about subtle mixtures, loose combinations, and unlikely bed fellows like Winnie the Pooh and Matisse all smoothed into a canny sauce. So when I heard Cande was curating a show, I was interested to see what he was cooking up. The show is slice (May 21 - July 2, 2011), and features Michael Blair (Denton), Jesus De La Rosa (Kingsville), Jorge Puron (EaglePass) and Cande (Brownsville). There is something intriguing about the idea of revisiting abstract expressionism as if it were a sort of mad old imprisoned being whom one might discover accidentally while mining for chickens, or something, ala Monty Python, to find it still ravingon in wild solipsist vortexes of private visual syntax some how befuddled by the advent of pop, and / or, anything less than the existentialist sisyphean melodrama. That Or something might be inevidence here. If we look at the title piece of the show, Cande Aguilar’s self-titled slice, we can see what is in effect a truly contemporary hybridization of styles which could be called pop expressionism, or abstract pop, or graffito salsa for that matter. The image itself could be a back alley tag figured as a banana split whose smell is a rainbow, and whosecherry-on-top might be Count Dracula in his muscle red armor. This piece signals a fun, happy, associative theme which connects andunites the show. On the other hand, though, Michael Blair’s pieces, like Untitled 3-1, and 2-3 while ostensibly more visually sombre seem to perform almost a bass-line in the show’s over all referential fuzz-box, bringing in things like Duchamp’s Chocolate grinder, Sir Arthur Evans’ Minoan "Horns of Consecration," Mid-Century Modernism,and perhaps a minor key note for the collective styles of these artists, Albert Oehlen. There seems to be, at least in Blair, some definite arcing to the Neue Wilde movement in Germany. In Jesus De La Rosa’s work Utopia Almost, I found a deep homage to process but a process whose result somehow arcs between director Byron Haskin’s 1964 Robinson Crusoe on Mars and Max Ernst’s epic frottages like The Eye of Silence. All of the works seem chatty in various ways. Jorge Puron’s Sexiest Elevator evokes memory and subtly approaches an abstract landscape through an urban lens which evokes a wryly reflexive subject matter. Are we looking at a painting of a little store front in some anonymous south Texas neighborhood? Is the elevator that penetrates the roof and continues up into the huge unlikely billboard a top its roof somehow akin to the artist’s aspirations? It is an odd, dark question, and it seems to be put to you by a swatch of cloth cut from a hammock. Sexiest Elevator, for me, had a second title, namely black humorsiesta. These were, more or less, the kinds of thoughts I had as I looked at the show. When I asked Michael Blair what he thought, he seemed to feel that there was still a lot of baggage to this kind of painting. I thought to myself, I like an artist who's wary of what he is doing, but for some reason, I wasn't very wary. I immediately embraced the show, and it felt like something closer to Jack Bruce and Ginger Baker jamming, than to clearly defined art-historical categories. I could see sci-fi, and neo-geo, and graffiti, and pop, and just really a sort of free-for all orchestration of materiality that ended up looking like an avatar of the title, namely slice. As if a wide swath of recent art historical styles and precedents, or some of them anyway, and discourses, had been thrown together willy-nilly in a big torta sandwich made like a pie, and then cut in different places to reveal the gooey weird contents. For me, the show ended up being more about savor and sapidity, or sabor, than dry category. And since they say that Painting will never die, then I suppose what the old Ab-ExPop-wild monster in the cave was cooking up was edible zombies, Frankenstein confections that wink and snicker and just start talking to you like an old friend...

    -Lanny Quarles

  • Texas Biennial 2011: Arte de la Frontera

    Texas Biennial 2011: Arte de la Frontera

    Arte de la Frontera
    One View: April 28 - September 4, 2011
    Artist Reception April 28 7-9pm

    International Museum of Art and Science
    1900 West Nolana Ave.
    McAllen TX 78504

    artists: From top left, clockwise:
    Benjamin Varela, Mirla Martinez, Veronica Jaeger, Mark Clark, Cande Aguilar, Paul Valadez (TX★09 Biennial Artist), Nancy Moyer, Linda Lewis, Donna Sweigart, George Lorio, Karen Sanders, Tom Matthews (TX★07/09 Biennial Artist, "Arte de la Frontera" Co-Curator, and Assistant Chair of Visual Arts & Music, STC), Joseph Bravo ("Arte de la Frontera" Co-Curator and IMAS Executive Director), Jesus de la Rosa, Rosendo Sandoval, Thomas Murray, M.C. Farris, Steven Ortiz, Jessica Monroe and Fulden S. Wissinger. Missing: David Freeman, Scott Nicol and Richard Smith. — with Benjamin P Varela, Mirla González Enríquez, Jessica Monroe Martinez, Mark Clark, Cande Aguilar, Paul Valadez, Nancy Moyer, MC Farris, MC Farris, Thomas Murray, Rosendo Sandoval, Tom Matthews, Jesus De La Rosa and Joseph Bravo.

  • CHRONICLE

    (MIMB II) Monumental Ideas In Miniature Books II Traveling Juried Exhibition

    The selection of artist books titled “Monumental Ideas in Miniature Books – MIMB II”, presented by Myers School of Art of The University of Akron, Ohio, and curated by professor Hui-Chu Ying, is the result of the collaboration of a large cast of international visual artists. Through these small objects, they show us their aesthetic concerns, articulated by their particular way of perceiving the world. On one side, this collection of small objects allows us an approach to experiences developed by the art of the twentieth century. Then, we must consider that the current idea of the book as Art becomes a reality with Mallarmée, Apollinaire, and Duchamp,among other artists. On the other side, this exhibition aims to present the aesthetic formulations of this new millennium."

    - Juan Carlos Ramos Guadix
    Professor, Fine Arts School at the University of Granada, Spain

    (MIMB II) Monumental Ideas In Miniature Books II, Exhibit International Venues:

    • Sala Políglota. Proyecto’ace, Buenos Aires, Argentina
    • University of Granada, Spain
    • National Taiwan University of Arts
    • Escuela de Arte de Oviedo, Spain
    • Yonsei University, Korea, Byungkeum
    • Thompson Rivers University
    • Kamloops Art Gallery, Canada
    • Taller Arteria Grafica, Madrid, Spain
    • Chhaap Foundation for Printmaking Trust

    (MIMB II) Monumental Ideas In Miniature Books II, Exhibit National Venues:

    • University of Akron
    • Ball State University
    • University of Texas at Arlington
    • Birmingham-Southern College
    • Texas Tech University
    • Houghton College, NY
    • Kent State University
    • University of Colorado, Boulder
    • Youngstown State University
    • Cleveland Institute of Art
    • University of Texas, Austin
    • University of Tennessee, Knoxville
    • University Iowa
    • Texas Lutheran University
    • Texas A&M University-Kingsville
    • University of Texas, Brownsville
    • University of Delaware
    • Belmont University
    • Amherst College
    • The University of Mount Union
    • Old Dominion University
    • Hiram College
    • Ohio Northern University
    • Monticello-Union .
    • University of South Carolina Beaufort

    Jesus De La Rosa • Works on Paper
    David Freeman • Paintings
    Scott Nicol • Sculpture

    Opening Reception
    Friday, 02 April, 6:00 p.m.
    On View: April 2 - May 2, 2010

    GALERIA 409
    409 E 13th St.
    Brownsville, TX 78520
    Phone:956-455-3599
    Email:Galeria409@yahoo.com

    Galleria 409 hosts trio of artists
    The Brownsville Herald
    By TRAVIS WHITEHEAD
    April 11, 2010 10:34 PM

    The twisted branches are held up by ropes, one end crowned by a mass of beeswax that wings out like a kite. This piece is part of an exhibit by Scott Nicol called, "Transpiration," made of three different sets of branches with areas covered by beeswax on display at Galeria 409 until April 23. The other two exhibits include paintings and graphite works by Jesus De La Rosa and artwork by David Freeman.
    Many of Freeman’s paintings depict brightly-colored bubbles with concentric circles of different colors inside. Other paintings show a scattering of colorful dots and smears. "Actually, those have a lot to do with the idea of process," said Freeman, who teaches at South Texas College. "Life is a process and I’m just kind of reflecting, mirroring the whole idea of life as a process, and you can see through layers, the stacking of information. It’s a little bit of design by accident." A ladder made of bamboo by Freeman stretches across a wall covered by his paintings; Freeman has attached ghastly thorns to the rungs. The ladder, he says, is symbolic of the challenges faced by people coming to the United States. The pieces titled "Transpiration" are about exploring the life of the wood, says Nicol, who teaches art at South Texas College. "Generally when we look at trees they seem very static," he said. "You know that they are alive on some level but the growth, the movement is so slow that you’re not very conscious of it. And so I was trying to really capture the sense of movement within that in a sense of growth and exaggerate it a little bit by selecting certain pieces, making them more animate in terms of more animal like, more like they’re swimming or moving through space in a way that we associate with life." The one on the bottom floor is made of three long tendrils of mesquite, while the beeswax covers a frame of mulberry. Mark Clark, owner of Galeria 409, said the hooks on the ends look like weapons, or fish hooks used by Indians of what is now the Northwestern United States.
    The whole structure, he said, is a little menacing."They have some psychological overtones, like wings of bats," he said. This piece turned out differently than he had planned. "I got that piece and I thought it was going to be a big vertical standing kind of tripod thing, and then as I kind of worked with it I realized that that wasn’t the way it needed to be," Nicol said. Upstairs, visitors will find two more of Nicol’s works, plus charcoal creations by Jesus De La Rosa. "He takes a graphite soaked rag and throws it on the paper and there’s almost instantaneous shades of light and dark stretching across the canvas," said Clark with admiration. "They are almost organic. You can make out faces and animal forms, internal organs. Some look like they have been X-rayed." De La Rosa, an assistant professor at Texas A&M University-Kingsville, said he made the charcoal drawings as a way of making fast quick drawings that would also have very complex visual qualities. "It’s supposed to overwhelm the viewer," he said. "And the idea is that you have all these drawings that are made by the same process and each one is unique. And when you see them as a group that uniqueness ties them all together and at the same time it’s what’s making them all ordinary. So I’m relating it back to people."

    UTOPIA is a solo exhibition of recent paintings by Jesus De La Rosa that explore place through imagined landscapes. The idea of migration through landscape is represented through the black rosette designs, which travel, hide, rest, and are sometimes totally absent throughout the paintings. Jesus’ work demonstrates a personal and unique relationship between abstraction and landscape, culminating through luminous surfaces of acrylic paint and a wide variety of media. He layers and carves back into these rich crusts, revealing a personal history that records the individual journey and repose of the works themselves.

    OPENING May 1st during
    McAllen Artwalk, 6-10PM
    On View through May 22, 2009

    ManicHaus, Modern Art Space
    1301-B North Main St.
    McAllen, TX 78501
    956.618.5770 office
    956.207.0940 cell
    Gallery Hours:Tues-Fri: 1-6PM
    Sat: By Appointment/Special Events

    Six Shooter
    Six Artists From South Texas
    Invitational Group Exhibition
    Feb 16 - Mar 20, 2009
    Artist Reception: Thursday, Feb 19th, 5-7pm
    Gaddis Geeslin Gallery
    Sam Houston State University
    1028 21st Street
    Huntsville, TX 77341-2089
    936.294.1315

    The Good, The Bad & The Altered
    Invitational Group Exhibition
    Jan 17 - Feb 28, 2009
    Opening: Saturday, Jan 17, 5-7pm
    K Space Contemporary
    415 D Starr St., Corpus Christi, TX, 78403
    email: info@kspacecontemporary.org
    361.887.6834

    Singularity
    Group Exhibition
    Dec 5-19, 2008
    Reception: Friday, Dec 5th, 6-10 pm
    Manichaus
    1301-B North Main Street
    McAllen, Texas 78501
    956.207.0940

    Self- Portrait: Inner Voices
    Rusteberg Gallery
    October 21 - November 15, 2008
    Invitational Group Exhibition, Curated by Carlos G. Gomez
    Opening reception: October 21, 2008, 6:30- 8:30 pm
    UTB/TSC • 80 Fort Brown • Brownsville, TX • 78520
    (956) 882-7097 • gallery@utb.edu

    The Art Gallery in the Rusteberg Building is proud to present “Self-Portrait: Inner Voices” A collection of art produced by several artists that include: Sam Coronado, Carlos G. Gómez, Toni Hudson, Sandesh Kadur, Bret Lefler, Chris Leonard, Jack Lewis, Daniel López, Cesar Martínez, Noel Palmenez, Jesús de la Rosa, Nancy Sclight, Richard Smith, and Paúl Valdez. Their work consists of mixed media, printmaking, painting, and ceramic sculpture.

    Curator's Statement:

    An inner voice is an exhibition beyond the making of art and instead becomes a window or portal into the vision or projection by which the artist chooses to convey their truth. In this case, it is a mere self-portrait that echoes who and what they are at that given moment in their life.

    - Carlos G. Gomez

    Del Otro Lado
    Curated by Angel Quesada
    October 1-October 24, 2008
    Reception: October 1st, 5:30 - 7:30 pm
    JPMorgan Chase Heritage Hall
    712 Main St. Houston, TX 77002

    artshound
    Art League Houston, in partnership with JPMorgan Chase, is pleased to announce the opening of Celebrating Diversity Through Art: Del Otro Lado (From The Other Side), which takes place at Heritage Hall in the JPMorgan Chase Building in Downtown Houston, and runs from October 1 – October 24, 2008, as a celebration of Hispanic Heritage Month.

    Curated by Angel Quesada and featuring the work of:

    Anna Pilhoefer (El Paso)
    Lucilla Flores (Austin)
    Jesus De La Rosa (McAllen)
    Joe Peña (Corpus Christi)
    Joe Romero (Lubbock)
    Fernando Lafuente (Austin)

    Del Otro Lado is the first in a series of four visual art exhibitions that focus on cultural heritage month celebrations. Celebrating Diversity Through Art is a unique collaboration between JPMorgan Chase and Art League Houston, which highlights emerging artists representative of diverse communities.Curator Angel Quesada is an Austin-based artist who was raised along the Texas Borderlands/Rio Grande Valley of South Texas, a place rich in history and folklore. He grew up in a number of border towns, including Larado, Eagle Pass, and Del Rio. Both his parents still live and work along the border for the United States government. He attended the Massachusetts College of Art and the School of the Museum of Fine Arts in Boston, where he studied painting, printmaking, and interrelated media.

    Quesada has had exhibitions at venues that include Mexic-Arte Museum in Austin, Galeria Vito Alesio Centro Corporal in Saltillo, Mexico, and the Casa De Sousa in Los Angeles. He has curated shows at Texas A & M University in Corpus Christi, and the Mexican American Cultural Center, Mexci-Arte Museum, and the International Center in Austin. His most recent curated exhibition was Enmascarados: an homage to Lucha Libra for Pump Projects Art Complex in Austin, Texas.

    About Art League Houston
    Art League Houston is one of Houston's longest operating non-profit visual arts organizations and was the first alternative art space in Texas. Founded in 1948 and incorporated as a non-profit organization in 1953, Art League Houston (ALH) was created to promote the public appreciation of and interest in the visual arts. During the past 60 years, ALH has provided over 760 exhibitions to the Houston community, showcased the work of nearly 22,200 artists, and instructed over 35,000 students through the Art League School and Outreach Program.

    Art League Houston
    1953 Montrose Blvd
    Houston, Texas 77006
    (713) 523 - 9530
    alh@artleaguehouston.org

    Red Hot Red Dot
    Women & Their Work
    September 18, 2008
    Opening: September 18, 6-9pm
    1710 Lavaca St.
    Austin, Texas
    (512) 477-1064

    It's Not Easy
    July 24 - August 29, 2008
    Opening: Thursday July 24, 7-10pm

    Exit Art
    475 Tenth Avenue
    New York, NY 10018
    (212) 966-7745 ext. 15

    It’s Not Easy is an exhibition inspired by the recent tidal wave of efforts to go “green”. Curated entirely through email submissions, this exhibition will contain image and text responses to the question: What does ‘green’ mean to you? The over 200 international works exhibited in It’s Not Easy were chosen from almost 700 submissions.

    E-mail submissions will be printed on 8 ½” x 11” recycled paper and exhibited in Exit Underground. Upon the closing of the exhibition, all printed entries will be kept in Exit Art’s permanent archive where they may be exhibited again at any later date.

    Lauren Rosati
    Assistant Curator

    Piece by Piece
    KSpace Contemporary
    May 16 - July 6, 2008
    Opening: Friday May 16, 6-8pm
    Corpus Christi, Texas
    info@kspacecontemporary.org
    (361) 887-6834

    “Embracing Chaos” The 12th Annual Young Latino Artists (YLA) Exhibition
    May 22-June 20, 2008
    Opening Reception May 22nd 5pm-7pm
    Weil Gallery,Texas A&M University-Corpus Christi Corpus Christi, Texas The Department of Art and University Galleries presents Y.L.A. #12 (Young Latino Artists): Embracing Chaos, on display through Friday, June 20, in the Weil Gallery, Center for the Arts. The exhibit includes photography, paintings, drawings and sculpture created by six young artists from across Texas. The exhibition is free
    and open to the public. For more information, call 361.825.2386.

    5x7: Art Splurge and Exhibition
    Arthouse Jones Contemporary Center
    Invitational Group Exhibition (Traveling to Inman Gallery in Houston)
    May 18 - June 1, 2008

    Texas National 2008
    April 5 - May 18
    The Art Center @ The Old Opera House.
    This annual juried competition and exhibition annually attracts entrants from all 50 states and the District of Columbia. It provides emerging artists an opportunity to have work juried by internationally acclaimed artists and presents new and innovative art to regional audiences.
    Stephen F. Austin State University Box 13001, SFA Nacogdoches, Texas 75962-3001 (936) 468-4804

    Systematic Drawings
    April 17 - May 9, 2008
    Reception: Thursday April 17th • 6-8pm
    Mid-Valley Campus, McAllen, Texas
    March 11 - April 11, 2008
    Reception: Tuesday March 11th • 6-8pm
    Pecan Campus, McAllen, Texas
    South Texas College Library Art Gallery
    libraryart@southtexascollege.edu
    (956) 872-3488

    “Embracing Chaos” The 12th Annual Young Latino Artists (YLA) Exhibition
    September 14, 2007-February 23, 2008
    Mexic-Arte Museum 419 Congress Ave.
    Mexican American Cultural Center Gallery (M.A.C.C.) 600 River St., Austin, Texas

    Mexic-Arte Museum presents the 12th Annual Young Latino Artists Exhibition at the Mexican American Cultural Center (M.A.C.C.). This year’s YLA #12 titled “Embracing Chaos” will open at the inauguration of the new Mexican American Cultural Center Gallery on Saturday September 15th and will be on view through February 23, 2008. YLA #12 is curated by Angel Quesada, an Austin-based artist who will present art work from six young artists. The artists in the show demonstrate a desire to continue producing art which is restless, dynamic, and relevant to the theme of the show.

    Mexic-Arte Museum is dedicated to developing awareness of young Latino art and sharing its importance to our community. “The theme “Embracing Chaos” shows the behavior of chaotic systems which appear to be at random because of an exponential growth of errors in the initial conditions of the work. This early period in an artist’s career is often unrefined but not untrained, unversed but not unskilled. It is during this period where you will find young artists “Embracing Chaos” and searching for their personal style. The artists in the show will demonstrate their style related to the theme of the exhibition.”

    “This exhibition attempts to reveal the ember of creativity, “Quesada said. “In my aesthetic for “Embracing Chaos” there exists an invisible line linking the act of making art with the viewer.”

    Young Latino Artists whose works can be seen at the Mexican American
    Cultural Center :

    Gerald Lopez - Corpus Christi, TX
    Jesus de la Rosa - McAllen, TX
    Chuy Benitez - Houston, TX
    Anna Pilhoefer - El Paso, TX
    Enrique Martinez - San Antonio, TX
    Lucilla Flores - Austin , TX

    Curator's Note by Angel Quesada

    In curating this exhibit I wanted to select artists whose aesthetic fit seamlessly into my evolving idea of chaos. I also wanted to present a pluralistic view of what it means to be a Young Latino Artist in these times. In fact, the theme evolved parallel to the process; it was the method that determined the outcome. Instead of prescribed or highly ordered system to select art, and therefore a theme, I employed a different style of arriving at the concept.Chaos informed my curatorial method, and as such informed the content of this exhibit. I once asked a Physics Engineer what he predicted as the future trend of art making? His answer was simple: "it is without a doubt going to embrace chaos." This year's exhibit called "Embracing Chaos" is about accidents and denials. I went looking for accidents, following my wants and searching for these "appropriate accidents". The only challenge was to deem which accidents were appropriate for the exhibition. Often we associate accidents as adverse, or as a disaster here to mess up some nice plans. I wished to find artists in which I could identify with something inside myself. I realized that this would mean I would have to connect with artists who are traveling in similar ways exposed to a certain quality of chaos.The content of the show features artists engaged in rule-breaking and defying the established canons of both Latino art and community. In this regard, the show is also about denial. It is a denial of the status quo and validation based on stereotypes. The artwork is set firmly in denial, never needing to play the Latino card to exert accreditation or substance. It is a denial of culture, conformity and inherits the anxiety of individualism. In this sentiment, I present a show that is at once full of conviction but is also a series of perfect accidents. A vehicle of disorder pays no mind to intelligence, strength, integrity, or good intentions



    CORPUS CHRISTI CALLER-TIMES
    Exhibit at K Space inspires dialogue
    Manner in which art is displayed is
    part of art itself
    May 22, 2008
    By Elizabeth Reese PhD

    If art exhibitions can be considered visual dialogues, then a terrific conversation is happening downtown at K Space Contemporary." Piece by Piece: Drawings by Jesus de la Rosa and Paintings by Paul Valadez" presents the work of two artists who use images to discuss personal experiences with gratification, time, identity, history and culture. Moreover, the clever presentation calls viewers not only to engage with the exchange on the walls, but also to explore the connective conversations within. Each artist plasters at least one large wall, almost floor to ceiling, side by side, piece by piece, with his works of art. The effect is stunning. Covering the gallery walls on the left are Valadez's text-based, sign-like paintings, while de la Rosa's enigmatic, mysterious drawings cover the right side. This method of presentation is considered a form of installation art where the manner in which the work is displayed is part of the work of art itself. The context in which art is experienced always affects the viewer's interpretation of the work. In "Piece by Piece," viewers can enjoy investigating the whole exhibition, one grouping of art at a time, and each work of art on its own. Delicate and demanding, de la Rosa's abstract drawings reveal a story beating the demands of the daily grind. With a work schedule that prohibits long artwork sessions, de la Rosa began to use the method seen here to create aesthetically intricate works.Though the drawings appear to be labor-intensive, de la Rosa said his process "is more accidental than automatic in nature. It also borrows heavily from print-making and the monoprint process specifically. Each piece is created in the span of one second by swatting a powdered charcoal brushed piece of canvas on the support." De la Rosa's drawings read like frames from a celestial song or dramatic ballet. Separately, the works of art suggest a mystifying, other-worldly presence. Powerful and subtle, Valadez's works use paint in layers and drips as well as words in Spanish and English to document his experiences with the comingling of cultures in America."The ideas of using classic Americana imagery with Spanish-language text reveal a deeper idea of the blend of cultures in the U.S. today," he said. These "old signage" works offer insight into Valadez's childhood in a bi-cultural (Mexican-American and Anglo) home in central California. The artist said his works also offer "social commentary on topical issues, current policies and garnished with a dash of satirical pun at life in the 21st century." To create these cropped and curious paintings, Valadez uses acrylic paint sometimes on papier mâché, recycled tin, wood, canvas and found materials. Indeed, examining the surface of the signs to examine the materials is part of the banter. Is that sawdust? Or hay? What makes it look so old and rusty? Both artists teach in McAllen at the University of Texas-Pan American.

    IF YOU GO
    What: “Piece by Piece: Drawings by Jesus de la Rosa and Paintings by Paul Valadez”
    When: Through July 6;
    Hours: 11 a.m. to 5 p.m.
    Wednesdays through Saturdays
    Where: K Space Contemporary 415 D. Starr St.
    Cost: Free Information: 361-887-6834 or www.kspacecontemporary.org
    Elizabeth B. Reese, PhD, is an art and museum consultant and former visiting professor and director of university galleries at Texas A&M University-Corpus Christi. Contact her at elizreese@gmail.com

    THE MONITOR
    Dark Marks
    March 28, 2008, Festiva, pg 27F
    by Nancy Moyer PhD

    One-hundred and twenty new charcoal drawings by Jesus de la Rosa literally cover the walls of the STC Library Art Gallery downstairs. His new exhibit Systematic Drawings, presents a new drawing technique that De La Rosa feels is right for our time.

    The drawings are untitled abstract images. Even so, each drawing seems to suggest a biological structure. There is a temptation to imagine x-rays of unknown creatures being seen through a special device. Or, sometimes, deep-sea creatures that have become transparent from lack of sunlight are captured on the paper surface.

    “This collection was in spired as a reaction to our culture’s existent hunger for complex aesthetics and instant gratification,” said De La Rosa. “My goal was to find a method to make a unique drawing that was aesthetically intricate and seemed to be created by long, laborious and tedious hours, but took a fraction of the time to generate and that also defied a factory made appearance.”

    Quite a daunting goal, but De La Rosa masterfully combined the processes of monoprinting and action painting. He dry brushes a piece of canvas with powdered charcoal, and then swats the paper surface with it. Each drawing in the exhibit was created this way. Although each drawing is unique, they all carry specific characteristics from the others due to the “system.” As a result, there is a strong visual unity from drawing to drawing. De La Rosa’s swat system produces incredibly beautiful images that belie the speed of their execution. Comprised of complex shapes and sophisticated tonal graduations, the images include integrated passages of great complexity. The drawings appear to be much more than the simple “swats” that he describes.

    “When I try to organize the canvas a certain way, it never works,” explained De La Rosa. “The result actually depends on the speed and the amount of charcoal. And that’s what produced the image. And, of course, the placement. If the image is swatted twice or three times, I find that when it’s just once or twice it works really well. If I go beyond that, I cross that point where it’s not good anymore.”

    Many of the drawings display a record of the loose strands of canvas as they collided with the surface of the paper. Several images also demonstrate an extended soft edge that moves out from the primary image. This could be described as a halo effect that occurred as the charcoal exploded across the paper from the impact of the canvas swat.”De La Rosa’s process represents an impacting signage that is very dynamic and active and relies a lot on happenstance and chance,” said David Freeman, STC’s Library Art Gallery Curator and Programs Coordinator. “The artist’s touch comes more from the process of the created and found mark-making than the traditional act of drawing one usually finds on a gallery wall. It Synthesizes, in a tomfoolery kind of way, the differences between traditional and progressive conceptual performance drawing.”

    De La Rosa’s drawings are amazing because such a successful illusion of detail has occurred with his systematic process. There appears to have been labored traditional drawing taking place. But it was a swat – an abstract record of a violent physical action. Nor does De La Rosa go back and rework the image with erasures and dark accents. The images represent the pure record of his process: a process that is at once delicate and violent, much like our own existence.

    Nancy Moyer, PhD, in an art reviewer for the monitor. She is an independent artist living in McAllen and may be reached at nmoyer@rgv.rr.com

    THE AUSTIN CHRONICLE
    'YLA 12: Embracing Chaos'
    Mexican American Cultural Center, through Feb. 23
    NOVEMBER 9, 2007: ARTS
    BY SALVADOR CASTILLO

    The new gallery at the Mexican American Cultural Center is very spacious with an open floor plan. The airy space offers plenty of room to roam but also leaves clear views into the other exhibit. Resisting the coherent proclamation from Carlos Rivera Pineda in "Hacia la Vida," his retrospective of portraits, you can find some engaging work by youngsters loitering around. (In the interest of full disclosure, I should say that my artwork was included in the previous "Young Latino Artists" exhibition.)

    The works of Jesus de la Rosa, with lots of red areas on his large paintings, do the most to attract you as you enter the gallery. They are at once delicate and violent. They appear to be prints, but the impressions suggest a rag covered in charcoal was swatted onto the surface. Wisps of dust spew from the body of the mark as the creases of the fabric settle into place. After a number of visits, the pronounced red paintings reveal more personalities. Building up and damaging the painting's face make it about surface play. But that play plots a topographic map, buttressed by the titles.

    Enrique Martinez creates expansive, scrolling landscapes. They evoke graffiti murals and Mad magazine illustrations as the objects, characters, and details wave back and forth. These flowing compositions come out to seduce you, pull you back into their space, and then spit you out. Thomas Hart Benton's murals are called to mind, but in book format; they tap into Mesoamerican codices. Even in the differently formatted video-game drawings, the viewer is invited then repulsed.

    In Anna Pilhoefer's matronly work, you find references to sewing and storybook characters. The encaustic pieces use cute animal characters like those of Little Golden Books. Maybe they're telling a sweet story, but the surface and drawn sutures suggest something more. Shadow boxes, saints, physical surgery, and domestic mandalas make the other work more complex. Their format feels a little bit like a retread of ideas, though.

    I opened up to de la Rosa the more I visited, but those same subsequent visits dissipated interest in Chuy Benitez's panoramic photographs. The individual portraits were fish-bowled diptychs of figure and environment being distorted, illustrating front and back views. Both strategies investigate some form of Mexican identity. Faced with a whole wall of similar photographs, a question arises: What are the special effects supporting or highlighting in each of these different characters?

    Terms like "outsider art" and "untrained artist" can be used to promote and condemn. But I don't want to confuse anybody. Gerald Lopez uses shallow, vertical compositions, and his oil-pastel figures have a cartoon rendering. The works look like hand-painted shop signs. The prints are more successful and reveal an interest in color, but there is no doubt that all of these works participate awkwardly in the show.

    Hidden in a blind spot as you enter are Lucilla Flores' etchings made with slightly different colored inks. The marks look like scratches but are actually different equestrian studies. Skeletal, muscular, and planar examinations create all-over compositions. Thoughts of Kicking Bear's Battle of Little Big Horn and Leonardo da Vinci's anatomical studies safeguard these prints.

    While some of the work in "YLA 12: Embracing Chaos" is enjoyable, the show as a whole isn't impressive. The installation stutters and sputters along. I'm sure Benitez enjoys owning the middle wall, but how does segregating Flores alone by the elevator complement the work? The alternating vertical and horizontal layout also feels arbitrary. Is that where we're embracing the chaos? The works themselves feel orderly. Curator Angel Quesada was charged with presenting these artists but seems to show little concern for their art by cramming into the space as much of it as possible. I've said it before: Curators are like editors, and sometimes they need to omit pieces and trust in the power of the artist's work.

    AUSTIN AMERICAN-STATESMAN
    Tradition rubs elbows with today's vibe in the two inaugural
    exhibits at the new Mexican American Cultural Center.
    First exhibitions at the Mexican American Cultural Center
    Two exhibits show past and present of Latino arts.
    By Jeanne Claire van Ryzin
    Thursday, October 04, 2007

    On one side of the new 5,000-square-foot second-floor gallery is "Hacia La Vida (Toward Life)," a retrospective exhibit featuring portraits by artist and arts administrator Carlos Rivera Pineda. Occupying the other is "Embracing Chaos: The 12th Annual Young Latino Artists Exhibition," featuring the work of a half dozen emerging Latino artists from across Texas.

    "Hacia La Vida" is honorific and personal. "Embracing Chaos" is experimental and frisky. And together, they suggest much about the trajectory of Latino art over the past several decades.

    The longtime administrator of the city's Dougherty Arts Center, Pineda was among those Latino arts professionals who years ago championed the idea of a city center specifically devoted to Latino culture. (The opening of the $16 million MACC in September culminated an effort that lasted about 30 years.) And as an arts educator, Pineda created the city's "Totally Cool, Totally Art" program that employs artists to teach schoolchildren. "A true artist is not an elevated, outside member of the community," Pineda proclaims in his artist statement that hangs on the gleaming white wall of the bright, sun-flooded MACC gallery. "A true artist functions as part of the community."

    Pineda put that philosophy to action personally by painting vivid portraits. Musicians Ruben Ramos and Roy Montelongo, artist and activist Marsha Gomez and members of Pineda's family are among those he has lovingly rendered as a token of his appreciation and respect for their lives.

    The six artists in "Embracing Chaos" clearly have different motivations behind their art. Adapting to the frenzy of our cyber-fast world, understanding the flurry of images that comes our way, negotiating the line between pop culture and high culture — these are the concerns of Chuy Benitez, Lucilla Flores, Gerald Lopez, Enrique Martinez, Anna Pilhoefer and Jesus de la Rosa.

    In fact "Embracing Chaos" seems to celebrate an aesthetic of messiness. De la Rosa creates frenzied abstract paintings made three-dimensional with obsessively layered paint that the artist has shaped, scraped away, built up or even bored holes into with a power drill. Pilhoefer riffs on traditional women's handicrafts, mixing embroidered images straight from craft store patterns with splashes of spray paint. And in complex textured prints, Flores layers cartoonish, storybook-like images of horses with rough, linear scribbles. A pop culture cave painting? Perhaps.

    As with the other young artists in "Embracing Chaos," Flores wrestles with the world using very different strategies than artists who came before her.

    jvanryzin@statesman.com