The Landscape Redefined, Carneal Simmons Contemporary Art | Kalee Appleton

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Congratulations to Texas Woman’s University Alumna Kalee Appleton for having work in group exhibition, The Landscape Redefined at Carneal Simmons Contemporary Art in Dallas, TX. The exhibition runs from February 20 to March 26, 2016.

Exhibition Dates: February 20 – March 26, 2016

Opening Reception: February 20, 2016

Additional artists exhibiting will be Sherry Giryotas and Gwen Davidson.

Carneal Simmons Contemporary Art is located at 1415 Slocum Street in the Dallas Design District. Gallery hours are Noon to 5:00 pm, Tuesday through Saturday and by appointment.

Kalee is a photography-based artist and educator living in Dallas, Texas. Originally from Hobbs, NM, she attended Texas Tech University and received a BFA in Photography in 2005. Shortly after graduated she worked as a commercial corporate and aviation photographer before attending Texas Woman’s University, where she received an MFA in Photography in 2014.

15th Annual JEG Photography Exhibition

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15th Annual Joyce Elaine Grant Photography Exhibition
TWU East | West Galleries

Exhibition Dates: February 15 – March 9, 2016

Opening Reception: February 16, 2016 | 5:30 – 7:00 pm

Guest Lecture with Juror, Dr. Rebecca Senf: February 16, 2016 | 4:00 – 5:00 pm

Juror’s Statement:

Theme: “Nourish: Food as Sustenance and Pleasure”

Food is the foundation of life; it is sustenance for our bodies and can be the source of great pleasure. We live in a time where food is abundantly available, and yet we have to evaluate grocery store items to determine if what is being offered is actually “real food.” (Fruit Loops, Cheetos, Twinkies, Cheez Whiz. Not real food.)

This is a moment of farm-to-table, locavore, slow food, craft and small batch production, as well as a panoply of ways to describe what we eat, including veganism, pescetarianism, flexitarianism, paleo, and gluten-free. Food (and eating) can be fraught with negative emotions, like guilt, sadness and regret, while at the other end of the spectrum, making food for others can be a profoundly generous and nourishing act. These dichotomous ideas, and range of diets, complicate our relationship to food.

Naturally food has inspired art, and this dynamic selection of works demonstrates that photographers have explored food in all its stages, with a wide range of concerns. Everything from abstracted and aestheticized images of food to pictures that document where our meals come from, these photographs go from appetizing to repulsive, sometimes managing to be both simultaneously.

Grab a napkin, pull up a chair, and find yourself something to eat. Just watch out for the Twinkies.

Artists in exhibition:

Rob Stephenson, Brooklyn , NY (Solo Show Award)

Chris Ireland, Stephenville, TX (Coupralux Award)

Tara Sellios, Somerville, MA (Freestyle Photographic Supplies Award)

Caren Alpert, San Francisco, CA (Imaging Spectrum Award)

Josh Dryk, Arlington, TX (Red River Paper Award)

Amelia Morris, Indianapolis, IN (Arlington Camera Award)

Jacinda Russell, Muncie, IN (Arlington Camera Award)

Deedra Baker, Denton, TX

Mary Ellen Bartley, Wainscott, NY

Tatyana Bessmertnaya, Plano, TX

Gema Camacho, McKinney, TX

Jo Ann Chaus, Upper Saddle River, NJ

Lauren Christlieb, Conroe, TX

Barbara Ciurej and Lindsey Lochman, Chicago/Milwaukee, IL/WI

Christine Collins, Boston, MA

Hannah Cooper McCauley, Ruston, LA

Rebecca Foley, Saint Joseph, MO

Alexa Frangos, Chicago, IL

Julia Freeman, Friendswood, TX

Claire Giroux, Dallas, TX

Lindsay Godin, Iowa City, IA

Darlene Kaczmarczyk, Grand Rapids, MI

Amanda Keller Konya, Los Angeles, CA

Stephen Kleinatland, Dover, TN

Julia Kozerski, Milwaukee, WI

Isabella La Rocca, Berkley, CA

Rubi Lebovitch, Tel Aviv, Israel

Ivan Lopez, Arlington, TX

Tiffany Milow, Denton, TX

Lydia Panas, Kutztown, PA

Miriam Romais, Saratoga Springs, NY

Andi Schreiber, Scarsdale, NY

Richella Simard, Manchester, NH

Catherine Slye, Phoenix, AZ

Nick Smith, Milwaukee, WI

Timothy Wells, Ypsilanti, MI

Next Chapter: 154 Glass Street | PDNB Gallery

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Gallery view by Don Netzer

THE NEXT CHAPTER: 154 GLASS STREET

Exhibition Dates: February 27 – April 23, 2016

Artists Reception: Saturday, February 27, 2016 | 5 – 8 PM

THE NEXT CHAPTER: 154 GLASS STREET
February 27 – April 23, 2016
Artists Reception:
Saturday, February 27, 2016 from 5 – 8 pm

For Immediate Release, Dallas, TX –

PDNB Gallery celebrates their new gallery location with a group exhibition of gallery artists. This show is dedicated to their creative spirit. Without their courageous imagination, we would not be celebrating our Next Chapter. Many of the artists will be attending the opening reception, including Bill Owens (California), Keith Carter
(Beaumont), Peter Brown (Houston), Philip Lamb (Dallas), Stuart Allen (San Antonio),William Greiner (Louisiana) and Bill Kennedy (Austin). The list of artists attending is increasing each day.

The Glass Street space is larger, with a dynamic ground floor gallery space, which leads upstairs to another gallery level. The location is west of Riverfront Blvd., across the street from The Dallas Contemporary. Other art galleries in the neighborhood west of Riverfront include Cris Worley, Holly Johnson, Circuit 12, SITE 131, and Sun to Moon Gallery.
Look for the large neon Playboy Bunny logo (by Richard Phillips) on Riverfront and Glass Street. PDNB Gallery is located nearby.

Artists included in this exhibition:
Bill Owens, Bill Kennedy, William Greiner, Paul Greenberg, Delilah Montoya, Michael Kenna, Kevin Horan, Chema Madoz, Jock Sturges, Jack Ridley, Jeffrey Silverthorne, Don Schol, Jimmy & Dena Katz, Chris Verene, Jesse Alexander, Jesús Moroles, David Graham, Carlotta Corpron, Esteban Pastorino Diaz,  Earlie Hudnall, Jr., Keith Carter, Barbara Maples, Ida Lansky, Al Satterwhite, George Krause, Nickolas Muray, Neal Slavin, John Albok, Wu Jialin, Stewart Cohen, Mariana Yampolsky, Philip Lamb, Morris Engle, Harold Feinstein, Mario Algaze, Jan van Leeuwen, John Herrin, Stuart Allen,
Peter Brown, Geof Kern and more.

Call for Entry | THE FENCE 2016

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Due: March 7,2016
THE FENCE

THE FENCE is an outdoor photography exhibition series, with an audience of more than 3 million visitors.

Photographers of all levels are invited to submit work that explores the theme of ‘community’ through the lens of:

Home | Streets | People | Creatures | Nature | Play

THE FENCE offers a unique opportunity for photographers to present powerful photography in the public realm, and share their work with millions of people when/where they least expect it. By re-contextualizing the use of large format outdoor photographic displays normally reserved for advertising, THE FENCE becomes more than a showcase for photography – it becomes a shared public experience.

NOT PHOTOGRAPHY | Erin Cluley Gallery

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NOT PHOTOGRAPHY

CHIVAS CLEM – PARIS, TEXAS
ADRIAN FERNANDEZ – HAVANA, CUBA
HILLARY HOLSONBACK – DALLAS, TEXAS
EMILY PEACOCK – HOUSTON, TEXAS
KEVIN TODORA – DALLAS, TEXAS
JASON WILLAFORD – DALLAS, TEXAS

With an essay by DANIELLE AVRAM

Exhibition Dates: FEBRUARY 20 – APRIL 2, 2016

Opening Reception: SATURDAY FEBRUARY 20, 2016 | 6:00-8:00PM

ERIN CLULEY GALLERY will open NOT PHOTOGRAPHY – an exhibition of photographic works by six artists – on Saturday February 20th, 2016 at 414 Fabrication Street.  The exhibition will open with a reception for the artists from 6:00-8:00 pm.  The exhibition has been organized by Erin Cluley Gallery and will be accompanied by an essay written by Dallas-based curator/writer Danielle Avram.

With the evolution of technology, the language being used by artists within photographic process is rapidly changing.  Access to cameras in handheld devices enables any one person to declare themselves an amateur photographer.  Artists are interrogating this notion and responding by using photography as a tool within a more sophisticated, multi-faceted process.  The final product is the result of a shift in traditional photographic approach with the use of unconventional treatment, process, and presentation.

NOT PHOTOGRAPHY brings together artists on the forefront of developing this new visual dialogue and will encourage viewers to ask the question — is this photography or is it not?

Using appropriation of images from the internet which have been culled from television and finally transposed on to the canvas, CHIVAS CLEM’s spray-tanned works become a commentary on the narcissistic reality of opportunism and effortless celebrity.  ADRIÁN FERNÁNDEZ exploits the photographic process by zooming (way) in on his collection of Cuban stamps of the twentieth century.  The result is a series of vignettes mimicking that of a pointillist painting and conceptually making connections between the reality of contemporary Cuban society and the skewed perspective of the outside world.  HILLARY HOLSONBACK continues her masquerade-like self-documentation using the camera to frame critical investigations of identity, the body, commodity fetishism, voyeurism, mass media, and gender identity.  EMILY PEACOCK combines the romantic documentation of memory with images of inanimate objects like wallpaper, fabric, and marble.  The focus on these details makes reference to the trimmings of the house which Peacock grew up in, the emotional weight that a photograph carries, and the ongoing collaboration with her family as pa art of her process.  In keeping with his belief that the photograph goes beyond the framed picture and conventional studio photography, KEVIN TODORAwill transform his photographic works into large-scale, free-standing sculpture. Manipulating the traditional forms of display and taking it to a heightened level, Todora will use images activated by illusions of depth and battling subject matter. JASON WILLAFORD uses billboard vinyl as the catalyst for what is transformed into quilted, dimensional painting.  High resolution, printed scans of the works result in a highly-detailed, compressed vignette commenting on the inundation of advertising and the insecurities which arise out of a media-saturated contemporary life.

About Danielle Avram
Danielle Avram is a curator and writer based in Dallas, Texas.  Currently Avram holds the position of Curatorial Fellow with the Pollock Gallery at Southern Methodist University.  She previously managed The Power Station art gallery and Pinnell Collection in Dallas, and was curatorial assistant for the High Museum of Art in Atlanta in its departments of photography and modern and contemporary art. She has worked with artists such as Martin Parr, Alec Soth, Virginia Overton and Matias Faldbakken, and organizations such as SPE, Atlanta Celebrates Photography and Photolucida, among others. Recent projects include the Dallas Medianale (2015);Maury Gortemiller All-Time Lotion, The Reading Room, Dallas (2013); and Four Nights, Four Decades, The Power Station, Dallas (2012). Avram Morgan holds an M.F.A. from Tufts University and the School of the Museum of Fine Arts, and a B.A. from the University of Texas at Dallas.

About Erin Cluley Gallery
Erin Cluley Gallery is a contemporary art gallery representing emerging and mid-career artists from Dallas and the United States.  The gallery presents a provocative program of artists working in both traditional and alternative forms including painting, sculpture, new media, photography, sculptural installation and public intervention.
The 2000 square foot space is joining a creative movement in the Trinity Groves development at the foot of the Margaret Hunt Hill Bridge in West Dallas.

 

Time In: Refocusing the Lens of Motherhood | Elizabeth M. Claffey

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Congratulations to Texas Woman’s University Alumna Elizabeth M. Claffey for having her work featured in Time In: Refocusing the Lens of Motherhood, an exhibition curated by Larry Gawel. The exhibition runs through February 21, 2016 at the Elder Gallery at Nebraska Wesleyan.

Nebraska Wesleyan’s Elder Gallery features a photography exhibit that explores children’s lives through their mothers’ camera lenses.

“Time In: Refocusing the Lens of Motherhood” runs through February 21. The exhibition — curated by Larry Gawel of WorkSpace Gallery in Lincoln — features 11 contemporary female photographers and mothers who have chosen their children as the subject matter in their photographic work while transcending the notion of the snapshot or the school portrait.

Featured artists include: Rocio De Alba, Middle Village, New York; Elizabeth Claffey, Bloomington, Ind.; Joy Christiansen Erb, Youngstown, Ohio; Tytia Habing, Watson, Ill.; Alaina Hickman, Omaha; Toni Pepe, Malden, Mass.; Suzanne Révy, Carlisle, Mass.; Heather Evans Smith, Winston Salem, N.C.; Sheila Talbitzer, Omaha; Jessica Tampas, Chicago, Ill.; and Jamie Tuttle, Evanston, Ill.

Elder Gallery hours are Tuesday-Friday, 10 a.m. to 4 p.m., Saturday-Sunday, 1 to 4 p.m.

A panel discussion with the curator and artists Alba, Habing, Révy, Tuttle and Talbitzer will be held Friday, February 5 at 4 p.m. Together they will share their thoughts on what transcends a snapshot, how one makes an image of a child have universal appeal, career vs. family for women in the arts, and technological advances for photographing children, among other topics. A reception will follow from 5 to 7 p.m.

Elder Gallery is located inside the Rogers Center for Fine Arts, 50th Street and Huntington Ave. Admission and parking are free.

Elizabeth is an Assistant Professor of Photography at Indiana University in Bloomington.  She is an honors graduate of Earlham College and has an MFA in photography from Texas Woman’s University, where she also earned a Graduate Certificate in Women’s Studies.  She received a 2012-13 William J. Fulbright Fellowship, which she used to support her documentary and creative research in Eastern Europe.

Half Year Vol. 2 | Deedra Baker

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Congratulations to Deedra Baker for having her work featured in the Streit House Space Half Year Vol. 2 zine. Check out the zine here and add it to your photo book and zine collection.

Half Year Vol. 2 features work by:
Deedra Baker, Rachel Jump, Jen Ervin, William Douglas, Will Harris, Coralie Fournier-Moris, Andrew Janjigian, Andrew Frost, Aleksei Kazantsev, Gabriella Sturchio, Jesse Taylor Koechling, Charlotte Thoemmes, Trevor Powers, Celeste Ortiz, Brian Henry, Selina Roman, dent de lion, Misty Woodford, Grant Gill, Scott Norris, Julia Dunham, Viviana Levrino, Samantha Ylva Beasley, Deb Schwedhelm, Charalampos Kydonakis, Drew Nikonowicz, Jillian Freyer, Jordanna Kalman, Rebecca Drolen, Ekaterina Musatkina

Edited by Jordanna Kalman

Deedra received her Bachelor of Fine Arts in 2011, from Washburn University in Topeka, KS. She is currently working toward a Master of Fine Arts in Visual Arts with a Photography Concentration and Intermedia Secondary Concentration at Texas Woman’s University.

Ticka Arts | Deedra Baker

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Congratulations to Deedra Baker for having her series A Slight Hysterical Tendency featured as a February artist on Ticka Arts. Click here to view the feature.

Deedra received her Bachelor of Fine Arts in 2011, from Washburn University in Topeka, KS. She is currently working toward a Master of Fine Arts in Art with a Photography Concentration and Intermedia Secondary Concentration at Texas Woman’s University.

 

Process and Innovation: Carlotta Corpron and Janet Truner

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Process and Innovation: Carlotta Corpron and Janet Turner

Exhibition Dates: February 14 – June 5, 2016

 

Process and Innovation: Carlotta Corpron and Janet Turner focuses on two pioneering women artists who worked in Texas during the last century. Highly experimental, Carlotta Corpron (1901-1988) and Janet Turner (1914-1988) became masters of unorthodox methods in their corresponding media of photography and printmaking. As educators, both Corpron and Turner effected change in the concept of art education at their respective institutions, thus challenging their students to push beyond their own established boundaries.

In 1935 Corpron moved to Denton to teach advertising design and art history at Texas State College for Women (now Texas Woman’s University). Subsequently requested to teach a course on photography, Corpron enrolled at the Art Center of Los Angeles in the summer of 1936 to polish her technique. Her dissatisfaction with routine subject matter led to Corpron’s realization that photographs did not have to be images of anything in particular; instead, light itself, and its dialogue with forms it encounters, could be the object of her photographic investigation. Guided by Corpron’s deliberate manipulations, seashells, eggs, scraps of paper and otherwise mundane props became transformative studies of patterns of light and dark. Described in 1983 by Michael Ennis in Texas Monthly as “the finest avant-garde photographer Texas has ever seen,” Corpron has been a lasting and immeasurable influence on students since her experimentation with light began forty years earlier.

Working throughout her career primarily as a printmaker, Janet Turner likewise took her cue from the natural world. Just as Corpron subjugated nature to the primacy of light in varying degrees of abstraction, Turner displayed an absolute deference for nature – its power, its vulnerability, its often fragile relationship with humankind – manifested in her intricate prints distinctive for their rhythmic and technical complexity. After relocating in 1947 to Nacogdoches, Texas, to begin her newly appointed role of assistant professor of art at Stephen F. Austin State College (now Stephen F. Austin State University), Turner began to focus her attention on printmaking. A Guggenheim Fellowship she received in 1952 is generally considered to be the turning point in Turner’s career; it provided her the opportunity to carefully study her subjects in their natural habitats, and it also initiated her foray into combining printmaking techniques, which would become a lifelong hallmark of the artist. Fundamental in elevating the art of printmaking for future practitioners, Turner left a rich forty-year legacy of her own printed work and made printmaking’s creative potential seem almost limitless.

Pushing boundaries in separate modes, both Corpron and Turner cast a wide net of influence over students and artistic contemporaries. Curated by Nicole Atzbach, Process and Innovation: Carlotta Corpron and Janet Turnerexplores the work of both artists from their early experiments in their respective media from midcentury. This exhibition draws entirely from holdings within the Dallas area including Bywaters Special Collections of SMU, which holds an impressive collection of art by both Turner and Corpron. Other loans come from private lenders, including Jack and Beverly Wilgus, who have generously promised their vast photographic collection to SMU’s DeGolyer Library. Images by Beverly Wilgus, a former student of Corpron, will also be on view.

This exhibition has been organized by the Meadows Museum, and is funded by a generous gift from The Meadows Foundation.

Click here to find out more information.

Time In: Refocusing the Lens of Motherhood | Joy Christiansen Erb

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Congratulations to Texas Woman’s University Alumna Joy Christiansen Erb for having her work featured in Time In: Refocusing the Lens of Motherhood, an exhibition curated by Larry Gawel. The exhibition runs through February 21, 2016 at the Elder Gallery at Nebraska Wesleyan.

Nebraska Wesleyan’s Elder Gallery features a photography exhibit that explores children’s lives through their mothers’ camera lenses.

“Time In: Refocusing the Lens of Motherhood” runs through February 21. The exhibition — curated by Larry Gawel of WorkSpace Gallery in Lincoln — features 11 contemporary female photographers and mothers who have chosen their children as the subject matter in their photographic work while transcending the notion of the snapshot or the school portrait.

Featured artists include: Rocio De Alba, Middle Village, New York; Elizabeth Claffey, Bloomington, Ind.; Joy Christiansen Erb, Youngstown, Ohio; Tytia Habing, Watson, Ill.; Alaina Hickman, Omaha; Toni Pepe, Malden, Mass.; Suzanne Révy, Carlisle, Mass.; Heather Evans Smith, Winston Salem, N.C.; Sheila Talbitzer, Omaha; Jessica Tampas, Chicago, Ill.; and Jamie Tuttle, Evanston, Ill.

Elder Gallery hours are Tuesday-Friday, 10 a.m. to 4 p.m., Saturday-Sunday, 1 to 4 p.m.

A panel discussion with the curator and artists Alba, Habing, Révy, Tuttle and Talbitzer will be held Friday, February 5 at 4 p.m. Together they will share their thoughts on what transcends a snapshot, how one makes an image of a child have universal appeal, career vs. family for women in the arts, and technological advances for photographing children, among other topics. A reception will follow from 5 to 7 p.m.

Elder Gallery is located inside the Rogers Center for Fine Arts, 50th Street and Huntington Ave. Admission and parking are free.

Joy currently resides in Youngstown, Ohio, where she is an Associate Professor of Photography at Youngstown State University. She received her B.F.A. from Miami University, Oxford, OH and her M.F.A. from Texas Woman’s University.