X Proof Member’s Show, 500X Gallery | Sheryl Anaya and Kalee Appleton

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Congratulations to Texas Woman’s University Alumnae, Sheryl Anaya and Kalee Appleton, for their 500X Gallery Member exhibition, X Proof | Member’s Show. The exhibition runs from September 5 – 20, 2015.

Exhibition Dates: September 5 – 20, 2015

500X is ready to kick off the new season with the annual members show. Welcoming the addition of it’s newest members, this group of emerging DFW artists will be showcasing a range of traditional and contemporary art. Works ranging from photography, printmaking, textile, installation, painting, video, performance, and conceptual works investigate a variety of content and formal concerns. These 16 active artists have ties to and have collaborated with other artist groups such as Art Conspiracy, aphophenia underground, Deep Ellum Windows, Gallery Project in Detroit, Hatch Show Print, Performance SW, Oil and Cotton, and Wild Pony Editions, to name a few. They work in the community as educators, coaches, professionals, and mentors across the DFW area. They work and are involved with institutions such as UNT, Brookhaven College, UTA, Collin College, Richland College, TCU, Dallas Public Library, Modern Art Museum of Forth Worth, and Urban Outfitters.

As the oldest artist run co-op in Texas, the idea of collaboration, finding fresh talent and building community is what this current group hopes to continue to foster. Come out to the first show of the 2015 season, X Proof.

Current members: Sheryl Anaya, Kalee Appleton, Clint Bargers, Bill Bridges, Lindsey Brown, Kate Colin, Bernardo Cantu, Laura Garcia, M. Kate Helmes, Rachel Livedalen, Jose Rueben Melendez, Rachel Muldez, Justin Strickland Hoff, H. Schenck, Jennifer Seibert, and Syd Webb.

Sheryl completed her BFA in Photography and Sculpture at Texas Woman’s University in 2013. She is currently a Member of 500x Gallery and the Editorial Assistant for Light Leaked, an online photography journal.

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.

August Opportunities


Call for Entry

  • Due: August 3, 2015
    SHOTS no. 129 Autumn Issue 2015
    Theme(s): Reflections & / or Shadows

  • Due: August 3, 2015
    SEITIES Autumn Publication + Exhibition
    Theme: Macabre

  • Due: August 5, 2015
    Portfolio Showcase: The Constructed Image Photo Collage, Photo Montage, In-Camera/Scanner Assemblages
    Davis Orton Gallery
  • Due: August 10, 2015
    2015 Alternative Process Competition | Soho Photo Gallery
    Juror: Joni Sternbach
  • Due: August 10, 2015
    Going Places | PhotoPlace Gallery
    Juror: Carlan Tapp
  • Due: August 12, 2015
    Nocturne | Darkroom Gallery
    Juror: Lance Keimig
  • Due: August 15, 2015
    Greatest Hits 2015 SPESC Regional Student Juried Exhibition | The Lightwell Gallery, School of Art and Art History at OU.
    Jurors: Jennings Sheffield and Kristina Smith
  • Due: August 21, 2015
    Open Call Guate Photo 2015
  • Due: August 22, 2015
    2015 Art in the Metroplex Exhibition
    Juror: Peter Doroshenko
  • Due: August 23, 2015
    At Home | Don’t Take Pictures
  • Due: August 28, 2015
    Illuminate | The Center for Fine Art Photography
    Juror: Elizabeth Avedon

Job Opening, Production Assistant and Customer Support | Coupralux

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Coupralux Giclée Printmaking Studio is hiring an assistant for Production and Customer Support.

For more information, please contact Coupralux directly:

1715 Market Center Blvd
Dallas, Texas 75207


Dark Grandeur, Lillian Bradshaw Gallery | Ross Faircloth

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Congratulations to Texas Woman’s University Alumnus, Ross Faircloth, for his solo exhibition, Dark Grandeur, at the Lillian Bradshaw Gallery in the Dallas Public Library. The exhibition runs from August 3 – August 31, 2015.

Exhibition Dates: August 3 – August 31, 2015

Opening Reception: August 8, 2015 |  3:00 PM – 5:00 PM

“The enemy of photography is the convention, the fixed rules of ‘how to do.’ The salvation of photography comes from the experiment.”
– Laszlo Moholy-Nagy

Ross received his BFA from the University of Texas at Arlington and his MFA from Texas Woman’s University.

Call for Entry | Art in the Metroplex


Due: August 22, 2015
2015 Art in the Metroplex Exhibition
Juror: Peter Doroshenko

The Arts Center welcomes submissions from all artists in the DFW Metroplex and surrounding areas – Tarrant, Dallas, Collin, Cooke, Denton, Ellis, Grayson, Hill, Hood, Hunt, Jack, Johnson, Kaufmann, Navarro, Palo Pinto, Parker, Rockwall, Somervell and Wise counties for the 2015 Art in the Metroplex Exhibition. Exhibition is October 5 – 30, 2015, at the Fort Worth Community Arts Center, 1300 Gendy, Fort Worth, TX 76107. Juror is Peter Doroshenko of the Dallas Contemporary. Awards.

Prospectus and Online Entry

Artists may submit up to three artworks in JPG format, preferably 1 to 2MB file size. Only 3D work may include a detail or second view. Video may be AVI, MOV, MPG or MP4. Works must be original, and have been completed in the last two years. Students 18 and older are welcome to submit work, but it must have been created without supervision. No work previously exhibited in Art in the Metroplex competition may be entered. Painting, drawing, printmaking, sculpture, photography, video, and mixed media qualify for entry.

Non-refundable fee is $35.

About the juror:

Juror Peter Doroshenko is the Executive Director at the Dallas Contemporary, in Dallas, Texas, which presents new and challenging ideas from regional, national and international artists. Preceding his current stint at the DC, Doroshenko was curator at the Pinchuck Art Center in Kiev, The Baltic Centre for Contemporary Art in England, the Institute of Visual Arts at UW-Milwaukee, the SMAK, Ghent, Belgium, the Museum of Contemporary Art in Houston, Texas and the Everson Museum of Art, Syracuse, NY.

Doroshenko has worked directly with many artists to develop and produce new, commissioned works. As well as writing for contemporary art magazines such as Source and Art Monthly Australia, Doroshenko has written or contributed to several books and numerous exhibition catalogues on artists’ work, including Private Spaces for Contemporary Art, with Rispoli Books, Brussels.

Doroshenko was the commissioner for the Ukrainian Pavilion at the Venice Biennale, and was co-curator of the Busan Biennale, South Korea. He received the Chevalier of the Order of Arts and Letters in 2002, from France.

Accepted artists will receive instructions on final presentation and delivery.


Elaine Taylor
Gallery Manager
Fort Worth Community Arts Center
1300 Gendy Street
Fort Worth Texas 76107

And They Papered The Room, Lilina Bloch Gallery | Kathy Lovas

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Photo by Mayra Barraza, Mating Season VIII, ink on paper, 13 x 9 1/2 inches, 2013

Congratulations to Texas Woman’s University Alumna, Kathy Lovas, for being included in And They Papered The Room, a group exhibition, at Lilina Bloch Gallery in Dallas, TX. The exhibition runs from June 27 – August 1, 2015.

The exhibition is a testimony of a medium that has become a constant experiment that combines ancient and high-technology techniques and exposes the exciting times for contemporary artists that seek to expand the scope of paper behind their creative process.
Participant artist are Mayra Barraza, Tim Best, Kristen Cochran, Michael Corris, Reinhold Engberding, Ann Glazer, Lynne Harlow, Letitia Huckaby, Vince Jones, Kathy Lovas, Shawn Mayer, Leigh Merrill, Mi-Hee Nahm and Sally Warren.

Exhibition Dates: June 27 – August 1, 2015

Part of the Glasstire’s TOP 5 EXHIBITIONS IN TEXAS as of June 25!

Kathy Lovas was born in Duluth, Minnesota. She holds a B.S. degree in biology from St. Mary’s College, Notre Dame, Indiana and an MFA in photography from Texas Woman’s University in Denton. She is a 1995 recipient of a Mid-America Arts Alliance National Endowment for the Arts Fellowship in photography, and was a 1991 fellow of the American Photography Institute National Graduate Seminar at New York University.

Kathy lives in Dallas, Texas and has been on the photography faculty in the College of Visual Arts and Design at the University of North Texas in Denton since 1992. In addition she has held teaching appointments at Southern Methodist University, UT Arlington, UT Dallas, and Texas Woman’s University.

My Favorite Intern, Holly Johnson Gallery | Mary Kathryn Wimberly

Congratulations to Texas Woman’s University Alumna, Mary Kathryn Wimberly, for having her work included in My Favorite Intern at Holly Johnson Gallery in Dallas, TX. The exhibition runs from June 27 – August 15, 2015.

Exhibition Dates: June 27 – August 15, 2015

Mary Kathryn Wimberly is a Texas based fine art photographer, instructor, and commercial photographer. Her work has been shown nationally and internationally in group and solo exhibitions. She holds a BFA from the University of North Texas and an MFA from Texas Woman’s University.

Michael Kenna: France | Photographs Do Not Bend

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Michael Kenna: France | Photographs Do Not Bend

Exhibition Dates: May 16 – August 1, 2015

This will be PDNB Gallery’s fourth solo exhibition for the renowned landscape photographer, Michael Kenna (b. 1953, Widnes, Lancashire, England). This very special show will highlight photographs of France taken in the past several decades. The exhibition follows the release of his latest book, FRANCE, by Nazraeli Press, and his exhibition in Paris at Le Musée Carnavalet.

Kenna has photographed all over the world, but perhaps the work he did in France in the 1980’s put him on the map. His long exposures of Versailles, taken at dawn or dusk, produced memorable images. His sublime photographs were first published in his most recognized book, Le Nôtre’s Gardens. The locations included Vaux-le-Vicomte, Versailles, Saint-Germain-en-Laye, Fontainebleau, Chantilly, Les Tuileries, Saint-Cloud, Sceaux, and Marly.

Now, when we see the perfectly manicured trees of Versailles, we think of Michael Kenna’s photographs. Later, when Kenna photographed Japan (exhibited at PDNB in 2003), his meditative skill of photographing took off to a new level. But France was where this artist developed the eye to see the divine beauty of nature.

This exhibition will include some early works from the 1980’s, and some newer images that have not been exhibited. Locations will include Le Desert de Retz, Les Tuileries, Falaise d’Aval, Mont Saint Michel and the Eiffel Tower.

Michael Kenna’s photographs are housed in over 100 museum and institution collections throughout the world, including the Amon Carter Museum of American Art, the Art Institute of Chicago, the Bibliothèque Nationale de France, George Eastman House, Los Angeles County Museum of Art,  Musée national d’Art modern, Paris, San Francisco Modern Art Museum, Tokyo Metropolitan Museum of Photography, and the Victoria and Albert Museum, London.

He has received several awards including an Honorary Master of Arts from Brooks Institute in Santa Barbara, and the Chevalier of the Order of Arts and Letters from the Ministry of Culture, France.

The companion book, FRANCE, will be available for purchase.

An Interview with Michael Kenna:

PDNB – Why France? I loved your earlier work from the 1990’s that was published in the beautiful monograph, Le Nôtre’s Gardens. What was your motivation to create a new book on France that includes old and new images?

MICHAEL – I was born in England and my early work comes out of the European tradition of photography. My masters were Eugene Atget, Bill Brandt, Brassai, Mario Giacomelli, Josef Sudek and others. These photographic giants influenced me greatly. I suppose they are all romantics at heart, all concerned with photographing a feeling as much as documenting external reality. Atget was the springboard for my work in Paris and the
Le Nôtre gardens that you refer to.

France is a huge country, very close to England, enormously varied, with unlimited potential for creative expression. My photographic work is generally about the juxtaposition, relationship, connection between the “natural” elements: earth, water, sky, etc., and the structures that we humans leave behind. I enjoy the patina of age, the passage of time, the footprints, traces, memories left in the landscape. I photograph what I am drawn to, which can be directly linked back to my childhood experiences in the Northern England: train tracks, church interiors, parks, gardens, seafronts, industrial buildings, bridges, urban environments, etc. France has all these elements and many more.

I first visited France in the late seventies and have been photographing there fairly consistently since the early eighties. It is a country that I feel very much at home in. These photographs are from my limited experiences in the places I have been fortunate enough to spend time. This is not a comprehensive survey of France. I see this collection as more of an ongoing personal, visual diary. I’m sure I could spend the rest of my life photographing in France and there would still be much, much more to see and photograph.
PDNB – How do you feel about your older work in France and was there any temptation purely to make this a book of your more recent French photos?

MICHAEL – I couldn’t image excluding older images just because I have newer images. Where would I draw the line? I like my newer friends to mix with my older friends. The chronological development of some thirty years of photography in France is also very interesting for me. Pairing new with old can add an extra dimension to both. Over the years I have had a number of books published on specific areas of France: Le Notre’s Gardens, Le Desert de Retz, Calais Lace, Mont Saint Michel, In France, Jefferson’s Walks in Paris, etc. I have also received commissions to photograph a number of other specific areas. This book combines all this work, mixes it up and presents it in a fresh way. I like that a lot.

Dawn Mist, Mont St. Michel, France, 1994
PDNB – Why do you prefer small prints?

MICHAEL – I’ve experimented with big prints but I just don’t like them. We all see about 35 degrees in focus so naturally approach artwork from a certain distance. I prefer viewers to be about ten inches from my prints. It is a very intimate viewing distance. Also, I have printed this way since the seventies so my work is one large, quite happy family. Prints from 1975 get along fine being exhibited next to prints from last week.
PDNB – You printed for Ruth Bernhard when you lived in San Francisco. How long did you work for her? How did she influence your career?

MICHAEL – I was very fortunate to meet Ruth Bernhard in 1978. She had signed an exclusive contract with The Stephen White Gallery in Los Angeles. As part of this contract, she agreed to make many prints over a period of two years. Unfortunately for her, she had recently suffered some carbon monoxide poisoning and did not feel able to make these prints. I had just begun to be represented by the same gallery and Stephen White kindly asked me if I would be interested to help Ruth.

My ten years of working with Ruth
Bernhard were priceless. I cannot over estimate her influence on both my life and work. Before working with Ruth, I thought that I was a good photographic printer. I had printed my own work and that of a number of other photographers along the way, both in colour and black and white. However, Ruth gave me new insights into the process. Her basic starting point was that the negative was a starting point! She would radically transform an initial straight print into a Ruth Bernhard print. This might involve tilting the easel to achieve a different perspective, softening the focus to create an evenness of tone, making masks to burn and dodge, using different chemicals to change the contrast or color of the image, etc. She essentially refused to believe that the impossible wasn’t possible, and that there were no rules that couldn’t be broken, which made for many late nights in her darkroom.

Ruth often said that she regarded her role of teacher to be far more important than her role of photographer. I was a young photographer trying to navigate in the extremely puzzling world of art galleries, publishers and commercial agents. Ruth was a guiding light for me. “Today is the day” was her mantra, and her determination to live in the present, to appreciate every moment, to always say yes to life, has left an indelible impression on me. I remain in debt to her kindness and wisdom.

PDNB – You are known for your black and white work. Do you ever photograph in color?

MICHAEL – Black and white is immediately an interpretation of the world rather than a copy of what we see. We see in color all the time. I have always found black and white photographs to be quieter and mysterious than those made in color. For me, the subtlety of black and white inspires the imagination of the individual viewer to complete the picture in their mind’s eye. It doesn’t attempt to compete with the outside world. I believe it is calmer and more gentle than color, and persists longer in our visual memory. In the past I have worked as a commercial color printer and I have also photographed in color for advertising assignments, but it is not my preference.

PDNB – Do you collect photographs? Describe a few of your favorites.

MICHAEL – Sitting here typing out this interview I look around my studio and I can see prints from Ruth Bernhard, Bill Brandt, Linda Connor, Imogen Cunningham, Jim Dine, Frederick Evans, Mario Giacomelli, Andrea Modica, Daido Moriyama, Edward Muybridge, Olivia Parker, Penti Sammallahti, O. Winston Link, and yes, even an Alfred Steigliz photogravure! I have many more prints in flat files and boxes so, although I have never considered myself a collector, I seem to have collected some beautiful photographs along the way. These images continue to give me inspiration and visual pleasure. It’s interesting that they are all black and white too!

PDNB – Finally, for the techies out there….analog or digital?

MICHAEL – I am 100% analog. I use film cameras and insist on making all prints myself in my own traditional wet darkroom. Having said that, I believe that every photographer, every artist, should choose materials and equipment based on their own personal vision. I don’t believe that analog is better than digital, or the reverse for that matter. They are just different, and it is my personal preference and choice to remain with the traditional silver process. I don’t need or desire instant gratification in photography and it is the long, slow journey to the final print that captivates me. I still prefer the limitations, imperfections and unpredictability of the silver based analogue world. Having worked with silver materials and film cameras for well over forty years, both commercially and in my own fine art work, I now find it a little out of character to fully embrace the digital medium even though I have experimented a little with it. It is true that the whole photographic process has been made much easier, faster, cleaner and more accessible to people by digital innovations, and that’s a very good thing. It doesn’t mean that all photographers need to follow this trend, or perhaps I should more accurately describe it as a tidal wave : ).

500X Hot and Sweaty 4: Open Show 2015 | Danielle Rene’ Khoury

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Congratulations to Texas Woman’s University Alumna and Adjunct Faculty in Photography, Danielle Rene’ Khoury, for having her photograph, Clutch, included in the 500X Hot and Sweaty 4: Open Show 2015 at 500X Gallery in Dallas, TX.

Exhibition Dates: June 13 – June 28, 2015

Reception: June 13, 2015 | 7:00 PM – 10:00 PM

Danielle received her BFA in Photography in 2006, and her MFA in Photography in 2012, from Texas Woman’s University, where she is currently an Adjunct Professor. Her work has been exhibited nationally and internationally including Vermont, California, Minnesota, China, and India. She currently resides in Fort Worth, TX.

ArtCon SKEWED | Sheryl Anaya


Congratulations to Texas Woman’s University Alumna, Sheryl Anaya, for having an artist profile featured by ArtCon in conjunction with their SKEWED Art Auction. To view the interview, click here.

Sheryl completed her BFA in Photography and Sculpture at Texas Woman’s University in 2013. She is currently a Member of 500x Gallery and the Editorial Assistant for Light Leaked, an online photography journal.