Brian Dailey WORDS: A Global Conversation at Baahng & Co in New York City

WORDS is the artist’s investigation into the impact of globalization and its effect on key human structures of language, society, culture, and environment. In each country, Dailey set up his camera with green-screen backdrop and invited random individuals.  Participants were asked 13 words in their native languages: peace, war, love, environment, freedom, religion, democracy, government, happiness, socialism, capitalism, future, and United States.  Each person responded—in a single word—with a first impression and selected a background flag reflecting his or her societal allegiance.  WORDS MULTIMEDIA is a time-based art and engages the viewers in present day issues while invoking a communal sense among global citizens.  In WORDS on WORDS, distinct single-word responses are layered in an immeasurable array of colors enhanced by the lenticular 3D effect. Interjecting his voice in a collaborative manner with the project’s participants, Dailey creates iconoclastic yet playful statements reminiscent of Dada and Surrealist word play.

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WORDS on WORDS, 2019
Set of 13, Solos, Lenticular Prints 20 x 40 in

About the artist

Born 1951 in California, Brian Dailey earned MFA from Otis Art Institute in 1975 and Ph.D. from University of Southern California in 1987 and participated in the pioneering creative experimentation defining the prolific artistic milieu in California in this era.  His early career launched him on a path that—before his full circle back to his arts in 2008—took him through a twenty-year interlude working on arms control and international security.  These unusual experiences were a fertile source of inspiration in his idiosyncratic art practice. With dual citizenship of USA and New Zealand, He lives and works in the Washington D.C. and in Woodstock, Virginia.  His selected solo exhibitions include at Katzen Arts Center, American University Museum in Washington D.C., in 2018 and his mid-career retrospective at Bulgaria’s National Art Gallery in Sofia in 2014. The evocative videoJIKAI was screened on multiple synchronized monitors in New York City in February, 2014, as the featured video in the Times Square Midnight Moment series; a project of ART PRODUCTION FUND. Brian Dailey is represented by Baahng Gallery.

Brian Dailey

WORDS: A Global Conversation

February 11 – March 17, 2020

Baahng & Co New York City, NY

Framing Specifications

BDailey_WORDS_2sm
Painted maple frame with dolphin finish, matching spacer, and strainer

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Dave Shafer “Through an Artist’s Lens” at Davis and Blevins Gallery in Texas

Dave Shafer’s photographic art work is strongly rooted in Americana themes, adventures and totems. The images for this exhibit have all be captured with film and a 50+ year old 4×5 format camera. No matter the camera or subject, Dave’s devotion is to capture the fleeting moments of gesture and light.

Shafer_Cowboy_Boot_2rev2

Cowboy Boot No. 2, 2019 4″ x 5″ archival pigment ink in acrylic – photograph reverse gilding with gold leaf

Shafer_Somberorev

Sombrero, 2015 24″ x20″ archival pigment ink – Photograph Hahnemühle Photo Rag 308 100% Cotton/Acid-Lignin Free

Shafer_Cattlerev

Cattle, 2015 24″ x20″ archival pigment ink – Photograph Hahnemühle Photo Rag 308 100% Cotton/Acid-Lignin Free

Shafer_Feb_Napping_Cowboyrec

Napping Cowboy 24″ x20″ archival pigment ink – Photograph Hahnemühle Photo Rag 308 100% Cotton/Acid-Lignin Free

About the artist

Born and raised in the hard working steel country of Western Pennsylvania, his father at an early age introduced Dave to the camera and magic of the darkroom.

For 20 plus years his eye has been focused on commercial, advertising and magazine editorial pursuits. Dave has been recognized with some of the most prestigious awards in the industry, including two Communication Arts – Award of Excellence and just recently a Gold Medal from the International Regional Magazine Association

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Dave Shafer 

“Through an Artist’s Lens”

February 29, 2020 – April 25, 2020

Davis and Blevins Gallery

St. Jo, Texas

Framing Specifications

nielsen 117 profile black  nielsen 117 profile white

NIELSEN METAL GALLERY FRAME

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Finish: white
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Custom Cut Matboard: 8 ply white museum matboard
Custom Frame Custom Frame Acrylic: 1/8″ UV acrylic cut to size




Stephen Mallon “Passing Freight” Front Room Gallery in New York City


Front Room Gallery is pleased to present a solo exhibition of photographs by Stephen Mallon. “Passing Freight” is a visual celebration of the unique beauty and function of freight train cars in United States. In 2018 there were 1,637,000 freight cars in operation across North America, each distinctive in their construction, markings and utility. Time and human contact add to each train car’s individuality: all carrying a vast, and sometimes surprising array of goods and resources. This series of photographs captures the still active rail lines that carry freight to destinations across the country. Mallon’s industrial landscape photographs isolate freight cars within this iconic transportation system, which has played a critical role in supply infrastructure across the continent for hundreds of years.

 

Mallon has been finding locations from New York to California, patiently waiting for the combination of light, subject and environment to capture unique images where they intersect. He has chosen the “decisive moment” to capture these speeding boxcars photographically. There is an intersection of mechanical and natural worlds, singular encounters where the trains activate the landscape, which for Mallon are fleeting and hard to predict. Patience leads to the essential moment when these elements come into position: the points in time where the colors and shapes of each railcar, all of the nuances of the light reflecting from the loads of steel, wood, and everything else are composed and captured.

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RenderedImage
IMG_0921

copyright  Stephen Mallon Images courtesy of Stephen Mallon & Front Room Gallery

About the artist

Stephen Mallon is a photographer and filmmaker who specializes in the industrial-scale creations of mankind at unusual moments of their life cycles. Mallon’s work blurs the line between documentary and fine art, revealing the industrial landscape to be unnatural, desolate and functional yet simultaneously also human, surprising and inspiring. Mallon’s work has been exhibited in museums and galleries internationally, and his work has been written about in many publications, including National Geographic, The New Yorker, New York Times, Vanity Fair, Wired, Stern, PetaPixel, Viral Forest, BuzzFeed, New York Magazine, The Huffington Post, and featured on CNN, CBS, MSNBC and NPR.
STEPHEN MALLON

PASSING FREIGHT

February 13 – March 15, 2019

Front Room Gallery

New York, NY

usa flag image

copyright  Stephen Mallon Images courtesy of Stephen Mallon & Front Room Gallery

Framing Specifications

Capture0018-431-101MP04_50-SPACER_STRAINER

METRO GALLERY FRAME

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Type: Standard Gallery Frame
Wood & Finish: maple frame with pickled white finish
Purchasing Option: joined wood frame
Custom Wood Spacer: 1/4″ wood frame spacer
Custom Wood Strainer: 1/2″ wood frame strainer
Custom Frame Acrylic: 1/8″ acrylic cut to size




ALEJANDRO CARTAGENA: PHOTO STRUCTURE / FOTO ESTRUCTURA at Eastman Museum

For this latest body of work, Cartagena spent time sifting through landfills on the outskirts of Mexico City to collect thousands of discarded photographs—portraits, snapshots, and tourist views. Cartagena excises figures, faces, or other details from the found photographs and reconfigures the original compositions by either moving the cut fragments or removing them entirely. The altered photographs remain strangely whole and strikingly familiar, compelling the viewer to consider what gives a photograph meaning. His arrangements reveal that seemingly crucial aspects of an image are both central and incidental to our ability to understand the works.

Cartagena is producing works of art specifically for this exhibition, giving visitors to the Eastman Museum the first opportunity to see the newest photographs in his most recent body of work.

 

StudioSession-849.jpg
Alejandro Cartagena (Mexican, b. Dominican Republic, b. 1977). Detail from Narciso / Narcissus, 2019. Altered gelatin silver print. Courtesy of the artist. © Alejandro Cartagena
StudioSession-849
Alejandro Cartagena (Mexican, b. Dominican Republic, b. 1977). Detail from Narciso / Narcissus, 2019. Altered gelatin silver print. Courtesy of the artist. © Alejandro Cartagena
StudioSession-904.jpg
Alejandro Cartagena (Mexican, b. Dominican Republic, b. 1977). Detail from Rostros / Faces, 2019. Altered gelatin silver print. Courtesy of the artist. © Alejandro Cartagena

StudioSession-904
Alejandro Cartagena (Mexican, b. Dominican Republic, b. 1977). Detail from Rostros / Faces, 2019. Altered gelatin silver print. Courtesy of the artist. © Alejandro Cartagena

StudioSession-901.jpg
Alejandro Cartagena (Mexican, b. Dominican Republic, b. 1977). Detail from Vacaciones familiares (después Roma) / Family Vacation (after Roma), 2019. Altered gelatin silver print. Courtesy of the artist. © Alejandro Cartagena

StudioSession-901
Alejandro Cartagena (Mexican, b. Dominican Republic, b. 1977). Detail from Vacaciones familiares (después Roma) / Family Vacation (after Roma), 2019. Altered gelatin silver print. Courtesy of the artist. © Alejandro Cartagena

About the artist

Cartagena lives and works in Monterrey, in northeastern Mexico. His projects employ landscape and portraiture as a means to examine social, urban, and environmental issues. His work has been exhibited internationally and is part of public and private collections, including the San Francisco Museum of Modern Art, the Museum of Contemporary Photography in Chicago, the JPMorgan Chase Art Collection, the Museum of Fine Arts in Houston, the Harry Ransom Center at the University of Texas, and the George Eastman Museum.

Cartagena is also a self-publisher and co-editor of photobooks and has been published internationally in magazines and newspapers such as the New York Times, Le Monde, and the New Yorker. He is the recipient of several awards, including the international Photolucida Critical Mass Book Award, the Lente Latino award in Chile, and the Premio IILA-FotoGrafia Award in Rome.

ALEJANDRO CARTAGENA: PHOTO STRUCTURE / FOTO ESTRUCTURA
January 31, 2020 - June 28, 2020
George Eastman Museum, Rochester, NY
ALEJANDRO CARTAGENA: PHOTO STRUCTURE / FOTO ESTRUCTURA
January 31, 2020 – June 28, 2020
George Eastman Museum, Rochester, NY
ALEJANDRO CARTAGENA: PHOTO STRUCTURE / FOTO ESTRUCTURA
January 31, 2020 – June 28, 2020
George Eastman Museum, Rochester, NY

Framing Specifications


eastman frame
Capture0002-712_114MP01_spacer700

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Custom Wood Strainer: 1/2″ wood frame strainer




Chuck Koosmann “Landscapes”

Iceland is a place I didn’t know much about before travelling there. It is small, isolated and full of my imaginings. I had heard many stories about it from travelers I’ve known but didn’t have a sense of it really.

The reality was unexpected. Too many tourists in Reykjavik, glaciers of immense size, a dramatic terrain that led to the sea and a presence that talked of creation and the formation of the Earth.

The photos in this exhibit represent the images of my unexpected experience. Long cooled volcanic magma flows, extinct volcanoes, man’s adaptation to its surroundings and settlement. A story of growth and progression.

 

Highway 1
Iceland, 2017
Archival Pigment Print
21 X 28”
Highway 1
Iceland, 2017
Archival Pigment Print
21 X 28”
Volcanic Flows
Iceland, 2017
Archival Pigment Print
21 X 28”
Volcanic Flows
Iceland, 2017
Archival Pigment Print
21 X 28”
Glacial Outflow
Iceland, 2017
Archival Pigment Print
21 X 28”
Glacial Outflow
Iceland, 2017
Archival Pigment Print
21 X 28”
kossman install

About the exhibition

This exhibition is a collaboration of my photography and Tiit Raid’s  paintings.

Our approach to our art is quite different. As a photographer; I see, I compose, and I make. A fairly straight forward process. In my understanding of Tiit’s process, he sees, he composes, and he interprets. To my mind there is an important and distinctive difference: objectivity vs. subjectivity.

Our collaboration piece, my photo “Volcanic Aftermath” and Tiit’s interpretive paintings of it, is the expression of how we see.

Chuck Koosmann / Tiit Raid

November 15, 2019 – December 28, 2019

Gallery Reception November 22, 2019 5-7 pm

Center for Visual Arts

Wausau, Wisconsin

Framing Specifications

Volcanic Aftermath
Iceland, 2017
Archival Pigment Print
21 X 28”
Volcanic Aftermath
Iceland, 2017
Archival Pigment Print
21 X 28”
102AH13A copy

METRO GALLERY FRAME

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Type: Standard Gallery Frame
Wood & Finish: ash frame with black finish
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Custom Wood Spacer: 1/2″ wood frame spacer with white finish
Custom Wood Strainer: 3/4″ wood frame strainer
Custom Frame Acrylic: 1/8″ UV acrylic cut to size




Billy Hassell “Lone Star Wild” at Davis Gallery in Austin Texas

My work is a symbolic and narrative response to nature and seeks a balance between realism and abstraction. My primary subject matter has been the flora and fauna of Texas and my influences include Mexican and American folk art, 19th and 20th Century Japanese woodblock prints, natural history, field guides and botanical studies. Over the years I have become increasingly concerned and involved with environmental issues and have received commissions from Audubon Texas, the Texas Nature Conservancy and the Texas Parks and Wildlife Foundation to produce color etchings and color lithographs featuring the flora and fauna of Texas that highlight those organizations’ conservation efforts around the state and the Gulf Coast.

Billy Hassell
September 2019
Billy Hassell MOCKINGBIRD    color lithograph     8.5” x 24”
Billy Hassell MOCKINGBIRD color lithograph 8.5” x 24”
Billy Hassell GRASSHOPPER color lithograph  8.5” x 24”
Billy Hassell GRASSHOPPER color lithograph 8.5” x 24”
Billy Hassell SKUNK color lithograph  8.5” x 24”
Billy Hassell SKUNK color lithograph 8.5” x 24”
Billy Hassell BISON color lithograph  8.5” x 24”
Billy Hassell BISON color lithograph 8.5” x 24”
Installation shot Davis Gallery 3 copy-1
Insatllation shot Davis Gallery 2 copy-1

About the artist

Billy Hassell has been making nature inspired paintings and lithographs for more than 25 years. His colorful and expressive art works, frequently featuring birds and indigenous plants and animals, have been exhibited nationwide and are included in the permanent collections of the Houston Museum of Art, the Fort Worth Modern, the Dallas Museum of Art, the Tyler Museum of Art and numerous other public and private collections. Articles on his work have appeared in ArtNews, Southwest Art and the New York Times.

Billy Hassell “Lone Star Wild”

October 19, 2019 – November 30, 2019

Davis Gallery Austin, Texas

Framing Specifications

Billy Hassell JACK RABBIT color lithograph 8.5” x 24”
Billy Hassell JACK RABBIT color lithograph 8.5” x 24”
Thin Gallery Frame
Thin Gallery Frame

METRO GALLERY FRAME

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Type: Thin Gallery Frame
Wood & Finish: ash frame with black finish
Purchasing Option: joined wood frame
Custom Wood Strainer: 3/4″ wood frame strainer
Custom frame mats/sized boards: white 8 ply mat & 4 ply backing
Custom Frame Acrylic:  UV acrylic cut to size
Custom frame backing boards: 1/8″ archival coroplast




Terri M Wells Brinton AIR Museum Show

The 2019 Brinton Artists in Residence show features six diverse, nationally recognized artists who were invited for two-week residencies in 2018 to create art en plein air. The Brinton’s Artists in Residence program allows artists the unique opportunity to sketch, draw and paint on The Brinton grounds and also on other scenic locations throughout the area. Resident artists are featured in a group exhibition in the fall of the following year of their residency.

Terri M. Wells “Big Horn Movement III”                 11” x15", watercolor and ink
Terri M. Wells “Big Horn Movement III” 11” x15″, watercolor and ink
Terri M. Wells “Big Horn Movement V”                16” x 38” watercolor
Terri M. Wells “Big Horn Movement V” 16” x 38” watercolor
Terri M, Wells “Big Horn Movement IV”           11” x 15” watercolor and ink
Terri M, Wells “Big Horn Movement IV” 11” x 15” watercolor and ink

About the artist

Terri Wells With an eye for nuanced, vibrant color, and memorable compositions, Terri paints outdoors on-location throughout the U.S. Some paintings are preliminaries for abstract sculptures and studio work. Terri was Plein Air Austin’s president and chairman of the board 2005-2008. She has participated in many national shows including Maynard Dixon Country and America’s Parks Through the Beauty of Art. In 2018, she received a two-week residency from the Brinton Museum in Big Horn, WY. In 2019, Terri was invited to be one of 31 centennial artists for the Art of Texas State Parks Project. Her work sells in national shows, direct, and the Thunderbird Foundation, Mt. Carmel, UT.

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Brinton Artists in Residence Exhibition
September 7, 2019 – October 20, 2019
The Brinton Museum Big Horn, Wyoming

Framing Specifications

Terri M. Wells “Big Horn Movement I”     
 11” x 22” watercolor and ink
Terri M. Wells “Big Horn Movement I”
11” x 22” watercolor and ink
Capture0018-431 101MP01_50 SPACER_STRAINER

METRO GALLERY FRAME

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Being There: Photographs by James P. Blair at Middlebury College Museum of Art

This exhibition takes an intimate look at the work of renowned photographer James P. Blair, who for more than thirty-five years traveled the world for the National Geographic Society. His images not only transport us to places most of us will never visit, the best of them have become part of our visual lexicon and remind us that the world is a varied and stimulating place, sometimes breathtaking in its beauty and at other times heartbreaking in its degradation.

Ketelie Regis and her baby, Haiti, 1987. Photo: © James P. Blair.
Ketelie Regis and her baby, Haiti, 1987. Photo: © James P. Blair.
Coal Miner, South Africa, 1976. Photo: © James P. Blair.
Coal Miner, South Africa, 1976. Photo: © James P. Blair.
Wild Goose and Kili Monastery, Russia, 1991. Photo: © James P. Blair.
Wild Goose and Kili Monastery, Russia, 1991. Photo: © James P. Blair.

About the photographer

James Blair prepared for a photographic future by studying with Harry Callahan and Aaron Siskind for a bachelor of science degree in photography at the Institute of Design of the Illinois Institute of Technology in Chicago. Between semesters he also photographed for Roy E. Stryker (director of the Farm Security Administration Photographic Documentation of the Depression) at the Pittsburgh Photographic Library. After graduation in 1954, he spent two years as a lieutenant (j.g.) in the Navy, part of that time assisting refugees from North Vietnam in Operation Passage to Freedom. He joined WIIC-TV in Pittsburgh, Pennsylvania, in 1958 as a reporter and film photographer.

As a freelance photographer, Blair had commissions from the U.S. Information Agency, TimeLife, and National Geographic magazine. He also put together a one-man show at Carnegie Museum in Pittsburgh, and co-authored Listen With the Eye, a book of photographs and poems, with Samuel Hazo.

Success with National Geographic assignments brought him to the staff of the magazine in 1962. He has had more than 45 stories published in the magazine, including major coverages of Yugoslavia, Czechoslovakia, Poland, Ethiopia, West Africa, Iran, Russia, and Greece, and various parts of the United States, as well as articles on agriculture, coal, astronomy, and uses of photography in science. He covered southeast China for the book Journey Into China, published in 1982. He was the chief photographer for the National Geographic book on environment, As We Live and Breathe, and then continued his special interest in the environment with coverage of the disappearing rain forest, environmental pollution, and World Heritage sites.

There have been one-man shows of his work in Teheran, St. Louis, Pittsburgh, and Washington, D.C., and he has been included in group shows in Atlanta and Washington. He is represented in the permanent collections of the National Portrait Gallery (Washington D.C.), Canegie Mellon Museum (Pittsburgh), the Museum of Modern Art (New York), and the Portland Museum of Art (Maine). National Geographic’s 1988 Centennial Exhibit “Odyssey” included several of his photographs. Blair is a regular instructor at the Maine Photographic Workshops, the Smithsonian Institution, and numerous other workshops, and has taught at the International Center of Photogarphy, New York. He was the first Distinguished Visiting Professor of Photojournalism at the University of Missouri’s School of Journalism for the year 1992

Being There: Photographs by James P. Blair
May 24, 2019 – August 11, 2019
Middlebury College Museum of Art
Middlebury, VT

Framing Specifications

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METRO GALLERY FRAME

Profile: 114
Type: Thin Gallery Frame
wood & finish: maple frame with clear water base finish
purchasing option: joined wood frame
custom wood strainer: 1/2″ wood strainer
custom frame mats/sized boards: custom cut 8 ply mat/4ply backing
custom frame acrylic: 1/8″ UV acrylic
Custom frame backing boards: 1/8″ archival coroplast

 




In Bloom: The Botanical Paintings of T. Merrill Prentice

The New Britain Museum of America is exhibiting an array of botanical paintings by Connecticut native T. (Thurlow) Merrill Prentice (1898–1985). This is the most extensive exhibition of these paintings at the NBMAA since their gift by the artist in 1977. Prentice’s vibrant watercolors showcase lively wildflowers and plants found throughout the American Northeast. These plants and flowers became a subject of fascination for the artist, and from the late 1960s to the early 1970s, Prentice produced hundreds of carefully observed paintings of rare and common species. His works were exhibited at venues such as the Hartford Art School and the New York Botanical Garden, and a portfolio of 114 botanical studies by Prentice was published in the book Weeds and Wildflowers of Eastern North America (1973). Capturing the beauty and resilience of flowers in a staggering variety, Prentice’s delicate watercolors serve as inspiration for the preservation and appreciation of our natural world.

T. Merrill Prentice (1898—1985), Day Lily, 1969, Watercolor, 24 x 18 1/8 in., New Britain Museum of American Art, Gift of the Artist

T. Merrill Prentice (1898—1985), Day Lily, 1969, Watercolor, 24 x 18 1/8 in., New Britain Museum of American Art, Gift of the Artist

About the artist

During his life, Prentice was a celebrated architect who ran firms in New York and Hartford from the 1920s to the 1960s, following studies at Yale, Columbia University, and the École des Beaux-Arts in Paris. While studying in France in the mid-1920s, Prentice became interested in watercolor, a medium that he enjoyed using but had little time to devote himself to until four decades later, following his retirement in 1965. After settling in Cornwall, Connecticut, in his later life, Prentice began to observe and paint wildflowers he found throughout his property and the wider region.

In Bloom: The Botanical Paintings of T. Merrill Prentice

March 25, 2019–September 8, 2019

The Helen T. and Philip B. Stanley Gallery

New Britain Museum of American Art, New Britain, CT

nbmaa exhibit 1

Canada Goldenrod , Watercolor 1977.77.95. Wood lily, watercolor 1977.77.53. Burdock, Watercolor 1977.77.70

Framing Specifications

Purple Loosestrife 1971, Watercolor 1977.77.88.
Purple Loosestrife 1971, Watercolor 1977.77.88.
101MP14strainer

METRO GALLERY FRAME

Profile: 106
Type: Standard Gallery Frame
Wood & Finish: maple frame with charcoal finish
Purchasing Option: joined wood frame
Custom Wood Strainer: 3/4″ wood frame strainer
Custom Frame Acrylic:  acrylic cut to size
Custom Frame Mats/sized boards: 4 ply antique white sized board

 




Evelyn Patricia Terry at Lynden Sculpture Garden in Milwaukee

Over the course of more than fifty years, Evelyn Patricia Terry’s work has made several bodies of work that address the “conundrum of co-existence that repeatedly occupies the news, my thoughts, and many conversations.” In America’s Favor/Guests Who Came to Dinner (and Stayed!), Terry brings together different bodies of work: an iconic table installation, artist books, and mixed media works that layer drawings and other forms of mark-making on sewn rag paper pieces. Terry has mined her five-decade history as an artist to create the exhibition by repurposing the torn and cut sections of etchings, screen-prints, monotypes, and randomly printed rag paper scraps that she has accumulated as a printmaker, and by referencing items in her personal collection, from ethnic dolls to the work of other artists.

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“In America, Wandering and Saving Souls”, 2018, Pastel, ink, thread, acrylic paint on paper, 21 x 9 ½ inches (framed)

In America, She Cared A Lot About Getting Her Hair Did, 2018 Pastel, ink, thread, watercolor on rag paper, 10 ¾ x 31 inches (framed)

In America, She Cared A Lot About Getting Her Hair Did, 2018 Pastel, ink, thread, watercolor on rag paper, 10 ¾ x 31 inches (framed)

America: Guests Who Came to Dinner (and Stayed) #25, 2018 Hand-made artist book
Ink, thread, hair  6 x 5 inches

America: Guests Who Came to Dinner (and Stayed) #25, 2018 Hand-made artist book Ink, thread, hair 6 x 5 inches

About the artist

Evelyn Patricia Terry is a full time professional visual artist, presenter, writer and art collector based in Milwaukee. She works across many media: printmaking, drawing, painting, installation, and public art. During her long career, she has garnered awards, fellowships, grants, and commendations for community work with students and other artists. Concentrating on printmaking, she earned both a BFA and an MS in Visual Arts from the University of Wisconsin-Milwaukee (UWM). She earned an MFA from the School of the Art Institute of Chicago after Ruth Milofsky, a UWM arts education professor and mentor, set up a fund to give her a deadline to go back to school so she might be better prepared as an artist.

In 2012, Terry received the Wisconsin Visual Artist Lifetime Achievement Award from a Wisconsin consortium of art and humanity organizations. In 2014 the Milwaukee Arts Board honored her with their Artist of the Year Award. Terry’s work is internationally exhibited and collected; over 400 private, corporate, and public collections own her artwork including the Milwaukee Art Museum, the Museum of Wisconsin Art, the Haggerty Museum of Art at Marquette University, the Racine Art Museum and the Wright Museum of Art at Beloit College. From 2016 through 2018, several universities—including UWM, the University of Wisconsin-Madison, and Duke University–acquired Terry’s hand-constructed artists’ books. In 2009, influenced by Dr. Margaret Burroughs, a visual artist, poet, and founder of the DuSable Museum of African American History, and by Chicago art consultant Susan Woodson, Terry founded the Terry McCormick Contemporary Fine and Folk Art Gallery, a home-based gallery, following the death of her partner, self-taught folk artist George Ray McCormick, Sr.

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Evelyn Patricia Terry: America’s Favor/Guests Who Came to Dinner (and Stayed!)

April 28 2019 – July 28, 2019

Lynden Sculpture Garden

Milwaukee, WI

Framing Specifications

Capture0047-584-101AH05C_700

METRO GALLERY FRAME

Profile: 102
Type: Thin Gallery Frame
Wood & Finish: ash frame with pickled white finish
Purchasing Option: joined wood frame