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Art in the Time of EmpathyART IN THE TIME OF EMPATHY

October 3, 2020 - December 19, 2020

Arthur Roger Gallery
432 Julia Street
New Orleans, LA 70130

The Arthur Roger Gallery is pleased to present Art in the Time of Empathy, an exhibition of gallery and invited artists examining the year 2020 as a unique historical moment and a transformative time.

Art in the Time of Empathy is the largest exhibition in the gallery’s 40+ year history, featuring over 70 invited and represented artists. Playing off the iconic title of Gabriel García Márquez’s Love in the Time of Cholera, artists address the many aspects of quarantine, politics, social justice, science, and community in a time where physical distance has redefined these dialogues. A time capsule for our period, Art in the Time of Empathy is an exploration of the human side of this moment, an opportunity for a community to pause and reflect on the many perspectives of a shared experience.

The exhibition features artists who used this time of sheltering in place to re-examine their studio practice and to contemplate themes of separation, normalcy, politics, social justice, and a return to nature and to self as well as pieces curated to speak to the changes happening today. Demond Melancon and Meg Turner confront the devastation of COVID-19 and the price paid by frontline workers. Frahn Koerner, David Halliday, and Jacqueline Bishop address the physical separation of social distancing and the complex emotions that follow. Ted Kincaid unpacks the shocking, divisive, and hateful state of American politics.

The renewed force of the Black Lives Matter movement demanded action from many artists. Whitfield Lovell and Leonard Galmon present striking portraits of Black Americans, and George Dureau’s photographs from the 70s celebrate Black bodies which historically have been excluded or appropriated in Western art. While being painted in 1991, Douglas Bourgeois’ Mistaken Identity addresses the extreme police violence against Black people and rings as true today as when it was painted. David Leventi’s 2010 photograph of a prison interior and Deborah Luster’s revisiting of her One Big Self: Prisoners of Louisiana photographic series from the turn of the 21st-century address the social inequity in incarceration. An-My Lê documents the moment in 2016 when the confederate monuments were removed from the New Orleans landscape. Mario Moore’s 2020 painting During and After the Battle of Antietam is a depiction of The Battle of Antietam—the deadliest war in the US and gave President Lincoln the confidence to deliver the Emancipation Proclamation.

Some artists approach these complex issues with humor. Richard Baker’s paintings of vintage cookbooks speak to gender roles and the increase in cooking at home during the lockdown. Still life paintings by David Bates and Amy Weiskopf consider the experience of quarantine and its associated activities. Douglas Bourgeois’ 2020 painting creates a fictional graduation yearbook recalling memories and experiences sorely missed amidst strict new remote school protocols. Joseph Havel’s sculpture of a stack of translucent books and Jim Richard’s painted backyard scene created during the COVID lockdown speak to the solitude of open time. James Drake’s 2016 collage You Owe Me Money evokes the economic downfall, devastating unemployment, and financial difficulties that people around the world are facing due to the pandemic.

Other artists focus on our community, its struggles, triumphs, and resilience. Canadian painter John Hartman’s 2015 portrait of New Orleanian Doreen Ketchens recalls a time when music and people filled the French Quarter, now uncomfortably quiet. Robert Polidori highlights the devastation of hurricanes with his piercing photographs of the aftermath of Katrina in New Orleans. Robert Colescott’s 1996 painting confronts his racial identity and Robert Gordy’s painting correlates the devastation of the AIDS crisis to that of the COVID pandemic. Dawn DeDeaux looks ahead towards a fascinating socially distanced future caused by climate change with her Space Clown series.

Field #2Field #2 (2019)
Bronze, unique
30 x 14 x 20 inches

September 3, 2020 - October 9, 2020

John Breggruen Gallery
10 Hawthorne Street
San Francisco, CA 94105

We are pleased to present Contemporary Women Artists, an exhibition of paintings, sculptures, and works on paper by eight of the most exciting female artists creating work today, including Tauba Auerbach, Carmen Herrera, Clare Kirkconnell, Suzanne McClelland, Julie Mehretu, Beatriz Milhazes, Linda Ridgway, and Kiki Smith. This show will be on view through October 9, 2020.

Contemporary Women Artists presents a compelling selection of works by women artists who have each pioneered facets of the contemporary art canon. While Milhazes fuses cultural elements from her native Brazil with influence from European Modernist painters, Mehretu completely reenergizes and renews 21st century Abstraction. Altogether, the works composing Contemporary Women Artists are intricate yet bold; delicate yet powerful.

Spanning an intriguing breadth of subject matter, Contemporary Women Artists showcases works that both allude to and subvert mainstream ideas of femininity. Kirkconnell, Ridgway, and Smith consider the natural world in their alluring renderings while Auerbach and Herrera compose works of rigid geometries. When viewed altogether, power between delicacy and boldness is shared. The viewer can appreciate how strength radiates from seemingly fragile, natural forms while a certain subtlety can be found in the linear components of abstract works.

LINDA RIDGWAY  (b. 1947)

Dallas-based artist Linda Ridgway is best known for lyrical bronze sculptures that are autobiographical in nature, but also speak to more universal female experiences. Her works are collected by major art museums in Texas and beyond, and her gallery presence reflects the lucrative production of a well-established artist. Ridgway's work creates delicate balances and binaries exploring general themes of femininity, tradition, and heritage, but also her own personal identity as artist, mother, and woman. She counters the fleeting nature of memory and the inherent disintegration of organic materials by casting her works in bronze, preserving both the object and memory indefinitely.

Born in 1947 in Jeffersonville, Indiana, Ridgway earned a B.F.A. from the Louisville School of Art in Anchorage, Kentucky, and went on to earn an M.F.A. from Tulane University in New Orleans, Louisiana. Her investigation of issues concerning personal memories and the cultural legacy of women often manifests itself in forms found in nature such as vines, leaves, and flowers, as well as bronze versions of delicate objects traditionally associated with women, such as lace and textiles. Her early education in and training in printmaking is evident in the fine, gestural lines of her sculptures, that help maintain a sense of intimacy even in her large-scale pieces.

In all her work, Ridgway makes plain her respect for minimalist art, a movement pioneered in the 1960s by artists such as Donald Judd, Carl Andre, and Dan Flavin, who sought to reduce art to its very essence by using industrial manufacturing techniques and products to fashion simple structures of steel, wood, and fluorescent light. Even more influential were the postminimalist sculptures of Eva Hesse and Joel Shapiro, who reoriented Ridgway's thoughts on what sculpture is, and could be, by introducing overt process techniques and personal subject matter into minimalism's basic geometries. Other artists crucial to Ridgway's development were the Swiss modernist sculptor Alberto Giacometti and the American painter Agnes Martin, in both of whose work Ridgway found a degree of emotional intensity expressed with a refined minimum of artistic means.

Whether sculpture, installation, or works on paper, Ridgway's work suggests episodes from the artist's personal history. Rather than illustrate such episodes, however, Ridgway prefers to leave interpretation up to her viewers, allowing room for their own thoughts and emotions to complete the meaning. Ridgway's work demands our intense concentration and presence; her works are at once surprising and personal, revealed slowly to patient and meditative viewers. Once heard, her works speak of things both private and universal, quietly preserving organic form and memory.

--Heather Bowling, Dallas Museum of Art Digital Collections Content Coordinator, 2018

Shadows danced, as memories once scribed in the land I (2018) 
Graphite and colored pencil on paper
44.5 x 33 inches

LINDA RIDGWAY: Cover Up, Grassland, and Shakespeare

February 9, 2019 - March 23, 2019

Reception 6-8pm Saturday, February 9, 2019
Artist Talk Saturday, February 23, 2019 at 2pm

Talley Dunn Gallery
5020 Tracy Street
Dallas, Texas 75205

Linda Ridgway, based in Dallas, is widely recognized for her poetic sculptures in bronze. Working across various media, Ridgway creates an evocative symbolic language using forms found in nature as well as domestic textiles. While her works reflect personal experiences and often allude to specific poems or works of literature, they also contemplate enduring questions of memory, womanhood, tradition, and ephemerality. Often ethereal in their delicacy and their inclusion of impermanent organic material, her works question accepted understandings of nature and femininity, and their connected cultural associations. Gestural lines, fine detail, and organic forms create a sense of intimacy and reveal the influence of post-minimalism in her work. Through her close attention to the form and textures of grasses, trees, flowers, and lace, and an underlying sense of the fleeting nature of bodily experience and memory, Ridgway prompts a reconsideration of self, and how we understand ourselves in relation to society.
Cover Up, Grassland, and Shakespeare features a selection of Ridgway’s recent works on paper. In a process similar to her direct castings from flowers, branches, or other objects, Ridgway creates a faintly embossed image by pressing lace or grasses directly onto the paper’s surface. The pressure needed to create this ghost image destroys the lace or grasses in the process. Then, working in graphite, Ridgway adds to the faint index left by the object, rendering it fully in painstaking but delicate detail.
In the works Victorian Twins, Forever, and Victorian Geometry, which depict lace using this process of embossing and drawing in graphite, Ridgway carefully cuts into the surface of the drawing, emphasizing each minute area of the lace’s negative space. The repetitive and meticulous nature of Ridgway’s process bears homage to the laborious work of tatting lace or crocheting doilies—work historically performed by women. In her meticulous renderings, and by cutting into the drawings’ support to reflect the transparency of lace, Ridgway transforms her drawings into textiles; thereby, the works subvert the hierarchal separation between art and craft.
Meanwhile, many of the works in Cover Up, Grassland, and Shakespeare speak both to the temporary, fleeting nature of life, and to its poignant beauty. In drawings with titles that reflect the poetry of Robert Frost, the Christian parable of the lilies of the field, and Shakespeare, Ridgway captures the subtle movement, elegance, and material vulnerability of thin grasses, flowers, and transparent fabrics. Ridgway’s works on paper create space to recognize the fragility of life and to contemplate its moments of exquisite beauty.

Loss (2018) 
Bronze, tulle, and netting
47 x 28 x 18 inches


September 15, 2018 - February 23, 2019

Reception Saturday, September 29, 2018

The Grace Museum
Main Gallery
102 Cypress Street
Abilene, TX 79601

A VISUAL EPILOGUE: LINDA RIDGWAY and HARRY GEFFERT will be the first and last, two person exhibition of works on paper and sculpture by two of the most prolific and widely- recognized contemporary artists who worked together in life and in the studio for decades. The original concept for the exhibition was transformed by the November 2017, tragic, sudden death of Harry Geffert.  In time, Linda Ridgway, known personal and poetic visual dialogues, graciously suggested a new concept and title for the exhibition, A Visual Epilogue, referencing the literary term for a short final chapter at the end of a literary work detailing the fate of the main characters. The result is a selection of Geffert’s sculpture paired with Ridgway’s recent monoprint- drawings and sculpture curated to celebrate Geffert’s and Ridgway’s individual and personal journeys as artists and life partners.

 When Ridgway decided to work in bronze, she turned to Harry Geffert and his famous Green Mountain foundry and studio in Crowley, Texas to learn the art of bronze casting. Harry Geffert’s mastery of both lost-wax and direct casting is evident throughout his over fifty-year career as a sculptor; a career that included numerous solo museum exhibitions, an NEA grant, and a Legend Award from the Dallas Visual Art Center. Geffert also established the sculpture department at Texas Christian University and fostered many aspiring artists there through 27 years of teaching. In the 1980’s Geffert left academia and started his own foundry where he produced impeccable bronze castings for artists Joseph Havel, James Surls, Vernon Fisher, Frances Bagley, Ken Little, Clyde Connell, Ridgway and manty other well-known sculptors. For years, Geffert ran his foundry at the service of other artist clients but he never stopped making his own work. Geffert taught Linda Ridgway how to make bronze castings from delicate things like lace and tiny tree branches and their collaborative efforts have become legendary.

Both artists have exhibited widely and have inspired generations of artists as mentors and teachers. Ridgway was in Abilene in May to support former student Shawn Smith’s success at his exhibition opening at The Grace. Her work has been exhibited throughout the U.S. and in France and Switzerland, and is held in museum and public collections throughout the US including The Grace Museum. Ridgway received a B.F.A. from the Louisville School of Art and an M.F.A. from Tulane University.  Although educated as a printmaker, Ridgway continues to experiment with the limits of various media in combination to create an impressive body of work that is autobiographical, poignant, poetic and profound in simplicity.  Memory and poetry are interlaced by direct casting of fragile vines and roses and drawing-enhanced monoprints of graphite dusted aprons and crocheted keepsakes. 

Although personal in content, the exhibition can also be experienced as a meditation on the universal significance of close personal relationships, cherished memories, valued mentors, artistic expression, love and loss.

Harvest Line
Harvest Line (1995) 
Bronze, unique

June 12, 2018 to September 9, 2018

Artist Talk July 21, 2018 at 3pm

Dallas Museum of Art
Hanley Quadrant Gallery
1717 North Harwood
Dallas, Texas 75201

Viewers have the opportunity to explore their own bodily perspectives and see themselves as a vital part of the exhibition in Body Ego. Art critic Lucy Lippard organized an exhibition titled Eccentric Abstraction in 1966, bringing together artists who were setting the stage for a new art movement. She coined the term “body ego” to describe the artists’ approach to material, form, and the physical sensation the work gives the viewer. “The work’s bodily presence,” Lippard stated, “was achieved through scale, spatial relation, physical orientation, and material.” Thus, the “bodies” Lippard examined were not those of the artists, but rather the bodies of the viewers and of the sculpture itself.

Spanning from the 1960s to the present, Body Ego includes works by more than ten female artists in the DMA’s collection and considers how abstract sculpture represents the human body, and the ways viewers relate to the objects through their own experiences and perception.

HusbandHusband (2005) 
Bronze and silk
16 x 38 x 20 inches
COMMANDING SPACE: Women Sculptors of Texas

October 14, 2017–November 18, 2018

Amon Carter Museum of American Art
3501 Camp Bowie Boulevard
Fort Worth, TX 76107

The evocative power of sculpture seems boundless in the hands of five living women artists whose work fills the Amon Carter’s gallery dedicated to regional artwork. Texas-based artists Celia Eberle, Kana Harada, Sharon Kopriva, Sherry Owens, and Linda Ridgway take the traditions of sculpture in new directions for the twenty-first century. Allusions to nature and human figures connect the diverse themes present in their work, which range from evocations of history and metaphor to explorations of memory, myth, and ritual.

Eberle, Harada, Kopriva, Owens, and Ridgway work using a wide-range of techniques and resources, but they all celebrate hand craftsmanship and recast the original function of their materials to infuse them with new life. No matter their construction, these sculptures visually command space, allowing visitors to emotionally and physically engage with them. As the Amon Carter continues its commitment to featuring the work of regional artists, this exhibition is a destination for anyone interested in Texas art, especially that made by women sculptors working in the vanguard of three-dimensional creative expression.

In a turning rowIn a turning row II (2017) 
Bronze and cotton
34 x 20.5 x 8 inches
Curated by Todd von Ammon

July 13 - August 29, 2017

John Breggruen Gallery
10 Hawthorne Street
San Francisco, CA 94105

Named after the botanica shops of the San Francisco Mission district—purveyors of a wide variety of medicinal herbs and folk medicines—this exhibition examines the many transformations of botany in contemporary art. Botanica explores the curious case of the still life in the late 20th and early 21st centuries, through the lens of artists whose interpretations of this subject matter range from the traditional to the idiosyncratic. Each work in the show presents a different state of organic matter, culminating into an anti-ecosystem of sorts that highlights a wide array of distinct art taxonomies. The unique materials, techniques and histories are as varied as the number of works—from generative digital video to found street detritus to oil paint. Botanica intends to evoke the dizzyingly wide variety of substances and objects found within the shops from which the exhibition derives its name.

click here to read the whole press release

Line Storm SongLine - Storm Song (2017) 
Bronze, unique
83 1/4 x 58 x 5 5/8 inches


August 26 - October 7, 2017

Reception 6-8 pm Saturday, August 26

Talley Dunn Gallery
5020 Tracy Street
Dallas, TX 75205

Group Show featuring:

Anila Quayyum Agha, Helen Altman, Jennifer Bartlett, David Bates, Tim Bavington, Natasha Bowdoin, Julie Bozzi, Margarita Cabrera, Dale Chihuly, Rachel Cox, Leonardo Drew, Jeff Elrod, Vernon Fisher, Francesca Fuchs, Ori Gersht, Joseph Glasco, April Gornik, Kana Harada, Joseph Havel, Butt Johnson, Ted Kincaid, Rima Canaan Lee, Melissa Miller, Cynthia Mulcahy, Amy Myers, Robyn O’Neil, Aaron Parazette, Sam Reveles, Linda Ridgway, Susie Rosmarin, Matthew Sontheimer, Erick Swenson, Liz Ward, Sarah Williams, Xiaoze Xie

Linda Ridgway and Katherine Brimberry in residence at UNT's P.R.I.N.T. Press COLLABORATION: Linda Ridgway and Katherine Brimberry



Open House

The Print Research Institute of North Texas
University of North Texas
1120 West Oak Street 
Denton, TX

Linda Ridgway and Katherine Brimberry will collaborate to produce hand-pulled fine art prints and deliver lectures to students and the general public.

Trained as a printmaker, Linda Ridgway creates bronze wall reliefs that convey autobiographical and cultural imagery. Ridgway’s work spans the themes of femininity, tradition, and heritage while establishing their own permanence through the age-old medium of bronze. She holds an MFA from Tulane University and a BFA from Louisville School of Art.

Katherine Brimberry is Owner, Director, and Senior Master Printer of Flatbed Press in Austin, Texas. Co-founded with Mark L. Smith in 1989 with the mission to collaborate and produce limited editions with artists, Flatbed Press grew to include exhibitions and technical workshops. In 2012, Brimberry became sole owner and director of Flatbed Press and Galleries.

To see photos from this residency, visit P.R.I.N.T.'s facebook gallery here

Rrosa Se'lavy's Jacket (2015) 
Monoprint and graphite on paper
44.25 x 33.25 inches
HOT OFF THE PRESS: Recent Works from Flatbed

December 12, 2015 - February 28, 2016

Art Museum of Southeast Texas
500 Main Street
Beaumont, TX 77701

Flatbed Press in Austin, Texas, is a world renowned printing press and for twenty-five years has published innovative and exceptional prints by both recognized and emerging artists. Printmaking as a fine art form has existed for hundreds of years. Recently, artists have ventured into new realms with the medium, exploring innovative ways of incorporating untraditional media and pushing the process to new depths. This exhibition highlights recent prints by 12 Texas artists, including: Ricky Armendariz, Alice Leora Briggs, Veronica Ceci, John Robert Craft, Suzi Davidoff, Sandra Fernandez, Annalise Gratovich, Jules Buck Jones, Sharon Kopriva, Linda Ridgway, Frank X Tolbert2 and Joan Winter. This group of both established and emerging artists evidences the breadth and originality of Texas artists working in the print world, and stretches the boundaries of traditional printmaking as they cultivate their oeuvre.

Rainey Knudson wrote a review of the exhibition for Glasstire:

Prints, and Architectural Pathos, at the Art Museum of Southeast Texas

Currently on view at the Art Museum of Southeast Texas in Beaumont is a show of recent works produced by Austin’s Flatbed Press. The exhibit is small, given AMSET’s modest galleries. It’s also uneven, as contemporary printmaking tends to be—but there are some standouts.

Linda Ridgway, who currently has a solo show at the Old Jail Art Center in Albany, is represented by three elegant monoprint drawings of translucent, seemingly x-rayed clothing: a child’s dress, a jacket, and a veil. I like Ridgway’s charged drawings of textiles—I seem to remember a particularly compelling thong from her show at Brand 10 in Fort Worth from a few years ago, as well as some very nice drawings of crocheted lace. I imagine her printmaking process is more technically complicated than it appears, given the spare final results. These works suggest ghostliness, the ethereal nature of memory, and TSA checkpoints. Plus they just look cool.  (more)

The Sound of Trees (2015) detail
Bronze and text
12 x 11 x 22.5 inches
September 19, 2015 – February 7, 2016

The Old Jail Art Center
201 South 2nd Street
Albany, TX 76430

Dallas artist Linda Ridgway (b. 1947 in Jeffersonville, Indiana) manipulates molten bronze and applies carefully considered patinas to create seemingly fragile and ethereal objects. Themes and subjects related to nature, femininity, memory, tradition, and literature are incorporated into her sculptures as well as her two-dimensional works.

As one of Texas’ most recognized and admired artists, Ridgway utilizes her talents and creations combined with her interest in poetry to create a poignant installation of new work in the OJAC’s Cell Series.

The Cell Series presents the work of living artists within the “challenging” upper galleries of the historic 1877 jail structure. Sustaining the passion of the OJAC founders in supporting and exhibiting contemporary artists, visitors encounter works by artists that attempt to interpret and translate the world we universally experience with often surprising and enlightening results.

Read Curator Patrick Kelly's interview with the artist here

Without Ceremony
Without Ceremony (2001)
Bronze, unique
Dimensions variable
ENVIRONMENTAL IMPACT: Selections from the Frederick R. Weisman Art Foundation
August 26 – November 30, 2014

Frederick R. Weisman Museum of Art, Pepperdine University
24255 Pacific Coast Highway
Malibu, CA 90263

Artists have grappled with the forces of nature from the time of the earliest cave paintings to the present. Today, our environment is strongly impacted by the Earth's relentlessly evolving weather conditions, such as  tornadoes, tsunamis, volcanic eruptions, tidal waves, severe winds, rains, etc. Man has also added to the list of stimuli which has significantly affected the quality of the human environment with industrial pollution, manufacturing, automobile and airplane exhaust, plastics, paints, etc. In Environmental Impact: Selections from the Frederick R. Weisman Art Foundation, curator Billie Milam Weisman is showing various examples of how artists have reproduced, commented and critiqued our ever-changing environment, whether the result of nature's forces or man's interventions. The exhibition brings together different approaches to the subject—both formal and conceptual—including commentary on pollution and natural disasters, and observing and altering the environment.

Artists include: Lita Abuquerque, Peter Alexander, Charles Arnoldi, James Bachman, Radcliffe Bailey, Zigi Ben-Haim, Veronica Brovall, Vija Celmins, Louisa Chase, Dawn Dedeaux, Daniel Dove, Andy Goldsworthy, Joe Goode, Jia, Gegam Kacherian, Won Ju Lim, Jen Liu, Srdjan Loncar, Ju Mi, Andy Moses, Gina Phillips, Andrew Piedilato, Linda Ridgway, Thomas Rose, Edward Ruscha, Charles Simonds, Ryozo Tsumaki, Matt Wedel, Neil Welliver, Frederick S. Wight, Dustin Yellin

Other (2014)
Limited-edition print
16 x 16 inches

Grove and Ceremony
Limited-Edition Prints

Don’t miss this rare opportunity to own a print by artist Linda Ridgway

This ode to motherhood and its multifaceted meaning comes from Dallas, Texas-based artist Linda Ridgway. The original is printed in Ridgway's characteristic graphite printing technique and incorporates live oak leaves, known for their strength, stability, and grace under pressure. Sounds like a lot of moms we know.

Artist Linda Ridgway combines the mightiness of oak with the complexities and intricacies of motherhood in this delicate, symbolically rich print. 

About the Artist Linda Ridgway (b. 1947 in Jeffersonville, Indiana) lives and works in Dallas, Texas. Her work has been exhibited throughout the U.S. and in France and Switzerland, and it resides in museum and public collections in Texas, Washington, D.C., and California.

About the Print Oak leaves dusted and printed in graphite form the basis of this exclusive Grove and Ceremony limited edition. It includes a hand-numbered letter of authenticity signed by the artist and is printed on Hahnemühle Photo Rag 308 gsm archival paper with UltraChrome ink. Stated print dimensions refer to paper size, not image size.

16” x 16” for $200, edition of 25

Left Hand of Dog
The Left Hand of Dog (2012)
Graphite on cut paper
22 x 30 inches

February 8 – May 24, 2014
Artists at The Old Jail Art Center, Albany:
Helen Altman, Heyd Fontenot, Laurie Frick, Joseph Havel, Bill Haveron, M, Katrina Moorhead, Shaun O'Dell, Robyn O'Neil, Justin Quinn, Linda Ridgway, Matthew Sontheimer, Terri Thornton, Eric Zimmerman

Artists at The Grace Museum, Abilene:
Adela Andea, Vernon Fisher, Linnea Glatt, Hollis Hammonds, Timothy Harding, Rusty Scruby

Traditionally, drawing has largely been an aid to artists in the preparation and planning of the “higher” art forms—painting and sculpture. The communication of larger and more complicated ideas and concepts was left to its big brothers. This is despite the fact that drawing has always been the primary and universal means of communication through maps, plans, doodles, scribbles, signage, and symbols. In the arts however, drawing was relegated as a means to another end. Recently drawing has had a quiet resurgence and become the principal medium, or an integral part of multi-media practices, of many artists. The playing field has leveled.

Drawing is usually defined as a “line or mark-made composition created in pen, pencil, or charcoal, in a monochromatic palette.” Hybrids—incorporating collage, pigment, photography, sculpture, and other “non-drawing” elements—make the classification more problematic. Trying to define contemporary drawing sometimes interferes with the appreciation of particular works.

It could be that the re-defining and pushing of boundaries have helped elevate the “medium” in its hierarchal struggle. In order to move past the question of categorization, it may be better to label a work a drawing simply if the artist (or in some cases, the curator) declares it to be one. At this point we are free to approach a work unhindered by the obstruction of categorization.

Drawn In / Drawn Out grew from a desire to curate an exhibition that reveals not only the diversity of drawings currently being created by artists, but also highlight the inherent possibilities their drawings possess. Concentrating on visually and conceptually innovative techniques narrowed the number of works that could have potentially been included in this exhibit. Inclusion was further limited to artists that have either lived or studied in Texas and were influenced by their tenure.

It became evident early in the curatorial process that a preconceived notion of a “Texas vernacular” does not exist in contemporary drawing. Instead, artists are using drawing to explore a variety of themes, concepts, and approaches to image making. The artists in Drawn In / Drawn Out utilize and combine portraiture, landscape, narrative, fantasy, symbolism, conceptualism, text, and appropriation, conveyed through representation and abstraction. The results are drawings that directly engage and communicate an endless amount of stimulating visual and intellectual experiences and ideas—expressed in ways that painting, sculpture, and photography cannot.

The realization that an additional venue and an additional curatorial perspective would create a larger, more dynamic and diverse exhibition prompted me to ask Judy Deaton, Curator at The Grace Museum, to co-curate a drawing exhibition. I extend my thanks to Judy and the staff of The Grace Museum for their participation and efforts in this endeavor. Finally, I thank the participating artists for their visionary work.

-Patrick Kelly, Curator of Exhibitions, The Old Jail Art Center

Ryman's White in Silence, Page 55
Ryman's White in Silence, Page 55 (2013)
Bronze, unique
11 x 24 x 9 inches
LINDA RIDGWAY: The Grand Anonymous
September 5 – October 12, 2013
John Berggruen Gallery is pleased to present an exhibition of works by Dallas artist, Linda Ridgway. Linda Ridgway: The Grand Anonymous marks the artist’s third solo exhibition at the gallery and will be on view September 5 through October 12, 2013. John Berggruen Gallery will host an opening reception on Thursday, September 5 from 5:30 – 7:30 pm.  
Linda Ridgway (born 1947 in Jeffersonville, Indiana) creates poetic bronze wall reliefs that convey both autobiographical and cultural imagery. Although educated as a printmaker, Ridgway continues to experiment with the limits of various media to create work that remains intimate regardless of scale. Ridgway’s bronzes emerge from a two-dimensional template to become new spatial objects that elucidate the artist’s personal experiences. These works span the themes of femininity, tradition, and heritage while establishing their own permanence through the medium of bronze. Ridgway juxtaposes the delicacy of the texture of lace, and crochet work with the monochromatic and industrial fortitude of metalwork. While some of her works emphasize a reverence for domesticity, Ridgway also uses the translation of knit pieces into bronze sculptures to underscore a disintegration of memory. Ridgway extracts the artisanship of crochet work to develop a history of herself as an artist in the enduring medium of bronze.

The artist’s work emerges not only from specific sentiments but also from a rich appreciation of poetry. This is exemplified in A whir among white branches great and small, 2013 which draws its name from the poem “Our Singing Strength” by Robert Frost. Ridgway uses Frost in her work frequently, both referencing and physically including his words in works such as Now Let the Night, 2013 and But the secret in the middle knows, 2011. Ridgway’s love of Frost, amongst other writers such as Mary Oliver and Harper Lee, is rooted in childhood memories of her mother’s passion for literature. Ridgway both references and physically includes literature in her sculptures by interweaving text in nests and using books as the stuffing of her pillows. In this way, she investigates how instrumental these works are to her identity as an artist, mother, daughter and friend. In this exhibition, Ridgway celebrates the anonymous artistic achievements of the women in her life by memorializing them in bronze.

Boom Town


The Art Foundation curates Boom Town as part of DallasSITES: Available Space

Dallas Museum of Art, Dallas, TX

July 19- Aug 18, 2013

Artists: Jesse Morgan Barnett, DB12 (Jesse Morgan Barnett, C.J. Davis, and Michael Mazurek), Cassandra Emswiler, Brandon Kennedy, M, Kirsten Macy, Margaret Meehan, Keri Oldham, Tom Orr, Arthur Peña, Linda Ridgway, Gregory Ruppe, Paul Slocum, and Terri Thornton.

        "There is an absurdity in creating cultural products when there is no culture to justify them."

        - Luis Camnitzer, “Contemporary Colonial Art,” 1969

Boom Town, an exhibition organized by The Art Foundation for Available Spaces, describes the tangle of networks – political, economical, geographical, social and historical – that shape Dallas’ current cultural climate. The exhibited work is by a handful of exemplary artists with connections to Dallas whose various modes of expression evince equal parts conflict, anxiety, or refusal. Without posing a justification for their choice to be here, Boom Town reveals the vibrancy and viability of this city’s artists, in hopes of aiding in their liberation from the burden of the local.

As part of the exhibit The Art Foundation will develop a take-away flier and a poster will be for sale in the Dallas Museum Gift shop.


Dallas Museum Blog: UNCRATED “Making Use of Available Space”

D Magazine - Front Row: “Local Artists Poised to Infiltrate the Dallas Museum” Peter Simek, July 17

D Magazine - Front Row: “Photos: Friday Night at Dallas SITES: Available Space” Andi Harman, July 22

Dallas Observer: “The DMA Gives a Shit About Local Art. It’s Time You Did Too.” by Jaimie Laughlin, July 24

Blouin ArtInfo: In The Air “Dallas Museum of Art brings the Local Art Scene into its Galleries” Meredith Caraher, July 25

The Perfect Six
The Perfect Six (2006)
Bronze, unique
35 x 18.5 x 14.25 inches

LINDA RIDGWAY: A Song Only to Herself

February 8 - March 30, 2013

The Cole Art Center
Stephen F. Austin State University
329 E. Main Street
Nacogdoches, TX 75962

Opening Reception: Friday, February 8 at 6:00pm

The Stephen F. Austin State University College of Fine Arts and School of Art will open the exhibition “Linda Ridgway: A Song Only to Herself” with a reception at 6 p.m. Friday, Feb. 8, in The Cole Art Center @ The Old Opera House in downtown Nacogdoches.

The show, which is featured as part of the College of Fine Arts’ University Series, includes bronze sculpture and drawings on paper, according to John Handley, director of galleries for SFA.

“Ridgway is an important contemporary artist living in Texas whose work is widely known and appreciated,” Handley said. “Her work is in the collections of several prominent art museums in Texas. I first saw her work while living in the San Francisco Bay area at the John Berggruen Gallery.”

The subjects of Ridgway’s prints, drawing and sculpture are directly related to childhood memories of her own mother reading from Robert Frost’s writings, according to information at “Her work acknowledges and celebrates a path of self-revelation with text-based works of crocheted lace transformed through the print process, resulting in eloquent and poignant statements about time and experience,” the site says.

Ridgway will attend the opening reception and will speak about her work.

The exhibition, which will run through March 30 in the Reavley Gallery, is sponsored in part by the Nacogdoches Junior Forum and the SFA Friends of the Visual Arts. All exhibitions, receptions and gallery talks are free and open to the public.

The Cole Art Center is located at 329 E. Main St. in downtown Nacogdoches. For more information, call (936) 468-1131.

In the Long Night
In the Long Night (2008)
Graphite on paper
22 x 30 inches

ONCE & AGAIN: Rebecca Carter, Teresa Rafidi, and Linda Ridgway

November 3, 2012 - December 8, 2012

brand 10 art space
3418 West 7th Street
Fort Worth, TX 76107

Opening Reception: Saturday, November 3rd from 5:00pm - 9:00pm

brand 10 art space presents Once and Again highlighting the works of artists Rebecca Carter, Teresa Rafidi and Linda Ridgway with selected works in video, photography, drawing and sculpture revolving around the idea written by Thomas Wolfe, “You can never go home again”; that memory, time, perception and experience change the familiarity and complexity of home.

Rebecca Carter’s work explores states of intimacy and alienation by engaging in processes of appropriation, tracing, erasing, digital glitches and reconstructing. “No place like home” a video projection, appropriates the iconic Dorothy’s shoes from The Wizard of Oz movie images and reflects upon them with distance and dexterity referencing both a personal history as well as a collective one.

Photographs by Teresa Rafidi are ordinary interior places that shift attention away from subject matter and illuminate the space by hinting at a figurative presence that is not always seen.  Her photographs contain a sense of altered reality, creating a quiet image that contains both presence and absence simultaneously while triggering nostalgia and reverence.

The subjects of Linda Ridgway’s prints and drawing and sculpture are directly related to childhood memories of her own mother reading from Robert Frost’s writings. Her work acknowledges and celebrates a path of self-revelation with text-based works of crocheted lace transformed through the print process resulting in eloquent and poignant statements about time and experience.

But the secret sits in the middle and knows
But the secret sits in the middle and knows (2011)
Bronze, unique
24 x 28 x 7.5 inches

September 22, 2012 - January 6, 2013

Art Museum of Southeast Texas
500 Main Street
Beaumont, TX 77701

The Art Museum of Southeast Texas (AMSET) presents Espoused, a vibrant group exhibition featuring 36 contemporary Texas artists (including Linda Ridgway and Harry Geffert) who are partners either in marriage, as significant others or as a collaborative team. Espoused comprises more than 40 works in a variety of media and highlights these diverse pairs of artists working together in various ways through inspiration, creativity, encouragement, studio space and techniques.  These couples further examine how their works are or are not influenced by one another.

The artists whose work will be featured include: Shannon and William Cannings, Jerolyn Bahm-Colombik and Roger Colombik, Elizabeth Akamatsu and Piero Fenci, Suzanne Bloom and Ed Hill (MANUAL), Linda Ridgway and Harry Geffert, Letitia and Sedrick Huckaby, Janet Chaffee and Benito Huerta, Carter Ernst and Paul Kittelson, Corinne and Charles Jones, Cathy Cunningham-Little and Ken Little, Liza and Lee Littlefield, Joan Batson and Bert L. Long Jr., Beverly Penn and Marc McDaniel, Susan Budge and Jesús Moroles, Sharon Engelstein and Aaron Parazette, Charmaine Locke and James Surls, Ann Stautberg and Frank X. Tolbert 2, and Marianne Green and Randy Twaddle.

Many of these artists have gained national and international attention and are represented by major galleries and in museum collections across the country.  AMSET also has exhibited individually or owns work by several of the featured artists.

“We are pleased to present Espoused to the Southeast Texas community,” said AMSET Curator of Exhibitions and Collections Caitlin Williams. “This is an exciting exhibition teaming with a variety of subjects, media, styles, and personalities.”                     

Espoused is organized by AMSET and funded in part by the Southeast Texas Arts Council, Edith Fuller Chambers Charitable Foundation, the late Dorothy Anne Conn, City of Beaumont and the Texas Commission on the Arts.

May 21,1982
May 21, 1982 (2011)
Graphite on paper
44.5 x 30 inches

September 7 - October 27, 2012

Opening Reception
Friday, September 7, 2012 – 6:00–8:00 PM

Inman Gallery
3901 Main Street
Houston, TX 77002

Paper Space showcases a broad range of drawings by sculptors, from works created in the 1940's by Alexander Calder to contemporary drawings by emerging artists. The exhibition is far from a definitive survey but we endeavored to represent a diversity of modern as well as contemporary work. The show focuses on several ways that drawing informs sculptural practice: some drawings are brainstorms for eventual 3D works; some act as schematic drawings for the execution of works; some are two-dimensional representations of existing sculpture; some seem to be made for the sheer joy of mark-making; and some represent an investigatiion of concerns parallel to an artist's sculptural practice.

The Alice Chronicles #1 (2011-12)
Graphite on paper
71 x 42 1/4 inches

March 2 – April 14, 2012

Talley Dunn Gallery
5020 Tracy Street
Dallas, TX 75205

Talley Dunn Gallery is pleased to present “Alice, the poet and the grasslands,” an exhibition of recent drawings and bronze sculptures by renowned artist Linda Ridgway.  Drawing inspiration from various works of poetry and literature, Linda Ridgway began her recent series for “Alice, the poet and the grasslands” about a year ago.  As a way to memorialize the words of authors such as Robert Frost, Carl Sandburg, and Lewis Carroll, Ridgway’s artwork celebrates the beauty and delicacy found within basic forms.  In works such as The Dreamer, Ridgway cuts hundreds of tiny pieces from the paper to have their hanging shapes open the surface of the picture plane and cast shadows over the composition. 

Creating a play of texture and depth within the surface, Ridgway’s poignant drawings invite the viewer to enter the artist’s world and experience form anew.  New bronze sculptures But the secret sits in the middle and knows and Mondrian’s Flower also express Ridgway’s ability to convey emotion through a minimal language that relies on the play of line and shadow.  With a series of drawings entitled The Alice Chronicles, Ridgway references the title character in Lewis Carroll’s beloved book, Alice’s Adventures in Wonderland, as a means to explore the idea of personal journey, not only for the fictional character, but for the artist and viewer as well.   

Please click here to read a review of this exhibition in D Magazine.
Knowing (2007)
Bronze, unique
39 x 38 x 3.5 inches
Sculpture Magazine

by Tracee W. Robertson

Linda Ridgway decided to work in bronze 20 years ago, adding her printmaker’s point of view to an age-old medium. She has exhibited widely since 1974, with solo exhibitions at the Dallas Museum of Art, the Glassell School of Art at the Museum of Fine Arts in Houston, the El Paso Museum of Art, Dunn and Brown Contemporary in Dallas, John Berggruen Gallery in San Francisco, Arthur Roger Gallery in New Orleans, and Charles Cowles Gallery in New York. The 1997 survey exhibition at the Glassell School of Art, which traveled to the Dallas Museum of Art, coincided with a turning point in Ridgway’s career. Celebrating her 50th birthday, she embarked on her most thematically and technically daring decade. Now, as she approaches traditional retirement age, Ridgway is one of the most prolific and recognized artists working in Texas.