Francesca Fuchs , Elephant,  2018, acrylic on canvas over board, 30 x 41.5 inches

Francesca Fuchs, Elephant, 2018, acrylic on canvas over board, 30 x 41.5 inches

Something
Francesca Fuchs

2018 Texas Artist of the Year Exhibition
Exhibition Dates: September 7 – November 3, 2018
Opening Reception: 6 – 9 PM Friday, September 7, 2018
Artist Remarks: 6:30 PM

Art League Houston (ALH) is pleased to present the 2018 Texas Artist of the Year exhibition Something by Francesca Fuchs. The exhibition features a series of recent paintings of child-made objects from the artist’s family that have become treasured keepsakes. The paintings continue Fuchs's fascination with concepts of worth and value as they relate to themes of memory and home. Drawing from these personal references, the works in the exhibition portray moments of emotional and intellectual intimacy and self-reflection. Something is presented in conjunction with How to Tell the Truth and Painting at Inman Gallery (September 14 – October 27, 2018). A limited edition catalog titled She Lives with Objects will be available, featuring an essay by Laura August. Funding for the catalog has been generously provided by the Heimbinder Family Foundation, Wortham Foundation, Kerry Inman & Inman Gallery, Talley Dunn Gallery, Judy & Scott Nyquist, Julie Kinzelman, Leigh & Reggie Smith, Lynn Goode & Harrison Williams, and Jill Whitten & Rob Proctor.

About the Artist

Born in London and raised in Tübingen and Münster, Germany, Fuchs completed a BFA at London’s Wimbledon School of Art and finished her postgraduate work under Tony Cragg at the Kunstakademie Düsseldorf in 1995. In 1996, the artist moved to Houston for a two-year residency with the Core Program at the Museum of Fine Arts, and she has remained in Houston since that time. She is the recipient of numerous awards, residencies, and fellowships including the MacDowell Colony, Peterborough, NH (2017); Artadia Award (2012, 2006); Individual Artist Grants through the Houston Arts Alliance (2013, 2008, 2003); Core Residency Program at the Glassell School of Art (1996-98); and the Hunting Art Prize (2006). In 1997 Fuchs began teaching at the Glassell School of Art, and from 1998-99 served as the curatorial assistant at Rice University Art Gallery. In 2006 she was appointed Department Head for Painting at the Glassell School of Art.

Over the years, Fuchs has had solo exhibits locally, nationally, and internationally at venues including Inman Gallery, Houston, TX (Upcoming – September 2018); Galveston Art Center, Galveston, TX (2015, 1999); Talley Dunn Gallery, Dallas, TX (2015, 2012); The Suburban, Oak Park, Illinois (2013); Texas Gallery, Houston, TX (2013, 2010, 2005, 2003, 2000, 1997); Contemporary Arts Museum, Houston, TX (2007); Fayerweather Gallery at the University of Virginia, Charlottesville (2004); and DiverseWorks, Houston, TX (1998). Recently, the artist completed a large-scale mural project at Lawndale Art Center, transforming the organization's blank north wall into the illusion of a cathedral interior, in conversation with the building's iconic Art Deco façade. Fuchs’s work is part of the permanent collection at The Museum of Fine Arts, Houston, and numerous private collections locally, nationally, and internationally. 

Fuchs has been included in several important national and international group exhibitions at venues including the ICA at MECA, Portland, Maine (2017); Texas Gallery, Houston TX (2013, 2010); Sala Diaz, San Antonio, TX (2014, 2001); McClain Gallery, Houston, TX (2012); Lisa Cooley, New York, NY (2010); Inman Gallery, Houston, TX (2010, 2000); Museum of Fine Arts, Houston, TX (2008, 1997); Diverseworks, Houston, TX (2007, 2005, 1999); Arthouse, Austin, TX (2006, 1997); University of Texas, San Antonio, TX (2005); Dallas Contemporary Arts Center, TX (2005); Contemporary Arts Museum, South Florida, Tampa (2002); New Orleans Museum of Art, LA (2001); Modern Art Museum of Fort Worth, TX (2000); Contemporary Arts Museum, Houston, TX (2000, 1998); Arlington Museum of Art, TX (1998); British Council Window Gallery, Prague (1998); Whitechapel Art Gallery, London, UK (1996); Cornerhouse, Manchester, UK (1992-93); and the ICA, London, UK (1992-93).

Fuchs has curated several exhibitions which include The Chickie Brown Painting Sale, Bill’s Junk, Houston, TX (2018); Chickie Brown: I called the zoo but the lion was busy, Art League Houston, TX (2017); Morris Chackas: Still Lives 1973 - 1982, Optical Project, Houston, TX (2009); Dark Light, Uta Kögelsberger, Glassell Project Space, Museum of Fine Arts, Houston, TX (2005); and Fish & Chips, New British Art, DiverseWorks, Houston, TX (1997).

Fuchs’s work has been written about in publications including The New York Times, ArtForum, Art in America, Art Ltd., Artlies, Artpapers, Houston Chronicle, Arts and Culture Texas, Houston Press, as well on online platforms such as Huffingtonpost.com, glasstire.com and Artforum.com.

Fuchs lives in Houston and is represented by Inman Gallery, Houston, and Talley Dunn Gallery, Dallas.


 George Smith,  Nommos Descent , 2000, oil stick on paper, 85.5 x 80.5 inches

George Smith, Nommos Descent, 2000, oil stick on paper, 85.5 x 80.5 inches

Journey to the Brightest Star
George Smith

2018 Lifetime Achievement Award in the Visual Arts Exhibition
Exhibition Dates: September 7 – November 3, 2018
Opening Reception: 6 – 9 PM Friday, September 7, 2018
Artist Remarks: 7 PM

Art League Houston (ALH) is pleased to present the 2018 Lifetime Achievement Award in the Visual Arts exhibition: Journey to the Brightest Star by George Smith. The exhibition focuses on work made by the artist during the past four decades and features drawing, sculpture and printmaking. The works in the exhibition reflects Smith’s lifelong fascination with synthesizing three fundamental sources; the sense of scale and the intuitive look of Abstract Expressionism; the flat-faced industrial geometry of Minimal Art; and the expressive symbols and geometry inspired by the Dogon peoples of West Africa. The exhibition opens Friday, September 7, 2018 with a reception from 6 to 9 PM, and will remain on view through November 3, 2018. A limited edition 2018 Lifetime Achievement Award in the Visual Arts catalog will be available in conjunction with the exhibition featuring texts by Dr. William Camfield, Phillip E. Collins, Mel Edwards, James Harithas, Tierney Malone, Tierrie S. Rouse-Rosario, George Smith and Dr. Walter Widrig.

“In the Bandiagara area of Mali, George writes “I experienced the living tradition of Dogon art and architecture. The Dogon aesthetic had the effect of intensifying the spiritual content of my sculpture.  It is a source of inspiration, something internalized, not copied.”  That impact dominates this exhibition, but it is significant to observe that he did not abandon the abstract expressionist background of his art.  He also observed that “My sculpture is fundamentally Abstract Expressionist.  I am involved in finding and expressing my spiritual self through an approach that focuses on process and deep feeling. My interest in music, both jazz and classical, is important as something that feeds my aesthetic interests. I see my sculpture as being concerned with universal geometric forms and universal symbols.”

Excerpt from the catalog essay by Dr. William Camfield.

Funding for the catalog has been generously provided by the Heimbinder Family Foundation, Ann & James Harithas, South Texas Charitable Foundation, Gerald & Anita Smith, Dr. Greg Shannon, John Guess, Jr. & Melanie Lawson, Wortham Foundation, Inc., and Nicole Longnecker Gallery.

About the Artist

George Smith is a significant American contemporary artist who lives and works in Houston. He is known for his steel sculpture and oil on paper works which reference the Dogon aesthetic and the expressive power of African geometry. For the past forty years, he has created works in metal, steel and paper that evoke a powerful and spiritual quality, grounded in the very essence of the material itself. Smith’s use of steel references the Buffalo Steel Industry, where his father worked in a local mill. The personal significance of this material combined with the primordial qualities of steel and fire, produce a lingering source of strength and endurance in the work that not only speaks to the contemporary experience but also acknowledges a symbolic vocabulary of the past. On one level, Smith’s work reflects the artists’ intellectual and aesthetic orientation, as well as experience with steel construction. On another level, it communicates his spiritual ambition.

Formally, Smith’s work has an opaque aspect to it created through the process of using an oil bar with a blowtorch to build up layers of material, giving his work a sense of fullness. His scrubbed surface textures imbue a tactile touch of energy in the static yet moving qualities in his work, implying an excitement about the actual process that is unmistakable. This is true of his drawings as well. He again pushes the surface of the tempered paper. The rubbing and scrubbing techniques appear to raise the surface in undulating ways. The tactile surface reveals a forceful entanglement with the medium. His attempts to regulate the seemingly appositional effects of wax against paper go unresolved. Yet the tension that is set up by this confrontation is what's important. (James Pappas, 2001)

Smith’s interest in Abstract Expressionism began in high school when he was on a class trip to the Albright-Knox Gallery. There he discovered the bravado abstract painting of Franz Kline. Kline’s paintings were informal, intuitive, emotional, and expressed high energy and decisive movement. Additionally, he was introduced to Ad Reinhardt’s signature black paintings, which featured shades of muted black squares containing barely discernible cruciform shapes in order to challenge the limits of visibility.  These same qualities are evident in the gritty blackness of the surfaces and in the vector-like movement and ambitious scale of Smiths work. After attending the San Francisco Art Institute, he went on to graduate school at Hunter College in New York City. There he first became a student and later the assistant of sculptor Tony Smith, a progenitor of Minimal Art who created steel sculptures that bore a direct connection to Alexander Graham Bell’s tetrahedron kites and space frames. From this teacher and mentor, Smith learned the techniques of building monumental sculpture even as he looked elsewhere to find his own style. Having experienced both the West and East Coast art worlds, he became fully cognizant of the various directions that contemporary art was taking during the tumultuous late 1960’s and 1970’s. At that time, Minimal Art was the major contemporary influence on sculpture, and while he took it into account, Smith did not see it as an end in itself.

However, it was to African art and architecture that Smith turned to find a geometry and spirituality which, unlike most contemporary American art, was not based on materialism. African American artists, such as Charles White and Jacob Lawrence, expressed their unique cultural experience from a Social Realist perspective. John Biggers and Loïs Mailou Jones went on to investigate their African roots from a similar perspective. This genre, Social Realism, was considered a minor movement by the art establishment. During that time, artists like Smith and James Little who were well educated and had experienced the Civil Rights movement, now felt that they had earned the right to define themselves and their art through a mainstream international approach to form and content. Smith, in particular, enriched his sources and his previous approaches through his focus on Dogon sculpture and architecture.

In 1979 and 1991, Smith traveled to West Africa to study the Dogon culture, which marked a cultural reawakening for the artist. Like other artists working in such themes in the African genre, looking back to the past was inspirational for the artist. There Smith studied the Dogon first hand and over the following years, he integrated their geometry and cosmology into his sculpture. The Dogon, who hail from Mali in West Africa, have for over centuries developed a geometric aesthetic and knowledge of astronomy that, along with their myths, are the unifying elements of their social and spiritual life. This caused Smith’s work to undergo a major change. His sculpture now communicated a profound sense of spirituality whose essence evoke the unity of the tribe and, by extension, the unity of all things. Furthermore, his work is inspired by "Sankofa" a West African word meaning to return to the past and to move forward to the future. His titles, "Nommo," "Kindred Spirits," "Dissent from the Spirit," are centrifugal illusions born out of a yearning for an understanding of the past. When talking about his work, the artist notes:

“For more than 10 years, I have been producing sculptures inspired by The Dogon,” said Smith. “This fascinating African society resides in a spectacular rocky region of the Republic of Mali called the Bandiagara Escarpment. On the face of the cliffs, The Dogon create their art and architecture, which consists of carvings and drawings representing mythical ancestors that are part of their elaborate cosmology, including the mythical star, Sirius.”

Born in Buffalo, NY, Smith received a B.F.A. in Sculpture from the San Francisco Art Institute in 1969. In 1972, he received an M.A. in Sculpture from Hunter College, New York where the artist worked with sculptor Tony Smith. Additionally, Smith met and studied under curator and arts advocate James Harithas, who at that time was a Professor of Art History. Since then, Harithas has become one of Smith’s most significant supporters. Returning to Buffalo after college, Smith accepted an appointment in the Art Department at the University of Buffalo where he taught sculpture for 9 years. In 1981, Smith moved to Houston and was appointed Professor of Sculpture at Rice University, retiring in 2010. He has been awarded numerous fellowships and grants including a National Endowment Planning Grant (1980); National Endowment Individual Grant (1977); two New York State Council on the Arts Grants (1976, 1973); two Cultural Arts Council of Houston Grants (1975), and a Guggenheim Fellowship (1971).

Smith has been featured in solo exhibitions in galleries and museums throughout the United States including Nicole Longnecker Gallery, Houston, TX (2018); O’Kane Gallery, University of Houston/Downtown, TX (2016); Project Row Houses, Houston, TX (2014); G Gallery, Houston, TX (2009); The Station Museum of Contemporary Art, Houston, TX (2007, 2005); Wilmer Jennings Gallery, New York, NY (2006, 1999); Burchfield-Penny Art Center, the Museum of Western New York Arts, Buffalo, NY (2001); Joan Wich & Co. Gallery, Houston, TX (2000); Fleming Museum of Art, Burlington, VT (1999); Graham Gallery, Houston, TX (1987); Sewell Art Gallery, Houston (1983); Rice University, Houston, TX (1983): Studio Museum in Harlem, New York, NY (1980): Herbert F. Johnson Museum of Art, Ithaca, NY (1979): Everson Museum of Art, Syracuse, NY (1972) and Reese Palley Gallery, New York, NY (1970).

Furthermore, Smith has been included in several important national and international group exhibitions at venues including at venues including MoMA PS1, New York, NY (2008-09); Contemporary Arts Museum, Houston, TX (2007, 1995); Camp Marfa, Marfa, TX (2007); Casa de Carton, Ingalls & Associates, Miami, FL (2007); Menil Collection Museum, Houston, TX (2006); African American Museum, Dallas, Texas (2015, 2006); Blue Star Contemporary Art Center, San Antonio, TX (2006); Rockland County Center for the Arts, West Nyack, NY (2000); Art Car Museum, Houston, TX (1999); Galveston Art Center, Galveston, TX (1999); Museum of Fine Arts, Houston, TX (1996); Studio Museum in Harlem, Sculpture Garden, New York, NY (1995); Project Row Houses, Houston, TX (1995); Kenkeleba Gallery, New York, NY (1992); Dallas Museum of Art, Dallas, TX (1992); High Museum, Atlanta (1992); Milwaukee Art Museum, Milwaukee, WI (1992); Blaffer Gallery, University of Houston, TX (1992); Deanza College, Euphrat Gallery, Cupertino, CA (1992); United States Information Agency, Washington, DC (1989); Huntington Art Gallery, University of Texas, Austin, TX (1989); Longview Museum of Art, Longview, TX (1989); Bronx Museum, NY (1989); Dallas Museum of Art, Dallas, TX (1989); The Museum of African American Art, Los Angeles, CA (1988); Studio Museum in Harlem, New York, NY (1988); Arnot Museum of Art, Elmira, NY (1973); New York Cultural Center, New York, NY (1973); Newark Museum, Newark, NJ (1973); Rutgers University, NJ (1971); Hudson River Museum, Yonkers, NY (1970) and the Whitney Museum of American Art, New York, NY (1970).

His large-scale public commissions can be seen at venues including the African American Museum of Art Dallas, TX (1997); University of Vermont Burlington (1992); Lubben Plaza commissioned by A.H. Belo Corporation, Dallas, TX (1991); University of Houston, Downtown Campus (1989); Niagara Frontier Transit Authority (NFTA) Utica Station, Buffalo, NY (1981), and the Metropolitan Atlanta Rapid Transit Authority (MARTA) Lindbergh Center Station, Atlanta, GA (1981).

Smith’s work is represented in the permanent collections at the Museum of Fine Arts, Houston, TX; Menil Collection, Houston, TX; Studio Museum in Harlem, NY; Cooper Cameron Corporation, Houston, TX; Burchfield-Penny Museum, Buffalo, NY and Adam Clayton Powell State Building, NY. Furthermore, his work is featured in numerous private collections locally, nationally, and internationally.

Smith has collaborated with artists Rick Lowe, Danny Samuels, Nonya Grenader, Bert Long, Jesse Lott, Bert Samples, James Bettison and Floyd Newsum, as well as students from the School of Architecture at Rice University. Smith lives in Houston with his wife Thelma Smith. He is represented by Nicole Longnecker Gallery, Houston, TX.