Sherry Owens

SHERRY

OWENS

A S U R V E Y – R O O T E D I N T H E E A R T H

Foreword by Howard Taylor

Essay – Sherry Owens: The Aquarium of the Mind by Kathleen Whitney

SHERRYOWENS

July 8 – September 5, 2010

WEST TEXAS TRIANGLE

San Angelo Museum of Fine Arts

The Grace Museum, Abilene

The Old Jail Art Center, Albany

Museum of the Southwest, Midland

Ellen Noël Art Museum of thePermian Basin, Odessa

A SURVEY–ROOTED IN THE EARTH

Foreword by Howard Taylor

Essay –Sherry Owens: The Aquarium of the Mind by Kathleen Whitney

SHERRYOWENS

July 8 –September 5, 2010

WEST TEXAS TRIANGLE






For my mother, Lennie Bailey, who has always stood beside me and encouraged my art-making.

Figure 1COVER

Drought, 2010

Figure 2INSIDE FRONT COVER

AND FRONTISPIECEMantle, 2001 (detail)

Figure 3ON RIGHT

Flowering Cloud in the Night Sky, 2005

Over the years I have managed to stockpile a forest in my studio.

Surrounded by linear limbs, I feel as if I’m working inside a drawing.

Being immersed in my materials allows me to create from the nest,

a place of refuge in my head.

A long walk into the woods

is my most treasured source for inspiration.

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L E N D E R S T O T H E E X H I B I T I O N

Lennie Bailey, Dallas

Carol and Ken Bentley, San Antonio

Kathy and Chet Boortz, Dallas

Roger Carroll, Dallas

Barbara and Tom Chandler,San Antonio

Joel Cooner, Dallas

Joel Cooner Gallery, Dallas

Laura and Walter Elcock,Dallas and San Francisco

David Gibson, Dallas

Nancy and Tim Hanley, Dallas

Sarah and Jeff Harkinson, Dallas

Margo and Norman Kary, Plano

Liz Kerrigan, Dallas

Sharon and Gus Kopriva, Houston

Patricia B. Meadows, Dallas

Amy and Jules Monier, Dallas

Guillermo Nicolas, San Antonio

Rocky Owens, Dallas

Sherry Owens, Dallas

Carolyn and Otis Parchman,San Antonio

Becky and Ken Phillips, Dallas

Karen and Cameron Rezai, Houston

Bala Shagrithaya, Dallas

Art Shirer, Dallas

Jane and Allen Smith, Dallas

Cindy and Bill Ward, Dallas

C. Thomas Wright, San Antonio

This catalogue celebrates the achievement ofSherry Owens and documents the exhibitionentitled Sherry Owens: A Survey – Rooted in the Earth at the San Angelo Museum ofFine Arts with companion exhibits at the fourother museums of the West Texas Triangle,July 8 – September 5, 2010.

ISBN 978-0-615-38003-2

Copyright 2010 San Angelo Museum of Fine Arts.All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means,electronic or mechanical, including photocopying, recording, or information storage or retrieval systems without permission in writing from the publisher.

www.westtexastriangle.org

The San Angelo Cultural Affairs Council has provided funding in support of this catalogue and exhibition.

San Angelo Museum of Fine Arts • One Love Street • San Angelo, Texas 76903Phone: 325-653-3333 • Fax: 325-658-6800 • Email: [email protected] • www.samfa.org

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Sherry Owens is by my measure a giant among artists. Her physical presence may seemto belie that statement for she is a woman of average height and slender build. There arefew people I have met however that match her energy, exuberance and rich unboundedimagination. The exhibit of Sherry’s work we are undertaking in the summer of 2010,under the auspices of a regional association of art museums called the West Texas Triangle,will be the third time we have exhibited Sherry Owens’ art. This is a clear indication of the great admiration we have for her.

The five art museums in West Texas who collaborate under the umbrella of the WestTexas Triangle include The Grace Museum in Abilene, Museum of the Southwest in Midland, Ellen Noël Art Museum in Odessa, The Old Jail Art Center in Albany andthe San Angelo Museum of Fine Arts. We have banded together to create awareness of these remarkable institutions and the dynamic communities and region of whichthey are a part.

For the past four summers we have selected a single sculptor whom we wanted to focuson at our five venues. We have included the work of Jesus Moroles, Joe Barrington andJames Surls. This is a unique approach of focusing on a single artist through five differentinstitutions, each of which has a distinct institutional culture. It is an interesting processof jointly agreeing upon an artist we believe warrants this special level of attention.

The directors and curators of the five museums were unanimous in the decision to feature Sherry Owens. She is a prolific and widely collected artist who is represented innumerous private and public collections. It was a challenge to assemble the exhibition because she is so admired and her work does not remain in the studio for long. Fortunatelythere has been great enthusiasm on the part of the many people we have approached to lend pieces from their collections. This survey and attendant catalogue offer an opportunity to experience the remarkable breadth and beauty of her body of work.

Howard TaylorDirectorSan Angelo Museum of Fine Arts

F O R E W O R D

Figure 4alameda, 2001

SHERRY OWENS: The Aquarium of the Mindby Kathleen Whitney

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Owens’ work is dreamlike,magnetic and seductive.Each sculpture is enclosed within an individual at-mosphere of change, potential and the unknown. Herwork represents the infinite continuation of nature, an attempt to record its meanings and appearancesthrough the lens of her imagination. The onlooker is drawn in to her work by this quality of flux andreverie. Once bonded to Owens’ imagination, theviewer is given shifting glimpses of what her work offers: mutations, ghosts, masks, figures, a maze ofdetail, all growing and vanishing within her construc-tions. Her work is a kind of aquarium of the mindwith all of these possibilities afloat within it. Eachglance is different from the next, always shifting.What the viewer sees is based on chance, contingenton proximity, the angle of the head, the number ofpeople in the room. With no fixed point of view, thepossibilities are oceanic in scope. Her use of light expands these changes and variations: light and shadow flickers over and through her surfaces, creatingobjects that are never static, never appear the same waytwice. It’s not really possible to grasp each sculpture’sconstellation of parts and stabilize them from a singleview. Each of Owens’ sculptures is a collection, an arrangement of many discrete segments within adistinct system of organization.

The work is inseparable from and animated byher choice of material: discarded crepe myrtlebranches. Crepe myrtle is hardy and fast growing; a woody bush many people mistakenly feel requiresyearly trimming. The pruned branches are left at thecurb for disposal; Owens harvests them from thepavement before the yard-waste trucks arrive: sherefers to her materials as “recycled.” Where most people see a problem, Owens encounters an idea.Others barely glance at a twig; Owens reads it like a letter; her work is what she mails back.

Owens also works in bronze and steel. Duringthe bronze casting process, the crepe myrtle sculptureis burned out of a ceramic shell mold that surrounds

the original form. She is involved throughout theprocess at the foundry, making changes and adjust-ments at various stages. It’s this careful attention thatcreates a unique bronze sculpture closely resemblingits original organic appearance in wood.

Her welded steel forms relate to the crepe myrtlesculptures sharing the same sensibilities and attention to detail without being as visually complicated. Thematerials consist of structural elements such as I-beamsand angle irons that have been recycled from demoli-tion sites. Carving edges with a torch to alter the lineand cutting away sections of the steel has enabled herto create a series of large outdoor sculptures.

One of her most spectacular wall pieces is Fall(Fig. 32, page 36). A demanding installation in its sheer numbers, as 9,707 individual strands ofblackened steel wire converge to become a 17-footwaterfall. These steel lines dynamically cascadedown the vertical surface of the wall in reaction tothe physical force of gravity.

Owens’ work is both complex and intricate;the concerns that animate it are grounded in her perception of the beauty and fragility of the naturalworld. The way she fabricates her work is informedby the structure and logic of weaving. Her techniquesmirror the intricacy and asymmetry of natural growthas well as its profound abstraction. The sculptures are accretions built piece by piece, they mirror theconstruction techniques used by nest, hive and burrow-makers. The branches are cut to desired lengths, shapedand held together with pegs made from new springshoots. Owens sometimes works directly with rootsand derives much of her imagery from densely inter-woven natural forms like roots: she calls these “open-weave” structures. Their physical and conceptualcomplexity is visible in her arrangements of interiorand exterior surfaces: it’s hard to distinguish betweenthe two, are they inside out? She frequently paresaway the bark to reveal a bare surface that resemblesboth skin and muscles. This exposure is essential tothe meaning of her work; its sensual and disorderedsurfaces create a new entity, a hybrid formed by themerger of nature with the human body.

Figure 5Every Breath You Take, 2009 (with detail)

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The 2000 installation “Mantle” andOwens’ 2009 piece, “Every Breath YouTake” are two of many pieces that reflecther concerns about climate change andother studies of damage sustained bythe natural environment.

Mantle (Fig. 2, inside front cover) consists of four discrete components:

Visual:An artificial prairie remnant made from an assortmentof fibers (including Owens’ own hair) is knotted intofelted sections of army blankets. This lies on the floorcovering a clear, shallow acrylic box that exposes alayer of dark brown, rich earth. It is placed in a roombeneath walls painted with the image of a pristinelyblue, cloud-filled sky.

Cerebral:One wall bears the text of a poem superimposed onthe sky, a reference to the ecstatic Sufi experience ofnature.

Out beyond ideas of wrongdoing and rightdoing, there is a field. I’ll meet you there.

When the soul lies down in that grass, the world is too full to talk about.

Ideas, language, even the phrase ‘each other’ doesn’t make any sense.

Rumi

Aural:The sound of Native-American flute music fuses theseelements within an atmosphere of sadness, loss andnostalgia.

Sensual:Owens simulates the sensation of a prairie breeze bymounting fans in the ceiling.

Every Breath You Take (Fig. 5, page 6) also afloor piece, is comprised of short, upended sections of crepe myrtle. Like something seen from a low-flyingaircraft, the viewer gets a miniaturized aerial view ofthe stumps and erosion that accompany deforestation.Trees store CO2 and release oxygen in a cycle threat-ened by extensive clear cutting. This threatens “everybreath.” Like many of Owens’ environmental pieces,these are poetic equivalences, metaphors of action andreaction. Their impact is a consequence of the slow,contemplative and patient viewing demanded by herwork. It’s this kind of observation that converts the details of her structures into meaning and response.

Owens’ work is concernedwith the ecology of humanrelationships.She reconfigures bodies, emotions and dramatic scenarios by abstracting them, translating them intolandscapes. Her work is an updated 3D version of theancient Greek myth of Daphne. Ovid told Daphne’sstory in Metamorphoses describing it in detail: “thinbark closed over her breast, her hair turned into leaves,her arms into branches, her feet so swift a momentago stuck fast in slow-growing roots.” This is an areawhere Owens’ sense of humor and play with wordsand materials comes to the fore, lightening up the situation with puns and double entendres.

She Left Home and Took the Fence with Her(Fig. 6), combines drama with Owens’ dry humorand love of the ridiculous. Object and title are basedon a 30-year-old memory of a car trip through eastTexas. While driving on a country back road she accelerated to pass a slow-moving, red truck; as shepassed, she got a glimpse of the driver and the truck’scontents. She remembers the driver as a “determined-looking young woman” and that the bed of the truckwas heaped with belongings topped by a section offence. It’s an ambiguous scene: young driver haulinga jumble of items, maybe the fall-out of some domesticevent involving a break-up, moving in, over or out.

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Figure 6She Left Home and Took the Fence with Her, 2008

(detail)

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Figure 7The Marriage of the Sun and the Moon, 1997

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The piece hangs vertically off the wall and is“pick-up truck” red. The truck wheels are present inthe form of three small antique wheels rolling downthe wall. The lowest part, the cab of the truck, resem-bles a roughly spherical red nest. This is connected to avertical backbone of finely carved, slim, waxed piecesdelicately pegged together. The spine (truck bed), isstrapped and wired to its payload: lengths of weatheredsticks that Owens has burned, drilled through andtied together with old fencing wire. Originally 13-feetlong, its been balled up, crushed and compressed intoa pile so chaotic it looks like its arching out of thewall, deflecting everything underneath it. The wholeassembly hangs from a loop of baling wire.

The Marriage of the Sun and the Moon (Fig. 7),represents an allegorical relationship. In it, she’s op-posed two interwoven root-like segments. One black,the other white: a dark sun and a light moon. Both elements are equal in complexity. They resemble dia-grams of neural pathways or thin, elegant coral fans.The brilliantly white moon illuminates the mystery ofthe feminine; the black sun symbolizes the dark heatand power of the masculine essence. Their differencescreate a powerful attraction: their marriage is alchem-ical. It’s a mystical union that creates a third element:gold, the offspring of elemental desires. This is one ofOwens’ most lyrical and romantic objects. It’s enigmaticand subtle; its looping, intertwined branches radiate arepressed energy.

Much of Owens’ work isconstructed at large scale. Its fabrication demands careful balancing and intuitiveengineering; it demonstrates her innate ability to pitchscale and weight against gravity. She’s able to stitchtogether multiple sizes, sections and intricate detailinto forms that appear to deny their own mass. Herwork invades the areas where it’s displayed and turnsit into theatrical space, one that’s fully engaged withthe work and also defined by it. The architecture ofenclosure: wall, floor and ceiling, defines the workbut is bitten into and fractured by it. The space andobject within it is not in balance but held in a tense

dynamic. It’s this precise relationship of location toobject that prevents the sensual beauty and elegantassembly of the work from becoming decorative.

No bird soars too high, if he soars with his own wings.

Wm Blake, The Marriage of Heaven and Hell

At a time when many artists who work at a largescale employ studio assistants to fabricate much oftheir art, it is noteworthy that Owens does everythingherself. Many of her sculptures can take nearly a year or more to complete: she makes them alone. Her solitude, another invisible element, is a strong presencein the work. No detail, no part of its surface speaks of machine process. The sense of the handmade, of patient labor expended slowly over time and at largescale, is nearly overwhelming. These elements estab-lish a territory that defines the work itself as well asthe way it is to be perceived. This labor (drying andfreezing the branches, whittling bark, cutting the sections, making the small pegs, sitting down withthese materials daily, making one small, crucial decisionafter another...) disappears entirely within the finishedwork, felt but not perceived. In many ways thestrength and beauty of Owens’ work resides in thisdisappearing act. The point is that the nature of thelabor is in itself amazing, the fact that she somehowmakes it invisible is nothing short of astonishing.

It’s more than detail that makes her work compelling; the process of fabrication is sensed by the viewer and responded to with close and carefulattention. The viewer is totally focused on the finishedobjects; to be in a room with them is to be consumedby them. Each sculpture fully occupies its space,transforms, breathes into and energizes it.

Kathleen Whitney has written extensively about sculpture. She has had profiles and essays published in numerous national and international publications and has also authored many museum catalogues. Her work has appeared in several anthologies. She currently lives in Albuquerque.

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Figure 8The Wind in Swirl, 1997 (with detail)

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Figure 9amour, 2001

(four views)

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Figure 10Navigating the Waters, 1996

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Figure 11Navigating the Waters, 2001

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Figure 12We Dream of Intimacy, 1993

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Figure 13ab ovo, 2001

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Figure 14Man Brain/Woman Brain, 2001

Figure 15ON RIGHT

Moon Cloud, 2001

Figure 16An Ocean Between Us, 2008(installation with detail)

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Figure 17First Embrace, 2002

Figure 18ON RIGHT

Blessings, 1999

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Figure 20Grass Roots, 1997

Figure 19Hover, 1996

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Figure 22A Dream Whirring IV, 1997

Figure 21Field, 2001

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Figure 23Fresh Cut, 1993

Figure 24ON RIGHT

Apparition, 2010

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Figure 25Sudden Insight, 1997(with detail)

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Figure 26Police Zone: No Occupancy, 1990

Figure 27ON RIGHTHouse at the Edge of the Forest, 1991

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Figure 28ON LEFTDrakainas’ Folly, 1999

Figure 29Autumn, 1999

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Figure 30Storm Rising, 1996

Figure 31Night Birds Soaring, 2009

Figure 32Fall, 2007

Figure 33ON RIGHT

Song of Summer, 2009

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SELECTED SOLO AND COLLABORATIVE EXHIBITIONS

2003 Sherry Owens: Second Glance, StudioGallery, Brookhaven College, FarmersBranch, TXcloudsandislands, Collaborationwith Art Shirer, Redbud Gallery, Houston, TXSherry Owens: New Work in Bronze,Fine Arts Division, J. Erik Jonsson CentralLibrary, Dallas, TX

2002 Bearing Witness: An Installation in Response to September 11, 2001,Four Walls, Displays Unlimited, Inc.,Fort Worth, TXSculpture by Sherry Owens, NeimanMarcus Downtown, First Floor andWindows on Main, Ervay and Commerce, Dallas, TX

2001 Earthly Delights, Parchman StremmelGalleries, San Antonio, TXoutside in, Collaboration with ArtShirer, Ida Green Gallery, Austin College, Sherman, TX

2000 unearthed, Haggar Gallery, Universityof Dallas, Irving, TX (brochure)

1998 In Harmony, Parchman Stremmel Galleries, San Antonio, TXThis Seed of Space, Women & TheirWork, Austin, TX (brochure)

1997 beginnings, Conduit Gallery, Dallas, TXOn Earth & Sky, Parchman StremmelGalleries, San Antonio, TXPatience Towards Obsession, MainGallery, Fox Fine Arts Center, Universityof Texas at El Paso, El Paso, TX

1996 Sherry Owens: Sculpture, Martin Museum, Hooper-Schaefer Fine ArtsCenter, Baylor University, Waco, TXPersistence of Memory, Collaborationwith Art Shirer, University Gallery,Southwest Texas State University, San Marcos, TX

1995 Sherry Owens: AboveBelowAndBetween, Studio Gallery and SculptureGarden, Brookhaven College, FarmersBranch, TXSHIRER + OWENS A Transformationof Space, Main Gallery, Irving ArtsCenter, Irving, TX

1993 Sherry Owens & Tom Sale, Gray Matters, Dallas, TX

B I O G R A P H Y, S E L E C T E D E X H I B I T I O NH I S T O R Y A N D B I B L I O G R A P H Y

Sherry Owens was born on October 8, 1950 in Mt. Vernon,Texas. She received a BFA from Southern Methodist University in 1972; was a 1984participant in the United StatesTextile Arts and Culture ofChina Delegation in the People’sRepublic of China; and wasawarded the Moss/ChumleyNorth Texas Artist Award in1999. Having taught art for the Dallas Independent SchoolDistrict and various art programswithin the community and state,she is also a former president ofthe Texas Sculpture Association.She has served on numerous artboards and was a co-founder ofthe Emergency Artists’ SupportLeague. She currently lives andworks in Dallas.

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1990 In Collaboration: Sherry Owens andArt Shirer, D-Art Visual Art Center, Dallas, TX

1989 Collected Thoughts, University Gallery,Southwest Texas State University, SanMarcos, TX

SELECTED PUBLIC COMMISSIONS

2009 Night Birds Soaring, JW Marriott SanAntonio Hill Country Resort & Spa,San Antonio, TX

2008 An Ocean Between Us, Coast GlobalSeafood Restaurant, Plano, TX

2005 Flowering Cloud in the Night Sky,Stephan Pyles Restaurant, Dallas, TX

2003 When There Is Joy in the Heart, TheNarthex Alcove, First United MethodistChurch, Dallas, TX

2000 Receiving Gifts, Meadows School of theArts, Southern Methodist University,Dallas, TX

1996 Storm Rising, Marquis on Gaston, Dallas, TXOrbit, Collaboration with Art Shirer,Marquis on Gaston, Dallas, TX

1995-96 Cascade, Collaboration with Art Shirer,Hall Financial Group, Frisco, TX

1995 On Thin Ice, Collaboration with ArtShirer, Hall Financial Group, Frisco, TX

SELECTED OUTDOOR INSTALLATIONS AND EXHIBITIONS

2010-12 30th Annual Outdoor Sculpture Exhibition, Abilene, TX

2008-10 Sculpture for New Orleans,New Orleans, LA

2006-07 Waco National Outdoor Sculpture Exhibition, Waco Cultural Arts Fest,Waco, TX

2005-06 Art on the Green, Kemp Center for theArts, Wichita Falls, TX (catalogue)

2004-06 Sculpture Fort Smith, Fort Smith, AR(brochure)

2004-06 Insight at Sloss, Sloss Furnaces NationalHistoric Landmark, Birmingham, AL

2001 Texas Sculpture Garden, PermanentCollection, Hall Office Park, Frisco, TX

2000-01 Art in the Park, Windlands Park, Midland, TX (brochure)

2000 Connemara Collaboration: Art/Nature/Man, Connemara Conservancy Foundation, Allen, TX (brochure)Journey: Sculpture 2000, Allen Park-way and Memorial Drive, Houston, TX(brochure)

1999-00 Breaking New Ground, Irving ArtsCenter Sculpture Garden, Irving, TX(brochure)

1999 XXL: Large-Scale Outdoor Sculpture,Richland College, Dallas, TXArtworks 99 Outdoor Sculpture Exhibition, Aquarena Center, San Marcos, TX

1995-96 Sculpture on Campus Exhibit, TexasChristian University, Fort Worth, TX

1992-93 Abilene 12th Annual Outdoor Sculpture Exhibition, Nelson Park, Abilene, TX (catalogue)

1991 Sculpture in the Parks 1991, MackenziePark, Lubbock, TX (catalogue)

1990 Connemara Conservancy Foundation,Allen, TX (brochure)Sculpture at the Fair, Texas SculptureAssociation, State Fair of Texas, Dallas, TX

1989 Sculpture By the Lake, Texas SculptureAssociation and the City of Dallas, Bath House Cultural Center, Dallas, TX(catalogue)

1988 1st Biennial Outdoor Sculpture Exhibit, The Sculpture Farm, WolfeCity, TX (catalogue)

1987 St. Patrick’s Day Parade, Greenville Ave,Dallas, TX – First Prize

1986 2nd Annual Kinetic Sculpture Parade,West End Marketplace, Dallas, TX –$3000 First Prize

SELECTED GROUP EXHIBITIONS

2010 30th Annual Sculpture Exhibition,Center for Contemporary Arts, Abilene, TXEarthbound: The State of Sculpture,Art Museum of South Texas, CorpusChristi, TX (catalogue)Oso Bay Biennial XVI Invitational, WeilGallery, Texas A&M University CorpusChristi, Corpus Christi, TX

2009 Amistad 2, Instituto Cultural PeruanoAleman, Arequipa, Peru (catalogue)The Great Texas Sculpture Roundup,Beeville Art Museum, Beeville, TX (catalogue); traveled to Art Car Museum,Houston, TXArt of the Everyday, University of Texasat Dallas, Dallas, TX and Bathhouse Cultural Center, Dallas, TX (brochure)The 10th International Shoebox Sculpture Exhibition, University ofHawaii Art Gallery, Honolulu, HI (catalogue) – a three year traveling exhibition through 2012

2008 The Texas Chair Project, Austin Museum of Art, Austin, TX (catalogue)Texas Tour 100 Years of Texas Land-scape Painting & Works by TexasSculptors, Valley House Gallery &Sculpture Garden, Dallas, TXSmall Works, McClain Gallery, Houston, TXUlterior Motifs a.k.a. Camp Marfa, TheCrazywood Gallery, Huntsville, TX

2007 Amistad, Texas Art in Peru, NationalMuseum, Lima, Peru (catalogue) –traveled to Museum of Modern Art,Trujillo, Peru (catalogue)Camp Marfa, Old Fort Russell Building98, Marfa, TX (catalogue)

2006 Islander Sculpture Invitational, Oso BayBiennial XIV, Islander Art Gallery, CorpusChristi, TX

Naturalis, Bath House Cultural Center,Dallas, TX

2004 X 10 Years, Parchman Stremmel Galleries,San Antonio, TXCelebracion, Buddy Holly Center, Lubbock, TXNorth American Sculpture Exhibition2004, Foothills Art Center, Golden,CO (catalogue)One Hundred Drawings, HaggertyGallery, University of Dallas, Irving, TX

2003 Mark Making: A Drawing Show, Arling-ton Museum of Art, Arlington, TXWorking with Wood, Valley HouseGallery & Sculpture Garden, Dallas, TXA Sense of Place, Arlington Museum ofArt, Arlington, TXKnown and New, Parchman StremmelGalleries, San Antonio, TX

2002 I-45 Combined, Lowell Collins Gallery, Houston, TXShifting Ground, ArtScan Gallery andRudolph Projects, Houston, TX

2002 TEXAS NATIONAL 2002, The ArtCenter, Stephen F. Austin State University, Nacogdoches, TX (catalogue)Modalities of the Visible: A Survey ofContemporary Art in North Texas,New Forum Gallery, Brookhaven College, Farmers Branch, TXCelebracion, Buddy Holly Center, Lubbock, TXSteel Grrrls, Jonson Gallery, Universityof New Mexico, Albuquerque, NM

2001 Inside/Outside, Valley House Gallery& Sculpture Garden, Dallas, TXSteel Grrrls, Art League Houston,Houston, TX (catalogue)Gallery in the Garden, Governor’sMansion, Austin, TX

2000 The 7th International Shoebox Sculpture Exhibition, University ofHawaii Art Gallery, Honolulu, HI (catalogue) – a three year traveling exhibition through 200334th Annual National Drawing & Small Sculpture Show, Joseph A. CainMemorial Art Gallery, Del Mar College,Corpus Christi, TX (catalogue) –Honorable MentionDeparture/Return, Meadows Museum,Southern Methodist University, Dallas, TXLiving and Working in Texas, Park Central VII, VIII and IX, Dallas, TX (catalogue)PLUNGE, Beatrice M. Haggerty Gallery, University of Dallas, Irving, TX(catalogue)Prints & Sculptures, Redbud Gallery, Houston, TX

1999 Goliad: A Cultural Convergence,Presidio La Bahia, Goliad, TX (catalogue)

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Retrospection 15, Buddy Holly Center,Lubbock, TX (catalogue)Six Ways of Seeing, University ArtGallery, Fain Fine Arts Center, Midwestern State University, Wichita Falls, TXThe Last Sculpture Show, RedbudGallery, Houston, TX

1998 Works by Contemporary AmericanArtists, Embassy of the United States ofAmerica, Vienna, Austria (catalogue)Mark and Repetition: Drawings 1998,Haggerty Gallery, University of Dallas,Irving, TXDay of the Dead Shrine Show, Owings-Dewey Fine Art, Santa Fe, NMBabalu-A Night in Havana, WilliamCampbell Contemporary Art, FortWorth, TX

1997 Art in the Metroplex, Texas ChristianUniversity, Fort Worth, TX – $1000The Fifth Avenue Foundation Award Act Natural: Artists’ Responses to Environment, Arlington Museum ofArt, Arlington, TX

1996 Inside Out, Conduit Gallery, Dallas, TXearth-air-fire-water, University ArtGallery, Fain Fine Arts Center, Midwestern State University, Wichita Falls, TXthe THING itself, The 1995-1996 Vistas Series, San Angelo Museum ofFine Arts, San Angelo, TX (brochure)El Duende, Wichita Falls Museum andArt Center, Wichita Falls, TX

1995 The Book Re-configured, Women &Their Work, Austin, TX – a traveling exhibition through 1996Basket/Case, Edith Baker Gallery, Dallas, TXArt in the Metroplex, Texas ChristianUniversity, Fort Worth, TXMade in Texas, Parchman StremmelGalleries, San Antonio, TXFourth Annual Celebration of the Dayof the Dead: A BOOK, A BOX, OR ASHRINE, Owings-Dewey Fine Art,Santa Fe, NMCross, University of Dallas, Irving, TX

1994 Bucking the Texan Myth: A Contem-porary Redefinition of Who We Are,Moody Hall Atrium Gallery, St. Edward’sUniversity, Austin, TX (catalogue)A Show of Hands, Edith Baker Gallery,Dallas, TX1994 New Orleans National, Still-Zinsel Contemporary Fine Art,New Orleans, LA28th Annual National Drawing andSmall Sculpture Show, Del Mar College, Corpus Christi, TX (catalogue)Senses Beyond Sight, in conjunctionwith Art of the Eye, Gateway Gallery,Dallas Museum of Art, Dallas, TX1994 Critic’s Choice, D-Art Visual ArtCenter, Dallas, TX (catalogue)

Fused Metal, D-Art Visual Art Center,Dallas, TXSculpture at the Plaza, Texas SculptureAssociation, Plaza of the Americas, Dallas, TX

1993 Art in the Metroplex, Texas ChristianUniversity, Fort Worth, TX – $1000The Fifth Avenue Foundation Award1993 Critic’s Choice, D-Art Visual ArtCenter, Dallas, TX (catalogue)Senses Beyond Sight, D-Art Visual Art Center, Dallas, TX (catalogue); traveled to Grace Cultural Center, Museums of Abilene, Abilene, TXSmall Treasures, Edith Baker Gallery,Dallas, TX

1992 The Great Big Little Show, LubbockFine Arts Center, Lubbock, TXArt in the Metroplex, Texas ChristianUniversity, Fort Worth, TXThirty-Fifth Annual Delta Art Exhibition, The Arkansas Art Center,Little Rock, AR (catalogue)Three Year Review, D-Art Visual Art Center, Dallas, TX The Next Best Show, Gray Matters, Dallas, TXTrail of Tears, Firehouse Gallery, Houston, TXTempus Fugit, Edith Baker Gallery, Dallas, TXThe Throne Show, Artisana Gallery2526, Dallas, TXSix Sculptors, Collin County Community College, Plano, TX

1991 Profiles I: The Land, Arlington Museumof Art, Arlington, TXFifth Annual Materials: Hard & Soft,Meadows Gallery, Greater Denton Arts Council Center for the Visual Arts,Denton, TX (catalogue)Healing Hands, Lubbock Fine ArtsCenter, Lubbock, TX and D-Art VisualArt Center, Dallas, TX (catalogue)1991 Critic’s Choice, D-Art Visual ArtCenter, Dallas, TX (catalogue)National Juried Art Exhibition, Arling-ton Museum of Art, Arlington, TXThe Image of the Cross, Putti Gallery,Dallas, TXTexas Toys, Dallas Museum of Art, Dallas, TX (catalogue)

1990 Die Berliner Mauer: From Repressionto Expression, Trammell Crow Center,Dallas, TX33rd Annual Delta Art Exhibition, TheArkansas Arts Center, Little Rock, AR(catalogue)EXCELLENCE 90, Texas Sculpture Association National Exhibition, Plazaof the Americas, Dallas, TX (catalogue)Perspectives, The Gallery, Hughes-Trigg Student Center, SouthernMethodist University, Dallas, TXTom Peyton Memorial Arts Festival,First United Methodist Church, Alexandria, LA

Artful Objects, Dallas Museum of Art,Dallas, TX (catalogue)

1989 Constructed Image-Constructed Form,The Gallery, Hughes-Trigg StudentCenter, Southern Methodist University,Dallas, TX

1988 Sightings: Future Akins, Sherry Owensand Chase Yarbrough, Louisiana TechUniversity Art Gallery, Ruston, LACritic’s Choice 1988, D-Art Visual ArtCenter, Dallas, TX (catalogue)EXCELLENCE 88, Texas Sculpture Association National Exhibition, Plazaof the Americas, Dallas, TX (catalogue)AFAM 44th Annual Competition, Abilene Fine Arts Museum, Abilene, TXImages of a Summer Vacation, AION Fine Art at the Crescent Gallery,Dallas, TXAutorama, Forum Gallery, Brookhaven College, Farmers Branch, TXToys By Artists, William Campbell Contemporary Art, Fort Worth, TXSculpture at the Bar, Texas SculptureAssociation and Dallas Bar Association,Dallas Legal Education Center, Dallas, TX

1987 Art in the Metroplex, Texas ChristianUniversity, Fort Worth, TX – HonorableMention – Bob Fiesler Award (painting)

1986 Critic’s Choice 1986, D-Art Visual ArtCenter, Dallas, TX (catalogue)

SELECTED PUBLIC COLLECTIONS

American Airlines, Admirals Club, Austin, TXCoast Global Seafood Restaurant, Plano, TXFirst United Methodist Church, Dallas, TXHall Financial Group, Inc., Frisco, TXHarbourton Enterprises, New York, NYMarquis on Gaston, Dallas, TXJW Marriott San Antonio Resort & Spa, San Antonio, TXMeadows School of the Arts, SouthernMethodist University, Dallas, TXNeiman Marcus, Dallas, TX and Honolulu, HIState Foundation on Culture and the Arts, Honolulu, HIStephan Pyles Restaurant, Dallas, TXTexas Sculpture Garden, Hall Office Park, Frisco, TX

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SELECTED BIBLIOGRAPHY

Baca, Ricardo; “Eye-Popping Art Finds a Home with Linear Work,” Corpus Christi Caller-Times, April 14, 2000Bartosek, Nancy; “Crape Myrtle Branches Set Scene for 9-11 Tribute,” Fort Worth Star-Telegram, Gallery Watch, September 28, 2002Bass, Shermakaye; “Artists Put Together a Touching Exhibit,” The DallasMorning News, March 28,1993Cuellar, Catherine; “Deep Ellum’s Continental Gin Building,” The DallasMorning News, November 2, 1997Daniel, Mike; “Art – Sherry Owens,” The Dallas Morning News, Guide,June 23, 2000Daniel, Mike; “Connemara Collaboration: Art/Nature/Man The 2000 Connemara Spring Sculpture Show, Connemara Nature Conservancy,”Artlies, #27 Summer 2000Doren, Megan; “Life Inundates Art,” The Dallas Morning News, March 16, 1990Fearing, Kelly, Emma Lea Mayton, Bill D. Francis and Evelyn Beard; HelpingChildren See Art and Make Art – Primary, copyright 1982, published byW.S. Benson & Co., Inc., Austin, TX. Fearing, Kelly, Emma Lea Mayton, Bill D. Francis and Evelyn Beard; HelpingChildren See Art and Make Art – Intermediate, copyright 1982, publishedby W.S. Benson & Co., Inc., Austin, TXEditors: FIBERARTS; The FIBERARTS Design Book, copyright 1980, Hastings House Publishers, NYEditors: FIBERARTS; The FIBERARTS Design Book Three, copyright 1987,published by Lark Books, Asheville, NCGoddard, Dan; “The Luminous and Rough Nature of Earth and Sky,” San Antonio Express-News, S.A. Life, March 27, 1997Goertz, Lea Ann; “Collaborative Exhibit is Spiritual Sculpture,” The DailyUniversity Star, Southwest Texas State University, October 3, 1996Goldman, Saundra; “Making a Buck,” Austin American-Statesman,November 17, 1994Greenberg, Mike; “What’s Different Now,” San Antonio Express-News, Culturas, September 8, 2002Editor: Greenville Herald Banner, “‘Celebration of the Arts‘ Hosts Sculptors,”Greenville Herald Banner, April 17, 1994Griffith, Diana; “OPEN-AIR ART: Mother Nature Silent Partner at Connemara,” Plano Morning News, March 11, 2000Griffith, Dotty; “Catch the Wave!” Dallas Modern Luxury, March 2009Hazal, Mary Lou; “A Celebration of the Arts,” Commerce Journal, April 17, 1994Hosek, Karah; “Pedestrian Materials Find New Life in Exhibition,” UT DallasNews, April 17, 2009 Editor: Hutchins, Jeane; The FIBERARTS Design Book II, copyright 1983,published by Lark Books, Asheville, NCJelson, Christine; “Sherry Owens ‘Unearthed’ Haggar Gallery, University of Dallas,” Artlies, #28 Fall 2000Southwest Editor: Julian, Debbie; “On the Cover and In Harmony at Parchman Stremmel Galleries,” Art Now Gallery Guide, December 1998Koller, Dan; “New Show Takes Root in Sculpture Garden,” The Irving News,February 20, 2000Koller, Dan; “Dirty Work – Artist’s Show Explores Prairies, Soil,” The IrvingNews, May 18, 2000Kutner, Janet; “The Connemara Art Form,” The Dallas Morning News, March 21, 1990Kutner, Janet; “Excellence 90,” The Dallas Morning News, August 2, 1990Kutner, Janet; “Visual Relief,” The Dallas Morning News, September 22, 1991Kutner, Janet; “Preview – Profiles I: The Land,” The Dallas Morning News,November 29, 1991Kutner, Janet; “Nature Not Nutured,” The Dallas Morning News,December 12, 1991Kutner, Janet; “Preview – Sherry Owens and Tom Sale: Recent Works,” The Dallas Morning News, January 22, 1993Kutner, Janet; “Overnight – Dallas Artists Win Prize for Sculpture,” The Dallas Morning News, September 22, 1997

Kutner, Janet; “Gallery Gourmet – Sherry Owens at Conduit,” The DallasMorning News, August 28, 1998Lapham, Bob; “All Hands on Deck,” Abilene Reporter-News Weekend,November 5-6, 1993McMullen, Dawn; “Branching Out,” theMet, November 20, 1996Mitchell, Charles Dee; “Risky Business,” Dallas Observer, September 5, 1991Savage, Diana and Tim O’Reilly; “Discover,” The Dallas Morning News,Dallas Life Magazine, September 6, 1992Sharpe, Patricia; “Where to Eat Now 2007,” Texas Monthly, February 2007Sime, Tom; “Modern Medicis,” Dallas Observer, June 27, 1991Sime, Tom; “Land Futures,” Dallas Observer, October 3, 1991Sime, Tom; “Art-Naturals: Sculpture Show Makes the Most of Outdoor Setting,” The Dallas Morning News, Guide, March 10, 2000Sime, Tom; “A Space for Art: Connemara at 20,” The Dallas Morning News,March 12, 2000Sime, Tom; “Creating a Space for Hope After 9-11,” The Dallas MorningNews, Arts Out There, September 4, 2002Sime, Tom; “Sticks and Bronze,” The Dallas Morning News, Arts Out There,November 5, 2003Smith, Lewis: “The Cumulative Aesthetic of Parchman Stremmel,” Voices of Art Magazine, Vol. 7, No. 2, April/May 1999Stone, Lee; “Inspiration from the Prairies,” The Prairie Dog, Native PrairiesAssociation of Texas Newsletter, Vol. 13, No. 2, Spring 2000Tyson, Janet; “Seeing Landscapes in a Different Light,” Fort Worth Star-Telegram, November 21, 1991Tyson, Janet; “Twigs and Taxidermy Make Companion Pieces,” Fort WorthStar-Telegram, January 21, 1993Van Ryzin, Jeanne; “Safe Passage – Sherry Owens’ Work with Branches andLinen Evoke Repose,” Austin American-Statesman, February 2, 1998Whitney, Kathleen; “Going Natural,” World Sculpture News, Volume 7,Number 3, Summer 2001Whitney, Kathleen; “Sherry Owens at Parchman Stremmel Galleries, SanAntonio, Texas,” World Sculpture News, Volume 8, Number 1, Winter 2002Yannotta, Patricia; “Sherry Owens,” Art Now Gallery Guide, January andFebruary 1997

SELECTED PROFESSIONAL EXPERIENCE AND AFFILIATIONS

African American Museum, Dallas, TX, Young American Talent High SchoolArt Competition, Juror 2001City of Dallas Public Art Project, Dallas, TX, Artist Selection Panel 1998Conduit Gallery, Dallas, TX, 1995-99Dallas Museum of Art, Dallas, TX, Texas Toys, Beaux Arts Ball, Chairman 1991Dallas Visual Art Center, Dallas, TX, Board of Directors 1992-94; Sense Beyond Sight, a traveling exhibition for the visually impaired, with accompanying invitation, catalogue and docent script production, Co-Curator 1993DART (Dallas Area Rapid Transit), Dallas, TX, Cedars Light Rail Station ArtProject, Collaboration with Art Shirer, Finalist 1994EASL (Emergency Artists’ Support League), Dallas, TX, Co-Founder andSteering Committee 1992-99; Advisory Board 2009-presentEllen Noël Art Museum, Odessa, TX, Metal Arts 2004, Juror 2004Gray Matters, Dallas, TX, 1991-94Joel Cooner Gallery, Dallas, TX, Assistant 1999-2001Kemp Center for the Arts, Wichita Falls, TX, Art on the Green Outdoor Sculpture Invitational, Curator 2010Parchman Stremmel Galleries, San Antonio, TX, 1995-presentTexas A&M University-Commerce, Commerce, TX, Student Awards Exhibition, Juror 2000Texas A&M University-Corpus Christi, Corpus Christi, TX, Oso Bay Biennial XVI, Panel Discussion and Workshop 2010Texas Sculpture Association, Dallas, TX, Sponsor 1991-92; Board of Directors 1987-90; Ex-Officio 1990; President 1988-89; Vice-President 1987The Hockaday School, Dallas, TX, ISAS Fine Arts Festival, Workshop 2004

42

San Angelo Museum of Fine ArtsSAN ANGELO, TEXAS

A Resting Place for the Spirit, 1989 crepe myrtle, purpleheart, brass, roses, hydrocal, steel, paint, 88½ x 12 x 12 inchesCollection of Lennie Bailey

Figure 13, page 19ab ovo, 2001, crepe myrtle, dye, wax, steel, paint, 53 x 24 x 20 inchesCollection of Sarah and Jeff Harkinson

Figure 4, page 5alameda, 2001, crepe myrtle 20½ x 18 x 29 inches steel pedestal, 36 x 22¼ x 9½ inchesCollection of Guillermo Nicolas

Figure 9, page 14-15amour, 2001, steel, patina, wax 14 x 18 x 8 inchesCollection of Carol and Ken Bentley

Figure 24, page 29Apparition, 2010, crepe myrtle 83½ x 28 x 11½ inches Courtesy of the artist

Big Fear, 1994, crepe myrtle, paint, wax 124 x 60 x 36 inches Collection of Laura and Walter Elcock

Figure 18, page 25Blessings, 1999, crepe myrtle, dye, wax 83¾ x 26 x 28 inchesCollection of Jane and Allen Smith

Cavolo-Fiori, 1993, crepe myrtle, dye,metallic wax, 73 x 29 x 27 inchesCollection of Guillermo Nicolas

Diary, 1995, bronze (unique), patina, crepe myrtle, 6 x 7¼ x 3 inches Collection of Carolyn and Otis Parchman

Figure 1, coverDrought, 2010, bronze (unique), patina52 x 84½ x 45 inches Courtesy of the artist

Figure 34, inside back cover (detail)Dust Devil, 2002 crepe myrtle, wax, steel, paint 22¾ x 13 x 12 inches Collection of Bala Shagrithaya

Figure 5, page 6Every Breath You Take, 2009 crepe myrtle, steel, mixed fibers, paint14½ x 93 x 104 inchesCourtesy of the artist

Everything In Its Place: Do-Waa-Diddy-Do, 1986, handmade paper, paint, rocks,wire, found objects on steel frame27¼ x 9½ x 8 inchesCollection of the artist

Figure 21, page 27Field, 2001, graphite, pencil, watercolor,gouache on paper, 20 x 16 inches Collection of the artist

Figure 17, page 24First Embrace, 2002, bronze (unique),patina, 26½ x 26 x 21¼ inchesCollection of Nancy and Tim Hanley

Figure 23, page 28Fresh Cut, 1993, crepe myrtle, paint, wax 56 x 45 x 38 inches (corner installation)Collection of Rocky Owens

Figure 20, page 26Grass Roots, 1997, edition 1/7intaglio, softground, 10 x 8 inches Collection of Sharon and Gus Kopriva

Heart of the Prairie, 2007, crepe myrtle,dye, wax, 51 x 38 x 30 inchesCourtesy of the artist

Holding Up the Sky I-V, 2003 bronze, patina, crepe myrtle, dye, waxvariable dimensions, Collections of Sharonand Gus Kopriva (I), Kathy and Chet Boortz(II), Courtesy of the artist (III), Roger Carroll(IV), Karen and Cameron Rezai (V)

Figure 27, page 33House at the Edge of the Forest, 1991crepe myrtle, zinc, brass, nails, paint, metallic wax, 65 x 20⅛ x 20⅛ inchesCollection of Patricia B. Meadows

Figure 19, page 26Hover, 1996, graphite, charcoal, conte,gouache on paper, 26 x 19¾ inches Collection of the artist

I Thought I Saw My Head on Fire, 1992crepe myrtle, tin, nails, paint, wax 12½ x 8½ x 8½ inchesCollection of the artist

Length of Life, 2009, graphite on paper 30 x 22 inches, Courtesy of the artist

Figure 14, page 20Man Brain/Woman Brain, 2001 crepe myrtle, dye, wax 32¼ x 36 x 26 inchesCourtesy of Joel Cooner Gallery

Figure 2, inside front cover & frontispieceMantle, 2000, soil, wood, acrylic, felted, armyblankets, hair, mixed fibers, paint, fans, text 5 x 72 x 84 inches, Courtesy of the artist

Figure 15, page 21Moon Cloud, 2001, crepe myrtle, dye, wax17½ x 18 x 9½ inchesCollection of Becky and Ken Phillips

Mourning at the Pier, 1998, bronze(unique), patina, 18 x 28½ x 21 inchesCollection of Joel Cooner

Figure 6, page 9 (detail)She Left Home and Took the Fence withHer, 2008, crepe myrtle, dye, wax, steel wire,steel wheels, 55½ x 15 x 22 inches Collection of Barbara and Tom Chandler

Song of Summer, 2009, crepe myrtle, dye, wax, 62½ x 94½ x 9 inches Collection of Cindy and Bill Ward

Figure 25, page 30-31Sudden Insight, 1997, crepe myrtle, steel,paint, wax, 105 x 30 x 27 inchesCourtesy of the artist

Sweet Beet, 2001, crepe myrtle, dye, wax,steel, paint, 12¾ x 4¾ x 4¾ inches Collection of C. Thomas Wright

Taproot, 1998, crepe myrtle, dye, wax 108 x 20½ x 11½ inches, Courtesy of the artist

The Big Four + One, 2000, found shovels,grass seed, steel, paint, 35 x 57¾ x 19 inchesCollection of the artist

Figure 7, page 10The Marriage of the Sun and the Moon, 1997, crepe myrtle, dye, wax, steel, paint, 32 x 32½ x 19 inchesCollection of David Gibson

The Slow Growth of Sameness, 1995crepe myrtle, steel, hair, lead, linen 51 x 32 x 4¾ inches, Collection of Art Shirer

Figure 8, page 12-13The Wind in Swirl, 1997, crepe myrtle, dye, wax, 76 x 37 x 47½ inchesCollection of Laura and Walter Elcock

Two Sighs, 1997, graphite, charcoal, conte,gouache on paper, 19¾ x 26 inchesCollection of Liz Kerrigan

Figure 12, page 18We Dream of Intimacy, 1993 crepe myrtle, linen, 18 x 24 x 24 inches Collection of the artist

E X H I B I T I O N C H E C K L I S T – W E S T T E X A S T R I A N G L E

43

The Grace MuseumABILENE, TEXAS

Cutting Back, 1996graphite, charcoal, conte, gouache on paper, 30 x 22 inchesCourtesy of the artist

Dusk, 1997monotype, 10¾ x 9 inchesCourtesy of the artist

Figure 26, page 32Police Zone: No Occupancy, 1990 Berlin wall fragment, crepe myrtle, lead, steel, copper, nails, 90 x 42 x 30 inchesCourtesy of the artist

Twilight, 1997monotype, 10¾ x 9 inchesCourtesy of the artist

The Old Jail Art CenterALBANY, TEXAS

Figure 22, page 27A Dream Whirring I-V, 1997, graphite, charcoal, conte, gouache on paper each 26 x 19¾ inches Courtesy of the artist

Between Heaven and Earth, 1995 crepe myrtle, steel, aluminum, paint 172 x 60 x 52 inchesCourtesy of the artist

Fence and Farm, 1995, crepe myrtle, aluminum, steel wire, found shovel, paint 76 x 14 x 14 inchesCollection of Amy and Jules Monier

Little White Cloud, 2003, crepe myrtle,dye, wax, 11½ x 16½ x 5½ inchesCollection of David Gibson

Museum of the SouthwestMIDLAND, TEXAS

Figure 29, page 35Autumn, 1999, steel 122½ x 54 x 42 inchesCourtesy of the artist

Ellen Noël Art MuseumODESSA, TEXAS

Colony, 1995, salt ceramic, dye, wire, nails, oil on paper, variable dimensions (21 sections), Courtesy of the artist

Figure 28, page 34Drakainas’ Folly, 1999, steel 134 x 55 x 28 inches (kinetic)Courtesy of the artist

In All Houses, 1992 crepe myrtle, steel, lead, brass, copper, clay, glass, stone, plaster, found objects, wire, paint, wax 80 x 108 x 27 inchesCourtesy of the artist

No. 1 Side Entrance, 1988 oil on canvas, 35 x 55 inchesCollection of the artist

Writing on the Wall, 1992 crepe myrtle, 29 x 28½ x 4½ inchesCollection of Margo and Norman Kary

You Don’t Know What’s Out There, 1994steel, patina, wax, 108 x 41 x 60 inchesCourtesy of the artist

Figure 16, page 22-23An Ocean Between Us, 2008 crepe myrtle, dye, wax, steel, paint 113½ x 129 x 27 inchesPermanent Installation: Coast Global Seafood Restaurant, Plano

Figure 32, page 36Fall, 2007, steel wire, gravity 205 x 38 x 2 inches, Permanent Installation: Collection of Cindy and Bill Ward

Figure 3, page 3Flowering Cloud in the Night Sky, 2005crepe myrtle, 40½ x 72¾ x 44 inchesPermanent Installation: Stephan Pyles Restaurant, Dallas

Figure 10, page 16Navigating the Waters, 1996 crepe myrtle, 90 x 50 x 36 inches(burned out for cast bronze)

Figure 11, page 17Navigating the Waters, 2001, bronze(unique), patina, 90 x 50 x 36 inchesCollection of Nancy and Tim Hanley

Figure 31, page 36Night Birds Soaring, 2009 crepe myrtle, dye, wax, 193 x 117 x 15 inchesPermanent Installation: JW Marriott San Antonio Hill Country Resort & Spa, San Antonio

Figure 30, page 37Storm Rising, 1996, crepe myrtle55 x 113 x 69 inches, Permanent Installation: Marquis on Gaston, Dallas

I N S TA L L AT I O N S

44

A C K N O W L E D G E M E N T S

F I N A N C I A L S U P P O RT

I would like to acknowledge thegenerous contributions of the fol-lowing individuals without whoseassistance these five exhibitions andthis catalogue would not have beenrealized. A large debt of gratitude isowed to Howard Taylor, Directorat the San Angelo Museum of FineArts, for inviting me to participatein the West Texas Triangle. Heart-felt thanks go to Becky and KenPhillips of WinshipPhillips for theirtalent and countless hours in bring-ing this catalogue to life; and to mylong time friend Kay Whitney whoprovided an insightful and thought-ful essay. I am also very grateful tothe lenders of this exhibition andthe four other exhibitions in theWest Texas Triangle. Special thanksto Art Shirer for his expertise and assistance in the studio and to Patricia Meadows who has cham-pioned my work from the begin-ning – both are dear friends.

I express my appreciation toDavid and Martin Iles of BolivarBronze who can meet any challengeI bring to the foundry; to Margaretand David Hendrix who arrived atmy studio with all kinds of artmoving equipment and big smiles;

and to Monte Martin of Martin & Martin Design who provided additional transporting services. I would especially like to thankthese photographers: John Ater,Harrison Evans, Tom Jenkins andPete Lacker, whose photos make thework sing. Many thanks also go toCheryl and Kevin Vogel of ValleyHouse Gallery & Sculpture Garden,Dallas and to Carolyn and OtisParchman of Parchman StremmelGalleries, San Antonio for theirvaluable assistance and guidance.

It took numerous staff membersfrom each venue to help facilitatethe installation of these exhibitionsand to make this publication possi-ble. I extend my gratitude to thestaffs of the various departments at all five museums. In particular, I would like to thank Gracie Fernandez, Karen Zimmerly, JohnMattson and Joel Quintella at theSan Angleo Museum of Fine Arts;Francine Carraro and Judy Deatonat The Grace Museum in Abilene;Rebecca Bridges and Pat Kelly atThe Old Jail Art Center in Albany;Jean Hoelscher and Chris Lovett atthe Museum of the Southwest inMidland; and Les Reker, Doylene

Land and the fab-five crew of fire-men at the Ellen Noël Art Museumin Odessa.

I sincerely thank my son Rockyfor his continuous encouragement,clear vision and inspiration. And

finally, a big hug to the manyfriends and family who have enthu-siastically supported me throughthe years. What an extraordinaryexperience it has been gatheringthese works and bringing them tothe five West Texas museums.

I thank you all. Sherry Owens

Catalogue Design: WinshipPhillips, www.winshipphillips.comPhoto Credits: John Ater – page 3; Harrison Evans – inside front cover & frontispiece, pages 5, 12, 13, 14, 15, 16, 17, 24, 26, 27, 30, 31, 36 (fig. 30); Tom Jenkins – page 35; Pete Lacker – cover, pages 10, 18, 19, 20, 21, 22, 23, 25, 28, 29, 32, 33, 38, inside back coverSherry Owens – pages 6, 9, 34, 36 (fig. 31 & 32), 37, 40, 44

This catalogue has been made possible through the generous financial support of: Barbara and Tom Chandler, Laura and Walter Elcock, Nancy and Tim Hanley, Sharon Kopriva, Patricia B. Meadows, Becky and Ken Phillips, Redbud Gallery, Cindy and Bill Ward

And the San Angelo Museum of Fine Arts and the San Angelo Cultural Affairs Council

With additional support from:Lennie Bailey, Kathy and Chet Boortz, Amy and Jules Monier, Rocky Owens, Jane and Allen Smith, Karen and Howard Weiner

Figure 34Dust Devil, 2002(detail)

46

A C K N O W L E D G E M E N T S

F I N A N C I A L S U P P O RT

I would like to acknowledge thegenerous contributions of the fol-lowing individuals without whoseassistance these five exhibitions andthis catalogue would not have beenrealized. A large debt of gratitude isowed to Howard Taylor, Directorat the San Angelo Museum of FineArts, for inviting me to participatein the West Texas Triangle. Heart-felt thanks go to Becky and KenPhillips of WinshipPhillips for theirtalent and countless hours in bring-ing this catalogue to life; and to mylong time friend Kay Whitney whoprovided an insightful and thought-ful essay. I am also very grateful tothe lenders of this exhibition andthe four other exhibitions in theWest Texas Triangle. Special thanksto Art Shirer for his expertise and assistance in the studio and to Patricia Meadows who has cham-pioned my work from the begin-ning – both are dear friends.

I express my appreciation toDavid and Martin Iles of BolivarBronze who can meet any challengeI bring to the foundry; to Margaretand David Hendrix who arrived atmy studio with all kinds of artmoving equipment and big smiles;

and to Monte Martin of Martin & Martin Design who provided additional transporting services. I would especially like to thankthese photographers: John Ater,Harrison Evans, Tom Jenkins andPete Lacker, whose photos make thework sing. Many thanks also go toCheryl and Kevin Vogel of ValleyHouse Gallery & Sculpture Garden,Dallas and to Carolyn and OtisParchman of Parchman StremmelGalleries, San Antonio for theirvaluable assistance and guidance.

It took numerous staff membersfrom each venue to help facilitatethe installation of these exhibitionsand to make this publication possi-ble. I extend my gratitude to thestaffs of the various departments at all five museums. In particular, I would like to thank Gracie Fernandez, Karen Zimmerly, JohnMattson and Joel Quintella at theSan Angleo Museum of Fine Arts;Francine Carraro and Judy Deatonat The Grace Museum in Abilene;Rebecca Bridges and Pat Kelly atThe Old Jail Art Center in Albany;Jean Hoelscher and Chris Lovett atthe Museum of the Southwest inMidland; and Les Reker, Doylene

Land and the fab-five crew of fire-men at the Ellen Noël Art Museumin Odessa.

I sincerely thank my son Rockyfor his continuous encouragement,clear vision and inspiration. And

finally, a big hug to the manyfriends and family who have enthu-siastically supported me throughthe years. What an extraordinaryexperience it has been gatheringthese works and bringing them tothe five West Texas museums.

I thank you all. Sherry Owens

Catalogue Design: WinshipPhillips, www.winshipphillips.comPhoto Credits: John Ater – page 3; Harrison Evans – inside front cover & frontispiece, pages 5, 12, 13, 14, 15, 16, 17, 24, 26, 27, 30, 31, 36 (fig. 30); Tom Jenkins – page 35; Pete Lacker – cover, pages 10, 18, 19, 20, 21, 22, 23, 25, 28, 29, 32, 33, 38, inside back coverSherry Owens – pages 6, 9, 34, 36 (fig. 31 & 32), 37, 40, 44

This catalogue has been made possible through the generous financial support of: Barbara and Tom Chandler, Laura and Walter Elcock, Nancy and Tim Hanley, Sharon Kopriva, Patricia B. Meadows, Becky and Ken Phillips, Redbud Gallery, Cindy and Bill Ward

And the San Angelo Museum of Fine Arts and the San Angelo Cultural Affairs Council

With additional support from:Lennie Bailey, Kathy and Chet Boortz, Amy and Jules Monier, Rocky Owens, Jane and Allen Smith, Karen and Howard Weiner

Figure 34Dust Devil, 2002(detail)

SHERRY OWENS:A SURVEY – ROOTED IN THE EARTH

W E S T T E X A S T R I A N G L E






Sherry Owens

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