The Art of Found Objects: Interviews with Texas Artists

By Robert Craig Bunch | Go to book overview

Danville Chadbourne

Received May 28, 2012
Born 1949, Bryan; lives in San Antonio

Figure 23. Danville Chadbourne, THE ACCUMULATED DECEPTIONS
OF TIME—THE SURROGATE, 1992–1993

Ink and acrylic on wood, metal, fiber, shells, beads, earthenware, acrylic
on earthenware, coconut shell, wood, bone, 64" × 48" × 5"

Courtesy of the artist

Photograph: Conan Chadbourne

Q What is it like to have so large and flexible a space as Gallery Nord in San Antonio for a solo show?

A I really like doing exhibitions. It is a chance to see the work in a more formal environment than the studio and an opportunity to control the presentation. It also allows me to establish certain relationships that might not happen otherwise. I’m very selfish about this control, and I always prefer one-person exhibitions. I also like to do the exhibition design and installation myself whenever possible. The only other person I really trust to work with me is my wife, Diana [Roberts]. She has an incredible sense of presentation and really understands my work from the inside. She also ran an art center for almost eight years and has had a lot of experience.

Obviously, the large and divided spaces at Gallery Nord are my kind of ideal, where I can show multiple (and diverse) series simultaneously. I see all of my work as a kind of complex, extended family of ideas, and it’s great to compose an exhibition of many diverse forms and have it hold together as a coherent whole, even if it strains the boundaries a bit. I have always loved museums and good museum exhibits, so the chance to recreate some of that sensibility with my own work is a very strong force.

Q Would you describe the basic series you have included in the spring 2012 Gallery Nord show?

A The genesis of this show was a vision of the interaction of two different but related cycles of work that have been persistent in my activity for many years, the mountain forms and the Meditative Devices. The mountain forms are the older of the two; the first works were produced in 1974 or 1975. At the time I was very interested in Japanese Zen rock gardens, as well as European megalith sites, standing stones, cairns, and the like. It was the elemental nature of these forms that appealed to me; they were like the small ceramic works I had been producing

-40-

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The Art of Found Objects: Interviews with Texas Artists
Table of contents

Table of contents

  • Title Page iii
  • Contents vii
  • Acknowledgments ix
  • Introduction 1
  • Margaret Adie 9
  • Helen Altman 12
  • Celia Álvarez Muñoz 14
  • The Art Guys- Michael Galbreth 17
  • Jack Massing 19
  • Frances Bagley 22
  • Karin Broker 25
  • Maureen Brouillette 28
  • Steve Brudniak 31
  • Margarita Cabrera 35
  • Eugene W. R. Campbell Jr 38
  • Danville Chadbourne 40
  • Claire Cusack 46
  • Robert Dampier 48
  • Roberto del Rio 51
  • Martin Delabano 54
  • Vernon Fisher 58
  • Trenton Doyle Hancock 60
  • Vincent Hannemann 62
  • Ann Harithas 66
  • Dana Harper 69
  • Joseph Havel 71
  • Tracy Hicks 73
  • Paul Horn 77
  • Otis Huband 79
  • Christopher Hynes 81
  • Barbara Irwin 83
  • Joy Jenkins 85
  • Norman Kary 89
  • Mimi Kato 93
  • Sharon Kopriva 96
  • Laura Jean Lacy 98
  • Marilyn Lanfear 101
  • Lance Letscher 104
  • Ken Little 106
  • Bert L. Long Jr 111
  • Jesse Lott 115
  • Edward Lane McCartney 117
  • Mary McCleary 121
  • Leila McConnell 124
  • Kelly O’Connor 127
  • Mari Omori 129
  • Kathleen Packlick 131
  • Angelica Paez 134
  • Kevin Parmer 136
  • Forrest Prince 139
  • Russell Prince 142
  • Dario Robleto 144
  • Aaron Roe 147
  • Jonathan Rosenstein 149
  • John Mark Sager 151
  • Joel Sampson 154
  • Ward Sanders 156
  • Luke Savisky 158
  • Kelly Sears 163
  • Al Souza 165
  • Julie Speed 167
  • James Michael Starr 169
  • Henry Stein 173
  • Gary Sweeney 175
  • Cecil Touchon 177
  • Patrick Turk 181
  • Janet L. Waldrop 184
  • Debbie Wetmore 186
  • Steve Wiman 188
  • Sources and Further Reading 191
  • Index 199
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