The Art of Found Objects: Interviews with Texas Artists

By Robert Craig Bunch | Go to book overview

Trenton Doyle Hancock

Received August 1, 2012
Born 1974, Oklahoma City; lives in Houston

Figure 29. Trenton Doyle Hancock, The Former and the Ladder or
Ascension and a Cinchin’, 2012

Acrylic and mixed media on canvas, 84" × 132" × 3"

© The Artist/Courtesy James Cohan Gallery, New York and Shanghai.
Virginia Museum of Fine Arts, Richmond. Sydney and Francis Lewis
Endowment Fund and Pamela K. and William A. Royall, Jr., Fund for
21st-Century Art with funds contributed by Mary and Don Shockey, Jr.,
and Marion Boulton Stroud

Q How did growing up with stories in Paris, Texas, influence your direction in life?

A Assuming that by direction in life, you mean becoming an artist, I will say the accumulation of stories I inherited from Paris amounted mostly to cautionary tales. I learned what not to do in order to lead a virtuous life. Half of those things I did anyways, because artists don’t necessarily lead virtuous lives. At least the interesting ones don’t. Paris had little to do with my want or need to be an artist. The town itself didn’t necessarily promote that as a direction. I credit my family with giving me what I needed to find my path. However, Paris, Texas, did have just enough resources to keep my interests fueled. I got comics, God, food, pop music, porn, and familial companionship in the exact perfect ratios. Paris was just enough. Nothing more, nothing less. As for stories, we all have interesting ones, no matter where or how we grow up.

Q What do you mean that your studio floor is “alive”? What was the premise of your 2003 show It Came from the Studio Floor?

AIt Came from the Studio Floor was an excuse for me to exploit my various skills as a graphic artist. In some ways, the show was about split identity. I also needed to prove to myself that narration didn’t always have to start with the traditional “once upon a time” logic. In fact, this show literally emerged from my studio floor. The term “alive” derives from the nature of my studio where the piles of information act as petri dishes of sorts. I also used the actual text, “studio floor,” as a jumping-off point. I made anagrams from the words “studio floor,” and then I built a narrative around about twenty of those anagrams. The

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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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