James R. Pace:
James Pace is a Professor of Visual Art at The University of Texas at Tyler where he has taught since 1985. He holds an MFA from Arizona State University, and a BFA from the University of Oklahoma. Pace was appointed to the Ogй Professorship in Visual Art, to the White Fellowship for Excellence In Teaching, and received the Chancellor's Council Teaching Award. He was awarded a National Endowment for the Arts Fellowship, and multiple University Research Grants. Pace trained in the Tamarind Summer Printmaking Program, and was selected to participate in the International Artist Residency Program in Budapest, Hungary.
Pace has exhibited his work nationally and internationally since 1976 and has received numerous awards for his paintings, drawings, and prints. His work is found in collections from Los Angeles to New York, from Paris to Punjab.
Art On Campus:
The Art on Campus exhibition provides visitors with an overview of works ar art purchased by the university over the decades and installed around campus. What you see here represents a selection of works from the collection. A number of important works could not practically be moved from their installation sites, so these will appear in photographic form.
The earliest work in the exhibition is "Appeal to the Great Spirit," a bronze sculpture by Cyrus Edwin Dallin. The sculpture dates back to the 1920s and to the university's early days as the Wichita Falls Junior College. Following the construction of the Hardin Administration Building in the late 1930, numerous works of art were added to the collection and displayed throughout the building. Regrettably, many of these were destroyed in April of 1956 when a fire broke out on the second floor of Hardin.
After Dr. Louis J. Rodriguez became president in 1981, Midwestern State's Board of Regents created a university committee to oversee the purchase of art for new and renovated buildings. Regent Jerry Estes, a noted collector, served as chairman of the committee. Under the committee's direction, the university aquired a number of works during the 1980s and 1990s.
Since Dr. Jesse W. Rogers became president in 2001, the university has continued to expand its collection, with new works installed in the Dillard Hall, McCoy Engineering Hall, Hardin Administration Building, and the Museum of Art.
“Serigraphy is the name commonly used for fine art prints created using the silk-screen technique, the word coming from the Greek roots seri (silk) and graph (write or draw). The word serigraph can be used interchangeably with silk-screen, or screen-print, but it is often preferred by fine artists to differentiate their work from mass-produced silk-screen items like t-shirts, posters, and coffee mugs.
Fine artists create limited edition silk-screens by applying layer upon layer of pigment to the print surface by pressing it though a mesh screen containing a stencil. The process commonly uses inks for pigment and stencils made of a variety of materials. Paper and plastic cutouts can be used as stencils. Stencil fluid, which is applied like paint to the screen using a brush or stylus, creates a more “painterly” look. When the liquid stencil dries, it prevents the transfer of ink through the screen at that location, creating a “negative space” on the print. The artist has to think backward from the normal process of adding pigment to a surface to remain visible (defined as an additive process). In serigraphy, the pigment is added to the print surface to cover much of the previous layers, with the stencil allowing only the desired pigments to remain untouched and visible in the final print. For this reason, serigraphy is called a reductive process.
“Limited Edition” refers to the fact that there is only a certain amount, or “limited” number of serigraphs printed of a specific piece of artwork. After the edition is printed, all of the original artwork and screens used to make the print are destroyed or effaced. This ensures that no additional prints of this image will be made in the future. This is the opposite of an “Open Edition,” where public demand determines the number of pieces included in an edition.”
These prints represent a portion of the works added to the Museum’s permanent collection over the past year. Selections were made by members of the Collector’s Circle, a group of Museum members interested in furthering the collections holdings through their annual contributions.
The Collection’s Committee, made up of selected members of the Museum Advisory Board whose responsibility it is to govern the Museum’s art inventory. The selection also includes items given to the Museum by individual collectors from the community