November 2010

Devin Borden Hiram Butler Gallery is pleased to announce an exhibition of paintings by Vernon Fisher opening December 4th from 11 am to 1 pm.

Vernon Fisher Painting Devin Borden Hiram Butler Gallery December 2010

Vernon Fisher Paintings Devin Borden Hiram Butler Gallery December 2010

Vernon Fisher is currently the subject of a major retrospective at the Modern Art Museum of Fort Worth.  He has had solo exhibitions in Houston at the Contemporary Arts Museum (1980 and 1989 – Organized by the Museum of Contemporary Art, La Jolla and traveling to The Albright Knox, Modern Art Museum of Fort Worth and Center for the Fine Aarts, Miami) and the Glassell School of Art of the Museum of Fine Arts, Houston (2000).  In addition to installations at the Museum of Modern Art (NY 1990) and the Hirshhorn Museum and Sculpture Garden (Washington DC 1988), Fisher has also been included in Biennial exhibitions at The Whitney Museum of American Art (NY 1981 and 2000).

Vernon Fisher Hurry Up Please oil and acrylic on canvas 54 x 54″

Detail: Click to enlarge

More images:

Vernon Fisher Upstream Devin Borden Hiram Butler Gallery November 2010

Vernon Fisher "Disconsolate Pairs" Devin Borden Hiram Butler Gallery November 2010

Vernon Fisher "The Incorrigibility of Pain" Devin Borden Hiram Butler Gallery November 2010



November 2010

6 November through 23 November 2010

We are pleased to announce  New Mirror Paintings by William Betts, his third solo exhibition at Devin Borden Hiram Butler Gallery (also 2007 and 2008).  The artist lives and works in Houston.  Recently the recipient of an Individual Artist Grant from the Houston Arts Alliance, Betts has also received top awards from the Assistance League  (Juror: Keven Salatino), and the Albuquerque Southwest Biennial (Juror: Neal Benezra) .


William Betts is a recipient of an Individual Artist Grant Award.  This grant is funded by the City of Houston through the Houston Arts Alliance.

SnowmanWithFireworks#3_2009AcrylicOnPaper_15x22 1_2

Todd Hebert was born in Valley City, North Dakota in 1972.   After attending the University of North Dakota (BFA 1996), he received a Masters in Fine Art from the Rhode Island School of Design (1998) followed by fellowships at the Fine Arts Work Center in Provincetown and the Core Program at the Glassell School of Art in Houston.    In 2005 he was the recipient of the Aldrich Contemporary Art Museum’s Emerging Artist Award.  Please join us Saturday 3 October 2009 11 am to 1 pm for an artist’s reception.


About the image of the snowman, Hebert has said

The snowman is just an absurd, ridiculous image of a “man” (3 round balls of snow…a man?) crudely, and whimsically built from the immediate surroundings. This started as a culture/nature thing, and for some people that is interesting. But, I like that the snowman is a personage and an object at the same time. I hope that the smile is a welcoming gesture: a parallel to what I want the viewer to bring in seeing it. But the smile can either be scary or warm.”From an interview with Lupe Nunez-Ferndandez, 2005

***Todd Hebert will be speaking Thursday 1 October 2009 1:00 pm at the University of Houston Fine Arts Building 110.  Use free parking across from the Blaffer, metered parking row 16 or for easiest access visitor parking Lot 16F ($4.00).

Matt Magee has been exploring geometric abstraction and paying homage to mid-twentieth century American modernism. Magee is a scavenger and archivist and his work has to do with cataloguing and organizing form. Repetition and precision are paramount in the paintings and form becomes a template that stands for something else. He works in a pattern and submerged in the motifs, whether circles, squares, or abstract shapes, is a sense of mystery and quiet and this internalized personal language ultimately becomes the subject. As the paintings develop he pushes towards a metaphysical quality and the language of form and rhythms become diagrams of the unconscious. The Romantic poet Samuel Taylor Coleridge spoke about the importance of porosity and resonance in his work and how these qualities lead to a transcendent universality. Magee is very interested in this transcendence. As a contemporary artist his goal is to link the time line of references from ancient marks and shapes to present day abstraction.

The public is invited to an artist’s reception Saturday Sept 19th 11:00 am to 1:00 pm






Laura Lark: The Panic in Needle Park opening Saturday March 7th

An Interview with Laura Lark: Video

Please join us 7 March 2009 11 am to 1 pm for an Artists’ Reception

All of my work, even that which does not appear so on the surface, is drawn from a deep autobiographical and personal well. The paintings in the series The Panic in Needle Park, as well as the accompanying abstract works, are no different.

I am a product of the 1970’s. Subsequently, my visual references can be clearly linked to that period. Films that, at the time, were considered groundbreaking and departing from the big studio productions of the ’50’s and ’60’s, are etched in my memory: Midnight Cowboy, Serpico, Taxi Driver, Dog Day Afternoon, and The Panic in Needle Park (to name just a few), presented life in a very un-Hollywood fashion. The almost grainy feel, the colors, the lack of a musical soundtrack–when I watch them, I am transported to another time.

The Panic in Needle Park is particularly meaningful to me. As an artist and a writer, I noticed that the script was written by Joan Didion and her husband John Gregory Dunne. The story is about, essentially, a poor little rich girl who gets sucked into a world of drugs. The script is about Helen, played by Kitty Winn, who is charmed by Al Pacino’s character Bobby.

The story’s about Helen. But Pacino’s magnetism (this is his second film) washes over her and washes over the viewer. In an effort to reclaim Helen’s story. I have photographed, from the television, every frame and scene that deals with Helen’s character. I have omitted any and all containing Bobby. The figurative paintings, then, are based on the hundreds of images collected from my photographs of the movie. In my mind, they bring the story back to Helen, and put the focus, no matter how obscure and inscrutable it might be to the passing viewer, where it belongs.

In contrast, I did the accompanying drip-like paintings by writing a rather private sentiment onto the panel with a squirt bottle, and then obliterating that word or words with layers of latex enamel. Unlike the figurative works, these paintings muffle a purpose or sentiment.

I look at the relationship between the two as pushing and pulling at each other. Exposing meaning and memory and emotion on one hand and masking them with the other.

An interview with Joan Didion on The Panic in Needle Park