Novinski Endowment

The Novinski Art Fund is a restricted $100,000 gift of Emeritus Professor of Art, Lyle Novinski, and his wife Sybil.  The annual interest earned by the corpus of the gift assists in supporting projects which enhance the teaching, offerings and reputation of the Art Department and thus the University of Dallas. Funds continue to be added to the principal.

The Art faculty submits requests, including concept, goal, timeline and projected budget, which are reviewed by the tenured faculty of the Department as well as by the donors.  Awards are made in the fall semester and are generally executed within the current academic year.

The Art community of the University of Dallas is grateful for support that allows it to enhance the quality of the Art and Art History experience and is grateful for the generosity of individuals such as the Novinskis.  It thanks the Novinski family for helping to make student and faculty dreams a reality.

2012-2013 Projects

UD Clay - Earth/Energy
A traveling exhibition featuring ceramic work done by UD alumni. The exhibition was displayed at NCECA in Houston, Texas; Wichita Falls Museum of Art at Midwestern State University, Wichita Falls, Texas; and University of Dallas, Irving, Texas.

UD Clay - Alumni Exhibition 2013UD Clay - Alumni Exhibition 2013Brian MisavageCarol CookCarol CookDavid MorrisDavid MorrisFrank KrevensFrank KrevensGabriel BrubacherGabriel BrubacherJonathan CrossKatherine Johnson SeibertMandy StigantMark EpsteinMark HoriuchiMiao Fang LinRick ParsonsRick ParsonsRobert WoodVirginia Marsh

Aluminum Casting, Patination Workshop and Sculpture Exhibition
Presentation by Kurt Dyrhaug on industrial casting operations, small and large-scale sand mold construction techniques and a gallery talk on his work exhibited in the Upper Gallery.

Demonstration by Ron Young on finishes for aluminum; patination and finishes for steel, iron, sheet copper and bronze and metal coatings; and on his art, products used and applications techniques.

Kurt Dyrhaug - Sculpture: Nostalgic InterpretationsKurt Dyrhaug - Sculpture: Nostalgic InterpretationsKurt Dyrhaug - Sculpture: Nostalgic InterpretationsTractor PlowAllis Chalmers WingAnchor WingTonka BusterBreaker Device IDevice in Progress 38Device in Progress 19Device in Progress 33Device in Progress 22Device in Progress 18Plow the Second FieldCrop WingTonka ImplementBreaker Device II

Casting Workshop 2013Casting Workshop 2013Casting Workshop 2013Casting Workshop 2013Casting Workshop 2013Casting Workshop 2013Casting Workshop 2013Casting Workshop 2013Casting Workshop 2013Casting Workshop 2013Casting Workshop 2013

2011-2012 Project

Jackie Tileston
Artist talk and presentation.

Jackie TilestonJackie Tileston

In a statement about her work, Jackie Tileston states that she is interested in creating paintings that bring together a wide multiplicity of sources into a coherent - and sometimes discordant - whole, an attempt at a "unified field theory" of painting. My paintings feed off of the history of abstraction, physics, traditional eastern imagery, Chinese landscape motifs, digital imaging, and other sources. There is a constant flux between atmospheric and graphic, abstract and figurative, quiet and chaotic forces. A medley of sources is orchestrated to create or reconstruct a world within the painting in which a new kind of sense is made - one in which the beautiful, absurd, sacred, and mundane can coexist. I do not find a conflict between meaning and visual opulence, between commercial culture and content, and I often purposefully cultivate an operatic sense of surface and reference. I am interested in the challenges of trying to forge a pictorial landscape in which anything could be included, but that seems to possess its own logic.

A re-reading of Foucault's 1967 Of Other Spaces - Heterotopias essay was a recent inspiration since it perfectly defined the intent of much of my current work - to create paintings in which several different locations or spaces are made to coexist within one space. Ideas about how we construct our realities and selves through language, social structure, geography, and belief feed into this desire to juxtapose sites and images that might themselves be somewhat incompatible. My work as a painter is to knit the world together in a kind of visual globalism. There is both a sense of idealism and anxiety that accompanies this endeavor - the desire to make a democratic garden of Eden, and concern about how to make sense of it and reconcile disparities

I am interested in visual democracies, nomadic thinking, rearranging hierarchies, and trying to fuse personal expression with shared social and cultural spaces, in full pictorial glory. I want the work to transform its multiple sources into a stronger, weirder, and more complex pictorial version of the world.

2010-2011 Project

John Adelman
Artist talk and exhibition.

John Adelman: BarometerJohn Adelman: BarometerJohn Adelman: BarometerJohn Adelman: BarometerJohn Adelman: BarometerJohn Adelman: BarometerJohn Adelman: BarometerJohn Adelman: BarometerJohn Adelman: BarometerJohn Adelman: BarometerJohn Adelman: BarometerJohn Adelman, 157, 215 (nails), 2009John Adelman, 33, 18 & Under, 2009John Adelman, All (organ), 2006John Adelman, Antalgic, 2009John Adelman, Antiae Portion, 2009John Adelman, Augur, 2009John Adelman, Bollard, 2009John Adelman, Brain, 2010John Adelman, Bristle Bearing, 2010John Adelman, Four Horseman of the Apocalypse, 2008John Adelman, Remnant of a Portion I, 2009John Adelman, Remnant of a Portion II, 2009

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