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.
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.
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
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
Artist talk and presentation.
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.
Artist talk and exhibition.