Tag Archives: honorary

Patricia Meadows

Honorary Life Member  -  1984

Patricia B. Meadows has given thousands of hours to the visual arts and to civic endeavors.  Best known for her unabashed support of regional artists, she was co-founder of Dallas Visual Art Center (formerly D’Art and now called The Contemporary) and co-founder of the Emergency Artists’ Support League.  During her time at DVAC, she originated The Collectors, the Legend Award, and the Critic’s Choice juried exhibition.  In addition, she has organized and was curator for hundreds of exhibits locally, regionally and nationally including three exhibits for the National Museum of Women in the Arts in Washington, D. C.

Ms. Meadows has been listed in “Who’s Who In American Art” since 1984 and served as president of the Dallas Art Dealers Association.  She served four years on the Dallas Museum of Art’s Acquisition Committee and on the boards of the Dallas Arts District Management Association and the Mid-America Arts Alliance in Kansas City, Missouri.  She also served as an advisory panelist for the visual arts for the Texas Commission on the Arts.  In 1996 she started Art Connections, an art consulting business that specializes in corporate and private collections.

In late 1999, Ms. Meadows joined Hall Financial Group as Senior Vice President.  She is in charge of marketing and community relations for the company, and is the senior art curator for Hall Office Park, a 162-acre multi-tenant office development in Frisco, Texas.

Under her supervision, more than 165 works of art have been selected and installed in publicly accessible locations within Hall Office Park.  The park’s signature section is the Texas Sculpture Garden, a four acre indoor and outdoor site at the entrance to the development, which showcases contemporary sculpture by 40 well-known Texas artists.

Of her work at Hall Office Park, she says, “This has been one of the most rewarding assignments in my life – getting to work with our wonderful artists and Craig and Kathryn Hall.”  In addition to her work at Hall Office Park, Ms. Meadows is also the manager of the Halls’ personal art collection, which now numbers over 500 works of art.  The extensive collection is housed in Dallas and Frisco, Texas, in Napa and Rutherford, California, and in Paris, France.

Octavio Medellin

Honorary Life Member  -  1977

In 1977 the Dallas Chapter of the Fine Arts Association, now the Texas Visual Arts Association, recognized Octavio Medellin’s many accomplishments by naming him as an Honorary Life Member of the organization.  He joined such artists as Otis and Velma Dozier, Jerry Bywaters, and DeForrest Judd to be so honored.  The Dallas Visual Arts Center acknowledged his determination, work ethic, and understanding spirit with one of its annual “Legend” awards in 1996, established to recognize individuals who have made significant contributions to the arts in Texas.

Due in large part to his generosity of spirit and eye for talent, Medellin had always been a force for bringing people together in order to make the most of their abilities.  This focus on individuals, along with his unfailing humility and courtliness, has inspired deep affection and loyalty from generations of his students.  This concern also is reflected in remarks made by Medellin concerning his 1930 travels in Mexico, which could serve as a summation of his philosophy of art and life: “I went to Mexico to see art.  Actually, the art was the people.  To see the people.  To learn about the people.  Because I have a spirit of their universe.  People to me are all the same.  It makes no difference what color they are . . . Sculpture, I do it the same way.  I don’t care to do a particular race or anything, but I do a figure.”

Born in the state of San Luis Potosi, Mexico, in 1907, Octavio Medellin fled to San Antonio at the age of thirteen with his Otami Indian family during the Mexican Revolution.  His early years were frought with family hardships: two of his siblings died in infancy and his father, a min supervisor who also played classical violin, fell victim to the Revolution’s violence after returning without his family to Mexico when Octavio was fourteen.  During his youth, Medellin sold newspapers to support his art studies at the San Antonio Art Institute under Jose Arpa and Xavier Gonzales.  In 1928, he moved to Chicago and studied at the Art Institute while working as a busboy at the Palmer House Hotel.

After a year of study at the institute, Medellin moved to Mexico but was denied admission to the Art Academy due to his lack of formal education.  Instead, he traveled throughout the country, observing native customs, art forms, and craft techniques, particularly those of the Indians of the Yucatan peninsula.  This was a pivotal time for Medellin, as he became aware of the power and expression of his own artistic heritage.  These expressions proved to be a strong influence on his artistic development and life’s work and marked the beginning of his friendships with some of Mexico’s leading painters and sculptors, such as Carlos Merida.

In 1931, Medellin moved back to San Antonio and began teaching sculpture at the Witte Museum and, along with several other artists founded La Villita Gallery.  In 1938 one of his patrons and student Lucy Maverick provided him with funds to study the Mayan-Toltec ruins at Chichen Itza and Uzmal.  The enduring closeness of the sculptor’s family is evidenced by the fact that he was accompanied by his wife Consuelo and their two young children, Patricia and Sergio, during his entire six-month residence in Piste.  His drawings made during this time served as the basis for the portfolio, XTOL: Dance of the Ancient Mayan People.

After his return from Mexico, Medellin started teaching at North Texas State Teachers College.  During World War Ii he became a U.S. citizen and to demonstrate for the nation’s war effort, worked as a plaster pattern-maker at North American Aviation in Grand Prairie, as did a number of other artists such as Alexandre Hogue.  At this time Medellin also taught sculpture, ceramics, and mosaics at the DMFA.  He also taught sculpture classes periodically at Southern Methodist University.  In 1966 he opened the Medellin School of Sculpture at the Dallas Creative Arts Center until 1979 when the family moved to Bandera, Texas.

Medellin’s sculpture has been exhibited extensively in the Southwest, including the 1936 Texas Centennial, and throughout the nation, notably at the 1939 New York World’s Fair and the Museum of Modern Art.  In 1989, he was a featured sculptor in the retrospective survey exhibition, “A Century of Sculpture in Texas, 1889-1989,” at the University of Texas at Austin.  His innovative glass work and mosaics have been installed in venues ranging from churches and synagogues to Neiman Marcus’ Zodiac Room and, in perhaps his most extensive commissioned work, the Mercantile Bank Building in downtown Dallas.  Medellin’s career and works are included in the Jerry Bywaters Collections Wing at Southern Methodist University.

Octavio Medellin link:
SMU image collection

DeForrest Hale Judd

DeForrest Hale Judd
Honorary Life Member   -  1976

De Forrest Hale Judd was best known for his depiction of nature: mountains, lakes, flowers, rocks, cactus, the Texas Gulf Coast, scenes of everyday life that were painted or drawn in a semi-abstract and simplistic form that made bold use of color, often unusual color for the subject matter.  Because of his success as an artist and as an educator, in 1976 he was selected as an Honorary Life Member of the Dallas Chapter of the Texas Fine Arts Association, now the Texas Visual Arts Association.

Born April 4, 1916, in Hartsgrove, Ohio, he graduated from the Cleveland Institute of Art in 1939.  He earned a three-year scholarship at Colorado Springs Fine Arts Center with advanced work under Boardman Robinson and Otis Dozier.  Possibly because of his connection with the Dozier’s, Judd moved to Dallas where he began teaching at the Meadows School of the Arts, Southern Methodist University in Dallas until 1981.  He was also instructor in painting and drawing at the Dallas Museum of Fine Arts from 1958 to 1964.  Judd continued his art career after he retired until his death in 1992.

His works have been exhibited at the Metropolitan Museum of Art, Denver Art Museum, Cleveland Museum of Art, Knooedler Gallery, Colorado Springs Fine Arts Center, Butler Art Institute, Dallas Museum of Fine Arts, Texas Fine Arts Association, and Junior Service League of Longview.  He had one-man exhibitions at the Dallas Museum of Fine Arts, the Elizabet Ney Museum, the Texas Tech Museum, the Fort Worth Art Center, Pollock Galleries (SMU), and Dallas North Gallery.

Judd received awards and prizes throughout his career including: E. M. Dealey purchase prize (Dallas Museum of Fine Arts) in 1949, 1950, and 1952; Kiest Memorial prize, 1956; Schlumburger prize (Texas Fine Arts Association), 1959; purchase prizes Junior Service League of Longview in 1963 and 1965.   He is represented in many public and private collections including: Cleveland Museum of Art, Colorado Springs Fine Arts Center, Dallas Museum of Art, Otto Spaeth Foundation, Beaumont Museum of Fine Art, Texas Instruments, Southern Methodist University, Kilgore Junior College, and Longview Junior Service League.

DeForrest Judd links:
SMU biographical information
SMU sketchbook collection

Jerry Bywaters

Honorary Life Member  -   1975

Williamson Gerald Bywaters’s emergence on the Dallas art scene began after he graduated from Southern Methodist University in 1926, with a degree in comparative literature. He traveled for two years in France, Spain, Mexico, and New England, and studied at the New York Art Students League.  When he returned to Dallas, Bywaters found that his contemporaries had similar interests in depicting their native region in art.  He became a central figure and spokesman for a group of young artists including Alexandre Hogue, Otis M. Dozier, William L. Lester, Everett Spence, and others who found inspiration in the Texas landscape.  This group became well known as the “Dallas Nine” Regionalist painters.

Bywaters was recognized as an artist of national importance in 1933, when Art Digest announced that he had “arrived.” He produced a significant body of landscape, still life and portrait paintings, as well as lithographic prints and public murals.  Stylistically and aesthetically, his work paralleled the national movement known as the American Scene.  He produced most of his important paintings and murals between 1937 and 1942.  His paintings in museum collections include Self-Portrait (1935), Sharecropper (1937), and On the Ranch (1941), at the Dallas Museum of Art, Where the Mountain Meets the Plains, at Southern Methodist University; and Oil Field Girls (1940), at the Arthur M. Huntington Art Gallery, University of Texas at Austin.  Other important paintings include Texas Subdivision (1938), Century Plant, Big Bend (1939), Autumn Still Life (1942), and Houses in West Texas Big Bend (1942).  His original lithographs include Gargantua (1935), which won a prize in the 1935 Allied Arts Exhibition; Ranch Hand and Pony (1938), which was exhibited at the 1938 Venice Biennial Exposition; Texas Courthouse (1938), purchased by the Dallas Museum of Fine Arts in 1938; and False Fronts, Colorado (1939), which received a prize from the Dallas Print Society in 1941.  Bywaters was a founding member of Lone Star Printmakers, a group of artists in Texas who produced and published editions of original prints and circulated touring exhibitions of prints from 1938 to 1941.

He and other Dallas artists benefited from the art programs of the New Deal.  During the 1930s and early 1940s, Bywaters successfully competed in federally sponsored mural competitions and completed six projects in Texas, including a series of panels in regional art, as well as serving as art editor and illustrating articles by other authors.   After retirement from Southern Methodist University, he served as regional director of the Texas Project of the Archives of American Art, Smithsonian Institution, and he continued to curate exhibitions including The American Woman as Artist, 1820-1965, and Texas Painting and Sculpture: Twentieth Century for the Pollock Galleries and Seventy-five Years of Art in Dallas for the Dallas Museum of Fine Arts.  In 1981, Bywaters presented Southern Methodist University a gift of his papers on the art and artists of the region to form the Jerry Bywaters Collection on Art of the Southwest.  In 1972 he was selected as an Honorary Life Member with the Dallas Chapter of the Texas Fine Arts Association, now called the Texas Visual Arts Association.  In 1987 Southern Methodist University acknowledged his distinctive career with an honorary doctorate.  Until his death on March 7, 1989, Bywaters lived in Dallas with his wife of fifty-eight years Mary McLarry Bywaters.

Jerry Bywaters links:
Meadows Museum biographical information
SMU sketchbook collection

Otis Marion Dozier

Honorary Life Member – 1974

Otis Dozier (1904-1987), painter, printmaker, and teacher, first became prominent as a member of the Dallas Nine, the now well-known group of “Regionalist” artists. Dozier married Velma Davis, a jeweler and ceramicist, in 1940.  Their contributions to Dallas’s cultural life were spotlighted in the 1974 exhibition at the Dallas Museum of Fine Arts, “A Salute to the Dozier’s of Dallas.”  He was a charter member of the Dallas Artists League, exhibited his work in the Dallas Allied Arts exhibitions, and taught at the Dallas School of Creative Arts.  During this period, while studying works by Matisse, Picasso, Leger, and other European artists, Dozier developed a style characterized by strong forms and brilliant colors.  By the mid-1930s he had tightened up his brushwork and muted his palette to the earthy grays, beiges, greens, and browns favored by Regionalist artists.  Several of his major works from this era focused on the plight of farmers dispossessed by the Great Depression.  In Annual Move (1936), for example, a family loads up the car with cherished possessions, ready to move on through the barren brown landscape.  In Grasshopper and Farmer (1937), a baleful, outsized grasshopper pins a farmer to the ground.

Local critics praised Dozier’s work.  He executed murals at Forest Avenue High School and the Agricultural and Mechanical College of Texas, (later Texas A&M University) and, under the auspices of the Public Works of Art Project, painted murals for post offices in Giddings, Arlington, and Fredericksburg.  He began establishing a national profile during the early 1940s, when he exhibited his work at the International Watercolor Exhibition, San Francisco, the Museum of Modern Art, New York; and the First National Exhibition,  New York.

With a scholarship to the Colorado Springs Fine Art Center, Dozier made hundreds of journeys into the Rocky Mountains and produced more than 3,000 sketches of mountains and ghost towns.  Under Robinson’s influence he developed a more spontaneous, fluid style, using implements such as paper dipped in ink, a burnt stick from a campfire, or his thumb.  He also developed expertise in the lithographic medium and participated in every circuit of the Lone Star Print-makers.

In 1945 Dozier returned to Dallas, where he taught life drawing at Southern Methodist University, and painting and drawing at the Dallas Museum of Fine Arts school until 1970.  His work was featured in solo exhibitions at the Dallas Museum of Fine Arts, the University of Texas, Austin, and M. Knoedler and Company, New York City, among others.  A 1956 Dozier retrospective at the Dallas Museum of Fine Arts generated a positive review of his work in a Dec.1956, issue of Time magazine.  During the latter part of his career Dozier developed a semi-abstract style, using looser brushwork and more brilliant colors than he had during the Regionalist era.  Although he moved away from the anecdotal subject matter of his 1930s work, he continued to use natural forms as a source of inspiration noting that “you’ve got to start from where you are and hope to get to the universal.”  He found fresh material for his work on sketching trips to the Big Bend and Gulf Coast areas of Texas, the swamps and bayous of Louisiana, and areas of New Mexico, Arizona, Utah, and Colorado.  During the 1950s and early 1960s he traveled to Italy, Spain, Turkey, India, Ceylon, Thailand, Japan, and Mexico. Otis Dozier died of heart failure on July 28, 1987.

Otis Dozier links:
SMU biographical information
SMU sketchbook collection

Velma Davis Dozier

Honorary Life Member – 1974

Information for this article was obtained from “Legacies: A History Journal for Dallas and North Central Texas,” Vol. 16, No. 02, Fall, 2004.  Look on pages 24-35 for “A Lady Blacksmith,” written by Ellen Buie Niewyk, Curator of the Bywaters Special Collections at the Hamon Arts Library, Southern Methodist University in Dallas.  This article can be found by clicking here.

Thirty years ago an exhibition, A Salute to The Dozier’s of Dallas, was hosted at the Dallas Museum of Fine Arts to honor Velma and Otis Dozier’s lifelong work in the arts of Dallas.  Otis has long been recognized as an artist in the Texas Regionalist movement of the 1930s and the 1940s.  Velma, the more outspoken of the two, is not as well remembered today.  And yet, she was an accomplished artist in her own right.  Co-creator of the Dallas School of Creative Arts in 1933 and one of the founders of the Craft Guild of Dallas in 1948, Velma was extraordinary in her pursuit of complicated metal techniques and incorporating them into unique and well-made metalwork and jewelry, which today may be seen in the Dozier Study Room at the Dallas Museum of Art.

Alta Velma Davis was born in Elm Mott, Texas, a small town north of Waco in 1901.  Her father had traveled constantly in his consulting business until he managed to settle his family down in Dallas in 1919.  Velma had, early in her life, recognized an interest in the aesthetics of nature through studies of the flora in small towns across Texas.  She pursued her interest in producing paintings of these flowers at the Aunspaugh Art School in Dallas, where she met Otis Dozier, a graduate of the school, for the first time.  In 1926 she enrolled at Southern Methodist University, and later the College of Industrial Arts (now Texas Woman’s University) her elective course being metalworking.  In 1932 she received her Bachelor of Science degree in painting, then received a Master of Arts in painting at Columbia University.  In 1934, Velma and her friend Esther Webb, who attended classes with her in school, established the Dallas School of Creative Arts for jewelry, textile designs, and hand wrought articles in metals.  They also taught leather crafts, sculpture, painting, etching, and wood engraving.

Velma and Esther attended a course in metalwork in 1936 at Menomonie, Wisconsin, where they were nicknamed “the lady blacksmiths.”  Soon they hired more teachers in painting, drawing and printmaking, including Otis Dozier and others who taught commercial art and photography.

Velma and Otis Dozier were married in 1940 at the School of Creative Arts.  They moved to Colorado Springs, where Otis taught and they enjoyed rock hunting, snow skiing, and exploring old ghost towns.  The School of Creative Arts in Dallas was officially closed.  Much of their equipment was sold for the war effort at this time.  After the war, Velma and Esther reunited in Dallas and decided to reopen the school with a more community-supported operation.  Working with a larger group of artists and craftsmen, they opened the Craft Guild of Dallas in 1948.  At this point in her career, Velma began working with silver.  She won much favorable recognition and awards for her “ceremonial” and “humorous” pieces.

The 1950s were a prosperous time for Velma and Otis Dozier.  In 1955 they moved into a new contemporary house in East Dallas that included a painting studio for Otis and a metalworking studio for Velma.  In 1957 Velma was able to work in gold, and they traveled to many countries where she studied ancient techniques and treatment of precious metals.  Her use of these ancient techniques garnered her even higher praise and prizes.  She wrote in 1964, “My main struggle now is to try to keep my work as simple and as primitive as if it were made 2,000 years ago.”

After Otis died in 1987, Velma encouraged her family to establish the Dozier Foundation to help professional Texas artists to travel as she and Otis had done.  After her death in 1988, the Otis and Velma Dozier Travel Grant fund was established at the Dallas Museum of Art in 1990.  Renowned Texas author A. C. Greene wrote of Velma Dozier, “Her best self-expression was, of course, her work.  There is no question of her value there.  But something often overlooked is her sense of humor and her exquisite balance, both brilliantly incorporated in her work….She was a work of art, a specific jewel that flashed brilliantly within the definition of the things she did and the life she lived.”