Award-winning book and magazine designer John Grandits has been fascinated by type and printing all his life. He is the author of two books of concrete poetry: Technically, It’s Not My Fault and Blue Lipstick. His protagonist’s hilarious views of the world are expressed through a series of concrete poems in which words, ideas, type, and art combine to make pictures and patterns.
John Hernandez received a BA from Our Lady of the Lake University in San Antonio, Texas, and an MFA from the University of North Texas in Denton. His installations and sculptural work filled with his childhood imagery have been widely exhibited in Texas and in the United States for many years.
John Nicholas Hutchings currently lives and works in Dallas. He started his formal training in art in Florence, Italy, at Lorenzo de Medici Institute of Art, and then received a bachelor's degree in Fine Art at Texas Tech University in 2003. In 2010 he received a Masters of Fine Arts from Washington University in St. Louis.
Strunck is a printmaker and professor at the University of Dallas, and his prints can be found in over one hundred museums and institutions including the Modern Art Museum of Fort Worth, the Baltimore Museum of Art, California Palace of the Legion of Honor, the Indianapolis Museum of Art, the Museum of Contemporary Graphic Art in Fredrikstad, Norway, and the Dallas Museum of Art.
March 2013, November 2012, February 2012, March 2011, September 2009
Lesli Robertson is a textile artist by training, but in her creative process she often combines materials that are a sharp contrast to the usual fibers. Robertson currently teaches fibers courses at the University of North Texas in Denton, Texas.
Lizzy Wetzel is a visual, performance, and installation artist who uses contrasting materials such natural, craft, and found objects in her work. Her inventive sculptural compositions reference magic, healing, humor, and play and often lead to a performance.
Margaret Meehan's drawings and sculpture-based installations are derived from 19th-century medicine and photography. She lets the innocent collide with the monstrous, evoking race, gender, and an empathy for otherness when embodied in difference.
The Dallas Museum of Art is supported in part by the generosity of DMA Partners and donors, the citizens of Dallas through the City of Dallas Office of Cultural Affairs, and the Texas Commission on the Arts.