TERRELL JAMES, REMEMBERING THE POISON TREE: 2016

Terrell James

Remembering the Poison Tree1

All works can be viewed online at
www.cadogancontemporary.com

Gallery Hours
Monday - Friday 10am - 6pm

Saturday 11am - 6pm

Terrell James: Remembering the Poison Tree

24th October - 11th November 2016

Private View
Tuesday, 25th October

6 - 8pm

CADOGAN

CONTEMPORARY

87 Old Brompton Road
London SW7 3LD

Telephone: +44 (0)20 7581 5451
[email protected]

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We are delighted to present the first solo show of paintings by Terrell James at Cadogan Contemporary.  
The exhibition brings together paintings from 2009 to the present, giving the viewer an insightful and
captivating glimpse into James’ active career and recent work.  
A prominent member of the arts community in Texas, James has travelled extensively and developed a
considerable international following along the way. Every landscape witnessed and experience encountered is
brought to life in her masterful paintings through a unique lens of abstraction.
We are very grateful to Terrell’s good friend, acclaimed artist and writer Michael Petry for his perceptive and
intriguing catalogue essay ‘The Abstraction of the physical into the poetic’. 
As Cadogan Contemporary further expands its reach into America, it is a joy discovering artists as strong
as James and we look forward to strengthening and developing her reputation in the UK and internationally.
I do hope you will be able to see this exhibition in person.
Lucasta Partridge-Hicks
September 2016

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Terrell James is a fourth generation Houstonian, and seventh generation Texan. Now Houston-based,
over the years she has lived and worked in studios internationally, including Soho, Harlem, Long Island,
Montauk, NY; Bald Head Island, NC; Bologna, Italy; San Miguel de Allende, Mexico; Marfa,TX and Berlin,
Germany. In James’ active career, her works have been seen in galleries and museums throughout the
United States, Europe and Asia, with over forty solo exhibitions. James has frequently been sought after
to create paintings for international venues including recently completed large private commissions in
Saudi Arabia and Macau.

Early in her career she worked for five years sorting and documenting the work of many artists and
museums for the Texas Project of the Smithsonian’s Archives of American Art, preparing for microfiliming
original source material of artists, collectors, and institutions for future scholarship. James has also curated
shows for the Center for Art and Performance, DiverseWorks, Hiram Butler Gallery, GalleryHomeland,
and artist Wei Hong’s exhibition space in Shanghai. Terrell taught at the Glassell School, Museum of Fine
Arts, Houston, for fourteen years and was Chair of the Painting Department. She has served as a guest
professor at Rice University, was one of the originating board members at DiverseWorks, and served on
the board of Gulf Coast: Journal of Art and Literature, the graduate publication of the Creative Writing
Program at the University of Houston from 1999 to 2015. She has supported the recent merger of Gulf
Coast with Art Lies Journal of the Visual Arts in Texas.

James’ work has been written about in publications including Art in America, ARTnews, Artlies, the
Dallas Morning News, Glasstire,The Oregonian, the Houston Chronicle, as well as various books and
catalogues. Currently, three decades of her drawings are featured in the new national on-line journal,
Better: Culture and Lit. James herself has had pieces published in Gulf Coast, the Houston Chronicle, and
Art Lies.

With work featured in many prominent international private and public collections, James is currently
represented by Hiram Butler Gallery in Houston, Cadogan Contemporary in London, Froelick Gallery in
Portland, Jason McCoy Inc. in New York and Barry Whistler Gallery in Dallas.

James was awarded the 2016 Texas Artist of the Year award by Art League Houston and is currently
serving as board president for the arts non-profit organization galleryHomeland.

Full biography, page 33 (Right: Photo by Ashley MacLean)

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The abstraction of the physical into the poetic

It might be argued that everything we see is already abstract.There is no realness to things we see, things
exist of course, but what we call them, name them, how we speak of them, are abstract concepts about
any realness there might be.We have almost no agreement on what those names mean, that is why
translation is nearly impossible. Even when what we are trying to describe, say, an apple, a real apple as
opposed to one painted by Lucas Cranach, the Elder, the word (apple) conjures into each person’s mind
a different idea (figure 1).The apple in my eye will most likely be different from the apple in the heads
of others who might hear me vocalize it. My apple might be bright red, or even green, or yellow, or any
shade in between.This state of affairs is complicated by the fact we cannot agree on what red is, for that
also calls into mind the possibility of misunderstanding my red and yours. If your native tongue is Spanish
you must instantly translate apple into manzana, or if you are French you will internally hear pomme, and
a Finn will see an omena in their mind’s eye. If you are Chinese the very tone of my voice changes it’s
meaning, and if you are a person who has never seen one, it might have no meaning for you at all. But
there might be a real apple that I could take a bite out of, but its taste would be different for each of us.

Without getting too scientific, what we see, when we look, is Fig.1. Lucas Cranach the Elder (1472-1553),
the reflection of photons off of an object – not the Adam and Eve, 1526,The Samuel Courtauld
object itself. In a way we never see anything real.We can feel Trust,The Courtauld Gallery, London
realness, stroke it, finger it, flip it over in our hand, but that is
generally frowned upon in a museum or gallery context.You
break it you bought it, might be ok for plates in a shop, but a
fingerprint on the surface of a painting is definitely a no-no. So
if we cannot see the real form or colour of a thing, or
understand what someone else means in the naming of a
thing, and we are not allowed to touch it, how can we trust an
artistic depict of it? Cranach has a naked Eve tenderly
proffer a bright red apple to a fig-leafed Adam.While I know
the depiction features the apple, a possibly real apple in his
time, it really is the depiction of a creation myth (that most
likely did not happen).The scene looks real but is in fact
completely abstract.

If such a depiction is abstract, is it really any less abstract than say Manet’s Le dejeuner sur l’herbe? Again
we see a naked woman, and clothed men, while they have on a lot more than a leaf, next to her is a spilt
basket of fruit including very loosely painted cherries, and what surely must be apples.Their depiction
is rather loose and they could be another type of fruit altogether. Cezanne also worked over and over
again to make apples appear as real as possible in the most abstract way, a perfect brush stroke here,
another dab there, strokes that do not resolve they simply mesh, they spin a web for our minds. Cezanne
tricks us into believing that we really are seeing the apples (or their reflected photons) that he did, over
a hundred years ago. I long to steal one from any wall I see those apples hanging on. Unlike Adam, I
am sure I would never be tempted to take a bite – I want the whole thing.Yet these are very abstract
depictions that Cranach might not even know how to read. Cranach might only see the individual brush
strokes and assume these paintings are merely sketches for never finished works.

Which brings me to Terrell James and her Field Studies (figs. 2&3). She has made over 500 plein air
works where she tries to put down exactly what she sees in terms of colour, some blue sky, the yellow of
hay or dry grass, the red of an apple – but not its shape. She then takes these back to her studio where
they inform her major works.They are not studies for paintings but a vast visual library for her to call
upon, to use when she too makes a brush stroke as part of a composition that most people these days

Fig. 2.(Left) ‘Field Studies’ with Hiram Butler at Houston
Fine Art Fair and Fig. 3 (above) installation at Barry
Whistler gallery

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would call abstract. Cranach might see the base of a landscape in her work but wonder why it does not
resolve into an apple grove.

Her paintings are not depictions of thing but are things.They might reference a landscape, or an emotion,
or the colour of a barn, but they are not aiming to ape those real things, she is not try to copy them,
reduce them from their three dimensional roundness to a two dimensional representation of them. She
does not even try to replicate the colours of the things she sees in her paintings (that is the job of the
Field Studies). James aims at creating new things that did not exist before, that are real and have only the
colours that we see and the internal workings and structure of her marks, and the layers of them one
on top of the other.The artist whose work I think might best be said to be her artistic father is Keith
Vaughan. I love his landscapes as much as his nudes and those that are almost wholly abstract are the
very best. I am not sure if she would agree or even if she has seen much of his work from the late 1950s
when he was trying to capture the landscape near the Iowa State University (where he was teaching),
but if not, she has certainly absorbed the fruits of his efforts.These works built on earlier ones he did of
Greek, French and British landscapes.

Vaughan was trying to capture what he saw and in a way, his very abstract landscapes have freed
subsequent artists, like James, to simply paint. Her work often has the look of a remembrance of the real,
as if woken from a dream, as if she has had that image in her mind and she has fought to get it down
on canvas, so that it becomes real. Struggle is perhaps the right word or maybe it is too strong because
the paintings look effortless, but that is why, as an artist, I know there has been a real struggle in their
creation.The dancer who spins on a single spot, or leaps into the air carelessly has done that thousands
of times, and has broken down the steps over and over again (like the Field Studies). Flow comes when
resistance has been worn away – look at a river bed, as James does and see how her paint flows freely
around the frame, yet always comes together to form a whole. Some of her works are very big like
Phalanx (84 x 216 inches), 2007) or Maritime Forrest (2009) a diptych where each piece is over 17 feet
tall (fig.4). Even her medium sized works like Miami (2011) are over 5 feet long, so she handles scale in
her stride both large and small.

An unlikely influence on James is Henry Moore, not so much his works on paper but his large sculptures,
and what she has taken by drawing from life. James has noted that Moore owned a small Turner water-

Fig. 4.Terrell James: Maritime Forest, 2013 at Hiram Butler Gallery, Houston,Texas

colour and of course we can see how his skies and storms have washed over Moore as they have her.
Moore illustrated a book of poems by W.H. Auden and said in the introduction that “Turner- whether
on canvas or paper - can create almost measurable distances of space and air - air that you can draw, in
which you can work out what the section through it would be. The space he creates is not emptiness;
it is filled with ‘solid’ atmosphere.” Clearly Turner has influenced a vast number of abstract painters as
so many of his greatest works are barely figurative at all.They press almost to the breaking point what
people of his age could have seen as painting.Were Turner not already considered a great artist I am sure
many would have responded to him as they did to the Impressionists - with derision. Ruskin infamously
claimed that Whistler merely threw a paint pot in the face of the public, but time has shown Whistler

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the winner in the game of art history.Without Cezanne,Turner and Fig 5. A Poison Tree (series) Songs Of
Whistler painting would be a very different art form. Innocence and Of Experience: Shewing
the Two Contrary States of the Human
James, like Whistler, is fond of evocative titles. I, however, like look- Soul,William Blake, 1794 © Trustees of the
ing at her paintings first, without knowing the titles, taking in the British Museum
colours, shapes and gestures.The works wash over you and flood
your mind and when you know the title, they seem to distil into her Figure 6. Remembering the poison
memory, not your own. (Figure 6) Remembering the Poison Tree tree, oil on canvas, 66” x 66”
(2015), is very lush but has no colours that I have seen on trees,
poisonous or not. After reading the title we have to regroup our
ideas about what we are seeing. A beautiful pink hovers in the top
right corner while bright deep blues pop out across the painting,
and as with all good abstraction it has its own infrastructure. It just
works, as does The Lost Boys (2009) whose title makes the view-
er seek out a hint of Peter Pan, or Corey Haim in his cheap 1987
vampire thriller.There is a huge blue horizontal drip at the heart
of the painting, which makes me think she was channelling the film
as opposed to J M Barrie, either way it is a terrific work.William
Blake’s illustrated poem A Poison Tree (Fig 5.) and Walter Clemons
(born in Houston,Texas but lived and worked in New York) collec-
tion of short stories The Poison Tree, both have a bearing on James’
painting.

But other titles are more mysterious or at least poetic and vague,
like Instigators (2009), Regiment (2014), or Panoply 1 (2012)
which really is a very impressive display, all bright reds, greens and
yellows, where the brushstrokes smudge up against each other and
are then enhanced by strokes that look like line drawings.They pull
the eye back and forth across the canvas, which looks as if at any
moment all the colours will shift. Copernicus (2016) has a similar

energy and while the image is totally resolved, it too, looks as if it might morph before our eyes. I think
only works with such inner clarity can treat the eye and the mind in this way, like the very late Monet
lilies.Where his lilies become almost abstract, the paintings are still legible as works made in a specific
landscape.We have no idea of the landscapes that reside deep in James works, but we should be very
happy that she has been there, and brought us back her view of them and changed them into real
objects of poetry.
Michael Petry
2016

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Panoply I
oil on canvas

68” x 47.5”
2012

Panoply 2
oil on canvas

68” x 47”
2012

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Instigators 2
oil on canvas

40” x 60”
2009

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Young Friend
oil on canvas
42” x 42”
2015

Seasonal Behaviour
oil and acrylic on canvas
42” x 42”
2016

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Citrus 2
oil and acrylic on linen
42” x 42”
2016

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Spring Migration
oil on canvas
42” x 42”
2013

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Elizabeth
oil on canvas

61” x 78”
2009

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Remembering the Poison Tree
oil on canvas
66” x 66”
2015

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Colibri
oil on canvas

84” x 60”
2007

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Reilly’s Comet
oil on linen
40” x 31”
2011

The Lost Boys
oil on linen
27.5” x 25”
2010

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Copernicus
oil on canvas

66” x 66”
2016

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Delta
oil on canvas
42” x 42”
2009

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Terrell James

Born in 1955 in Houston,TX

Education School of Art, Museum of Fine Arts, Houston,Texas
Instituto Allende, San Miguel de Allende, Guanajuato, Mexico
1972-73 Print Annex, Ignacio Ramirez Cultural Center, Instituto de Belles Artes, Universidad de Mexico, San
1973 Miguel de Allende, Guanajuato, Mexico
BA Fine Arts, University of the South, Sewanee,Tennessee
(Graduated Magna Cum Laude with departmental honors, Phi Beta Kappa)
1973-77 School of Art, Museum of Fine Arts, Houston,Texas

1978-79

Solo Exhibitions
James has had solo exhibits locally, nationally and internationally at venues including;
Hiram Butler Gallery, Houston TX (2015, 2013, 2011, 2008, 2007, 2004, 2003, 2001, 2000, 1998, 1997, 1995, 1994, 1993,
1991); Cadogan Contemporary, London UK (2016); Froelick Gallery, Portland OR (2016, 2014, 2012, 2010, 2008, 2003);
Barry Whistler Gallery, Dallas TX (2016, 2014, 2011, 2009);The Cameron Art Museum,Wilmington NC (2011); Jason
McCoy Gallery, New York NY (2010, 2007, 2004); Fundacion Centro Cultural, Santo Domingo Dominican Republic
(2003); Art Museum of South Texas, Corpus Christi TX (1997), Delgado College Gallery, New Orleans LA (1992, 1985),
C.G. Jung Center, Houston TX (1991), Graham Gallery, Houston TX (1989, 1985, 1982), Bishop’s Common, University of
the South, Sewanee TN (1981), and Christ Church Cathedral, Houston TX (1978).

Group Exhibitions
James’ work has also been included in national and international group exhibits at venues including;
The Ninth International Ink Art Biennial, Guan Shanyue Art Museum, Shenzhen, China,The Cameron Art Museum,
Wilmington, NC, (2016, 2014), Jason McCoy Gallery, New York NY (2015, 2011, 2010, 2009); Barry Whistler Gallery,
Dallas TX (2016, 2015, 2014, 2013,2012 2011, 2010, 2009, 2001, 1991, 1988, 1987, 1986); Gallery Homeland, Portland
OR (2012, 2009); Froelick Gallery, Portland OR (2016, 2015, 2014, 2012, 2011, 2009, 2006, 2001, 2000, 1999, 1996);
The Museum of Fine Arts, Houston TX (2015, 2011, 2000, 1999, 1998, 1996, 1994, 1993);Williams Tower, Houston TX
(2015, 2013); Lawndale Art Center, Houston TX (2011, 2000, 1998, 1996, 1994, 1993, 1987, 1986, 1985, 1984, 1983,
1982, 1979); Pillsbury Peters (2011, 2010, 2009, 2008); Gerald Peters Gallery, Santa Fe NM (2011, 2009); Sin Sin Fine Art,
Hong Kong (2008, 2006); Portland Art Museum, OR (2010, 2003); Museo Moderne Artes,Trujillo, Peru (2007); Marfa
Book Company, Marfa TX (2002); DiverseWorks, Houston TX (2002, 1990, 1986, 1985, 1984, 1983); Hiram Butler Gal-
lery, Houston TX (2001, 2000, 1998, 1994, 1993, 1992, 1989); Dutch Triodos Bank, Zeiss,The Netherlands (2010-2001);
Arlington Museum of Art, Arlington TX (2001, 1999, 1991);The Old Jail—Art Center, Albany TX (2000); Hooks Epstein
Gallery, Houston TX (2000, 1989);Tembo Cerling Print Studio, Houston TX (2000);The HK Visual Arts Center, Hong
Kong (1999); Mohseni Fine Arts, Limited, Hong Kong (1999); Dutch Triodos Bank, Amsterdam (1999); United States
Embassy, Mexico City, D.F. (1999); Shanghai Cultural Center, Shanghai, China (1999); Centro Cultural/Arte Contempora-
neo, Mexico City, D.F (1999, 1997, 1994, 1991); Galveston Arts Center, Galveston TX (1997, 1996, 1985);Takara Gallery,
Houston TX (1997); Barbara Davis Gallery, Houston,TX (1996); Contemporary Arts Museum, Houston TX (1993); Sally
Sprout Gallery, Houston TX (1993);Transco Gallery, Houston TX (1992); BlueStar ArtSpace, San Antonio TX (1991); Mc-
Nay Art Museum, San Antonio TX (1989); Jack Tilton Gallery, New York NY (1989, 1988); Graham Gallery, Houston TX

(1988,1987, 1986, 1985, 1983); Sewall Art Gallery, Rice University, Houston TX (1988); Bronxville, New York NY (1986); Contemporary Arts
Center, New Orleans LA (1985); Southern California Gallery for Contemporary Arts, Los Angeles CA (1985); University of Saint Thomas,
Houston TX (1985); Drawing Room Gallery, Houston TX (1985); Houston Coalition for the Visual Arts, Square One Gallery, Houston TX
(1985); Midtown Art Center, Houston TX (1984); Rachel Davis Gallery, Houston TX (1984); Houston Women’s Caucus for Art, Houston TX
(1984, 1983); Center for Art & Performance, Houston TX (1982); Art League Houston, Houston TX (1979), St. Luke’s School of Theology,
Sewanee TN (1977), Hunter Museum of Art, Chattanooga TN (1976).

Museum and Foundation Collections Selected Public and Private Collections

Albee Foundation, NY Anadarko, Houston,TX
Art in the Embassies Program, US State Department, ABUJA ANNEX, American Airlines, Dallas,TX
Nigeria Bering Realty Consulting, Houston,TX
The Barrett Collection, Dallas, Gifted to Dallas Museum of Art and Cisco Systems, Houston,TX
Museum of Fine Arts, Houston El Paso Energy, Houston,TX
The Cameron Museum of Art,Wilmington, N.C. Enron Corporation, Houston,TX
Casa Lamm/Televisa Cultural Foundation and Museum, Mexico, D.F. Exxon Chemical, Darien, CT and Houston,TX
Christ Church Cathedral, Houston Federal Reserve Bank, Dallas.TX
Dallas Museum of Art, Dallas Frito Lay, Plano,TX
Free International University World Art Collection,Triodos Bank Ned- Galaxy Macao Resort Hotel, China
erland, Zeist, The Netherlands Hilton Americas, Houston,TX
Fundacion Vergel, Cuernavaca and New York Houston Lighting and Power Collection, Houston,TX
Menil Collection, Houston Iberia Bank, Houston,TX
Museum of Fine Arts, Boston Ritz-Carlton Hotels, Dallas and White Plains, NY
Museum of Fine Arts, Houston Fayez Sarofim Collection, Houston,TX and Hawaii
Museum of Texas Tech University, Lubbock,TX Sands Hotel, Macao, China
Museum of the University of the South, Sewanee,TN Solvay International, Houston,TX
Norman T. Reynolds, Houston Southern Crow Music, Inc.,Topanga, CA
Oregon Health Sciences University, Portland, OR Southwestern Bell, San Antonio,TX and St. Louis, MI
Rice University Print Collection, Houston Technical Risks, Inc., Houston,TX
Portland Art Museum, OR Texaco, Inc., Houston,TX
Sitka Center for Art and Ecology, at Cascade Head Experimental Texas State Bank, McAllen ,TX
Forest, Otis, OR Touche Ross and Company, Houston,TX
Spencer Museum of Art, Lawrence, KS Vitol, Houston,TX
Tacoma Art Museum,Tacoma,WA Willamett Industries, Paper Group, Portland, OR
University of St.Thomas, Houston W.S. Bellows Construction Corporation, Houston,TX
The Watermill Collection,Water Mill, N.Y.
Whitney Museum of American Art, New York

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BIBLIOGRAPHY

Petry, Michael.“The Abstraction of the Physical into the Poetic”,Terrell James: Remembering the Poison Tree (exhibition
catalogue). Ed. Lucasta Partridge-Hicks. London: Cadogan Contemporary, 2016.
Buhmann, Stephanie.“Place and Transition in The Work of Terrell James”,Terrell James: Hover (exhibition catalogue). Ed.
Jennie Ash. Houston: Art League, 2016.
Middendorf, Paul.“Working Boundaries: An Interview with Terrell James”, Free Press Houston, 19 September 2016, p. 14.
Butler, Hiram. Forrest Bess: Paintings. Houston: Hiram Butler Gallery, 2016
Jun, Chen. New Territories of Ink Art.The 9th International Ink Art Biennale of Shenzhen and the 8th Shenzhen Forum
for Ink Painting, vol 2. Shenzen, China: Shenzhen Art Institute, 2016.
Partridge-Hicks, Lucasta. American Summer. London: Cadogan Contemporary, 2015.
Paglia, Michael and Jim Edwards.Texas Abstract. Albuquerque: Fresco Books, 2014.
Della Monica, Lauren P. Painted Landscapes. Schiffer Books, 2013.
Simek, Lucia,“350 Words:Terrell James: Citizen at Barry Whistler Gallery”, Glasstire. 6 October 2011.
Mora, Patricia.“Gallery Gourmet: Art from Nic Nicosia,Terrell James, and Alexandre Hogue”, Dallas Morning News. 5
October 2011.
Petry, Michael. Golden Rain. London: MOCA in conjunction with Ha Gamle Prestegard, 2008.
Dela, Sasha.“Terrell James: Interview from Miami”, Glasstire, 17 December 2008.
Bovee, Katherine,“Virgil Grotfeldt and Terrell James”, Art Lies, No. 58, p 104, 2008.
Buhmann, Stephanie.“Terrell James,Witnessing Places”,Terrell James (exhibition catalogue). New York: Jason McCoy, Inc.,
2007.
Hopps,Walter.“Terrell James”,Terrell James (exhibition catalogue). Jason McCoy, Inc., 2007.
Kopriva, Gus. Amistad, Arte De Texas en el Peru (Texas Art in Peru). Lima: Museo de La Nacion, 2007.
Zhu, Christopher and Gus Kopriva, Houston Art. Shanghai: Shanghai Museum of Art, 2006.
Row, D. K.,“A ‘Sea’ of Abstract Expression”,The Oregonian, 23 March 2006, pp. 32, 36.
Knudson, Chris,“Music and Houston Artists”, Arts Houston, April 2006.
American Art Collector, February 2006, page 96.
Lee-Duffy, Jade.“Preview: Prints – Limited Editions and Monotypes”, South China Morning Post, 12 January 2006, p. 3.
Sin Sin Fine Art Ltd. Prints: Limited Editions and Monotypes. Hong Kong: Sin Sin Fine Art Ltd., 2006.
James,Terrell,“Heroic and Painterly: an Artist’s Thoughts on Cy Twombly”, Houston Chronicle, 24 April 2005.
Hopps,Walter.“Standing Sideways: An Ongoing Conversation with Terrell James and Virgil Grotfeldt”, Glasstire, 16 May
2004.
Hopps,Walter.“The Painting of Terrell James”. New York: Jason McCoy, Inc., 2004.
Anspon, Catherine.“City Focus: Houston”, ArtNews, February 2003, pp. 76-80.
Gee, Allen R.“Terrell James: Rouffignac and Field Studies”, Artlies,Winter 2002.
Halpern, Robert.“James Exhibition”,The Big Bend Sentinel, 25 April 2002, p. 3.
Pillsbury, Edmund P. and Robert Littman.“Impression and Sensation:The Painting of Terrell James”. Dallas: Pillsbury and

Peters Fine Art, Ltd., 2001.
Jinkins, Shirley.“Landscape, ho! Pair of exhibits presents differing views”, Fort Worth Star Telegram, December, 2001.
Daniel, Mike.“Landscape shows in Arlington”,The Dallas Morning News, 23 November 2001, p. 60.
Biederman, Christine.“Everywhere a Sign:Terrell James’ paintings don’t suffer from contemporary art’s usual faux profun-
dity”, Dallas Observer, 2 August 2001.
Gray, Lisa.“About Time: Terrell James’s art hangs near a crossroads where her past and present intersect”. Houston
Press, 26 April 2001, pp. 12-13.
de Lima Greene, Alison.Texas: 150 Works from the Museum of Fine Arts, Houston. New York: Harry N. Abrams, Inc.,
2000, pp. 44, 71, 144, 145 (illustration), 153, 236, 240.
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Gray, Lisa.“Life in the Abstract, a tribute to Dorothy Hood”. Houston Press, 21 December 2000, pp. 41-57.
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James,Terrell.“Twentieth Anniversary Issue: Art Editor’s Commentary,” Gulf Coast, April 2000.

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CADOGAN

CONTEMPORARY