VERA BARNETT
Classical Plastique
The wit of this woman is the triumph
of an art altogether plastic
Balzac
VERA BARNETT
Classical Plastique
Essay by
Frederick Turner
VALLEY HOUSE GALLERY
above:
Self Portrait 2010 oil on canvas 48 x 36 inches
front cover:
Classical Plastique: Frugal Repast 2006 oil on canvas 44 x 36 inches
Inspired by Pablo Picasso’s “The Frugal Repast”
Collection of Eric and Debbie Green
back cover:
Classical Plastique: Wayfarer 2010 oil on canvas 48 x 48 inches
Inspired by Hieronymous Bosch’s “The Wayfarer”
Collection of John Stone
&
Sculpture Garden
ISBN: 978-1-879154-26-1
Copyright: 2010, All rights reserved
Valley House Gallery Inc. Dallas, Texas
www.valleyhouse.com
Dallas, Texas
2010
The Fabrications of Vera Barnett: an Appreciation
era Barnett works with layer upon layer of representation. Consider the
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aesthetic value of a classical still life, its craft, its trompe l’oeil, its faithful and
devoted meditation on the thinginess of things, the amazing detail by which the
eye takes in the world. Her major series of paintings, her “classical plastiques,”
is, in an initial definition, a collection of still-lifes. As such they are masterfully
done, as one might expect from a graduate of the Pennsylvania Academy of
Fine Arts. This is an artist who knows how to draw, who understands shadow
and modeling and color. The subjects spring into three-dimensional life, her
backgrounds—usually fabric or wallpaper backdrops--as meticulously recorded as
the subjects themselves, insist on their flatness and texture as the light falls across
them, making the modeled subjects stand out the more.
But this is only the first of a series of representational “Chinese boxes” that Barnett
has so ingeniously constructed for us. For the subjects of these still-lifes are
not natural objects like fruit or flowers, or everyday practical made objects like
bottles or tools. They are themselves works of art, representations, apparently
blow-up plastic figures, like inflatable pool toys or sex dolls—but works of art of
the most cheap, garish and commercial kind. A Whitney Biennial show might
feature such dolls as real sculptures in some kind of installation or happening,
with an implied satirical social comment on consumerism, gender objectification,
economic inflation, the machine age, the emptiness of modern life, psychological
inauthenticity or ecological destructiveness.
But these dolls affect us very differently, have meanings more profound and more
original than those now-familiar postmodern tropes. To begin with, they have
been painted with such loving classical attention that their cheap materials and
tight or flaccid artificiality take on a kind of pathos, are ennobled by the attention
they have been given. Their shapes come from the pressure of the air inside them,
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the tension of their vinyl materials against the crude welded seams, and the fall
and reflection of the light across their shiny surface—their ingredients are air,
stored pneumatic energy, and light. Something has been made out of virtually
nothing—the reverse of the deconstructive techniques and tropes by which the
somethings of the world are reduced to nothing. So these works are not just stilllifes but sculptures, and not just sculptures but installations, even happenings
caught at a crucial moment.
But she is not cool, ironic, hip: her work is not inflated in that sense. Something
in her work, a sort of sincerity, is reminiscent of the great primitive artist Henry
Darger, who made a whole
world out of tracings on
butcher paper. There is
about these figures the
tender, comic oddness
of well-used homemade
children’s toys. The female
figure in her Making Friends
is actually snipping off the
last length of woolen “hair”
that she is sewing onto the
crude cloth doll that lies in
her lap like a baby Jesus in
a nativity scene or a dead
Jesus in a Deposition. So
the fabricated doll is the
artist herself, fabricating a
doll. Barnett is recalling
the moment when her own
child went away to college
and cut the apron-strings,
that which was fabricated in
her own body now taking
on independent life.
Making Friends 2000 o/c 38 x 32 inches Private Collection
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Many of her works deal with
the moment of being lost or
losing one’s home. The naked
homeless woman in Bag Lady
has only cardboard boxes (that
once were the packaging of an
artificial Christmas tree) and
newspaper comics between
her and the hard floor. Vera
Barnett’s husband Jack, a very
Bag Lady 1997 o/c 39 x 50 inches Private Collection
fine classical artist in his own
right, once her teacher at the Academy, sometimes appears with her in paintings
that, with witty ruefulness, describe the state of being lost together, two plastic
dolls in the same cardboard boat, vulnerable and so very easily damaged and
deflated. They are sad clowns, painted pierrots.
For one of the most remarkable things about these figures is that they are, oddly,
so full of human feeling. Their faces are so expressive, so full of trepidation,
resignation, bemused happiness, anxiety, affection, woe. The eyes are especially
striking, with their innocent and meditative gaze—almost never directly out of
the picture into the viewer’s eyes, but always inward into the drama of the scene
itself or into their own thoughts. The postures of these dolls have a curious life
and energy: they capture us as do
the polychrome figures of popular
religious art, Catholic, Hindu,
traditional Buddhist. But unlike
the gods these beings are subject to
time. The smoothness of the vinyl
may belie the wrinkles of the aging
human skin: but the fragility of the
material, which cannot heal itself
and takes its form from its inner
breath, makes the threat of death
more imminent still.
Ship of Fools 2005 o/c 40 x 50 inches Collection of Donna Wilhelm and John Gunn
But her metaphysics is not one in which
the spirit can easily shuck off the body
and cleanse itself of materiality. Without
that membrane of the human body with
all its fragility and tension, the breath has
no form. She catches the great pathos of
Rose Colored Glasses 2009 o/c 35 x 46 inches
human life, the way that childbirth reminds
the anxious husband and father-to-be of his wife’s fleshliness, her mortality; the
way lovers are humbled by the recognition of their animality, their physicality.
And of course the poses in these paintings, and their mise-en-sce`ne, are strangely
and immediately recognizable. They are from the Old Masters, the great French
primitive painters, popular or folk American artists--Bruegel, Botticelli, Bosch,
Manet, Douanier Rousseau, Gauguin, Chagall, Grant Wood, Wyeth. With her
explicit allusiveness, Barnett is pushing us into another level of representational
self-reference. The Bruegel Blind Leading the Blind that she references in Rose
Colored Glasses was itself already a representation in oils of the old emblem in
the emblem-books, which in turn represented in woodcut form the parable of
Jesus, itself a metaphorical representation of a common human error. She has
made peace in modernism’s long war with tradition, but in a way that opens up
new artistic possibilities. So instead of rejecting or satirizing the great tradition
of Western art, which so many modernist and postmodernist artists have felt
obliged to do, she has felt her way back through her layers of representation (or
reproduction) to the living human heart that the old masters knew.
There is a phase in the process of making her paintings that is not visible in the
finished work, like underdrawing, but not accessible by any x-ray imaging system.
The maquettes or mannequins Barnett uses are not in fact welded, airtight, and
inflated, but sewn and stuffed. Her painting Making Friends obliquely confesses
this little deception: it depicts a sewn and stuffed doll being fabricated by an
inflated vinyl mother. In physical reality the mannequins are just fragile scraps
of spray-painted thin-gauge industrial vinyl and synthetic stuffing stitched, not
welded, together: often very rough, unfinished on the side away from the painter/
viewer (for these paintings make the artist a viewer and the viewer/critic an artist).
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They definitely look stuffed, not blown up. Their inflatedness is itself the artist’s
visual invention. She has often created fictional welds where there are no sewed
seams at all, complete with the appropriate gatherings and bulges, using the
wrinkles to suggest the expressions of the figures. So it is the painting that blows
them up, gives them life.
For Barnett, life is a sort of miraculous inflation of matter—literally an
“inspiration”, an inspiring, an inbreathing. She began the series inspired by an
inflatable pool toy that is literally blown up with human breath. The Greek word
for “spirit “ is “pneuma”, from which we get “pneumatic.” Life’s vulnerability
is suggested by the fact that a mere puncture will annul it. The artist gives life
to the painting as the pregnant or nursing mother gives breath to her child.
Fabrication—making—is not distinct from reproduction. The work of making
and sewing fabrics has anciently been associated with the work of a woman’s
womb and with the hereditary continuity
of the family: think of the way that
traditional quilting celebrates the bed of
birth, marriage, and death.
And here we come to what I believe
is Barnett’s breathtaking—or rather
breathgiving—reply to all the modernist
and postmodernist critics of reproduction.
Her paintings are not just reproductions,
but reproductions of reproductions of
reproductions, like humans and animals
and plants, or like the repeats in the
The Dream 2007 o/c 52 x 62 inches Collection of John Stone
wallpaper or cloth print patterns she
uses as backdrops (themselves minutely and lovingly recorded). To make clear
her rejection of the distinction between the real and the representational or
reproduced, she often introduces plainly artificial iconographic details, such as
scraps of paper with printed images, or real clothing or shoes or bedclothes, as
collage elements in the midst of the explicitly painted and fictional scene. She
loves to paint cardboard, which is artificial inflated wood. In her version of
Rousseau’s La Rêve (The Dream) she replaces Rousseau’s purely fanciful vegetation
with real living leaves and flowers, exquisitely rendered. She uses her formidable
skill at trompe-l’oeil to play with collage, painted collage, collaged painting, real
objects used as props, painted real objects and painted painted objects.
This mixing of the real and the imagined and the reproductive is, actually, love.
In the immortal words of Nat King Cole:
Say it`s only a paper moon
sailing over a cardboard sea
but it wouldn`t be make-believe if you believed in me
Yes it`s only a canvas sky
hanging over a muslin tree
but it wouldn`t be make-believe if you believed in me
Without your love
it`s a honky tonk parade
Without your love
it`s a melody played in a penny arcade…
It`s a Barnum and Bailey world
just as phony as it can be
but it wouldn`t be make-believe if you believed in me.
Barnett’s characters—for the collection as a whole is a sort of drama based on her
life—are often lost in this life, aging, far from home. But they have decided to
believe in it and love it, and pay it the attention it deserves with art.
Frederick Turner
Classical Plastique: Olympia 1993 oil on canvas 48 x 67 inches
Inspired by Edouard Manet’s “Olympia”
Collection of John Stone
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I have been working for several years on a group of oil paintings
that explore classical themes in art. I am drawn to art that explores
the emotional relationships between people, their environment and
circumstances that they find themselves in. I wish to reconstruct
these ideas through my own vision, my life and experiences. These
“classic” themes are chosen because they are timeless in nature, explore
emotions that are universal and cross the boundaries of time and
distance. I reinterpret these themes using plastic “inflatable” people.
Classical Plastique: Adam and Eve 1994 oil on canvas 65 x 48 inches
Inspired by Masaccio’s “The Expulsion from the Garden of Eden”
Private Collection
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I am drawn to images that can represent dual interpretations and
reactions. Plastic has the qualities of a false sense of perfection; smooth,
flawless and with the illusion of permanence. This is juxtaposed
against the reality of wrinkles and vulnerability.
I find the visual and emotional qualities of bodies filled with nothing
but air an interesting subject, reflecting the transient qualities of
our real flesh and blood bodies. In all my work, whether depicting
inflatable dolls, scraps of paper, “real” people or more traditional still
life elements, I am drawn to the issues of dual meaning: the balance
of innocence and worldliness, fear and humor, permanence and the
temporary.
Classical Plastique: Gothic 1995 oil on canvas 34 1/2 x 28 inches
Inspired by Grant Wood’s “American Gothic”
Collection of Diane and A.C. Cook
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I design and construct the figures myself using plastic vinyl and spray
paint. They are constructed to appear as if inflated; in reality they are
sewn and stuffed.
Classical Plastique: Crucifix 1998 oil on canvas 58 x 50 inches
Inspired by Matthais Grünewald’s “The Crucifixion”
Collection of Kirk Hopper
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I have chosen to work with what appear to be inflated dolls because to
me they adequately symbolize the human condition and encompass
a range of emotions. Humor plays a part in my visual language, as it
does in my view of the human condition.
Classical Plastique: Ship of Fools 2005 oil on canvas 40 x 50 inches
Inspired by Hieronymus Bosch’s “Ship of Fools”
Collection of Donna Wilhelm and John Gunn
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Classical Plastique: Frugal Repast 2006 oil on canvas 44 x 36 inches
Inspired by Pablo Picasso’s “The Frugal Repast”
Collection of Eric and Debbie Green
20
Classical Plastique: The Birth of Venus 2006 oil on canvas 66 x 130 inches (triptych)
Inspired by Sandro Botticelli’s “The Birth of Venus”
Collection of Donna Wilhelm and John Gunn
22
Classical Plastique: The Dream 2007 oil on canvas 52 x 62 inches
Inspired by Henri Rousseau’s “The Dream”
Collection of John Stone
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Classical Plastique: The Artist and His Dog 2008 oil on canvas 30 x 40 inches
Inspired by Otto Dix’s “The Photographer Hugo Erfurth with his Dog Ajax”
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Classical Plastique: Puberty #2 2008 oil on canvas 48 x 36 inches
Inspired By Edvard Munch’s “Puberty”
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Study for Classical Plastique: The Dancers 2008 oil on ragboard 7 7/8 x 4 7/8 inches
Classical Plastique: The Dancers 2008 oil on canvas 57 x 42 1/2 inches
Inspired by Marc Chagall’s “The Birthday Kiss”
30
Study for Classical Plastique: Girl in a Field 2008 oil on paper 4 1/2 x 7 1/2 inches
Classical Plastique: Girl in a Field 2008 oil on canvas 46 x 62 inches
Inspired by Andrew Wyeth’s “Christina’s World”
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Study for Classical Plastique: Girl in Red Dress 2009 oil on canvas paper 9 1/4 x 7 inches
Classical Plastique: Girl in Red Dress 2009 oil on canvas 32 x 30 inches
Inspired by Henri Rousseau’s “The Girl with a Doll”
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Classical Plastique: Two Women 2009 oil on canvas 34 x 32 inches
Inspired by Pablo Picasso’s “Weeping Woman”
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Classical Plastique: Reflection 2009 oil on canvas 32 x 38 inches
Inspired by Balthus’ “The Turkish Room”
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Study for Classical Plastique: Woman with Flowers 2008 oil on paper 6 x 8 inches
Classical Plastique: Woman with Flowers 2009 oil on canvas 32 x 38 inches
Inspired by Edgar Degas’ “Woman with Chrysanthemums”
Collection of John Stone
40
Classical Plastique: Rose Colored Glasses 2009 oil on canvas 35 x 46 inches
Inspired by Pieter Bruegel the Elder’s “The Blind Leading the Blind”
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Study for Classical Plastique: Three Ages of Woman 2009 oil on canvas paper 10 1/8 x 6 inches
Classical Plastique: Three Ages of Woman 2009 oil on canvas 48 x 36 inches
Inspired by Gustav Klimt’s “Three Ages of Woman”
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Study for Classical Plastique: Woman with Plant 2010 oil on paper 7 1/2 x 5 1/2 inches
Classical Plastique: Old Lady with Plant 2010 oil on canvas 27 x 20 inches
Inspired by Grant Wood’s “Woman with Plants”
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Study for Classical Plastique: Spirit Watching 2010 oil on paper 6 1/4 x 9 inches
Classical Plastique: Spirit Watching 2010 oil on canvas 38 x 52 inches
Inspired by Paul Gauguin’s “Spirit of the Dead Watching (Manao Tupapau)”
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Study for Classical Plastique: Portrait of Lady with Pink Dress 2010 oil on ragboard 9 11/16 x 5 inches
Classical Plastique: Portrait of Lady with Pink Dress 2010 oil on canvas 48 x 24 inches
Inspired by Ammi Phillips’ “Portrait of Harriet Leavens”
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Study for Classical Plastique: Wayfarer 2010 oil on gessoed rag board (grisaille) 8 x 8 inches
Study for Classical Plastique: Wayfarer 2010 oil on gessoed rag board 8 x 7 7/8 inches
Classical Plastique: Wayfarer 2010 oil on canvas 48 x 48 inches
Inspired by Hieronymus Bosch’s “The Wayfarer”
Collection of John Stone
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Vera Barnett
Born: 1957, Nyack, New York
Education:
1977-81 Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania
Solo Exhibitions:
1991
1993
1994
1997
2002
2006
2010
Barnett by Two, Arlington Museum of Art, Arlington, Texas
Vera Barnett, Rosenfeld Gallery, Philadelphia, Pennsylvania
Process and Transition, Texas Wesleyan University, Fort Worth, Texas
Vera Barnett, Carol Henderson Gallery, Fort Worth, Texas
Vera Barnett: Recent Work, Edith Baker Gallery, Dallas, Texas
Vera Barnett: Classical Plastique, McKinney Avenue Contemporary, Dallas, Texas
Vera Barnett: Classical Plastique, Valley House Gallery, Dallas, Texas
Group Exhibitions:
1987
Great Works Large and Small, Evelyn Siegel Gallery, Fort Worth, Texas
1987
A Breath of Fresh Air, The Fanny Garver Gallery, Madison, Wisconsin
1988
New Work, Evelyn Siegel Gallery, Fort Worth, Texas
1988
Holiday Season, Evelyn Siegel Gallery, Fort Worth, Texas
1989
Gallery Night, Evelyn Siegel Gallery, Fort Worth, Texas
1989
Miniatures, The Fanny Garver Gallery, Madison, Wisconsin
1989
9th Annual Small Works Show, Rosenfeld Gallery, Philadelphia, Pennsylvania
1990
10th Annual Small Works Show, Rosenfeld Gallery, Philadelphia, Pennsylvania
1992
Christmas, Fort Worth Gallery, Fort Worth, Texas
1993
Gallery Night, Dutch Phillips & Co., Dallas, Texas
1996
Three Texas Realists, Breckenridge Art Center, Breckenridge, Texas
1998
The Figure, Valley House Gallery, Dallas, Texas
1999
Masquerade, Edith Baker Gallery, Dallas, Texas
1999
Real Art, Contemporary Art Center, Fort Worth, Texas
1999
Contemporary Realism, Carol Henderson Gallery, Fort Worth, Texas
2000
A Cool Summer Garden, Edith Baker Gallery, Dallas, Texas
2004
The Mentor and his Proteges, Tarrant County College, Carillon Gallery, Fort Worth, Texas
2005
Valley House Exhibition, Masur Museum, Monroe, Louisiana
2006
Art International, The Barker Hangar, Santa Monica, California (Valley House Gallery)
2006
Kingdom Animalia, Valley House Gallery, Dallas, Texas
2007
Texas Art from Private Collections: Works by Past and Present Masters, Kettle Art, Dallas, Texas
2007
The Art Show, ADAA art fair, Park Avenue Armory, New York, New York
(Valley House Gallery)
2007
CADD, Contemporary Art Dealers of Dallas Inaugural Art Fair, Three Three Three First Avenue, Dallas, Texas
(Valley House Gallery)
2007
Introductions North, Greater Denton Arts Council, Denton, Texas
2008
CADD, Contemporary Art Dealers of Dallas Art Fair, Three Three Three First Avenue, Dallas, Texas
(Valley House Gallery)
2009
Thank You Fort Worth: An Appreciation from Valley House Gallery & Sculpture Garden, Fort Worth Community Arts
Center, Fort Worth, Texas
54
2009
2010
2010
2010
Dallas Art Fair, FIG Building, Dallas, Texas (Valley House Gallery)
Dallas Art Fair, FIG Building, Dallas, Texas (Valley House Gallery)
ART CHICAGO, Merchandise Mart, Chicago, Illinois (Valley House Gallery)
Shorelines, Valley House Gallery, Dallas, Texas
Juried Exhibitions:
1986
123rd Annual Exhibition of Small Paintings, Philadelphia Sketch Club, Philadelphia, Pennsylvania
(Jurors: Jack Bookbinder, Andre Salz, Stuart Shils)
1988
48th Annual Juried Exhibition, Woodmere Art Museum, Philadelphia, Pennsylvania
(Jurors: Carol Wald and Walter S. Erlebacher)
1990
National Juried Competition, Arlington Museum of Art, Arlington, Texas (Juror: Henry Whiddon)
1990
12th Annual Competition, Fort Worth Community Art Center, Fort Worth, Texas
(Juror: John A. Calabrese)
1992
Annual Juried Exhibition, Templeton Art Center, Fort Worth, Texas
1994
14th Annual National Juried Exhibition, Delaware County Community College, Media, Pennsylvania
1995
97th Annual Juried Exhibition of the Fellowship of the Pennsylvania Academy of the Fine Arts,
The American College, Bryn Mawr, Pennsylvania (Jurors: Jack Cowart and Gregory Gillespie)
1996
Art in the Metroplex, Texas Christian University, Fort Worth, Texas (Juror: Luis Jimenez)
1996
98th Annual Juried Exhibition of the Fellowship of the Pennsylvania Academy of the Fine Arts,
West Chester University, McKinney Gallery, Pennsylvania (Juror: Charles W. Millard III)
1996
Spring Group Show, Templeton Art Center, Fort Worth, Texas (Juror: Wade Wilson)
1998
Main Street Art Festival, The Contemporary Art Center, Fort Worth, Texas, (Juror: Vernon Fisher)
1998
500X Gallery, Dallas, Texas (Juror: Ted Pillsbury)
2000
National Competition, First Street Gallery, New York, New York (Juror: William Beckman)
2002
Enter the Dragon, Breckenridge Fine Arts Center, Breckenridge, Texas (Juror: Ross Merrill)
2003
American Figure Exhibition, Santa Cruz Art League, Santa Cruz, California
2003
Breckenridge Fine Arts Center, Breckenridge, Texas (Juror: Ramon Kelley)
2004
Celebrates Texas Art, Assistance League of Houston, Houston, Texas (Juror: Jennifer Gross)
2004
47th Annual Delta Exhibition, Arkansas Arts Center, Little Rock, Arkansas (Juror: Katherine Degn)
2007
Annual Assistance League of Houston Juried Exhibition, Houston, Texas
2008
The Hunting Art Prize Gala, Decorative Art Center, Houston, Texas
2009
Assistance League of Houston Celebrates Texas Art 2009, Williams Tower Gallery, Houston, Texas
(Juror: Shelley Langdale, Associate Curator of Prints and Drawings, Philadelphia Museum of Art)
Awards:
1988
Honorable Mention, National Juried Exhibition, Society of Water Color Artists, Fort Worth, Texas
1990
Jurors Citation, Annual Juried Exhibition, Committee for an Artists Center, Fort Worth, Texas
1991
Mary Butler Memorial Purchase Award, Fellowship Annual Juried Exhibition,
The Pennsylvania Academy of the Fine Arts
1992
Second Place Award, Annual Juried Exhibition, Templeton Art Center, Fort Worth, Texas
1996
First Place Award, Annual Juried Exhibition, Templeton Art Center, Fort Worth, Texas (Juror: Chris Goebel)
1996
Fourth Place Award, Spring Show, Templeton Art Center, Fort Worth, Texas (Juror: Wade Wilson)
1996
Third place & Honorable Mention, National Juried Exhibition, Breckenridge Art Center, Breckenridge, Texas
(Juror: Joan Marron-LaRue)
2003
Honorable Mention, American Figure Exhibition, Santa Cruz Art League, Santa Cruz, California
2004
First Place, Assistance League of Houston, Houston, Texas (Juror: Jennifer Gross)
2009
First Place, Assistance League of Houston Celebrates Texas Art 2009, Williams Tower Gallery, Houston, Texas
(Juror: Shelley Langdale)
Literature:
1988
1990
1991
1992
1993
1994
1996
1996
1997
1997
1998
1998
1999
1999
1999
2001
2006
2010
“A Really Pretty Picture,” Janet Tyson, Fort Worth Star Telegram
“Water Color Exhibit No Brush With Tame,” Janet Tyson, Fort Worth Star Telegram, March 21, Section 5, page 4
“Discretion and a Spousal Exhibition,” Janet Tyson, Fort Worth Star Telegram, May 6, Section E, page 2
“Schools Out in Fort Worth,” Janet Tyson, Fort Worth Star Telegram, October 7
“Fine Arts Academy Exhibition Opens,” Victoria Donohoe, The Philadelphia Enquirer
“Artists Show Us Their Paintings,” Wade Wilson, Fort Worth Star Telegram, November 27, Section F, page 2
“Night & Day,” Zac Crain, The Dallas Observer
Exhibition catalogue, 1996 Art Competition, Breckenridge Fine Arts Center, reproduction.
“Fort Worth Festival Takes an Earnest Approach to its Art,” Annabelle Massey, The Met
“Eerie Pool Party,” Annabelle Massey, The Met, October 29, page 30, reproduction
“Go Figure,” Mike Daniels, The Dallas Morning News, Guide, August 28, page 53
“Two Experts Pick Pieces for Big Dallas Show,” Suzanne Akhtar, Fort Worth Star Telegram, January 25, Section G, page 2
“Realism,” Curtis Martin, Artlies, Summer issue, page 47, Crucifixion illustrated
“The Contemporary Gets Real,” Janet Tyson, Fort Worth Star Telegram
“Reality Check,” Mike Daniels, The Dallas Morning News, Guide, June 18, page 53
“Vera Barnett, Frank Brown,” Mike Daniels, The Dallas Morning News, Guide, December 21, page 52, reproduction
“Night & Day,” The Dallas Observer, December 7 – 13, 2006, page 31, Kung-Fu Fighting reproduced
Moulin Review Literary Journal, Brookhaven College, Volume 2, Spring 2010, reproductions
Printed by Jayroe Litho Inc. Dallas, Texas
Catalogue Design: Kevin Vogel
Photographs by: Vera Barnett, Tom Jenkins, Scott Metcalfe,
Abigail Richbourg, Kevin Vogel, and David Wharton
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