Texas Tech University

Terry Morrow with alumna, Cakky Brawley, during 40th Anniversary Studio Alumni Invitational Exhibition

Professor Terry Morrow begins his 41st year this semester as art professor at Texas Tech. It is a momentous time and an accomplishment that current students, faculty, and alumni applaud. He spent eight of those years additionally as Assistant Art Department Chairman, Art Department Chairman or Director when the school was called the  Art Department, and two-times as Interim Director at the SoA.  Morrow has always been ready to come forward as needed, which showcases his outstanding service and regard for students and the faculty. He is a perennial favorite professor with students and sought after as a colleague. He began our interview by telling me:

I guess I will continue to teach as long as I have health, still enjoy it, and feel like I have something left to contribute to the students. I used to get sons and daughters of former students when I did SMAP (Saturday Morning Art Program for high school students who are serious about art) but it’s grandchildren of graduates, now. I still enjoy it and as teachers, we owe it to be mentors – always.

In a recent interview with Scott Dadich, BFA Communications Design, 1999, the Creative Director of Wired magazine, he agreed that Morrow was a mentor. He said, “Terry Morrow was a great mentor and I started out in his SMAP program and was there every Saturday all through high school to learn. Later, when I went to Tech, Professor Morrow would look in on me to check how my classes were going. In his classes, I learned so much about drawing.”

Many students agree with Dadich and really treasure the times they spent in your classes. What made you decide to go into your field?

As a child growing up in Austin, I liked drawing and got to experience a program like our SMAP. It made the difference. Yes, it did inspire me to start SMAP here over 30 years ago.

In what ways has your art influenced you?

Art has been a part of me that always grows. It nurtures me. Being able to observe one’s world, aesthetic things— shapes, form, light— it’s a way of getting at who I am.  I chose Printmaking because of its relationship to drawing-latitude of the processes -painting and design together.

What changes have you noticed in teaching?

When I began here in 1968, I would say that only half the faculty was engaged in teaching. Now we have a good and caring faculty – no more unconscious state of routine “zombified” teaching.

How has your teaching changed?

Standards called for in NASAD  (National Association of Schools of Art and Design) helped me set a standard—not to go to automatic pilot. I combine some philosophy when I teach figure drawing, because in the beginning some students have a fear of drawing the human figure.  In this class, we watch old movies and observe great body movements. I know that it is connecting when in class, a student, Paloma Lidzy, sophomore, said, ‘ Professor Morrow, look at what you have done. I walk around campus, studying people now all the time and think, my – her calves are very pronounced!’

His next class that night was studying photography and the body, he explained to me. The class was going to study Paul Simon’s song “Kodachrome.” I’m humming it  to myself “Momma, don’t take our kodachrome— or Terry Morrow— away.”    read more >>

The artwork of Chris Voss (MFA candidate in painting) can be seen in an upcoming exhibition, Four Degrees of Abstraction, at the Agora Gallery, 530 W. 25th Chelsea, New York, NY 10001. 212-226-415, www.Art-Mine.com and www.Agora-Gallery.com. The reception will be at the gallery on October 8th, from 6:00 to 8:00 p.m.  The show begins October 2nd and ends October 23rd. Gallery hours are Tuesday through Saturday, 11:00 a.m. to 6:00 p.m.

Additionally, Voss now has gallery representation with Agora Gallery. More of his art work may be viewed at www.vossartstudio.net

New Gel kilns have been installed on the kiln yard-without mishap, too! Ceramics Associate Professors Juan Granados was relieved the walls were still standing. Associate Professor Von Venhuizen  and  he will start the year off with new equipment and a new facility since the move into the 3D Art Annex.  Granados and Venhuizen offer thanks to our Dean Carol Edwards and SoA Interim Director, Tina Fuentes, for the kilns.

“He made design a profession and a creative pursuit,” explains Alan Colvin, BFA in Design Communication 1982, while discussing his most influential professor and mentor, Frank Cheatham (SoA Professor of Art, Emeritus, 1973-1998 – now deceased).

Colvin is a partner in the prestigious Cue, a Brand Design Company based in Minneapolis, Minnesota.

Reminiscing about his days at Tech and how that time and those educators have impacted his business today brings up an outstanding pair of professors, Jane Cheatham, Associate Professor of Art, Emeritus, 1973-1998 – now deceased, and Professor Cheatham.

Colvin remembers a time when he had come to a crossroads in his college career. He had chosen to study architecture but he felt drawn to some design classes he had taken in his architectural degree plan. He talked to Mrs. Cheatham who had taught the design class and some of his other professors about his dilemma. She suggested Colvin talk to her husband, Frank- which he did.

Professor Cheatham suggested the young student attend a lecture by Louis Danziger, a renowned graphic designer of a half-century, and then, attend one of Cheatham’s classes. Colvin’s decision was made in favor of design communication, and Frank Cheatham became his first teacher and mentor.

“He was really a smart guy. What he was able to do was communicate. He just seemed to know how people would respond to imagery and design…He was charming, sometimes intimidating, but he was an effective teacher and able to gain your trust,” remembers Colvin. “It wasn’t uncommon for Cheatham to open his home to students to discuss their work. He had the personal power to motivate people.”

As a child growing up in Oklahoma and then, Dallas, Colvin was drawn to vintage signs, packaging and typography, and watching how his grandfather, a carpenter, and his mother, a seamstress, crafted things.    read more >>

Rolando Shaw, Woodshop Manager; and graduate students,Quinton Owens and Tohidi Siavash put the finishing touches on one of the Visual Studies rooms.

As the Interim Director, Professor Tina Fuentes, settles in to the Director’s office, and the Ceramics program has moved to the 3D Art Annex, there will be a few more changes space-wise for some of the staff and faculty. Visual Studies has the area to the South of the VRC (where ceramics used to be)—rooms B 12,13,14.  The rooms have been decked out with new paint and metal.  You can find Associate Professors Dennis Fehr, Ed Check and Assistant Professors Future Akins,and Carolyn Erhler this area.

Joe Arredondo, Director of Landmark Arts, can be found in the back of office 108A now while Ryan Scheckel, Adviser,  will be back in his former office 102B. Robert Terrell, Safety Coordinator, and Will Reid, Computer Lab Manager, will have offices on the 2nd floor of the Architecture Building in the computer lab. Jon Harper, Assistant to the Director for Branding and Marketing Communications, will be in the front space of office 108A while Debby Gibson, Senior Grant Writer, will be in 101#B with Sue Yager, Senior Business Assistant. Mark Bond, 3D Studio Area Technician. be moving into B16.

Visual Studies room

Visual Studies room

Those friendly, helpful folks, Senior Business Assistants, Sam Marchman and Gena Woods, will remain in the main area of 101. Department Business Manager, Connie Lamp, will also remain in her office.