Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing (installation view), 2014. Courtesy the artist and the Contemporary Arts Museum Houston.

Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing (installation view), 2014. Courtesy the artist and the Contemporary Arts Museum Houston.

Past Exhibition

Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing

April 27, 2014 - August 3, 2014
Brown Foundation Gallery


For nearly two decades since his graduation from Temple University, Trenton Doyle Hancock has brought to life a cast of colorful—and often not so colorful—characters through his work. At the center of Hancock’s storytelling is an imaginative and epic narrative about fictional creatures called the Mounds, who populate a wildly fantastic, inventive landscape. The artist’s use of vivid imagery and mythology has earned him national and international recognition and prompted a fascination with the foundation of his practice. What emerges upon further examination of those foundations is a wide-range of influences including comics, graphic novels, cartoons, music, and film. While Hancock’s paintings have become widely known, his drawings–both discrete and monumental–have not been fully explored before now. Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing is the first in-depth examination of Hancock’s extensive body of drawings, collages, and works on paper.

The exhibition features more than two hundred works of art as well as a collection of the artist’s notebooks, sketchbooks, and studies, many showing the preparation for several public commissions. Comprehensive in scope, this survey includes works from 1984 to 2014, chronicling the foundation of the artist’s prolific career. The exhibition provides a glimpse into the evolution of Hancock’s idiosyncratic vision beginning in his childhood. Ephemera such as early childhood drawings and the artist’s comic strip that ran in a college newspaper are featured to allow viewers to see the genesis of the artist’s mythology as well as the evolution of his practice.

Skin and Bones includes a range of the artist’s presentation of drawings from graphite on paper to paper affixed to canvas, from the use of collage to the use of wall as an expansive plane for monumental works. Inherent in the presentation of these drawings is the exploration of the artist’s conceptual framework and the narratives that manifest throughout his bodies of work. The exhibition presents a more focused concentration on his use of line and mark making as well as his approach to the tradition of drawing and his ability to implode that tradition through mechanical dexterity and conceptual weight.

The exhibition is organized into five sections:

Epidemic includes ephemera such as the artist’s early sketches, cartoons that he created for his college newspaper first at Paris Junior College and then later at Eastern Texas State University (now Texas A&M at Commerce), and features the debut of a new series of thirty drawings entitled Step and Screw.

The Studio Floor is a series of ten drawings that Hancock credits as the catalyst to his subsequent practice of bringing the graphic narrative of comic books and cartoons into his contemporary art practice.

Moundish includes drawings associated with the artist’s iconic mythology of the Mound: its birth, life, and death; the cosmology of characters that it encounters; and the struggles between good and evil.

From the Mirror examines self-portraiture within his work from the past two decades.

The final section, The Liminal Room, showcases stand-alone works that explore the artist’s experimentation with drawing as a medium and practice.

Among the works featured are monumental, site-specific wall drawings, wallpaper created by the artist and produced by the Fabric Workshop and Museum in Philadelphia, as well as the debut of a digital animation by the artist. The exhibition is organized by Valerie Cassel Oliver, CAMH Senior Curator.  The exhibition will be on view at the Contemporary Arts Museum Houston through August 3, 2014 before traveling to the Akron Art Museum in Ohio where it will be on view September 6, 2014, to January 4, 2015, The Studio Museum in Harlem from March 25 to June 28, 2015, concluding at the Virginia Museum of Contemporary Art from September 10–December 31, 2015.


Trenton Doyle Hancock: Skin and Bones, 20 Years of Drawing is organized by Valerie Cassel Oliver, Senior Curator at the Contemporary Arts Museum Houston.


Trenton Doyle Hancock: Bare Bones, 20 Years of Drawing is supported by a generous grant from the National Endowment for the Arts. Additional support is provided by Anonymous, Brad and Leslie Bucher, Burning Bones Press, Sara Paschall Dodd, Fabric Workshop and Museum, Cullen Geiselman, James Cohan Gallery, Lester Marks, Judy and Scott Nyquist, Lea Weingarten, and Peter and Linda Zweig.

This exhibition has been made possible by the patrons, benefactors and donors to the Museum’s Major Exhibition Fund: Major Patron – Chinhui Juhn and Eddie Allen, Fayez Sarofim, and Michael Zilkha. Patrons – Mr. and Mrs. I. H.Kempner III, Ms. Louisa Stude Sarofim and Mr. Wallace Wilson. Benefactors – George and Mary Josephine HammanFoundation, Louise D. Jamail, Anne and David Kirkland, KPMG, LLP, Beverly and Howard Robinson, AndrewSchirrmeister III and Leigh and Reggie Smith. Donors – Bank of Texas, Bergner and Johnson Design, JereannChaney, City Kitchen, Elizabeth Howard Crowell, Dillon Kyle Architecture, Sara Paschall Dodd, Ruth Dreessen and Thomas Van Laan, Jo and Jim Furr, Barbara and Michael Gamson, Brenda and William Goldberg, Jackson and Company, King & Spalding L.L.P., Marley Lott, Belinda Phelps and Randy Howard, Lauren Rottet, Susan Vaughan Foundation, Inc., and Karen and Harry Susman.

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