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                <text>Article featured in the 1982 edition of the Mirage Yearbook about the evolution of the Trinity Review into a publication that includes "essays, critical works and debates, as well as poetry and prose." The articles also mentions that editor Sherri Hough expanded the sources for the Review to people outside of Trinity University.</text>
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        <name>Sherri Hough, Terry Ybanez</name>
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                <text>"Visual arts synthesis coming soon"</text>
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                <text>Article featured in the January 28, 1983 edition of the Trinitonian and written by Cathy Cooke. The article discusses Synthesis, an art department sponsored publication that will "review the past year of visual arts with student essays, exhibit critiques, and print repriduction. Sherri Hough conceived the idea with Terry Ybanez the perivious semester. Nivia Gonzalez is an art publicity assitant. The magazine will also have an exhibit to show work that cannot be reproduced in the magazine.</text>
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                <text>This item may be protected by copyright law (Title 17, U.S. Code). It may only be used for noncommercial educational and scholarly purposes. Please contact Special Collections and University Archives at archives@trinity.edu to inquire about permission to use a specific digital resource.</text>
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        <name>Sherri Hough, Terry Ybanez, Nivia Gonzalez, Cheryl Finfrock, Susie Birkeland, Carol Crump, Cindy Whitehurst</name>
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                <text>"Review loses student autonomy"</text>
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                <text>Article featured in the April 23, 1982 edition of the Trinitonian and written by Scott McClain. This article is a continuation of "Review moves to English department," featured in the April 16, 1982 edition of the Trinity Review. More student and faculty voices were included in this article. Terry Ybanez tried to encourage the inclusion of art, even getting Robert Tiemann on board to advise but since he was unable to attend a meeting with the English professors, the idea fell through and the new Trinity Review went ahead with only including art as illustration.</text>
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                <text>Trinity Review</text>
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                <text>Scott McClain</text>
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                <text>This item may be protected by copyright law (Title 17, U.S. Code). It may only be used for noncommercial educational and scholarly purposes. Please contact Special Collections and University Archives at archives@trinity.edu to inquire about permission to use a specific digital resource.</text>
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        <name>Sherri Hough, Frank Kersnowski, Terry Ybanez, Robert Tiemann</name>
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                <text>"Review moves to English department"</text>
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                <text>Article featured in the April 16, 1982 edition of the Trinitonian written by Dave D. Arthur discussing the move from the Trinity Review to the English department. English department staff noted a general student disinterest in the Review and also a need for funding separate from the student activity board. Editor of the Review, Sherri Hough pushed back against this decision and marked it as something that was being taken away from students.</text>
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                <text>Trinity Review</text>
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                <text>Special Collections and Archives, Coates Library, Trinity University</text>
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                <text>Dave D. Arthur</text>
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                <text>This item may be protected by copyright law (Title 17, U.S. Code). It may only be used for noncommercial educational and scholarly purposes. Please contact Special Collections and University Archives at archives@trinity.edu to inquire about permission to use a specific digital resource.</text>
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        <name>Sherri Hough, Frank Kersnowski</name>
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                <text>"San Antonio Museum of Modern Art closes"</text>
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                <text>Article featured in the September 28, 1979 issue of the Trinitonian and written by Carolyn B. Winton providing a summary of the closing of SAMOMA and the reasons why the owners had to close down the physical gallery space. The article also discusses the overall history of SAMOMA and its move from Woodlawn to McCullough. The article also discusses the owners hope for future exhibits and keeping SAMOMA alive. </text>
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                <text>September 28, 1979</text>
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                <text>Contemporary art, SAMOMA</text>
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                <text>Special Collections and Archives, Coates Library, Trinity University</text>
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                <text>Carolyn B. Winton</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>This item may be protected by copyright law (Title 17, U.S. Code). It may only be used for noncommercial educational and scholarly purposes. Please contact Special Collections and University Archives at archives@trinity.edu to inquire about permission to use a specific digital resource.</text>
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        <name>Norman Avila, Don Evans, George Horner, Larry Graeber</name>
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                <text>"Plastic artist opens exhibit"</text>
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                <text>Article featured in the July 6, 1979 edition of the San Antonio Express News featuring an exhibition listing for Robert Gonzalez at SAMOMA taking place through July 29. The article mentions current exhibitions by Robert Gonzalez on display in San Antonio and his process for creation his plastic relief paintings.</text>
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                <text>July 6, 1979</text>
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                <text>This item may be protected by copyright law (Title 17, U.S. Code). It may only be used for noncommercial educational and scholarly purposes. Please contact Special Collections and University Archives at archives@trinity.edu to inquire about permission to use a specific digital resource.</text>
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                <text>In this article published in the January 27, 1977 edition of the San Antonio Express, Robert Tiemann provides a critical review of a three person exhibition at SAMOMA done by Felipe Reyes, David Storey, and Gerry Frost</text>
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                <text> all related to UTSA as either faculty or part-time faculty. Tiemann notes "The San Antonio Museum of Art...is really a cooperative gallery and not a museum. Its organizers selcted the name to attract attention, which it has done." "Since that time [SAMOMA's founding] they have had three art exhibitions, two evenings of film, and on of art lecture."</text>
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                <text>Special Collections and Archives, Coates Library, Trinity University</text>
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                <text>This item may be protected by copyright law (Title 17, U.S. Code). It may only be used for noncommercial educational and scholarly purposes. Please contact Special Collections and University Archives at archives@trinity.edu to inquire about permission to use a specific digital resource.</text>
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        <name>Robert Tiemann, Felipe Reyes, Gerry Frost, David Storey</name>
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                <text>Photograph of Roberto Gonzalez making an abstract, plastic relief painting. This image featured in the exhibition flyer for his July 1979 show at the San Antonio Museum of Modern Art. </text>
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                <text>1970s</text>
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                <text>Contemporary art, SAMOMA</text>
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                <text>Roberto Jose Gonzalez</text>
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                <text>Special Collections and Archives, Coates Library, Trinity University</text>
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            <name>Rights</name>
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              <elementText elementTextId="4854">
                <text>This item may be protected by copyright law (Title 17, U.S. Code). It may only be used for noncommercial educational and scholarly purposes. Please contact Special Collections and University Archives at archives@trinity.edu to inquire about permission to use a specific digital resource.</text>
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                <text>"Artists suggest better ideas for San Antonio sites"</text>
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                <text>Article featured in the July 18, 1982 edition of the San Antonio Express discussing a small sampling of the ideas within the Site Specific Exhibit at the Charlton Gallery—the latest project by the people involved in SAMOMA, now known as the "Museum Without Walls." Includes a small history behind the Museum Without Walls concept and then includes various proposals by the artists in the exhibit.</text>
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                <text>July 18, 1982</text>
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                <text>SAMOMA, contemporary art</text>
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                <text>Special Collections and Archives, Coates Library, Trinity University</text>
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            <name>Contributor</name>
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                <text>Lillian Thomas</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="4845">
                <text>This item may be protected by copyright law (Title 17, U.S. Code). It may only be used for noncommercial educational and scholarly purposes. Please contact Special Collections and University Archives at archives@trinity.edu to inquire about permission to use a specific digital resource.</text>
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        <name>Gene Elder, Don Evans, Norman Avila, Naomi Shihab Nye, Susan Monday</name>
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          <element elementId="50">
            <name>Title</name>
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                <text>"'Modern Art' finds a home in new museum"</text>
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                <text>Article featured in the January 28, 1977 edition of the Trinitonian providing a brief summary of the beginning of SAMOMA with a focus on the questions of what is modern art and how SAMOMA was breaking the mold. The article includes quotes from Don Evans and George Horner.</text>
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                <text>January 28, 1977</text>
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              <elementText elementTextId="4828">
                <text>SAMOMA, contemporary art</text>
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                <text>Trinity University</text>
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                <text>Trinitonian</text>
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                <text>Special Collections and Archives, Coates Library, Trinity University</text>
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              <elementText elementTextId="4832">
                <text>Sally Jean Smith</text>
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            <name>Rights</name>
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                <text>This item may be protected by copyright law (Title 17, U.S. Code). It may only be used for noncommercial educational and scholarly purposes. Please contact Special Collections and University Archives at archives@trinity.edu to inquire about permission to use a specific digital resource.</text>
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        <name>Norman Avila, Don Evans, George Horner</name>
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                <text>Con Safo Artists</text>
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            <description>An account of the resource</description>
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                <text>Photograph of members of Con Safo ca. 1972. Members are unidentified in the photo. </text>
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                <text>Con Safo, Chicano Movement, Chicano art</text>
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                <text>Unknown</text>
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                <text>Mel Casas Papers, 1963-1998, Box 2, Folder 15, Folders and Slides of Mel Casas, 1970s, 1972-1977, Archives of American Art, Smithsonian Institution. </text>
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                <text>Special Collections and Archives, Coates Library, Trinity University</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="4823">
                <text>This item may be protected by copyright law (Title 17, U.S. Code). It may only be used for noncommercial educational and scholarly purposes. Please contact Special Collections and University Archives at archives@trinity.edu to inquire about permission to use a specific digital resource.</text>
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            <name>Title</name>
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                <text>"Art presents a dilemma"</text>
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                <text>In this article featured in the August 24, 1978 edition of the San Antonio Express, Robert Tiemann reviews an exhibition by Rolando Briseno and David Elizondo at the San Antonio Museum of Modern Art. He calls both men "conceptual artists" and proceeds to describe their exhibitions. Tiemann is critical of both men's work while also providing praises. Tiemann categorizes both of their work as conceptual art and notes at the end of the article that in the end he finds conceptual art lacking compared to other high quality painting and sculpture. </text>
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                <text>Contemporary art, destruction and vandalism</text>
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                <text>Special Collections and Archives, Coates Library, Trinity University</text>
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                <text>This item may be protected by copyright law (Title 17, U.S. Code). It may only be used for noncommercial educational and scholarly purposes. Please contact Special Collections and University Archives at archives@trinity.edu to inquire about permission to use a specific digital resource.</text>
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        <name>Bill Bristow</name>
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        <name>David Elizondo</name>
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        <name>Jim Stoker</name>
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                <text>Student artists petition for more exhibit space at Trinity</text>
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                <text>Article featured in the November 3, 1978 issue of the Trinitonian written by Rod Snyder. Snyder discusses a petition signed by art students upset with the lack of exhibition space at Trinity. Students interviewed for the article mention heavy traffic, public areas, lack of security, theft, and vandalism as current issues with exhibition spaces being used. A student proposes a solution for the lackluster exhibition space. David Garza and David Elizondo reported damage to their exhibits.</text>
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