Kathy Lovas was born in Duluth, Minnesota. She holds a B.S. degree in biology from St. Mary’s College, Notre Dame, Indiana and an MFA in photography from Texas Woman’s University in Denton. She is a 1995 recipient of a Mid-America Arts Alliance National Endowment for the Arts Fellowship in photography and was a 1991 fellow of the American Photography Institute National Graduate Seminar at New York University.
Selected solo exhibitions of her work include Lawndale Art Center, Galveston Art Center, Women and Their Work, and Handley-Hicks Gallery, Fort Worth. She has been a resident artist at Project Row Houses in Houston, Connemara Conservancy in Allen, TX and the Atlantic Center for the Arts in Florida. She recently created site-specific installations at UNT on the Square in Denton, DiverseWorks, the Art Museum of Southeast Texas, the Arlington Museum of Art, UT San Antonio Satellite Space at Blue Star, and Warehouse Theater in Greenville, SC.
Kathy lives in Dallas, Texas and has been on the photography faculty in the College of Visual Arts and Design at the University of North Texas in Denton since 1992. In addition, she has held teaching appointments at Southern Methodist University, UT Arlington, UT Dallas, and Texas Woman’s University. Kathy Lovas’ unique artworks constitute a career-long investigation into the ontology of photography. She seeks an answer to the question, “What is photography?” Freely moving between photography and sculpture, her projects are often based on memories from her childhood or on familiar subject matter from around her home or studio. Family snapshots, tables, and a dining room chair recur throughout her oeuvre. Among Lovas’ best-known works are room-sized installations and smaller sculptural pieces, in which she explores ideas of indexicality, the archive, and the frame. Her newest works are inspired by the glitché, literally a mistake or malfunction in the digital imaging process, something broken and sad. However, Kathy’s photographs intentionally transform the glitché into something new, beautiful, optimistic, and exciting. Like all her work, they are signs that speak in multiple ways to the rapidly evolving definition of photography and invite viewers’ imaginative participation in our current post-internet collective image environment.