Lisa Bulawsky: Everything Is Still Happening

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LI SA B U L AW SK Y Everything Is Still Happening

bruno david gallery

Lisa Bulawsky

Everything is Still Happening June 8 - July 27, 2018 Bruno David Gallery 7513 Forsyth Boulevard Saint Louis, Missouri 63105, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Owner/Director: Bruno L. David This catalogue was published in conjunction with the exhibition “Everything is Still Happening” at Bruno David Gallery.

Editor: Bruno L. David Catalogue Designer: Lauren Rose Mann and Taylor Fulton Designer Assistant: Claudia R. David Printed in USA All works courtesy of Lisa Bulawsky and Bruno David Gallery Photographs by Bruno David Gallery Cover image: NP-C018_abstract_black4, 2017 Hand-printed collage on inkjet print made from scanned newsprint backing sheet 34.50 x 41 inches (87.63 x 104.14 cm) First Edition Copyright © 2018 Bruno David Gallery All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery

CONTENTS

LISA BULAWSKY: EVERYTHING IS STILL HAPPENING

BY DANIEL STUMEIER AFTERWORD

BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

LISA BULAWSKY: EVERYTHING IS STILL HAPPENING

BY DANIEL STUMEIER

Lisa Bulawsky’s solo exhibition, Everything is Still Happening, features her ongoing series, NP-C (amor-fati). In these works on paper she combines hand-printed collage on inkjet prints made from scanned newsprint backing sheets. Referencing her printmaking practice, Bulawsky reproduces serendipitous moments that are essential processes but are usually discarded, preserving residues like swaths of color rolled on with a brayer or crinkles in scrap papers.

Inspired by these accidental marks, Bulawsky collages materials cultivated from her previous works, resulting in a purposely disjunctive series; sparse compositions have isolated passages of clutter, and abstraction is combined with imagery. Methodically cut out shapes and delicate incisions create nuanced, layered surfaces that inspires closer inspection, divulging a phrase or image that brings us back from these material reveries and back to reality.

NP-C_015_newsprint13 is comprised of a hazy bubblegum pink rectangle bracketed by a light blue upside-down L shape on the left.

Formed by accumulated brayer marks fortuitously made on a newsprint backing sheet while working on other projects, there is an implied sense of depth and airy atmosphere as the layered marks create overlapping shapes. These elements have been scanned and reproduced as an inkjet print onto which Bulawsky has collaged additional elements. All the works in her series, NP-C (amor-fati), are made using this process, taking inspiration from the incidental moments and using them as the foundations to produce new pieces.

In NP-C_015_newsprint13, the artist responds to the residual marks on the printed substrate, filling in certain vacant shapes with collage. One of these is an irregular trapezoid formed by several circular bits of black paper, creating the illusion of an opening beyond the picture plane that reveals a star-studded inky void. Along the composition’s bottom edge are two larger asymmetrical shapes; these are filled with rectangular collaged pieces and recall earthly mounds or monumental forms. The left shape looks like it is constructed from brick while the one on right has a lighter, linear framework whose traceries look like gridded roads on a map. The space between these two shapes is filled with blue, giving the impression of rising water, and there is a hint of a threat in this seemingly innocent work.

Another piece, NP-C020_abstract_orange_dots, as the title suggests, can be appreciated for its formalism but is suggestive of other interpretations. Divided into two sections, the composition’s left third is comprised of thin, vertical slats of primary colors, olive green, and black. Within this grouping, an opening partially reveals the word, “AMERICA” upside-down. The choice of this noun, and that it is turned on its head, is significant considering the current administration whose rhetoric is driven by resentment and continues to

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normalize nativism and xenophobia. The rest of the composition is occupied by an earthy pink square with several black holes and looks like an adobe wall pockmarked with bullets.

NP-C017_newsprint10 depicts two headless, shirtless men wearing orange-brown breeches with fists raised, ready to spar. A vortex of cartoonish flower shapes separate them, and within this bustle’s void are a group of blank picket signs. The only text in the entire composition is the phrase, “WE MOURN,” diminutively scaled and tucked away from the focal scene in the center; again we are brought back to the reality of frustration—protests and mourning in the face of political indifference.

Some pieces seem lighthearted at first glance, and all share a sense of play in terms of shape, color, composition, and material explorations. NP-C007_newsprint9 features a lap dog surrounded by concentric rings of candy colored fragments. The scene appears harmless, but the fragments encroaching upon the dog hint at something more ominous than their saccharine palette initially suggests.

In NP-C019_newsprint28 a large globular drip is transfixed in a vertical, red rectangle to the right of which multiple eyes gaze listlessly from a doodled cloud. The cloud recalls a comic cartoon tussle; more specifically it resembles an explosion that entraps numerous victims. Interpreted as such, the other elements in the work become charged; the large drip shifts from a painterly gesture to blood or toxic goo. The cluster of inanimate forms in the composition’s center are abstract, but they look suspiciously corpselike when considered alongside the piece’s other imagery.

By appropriating and reconfiguring previous works, Bulawsky mediates complex histories in new orientations, creating enigmatic narratives. Everything is Still Happening contains moments that require us to slow down, and the series, NP-C (amor-fati), encourages us to find clues that jolt us out of complacency and see current and past events in new ways. The Latin phrase amor-fati translates as “love of fate.” It indicates a philosophy characterized by accepting events or situations that occur in life. In this light, Bulawsky’s work feels cathartic for her and her audience. This series is not only a record of the artist’s studio activities but also a reflection of what has been happening in St. Louis and the world.

Compiled from disparate elements such as accidental marks, imagery, and text, Bulawsky alludes to events without being explicit in her intentions. She invites viewers to unpack personal and collective histories embedded within the work by recomposing and re-presenting these in a manner that is not linear but perhaps truer to how we perceive events in our lives.

Daniel Stumeier is a St. Louis-based writer. This text is one in a series of the gallery’s exhibitions written by fellow gallery artists and friends.

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AFTERWORD

BY BRUNO L. DAVID

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I am pleased to present a new exhibition titled “Everything Is Still Happening” by Lisa Bulawsky at the Bruno David Gallery.

This is the artist’ first solo exhibition with the gallery.

Everything Is Still Happening exhibits Bulawsky’s recent and ongoing body of work, NP-C (amor fati). This is a series of collages that considers time as a broken lens, not linear or cyclical but kaleidoscopic. All works in the series are generated from elements of past studio works, invoking forgotten histories. Handprinted works are cut up and collaged onto inkjet prints of newsprint backing sheets – byproducts of the printmaking process. Each collage is a navigation of the terrain suggested by the newsprint image – the color, marginalia, and residue found there. Each collage is also an intervention into the past by current events, both inside and outside of the studio, in the time and place of their making – St. Louis, Missouri between 2015 and the present, 2018.

Lisa Bulawsky is a visual artist widely recognized for her works on paper, installation, and temporary public projects. Her works have been exhibited in the United States and abroad, including the International Print Center in New York, Sweden’s Dalarnas Museum, the Los Angeles Municipal Art Gallery, and the Urban Institute of Contemporary Art in Grand Rapids, Michigan. Her work has also been featured in Printmaking at the Edge (A&C Black, 2006), as well as Printmaking: A Complete Guide to Materials and Processes (Prentice Hall, 2009) and American Print Makers (Shiffer, 2014).

Lisa Bulawsky (b. 1962, Sunnyvale, CA) is based in St. Louis, MO. She received her MFA from the University of Kansas, and a BA from the University of California, Santa Cruz. She is a Professor of Art at the Sam Fox School of Design & Visual Arts, Washington University in St. Louis, MO, and the Director of Island Press.

Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery since its founding in 2005. I would like to express my sincere thanks to Daniel Stumeier for a very thoughtful essay.

I am deeply grateful to Lauren Rose Mann and Taylor Fulton, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Cleo Azariadis, Haleigh Givens, Jin Xia, Taylor Fulton, Thomas Fruhauf, and Peter Finley.

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CHECKLIST & IMAGES OF THE EXHIBITION

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NP-C018_abstract_black4 2017 hand-printed collage on inkjet print made from scanned newsprint backing sheet 34 1/2 x 41 inches (87.63 x 104.14 cm)

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NP-CO13_residue6 2017 hand-printed collage on inkjet print made from scanned newsprint backing sheet 32 x 43 inches (81.28 x 43 cm)

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NP-C020_abstract_orange_dots 2018 hand-printed collage on inkjet print made from scanned newsprint backing sheet 30 1/2 x 42 inches (77.47 x 106.68 cm)

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NP-CO07_newsprint9 2016 hand-printed collage on inkjet print made from scanned newsprint backing sheet 32 x 43 3/4 inches (81.28 x 111.13 cm)

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NP-C012_faces_died2010 2017 hand-printed collage on inkjet print made from scanned newsprint backing sheet 32 x 43 inches (81.28 x 109.22 cm)

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NP-CO17_newsprint10 2016 hand-printed collage on inkjet print made from scanned newsprint backing sheet 44 x 66 1/2 inches (111.76 x 168.91 cm)

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NP-C009_history7 2015 hand-printed collage on inkjet print made from scanned newsprint backing sheet 30 x 42 inches (76.20 x 106.68 cm)

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NP-CO19_newsprint28 2018 hand-printed collage on inkjet print made from scanned newsprint backing sheet 31 3/8 x 44 inches (79.69 x 111.76 cm)

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NP-C_015_newsprint13 2018 hand-printed collage on inkjet print made from scanned newsprint backing sheet 44 x 63 1/2 inches (111.76 x 161.29 cm)

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NP-CO6_flowers_red_brown 2015 hand-printed collage on inkjet print made from scanned newsprint backing sheet 29 x 38 inches (73.66 x 96.52 cm)

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NP-C016_pollock_woodcut_square 2017 hand-printed collage on inkjet print made from scanned newsprint backing sheet 44 x 32 inches (111.76 x 81.28 cm)

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NP-C002_black_dotssquares 2015 hand-printed collage on inkjet print made from scanned newsprint backing sheet 44 x 61 inches (111.76 x 154.94 cm)

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NP-C001_residue4 2015 hand-printed collage on inkjet print made from scanned newsprint backing sheet 30 x 41 inches (76.20 x 104.41 cm)

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NP-CO04_tan_blue 2015 hand-printed collage on inkjet print made from scanned newsprint backing sheet 44 x 65 inches (111.76 x 165.10 cm)

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NP-C011_abstract_black2 2016 hand-printed collage on inkjet print made from scanned newsprint backing sheet 31 x 43 inches (78.74 x 109.22 cm)

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NP-CO05_abstract_orange1 2015 hand-printed collage on inkjet print made from scanned newsprint backing sheet 26 1/2 x 43 inches (67.31 x 109.22 cm)

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NP-C010_flowers_red_stencils 2016 hand-printed collage on inkjet print made from scanned newsprint backing sheet 31 x 43 inches (78.74 x 109.22 cm)

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NP-CO14_abstract_orange1 2017 hand-printed collage on inkjet print made from scanned newsprint backing sheet 34 x 43 inches (86.36 x 109.22 cm)

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Lisa Bulawsky: Everthing is Still Happening (installation view)

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LISA BULAWSKY Lives and works in St. Louis, Missouri

EDUCATION 1995 1990 1989

MFA, Printmaking (Honors), University of Kansas Graduate Certificate, Studio Art, University of California, Santa Cruz BA, Studio Art, University of California, Santa Cruz

SOLO EXHIBITIONS 2018 2015

2014 2012 2011 2007 2004 2003 2001 1998 1997

1995 1992

Everything is Still Happening, Bruno David Gallery, St. Louis, MO June-July (catalog) A Clearing of Measures, Eleanor D. Wilson Museum, Hollins University, Roanoke, VA The Accident Event Index, Gallery 406, Elon University, Elon, NC The Accident, Martin Wong Gallery, San Francisco State University, CA Useless the Flowers, Robert F. DeCaprio Gallery, Moraine Valley College, Chicago, IL Four Chapters in the Present We Were, Millstone Gallery, COCA, St. Louis, MO My American History in Flashbulb Memories, Nancy Spirtas Kranzberg Gallery at The Sheldon Art Galleries, St. Louis, MO Merry Folly (all fall down), Philip Slein Gallery, St. Louis, MO Love Stories, Part 2 (adjustable couplings), Urban Institute of Contemporary Art, InSpace Gallery, Grand Rapids, MI Problem Plays, Artemisia Gallery, Chicago, IL Picking from the Bone Pile, St. Louis Community College at Forest Park Gallery, St. Louis, MO The Taming Power of the Small, Anderson O’Brien Gallery, Omaha, NE The More Things Change, Hartnett Hall Gallery, Northwest Art Center, Minot, ND Yinshe Babies, Art and Design Gallery, University of Kansas, (MFA solo thesis exhibition) Lisa Bulawsky: Works on Paper, India Joze Art Center, Santa Cruz, CA

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SELECTED GROUP EXHIBITIONS 2018 Small Worlds, Bruno David Gallery, St. Louis, MO (catalog) 2017 Current States, University of Kansas Art and Design Gallery, Lawrence, KS

Collage Mash Up, Edwardsville Art Center, Edwardsville, IL, organized by Brigham Dimick 2016 Transmission (Stories for Fishes), a project by Fifty-­Fifty artist collective (Lisa Bulawsky and Laurencia Strauss), O Cinema: An Independent

Cinema and Art Space, Miami, FL

International Print Biennale, Parker Harris, Newcastle, UK, works selected by Christiane Baumgartner, David Cleaton-­Roberts, and Sune Nor dgren. (catalog), neo:printprize2016, neo:gallery, Bolton, UK (catalog)

_scape, Curtis Arts & Humanities Center, Greenwood Village, CO, curated by Kim Morski

Pull, Frankie G. Weems Gallery, Meredith College, Raleigh, NC, curated by Bill Fick and Beth Grabowski

Printmaking in St. Louis Now, Sheldon Art Galleries, curated by Olivia Lahs-­Gonzalez 2014 Impress(ed), The Alfred Berkowitz Gallery, University of Michigan, Dearborn, MI

Feel the D, Re:View Contemporary, Detroit, MI

Midwest Matrix, Grunwald Gallery of Art, Henry Radford Hope School of Fine Arts, Indiana University-­Bloomington, IN

Beyond Violet with the Emperor Scorpion, Des Lee Gallery, St. Louis, MO A Tribute, The Carroll Gallery, Tulane University, New Orleans, LA 2013 International Print Triennial – Krakow — Falun 2013, Dalarnas Museum, Falun, Sweden, curators Monika Piorkowska & Zekeriya Saribatur *

This is Not a Museum: Portable and Lurking, Corcoran Gallery of Art, Washington D.C., curated by Martí Peran, University of Barcelona

Where is Printmaking? In Search of New Meanings, Opole Contemporary Art Gallery, Opole, Poland, curated by Aleksandra Janik (catalogue)

Let’s Talk About Love, Baby, an ongoing project begun in 2010 by Chido Johnson, exhibited: Printed Matter, New York, NY (2013);

Indianapolis Museum of Contemporary Art, Indianapolis, IN (2013); Museum of Contemporary Art, Detroit, MI (2012); Spencer Museum of

Art, Lawrence, KS (2012); Craft Alliance Gallery, St. Louis, MO (2011) 2012 Printworks 2012, AIR: Artist Image Resource, Pittsburgh, PA. Juror — Nicholas Chambers, Curator, Andy Warhol Museum

We’re in this Together, Perlow–Stevens Gallery, Columbia, MO, curated by Kim Morski

K I N, Farmstand Gallery, Bolinas, CA, curated by Kacie Erin Smith

Remembering 9/11: An Exhibit, Olin Library Special Collections, American Culture Studies and Washington University Libraries, St. Louis, MO,

curated by Dave Walsh and Heidi Kolk 2011 New Prints 2010, Visual Art Center, University of Texas, Austin, TX 2010 New Prints 2010/Autumn, IPCNY International Print Center New York, NY, selected by Jennifer McGregor, Katie Michel, John Newman, and

Martina Yamin.

Print Summit: A Survey of Contemporary Printmaking, Wellington Gray Gallery, East Carolina University, Greenville, NC, curators Michael

Ehlbeck and Matt Egan (catalogue/book)

Making War, DIY Gallery, Los Angeles, CA, curated by Cassandra Simon

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2010 National Invitational Printmaking Exhibition, Southeastern Contemporary Art Gallery, Southeastern Louisiana University, Hammond, LA, cura tor Anita Jung

Copy Jam, Art in the Age of Mechanical Reproduction, curated by Printeresting.org, Philadelphia, PA 2010 Social Remarques, Gershman Hall Gallery, The University of the Arts, Philadelphia, PA, curated by Mary Phelan

Old Media, Old News, Luminary Center for the Arts, St. Louis, MO, curated by James McAnally 2009 (S)edition, Urban Institute for Contemporary Art, Grand Rapids, MI, juried by Mark Pascale, curator Prints and Drawings, Art Institute of Chicago

Seeking Art Bargain Basement, Select Media Festival, Co-­Prosperity Sphere, Chicago, IL, curated by Hui-­min Tsen

Prints About Place, Baker Center for the Arts, Martin Gallery, Muhlenberg College, Allentown, PA, curated by Amze Emmons

Multiple x Multiple, Ewing Gallery, University of Tennessee, Knoxville (catalogue), curated by Beauvais Lyons

LAPS 20th National Exhibition, Los Angeles Municipal Art Gallery, L.os Angeles, CA. Juror — Peter Frank (catalogue)

Outlaws and Wild Animals, Rebus Works Gallery, Raleigh, NC, curated by Bill Fick

Seeking Art Bargain Basement, NFO XPO, Version Fest ’09, Chicago, IL, curated by Hui-­min Tsen

Time Well Spent, Regional Arts Commission Gallery, St. Louis, MO, organized by Tom Reed 2008 New Prints Spring 2008, IPCNY International Print Center New York, NY. Juror — Jane Hammond

Objectivos Mobiles/Moving Targets, Buenos Aires, Argentina, organized by John Hitchcock

Outlaw Printmakers, Contemporary Art Museum, St. Louis, MO, organized by Tom Huck

Northern Illinois University Printmaking Invitational Triennial, Jack Olson Gallery, Dekalb, IL (catalogue), organized by Michael Barnes

20/20 Vision, The Fire House Gallery, Louisville, GA, organized by Kristin Casaletto (catalogue) 2007 The Falun Triennial 2007– Contemporary Print Art, Dalarnas Museum, Falun, Sweden, derived from the book ‘Printmaking at the Edge’ by

Richard Noyce, (catalogue)

The Edge, The Museum of Photography, Seoul, South Korea, organized by Chang-­Soo Kim and derived from the book ‘Printmaking at the

Edge’ by Richard Noyce, (catalogue)

The Shiftland Almanac, Philip Slein Gallery, St. Louis, MO (two-­person exhibition with Michael Krueger)

Printmatters, 5ive and 40rty Gallery, Winston– Salem, NC

Multiple Impressions: Voices in Contemporary Printmaking, Broad Street Gallery, Athens, GA

Four Aces: Large Format Print Exhibition, traveled through 2009 and exhibited:

Common Wealth Gallery, Madison, WI

Bruno David Gallery, St. Louis, MO

LSU School of Art Gallery, Baton Rouge, LA

University of Louisiana, Lafayette

Being Open: 30 years, 30 artists, 30 careers, UICA, Grand Rapids, Michigan 2006 Drawing No Conclusions: A Survey of Contemporary Drawing, Urban Institute of Contemporary Art, Grand Rapids, MI, juror -­--Dominic Molon,

Associate Curator, Museum of Contemporary Art, Chicago

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2006 Minnesota Print Biennial, Katherine Nash Gallery, Minneapolis, MN. Jurors — John Buck, artist, Barbara Yoshida, artist, and Ken Bloom,

Director, Tweed Museum (catalogue)

Small Works, Philip Slein Gallery, St. Louis, MO

Eye Gouge, Slingshot Gallery, Madison, WI 2005 Anthropology in Print, The Gallery at UTA, Arlington, TX

Girls, Girls, Girls, Aalice Gallery, Kansas City, MO 2004 Out of the Frame: Installations, The Loft at the Mill, Lincoln, NE

Outlaw Printmakers Show, exhibited at:

Morgan Gallery, Kansas City, MO; Big Cat Gallery, New York, NY; Kellie Rae Theiss Gallery, Minneapolis, MN; Slugfest Gallery, Austin, TX; Philip

Slein Gallery, St. Louis, MO

Printmaking: A Contemporary Tradition, Schmidt Art Center, Southern Illinois College, Belleville, Illinois.

Paperwork: small works on paper, Regional Arts Commission Gallery, St. Louis, MO

St. Louis Print and Drawing Invitational, Sheldon Art Galleries, St. Louis, MO 2003 Tomato/Tomato, University of Arkansas Fine Arts Center Gallery, Fayetteville, AR (two person exhibition with Tom Reed)

2003 North American Print Biennial, 808 Gallery, Boston, MA. Juror — Clifford Ackley, Curator of Prints and Drawings, Museum of Fine Arts Boston

29th Bradley National Print and Drawing Exhibition, Heuser Art Center, Bradley University, Peoria, IL. Juror, Karen Kunc (catalogue)

Grand Opening Exhibition, Philip Slein Gallery St. Louis, MO

Slop Art’s Supermarket Catalogue, 2003 2002 Mixed Metaphors: blurring the geography of printmaking, technology & art, University of Wyoming Art Museum, Laramie, WY (catalogue)

Printed Narratives – Michael Barnes, Lisa Bulawsky, and Michael Krueger, Elaine L. Jacob Gallery, Wayne State University, Detroit, MI

New Pulls by Nick Bubash, Lisa Bulawsky, Bill Fick, and Tom Huck, High Point Center for Printmaking, Minneapolis, MN

Works on Paper: Printmaking Invitational Exhibition, Florissant Valley Art Gallery, St. Louis Community College, St. Louis, MO

Washington University Printmakers, New Forum Gallery, Brookhaven College, Dallas, TX

Print Jumble, Art and Design Gallery, University of Kansas, Lawrence, KS

Art Cache, Contemporary Art Museum St. Louis, St. Louis, MO

Frogman’s Print & Paper Summer Exhibition, Frogman’s Press and Gallery, Beresford, SD 2001 Depictions, MatrixArts Gallery, Sacramento, CA (three-­person exhibition)

Contemporary Print Expo, Elliot Smith Contemporary Art, St. Louis, MO

River Market Regional, Kansas City Artists Coalition, Kansas City, MO. Juror — Rochelle Steiner, contemporary art curator, St. Louis Art

Museum (catalogue) 2000 MOAK 4 State Regional, Springfield Art Museum, MO

2000 National Drawing + Print Exhibition, Bloomingdale Museum, Bloomingdale, IL

Impressions: Contemporary Prints, Mesa Contemporary Arts, Mesa, AZ

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2000

1999 1998

1997 1996

1995

1994

1993 1991 1990

Of World and Self: Works by St. Louis Women Artists, Innsbrook Resort and Conference Center, Innsbrook, MO Americas 2000: The Best of the Best — The Year 2000 Invitational, Northwest Art Center, Minot State University, ND traveled through 2003 and exhibited: The Emerson at Beall Art Center, Bozeman, MT Paris Gibson Square, Great Falls, MT Schoolhouse History & Art Center, Colstrip, MT Custer County Art Center, Miles City, MT Cando Art Center, Cando, ND Memorial Union Gallery, NDSU, Fargo, ND Dickinson State University Gallery, Dickinson, ND The Arts Center, Jamestown, ND Printmaking Invitational 2000, Meremac College Gallery, St. Louis, MO Phenomenal Woman, Bixby Gallery, Washington University, St. Louis, MO One Night Stand, East Bank Building, St. Louis, MO Works on and of Paper, University of West Florida Art Gallery, Pensacola, FA. Juror — Hank Hine, Director, GraphicStudio Target Feedback, Bixby Gallery, Washington University, St. Louis, MO New Works, Art Loft Gallery, St. Louis, MO One Night Stand, Beaux Arts Building, St. Louis, MO River Market Regional Exhibition, KCAC Gallery, Kansas City, MO. Juror — Deborah Emont Scott, Curator, Nelson-­Atkins Museum of Art Bodies of Work, Salina Art Center, Salina, KS. Juror, Steven Pozel, Director, The Power Plant, Toronto, Canada Americas 2000, Northwest Art Center, Minot State University, Minot, ND. Juror, Siri Engberg, curator, works on paper, Walker Art Center Mid America Print Council Juried Exhibition, Rockford College Art Gallery, Rockford, IL A Silence Broken, Leedy Voulkos Art Center Gallery, Kansas City, MO 25th Bradley National Print and Drawing Exhibition, Heuser Art Center, Bradley University, Peoria, IL. Juror, Hugh Merrill (catalogue) 26th National Juried Print and Drawing Exhibition, Hill Country Arts Foundation, Ingram, Texas Counterpoint 1994. Juror, Angelika Jansen 44th Annual SPIVA National Exhibition, SPIVA Art Center, Joplin, MO. Juror, Judith Burns McCrea Loose Ends, Art and Design Gallery, University of Kansas KU Today, Wichita Art Center, Wichita, Kansas 21st National Works on Paper Exhibition, Hartnett Hall Gallery, Minot, ND BACA 6th Annual Exhibition, 1990, Berkeley Art Center, Berkeley, CA NOVAS, Eloise Pickard Smith Gallery, Santa Cruz, CA

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BIBLIOGRAPHY 2018 HEC-TV interview by Kerry Marks (June 12) 2017 Lake Effect Editions, Ten + Years of Lake Effect Editions, Print Media and Graphic Art, School of Art, College of Visual and Performing Arts,

Syracuse University, Syracuse, NY, 2017. Print.

Julia Biggs, “EAC Plays Host to Collage Mash Up,” The Intelligencer, Arts and Entertainment Section, April 6, 2017.

2016 Ivy Cooper, “Prints in the Gateway City,” Art in Print Journal, November–December 2016, Volume 6, Number 4. Print.

2015 Dialogist Quarterly Poetry and Art, Vol. II, Issue IV, http://dialogist.org/v2i4/ . Web.

Stephanie Schlaifer, “Lisa Bulawsky at Hollins University,” Temporary Art Review, March 25, 2015, http://temporaryartreview.com/lisa-­bu

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ing-­printmaker-­creates-­prints-­for-­the-­ taking/. Web. 2013 Sage Dawson, “Studio Tour: Lisa Bulawsky,” August 22, 2013, Printeresting.org,

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98jRnS38iwg. Web. 2011 Stephen Hoskins, editor, IMPACT 6 Multidisciplinary Printmaking Conference, published by IMPACT Press, University of West England, Bristol.

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Jessica Baran, “Featured Art Review: Four Chapters in the Present We Were,” Riverfront Times, September 8, 2011. Print and Web.

Paul Friswold, “The Way We Were,” Rivertfront Times, August 18, 2011. Print and Web.

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html. Web.

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Richard Noyce, “PRINTOPOLIS: A new destination in the global Printmaking world,” Printeresting, November 10, 2010, http://www.printerest ing.org/2010/11/10/printopolis-­a- new-destination-in-the-global-printmaking-­world/. Web. Denise Stewart-Sanabria, Multiple X Multiple review, Numbers: An Independent Arts Journal, Summer 2010, #66. Print.

Beth Grabowski and Bill Fick, Printmaking: A Complete Guide to Materials and Processes, London, UK. Laurence King, and New Jersey, Pear son Prentice Hall: 2009. Pp. 205, 206, 208–209, image 209 and back cover. Print.

Ruthann Godollei and Eric Dregni, Road Show: Art Cars and the Museum of the Streets, Speck Press, 2009. Page 130. Print.

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Andrée-­Anne Dupuis Bourret, “Lisa Bulawsky,” January 3, Les Territoire Des Sens blog, http://territoiredessens.blogspot.com/2008/01/li sa-­bulawsky.html. Web. Kristin Cassaletto, “20/20 Vision: The Art of Contemporary University Printmaking,” exhibition catalogue essay, 2008. Print.

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Sabrina DeTurk, editor, “Further…,” catalogue essay for Further, the portfolio. Print.

Richard Noyce, Printmaking at the Edge: 45 Artists: 16 Countries: A New Perspective, London, UK. A & C Black: 2006. Pp. 44–45. Print.

Zolton Zavos, “Lisa Bulawsky,” November 6, Lost at E Minor blog, http://www.lostateminor.com/2006/11/06/lisa-­bulawsky/. Web. Eric Zimmerman, “Outlaw Printmakers Slugging it Out,” Glasstire, November 2, 2004, http://glasstire.com/2004/11/02/outlaw-­printmak ers-­slugging-it-out/. Web. David Bonetti, “Outlaw Printmakers offer visual razzberries,” St. Louis Post Dispatch, October 18, 2004. Print.

Niles Baranowski, Paul Friswold, Alison Sieloff, “Prints Charming,” Riverfront Times, September 29, 2004. Print.

Natilee Harren, “Girls with Guns@ Kelly Rae Theiss,” Pulse of the Twin Cities, September 19, 2004. Print.

Valerie Zell, “Outlaws with Attitude,” Kansas City Star, June 13, 2004. Print.

Ivy Cooper, “Current Shows,” Riverfront Times, Volume 28, Number 20. Print.

Mel Watkin, “Paperwork: small works on paper,” Curator’s essay for the exhibition, Regional Arts Commission Gallery, April 16 – May 28, 2004. Print.

D.B. Dowd, “A Graphic Tale,” Contemporary Impressions, Journal of the American Print Alliance, Fall 2003, vol. 11 #2. Print.

Cassie Huffman, “A Tale of Two Printers,” Northwest Arkansas Times, September 26, 2003. Print.

Collier White, “NRA, NOW,” mnartists.org, August 12, 2003. Web. Gail Philbin,”Trio at UICA; Three Artists Display Diverse Works,” Grand Rapids Press, May 18, 2003. Print.

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2003

2002

2001

2000 1998

1997

1996 1995

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Rose Martelli, “Steal this Magnet,” Riverfront Times, Volume 27, Number 19, 2003. Print.

“Art You’re Encouraged to Steal,” Show Me St. Louis, KSDK television story about Blind aired March 13, 2003. Television. “(Art) Working on the Highway,” The Record, photo published, May 9, 2003. Print.

Cima Katz, “Mixed Metaphors,” Curator’s essay for the exhibition, University of Wyoming Art Museum, October 1 – 25, 2002. Print.

Steve Goddard and Michael Krueger, “Demo’Graphics Report,” Contemporary Impressions, Journal of the American Print Alliance, spring 2002: 2–6. Print.

David Newman, “A Tradition of Innovation; Washington University Printmaking Faculty,” Curator’s essay for the exhibition, Forum Gallery, Brookhaven College, Feb 25 – March 27, 2002. Print.

Keri Guten Cohen, “Intriguing subjects, pairings tell stories,” Detroit Free Press, June 23, 2002. Print.

Alice Thorson, “Group Effort,” Kansas City Star, August 3, 2001. Print.

Ann Wilson Lloyd, “Art under the Arch,” Art in America, July 2001. Print.

“Pressing Issue,” The Record, photo published, September 29,2000. Print.

“Laundry Day,” The Record, photo published, December 3, 1998. Print.

Liam Otten, “New Exhibit to Showcase Faculty Artwork,” The Record, October 29, 1998. Print.

Eddie Silva, “Marrow Minded,” Riverfront Times, August 26, 1998. Print.

Paula Lindekugel-­Willis, “Best of Show,” Daily News, January, 1997. Print.

Leland E. Warren, “Salina Show Stimulating,” Manhattan Mercury, January 1997. Print.

Carol Lichti, “Art Center’s Jurored Exhibition,” The Salina Journal, October 1996. Print.

Alice Thorson, “Her Art Confronts Cancer,” Kansas City Star, October 1995. Print.

Hugh Merrill, “Juror’s Statement,” Curator’s essay for the exhibition, 25th Bradley National, 1995. Print.

Karl Moehl, “25th Bradley National Print and Drawing Exhibition,” Journal of the Print World, Summer 1995. Print.

PUBLIC AND COLLABORATIVE PROJECTS 2017

2016

2015 2008-­11

2010

2010

2009

2007-­09

2009

2006

2004

Terra Tumultum – Orlando, FL Public project for Art in Odd Places Festival Orlando, November 10–12, 2017 Stories for Fishes – Miami, FL Participatory event and exhibition by Fifity-­Fifty (an art collective of Lisa Bulawsky and Laurencia Strauss) includes film screenings, public dialogue, and collective memories shared underwater with fish– the eventual heirs to the land we now call home.

Signs in the Public Sphere – Ferguson, in collaboration with Emily Squires and Laurencia Strauss, Knoxville, TN Prosthetic Memories Series of conversations/interviews with older Americans about historical events, used as source for creation of works on paper (exhibited in 2011 at COCA, Four Chapters in the Present We Were).

The Bystanders Illustrations for limited edition book/short story by author Eric Lundgren. All Along Press, publisher, St. Louis, MO. We Belong To This Band Minneapolis, MN A participatory print project commissioned for the Mid America Print Council conference at the University of Minnesota in Minneapolis. In collaboration with All Along Press.

Spring Rounds University of Georgia, Athens A participatory car parade with cars covered in images of springtime printed on magnets. In collaboration with undergraduate and graduate students at UGA. Radios in cars played Stravinsky’s Rite of Spring broadcast through cooperation of WUOG radio station.

All in Good Company, All in Good Time Blindspot Galleries Mobile exhibition in Knoxville, TN. Woodcut on magnet installation on gallery van for exhibition, Multiple x Multiple at Ewing Gallery, University of Tennessee.

Radiate/Cultivate Vertigo Press global project Screen printed mushroom clouds attached to garden stakes and “planted” around the world.

The World As We Know It Regional Arts Commission, St. Louis, MO in collaboration with Amity Faith Herrera for the exhibition Time Well Spent MSIG pilot project Fort Gondo Compound for the Arts, St. Louis, MO A multimedia interactive performance/exhibition (solo — in collaboration with Dan Kelley).

Limited Time Only Guerilla video projections on the sides of buildings along Highway 40 in St. Louis, MO, in collaboration with Dan Kelley.

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2002–05

2003

2002

2001

2000

1998

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Blindspot Galleries, Lisa Bulawsky, director and curator Blindspot Galleries hosted mobile exhibits by emerging artists using print technology and magnetic vinyl on a white Ford minivan. Ten exhibitions produced and hosted over a three year period.

Operation Pandemic Joy A multimedia propaganda campaign promoting joy through “SMART” bombs, leaflets and printed magnets– a temporary public art event in celebration of the Washington University Sesquicentennial.

In the Denmark of the Soul Blindspot Galleries Ida Applebroog, Lisa Bulawsky, Francisco de Goya. A mobile exhibition of reproductive images on digital magnets displayed on a van and offered to the public. Inaugural exhibition for Blindspot Galleries. (p)alms Vertigo Press Woodcuts printed on magnetic vinyl displayed on a mobile van and offered to the public.

O, Joy! Vertigo Press, St. Louis, MO A public, intervention project consisting of woodcut prints hung on the walls of abandoned buildings in urban areas of the city.

Love Stories, Part 1 Vertigo Press, St. Louis, MO A public, intervention project consisting of woodcut prints hung in serial format on the walls of abandoned buildings in urban areas of the city.

Target Feedback Bixby Gallery, St. Louis, MO Collaborative project in social self-­portraiture culminating in group exhibition.

INVITATIONAL PRINT PORTFOLIOS /EXHIBITIONS 2015 Intermission, national exchange portfolio co-­curated by Erik Waterkotte, University of North Carolina and Shannon Collis, University of Maryland Exhibited:

Portland State University 2014 Pint n Print, print exchange and event at Sweetie’s Art Bar, San Francsico, CA, organized by Amze Emmons and Michael Krueger for SGC

International Conference, 2014.

2013 Critical Mass Portfolio, international exchange portfolio organized by Nathaniel Stern,

University of Wisconsin, Milwaukee. Exhibited:

Fundación CIEC, International Center of Contemporary Print, Betanzos, Spain

University of Applied Arts Vienna, Austria

Little Art Parlour Gallery, Novi Sad, Serbia (catalogue)

University of Wisconsin, Milwaukee

Fundacion´Ace para el Arte Contemporáneo, Buenos Aires, Argentina

Cloud Stories, an exchange book curated and constructed by Jana Harper, Washington University for SGC International Conference 2013.

Exhibited:

University of Wisconsin, Milwaukee

Exchange, Summer 2013 International Exchange, The Postcard Collective, Tuscon, AZ 2012 Well, I Do Declare!, curated and organized by Kim Wardenburg in honor of St. Louis and her history.

Exhibited:

Northside Workshop, St. Louis, MO 2010 States of the State : A Contemporary Survey of American Printmaking — Varied Edition, organized by Joseph Velasquez and the Dirty

Printmakers of America, hosted by the University of Colorado, Boulder.

Exhibited:

Università Ca’ Foscari Venezia, Venice, Italy

Dream Day Drawing, curated and organized by Susan Belau at San Francisco State University, for Southern Graphics Council Conference 2010.

Exhibited:

Hamilton Hall, University of the Arts, Philadelphia, PA

Cora Stafford Gallery, Denton, TX 2009 Displaced, curated by Nichole Maury, Western Michigan University for Southern Graphics Council Conference 2009.

Exhibited:

Columbia College, Chicago, IL

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2006 Further...Artists from the Book ‘Printmaking at the Edge’, a print exchange between artists published in the book, Printmaking at the Edge, by

Richard Noyce, 2006. Organized by Scott Betz, Winston-­Salem State University.

Exhibited:

The Hanmi Museum of Photography, Seoul, South Korea (catalogue)

Galleria Harmonia, Jyvaskyla, Finland

Wohllberg Gallery, Vienna, Austria

Frans Masereel Graphic Centrum, Kasterlee, Belgium

Grafikos Galerija, Kaunas, Lithunia

Brevard College Gallery, Brevard, NC

Salem Fine Arts Center, Winston-­Salem, NC

Silicon Gallery, Philadelphia, PA

RJ Reynolds Gallery, Sawtooth Center for Art, Winston-­Salem, NC 2005 Blatantly Kitsch, curated by Cassandra Simon.

Exhibited:

Fort Gondo Gallery, St. Louis, MO 2004 Cross-­Cultural Identities: An Artist Print Exchange Between Northern Ireland and North America curated by John Hitchcock, University of

Wisconsin, Madison and David Bose, Seacourt Print Shop, Belfast, Ireland.

2003 Girls with Guns, curated by Jenny Schmid, St. Cloud State University.

Exhibited:

Rochester Art Center, Rochester, MN

Kellie Rae Theiss Gallery, Minneapolis, MN

Shock and Awe and !, organized by Tim Dooley, University of Northern Iowa. Exhibited:

Folio Gallery, University of Northern Iowa

Janet Wallace Fine Arts Complex, Macalaster College, St. Paul, MN

Blindspot Galleries, St. Louis, MO 2002 Bite Me, curated by Adriane Herman, Kansas City Art Institute.

2000 Kans-­Souri Portfolio, curated by Michael Krueger, University of Kansas.

Exhibited:

Art Department Gallery, University of Missouri, Kansas City, MO

Art & Design Gallery, University of Kansas, Lawrence, KS

White Gallery, Butler Community College, El Dorado, KS 1997 Stone’s Throw, organized by Michael Krueger, University of Kansas.

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AWARDS 2015 Francis Niederer Artist-­in-­Residence, Hollins University, Roanoke, VA 2014 Creative Activity Research Grant, Sam Fox School, Washington University. Funding awarded for development of project The Accident Event Index.

2013 Distinguished Faculty Award, Founder’s Day, Washington University in St. Louis 2012 Juror’s award, Printwork 2012, Artists Image Resource, Pittsburgh, PA. Juror — Nicholas Chambers, Milton Fine Curator of Art at The Andy

Warhol Museum 2011 Outstanding Teaching Award, Sam Fox School, Washington University 2008 Creative Activity Research Grant, Sam Fox School, Washington University, funding awarded for development of project Prosthetic Memories, a

series works on paper based on interviews conducted with older Americans.

2006 Jurors’ Award, The Fifth Minnesota National Print Biennial, Katherine E. Nash Gallery, Regis Center for Art, Minneapolis, MN. Jurors — Ken

Bloom, Director of the Tweed Art Museum, Duluth, John Buck, Artist, Barbara Yoshida, Artist 2005 Emerson Electric Excellence in Teaching Award 2003 Residency, Frans Masereel Graphic Centrum, Kasterlee, Belgium Honorarium, Operation Pandemic Joy, Washington University, St. Louis, MO 2002 Honorarium, Public Art in Action, Arts in Transit, St. Louis, MO 2001 Professor of the Year, School of Art, Washington University Student Union award

Juror’s Choice Award, River Market Regional Exhibition, Kansas City Artists Coalition, Kansas City, MO 2000 Shirley and Gene Hawkins Award, MOAK 4 State Regional Exhibition, Springfield Art Museum, Springfield, MO 1996 NEA Fellowship, painting and works on paper, M-­AA Regional Grant

Best of Show, Americas 2000, Northwest Art Center, Minot, ND 1995 Best of Show for Drawing, 25th Bradley National Print and Drawing Exhibition, Heuser Art Center, Bradley University, Peoria, IL 1992-­95 Graduate Teaching Assistantship, Full Tuition and Stipend, University of Kansas 1994 Summer Honors Fellowship, University of Kansas Graduate School

Harry and Jessie Jacobs Prize, University of Kansas

Richard Hollander Visual Arts Scholarship, University of Kansas

Runner-­up Award, 44th Annual SPIVA National, SPIVA Art Center, Joplin, MO 1993 Daniel McMorris Visual Arts Scholarship, University of Kansas 1992 Visual Arts Scholarship, University of Kansas 1991 Juror’s Choice Award, 21st National Works on Paper Exhibition, Hartnett Hall Gallery, Minot, ND

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PUBLIC LECTURES /VISITING ARTIST /CRITIC 2018 2017 2015

2014 2013

2012

2010

2007

2006 2004

1999 1998

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Carbondale Community Arts, Carbondale, IL/Southern Illinois University, Carbondale, IL Tokyo University of the Arts University of West Virginia Eleanor D. Wilson Museum, Hollins University, Roanoke, VA Elon University, Elon, NC Bowdoin College, Brunswick, Maine Syracuse University St. Louis Community College at Meramec University of Wisconsin, Milwaukee Robert DeCaprio Gallery, Moraine Valley College, Chicago, IL (gallery talk) Webster University, St. Louis, MO University of Iowa International Print Center of New York (gallery talk) University at Buffalo (SUNY), Buffalo, New York Cranbrook Academy of Art School of the Art Institute of Chicago Virginia Commonwealth University University of Minnesota, Minneapolis Frogman’s Print and Paper, University of South Dakota St. Louis Community College at Forest Park High Point Center for Printmaking, Minneapolis, MN West Virginia University Millersville University, Millersville, PA University of Missouri, St. Louis, MO

ARTIST-IN-RESIDENCE 2015

2014

2013 2009 2006 2005 2003 2002 2001

Hollins University, Roanoke, VA, Frances Niederer Artist-­in-Residence, semester-­long residency Cité Internationale des Arts, Paris, France, two-­month residency Bowdoin College, Brunswick, ME, Marvin Bileck Project Artist-­in-Residence, one-week residency to produce print edition/collaboration, one-week (scheduled September 2014) Lake Effect Editions, Syracuse University, Syracuse, New York, one-­week residency to produce print edition Fresh Hot Press, University of Wisconsin, Madison, one-week residency to produce print edition Cité Internationale des Arts, Paris, France, two-­month residency University of Texas, Arlington, Print Blitz, one-­week residency and print collaboration Frans Masereel Graphic Centrum, Kasterlee, Belgium, one-month residency Southern Illinois University, Carbondale, Muddy Press Run, one-­week residency and print collaboration Northern Illinois University, Dekalb, Illinois, Print Blitz, one-week residency and print collaboration

WORKSHOPS TAUGHT 2014 2013 2005 2004

Bowdoin College, Brunswick Maine; collagraph memorial project and week-­long workshop Anderson Ranch Art Center, Snowmass, Colorado; Shiftland: The Provisional Print, one-week workshop, July Brookhaven College, Dallas, TX; Mixed media print workshop, one-­week, May 2005 Frogman’s Summer Print and Paper Workshop, Vermillion, SD; Demographics, one-­week workshop co-­taught with Michael Krueger, July

CONFERENCE PAPERS AND PRESENTATIONS 2017 2013

2010

2009

2005 2004 2003

2001

Tokyo University of the Arts, zureta Symposium. Keynote presentation, Calculating on the Unforeseen.

College Art Association Conference, New York. Conference Session, Reproducing Authenticity, panelist. Presented paper, Craving the Mark based on a seminar taught at Washington University in the fall of 2012 by the same title.

Printopolis Symposium, Open Studio, Toronto, Canada. Panelist, Print in the Public Sphere.

Presented paper, Politics, Participation, and the Portable Print.

IMPACT 6 Conference, Center for Fine Print Research, University of West England, Bristol.

Poster presentation, Prints, Politics, and Participation.

Southern Graphics Council Conference, University of Wisconsin, Madison. Presenter: collaborative demonstration, Team Ladiez.

Mid America Print Council Conference, Relevance/Resonance. Panelist for session, Out of the Frame, University of Nebraska, Lincoln.

College Art Association Conference, New York. Conference session, Reproducing Likeness: To Change the Teaching of Print Media, panelist.

Presented paper, From Propaganda to Decoration.

American Association of Museums Conference, Panel presentation for session, Artists, Communities, and the NEA. Southern Graphics Council Conference, University of Texas, Austin. Presenter: collaborative demonstration, Demographics.

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JUROR / PANELIST 2018 Juror, Prix de Print, Art in Print Journal

Juror, 2018 Four Rivers Print Biennial, Southern Illinois University Carbondale 2014 Juror, Parabola, Des Lee Gallery, St. Louis, MO 2011 Juror, Cultural Festivals, St. Louis Art Fair 2007 Juror, Art St. Louis, White Washed – Shades of White, juried exhibition 2005 Juror, Saltonstall Foundation, New York, Works on Paper grant

Juror, Salt City Dozen, graduate student portfolio exchange hosted by Syracuse University 2002 Selection Committee, Public Artist pool, Arts in Transit, St. Louis, MO 2001 Selection Committee, Pageant Walkway, Arts in Transit, St. Louis, MO

PUBLIC COLLECTIONS Beach Museum of Art, Manhattan, Kansas Belger Art Center, Kansas City, MO Columbia College, Chicago, IL Eleanor D. Wilson Museum, Roanoke, VA House of Humour and Satire, Gabrovo, Bulgaria Kranson Industries Collection (Ken and Nancy Kranzberg), St. Louis, MO Royal Academy of Fine Art, Antwerp, Belgium Frans Masereel Graphik Centrum, Kasterlee, Belgium Portland State University, Portland, OR Nelson-­Atkins Museum of Art, Kansas City, MO San Francisco State University, San Francisco, CA Special Collections, Washington University, St. Louis, MO Spencer Museum of Art, Lawrence, KS SGC International Archives University of the Arts, Philadelphia, PA University of Wisconsin, Milwaukee, WI

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brunodavidgallery.com brunodavidprojects.com @bdavidgallery #BrunoDavidGallery #LisaBulawsky #FramedAbstractions #DanielStumeier #GoSeeArt #ArtExhibition #ArtBook #ArtCatalog instagram.com/brunodavidgallery/ facebook.com/bruno.david.gallery twitter.com/bdavidgallery goodartnews.com/

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ARTISTS Laura Beard Heather Bennett Lisa K. Blatt Michael Byron Bunny Burson Lisa Bulawsky Judy Child Carmon Colangelo Alex Couwenberg Jill Downen Yvette Drury Dubinsky Damon Freed Douglass Freed Ellen Jantzen

Michael Jantzen Kelley Johnson Howard Jones (Estate) Chris Kahler Xizi Liu Kahlil Robert Irving Bill Kohn (Estate) Leslie Laskey Yvonne Osei Patricia Olynyk Justin Henry Miller James Austin Murray Gary Passanise

Judy Pfaff Charles P. Reay Daniel Raedeke Tom Reed Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Shane Simmons Buzz Spector Cindy Tower Monika Wulfers

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