Bunny Burson: Hidden in Plain Sight by Bruno David Gallery

BU N N Y BU RS O N Hidden in Plain Sight

bruno david gallery

BUNNY BURSON Hidden in Plain Sight

May 11 - July 21, 2012 Bruno David Gallery 3721 Washington Boulevard Saint Louis, 63108 Missouri, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Director: Bruno L. David This catalogue was published in conjunction with the exhibition Bunny Burson: Hidden in Plain Sight Editor: Bruno L. David Catalogue Designer: Yoko Kiyoi and Emily Thompson Designer Assistant: Claudia R. David Printed in USA All works courtesy of Bruno David Gallery and Bunny Burson Photographs by Richard Sprengeler and Bruno David Gallery Cover image: Bunny Burson. Untitled 11 (detail), 2012 Mixed media on newspaper and vellum 18 x 55 inches ( 45.70 x 141 cm) Private collection First Edition Copyright ÂŠ 2012 Bruno David Gallery, Inc. All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery, Inc.

CONTENTS

ARTIST STATEMENT BY BUNNY BURSON WRITING AND REMEMBERING IN BUNNY BURSON’S “HIDDEN IN PLAIN SIGHT” SERIES BY KAREN K. BUTLER A FAMILY HISTORY BY KARA GORDON AFTERWORD BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

ARTIST STATEMENT 2

These works are both my journey and the embodiment of it. For many years I followed my daughter’s search to learn about my mother’s family. As she was finishing her work, I resolved to begin mine. In the initial stages of formulating ideas, I literally stumbled onto what was to become the foundation of my work: a stack of letters dated 1939-41 in German. They had been sent to my mother after her arrival in the United States from her parents, as they fled Germany. The letters, hidden in plain sight in our attic for almost sixty years, tell the story. They evoke memories I could never have had … the names of distant cities my grandparents tried to reach, their guarded and unguarded thoughts, gestures of parental love and the second guessing of choices made. As a printmaker I experiment with media, with multiple ways of making work, layering and altering the surface of the paper to convey information but also to provoke uncertainty. In this work I am exposing those layers, digging below to discover what is not evident on the surface. Printmaking media and the surfaces they are printed on provide a platform for building up and uncovering my images. Suggestive of a palimpsest, where earlier markings have almost disappeared, the works on vellum and translucent papers create a mysterious past. That past is seen through the prism of the letters and the letters themselves emerge through their temporal context. The imagery is composed of fragments, glimpses of both what I imagined and what I ultimately found: keyholes, doorplates, shoes, chessboards and maps. Perhaps the most important discovery was the life and beauty in the writing itself. In repeatedly drawing and printing the lines of script, my hand became one with theirs. Their handwriting became my art. Hopefully these works transcend my own journey. Through the visual processing of my grandparents’ letters, I have sought to move from the personal to the universal and to stir the desire we all have to discover who we are through those who came before us.

Bunny Burson May 2012

WRITING AND REMEMBERING IN BUNNY BURSON’S “HIDDEN IN PLAIN SIGHT” SERIES BY KAREN K. BUTLER 4

“It seems that the essential impulse in working at all is to rehaunt your own house, or to allow what haunts you to have a voice, to chart what is deeply private and etched on the soul and find form and structure for it.” - Colm Toibin1 Fragments from this quote appear in Untitled 32, one of Bunny Burson’s works from her Hidden in Plain Sight series. Though Toibin, an Irish writer and critic, is referring to the personal transformation that occurs in the act of novelistic writing, the sentiment is equally applicable to Burson’s works, which engage deeply with a particular form of writing – in this case private correspondence – while also appearing as a form of writing in their own right. The works in this series all take up writing as their subject and in so doing become an exploration of the ambiguity and impermanence that is at the heart of communication itself as well as a singular attempt to commemorate and come to terms with loss. Hidden in Plain Sight refers to a group of over 100 letters written by the artist’s grandparents to her mother between 1939 and 1941, which the artist found in 2009 in her family home where they had been stored for over 50 years. The letters were written in German, a language that Burson does not read. When she had them translated, the letters opened a window onto the lives of her mother and grandparents, revealing the story of her grandparents’ last years during the war and precious details of their daily lives that she had never known. These letters, Burson explains, “evoke memories I could never have had…the names of distant cities my grandparents tried to reach, their guarded and unguarded thoughts, gestures of parental love and the second guessing of choices made.”2 In 1938, Burson’s grandparents, German Jews living in Leipzig, sent their two children, a boy and a girl (Burson’s mother), to the United States in an effort to protect them from the increasing restrictions on Jewish life and activity in Germany. The letters, which were sent to Burson’s mother in Memphis, Tennessee, detail the efforts of Burson’s grandparents to leave first Germany, and then Latvia, before their deaths in 1941. Although a very personal journey resides at the heart of this project, the details of that story are not necessary to comprehend Burson’s works. In fact, the message of a piece such as the diptych Untitled 32 can be understood even if the phrases cannot be deciphered and their original content remains unknown. The left side of the work consists of a large rectangle of translucent white vellum, which has been printed on both sides with black and white fragments of German, English, and Chinese phrases in different handwritten and typewritten styles and sizes. The right side is made up of a piece of opaque black paper with similar fragments of sentences printed in white and red paint. Although some of the words can be discerned, what is most evident is the meticulous layering of text and its concomitant sense of tactility, which is the result of the artist repeatedly imprinting the delicate paper with 1 Jeffrey Eugenides and Colm Toibin, “The Stuff That Won’t Go Away,” The New York Times, October 1, 2011. 2 Bunny Burson, Artist’s Statement, 2012.

semi-legible phrases. The diptych format suggests a book, while it’s large scale conjures references to religious altarpieces or devotional objects. Cumulatively, the piling up of words on the paper, both traces an act of devotion – Burson’s towards the individuals who wrote the letters – and suggests the incomplete nature of any act of communication. Most of the works in the series are untitled, and perhaps there are no words that can stand in for works that attempt to express such an experience of discovery and loss. In Untitled 11, Burson combines pages from a German newspaper published on November 10, 1938, the day after Kristallnacht, and a sheet of transparent vellum over which she has collaged the names of cities, one over the other, that appear in the letters: Budapest, Leipzig, London, Memphis, Moscow, Palestine, Rotterdam, and Washington. Burson made the stencils for the city names by first tracing the original words in the letters on a transparent sheet of paper, then projecting those tracings with an overhead projector onto a larger sheet of paper, tracing over them in turn, and then cutting those tracings into individual stencils. By physically tracing the very words that her grandparents wrote, Burson performs an act of commemoration and love, but also demonstrates the impossibility of ever fully grasping those events. More broadly, Untitled 11, with the newspaper as its background and its dense layering of city names, reads as a comment on the plight of the many individuals who were forced to flee their homes at the hands of the German military. Home and Hidden in Plain Sight are the only works in the series that are titled, and though they do refer to specific objects – a real home and the letters themselves – they remain open ended, inviting the viewer to mourn and celebrate along with the artist. Home consists of 230 cast resin doorplates arranged on the wall in the shape of one large doorplate. The name L. Cohen is visible on some of these transparent objects, though it is not evident who this person is (it is the doorplate from Burson’s father’s former home in Berlin – he too was a German Jew who fled during the war). The ghostly nature of the resin plates, repeated in groups across the wall, combined with the Jewish name on some of them, suggests at the very least dislocation and transience. Hidden in Plain Sight consists of 100 brass and aluminum envelopes, engraved from life-size copies of the actual envelopes, and tied in bundles. The work gives presence to the letters that Burson found, but does not disclose their contents. Burson is a printmaker by training and the majority of works in the show are works on paper, though few of them are conventional prints. Most of them, such as the group of works that make up Untitled 20 through Untitled 31, include some form of collage (often elements of chine collé), stencil, or simple transfer. Others, such as Untitled 4, Untitled 12, and Untitled 34, are based on maps of cities, including Washington, D.C. and Leipzig, and incorporate collaged portions of letters and newspapers and, in one instance,

Untitled 12, red map pins, marking the places that one might travel. Untitled 20 includes a small self-portrait of the artist: a photo of Burson, taken 30 years ago, peering out a window. The photo is easy to miss, for it too is obscure and hard to read. It was made for an artwork that Burson began many years ago and symbolically marks the beginning of her own journey as an artist. Interspersed throughout these loaded compositions, in addition to the handwritten phrases from the letters and fragments of newspapers and photographs, are images of things discussed or referred to in the letters. These include dress patterns (her grandmother refers in the letters to a dress she was making for her mother), shoes, and chessboards, as well as references to more symbolic elements – dice, an eight ball, keyholes – and drawings of events that Burson herself experienced while visiting the cities where her grandparents lived. The practice of printmaking is at the heart of Burson’s aesthetic efforts. Printmaking facilitates acts of serial repetition, transfer, and transcription that separate the artist’s hand from the final artwork, and Burson adeptly employs the medium as both a method of unveiling moments from her family’s past and a recognition of the unbridgeable distance between the artist and her ancestors.

Karen Butler is assistant curator at the Mildred Lane Kemper Art Museum at Washington University in St. Louis, where she has curated exhibitions of the work of the American abstract expressionists, as well as contemporary art and photography, and is currently planning an exhibition of the work of Georges Braque. She is also one of the authors of Henri Matisse at the Barnes Foundation, forthcoming with Yale University Press. This essay is one in a series of the gallery’s exhibitions.

A FAMILY HISTORY BY KARA GORDON 8

Our identities are comprised of stories, people in our lives, people who shaped them, places we come from. The stories that these people and places hold become our own, rooting themselves into our very core, whether we realize it or not. In 2009, Bunny Burson discovered over one hundred letters sent by her grandparents to her mother in the attic of her childhood home in Memphis, Tennessee. Written between 1939 and 1941, the letters record thirty months of her grandparents’ desperate attempts to leave Germany, and then Latvia, after sending their children to the United States in 1938. Full of love, hope and, finally, resignation, they expose the intimate details of Burson’s unknown family history that haunted her for years. Literally ‘hidden in plain sight’ for over half of a century, the letters catalyzed her journey to find answers to questions she never asked. Hidden in Plain Sight is a journey of healing; a journey to fill a void that Burson hardly even realized was there. Many consider handwriting dead in this digitalized age. Cursive has been, in most elementary schools, phased out of the curriculum. As part of the last generation to learn script, many of my peers challenge its utility, legibility, and overall merit in communicating language. People often forget that legibility depends on familiarity and the lettering of cursive has its own aesthetic that is still highly desired. Despite the push to convert everything and anything to the digital platform, there is still a drive to leave evidence of the human hand. Open your font menu and you will undoubtedly find a handful of attempts to mimic the subtleties of handwriting: differences in stroke width, the time and care it took to write each character, the variation and imperfections throughout a body of text. You eventually realize that, no matter how many alternate characters are offered, they all fail to fully capture the personality of handwritten script. Whether you appreciate cursive as an art form or not, you know what handwriting looks like and you know that these fonts seem robotic, despite attempts at humanization. The beauty of Hidden in Plain Sight resides in its authenticity. The letterforms in Burson’s prints are genuine copies and interpretations of her grandparents’ hands. In this lettering, language forms, not only in the words that are written, but also in the character of the writing. Each word is its own image, its own expression of the artist tracing her identity through her grandparents. Discovering identity in the form of the letters, Burson also uncovers the meaning of the words themselves. Language is the crux of identity—our grammar and vocabulary shape the way we think, especially our notions of time and place. Using language in conjunction with recognizable objects and places mentioned in the letters, Burson creates transfers, overlays and prints that exude the warmth of family and the familiar construction of identity within this structure. Despite the familiarity, however, there is a catch. These details, while explicitly written out, are rendered illegible to the English-speaking audience: the letters are in German. In this way, the audience is very aware that, while all of the pieces are there, the full meaning of Burson’s exhibit lays beyond our grasp, literally hidden in plain

sight. There is a sense of secrecy in each of her works, notions of censorship in both what her grandparents chose to tell her mother and what Burson chooses to share with the audience. In this way, Burson connects with the family that she never knew, recreating their physical handwriting and their stories as she reconstructs her own notion of her identity. The capstone of this exhibition comes in the form of dozens of fabricated doorplates. These objects embody names, places, events— everything that constructs our identities. The genesis of this installation happened in conjunction with the letters, the original doorplate discovered in the back of a closet in Burson’s family home. Taken as a reminder of her parents’ home in Germany, it also served as a way of looking forward to a new home in America. For the artist, this doorplate represents the universal of dispossession and identity, the carrying of our homes, names, language, and histories with us. Portable, they can move from door to door, transferring identity from one place to another, carrying each previous home with it, simultaneously rooting identity in a place and reminding us how quickly we may be displaced. They also call into question what happens behind the doors, what the life is like where no one else can see it. The doorplates both embody and hide identity, accentuating everything that Burson is trying to say. Burson’s exhibit is intensely personal, and it is no surprise that it is simultaneously hidden and exposed. The whole meaning is not meant to be completely uncovered because neither are we in our own identities. It is what makes this exhibit so human and universal; the desire to know the story and the understanding that these are questions that, maybe, we are afraid to ask ourselves. Perhaps we are either not ready to ask them or we do not even know where to begin, but it brings up the question of what stories we are entitled to know, what stories we have to learn to accept or reject in creating our own identities. Burson has asked these questions and, in creating this exhibit, asks us to do the same and confront our own stories and identities.

Kara Gordon is a writer who lives and works in St. Louis, Missouri. This essay is one in a series of the gallery’s exhibitions written by fellow gallery artists and writers.

AFTERWORD BY BRUNO L. DAVID 12

I am pleased to present a new exhibition, “Hidden in Plain Sight,” by Bunny Burson. This is her second solo exhibition with the gallery. Comprised of installations, prints and drawings, Burson’s exhibition draws inspiration from a collection of over 100 letters written by the artist’s grandparents to her mother between 1939-1941. Using prints, transfers, and overlays, Burson simultaneously grants and denies her viewers access to the content of the letters and their impact on the artist’s own personal journey. Discovered by the artist in 2009, the letters were found where they had been ‘hidden in plain sight’ for over 50 years in the attic of her childhood home in Memphis, Tennessee. They chronicle her grandparents’ desperate attempts to leave Germany and then Latvia after sending their children to the United States in 1938. More importantly, however, the letters reveal the intimate details of people she never knew - her grandparents and their relationship with her own mother as a young woman. The revelations contained within these letters helped fill the void of an unknown family history that had haunted the artist for years. Burson’s experience of processing these revelations culminates in this exhibition, and the visual narrative she constructs evokes the physical hand of both her grandparents and herself as their stories eventually merge into one. As much as this exhibit stems from Burson’s own inward personal journey, the artist’s work looks outward. It challenges us to take our own journeys and to ask: Who am I? Where do I come from? What makes me who I am? Hidden in Plain Sight is a call to share our stories, to develop an understanding of each other and ourselves. For Burson, the push to ask these questions came from her daughter, Clare Burson. A singer and songwriter, her latest album, Silver and Ash (Rounder Records), is a concept album that imagines her maternal grandmother’s life in Germany, from her birth in 1919 to her escape in 1938. These songs also explore her personal struggles with rupture, silence, guilt, empathy and continuity. Bunny Burson received her M.F.A. from Washington University in St. Louis. She lives and works in St. Louis, Missouri. 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 Karen K. Butler and Kara Gordon for their thoughtful essays. I am deeply grateful to Yoko Kiyoi and Emily Thompson, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Rachael Schomburg, Emily Thompson. Malahat Qureshi, and Martin Lang.

CHECKLIST & IMAGES OF THE EXHIBITION

Hidden in Plain Sight, 2012 Brass and Aluminum, engraved and oxidized (100 elements) 14 x 36 x 93-1/2 inches (35.6 x 91.4 x 237.5 cm) (size variable) Edition of 2 16

Untitled 11, 2012 Mixed media on newspaper and vellum 18 x 55-1/2 inches (45.7 x 141 cm) 18

Untitled 7, 2012 Mixed media on vellum 38 x 25-3/4 inches (96.5 x 65.4 cm) 20

Untitled 13, 2012 Mixed media on paper 38 x 27 inches (96.5 x 68.6 cm) 22

Untitled 8, 2012 Mixed media on paper 38 x 27-1/2 inches (96.5 x 69.9 cm) 23

Untitled 2, 2010 Mixed media on vellum 34-3/4 x 53 inches (88.3 x 134.6 cm) 24

Untitled 33, 2012 Mixed media on vellum 35 x 61-1/2 inches (88.9 x 156.2 cm) 25

Untitled 3, 2012 Mixed media on paper (diptych) 22 x 60 inches (55.9 x 152.4 cm) 26

Untitled 17, 2012 Monoprint on vellum 20 x 25 inches (50.8 x 63.5 cm) 28

Untitled 18, 2012 Monoprint on vellum 20 x 26 inches (50.8 x 66 cm) 29

Untitled 6, 2012 Mixed media on paper 29-3/4 x 22 inches (75.6 x 55.9 cm) 30

Untitled 10, 2012 Mixed media on paper 22 x 29-1/2 inches (55.9 x 74.9 cm) 31

Untitled 1, 2012 Mixed media on paper 22-1/4 x 29-3/4 inches (56.5 x 75.6 cm) 32

Untitled 9, 2012 Collagraph and mixed media on paper 19-1/2 x 19-1/2 inches (49.5 x 49.5 cm) 34

Untitled 32, 2012 Mixed media on paper and vellum (diptych) 31 x 41-1/4 inches (78.7 x 104.8 cm) 35

Untitled 14, 2012 Mixed media on paper (diptych) 32 x 41-1/4 inches (81.3 x 104.8 cm) 36

Untitled 15, 2012 Mixed media and collage on paper (diptych) 28-3/4 x 42-3/4 inches (73 x 108.6 cm) 37

Untitled 12, 2012 Mixed media, collage and map pins on paper 13 x 22-3/4 inches (33 x 57.8 cm) 38

Untitled 34, 2012 Mixed media on vellum 12-1/2 x 19 inches (31.8 x 48.3 cm) 40

Untitled 4, 2012 Monoprint, chine colle, and collage on paper 22 x 29-1/2 inches (55.9 x 74.9 cm) 41

Untitled 20, 2012

Untitled 23, 2012

Mixed media and collage on paper 12 X 12 inches (30.48 X 30.48 cm)

Mixed media and collage on paper 12 X 11-1/2 inches (30.48 X 29.21 cm)

Untitled 22, 2012

Untitled 24, 2012

Mixed media on paper 12 X 11 inches (30.48 X 27.94 cm)

Mixed media on paper 12 X 11-1/2 inches (30.48 X 29.21 cm) 43

Untitled 25, 2012

Untitled 26, 2012

Mixed media on paper 12 X 12 inches (30.5 X 30.5 cm)

Untitled 27, 2012 Mixed media and collage on paper 12 X 12 inches (30.5 X 30.5 cm) 45

Untitled 29, 2012

Untitled 30, 2012

Mixed media and collage on paper 12 X 12 inches (30.5 X 30.5 cm)

Untitled 31, 2012 Mixed media and collage on paper 12 X 12 inches (30.5 X 30.5 cm) 47

Home (detail), 2012 Cast resin (230 elements) 8 x 12 feet (243.8 x 365.8 cm) (size variable) 48

Home, 2012 Cast resin (230 elements) 8 x 12 feet (243.8 x 365.8 cm) (size variable) 51

BUNNY BURSON: Hidden in Plain Sight at Bruno David Gallery, 2012 (Installation View - Detail) 52

BUNNY BURSON: Hidden in Plain Sight at Bruno David Gallery, 2012 (Installation View - Detail) 53

BUNNY BURSON: Hidden in Plain Sight at Bruno David Gallery, 2012 (Installation View - Detail) 54

BUNNY BURSON: Hidden in Plain Sight at Bruno David Gallery, 2012 (Installation View - Detail) 55

BUNNY BURSON: Hidden in Plain Sight at Bruno David Gallery, 2012 (Installation View - Detail) 56

BUNNY BURSON: Hidden in Plain Sight at Bruno David Gallery, 2012 (Installation View - Detail) 57

BUNNY BURSON: Hidden in Plain Sight at Bruno David Gallery, 2012 (Installation View - Detail) 58

BUNNY BURSON: Hidden in Plain Sight at Bruno David Gallery, 2012 (Installation View - Detail) 59

BUNNY BURSON: Hidden in Plain Sight at Bruno David Gallery, 2012 (Installation View - Detail) 60

BUNNY BURSON: Hidden in Plain Sight at Bruno David Gallery, 2012 (Installation View - Detail) 61

BUNNY BURSON: Hidden in Plain Sight at Bruno David Gallery, 2012 (Installation View - Detail) 62

BUNNY BURSON: Hidden in Plain Sight at Bruno David Gallery, 2012 (Installation View - Detail) 63

BUNNY BURSON: Hidden in Plain Sight at Bruno David Gallery, 2012 (Installation View - Detail) 64

BUNNY BURSON: Hidden in Plain Sight at Bruno David Gallery, 2012 (Installation View - Detail) 65

BUNNY BURSON American, Born in Memphis, Tennessee Lives and works in St. Louis, Missouri

EDUCATION M.F.A B.F.A B.A.

2005, Printmaking, Washington University in St. Louis, St. Louis, MO 1981, Printmaking, Memphis College of Art, Memphis, TN 1970, French, Tulane University, New Orleans, LA 1968-69, Art History, UniversitĂŠ de Paris-Sorbonne, Paris, France

SELECTED ONE-PERSON EXHIBITIONS 2012 2008 2007

Bruno David Gallery, Hidden in Plain Sight, St. Louis, MO (catalogue) Gallery 457, Bunny Burson, Brooklyn, New York Bruno David Gallery, CONSEQUENCES, St. Louis, MO (catalogue)

SELECTED GROUP EXHIBITIONS 2011 2010 2009 2008 2007 2005 2004 1981

W.O.P. I, Bruno David Gallery, St. Louis, MO Points of Light, Anderson Ranch Arts Center, Snowmass Village, CO Print + Multiples (SGC International Conference), Bruno David Gallery, St. Louis, MO ART LAB: Work in Progress, Metropolitan Gallery, St. Louis, MO Untitled, Saint Louis University, St. Louis, MO Recession Rejuvenations, Bruno David Gallery, St. Louis, MO Women Printmakers, Washington University School of Law, St. Louis, MO Overview_2009, Bruno David Gallery, St. Louis, MO Overview_08, Bruno David Gallery, St. Louis, MO Speak Out, 516 Arts, Albuquerque, NM Overview, Bruno David Gallery, St. Louis, MO Politics of Power, B.A.G. Gallery, Brooklyn, New York Large Format Prints, Travel to: University of Texas, Louisiana State University, University of Wisconsin, Washington University in St. Louis On Paper, Bruno David Gallery, Saint Louis, Missouri Smaller is Better, Schiltkamp Gallery, Clark University Worcester, MA Rivulet, Bruno David Gallery, Saint Louis, Missouri MFA Thesis Exhibition, Des Lee Gallery, St. Louis, MO Group Show, Saint Maryâ&#x20AC;&#x2122;s College Gallery, Notre Dame, Indiana Group Show, Southern Illinois University Gallery, Carbondale, IL Group Show, Memphis College of Art Gallery, Memphis, TN

BIBLIOGRAPHY Weinman, Sarah “Artist’s exhibition explores long-hidden family secret”, St. Louis Jewish Light, June 13, 2012 Nay, Brittany “Q & A with Bunny Burson”, Ladue News, June 14, 2012 Baran, Jessica “In the Galleries - NEW: Hidden in Plain Sight”, Riverfront Times, May 24, 2012 Butler, Karen K. “Writing and Remembering in Bunny Burson’s Hidden in Plain Sight Series”, Bruno David Gallery Publications, Essay, Catalogue, 2012 Duffy, Robert W. “Reflection: Letters hidden in plain sight generate a moving, transformative exhibition”, STL Beacon, May 18, 2012 Gordon, Kara “A Family History”, Bruno David Gallery Publications, Essay, Catalogue, 2012 Beall, Dickson “Bunny Burson at Bruno David Gallery”, St. Louisan, May 15, 2012 Otten, Liam “WUSTL women printmakers exhibit at the School of Law”, Record, December 12, 2009 Horton, Scott. “Elections as Art”, HARPER’S Magazine, November 27, 2008 Peterson, Deb “Local artist’s aesthetic spin on politics heads to NYC”, St. Louis Post-Dispatch, November 2007 Bonnetti, David “St. Louis Art”, St. Louis Post-Dispatch, May 25, 2007 Horton, Scott. “Bunny Burson”, Bruno David Gallery Publications, Essay, Catalogue, 2007

AWARD 2010

Artist Residency, Cite Internationale des Arts, Paris, France

ARTISTS Margaret Adams Dickson Beall Laura Beard Martin Brief Lisa K. Blatt Shawn Burkard Bunny Burson Carmon Colangelo Alex Couwenberg Jill Downen

William Griffin Joan Hall Ann Hamilton Kim Humphries Kelley Johnson Howard Jones (Estate) Chris Kahler Bill Kohn (Estate) Leslie Laskey Sandra Marchewa

Robert Pettus Gary Passanise Judy Pfaff Daniel Raedeke Charles P. Reay Chris Rubin de la Borbolla Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet

Yvette Drury Dubinsky Beverly Fishman Damon Freed

Peter Marcus Genell Miller Patricia Olynyk

Buzz Spector Cindy Tower Mario Trejo Ken Worley

brunodavidgallery.com