Carmon Colangelo-Here be Dragons: Below the Fold by Bruno David Gallery

CAR M ON COLA N GE LO HERE BE DRAGONS: BELOW THE FOLD

bruno david gallery

CARMON COLANGELO Here Be Dragons: Below the Fold March 30 - April 29, 2017 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 Carmon Colangelo: Here Be Dragons: Below the Fold Editor: Bruno L. David Catalogue Designer: Christina Lu and Thomas Fruhauf Designer Assistant: Claudia R. David Printed in USA All works courtesy of Bruno David Gallery, Carmon Colangelo and Flying Horse Editions Photographs by Bruno David Gallery Cover image:

Here Be Dragons: Below the Fold, (Installation view) Printed at Flying Horse Editions, Orlando, FL Director: Theo Lotz Master Printer: Adrian Gonzalez

First Edition Copyright ÂŠ 2017 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

HERE BE DRAGONS: BELOW THE FOLD BY THEO LOTZ AFTERWORD BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

HERE BE DRAGONS: BELOW THE FOLD BY THEO LOTZ

The works in Here Be Dragons: Below the Fold—the results of Carmon Colangelo’s third residency at Flying Horse Editions—represent an exciting new pictorial and sculptural vocabulary for the artist. Based at the University of Central Florida, Flying Horse Editions is a collaborative research studio and publisher of limited edition art projects. While the studio’s expertise is in traditional printmaking processes—etching, lithography, and relief—it is always our ambition to stretch the limits of those media, to create objects that are full of surface and dimension, and not be bound by preconceptions of printmaking conventions. In that ambition Colangelo has been the ideal collaborator. His iconoclastic approach to the print shop studio—his willingness to subvert its technical rules and traditions—is a characteristic that we recognize and are continually inspired by. As with earlier series made at Flying Horse Editions, Colangelo implemented contradictory tendencies as a creative strategy to develop these works. His process is to impose a rule structure for the project that carries the conceptual load for the work, and then improvise freely within that framework. This was the case with the project O-Land-O, made at FHE in 2011, that began with the self-imposed mandate of creating one image a day based on his reflections of Orlando for seven days; and again with Storms, in 2014, where the project structure started by digitally manipulating the letterforms that comprise a set of hurricane names. Within both of these constructs, he playfully collages and layers images that he has collected to accentuate chance occurrences and unexpected relationships. Both O-Land-O and the Storms series explored themes of place, place-making, and geography so it was appropriate that maps, both as images and as ideas, would serve as a vehicle for a new body of work. Inspired by Colonial-era map rooms—libraries containing the known fragments of information about the world out there—Colangelo envisioned creating an immersive installation that spoke to the social and political anxiety of the current era and the inherent dangers of unchecked information collection. While, historically, surveying and map making represent efforts to define unknown landscapes, the privileged knowledge they provided have also had the profound impact of influencing political structures and defining social constructs—to the empowerment of some and the servitude of others. A creative explorer himself, Colangelo recognizes the parallels inherent in metadata collection and the digital analytics in our age and has created objects that serve as reflective contemporary maps and atlases.

He worked rapidly between Epson digital printers and a 300-ton hydraulic platen press, technologies—inkjet and relief—that represent the extreme ends of the history of printing, a choice that underscores a cyclical time-space compression and conceptually ties these works to the era of the woodcut illustrations found buried in many of them. His decision to make unique objects, monoprints, for this residency, rather than focusing on the processes that would make repeatable print editions possible, allowed him to work quickly and intuitively and let his formidable improvisational skills shine. Beginning with digitally printed images appropriated from the internet and drawings from his own sketch books, he created unexpected mashups which refer to the golden era of exploration (re-occurring pointers, compass roses, and globes, for example). He then intuitively reacted to these printouts with bold, flat relief-printed shapes scavenged from the laser cutter bins in Washington University’s architecture school. The inherent architectonic nature of these relief plates creates multivalent layers of contemporary associations, inviting the viewer to shift a sense of perspective and scale; these forms suggest landforms, buildings, or cities … or electronic schematics, processors or microchips. Moreover, essential to the process was a game-like collaboration with FHE printers Adrian Gonzalez and Ashley Taylor and UCF student interns who took turns in the selection of plates from this collection and in the choice of colors for inking. The deep embossment created by the force of the hydraulic press pushes these works into the realm of sculpture, which inspired Colangelo to explore other three-dimensional qualities of paper. Folding and twisting the printed paper into shapes heightens associations with road maps and books—but these are charts where information is missing or obscured or at times strategically revealed. Colangelo is keenly aware that data-mining and statistical analysis have become the cartography of our age and the works in this exhibition serve to remind us of the risks inherent in that power. There are still places where the earth drops off, and information gets lost and obscured in the folds. He points to this fact upfront: Here Be Dragons, he exclaims; and advises us to read deeper, and past the obvious: to explore what is concealed or revealed Below the Fold.

Theo Lotz is the director of Flying Horse Editions, University of Central Florida, Orlando, Florida. This text is one in a series of the gallery’s exhibition written by fellow gallery artists and friends.

AFTERWORD BY BRUNO L. DAVID 4

I am pleased to present an exhibition of new prints by Carmon Colangelo. This is the artist’s ninth solo exhibition with the gallery. Here be Dragons: Below the Fold is an exhibition of monotype relief prints by Carmon Colangelo responding our current political environment and the precariousness of our contemporary condition in the age of social media. This series of work expands on Colangelo’s personal taxonomy of images and ongoing daily practice of mapping and recording ephemeral information to respond visually and physically to the notion of global connectivity and our networked communities. Derived from hand drawings and digital processes combined with chance operations, found materials and printing from discarded laser cut plates from architectural models, the result is a generative series of colorful, haptic and playful works intended to express ideas about the anxieties, fears, and instability experienced around the world. The phrase Here be Dragons, first appeared on the Lenox globe in 1510 as a marker for dangerous and uncharted waters ahead. Carmon Colangelo is a pioneering printmaker whose work combines surrealism and abstraction with the exploration of art history, science, and technology. His imagery presents a playful odyssey that references the meta-narratives of art history and is contingent on the juxtaposition of utopian ideals of modernism with the aesthetics of surrealism and conceptual art. An enduring feature of Colangelo’s work is the unraveling of free-floating symbols and texts in an aggressive exploitation of various print media. He challenges conventional readings, producing disorienting spatial topologies and striking visual poetics. His images may swing from the obsessively personal to the openly topical, allowing disparate formal structures and semiotics to inspire the production of remarkable forms that are somehow freed from the preceding visual context and grammar.. Carmon Colangelo (b. Toronto, Canada) lives and works in St. Louis, MO. He is the Ralph J. Nagel dean of the Sam Fox School of Design & Visual Arts and the E. Desmond Lee Professor for Collaboration in the Arts, Washington University in St. Louis. In this role, he oversees the School’s four academic units — the College of Art, College of Architecture, Graduate School of Art, and Graduate School of Architecture & Urban Design — as well as the Mildred Lane Kemper Art Museum. Colangelo’s work has been featured in 30 solo shows and more than 100 group exhibitions nationally and internationally. His work has been collected by many of the nation’s leading museums, including the National Museum of American Art in Washington, D.C., the Whitney Museum of American Art, New York, the Fogg Art Museum, Harvard University, and the Saint Louis Art Museum. He earned a B.F.A. in printmaking and painting from the University of Windsor in Ontario (1981) and a M.F.A. in printmaking from Louisiana State University (1983). 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 Theo Lotz for his thoughtful essay. I am deeply grateful to Christina Lu and Thomas Fruhauf, 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, Ashley Lee, Xizi Liu, Charis Schneider, Yihuang Lu, and Paula Stevenson.

Washington University Printmaking Workshop, Santa Reparata International School of Art, Florence, Italy

CHECKLIST & IMAGES OF THE EXHIBITION

Precarious World, 2016 Silkscreen chine-colle and relief print Edition of 25 16.5 x 14 inches (41.9 x 35.6 cm)

Figure I, 2016 Monotype, relief on paper 47.5 x 35 inches (120.7 x 88.9 cm)

Remote Sensing, 2016 Monotype, relief on paper 48 x 35.75 inches (121.9 x 90.8 cm)

Mauve Sensing Green (I Can See Russia), 2016 Monotype, relief on paper 52 x 40.25 inches (132.1 x 102.2 cm)

Folded Blues, 2016 Monotype, relief on paper (folded) 47.5 x 35 inches (120.7 x 88.9 cm)

Gray Matters, 2016 Monotype, relief on paper (folded) 45.5 x 36.25 inches (115.6 x 92.1 cm)

Pink Slip, 2016 Monotype, relief on paper (folded) 36 x 30 inches (91.4 x 76.2 cm) 14

Remembering the Bearn, 2016 Monotype, relief on paper 45 x 33.75 inches (114.3 x 85.7 cm) 15

New Perspectiva 1.0, 2016 Monotype, relief on paper 40 x 52 inches (101.6 x 132.1 cm)

New Perspectiva 2.0,, 2016 Monotype, relief on paper 35 x 47.5 inches (88.9 x 120.7 cm) 17

Recycler,2016 Monotype, relief on paper (folded) 52 x 40.25 inches (132.1 x 102.2 cm)

Mapping Somethingness, 2016 Monotype, relief on paper 35 x 47.5 inches (88.9 x 120.7 cm) 19

Pointing Toward Africa, 2016 Monotype, relief on paper 52 x 40.5 inches (132.1 x 102.9 cm) 20

Eye Spy Composition #1, 2016 Monotype, relief print (unique) 47.75 x 31.75 inches (121.3 x 80.6 cm) 21

Praying Mantis, 2016 Monotype, relief on paper (folded) 50 x 30.5 x 4.5inches (127 x 77.5 x 11.4 cm) 22

Praying Mantis (detail), 2016

Bloody Mess, 2016 Monotype, relief on paper (folded) 57.5 x 35 x 9.5 inches (146.1 x 88.9 x 24.1 cm)

Bloody Mess (detail), 2016

Sawhorse, 2016 Monotype, relief on paper (folded) 37 x 47 x 10.5 inches (94 x 119.4 x 26.7 cm)

Sawhorse (detail), 2016

Bullseye, 2016 Monotype, relief on paper (folded) 35 x 32.75 x 7 inches (88.9 x 83.2 x 17.8 cm) 28

Bullseye (detail), 2016 29

Folded Yellow Thing, 2016 Monotype, relief on paper (folded) 39.25 x 34.25 inches (99.7 x 87 cm) 30

Folded Yellow Thing (detail), 2016

Carmon Colangelo. Here be Dragons: Below the Fold (installation view)

Carmon Colangelo. Here be Dragons: Below the Fold (installation view) 40

Carmon Colangelo. Here be Dragons: Below the Fold (installation view) 42

Carmon Colangelo. Here be Dragons: Below the Fold (installation view)

Residency at Flying Horse Editions, Printing Folded Blues in collaboration with Adrian Gonzalez and Ashley Taylor

CARMON COLANGELO Born in Toronto, Ontario, Canada Lives and works in Saint Louis, Missouri

EDUCATION M.F.A B.F.A

1983, Printmaking, Louisiana State University, Baton Rouge, Louisiana. 1981, Printmaking and Painting, University of Windsor, Windsor, Ontario, Canada.

SELECTED SOLO EXHIBITIONS 2017 2016 2015 2014 2013 2012 2011 2008 2007

Bruno David Gallery, Here be Dragons: Below the Fold, Saint Louis, Missouri. (catalogue) Jonathan Ferrara Gallery, Carmon Colangelo, New Orleans, Louisiana. Bruno David Gallery, Theory of Nothing, Saint Louis, Missouri. (catalogue) Emergency Room Gallery, Contingency Plan, Rice University, Houston, Texas SRISA Gallery of Contemporary Art, Because the World is Round, Florence, Italy Bruno David Gallery, Storms, Saint Louis, Missouri. (catalogue) Schema Projects, Global Yocals, Drawings, Sketches and Other Recent Musings, Brooklyn, New York Bruno David Gallery, Glocal Diptychs, Saint Louis, Missouri. (catalogue) Tarble Arts Center, iM here, Charleston, Illinois Bruno David Gallery, O Land O, Saint Louis, Missouri. (catalogue) Bruno David Gallery, Eyedeas, Saint Louis, Missouri. (catalogue) Heuser Art Gallery, Carmon Colangelo, Bradley University, Peoria, Illinois. Bruno David Gallery, Big Bang to Big Melt, Saint Louis, Missouri. (catalogue) Farrell Center Gallery, Carmon Colangelo: Prints, School of Medicine, Washington University in St. Louis, St. Louis, Missouri. Flora Kirsch Beck Gallery, Carmon Colangelo, Alma College, Alma, Michigan. Bruno David Gallery, Pharmland Series, Saint Louis, Missouri.

2007 Sandler Hudson Gallery, Carmon Colangelo: Configured/Disfigured, Atlanta, Georgia. 2006 Bruno David Gallery, Configured/Disfigured, Saint Louis, Missouri. Sandler Hudson Gallery, Carmon Colangelo, Atlanta, Georgia. 2004 Laura Mesaros Gallery, Phantasmagoria, West Virginia University. Museo de Pueblos, Phantasmagoria, Guanajuato, Mexico. 2003 Scuola Internazionale di Grafica, Looking Back, Residency, Venice, Italy. 2002 Hope Street Gallery, DA,DA,DA, Liverpool John Moores University Gallery, in conjunction with the Liverpool Contemporary Art Biennial, Liverpool , England. Sandler Hudson Gallery, Fountain of Age, Atlanta, GA. 2001 John and Jane Allcott Gallery, Re-Tracings, University of Chapel Hill, NC. 2000 University of Delaware, Blasted Impulses and Beautiful Impossibilities, Newark, DE. 1996 Crieghton Davis Gallery, Carmon Colangelo, Washington, DC. 1995 Philadelphia Print Club, Carmon Colangelo, Philadelphia, PA. Ohio Wesleyan University, Lynn Mayhew Gallery, Carmon Colangelo, OH. 1994 Bradley University, Heuser Gallery, Carmon Colangelo, Peoria, IL. Adams State College, Carmon Colangelo, Alamosa, CO. 1993 Shepherd College Gallery, Carmon Colangelo, Shepherdstown, West Virginia. Rockville Arts Place, Prints and Constructions, Rockville, MD. Governorâ&#x20AC;&#x2122;s Mansion, Arts and Letters Series, Carmon Colangelo and Alison Helm. 1992 Windsor Printmakerâ&#x20AC;&#x2122;s Forum Gallery, Permutations, Windsor, Ontario. 1988 Benedum Gallery, Recent Prints and Paintings, Monongahela Art Center, Morgantown, WV.

SELECTED GROUP EXHIBITIONS

2017 2016 2014 2013 2012 2011 2010 2008 2007 2006 2005 2004

OVERVIEW_2017, Bruno David Gallery, St. Louis, MO. Baltimore Print Fair, Flying Horse Editions Booth, Baltimore, MD. Art on Paper, Jonathan Ferrara Gallery Booth, NY, NY. Drawn Out, Drawn Over, Brentwood Arts Exchange, Brentwood, MD. Burst of Memory, Bruno David Gallery, St. Louis, MO. Tower of Babel, Schema Projects, Brooklyn, NY. AND / OR, Bruno David Gallery, St. Louis, MO. (catalogue) Ink Miami, Flying Horse Editions Booth, Miami, FL. OVERVIEW_2014, Bruno David Gallery, St. Louis, MO. Deem 20, Art Museum of West Virginia University, WV (catalogue) Midwest Matrix: Continuum, Grunwald Gallery of Art, Indiana University, Bloomington, IN. Prints 2014, International Print Center, IPCNY, Christieâ&#x20AC;&#x2122;s Gallery, Rockefeller Plaza and IPCNY gallery in Chelsea, New York. Artworks, Bruno David Gallery, St. Louis, MO. BLUE-WHITE-RED, Bruno David Gallery, St. Louis, MO. Prints + Multiples, Bruno David Gallery, St. Louis, MO. MATRIX, Museum of Fine Arts, Florida State University, Tallahassee, FL. OVERPAPER, Bruno David Gallery, St. Louis, MO. (catalogue) A Survey of Contemporary Prints, Wellington Gray Gallery, School of Art and Design, East Carolina University, Greenville, NC. Assorted Printmakers, curated by Jeff Sippel, Gallery FAB, University of Missouri, St. Louis, MO. Overview_08, Bruno David Gallery, St. Louis, MO. Four Aces: Large-Scale Prints from Four Universities, Bruno David Gallery, St. Louis, MO. Overview_07, Bruno David Gallery, St. Louis, MO. There and Here: Carmon Colangelo, Joan Hall, Peter Marcus, COCA: Millstone Gallery, St. Louis, MO. Overview_06, Bruno David Gallery, St. Louis, MO. Impressions, An Invitational Exhibition of Prints, McMaster Gallery, University of South Carolina, Columbia, SC Handmade Papermaking Exhibition, The Robert C. Williams American Museum of Papermaking, Atlanta, GA. Gallery Artists, College Arts Association, Sandler Hudson Gallery, Atlanta, GA.

2004 2003 2002 2001 2000 1999 1998 1997

Works on Paper, Sandler Hudson Gallery, Atlanta, GA. 2K3, Wesleyan College, Macon, GA. Culture Shock: Works by Georgiaâ&#x20AC;&#x2122;s Foreign-Born Artists, Suntrust Plaza Gallery, Atlanta, GA. Georgia Triennial Exhibition, Traveling. Gallery City East, Atlanta, GA; Macon Museum of Art, Macon, GA; Albany Museum of Art and Telfair Museum, Savannah, GA. Prints by Georgia Artists, Swan Coach Gallery, Atlanta, GA. XIII San Juan Print Biennial, San Juan, Puerto Rico. Hypersalon, Prints and Multiples, Atrium Gallery,Virginia Museum of Fine Arts, VA. Interprint, Contemporary American Prints, Maastricht, Holland. Contemporary _ Prints and the Print Process, Albrecht-Kemper Museum, St. Joseph MO. Faculty Exhibition, Lyndon House Arts Center, Athens, GA. Nexus Biennial: Celebrating Local Figures, Nexus Contemporary Arts Center, Atlanta, GA. Pervasive Impressions: Contemporary Political Prints, Contemporary Research Center for the Arts, University of Texas, Arlington Gallery, TX. Drawn to Stone, Kennedy Museum, University of Ohio, Athens, OH. Baltimore Contemporary Print Fair, The Baltimore Museum of Art, Baltimore, MD. American Graphic Artists: The 5th Biennial of Slovene Arts, Nova Mesto, Slovenia. El Paso Printmaking Invitational, University of Texas, Fox Fine Arts Center Gallery, El Paso, TX. Are You Looking at Me?, Acme Art Gallery, Cleveland, OH. Texas/Georgia Print Exchange Exhibition, University of Dallas, TX. Multiple Touch: The Tactile Sensation in Prints, Robert Else Gallery, California State University, Sacramento, CA. Faculty Exhibition, Lamar Dodd School of Art, Georgia Museum of Art, Athens, GA. A Strange Vision, Brazosport College, Lake Jackson, TX. World Print Survey, Truman State University, Kirksville, MO. Allographies, Contemporary Printmakers, University Museum, Indiana University of Pennsylvania, Indiana, PA. Print Panorama: Nostalgia for the Future, Nova Scotia College of Art and Design, Halifax, NS, Canada. Print Panorama: Nostalgia for the Future, West Virginia University, Morgantown, WV. Litografia Argentina Contemporanea II, Museo Nacional del Grabado, Buenos Aires, Argentina. Litografia Argentina Contemporanea II, Belles Artes Emilio Caraffa, Cordoba City, Argentina. A Thought Intercepted, California Museum of Art, Luther Burbank Center for the Arts, Santa Rosa, CA.

1997 1996 1995 1994

Sliced Orbits, (Colangelo, Jaye and Hocking ) Pierce Art Gallery, West Virginia University Institute of Technology, Montgomery, WV. 26th Bradley National Print Exhibitions, University Galleries, Bradley University, Peoria, IL. Group Exhibition, Corcoran School of Art, Printmaking Studio Gallery, Washington, DC. The West Virginia Collection: Figurative Works, Cultural Museum, Charleston, WV. American Print Survey, Highland Community College, Highland, KS. A Strange Vision, Luther College Galleries, Decorah, IA. Print Invitational, (five person) Atrium Gallery, University of Connecticut, Storrs, CT. The Minnesota National Print Biennial, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN. 6th Clemson National Print and Drawing Exhibition, Rudolph E. Lee Gallery, Clemson, SC. Holler to Holler, Remote State, Monongahela Arts Center and State College Galleries, WV. West Virgina Fellowship Exhibition, Cultural Complex and Museum, Charleston, WV. Summer Exhibition, Bennington College, Bennington, VT. Governor’s Academy Faculty Exhibition (two person), Fairmont College, Fairmont, WV. West Virginia Traveling Exhibition, Tamarack Galleries, Beckley, WV. Print Types, Art Institute for the Permain Basin, Odessa, TX. 17th University of Dallas Printmaking Invitational, University of Dallas, Irving, TX. Print Invitational, Richard E. Beasley Museum and Gallery, Northern Arizona University, Flagstaff, AZ. Miami Print Invitational, New Galley, University of Miami, Coral Gables, FL. Hawaii Print Invitational, University of Hawaii at Hilo, Hilo, HI. McNeese Print Invitational, McCrombie Gallery, McNeese State University, Lake Charles, LA. Works on Paper, Elzay Gallery of Art, Wilson Art Center, Ohio Northern University, Ada, OH. Elvis “ X “ Suite, The Candy Factory, 23rd Southern Graphics Conference, University of Tennessee, Knoxville, TN. Colorprint USA, Lubbock Fine Arts Center, Texas Tech University, Lubbock , TX. Curated by Lynwood Kreneck. Alternative Prints, University Art Galleries, University of South Dakota, Vermillion, SD. Dakotas International, University Art Galleries, University of South Dakota, Vermillion, SD. Southern Printmakers, Atrium Gallery, University of North Texas, Fort Worth, TX. Printypes, Tareton State University, Stephenville, TX and Chadron State College, Chadron, NA.

1993 Paradise Endangered: New World of Contemporary Prints, The American Print Alliance, Baltimore City Hall Courtyard Galleries, Baltimore, MD. Naked Pittsburgh ,Views from Zenith Gallery, Pittsburgh, PA. Curated by David Goldstein. 6th Annual Florida Printmaking Society Exhibition, New World School of the Arts Gallery, Miami, FL. 6th Clemson National Print and Drawing Exhibition, Rudolph E. Lee Gallery, Clemson, SC. Society of American Graphic Artists 65th National Print Exhibition, Federal Plaza, New York, NY. Pulling Prints/ Talking Together, 21st Southern Graphics Conference, Thesis Gallery Fox Bldg., Maryland Institute, College of Art, Baltimore, MD. Southern Graphics Traveling Exhibition, University of North Alabama, Montgomery College, MD and Morehead State College, KY. Charlotte International Art Exhibition, Spirit Square Center for the Arts, Charlotte, NC. Juror Amada Cruz, Hirshhorn Museum, Washington, DC. 1992 Earth Views: Landscape Imagery by Mid-Atlantic Printmakers, Rockville Arts Place,Rockville, MD. Group Exhibition, Silvermine Prints International, Silvermine Guild Galleries, New Caanan, CT. Exhibition 280: Works on Walls, Huntington Museum of Art, Huntington, WV. 20th Southern Graphics National Exhibition, (traveling) 1992-94. Printworks, Carmon Colangelo and Sergio Soave, Hoyt Institute of Fine Arts, New Castle, PA. 1991 5th Clemson National Print And Drawing Exhibition, Rudolph E. Lee Gallery, Lee Hall, College of Architecture, Clemson University, Clemson, SC. Florida Printmakers Society 5th Annual Exhibition, Thomas Center Gallery, Gainesville, FL. West Virgina Impressions: Printmaking in the Mountain State, Sunrise Museum Downtown, Charleston, WV. 1990 11th Los Angeles Printmaking Society National Printmaking Exhibition, Laband Art Gallery, Loyola Marymount University, Los Angeles, CA. 1989 The Boston Printmakers 42nd North American Print Exhibition, Fitchburg Art Museum, Fitchburg, MA. U.S. - Korea Traveling Exhibition, (Los Angeles, Seoul, Paris), Los Angeles Printmaking Society and The Korean Contemporary Printmaking Association, Korean Cultural Galleries in Los Angeles and Seoul and the Embassy Cultural Center in Paris, France. 1988 Korean International Print Biennial, International Exchange of Prints 1989, Korean Printmakers Association, Seoul, Korea. International Prints II, Silvermine Guild Galleries, New Canaan, Connecticut and John Szoke Gallery, New York City, NY. 10th University of Dallas Printmaking Invitational, Haggerty Art Center, University of Dallas,Irving, TX. The Great White North, Recent Canadian Art, Invitational Exhibition, Staten Island Institute of the Arts, NY. 1987 Prints, Invitational Exhibition, Four Printmakers, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL.

1987 21st Bradley National Print and Drawing Exhibition, Hartman Center Gallery, Bradley University, Peoria, IL. 3rd Clemson National Print and Drawing Exhibition, Rudolf E. Lee Gallery, College of Architecture, Clemson University, SC. 7th Annual National Print Exhibition, Artlink Contemporary Artspace, Fort Wayne, IN. 1986 Philadelphia Print Club 62nd International Print and Photography Exhibition, Print Club Gallery, Philadelphia, PA. Post-Rustic, Artists Liaison Gallery Exhibition, Theater Art Gallery, Design Center, Los Angeles, CA. Society of American Graphic Artists Juried Exhibition, Lumen Winter Gallery of the New Rochelle Public Library, New York, NY. 6th Annual National Print Exhibition, Artlink Contemporary Artspace, Fort Wayne, IN. Scotland tour Exhibition, Works from LSU Print Workshop, Aberdeen Art Museum, Glascow School of Art, Edinboro College of Art, Dundee College of Art, Greys School of Art, Scotland. 9th National Juried Exhibition of the Los Angeles Printmaking Society, (33 Printmakers), Wright Art Gallery, UCLA, Los Angeles, CA. Pratt-Silvermine International Print Exhibition, Silvermine Guild Center for the Arts, New Cannaan, Connecticut and Pratt Manhattan Center Gallery, New York, NY. The 38th North American Print Exhibition, Boston Printmakers, DeCordova Museum, Boston, MA. 1985 The Boston Printmakers 37th National Print Exhibition, Rose Art Museum, Brandeis University, Waltham, MA. 9th Annual Eastern United States Print and Drawing Exhibition, North Carolina Print and Drawing Society, Spirit Square Art Center and St. Johns Museum, NC.

GRANTS & AWARDS 2010 Association of Collegiate Schools of Architecture, (ACSA) Service Award for hosting and the annual ACSA and NCAA (National Council of Art Administrators) conference, Economies: Art + Architecture. 2006 E. Desmond Lee Professorship for Collaboration in the Arts and Medal, Endowed Professorship with Scholarly Support 2004 Alison and Patrick Deem Distinguished Lecturer, West Virginia University, Morgantown, WV. 2003 Distinguished Research Professor, Award, University of Georgia. 2001 Melon Foundation Grant, UGA Libraries and School of Art (Digitize the Carnegie Study of the Art of the United States.) 2000 State of the Art Conference Grant, Cortona International Art Symposium; A Print Odyssey 2001. President’s Venture Fund Grant for Scholarships, Print and Book Arts Maymester Program and Cortona International Art Symposium. 1998 Senior Research Grant in the Fine Arts, Mixed Media Paintings and Layered Impressions, The University of Georgia. 1996 West Virginia Artist Fellowship: Art and Humanities Grant, Cultural Center and Museum, Charleston, West Virginia. Gary Applebaum Purchase Award and the Charbonnel Inks Award, Minnesota National Print Biennial, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN. Jurors Elizabeth Armstrong and Frances Myers. Juror’s Commendation, Sixth Clemson National Print and Drawing Exhibition, Clemson University. Juror, Ruth Wiesberg. International Visiting Artist Grant, Shanghai University, Jingdezhen Ceramic Institute and the Nanjing Arts College, People’s Republic of China. 1995 College of Creative Arts Outstanding Research Award, West Virginia University, West Virginia. 17th University of Dallas Printmaking Invitational Purchase Award, University of Dallas, Texas. Governor’s Award, West Virginia Juried Exhibition, The Cultural Museum, Charleston, WV. 1994 International Visiting Artist Grant, Academy of Fine Arts, Bratislava, Slovakia. 1993 Judith Lieber Purchase Award, Society of American Graphic Artists, 65th National Print Exhibition, Federal Plaza, New York, New York. Juror’s Award, Clemson National Print and Drawing Exhibition, Clemson, South Carolina. Juror, Elizabeth Armstrong, Curator Walker Art Center, Minneapolis. 1992 Sabbatical Research Leave, Board of Trustees, WVU, Fall semester. West Virginia University Senate Research and Scholarship Grant, for “Print Assemblages”. International Visiting Artist Residency Program, Windsor Printmakers Forum, funded by the Canada Arts Council. 1991 Honorable Mention, Exhibition 280: Works on Walls, Huntington Museum of Art, West Virginia. Fifth Clemson National Print and Drawing Exhibition Purchase Award, Clemson University. Juror, Ned Rifkin, Chief Curator Hirshhorn Museum and Sculpture Garden, Smithsonian Institute.

1990 Arjamari-Arches-Rives Purchase Award, 11th National Los Angeles Printmaking Society, Los Angeles, California Senate Research and Scholarship Grant, “Collaborative Lithography,”creation of lithographs at Winstone Press, North Carolina. 1988 10th University of Dallas Printmaking Invitational Purchase Award, University of Dallas, Irving, Texas. 1987 3rd Clemson National Jurors Purchase Award, Clemson University, South Carolina. Juror, Terence La Noue, Painter and Printmaker. 1986 6th Annual National Print Jurors Award, Artlink Contemporary Artspace, Indiana. Juror, Fred Grude, Master Printer, Four Brothers Press, Chicago, Illinois. North Carolina Print and Drawing Society Purchase Award, 9th Annual Eastern United States Print and Drawing Exhibition. Juror, Robert Gordy. West Virginia University Senate Research and Scholarship Grant, Project; Mixed Media Printmaking. 1985 Award of Excellence, West Virginia Juried Exhibition, Cultural Center, Capitol Complex, Charleston, West Virginia. Juror’s Award, Three Rivers Art Festival, Juried Exhibition. Juror Patterson Sims, Assistant Curator of the Whitney Museum of American Art. Consolidated Natural Gas Foundation Purchase Award, Purchase for the University of Pittsburgh, Three Rivers Art Festival Exhibition. Juror’s Commendation, Boston Printmakers 37th National. Juror, David W. Kiehl, Assistant Curator of Prints, Metropolitan Museum of Art.

CURATED EXHIBITIONS 2008 On the Margins, Mildred Lane Kemper Museum, St. Louis, Missouri. Artists: Adel Abidin, Laylah Ali, Paolo Canevari, Enrique Chagoya, Willie Cole, Luis Cruz Azaceta, Willie Doherty, Jane Hammond, Martha Rosler and Do-Ho Suh. Catalogue: On the Margins, with contributions from Eleanor Heartney and Paul Krainak, February 2008. (catalogue) 2001 Ponte Futuro, Co- curator with Judith Brodsky, Girifalco Fortress in Cortona, Italy. Artists: Willie Cole, Magdelena Compos Pons, Leslie Dill, Hung Liu, Igor Makarevich, Young Soon Min, Pepon Osorio, Juan Sanchez, Italo Scagna, Kiki Smith, Komar and Melamid, Mimmo Palladino, James Siena, Robert Stackhouse and William Kentridge. Installed in the town fortress the exhibition exemplified the aesthetic range of artists around the world addressing technology, craft, identity, popular media and globalism after a century of avant-gardism. 1999 Fabled Impressions, Knox Gallery of Prints and Drawings, Georgia Museum of Art. Artists: Luis Cruz Azaceta, Jose Bedia, Leslie Dill, Randy Bolton, Jane Hammond, Bill Fick, Steve Murakishi, Kurt Kemp, Laurie Sloan and Kara Walker. Exhibition focused on works by artists who use allegory and irony to comment on the political, spiritual and technological issues of the late 20th century; 1996 Remote Sensing, Paul and Laura Mesaros Galleries, West Virginia University. Artists: Nancy Spero, Frances Myers, Beauvais Lyon, Tom Nakashima, Simon Penny, Juila Kilgaard, Adele Henderson, James McEllinney, Michael Rodemer, Tanja Softic, Chris Sperandio and Kelley Walker.

BIBLIOGRAPHY Lotz, Theo. Marks, Kerry. Marjanović, Igor. Beall, Dickson. Spector, Buzz. Beall, Dickson. Gay, Malcolm. Beall, Dickson. Swenson, Eric. Cooper, Ivy. Beall, Dickson. Cooper, Ivy. Van Uum, Katherine.

“Here be Dragons: Below the Fold,” Catalogue essay, Bruno David Gallery Publication, September 2017. “From Syria and Uncharted Waters to Interior Design”, TV interview, HEC-TV, April 17, 2017 “Theory of Nothing,” Catalogue essay, Bruno David Gallery Publication, October 2016. “Carmon Colangelo: A Dean With A Theory of Nothing,” Video-Interview, The St. Louisan, March 2016. “Carmon Colangelo Interviewed by Buzz Spector,” Catalogue essay, Bruno David Gallery Publication, June 2014. “Carmon Colangelo,” Video-Interview, The St. Louisan, April 2014. “Carmon Colangelo: Exhibit at Bruno David,” Riverfront Times, April 10, 2014. “Carmon Colangelo,” WestEnd Word, March 26, 2014. “Carmon Colangelo: Global Diptychs,” Video-Interview, EMS, April 2013. “Carmon Colangelo,” Catalogue Essay, Bruno David Gallery Publication, April 2013. “Carmon Colangelo - O Land O,” Video Interview (2:50 mi.), The St. Louisan, January 2012. “Carmon Colangelo’s Delirious Vision,” Catalogue Essay, Eastern Illinois University Publication, October 2012. “On the Road With Co-Langel-O,” Catalogue Essay, Bruno David Gallery Publications, February 2012.

Beall, Dickson. Lotz, Theo. Spector, Buzz. Cooper, Ivy. Baran, Jessica. Weisberg, Ruth. Murphy, Patrick. Krainak, Paul. Gay, Malcom. Beall, Dickson. Otten, Liam. Bonetti, David. Duffy, Robert. Downen, Jill. Teekell, Anna.

“Nature, Place, Body & Architecture,” West End Word, St. Louis, MO, February 1, 2012. “Seven Days in O Land O,” Catalogue Introduction, Bruno David Gallery Publications, February 2012. “Carmon Colangelo: In Media Res,” Catalogue Essay, Bruno David Gallery Publications, April 2011. “ ‘Eyedeas’ a plenty,” St. Louis Beacon, St. Louis, MO, April 13, 2011. “Eyedeas,” Riverfront Times, St. Louis, MO, April 14, 2011. “Carmon Colangelo and His Big ‘Eyedeas’, ” Catalogue Essay, Bruno David Gallery Publications, April 2011. “From Big Bang to Big Melt,” Bruno David Gallery, TV interview on PBS, “Living St. Louis”, January 2009. “Carmon Colangelo,” Catalogue Essay, Bruno David Gallery Publications, December 2008. “Four Aces,” RiverFront Times, St. louis, MO, February 27, 2008. “Medical Arts,” West End Word, St. Louis, MO, December 2008. “Art Medicine: Carmon Colangelo,” Record, St. Louis, MO, January 9, 2008. “Art Openings,” St. Louis Post-Dispatch, 2006. “Carmon Colangelo,” Riverfront Times, September 20, 2006. “Carmon Colangelo,” Catalogue Essay, Bruno David Gallery Publications, Fall 2006. “Fit for Print,” RiverFront Times, September 2006.

Dana, Robin P. Slaven, Michael. Zhiyuan, Cong. Eide, Joel S. Allen, Lynn and McGibbon Phylis Allen, Lynn and McGibbon Phylis Krainak, Paul. Colangelo, Carmon. Slaven, Michael. Olson, Kristina. Cunningham. Olson, Kristina.

“Carmon Colangelo: Multiple Impressions,” Art Works, pp. 3-4, Vol. 11, Washington University Publications, Spring 2006, St. Louis, MO. (Two color illustrations, “Body Bizarre” and “Gray’s Anatomy”) “Phantasmagoria,” Art Papers, Summer 2004. “The Window Overseas,” Contemporary American Printmaking, Chinese Printmaking, pp. 36-44, Vol. 12, 1998. (two color illustrations, “White Breast with Bunny” and “Kiss and Tell”) “American Graphic Artist,” The 5th Biennial of Slovene Arts (book length), pp. 97-120, October, 1998. (One color illustration). Best of Printmaking: An International Collection, Rockport Publishers, Inc., pp. 158, 1997. “Art, Multiple Touch: The Tactile Sensations in Prints,” The Sacramento Bee, September 6, 1998. Who’s Who in American Art, 23rd edition. Who’s Who in the South and Southeast, 26th edition. “Appalachian High: Resisting Mis-Representation,” Art Examiner, pp. 31- 35, October, 1997. “Remote Simulations,” Contemporary Impressions, Spring 1995. “Out of Print,” After Image, Spring 1996. “Colangelo,” Art Papers, Rockville Arts Place, July/August, 1993. E.C. Printmaking: A Primary Form of Expression, Colorado Press, 1992. (One Chapter, four reproductions.) “Colangelo/Soave,” Art Papers, Hoyt Institute of Fine Arts, 1992.

SELECTED PUBLIC COLLECTIONS The National Museum of American Art, Washington, DC Whitney Museum of American Art Saint Louis Art Museum, St. Louis, MO Florida State Art Museum, Tallahassee New York Public Library, New York, NY Museo National del Grabado, Buenos Aires, Argentina Kennedy Museum of Art, Athens, OH Butler Museum of American Art Fogg Art Museum, Harvard University Museums Nelson-Atkins Museum of Art University of Pittsburgh Louisiana State University Clemson University West Virginia Cultural Complex and Museum University of Windsor University of Dallas Illinois Wesleyan College Arches-Rives Paper and Ink Collection Hoyt Institute of Fine Arts Huntington Museum of Art, West Virginia Saint Louis University Museum Bradley University Windsor Printmakers Forum Southern Illinois University at Carbondale Ewing Gallery, University of Tennessee University of Minnesota Bibliotheque Nationale, Paris, France

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ARTISTS Laura Beard Heather Bennett Lisa K. Blatt Michael Byron Bunny Burson 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 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 Ann Wimsatt Monika Wulfers