Carmon Colangelo: Storms by Bruno David Gallery

CAR M O N CO L A N GE LO STORMS

bruno david gallery

CARMON COLANGELO Storms

April 4 - May 3, 2014 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: Storms Editor: Bruno L. David Catalogue Designer: Yuwei Qiu Designer Assistant: Claudia R. David Printed in USA All works courtesy of Bruno David Gallery and Carmon Colangelo Photographs by Bruno David Gallery Cover image:

Jose & Joyce, 2014 (detail) Intaglio, digital, relief printing and chine-collĂŠ on paper Edition of 8 22-1/4 x 36-1/8 inches (56.5 x 91.8 cm)

First Edition Copyright ÂŠ 2014 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

CARMON COLANGELO INTERVIEWED BY BUZZ SPECTOR Afterword BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

CARMON COLANGELO INTERVIEWED BY BUZZ SPECTOR 2

Buzz Spector: I’ve followed your work over the years and it seems to me that you have been pushing the limits of what is conventionally considered printmaking. In the Storms work there is unexpectedly more use of historically significant printmaking techniques, including chine collé and intaglio, yet your images are even more dynamic and experimental than what you’ve done before. Tell me about how you came to start on this new series. Carmon Colangelo: I started with the concept of storms as a response to all the violent patterns of recent global weather. Theo Lotz, the director at Flying Horse Press had suggested I come to Orlando and experiment with the hydraulic press, using it to “crush” something, and that led me to think about how to use a relief printing process strategy with embossments. I had already been collecting discarded pieces of plastic plates from the laser cutter in the architecture shop on campus, and I noticed that these leftovers from cutting out the elements used to build architectural models looked like the wreckage from storms, especially as they piled up in the dumpster. When I arrived in Orlando I was fully armed with about 30 plates and also with the idea of somehow using the hurricane naming system, alternating male and female names alphabetically, ultimately marrying male and female names for each print. Buzz: You’ve worked with found images for quite some time, but this seems to be a first time for you in working with found objects. The “cutouts” you found still outline, at least abstractly, the architectural forms made by using the laser cutter to excise portions of the original plastic sheets. There’s also something of Duchamp’s idea of the Readymade here, in the way you take the residue from making a three dimensional model and “stamp” it, so to speak, into two dimensional artworks. Carmon: These “Readymades” were used in combination with drawings I started to do on sintra plates. I ended up experimenting with all of these elements on the press and adding to the equation old lithographic maps that I radically distorted, morphed, twisted and manipulated on the computer to give these images an overall sense of turbulence, chaos and energy as well as place or location. We printed the maps as an additional element on rice paper to specifically add another layer of texture, as well as a sense of antique color, using chine collé. All of this was layered and orchestrated into the mix using both chance and control. As the process evolved, I started to find a rhythm and began recycling the cutout pieces from the chine collé maps and also using the linear relief elements of the plates to create a more minimal series of prints.

Buzz: It seems to me that the disparate images, impressions, and technologies you were using began to come together in a synthesis of creative energy, almost the antithesis of the shattering destructiveness of the giant storms you refer to in your titles. Carmon: I do have a tendency towards harmonizing disparate elements and forces. I think it is part of my nature to try to organize images and make sense of things. Likewise, the hybrid nature of combining new technologies and old printmaking techniques is something that has always fascinated me for sure and working collaboratively with master printers who care deeply about craft and nuance has impacted this series as well. Buzz: The craftsmanship of the prints is exceptional; particularly the way the chine collé creates a structural as well as pictorial “edge” around the recognizable—but unreadable—textual elements in several of the prints. The swirling compositions of the more maximal prints are interrupted by the cuts in the chine collé, as if cut by missiles of debris launched by your titular storms. Can you elaborate on this weather metaphor? Carmon: The idea of tackling storm patterns was on my mind but mostly I was concerned with how to develop a visual language to express something deeper about our emotional anxieties regarding storms. I have been interested in psychogeographies and mapping the interrelatedness of human beings and the environment, so the metaphor of weather along with the art of weather forecasting and the kind of whiteout/aftermath of storms became part of the structure of this series. The landscape as well as the screen-like format seemed like a good way to create a “window” for tracking the storm while the more minimal works become more abstract, maybe even formal, with little referential information to really discern the original source. This kind of deconstruction of the image and idea interests me. Buzz: But there’s another way you make a “weather report” here, the several sheets printed with multiple, near post-card sized, images that can be purchased one-by-one. The individual images, then, must subsequently be cut out from the sheet in order for collectors to take possession of them. There’s art historical reference to “Mail Art” here, but I sense that your interest is less historical than metaphorical. Can you share with me your concept of this cutting out?

Carmon: The “Mail Art” reference came to me as a way to communicate about the storms in a postcard format that I titled Post Storms. I liked the historical nostalgic references to travel, “Snail-mail,” and the scale of the postcard format. I scanned a 1957 Art News subscription mailer and it gave me a structure to use the classic postal “blue and red” border. I also include dotted, “cut here” lines in each card in some way, positioning them to be somehow visible even after a card is cut out. I came up with the idea of printing 15 of them on one sheet (nine sheets in total) to be cut out as you would in gang-run printing. This is a commercial printing technique in which multiple projects are placed on a common paper sheet in an effort to reduce printing costs. Of course these are digital prints, so the connection is a conceptual one, but it really did allow me to make original works more accessible. I also felt it made for a kind of light-hearted game as there are several repeats and variations with many riffs on art historical movements and modern artists as well as storm references. Buzz: This referencing of art, artists, and storms recalls me to Walter Benjamin’s essay, “On the Concept of History,” in which he writes a description of the backward-facing “angel of history,” who is propelled forward in time by “a storm blowing in from Paradise.” Benjamin concludes his description this way: “The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.” Carmon: I like that. Benjamin’s words seem like a fitting conclusion to me. I am ready for the next exploration and to build on these last images.

Buzz Spector is an artist, critic, and professor of art in the Sam Fox School of Design and Visual Arts at Washington University in St. Louis. Spector is the author of numerous essays on art and artists. Buzzwords, a book of interviews with Spector, plus page art, was published in 2012 by Sara Ranchouse Publishing, Chicago. Spector received his M.F.A. from the University of Chicago in 1978, combining studies in art and philosophy, and studied design and art at Southern Illinois University at Carbondale, where he received his B.A. in 1972. Spector has exhibited his art in such museums as the Art Institute of Chicago, Huntington Museum of Art, Huntington, WV, Mattress Factory Art Museum, Pittsburgh, PA, Museum of Contemporary Art Chicago, and the Luigi Pecci Centre, Prato, Italy.

AFTERWORD BY BRUNO L. DAVID 6

I am pleased to present a new exhibition titled “Storms” by Carmon Colangelo. This show marks Colangelo’s seventh solo exhibition with the gallery. Storms is an exhibition of experimental mixed media prints by Carmon Colangelo created at Flying Horse Editions. Using the processes of relief printmaking and chine-collé, Colangelo has developed a unique vocabulary of architectonic forms and fragments, repurposing discarded laser cut plates from architecture models, calligraphy, and maps to create turbulent spaces. This body of work explores storm patterns and environmental instability, marrying random male and female hurricane names in the title of each work: Jose & Joyce, Ernesto & Emily, Agnes & Andrew, Gustav & Grace, Barry & Bertha, Wendy & William, Odette & Otto, and Floyd & Fifi. These prints expand on Colangelo’s interest in representing the dynamic shifts of our interconnected world. In the Front Room, Air Mail is a series of nine prints. Each print is composed of 15 air mail postcards with images of storms and abstractions of modern art and pop culture references including social media. The postcards are gang printed on a single sheet referencing commercial printmaking, and lithography practices of the early 20th century. The “please cut here” lines are part of each print and intended to be literally cut out into individual prints for collectors after the exhibition. Born in Toronto, Canada, Carmon Colangelo received his M.F.A. from Louisiana State University, Baton Rouge, Louisiana. His work has been exhibited widely, from Philadelphia and Washington, D.C. to Argentina, Canada, England, Puerto Rico, and Korea. His works are in collections at the National Museum of American Art, the Whitney Museum of American Art, the Saint Louis Art Museum, and the Fogg Art Museum at Harvard University. He is the Dean of the Sam Fox School of Design & Visual Arts at Washington University in St. Louis and holds the E. Desmond Lee Professor for Collaboration in the Arts. 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 Buzz Spector for his thoughtful interview of Carmon Colangelo. I am deeply grateful to Yuwei Qiu, 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, Yoko Kiyoi, Jackie Jevorutsky, Yuwei Qiu, Ailing Zhang and Abigail Spratt.

CHECKLIST & IMAGES OF THE EXHIBITION

Jose & Joyce, 2014 Intaglio, digital, relief printing and chine-collĂŠ on paper Edition of 8 22-1/4 x 36-1/8 inches (56.5 x 91.8 cm)

Odette & Otto, 2014 Intaglio, digital, relief printing and chine-collĂŠ on paper Edition of 8 22-1/4 x 36-1/8 inches (56.5 x 91.8 cm)

Gustav & Grace, 2014 Intaglio, digital, relief printing and chine-collĂŠ on paper Edition of 8 22-1/4 x 36-1/8 inches (56.5 x 91.8 cm)

Wendy & Williams, 2014 Intaglio, digital, relief printing and chine-collĂŠ on paper Edition of 8 22-1/4 x 36-1/8 inches (56.5 x 91.8 cm)

Ernesto & Emily, 2014 Intaglio, digital, relief printing and chine-collĂŠ on paper Edition of 8 22-1/4 x 36-1/8 inches (56.5 x 91.8 cm)

Floyd & Fifi, 2014 Intaglio, digital, relief printing and chine-collĂŠ on paper Edition of 8 22-1/4 x 36-1/8 inches (56.5 x 91.8 cm)

Agnes & Andrew, 2014 Intaglio, digital, relief printing and chine-collĂŠ on paper Edition of 8 22-1/4 x 36-1/8 inches (56.5 x 91.8 cm)

Barry & Bertha, 2014 Intaglio, digital, relief printing and chine-collĂŠ on paper Edition of 8 22-1/4 x 26-1/8 inches (56.5 x 91.8 cm)

Air Mail #1 (Post Storm Series), 2014 Digital Printing on paper 39-1/2 x 28 inches (100.3 x 71.1 cm)

Air Mail #2 (Post Storm Series), 2014 Digital Printing on paper 39-1/2 x 28 inches (100.3 x 71.1 cm)

Air Mail #3 (Post Storm Series), 2014 Digital Printing on paper 39-1/2x 28 inches (100.3 x 71.1 cm)

Air Mail #4 (Post Storm Series), 2014 Digital Printing on paper 39-1/2 x 28 inches (100.3 x 71.1 cm)

Air Mail #5 (Post Storm Series), 2014 Digital Printing on paper 39-1/2 x 28 inches (100.3 x 71.1 cm)

Air Mail #6 (Post Storm Series), 2014 Digital Printing on paper 39-1/2 x 28 inches (100.3 x 71.1 cm)

Air Mail #7 (Post Storm Series), 2014 Digital Printing on paper 39-1/2 x 28 inches (100.3 x 71.1 cm)

Air Mail #8 (Post Storm Series), 2014 Digital Printing on paper 39-1/2 x 28 inches (100.3 x 71.1 cm)

Air Mail #9 (Post Storm Series), 2014 Digital Printing on paper 39-1/2 x 28 inches (100.3 x 71.1 cm)

Air Mail (Detail), 2014

CARMON COLANGELO: Storms, Bruno David Gallery, 2014 (Installation view: Storms)

CARMON COLANGELO: Storms, Bruno David Gallery, 2014 (Installation view: Air Mail)

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 2014 2013 2012 2011 2008 2007 2006 2004

Bruno David Gallery, Storms, Saint Louis, Missouri. (catalogue) Schema Projects, Global Yocals, Drawings, Sketches and Other Recent Musings, Brooklyn, NY 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. Sandler Hudson Gallery, Carmon Colangelo: Configured/Disfigured, Atlanta, Georgia. Bruno David Gallery, Configured/Disfigured, Saint Louis, Missouri. Sandler Hudson Gallery, Carmon Colangelo, Atlanta, Georgia. Laura Mesaros Gallery, Phantasmagoria, West Virginia University. Museo de Pueblos, Phantasmagoria, Guanajuato, Mexico.

2003 2002 2001 2000 1996 1995 1994 1993 1992 1988

Scuola Internazionale di Grafica, Looking Back, Residency, Venice, Italy. 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. John and Jane Allcott Gallery, Re-Tracings, University of Chapel Hill, NC. University of Delaware, Blasted Impulses and Beautiful Impossibilities, Newark, DE. Crieghton Davis Gallery, Carmon Colangelo, Washington, DC. Philadelphia Print Club, Carmon Colangelo, Philadelphia, PA. Ohio Wesleyan University, Lynn Mayhew Gallery, Carmon Colangelo, OH. Bradley University, Heuser Gallery, Carmon Colangelo, Peoria, IL. Adams State College, Carmon Colangelo, Alamosa, CO. Shepherd College Gallery, Carmon Colangelo, Shepherdstown, West Virginia. Rockville Arts Place, Prints and Constructions, Rockville, MD. Governor’s Mansion, Arts and Letters Series, Carmon Colangelo and Alison Helm. Windsor Printmaker’s Forum Gallery, Permutations, Windsor, Ontario. Benedum Gallery, Recent Prints and Paintings, Monongahela Art Center, Morgantown, WV.

SELECTED GROUP EXHIBITIONS 2014 2013 2012 2011 2010 2008

OVERVIEW_2014, Bruno David Gallery, St. Louis, MO. Deem 20, Art Museum of West Virginia University, WV (catalogue) 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. A Survey of Contemporary Prints, Wellington Gray Gallery, School of Art and Design, East Carolina University, Greenville, NC, 2010. Assorted Printmakers, curated by Jeff Sippel, Gallery FAB, University of Missouri, St. Louis, MO. Overview_08, Bruno David Gallery, St. Louis, MO.

2008 2007 2006 2005 2004 2003 2002 2001 2000 1999 1998

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. 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.

1998 1997 1996 1995

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. 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.

1994 1993 1992 1991 1990 1989

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. 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. 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. 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. 11th Los Angeles Printmaking Society National Printmaking Exhibition, Laband Art Gallery, Loyola Marymount University, Los Angeles, CA. 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 1987 1986 1985

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. Prints, Invitational Exhibition, Four Printmakers, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL. 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. 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. 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 2006 2004 2003 2001 2000 1998 1996 1995 1994 1993 1992 1991

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. E. Desmond Lee Professorship for Collaboration in the Arts and Medal, Endowed Professorship with Scholarly Support Alison and Patrick Deem Distinguished Lecturer, West Virginia University, Morgantown, WV. Distinguished Research Professor, Award, University of Georgia. Melon Foundation Grant, UGA Libraries and School of Art (Digitize the Carnegie Study of the Art of the United States.) 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. Senior Research Grant in the Fine Arts, Mixed Media Paintings and Layered Impressions, The University of Georgia. 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. 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. International Visiting Artist Grant, Academy of Fine Arts, Bratislava, Slovakia. 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. 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. 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 1988 1987 1986 1985

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. 10th University of Dallas Printmaking Invitational Purchase Award, University of Dallas, Irving, Texas. 3rd Clemson National Jurors Purchase Award, Clemson University, South Carolina. Juror, Terence La Noue, Painter and Printmaker. 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. 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. 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 Spector, Buzz. Beall, Dickson. Gay, Malcolm. Beall, Dickson. Swenson, Eric. Cooper, Ivy. Beall, Dickson. Cooper, Ivy. Van Uum, Katherine. 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. Dana, Robin P. Slaven, Michael.

“Carmon Colangelo Interviewed by Buzz Spector,” Catalogue, 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,” Video-Interview, 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. “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”. “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. “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.

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.

“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.

FACULTY POSITIONS 2006-Present 1999-2006 1997-2006 1993-97 1988-94 1986-94 1984-88 1984 1983

Dean of the Sam Fox School of Design & Visual Arts, Washington University in St. Louis, St. Louis, Missouri. E. Desmond Lee Professor for Collaboration in the Arts, Washington University in St. Louis, St. Louis, Missouri. Founding Director of the Institute of Creative Exploration (I.C.E.), University of Georgia. Director and Distinguished Research Professor, Lamar Dodd School of Art, University of Georgia, Athens, Georgia. Division of Art Chairperson and Professor of Art, Division of Art, College of Creative Arts, West Virginia University, Morgantown, West Virginia. Associate Professor of Art, Area Coordinator of Printmaking, Division of Art, College of Creative Arts, West Virginia University. Graduate Coordinator, Division of Art, College of Creative Arts, West Virginia University. Assistant Professor of Art, Area Coordinator of Printmaking, Division of Art,College of Creative Arts, West Virginia University Visiting Artist, Printmaking Instructor, Louisiana State University, Baton Rouge, Louisiana. Printmaking Instructor, Art Gallery of Ontario, Toronto, Ontario, Canada.

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

ARTISTS Laura Beard Martin Brief Lisa K. Blatt Shawn Burkard Bunny Burson Carmon Colangelo Alex Couwenberg Jill Downen Yvette Drury Dubinsky Beverly Fishman Damon Freed Douglass Freed Joan Hall

Richard Hull Kim Humphries Ellen Jantzen Michael Jantzen Kelley Johnson Howard Jones (Estate) Chris Kahler Bill Kohn (Estate) Leslie Laskey Peter Marcus Patricia Olynyk Gary Passanise

Judy Pfaff Daniel Raedeke Tom Reed Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Shane Simmons Buzz Spector Cindy Tower Mario Trejo Ken Worley

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