Carmon Colangelo: This or That by Bruno David Gallery

CA RM ON COL A N G ELO This or That

bruno david gallery

CARMON COLANGELO This or That

August 27 - October 16, 2021 Bruno David Gallery 7513 Forsyth Boulevard Saint Louis, Missouri 63105, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Founder/Director: Bruno L. David This catalogue was published in conjunction with the exhibition “This or That” at Bruno David Gallery. Editor: Bruno L. David Catalogue Designer: Jada Ivy Designer Assistant: Claudia R. David Printed in USA All works courtesy of Carmon Colangelo and Bruno David Gallery Photographs by Bruno David Gallery Cover image: Stitched Aperture, 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers 40 x 30 inches (101.6 × 76.2 cm) First Edition Copyright ©2022 Carmon Colangelo and Bruno David Gallery All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery

CONTENTS

CARMON COLANGELO BY PAUL KRAINAK AFTERWORD BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

CARMON COLANGELO BY PAUL KRAINAK

Carmon Colangelo condenses, overlaps, and de-composes versions of painting and printmaking’s abstract plotlines, ones that evoke natural and architectural environments tinged with digital technology. He randomizes graphic sequences inherent to each medium and uses a kind of graphic subterfuge to decelerate and relocate recursive forms. Sampling digital and analog roots smooths out the pathways between radical geometry and organic form. Diagrammatic details are absorbed in subtle, compressed atmospheres while others emerge on molten tides of pigment. Unwound abstraction, skewed geometries, diaristic ephemera, prowling afterimages, and constructivist montage populate his image inventory. He conceals and then exposes intervals of plotting, improvising, and displaying that appeal to both cultivated and merely curious viewers. Colangelo fills pictures with spatial ruptures in drawing, collage, painting, and digital media that are examples of pictorial ‘capture,’ and ‘accretion.’ He intends an image as both an apprehension and turbulent modification of the real. One unexpected result is that his paintings, despite their graphic quotient, have mostly virtual foregrounds and backgrounds. There is no crucial difference between a work’s positive space and negative space, no functional difference between color temperature or among textures. They’re vivid but uncannily and paradoxically flat. Because they are a hybrid of the hand and technology and display such a range and rate of experimentation, surfaces, and mark-making they’re both animating and deliberate. Colangelo’s paintings begin with an assemblage of analog drawings and itinerant digital images that are excited by the positive or negative charge of light in their vicinity. These are printed on canvas, then applied over another more traditional substrate of gestural acrylic compositions. The top layers have numbers of cut spaces that enhance the composition while providing glimpses of shapes below, occasionally in contradiction to the dominant image. The pictures aren’t so much paintings but extruded assemblages of paint flow, collage residue, and brushwork texture. They’ve become more graphic, metallic, and skin-like over time. Vestiges of pop media such as tattoos, automobile decals or 60’s gothic type enable the artist to imagine a more common sub-text for inhabiting the work. Brushmarks, incisions, collage, and digital displacements are his grammar. They’re not, however, language derived from familiar stylisms but the artist’s graphic lingua franca. The gist is a conversation and collective perpetuation of abstract picture-making, as subjective and experiential as you can imagine a studio practice or shop routine. His storms of thawing paint divulge a deep comfort with materials and disclose the work as a sustained obligation of task-mastering and improvisation.

“Topsy Turvy” is a watercolor vortex that utilizes cutouts from architecture models to double down on the artist’s interest in humanizing technology. “Reboot” and “This or That, #3 and #4” are monoprints constructed from discarded laser-cut wood plates embedded in watercolor washes and are more angular compositions than that of his churning, gelatinous canvases. They maintain much of the polished features of his autographic debate with technology but with a Suprematist flare. In fact, they allude to Malevich’s patchwork of colored trapezoids and rectangles blanketing swathes of Stuart Davis pictograms. Embedding architectonic forms within de-programmed matrices is not untypical in contemporary art practices, and they’re especially germane to the evolution of printmaking and drawing. Colangelo contemporizes these languages in illusive spaces that merge piecemeal debris from jazzed CAD software – homages to madcap “true grit/hiphop.” Colangelo situates neglected exercises of late modern abstraction tinged with angst and popular taste modalities. One is pursuant to traditional avant-gardism, and the other is a slant on contemporary spectacle. Each posits the idea of a nonlinear narrative as a pivot point with multi-directional perspectives. By rebooting apparatuses of style and technology he produces volumes of ritualistic images at variance with nature and culture – a remarkably constructed narrative about abstraction vs. representation conflict portrayed through site memory and dream state architectonica. His appropriation absorbs stress about cultural uncertainty on the public side and “body dislocation” from screen dependency in private. Some digitally oriented art is a bit comfortable with virtual science. Colangelo neither feigns research, or embellishes hi-tech mechanisms. His choices about form and content are the most vivid when searching for plausible connections between the ordinary present, avant-garde ideology and the question of radical histories applied to our future. Designing two-dimensional platforms on the border of the Modern and the Contemporary clearly infuses his work but with few genuflections to over a century of technology. He seems to be suggesting we need to coax art and technology off their pedestals and monitor their pulses. Essay variation first published in BAD AT SPORTS (Sub-rural #24).

Paul Krainak is a painter, art writer, and Professor Emeritus at Bradley University where he was Art Department chair from 2006 to 2016. He has exhibited widely throughout the U.S. He is a former Associate Editor and Corresponding Editor of the New Art Examiner and Art Papers. Krainak is the founder and former Director of the Inland Visual Studies Center at Bradley University. He’s contributed essays on contemporary art to numerous journals, exhibition catalogues and academic presses, including the Kemper Museum of Art in St. Louis, the Miller Gallery at Carnegie Mellon University, INOVA – University of Wisconsin, Milwaukee, Indiana University Press, Sculpture Magazine, American Ceramics, and Afterimage. He currently live in Madison, Wisconsin and writes a monthly blog on inland art and aesthetics for Bad-At-Sports titled “Sub-rural.” This text is one in a series of the gallery’s exhibitions written by fellow artists and friends. His newsletter can be found at https://pencilbooth.com/subruralkrainak

AFTERWORD BY BRUNO L. DAVID

Bruno David is pleased to present This or That, an exhibition of new paintings, monoprints, and watercolors by Carmon Colangelo. This his 12th solo exhibition with the gallery. Carmon Colangelo intervenes on the modern. Gestural abstraction, informal geometries, diaristic ephemera, surrealist afterimages, and architectonic montage all inform his work. He fills work with happenstance, surfing through printmaking, drawing, painting, and digital media to reconsider a principal birthright of the avant-garde - that of presence – alive in the utopic fixations of art and industry. He humanizes technology by modifying surplus mechanisms, teasing out aesthetics dormant in discarded details. Rejuvenating apparatuses and their prior utility, he critiques design histories at variance with nature and simultaneity. (1) His newest work stems from hundreds of drawings and watercolors along with shaped free-form dimensional canvas works and folded paper sculptures made in response to social distancing, remoteness and as a refuge to the pandemic. The temporality and contingent nature of this new work speaks to this profound time of flux and disruption while celebrating the resiliency of form, color, expression, and the human spirit. 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 College of Art, College of Architecture— as well as the Mildred Lane Kemper Art Museum. Colangelo’s work has been featured in 44 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. 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 Paul Krainak for his thoughtful essay (first published in BAD-AT-SPORTS.) I am deeply grateful to Jada Ivy, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Bonnie Dana, Naomi Yu, Arthur Baue, Alex McLaughlin, Nina Huang, and Grace Ray. 1. Text by Paul Krainak, Professor Emeritus at Bradley University, artist, and critic. He contributes a monthly column for Bad-At-Sports in Chicago.

CHECKLIST & IMAGES OF THE EXHIBITION

Blue Lagoon 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers 48 x 36 inches (121.9× 91.4 cm)

Blue Lagoon (detail)

Pink Palimpsest 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers 48 x 36 inches (121.9× 91.4 cm)

Pink Palimpsest (detail)

Blur Rider 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers 48 x 36 inches (121.9× 91.4 cm)

Blur Rider (detail)

Body Knowledge 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers 48 x 36 inches (121.9× 91.4 cm)

Body Knowledge (detail)

Bricks + Bubbles 2021 Watercolor on paper 47 x 32 inches (119.4× 81.3 cm)

Bricks + Bubbles (detail)

Digital Decalcomania 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers 40 x 30 inches (101.6× 76.2 cm)

Digital Decalcomania (detail)

Thin Skin 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers 48 x 36 inches (121.9× 91.4 cm)

Thin Skin (detail)

Spilt Screen 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers 48 x 36 inches (121.9× 91.4 cm)

Spilt Screen (detail)

Stoppages 2021 Watercolor on paper 47 x 32 inches (119.4× 81.3 cm)

Stoppages (detail)

New Geography 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers (diptych) 30 x 83 inches (76.2× 210.8 cm)

New Geography (detail)

Scattered Matter 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers 48 x 36 inches (121.9× 91.4 cm)

Scattered Matter (detail)

Stitched Aperture 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers 40 x 30 inches (101.6 × 76.2 cm)

Stitched Aperture (detail)

This or That #2 2021 Monoprint 47 x 32 inches (119.4 × 81.3 cm)

This or That #2 (detail)

Topsy Turvy 2021 Watercolorw 41.50 x 29.50 inches (105.4 x 74.9 cm)

Topsy Turvy (detail)

Chit-Chat 2023 Acrylic and digital printing on canvas, with cuts and collage elements 48 x 36 inches (121.92 × 91.44 cm)

Chit-Chat (detail)

Reboot 2021 Monoprint 29.75 x 22.25 inches (75.6 x 56.5 cm)

Refresh 2021 Monoprint 29.75 x 22.25 inches (75.6 x 56.5 cm)

Second Wave 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers 48 x 36 inches (121.9 × 91.4 cm)

Second Wave (detail)

This or That #4 2021 Monoprint 47 x 32 inches (119.4 × 81.3 cm)

This or That #3 2021 Monoprint 47 x 32 inches (119.4 × 81.3 cm)

Ontological Weave 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers 48 x 36 inches (121.9 × 91.4 cm)

Ontological Weave (detail)

Virtural Prism 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers 40 x 30 inches (101.6 × 76.2 cm)

Virtual Prism (detail)

Atemporal Garden 2021 Mixed Media: Archival pigment on canvas stretch over canvas, print and paper with cut layers 40 x 30 inches (101.6 × 76.2 cm)

Atemporal Garden (detail)

This or That #1 2021 Monoprint 47 x 32 inches (119.4 × 81.3 cm)

This or That #1 (detail)

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 2021 2019 2018 2017 2016 2015 2014 2013 2012 2011

Bruno David Gallery, This or That, St Louis, Missouri. (catalogue) Bruno David Gallery, Infinite Abstraction, St Louis, Missouri. (catalogue) Bruno David Gallery, Happy Planet, Saint Louis, Missouri. (catalogue) 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)

2008 2007

2006 2004 2003 2002

2001 2000 1996 1995 1994 1993

1992 1988

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. 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 2022

Works on Paper, Bruno David Gallery, St. Louis, MO. Contemporary Expressions, Mennello Museum of American Art, Orlando, FL. Among Friends, Bruno David Gallery, St. Louis, MO. 2021 Bilingual: Abstract & Figurative, Bruno David Gallery, St. Louis, MO. (catalogue) 2019 Printing Abstraction, Curated by Gretchen Wagner. Artists included: Marcel Duchamp, Ellsworth Kelly, James Turrell, Gerhardt Richter, Saint Louis Art Museum, St. Louis, MO 2018 Small Worlds, Bruno David Gallery, St. Louis, MO. (catalogue) 2017 Baltimore Print Fair, Flying Horse Editions Booth, Baltimore, MD. Art on Paper, Jonathan Ferrara Gallery Booth, NY, NY. OVERVIEW_2017, Bruno David Gallery, St. Louis, MO. Drawn Out, Drawn Over, Brentwood Arts Exchange, Brentwood, MD. 2016 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. 2014 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, Christie’s Gallery, Rockefeller Plaza and IPCNY gallery in Chelsea, New York. 2013 Artworks, Bruno David Gallery, St. Louis, MO. 2012 BLUE-WHITE-RED, Bruno David Gallery, St. Louis, MO. 2011 Prints + Multiples, Bruno David Gallery, St. Louis, MO. 2010 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. 2008 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.

2007 2006 2005 2004

2003 2002 2001 2000

1999 1998

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 Georgia’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.

1997

1996

1995

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

1988

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. 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 1987 1986

1985

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

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.

1998 1996

1995

1994 1993 1992

1991

1990 1988 1987 1986

1985

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. 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

2001

1999

1996

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) 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. 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. 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 Hollerbach, Bryan A. “Carmon Colangelo”, Ladue News, February, 2022. Krainak, paul. “Carmon Colangelo”, BAD AT SPORTS, January, 2022. Marks, Kerry. “Abstract Worlds and Graphic Art at The Bruno David Gallery”, TV interview, HEC-TV, February 4, 2019. Wagner, Gretchen L. “Infinite Abstraction,” Catalogue essay, Bruno David Gallery Publication, March 2019. Beall, Dickson. “American Artists Print A Graphic Revolution,” West End Word, December 14, 2018. Hollerbach, Bryan A. “Wishing fo a Happy Planet”, Ladue News, May 4, 2018. Smaldone, Andrew. “Carmon Colangelo: On Form,” Catalogue essay, Bruno David Gallery Publication, July 2018. Marks, Kerry. “The Bruno David Gallery Highlights Monochromatic and Political Art”, TV interview, HEC-TV, April 23, 2018. Meersohn, Rayan V. “Murray, Colangelo, Burson & Beard”, Wall Street International Magazine, April 12, 2018. Lotz, Theo. “Here be Dragons: Below the Fold,” Catalogue essay, Bruno David Gallery Publication, September 2017. Marks, Kerry. “From Syria and Uncharted Waters to Interior Design”, TV interview, HEC-TV, April 17, 2017. Marjanović, Igor. “Theory of Nothing,” Catalogue essay, Bruno David Gallery Publication, October 2016. Beall, Dickson. “Carmon Colangelo: A Dean With A Theory of Nothing,” Video-Interview, The St. Louisan, March 2016. Spector, Buzz. “Carmon Colangelo Interviewed by Buzz Spector,” Catalogue essay, Bruno David Gallery Publication, June 2014. Beall, Dickson. “Carmon Colangelo,” Video-Interview, The St. Louisan, April 2014. Gay, Malcolm. “Carmon Colangelo: Exhibit at Bruno David,” Riverfront Times, April 10, 2014. Beall, Dickson. “Carmon Colangelo,” WestEnd Word, March 26, 2014. Swenson, Eric. “Carmon Colangelo: Global Diptychs,” Video-Interview, EMS, April 2013. Cooper, Ivy. “Carmon Colangelo,” Catalogue Essay, Bruno David Gallery Publication, April 2013. Beall, Dickson. “Carmon Colangelo - O Land O,” Video Interview (2:50 mi.), The St. Louisan, January 2012. Cooper, Ivy. “Carmon Colangelo’s Delirious Vision,” Catalogue Essay, Eastern Illinois University Publication, October 2012. Van Uum, Katherine. “On the Road With Co-Langel-O,” Catalogue Essay, Bruno David Gallery Publications, February 2012. Beall, Dickson. “Nature, Place, Body & Architecture,” West End Word, St. Louis, MO, February 1, 2012. Lotz, Theo. “Seven Days in O Land O,” Catalogue Introduction, Bruno David Gallery Publications, February 2012. Spector, Buzz. “Carmon Colangelo: In Media Res,” Catalogue Essay, Bruno David Gallery Publications, April 2011. Cooper, Ivy. “ ‘Eyedeas’ a plenty,” St. Louis Beacon, St. Louis, MO, April 13, 2011. Baran, Jessica. “Eyedeas,” Riverfront Times, St. Louis, MO, April 14, 2011. Weisberg, Ruth. “Carmon Colangelo and His Big ‘Eyedeas’, ” Catalogue Essay, Bruno David Gallery Publications, April 2011.

Murphy, Patrick. Krainak, Paul. Gay, Malcom. Beall, Dickson. Otten, Liam. Bonetti, David. Duffy, Robert. Downen, Jill. Teekell, Anna. 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.

“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. “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 21c Museum, Louisville, KY 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 Sara Ghazi Asadollahi Laura Beard Heather Bennett Lisa K. Blatt Michael Byron Bunny Burson Judy Child Carmon Colangelo Alex Couwenberg Terry James Conrad Jill Downen Damon Freed

Yvette Drury Dubinsky Douglass Freed Richard Hull Kelley Johnson Chris Kahler Leslie Laskey Estate Justin Henry Miller James Austin Murray Yvonne Osei Patricia Olynyk

Charles P. Reay Daniel Raedeke Tom Reed Frank Schwaiger Char Schwall Christina Shmigel Thomas Sleet Buzz Spector Mark Travers Charles Turnell Monika Wulfers