Carmon Colangelo: O Land O by Bruno David Gallery

CARM O N CO L A N G E LO Seven Days in O Land O

bruno david gallery

CARMON COLANGELO Seven Days in O Land O

January 27 - March 3, 2012 Bruno David Gallery 3721 Washington Boulevard Saint Louis, 63108 Missouri, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Director: Bruno L. David This catalogue was published in conjunction with the exhibition Carmon Colangelo: Seven Days in O Land O Editor: Bruno L. David Catalog Designers: Yoko Kiyoi and Martin Lang Design Assistant: Claudia R. David Printed in USA All works courtesy of Bruno David Gallery, Flying Horse Editions and Carmon Colangelo Cover image: Carmon Colangelo. O Land O (Title Page - detail), 2011 Letterpress, relief and digital print on Kitakata paper 20 x 17 inches (50.80 x 43.18 cm)

First Edition Copyright ÂŠ 2012 Bruno David Gallery, Inc. All Rights Reserved under International and Pan-American Copyright Conventions. Except for legitimate excerpts customary in review or scholarly publications, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or information storage or retrieval systems, without permission in writing from the Bruno David Gallery, Inc.

CONTENTS

INTRODUCTION by Theo Lotz ON THE ROAD WITH CO-LANGEL-O by Katherine Van Uum AFTERWORD by Bruno L. David CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

INTRODUCTION by Theo Lotz 2

When Carmon Colangelo came to work at Flying Horse Editions, in Orlando, Florida, in June of 2011, he arrived with only a structure with which to explore imagery and process. He hoped that since he would be with us for a week, he would make one print a day to create a suite of seven images. We had a few discussions about what kind of printmaking techniques we might utilize, but the rest—the imagery, the content, the reason for making—he would allow to come from his daily impressions of being in the new environment. The resulting portfolio can be seen as a metaphorical map for a specific location and also for a more generalized sense of contemporary place making in America. Orlando shares characteristics with many new, sprawling cityscapes so common in America now—the strip malls, the tangled highway interchanges, the blandly formatted architecture—and, taken as a superficial type it is an easy surrogate for cities that came of age in the late 20th century. Such ubiquitous features of this landscape made their way into Colangelo’s prints, perhaps as a commentary on the state of uniformity in such places. He blended aerial photographs of traffic patterns, invented interior floor plans of shopping centers, and riffed on planning schemes of suburban neighborhoods. While the inspiration for the images that emerged were local, they in fact could have come from any place. However, it is in the specific details of a locale that trope becomes place, and Colangleo quickly identified the details of this landscape and its history to create images that poetically celebrate the nuance and beauty of Central Florida. His intertwining of text and image creates a layered narrative of a unique place. References to Florida’s citrus producing past appear in typeface as well as shape and color, and there are images that are borne from the many lakes that dot the city that he passed on his daily runs. Perhaps most significantly, he zeroed in on text and images inspired by two iconic personalities who are tied to Orlando, and who, it’s been argued, forever changed the way Americans understand their sense of place: Jack Kerouac, who wrote Dharma Bums a few blocks from our studio, and Walt Disney, whose impact on the national psychological landscape has been profound at the least. In a fitting conceptual move, Colangelo conceived to bind together the semi-transparent recto-verso prints to create a large “book,” one that would reveal its images in a variety of combinations depending on how it is unfolded and refolded, much like a large, unwieldy road map. What results is a record of a place that is imagined, archetypal, and faithful.

Theo Lotz Flying Horse Editions University of Central Florida

ON THE ROAD WITH CO-LANGEL-O Once again Carmon Colangelo shows us the way. This time with a map. Originally conceived as a one piece foldable installation, this 14-sided, seven piece exhibition of recto-verso prints is all about directions. The journey through the exhibit is both head-spinning and eye-opening. Slow down to read the fine print and this exhibit is a great adventure. From the Mondrian depiction of Orlando’s highways in “Highway I-4” to the Most Wanted doppelganger for the O-Land-O in “Orange Fever: Lost,” a sense of place is both transparent and as evasive as a criminal on the run. Though the hotel floorplans in “Home” underpin a free floating home plate, the suggestion is that endless travel in homogenous zones of standardized grids defy a recognizable local. If we are at home everywhere, our sense of place is nowhere. The local has lost, at least a few innings, to the global. The reassuring gesture of an umpire’s crossed arms signaling one is home safe is nowhere to be found. This work is concurrently a manifesto on the transcendence of serendipity. Just as the happenstance experiences on the road enhance a traveler’s awareness of the possible, the many details of these prints liberate the imagination to contemplate countless meaningful synchronicities. While in Florida, Colangelo discovers that he was born the same year “Dharma Bums” was written by Jack Kerouac in Orlando. This provides fodder for the subtle intermingling of personal identity with cultural events. The time stamps of our works and our lives are caught in a seductive dance of context and relevance. The reference to Eastern religion (Dharma) meeting Western decay (bums) neither answers nor ignores basic philosophical conundrums - Who are we? What do we value? and What is real here and now? Literature, media and art all share the privileges of the podium that broadcasts existential, ethical, and metaphysical reflections. The Beat writers Ginsberg, referenced in “Sputnik” and Kerouac in “Jack” came of age in the era of space exploration while being influenced by the likes of Kandinsky and Matta. Visual signposts of this moment in time abound. Likewise, Colangelo’s aesthetic gestures provide an intelligent and robust muse for contemplating the contemporary zeitgeist.

As one searches for clues to the present-day puzzles illuminated by this work, the imagery repeatedly circles back to the magic kingdom of Disney. In “Green Jetty” the Disneyesque icons are swallowed by the swampy vortex, while Mickey Mouse himself appears distorted but emergent amongst the swirls of “Smiling Pollack.” Disney’s ubiquity is presented with humorously circular commentary. Colangelo demonstrates that creative resistance and reinterpretation are possible with Disney as an aesthetic foil. With many multiple runs, the printmaking process invites clever juxtapositions of the intentional message with the accidental scenic viewpoint. The many marks on each print invite us to wonder, “Was that choice, or chance?” Colangelo displays a range of aesthetic intensity that ingeniously couples hilarity with colors, symbols with materials, and techniques with words. These prints ask questions such as (should a canvas be) “Primed, or unprimed?” in “Room with a View” or, more opaquely, what is the relationship between Orland-o, Co-langel-o and O-land-o? Is the exhibit about here, there, everywhere, or nowhere? Or, like an apt postmodernist pastiche, all of the above? Like Kerouacs unfailingly humorous assemblage of diverse characters, Colangelo’s mastery of visual marks, cultural memos, historical moments, and diverse media creates a compelling experience of meanderings and metaphysics. While journeying on the road trip of one’s own life, it is a great exit to pause and enjoy the playful Colangelo. Katherine Van Uum

Katherine Van Uum is a former philosophy professor at The Colorado College and Grinnell College and holds two degrees from Stanford University. She did her doctoral work in the history and philosophy of science at the University of Toronto and her primary research was on visual epistemology: explanations in neuroimaging and their relation to contexts of technological innovation and probability theory. Katherine lives and works in St. Louis, Missouri and, maintains her lifelong interest in the arts serving as an editor, writer, researcher and project consultant. This essay is one in a series of the gallery’s exhibitions written by fellow gallery artists and friends.

AFTERWORD by Bruno L. David 6

I am pleased to exhibit a new series of works on paper in an exhibition, titled Seven Days in O Land O, by Carmon Colangelo at the Bruno David Gallery. 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. Carmon Colangelo’s remarkable and compelling works makes him one the most impressive artists of the gallery. This collection of prints investigates the phenomenon of globalization and the disappearance of local culture and the gradual homogenization of American life. Inspired by a seven-day trip in Orlando, it was originally conceived to be seven interrelated, recto-verso prints that could be bound together and folded in a sequence that is suggestive of a road map. These prints combine woodblock and letterpress techniques, digital and relief printing, as well as hand coloring on Kitakata paper. Synthesizing images, texts, notations and manipulated drawings, they also incorporate abstract maps, Disneyesque images and generic hotel floor plans that suggest modern and post-modern cities. In method and concept, “O Land O” is a pastiche and amalgamation. While related, however, these prints are far from homogeneous. Each print is unique and capable of being displayed on its own. Nevertheless, their impact is best felt when the prints are shown together or experienced as a portfolio. The prints were created at Flying Horse Editions, University of Central Florida, Orlando, Florida, in collaboration with Theo Lotz and Larry Cooper, with the assistance of Adrian Gonzalez. Carmon Colangelo was born in Toronto, Canada. He lives and works in St. Louis, Missouri. He received his M.F.A. from Louisiana State University, Baton Rouge, Louisiana. He is one of the foremost figures in the print-drawing world on both the national and international stages. 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 of 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 and Visual Arts at Washington University in St. Louis and holds the E. Desmond Lee Professorship for Collaboration in the Arts. I would like to express my sincere thanks to Katherine Van Uum and Theo Lotz for their thoughtful essays. I am deeply grateful to Yoko Kiyoi, who gave much time, talent, and expertise to the production of this catalogue. A very special thank you to Theo Lotz, Larry Cooper, and Adrian Gonzalez in the creation of the portfolio. Invaluable gallery staff support for the exhibition was provided by Malahat Qureshi, Rachael Schomburg, Martin Lang, Kara Gordon, Meagan Ramsey and Yoko Kiyoi.

CHECKLIST & IMAGES OF THE EXHIBITION

O Land O, 2011 Letterpress, relief, digital print, and color pencil on paper 20 x 17 inches (50.80 x 43.18 cm) each Limited edition portfolio, Edition of 15 copies (7 recto-verso prints in a custom archival portfolio with cover and colophon pages) Printed at Flying Horse Editions, in collaboration with Theo Lotz and Larry Cooper, with the assistance of Adrian Gonzalez 10

Oâ&#x20AC;&#x2122; Lando Twins 11

Post Modern 12

Jack 13

Sputnik 14

Room with a View 15

Painting Storage 16

Good Design 17

Smiling Pollack 18

Highway I-4 19

Home 20

Minimal Painting Machine 21

Orange Fever 22

Green Jetty 23

My O Land O 24

CARMON COLANGELO: O Land O at Bruno David Gallery, 2012. (Installation View - Detail) 32

CARMON COLANGELO: O Land O at Bruno David Gallery, 2012. (Installation View - Detail) 34

CARMON COLANGELO Born in Toronto, Ontario, Canada Lives and works in St. 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 2012 2011 2008 2007 2006 2004 2003 2002

Bruno David Gallery, O Land O, Saint Louis, Missouri. Tarble Arts Center, Carmon Colangelo, Charleston, Illinois Bruno David Gallery, Eyedeas, Saint Louis, Missouri. Heuser Art Gallery, Carmon Colangelo, Bradley University, Peoria, Illinois. Bruno David Gallery, Big Bang to Big Melt, Saint Louis, Missouri. 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.

2002 2001 2000 1996 1995 1994 1994 1993 1993 1993 1992

Sandler Hudson Gallery, Fountain of Age, Atlanta, Georgia. John and Jane Allcott Gallery, Re-Tracings, University of Chapel Hill, North Carolina. University of Delaware, Blasted Impulses and Beautiful Impossibilities, Newark, Delaware. 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, Illinois. Adams State College, Carmon Colangelo, Alamosa, Colorado. Shepherd College Gallery, Carmon Colangelo, Shepherdstown, West Virginia. Rockville Arts Place, Prints and Constructions, Rockville, Maryland. Governorâ&#x20AC;&#x2122;s Mansion, Arts and Letters Series, Carmon Colangelo and Alison Helm. Windsor Printmakerâ&#x20AC;&#x2122;s Forum Gallery, Permutations, Windsor, Ontario.

SELECTED GROUP EXHIBITIONS 2011 2010 2008 2007 2006 2005 2004

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, North Carolina, 2010. Assorted Printmakers, curated by Jeff Sippel, Gallery FAB, University of Missouri, St. Louis, Missouri. Overview_08, Bruno David Gallery, St. Louis, Missouri. Four Aces: Large-Scale Prints from Four Universities, Bruno David Gallery, St. Louis, Missouri. Overview_07, Bruno David Gallery, St. Louis, Missouri. There and Here: Carmon Colangelo, Joan Hall, Peter Marcus, COCA: Millstone Gallery, St. Louis, Missouri. Overview_06, Bruno David Gallery, St. Louis, Missouri. Impressions, An Invitational Exhibition of Prints, McMaster Gallery, University of South Carolina, Columbia, South Carolina. Handmade Papermaking Exhibition, The Robert C. Williams American Museum of Papermaking, Atlanta, Georgia. Gallery Artists, College Arts Association, Sandler Hudson Gallery, Atlanta, Georgia.

2004 2003 2002 2001 2000 1999 1998 1997

Works on Paper, Sandler Hudson Gallery, Atlanta, Georgia. 2K3, Wesleyan College, Macon, Georgia. 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, Georgia. XIII San Juan Print Biennial, San Juan, Puerto Rico. Hypersalon, Prints and Multiples, Atrium Gallery,Virginia Museum of Fine Arts,Virginia. Interprint, Contemporary American Prints, Maastricht, Holland.”Contemporary _ Prints and the Print Process,” Albrecht-Kemper Museum, St. Joseph Missouri. Faculty Exhibition, Lyndon House Arts Center, Athens, Georgia. Nexus Biennial: “Celebrating Local Figures”, Nexus Contemporary Arts Center, Atlanta, Georgia. Pervasive Impressions: Contemporary Political Prints, Contemporary Research Center for the Arts, University of Texas, Arlington Gallery, Texas. Drawn to Stone, Kennedy Museum, University of Ohio, Athens, Ohio. Baltimore Contemporary Print Fair, The Baltimore Museum of Art, Baltimore, Maryland. 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, Ohio. Texas/Georgia Print Exchange Exhibition, University of Dallas, Texas. Multiple Touch: The Tactile Sensation in Prints, Robert Else Gallery, California State University, Sacramento, California. Faculty Exhibition, Lamar Dodd School of Art, Georgia Museum of Art, Athens, Georgia. A Strange Vision, Brazosport College, Lake Jackson, Texas. World Print Survey, Truman State University, Kirksville, Missouri. Allographies, Contemporary Printmakers, University Museum, Indiana University of Pennsylvania, Indiana, Pennsylvania. 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, West Virginia. 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, California.

1997 1996 1995 1995 1994 1993

Sliced Orbits, (Colangelo, Jaye and Hocking ) Pierce Art Gallery, West Virginia University Institute of Technology, Montgomery, West Virginia. 26th Bradley National Print Exhibitions, University Galleries, Bradley University, Peoria, Illinois. Group Exhibition, Corcoran School of Art, Printmaking Studio Gallery, Washington, DC. The West Virginia Collection: Figurative Works, Cultural Museum, Charleston, West Virginia. American Print Survey, Highland Community College, Highland, Kansas. A Strange Vision, Luther College Galleries, Decorah, Iowa. Print Invitational, (five person) Atrium Gallery, University of Connecticut, Storrs, Connecticut. The Minnesota National Print Biennial, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, Minnesota. 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, West Virginia. Summer Exhibition, Bennington College, Bennington, Vermont. Governor’s Academy Faculty Exhibition (two person), Fairmont College, Fairmont, West Virginia. West Virginia Traveling Exhibition, Tamarack Galleries, Beckley, West Virginia. Print Types, Art Institute for the Permain Basin, Odessa, Texas. 17th University of Dallas Printmaking Invitational, University of Dallas, Irving, Texas. Print Invitational, Richard E. Beasley Museum and Gallery, Northern Arizona University, Flagstaff, Arizona. Miami Print Invitational, New Galley, University of Miami, Coral Gables, Florida. Hawaii Print Invitational, University of Hawaii at Hilo, Hilo, Hawaii. McNeese Print Invitational, McCrombie Gallery, McNeese State University, Lake Charles, Louisiana. Works on Paper, Elzay Gallery of Art, Wilson Art Center, Ohio Northern University, Ada, Ohio. Elvis “ X “ Suite, The Candy Factory, 23rd Southern Graphics Conference, University of Tennessee, Knoxville, Tennessee. Colorprint USA, Lubbock Fine Arts Center, Texas Tech University, Lubbock ,Texas. Curated by Lynwood Kreneck. Alternative Prints, University Art Galleries, University of South Dakota, Vermillion, South Dakota. Dakotas International, University Art Galleries, University of South Dakota, Vermillion, South Dakota. Southern Printmakers, Atrium Gallery, University of North Texas, Fort Worth, Texas. Printypes, Tareton State University, Stephenville, TX and Chadron State College, Chadron, Nebraska. Paradise Endangered: New World of Contemporary Prints, The American Print Alliance, Baltimore City Hall Courtyard Galleries, Baltimore, Maryland.

1993 1992 1991 1990 1989 1988 1987

Naked Pittsburgh ,Views from Zenith Gallery, Pittsburgh, Pennsylvania. Curated by David Goldstein. 6th Annual Florida Printmaking Society Exhibition, New World School of the Arts Gallery, Miami, Florida. 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, New York. 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, Maryland. Group Exhibition, Silvermine Prints International, Silvermine Guild Galleries, New Caanan, CT. Exhibition 280: Works on Walls, Huntington Museum of Art, Huntington, West Virginia. 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, South Carolina. Florida Printmakers Society 5th Annual Exhibition, Thomas Center Gallery, Gainesville, Florida. West Virgina Impressions: Printmaking in the Mountain State, Sunrise Museum Downtown, Charleston, West Virginia. 11th Los Angeles Printmaking Society National Printmaking Exhibition, Laband Art Gallery, Loyola Marymount University, Los Angeles, California. The Boston Printmakers 42nd North American Print Exhibition, Fitchburg Art Museum, Fitchburg, Massachusetts. 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, New York. 10th University of Dallas Printmaking Invitational, Haggerty Art Center, University of Dallas,Irving, Texas. Solo Exhibition, Recent Prints and Paintings, Benedum Gallery, Monongahela Art Center, Morgantown, West Virginia. The Great White North, Recent Canadian Art, Invitational Exhibition, Staten Island Institute of the Arts, New York. Prints, Invitational Exhibition, Four Printmakers, Merwin Gallery, Illinois Wesleyan University, Bloomington, Illinois. 21st Bradley National Print and Drawing Exhibition, Hartman Center Gallery, Bradley University, Peoria, Illinois.

1987 1986 1985

3rd Clemson National Print and Drawing Exhibition, Rudolf E. Lee Gallery, College of Architecture, Clemson University, South Carolina. 7th Annual National Print Exhibition, Artlink Contemporary Artspace, Fort Wayne, Indiana. Philadelphia Print Club 62nd International Print and Photography Exhibition, Print Club Gallery, Philadelphia, Pennsylvania. Post-Rustic, Artists Liaison Gallery Exhibition, Theater Art Gallery, Design Center, Los Angeles, California. Society of American Graphic Artists Juried Exhibition, Lumen Winter Gallery of the New Rochelle Public Library, New York, New York. 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, California. Pratt-Silvermine International Print Exhibition, Silvermine Guild Center for the Arts, New Cannaan, Connecticut and Pratt Manhattan Center Gallery, New York, New York. The 38th North American Print Exhibition, Boston Printmakers, DeCordova Museum, Boston, Massachusetts. The Boston Printmakers 37th National Print Exhibition, Rose Art Museum, Brandeis University, Waltham, Massachusetts. 9th Annual Eastern United States Print and Drawing Exhibition, North Carolina Print and Drawing Society, Spirit Square Art Center and St. Johns Museum, North Carolina.

GRANTS & AWARDS 2010 2006 2004 2003 2001 2000 1998 1996

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. Presidentâ&#x20AC;&#x2122;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.

1996 1995 1994 1993 1992 1991 1990 1988 1987 1986

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. 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. Jurorâ&#x20AC;&#x2122;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 Juried Exhibition. Jurorâ&#x20AC;&#x2122;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.

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McGibbon Phylis Krainak, Paul. Colangelo, Carmon. Slaven, Michael. Olson, Kristina. Cunningham. Olson, Kristina.

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 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. 1999-2006 Founding Director of the Institute of Creative Exploration (I.C.E.), University of Georgia. 1997-2006 Director and Distinguished Research Professor, Lamar Dodd School of Art, University of Georgia, Athens, Georgia. 1993-97 Division of Art Chairperson and Professor of Art, Division of Art, College of Creative Arts, West Virginia University, Morgantown, West Virginia. 1988-94 Associate Professor of Art, Area Coordinator of Printmaking, Division of Art, College of Creative Arts, West Virginia University. 1986-94 Graduate Coordinator, Division of Art, College of Creative Arts, West Virginia University. 1984-88 Assistant Professor of Art, Area Coordinator of Printmaking, Division of Art,College of Creative Arts, West Virginia University 1984 Visiting Artist, Printmaking Instructor, Louisiana State University, Baton Rouge, Louisiana. 1983 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 Bradley University Windsor Printmakers Forum Southern Illinois University at Carbondale Ewing Gallery, University of Tennessee University of Minnesota Bibliotheque Nationale, Paris, France

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

Damon Freed William Griffin Joan Hall Takashi Horisaki Kim Humphries Kelley Johnson Howard Jones (Estate) Chris Kahler Bill Kohn (Estate) Leslie Laskey

Patricia Olynyk Robert Pettus Gary Passanise Daniel Raedeke Chris Rubin de la Borbolla Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Buzz Spector

Jill Downen Yvette Drury Dubinsky Corey Escoto Beverly Fishman

Sandra Marchewa Peter Marcus Genell Miller

Lindsey Stouffer Cindy Tower Mario Trejo Ken Worley

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