Carmon Colangelo: Infinite Abstraction by Bruno David Gallery

Carmon Colangelo Infinite Abstraction

bruno david gallery

Carmon Colangelo Infinite Abstraction

January 24- March 1, 2019 Bruno David Gallery 7513 Forsyth Boulevard Saint Louis, Missouri 63105, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Owner/Director: Bruno L. David This catalogue was published in conjunction with the exhibition “Carmon Colangelo: Infinite Abstraction” at Bruno David Gallery. Editor: Bruno L. David Catalogue Designer: Lauren R. Mann and Jin Xia 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: Cartesian Twist, (detail) 2018 Archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03 cm) First Edition Copyright © 2019 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

INFINITE ABSTRACTION BY GRETCHEN L. WAGNER AFTERWORD BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

INFINITE ABSTRACTION BY GRETCHEN L. WAGNER

Carmon Colangelo’s exhibition Infinite Abstraction, which debuts his recent series of printed paintings, is replete with complex combinations of kaleidoscopic form. The dynamic works provide a compelling examination of painting’s shifting position among the limitless visual modes available in a digitally enhanced world. Each of Colangelo’s paintings begin with digital files from the vast image archive he continuously compiles by photographing his own hand drawings, art by other artists, and countless additional sources. These files are processed, manipulated, and combined using image editing applications and, ultimately, output on canvas using a large format printer. He moves repeatedly back and forth between screen and printer to experiment and adjust before finalizing his compositions. While in the studio, Colangelo is particularly delighted by the results of what he terms “stupid moves,” such as file corruption or awkwardly applied editing tools.¹ For him, these unintended outcomes equate with the drips of brushstrokes and other chance occurrences which informed historical aleatory and process art tendencies. His works also clearly engage with the legacy of postwar gestural, expressive abstraction, and his attention to motion and pacing are evidence of this. While artists of past decades responded to the velocities of spaceflight and muscle cars, Colangelo reacts to the hyperspeed of an interconnected digital world. Having frequently employed printmaking techniques in his previous projects, Colangelo embraces repetition and seriality, and for Infinite Abstraction, he applies these qualities again, now aided by digital technology’s extraordinary ability to generate and store multitudes of related images. His image fragments often migrate from one composition to the next, and with each transfer, the data is modified for the new context, producing visual echoes across the series. Colangelo’s embrace of digital devices to conceive these recent paintings reflects his desire, as he describes it, “to see the world as screen-based.”² His canvases enter an interesting new territory where categories intersect and blend. During the past two decades, the relationship between painting and digital formats is an intensively explored topic with numerous artists, including Laura Owens, Ken Okiishi, and Avery Singer, who seek to come to terms with today’s changing visual landscape. As a result, an exciting recalibration of categories is underway. In his 2016 article Surface, Image, Reception: Painting in a Digital Age, art historian and critic Alex Bacon aptly underscores how spheres of production are beginning to overlap. He explains,

It is not only that artists are exploring the similarities between screen and canvas, but that canvas has entered the everyday vernacular of trade show advertisements, DIY Kinko’s projects, and store window displays.³

This new framework, which embraces cultural and technological hybridity, is a helpful lens through which to consider Colangelo’s work. In his process, Colangelo allows the evidence of cut-and-paste, pixelization, smudging, and other digital conventions to remain visible, drawing attention to his art’s kinship with commercial processes and contexts. Moreover, his printed surfaces, which lack the facture and direct handwork of painting defined in the traditional sense, liberate the works from outmoded qualifiers. His intermingling of painting and design aesthetics yields a plethora of new approaches and possibilities. For Infinite Abstraction, Colangelo utilizes a style characterized by an overabundance of color, layered elements, and varied spatial shifts. These include broad white erasures that render the surface impenetrable and openings and oculi that disclose significant depths. Within his intricately layered compositions, certain elements, such as a group of sweeping ellipses or a network of attenuated loops, provide visual anchors. Additionally, many constellations of shapes spread across the field, often drawing attention to the edge. In multiple instances, the image seems to escape the frame. This emphasis on the perimeter and its inability to contain aligns his works with those by others who upend traditional compositional hierarchies, including Morris Louis, Richard Diebenkorn, and Brice Marden. Colangelo’s bands of color are superhighways, swiftly shuttling the eye from one side of the canvas to the other. However, the journey is easily stalled by the pleasure of zooming in to explore the visual density contained in a single square inch. The effect recalls the satisfaction of witnessing fractal structures or, even, experiencing Charles and Ray Eames’s masterful short film Powers of Ten. Its enchanting study of micro and macro scale tests the limits of perception, and Colangelo’s works produce a similar impression. This sensorial evocation of infinitesimal and limitless entities demonstrates Colangelo’s ongoing interest in the intersection of art and mathematical concepts. Through his work, he has often explored connections linking visual form and scientific study to reflect on social and environmental realities. For example, his works from previous series produced during the 1980s and 1990s often meld abstract imagery with symbols, diagrams, and illustrations resembling those from medical, botanical, and cartographic documents.

By incorporating these elements within his compositions, Colangelo seeks to present new perspectives on pressing issues ranging from climate change to urban development. In his recent series, Colangelo’s fascination with mathematics—articulated directly by titles such as Euclidian Dream, Pythagorean Breakdown, and Zeno’s Paradox—informs his emphasis on motion, scale, and most significantly, his search for a new way to consider space. In art, the construction of space has long been informed by mathematics, most obviously in the development of linear perspective during the Italian Renaissance—a cornerstone of Western art. The optical vanishing point at the core of pictorial perspective is an attempt to represent something extending indefinitely. This grasp for infinity has continued to compel artists since the time of the Renaissance.⁴ In the early twentieth century, Constantin Brancusi and Kazimir Malevich employed pared down forms for the task, while in more recent decades, artists such as Ad Reinhardt, Yayoi Kusama, and Roman Opałka, among others, have continued the pursuit in myriad ways. Opałka’s lengthy numerical sequences and Kusama’s blissful immersive environments represent just some of the attempts to translate infinity to artistic terms. Colangelo, with his distinctive production method and application of abstract form, comments upon the vast pool of sensory content generated by technology today. As a result, he joins those intrepid figures before him who have also employed visual form to approximate that which is unfathomably endless.

Gretchen Wagner is a Curator and Art Historian. Wagner received a master’s degree in art history from Williams College and a bachelor’s degree from the University of Wisconsin-Madison. She has held curatorial positions at the Museum of Modern Art, the Pulitzer Arts Foundation, and the Saint Louis Art Museum. This text is one in a series of the gallery’s exhibitions written by fellow gallery artists, friends, and art critics.

---------------------------------------------------1 Carmon Colangelo, conversation with author, St. Louis, March 1, 2019. 2 Colangelo, conversation. 3 Alex Bacon, “Surface, Image, Reception: Painting in a Digital Age,” Rhizome, May 24, 2016. https://rhizome.org/editorial/2016/may/24/surface-image-reception-painting-in-a-digital-age/ 4 For a discussion of infinity as it has been addressed by artists, philosophers, and scientists, see Lynn Gamwell, “Infinity,” in Mathematics and Art: A Cultural History (Princeton, NJ: Princeton University Press, 2016), 109-49.

AFTERWORD BY BRUNO L. DAVID

I am pleased to present Infinite Abstraction, Carmon Colangelo’s eleventh solo exhibition with the gallery. Colangelo’s series of new printed paintings are composed of ink on canvas that are generated from hand drawings and digital media exploring the infinite possibilities of abstraction. Inspired by geometric and biomorphic abstraction, the work experiments with the endless and unique combinations that result from a personal reflexive process and computational system. Remixing, sampling and riffing off of iconic modern and contemporary paintings, the fusion of images is manipulated to create a fantastical illusionistic space by morphing, stretching and distorting geometric planes, colors and shapes. Expanding on Colangelo’s daily practice, the result is a generative series of colorful works where meaning is adaptable to shifting cultural and social conditions, in an age of networks and algorithms where everything is fluid. Colangelo feels the issues in painting have become somewhat similar to printmaking; defending its’ relevancy and agency as well as arguing for its historical past. Decidedly, each work is a one-of -a-kind impression that is physically made in the studio without regard to reproducibility. Viewed as a whole the paintings create an environment full of energy and optimism, where the importance of intuitive artistic play in the creative process is untethered to generate a vast idiosyncratic world and a joyful experience without a beginning, middle and end. Carmon Colangelo is a pioneering printmaker whose work combines surrealism and abstraction with the exploration of art history, science, and technology. An enduring feature of Colangelo’s work is the unraveling of free-floating symbols and texts in an aggressive exploitation of various print media. He challenges conventional readings, producing disorienting spatial topologies and striking visual poetics. 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 40 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 Gretchen L. Wagner for her thoughtful essay. I am deeply grateful to Lauren R. Mann and Jin Xia, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Taylor Fulton, Katie Engelmeyer, Damaris Dunham, Peter Finley, Lauren R. Mann, Matt McLoughlin, and Jin Xia.

CHECKLIST & IMAGES OF THE EXHIBITION

Zenoâ&#x20AC;&#x2122;s Paradox 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03 cm)

Lovelace Algorithm 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03cm)

Magic Mountain 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03 cm)

Blasted Allegories 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03cm)

Euclidian Dream 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03 cm)

Cosmic Ratio 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03cm)

Platoâ&#x20AC;&#x2122;s Parabola 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03 cm)

Hidden Figures 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03cm)

Phyllotaxis Drift 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03 cm)

Clockwork Orange 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03cm)

Pythagorean Breakdown 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03 cm)

Endless Column 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03cm)

Cartesian Shout 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03 cm)

Cartesian Twist 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03cm)

Occamâ&#x20AC;&#x2122;s Razor 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03 cm)

Keplerâ&#x20AC;&#x2122;s Cloud Gate 2018 archival pigment on archival canvas 61 x 44 1/2 inches (154.94 x 113.03cm)

Carmon Colangelo: Infinite Abstraction (installation view)

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 2019 2018 2017 2016 2015 2014 2013 2012 2011 2008

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) Heuser Art Gallery, Carmon Colangelo, Bradley University, Peoria, Illinois. Bruno David Gallery, Big Bang to Big Melt, Saint Louis, Missouri. (catalogue)

2007 2006 2004 2003 2002 2001 2000 1996 1995 1994 1993 1992 1988

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. Governorâ&#x20AC;&#x2122;s Mansion, Arts and Letters Series, Carmon Colangelo and Alison Helm. Windsor Printmakerâ&#x20AC;&#x2122;s Forum Gallery, Permutations, Windsor, Ontario. Benedum Gallery, Recent Prints and Paintings, Monongahela Art Center, Morgantown, WV.

SELECTED GROUP EXHIBITIONS

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, Christieâ&#x20AC;&#x2122;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 Overview_07, Bruno David Gallery, St. Louis, MO. There and Here: Carmon Colangelo, Joan Hall, Peter Marcus, COCA: Millstone Gallery, St. Louis, MO. 2006 Overview_06, Bruno David Gallery, St. Louis, MO.

2005 2004 2003 2002 2001 2000 1999 1998 1997

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. 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.

1997 1996

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.

1995 1994

West Virginia Traveling Exhibition, Tamarack Galleries, Beckley, WV. Print Types, Art Institute for the Permain Basin, Odessa, TX. 17th University of Dallas Printmaking Invitational, University of Dallas, Irving, TX. Print Invitational, Richard E. Beasley Museum and Gallery, Northern Arizona University, Flagstaff, AZ. Miami Print Invitational, New Galley, University of Miami, Coral Gables, FL. Hawaii Print Invitational, University of Hawaii at Hilo, Hilo, HI. McNeese Print Invitational, McCrombie Gallery, McNeese State University, Lake Charles, LA. Works on Paper, Elzay Gallery of Art, Wilson Art Center, Ohio Northern University, Ada, OH. Elvis “ X “ Suite, The Candy Factory, 23rd Southern Graphics Conference, University of Tennessee, Knoxville, TN. Colorprint USA, Lubbock Fine Arts Center, Texas Tech University, Lubbock , TX. Curated by Lynwood Kreneck. Alternative Prints, University Art Galleries, University of South Dakota, Vermillion, SD. Dakotas International, University Art Galleries, University of South Dakota, Vermillion, SD. Southern Printmakers, Atrium Gallery, University of North Texas, Fort Worth, TX. Printypes, Tareton State University, Stephenville, TX and Chadron State College, Chadron, NA.

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

1987 1986 1985

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

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.

1996 West Virginia Artist Fellowship: Art and Humanities Grant, Cultural Center and Museum, Charleston, West Virginia. Gary Applebaum Purchase Award and the Charbonnel Inks Award, Minnesota National Print Biennial, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN. Jurors Elizabeth Armstrong and Frances Myers. Juror’s Commendation, Sixth Clemson National Print and Drawing Exhibition, Clemson University. Juror, Ruth Wiesberg. International Visiting Artist Grant, Shanghai University, Jingdezhen Ceramic Institute and the Nanjing Arts College, People’s Republic of China. 1995 College of Creative Arts Outstanding Research Award, West Virginia University, West Virginia. 17th University of Dallas Printmaking Invitational Purchase Award, University of Dallas, Texas. Governor’s Award, West Virginia Juried Exhibition, The Cultural Museum, Charleston, WV. 1994 International Visiting Artist Grant, Academy of Fine Arts, Bratislava, Slovakia. 1993 Judith Lieber Purchase Award, Society of American Graphic Artists, 65th National Print Exhibition, Federal Plaza, New York, New York. Juror’s Award, Clemson National Print and Drawing Exhibition, Clemson, South Carolina. Juror, Elizabeth Armstrong, Curator Walker Art Center, Minneapolis. 1992 Sabbatical Research Leave, Board of Trustees, WVU, Fall semester. West Virginia University Senate Research and Scholarship Grant, for “Print Assemblages”. International Visiting Artist Residency Program, Windsor Printmakers Forum, funded by the Canada Arts Council. 1991 Honorable Mention, Exhibition 280: Works on Walls, Huntington Museum of Art, West Virginia. Fifth Clemson National Print and Drawing Exhibition Purchase Award, Clemson University. Juror, Ned Rifkin, Chief Curator Hirshhorn Museum and Sculpture Garden, Smithsonian Institute. 1990 Arjamari-Arches-Rives Purchase Award, 11th National Los Angeles Printmaking Society, Los Angeles, California Senate Research and Scholarship Grant, “Collaborative Lithography,”creation of lithographs at Winstone Press, North Carolina. 1988 10th University of Dallas Printmaking Invitational Purchase Award, University of Dallas, Irving, Texas. 1987 3rd Clemson National Jurors Purchase Award, Clemson University, South Carolina. Juror, Terence La Noue, Painter and Printmaker. 1986 6th Annual National Print Jurors Award, Artlink Contemporary Artspace, Indiana. Juror, Fred Grude, Master Printer, Four Brothers Press, Chicago, Illinois. North Carolina Print and Drawing Society Purchase Award, 9th Annual Eastern United States Print and Drawing Exhibition. Juror, Robert Gordy. West Virginia University Senate Research and Scholarship Grant, Project; Mixed Media Printmaking.

1985 Award of Excellence, West Virginia Juried Exhibition, Cultural Center, Capitol Complex, Charleston, West Virginia. 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 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 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

Marks, Kerry. Wagner, Gretchen L. Beall, Dickson. Hollerbach, Bryan A. Smaldone, Andrew. Marks, Kerry. ------------------- Lotz, Theo. Marks, Kerry. Marjanović, Igor. Beall, Dickson. Spector, Buzz. Beall, Dickson. Gay, Malcolm. Beall, Dickson. Swenson, Eric. Cooper, Ivy. Beall, Dickson. Cooper, Ivy. Van Uum, Katherine. Beall, Dickson. Lotz, Theo. Spector, Buzz. Cooper, Ivy. Baran, Jessica. Weisberg, Ruth. Murphy, Patrick.

“Abstract Worlds and Graphic Art at The Bruno David Gallery”, TV interview, HEC-TV, February 4, 2019. “Infinite Abstraction,” Catalogue essay, Bruno David Gallery Publication, March 2019. “American Artists Print A Graphic Revolution,” West End Word, December 14, 2018. “Wishing fo a Happy Planet”, Ladue News, May 4, 2018. “Carmon Colangelo: On Form,” Catalogue essay, Bruno David Gallery Publication, July 2018. “The Bruno David Gallery Highlights Monochromatic and Political Art”, TV interview, HEC-TV, April 23, 2018. “Murray, Colangelo, Burson & Beard”, Wall Street International Magazine, April 12, 2018. “Here be Dragons: Below the Fold,” Catalogue essay, Bruno David Gallery Publication, September 2017. “From Syria and Uncharted Waters to Interior Design”, TV interview, HEC-TV, April 17, 2017. “Theory of Nothing,” Catalogue essay, Bruno David Gallery Publication, October 2016. “Carmon Colangelo: A Dean With A Theory of Nothing,” Video-Interview, The St. Louisan, March 2016. “Carmon Colangelo Interviewed by Buzz Spector,” Catalogue essay, Bruno David Gallery Publication, June 2014. “Carmon Colangelo,” Video-Interview, The St. Louisan, April 2014. “Carmon Colangelo: Exhibit at Bruno David,” Riverfront Times, April 10, 2014. “Carmon Colangelo,” WestEnd Word, March 26, 2014. “Carmon Colangelo: Global Diptychs,” Video-Interview, EMS, April 2013. “Carmon Colangelo,” Catalogue Essay, Bruno David Gallery Publication, April 2013. “Carmon Colangelo - O Land O,” Video Interview (2:50 mi.), The St. Louisan, January 2012. “Carmon Colangelo’s Delirious Vision,” Catalogue Essay, Eastern Illinois University Publication, October 2012. “On the Road With Co-Langel-O,” Catalogue Essay, Bruno David Gallery Publications, February 2012. “Nature, Place, Body & Architecture,” West End Word, St. Louis, MO, February 1, 2012. “Seven Days in O Land O,” Catalogue Introduction, Bruno David Gallery Publications, February 2012. “Carmon Colangelo: In Media Res,” Catalogue Essay, Bruno David Gallery Publications, April 2011. “ ‘Eyedeas’ a plenty,” St. Louis Beacon, St. Louis, MO, April 13, 2011. “Eyedeas,” Riverfront Times, St. Louis, MO, April 14, 2011. “Carmon Colangelo and His Big ‘Eyedeas’, ” Catalogue Essay, Bruno David Gallery Publications, April 2011. “From Big Bang to Big Melt,” Bruno David Gallery, TV interview on PBS, “Living St. Louis”, January 2009.

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.

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

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ARTISTS Laura Beard Heather Bennett Lisa K. Blatt Lisa Bulawsky Michael Byron Bunny Burson Judy Child Carmon Colangelo Terry James Conrad Alex Couwenberg Jill Downen Yvette Drury Dubinsky Damon Freed Douglass Freed

Ellen Jantzen Michael Jantzen Kelley Johnson Howard Jones (Estate) Chris Kahler James Austin Murray Bill Kohn (Estate) Leslie Laskey Justin Henry Miller Ralph Nagel Yvonne Osei Patricia Olynyk Gary Passanise

Judy Pfaff Charles P. Reay Daniel Raedeke Tom Reed Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Buzz Spector Cindy Tower Mark Travers Monika Wulfers