Carmon Colangelo: Happy Planet by Bruno David Gallery

Carmon Colangelo Happy Planet

bruno david gallery

Carmon Colangelo Happy Planet

April 13- June 2, 2018 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: Happy Planet” at Bruno David Gallery. Editor: Bruno L. David Catalogue Designer: Ruoyi Gan and Lauren R. Mann Designer Assistant: Claudia R. David Printed in USA All works courtesy of Carmon Colangelo, Bruno David Gallery and Flying Horse Editions Photographs by Bruno David Gallery Cover image: Colourful World 10, (detail) 2018 Watercolour monotype with relief on Hahnemuhle copperplate 31 x 22-1/4 inches (78.74 x 56.51 cm) Printed at Flying Horse Editions, Orlando, FL. Director: Theo Lotz, Master Printer: Adrian Gonzalez First Edition Copyright © 2018 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 ON FORM BY ANDREW SMALDONE AFTERWORD BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

CARMON COLANGELO ON FORM BY ANDREW SMALDONE

Carmon Colangeloâ&#x20AC;&#x2122;s exhibition Happy Planet is composed of two series of monoprints titled Happy Plan and Colorful World. Both the Happy Plan and Colorful World prints emphasize formal elements as a vehicle for meaning and as a way to create purposeful spatial arrangements. When viewed as a whole in Bruno David Gallery, all the prints additionally create an environment full of optimism. Where the importance of intuitive artistic play in the creative process is tempered with a logical application of idiosyncratic forms and signs.

The Happy Plan prints demonstrate an interest in mapping in a way that stress carefully considered relationships. In minimal works Happy Plan 1 and Happy Plan 6 (all works 2018), Colangelo makes generous use of the ground of the paper itself. In these two works proximity of positive shapes and colors are offset by the negative shapes created by the laser cut wood configurations on the paper. Significantly, the focus of Happy Plan 1 (page 23) is put on the letter D, which has been slightly turned in a counterclockwise manner so as to support the entire structure on top of it. The difference in formal elements between the two prints, however, is pronounced. Where the former print emphasizes movement through both strong horizontals and diagonals, the later is very still as approximate horizontals and verticals reign supreme. Though the red-letter D is also present in Happy Plan 6 (page 30).

Letters are used in both works and in several other prints throughout the exhibition. One exception being the strong monotype print Happy Plan 3 (page 25). What stands out most about this print is its vertical format; all the prints have elements of verticals, horizontals, and diagonals. What differs from one to the next is how The Canadian changes the emphasis from one print to another. If one understands that the only reality of a 2D surface is the vertical and horizontal, then one grasps the importance of the necessity to create illusion through diagonal movement. This occurs because the echoing of a 2D surface is not space and is not illusionistic. Colangelo, therefore, is definitely creating illusion and space with his work through associative imagery and movement. In fact, the vertical shapes clearly evoke architecture.

Color, however, renders certain forms more architecturally present than others. The pale yellow shape in Happy Plan 3 for example, is beautifully composed precisely as it is almost invisible. Any other color would have rendered the entire composition unstable. The other colors in the composition are also quite pale due to the oil-based inkâ&#x20AC;&#x2122;s interaction with wood, whose texture allows light through. The exception always being red. The pale yellow on the far left and the

textured red shape just under a viridian on the top right are expertly placed interactions of colored shapes. When viewed counterclockwise in Bruno David Gallery, each print from the series says something slightly different than the one to its right or left. When viewed as a whole, the works function as a unit and their meanings change yet again.

Indeed there is a strong micro-macro relationship throughout the show. One can move in or out and see different textures, structures, shapes, colors, and movements that combine to make worlds. Particularly curious is a work titled Spoiled Plans 1 (page 39, not included in show) as it relates to all the other Happy Plan prints. The print is entirely circular in movement and is strongly evocative of certain graphic elements prevalent in Russian constructivism. It serves as a type of lexicon for all the other “plan” prints. It should be stated, however, that one isn’t exactly sure how this “Rosetta Stone” is supposed to help interpret the other works. Importantly this is how it ought to be with a work of art. What is of value lies more in the viewer’s effort to construct a significant interpretation between works as a means to better understand the artist’s intention.

The Colorful World prints, on the other hand, evoke the allover spatial arrangements of the great Spanish Surrealist Joan Miró. In regards to space, there is also a knowing play with horror vacui that one encounters when viewing the entire series. In Colorful World 4 and Colorful World 7 (pages 13 and 21) one sees the artist making strong usage of the original color of the paper itself. Though he begins to introduce large shapes and extensive embossments that simultaneously create an interaction between layers. There are primarily two kinds of relationships at play here: the first are surface relationships between colored shapes, and the second are interactions between textures. The varied textures are both the result of embossments and mark making.

It is worth pointing out that these surface relationships and the interactions of textures lend themselves to be read in relation to processes of painting and drawing. Colorful World 9, 10 and 11 (pages 22, 19, and 26) are full of painterly marks that fill up the surface of the rectangle. All three works encourage the viewer to move in close - as mentioned previously with the Happy Plan prints - to see how groupings of colored shapes interact. One notices the painterly marks, but there are also marks that are closer to drawing. By placing these different types of marks side by side with various embossments Colangelo emphasizes his ‘handwriting’, whether it be direct, indirect or totally mechanical.

Ultimately Carmon Colangelo’s work is multi-layered on both a technical and conceptual level. He encourages the viewer to accept that meaning is present through his language of signs and symbols, and he invites one to interpret this personal language on an individual level. The implication being that he asks one to imagine a space and a time that is both of this world and slightly parallel to it. The fact that he manages this is indicative that he works assuredly in the studio with a profound sense of enthusiasm for the artistic process. His exhibition is thus an assertion that art must continue to be made - if necessary even with a touch of early modernism’s joie de vivre - despite the difficulties of quotidian reality.

Andrew Smaldone is a Florence-based writer. He is a co-founder of ArtSEEN Journal and was its Senior Editor until 2008. He is a co-founder of the contemporary art magazine Fisk Frisk and currently its Editor-at-Large. He is a Professor of Fine Arts at SRISA in Florence, Italy. This text is one in a series of the gallery’s exhibitions written by fellow gallery artists and friends.

AFTERWORD BY BRUNO L. DAVID

I am pleased to present an exhibition titled “Happy Planet” by printmaker Carmon Colangelo at the Bruno David Gallery. This is the artist’s tenth solo exhibition with the gallery. Happy Planet is composed of two new series of prints, Colorful World and Happy Plans combining watercolor monotype and woodcut relief processes were printed at the Flying Horse Editions in Orlando, Florida. These recent prints are a playful and somewhat saccharin response to the current state of political affairs; a form of escapism from the sadness of the everyday news cycle. The prints are unique synthesis of ideas generated from contemporary discourses and precedents in modern art and architecture from Alexander Calder’s Circus to Cedric Price’s Fun Palace. The Happy Plan series is composed of laser cut wood plates that operate like architectural sections while the Colorful World prints are multilayered with deep embossments creating a marshmallow like effect. Expanding on Colangelo’s daily practice of drawing, the works are derived from chance operations, maps, found materials and printing from discarded laser cut wood plates from architectural models; the result is a generative series of colorful works where meaning is adaptable to shifting cultural and social conditions. 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. Carmon Colangelo (b. Toronto, Canada) lives and works in St. Louis, MO. He is the Ralph J. Nagel dean of the Sam Fox School of Design & Visual Arts and the E. Desmond Lee Professor for Collaboration in the Arts, Washington University in St. Louis. In this role, he oversees the School’s four academic units — the College of Art, College of Architecture, Graduate School of Art, and Graduate School of Architecture & Urban Design — as well as the Mildred Lane Kemper Art Museum. Colangelo’s work has been featured in 30 solo shows and more than 100 group exhibitions nationally and internationally. His work has been collected by many of the nation’s leading museums, including the National Museum of American Art in Washington, D.C., the Whitney Museum of American Art, New York, the Fogg Art Museum, Harvard University, and the Saint Louis Art Museum. He earned a B.F.A. in printmaking and painting from the University of Windsor in Ontario (1981) and a M.F.A. in printmaking from Louisiana State University (1983). Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery since its founding in 2005. I would like to express my sincere thanks to Andrew Smaldone for a very thoughtful essay. I am deeply grateful to Ruoyi Gan and Lauren R. Mann, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Ruoyi Gan, Helen Fox, Haleigh Givens, Christina Lu, Lauren R. Mann, Thomas Fruhauf, Peter Finley, and Jin Xia.

CHECKLIST & IMAGES OF THE EXHIBITION

Colourful World 1 2018 watercolour monotype with relief on Hahnemuhle Copperplate 31 x 22 1/4 inches (78.74 x 56.51 cm)

Colourful World 5 2018 watercolour monotype with relief on Hahnemuhle Copperplate 31 x 22 1/4 inches (78.74 x 56.51 cm)

Colourful World 4 (detail)

Colourful World 4 2018 watercolour monotype with relief on Hahnemuhle Copperplate 31 x 22 1/4 inches (78.74 x 56.51 cm)

Colourful World 3 (detail)

Colourful World 3 2018 watercolour monotype with relief on Hahnemuhle Copperplate 31 x 22 1/4 inches (78.74 x 56.51 cm)

Colourful World 6 (detail)

Colourful World 6 2018 watercolour monotype with relief on Hahnemuhle Copperplate 31 x 22 1/4 inches (78.74 x 56.51 cm)

Colourful World 10 (detail)

Colourful World 10 2018 watercolour monotype with relief on Hahnemuhle Copperplate 31 x 22 1/4 inches (78.74 x 56.51 cm)

Colourful World 2 2018 watercolour monotype with relief on Hahnemuhle Copperplate 31 x 22 1/4 inches (78.74 x 56.51 cm)

Colourful World 7 2018 watercolour monotype with relief on Hahnemuhle Copperplate 31 x 22 1/4 inches (78.74 x 56.51 cm)

Colourful World 9 2018 watercolour monotype with relief on Hahnemuhle Copperplate 31 x 22 1/4 inches (78.74 x 56.51 cm)

Happy Plan 1 2018 monotype with relief on Somerset 31 x 22 1/4 inches (78.74 x 56.51 cm)

Happy Plan 3 (detail)

Happy Plan 3 2018 monotype with relief on Somerset 31 x 22 1/4 inches (78.74 x 56.51 cm)

Colourful World 11 2018 watercolour monotype with relief on Hahnemuhle Copperplate 31 x 22 1/4 inches (78.74 x 56.51 cm)

Colourful World 8 2018 watercolour monotype with relief on Hahnemuhle Copperplate 31 x 22 1/4 inches (78.74 x 56.51 cm)

Happy Plan 8 (detail)

Happy Plan 8 2018 monotype with relief on Somerset 31 x 22 1/4 inches (78.74 x 56.51 cm)

Happy Plan 6 2018 monotype with relief on Somerset 31 x 22 1/4 inches (78.74 x 56.51 cm)

Happy Plan 9 2018 monotype with relief on Somerset 31 x 22 1/4 inches (78.74 x 56.51 cm)

Happy Plan B 1 2018 monotype with relief on Somerset 31 x 22 1/4 inches (78.74 x 56.51 cm)

Happy Plan 5 2018 monotype with relief on Somerset 31 x 22 1/4 inches (78.74 x 56.51 cm)

Happy Plan 4 (detail)

Happy Plan 4 2018 monotype with relief on Somerset 31 x 22 1/4 inches (78.74 x 56.51 cm)

Happy Plan 7 2018 monotype with relief on Somerset 31 x 22 1/4 inches (78.74 x 56.51 cm)

Happy Plan 2 2018 monotype with relief on Somerset 31 x 22 1/4 inches (78.74 x 56.51 cm)

Spoiled Plans 1 (detail)

Spoiled Plans 1 2018 watercolour monotype with relief on Hahnmuhle Copperplate 31 x 22 1/4 inches (78.74 x 56.51 cm)

Carmon Colangelo: Happy Planet (installation view)

(Photo: Sarah Conroy / Ladue News)

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 2018 2017 2016 2015 2014 2013 2012 2011 2008

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

2018 2017 2016 2014 2013 2012 2011 2010 2008 2007 2006 2005

OVERVIEW_2018, Bruno David Gallery, St. Louis, MO. 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. Burst of Memory, Bruno David Gallery, St. Louis, MO. Tower of Babel, Schema Projects, Brooklyn, NY. AND / OR, Bruno David Gallery, St. Louis, MO. (catalogue) Ink Miami, Flying Horse Editions Booth, Miami, FL. OVERVIEW_2014, Bruno David Gallery, St. Louis, MO. Deem 20, Art Museum of West Virginia University, WV (catalogue) Midwest Matrix: Continuum, Grunwald Gallery of Art, Indiana University, Bloomington, IN. Prints 2014, International Print Center, IPCNY, Christieâ&#x20AC;&#x2122;s Gallery, Rockefeller Plaza and IPCNY gallery in Chelsea, New York. Artworks, Bruno David Gallery, St. Louis, MO. BLUE-WHITE-RED, Bruno David Gallery, St. Louis, MO. Prints + Multiples, Bruno David Gallery, St. Louis, MO. MATRIX, Museum of Fine Arts, Florida State University, Tallahassee, FL. OVERPAPER, Bruno David Gallery, St. Louis, MO. (catalogue) A Survey of Contemporary Prints, Wellington Gray Gallery, School of Art and Design, East Carolina University, Greenville, NC. Assorted Printmakers, curated by Jeff Sippel, Gallery FAB, University of Missouri, St. Louis, MO. Overview_08, Bruno David Gallery, St. Louis, MO. Four Aces: Large-Scale Prints from Four Universities, Bruno David Gallery, St. Louis, MO. Overview_07, Bruno David Gallery, St. Louis, MO. There and Here: Carmon Colangelo, Joan Hall, Peter Marcus, COCA: Millstone Gallery, St. Louis, MO. Overview_06, Bruno David Gallery, St. Louis, MO. Impressions, An Invitational Exhibition of Prints, McMaster Gallery, University of South Carolina, Columbia, SC

2004 2003 2002 2001 2000 1999 1998 1997

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. Litografia Argentina Contemporanea II, Belles Artes Emilio Caraffa, Cordoba City, Argentina.

1997 1996

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.

1995 1994

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 1992 1991 1990 1989 1988 1987

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. 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.

1986 1985

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

GRANTS & AWARDS 2010 2006 2004 2003 2001 2000 1998 1996

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. Nash Gallery, University of Minnesota, Minneapolis, MN. Jurors Elizabeth Armstrong and Frances Myers.

1996 Juror’s Commendation, Sixth Clemson National Print and Drawing Exhibition, Clemson University. Juror, Ruth Wiesberg. International Visiting Artist Grant, Shanghai University, Jingdezhen Ceramic Institute and the Nanjing Arts College, People’s Republic of China. 1995 College of Creative Arts Outstanding Research Award, West Virginia University, West Virginia. 17th University of Dallas Printmaking Invitational Purchase Award, University of Dallas, Texas. Governor’s Award, West Virginia Juried Exhibition, The Cultural Museum, Charleston, WV. 1994 International Visiting Artist Grant, Academy of Fine Arts, Bratislava, Slovakia. 1993 Judith Lieber Purchase Award, Society of American Graphic Artists, 65th National Print Exhibition, Federal Plaza, New York, New York. Juror’s Award, Clemson National Print and Drawing Exhibition, Clemson, South Carolina. Juror, Elizabeth Armstrong, Curator Walker Art Center, Minneapolis. 1992 Sabbatical Research Leave, Board of Trustees, WVU, Fall semester. West Virginia University Senate Research and Scholarship Grant, for “Print Assemblages”. International Visiting Artist Residency Program, Windsor Printmakers Forum, funded by the Canada Arts Council. 1991 Honorable Mention, Exhibition 280: Works on Walls, Huntington Museum of Art, West Virginia. Fifth Clemson National Print and Drawing Exhibition Purchase Award, Clemson University. Juror, Ned Rifkin, Chief Curator Hirshhorn Museum and Sculpture Garden, Smithsonian Institute. 1990 Arjamari-Arches-Rives Purchase Award, 11th National Los Angeles Printmaking Society, Los Angeles, California Senate Research and Scholarship Grant, “Collaborative Lithography,”creation of lithographs at Winstone Press, North Carolina. 1988 10th University of Dallas Printmaking Invitational Purchase Award, University of Dallas, Irving, Texas. 1987 3rd Clemson National Jurors Purchase Award, Clemson University, South Carolina. Juror, Terence La Noue, Painter and Printmaker. 1986 6th Annual National Print Jurors Award, Artlink Contemporary Artspace, Indiana. Juror, Fred Grude, Master Printer, Four Brothers Press, Chicago, Illinois. North Carolina Print and Drawing Society Purchase Award, 9th Annual Eastern United States Print and Drawing Exhibition. Juror, Robert Gordy. West Virginia University Senate Research and Scholarship Grant, Project; Mixed Media Printmaking. 1985 Award of Excellence, West Virginia Juried Exhibition, Cultural Center, Capitol Complex, Charleston, West Virginia. Juror’s Award, Three Rivers Art Festival, Juried Exhibition. Juror Patterson Sims, Assistant Curator of the Whitney Museum of American Art. Consolidated Natural Gas Foundation Purchase Award, Purchase for the University of Pittsburgh, Three Rivers Art Festival Exhibition. Juror’s Commendation, Boston Printmakers 37th National. Juror, David W. Kiehl, Assistant Curator of Prints, Metropolitan Museum of Art.

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

BIBLIOGRAPHY 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. Krainak, Paul. Gay, Malcom. Beall, Dickson. Otten, Liam.

“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. “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.

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.

“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 Michael Byron Bunny Burson Judy Child Carmon Colangelo Alex Couwenberg Jill Downen Yvette Drury Dubinsky Damon Freed Douglass Freed Ellen Jantzen

Michael Jantzen Kelley Johnson Howard Jones (Estate) Chris Kahler Xizi Liu James Austin Murray Bill Kohn (Estate) Leslie Laskey 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 Shane Simmons Buzz Spector Cindy Tower Monika Wulfers