Jill Downen: Hard Hat Optional by Bruno David Gallery

JILL DOWNEN Hard Hat Optional

JILL DOWNEN: HARD HAT OPTIONAL April 10 - May 9, 2009 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 Jill Downen: Hard Hat Optional Editor: Bruno L. David Catalog Designer: Yoko Kiyoi Design Assistants: Sage A. David and Claudia R. David Printed in USA All works courtesy of Bruno David Gallery and Jill Downen Photos by Richard Sprengeler Cover Image: Jill Downen: Component 9: Breast Blocks on Palette (detail), 2009 Mixed media, size variable Copyright ÂŠ 2009 Bruno David Gallery, Inc. All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery, Inc.

Contents

Acknowledgement Essay by Andrea L. Ferber Afterword by Bruno L. David Checklist of the Exhibition Biography

Acknowledgement 2

Jill Downen would like to acknowledge the following institutions for the resdency experiences and support that directly impacted Hard Hat Optional:

The MacDowell Colony The National Endowment for the Arts The Leon Levy Foundation The John D. and Catherine T. MacArthur Foundation The Ragdale Foundation

Essay by Andrea L. Ferber 4

Hard Hat Optional unveils Jill Downen’s most recent manifestation of an installed environment intended to heighten awareness of the relationship between one’s body and space. As the title of this temporary exhibit suggests, the proliferation of objects around the gallery in seemingly haphazard order conjures a construction site. One must traverse and navigate through the built environment, carefully stepping around fragile plaster skins on the floor, hand-sculpted forms of all sizes, and precarious wooden beams. Pallets, crates, and makeshift frames support stacks of figurative plaster fragments and amorphous parts. Sandbags brace otherwise unstable areas. Yet the whole site is pristine; the clean whiteness of every element and the near-silence of the space contradict typical characteristics of actual construction sites. These subtle aspects of Hard Hat Optional are more suggestive of a museum storage space, especially one full of fleshy neo-neoclassical sculpture. Comparisons to either kind of space relate in that both usually have restricted access; construction zones and museum storage areas are dynamic sites—in states of continuous flux—where bodies labor rather than relax or contemplate. Public space and private space are conflated; moreover, the installation borders on chaos yet is resolutely a site of meditation. The employment of indeterminacy reveals a turn in the artist’s approach, one which she says is the result of “a deeper level of trust in [her]self as an artist.” Rather than establishing a set arrangement for the sculptural objects in advance, the layout was worked out in situ. Architectural methods are part of the artist’s process. Downen created and carefully considered modes of display in a scale-model maquette but still allowed herself the artistic freedom to make drastic changes for the installation’s final realization. Of critical importance is the individual’s phenomenological encounter of space and the site’s temporary nature. Alex Potts describes Rosalind Krauss’ understanding of the connection between phenomenology and the sculptural as “the bodily sensations produced in the viewer by the disparate apperceptions she or he ha[s] of the [work]’s configuration as seen from different standpoints.”i. Though still, the environment rejects stasis. Furthermore, one’s physical body and perception of their body image creates entirely different experiences for each visitor to this installation; height, for example, and how comfortable one

feels moving around the space generates varying modes of participation and reaction. If created elsewhere, the result would be an entirely different incarnation which could include many of the elements shown currently, but not all. The context and cleanliness signify deliberateness, yet raise questions about artifice: are the wooden props and sandbags necessary buttresses for the sagging forms, or placed solely for experiential interest? Downen’s work embraces these ambiguous dialectics. Each object in this installation brings its own unique dialogue of textures, volume, shape, and possible referent to the conversation in and about space. Most of the sculpted white plaster forms appear silky smooth, almost fluid, yet retain a matte surface with occasional evidence of air bubbles. Though the institutional context imposes limitations on direct contact with the art, these objects beg to be touched. Like Bernini and countless other sculptors who could produce the illusion of soft flesh from marble, Downen’s forms transcend their materiality. Yet raw, apparently unworked sides left exposed—indeed, highlighted by the arrangement of forms—and the exaggerated ambiguity of shape place Downen’s work squarely in the language of abstraction. Blocks evoking female breasts are stacked on one pallet, every one unique and sensuous but disturblingly disembodied. Other surfaces suggest voluptuous posteriors yet are similarly severed. Confronted with a multiplicity of fragments, audiences might consider how the pieces relate; if they originally fit together, or what, if anything, they could construct. The absurd state of the site and its infinite potential become conceptual problems each individual must consider. As geographer Yi-Fu Tuan writes, “The built environment, like language, has the power to define and refine sensibility. It can sharpen and enlarge consciousness. Without architecture feelings about space must remain diffuse and fleeting.”ii. In the case of Hard Hat Optional, the sculptural objects stacked throughout the space (including unfinished plywood leaning against one wall and a plumb line hanging from the ceiling) and the corpulent walls bring attention to the specific architecture of the gallery, with the effect that there is no division between art and site.

—Andrea L. Ferber

Andrea L. Ferber is a PhD candidate in Art History at the University of Illinois at Urbana-Champaign. Her writing has appeared in Critical Matrix. This essay is one in a series of the galleryâ&#x20AC;&#x2122;s exhibitions written by fellow gallery artists and friends. i. Alex Potts, The Sculptural Imagination: Figurative, Modernist, Minimalist. New Haven, Connecticut: Yale University Press, 2000, p. 209. ii. Yi-Fu Tuan, Space and Place: The Perspective of Experience. Minneapolis, Minnesota: University of Minnesota Press, 1977, p. 107.

Afterwords by Bruno L. David 8

I am pleased to exhibit a new series of sculpture and drawing by Jill Downen 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. Jill Downen’s remarkable and compelling sculptures makes her one the most impressive artists of the gallery. Jill Downen’s latest work, Hard Hat Optional, resembles a construction site, filled with anatomical forms reminiscent of sensual bodily elements, pockets of empty space, and areas of densely packed material. She stacks, leans, and places sculptural and architectural forms to be seen not as individual pieces, but rather as a complete installation. The exhibit emphasizes the temporal nature and transformation of place. Downen invites viewers to question whether the site is in a process of construction or deconstruction, with seductive fragments, sensitive folds of architectural skin, and stacks of flesh-like blocks. The work employs an indeterminate nature and offers viewers an opportunity to experience the space and directly interact with precariously balanced building materials and forms. Peripheral vision became part of the inspiration, process, and concept of Hard Hat Optional when Downen began to notice construction sites. In this exhibit, she aims to bring qualities from these overlooked sites out of the periphery and into direct conversation with the viewer. She captures the temporal energies and unsettling tension that objects create in both their physical weight and spatial movement. The idea of architecture as flesh is opened, exposing the infrastructures and energies of the sensual building blocks. Still resembling bodily structures, the sculptural forms reveal varied surfaces; chiseled, cut, punctured, scarred and smoothed. Downen urges viewers to imagine these pieces as parts of a building that is in a state of becoming.

Hard Hat Optional reveals the relationship between the objects and the space in which they are situated. Although the space feels like a construction site, it is presented free of grit and grime. Palettes, sand bags and lumber are all part of the installation, carefully placed to create a distinct conversation with the viewer. The exhibit reveals the shared substructures of architecture and the human body, as well as the temporal nature of their creation. This is her third solo exhibition with the Bruno David Gallery. Recently, Downen was awarded three residencies at the Mac Dowell Colony in Peterborough, NH; Ragdale Foundation, Lake Forest, IL and; Vermont Studio Center, Johnson, VT. In 2007, she was awarded the Cite International des Arts Residency, Paris, France. In 2003, she received a Great Rivers Biennial Grant, sponsored by Contemporary Art Museum St. Louis and the Gateway Foundation, and in 2004, she exhibited “The Posture of Place” as part of the first Great Rivers Biennial. Her art has been reviewed in numerous publications, including Sculpture Magazine, Art Papers, The New York Times, and the St. Louis Post-Dispatch. Downen holds an M.F.A. in sculpture from Washington University in St. Louis as a Danforth Scholar and a B.F.A. from the Kansas City Art Institute in painting and printmaking.

Checklist of the Exhibition and Images

Component 1: Large Crate andf Two Blocks, 2009 mixed media, size variable 12

Component 2: Rack, Sandbags, 40 Architectual Cartilage Stripes, 2009 mixed media, size variable 14

Component 2: Rack, Sandbags, 40 Architectual Cartilage Stripes (detail), 2009 mixed media, size variable 16

Component 3: Architectual Bone, 2009 mixed media, size variable 18

Component 4: Architectual Skin, 2009 mixed media, size variable 20

(from right to left) Component 5: Plumline, 2009 Component 3: Architectual Bone, 2009 Component 4: Architectual Skin, 2009 mixed media, size variable 22

Component 6: Block and Support Arm, 2009 mixed media, size variable 24

Component 7: Wall Block with Support Beam and Sandbags, 2009 mixed media, size variable 26

Component 7: Wall Block with Support Beam and Sandbags (detail), 2009 mixed media, size variable 28

Component 8: Tendon and Palette, 2009 mixed media, size variable 30

Component 9: Breast Blocks on Palette, 2009 mixed media, size variable 32

Component 9: Breast Blocks on Palette (detail), 2009 mixed media, size variable 34

Component 11: Architectual Skin, 2009 mixed media, size variable 36

(left) Component 12: Tendon Block, 2009 (right)

Component 15: Lumber Pile with Sandbags and Compressed Block, 2009 mixed media, size variable 38

Component 14: Small Crate with Posterior Block, 2009 mixed media, size variable 40

(clockwise from top) Component 15: Lumber Pile with Sandbags and Compressed Block, 2009 Component 12: Tendon Block, 2009 Component 14: Small Crate with Posterior Block, 2009 Component 13: Small Crate with Two Blocks Inside, 2009 mixed media, size variable 42

Component 17: Tendon Palette, 2009 mixed media, size variable 44

Hybrida 1, 2008

gypsum and matte medium on paper, 11 x 18 inches (27.94 x 45.72 cm)

Hybrida 3, 2008

gypsum and matte medium on paper, 11 x 18 inches (27.94 x 45.72 cm)

Hybrida 9, 2008

gypsum and matte medium on paper, 11 x 15 inches (27.94 x 38.10 cm)

Hybrida 15, 2008

gypsum and matte medium on paper, 11 x 15 inches (27.94 x 38.10 cm)

Jill Downen: Hard Hat Optional at Bruno David Gallery, 2009 (installation view - detail) 54

Jill Downen: Hard Hat Optional at Bruno David Gallery, 2009 (installation view - detail) 56

Jill Downen: Hard Hat Optional at Bruno David Gallery, 2009 (installation view - detail) 58

Jill Downen: Hard Hat Optional at Bruno David Gallery, 2009 (installation view - detail) 60

Jill Downen: Hard Hat Optional at Bruno David Gallery, 2009 (installation view - detail) 62

Jill Downen: Hard Hat Optional at Bruno David Gallery, 2009 (installation view - detail) 64

JILL DOWNEN Lives and works in St. Louis, Missouri EDUCATION 2001 1989

M.F.A., Sculpture Washington University, St. Louis, MO B.F.A., Painting / Printmaking Kansas City Art Institute, Kansas City, MO

SOLO AND TWO PERSON EXHIBITIONS 2009 2008 2007 2006 2004 2003 2002 2001 2000 1995 1989

Hard Hat Optional, Bruno David Gallery, St. Louis, MO catalogue Drawing in Dialogue with Luce Irigaray, Rosenberg Gallery Hofstra University, Hempstead, NY (in conjunction with the 3rd Annual Luce Irigaray Circle Conference) Corps et Bâtiment á Paris, Cité Internationale des Arts galleries, Paris, France In & Out of Space, 2-person with Dean Kessmann, Murray State University, KY Overflow, 1708 Gallery, 2-person with Charles Gick, curated by Elizabeth Keller, Richmond, VA catalogue (dis)embody, Bruno David Gallery, St. Louis, MO catalogue Uneasy Opposition, Tarble Arts Center, Eastern Illinois University, Charleston, IL catalogue Posture of Place, Great Rivers Biennial, Contemporary Art Museum St. Louis, MO catalogue Body/Building: Involuntary Anatomies, Ninth Street Gallery, St. Louis, MO Rubber Wall, A. R. C. Gallery, Frontspace Installation, Chicago, IL Anxious Architecture, Purdue University Beelke Gallery, Lafayette, IN MFA Thesis Exhibit, In-Form Gallery, Lemp Brewery, St. Louis, MO The 116 N. 40th Series, North Gallery, St. Louis, MO Visions of the Numinous, Community Gallery, Frank Lloyd Wright’s Church Library, Kansas City, MO Rites of Passage, Kansas City Art Institute, Kansas City, MO

SELECTED GROUP EXHIBITIONS 2008

Hybrida, works on paper, Bruno David Gallery, St. Louis, MO Cornerstone, New Media Project Room, Bruno David Gallery, St. Louis, MO

2007 2006 2005 2004 2003 2002 2001 2000 1999 1999 1995

Paper Now, I-Space, guest curator Chris Kahler, Chicago, IL ArtsDesire, Contemporary Art Museum St. Louis, St. Louis, MO catalogue Perspectives, Brooks Museum of Art, curated by Michael Rooks, Memphis, TN Flat Files, Contemporary Art Museum St. Louis, curated by Katie Holten, St. Louis, MO Flat Files, Contemporary Art Museum St. Louis, curated by Andrea Green, St. Louis, MO Overflow, (with Charles Gick),1708 Gallery, curated by Elizabeth Keller, Richmond, VA Symbiosis, Kirkland Fine Arts Center, Millikin University, Decatur, IL Inaugural Exhibition, Bruno David Gallery, St. Louis, MO Projects â&#x20AC;&#x2DC;04, Islip Art Museum Long Island Carriage House, East Islip, NY Washington University School of Art Faculty Exhibit, Kemper Museum, St. Louis, MO 20th Anniversary Exhibit, Elliot Smith Contemporary Art, St. Louis, MO Danforth Scholars Exhibit, Des Lee Gallery, St. Louis, MO 1984-2004 Twentieth Anniversary Celebration, Elliot Smith Contemporary Art, September 17-October 16, St. Louis, MO Everything You Ever Wanted To Know About Art..., Elliot Smith Contemporary Art, July 9-September 4, St. Louis, MO Women Only, Elliot Smith Contemporary Art, April 16 - May 22, St. Louis, MO Binational Art Exhibit, U.S. Embassy, curator Maria Velasco, Asuncion, Paraguay catalogue Corners, Museum of Contemporary Art, curator Erica France, Ft. Collins, CO catalogue Wear Structure, Open-End Gallery & Heaven Gallery, Chicago, IL 29th Bradley National Print & Drawing Exhibition, Bradley University, Peoria, IL Paper in Particular National Exhibition, Columbia College, Columbia, MO Three Women Artists, Meramec Art Gallery, invitational, St. Louis, MO 3 x 3, Meramec Art Gallery, faculty show, St. Louis, MO Heuristic Origins, Second Floor Contemporary, curated by David Hall, Memphis, TN Exposure 4: The Spaces In-Between, Park Avenue Gallery, curated by Terry Suhre, St. Louis, MO Group Show, Winifsky Gallery, Salem State College, Salem, MA 4th Annual Invitational, North Gallery, St. Louis, MO Shack Town, Des Lee Gallery, curated by Michael Williams, St. Louis, MO 4th Annual Critical Mass One Night Stand, Crowe T. Brooks Gallery, St. Louis, MO Super-imposed, Des Lee Gallery, St. Louis, MO 6th Annual Regional Exhibit, St. Charles Community College, St. Peters, MO Structually Speaking, Art St. Louis, curated by Adrian Luchini, St. Louis, MO 2nd Annual Invitational, North Gallery, Ferguson, MO Contemporary Women Artist XI, Meramec Art Gallery, St. Louis, MO 5th Annual Regiona Exhibition, St. Charles County Community College, St. Peters, MO Golden Mean, Art St. Louis, St. Louis, MO Artists and Their Teachers, Hendren Gallery, Lindenwood University, St. Louis, MO

1994 1993 1992 1989

Art St. Louis X, The Exhibition, Art St. Louis, St. Louis, MO Group Exhibition, Animalia Gallery, Saugatuck, MI 7th Annual Ecclesiastical Art Exhibit, Historic Trinity, Detroit, MI Two-Person Exhibition, St. Louis Community College at Forest Park, St. Louis, MO Group Show, Watson Ess Gallery, Kansas City, MO Two-Person Show, Jackson County State Bank, Kansas City, MO 13th Annual KCRCHE Art Exhibition, Kansas City Artists Coalition, Kansas City, MO

SELECTED BIBLIOGRAPHY Cooper, Ivy Bonetti, David Ferber, Andrea L. Baran, Jessica Caplinger, Hesse Beal, Dickson Russel Stefene Artner, Alan. Hughes, Jeffrey Beall, Hugh. Humphries, Kim Sieloff, Alison and Friswold, Paul Fitzgerald, Shannon. Wagner, Ashley. Miller, Rob. Cooper, Ivy. Bonetti, David. Crone, Tomas. Beall, Hugh. Miller, Rob. Beall, Hugh.

“Downen Takes a Fresh Direction”, St. Louis Beacon, May 4, 2009 “Jill Downen at Bruno David”, St. Louis Post Dispatch, May 3, 2009 “Jill Downen”, Essay, Catalogue, Bruno David Gallery Publications “Jill Downen: Hard Hat Optional”, RiverFront Times, April 30, 2009 “Don’t Think of a Construction Site”, Examiner.com, April 25, 2009 “Construction Zone” West End Word”, April 15, 2009 “Jill Downen: Hard Hat Optional”, St. Louis magazine, April 10, 2009 “Paper Now”, Chicago Tribune, September 21, 2007 “Jill Downen”, Art Papers, July-August 2006 “Jill Downen at Bruno David Gallery”, Illusion Junkie, April, 2006. Web Video. http://ia310117.us.archive.org/1/items/Jill_Downen_at_Bruno_David/downendavid.mov “Jill Downen: (dis)embody.” Bruno David Gallery’ Series of Introductions, April 2006 “April is for Art Lovers.” Riverfront Times, April 6-12, 2006 “Uneasy Opposition.” Catalogue Essay. January, 2006. “Uneasy Opposition.” The Daily Eastern News, Charleston, IL. January 19, 2006. “’Over hung’ show or ‘Hung over’ critic?” Saintlouisart, November 17, 2005. http://saintlouisart.blogspot.com/ “Bruno David Gallery: Inaugural Exhibition”, Riverfront Times, November 9, 2005. “Bruno David Gallery”, St. Louis Post Dispatch, November 9, 2005 “Bruno David Gallery”, 52nd City, October 2005. http://blog.52ndcity.com/archives “The Bruno buzz”, West End Word, October 26, 2005. “Bruno David Gallery: Inaugural Exhibition”, Saintlouisart, October 25, 2005. http://saintlouisart.blogspot.com/ “Bruno David Gallery: Inaugural Exhibition”, Illusion Junkie, October 25, 2005. Web Video. http://illusionjunkie.blogspot.com/2005/10/bruno-david-inaugural-exhibition.html

Bonetti, David. Sieloff, Alison. Bonetti, David. Murphy, Anne. Castro, Jan Garden. Bonetti, David. Cooper, Ivy. Harrison, Helen A. Hughes, Jeffrey. Bonetti, David. Zapf, Rudy Cooper, Ivy Woodcok, Tim Bonetti, David Cooper, Ivy Bonetti, David Callahan, Theresa Martelli, Rose. Bonetti, David. Cooper, Ivy. Bonetti, David. Cooper, Ivy. Bonetti, David. Callahan, Teresa. Bonetti, David. Bonetti, David. Callahan, Theresa. Smith, Brian. __________.

“Bruno David Gallery: Inaugural Exhibition”, St. Louis Post Dispatch, October 20, 2005 “Grand Grand Center”, Riverfront Times, October 19, 2005 “Gallery musical chairs”, St. Louis Post Dispatch, October 1, 2005 “Art News”, The Healthy Planet, September 2005. http://www.thehealthyplanet.com/sept05_artfulliving.htm “Three Rivers Biennial,” Sculpture Magazine, New York, January 2005. p. 71 “Art in 2004,” St. Louis Post-Dispatch, January 2, 2005 “Artist Celebrate Elliot Smith With Works Incorporating 20,” St. Louis Post-Dispatch, October 3, 2004. p. F6. St. Louis, MO. “1984-2004 Twentieth Anniversary Celebration At Elliot Smith”, Riverfront Times, September 29-October 5, 2004, p. 178. St. Louis, MO. “Projects ’04,” The New York Times, September 26, 2004 “Jill Downen and the Posture of Place.” Art Works. Washington University in St. Louis. Fall 2004, vol. 9. “Installation Art is contemporary” St. Louis Post-Dispatch, August 1, 2004 “Your Are Here, Great Rivers Biennial,” Playback: St. Louis Pop Culture, August 2004 “2004 Great Rivers Biennial Exhibition,” Riverfront Times, July 28, 2004 “Off the Wall,” West End Word, cover story, July 21, 2004 “Cityscape,” Converstion with Michael Sampson, NPR 90.7 KWMU, July 16, 2004 “Breat Rivers Exhibit gets contemporary in the Flow,” St. Louis Post-Dispatch, July 11, 2004 “Surviving St. Louis,” Art Papers, May/June 2004 “Legends of the Fall - Critic’ Picks,” St. Louis Post-Dispatch, September 2, 2004. p. 2 (Get Out). St. Louis, MO “Downtown Gallery Showcases Five Emerging Artists’ Work,” West End Word, January 21, 2004 “Smith Elliot: The Gallery Looks In The Mirror For Its 20th.”, Riverfront Times, September 15-21, 2004, p. 32. St. Louis, MO. “Everything Show”, St. Louis Post-Dispatch, July 18, 2004. p. F8. St. Louis, MO. “Everything You Ever Wanted To Know About Art...”, Riverfront Times, July 28-August 3, 2004, p. 42. St. Louis, MO. “Women Only”, St. Louis Post-Dispatch, May 9, 2004. p. F4. St. Louis, MO. “Women Only”, Riverfront Times, April 28-May 4, 2004. p. _.St. Louis, MO. “Gallery Hopping in the CWE”, St. Louis Post-Dispatch, April 15, 2004. St. Louis, MO. “The Danforth Scholars Show.” West End Word, January 21,2004. St. Louis, MO “3 Sculptural-installation Artists are Great Rivers Biennial winners.” St. Louis Post-Dispatch, November 30, 2003. St. Louis, MO. “Body/Building.” St. Louis Post-Dispatch, November 9, 2003. St. Louis, MO “Body Art: Jill Downen’s Installations are Intelligent...” West End Word, November 12, 2003. St. Louis, MO “3 Artists at Meramec show far-apart styles”, St. Louis Post-Dispatch, July 1,2002. “Danforth Scholars Reach Across Generations”, Washington University Magazine, Fall 2001. St. Louis, MO

Sarah Szczepanski. Brouk, Tim. Zeller-Michaelson.A. Smith, Brian. __________.

“Anxious Architecture”, Purdue Exponent . August 27, 2001. St. Louis, MO “Anxious Architecture,” Lafayette Journal and Courier, August 19, 2001. St. Louis, MO “MFA Thesis exhibit”, West End Word, May 10, 2001. St. Louis, MO “Super-imposed” St. Louis Post-Dispatch, May 9 2000. St. Louis, MO Missouri Arts Council, Guide to Programs & Annual Report, 2000-2001.

GRANTS & AWARDS 2009 MacDowell Colony National Endowment for the Arts Fellow, residency, Peterborough, NH Leon Levy Foundation, grant for MacDowell Colony fellow, New York, NY John D. and Catherine T. MacArthur Foundation (Travel grant for MacDowell Colony residency) Ragdale Foundation, residency, Lake Forest, IL Vermont Studio Center, residency & artist’s grant, Johnson, VT 2007 Cité Internationale des Arts, residency, Paris, France 2004 2004 Grand Center Visionary Awards (Emerging Artist), St. Louis. MO Great Rivers Biennial Grant, Gateway Foundation and Contemporary Art Museum Saint Louis. St. Louis, MO 2002-06 Emerson Visiting Critics & Curators Series, Contemporary Art Museum St. Louis. (Visits with Ingrid Schaffner, Shamim Momin,Thom Collins, James Elaine, Douglas Fogle, Sylvia Chivaratanond, Hamza Walker) 1999-2001 Danforth Scholar Fellowship, Washington University, St. Louis, MO 1988 Thomas Hart Benton Scholarship, Kansas City Art Institute WRITING BY ARTIST “Carmon Colangelo,” Catalogue Essay, Bruno David Gallery Publications, Fall 2006 “Transpolyblu”. West End Word, review at Elliot Smith Contemporary Art, February 22, 2001. St. Louis, MO VISITING ARTIST LECTURES / SYMPOSIUMS 2009 2008 2007

St. Louis Art Museum, The Sculptural Object in Culture, gallery talk, St. Louis, MO American University, lecture, Washington D.C. University of Texas at Austin, lecture, Austin, TX University of Illinois, lecture,Urbana-Champaign, IL Forest City Gallery, public lecture, London, Ontario, Canada University of Arizona, lecture, Tucson, AZ Drake University, Des Moines, IA

2007 2006 2005 2004 2004 2001 2000 1999 1998 1994 1993 1992

University of Florida, Orlando, FL Krannert Art Museum, public lecture, Urbana-Champaign, IL Virginia Commonwealth University, visiting artist, Richmond, VA Eastern Illinois University, lecture/critiques in conjunction with Uneasy Opposition, Charleston IL George Washington University, visiting artist, Washington D.C. Webster University, lecture on The Posture of Place, St. Louis, MO Contemporary Art Museum St. Louis, panel discussion, St. Louis, MO Memphis College of Art, lecture & critiques, in conjunction with Heuristic Origins, Memphis, TN Purdue University, lecture & critiques in conjunction with Anxious Architecture, Lafayette, IN Washington University Gallery of Art, lecture on current work, St. Louis, MO Critical Mass, North Gallery, The 116 N. 40th series, gallery talk, St. Louis, MO St. Louis Women’s Caucus for Art, Paintings in Space, lecture, University City Public Library, October. St. Louis, MO Purdue University, Structures for the Movement of Imagination, lecture & critiques, Lafayette, IN, Community Gallery, Visions of the Numinous, gallery talk, Kansas City, MO, Kansas City Art Institute, Surving as a Fine Artist, lecture & panel discussion, Kansas City, MO St. Louis Community College at Forest Park, lecture on current work, St. Louis, MO

SYMPOSIA/CONFERENCES 2007 2006

Philosophy of Luce Irigaray 2nd Annual Conference, Stony Brook Manhattan, invited to present an artist’s talk/paper in relation to Luce Irigaray’s philosophy. New York, NY Portrait, Homage, Embodiment Symposium, The Pulitzer Foundation for the Arts, symposium participant with national scholars. St. Louis, MO Minimalism and Beyond Symposium, The Pulitzer Foundation for the Arts, symposium participant with national and European scholars. St. Louis, MO

ACADEMIC APPOINTMENTS 2007-08 2004-07 2002-04 2003 2001-02

Wallace Herndon Smith Distinguished Visiting Assistant Professor, Sculpture & Core, Washington University in St. Louis Visiting Assistant Professor, Sculpture & Core, Washington University in St. Louis Lecturer, Sculpture & Core, Washington University in St. Louis Adjunct Faculty, Sculpture, Webster University, St. Louis Assistant Professor, Sculpture, St. Louis Community College at Meramec

ARTISTS Margaret Adams Ingo Baumgarten Dickson Beall Laura Beard Elaine Blatt Nanette Boileau Martin Brief Lisa K. Blatt Shawn Burkard Bunny Burson Carmon Colangelo Alex Couwenberg Jill Downen Yvette Drury Dubinsky Eleanor Dubinsky Maya Escobar Corey Escoto

Beverly Fishman Damon Freed William Griffin Joan Hall Takashi Horisaki Kim Humphries Kelley Johnson Howard Jones (Estate) Chris Kahler Bill Kohn (Estate) Katharine Kuharic Leslie Laskey Sandra Marchewa Peter Marcus Kathryn Neale Moses Nornberg

Patricia Olynyk Robert Pettus Daniel Raedeke Chris Rubin de la Borbolla Cherie Sampson Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Buzz Spector Lindsey Stouffer The Fancy Christ Cindy Tower Ian Weaver Brett Williams Ken Worley

brunodavidgallery.com