okanagan print triennial 2018
Sean Caulfield Active Workings
vernon public art gallery vernon, british columbia canada www.vernonpublicartgallery.com
Sean Caulfield Active Workings vernon public art gallery
sean caulfield Active Workings
Vernon Public Art Gallery March 8 - May 16, 2018
Vernon Public Art Gallery 3228 - 31st Avenue, Vernon BC, V1T 2H3 www.vernonpublicartgallery.com 250.545.3173
Catalogue of an exhibition held at the Vernon Public Art Gallery 3228 - 31st Avenue, Vernon, British Columbia, V1T 2H3, Canada March 8 - May 16, 2018 Production: Vernon Public Art Gallery Editor: Lubos Culen Layout and graphic design: Vernon Public Art Gallery Copy editing: Kelsie Balehowsky Cover image: Resuming Production, 2017, ed.3/8, linocut and woodcut, 24 x 38.5 in Photography: Sean Caulfield and Yuri Akuney: Digital Perfections Printing: Get Colour Copies, Vernon, British Columbia, Canada ISBN 978-1-927407-43-1 Copyright Š 2018, Vernon Public Art Gallery All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, except as may be expressly permitted by the 1976 Copyright Act or in writing from the Vernon Public Art Gallery. Requests for permission to use these images should be addressed in writing to the Vernon Public Art Gallery, 3228 31st Avenue, Vernon BC, V1T 2H3, Canada. Telephone: 250.545.3173 Facsimile: 250.545.9096 Website: www.vernonpublicartgallery.com The Vernon Public Art Gallery is a registered not-for-profit society. We gratefully acknowledge the financial support of the Greater Vernon Advisory Committee/RDNO, the Province of BC’s Gaming Policy and Enforcement Branch, British Columbia Arts Council, the Government of Canada, corporate donors, sponsors, general donations and memberships. Charitable Organization # 108113358RR.
This exhibition is sponsored in part by:
table of CONTENTS
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Executive Director’s Foreword · Dauna Kennedy
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Introduction · Lubos Culen
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Beyond Hope and Despair: Staying with the Present · Stephanie Bailey
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Artist Statement · Sean Caulfield
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Images of Works in the Exhibition
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Biography · Sean Caulfield
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Executive Director’s Foreword
Active Workings is the latest solo exhibition by Centennial Professor Sean Caulfield from the Department of Art and Design at the University of Alberta. The jurors were pleased to award Caulfield this solo exhibition opportunity as the winner of 2015’s international Okanagan Print Triennial organized by the Vernon Public Art Gallery. Known for his large scale printmaking, we are pleased to present a larger body of Caulfield’s work which includes installation pieces along with his various print selections. I would like to thank Stephanie Bailey for her contributions to this catalogue as our guest writer. She is based out of Edmonton, Alberta, and co-edited SNAPline, a newsletter of The Society of Northern Alberta Print-artists. She regularly contributes critical reviews and articles to online art publication Momus and The Site magazine. I’d like to thank the staff of the VPAG for their work associated with this exhibition. I’d also like to acknowledge our continued financial support from the BC Arts Council, the Regional District of the North Okanagan, and the Province of BC which enables us to produce quality exhibitions and publications such as this for our audience. Local support from our board of directors, members, donors and community supporters is also instrumental in our overall success and very much appreciated. Dauna Kennedy Executive Director Vernon Public Art Gallery
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introduction - Sean Caulfield: active workings
The Okanagan Print Triennial (OPT) exhibition of prints is a collaborative project between the Vernon Public Art Gallery, the Kelowna Art Gallery and the University of British Columbia Okanagan. The fourth incarnation of the Okanagan Print Triennial 2018 exhibition is presented this year at the Kelowna Art Gallery, while the Vernon Public Art Gallery hosts an exhibition of Sean Caulfield, the winner of the solo exhibition award from the OPT in 2015. Sean Caulfield’s exhibition at the Vernon Public Art Gallery is a continuation of his research and subsequent artistic creation about the dichotomies of the coexistence of the natural environment and developing industries. His landscape images feature ‘things’ both recognizable and invented, at once natural looking or manufactured by humans. His depictions of the environments are very dynamic and foreboding, objects often leak black liquid, or plumes of smoke twist in every direction, fires erupt and the skies are always heavy. All of these elemental events are a part of a non-linear narrative taking place on some kind of water body. Inevitably, Caulfield’s works are about the consequences of changing our natural environments which coexist with the management of the natural resources. In the video interview during his exhibition at the Art Gallery of Alberta in August 2016, Caulfield responded to questions about what it means to be an artist living and teaching in Alberta right now. Caulfield points out that his brother and father were in the oil business which generated a lot of wealth and prosperity in the province on the one hand, but he also acknowledges the industrial effects and changes to the natural environment. He proposes that in order for art to be meaningful, it has to reflect the complexity and the wide scope of issues pertinent to the world we are living in.1 He further explains that it is not only an inward gaze of an artist which might be the inspiration to produce works of art, but perhaps the most important fact is the context within which the artwork is produced. Donna McKinnon, an Edmonton-based artist and writer, cites Caulfield in her article which appeared in curious art in conjunction with his exhibition The Flood at the Art Gallery of Alberta in 2017. He states: “Especially around issues of the environment, things can get so polarized. Meaningful discussion doesn’t happen. So I guess that’s one thing that I hope I can contribute to as an artist – a full conversation.”2 Despite the fact that Caulfield’s work is inevitably about the consequences of developing industry and its footprint on the environment and consequently on humans, his work is devoid of any portrayal of human beings or animals. Just like in Caulfield’s previous bodies of prints and installations, the human presence is only suggested in non-organic shapes like pieces of square cut lumber, simple human shelters, boats and boxes. The images are dense with implications of human activity upon the environment in a way that is not harmonious; on the contrary, Caulfield’s images take the viewer right into the middle of some action of an event and the consequences that have transpired. What is usually left behind is leaking or discharging dark fluids, burning and rising smoke choking the environment. The images convey the feeling of a looming doom of quite an apocalyptic dimension.
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While Caulfield’s images are pictorial in nature, they are not forthcoming with an easy to follow narrative. The pictorial elements, forms, are whimsical and often absurd in their appearances, perhaps a counterpoint to the weighty and often very dynamic events taking place. Caulfield’s images remind us of the constant flux in the environment and sometimes with almost cataclysmic outcomes. Also the titles of his works are hinting at weighty factors of the coexistence of industry and nature. The exhibition’s title is Active Workings, a term used in the mining industry which identifies a site with active work in the underground environment. The title Fully Loaded carries an association of the excessive extraction of resources and transporting it to key points where it is either processed or prepared for shipment elsewhere. An equally apocalyptic feeling is delivered by the work titled Resuming Production portraying dark discharges and spewing smoke from what looks like a hybrid form derived from a trunk of a tree and a smoke stack. This form is surrounded by floating debris of remnants of natural and human-made origins, a symbolic statement of a disorder which will be yet elevated by ‘resuming production’. But perhaps the most poignant central piece in the exhibition is the installation titled Deadweight. While it features a sculptural form of a boat carrying a cargo – a dead weight – symbolically it also signifies a heavy oppressive burden as a result of an action in the past. Despite the fact that Caulfield’s work portrays all the ominous signs of changes in the natural environment as a consequence of growing industries, his work challenges the viewer to incite the conversation about sound environmental stewardship and responsible growth of communities and our society in general. While his work is presented as a memento mori of the current era of significant changes locally and globally, his works also encourages a discourse about regeneration. The belief in positive outcomes is perhaps best reflected in his statement about his work where he states: “Ultimately, my work focuses on the idea that crisis and change - whether it be environmental, political, or personal - can be a significant and positive catalyst for rebirth, growth and courage.”3 Lubos Culen Curator Vernon Public Art Gallery
Endnotes: https://www.youtube.com/watch?v=N8B7RGy7omQ, accessed February 22, 2018 http://www.curiousarts.ca/sean-caulfields-the-flood-an-epic-adventure, accessed February 26, 2018 3 Artist Statement for the exhibition Active Workings 1 2
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Beyond Hope and Despair: Staying with the Present by Stephanie Bailey
“It matters what we use to think other matters with; it matters what stories we tell to tell other stories with; it matters what knots knot knots, what thoughts think thoughts, what descriptions describe descriptions, what ties tie ties. It matters what stories make worlds, what worlds make stories.” Donna Haraway, Staying With the Trouble “As of today, it is two minutes to midnight.” On January 25, 2018, the Bulletin of Atomic Scientists announced that the Doomsday Clock had ticked forward 30 seconds. Developed to illustrate the shifting likelihood of a man-made global catastrophe, the symbolic warning system was first developed by the scientists who participated in the Manhattan Project in 1947, when full-scale nuclear conflict became a real possibility and the challenges facing humanity became truly global. This year, as with recent years, the focus of the threat extended well beyond nuclear annihilation with the scientists citing climate change and cyber warfare in their rationale for moving us the closest we’ve ever been to our own metaphorical midnight. As a global arbiter of dread or hope, the iconic timepiece attempts to communicate both the urgency and gravity of our collective situation as a species. And in a world swaying precariously on the brink of ecological collapse alongside actual threats of nuclear disaster, the Doomsday Clock has never felt more prescient. The timepiece, however, does not only mark the prospect of our own demise. Sitting at the intersection of art and science, it also points to the need for story-telling devices that are capable of capturing the massive threats that exceed our limited human faculties - threats Rob Nixon (2011) describes in terms of their “slow violence.”1 Slow violence names those forms of ecological violence that remain invisible to us spatially - due to their global scope and often miniscule scale - as well as temporally - due to their historical and geological scope and glacially-paced rates of progress. The unfathomable nature of climate change, for Nixon, necessitates new narrative strategies that re-conceptualize violence not as an instantaneous, explosive event, but as an insidious process involving a series of interconnected systems, physical forces, and species that interact in infinitely complex ways over time and space. In this proposed era of slow violence, one of the questions that might provoke contemporary art-making practices committed to ecological issues is how might artists create stories that are capable of communicating the enormity and urgency of the situation? Stories that rouse public sentiment without propping up false hope or instilling paralyzing despair? Sean Caulfield’s Deadweight - a large-scale sculptural installation, depicting a dark and moody post-apocalyptic seascape - takes up this question in both its content and form through a rethinking of traditional printmaking. Borrowing its title from a shipping term for the amount of weight a vessel can safely carry, the installation’s compositional epicentre takes the form of a boat-like structure that slices through a darkly stained wooden base carved with waves and dark, oozing clouds of an oil-like substance. However, the boat’s cargo - a charred bundle of branches - does not provide the piece
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with its visual weight. The “deadweight” instead seems to reside in the weight of the watercraft itself - like a toppled gravestone, seemingly too heavy to remain afloat. Abutting this seascape is a woodcut backdrop, which depicts a gnarled tree burning in relief, mirroring the free-standing wooden structure that stands, lighthouse-like, in the foreground. The gestural movement of waves on the floor panels give the suggestion of forward motion, as if the boat is travelling away from the burning environmental wreckage towards some imagined site of safety. Despite this apparent move towards safety, Caulfield’s constructed world does not chart a pilgrimage away from environmental degradation towards a hopeful future. Instead, he creates a sacred place of mourning, a place of worship or solemn reflection. Grey slippers sit along the edge of the wooden base, arranged toeforward towards the piece, laid out for viewers to wear as they tread upon the polluted waters through which the boat charts its path. From the wooden construction of the lighthouse-like structure to the invitation to don the slippers, we see the trappings of traditional Japanese temples, in which Caulfield has found inspiration for previous works. Here, however, he subverts the practice of taking off footwear as a sign of respect. This act of walking on the wooden panels of water feels simultaneously sacrilegious - walking on the artist’s work - and reverent - engaging with the work in an embodied and reflective manner, while literally walking on water. By playing with this tension, Caulfield proffers a space in which to reflect on our internal uneasiness, a dis-ease only exacerbated as we navigate our present moment between the ruinous scene of environmental disaster that the boat leaves in its wake and the lighthouse’s guiding light toward an unknown future. This exhibition builds on Caulfield’s momentum of exploring the sculptural possibilities of printmaking experimenting with both scale and temporality - in recent exhibitions, such as The Flood (2016) and FireDamp (2016). The latter, shown at dc3 Art Projects in Edmonton, Alberta, featured a work titled “Cloud House,” an ongoing performative sculpture comprising a set of wood panels arranged into a house-like structure. The work slowly took shape over time as Caulfield painstakingly carved his mysterious forms into the black-lacquered maple wood within the gallery. In Deadweight, for the first time ever, he invites viewers to interact physically with his act of world-making. While “Cloud House” makes explicit the work of the artist and invites the viewer to contemplate the nature of fabrication, Deadweight asks the viewer to meditate on ways in which they are implicated with the scene. Walking in and around Caulfield’s seascape, the one thing we can know for sure is that our footsteps will change this piece slowly, over time - making their mark. In preparing this work, Caulfield drew on the history of nuclear waste dumping by the Soviets from 1946 to 1993; during this period the USSR (among other nations) disposed of spent nuclear submarines and reactors by scattering them across the cold floor of the Arctic Ocean. After decades of sitting on the ocean floor, some of the most dangerous pieces were thought to be too unstable to remove, leaving the potential for radioactive material to leak, which could disrupt commercial fisheries and destroy aquatic ecosystems. Now, as energy companies are seeking to drill for oil in those same waters, the Russian government - with the support of the international community - has started to clean up the nuclear waste. And thus functions the global economy in the age of slow violence: imminent ecological disaster is never fully reckoned with, but rather infinitely deferred until an unimaginable day in a far future event.
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This background shines a light on the hypocrisies of our current doomsday moment, where only the prospect and profit of underwater drilling (and its attendant risks of further ecological disaster as in the case of the Deepwater Horizon) can motivate the cleanup of nuclear waste. Time and time again, we are lead to confuse economic promise with ecological redemption. Through world-making and story-telling, Caulfield’s seascape invites the viewer to identify and sit with these types of contradictions and interrelationships. Each of his meticulously carved forms or minimalist structures throb with multivalence and paradox, as one thing is both itself and its opposite. The boat presents as both life raft and gravestone; the sky both raining (life-giving) and burning (destroying); the viewer both spectator and participant; the tree both growing and dying. Every element seems to gesture towards further ambiguity, avoiding simple dichotomies and binary distinctions. Similarly, an evocative symmetry develops out of the interplay between the sky - with its tree and darkened clouds - and the water - with its boat, the cargo of branches and the pools of leaking oil. These interrelationships do not only exist in the finished forms that Caulfield has carved and constructed, but also in the very material itself. The tree and the bundle of branches represent wood both metaphorically in figure and materially in the raw building material used to create the printmaking woodcuts. In this way, Caulfield nods at the meandering story of wood as an object in itself, attuning the viewer’s senses to the messy interconnectedness and co-constitution of materials and meanings that remain inextricable from any act of creation, even as it often goes unremarked upon. While the hope of a more promising future may tempt us to ignore the messy materiality of the present and the past, Deadweight confronts us with things as they exist at our current crossroads: hopelessly contradictory and essentially interrelated. The installation asks us to “stay with the trouble” - in the words of Donna Haraway - and to resist the impulse to resolve the irreconcilable. Such a relationship demands that we truly confront the present, and what it means to be truly present, with all of the entangled places, times, matters and meanings of the world we inhabit. By making it impossible to parse death from life, sky from earth, and hope from despair, Caulfield’s world invites us to think about the stories we tell ourselves about ourselves and about our place in this interconnected world. It creates a space for reflection that drops the familiar storylines of hope or despair because “[n]either despair nor hope is tuned to the senses, to mindful matter, to material semiotics, to mortal earthlings in thick copresence.”2 Instead, Caulfield opts to construct a kind of anti-sanctuary that positions us in our uncertain present moment, a place from which we can better sense the divine wretchedness of the world we are co-creating. And perhaps from this place of quiet reflection, we might tune our ears to the ticking of the clock. Endnotes: 1 Nixon, Rob. Slow Violence and the Environmentalism of the Poor. Cambridge, Mass.: Harvard University Press, 2011. 2 Haraway, Donna. Staying With the Trouble. Durham: Duke University Press, 2016, pp 4.
Stephanie Bailey is an editor and writer based in Edmonton, Alberta. She holds an MA in English literature, and her most recent writing has appeared in Momus and The Site. From 2013-2017, she co-edited a local arts publication, SNAPline.
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Artist Statement
Through installation, sculpture and printmaking my work considers the ways our environment is transformed by forces of urban and industrial growth. The visual images and environments I create blur boundaries between the biological and the technological, the organic and the mechanical, and challenge viewers to consider the implications of this merging. Central to my work is the role that society, community and the individual has in the moment of change. Focusing on broader themes of mutation, metamorphosis, and regeneration involving both the landscape and the individuals that inhabit it, I aim to raise challenging questions for viewers about the role they play. Ultimately, my work focuses on the idea that crisis and change - whether it be environmental, political, or personal - can be a significant and positive catalyst for rebirth, growth and courage. Sean Caulfield
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images of works in the exhibition
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Sean Caulfield: Active Workings, 2018, installation at the Vernon Public Art Gallery. Photo: Yuri Akuney: Digital Perfections
Sean Caulfield: Active Workings, 2018, installation views at the Vernon Public Art Gallery. Photo: Yuri Akuney: Digital Perfections
Deadweight, 2017, carved maple plywood and ink, dimensions variable. Photo: Yuri Akuney: Digital Perfections
Deadweight (detail of the wall element), 2017, carved maple plywood and ink, dimensions variable. Photo: Yuri Akuney: Digital Perfections
Signal Fire (central panel from the Flood), 2016, woodcut, 84 x 168 inches. Photo: Yuri Akuney: Digital Perfections
Resuming Production, 2017, ed. 3/8, linocut and woodcut print, 24 x 38.5 inches
Fully Loaded, 2017, ed. 2/8, linocut and woodcut print, 24 x 38.5 inches
Cargo Ship, 2016, ed. 3/18, linocut print, 15 x 18 inches
Heaven of the Sun, 2012, ed. A/P, mezzotint print, 11.75 x 10 inches
Snake House, 2014, ed. A/P, mezzotint print, 6 x 8 inches
Leaking Shelter, 2013, ed. A/P, mezzotint print, 8 x 6 inches
Cypriana, 2013, ed. A/P, mezzotint print, 11.5 x 10 inches
Ascent, 2010, ed. 2/18, mezzotint print, 9 x 6 inches
Fireship, 2013, ed. 1/18, mezzotint print, 8 x 7 inches
sean caulfield CURRICULUM VITAE stc@ualberta.ca www.seancaulfield.ca
Education 1995
Master of Fine Art, University of Alberta, Edmonton, Alberta, Canada.
Work Experience
2011 - present Centennial Professor, University of Alberta, Edmonton, Alberta, Canada. 2001 - 2010 Canada Research Chair Tier II (Professor), Printmaking, University of Alberta, Edmonton, Alberta, Canada. 1999 - 2000 Assistant Professor, Printmaking, Illinois State University, Normal, Illinois.
Selected Awards and Grants
2016 2015 2014 2011 2009 2009 2007 2007 2004 2001 2001 1995
Alberta Foundation for the Arts Project Grant Special Award of the Rector of the Academy of Fine Arts in Warsaw, International Print Triennial Krakow 2015 Alberta Foundation for the Arts Project Grant SSHRC Public Outreach Grant for The Body in Question(s) (principle investigator) First Prize, Printmaking, Novosibirsk Biennial of Contemporary Graphic Arts, Novosibirsk, Russia Triennale Prize, 2nd Bangkok Triennale International Print and Drawing Exhibition, Thailand. SSHRC Aid to Research Workshops and Conferences, Imagining Science: An Artistic Exploration of Science, Society and Social Change. Koerner Visiting Artist, Queen’s University, Kingston Ontario, Canada. SSHRC Research Grant, Researching a Technological Interface Between Traditional Printmaking Techniques and Digital Imaging Systems (principle investigator). Visual Arts Fellowship, Illinois Arts Council, Illinois, USA Prix Banque Nationale du Canada, Trois Rivieres, Quebec, Canada. Grand Prize in the Third 21st Century Grand Prix Exhibition, Tokyo, Japan.
Selected Solo Exhibitions
2017 2017 2016 2016 2015
Firedamp: Revisiting the Flood, Edinburgh Printmakers, Edinburgh, Scotland. The Flood: Landscapes in the Approaching Present, Art Gallery of Grande Prairie. Firedamp, dc3 Art Projects, Edmonton, Alberta, Canada. The Flood, Art Gallery of Alberta, Manning Hall, Edmonton, Alberta, Canada. Landscapes in the Approaching Present, Glassell Gallery, Shaw Centre for the Arts, Louisiana State University, Baton Rouge Louisiana, USA.
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Selected Solo Exhibitions continued
2014 2013 2013 2013 2012 2011 2011 2009 2007 2006 2005 2005 2004 2001 2000
Floods and Shelters, Open Studio, Toronto, Ontario, Canada. Pure Print: Classical Printmaking in Contemporary Art, Faculdade Belas Artes, Universidade do Porto, Portugal. (Part of larger international group exhibition) Surface Tension, Gallery 501, Sherwood Park, Alberta, Canada. Darkfire and The Waiting Room, The Richard E. Peeler Art Center, DePauw University, Greencastle, Indiana, USA and Manifest Gallery, Cincinnati, USA (2012). Imagining Science: Prints and Mixed Media Drawings by Sean Caulfield, Stanlee and Gerald Rubin Center for the Visual Arts, University of Texas, El Paso Separation Point, The New Gallery, Calgary, Alberta, Canada. New Prints and Drawings, Yoseido Gallery, Tokyo, Japan. Recent Prints, Yanagisawa Gallery, Saitama, Japan. Darkfire, Malaspina Print Gallery, Vancouver, BC, Canada. Recent Prints, Koichi Gallery, Yokohama, Japan. Recent Prints, Yanagisawa Gallery, Saitama, Japan/ traveling to Gallery YU, Gifu, Japan. Incursion, Atelier Circulaire, Montreal, Quebec, Canada. Inferno, Open Studio, Toronto, Ontario, Canada. Double Formed, Session House Gallery, Tokyo, Japan. Recent Prints and Drawings, ARC Gallery, Chicago, Illinois, USA.
Selected Exhibitions 2017 2017 2017 2014 2013 2012 2012 2011 2011 2010 2008 2008 2007
Immune Nations, Galleri KiT, Trondheim Norway travelling to UNAIDS, Genava Switzerland. Flux: Responding to Head and Neck Cancer, dc3 Art Projects, Edmonton, Alberta, Canada. Interwoven: New Canadian Perspectives into Textile and Printmaking, Gallery KOBRO, Łodzi, Poland. Unbound: Contemporary Woodblock Prints, Shanghai Mingyan Art Museum, China. The New World, The Centre for Modern and Contemporary Art, Debrecen, Hungary. IMPRINT: Art from the AGA collection, Art Gallery of Alberta, Edmonton, Alberta, Canada. The Body in Question(s), Galerie de l’UQAM, L’Université du Québec à Montréal, Québec, Canada. Perceptions of Promise: Biotechnology, Society and Art, Glenbow, Museum, Calgary, Alberta, Canada; Chelsea Art Museum, New York (Nov 2011), McMaster Museum of Art, Hamilton (Feb 2012). Energy, Orange County Centre for Contemporary Art, Santa Ana, California, USA. Prints, Unbounded - International Print Network Krakow - Oldenburg - Vienna, Horst Janssen Museum, Oldenburg, Germany. Imagining Science, Art Gallery of Alberta, Edmonton, Alberta, Canada. Return to the Surface, Davidson Gallery, Seattle, WA, USA. 5th Biennale internationale d’estampe contemporaine de Trois-Rivieres, Trois-Rivieres, Quebec, Canada.
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Selected Exhibitions continued 2007 2006 2005 2005 2005 2003 2003 2003 2003 2002 2002 2002 2001 2000
81st Annual International Competition: Printmaking, The Print Center, Philadelphia, PA, USA. Layered Inventions, Wright State University, Dayton, Ohio, USA. University of Alberta Exchange Exhibition, Westfalische Gallerie, Kloster Bentlage, Germany/ Silpakorn University, Bangkok, Thailand/Tama University, Tokyo, Japan. Aqueous, Davidson Gallery, Seattle, WA, USA. (Two-person) Los Angeles Printmaking Society 18th National Exhibition, The Armory Center for the Arts, Pasadena, CA/Saddleback College, Mission Viejo, CA, USA. 11th International Biennial Print and Drawing, Taiwan Museum of Art, Taichung, Taiwan. International Print Biennial in Beijing, Beijing Yan Huang art Gallery, Beijing, China. Los Angeles Printmaking Society 17th National Exhibition, Armory Center for the Arts, Pasadena, California, USA. Biennale Internationale D’estampe Contemporaine de Trois-Rivieres, Trois Rivierers (2003), Quebec, Canada, Global Matrix International Print Exhibition, Purdue University Gallery, Purdue University, Indiana/ Wright state University art Gallery, Dayton, Ohio, USA. The Alberta Biennial of Contemporary Art 2002, The Edmonton art Gallery, Edmonton, Alberta/ The Nickle Arts Museum, Calgary, Alberta, Canada. The 3rd International Mini Print Triennial 2002, Tama art University Museum, Tokyo, Japan. New Prints 2001, International Print Center New York, New York, NY, USA. International Print Triennial Krakow 2000; Bridge to the Future, Krakow, Poland.
Selected Publications
Isabelle Van Grimde, Sean Caulfield and Cristian Berco, eds. The Body in Question(s). Edmonton: Art and Design, University of Alberta, 2013. Sean Caulfield and Timothy Caulfield, eds. Perceptions of Promise: Biotechnology, Society and Art. Edmonton: Art and Design, University of Alberta, 2011. Distributed by University of Washington Press, Seattle. Sean Caulfield and Timothy Caulfield, ed. Imagining Science: Art, Science and Social Change. Edmonton: University of Alberta Press, 2008.
Selected Invitations as Visiting Artist 2012 2011 2010 2009 2008 2008
Arizona State University, Tempe, Arizona, USA. Visiting Artist, Indiana University, Bloomington, Indiana, USA. Visiting Artist, Carleton College, Northfield, Minnesota, USA. Visiting Researcher, Printmaking, Musashino Art University, Tokyo, Japan. Visiting Artist, University of Tennessee Knoxville, USA. Visiting Artist, University of Nebraska, Nebraska, USA.
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Selected Invitations as Visiting Artist continued 2007 2007 2007
Guest Artist in Print, University of Texas, Austin, Texas, USA. University of North Carolina at Chapel Hill, Chapel Hill, North Carolina, USA. Colloquium on Craft and Contemporary Practice, Banff Centre for the Arts, Banff, Alberta, Canada.
Selected Works Acquired into Public Collections Houghton Library, Harvard University, USA. Thomas Fischer Rare Book Library, University of Toronto Fitzwilliam Museum, Cambridge, England Blanton Museum of Art, University of Texas, Austin, Texas, USA. Purdue University Galleries, West Lafayette, Indiana, USA. Taiwan Museum of Art, Taichung, Taiwan. Guangdong Museum of Art Plains Art Museum, Fargo, North Dakota, USA. Carleton College, Minnesota, USA. LiuHaisu Art Museum of Shanghai, Shanghai, China.
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okanagan print triennial 2018
Sean Caulfield Active Workings
vernon public art gallery vernon, british columbia canada www.vernonpublicartgallery.com
Sean Caulfield Active Workings vernon public art gallery