Ueli Hofer Ernst Oppliger Beatrice Straubhaar Bruno Weber

Project Description Cutting Fine, Cutting Deep: Project Description

EXHIBITION DATES: University Art Gallery Sewanee: The University of the South Sewanee, TN, USA February 29th – March 30th, 2008 additional US tour dates pending for March-December 2008

Paper Museum Georgia Institute of Technology Atlanta, GA, USA January 8th – February 20th, 2009

CURATOR/EXHIBITION ORGANIZER: Julie Püttgen, Assistant Professor of Art Department of Art and Art History Sewanee: The University of the South

ADDITIONAL ORGANIZATION: Ms. Giosia Berri, Intern Swiss Consulate General Atlanta, GA

PARTICIPATING ARTISTS: Working in Switzerland: Elisabeth Bottesi-Fischer Ueli Hofer Ernst Oppliger Beatrice Straubhaar Bruno Weber

Working in North America: Humberto Duque Michelle Forsyth Jessica Owings Julie Püttgen Alison Slein Lane Twitchell EXHIBITION SYNOPSIS: The University Art Gallery at Sewanee: The University of the South is proud to present Cutting Fine, Cutting Deep, which will introduce viewers to parallel, complementary worlds of environmentally focused cut-paper art. The exhibition, organized and curated by Sewanee art professor Julie Püttgen, showcases artists from the Swiss Scherenschnitt (literally: “scissor cutting”) tradition together with contemporary artists working in North America, and considers their responses to human interaction with the natural and man-made environment. Drawing from traditional papercutting techniques, Cutting Fine, Cutting Deep artists create silhouettes, dioramas, paper lacework, pop-up drawings, and complex symmetrical designs. The resulting narratives present striking contrasts and similarities: from Ernst Oppliger’s profound environmental love affair with Swiss pastoral life, to Humberto Duque’s absurdist figures in dismembered landscapes; from Lane Twitchell’s crystalline homages to American ephemera, to Ueli Hofer’s mythical Edens. All of these are linked together by explorations of human interrelationships with the natural and man- made world, as well as by the radically simple starting point of paper and blade. The act of cutting paper requires clarity of mind and physical patience, as well as a certain confidence in reductive and often hidden processes. As a result, each piece in the exhibition bears a palpable presence born both of its maker’s practiced hand, and of the conviction required to create it. Bringing together this small group of Swiss and North American artists for the first time, Cutting Fine, Cutting Deep presents a unique opportunity to consider different papercutting traditions in the context of heightened environmental awareness.

As part of Cutting Fine, Cutting Deep, the University Art Gallery at Sewanee: The University of the South will present a series of workshops and presentations by exhibiting artists from Switzerland and North America. An exhibition catalogue published by The University of the South will also be available.

Cutting Fine, Cutting Deep will tour onwards to the Paper Museum in Atlanta, GA as well as other educational and non-profit venues in the US and Switzerland in 2008-2009.

PRINCIPAL SPONSORS: Pro Helvetia Kuehne + Nagel Tennessee Fine Arts Commission New York Foundation for the Arts

Artists Working in Switzerland Elisabeth Bottesi-Fischer About myself

I was born on 25 June 1960 in Gstaad where I spent my childhood together with 4 brothers. After my apprenticeship in Aarau as furrier I moved to Zurich, where I met my husband Moreno. In 1987 we moved to Oetwil am See, got married in 1988 and in 1989 our first son, Ramon, was born. Our second son, Mauro, was born in 1992.

Since 1997 I own of a nice studio where I can paint, cut and also exhibit my work. I also organise painting evenings and courses on regular basis.

Paper cuttings

The handicraft in general was passed on to me by my parents. My father, a carpenter, decorated his self made furniture with carvings and my mother painted old furniture in a traditional style called "Bauernmalerei". On the wall above my bed hung a heart-formed paper cutting with Anemones and wildlife, a cutting by Christian Schwizgebel. Already as a small child I admired this kind of art. Painting and handicraft were therefore my favourite subjects in school.

When, at the age of 13, I had to lie in bed at home for one month due to a ski accident, I searched for the smallest scissors we had at home - it was a small, bent nail scissors. My mother organised black, gummed paper and that's how some paper cuttings with horses, cows and wildlife were created. A neighbour thought I was gifted and organised a meeting with Christian Schwizgebel.

Finally, I met my idol. I sat with him in his living room and he showed me how he cut, without drawing any lines or preparing a sketch. This seemed nearly impossible to me. From him I learnt some important things that helped me greatly. A big coloured, three-dimensional paper cutting was leaning against the wall in his living-room. Finally, I saw what kind of scissors was used for paper cutting and my teacher gave me 10 pieces of special paper for paper cutting. Several months later, he was filmed by TV with me as his apprentice - I was very proud! As we didn't have a television at home, I only saw the film many years later.

For a long time I didn't know what profession to choose. I would have liked to become a potter but the careers advisor thought it was a worthless job. As my mother bred rabbits for a long time, I finally decided to become a furrier. I passed my apprenticeship in Aarau where I lived on a farm in the "Fricktal" with my aunt and my uncle. During this period, I only created few paper cuttings.

In 1981, I joined the association "Verein Künstler und Kunstfreunde" (VKK). From then on, I exhibited my paper cuttings regularly, mostly at community expositions. Due to professional reasons I moved toZurich and in 1992 I began with a new technique. Up to then I mainly created black, folded paper cuttings. I couldn't get away from the traditional themes but wanted to do something different from the others. Furthermore, I couldn't stand the amount of black anymore. Then I remembered the coloured paper cutting collage at Christian Schwitzgelbel's home and began to create coloured paper cutting collages.

My technique (coloured paper cutting collages)

Usually, I prepare a rough sketch first and create then a folded cutting. Then I choose the colours. The coloured paper I use is mainly out of news papers and catalogues. I selectively glue the finished black paper cutting to the back ground material; on or under it I glue coloured flowers, leaves, grasses and the like, which gives the three-dimensional effect. For the cutting I only use a special scissors for paper cuttings (brand: Kürsteiner, Zollikerberg). AUSSTELLUNGEN VON ELISABETH BOTTESI

Seit 1981 regelmässige Einzel- oder Gruppenausstellungen in Bern, Basel, Zug und Zürich sowie Ausstellungen im eigenen Atelier.

Jahr Name der Ausstellung/Ort

1992/94/96 Zürcherische Scherenschnittausstellung

1993 Galerie Leepünt, Dübendorf ZH

1994 Bernische Scherenschnittausstellung, Unterseen

1995 Heimatwerk Rudolf Brun Brücke, Zürich

1996 Galerie Pflug, Rafz ZH

1997 Galerie Milchhütte, Zumikon ZH

1996/97 Schweizerische Scherenschnittausstellung, Liestal BL

1997 Galerie Tenne, Zürich

1997 Appenzeller Volkskundemuseum, Stein AR

1997/98 Kirchgemeindehaus, Gstaad BE

1998 Galerie Sprungbrett, Niederglatt ZH

1998 + 2000 Galerie Bireboum, Zimmerwald BE

1999 Heeb’s Wohngalerie, Henggart ZH

1999 Bernische Scherenschnittausstellung, Bern

2000 Restaurant Hüsy, Blankenburg BE

2000 + 2002 Galerie Allegri, Flendruz VD

2000 Werkgalerie, Maur ZH

2000/01 Ortsmuseum Wiedikon, Zürich

2001 Boutique Potpourri, Gstaad BE

2001 FORUM, Glattbrugg ZH

2002 Mountain Top Art Gallerry, Wengen BE

2002 Schweiz. Scherenschnittausstellung, Bulle FR

2002 Zelgli-Trotte, Hettlingen ZH

2002 Galerie Bireboum, Zimmerwald BE

2003 Hand Art-Gallerie, Rapperswil SG

2003 STREBA, Wohlen AG

2003 Zelgli-Trotte, Hettlingen ZH

2003 Bernische Scherenschnittausstellung im Kornhaus, Burgdorf BE

2004 + 2007 Stall-Lädeli, Dübendorf ZH

2004 Galerie du Jorat, Mézières VD

2004 Kunststube, Kollbrunn ZH

2004 Haus-Wäckerling, Uetikon ZH (Aquarelle)

2005 Chäller-Galerie, Gstaad (permanente Ausstellung)

2005 Swiss Beauty & Art Galerie, Zürich (permanente Ausstellung)

2006 University-Museum, Hong Kong

2006 Gastro-Galerie, Interlaken-Ost

2006 Grand-Casino, Baden (Aquarelle)

2006 + 2007 Modernes-Kunsthandwerk im Ritterhaus, Bubikon

2006 Chinesisch-schweizerische Scherenschnittausstellung, Macao

2007 Schweizerische Scherenschnittausstellung im Museum Château Prangins, Prangins

2007 „Selenpflästerli“ Papierschnitte aus der Schweiz im Klingenmuseum, Solingen (Deutschland)

2007 Alex’s Art Galerie, Klosters

2007 Galerie „Quattro“, Glattfelden

2007/08 „Schnittzauber“ Papierschnittkunst aus China und Europa in der „Burg Zug“, Zug

Ueli Hofer Ueli Hofer

Ueli Hofer wurde 1952 in Lütiwil geboren, im Emmental, wo ihn die natur zu schöpferischer Tätigkeit anregte. Nach der Prüfung zum Bäcker- Konditorenmeister schlug Ueli Hofer schon bald einen künstlerischen Weg ein. Erste Kleinode geschnittenen Papiers entstanden und in kurzer Zeit zeugten erfolgreiche Ausstellungen im In- und Ausland vom grossen Können des Autodidakten.

Öffnet Ueli Hofer heute seine Ateliertüren, weht daraus ein Wind von langem, entwicklungsreichem künstlerischem Schaffen. Spritziges, Unkonventionelles findet der Besucher in Form von Collagen. In ihnen lässt Hofer alles zu, vom Rost des Lebens bis zum letzten Wort.

In diese Richtung neu inspiriert hat ihn ein halbjähriger Aufenthalt in New York, den er im Jahr 03 als Kulturpreis des Kantons Bern empfangen konnte. Das Pulsierende dieser Stadt und das Finden von Merkwürdigkeiten in materieller und geistiger Richtung liessen ihn Idee um Idee umsetzen, so entstand zum Beispiel täglich ein spontanes Bild. Dem Spektrum von Kuriosität bis zu tiefgründiger menschlicher Erfahrung setzt Ueli Hofer nie Grenze, alles darf sich zeigen und kombinieren. In dieser Weise erschafft Hofer auch seine Skulpturen aus Alteisen. Da werden grobe Haken mit feingeschwungenem Gitterwerk oder Figuren zusammen zum Objekten geschweisst, die noch Ewigkeiten überdauern werden.

An Ausstellungen trifft man aber neben modernen Techniken auch immer wieder auf Scherenschnitte. Seiner eigenen Tradition treu bleibend, komponiert Ueli Hofer mit der Schere feinste und kostbarste Werke geschnittenen Papiers. Ausdrucksstark, mystisch und von unglaublicher Schönheit zeigt sich da das künstlerische Empfinden Hofers in Genauigkeit und es wiederspieglet das Können jahrelangen Eintauchens. Zentrale Themen und Fragen der menschlichen Psyche zwischen Leben, Traum und Tod werden in die Formen und die Vollkommenheit der Natur eingebettet.

Im Atelier Ueli Hofers findet man die gekonnte Paarung von langer Geschichte mit zeitgenössischer Präsenz.

Zeittafel UELI HOFER

1952 geboren am 17. Mai in Lütiwil, Arni bei Biglen 1959-68 Schulen in Lütiwil und Biglen 1968-71 Lehre als Bäcker-Konditor in Grosshöchstetten 1971 Weiterbildung an der Bäcker-Konditoren Fachschule Luzern 1975 Erster Scherenschnitt 1976 Meisterprüfung als Bäcker-Konditor ab 1978 Definitiver Entscheid, den gelernten Beruf aufzugeben und eine künstlerische Laufbahn einzuschlagen 1978-82 Wohn-Atelier in Lütiwil. Intensives Arbeiten an seinem Stil und Ausdruck des Scherenschnitts 1982 Umzug ins Meiental nach Trimstein bei Worb 1983 Heirat mit Verena Bühlmann 1984 Geburt des Sohnes Matthias 1986 Geburt der Tochter Anina 1988 Geburt der Tochter Vera ab 1988 zu den Scherenschnitten kommen Collagen und Objektplastiken hinzu 1990 Bau des Atelierhauses neben dem Wohnhaus in Trimstein 2002 Herausgabe des Buches „Geschnittenes Papier und Collagen“ 2003 Berner Atelier in New York für 6 Monate 2006 Chinesisch-schweizerische Scherenschnittausstellung in Macao 2006 Chinesisch-schweizerische Scherenschnittausstellung in Hong Kong 2007 6. Schweizerische Scherenschnitt-Ausstellung im Museum Chateau de Prangins

Seit 1978 zahlreiche Ausstellungen im In- und Ausland.

Ernst Oppliger

ERNST OPPLIGER – SCHERENSCHNITT

Seine Vorliebe für das Tierzeichnen aus der Vorstellung, zusammen mit der vom Vater übernommenen Volkskunst führte den Autodidakten Ernst Oppliger zum Scherenschnitt. Um seine Beschäftigung mit dem Alpaufzug zu „legitimieren“ verbrachte der nicht von einem Bauernhof stammende Ernst Oppliger einen Sommer als Alpgehilfe. Bald gestaltete er mit den erarbeiteten Volkskunstformen Märchen und biblische Geschichten, später kamen barock ausgeschmückte Einzeldarstellungen von Vögeln, Bäumen, Schwingern etc. dazu. Eine weitere Reihe von umweltkritischen, satirisch-ironischen Werken folgte. Wählte er früher seine Motive nach ornamentalen Darstellungsmöglichkeiten aus, so beeinflusst ihn heute mehr die direkt erlebte Landschaft des Berner Mittellandes. Die reine Schattensilhouette der Alpaufzüge und Geschichten ist grafisch vereinfachten, fein strukturierten Flächen gewichen, welche einen gewissen Holzschnittcharakter aufweisen. Typisch für den Scherenschnitt ist jedoch der feine Schatten der durch das lose Auflegen des Scherenschnittes auf den Untergrund entsteht und eine besonders weiche Wirkung ergibt. Ein Effekt der leider durch Reproduktion verloren geht. Das Thema Baum begleitet Ernst Oppliger durch all seine stilistischen Veränderungen. Neuste Arbeiten sind nicht mehr auf einem weissen Untergrund geklebt sondern schweben zwischen zwei Glasscheiben. Neue Themen sind grosse Tierdarstellungen, Schneelandschaften und Ausschnitte aus Naturstrukturen (Baumäste, Blattadern, Felsen, etc.).

Biografische Daten 1950 geboren in Meikirch 1967 Vorkurs Kunstgewerbeschule Bern 1967-1971 Lehre als Photolithograph 1971 Erster Scherenschnitt mit Taschenmesserschere 1973 Mithilfe im Sommer auf einer Alp zum Erleben der traditionellen "Scherenschnittwelt" 1975 Heirat Eröffnung eines gemeinsamen Ateliers für Bauernmalerei, Kerbschnitzerei und Kalligraphie 1976 Erste Scherenschnittausstellung, Galerie Aarequai, Thun darauf folgend alle zwei Jahre, später alle drei Jahre eine Einzelausstellung im Raum Bern Teilnahme an allen Ausstellungen des schweizerischen Vereins Freunde des Scherenschnitts; alle vier Jahre eine Schweizerische, dazwischen jeweils eine Bernische Ausstellung 1976,1979,1982 Geburt von drei Kindern 1984 Aufgabe der Bauernmalerei zugunsten des Scherenschnitts

1988 Monographie von Albert Schneider, Verlag Paul Haupt Bern ab 1993 Ein mal jährlich Leitung eines Wochenkurses für Scherenschnitt an der Heimatwerkschule Richterswil, ab 1996 Ballenberg 2003 Herausgabe des Bilderbuches "Der Vogelkopp" von Albert Wendt mit Scherenschnittillustrationen

Ausstellungen

2007 Schweizerische Scherenschnittausstellung im Landesmuseum in Prangins 2007 Kulturmühle Lützelflüh, Gemeinschaftsausstellung 2006 Kulturspycher Meikirch 2006 Scherenschnittausstellung von Künstlerinnen und Künstler aus der Region, Kultur-Estrich, Wohlen BE 2006 Schweizerisch - Chinesische Scherenschnittausstellung in Hongkong 2005 Ausstellung zum Unspunnenfest, Galerie Kunstsammlung Unterseen mit 10 ScherenschneiderInnen 2004 Ausstellung Mensch und Vogel, Bauernmuseum Jerisberghof, Gurbrü bei Kerzers 2003 Galerie Ramseyer&Kaelin, Bern 2000 Holzminden(D), Ausstellung des Deutschen Scherenschnittvereins (Beteiligung) 2000 Kulturspycher Meikirch 1999 Landwirtschaftsschule Hondrich, Kunstausstellung "Weg und Steg" (Beteiligung) 1998 Landwirtschaftsschule Hondrich, Kunstausstellung "Bäume" (Beteiligung) 1998 Freilichtmuseum Ballenberg, Bernische Stiftung für Angewandte Kunst und Gestaltung, "Vom Baum zum Lebensbaum" (Beteiligung) 1997 Bauernmuseum Jerisberghof, Kerzers, Gemeinschaftsausstellung mit Ursula Schenk 1994 Könizer Galerie Walter Loosli, Köniz 1991 Bauernmuseum Jerisberghof, Kerzers, Gemeinschaftsausstellung mit Ursula Schenk und Bruno Weber 1988 Karikaturenausstellung, Warschau (Beteiligung) 1988 Könizer Galerie Walter Loosli, Köniz 1987-1990 Diverse Veröffentlichungen in "Der Nebelspalter" 1986 Museum Haifa (Israel), "World Papercutters" (Beteiligung) 1985 Gassacker Meikirch, Familienausstellung 1985 Cooper Hewitt Museum, New York (USA), "World Papercutters" (Beteiligung) 1983 Galerie Claude Allegri, Gstaad 1980 Galerie Aarequai, Thun 1978 Gassacker Meikirch, Gemeinschaftsausstellung mit drei lokalen Künstlern 1976 Galerie Aarequai, Thun

öffentliche Ankäufe

Kanton Bern, 1982: Schlange Cooper Hewitt Museum, New York, USA,1985: Arche Noah Schweiz. Verein Freunde des Scherenschnitts: Diverse Einwohnergemeinde Meikirch, 2001: Arche Noah

Mitgliedschaften

Schweizerischer Verein Freunde des Scherenschnitts Deutscher Scherenschnittverein e.V. Guild of American Papercutters Nederlandse Vereinigung voor Papierknipkunst

Werkverzeichnis

Das Werkverzeichnis führt zur Zeit ca. 800 Werke auf

Beatrice Straubhaar Kurzbiografie

Name: Straubhaar Beatrice Geburtsdatum: 05.10.1956 Adresse: Chalet Rou-Rife 3782 Lauenen b. Gstaad

Telefon: +41 (0)33 765 34 71 Mobile: +41 (0)79 650 64 71 Fax: +41 (0)33 765 34 11 e-mail [email protected] Homepage www.scherischnitt.ch Beruf: kaufm. Angestellte seit 1988 Scherenschneiderin

Hobbys: mein grösstes Hobby wurde mein Beruf, Hobbys heute sind. Katamaran segeln, Motorrad fahren, das Leben geniessen……

Erster Scherenschnitt: 1984

Bevorzugte Motive: Traditionelle Alpaufzüge, Alpleben, Sport-, Alltags- und Festtagsszenen Kinder, Jagdmotive, 4 Jahreszeiten u.v.m.

Mit meinen Scherenschnitten möchte ich vielen Menschen Freude bereiten sowie ein faszinierendes Kunsthandwerk und eine alte wunderschöne Volkskunst aufrechterhalten. Oft werden die Scherenschnitte als „heile Welt“ belächelt. Ich persönlich hatte das grosse Glück, im wunderschönen Saanenland aufzuwachsen und im Jahre 1979 ist durch den Umzug nach Lauenen, meine Umgebung geradezu perfekt geworden. Der Ausblick aus meinem Fenster zeigt mir eine „heile“ und faszinierende Welt mit wunderschöner Natur und Wildtieren in unmittelbarer Nähe.

Es gibt im Saanenland wohl kaum ein Haus - vom Bauernhaus bis zum Luxus-Chalet - in welchem nicht ein Scherenschnitt von früheren oder noch aktiven ScherenschneiderInnen zu finden ist.

Die meisten Scherenschnitte die ich verkaufe werden persönlich bei mir in Lauenen gekauft oder bestellt und so sind schon sehr viele interessante und zum Teil freundschaftliche und langjährige Kontakte entstanden. Zu wissen, wer einen Scherenschnitt kauft und wo er einmal einen Platz finden wird ist für mich wertvoll und wichtig.

Nebst den Original-Scherenschnitten habe ich in meinem Angebot verschiedene gedruckte Karten, Keramiktassen, Handtücher, Tischset mit Servietten, Kleiderbügel aus Holz, diverse Karten u.a.

Für die Ausstellung Scherenschnitt 99 im Schweiz. Alpinen Museum in Bern wurde mein Scherenschnitt mit dem Titel „Sommerplausch im Saanenland“ zur Gestaltung der Plakate und des Kataloges ausgewählt. Im Jahre 2002 hatte ich die Gelegenheit in Zusammenarbeit mit GST Gstaad-Saanenland Tourismus in Sendungen über das Saanenland mit kurzen Fernsehauftritten mitzuwirken. (SF1 Fensterplatz, ARTE, DSF Deutsches Sportfernsehen, Bayern etc.) Hauptsächlich die Sendung Fensterplatz unter der Regie von Sabine Grossrieder wurde für mich zu einem unvergesslichen Erfolgserlebnis. Im Mai 2007 konnte ich auch in der Sendung „Bsuech in...“ vom Schweizer Fernsehen mitwirken welche am 2. Juli 2007 ausgestrahlt wurde. Mit meiner eigenen Homepage konnte ich ein weiteres Ziel erreichen und freue mich auf viele Besucher und Zuschriften. www.scherischnitt.ch

Bisherige Ausstellungen: 1988 2.Schweiz. Scherenschnitt-Ausstellung in Bern 1989 Schweiz. Scherenschnitte im Plantahaus in Zuoz/GR 1989 Heimatwerk in Saanen 1990 4. Bernische Scherenschnitt - Ausstellung in Unterseen 1991 Heimatwerk in Saanen und Gstaad 1992 3. Schweiz. Scherenschnitt-Ausstellung in Winterthur und Bulle/FR 1993 Schweiz. Scherenschnitte im Plantahaus in Zuoz/GR 1989 – 2000 jeden Sommer Teilnahme an der Kunst- und Antiquitäten-Verkaufsausstellung in der Curlinghalle in Gstaad Da ich im Oktober 1996 meinen Tennisellbogen (vom Scherenschneiden) operieren lassen musste, habe ich auf eine Teilnahme an der 4. Schweiz.Scherenschnitt- Ausstellung in Liestal verzichtet.

1999 Scherenschnitt 99 im Schweiz. Alp. Museum Bern 2000 Museum Chateau-d’Oex und Scherenschnittzentrum Claude Allegri in Flendruz (Alpleben 2000) 2001 20. Dezember 2000 bis Ostern 2002 Restaurant Sonnenhof in Saanen 2002 5.Schweizerische Scherenschnitt-Ausstellung im Musée gruérien in Bulle / Fr 2003 15. Februar – 31.März Doppelausstellung mit Wendy Perren in Sammy’s Piano Bar, Hostellerie Alpenrose, Schönried 5. September – 30. Oktober Simmental/Saanenland im Galerie Restaurant Hüsy 3771 Blankenburg 14. Februar – 29. Februar Seiler Hotel Nicoletta in 3920 Zermatt

26. November – 19. Dezember 2004 Galerie du Jorat, 1083 Mézières/VD L’art du papier découpé mit Heinz Pfister Ursula Schenk Wendy Perren-Novell 2004 Elisabeth Bottesi-Fischer

2005 3.2.-26.2.2005 Modefrühling im LOEB, Bern Alpaufzug als Schaufensterdekoration

2006 4.6.2005 Neu-Eröffnung unserer Chäller-Galerie im Heimatwerk in Gstaad permanente Verkaufsausstellung! Restaurant GASTRO GALERIE Schiffländte Nr. 2 3800 Interlaken-OST Gemeinschaftsausstellung mit Wendy Perren-Novell und Elisabeth Bottesi-Fischer Vernissage, Sonntag 19. März 2006 ab 10.30h

2007 9. Februar – 8. März 2007 Seiler Hotel Nicoletta in Zermatt

PERMANENTE AUSSTELLUNG IN DER CHÄLLER-GALERIE GSTAAD

Bruno Weber

Artists Working in North America Humberto Duque Humberto Duque Mexico City. 1978 [email protected] www.humbertoduque.com education Visual Arts. E.N.P.E.G. La Esmeralda. Centro Nacional de las Artes. Mexico City residencies Agentur. Amsterdam. 2007 (currently attending this residency) Onoma. Fiskars, Finland. 2007 Can-Serrat. Barcelona, Spain. 2007 Montalvo Arts Center, California. 2007 Artist in Residence-Vienna. Bundeskanzleramt. Austria. 2006 ISCP . International Studio and Curatorial Program. New York. 2005 Riverpal Gokasegawa. Nobeoka, Japan. 2005 Staatliche Akademie der Bildenden Künste Karlsruhe, Germany. 2003 awards La Colección Jumex. Grant. 2006 Art Biennial of Yucatán, Mexico. 1st prize. Category: Video. 2005 FONCA. Jovenes Creadores. 2004. solo shows Revenge of the lawn Galeria Ramis Barquet. New York. 2007 Wiggle it a little it’ll open MCO Arte Contemporanea. Porto, Portugal. 2006 Purpurando Garash Galería. Mexico City. 2005 Video Animación: 2002-2005 Laboratorio Arte Alameda. Mexico City. 2005 Al final, Muca Roma. Mexico City. 2002 group shows The acceptance world Rachmaninoff´s. London, England. 2007 Transparent Fiskars Ruuki Bruk Village, Finland. 2007 Group show Galerie Mezzanin. Vienna, Austria. 2007 Zoo art fair 2006. London, England. Garash Galeria. Art 212 contemporary art fair 2006. Agro'/Glickman Step (1) N.Y. Same ghost every night White Club. Salzburg, Austria. 2006 Artists in Residence. Palais Porcia. Vienna, Austria. 2006 Balelatina. Contemporary art fair. 2006. Basel, Switzerland. Garash Galeria. Ventifacto Garash Galeria. Mexico City. 2005 Arco 2006. Madrid, Spain. Ramis Barquet Gallery, N.Y. Intermittent Territory for Alienated Figures Outrageous Look. Brooklyn, N.Y. 2005 Inscriptions Murales Piano Nobile. Geneva, Switzerland. 2005 Deck the walls Exit Art. New York. 2005 Artissima contemporary art fair 2005. Turin,Italy. Garash Galeria Killing me softly Ramis Barquet, New York. 2005 Come Closer. Aktuelle Videoarbeiten aus Mexiko. Künstlerhaus Bethanien, Berlin. 2005 KO Video. First Durban Video Festival. Durban, South Africa. 2005 September Back Up Isola Art Center. Milan, Italy. 2005 Voraz Fuego Ebrio Museo de Arte Carrillo Gil, Mexico City. 2005 Declaraciones . Ciclo de Video Mexicano. Museo Nacional Centro de Arte Reina Sofia. Madrid, Spain. 2005 Breve Historia Contada a Mano Centro de Arte Joven. Madrid, Spain. 2005 Arco 2005 Garash Galeria. Mexico City. Madrid, Spain, 2005 Septima Galería Luis Adelantado, Valencia, Spain. 2005 This is not a love song Ramis Barquet. Mty. Mexico 2005 Group show Poly Gallery. Karlsruhe, Germany. 2004 L.A. Freewaves’ 8th Biennial Festival of Experimental Media Arts. Los Angeles, CA. 2003. Alarma! Raid Projects. Los Angeles, CA 2003 Group show Gallery On. Poznan, Poland. 2003 Erasmus Ausstellung Staatliche Akademie der Bildenden Künste Karlsruhe, Germany. 2003 Inter Sections. Galou Galery. Brooklyn.N.Y 2003 Panorámica. Pasajes. Museo Tamayo Arte Contemporáneo. Mexico City 2003 Bondarchuk Art & Idea. México City. 2003 Lascas: mexican contemporary art Le Lieu . Centre en Art Actuel. Québec, Canada. 2002 10th. International Small Art Exhibition Suzuhiro Kamaboko Board Painting Contest.. Japan. 2001 Caída Libre. Nuevas Generaciones. Museo Dolores Olmedo Patiño. México D.F. 2001

Michelle Forsyth Michelle Forsyth Bio

Born in Vancouver BC in 1972, I hold an MFA from Rutgers University and a BFA from the University of Victoria. I currently reside in Pullman, Washington where I teach painting and drawing at Washington State University. In the studio, I am most concerned with the visceral qualities of the hand-made and the power it holds to counter the potential dehumanization of rapidly transmitted, and publicly consumed images of spectacle. My work has been widely exhibited across Canada and the US, at venues including Shift Gallery (Seattle, WA); Lorinda Knight Gallery (Spokane, WA); Third Avenue Gallery (Vancouver, BC); The Northwest Museum of Arts and Culture (Spokane, WA); The Charleston Heights Arts Center (Las Vegas, NV); Mercer Union (Toronto, ON); Truck Contemporary Art (Calgary, AB); the Kirkland Art Center (Seattle, WA); and Hogar Collection (Brooklyn, NY). I recently received second prize in the William and Dorothy Yeck award for young painters competition at Miami University in Oxford, OH. My work will be featured in a solo exhibition at Deluge Contemporary Art (Victoria, BC) in January 2008, and in the spring of 2009 I will be a visiting artist in residence at the University of Southern Maine (Gorham, ME). Michelle Forsyth Secondly, I desire to work at a larger institution that can provide a dynamic environment that encourages dialogue and collaboration. I find your Contemporary Perspectives Lecture Series of particular interest, Michelle Forsyth | Artist Statement 355 NE Olsen Street, #205 Pullman, WA 99163 as it would augment my courses nicely, and help to encourage a dynamic and rich learning environment Home Tel: 509.332.2694 for me and my students alike. Overall, I am interested in actively contributing to a program, such as Office Tel: 509.335.3278 Email: [email protected] yours, where my expertise in painting, drawing and digital media, and my attention to critical issues Web: www.michelleforsyth.com within the field can continue to flourish. Favoring the formal elegance of pattern, and the visceral qualities of the handmade over the efficiency of digital production, I consider my work to be a reflection on, and a reaction to, the I am a Canadian citizen who holds a permanent residency card enabling me to work legally in the onslaught of images of suffering in our contemporary world. January 3, 2007 United States. I will be attending the College Art Association Conference in February and would be available for an interview should you decide to consider my application. All of my work is made in response to an extensive collection of images of trauma culled from television, newspapers, and the Internet. From horrific scenes of disaster captured by our Chair, Painting Search Committee School of Visual Arts contemporary news media to the smaller scale depictions of personal tragedy, images of peril and Boston University demise have permeated nearly every aspect of contemporary life. Even without the recent 855 Commonwealth Ave. Sincerely, documentations of the aftermath of Hurricane Katrina, the US invasion of Iraq, or the Israeli 5th floor Boston, MA 02215 bombing of Lebanon, it is easy to see that the mass media pushes daily reminders of the aesthetics of horror. Viewing these kinds of images from afar creates ways of looking that are, at once, both voyeuristic and apathetic. As I find myself confronted by this onslaught, I mourn our tolerance Painting Search Committee: of violence in our media and our inability to express a sense of grief. “To grieve,” according to Michelle Forsyth Judith Butler, “and to make grief itself into a resource for politics, is not to be resigned to inaction, Please accept this application for the painting position at Boston University. I was excited to see the but it may be understood as the slow process by which we develop a point of identification with news of this position, as your department’s interest in having students develop a strong personal artistic suffering itself.” (See Judith Butler, Precarious Life: The Powers of Mourning and Violence (New vision seems to fall in line with many of my own concerns and interests as an artist and as an educator. York, Verso, 2004), p.30). As a humanistic response to these kinds of tendencies, I transform images of abjection and spectacle My research is concerned with the relationship between the tradition of painting and the growing field into glittering surfaces that shroud the images of pain with layers of beauty. Quiet and contemplative, of digital media. My primary concern is with the ways in which new technologies have altered our my work bears traces of its making. From thousands of tiny, sinuous brush strokes or cut-out paper understanding of the world and the effects they have had on the speed in which we receive visual flowers, to diluted layers of watercolor, the value of my time spent becomes just as important as information in our culture. In the studio I am concerned with how these changes relate to the slow and the final product. Color functions to conceal and hide the images in a protective coating, which laborious nature of the painting process. My creative practice is informed by research that favors a creates a distance that I hope will empower viewers with a greater ability to bear witness to the sensual perception of our surroundings rather than a strictly visual one, such as the arguments raised complexities of our mediated experience. by Susan Sontag, Paul Virilio and Elaine Scarry. With their ideas in mind I make work that examines I am certainly not the first painter to respond to these kinds of horrors, nor am I the first to work issues surrounding public spectatorship, spectacle and the contemporary media. from journalistic photographs as source material. From as far back as Francisco Goya’s Disasters of War series (1810 – 20), which document the horrors of the Napoleonic invasion of Spain in 1808; I am currently an Assistant Professor of Painting, Drawing and Digital Media at Washington State and Edouard Manet’s The Execution of the Emperor Maximillian (ca. 1867) depicting Mexican University where I am also the coordinator for the Painting Area. While my practice as an artist and republicans executing the French appointed emperor; through Gerhard Richter’s suite of 15 black educator is strongly based in the discipline of painting, I also hold the ability to teach across disciplines. and white paintings of the imagery associated with the Baader-Meinhof gang, who all committed During my four and a half years at WSU, I have worked with other faculty members in the department suicide in their prison cells early on the morning of 18 October 1977; and Leon Golub’s paintings to develop a strong curriculum in painting and drawing, and have introduced some dynamic new courses documenting the atrocities of the War in Vietnam; to the more recent work by Joy Garnett and that encourage cross-disciplinary approaches to art making. These include both thematically based Adam Hurwitz, the physicality that painting holds has long provided us with means to reflect on painting courses, which allow painting students to explore sculptural and digital approaches while the persistence of these kinds of atrocities. According to Susan Sontag, “Torment, a canonical addressing contemporary issues within the field of painting, as well as advanced drawing courses such subject in art, is often represented in painting as a spectacle, something being watched (or ignored) as Drawing Through Process and Drawing from the Body where students are encouraged to use the by other people. The implication is: no, it cannot be stopped – and the mingling of inattentive with process of drawing to explore their chosen media. Please find included the syllabi for these courses on attentive onlookers underscores this.” (See Susan Sontag, Regarding the Pain of Others (New the enclosed CD. York: Farrar, Straus and Giroux, 2003) p. 42.) Although I consider my work, as a whole, to fall within this tradition of painting, it does not rely on the aesthetic spectacle to give it its power, instead I hope it will be a lasting counterpoint to the typical manner in which we view traumatic historical Although my time at Washington State University has been fruitful and positive as both an educator events. and an artist, I am applying for the painting position at the Boston University for two primary reasons. The first being that my work is beginning to achieve wider national recognition and your location is ideal because it is situated closer to both New York and Toronto where I already have strong connections.

Michelle Forsyth | Curriculum Vitae Michelle Forsyth | Curriculum Vitae Michelle Forsyth | Curriculum Vitae Michelle Forsyth | Curriculum Vitae 355 NE Olsen Street, #205 Pullman, WA 99163 Home Tel: 509.332.2694 SOLO EXHIBITIONS 1996 Mint, Rogue Art, Victoria, BC, Canada BIBLIOGRAPHY 2000 Keegan, Kelly. “Master Thesis of the Universe,” Inside Beat, Rutgers University, New Office Tel: 509.335.3278 GROUP EXHIBITIONS 1995 Colette Parras, Michelle Forsyth, University of Victoria, Victoria, BC, Canada 1995 Daydreaming of a Transparent Landscape, University of Victoria, Victoria, BC, Canada Brunswick NJ, USA, March 9, 2000. p. 12. Email: [email protected] 1995 Gifted, Rogue Art, Victoria, BC, Canada Web: www.michelleforsyth.com 1993 Recent Work, Rogue Art, Victoria, BC, Canada 1999 “Visions of New Brunswick,” Inside Beat, Rutgers University, New Brunswick, NJ, USA 1994 Bumper Crop, Federal Building,, Victoria, BC, Canada 1998 Moorhouse, Meghan, “State of the Arts,” Inside Beat, Rutgers University, New Brunswick, 1994 Exquisite Corpse, Buzzard's Lunch, Victoria, BC, Canada NJ, USA December 10, 1998, p. 10-11. (photographs). 1994 14, Big Art Society, New Era Social Club, Victoria, BC, Canada GROUP EXHIBITIONS 2007 Drawn to the Wall, Jundt Art Museum, Gonzaga University, Spokane WA, USA 1996 Mint. Interview, CFUV Radio, Victoria, BC, Canada EDUCATION 2001 MFA, Rutgers University, New Brunswick, NJ, USA 2007 Sundays (2 person exhibition), Kirkland Arts Center, Seattle, WA, USA 1996 art.com, exhibition catalogue, Rogue Art, Victoria, BC, Canada 1996 BFA, University of Victoria, Victoria, BC, Canada 2007 The War on Terror; Abstract Painting in Today’s World, Miami University Young Painters 1996 Trout, exhibition catalogue, University of Victoria, Victoria, BC 1993 Associate of Visual Arts, Camosun College, Victoria, BC, Canada Competition for the William and Dorothy Yeck Award, Hiestand Galleries, Miami University, CONFERENCES & LECTURES 2006 Visiting Artist, Camosun College, Victoria, BC, Canada 1992 Amos, Robert. “Stroll Reveals Depth and Breadth of Victoria's Creativity,” The Times Colonist Oxford, OH, USA. (Juried by Jerry Saltz). 2005 Visiting Artist, Emily Carr College of Art and Design, Vancouver, BC, Canada Victoria, BC, Canada, August 8, 1992. p. c6 (photograph). 2006 Installation, Bridge Art Fair @ the Catalina Hotel & Beach Club, Miami, FL USA 2003 Panelist, Artist Trust Media Fellowship, Artist Trust, Seattle, WA, USA ACADEMIC APPOINTMENTS 2002- Assistant Professor, Washington State University, Pullman, WA, USA 2006 The Whole is the Sum of its Parts, Hogar Collection Gallery, Brooklyn, NY, USA 2003 Lecturer, “The Lure of the Visible”, Mercer Union, Toronto, Ontario, Canada 2007 Artist Mentor, Wells Artists’ Project, Island Mountain Arts, Wells, BC, Canada 2006 Spitting Images, Truck Contemporary Art, Calgary, Alberta, Canada (in conjunction with the Push Play Exhibition and the Toronto Images Festival) 01-02 Adjunct Professor, Pratt Institute (Manhattan Campus), New York, NY, USA 2006 Disaster, Port Angeles Fine Art Center, Port Angeles, WA, USA 2003 Visiting Artist, Gu Xiong’s Painting Class, University of British Columbia, Vancouver, BC, Canada 00-02 Adjunct Professor, Raritan Valley Community College, Somerville, NJ, USA 2006 The Antholgy of Art, Kunst-und Ausstellungshalle der Budesrepublik Deutschland, Bonn, Germany 2002 Lecturer, “Painting and Artifice”, Faculty Exhibition, Museum of Art, Washington State University, Pullman, WA, USA 00-01 Adjunct Professor, Brooklyn College, Brooklyn, NY, USA (catalogue) 2005 Little Shift: Small Works, Shift Seattle, WA, USA 2002 Lecturer, “Color: In Theory and Practice”, University of Idaho, Moscow, ID, USA 2005 New Members Exhibition, Shift, Seattle, WA, USA 2001 Artist Presenter, Slide Slam, Art in General, New York, NY, USA 2001 Guest, Graduate Critiques, Brooklyn College, Brooklyn, NY, USA GRANTS & AWARDS 2007 GAP Grant, Artist Trust, Seattle, WA, USA 2005 The Antholgy of Art, ZKM/ Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany 2000 Visiting Artist, University College of the Cariboo, Kamloops, BC, Canada 2007 Project Award, Canada Council for the Arts, Canada 2004 The Anthology of Art, Akademie der Künst, Berlin, Germany (catalogue) 2000 Artist Presenter, “Painting in the Era of Cyberspace”, The Changing Role of the Artist, Bi-Annual 2007 Second Prize, Miami University Young Painters Competition for the William and Dorothy 2004 The Mac Collects: Art for the New Millenium, Northwest Museum of Arts and Culture, Conference, Comox Valley Art Gallery, Comox, BC, Canada Yeck Award, Miami University, Oxford, OH, USA Spokane, WA, USA 1999 Panelist, “What its Really Like to Teach in the Fine Arts”, Teaching Assistant Project, Annual 2006 Edward R. Meyer Project Award, College of Liberal Arts, WSU, Pullman, WA, USA 2004 The Faculty Show, Museum of Contemporary Art, HongIk University, Seoul, Korea Conference, Rutgers University, New Brunswick, NJ, USA 2005 Professional Artist Grant, Canada Council for the Arts, Canada 2004 Spokane River and Gorge Falls, Lorinda Knight Gallery, Spokane, WA, USA 2004 Travel Grant, Canada Council for the Arts c/o the Banff Centre 2003 Faculty Exhibition, Museum of Art, Washington State University, Pullman, WA, USA 2004 Edward R. Meyer Project Award, College of Liberal Arts, WSU, Pullman, WA, USA 2003 Northwest Contemporary Figuration, Northwest Musuem of Arts and Culture, Spokane, WA, USA BIBLIOGRAPHY 2007 Brian Shwerwin. “Art Space Talk: Michelle Forsyth,” myartspace.com, posted May 23, 2007 1996 Helen Pitt Graduating Award, Vancouver Foundation, UVic, Victoria, BC, Canada 2003 Push Play, Mercer Union, Toronto, ON, Canada (in conjunction with Toronto’s Images Festival) 2006 Anania, Katie. "Death and Praxis: Michelle Forsyth's Presentation of Incidents is Hardly Routine," City Life, Las Vegas, NV, April 27, 2006 2003 Stop and Go, City Without Walls, Newark, NJ, USA 2006 Peterson, Kristin. “Mad, Mad Media,” Las Vegas Sun. April 7, 2006. 2002 Seasonal Exhibition, Third Avenue Gallery, Vancouver, BC, Canada RESIDENCIES 2009 Visiting Artist in Residence, University of Southern Maine, Gorham, ME, USA 2004 Gerz, Jochen. The Anthology of Art: in Theory and Dialogue, DuMont Verlag, Cologne, Germany. 2002 Faculty Exhibition, Museum of Art, Washington State University, Pullman, WA, USA 2006 Self-Directed Residency, Centrum, Port Townsend, WA, USA p 224 (image) 2002 Deluxe, Community Gallery, 111 First St, Jersey City, NJ, USA 2004 Intra-Nation, Banff Thematic Residency, Banff, Alberta, Canada (Tuition Award) 2004 Crane, Julianne. “MAC Collection Once Again Unveiled; Exhibit Features Tucked-Away Art,” 2001 Faculty Exhibition, Brooklyn College, Brooklyn, NY, USA The Spokesman-Review. Friday, November 19. 2000 Faculty Exhibition, Raritan Valley Community College, Raritan, NJ, USA 2004 Hurowitz, Lila. “ North of the Border: The Banff Centre”. Artist Trust Journal. Volume x1. No. 1, 2000 Hit & Run 4, Pier 40 Warehouse, New York, NY, USA Spring 2004. p.5 SOLO EXHIBITIONS 2008 Solo Exhibition, Deluge Contemporary Art, Victoria, BC, Canada 2000 CAA MFA Exhibition, Hunter College, Times Square Gallery, New York, NY, USA 2004 Boggs, Sheri.“Ghosts of Salmon,” The Pacific Northwest Inlander, Friday August 4 2007 Solo Exhibition, Hogar Collection, Brooklyn, NY, USA (catalogue) 2000 Y2K Solution, Maryland Institute of Contemporary Art, Baltimore, MD, USA 2004 Crane, Julianne. “Young Artist Profile: Michelle Forsyth,” The Spokesman-Review Friday July 23, 2007 Marking Time, Lorinda Knight Gallery, Spokane, WA, USA p. 26 1999 Passions of Art, Richard Anderson Fine Arts, New York, NY, USA 2006 Routine Incidents, Charleston Heights Art Center, Department of Culture, Las Vegas, NV, USA 2004 Boggs, Sherri. “Inlander Picks: Pattern and Dissolution,” The Pacific Northwest Inlander, April 1, 1999 Gifted, Rogue Art, Victoria, BC, Canada 2006 Loops and Dashes, Shift Gallery, Seattle, WA, USA 2004, p. 42 1999 Swap Meet, Sol Koffler and Market House Galleries, RISD, Provinceton, RI, USA 2005 Tracing Absence, Grand Forks Art Gallery, Grand Forks, BC, Canada 2003 Boggs, Sheri. “Figures Reinvented,” The Pacific Northwest Inlander, July 17, 2003p. 21-22 1999 Exchange, Patricia Doran Gallery, Boston, MA, USA 2004 Trace Evidence, Lorinda Knight Gallery, Spokane, WA, USA 2003 Purdum, Grant. “Keynote Speaker to Discuss Climate of Art, Technology,” The Daily Evergreen. 1999 Y2K Solution, Rutgers University, New Brunswick, NJ, USA Friday, January 17, 2003. p. 11 2000 Upper Crust, Third Avenue Gallery, Vancouver, BC, Canada 1998 Untitled, Rutgers University, New Brunswick, NJ, USA 2003 Stocker, Gerfried. “Unplugged: Art as the Scene of Global Conflicts,” ARS Electronica 2002 2000 MFA Thesis Show, MGSA Galleries, New Brunswick, NJ, USA 1997 Gifted, Rogue Art, Victoria, BC, Canada Katalogue. 1997 It's a dog eat dog world, Gallery Sansair, Vancouver, BC, Canada 1997 art.com, Rogue Art, Victoria, BC, Canada (catalogue) 2002 McGlynn, Tom. “Surface Considerations,” Deluxe. (URL: www.orangesideout.org) 1997 Jetsam, Havana Gallery, Vancouver, BC, Canada 1997 Harvest, Diane Farris Gallery, Vancouver, BC, Canada 2001 Photograph in the Hudson Reporter, Art Tour Inset. 1997 Flotsam, xchanges Gallery, Victoria, BC, Canada 1996 It's a Beautiful Thing, Open Space Gallery, Victoria, BC, Canada 2000 Gustafson, Paula. Review with photograph. Asian Art News. September/October 2000, p. 103-104 1996 Trout, University of Victoria, BFA exhibition, Victoria, BC, Canada (catalogue)

Michelle Forsyth Michelle Forsyth [ 1 ]

Michelle Forsyth | Support Materials Michelle Forsyth | Support Materials

CHRONOLOGICAL SAMPLING 1. Flower, embroidery thread on cotton, 4x5.25 inches, 2002 OF OLDER WORK 2. Mishap, oil on canvas, 30 x 40 inches, 2002 15. & 16. TWA flight 800 crash, East Moriches, Long Island, July 17, 1996 (drawing #3 from the 100 My current work consists of a series of drawings which document both personal experiences with and Drawings Project), gouache on watercolor paper, 15 x 22 inches, 2006 3. Bathroom Suicide, gouache on vellum, 18 x 24 inches, 2003 pervasive media images of trauma sites such as the crash of flight 111 in Peggy’s Cove, Nova Scotia and the On the evening of July 17, 1996 a TWA Boeing 747 exploded mid-air and plummeted into the Atlantic Eastland disaster in Chicago, IL. Each drawing contradicts the popular media’s clear and extreme images 4. Soundings, oil on canvas with ColorAid paper, pins, felt and beads, 60 x 60 inches, 2004 Ocean about eight miles off the coast of East Moriches, Long Island. Eyewitness accounts of the of catastrophes by displaying blurry records of trauma sites where there’s literally “nothing left to see.” The 5. Trace Evidence, gouache on mylar, 18 x 24 inches, 2004 explosion induced a controversy that resulted in an investigation that was one of longest and most One Hundred Drawings Project is an attempt to establish whether people will still remember events without relying on dramatic images of spectacle and aesthetic horror. 6. Green Slip, gouache on Fabriano CP watercolor paper, 22 x 30 inches, 2005 expensive in history, which comprised of the reconstruction of the 93-foot segment of the fuselage. Investigators considered the possibility of a terrorist attack and security screening was tightened at airports across the US. All 230 passengers died in the crash. My painting depicts the location of the sky, seen through trees, just south of East Moriches where eyewitnesses saw the explosion. 1. TWA flight 800 crash, East Moriches, Long Island, July 17, 1996 (drawing #3 from the 100 Drawings Project), gouache on watercolor paper, 15 x 22 inches, 2006 FLORESCENCE A series of installation pieces that examine images from the war in Iraq available on Internet sites. In all of 17. Triangle Shirtwaist Factory Fire, NY, NY, March 25, 1911 (drawing #6 from the 100 Drawings On the evening of July 17, 1996 a TWA Boeing 747 exploded mid-air and plummeted into the Atlantic INSTALLATIONS these works, I have attempted to rescue the horrific images from their de-personalized context and imbue Project), gouache on watercolor paper, 15 x 22 inches, 2006 Ocean about eight miles off the coast of East Moriches, Long Island. Eyewitness accounts of the them with a sense of beauty. Creating them out of thousands of small, colorful pieces of paper they become On the afternoon of March 25, 1911 a small fire broke out on the eighth floor of the Asch building located explosion induced a controversy that resulted in an investigation that was one of longest and most memorials to the brutal realities of horrors of war. just east of Washington Square in New York City. At the time of the fire, the building filled with flammable expensive in history, which comprised of the reconstruction of the 93-foot segment of the fuselage. 7. & 8. Florescence 2 (Flowers for Iraq), Color-Aid paper, watercolor paper, casein, felt, plastic and pins, textiles, was lit by open gas lighting and filled with smoking employees. The fire spread quickly. The Investigators considered the possibility of a terrorist attack and security screening was tightened at 60 x 84 inches, 2006 employees on the ninth floor were not notified in time to escape from the flames that crept up the airports across the US. All 230 passengers died in the crash. My painting depicts the location of the sky, Installed at Truck Contemporary Art, Calgary, AB, Canada stairway of the one unlocked exit on that floor. In order to escape the engulfing fire many broke the seen through trees, just south of East Moriches where eyewitnesses saw the explosion. windows and jumped to their deaths.150 people died as a result of the fire. The building survived and 9. & 10. Florescence 3 (Flowers for Iraq), Color-Aid paper, felt, beads and pins, 48 x 60 inches, 2006 was later refurbished. It is now known as the Brown Building of Science at New York University. My Installed at Hogar Collection, Brooklyn, NY, USA 2. Railway Wreck, Bayonne, NJ, September 15, 1958 (drawing #7 from the 100 Drawings Project), painting depicts the building in the reflection of a window across the street. gouache on watercolor paper, 15 x 22 inches, 2006 18. Railway Wreck, Bayonne, NJ, September 15, 1958 (drawing #7 from the 100 Drawings Project), On September 15, 1958, a commuter train ran through 3 lights as it neared Bayonne New Jersey. This gouache on watercolor paper, 15 x 22 inches, 2006 PAPER SCULPTURES This series of work, begun in 2005, is a three-dimensional exploration of some of the formal elements in my tripped an automatic derailing device that sent the train plummeting into Newark Bay at Elizaport. 48 paintings. Although they began as investigations in making painting more physical, they have become for On September 15, 1958, a commuter train ran through 3 lights as it neared Bayonne New Jersey. This people died as the 3 of the coaches sank. My painting depicts the water of Newark Bay as seen from me abstractions of some of the ideas explored in my other work. They suggest digitized body parts or small tripped an automatic derailing device that sent the train plummeting into Newark Bay at Elizaport. 48 the waterfront of Bayonne, NJ in the direction of the accident. cluster bombs. people died as the 3 of the coaches sank. My painting depicts the water of Newark Bay as seen from the waterfront of Bayonne, NJ in the direction of the accident. 3. Hope Slide, January 9, 1965 (drawing #9 from the 100 Drawings Project), Gouache on watercolor 11. Spherule, gouache and hot glue on 300 lb. Lanaquerelle HP watercolor paper, 12 x 11 x 11 inches, paper, 15 x 22 inches, 2007 2006 19. Hope Slide, January 9, 1965 (drawing #9 from the 100 Drawings Project), Gouache on watercolor paper, 15 x 22 inches, 2007 Early on the morning of Saturday, January 9, 1965, an enormous landslide descended across the Hope- 12. Spherule and Boom!, gouache and hot glue on 300 lb. Lanaquerelle HP watercolor paper, Princeton Highway, a few miles south east of Hope, BC. The slide buried four people that were waiting 12 x 11 x 11 inches, 2006 Early on the morning of Saturday, January 9, 1965, an enormous landslide descended across the Hope- Princeton Highway, a few miles south east of Hope, BC. The slide buried four people that were waiting for road crews to clear a stretch of highway previously covered by a small avalanche. Nearly 300 feet for road crews to clear a stretch of highway previously covered by a small avalanche. Nearly 300 feet in in depth and two miles in width, the slide buried its victims under a torrent of pulverized rock, mud and depth and two miles in width, the slide buried its victims under a torrent of pulverized rock, mud and debris. Two memorials for the victims of the slide stand on the location of the site. My painting depicts a wreath commemorating those that died there. 100 DRAWINGS My current work consists of a series of drawings which document both personal experiences with and debris. Two memorials for the victims of the slide stand on the location of the site. My painting depicts a wreath commemorating those that died there. pervasive media images of trauma sites such as the crash of flight 111 in Peggy’s Cove, Nova Scotia and the 4. Second Narrows Bridge Collapse, Vancouver, BC, June 17, 1958 (drawing #10 from the 100 Eastland disaster in Chicago, IL. Each drawing contradicts the popular media’s clear and extreme images 20. Second Narrows Bridge Collapse, Vancouver, BC, June 17, 1958 (drawing #10 from the 100 Drawings Project), gouache on watercolor paper, 15 x 22 inches, 2007 of catastrophes by displaying blurry records of trauma sites where there’s literally “nothing left to see.” The Drawings Project), gouache on watercolor paper, 15 x 22 inches, 2007 One Hundred Drawings Project is an attempt to establish whether people will still remember events without On June 17, 1958, construction on the Second Narrows Bridge came to a halt when a large portion of On June 17, 1958, construction on the Second Narrows Bridge came to a halt when a large portion of relying on dramatic images of spectacle and aesthetic horror. its span collapsed into the inlet. Strapped to the bridge with harnesses, eighteen workers lost their lives. its span collapsed into the inlet. Strapped to the bridge with harnesses, eighteen workers lost their lives. My grandfather was collecting crab fishing in the inlet at the time and helped save some of the men 13. Marking Time: Work from the One Hundred Drawings Project (installation view), Lorinda Knight My grandfather was collecting crab fishing in the inlet at the time and helped save some of the men that that fell into the water. In the 1990's, the bridge was re-named Ironworkers Memorial Second Narrows Gallery, Spokane, WA, USA , March 2007 fell into the water. In the 1990's, the bridge was re-named Ironworkers Memorial Second Narrows Crossing as a tribute to the workers who lost their life during its collapse while it was being built. On 14. Eastland Disaster, Chicago, IL, July 24, 1915 (drawing #2 from the 100 Drawings Project), gouache Crossing as a tribute to the workers who lost their life during its collapse while it was being built. On both ends of the bridge are plaques commemorating the workers who died. My painting depicts some on watercolor paper, 15 x 22 inches, 2006 both ends of the bridge are plaques commemorating the workers who died. My painting depicts some small flowers located at the north end of the bridge. small flowers located at the north end of the bridge. Early on the morning of Saturday, July 24, 1915, approximately twenty-five hundred employees from Chicago's Western Electric Company boarded the S.S. Eastland to attend a company picnic in Michigan City, Indiana. Due to new lifeboat regulations adopted after the sinking of the Titanic three years prior, the ship was extremely top heavy and began to list dangerously to the port side; eventually rolling over to rest near the south side of the Chicago River between Clark and LaSalle Streets. Many of the passengers were tipped into the water or trapped inside the passenger ship resulting in the loss of 845 lives. Today, a plaque located on the Clark Street Bridge commemorates the victims of the disaster. My painting depicts the site of the disaster from this bridge. In the background is the Reid-Murdoch building which acted as a temporary morgue for the victims.

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I find your Contemporary Perspectives Lecture Series of particular interest, Michelle Forsyth | Artist Statement 355 NE Olsen Street, #205 Pullman, WA 99163 as it would augment my courses nicely, and help to encourage a dynamic and rich learning environment Home Tel: 509.332.2694 for me and my students alike. Overall, I am interested in actively contributing to a program, such as Office Tel: 509.335.3278 Email: [email protected] yours, where my expertise in painting, drawing and digital media, and my attention to critical issues Web: www.michelleforsyth.com within the field can continue to flourish. Favoring the formal elegance of pattern, and the visceral qualities of the handmade over the efficiency of digital production, I consider my work to be a reflection on, and a reaction to, the I am a Canadian citizen who holds a permanent residency card enabling me to work legally in the onslaught of images of suffering in our contemporary world. January 3, 2007 United States. I will be attending the College Art Association Conference in February and would be available for an interview should you decide to consider my application. All of my work is made in response to an extensive collection of images of trauma culled from television, newspapers, and the Internet. From horrific scenes of disaster captured by our Chair, Painting Search Committee School of Visual Arts contemporary news media to the smaller scale depictions of personal tragedy, images of peril and Boston University demise have permeated nearly every aspect of contemporary life. Even without the recent 855 Commonwealth Ave. Sincerely, documentations of the aftermath of Hurricane Katrina, the US invasion of Iraq, or the Israeli 5th floor Boston, MA 02215 bombing of Lebanon, it is easy to see that the mass media pushes daily reminders of the aesthetics of horror. Viewing these kinds of images from afar creates ways of looking that are, at once, both voyeuristic and apathetic. As I find myself confronted by this onslaught, I mourn our tolerance Painting Search Committee: of violence in our media and our inability to express a sense of grief. “To grieve,” according to Michelle Forsyth Judith Butler, “and to make grief itself into a resource for politics, is not to be resigned to inaction, Please accept this application for the painting position at Boston University. I was excited to see the but it may be understood as the slow process by which we develop a point of identification with news of this position, as your department’s interest in having students develop a strong personal artistic suffering itself.” (See Judith Butler, Precarious Life: The Powers of Mourning and Violence (New vision seems to fall in line with many of my own concerns and interests as an artist and as an educator. York, Verso, 2004), p.30). As a humanistic response to these kinds of tendencies, I transform images of abjection and spectacle My research is concerned with the relationship between the tradition of painting and the growing field into glittering surfaces that shroud the images of pain with layers of beauty. Quiet and contemplative, of digital media. My primary concern is with the ways in which new technologies have altered our my work bears traces of its making. From thousands of tiny, sinuous brush strokes or cut-out paper understanding of the world and the effects they have had on the speed in which we receive visual flowers, to diluted layers of watercolor, the value of my time spent becomes just as important as information in our culture. In the studio I am concerned with how these changes relate to the slow and the final product. Color functions to conceal and hide the images in a protective coating, which laborious nature of the painting process. My creative practice is informed by research that favors a creates a distance that I hope will empower viewers with a greater ability to bear witness to the sensual perception of our surroundings rather than a strictly visual one, such as the arguments raised complexities of our mediated experience. by Susan Sontag, Paul Virilio and Elaine Scarry. With their ideas in mind I make work that examines I am certainly not the first painter to respond to these kinds of horrors, nor am I the first to work issues surrounding public spectatorship, spectacle and the contemporary media. from journalistic photographs as source material. From as far back as Francisco Goya’s Disasters of War series (1810 – 20), which document the horrors of the Napoleonic invasion of Spain in 1808; I am currently an Assistant Professor of Painting, Drawing and Digital Media at Washington State and Edouard Manet’s The Execution of the Emperor Maximillian (ca. 1867) depicting Mexican University where I am also the coordinator for the Painting Area. While my practice as an artist and republicans executing the French appointed emperor; through Gerhard Richter’s suite of 15 black educator is strongly based in the discipline of painting, I also hold the ability to teach across disciplines. and white paintings of the imagery associated with the Baader-Meinhof gang, who all committed During my four and a half years at WSU, I have worked with other faculty members in the department suicide in their prison cells early on the morning of 18 October 1977; and Leon Golub’s paintings to develop a strong curriculum in painting and drawing, and have introduced some dynamic new courses documenting the atrocities of the War in Vietnam; to the more recent work by Joy Garnett and that encourage cross-disciplinary approaches to art making. These include both thematically based Adam Hurwitz, the physicality that painting holds has long provided us with means to reflect on painting courses, which allow painting students to explore sculptural and digital approaches while the persistence of these kinds of atrocities. According to Susan Sontag, “Torment, a canonical addressing contemporary issues within the field of painting, as well as advanced drawing courses such subject in art, is often represented in painting as a spectacle, something being watched (or ignored) as Drawing Through Process and Drawing from the Body where students are encouraged to use the by other people. The implication is: no, it cannot be stopped – and the mingling of inattentive with process of drawing to explore their chosen media. Please find included the syllabi for these courses on attentive onlookers underscores this.” (See Susan Sontag, Regarding the Pain of Others (New the enclosed CD. York: Farrar, Straus and Giroux, 2003) p. 42.) Although I consider my work, as a whole, to fall within this tradition of painting, it does not rely on the aesthetic spectacle to give it its power, instead I hope it will be a lasting counterpoint to the typical manner in which we view traumatic historical Although my time at Washington State University has been fruitful and positive as both an educator events. and an artist, I am applying for the painting position at the Boston University for two primary reasons. The first being that my work is beginning to achieve wider national recognition and your location is ideal because it is situated closer to both New York and Toronto where I already have strong connections.

Michelle Forsyth Michelle Forsyth [ 1 ]

Michelle Forsyth | Support Materials Michelle Forsyth | Support Materials

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CHRONOLPEOAmWOGPaEREiIFlme:NC E1RFm Fb3O00FaSTA iL:n5 iSEilcwO:L eC5RMm h3A DH w AEOSAReU5NiILcRANorEC5lwlhMLfHteMEH mfORCesMPMSiN.PfAcm oYEl DCWlOfeiWITuiEmf SLrciCi fWcP[ eElTsoUlLIhOeHs mpOuhyeNrsECeO IRETlateleEllNG: smahDn ReyrGCNSRlLFe5lPtn@ lel :Klahmn LOS0Ea,5e] fn@W Eito9MyR0nSe, r Wat.rs9neyS3FriAhant.e3YOori,y hAgoWetc 3C25tTo,R,9 oth25Dhe#HMctdiaoeTfIwArus63ChB,9.mFvlbW sy124578I*93aStmman. #r.hheeospc239uonrhs.iv,xaefl,o m21raYrF6c.0345789hafOis oltdahufn rl216eto Fahyf debsntaifcwh06r97tmcopvsldnuAoeTytira.h097s6 edtmicnyh,os ramfeluvcryon tg53ed48fHpliupr yahlsew5o 348rteuarn gidehe2 imfpisistcwmn0a-erht l,her sokaemirtril-tinr1ochpi fgretlniN0 asodheh|ifm rluyti-n achpt.rlwe Ffmxosnu T0efrtcahyn mpiosiund rg0btaNrThic,snoueCr mtgiSad,tiewsrelpnoi j.RTME*sF4tGYkdh0rlVe oaxr msiytupekSrc”4natibwhi lummgthvrn doisTce ptlPh.AlAnrianraxira8o etsrsipwhcgfW’ioalio nsmrt.maeizd rbazncski,G Dohi Frdmepi v,ciealtDitrsnim heowtfanFnctbloino.l iametyrirslfc: udbaoFvxne 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fmltevo gns–cx imi-iafe“sc nprdsdmihow B Michelle Forsyth Secondly, I desire to work at a larger institution that can provide a dynamic environment that encourages dialogue and collaboration. I find your Contemporary Perspectives Lecture Series of particular interest, Michelle Forsyth | Artist Statement 355 NE Olsen Street, #205 Pullman, WA 99163 as it would augment my courses nicely, and help to encourage a dynamic and rich learning environment Home Tel: 509.332.2694 for me and my students alike. Overall, I am interested in actively contributing to a program, such as Office Tel: 509.335.3278 Email: [email protected] yours, where my expertise in painting, drawing and digital media, and my attention to critical issues Web: www.michelleforsyth.com within the field can continue to flourish. Favoring the formal elegance of pattern, and the visceral qualities of the handmade over the efficiency of digital production, I consider my work to be a reflection on, and a reaction to, the I am a Canadian citizen who holds a permanent residency card enabling me to work legally in the onslaught of images of suffering in our contemporary world. January 3, 2007 United States. I will be attending the College Art Association Conference in February and would be available for an interview should you decide to consider my application. All of my work is made in response to an extensive collection of images of trauma culled from television, newspapers, and the Internet. From horrific scenes of disaster captured by our Chair, Painting Search Committee School of Visual Arts contemporary news media to the smaller scale depictions of personal tragedy, images of peril and Boston University demise have permeated nearly every aspect of contemporary life. Even without the recent 855 Commonwealth Ave. Sincerely, documentations of the aftermath of Hurricane Katrina, the US invasion of Iraq, or the Israeli 5th floor Boston, MA 02215 bombing of Lebanon, it is easy to see that the mass media pushes daily reminders of the aesthetics of horror. Viewing these kinds of images from afar creates ways of looking that are, at once, both voyeuristic and apathetic. As I find myself confronted by this onslaught, I mourn our tolerance Painting Search Committee: of violence in our media and our inability to express a sense of grief. “To grieve,” according to Michelle Forsyth Judith Butler, “and to make grief itself into a resource for politics, is not to be resigned to inaction, Please accept this application for the painting position at Boston University. I was excited to see the but it may be understood as the slow process by which we develop a point of identification with news of this position, as your department’s interest in having students develop a strong personal artistic suffering itself.” (See Judith Butler, Precarious Life: The Powers of Mourning and Violence (New vision seems to fall in line with many of my own concerns and interests as an artist and as an educator. York, Verso, 2004), p.30). As a humanistic response to these kinds of tendencies, I transform images of abjection and spectacle My research is concerned with the relationship between the tradition of painting and the growing field into glittering surfaces that shroud the images of pain with layers of beauty. Quiet and contemplative, of digital media. My primary concern is with the ways in which new technologies have altered our my work bears traces of its making. From thousands of tiny, sinuous brush strokes or cut-out paper understanding of the world and the effects they have had on the speed in which we receive visual flowers, to diluted layers of watercolor, the value of my time spent becomes just as important as information in our culture. In the studio I am concerned with how these changes relate to the slow and the final product. Color functions to conceal and hide the images in a protective coating, which laborious nature of the painting process. My creative practice is informed by research that favors a creates a distance that I hope will empower viewers with a greater ability to bear witness to the sensual perception of our surroundings rather than a strictly visual one, such as the arguments raised complexities of our mediated experience. by Susan Sontag, Paul Virilio and Elaine Scarry. With their ideas in mind I make work that examines I am certainly not the first painter to respond to these kinds of horrors, nor am I the first to work issues surrounding public spectatorship, spectacle and the contemporary media. from journalistic photographs as source material. From as far back as Francisco Goya’s Disasters of War series (1810 – 20), which document the horrors of the Napoleonic invasion of Spain in 1808; I am currently an Assistant Professor of Painting, Drawing and Digital Media at Washington State and Edouard Manet’s The Execution of the Emperor Maximillian (ca. 1867) depicting Mexican University where I am also the coordinator for the Painting Area. While my practice as an artist and republicans executing the French appointed emperor; through Gerhard Richter’s suite of 15 black educator is strongly based in the discipline of painting, I also hold the ability to teach across disciplines. and white paintings of the imagery associated with the Baader-Meinhof gang, who all committed During my four and a half years at WSU, I have worked with other faculty members in the department suicide in their prison cells early on the morning of 18 October 1977; and Leon Golub’s paintings to develop a strong curriculum in painting and drawing, and have introduced some dynamic new courses documenting the atrocities of the War in Vietnam; to the more recent work by Joy Garnett and that encourage cross-disciplinary approaches to art making. These include both thematically based Adam Hurwitz, the physicality that painting holds has long provided us with means to reflect on painting courses, which allow painting students to explore sculptural and digital approaches while the persistence of these kinds of atrocities. According to Susan Sontag, “Torment, a canonical addressing contemporary issues within the field of painting, as well as advanced drawing courses such subject in art, is often represented in painting as a spectacle, something being watched (or ignored) as Drawing Through Process and Drawing from the Body where students are encouraged to use the by other people. The implication is: no, it cannot be stopped – and the mingling of inattentive with process of drawing to explore their chosen media. Please find included the syllabi for these courses on attentive onlookers underscores this.” (See Susan Sontag, Regarding the Pain of Others (New the enclosed CD. York: Farrar, Straus and Giroux, 2003) p. 42.) Although I consider my work, as a whole, to fall within this tradition of painting, it does not rely on the aesthetic spectacle to give it its power, instead I hope it will be a lasting counterpoint to the typical manner in which we view traumatic historical Although my time at Washington State University has been fruitful and positive as both an educator events. and an artist, I am applying for the painting position at the Boston University for two primary reasons. The first being that my work is beginning to achieve wider national recognition and your location is ideal because it is situated closer to both New York and Toronto where I already have strong connections.

Michelle Forsyth Michelle Forsyth [ 1 ]

Michelle Forsyth | Support Materials Michelle Forsyth | Support Materials

[ 6 ]

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I find your Contemporary Perspectives Lecture Series of particular interest, Michelle Forsyth | Artist Statement 355 NE Olsen Street, #205 Pullman, WA 99163 as it would augment my courses nicely, and help to encourage a dynamic and rich learning environment Home Tel: 509.332.2694 for me and my students alike. Overall, I am interested in actively contributing to a program, such as Office Tel: 509.335.3278 Email: [email protected] yours, where my expertise in painting, drawing and digital media, and my attention to critical issues Web: www.michelleforsyth.com within the field can continue to flourish. Favoring the formal elegance of pattern, and the visceral qualities of the handmade over the efficiency of digital production, I consider my work to be a reflection on, and a reaction to, the I am a Canadian citizen who holds a permanent residency card enabling me to work legally in the onslaught of images of suffering in our contemporary world. January 3, 2007 United States. I will be attending the College Art Association Conference in February and would be available for an interview should you decide to consider my application. All of my work is made in response to an extensive collection of images of trauma culled from television, newspapers, and the Internet. From horrific scenes of disaster captured by our Chair, Painting Search Committee School of Visual Arts contemporary news media to the smaller scale depictions of personal tragedy, images of peril and Boston University demise have permeated nearly every aspect of contemporary life. Even without the recent 855 Commonwealth Ave. Sincerely, documentations of the aftermath of Hurricane Katrina, the US invasion of Iraq, or the Israeli 5th floor Boston, MA 02215 bombing of Lebanon, it is easy to see that the mass media pushes daily reminders of the aesthetics of horror. Viewing these kinds of images from afar creates ways of looking that are, at once, both voyeuristic and apathetic. As I find myself confronted by this onslaught, I mourn our tolerance Painting Search Committee: of violence in our media and our inability to express a sense of grief. “To grieve,” according to Michelle Forsyth Judith Butler, “and to make grief itself into a resource for politics, is not to be resigned to inaction, Please accept this application for the painting position at Boston University. I was excited to see the but it may be understood as the slow process by which we develop a point of identification with news of this position, as your department’s interest in having students develop a strong personal artistic suffering itself.” (See Judith Butler, Precarious Life: The Powers of Mourning and Violence (New vision seems to fall in line with many of my own concerns and interests as an artist and as an educator. York, Verso, 2004), p.30). As a humanistic response to these kinds of tendencies, I transform images of abjection and spectacle My research is concerned with the relationship between the tradition of painting and the growing field into glittering surfaces that shroud the images of pain with layers of beauty. Quiet and contemplative, of digital media. My primary concern is with the ways in which new technologies have altered our my work bears traces of its making. From thousands of tiny, sinuous brush strokes or cut-out paper understanding of the world and the effects they have had on the speed in which we receive visual flowers, to diluted layers of watercolor, the value of my time spent becomes just as important as information in our culture. In the studio I am concerned with how these changes relate to the slow and the final product. Color functions to conceal and hide the images in a protective coating, which laborious nature of the painting process. My creative practice is informed by research that favors a creates a distance that I hope will empower viewers with a greater ability to bear witness to the sensual perception of our surroundings rather than a strictly visual one, such as the arguments raised complexities of our mediated experience. by Susan Sontag, Paul Virilio and Elaine Scarry. With their ideas in mind I make work that examines I am certainly not the first painter to respond to these kinds of horrors, nor am I the first to work issues surrounding public spectatorship, spectacle and the contemporary media. from journalistic photographs as source material. From as far back as Francisco Goya’s Disasters of War series (1810 – 20), which document the horrors of the Napoleonic invasion of Spain in 1808; I am currently an Assistant Professor of Painting, Drawing and Digital Media at Washington State and Edouard Manet’s The Execution of the Emperor Maximillian (ca. 1867) depicting Mexican University where I am also the coordinator for the Painting Area. While my practice as an artist and republicans executing the French appointed emperor; through Gerhard Richter’s suite of 15 black educator is strongly based in the discipline of painting, I also hold the ability to teach across disciplines. and white paintings of the imagery associated with the Baader-Meinhof gang, who all committed During my four and a half years at WSU, I have worked with other faculty members in the department suicide in their prison cells early on the morning of 18 October 1977; and Leon Golub’s paintings to develop a strong curriculum in painting and drawing, and have introduced some dynamic new courses documenting the atrocities of the War in Vietnam; to the more recent work by Joy Garnett and that encourage cross-disciplinary approaches to art making. These include both thematically based Adam Hurwitz, the physicality that painting holds has long provided us with means to reflect on painting courses, which allow painting students to explore sculptural and digital approaches while the persistence of these kinds of atrocities. According to Susan Sontag, “Torment, a canonical addressing contemporary issues within the field of painting, as well as advanced drawing courses such subject in art, is often represented in painting as a spectacle, something being watched (or ignored) as Drawing Through Process and Drawing from the Body where students are encouraged to use the by other people. The implication is: no, it cannot be stopped – and the mingling of inattentive with process of drawing to explore their chosen media. Please find included the syllabi for these courses on attentive onlookers underscores this.” (See Susan Sontag, Regarding the Pain of Others (New the enclosed CD. York: Farrar, Straus and Giroux, 2003) p. 42.) Although I consider my work, as a whole, to fall within this tradition of painting, it does not rely on the aesthetic spectacle to give it its power, instead I hope it will be a lasting counterpoint to the typical manner in which we view traumatic historical Although my time at Washington State University has been fruitful and positive as both an educator events. and an artist, I am applying for the painting position at the Boston University for two primary reasons. The first being that my work is beginning to achieve wider national recognition and your location is ideal because it is situated closer to both New York and Toronto where I already have strong connections.

Michelle Forsyth Michelle Forsyth [ 1 ]

Michelle Forsyth | Support Materials Michelle Forsyth | Support Materials

[ 6 ]

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Jessica Owings Jessica S. Owings 4128 Holmes Street, Kansas City, MO 64110 816.835.6801 [email protected]

Related Experience Selected Exhibitions 2007-present Assistant Printer Solo Skylab Letterpress, Kansas City, MO 2007 “In Sight, to Memory” The Late Show Gallery, Kansas 2005-present Lecturer City, MO Kansas City Art Institute, Kansas City, MO 2004 “New Work” Borders Books & Music Café, Knoxville, TN 2002-present Freelance Artist & Designer Poster, Advertisement, and Invitation Design; Fine “Where are you going, and how will you get there?” Art Prints and Drawings Tennessee Valley Unitarian Universalist Church Gallery, Knoxville, TN 2005-2007 Conference Coordinator “From Here to There” MFA Thesis Exhibition, Ewing Southern Graphics Council Conference 2007 Gallery, Knoxville, TN Kansas City, MO 2004-2007 Studio Assistant 2003 “Hand-carried Work” Natalie Campbell New York City, NY Lawrence Lithography Workshop, Kansas City, MO 2004 Arts Specialist ”Clustering Cards/ Creating Clouds” site specific installation, The Sound Space, University of Tennessee, Arnstein Jewish Community Center/ Milton Collins Knoxville Music Hall Day Camp, Knoxville, TN 2003-2004 Faculty Senate Graduate Assistant Collaborative University of Tennessee, Knoxville 2003 Household Affairs” Women’s Studio Workshop, Rosendale, 2003 Summer Arts Institute Internship NY Women’s Studio Workshop, Rosendale, NY Group Education Department Internship 2007 “Sketchbook” The Late Show Gallery, Kansas City, MO Knoxville Museum of Art, TN “Here and Now” Back Room Gallery at Leedy-Volkous Artist in Residence 2005 ”Winka Boutique” Winka Press Holiday Show Sequoia Elementary School, Knoxville, TN Kansas City, MO 2001 Letterpress Shop Internship ”2005 Kansas City Flatfile” H&R Block Artspace Yee-Haw Industrial Letterpress, Knoxville, TN Kansas City, MO Student Gallery Coordinator Curated Gallery 1010: The Candy Factory, Knoxville, TN 2007 “Culture of the Copy” 10@BNIM, Kansas City, MO

Public Presentations Published Writings 2004 Bookbinding workshop: 2006 “Tom Huck at Sherry Leedy Center for University of Tennessee, Knoxville Contemporary Art” Engraving demonstration: University of Tennessee, (exhibition review) Review, May, p. 58-61 Knoxville, in conjunction with the McClung Museum “Grant Miller and James Woodfill at Byron C. “Gerhard Richter” University of Tennessee, Knoxville, in Cohen” conjunction with the International Studies program (exhibition review) Review, March, p. 62-63 “Michael Krueger and Don Ed Hardy at Dennis Morgan” Selected Grants and Awards (exhibition review) Review, Feb, p. 46-49 2003 Arts and Culture Alliance Legacy Grant, University of Tennessee, Knoxville 2005 “Extra/ordinary” 2002 Herman H. Spivey Fellowship, (Interview with curator Maria Buszek) Review, Surface Design Conference Special Edition University of Tennessee, Knoxville 2004 “Tim Dooley, Aaron Wilson, Ed Wilcox, & John 2000 College of Fine Arts Printmaking Award, Bradley University, Peoria, IL Donovan at Fugitive” (exhibition review) Art Papers, Sep- Oct, p. 43-44 “An Interview with Charlotta Westergren” Number, Spring “Didi Dunphy and Niki Kriese at Ruby Green” (exhibition review) Art Papers, May-June, p. 44

Education 2001-2004 University of Tennessee, Knoxville Master of Fine Arts: Studio Art, Printmaking 1997-2001 Bradley University, Peoria, IL Bachelor of Fine Arts: Printmaking & Drawing, minor Art History

Julie Püttgen Julie Püttgen SPO, 735 University Avenue k Sewanee, TN 37383 k USA k [email protected] k 931 598 1256 k www.turtlenosedsnake.com

Education GEORGIA STATE UNIVERSITY M.F.A. in Drawing, Painting and Printmaking, 2003. Primary focus on installation work. YALE UNIVERSITY B.A., Studio Art, 1994. Concentration in Photography, Painting and Printmaking.

Solo Shows and Collaborative Works 2007 ⋅ Internet Mandala Project and Animal Voids. McIlheny Gallery, Okaloosa-Walton College, Niceville, FL. ⋅ Land Mark / Coming Soon / Historic Prevention. Public art collaboration with Heather Layton. 2006 ⋅ Volcano Series. Ruby Green Contemporary Art, Nashville, TN. 2005 ⋅ Intuitive Landscape: Recent Paintings. City Issue, Atlanta, GA. 2003 ⋅ An Infinite Variety of Similar Things. Artist book collaboration with poet JS van Buskirk. ⋅ Becoming the City That Planted Trees. Youth Art Connection Gallery, Atlanta, GA. ⋅ Internet Mandala Project. GSU Gallery II, Georgia State University, Atlanta, GA. 2002 ⋅ Coming Soon. With Stuff and Nonsense: Vinyl lettering on downtown Atlanta shopfronts. ⋅ 100 Names Project (Phase II). Gallery II, Georgia State University, Atlanta, GA. 2001 ⋅ Pilgrim Pictures/Yale-China Centennial Celebration. Yale-China Association, New Haven, CT. ⋅ 100 Names Project (Phase I). 60 Site-specific shrines installed around downtown Atlanta. 2000 ⋅ The Vashita Project. Group processional street performances around Vashita the Sacred Cow. 1994 ⋅ Alumni Artists Series: Shikoku 88. The Westminster Schools, Atlanta, GA. ⋅ Shikoku 88: Photographs of a Japanese Pilgrimage. Maya's Room, New Haven, CT. ⋅ B.A. Exit Show. Yale University School of Art Gallery. New Haven, CT.

Selected Group Shows 2008 ⋅ Cutting Fine, Cutting Deep. University Gallery, Sewanee: The University of the South, Sewanee, TN (2008) 2007 ⋅ Cine Capellini 2007, Cine Capellini screenings, New York, NY. ⋅ NurtureArt New 07, CUE Foundation for the Arts, New York, NY ⋅ Emerging Artists Show. Spruill Center for the Arts, Atlanta, GA. ⋅ Ladylike? Women Artists Working in the South. Madison-Morgan Cultural Center, Madison, GA. ⋅ Green Art on the Mountain. Sewanee-St. Andrew’s School Gallery, Sewanee, TN. 2006 ⋅ pink days, azure nights. Dalton Galleries, Agnes Scott College, Decatur, GA. ⋅ Beyond Words. University Art Gallery, Sewanee: The University of the South. Sewanee, TN. 2005 ⋅ Small Works Show. City Issue, Atlanta, GA. ⋅ Finding Vanished Atlanta. With Shelter at Eyedrum, Atlanta, GA. 2004 ⋅ Finding Indra’s Net. with Visions and Encounters, Yale School of Art Gallery, New Haven, CT. ⋅ Works on Paper. Temple Gallery, Decatur, GA. ⋅ Tender Landscape. Curated by Lisa Alembik. Agnes Scott College, Atlanta, GA. 2003 ⋅ Atlanta Biennial. Curated by Franklin Sirmans. The Atlanta Contemporary Art Center. 2002 ⋅ Group Photography Show. Youngblood Gallery, Atlanta, GA. ⋅ Collusion. Eyedrum, Atlanta, GA. ⋅ All Small. Eyedrum, Atlanta, GA. ⋅ Fresh. NoNo. Atlanta, GA. ⋅ Not for Sale. TUBE ArtSpot, Atlanta, GA. ⋅ Software: The Vagina Show. TUBE ArtSpot, Atlanta, GA. 2001 ⋅ What’s so Funny About Peace, Love and Understanding? TUBE ArtSpot, Atlanta, GA. ⋅ Random Channels. Eyedrum Art and Music Gallery, Atlanta, GA. ⋅ Groundwords. Published in Flaneur, NY online literary magazine, www.flaneur.org. ⋅ Our Visions/Our Voices: Current Works by Atlanta Women Artists. Seen+Heard: The Atlanta Women’s Arts Festival/Barbara Archer Gallery, Atlanta, GA. ⋅ Georgia Works on Paper. Georgia College and State University, Milledgeville, GA. ⋅ Feminine Images of God. Individual Visual Artists’ Coalition (IVAC)/Columbia Theological Seminary, Decatur, GA.

Selected Writings 2007 ⋅ “Profession, Confession, Joy,” Ratsalad DeLuxe (www.ratsaladeluxe.com), February. 2006 ⋅ Interview with Cindy Loehr, Ratsalad DeLuxe, February. 2005 ⋅ Review of Atlanta Biennial, Ratsalad DeLuxe, June. ⋅ “Our Night in the Panty Hideaway Unit,” with Kristin Gorell. Ratsalad DeLuxe, February. 2004 ⋅ “Kalimera Blue,” Ratsalad DeLuxe, September. ⋅ “On Vampires and the Pleasure of Painting,” with Paul Galloway. Ratsalad DeLuxe, April. ⋅ “Shared Magic: The Lights Out Show,” Eyedrum in Print #4, January. 2002 ⋅ “Coming Soon: Space Reclaimed,” Atlanta Indymedia (www.indymedia.atlanta.org), May 21.

Selected Publications about My Work 2007 ⋅ Diana McClintock, “Emerging Artists 2007,” Art Papers, September-October 2007, p.58-59. ⋅ Jennifer Brett, “View Spruill Works for Bold Statements,” Atlanta Journal Constitution, 05/25/07 2006 ⋅ Beyond Words exhibition catalogue, Sewanee: The University of the South ⋅ “Burp,” published in online journal Drain, Spring 2006 issue (www.drainmag.org). ⋅ David Maddox, “Igneous Art,” Nashville Scene, 6/1/06 2005 ⋅ Jerry Cullum, “Warped Patterns Tickle the Senses,” AJC Access Atlanta, 05/26/05. 2003 ⋅ Richard Gess, Review of 2003 Atlanta Biennial, Artpapers, July/August, p.34. ⋅ Catalogue of 2003 Atlanta Biennial, Atlanta Contemporary Art Center. ⋅ Lila King, “Reciprocal Art,” 2 community radio broadcast reviews of Becoming the City that Planted Trees on WRFG Atlanta. Radio Rock Stars (www.radiorockstars.com), April and June. ⋅ Published From the Heart, “Becoming the City that Nourished Innovative Art,” guerilla insert, Creative Loafing, 4/16/03. 2002 ⋅ Felicia Feaster, “Good Things Come in Small Packages,” Creative Loafing, 7/3/02. ⋅ Felicia Feaster, “Fresh Pork: Socially Conscious Pranksters Liven Up the Scene,” Creative Loafing, 5/29/02. 2001 ⋅ Denny Lee, “New York Online: How to Be a Boulevardier,” New York Times, 9/29/01. ⋅ Kathy Janich, “Women’s Fest Pairs Arts, Activism,” in Atlanta Journal Constitution, 2/6/01. ⋅ Kourtney Eidam, “Girls Kick Ass in the Arts,” Creative Loafing, 2/3/01.

Curatorial and Community Work Ongoing ⋅ Editor, designer and publisher, Ratsalad DeLuxe quarterly online arts journal since April 2004. 2008 ⋅ Cutting Fine, Cutting Deep. University Gallery, Sewanee: The University of the South, Sewanee, TN. 2007 ⋅ Sewanee Sesquicentennial Mural. Downtown Sewanee, TN. Collaborative mural with Advanced Painting class. ⋅ Moonshine Maggie’s Mural. Moonshine Maggie’s, Monteagle, TN. Collaborative mural with Intermediate Painting class. 2003 ⋅ As Seen By Teens. Youth Art Connection Gallery, Atlanta, GA and Atlanta Contemporary Art Center, Atlanta, GA. 2002 ⋅ Four Seasons Mural. GSU Child Development Center, Atlanta, GA. Collaborative mural with 2D design students. ⋅ Not For Sale. TUBE ArtSpot, Atlanta, GA. Exhibition of local and national artists and organizations whose work in some way defies or subverts the model of art as a commodity. ⋅ STUFF & NONSENSE. Core member of Atlanta artists’ collective, dedicated to humor in highlighting the excesses of consumer culture and suggesting possible alternatives. 2001 ⋅ SEEN AND HEARD: THE ATLANTA WOMEN'S ARTS FESTIVAL. Co-Curator, Our Visions / Our Voices: Current Works by Atlanta Women Artists. Solicited submissions, secured exhibition space at Barbara Archer Gallery, wrote grant applications, juried show, publicized events, and organized an all-night quilting bee for the opening night.

Work Experience and Fellowships 2006 to present ⋅ SEWANEE: THE UNIVERSITY OF THE SOUTH. SEWANEE, TN Assistant Professor of Art. Teach drawing and painting classes, and interdisciplinary Senior Seminar to Art majors in all fields. Administer drawing/painting budget and direct studio assistants. Share gallery management with other Studio Art faculty. 2005-2006 ⋅ SAVANNAH COLLEGE OF ART AND DESIGN-ATLANTA. ATLANTA, GA Professor of Foundations and Painting. Taught drawing, design, and color theory classes for students in undergraduate programs. Advised students in graduate painting program. 2005 ⋅ BOYS’ AND GIRLS’ CLUB YOUTH ART CONNECTION GALLERY. ATLANTA, GA Tech CREATIVE Visiting Artist. Consulting artist in new media and digital imaging course. 2003-2005 ⋅ THE MARIST SCHOOL. ATLANTA, GA Visual Arts Instructor. Taught drawing, design, painting, darkroom and digital photography; AP Studio Art; and computer art classes. Co-moderator of nationally recognized Rapier magazine. 2003 ⋅ GEORGIA STATE UNIVERSITY SCHOOL OF ART AND DESIGN. ATLANTA, GA Adjunct Instructor. Invited by faculty to teach a special-topics book arts class, emphasizing binding styles and sequential content in the design of artists’ books. 2002 ⋅ ATLANTA CONTEMPORARY ART CENTER, AS SEEN BY TEENS PROGRAM. ATLANTA, GA Photography Instructor. Taught and designed a digital photography course for youth at the Boys and Girls’ Club. Artist Mentor, Family History Art Book Project, Fall 2001, Fall 2002. Worked with a child to create a book representing his family history and self-image. ⋅ CITY OF ATLANTA BUREAU OF CULTURAL AFFAIRS. ATLANTA, GA Written Project Coordinator, ArtsReach Program. Worked with high school students to create an oral history of Atlanta’s inner-city Pittsburgh neighborhood. 2001-2003 ⋅ GEORGIA STATE UNIVERSITY SCHOOL OF ART AND DESIGN. ATLANTA, GA Graduate Teaching Assistant, Fall 2001-Spring 2003 Taught and designed two years’ worth of drawing and 2D design classes. Graduate Research Assistant, Fall 2000 – Spring 2001. Worked with Gallery Director to organize exhibits. Edited catalogue for Larry Walker: Four Decades retrospective.

2001 ⋅ CITY OF ATLANTA BUREAU OF CULTURAL AFFAIRS. ATLANTA, GA Artist Mentor, ArtsCool Program. Designed and taught mixed-media studio course for teen apprentices. 2000-2001 ⋅ CHASTAIN ART CENTER. ATLANTA, GA Painting Instructor. Designed and taught classes for adult students. 1996-1999 ⋅ ENGLISH FOREST SANGHA Anagarikaa (Eight-Precept Novice Nun). Lived and trained full-time in monastic communities in England in the Thai Buddhist forest tradition. 1996 ⋅ CITY ART CENTRE. DUBLIN, IRELAND Administrative Assistant, Education Department. Assisted with programming for inner-city community arts center. Focus on ACT II integrated disability arts project. 1994-1996 ⋅ YALE-CHINA ASSOCIATION, CHINESE UNIVERSITY OF HONG KONG Yale-China Association Teaching Fellow. Two-year teaching and cultural exchange fellowship in Hong Kong. Designed and taught literature and writing seminars. Co-taught American Culture and Society lecture class. Extensive travel in Asian countries. 1991-1994 ⋅ YALE UNIVERSITY ART GALLERY. NEW HAVEN, CT Research Intern, Department of Prints, Drawings and Photographs. Catalogued recent acquisitions and researched works already in the Department’s collections. 1993 ⋅ CHASE COGGINS MEMORIAL FELLOWSHIP. SHIKOKU ISLAND, JAPAN Fellowship Recipient. Awarded photography fellowship grant for “wandering the wilderness with artistic, scientific, or philosophical intent.” Undertook and completed one round of the 88-temple Buddhist pilgrimage on Shikoku Island, Japan.

Other Skills ⋅ Native bilingual French speaker ⋅ Proficient in German ⋅ Varying degrees of skill in Italian, Mandarin and Pali ⋅ Bookbinder ⋅ Webmaster

Alison Slein

Alison Slein alisonslein.com PO Box 341 [email protected] Buffalo NY 14207 ph. (716) 873-2828 / (716) 864-4277

EDUCATION 1996 Rochester Institute of Technology, Rochester, NY. MFA. Imaging Arts. 1991 Boston University, Internship Programme in the Arts, London, England 1993 University of Missouri, Columbia, Missouri, BA., Art History, BFA, emphasis in photography

SOLO EXHIBITIONS 2003 The Invitation, CEPA Gallery, Buffalo, New York 2001 Sanguine, The William Marten Gallery, Rochester, New York 1999 Crossings, The Armory Gallery, Virginia Polytechnic and State University, Blacksburg, Virginia 1998 I...between them.,The Cell Gallery, Writers and Books, Rochester , New York TWO-PERSON EXHIBITION 2004 New Work, Pratt at Munson-Wilson-Proctor Institute, School of Art Gallery, Utica, New York

JURIED AND INVITATIONAL EXHIBITIONS 2007 Selections from the CCNY Darkroom Residency Program, Camera Club of New York, New York, NY 2006 10th Anniversary Exhibition, Saltonstall Foundation, The Johnson Museum at Cornell University, Ithaca, New York Monroe and Vicinity Biennial, State University of NY at Brockport, Brockport, NY 2005 Soho Photo National Competition, Soho Photo, New York, New York 2004 Home on the Edge, Spaces Gallery, Clevland, Ohio Wegway Magazine International Photography Exhibition, Steam Whistle Gallery, Toronto, Canada 2003 V Salon Internacional De Arte Digital, Centro Cultural Pablo de la Torriente Brau, Havana, Cuba 2003-2005 New American Talent 18, The Jones Center for Contemporary Art, Austin, Texas 2002 In Western New York, Albright-Knox Art Gallery, Buffalo, New York Planet Earth, New Gallery, Univeristy of Miami, Coral Gables, Florida 2001 3rd National All Media Exhibition, Touchstone Gallery, Washington DC 4th Biennial Exhibition, A.I.R. Gallery, New York, New York 2000 Photographic and Digital Media, Eklektikos Gallery, Washington DC 2000 Abstraction, Banana Factory, Bethlehem, Pennsylvania 1999 3D-DC, Touchstone Gallery, Washington DC Digital Art 1999, Nexus Gallery, New York, New York From These Hills, William King Regional Arts Center, Abingdon,VA ( also in 2001) City Art Exhibition, Art Museum of Western Virginia, Roanoke, Virginia 1998 Biennial Art Exhibition, Roanoke College, Olin Hall Galleries, Salem, Virginia 1998 ArtText, Sawtooth Galleries, Winston-Salem, North Carolina 1997-1999 Luminous Code, Traveling exhibit. Texas Fine Arts Association. Austin, Texas

AWARDS / GRANTS 2004 NYFA Fellowship for Photography, New York Foundation for the Arts 2004 Mid Atlantic Arts Foundation Creative Fellow, Mid Atlantic Arts Foundation 2003 Special Opportunity Stipend Grant, New York Foundation for the Arts 2002 Individual Artist Grant: Photography, Constance Saltonstall Foundation for the Arts 1997 Jurors Merit Award: Luminous Code: Juror, Jennifer Blessing

RESIDENCIES 2007 New York Camera Club, Darkroom Residency, New York, New York 2004 Millay Colony for the Arts, Austerlitz, New York 2002 Artist-in-Residence, CEPA Gallery, Buffalo, New Yo

Lane Twitchell LANE TWITCHELL (1967- )

Born in Salt Lake City, UT; lives and works in Brooklyn, NY

EDUCATION

1995 MFA School of Visual Arts, New York, NY 1993 BFA University of Utah, Salt Lake City, UT

SOLO EXHIBITIONS

2007 Revelation: Lane Twitchell drawing & painting Schweinfurth Memorial Art Center, Auburn NY, travels to the University Art Museum, SUNY Albany, The Gibson Gallery SUNY Potsdam (catalogue) 2005 Here & There, Greenberg Van Doren Gallery, New York, NY 2004 American Paradigms: David Opdyke and Lane Twitchell, Corcoran Museum of Art, Washington DC Foursquare, G Fine Arts, Washington D.C. 2002 Private Property, Artemis Greenberg Van Doren Gallery, New York, NY 1999 State of the Union, Deitch Projects, New York, NY 1995 MFA Thesis Exhibition, Visual Arts Gallery, New York, NY 1993 Park Gallery, Salt Lake City, UT

SELECTED GROUP EXHIBITIONS

2006 The Searchers, White Box, New York, NY Drawing III (Selected), G-Module, Paris, France Small Painting Show, organized by the General Store, Milwaukee, The Ulrich Museum, KS Loveless (the shoegazer show), Team, New York, NY I Love the Burbs, Katonah Museum of Art, Katonah, NY 2005 The Early Show, curated by Elysia Borowy-Reeder, Scott Reeder, and Tyson Reeder, White Columns, New York, NY One of a Kind, curated by Thomas Woodruff, New York Academy of Sciences, New York, NY Group Loop, curated by Christoph Cox, G Fine Art, Washington DC 2004 Beginning Here: 101 Ways, curated by Jerry Saltz, Visual Arts Gallery, School of Visual Arts, New York, NY 2003 Perforations, McKenzie Fine Art, New York, NY Terrible Beauty, Satellite, a division of Roebling Hall, New York, NY 2002 The Nature of the Beast , Caren Golden Gallery, New York, NY Some Assemblage Required: Collage Culture in Post-War America, Everson Museum of Art, Syracuse, New York; Madison Art Center, Madison, WI; Polk Museum of Art, Lakeland, FL Snapshot, Elizabeth Leach Gallery, Portland, OR Print Publisher's Spotlight: Solo Impression, Barbara Krakow Gallery, Boston, MA Past Tense: a contemporary dialogue, The Museum of Art, Brigham Young University, Provo, UT Order of Things, Teachers Insurance and Annuity Association College Retirement Equities Fund, New York, NY The Norman Dubrow Biennial, Kagan Martos Gallery, New York, NY On Architectural Atmosphere, G Fine Art, Washington DC 2001 It’s a Party and We’re Having a Great Time, Paul Morris Gallery, NY New Prints 2001 – Winter, International Print Center, NY 2000 Good Business is the Best Art: 20 Years in the Artist Marketplace Program, Bronx Museum of Art, New York, NY (catalogue) Faith-The Impact of Judeo-Christian Religion on Art at the Millennium, Aldrich Museum of Contemporary Art, Ridgefield,CT (catalogue) 1999 1999, P.S.1 Contemporary Art Center, Long Island City, NY Cut Paper-Contemporary and Traditional, Elsa Mott Ives Gallery, New York, NY 1998 Scape, Artists Space, New York, NY Utopia, Roebling Hall, Brooklyn, NY Summer White, (two person), Steffany Martz Gallery, New York, NY Scale: Relatively Speaking, Art in General, New York, NY Take this Job and Shove it, Here, New York, NY 1997 17th Annual Artists in the Marketplace Exhibition, Bronx Museum, NY 1994 MFA Exhibition, School of the Visual Arts, New York, NY 1992 Intercollegiate Exhibition, Salt Lake City, UT; first place drawing, Dave Hickey, juror

COMMISSIONS

2006 New York City Percent for Art Program for the Emergency Assistance Unit of the Department of Homeless Services in conjunction with Polshek Partnership Architects, Bronx, New York 2005 Starbucks Coffee Company Black Apron Exclusives packaging 2003 Chicago Public Art Program Commission 1999 Department of Cultural Affairs Percent Art Program, commissioned work for P.S.1 161 Richmond Hills, Queens, New York

SELECTED MUSEUM COLLECTIONS

Art Bank Program, US State Department, Washington DC Baltimore Museum of Art, Baltimore, MD Corcoran Gallery of Art, Washington DC The Goetz Collection, Munich, Germany The Museum of Modern Art, New York, NY The Neuberger Berman Collection, New York, NY

SELECTED CORPORATE COLLECTIONS

Calamos Holdings, Chicago, IL The Progressive Corporation, Mayfield, OH

AWARDS & RESIDENCIES

2003 New York Foundation for the Arts, Craft Fellowship 2000 Residency, Wier Farm Trust, Wilton, Connecticut 1999 New York Foundation for the Arts, Drawing Fellowship 1998 Rema Hort Mann Foundation Grant P.S.1 National Studio Program 1986 Special Departmental Scholarship; University of Utah