Carmon Colangelo: Theory of Nothing

CAR M O N CO L A N GE LO THEORY OF NOTHING

bruno david gallery

CARMON COLANGELO Theory of Nothing

March 25 - May 21, 2016 Bruno David Gallery 3721 Washington Boulevard Saint Louis, 63108 Missouri, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Director: Bruno L. David This catalogue was published in conjunction with the exhibition Carmon Colangelo: Theory of Nothing Editor: Bruno L. David Catalogue Designer: Marisa Drewes, Ashley Seo-Hyung Lee and Yihuang Lu Designer Assistant: Claudia R. David Printed in USA All works courtesy of Bruno David Gallery, Carmon Colangelo and Flying Horse Editions Photographs by Bruno David Gallery Cover image:

Eye Spy Composition #11, 2015-16 (detail) Monotype, relief print 47-3/4 x 31-1/2 in. (121.30 x 80.60 cm) Printed at Flying Horse Editions, Orlando, FL Director: Theo Lotz Master Printer: Adrian Gonzales

First Edition Copyright Š 2016 Bruno David Gallery, Inc. All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery, Inc.

CONTENTS

THEORY OF NOTHING

BY IGOR MARJANOVIĆ Afterword

BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

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THEORY OF NOTHING

BY IGOR MARJANOVIĆ 2

In writing about the work of contemporary architects—many of whom were his close friends and colleagues, such as Peter Eisenman, Rem Koolhaas and Aldo Rossi, to name just a few—Rafael Moneo used the phrase “theoretical anxiety” to describe an overwhelming desire to translate contemporary philosophical concepts into architecture. With that in mind, we can also propose an opposing approach—an intuitive way of making that rejects the instrumentalization of theory; a way of making that is perhaps more akin to artistic production. Carmon Colangelo’s series of monotypes Theory of Nothing (2016) complicates this binary opposition and lays out yet another possible path, cautiously straddling not only theory and intuition, but also the fields of art and architecture.

Theory of Nothing emerges from the world of architecture and becomes art through a series of appropriations.

Roaming the hallways of the College of Architecture at Washington University in St. Louis and scavenging various discarded materials from its recycling bins, Colangelo amassed a collection of scraps from the school’s fabrication shop. These geometrical shapes are negative spaces of laser cut patterns used to make architectural models. These cutouts, with their recognizable laser burn marks, constitute the debris of contemporary architectural production—the ruins of digital architecture out of which Colangelo’s prints emerge.

Covered with a layer of ink and placed between the paper and the press during the printing process, these cutouts generate pristine geometrical shapes that resemble an imaginary machinery. In Theory of Nothing #1, we see wheels, saws, and rivets—a series of components that, coupled with a carefully selected primary color pattern, start to evoke yet another appropriation: that of Russian Constructivism. The colorful wedges and diagonals in Colangelo’s prints recall the visual language of such artists as El Lissitzky, Kazimir Malevich and Yakov Chernikhov. This is not a coincidence; like Colangelo’s own body of work, the world of Russian Constructivism existed in between art and architecture, between the medium of printing and various forms of three-dimensional making. The Constructivists made drawings, physical models and books, uninhibited by the boundaries of artistic disciplines or media. Lissitzky used orange, red and yellow to accentuate the shapes in his work, playing with abstraction, figure and typography all at once.

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Perhaps the greatest icon of Constructivism is Vladimir Tatlin’s Monument to the Third International (191920). Designed as an abstract model of a gigantic structure, it was never meant to be built; instead, Tatlin’s Tower, as it is also called, was always just an image—a representation of a new society and a visual and political erasure that the October Revolution was meant to bring. Consequently, its images were widely circulated and models of it were carried at political rallies, allowing it to act as a representation of revolution rather than a model of an actual building—a building as idea rather than physical structure. This is not coincidental; the term “constructivism” in the Russian language—or “конструктивизм” as it is spelled in the Cyrillic alphabet— refers more to a theoretical construction rather than a built structure (unlike the word’s primary meaning in the English language). This definition suggests that as much as Russian Constructivism represented an experiment in new structural forms and technologies, it was primarily an exercise in new ideas.

Theory of Nothing is both a wasteland of obsolete building fragments and a printed image. It is a landscape of loosely assembled architectural components—namely, the broken polystyrene model fragments—made of colorful geometrical patterns (by now we almost forget that the polystyrene from which the cutouts came is very white). Resembling rulers, templates and compasses, these cutouts create effects that are both two- and three-dimensional: once pressed against the print roller or placed on a hydraulic press with two tons of pressure, the paper becomes embossed, creating a unique effect that is visual but also very tactile. Consequently, these shapes could be read as fragments of building plans; in many of them we see imaginary wall masses that resemble the architectural poché of the Baroque or modern eras, as in Theory of Nothing #22. The sketchbooks that accompany the Theory of Nothing prints take this spatial angle to a completely new scale: recalling maps, their pages are saturated with imaginary pathways, land formations and weather fragments.

Yet there is an embedded paradox in Colangelo’s Theory of Nothing. Despite the proclaimed erasure of theory—or theoretical claim of “nothingness”—this series uses intuitive making and physicality to reflect on important theoretical concerns of our time.

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One of those concerns is digital media, representation and fabrication—a series of processes that are often scripted and standardized. This form of design uses tessellation and repetition of geometrical shapes to create complex walls, roofs and ceilings. Theory of Nothing responds to that condition by breaking and rearranging those repetitive fragments into colorful new constellations. Two pieces in the series—Eye Spy Composition #4 and Eye Spy Composition #5—are telling of that transformation: their hexagonal cutouts are common byproducts of parametric design processes, yet the uniformity of those processes is here completely questioned. The forms are broken down, misaligned, overlapped.

Contemporary architectural design processes based on digital fabrication result in many leftover materials; Theory of Nothing appropriates those materials through multiple iterations, extending the material’s intended life span. But rather than a mere exercise in the afterlife of digital fabrication and material recycling, Theory of Nothing is also a reflection on the very nature of architectural drawing. Theory of Nothing #17 and Theory of Nothing #19 capture that tradition well, in particular with their vestiges of the delicacy of architectural line weight; their subtle streaks, resulting from gently scored polystyrene surfaces, allow the frailty of architectural construction lines to come to life. Robin Evans wrote poignantly about how important qualities of architecture are often retained in drawing but lost in the process of building. 1 Relatedly, I wonder if the best pieces of architectural fabrication today have been preserved in its leftovers, in its unassuming cutouts that resurface as colorful particles within the Theory of Nothing. Evoking the magic of architectural fragments, this print series is both a building taken apart and an image constructed anew. With its three-dimensional artifacts broken down and flattened into the printed surface, it is a form of translation not from drawing to building—to paraphrase Evans’s famous essay—but its exact reversal: a translation from building back to drawing.

1 Robin Evans, “In Front of Lines that Leave Nothing Behind,” AA Files no. 6 (May 1984): 96.

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Igor Marjanović is a writer and professor of architecture and chair of the undergraduate architecture program at the Sam Fox School-Washington University in St. Louis. His writings on the pedagogical work of Alvin Boyarsky have appeared in the anthologies Critical Architecture (2007) and Chicago Architecture (2005), as well as AA Files and ARQ (2010). Together with Katerina Ruedi Ray, he co-authored Marina City: Bertrand Goldberg’s Urban Vision (Princeton Architectural Press, 2010) He lives and works in St. Louis, Missouri and Florence, Italy. This text is one in a series of the gallery’s exhibition written by fellow gallery artists and friends.

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AFTERWORD

BY BRUNO L. DAVID 8

I am pleased to present an exhibition of new work by Carmon Colangelo. Marking the artist’s eighth solo exhibition with the gallery, Carmon Colangelo presents an installation that includes his newest body of prints, drawings, mixed media works and other ephemera inspired by cosmology and cartography, his recording of the everyday and other musings about the studio as a place of contemplation, making, play and production. Exploring the notion of connectivity, chance and disruption and in the age of social media, Colangelo translates, interprets, recodes and synthesizes his taxonomy of images and ideas that reflect universal themes and contemporary culture.

The exhibition includes a new series of prints in which Colangelo uses discarded laser off-cuts from architectural models as a “ready-mades” for printing. Over time, each iteration of Colangelo’s work has moved towards a greater clarity understanding the power of chance, juxtaposition, abstraction, color and composition in mapping the relational understanding of meaning. Wordplay is an essential element of Colangelo’s work and the Theory of Nothing is a satirical idea and project about trying to find a single equation to understand the universe (aka Theory of Everything) through the non-empirical form of art and exploring the concept of nothingness.

Born in Toronto, Canada, Carmon Colangelo received his M.F.A. from Louisiana State University, Baton Rouge, Louisiana.

His work has been exhibited widely, from Philadelphia and Washington, D.C. to Argentina, Canada, England, Puerto Rico, and Korea. His works are in collections at the National Museum of American Art, the Whitney Museum of American Art, the Saint Louis Art Museum, and the Fogg Art Museum at Harvard University. He is the Dean of the Sam Fox School of Design & Visual Arts at Washington University in St. Louis and holds the E. Desmond Lee Professor for Collaboration in the Arts.

Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery since its founding in 2005. I would like to express my sincere thanks to Igor Marjanović for his thoughtful essay. I am deeply grateful to Marisa Drewes, Ashley Seo-Hyung Lee and Yihuang Lu, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Cleo Azariadis, Marisa Drewes, Ashley Seo-Hyung Lee, Alex DeRosa, and Ryan Eckert.

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CHECKLIST & IMAGES OF THE EXHIBITION

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Eye Spy Composition #2, 2016 Monotype, Relief Print (Unique) 47-3/4 x 31-3/4 inches (121.3 x 80.6 cm)

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Eye Spy Composition #7, 2016 Monotype, Relief Print (Unique) 47-3/4 x 31-3/4 inches (121.3 x 80.6 cm)

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Eye Spy Composition #10, 2016 Monotype, Relief Print (Unique) 47-3/4 x 31-3/4 inches (121.3 x 80.6 cm)

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Eye Spy Composition #8, 2016 Monotype, Relief Print (Unique) 47-3/4 x 31-3/4 inches (121.3 x 80.6 cm)

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Eye Spy Composition #9, 2016 Monotype, Relief Print (Unique) 47-3/4 x 31-3/4 inches (121.3 x 80.6 cm)

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Eye Spy Composition #11, 2016 Monotype, Relief Print (Unique) 47-3/4 x 31-3/4 inches (121.3 x 80.6 cm)

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Eye Spy Composition #11 (detail)

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Eye Spy Composition #11 (detail)

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Eye Spy Composition #4, 2016 Monotype, Relief Print (Unique) 47-3/4 x 31-3/4 inches (121.3 x 80.6 cm)

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Eye Spy Composition #6, 2016 Monotype, Relief Print (Unique) 47-3/4 x 31-3/4 inches (121.3 x 80.6 cm)

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Eye Spy Composition #5, 2016 Monotype, Relief Print (Unique) 47-3/4 x 31-3/4 inches (121.3 x 80.6 cm)

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Eye Spy Composition #3, 2016 Monotype, Relief Print (Unique) 47-3/4 x 31-3/4 inches (121.3 x 80.6 cm)

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Eye Spy Composition #1, 2016 Monotype, Relief Print (Unique) 47-3/4 x 31-3/4 inches (121.3 x 80.6 cm)

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Theory of Nothing #19, 2016 Monotype, Relief and Intaglio Print (Unique) 30-3/4 x 22-1/2 inches (76.2 x 55.9 cm)

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Theory of Nothing #11, 2016 Monotype, Relief and Intaglio Print (Unique) 29-3/4 x 21-3/4 inches (73.7 x 53.4 cm)

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Theory of Nothing #14, 2016 Monotype, Relief and Intaglio Print (Unique) 29-3/4 x 22 inches (73.7 x 55.9 cm)

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Theory of Nothing #16, 2016 Monotype, Relief and Intaglio Print (Unique) 29-3/4 x 21 3/4 inches (73.7 x 55.2 cm)

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Theory of Nothing #22, 2016 Monotype, Relief and Intaglio Print (Unique) 30- 3/4 x 22-1/2 inches (76.2 x 55.9 cm)

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Theory of Nothing #3, 2016 Monotype, Relief and Intaglio Print (Unique) 30-3/4 x 22-1/2 inches (76.2 x 55.9 cm)

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Theory of Nothing #6, 2016 Monotype, Relief and Intaglio Print (Unique) 30-3/4 x 22-1/2 inches (76.2 x 55.9 cm)

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Theory of Nothing #4, 2016 Monotype, Relief and Intaglio Print (Unique) 30-3/4 x 22 1/2 inches (76.2 x 55.9 cm)

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Theory of Nothing #7, 2016 Monotype, Relief and Intaglio Print (Unique) 30-3/4 x 21-3/4 inches (76.2 x 53.3 cm)

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Theory of Nothing #9, 2016 Monotype, Relief and Intaglio Print (Unique) 30-3/4 x 22-1/2 inches (76.2 x 55.9 cm)

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Theory of Nothing #5, 2016 Monotype, Relief and Intaglio Print (Unique) 30-3/4 x 22-1/2 inches (76.2 x 55.9 cm)

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Theory of Nothing #12, 2016 Monotype, Relief and Intaglio Print (Unique) 29-3/4 x 22 inches (73.7 x 55.9 cm)

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Theory of Nothing #21, 2016 Monotype, Relief and Intaglio Print (Unique) 29-3/4 x 22 inches (73.7 x 55.9 cm)

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Theory of Nothing #26, 2016 Monotype, Relief and Intaglio Print (Unique) 29-3/4 x 21-3/4 inches (73.7 x 53.3 cm)

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Theory of Nothing #17, 2016 Monotype, Relief and Intaglio Print (Unique) 30-3/4 x 22-1/2 inches (76.2 x 55.9 cm)

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Theory of Nothing #25, 2016 Monotype, Relief and Intaglio Print (Unique) 29-3/4 x 22 inches (73.7 x 55.9 cm)

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Theory of Nothing #20, 2016 Monotype, Relief and Intaglio Print (Unique) 29-3/4 x 21-3/4 inches (73.7 x 53.3 cm)

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Theory of Nothing #10, 2016 Monotype, Relief and Intaglio Print (Unique) 29-3/4 x 22 inches (73.7 x 55.9 cm)

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Theory of Nothing #18, 2016 Monotype, Relief and Intaglio Print (Unique) 30-1/4 x 22 1/2inches (76.2 x 55.9 cm)

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Theory of Nothing #19, 2016 Monotype, Relief and Intaglio Print (Unique) 29-3/4 x 22 inches (73.7 x 55.9 cm)

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Theory of Nothing #1, 2016 Monotype, Relief and Intaglio Print (Unique) 30-3/4 x 22-1/2 inches (76.2 x 55.9 cm)

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Theory of Nothing #27, 2016 Monotype, Relief and Intaglio Print (Unique) 29-3/4 x 21-3/4 inches (73.7 x 55.3 cm)

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Theory of Nothing #2, 2016 Monotype, Relief and Intaglio Print (Unique) 30-3/4 x 22-1/2 inches (76.2 x 55.9 cm)

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Carmon Colangelo: Theory of Nothing, Bruno David Gallery, 2016 (Installation view)

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Carmon Colangelo: Theory of Nothing, Bruno David Gallery, 2016 (Installation view)

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Carmon Colangelo: Theory of Nothing, Bruno David Gallery, 2016 (Installation view)

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Carmon Colangelo: Theory of Nothing, Bruno David Gallery, 2016 (Installation view)

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Carmon Colangelo: Theory of Nothing, Bruno David Gallery, 2016 (Installation view)

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CARMON COLANGELO Born in Toronto, Ontario, Canada Lives and works in Saint Louis, Missouri

EDUCATION M.F.A B.F.A

1983, Printmaking, Louisiana State University, Baton Rouge, Louisiana.

1981, Printmaking and Painting, University of Windsor, Windsor, Ontario, Canada.

SELECTED SOLO EXHIBITIONS 2016 2015 2014 2013

2012

2011 2008

2007

2006

Bruno David Gallery, Theory of Nothing, Saint Louis, Missouri. (catalogue) Emergency Room, New Prints, Rice University, Houston, Texas Bruno David Gallery, Storms, Saint Louis, Missouri. (catalogue) Schema Projects, Global Yocals, Drawings, Sketches and Other Recent Musings, Brooklyn, NY Bruno David Gallery, Glocal Diptychs, Saint Louis, Missouri. (catalogue) Tarble Arts Center, iM here, Charleston, Illinois Bruno David Gallery, O Land O, Saint Louis, Missouri. (catalogue) Bruno David Gallery, Eyedeas, Saint Louis, Missouri. (catalogue) Heuser Art Gallery, Carmon Colangelo, Bradley University, Peoria, Illinois.

Bruno David Gallery, Big Bang to Big Melt, Saint Louis, Missouri. (catalogue) Farrell Center Gallery, Carmon Colangelo: Prints, School of Medicine, Washington University in St. Louis, St. Louis, Missouri.

Flora Kirsch Beck Gallery, Carmon Colangelo, Alma College, Alma, Michigan.

Bruno David Gallery, Pharmland Series, Saint Louis, Missouri.

Sandler Hudson Gallery, Carmon Colangelo: Configured/Disfigured, Atlanta, Georgia.

Bruno David Gallery, Configured/Disfigured, Saint Louis, Missouri.

Sandler Hudson Gallery, Carmon Colangelo, Atlanta, Georgia.

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2004 Laura Mesaros Gallery, Phantasmagoria, West Virginia University.

Museo de Pueblos, Phantasmagoria, Guanajuato, Mexico.

2003 Scuola Internazionale di Grafica, Looking Back, Residency, Venice, Italy.

2002 Hope Street Gallery, DA,DA,DA, Liverpool John Moores University Gallery, in conjunction with the Liverpool

Contemporary Art Biennial, Liverpool , England.

Sandler Hudson Gallery, Fountain of Age, Atlanta, GA. 2001 John and Jane Allcott Gallery, Re-Tracings, University of Chapel Hill, NC. 2000 University of Delaware, Blasted Impulses and Beautiful Impossibilities, Newark, DE. 1996 Crieghton Davis Gallery, Carmon Colangelo, Washington, DC. 1995 Philadelphia Print Club, Carmon Colangelo, Philadelphia, PA.

Ohio Wesleyan University, Lynn Mayhew Gallery, Carmon Colangelo, OH. 1994 Bradley University, Heuser Gallery, Carmon Colangelo, Peoria, IL.

Adams State College, Carmon Colangelo, Alamosa, CO. 1993 Shepherd College Gallery, Carmon Colangelo, Shepherdstown, West Virginia.

Rockville Arts Place, Prints and Constructions, Rockville, MD.

Governor’s Mansion, Arts and Letters Series, Carmon Colangelo and Alison Helm.

1992 Windsor Printmaker’s Forum Gallery, Permutations, Windsor, Ontario.

1988 Benedum Gallery, Recent Prints and Paintings, Monongahela Art Center, Morgantown, WV.

SELECTED GROUP EXHIBITIONS 2016

2014

2013 2012 2011

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Burst of Memory, Bruno David Gallery, St. Louis, MO. Tower of Babel, Schema Projects, Brooklyn, NY AND / OR, Bruno David Gallery, St. Louis, MO. OVERVIEW_2014, Bruno David Gallery, St. Louis, MO. Deem 20, Art Museum of West Virginia University, WV (catalogue) Artworks, Bruno David Gallery, St. Louis, MO. BLUE-WHITE-RED, Bruno David Gallery, St. Louis, MO. Prints + Multiples, Bruno David Gallery, St. Louis, MO.

2010

2008

2008 2007

2006 2005 2004

2003

2002

2001 2000

1999 1998

MATRIX, Museum of Fine Arts, Florida State University, Tallahassee, FL. OVERPAPER, Bruno David Gallery, St. Louis, MO. (catalogue) A Survey of Contemporary Prints, Wellington Gray Gallery, School of Art and Design, East Carolina University, Greenville, NC, 2010.

Assorted Printmakers, curated by Jeff Sippel, Gallery FAB, University of Missouri, St. Louis, MO. Overview_08, Bruno David Gallery, St. Louis, MO. Four Aces: Large-Scale Prints from Four Universities, Bruno David Gallery, St. Louis, MO. Overview_07, Bruno David Gallery, St. Louis, MO. There and Here: Carmon Colangelo, Joan Hall, Peter Marcus, COCA: Millstone Gallery, St. Louis, MO. Overview_06, Bruno David Gallery, St. Louis, MO. Impressions, An Invitational Exhibition of Prints, McMaster Gallery, University of South Carolina, Columbia, SC Handmade Papermaking Exhibition, The Robert C. Williams American Museum of Papermaking, Atlanta, GA. Gallery Artists, College Arts Association, Sandler Hudson Gallery, Atlanta, GA. Works on Paper, Sandler Hudson Gallery, Atlanta, GA. 2K3, Wesleyan College, Macon, GA. Culture Shock: Works by Georgia’s Foreign-Born Artists, Suntrust Plaza Gallery, Atlanta, GA. Georgia Triennial Exhibition, Traveling. Gallery City East, Atlanta, GA; Macon Museum of Art, Macon, GA; Albany Museum of Art and Telfair Museum, Savannah, GA. Prints by Georgia Artists, Swan Coach Gallery, Atlanta, GA. XIII San Juan Print Biennial, San Juan, Puerto Rico.

Hypersalon, Prints and Multiples, Atrium Gallery,Virginia Museum of Fine Arts, VA. Interprint, Contemporary American Prints, Maastricht, Holland.

Contemporary _ Prints and the Print Process, Albrecht-Kemper Museum, St. Joseph MO. Faculty Exhibition, Lyndon House Arts Center, Athens, GA. Nexus Biennial: Celebrating Local Figures, Nexus Contemporary Arts Center, Atlanta, GA. Pervasive Impressions: Contemporary Political Prints, Contemporary Research Center for the Arts, University of Texas, Arlington Gallery, TX. Drawn to Stone, Kennedy Museum, University of Ohio, Athens, OH. Baltimore Contemporary Print Fair, The Baltimore Museum of Art, Baltimore, MD. American Graphic Artists: The 5th Biennial of Slovene Arts, Nova Mesto, Slovenia.

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1998

1997

1996

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El Paso Printmaking Invitational, University of Texas, Fox Fine Arts Center Gallery, El Paso, TX. Are You Looking at Me?, Acme Art Gallery, Cleveland, OH. Texas/Georgia Print Exchange Exhibition, University of Dallas, TX. Multiple Touch: The Tactile Sensation in Prints, Robert Else Gallery, California State University, Sacramento, CA. Faculty Exhibition, Lamar Dodd School of Art, Georgia Museum of Art, Athens, GA. A Strange Vision, Brazosport College, Lake Jackson, TX. World Print Survey, Truman State University, Kirksville, MO. Allographies, Contemporary Printmakers, University Museum, Indiana University of Pennsylvania, Indiana, PA. Print Panorama: Nostalgia for the Future, Nova Scotia College of Art and Design, Halifax, NS, Canada.

Print Panorama: Nostalgia for the Future, West Virginia University, Morgantown, WV. Litografia Argentina Contemporanea II, Museo Nacional del Grabado, Buenos Aires, Argentina.

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

A Thought Intercepted, California Museum of Art, Luther Burbank Center for the Arts, Santa Rosa, CA. Sliced Orbits, (Colangelo, Jaye and Hocking ) Pierce Art Gallery, West Virginia University Institute of Technology, Montgomery, WV. 26th Bradley National Print Exhibitions, University Galleries, Bradley University, Peoria, IL. Group Exhibition, Corcoran School of Art, Printmaking Studio Gallery, Washington, DC. The West Virginia Collection: Figurative Works, Cultural Museum, Charleston, WV. American Print Survey, Highland Community College, Highland, KS. A Strange Vision, Luther College Galleries, Decorah, IA. Print Invitational, (five person) Atrium Gallery, University of Connecticut, Storrs, CT. The Minnesota National Print Biennial, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN. 6th Clemson National Print and Drawing Exhibition, Rudolph E. Lee Gallery, Clemson, SC. Holler to Holler, Remote State, Monongahela Arts Center and State College Galleries, WV. West Virgina Fellowship Exhibition, Cultural Complex and Museum, Charleston, WV. Summer Exhibition, Bennington College, Bennington, VT. Governor’s Academy Faculty Exhibition (two person), Fairmont College, Fairmont, WV. West Virginia Traveling Exhibition, Tamarack Galleries, Beckley, WV. Print Types, Art Institute for the Permain Basin, Odessa, TX.

1995

1995

1994

1993

1992

1991

17th University of Dallas Printmaking Invitational, University of Dallas, Irving, TX. Print Invitational, Richard E. Beasley Museum and Gallery, Northern Arizona University, Flagstaff, AZ. Miami Print Invitational, New Galley, University of Miami, Coral Gables, FL. Hawaii Print Invitational, University of Hawaii at Hilo, Hilo, HI. McNeese Print Invitational, McCrombie Gallery, McNeese State University, Lake Charles, LA. Works on Paper, Elzay Gallery of Art, Wilson Art Center, Ohio Northern University, Ada, OH. Elvis “ X “ Suite, The Candy Factory, 23rd Southern Graphics Conference, University of Tennessee, Knoxville, TN. Colorprint USA, Lubbock Fine Arts Center, Texas Tech University, Lubbock , TX. Curated by Lynwood Kreneck.

Alternative Prints, University Art Galleries, University of South Dakota, Vermillion, SD. Dakotas International, University Art Galleries, University of South Dakota, Vermillion, SD. Southern Printmakers, Atrium Gallery, University of North Texas, Fort Worth, TX. Printypes, Tareton State University, Stephenville, TX and Chadron State College, Chadron, NA. Paradise Endangered: New World of Contemporary Prints, The American Print Alliance, Baltimore City Hall Courtyard Galleries, Baltimore, MD. Naked Pittsburgh ,Views from Zenith Gallery, Pittsburgh, PA. Curated by David Goldstein.

6th Annual Florida Printmaking Society Exhibition, New World School of the Arts Gallery, Miami, FL. 6th Clemson National Print and Drawing Exhibition, Rudolph E. Lee Gallery, Clemson, SC. Society of American Graphic Artists 65th National Print Exhibition, Federal Plaza, New York, NY. Pulling Prints/ Talking Together, 21st Southern Graphics Conference, Thesis Gallery Fox Bldg., Maryland Institute, College of Art, Baltimore, MD. Southern Graphics Traveling Exhibition, University of North Alabama, Montgomery College, MD and Morehead State College, KY. Charlotte International Art Exhibition, Spirit Square Center for the Arts, Charlotte, NC. Juror Amada Cruz, Hirshhorn Museum, Washington, DC. Earth Views: Landscape Imagery by Mid-Atlantic Printmakers, Rockville Arts Place,Rockville, MD. Group Exhibition, Silvermine Prints International, Silvermine Guild Galleries, New Caanan, CT. Exhibition 280: Works on Walls, Huntington Museum of Art, Huntington, WV. 20th Southern Graphics National Exhibition, (traveling) 1992-94.

Printworks, Carmon Colangelo and Sergio Soave, Hoyt Institute of Fine Arts, New Castle, PA. 5th Clemson National Print And Drawing Exhibition, Rudolph E. Lee Gallery, Lee Hall, College of Architecture, Clemson University, Clemson, SC.

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1991

1990

1989

1988

1987

1986

1985

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Florida Printmakers Society 5th Annual Exhibition, Thomas Center Gallery, Gainesville, FL. West Virgina Impressions: Printmaking in the Mountain State, Sunrise Museum Downtown, Charleston, WV. 11th Los Angeles Printmaking Society National Printmaking Exhibition, Laband Art Gallery, Loyola Marymount University, Los Angeles, CA. The Boston Printmakers 42nd North American Print Exhibition, Fitchburg Art Museum, Fitchburg, MA. U.S. - Korea Traveling Exhibition, (Los Angeles, Seoul, Paris), Los Angeles Printmaking Society and The Korean Contemporary Printmaking Association, Korean Cultural Galleries in Los Angeles and Seoul and the Embassy Cultural Center in Paris, France.

Korean International Print Biennial, International Exchange of Prints 1989, Korean Printmakers Association, Seoul, Korea.

International Prints II, Silvermine Guild Galleries, New Canaan, Connecticut and John Szoke Gallery, New York City, NY. 10th University of Dallas Printmaking Invitational, Haggerty Art Center, University of Dallas,Irving, TX. The Great White North, Recent Canadian Art, Invitational Exhibition, Staten Island Institute of the Arts, NY. Prints, Invitational Exhibition, Four Printmakers, Merwin Gallery, Illinois Wesleyan University, Bloomington, IL. 21st Bradley National Print and Drawing Exhibition, Hartman Center Gallery, Bradley University, Peoria, IL. 3rd Clemson National Print and Drawing Exhibition, Rudolf E. Lee Gallery, College of Architecture, Clemson University, SC. 7th Annual National Print Exhibition, Artlink Contemporary Artspace, Fort Wayne, IN. Philadelphia Print Club 62nd International Print and Photography Exhibition, Print Club Gallery, Philadelphia, PA. Post-Rustic, Artists Liaison Gallery Exhibition, Theater Art Gallery, Design Center, Los Angeles, CA. Society of American Graphic Artists Juried Exhibition, Lumen Winter Gallery of the New Rochelle Public Library, New York, NY. 6th Annual National Print Exhibition, Artlink Contemporary Artspace, Fort Wayne, IN. Scotland tour Exhibition, Works from LSU Print Workshop, Aberdeen Art Museum, Glascow School of Art, Edinboro College of Art, Dundee College of Art, Greys School of Art, Scotland.

9th National Juried Exhibition of the Los Angeles Printmaking Society, (33 Printmakers), Wright Art Gallery, UCLA, Los Angeles, CA. Pratt-Silvermine International Print Exhibition, Silvermine Guild Center for the Arts, New Cannaan, Connecticut and Pratt Manhattan Center Gallery, New York, NY. The 38th North American Print Exhibition, Boston Printmakers, DeCordova Museum, Boston, MA. The Boston Printmakers 37th National Print Exhibition, Rose Art Museum, Brandeis University, Waltham, MA. 9th Annual Eastern United States Print and Drawing Exhibition, North Carolina Print and Drawing Society, Spirit Square Art Center and St. Johns Museum, NC.

GRANTS & AWARDS 2010

2006 2004 2003 2001 2000

1998 1996

1995

1994 1993

1992

1991

Association of Collegiate Schools of Architecture, (ACSA) Service Award for hosting and the annual ACSA and NCAA (National Council of Art Administrators) conference, Economies: Art + Architecture.

E. Desmond Lee Professorship for Collaboration in the Arts and Medal, Endowed Professorship with Scholarly Support Alison and Patrick Deem Distinguished Lecturer, West Virginia University, Morgantown, WV. Distinguished Research Professor, Award, University of Georgia.

Melon Foundation Grant, UGA Libraries and School of Art (Digitize the Carnegie Study of the Art of the United States.)

State of the Art Conference Grant, Cortona International Art Symposium; A Print Odyssey 2001.

President’s Venture Fund Grant for Scholarships, Print and Book Arts Maymester Program and Cortona International Art Symposium.

Senior Research Grant in the Fine Arts, Mixed Media Paintings and Layered Impressions, The University of Georgia.

West Virginia Artist Fellowship: Art and Humanities Grant, Cultural Center and Museum, Charleston, West Virginia.

Gary Applebaum Purchase Award and the Charbonnel Inks Award, Minnesota National Print Biennial, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN. Jurors Elizabeth Armstrong and Frances Myers.

Juror’s Commendation, Sixth Clemson National Print and Drawing Exhibition, Clemson University. Juror, Ruth Wiesberg.

International Visiting Artist Grant, Shanghai University, Jingdezhen Ceramic Institute and the Nanjing Arts College, People’s Republic of China.

College of Creative Arts Outstanding Research Award, West Virginia University, West Virginia.

17th University of Dallas Printmaking Invitational Purchase Award, University of Dallas, Texas.

Governor’s Award, West Virginia Juried Exhibition, The Cultural Museum, Charleston, WV. International Visiting Artist Grant, Academy of Fine Arts, Bratislava, Slovakia.

Judith Lieber Purchase Award, Society of American Graphic Artists, 65th National Print Exhibition, Federal Plaza, New York, New York.

Juror’s Award, Clemson National Print and Drawing Exhibition, Clemson, South Carolina. Juror, Elizabeth Armstrong, Curator Walker Art Center, Minneapolis.

Sabbatical Research Leave, Board of Trustees, WVU, Fall semester.

West Virginia University Senate Research and Scholarship Grant, for “Print Assemblages”.

International Visiting Artist Residency Program, Windsor Printmakers Forum, funded by the Canada Arts Council.

Honorable Mention, Exhibition 280: Works on Walls, Huntington Museum of Art, West Virginia.

Fifth Clemson National Print and Drawing Exhibition Purchase Award, Clemson University. Juror, Ned Rifkin, Chief Curator Hirshhorn Museum and Sculpture Garden, Smithsonian Institute.

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1990 Arjamari-Arches-Rives Purchase Award, 11th National Los Angeles Printmaking Society, Los Angeles, California

Senate Research and Scholarship Grant, “Collaborative Lithography,”creation of lithographs at Winstone Press, North Carolina.

1988 10th University of Dallas Printmaking Invitational Purchase Award, University of Dallas, Irving, Texas.

1987 3rd Clemson National Jurors Purchase Award, Clemson University, South Carolina. Juror, Terence La Noue, Painter and Printmaker.

1986 6th Annual National Print Jurors Award, Artlink Contemporary Artspace, Indiana. Juror, Fred Grude, Master Printer, Four Brothers Press,

Chicago, Illinois.

North Carolina Print and Drawing Society Purchase Award, 9th Annual Eastern United States Print and Drawing Exhibition.

Juror, Robert Gordy.

West Virginia University Senate Research and Scholarship Grant, Project; Mixed Media Printmaking.

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

Juror’s Award, Three Rivers Art Festival, Juried Exhibition. Juror Patterson Sims, Assistant Curator of the Whitney Museum of

American Art.

Consolidated Natural Gas Foundation Purchase Award, Purchase for the University of Pittsburgh, Three Rivers Art Festival Exhibition.

Juror’s Commendation, Boston Printmakers 37th National. Juror, David W. Kiehl, Assistant Curator of Prints, Metropolitan Museum of Art.

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CURATED EXHIBITIONS 2008 On the Margins, Mildred Lane Kemper Museum, St. Louis, Missouri.

Artists: Adel Abidin, Laylah Ali, Paolo Canevari, Enrique Chagoya, Willie Cole, Luis Cruz Azaceta, Willie Doherty,

Jane Hammond, Martha Rosler and Do-Ho Suh. Catalogue: On the Margins, with contributions from Eleanor Heartney

and Paul Krainak, February 2008. (catalogue) 2001 Ponte Futuro, Co- curator with Judith Brodsky, Girifalco Fortress in Cortona, Italy.

Artists: Willie Cole, Magdelena Compos Pons, Leslie Dill, Hung Liu, Igor Makarevich, Young Soon Min, Pepon Osorio,

Juan Sanchez, Italo Scagna, Kiki Smith, Komar and Melamid, Mimmo Palladino, James Siena, Robert Stackhouse and

William Kentridge. Installed in the town fortress the exhibition exemplified the aesthetic range of artists around the world

addressing technology, craft, identity, popular media and globalism after a century of avant-gardism.

1999 Fabled Impressions, Knox Gallery of Prints and Drawings, Georgia Museum of Art.

Artists: Luis Cruz Azaceta, Jose Bedia, Leslie Dill, Randy Bolton, Jane Hammond, Bill Fick, Steve Murakishi, Kurt Kemp,

Laurie Sloan and Kara Walker. Exhibition focused on works by artists who use allegory and irony to comment on the political,

spiritual and technological issues of the late 20th century; 1996 Remote Sensing, Paul and Laura Mesaros Galleries, West Virginia University.

Artists: Nancy Spero, Frances Myers, Beauvais Lyon, Tom Nakashima, Simon Penny, Juila Kilgaard, Adele Henderson,

James McEllinney, Michael Rodemer, Tanja Softic, Chris Sperandio and Kelley Walker.

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BIBLIOGRAPHY Marjanović, Igor.

Beall, Dickson.

Spector, Buzz.

Beall, Dickson.

Gay, Malcolm.

Beall, Dickson.

Swenson, Eric.

Cooper, Ivy. Beall, Dickson.

Cooper, Ivy. Van Uum, Katherine.

Beall, Dickson.

Lotz, Theo.

Spector, Buzz.

Cooper, Ivy. Baran, Jessica.

Weisberg, Ruth.

Murphy, Patrick.

Krainak, Paul.

Gay, Malcom.

Beall, Dickson.

Otten, Liam.

Bonetti, David.

“Theory of Nothing,” Catalogue, Bruno David Gallery Publication, October 2016.

“Carmon Colangelo: A Dean With A Theory of Nothing,” Video-Interview, The St. Louisan, March 2016.

“Carmon Colangelo Interviewed by Buzz Spector,” Catalogue, Bruno David Gallery Publication, June 2014.

“Carmon Colangelo,” Video-Interview, The St. Louisan, April 2014.

“Carmon Colangelo: Exhibit at Bruno David,” Riverfront Times, April 10, 2014.

“Carmon Colangelo,” WestEnd Word, March 26, 2014.

“Carmon Colangelo: Global Diptychs,” Video-Interview, EMS, April 2013.

“Carmon Colangelo,” Catalogue Essay, Bruno David Gallery Publication, April 2013.

“Carmon Colangelo - O Land O,” Video Interview (2:50 mi.), The St. Louisan, January 2012.

“Carmon Colangelo’s Delirious Vision,” Catalogue Essay, Eastern Illinois University Publication, October 2012.

“On the Road With Co-Langel-O,” Catalogue Essay, Bruno David Gallery Publications, February 2012.

“Nature, Place, Body & Architecture,” West End Word, St. Louis, MO, February 1, 2012.

“Seven Days in O Land O,” Catalogue Introduction, Bruno David Gallery Publications, February 2012.

“Carmon Colangelo: In Media Res,” Catalogue Essay, Bruno David Gallery Publications, April 2011. “ ‘Eyedeas’ a plenty,” St. Louis Beacon, St. Louis, MO, April 13, 2011.

“Eyedeas,” Riverfront Times, St. Louis, MO, April 14, 2011.

“Carmon Colangelo and His Big ‘Eyedeas’, ” Catalogue Essay, Bruno David Gallery Publications, April 2011.

“From Big Bang to Big Melt,” Bruno David Gallery, TV interview on PBS, “Living St. Louis”, January 2009.

“Carmon Colangelo,” Catalogue Essay, Bruno David Gallery Publications, December 2008.

“Four Aces,” RiverFront Times, St. louis, MO, February 27, 2008.

“Medical Arts,” West End Word, St. Louis, MO, December 2008.

“Art Medicine: Carmon Colangelo,” Record, St. Louis, MO, January 9, 2008.

“Art Openings,” St. Louis Post-Dispatch, 2006.

Duffy, Robert.

Downen, Jill.

Teekell, Anna.

Dana, Robin P.

“Carmon Colangelo,” Riverfront Times, September 20, 2006.

“Carmon Colangelo,” Catalogue Essay, Bruno David Gallery Publications, Fall 2006.

“Fit for Print,” RiverFront Times, September 2006.

“Carmon Colangelo: Multiple Impressions,” Art Works, pp. 3-4, Vol. 11, Washington University Publications, Spring 2006, St. Louis, MO. (Two color illustrations, “Body Bizarre” and “Gray’s Anatomy”)

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Slaven, Michael.

Zhiyuan, Cong.

Eide, Joel S.

Allen, Lynn and McGibbon Phylis Allen, Lynn and McGibbon Phylis Krainak, Paul.

Colangelo, Carmon.

Slaven, Michael.

Olson, Kristina.

Cunningham.

Olson, Kristina.

“Phantasmagoria,” Art Papers, Summer 2004.

“The Window Overseas,” Contemporary American Printmaking, Chinese Printmaking, pp. 36-44, Vol. 12, 1998. (two color illustrations, “White Breast with Bunny” and “Kiss and Tell”) “American Graphic Artist,” The 5th Biennial of Slovene Arts (book length), pp. 97-120, October, 1998.

(One color illustration).

Best of Printmaking: An International Collection, Rockport Publishers, Inc., pp. 158, 1997.

“Art, Multiple Touch: The Tactile Sensations in Prints,” The Sacramento Bee, September 6, 1998.

Who’s Who in American Art, 23rd edition.

Who’s Who in the South and Southeast, 26th edition.

“Appalachian High: Resisting Mis-Representation,” Art Examiner, pp. 31- 35, October, 1997.

“Remote Simulations,” Contemporary Impressions, Spring 1995.

“Out of Print,” After Image, Spring 1996.

“Colangelo,” Art Papers, Rockville Arts Place, July/August, 1993.

E.C. Printmaking: A Primary Form of Expression, Colorado Press, 1992. (One Chapter, four reproductions.)

“Colangelo/Soave,” Art Papers, Hoyt Institute of Fine Arts, 1992.

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FACULTY POSITIONS 2006-Present

1999-2006 1997-2006 1993-97

1988-94 1986-94 1984-88 1984 1983

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Dean of the Sam Fox School of Design & Visual Arts, Washington University in St. Louis, St. Louis, Missouri.

E. Desmond Lee Professor for Collaboration in the Arts, Washington University in St. Louis, St. Louis, Missouri.

Founding Director of the Institute of Creative Exploration (I.C.E.), University of Georgia.

Director and Distinguished Research Professor, Lamar Dodd School of Art, University of Georgia, Athens, Georgia.

Division of Art Chairperson and Professor of Art, Division of Art, College of Creative Arts, West Virginia University, Morgantown, West Virginia.

Associate Professor of Art, Area Coordinator of Printmaking, Division of Art, College of Creative Arts, West Virginia University.

Graduate Coordinator, Division of Art, College of Creative Arts, West Virginia University.

Assistant Professor of Art, Area Coordinator of Printmaking, Division of Art,College of Creative Arts, West Virginia University Visiting Artist, Printmaking Instructor, Louisiana State University, Baton Rouge, Louisiana.

Printmaking Instructor, Art Gallery of Ontario, Toronto, Ontario, Canada.

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

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brunodavidgallery.com brunodavidprojects.com @bdavidgallery #BrunoDavidGallery #CarmonColangelo #TheoryOfNothing #EyeSpyComposition #GoSeeArt #IgorMajanović #GoSeeArt #ArtExhibition #ArtBook #ArtCatalog instagram.com/brunodavidgallery/ facebook.com/bruno.david.gallery twitter.com/bdavidgallery goodartnews.com/

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

Michael Jantzen Kelley Johnson Howard Jones (Estate) Chris Kahler Xizi Liu Kahlil Irving Bill Kohn (Estate) Leslie Laskey Yvonne Osei Patricia Olynyk Gary Passanise Judy Pfaff

Charles P. Reay Daniel Raedeke Tom Reed Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Shane Simmons Buzz Spector Cindy Tower Ann Wimsatt Monika Wulfers

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