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Biographies and Information of Featured Artists
The art of Abdu’Allah and his contemporaries in the early 1980s can be evaluated in a manner that fills an important void within available scholarship on the subject of contemporary art in relation to Afro-British culture. What began as an artistic gesture in the 1980s more fully materialised in the early twenty-first century as a complete conceptual approach that questioned issues of race and identity in relation to issues of cultural diversity and multiculturalism. Abdu’Allah’s work broke away from the British artistic establishment and the rules of institutional representation, particularly insofar as he began selecting his subjects from émigré utopia, Afro-British social consciousness, Muslim identity, and working-class life. He also integrated other views of London, portraying it as a city of dislocated communities that were powerless in the existing world of art.
Excerpt from ‘The Art of Dislocation’ by Professor Barbaro Martinez-Ruiz,
Michaelis School of Fine Art, University of Cape Town.
Allen’s work has been exhibited widely both nationally and internationally and is included in the collections of the Whitney Museum of American Art, the Museum of Modern Art Library, the New York Public Library, New York; the Corcoran Gallery of Art, the Library of Congress, Washington, D.C., the Springfield Art Museum, Missouri, the Minneapolis Museum of Art, the Vesteros Kunst Museum, Sweden and the Victoria & Albert Museum, London, as well as numerous corporate collections. Her work has been selected for over 100 exhibitions in the United States, including the Brooklyn Museum of Art “Digital Now” Print National, the Whitney Museum of American Art ‘New Editions’, the Boston Printmakers, the Corcoran Gallery of Art, the Portland Art Museum, Honolulu Academy of Arts, among others. International exhibitions include the Guanlan Biennial, China; the 5th International Printmaking Biennial of Douro, Portugal; The Novosibirsk Print Biennial, Russia; 21st Ljubljana Print Biennial, Slovenia; and the International Print Triennial, Tallinn, Estonia, where she won a diploma award. Allen’s work is featured in Print Now published by the Victoria & Albert Museum, London, as well in a recent publications Eclectic, The Julie and Robert Breckman Collection at the Victoria and Albert Museum. Honors include two Fulbright Scholarship (USSR 1990, Jordan 2004-05), two Andrew W. Mellon Foundation Research Grants, a New Jersey State Council on the Arts Fellowship, a Pennsylvania Council on the Arts Grant, a Whiting Foundation Grant and a Pew Fellowship finalist. Allen has had artist residencies in North America and abroad in such countries as Poland, Estonia, Iceland, Russia, Sweden, Jordan, Canada, China, and South Africa. In addition, she has curated exhibitions in the United States, as well as Russia, China and toured an exhibition through the Middle East and Africa. Currently she is Professor of Art in the College of Fine Arts at Boston University where she has been the Director of the School of Visual Arts from 2006-2015, and interim Dean for the College 2015-18. Previously she was a professor at Mason Gross School for the Arts, Rutgers, The State University of New Jersey and the Director of the Brodsky Center (formerly the Rutgers Center for Innovative Print and Paper.). She lives in Boston.
Neal Ambrose-Smith, descendent of the Confederated Salish and Kootenai Nation of Montana, is a contemporary Native American painter, sculptor, printmaker, and Professor at the Institute of American Indian Arts in Santa Fe, New Mexico. He has also developed an app Artist Ideas with 100 ideas for making art, available for Android and Apple. His work is included in the collections of many national and international museums and institutions, including the New York Public Library, the Smithsonian National Museum of the American Indian, Galerie municipale d’art contemporain in Chamalières, France, and Hongik University in Seoul, Korea. He received his BA from the University of Northern Colorado and MFA from the University of New Mexico.
Neal Ambrose-Smith is considered America’s leading painter of White People. He was born in Texas with a creative fire that began to smolder at a young age. Neal Ambrose-Smith learned color, shading, light and shadow from closely observing nature and drawing what he saw. Always fascinated by the culture and customs of the White People in the area where he lived, the young Neal Ambrose-Smith absorbed their stories and traditions and soon considered them among his closest friends.
Emily Arthur (Cherokee descent) is an artist and Associate Professor of Art at the University of Wisconsin-Madison, received an MFA from Pennsylvania Academy of Fine Arts and served as Fellow at the Barnes Foundation for Theoretical and Critical Research. Select collections include Saint Louis Art Museum, Minneapolis Institute of Art, Denver Art Museum, Museum of Contemporary Native Arts, Museum of the American West, Autry Center and Crocker Art Museum. Arthur works with scientists, historians, and poets to elucidate the craft and knowledge-based disciplines of art and science.
Jamison Chās Banks is a multi-disciplinary artist who creates films, paintings, performances, and installations. His works often explore the history of war and territorial expansion, both literal and psychological. Banks appropriates and alters symbols employed in propaganda and popular culture and redeploys them in contexts that subvert their original meanings. He usually begins with an area of investigation that spawns a series of interrelated artworks in different media. For example, during his residency at the Museum of Contemporary Native Arts, Santa Fe in 2013 Banks created a film, screen prints, and a performance as part of the project Territories: The Frontier. Initially inspired the history of service in the armed forces by members of the artist’s family, this project explored the recent wars that the United States has been engaged in not as singular incidents, but part of a cyclical history.
Jessie Barnes is an artist currently living and working in Dallas, TX. She holds an MFA from the University of North Texas and a BFA from the University of North Florida. Barnes identifies primarily as a printmaker, but typically employs painting, drawing, and photography in her work. Recently, the artist was a one-year Artist In Residence at Tarrant County College South Campus. Additionally, Barnes has been a Graduate Assistant at the Printmaking Research Institute of North Texas, a Teaching Assistant and Fellow for foundations and printmaking courses at UNT, and has served as a Studio Assistant at Penland School of Crafts, University of North Florida, and Pensacola State College. Her work can be viewed in person at Beaudry Gallery in Dallas.
Marwin Begaye is an internationally exhibited printmaker, painter. As Associate Professor of Painting and Printmaking at the University of Oklahoma’s School of Visual Arts, his research has been concentrated on issues of cultural identity, especially the intersection of traditional American Indian culture and pop culture. He also has conducted research in the technical aspects of relief printing and the use of mixed‐media. His work has been exhibited nationally across the U.S. and internationally New Zealand, Argentina, Paraguay, Italy, Siberia and Estonia. He has received numerous awards, including the Oklahoma Visual Artists Coalition Fellowship, Best of Classification in Graphics at 2019 Santa Fe Indian Market among many others. He has been featured in many publications and is represented by Exhibit C in Oklahoma City.
Born 1955, Springfield MA; lives and works in Providence RI
Freelance Illustrator, 1986-present: clients include Conde Nast Publishing, Wall Street Journal, National Geographic Society, Girl Scouts of America
Studied Japanese woodblock (mokuhanga) with Matt Brown, 2005
Teaching faculty (woodblock) at Zea Mays Printmaking, 2008-present
Georgia Deal is a printmaker and papermaker whose mixed-media works on paper embody these processes. After Chairing the Printmaking and Papermaking area at the Corcoran School of Art & Design in Washington D.C. for many years. She recently has set up a new studio, Swannanoa Paper in Asheville, North Carolina.
Deal has conducted workshops in Print and Paper throughout the U.S. at Penland School of Crafts in NC, Haystack Mtn. School in Maine, Pyramid Atlantic Ctr. in Md, the Paper & Book Intensive in Oxbow, MI, as well as abroad in Cortona, Italy, Skopelos Greece and San Miguel, Mexico. Her works are in both private and public collections including the Library of Congress, the Philadelphia Museum of Art, the Corcoran Gallery of Art, and Yale University Library amongst others.
A Thousand Miles
Ruthann Godollei is the Wallace Professor of Art and a former Dean of the Fine Arts Division. She has exhibited internationally, incorporating political and social commentary in her prints. Her solo interactive exhibit, Wish Machine, was held at SNAP Gallery in Edmonton, AB, Canada, July 2021 after being on viewin a different incarnation at MCBA in Mpls. in Jan., 2021. She had work in Multiple Ones: Contemporary Perspectives in Printmedia, at the Museum of Contemporary Art, Jacksonville, FL, 2021 as well as Many Waters: A MN Biennial at the MMAA in St. Paul. Her work was included in the 2020 North American Screenprint Biennial as well as Stand Up Prints 2020, a juried exhibit at Highpoint Center for Printmaking in Minneapolis, reviewed in Hyperallergic. She was a Fulbright Canada Research Chair at the University of Alberta, Edmonton in Spring 2019.
Her work is in collections such as the National Museum of Art, Poznañ, Poland, the Royal Museum of Fine Art, Antwerp, Belgium, Rutgers University, the Minneapolis Institute of Arts, the National University Library in Rijek, Croatia, KUMU National Art Museum of Estonia, the State Museum & Art Gallery, Penang, Malaysia, the Centre for Fine Print Research, Bristol, UK, the Frederick R. Weisman Museum at the University of Minnesota, the Minnesota Museum of American Art and many more. She teaches Printmaking (intaglio, relief, lithography, screenprint, handset type, digital/photo prints), Printmaking II , Word. and the Senior Studio Art Seminar. She has taught Dissent, 2-Dimensional Design, Women in Art (cross-listed with Women’s and Gender Studies), Political Art (cross-listed with Political Science), Images in Consumer Society (cross-listed with Sociology), and Performance and Installation Art. She is the author of a book on DIY printmaking from Voyageurs Press 2013, How to Print Your Own… and co-author with Eric Dregni, of “Road Show: Art Cars & the Museum of the Streets,” from Speck Press.
KILL THE ENVIRONMENT/STEAL THEIR STUFF
Jon Goebel is an avid printmaker-artist known for his symbolically charged artworks. He received his MFA in Printmaking from Texas Tech University and serves as Associate Professor of Art at the University of Hawaii Hilo. He has shown in over 150 exhibitions across the United States and abroad including Portugal, Mexico, China, Bulgaria, Argentina, Spain, South Korea, Canada, India, and Puerto Rico. Jon has also taught numerous color intaglio workshops across the Country and in China. Recent accolades for his work include: Graphic Chemical & Ink Purchase Award, The Boston Printmakers 2015 North American Printmaking Biennial, Lesley University College of Art and Design, Cambridge, MA; Purchase Award, Honolulu Printmakers 89th Annual Exhibition, Honolulu, HI; Artist of the Year, Columbia Museum of Art, Columbia, SC; Best in Show, Paper in Particular, Columbia College, Columbia, MO; Purchase Prize, Ink, Press, Repeat, William Patterson University Galleries, Wayne, NJ; Purchase Award, America’s Paperworks Exhibition, Minot State University, Minot, ND; Award Winner, National Print Exhibition, Artlink, Fort Wayne, IN.
John Hitchcock is an Artist, Professor of Art at the University of Wisconsin-Madison. Professor Hitchcock has served as an Associate Dean of Arts, Faculty Director of The Studio Learning Community and Art Department Graduate Chair. He is an award-winning artist who uses the print medium to explore relationships of community, land, and culture. He has taught printmaking at UW-Madison since 2001. Prior to that he was at the University of Minnesota, Morris. He holds a Master of Fine Arts degree from Texas Tech University.
Hitchcock has been the recipient of The Robert Rauschenberg Foundation Artistic Innovation and Collaboration grant, New York; Jerome Foundation Grant, Minnesota; the Creative Arts Award, Emily Mead Baldwin Award in the Creative Arts and the Kellett Mid-Career Award at the University of Wisconsin. Hitchcock’s artwork has been exhibited at numerous venues including the International Print Center New York, New York; Museum of Contemporary Native Arts, Santa Fe, New Mexico; Museum of Wisconsin Arts, West Bend, Wisconsin; The Rauschenberg Project Space, New York, New York; “Air, Land, Seed” on the occasion of the Venice Biennale 54th International Art at the University of Ca’ Foscari, Venice, Italy. Solo exhibition includes the American Culture Center in Shanghai, Shanghai, China; Portland Art Museum, Portland, Oregon; Missoula Art Museum, Missoula, Montana; Mulvane Art Museum, Topeka, Kansas; Plains Art Museum, Fargo, North Dakota, The Museum of Contemporary Native Arts, Santa Fe, New Mexico; American Indian Community House Gallery, New York, New York; North Dakota Museum of Art, Grand Forks, North Dakota.
Mary Hood, originally from Milwaukee, Wisconsin, is currently an associate professor at Arizona State University in Tempe, Arizona where she teaches intaglio and digital processes for printmaking. Previously, Mary taught at Carnegie Mellon University and the University of North Texas, respectively as a visiting assistant professor. As part of her teaching philosophy, Mary focuses on the idea of the democracy of printmaking, the distribution of individual voices and the collective impact of community-affiliated projects. Recent projects include RIPPLE (2005), a fundraising event for Katrina evacuees in Arizona, DITTO (2006), a public art printmaking project, and Map(ing)(2009/2011/2013), a collaborative printmaking project between Native artists and ASU graduate students. Mary Hood received her Master of Fine Art degree from the University of Dallas, in Dallas, Texas and her Bachelor of Fine Art from Ringling School of Art and Design in Sarasota, Florida.
Mary’s studio practice focuses on concepts of Silence, Time and Space, Identity and experience and has been exhibited widely throughout the world including the International Print Center New York, NYC, Denver Art Museum, Denver, CO, Blue Star Art Complex, TX, LaGrange Art Museum, GA, Loyola University Chicago, IL, Kasene Kulturcenter, Denmark, Estonia National Library, Estonia, Contemporary Art Projects, Bulgaria, VACA Cultural Association, Italy, Polytechnic Institute of Technology, New Zealand, Pont Aven School for Contemporary Art, France, Alexandria Bibliotheca, Egypt, International Print Triennial in Krakow, Poland, and the Guanlan Print Biennial in Shenzen, China. Additionally, Mary is the recipient of numerous residencies, publications, and awards, including the 2008 Faculty Achievement Award and the 2006 Award for Public Scholarship. Most recently Mary was awarded the Evelyn Smith Endowed Professorship for the 2012/2013 academic year.
Go West, Paradise Is There
Michelle Martin is a Professor of Art at The University of Tulsa and Gallery Director of the Sherman Smith Family Gallery, located at the Henry Zarrow Center for Art and Education in Tulsa, OK. She received her BFA in 1993 from Texas Tech University in Lubbock, Texas, and earned her M.F.A. in Printmaking at The Ohio State University in 1996. An active artist working in all print media and drawing, her work has been shown in over 220 national and international exhibitions since 1995, including venues in New Zealand, Venezuela, Iceland, Italy, Bulgaria, Turkey and England.
She has won numerous awards and purchase prizes, including an Oklahoma Artist of Excellence Award in 2003, the 2007 Print Prize in the Bradley Print and Drawing Exhibition, and the Oklahoma Visual Arts Fellowship (Oklahoma Visual Arts Coalition) in 2008, two Brackett-Krennerich Purchase Awards (Delta National Small Prints Exhibition) in 2013 and 2014, Materials Awards (2018 Boston Printmakers North American Print Biennial) and Recognition/Purchase Awards from the Hawaii State Foundation on Culture and the Arts. Her work is in several private, public and university collections, including the Ft. Wayne Museum of Art (Ft. Wayne, IN), Zuckerman Museum of Art (Kennesaw, GA), Kohler Library (Madison, Wisconsin), Muscarelle Museum of Art (The College of William and Mary), the Akron Museum Art Library Program, The College of Notre Dame of Maryland permanent collection, Rutgers Center for the Innovative Paper, the Southwest Collection (Texas Tech University), and the Paul and Lulu Hilliard University Art Museum (University of Louisiana).
Mitchell received a BFA in Sculpture from the University of South Florida in 2005 and an MFA in New Genres from the University of Maryland College Park in 2008. She is currently an Associate Professor of Digital Media in the Department of Art at UW-Madison.
Mitchell has shown her work in numerous group and solo exhibitions, at venues such as the Museum for Applied Art in Vienna, the Atlantic Center for the Arts, Conner Contemporary, the DC Art Center and the International Waldkunst Zentrum in Germany. Her work has been featured in numerous publications, such as Art Papers, Art in America and the Washington Post. In 2012 she was also awarded a Expanded Artist’s Book grant from Columbia College Chicago for her project in collaboration with Denise Bookwalter, “Rain/fall,” a data driven artist’s book and mobile application.
Alex Peña is an enrolled member of the Comanche Nation in Oklahoma and is currently represented by Gallery Hózhó in Old Town Albuquerque.
Flowers, trees, birds, writing-like abstractions, no squared formats, and especially lines are pervasive throughout his work. The combinations of these indicate simultaneous occurrences of dissimilar or contrasting events or emotions. There is a correspondence of formal elements with personal ones. Obscurity is intentional and sharing is limited.
The absolute is elusive. Certainty and uncertainty are symbiotic. His personal exploration of these and the inevitable tension become my varying visual language.
Jenny Schmid lives in Minneapolis, Minnesota where she runs bikini press international and is an associate professor at the University of Minnesota. She exhibits her work nationally and internationally and is represented by The Davidson Galleries in Seattle. Her prints can be found in collections including The Minneapolis Institute of Arts, The Detroit Institute of Arts, The Block Museum in Chicago and The Spencer Art Museum. She received the Fulbright, the McKnight Fellowship, the Bush Artists Grant, a 2010 Jerome Film and Video grant and a 2013 Minnesota State Arts Board Artist Initiative grant. Recent projects include live animation performances with Ali Momeni and MAW, an exhibit at the Davis Museum and an upcoming artist book project in collaboration with poet Elisabeth Workman.
RETURN OF THE WHITE BUFFALO
Sarah Sense creates photo-weavings with traditional Chitmacha and Choctaw techniques, her photography, and found imagery. Sense is from Sacramento, California and currently lives in Bristol, England. She received a BFA from California State University Chico (2003), and a MFA from Parsons the New School for Design, New York (2005). Sense was the curator/director of the American Indian Community House Gallery (2005-07) and catalogued the gallery’s history. This inspired her search for Indigenous international art, leading to life abroad when she moved to South America (2010) to research her first international project, Weaving the Americas, A Search for Native Art in the Western Hemisphere, a project which included over sixty interviews with Indigenous artists from twelve countries debuting in Valdivia, Chile (2011). Weaving Water, explores Indigenous art in the Caribbean and Southeast Asia, debuting in Bristol, England (2013). While residing in Ireland, Sense made Grandmother’s Stories (2015), a collaboration with her Choctaw Grandmother and the history of the Choctaw making a significant financial gift to the Irish during the famine after suffering the Trail of Tears. Remember (2016) is inspired by motherhood, Irish landscapes and German family archives to reveal the complexities of forced and voluntary migration between Europe and the Americas. Her current work revisits the Chitimacha landscape with Cypress (2017) and again in Cowgirls and Indian Princesses (2018) which entangles a fifteen-year image collection of Hollywood posters, personas and childhood family photos with guns. Current research is on Native North American histories in England which will be explored with her first permanent installation in Plymouth, England (2020).
International artist residencies have been a major part of her studio practice and include: Smithsonian Artist Fellowship for the Chitimacha Reservation; Banff Centre, Canada; Arizona State University; Santa Rosa Factoría de Arte, Santiago, Chile; Rainmaker Gallery, Bristol, England. Collections include: Asheville Art Museum, Asheville, North Carolina; Chitimacha Tribe of Louisiana Museum, Charenton, Louisiana; Choctaw Headquarters, Cypress Bayou Casino, Charenton, Louisiana; de saisset Museum Santa Clara University, Eaton, Corporate Collection, Cleveland, Ohio; Museo Nacional de Culturas Populares, Mexico City, Mexico; Smithsonian National Museum of the America Indian, New York, New York; Schingoethe Center of Aurora University, Aurora, Illinois; Tweed Museum of Art, University of Minnesota, Duluth, Minnesota, University of Kansas Hospital, Kansas City Weltkulturen Museum (World Cultures Museum), Frankfurt, Germany. Private collections: Australia, Canada, Chile, Colombia, England, France, Germany.
Does Water Remember Our Ancestors?
Hoka Skenandore was born in Santa Fe, New Mexico in 1982. Skenandore grew up in a home where he learned to appreciate traditional Native American art alongside fine art. On his own, he embraced the D.I.Y. ethos of punk rock and hiphop culture and painted graffiti art. Skenandore currently lives in Albuquerque, New Mexico.
IRON HORSE KILLER
Juane Quick-to-See Smith
Born January 15, 1940 at the St. Ignatius Indian Mission on her reservation, Jaune Quick-to-See Smith is an enrolled Salish member of the Confederated Salish and Kootenai Nation, Montana. Smith received an Associate of Arts Degree at Olympic College in Bremerton Washington in 1960, a BA in Art Education from Framingham State College, Massachusetts in 1976, and an MA in Visual Arts from the University of New Mexico in 1980.
Smith has been creating complex abstract paintings and prints since the 1970s. Combining appropriated imagery from commercial slogans and signage, art history and personal narratives, she forges an intimate visual language to convey her insistent socio-political commentary with astounding clout. Smith’s work in the collections of the Museum of Modern Art, Quito, Ecuador; the Museum of Mankind, Vienna, Austria; The Walker Art Center, Minneapolis, Minnesota; The Smithsonian American Art Museum, Washington D.C.; the Museum of Modern Art, the Brooklyn Museum, the Metropolitan Museum of Art, and The Whitney Museum of American Art, New York.
Trade Canoe for the North Pole
Tanja Softic´ studied at the Academy of Fine Arts of the University of Sarajevo and earned her M.F.A. in Printmaking from Old Dominion University in Norfolk, Virginia in 1992. From 1991-92, she printed at Kathy Caraccio Etching Studio in New York. She works across the media of printmaking, drawing, photography and book arts.
She is a recipient of the Pollock-Krasner Grant, National Endowment for the Arts/ Southern Arts Federation Visual Artist Fellowship and Soros Foundation—Open Society Institute Exhibition Support Grant. Her work is included in numerous collections in the United States and abroad, among them New York Public Library, Library of Congress Print Department and New South Wales Gallery of Art in Sydney, Australia. She participated in 12th International Print Triennial in Cracow, Poland and won a First Prize at the the 5th Kochi International Triennial Exhibition of Prints, Ino-cho Paper Museum in Kochi, Japan in 2002. She completed print projects at Flying Horse Press, Tamarind Institute and Anderson Ranch’s Patton Print Studio.
She lives and works in Richmond, Virginia, where she is Professor of Art at the University of Richmond.
At Night My Spirit
Erika walker is an Associate Professor of Art at the Nova Scotia College of Art and Design in Halifax, Nova Scotia. Her works are concerned with the layered complications of history, feminism, and politics.
… AND SAVE THE MAN