Carson Fox visits SUNY New Paltz

Wednesday, March 12, 2008

American printmaker Carson Fox originates from the small Southern hometown of William Faulkner, and was named for novelist Carson McCullers. Her work is produced from a heritage of American Southern gothic tradition that relies heavily on the imprint that individual experience has on the artist. Fox received her MFA from Mason Gross School of the Arts at Rutgers University and her BFA from University of Pennsylvania and the Pennsylvania Academy of the Fine Arts. Working across media, Carson produces prints, installation, and sculpture.

She is represented by Claire Oliver gallery in New York, Linda Warren gallery in Chicago, and has exhibited widely both nationally and internationally, with her work being found in the permanent collections of many major museums. Fox has received grants from the New Jersey Council on the Arts, the Barbara Deming Memorial Foundation, the Mid Atlantic Art Foundation, a Willem Emil Cresson Award, and a New Jersey Print and Paper Fellowship at the Rutgers Center for Innovative Print and Paper.

Carson Fox works and lives in Brooklyn, New York. Her teaching experience includes Harvard University, New York University, Rutgers University, and the Pennsylvania Academy of Fine Arts before joining the faculty at Adelphi University. Carson Fox has lectured widely on printmaking and sculpture across the United States and abroad.

In an artist statement, Fox writes the following excerpt of her work. “By nature, printmaking lends itself well to the investment of labor, and my current prints support this edict, while stylistically referring to Victorian wood engravings. By scanning original images and extensively retooling them in Photoshop, I create bucolic landscapes of birds, butterflies, and flowers using the tropes of beauty, yet expressing an undercurrent of anxiety in the excesses and the crowding of the compositions. To compound this feeling, I have manipulated a number of these images by piercing them with thousands of holes, suggesting invisible routes made visible, a tangible history of my own industry, while transforming the paper into a lacy map. Other intaglio, screen print, and lithographic prints employ multiple layers of color printing, and were originally inspired in their use of straightforward, declarative text by illustration captions in the moralistic, “Royal Path of Life,” published in 1881.”

Posted by SUNY New Paltz Printmaking Blog at 2:38 AM 0 comments