SUNY New Paltz Printmaking

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.”

Printmaking Alum Dylan McManus recognized for the following international exhibitions:

"Now Art Now Future 2nd International Lithuanian Print Biennial", Solo Exhibition entitled "Let Us Eat Cakes", May 8th - June 8th, Kuanas Print Gallery, Kuanas, Lithuania

"Objetivos Moviles/ Moving Targets", public intervention on Friday February 29th, Proyecto'Ace, Buenos Aires, Argentina

"Experiencing the War in Iraq", March 6 - March 30, Machines and Magnets, Pawtucket RI, and April 5 - May 3 at the Narrows Center for the Arts, Fall River, MA

Curator, critic and author, Dr. Jeanette Zwingenberger will present a lecture titled The Human Landscape – the artistic visions of anthropomorphic landscapes as a dialogue between historical and contemporary artworks, exploring embodiment and the interaction between the human body and the natural environment.

Dr. Zwingenberger has organized several related exhibitions including Human-Landscape: Artistic Visions of Anthropomorphic Landscapes; and Transformations – Bodyspaces. Since 1998 she has written for several newspapers including Die Neue Züricher Zeitung, Die Welt and O’Oeil; and was a correspondent for France for ART Das Kunstmagazin. Dr. Zwingenberger’s publications include Hans Holbein the Younger: The Shadow of Death; Vanités; and Egon Schiele among others. She has also contributed to several exhibition catalogues. Dr. Zwingenberger has taught at universities in Europe and Chicago and recently organized the seminar, Bodies: Geography of the World, at the Collège International de Philosophie in Paris.

The Art Lecture Series is sponsored by the Student Art Alliance, a funded member of the Student Association.

Sculptor and Book Artist Cynthia Thompson

Cynthia Thompson uses paper pulp as a sculptural medium. She is Professor of Book and Paper Arts at Memphis College of Art, and Curator and Director of Exhibitions and Lectures. Thompson has organized numerous shows including a recent exhibition titled On Paper: Collaborations in Print and Pulp which comprised works using handmade paper and printmaking techniques. She has presented solo exhibitions at the Robert C. Williams American Museum of Papermaking in Atlanta, the Clough-Hanson Gallery at Rhodes College in Memphis, and the Lewis Gallery at Millsaps College in Jackson, Mississippi.

Lilla LoCurto and William Outcault

{un}moving pictures (drawings, single and multi-screen animations, and large black-and-white and color prints) surveys recent collaborative self-portraits by Lilla LoCurto and William Outcault, two sculptors exploring the use of whole body, laser-scanning technology, cartography and animation software. Working with custom software, the artists have developed special techniques for generating complex unfoldings from three-dimensional scans of their own bodies.

Spray Paint and Street Altars: The Complex Installations of Brett Cook-Dizney

Influenced by aspects of zoology, graffiti, community art, education and fine art, Artist and teacher Brett Cook Dizney spray paints his way into the world of elitism, racism, homeless Americans, and portraiture, in galleries and public spaces across the nation. Cook-Dizney is best known for his large, complex installations inspired by graffiti, which incorporate drawings, words, photographs, and personal objects with portraiture. Much of his work is politically and socially charged, as well as celebratory. His portraits of famous African-American individuals including Ida B.Wells, John Coltrane, Angela Davis, Toni Morrison and many more, become altars or open street stalls, overflowing with books, plants, portraits, and other objects associated with each cultural icon. A more personal iconographic figure present in his work is “grandma” – a matriarchal figure surrounded by medications, a girdle, vitamins, therapeutic shoes, jewelry, and needlepoint – an inventory of objects and a document of attitudes suggestive of grandmothers in African American life. With a desire to expose his work to a larger audience, Cook-Dizney creates works in high-traffic public spaces like construction site fences, and abandoned buildings in Harlem and Brooklyn. Armed with spray enamel, he paints socio/political images on visible surfaces in an effort to provoke dialogue. In another aspect of his work, Cook-Dizney provides a voice for community residents through social collaborations installed in neighborhoods where participants live. In public spaces, he and his collaborators bring art to a wide audience that does not always frequent museums and galleries. His partnership with some Harlem residents produced 10 Development/Gentrification installations. “It’s about giving people a voice, empowering marginalized communities," explains the artist. Brett Cook-Dizney received a B.A. in art from the University of California at Berkley. He has been exhibiting his work at museums and galleries since 1991. His public projects have been executed in cities from California to Maine, and internationally in Brazil, and Barbados. Some have been commissioned by museums or public agencies while others have been self-initiated interventions on abandoned spaces. He has received a number of awards including several grants from ArtMatters, and the Mid-Atlantic Arts Foundation, as well as residencies at Skowhegan School and the Studio Museum in Harlem. He is represented by PPOW Gallery.