forms of contemporary illinoisgallery.clcillinois.edu/pdf/joelfeldman.pdfjoel feldman, ruins with...
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I F c Forms Of Contemporary Illinois
Joel Feldman The Training Session 1993 woodcut
The Illinois State Museum Presents
Joel Feldman
FOCI Joel Feldman
FOCI (Forms of Contemporary Illinois) is a solo exhibition series now in
its fifth season It provides aforum for spotlighting divergent art directions
being explored by contemporary artists in Illinois This FOCI installment
presents the large-scale woodcuts by Southern Illinois artist Joel Feldman
e The large woodcut prints of Joel Feldman display their historical lineage
not only in their borrowed iconographic and thematic elements but also
in their physical scale One of the illustrious ancestors of the modern large
print is the woodcut Pharaohs Army Drowned in the Red Sea designed
by Titian in Venice in 1549 It was composed of twelve blocks forming a
wall decoration four feet high by seven feet wide It depicts a military
catastrophe--the outcome of an unbalanced match between the Egyptians
and Israels God Almighty himself
We can relate Titians print to Feldmans works which document the
catastrophic social and political transformations currently affecting Eastern
European nations This direct relationship between the two artists
spanning a gulf of more than four hundred years may prompt us to
speculate about some basic properties that relate intrinsically to the
blown-up woodcut The medium itself is often used to portray the subjects
of power power conflicts and the fragility of political systems and other
kinds of human order In Titians print in accordance with the biblical
account Gods revengeful wrath and the display of his powers of
destruction are personified by the invincible forces of nature embodied
in the waters of the Red Sea closing upon the Pharaohs army
Leaving aside particular theological perspectives we can point out
that the biblical incident portrayed by Titian also illustrates one of
civilizations early archetypes From our earliest al1empts to reflect on the
meaning of civilization humankind has noted the opposition of and
conflict between the human order and the order of nature and history has
been conceived on the model of natural life forms as in the cyclical birth
growth and decay of empires and societies
Titian (c 1488shy
1576) Pharaoh s
Army Drowned in
the Red Sea
Woodcut made
from 12 blocks
Courtesy of The
Metropolitan
Museum of Art
Harris Brisbane
Dick Fund 1927
(275487-98)
Joel Feldman
Ruins with
Facsimile of Tatins
Tower 1993
Woodcut
The realization that the mortality that both afflicts and defines the
human condition extends its power to the works of men pervaded the
sensibility and the thought of the Classical worldThis archetypal concept
of the eternal battle of civilization versus nature with its implicit threat of
the final disappearance of civilization back into the natural world of ils
origin is present in Joel Feldmans works as a visual reflection on the
historical experience of recent times If the
modern historical concept does not consider
the history of human society as a natureshy
based model we may point out that Feldman
employs a more primitive visual logic of
associations in which old concepts will
resurface and reconnect with more recent
ones in a new unity
Thus in Joel Feldmans Ruins with
Facsimile of Tatin s Tower we see in the
upper part the ruins of a Classical city
surrounded or flooded by the waters of a river
(orsea) with large fishes jumping on its surface
on the shore rabbits congregate with biblical
lions (have the beasts of the Apocalypse
become domesticated) while doglike animals
jump or fight in the background In the central
part of the shore a floating angel points to a
large billboard of an angel (his own portrait)
Is he the messenger and announcer of
impending news or the narrator of things past Below the ruins as if
exploring the architecture of an abandoned or destroyed tunnel in a mine
a hand points a flashlight towards a model of Tatlins monument to the
Russian Revolution The monument stands among broken glass and
boxes on the floor a dead animal carcass a pair of broken spectacles
and a fallen mannequin
In Rabbit on Uncle Joe a troupe of rabbits explore with animal
curiosity Classical ruins and toppled monuments Does the image
portray the final triumph of nature over culture In the abandoned city this
change of order can only signify the new reign of the rabbits But from
where did these new rulers come From a fairy tale or a folk tale Or are
they simply Easter bunnies hiding their candy eggs around the ruins
It is precisely the incongruous juxtaposition of two types of narrative
in the same print that defines the particular effectiveness of FeldmanS
images for all their grandeur in scale and subject matter (the fall of
communism the war in the former Yugoslavia) elements of parody and
Joel Feldman
Rabbit on Uncle
Joe 1992
Woodcut
self-parody-more evident at the level of the iconographic borrowings
but also effective in other levels-upset the simple reading of those
images as ideological commentaries
One example of this double narrative is found in the hand that holds
a flashlight towards Tatlins aborted masterpiece here unearthed or
rediscovered as a result of catastrophe The hand a dramatic moment
in the prints narrative may even be that of Indiana Jones To state it more
precisely the ideological context addressed in these prints is the one that
belongs to present-day American culture The particular brand of
historicism in Feldmans works is-like it or not-one that belongs to
postmodern globalization This American type of culturalism where the
textual-discursive is substituted with the synesthetic-electronic
proliferates the means of global communication at the same time it
obscures its effectiveness for rational social change
The artist may not be primarily concerned with these questions Yet
it is clear that the incongruities in Feldmans works are a kind of
commentary on the present as history as seen by CNN a
commentary on a specific type of postmodern sensibility in the traditional
medium of the print It is juxtaposed on what at first glanceappears to be
a traditional commentary on universal history-that is on the delusions
of bourgeois ideology
However in one important aspect it is true that a more intimate point
of contact exists between Feldmans historicism and postmodernist
ideologies The proliferation of imagessigns symbols and narratives in
these prints reverts back to one and the same perspective In the end the
vision of history that emerges from this is that of a closed ci rcuit the
recurring aimless path of the exertion the toil and the suffering of
history Strolling along the path are the indifferent spectators of the
historical catastrophes the rabbits-Marcelo Lima
(Marcelo Lima a native of Sao Paulo Brazil holds a PhD in Art History from the University of New
Mexico He is an artist writer and critic who contnbutes regularly to The New Art Examiner and
currently teaches printmaking and art history at Sangamon State University in Springfield)
Selected Biographical Information
Education 1967 MFA Printmaking Indiana University Bloomington IN 1965 BFA Drawing and Painting with honors
Carnegie-Melion University PA 1962 Associate of Arts Fine Arts Montgomery Junior
Takoma Park MD
Current Position Professor School of Art and Southern Illinois Carbondale IL
Honors and Awards 1993 National Endowment for the Arts Award 1992-93 Visual Arts Fellowship Midwest II-Ie Fellowship Program1
1991-92 Individual Artists lAC
Selected Exhibitions 1993 Solo Exhibition Rotunda Meredith Raleigh NC
Changing Orders Solo Exhibition Sazama Gallery Chicago IL 1992 Invitational Print Morningside College Sioux IA
Solo Exhibition of Wood Block Prints Eastern Kentucky University Collaboration PdntmakerlPapermaker Joel FeldmanRick Anchor Chicago IL
1991 Art from IIlinoiSUSA Faculty and Students of Southern Illinois UniverSity IL Kunstlerhaus Palais Thurn und Axis Bergenz Austria
1990 Sazama Gallery IL 1989 Group Drawing Show Koslow Gallery Los Angeles CA
One Person Exhibition Woodcuts University of Arkansas Fayetteville AR One Corner of the World Seventeen Illinois Illinois State University NormalIL Dols Louisville Visual Arts Association Louisville KY Under Her Brothers one-person installation of paintings and handmade books Contemporary Arts New Orleans LA
1987 New Woodcuts one-person exhibition Koslow Rayl Fine Los CA Visiting artist exhibition Fort Trahern Gallery Austin Siale University Clarksville TN Just for Fun The Eleventh National Invitational Exhibition Liberty Louisville KY
Eastern Montana College MT
Checklist of Works in the Exhibition (all lent by Sazama unless otherwise indicated)
A Baskel Full 1994 woodcut
1994 woodcut
City Politics 1 994 woodcut
A Day in the Park 1994 woodcut
Parked Car 1994 woodcut
Tallins Tower 1993 woodcut
Session 1993 woodcut
Uncle Joe and Czar Alex 1992 woodcut
Wheel of Fortune 1992 woodcut
Rabbit on Uncle Joe 1991-92 woodcut
A of Order 1991 paper with inset color-Richard Hungerford lent by Stone House Southern Illinois University Carbondale woodcut
A Change in Order 1990 woodcut
Non-Profit Org
US PostageILLINOIS STATE PAID
Permit No 878 MUS E U M Springfield IL
FOCI Joel Feldman-large-scale woodcut prints
On exhibit at the Illinois Art Gallery Chicago Aprill1hrough May 17 1994 Receptioo April 8 1994 530 to 730 pm
On exhibit at the Illinois State Museum Springfield Augus 141hrough November 6 1994
FOCI Joel Feldman
FOCI (Forms of Contemporary Illinois) is a solo exhibition series now in
its fifth season It provides aforum for spotlighting divergent art directions
being explored by contemporary artists in Illinois This FOCI installment
presents the large-scale woodcuts by Southern Illinois artist Joel Feldman
e The large woodcut prints of Joel Feldman display their historical lineage
not only in their borrowed iconographic and thematic elements but also
in their physical scale One of the illustrious ancestors of the modern large
print is the woodcut Pharaohs Army Drowned in the Red Sea designed
by Titian in Venice in 1549 It was composed of twelve blocks forming a
wall decoration four feet high by seven feet wide It depicts a military
catastrophe--the outcome of an unbalanced match between the Egyptians
and Israels God Almighty himself
We can relate Titians print to Feldmans works which document the
catastrophic social and political transformations currently affecting Eastern
European nations This direct relationship between the two artists
spanning a gulf of more than four hundred years may prompt us to
speculate about some basic properties that relate intrinsically to the
blown-up woodcut The medium itself is often used to portray the subjects
of power power conflicts and the fragility of political systems and other
kinds of human order In Titians print in accordance with the biblical
account Gods revengeful wrath and the display of his powers of
destruction are personified by the invincible forces of nature embodied
in the waters of the Red Sea closing upon the Pharaohs army
Leaving aside particular theological perspectives we can point out
that the biblical incident portrayed by Titian also illustrates one of
civilizations early archetypes From our earliest al1empts to reflect on the
meaning of civilization humankind has noted the opposition of and
conflict between the human order and the order of nature and history has
been conceived on the model of natural life forms as in the cyclical birth
growth and decay of empires and societies
Titian (c 1488shy
1576) Pharaoh s
Army Drowned in
the Red Sea
Woodcut made
from 12 blocks
Courtesy of The
Metropolitan
Museum of Art
Harris Brisbane
Dick Fund 1927
(275487-98)
Joel Feldman
Ruins with
Facsimile of Tatins
Tower 1993
Woodcut
The realization that the mortality that both afflicts and defines the
human condition extends its power to the works of men pervaded the
sensibility and the thought of the Classical worldThis archetypal concept
of the eternal battle of civilization versus nature with its implicit threat of
the final disappearance of civilization back into the natural world of ils
origin is present in Joel Feldmans works as a visual reflection on the
historical experience of recent times If the
modern historical concept does not consider
the history of human society as a natureshy
based model we may point out that Feldman
employs a more primitive visual logic of
associations in which old concepts will
resurface and reconnect with more recent
ones in a new unity
Thus in Joel Feldmans Ruins with
Facsimile of Tatin s Tower we see in the
upper part the ruins of a Classical city
surrounded or flooded by the waters of a river
(orsea) with large fishes jumping on its surface
on the shore rabbits congregate with biblical
lions (have the beasts of the Apocalypse
become domesticated) while doglike animals
jump or fight in the background In the central
part of the shore a floating angel points to a
large billboard of an angel (his own portrait)
Is he the messenger and announcer of
impending news or the narrator of things past Below the ruins as if
exploring the architecture of an abandoned or destroyed tunnel in a mine
a hand points a flashlight towards a model of Tatlins monument to the
Russian Revolution The monument stands among broken glass and
boxes on the floor a dead animal carcass a pair of broken spectacles
and a fallen mannequin
In Rabbit on Uncle Joe a troupe of rabbits explore with animal
curiosity Classical ruins and toppled monuments Does the image
portray the final triumph of nature over culture In the abandoned city this
change of order can only signify the new reign of the rabbits But from
where did these new rulers come From a fairy tale or a folk tale Or are
they simply Easter bunnies hiding their candy eggs around the ruins
It is precisely the incongruous juxtaposition of two types of narrative
in the same print that defines the particular effectiveness of FeldmanS
images for all their grandeur in scale and subject matter (the fall of
communism the war in the former Yugoslavia) elements of parody and
Joel Feldman
Rabbit on Uncle
Joe 1992
Woodcut
self-parody-more evident at the level of the iconographic borrowings
but also effective in other levels-upset the simple reading of those
images as ideological commentaries
One example of this double narrative is found in the hand that holds
a flashlight towards Tatlins aborted masterpiece here unearthed or
rediscovered as a result of catastrophe The hand a dramatic moment
in the prints narrative may even be that of Indiana Jones To state it more
precisely the ideological context addressed in these prints is the one that
belongs to present-day American culture The particular brand of
historicism in Feldmans works is-like it or not-one that belongs to
postmodern globalization This American type of culturalism where the
textual-discursive is substituted with the synesthetic-electronic
proliferates the means of global communication at the same time it
obscures its effectiveness for rational social change
The artist may not be primarily concerned with these questions Yet
it is clear that the incongruities in Feldmans works are a kind of
commentary on the present as history as seen by CNN a
commentary on a specific type of postmodern sensibility in the traditional
medium of the print It is juxtaposed on what at first glanceappears to be
a traditional commentary on universal history-that is on the delusions
of bourgeois ideology
However in one important aspect it is true that a more intimate point
of contact exists between Feldmans historicism and postmodernist
ideologies The proliferation of imagessigns symbols and narratives in
these prints reverts back to one and the same perspective In the end the
vision of history that emerges from this is that of a closed ci rcuit the
recurring aimless path of the exertion the toil and the suffering of
history Strolling along the path are the indifferent spectators of the
historical catastrophes the rabbits-Marcelo Lima
(Marcelo Lima a native of Sao Paulo Brazil holds a PhD in Art History from the University of New
Mexico He is an artist writer and critic who contnbutes regularly to The New Art Examiner and
currently teaches printmaking and art history at Sangamon State University in Springfield)
Selected Biographical Information
Education 1967 MFA Printmaking Indiana University Bloomington IN 1965 BFA Drawing and Painting with honors
Carnegie-Melion University PA 1962 Associate of Arts Fine Arts Montgomery Junior
Takoma Park MD
Current Position Professor School of Art and Southern Illinois Carbondale IL
Honors and Awards 1993 National Endowment for the Arts Award 1992-93 Visual Arts Fellowship Midwest II-Ie Fellowship Program1
1991-92 Individual Artists lAC
Selected Exhibitions 1993 Solo Exhibition Rotunda Meredith Raleigh NC
Changing Orders Solo Exhibition Sazama Gallery Chicago IL 1992 Invitational Print Morningside College Sioux IA
Solo Exhibition of Wood Block Prints Eastern Kentucky University Collaboration PdntmakerlPapermaker Joel FeldmanRick Anchor Chicago IL
1991 Art from IIlinoiSUSA Faculty and Students of Southern Illinois UniverSity IL Kunstlerhaus Palais Thurn und Axis Bergenz Austria
1990 Sazama Gallery IL 1989 Group Drawing Show Koslow Gallery Los Angeles CA
One Person Exhibition Woodcuts University of Arkansas Fayetteville AR One Corner of the World Seventeen Illinois Illinois State University NormalIL Dols Louisville Visual Arts Association Louisville KY Under Her Brothers one-person installation of paintings and handmade books Contemporary Arts New Orleans LA
1987 New Woodcuts one-person exhibition Koslow Rayl Fine Los CA Visiting artist exhibition Fort Trahern Gallery Austin Siale University Clarksville TN Just for Fun The Eleventh National Invitational Exhibition Liberty Louisville KY
Eastern Montana College MT
Checklist of Works in the Exhibition (all lent by Sazama unless otherwise indicated)
A Baskel Full 1994 woodcut
1994 woodcut
City Politics 1 994 woodcut
A Day in the Park 1994 woodcut
Parked Car 1994 woodcut
Tallins Tower 1993 woodcut
Session 1993 woodcut
Uncle Joe and Czar Alex 1992 woodcut
Wheel of Fortune 1992 woodcut
Rabbit on Uncle Joe 1991-92 woodcut
A of Order 1991 paper with inset color-Richard Hungerford lent by Stone House Southern Illinois University Carbondale woodcut
A Change in Order 1990 woodcut
Non-Profit Org
US PostageILLINOIS STATE PAID
Permit No 878 MUS E U M Springfield IL
FOCI Joel Feldman-large-scale woodcut prints
On exhibit at the Illinois Art Gallery Chicago Aprill1hrough May 17 1994 Receptioo April 8 1994 530 to 730 pm
On exhibit at the Illinois State Museum Springfield Augus 141hrough November 6 1994
Joel Feldman
Ruins with
Facsimile of Tatins
Tower 1993
Woodcut
The realization that the mortality that both afflicts and defines the
human condition extends its power to the works of men pervaded the
sensibility and the thought of the Classical worldThis archetypal concept
of the eternal battle of civilization versus nature with its implicit threat of
the final disappearance of civilization back into the natural world of ils
origin is present in Joel Feldmans works as a visual reflection on the
historical experience of recent times If the
modern historical concept does not consider
the history of human society as a natureshy
based model we may point out that Feldman
employs a more primitive visual logic of
associations in which old concepts will
resurface and reconnect with more recent
ones in a new unity
Thus in Joel Feldmans Ruins with
Facsimile of Tatin s Tower we see in the
upper part the ruins of a Classical city
surrounded or flooded by the waters of a river
(orsea) with large fishes jumping on its surface
on the shore rabbits congregate with biblical
lions (have the beasts of the Apocalypse
become domesticated) while doglike animals
jump or fight in the background In the central
part of the shore a floating angel points to a
large billboard of an angel (his own portrait)
Is he the messenger and announcer of
impending news or the narrator of things past Below the ruins as if
exploring the architecture of an abandoned or destroyed tunnel in a mine
a hand points a flashlight towards a model of Tatlins monument to the
Russian Revolution The monument stands among broken glass and
boxes on the floor a dead animal carcass a pair of broken spectacles
and a fallen mannequin
In Rabbit on Uncle Joe a troupe of rabbits explore with animal
curiosity Classical ruins and toppled monuments Does the image
portray the final triumph of nature over culture In the abandoned city this
change of order can only signify the new reign of the rabbits But from
where did these new rulers come From a fairy tale or a folk tale Or are
they simply Easter bunnies hiding their candy eggs around the ruins
It is precisely the incongruous juxtaposition of two types of narrative
in the same print that defines the particular effectiveness of FeldmanS
images for all their grandeur in scale and subject matter (the fall of
communism the war in the former Yugoslavia) elements of parody and
Joel Feldman
Rabbit on Uncle
Joe 1992
Woodcut
self-parody-more evident at the level of the iconographic borrowings
but also effective in other levels-upset the simple reading of those
images as ideological commentaries
One example of this double narrative is found in the hand that holds
a flashlight towards Tatlins aborted masterpiece here unearthed or
rediscovered as a result of catastrophe The hand a dramatic moment
in the prints narrative may even be that of Indiana Jones To state it more
precisely the ideological context addressed in these prints is the one that
belongs to present-day American culture The particular brand of
historicism in Feldmans works is-like it or not-one that belongs to
postmodern globalization This American type of culturalism where the
textual-discursive is substituted with the synesthetic-electronic
proliferates the means of global communication at the same time it
obscures its effectiveness for rational social change
The artist may not be primarily concerned with these questions Yet
it is clear that the incongruities in Feldmans works are a kind of
commentary on the present as history as seen by CNN a
commentary on a specific type of postmodern sensibility in the traditional
medium of the print It is juxtaposed on what at first glanceappears to be
a traditional commentary on universal history-that is on the delusions
of bourgeois ideology
However in one important aspect it is true that a more intimate point
of contact exists between Feldmans historicism and postmodernist
ideologies The proliferation of imagessigns symbols and narratives in
these prints reverts back to one and the same perspective In the end the
vision of history that emerges from this is that of a closed ci rcuit the
recurring aimless path of the exertion the toil and the suffering of
history Strolling along the path are the indifferent spectators of the
historical catastrophes the rabbits-Marcelo Lima
(Marcelo Lima a native of Sao Paulo Brazil holds a PhD in Art History from the University of New
Mexico He is an artist writer and critic who contnbutes regularly to The New Art Examiner and
currently teaches printmaking and art history at Sangamon State University in Springfield)
Selected Biographical Information
Education 1967 MFA Printmaking Indiana University Bloomington IN 1965 BFA Drawing and Painting with honors
Carnegie-Melion University PA 1962 Associate of Arts Fine Arts Montgomery Junior
Takoma Park MD
Current Position Professor School of Art and Southern Illinois Carbondale IL
Honors and Awards 1993 National Endowment for the Arts Award 1992-93 Visual Arts Fellowship Midwest II-Ie Fellowship Program1
1991-92 Individual Artists lAC
Selected Exhibitions 1993 Solo Exhibition Rotunda Meredith Raleigh NC
Changing Orders Solo Exhibition Sazama Gallery Chicago IL 1992 Invitational Print Morningside College Sioux IA
Solo Exhibition of Wood Block Prints Eastern Kentucky University Collaboration PdntmakerlPapermaker Joel FeldmanRick Anchor Chicago IL
1991 Art from IIlinoiSUSA Faculty and Students of Southern Illinois UniverSity IL Kunstlerhaus Palais Thurn und Axis Bergenz Austria
1990 Sazama Gallery IL 1989 Group Drawing Show Koslow Gallery Los Angeles CA
One Person Exhibition Woodcuts University of Arkansas Fayetteville AR One Corner of the World Seventeen Illinois Illinois State University NormalIL Dols Louisville Visual Arts Association Louisville KY Under Her Brothers one-person installation of paintings and handmade books Contemporary Arts New Orleans LA
1987 New Woodcuts one-person exhibition Koslow Rayl Fine Los CA Visiting artist exhibition Fort Trahern Gallery Austin Siale University Clarksville TN Just for Fun The Eleventh National Invitational Exhibition Liberty Louisville KY
Eastern Montana College MT
Checklist of Works in the Exhibition (all lent by Sazama unless otherwise indicated)
A Baskel Full 1994 woodcut
1994 woodcut
City Politics 1 994 woodcut
A Day in the Park 1994 woodcut
Parked Car 1994 woodcut
Tallins Tower 1993 woodcut
Session 1993 woodcut
Uncle Joe and Czar Alex 1992 woodcut
Wheel of Fortune 1992 woodcut
Rabbit on Uncle Joe 1991-92 woodcut
A of Order 1991 paper with inset color-Richard Hungerford lent by Stone House Southern Illinois University Carbondale woodcut
A Change in Order 1990 woodcut
Non-Profit Org
US PostageILLINOIS STATE PAID
Permit No 878 MUS E U M Springfield IL
FOCI Joel Feldman-large-scale woodcut prints
On exhibit at the Illinois Art Gallery Chicago Aprill1hrough May 17 1994 Receptioo April 8 1994 530 to 730 pm
On exhibit at the Illinois State Museum Springfield Augus 141hrough November 6 1994
Joel Feldman
Rabbit on Uncle
Joe 1992
Woodcut
self-parody-more evident at the level of the iconographic borrowings
but also effective in other levels-upset the simple reading of those
images as ideological commentaries
One example of this double narrative is found in the hand that holds
a flashlight towards Tatlins aborted masterpiece here unearthed or
rediscovered as a result of catastrophe The hand a dramatic moment
in the prints narrative may even be that of Indiana Jones To state it more
precisely the ideological context addressed in these prints is the one that
belongs to present-day American culture The particular brand of
historicism in Feldmans works is-like it or not-one that belongs to
postmodern globalization This American type of culturalism where the
textual-discursive is substituted with the synesthetic-electronic
proliferates the means of global communication at the same time it
obscures its effectiveness for rational social change
The artist may not be primarily concerned with these questions Yet
it is clear that the incongruities in Feldmans works are a kind of
commentary on the present as history as seen by CNN a
commentary on a specific type of postmodern sensibility in the traditional
medium of the print It is juxtaposed on what at first glanceappears to be
a traditional commentary on universal history-that is on the delusions
of bourgeois ideology
However in one important aspect it is true that a more intimate point
of contact exists between Feldmans historicism and postmodernist
ideologies The proliferation of imagessigns symbols and narratives in
these prints reverts back to one and the same perspective In the end the
vision of history that emerges from this is that of a closed ci rcuit the
recurring aimless path of the exertion the toil and the suffering of
history Strolling along the path are the indifferent spectators of the
historical catastrophes the rabbits-Marcelo Lima
(Marcelo Lima a native of Sao Paulo Brazil holds a PhD in Art History from the University of New
Mexico He is an artist writer and critic who contnbutes regularly to The New Art Examiner and
currently teaches printmaking and art history at Sangamon State University in Springfield)
Selected Biographical Information
Education 1967 MFA Printmaking Indiana University Bloomington IN 1965 BFA Drawing and Painting with honors
Carnegie-Melion University PA 1962 Associate of Arts Fine Arts Montgomery Junior
Takoma Park MD
Current Position Professor School of Art and Southern Illinois Carbondale IL
Honors and Awards 1993 National Endowment for the Arts Award 1992-93 Visual Arts Fellowship Midwest II-Ie Fellowship Program1
1991-92 Individual Artists lAC
Selected Exhibitions 1993 Solo Exhibition Rotunda Meredith Raleigh NC
Changing Orders Solo Exhibition Sazama Gallery Chicago IL 1992 Invitational Print Morningside College Sioux IA
Solo Exhibition of Wood Block Prints Eastern Kentucky University Collaboration PdntmakerlPapermaker Joel FeldmanRick Anchor Chicago IL
1991 Art from IIlinoiSUSA Faculty and Students of Southern Illinois UniverSity IL Kunstlerhaus Palais Thurn und Axis Bergenz Austria
1990 Sazama Gallery IL 1989 Group Drawing Show Koslow Gallery Los Angeles CA
One Person Exhibition Woodcuts University of Arkansas Fayetteville AR One Corner of the World Seventeen Illinois Illinois State University NormalIL Dols Louisville Visual Arts Association Louisville KY Under Her Brothers one-person installation of paintings and handmade books Contemporary Arts New Orleans LA
1987 New Woodcuts one-person exhibition Koslow Rayl Fine Los CA Visiting artist exhibition Fort Trahern Gallery Austin Siale University Clarksville TN Just for Fun The Eleventh National Invitational Exhibition Liberty Louisville KY
Eastern Montana College MT
Checklist of Works in the Exhibition (all lent by Sazama unless otherwise indicated)
A Baskel Full 1994 woodcut
1994 woodcut
City Politics 1 994 woodcut
A Day in the Park 1994 woodcut
Parked Car 1994 woodcut
Tallins Tower 1993 woodcut
Session 1993 woodcut
Uncle Joe and Czar Alex 1992 woodcut
Wheel of Fortune 1992 woodcut
Rabbit on Uncle Joe 1991-92 woodcut
A of Order 1991 paper with inset color-Richard Hungerford lent by Stone House Southern Illinois University Carbondale woodcut
A Change in Order 1990 woodcut
Non-Profit Org
US PostageILLINOIS STATE PAID
Permit No 878 MUS E U M Springfield IL
FOCI Joel Feldman-large-scale woodcut prints
On exhibit at the Illinois Art Gallery Chicago Aprill1hrough May 17 1994 Receptioo April 8 1994 530 to 730 pm
On exhibit at the Illinois State Museum Springfield Augus 141hrough November 6 1994
Selected Biographical Information
Education 1967 MFA Printmaking Indiana University Bloomington IN 1965 BFA Drawing and Painting with honors
Carnegie-Melion University PA 1962 Associate of Arts Fine Arts Montgomery Junior
Takoma Park MD
Current Position Professor School of Art and Southern Illinois Carbondale IL
Honors and Awards 1993 National Endowment for the Arts Award 1992-93 Visual Arts Fellowship Midwest II-Ie Fellowship Program1
1991-92 Individual Artists lAC
Selected Exhibitions 1993 Solo Exhibition Rotunda Meredith Raleigh NC
Changing Orders Solo Exhibition Sazama Gallery Chicago IL 1992 Invitational Print Morningside College Sioux IA
Solo Exhibition of Wood Block Prints Eastern Kentucky University Collaboration PdntmakerlPapermaker Joel FeldmanRick Anchor Chicago IL
1991 Art from IIlinoiSUSA Faculty and Students of Southern Illinois UniverSity IL Kunstlerhaus Palais Thurn und Axis Bergenz Austria
1990 Sazama Gallery IL 1989 Group Drawing Show Koslow Gallery Los Angeles CA
One Person Exhibition Woodcuts University of Arkansas Fayetteville AR One Corner of the World Seventeen Illinois Illinois State University NormalIL Dols Louisville Visual Arts Association Louisville KY Under Her Brothers one-person installation of paintings and handmade books Contemporary Arts New Orleans LA
1987 New Woodcuts one-person exhibition Koslow Rayl Fine Los CA Visiting artist exhibition Fort Trahern Gallery Austin Siale University Clarksville TN Just for Fun The Eleventh National Invitational Exhibition Liberty Louisville KY
Eastern Montana College MT
Checklist of Works in the Exhibition (all lent by Sazama unless otherwise indicated)
A Baskel Full 1994 woodcut
1994 woodcut
City Politics 1 994 woodcut
A Day in the Park 1994 woodcut
Parked Car 1994 woodcut
Tallins Tower 1993 woodcut
Session 1993 woodcut
Uncle Joe and Czar Alex 1992 woodcut
Wheel of Fortune 1992 woodcut
Rabbit on Uncle Joe 1991-92 woodcut
A of Order 1991 paper with inset color-Richard Hungerford lent by Stone House Southern Illinois University Carbondale woodcut
A Change in Order 1990 woodcut
Non-Profit Org
US PostageILLINOIS STATE PAID
Permit No 878 MUS E U M Springfield IL
FOCI Joel Feldman-large-scale woodcut prints
On exhibit at the Illinois Art Gallery Chicago Aprill1hrough May 17 1994 Receptioo April 8 1994 530 to 730 pm
On exhibit at the Illinois State Museum Springfield Augus 141hrough November 6 1994
Non-Profit Org
US PostageILLINOIS STATE PAID
Permit No 878 MUS E U M Springfield IL
FOCI Joel Feldman-large-scale woodcut prints
On exhibit at the Illinois Art Gallery Chicago Aprill1hrough May 17 1994 Receptioo April 8 1994 530 to 730 pm
On exhibit at the Illinois State Museum Springfield Augus 141hrough November 6 1994