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

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

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

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

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