Lone Star College Kingwood Art Gallery

Dean Allen Dass Sandra C. Fernandez

Lari R. Gibbons

May 22– June 17, 2013

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Table of Contents

Dean Dass Artist Statement..................................................................................................... Biography............................................................................................................... Select Solo and Group Exhibitions......................................................................... Public Collections................................................................................................... Feature Artworks.................................................................................................... Sandra Fernandez Artist Statement..................................................................................................... Artist Books, Biography.......................................................................................... Select Solo Exhibitions........................................................................................... Select Group Exhibitions........................................................................................ Feature Artworks................................................................................................... Lari Gibbons Artist Statement..................................................................................................... Biography, Select Solo and Group Exhibitions........................................................ Select Honors and Awards..................................................................................... Select Lectures, Workshops, and Collections......................................................... Feature Artworks...................................................................................................

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Dean DassDean A. Dass Professor, Printmaking McIntire Department of Art 227 Ruffin Hall University of Virginia Charlottesville, Virginia 22904 (434) 243 2519 dad @virginia.edu http://www.virginia.edu/art/studio/faculty/dass.html

Artist StatementSeriality and multiplicity are for me closely related to narrative structure. I have gradually come to a position where drawing, painting, collage, various print media and even the paper itself as an expressive medium are all necessary for the creation of a work of art. Papermaking, manuscript painting, printmaking and bookbinding have been together for many centuries and to work today in these related fields is easy and natural. The craft-heavy disciplines like these make it easy to have such a dialogue across time. I continue to work on research projects in works on paper often involving pictures that are very intimate in scale and are a kind of manuscript aesthetic in the tradition of the Alexander Romances or the Shah Nameh manuscripts. History is an imaginative enterprise.

I often use titles to suggest that the work is from a narrative that has been lost or is in fragments, but that narrative in fact may have never existed. I do make books regularly and these collections are often the basis for later suites of images. I think I often work over the paper so much that the images come to look like fragments; I like the idea of part-objects very much. In this way I would like to suggest something of the haunting in-completeness of human existence. It is not that I am interested in old things or esoteric knowledge, or mythic or archetypal structures per se, but more in the endless, dizzying repetition of history, a repetition so pervasive as to become almost mythic. Look at the time into which we have been thrown! I think these sentiments can characterize my work in general, for it is often the case that I explore the ideas in a given project simulta-neously through sequences of images in books and in suites of larger images.

This work is not meant merely to evoke a sense of crisis or impending disaster. It is not about endings. It is not a warning sign. It is rather as if what we fear most has already happened, happened long ago, happens continuously. Now these pictures are free to look ahead or backward, to a lost or imagined time when nature and culture recognized a common ground.

This theme of the partial-object, with its resulting paratactic form, which resolves into artists books, works on paper, entire installations, and more recently, even videos, turns Melanie Klein’s clinical term into a metaphor for an age consisting of fragments and fragmented knowledge. Rehabilitating die kunstkämmer concept with its notion of the “complete set,” as well as its hubristic categorization of everything, these books and

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installations try to both exuberantly display everything by category, and demonstrate the melancholia of human existence as contingency, fracture and partial knowledge. A sense of the untimely and the sorrowful accompanies all attempts at classification.

Yet as we keep thinking it becomes clear that as a trope the age of partial objects does more than describe a loss or a lack. It is meant to describe a kind of advanced accep-tance, humility, and a step forward in the sense of an insight we need to grasp. This term is simply meant to be more accurate. In these works I celebrate contingency. Disintegra-tion and reconstitution, destruction and reconstruction – these are formal strategies and describe a working procedure. This working procedure is an attempt to re-envision our experience. To re-enchant our world is not the worst task available to the artist.

BiographyDean Dass studied art, philosophy and anthropology at the University of Northern Iowa, B.A. 1978; M.F.A. in printmaking from The Tyler School of Art, Temple University., Phil-adelphia. Since 1985 he has taught drawing, papermaking, printmaking, book arts, and seminars on contemporary art at the University of Virginia.Dass has established a collaborative relationship and exchange with artists from Scandi-navia. He has taught in several universities in Finland and curated exhibitions of contem-porary Scandinavian art while bringing a number of Finnish artists to UVa. Several recent exhibitions of his oil paintings focused on Lapland.

His own works are held in wide-ranging public collections - from The Brooklyn Museum of Art, The Philadelphia Museum of Art, The Virginia Museum of Fine Arts, The Walker Art Center, The Rare Books Division of the Library of Congress, to the Alvar Aalto Muse-um in Jyväskylä, Finland, as well as numerous university collections. Dass lectures widely on his work and on issues related to contemporary practice.

The Age of Partial Objects 2006 approx. 1.25” x 8.5” x 10” closed case bound in paper laminated on cotton, letterpress text on cover 172 pages, various papers used, gouache, collage, pencil, inkjet, etching, lithography, Xerox, Xerox transfer, letterpress. edition of 25

Despite that I have always been a kind of printmaker, my books over twenty years have all been manuscripts. This project is my first edition. I worked for eighteen months in order to not compromise my ideas of what is a book; I did not want this project to look like a reproduction, as if there was a better project somewhere else, but unseen here. Yet the tension between the unique and the reproducible is a vital tension for me. In Deleuze’s terms, the multiple becomes a multiplicity. This book is a printed manuscript, that apparently contradictory category invented by William Blake before the year 1800.

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Solo Exhibitions2011 CLOUDS, Schmidt Dean Gallery, Philadelphia STUDIES FOR A PROJECT THAT CANNOT BE REALIZED, 1986-2011, Second Street Gallery, Charlottesville (catalog) HEAVEN AND EARTH, Les Yeux Du Monde, Charlottesville 2010 WORK ON PAPER, Schmidt Dean Gallery, Philadelphia THE LOST COLONY, Babcock Gallery, Sweet Briar College, Amherst, Virginia TROPES OF OBJECTIVITY, School of Architecture Gallery, Charlottesville 2009 NEW PAINTINGS AND DRAWINGS, Les Yeux Du Monde, Charlottesville 2008 NEW DRAWINGS, Schmidt Dean Gallery, Philadelphia 2007 PARIS ROMANCE, ADA Gallery, Richmond NEW DRAWINGS AND PAINTINGS, Les Yeux Du Monde, Charlottesville 2005 NEW PAINTINGS, Les Yeux Du Monde, Charlottesville 2004 MNEMOSYNE, Schmidt Dean Gallery, Philadelphia 2003 THE AGE OF PARTIAL OBJECTS, University of Akron, Ohio MNEMOSYNE, Les Yeux Du Monde, Charlottesville 2001 LANDSCAPE WITH EXPLOSIONS, Galleria Harmonia, Jyväskylä, Finland PAINTINGS FROM THREE RIVERS, Les Yeux Du Monde, Charlottesville 2000 NEW WORKS ON PAPER, Schmidt Dean Gallery, Philadelphia PICTURES FROM THE UNDERGROUND STUDIO, 3A Garage, San Francisco 1998 LAMENTATION, University of Wyoming Art Museum, Laramie NEW WORK, Schmidt Dean Gallery, Philadelphia 1997 WORKS ON PAPER, Galleria Harmonia, Jyväskylä, Finland 1996 COMPLETE WORKS, 1992-96, Schmidt Dean Gallery, Philadelphia 1995 NEW WORK, Reynolds Gallery, Richmond 1994 ALEXANDER AND ROXANE, Second Street Gallery, Charlottesville 1992 NEW WORKS ON PAPER, Schmidt Dean Gallery, Philadelphia 1991 1708 East Main Gallery, Richmond 1990 Danville Museum of Fine Arts and History, Danville Mentor Gallery, Charlottesville 1989 PROTECTION VOWS, Dolan/Maxwell Gallery, Philadelphia 1987 Thomson Gallery, Minneapolis PICTURES FROM THE UNDERGROUND STUDIO, Fayerweather Gallery, University of Virginia, Charlottesville 1986 THE CORRUPT GARDEN THE TREE OF KNOWLEDGE AND OTHER PICTURES OF BATTLES AND HOUSES, Dolan/Maxwell Gallery, Philadelphia 1985 Pennsylvania Academy of the Fine Arts, Philadelphia 1983 UNIQUE WORKS ON PAPER, Associated American Artists, Philadelphia WORKS ON PAPER, Olson-Larsen Galleries, Des Moines Select Group Exhibitions 2013 EAST-WEST PORTFOLIO, University of Massachusetts, Dartmouth 2012 CREATIVE CAPITAL-CORPORATE RICHMOND COLLECTS, Visual Arts Center of Richmond Schmidt Dean Gallery, Philadelphia THE FRENCH CONNECTION, Artspace, Richmond, Virginia THE FRENCH CONNECTION, Linden Row Inn, Richmond

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EAST-WEST PORTFOLIO, Nicholls State University, Thibodaux, Louisiana; University of Louisiana, Lafayette; University of Colorado, Boulder; Old Dominion University, Norfolk, Virginia; University of Wyoming, Laramie; 2011 Schmidt Dean Gallery, Philadelphia Art 250, Cill Rialaig Gallery, Waterville, Ireland 2010 THE NEW WORLD, Sam Witt and Dean Dass, NPR Gallery, Charlottesville 2009 ART, ARTIFACT, UI Center for the Book, Iowa City, Iowa THE NEW WORLD, The Printmakers Left, Graphica Creativa, 12th InternationalPrint Trienniel, Galleria Harmonia, Jyväskylä (catalog) SELECTED WORKS, Schmidt Dean Gallery, Philadelphia 2008 The Chinese University of Hong Kong, University of Virginia Faculty Exhibition 30 Year Anniversary Exhibition, Jyväskylä Art Museum, Jyväskylä, Finland The Projects Gallery, Mary Schiller Myers School of Art, The University of Akron, Akron, Ohio Exchange IV: Contemporary Prints, East Gallery, Rueff Galleries, Purdue University, West Lafayette, Indiana 2007 THE SCATTERING OF NATIONS: Selections from The Land of Wandering, The Printmakers Left, Underground Gallery, Iowa City, Iowa 2006 BEYOND WORDS: Artists’ Books, University Art Gallery, Sewanee: University of the South, Sewanee, Tennessee DARK LIGHT, Dean Dass and Clay Witt, Les Yeux Du Monde, Charlottesville 2005 THE LAND OF WANDERING, The Printmakers Left, Off-Grounds Gallery, University of Virginia, Charlottesville (catalog) American Prints in Troubled Times, American University in Cairo, Egypt 2004 THE NEW LANDSCAPE, ADA Gallery, Richmond WAKING DREAMS, University of Virginia Art Museum, Charlottesville WITHIN OUR BORDERS, Hermitage Foundation Museum, Norfolk Les Yeux Du Monde, Charlottesville Schmidt Dean Gallery, Philadelphia 2003 Schmidt Dean Gallery, Philadelphia Les Yeux Du Monde, Charlottesville THE METAPHORICAL HOUSE, Jyväskylä Art Museum CONTEMPORARY REALISM, Ada Gallery, Richmond SENSORY EXPERIENCE, Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, Nebraska 2002 THE CIRCULAR RUINS, Pennsylvania State University; University of Wyoming BIRDS, Schmidt Dean Gallery, Philadelphia THE METAPHORICAL HOUSE, University of Wyoming, Laramie THE LANGUAGE OF ARTIST’S BOOKS, University of Wyoming 9.11.01 REFLECTIONS, Les Yeux Du Monde, Charlottesville PRINT PROGRESSIONS, Tyler School of Art, Philadelphia 2001 PLANT LIFE, Schmidt Dean Gallery, Philadelphia PINK/RED, Schmidt Dean Gallery, Philadelphia 14th NATIONAL PRINTMAKING EXHIBITION, University of Wisconsin, Parkside (catalog) ARTISTS BOOKS AND FOLIOS, Neiman Center for Print Studies, Columbia University 2000 Les Yeux Du Monde Gallery, Charlottesville Schmidt Dean Gallery, Philadelphia

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1999 Les Yes Du Monde Gallery, Charlottesville University of Virginia Law School, Charlottesville 1998 ARTIST’S BOOKS OF THE NINETIES, Montpelier Cultural Arts Center, Laurel, MD ARTIST’S BOOKS, Galleria Harmonia, Jyväskylä WORLD PRINT TRIENNIAL, Ljubljana, Slovenia (catalog) 1997 FIFTH GRAPHICS ANNUAL, Gallery Art Addiction, Stockholm INTERNATIONAL PRIZE WINNERS, Gallery Art Addiction, Stockholm PRINTMAKING INVITATIONAL, Longwood College, Farmville, Virginia INTERGRAFIA ‘97, World Award Winners Gallery, Katowice, Poland (catalogue) RAW VISION, RAW WORD, Bayly Museum, Charlottesville, Virginia 1996 CREATIVA GRAPHICA, Alvar Aalto Museum, Jyväskylä, Finland (catalogue) 1995 NEW REGIONAL PRINTMAKING, Sarah Moody Gallery, University of Alabama, Tuscaloosa 1994 Schmidt Dean Gallery, Philadelphia 1993 1ST INTERNATIONAL PRINT BIENNIAL, Maastricht, Netherlands (catalogue) Reynolds Gallery, Richmond 1991 Reynolds/Minor Gallery, Richmond 1990 1915-1990 ANNIVERSARY EXHIBITION, The Print Club, Philadelphia CREATIVA GRAPHICA, Alvar Aalto Museum, Jyväskylä, Finland (catalogue) 11TH INTERNATIONAL PRINT BIENNALE, Bradford, England (catalogue) Dolan/Maxwell Gallery, New York ARTISTS’ GARDENS, Noyes Museum, Oceanville, New Jersey Southwest Texas State University, San Marcos 1989 MYTH, SYMBOL, DREAM: STRUCTURES OF THE UNCONSCIOUS, Delaware Center for Contemporary Art Marian Koogler McNay Art Museum, San Antonio DRAWING IN VIRGINIA, Second Street Gallery, Charlottesville (catalogue) PROJECTS AND PORTFOLIOS, THE 25TH NATIONAL PRINT EXHIBITION, Brooklyn Museum (catalogue) Dolan/Maxwell Gallery, New York INVITATIONAL EXHIBITION, New Britain Museum of American Art, New Britain, Connecticut (catalogue) Dolan/Maxwell Gallery, Philadelphia 1988 UN/COMMON GROUND, Virginia Museum, Richmond (catalogue) Samuel S. Fleisher Art Memorial, Philadelphia (catalogue) M. Louise Aughinbaugh Art Gallery, Messiah College, Grantham, Pennsylvania The Print Club, Philadelphia UNDER WRAPS, Irvine Fine Arts Center, Irvine, California 1987 CONTEMPORARY AMERICAN PRINTS, Garton & Cooke, London George Dalsheimer Gallery, Baltimore Marsh Gallery, University of Richmond IMPRIMATUR, Greenville County Museum of Art, Greenville, South Carolina 1986 NEW DRAWINGS, Dolan/Maxwell Gallery, Philadelphia II CABO FRIO INTERNATIONAL PRINT BIENNIAL, Cabo Frio, Brazil (catalogue) Lorence Monk Gallery, New York Indiana University of Pennsylvania, Indiana, Pennsylvania LANGUAGE/VISION AND VOICES, Lawrence Gallery, Rosemont College GREAT AMERICAN PRINTS, Dolan/Maxwell Gallery, Philadelphia

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WORKS ON PAPER, Messiah College, Grantham, Pennsylvania Sonoma State College, Rohner Park, California 1985 Samuel S. Fleisher Art Memorial, Philadelphia PENNSYLVANIA ARTISTS ON PAPER, Dolan/Maxwell Gallery, Philadelphia AMERICAN PRINTMAKER’S INVITATIONAL, Indiana University of Pennsylvania ALUMNI INVITATIONAL, Tyler School of Art, Philadelphia (catalogue) NATIONAL INVITATIONAL, University of Hawaii, Hilo Philadelphia Print Club (catalogue) HUNTERDON NATIONAL PRINT EXHIBITION, Hunterdon Art Center, Clinton, New Jersey (catalogue) 1984 The American College at Bryn Mawr, Bryn Mawr, Pennsylvania San Diego Print Club EXPERIMENTAL PRINTS, Noyes Museum, Oceanville, New Jersey Pennsylvania State University, Middletow 1983 23RD NATIONAL PRINT EXHIBITION, Brooklyn Museum (catalogue) IMPRESSIONS: EXPERIMENTAL PRINTS, Institute of Contemporary Art, Virginia Museum of Fine Arts, Richmond 59TH ANNUAL INTERNATIONAL COMPETITION, The Print Club, Philadelphia SEVENTH ANNUAL PRINT EXHIBITION, Charlotte Printmaker’s Society 1982 PAPER AS IMAGE, Pennsylvania State University, State College SIXTH ANNUAL PRINT EXHIBITION, Charlotte Printmaker’s Society University of Delaware, Newark Stockton State College, Pomona, New Jersey

Public CollectionsRare Book Division, Library of Congress; Brooklyn Museum of Art; Charlotte Printmak-er’s Society, North Carolina; Davidson College, Davidson, North Carolina; Des Moines Art Center; Des Moines, Iowa; Emporia State University, Emporia, Kansas; Free Library of Philadelphia; Iowa State Unversity, Ames; Jersey City Art Museum, New Jersey; Jyväskylä Art Museum, Jyväskylä, Finland; Kansas State University, Lawrence; Rare Book Library, Louisiana State University, Baton Rouge; Louisiana State University, Hilliard Universi-ty Art Museum; National Collection of Poland, Kraków; Nicholls State University, Rare Book Library; North Carolina Print & Drawing Society, Charlotte; Ohio State University, Rare Book Library; Philadelphia Museum of Art; State of Iowa, Herbert Hoover Building, Des Moines; Southern Graphics Council; Special Collections, Alderman Library, Univer-sity of Virginia; Temple University, Philadelphia; University of Dallas, Irving; Rare Book Library, Ohio State University; Rare Book Library, University of California, Santa Barbara; University of Nebraska, Lincoln; University of Northern Iowa, Cedar Falls; University of South Dakota, Vermillion; University of Virginia Hospitals, Charlottesville; University of Virginia Art Museum; University of Virginia, Special Collections; University of Wyoming Art Museum, Laramie; Virginia Commission for the Arts, Richmond; Virginia Museum of Fine Arts, Richmond; Walker Art Center, Minneapolis; University of Colorado, Boulder, Rare Book Library; University of Central Florida, Rare Book Library; University of Denver, Special Collections.

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Page of Foxes 2006 inkjet on transparency 8.5x11 inches

Observatory 2012 inkjet on varnished paper, linen 22x22 inches

Age of Partial Objects 2006 approx. 1.25” x 8.5” x 10” bound paper, laminated on cotton; letterpress text on cover

Two Arms 2006 17x22 inches inkjet paper, gouache, acrylic, pigments and ground mica

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Meteor 2012 12.75x8.75 inches inkjet paper, gouache, acrylic and pigments

Page of Lymphscintigrams 2006 9.5x15.25 inches collage of photogravures on varnished paper

(a) and (b) 2010 collage & inkjet on varnished paper 4.75x11 inches

Archer Aims for Heavens 2006 inkjet, collaged & varnished papers 8.5x16 inches

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Tomahawk 2000 23x18 inches collage, pencil, gouache, acrylic, pigments

Page of Hands 2007, 13x15 inches inkjet on paper with gouache, acrylic and pigments

Heads, verso 2006 8.75x11.5 etching, graphite, gouache and pig-ments

Five Trees 2006 8.5x10 inches inkjet and ground mica on varnished paper

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Seven Birds 2006 8.5x10 inches inkjet on varnished paper

For Girolamo Fracastoro 2007 20x10 inches inkjet, collage, pencil

Two Birds in a Cloud 2007 15x12 inches gouache, collage, colored inks, pigments and acrylic

Crater 2006 12x14.125 inches inkjet paper, gouache, acrylic and pigments

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Our Galaxy 2007 9x6 inches inkjet on paper prepared with gouache, acrylic and pigments

Landscape in Flames 2009 16.5x12.25 inches inkjet paper prepared with gouache, acrylic and pigments

Birds in Pink Cloud 2013 collage, gouache, acrylic, pigments, gold leaf on panel 10.5x7.75 inches

Birds in Pink Cloud 2013 collage, gouache, acrylic, pigments, gold leaf on panel 9.75x7.75 inches

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Pink Gold with Gold Stars 2013 12.5x17.25 inches collage, gouache, acrylic, pigments

Pale Spreading Cloud 2013 19.25x16.75 inches pigments, gouache, marble dust, inks

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Artist StatementPrintmaking has enveloped my life for over twenty years. I began as a photographer, doc-umenting memories I valued most, which later led to a passion for printmaking. I quickly realized that I not only wanted to cherish these memories, but transform them into a means of telling my own stories by creating works of art.

Growing up in a different culture, I acquired a kind of aesthetic that became peculiar to my art making. When I moved from my hometown in Ecuador to the United States in my early 20’s, I was introduced to a new way of seeing sewing, embroidery, and art in gener-al. Exposure to new techniques during my schooling in the United States led me to com-bine my past with my present, not only aesthetically but also conceptually. Soon after, my view on printmaking transformed from my traditional approach in tactics, to something entirely new: experimenting and adding textural surface to the 2-dimentional works. I be-gan sewing and embroidering over paper and combining several collage elements on the finished prints. This way of working was directly connected to my conceptual thinking, for example, old vs. new, past vs. present, family vs. the individual, feminine vs. masculine. The aesthetics characterizing my work were revealing a combination of two worlds.

I have developed different bodies of work throughout the years, from artist’s books to installations, from 3-dimensional wall pieces to public art. Most recently I have re-focused on prints and my latest efforts are an attempt to bridge the physical separation of who I am, a Latina woman who grew up in a Spanish-speaking country who has had to adapt, cope and become a part of all that surrounds her, while still maintaining her roots. These prints are perhaps finally making peace with this life-altering struggle, and are a reflec-tion of the person that I have become due to the acceptance of these challenges. My previous prints tend to depict these two cultures together on the page, but in completely different fashions. My Latina roots would be represented through the colorful stitching, while my newfound American culture would be reflected in the flat images on paper. My current prints bring my two worlds together, carrying the differences on the same plane. I still utilize the stitch as a drawing tool, but now stitches are embedded within the metal, within the wood. All the cultural differences that embody who I am now are being united, making up new forms of expression.

Nucleus-ities Series: The pieces in this show are part of a larger body of work comprised of different “nucleus-ities” /cells. I am employing the concept of a cell as a unit of memo-ry that fuses and separates and creates new concepts and forms of remembrance, and at the same time creates future.

Sandra FernandezAssistant Professor Department of Art and Art History University of Texas, Austin 1411 Parkinson Dr. Austin TX 78704 (512) 293-8813 www.sandrafernandez.info studio@sandrafernandez.info

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The group of prints entitled Trazos (Mappings) incorporates text from the 16th centu-ry manuscript, The Codex Mendoza, which details a history of Aztec rulers and their conquests including the tributes paid by the conquered. The figures depict variously a dancer, an old lady or a pregnant woman. The manuscript serves as a symbol of the underlying impact of the conquest upon the Americas and the figures serve as a symbol of what has transpired throughout time.

The interplay between text and figures reflect subsequent realities. The weight of the conquest is seen as overpowering, where the text overwhelms the figures, so that the figures become embedded cartographic elements and are seen only upon closer reflec-tion. The weight of the conquest and the acceptance of the historical occurrence are indicated where the text becomes subdued and nearly invisible.

At times, there is an equal balance between the power of the past and the present, as shown where both text and image have equal presence and force. Finally, the figure of the old woman is depicted as carrying a great weight, the weight of time, the weight of destruction; the pregnant woman celebrates her offspring and the mestizaje, or mixing of cultures.

Artist’s booksMy artist’s books are containers, depositories of personal stories. They have evolved from two dimensional surfaces to having solid yet fragile structures that can be manipu-lated and therefore read by the viewer. These works have a rougher quality, in my use of materials such as wood and raffia. These materials point to gender with their contrast of rough versus soft. Traditional basketry, crocheting and sewing are employed, techniques often considered woman’s work. Here sacred memories reveal their mysteries under the guise of beautiful materials. Yet, some of the subject matter documents the horror and brutality I experienced in Quito. BiographySandra C. Fernández was born in Queens, New York but grew up in Quito, Ecuador. She received her MA (1992) and MFA (1995) from the University of Wisconsin at Madison. She is currently an Assistant Professor at the University of Texas-Austin and the co-direc-tor of the Guest Artists in Printmaking Program (GAPP). She teaches courses in Artist’s Books and Printmaking.

Her photographs, prints, artist’s books and assemblages have been widely exhibited and collected in numerous cities in the US and abroad including New York, Chicago, Dallas, Toronto, Brooklyn, Buffalo, Baltimore, Quito, Buenos Aires, Granada, Michoacán, Cuernavaca, Bogotá, Palestine, Barcelona, Bali, Kyoto, Hang Zhou. Fernandez’s works are represented in collections such as the Smithsonian American Art Museum, The San Antonio Museum of Art (SAMA), Mexic-Arte Museum, The Museo de la Casa de la Cultura in Quito, Ecuador, The Art Museum of South Texas, The Nettie Lee Benson Latin American collection, the Biblioteque Nationale in Paris, the Kohler Art Library and the Gilberto Cardenas collection of Latino Art. Most recently a book- catalogue “ La memoria del mestizaje/ The memory of mestizaje” (1990-2012) of her artwork was published by the Museum of La Casa de la Cultura Ecuatoriana.

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Education2003 Art Education Certification. Buffalo State College, NY. 1995 Master of Fine Arts. University of Wisconsin, Madison. 1992 Master of Arts. University of Wisconsin, Madison. 1991 Bachelor of Science in Art, University of Wisconsin, Madison. 1990 Associate Degree in Applied Arts, Visual Communications. MATC, WI.

Professional Activities Present: Assistant Professor, Department of Art and Art History, University of Texas, Austin. Co-Director, Guest Artists in Printmaking Program (GAPP), University of Texas- Austin. 2008-11 Director, Guest Artists in Printmaking Program (GAPP), University of Texas-Austin. 2005-08 Senior Lecturer, University of Texas, Austin, TX. Co-Director, Guest Artists in Printmaking Program (GAPP), University of Texas- Austin. 2002-03 Adjunct Faculty, State University of New York, Buffalo, NY. 2001-02 Teacher, Abby Kelly Charter Foster School, Worcester, MA. 1999-01 Adjunct Faculty, State University of New York, Buffalo, NY. 1998-99 Visiting Professor, Illinois Wesleyan University, Bloomington, IL. Gallery Director, Illinois Wesleyan University, Bloomington, IL. 1995-98 Lecturer, Illinois State University, Normal, IL.

Solo Exhibitions2011 Life Lines. Courtyard Gallery. Austin Texas. 2008 Desarraigos y Regresos 1987-2008. Casa de la Cultura Ecuatoriana, Quito-Ecuador. 2004 Under-garments, an installation by Sandra C. Fernandez. Open Studio Gallery. Toronto, Canada. What Lies Beneath, an installation by Sandra C. Fernandez. Top Spin: Artists of Western New York and Beyond. Castellani Art Museum. Niagara University, New York. The Paper Dolls/Cucas series. Hiestand Galleries, Miami University. Oxford OH. Containers: Revisiting the past. EL Museo Francisco Oller y Diego Rivera. Buffalo, NY. 2001 Pan-American celebration, works by Sandra Fernández. Buffalo Arts Studio. Buffalo,NY. Cucas/Paper Doll Series. Wakeley Gallery, Illinois Wesleyan University. Bloomington, Illinois. 1998 Works by Sandra Fernández. Truman State University, Kirksville, Missouri. 1996 Retazos de la Memoria. Sala de Exposiciones de la Fundación Octaedro. -97 Quito, Ecuador.

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1995 Retazos de Memoria/ Fragments of memory an Artist’s Book Exhibit. Merwin and Wakeley Galleries, Illinois Wesleyan University. Bloomington, Illinois. Containers: An Artist’s Book Exhibit by Sandra Fernández, A Master of Fine Arts thesis exhibit. Class of 1925 Gallery, Memorial Union. Madison, Wisconsin.1994 Self/Containers, an Artist’s Book Exhibit by Sandra Fernández. La Mujer Latina 2nd Annual Conference. Grainger Hall Atrium, UW School of Business. Madison, Wisconsin. 1993 Creando Identidad fuera de casa/ Building Identity away from home. Theater Gallery-Memorial Union. Madison, WI. 1992 Works by Sandra Fernández, A Master of Arts thesis exhibit. Red Oak Gallery/ Madison, Wisconsin.

Group Exibitions2013 Hidden Agendas, Atelier 6000 Gallery. Bend Oregon. Show juried by Linda Piacentini-Yaple, Sandy Anderson and Pat Clark. Common Space Invitational Print Exhibition, Deans Gallery Fletcher Hall University of Louisiana at Lafayette. Lafayette, Louisiana Books as Art, Gallery 213. Juror Peg Johnston. Binghamton NY. Exhibits USA, Estamos Aqui! We are here! Semographics II. Forum Gallery, Brookhaven College*, Dallas, TX.

2012 Monumental Ideas in Miniature Books II at The Art Gallery in the Rusteberg Hall at UTB and TSC Commom Space, West Gallery, Rueff Galleries. Purdue University. West Lafayette, IN. The People of Paper: New Figuration from Serie Project. Latino Cultural Center, Dallas TX. Talleres Graficos USA, Moreau Art Gallery, St. Mary’s College, Notre Dame, IN. PAPER III / Collectors’ Series, Shoal Creek Gallery, Austin TX. 10 year Retrospective Exhibition. Castellani Art Museum of Niagara University. (June 3, 2012 – January 2013). Legacy, 37th Annual PCNJ Member Exhibition. Juror Sheila Goloborotko. Branchburg, NJ. Madonna International, Benedictine University, Chicago, IL. Curated by Teresa Parker. For a Cure, Upper Gallery, University of Dallas, TX. LA CALACA PRESS II International Print Exchange traveling to: Chicago, IL.; Atelier International - Art Gallery. Corpus Christi, TX; Museo Antiguo Convento San Francisco, Granada, Nicaragua; Lauderhill Arts Center, Lauderhill, FL. USA; Buenos Aires, Argentina; Antiguo Colegio Jesuita, Pátzcuaro, Michoacán, México. Curated by Carlos Berberena Printmaking Faculty at University of Texas Austin, Gallery Black Lagoon, Austin TX. International Women’s Day Exhibition. La Peña Gallery. Austin, TX. El Cuervo: The Raven, Terror, and Death: [An] Other artistic tribute to

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Edgar Allan Poe. The Museum of Edgar Allan Poe, Richmond, VA. UT Printmakers: an exhibition of their current work. Forum Gallery, Brookhaven College, Dallas TX IPCNY (International Print Center NY). New Prints 2012/winter. Selected by Glen Baldridge, Barbara Baruch, Peter Friedland, Claire Gilman, Cary Leibowit and Pari Stave. New York, NY. 2011 El Cuervo, Terror y Muerte. Un tributo a Edgar Allan Poe. Galería Antonio Ramírez. Xochimilco, México. CALACAS, La Calaca Press International Print Exchange. 151 Printmakers / 20 Countries. Expressions Graphics, Oak Park, IL. Memory Remains, Casa de las Ciencias (House of Science)Universidad Autónoma del Estado de Morelos Cuernavaca, Morelos Mexico. Semographics II. Oliver Gallery, The University of South Florida, Tampa. Drawn out Death, a drawing exhibition. Invitational exhibition. Latino Cultural Arts Center, TBH Talento Bilingue de Houston. Houston, TX. The Raven, Terror and Death, exhibition at the Edgar Allen Poe Museum in Richmond, Virginia. Mixed Messages,Casa de la Cultura de la Gobernacion, Departamento de Guania, Región Amazonica, Inírida, Guainía. Mixed Messages ,Sala de Exposiciones de Orellana. Bibliotecadel Banco de la Republica, Leticia, Colombia. Contemporary Abstraction, The Vam Gallery. Austin, TX. Semographics II. University of Akron, Myer School of Art, Akron, OH. Semographics II. Bowling Green State University, Bowling Green, OH. Mixed Messages, Galeria De Artes/CAUA, Universidade Federal Do Amazonas, Manaus, Amazonas, Brazil. Arts Libris, An Art fair of Artist’s Books in Barcelona, Spain. Arte Tejano: De Campos, Barrios y Fronteras, at the OSDE Espacio de Arte in Buenos Aires, Argentina. Organized by the Smithsonian Latino Center. The exhibit is curated by Cesáreo Moreno, the Visual Arts Director and Chief Curator at the National Museum of Mexican Art, located in Chicago. IPCNY(International Print Center New York). New Prints 2011/Summer – Selected by Trenton Doyle Hancock. New York, NY. Mixed Messages, National University of Colombia in Bogota. Exhibition curated by Dr. George Rivera, professor at Colorado University in Boulder, Colorado. ART & DIS(PLACE)MENT, Al-Kahf Gallery Monumental Ideas in MIniature Books II. Traveling exhibition Curator: Hui-Chu Ying. Exhibits in the US and abroad. (Venues to be announced Fall 11.) People’s Gallery Exhibition, The People’s Gallery, Austin City Hall,Austin TX. Remembrances an exhibit of prints, books and drawings, by Amanda Maciuba, Sandra C. Fernandez, Francisco Amaya. WNY Book Arts Center, Buffalo, NY 2010 Category: Printmaking. Woman Made Gallery, Chicago, Illinois. Western New York Book Arts, 2010 Members’ Exhibition. Buffalo,NY The artful Scriptorium, Climate Gallery. Long Island City, NY. Fall Faculty Exhibition, Creative Research Lab, Austin TX Multiple Originals XIV, Pump Project Art Complex, Austin, TX.

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Sandra Fernandez

ColorPrint USA’s 40th Anniversary exhibition. Museum of Texas Tech University. Lubbock, TX. Semographics II. Concordia University*, Saint Paul, MN. Semographics II. VAM Gallery, First Evangelical Church of Austin, Austin, TX. 2009 Monumental ideas in Miniature Books. Curator: Hui-Chu Ying. Exhibits in 17 venues in the US and 7 abroad.

International venues: Valand Gothenburg, Sweden, Eric Saline Helsinki, Finland, Tatjana Bergeit Granada University, Granada, Spain, Bethania Souza/Juan Carlos Ramos Guadix Universidad of País Vasco, Bilbao, Spain, Chema Elexpuru Escuela de Arte de Oviedo, Spain, Maria Amora Italy, Cassondra Stukofski China Academy of Art, Hang Zhou, China, Zhang Min Ji /Waverly Liu Kyoto, Japan, Makiko Berry Generaciones, Celebrating Women and their Art. La Peña Gallery, Austin, TX. Creando Fuerza, Cambio y Permanencia/ The SERIE Project Quinceañera”. Mexic-Arte Museum, Austin, T 2008 Paper, collector’s Series 2008 Sandra Fernández, Karen Kunc, Stephanie Hunder, Melissa Jay Craig, Jill Lear. Gallery Shoal Creek. Austin, Texas. Fall Faculty Exhibition. Creative Research Lab. Austin, TX. Screened Expressions: A Serie Print Project Retrospective. Mexican American Cultural Center. Austin, TX. Five x Seven, On the road: Houston. Inman Gallery. Houston TX. Five x Seven, On the road: Dallas. Dunn and Brown Contemporary. Dallas, TX. An invitational exhibition featuring miniature artworks by artists living in Texas, Sala de Arte Latino, The Latino Art Wing of The Box Contemporary Museum of Art, -Mexic-Arte Museum, Austin, TX. Taste of Mexico 2008, celebrating Mexic-arte Museum. Hyatt Regency on Town Lake. Austin, TX. Photoworks, Abecedarian Artist’s Books and prints Gallery, Denver Colorado. Play Book, Proteus Gowanus Gallery, Brooklyn NY. 2007 Multiple Originals XII, Woman Printmakers of Austin, Daugherty Arts Center. Austin, TX. Books as Singular Objects, Proteus Gowanus Gallery at the Brooklyn College

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Sandra Fernandez

Nucleus-ities: Matrix b 2010 20 x 20 inches Mixed Media: Etching, thread, waxed linen, paper

Nucleus-ities: Dreams (sueños) 2010 20 x 20 inches Etching, chine cole, silkscreen, sewing

Nucleus-ities: Matrix d 2011 22 x 22 inches Etching and hand stitching

Mujeres/Silvio Rodriguez 2012 13 x 15 inches Etching and engraving

Reaching Out 13.5 x 12.5 inches Etching, engraving, and chine colle

Sitting over the Edge 2011 11 x 15 inches Engraving, soft ground, aquatint, chine collie

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Sandra FernandezUn unfinished history: a quilted family tree for Sebastian 1994 7½ x 4½ x 7 ½ & 53 x 37 Cyanotypes, Vandykes, handmade paper, thread, linen, wood

Postcards from my ancestors 1994 3 x 4½ x 3 inches Cyanotypes printed on maple

Childhood Memories III: Growing up in Ecuador 1995 5 3/4 x 5 x 5 inches Crocheted raffia, cyanotypes printed on veneer

Trazos (Mappings), and detail 20 x 26 inches each Etching and silkscreen

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Artist StatementThis body of work explores patterns of change in the contemporary landscape. I gen-erate ideas by taking extensive, international field expeditions and studying artifacts at natural history collections. The repository of drawings and photographs that I have developed from these experiences includes microscopic images, plant specimens, maps and charts. I use these source materials to examine how our understanding of nature is influenced by the ways in which we document it. The methodologies and conventions that I observe and reference are as much my focus as the particular topics in environ-mental philosophy that I study.

The title of these pieces, Outgrowth, refers to the investigative nature of my working process and the means by which I translate source material to images. Using the visual languages of technical illustration and cartography, I mark the path of changes that I see in plant growth, invasive species and migration patterns. These schematic, linear motifs describe complex structures and frameworks with precision and economy.

These printed works also reference the indelible mark on the landscape left in the wake of human activity. I allude to land erosion and the destruction of natural habitat through cross sections of trees and missing flora and fauna. I reference nineteenth-century expe-ditionary photographs by incorporating tableaux and narrative elements from stories of early explorers. This historic and contemporary evidence of physical change and events indicate the passage of time and shifting cultural borders.

Invasive Species (the title) refers to the plexiglass disk installation, and I explore the general topic throughout my work as a whole. Invasive Species arose from my general research of non-native species on a global scale; most of my work deals specifically with Texas flora and fauna or places that I know well, but over the years I have collected var-ious stories that I wanted to bring together. I included a dozen or so species and several of them are featured more than once. A few examples include (1) earthworms, which were probably imported by early European explorers to North America through the horticultural trade; (2) Kentucky bluegrass, which is now found in the Antarctic Peninsula and which could have been brought over by a traveling researcher or tourist; (3) cholera, which may could have been introduced to South America through bilge water.

Using a multi-technology approach that embraces traditional, industrial, and digital approaches to printmaking is central to the process and content of this series. I combine

Lari GibbonsAssociate Professor of Art and Director, P.R.I.N.T Press College of Visual Arts + Design University of North Texas Denton, TX 76203 (940) 369-8354 lrgibbons@mac.com http://www.lrgibbons.net

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hand-drawing, industrial machining and photographic techniques to create matrices for intaglio, relief and letterpress printing. Layering and alternating digital and analogue processes allows me to integrate and transform diverse source materials into cohesive and new reflections on the natural environment.

BiographyLari Radabaugh Gibbons was raised in cities throughout the world, including Chicago, Illinois; Leicester, England; and Aguascalientes, Mexico. She received a BA in Art History from Grinnell College in 1993 and an MFA in Printmaking from University of Nebraska- Lincoln in 1997. She completed additional training at the University of Iowa and Tama-rind Institute (Albuquerque, New Mexico). Her professional and studio work encompass-es independent and collaborative projects exploring ideas from ecology, environmental philosophy and natural history.

She has received numerous grants and awards—including the inaugural Research and Creativity Grant at the University of North Texas (2009–10)—and her work is held in many private and public collections, including the Beijing Natural Culture Center, Musée d’Art Contemporain de Chamalières and the New York Public Library. She has been an artist-in-residence at Anchor Graphics (Chicago, Illinois), Banff Centre (Alberta, Canada), Penland School of Crafts (Penland, North Carolina) and Ucross Foundation (Ucross, Wyo-ming), among other renowned institutions.

Her work is reproduced in catalogues, journals and books, most notably The Best of Printmaking: An International Collection (Gloucester: Rockport Publishers). She current-ly serves as editor of The Mid America Print Council Journal. Gibbons is an associate professor of art at the University of North Texas, where she teaches printmaking and directs the Print Research Institute of North Texas (P.R.I.N.T Press). Previously, she was an assistant professor and area coordinator of Printmaking and Drawing at the University of Dayton in Ohio (1998 to 2002). She has led workshops at Frogman’s (Beresford, South Dakota), Modern Art Museum (Fort Worth, Texas) and Sitka Center for Art and Ecology (Otis, Oregon), among others.

Solo Exhibitions2013 “Traces”, University of North Florida Gallery at the Museum of Contemporary Art, Jacksonville, Florida 2012 “Outgrowth”, Midwestern State University, Wichita Falls, Texas 2011 “Herbarium”, Shircliff Gallery, Vincennes University, Vincennes, Indiana 2010 “Passengers”, Blue Star Contemporary Art Center, San Antonio, Texas

Group Exhibitions2013 Press: On with Dean Dass, Sandra Fernandez and Lari Gibbons – forthcoming Lone Star College-Kingwood, Houston, Texas. Held in conjunction with 2013 PrintHouston organized by PrintMatters 2012 “Abecedaria”, Portfolio exchange for the Mid America Print Council conference, Cape Girardeau, Missouri. Show will travel to Haihara Taidekeskus,

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Lari Gibbons

Tampere, Finland “Modern Impulses and Surreal Dreams”, Dishman Art Museum, Beaumont, Texas “P.R.I.N.T Press Retrospective”, Business Council for the Arts, NorthPark Center, Dallas, Texas (Curated) 2011 “Second Edition”, Museum of Printing History, Houston, Texas. Show traveled to Clampitt Creative Center, Dallas, Texas and P.R.I.N.T Press, Denton, Texas (Curated)

2011 “Within the Landscape/the Landscape Within”, Emily Davis Gallery, Mary Schiller Myers School of Art, University of Akron, Ohio (Curator: Charles Beneke) 2011 “Frogman’s Faculty Exhibition”, University of South Dakota, Vermillion, South Dakota “Life at the Edge”, Cole Arts Center, Stephen F. Austin State University, Nacogdoches, Texas. Show travelled to University of North Texas, Denton, Texas. (Curators: Michelle Rozic, Dr. David Kulhavy; Co-Host at UNT: Brian Wheeler) 2010 “New World / Old World, Catherine G. Murphy Gallery”, St. Catherine University, Minneapolis, Minnesota “New Prints 2010 / Summer: Heat!”, International Print Center New York (IPCNY), New York, New York “The Illuminated Mark”, Tyler School of Art/Temple University, Philadelphia, Pennsylvania “Dream-Day Drawing”, University of the Arts, Philadelphia, Pennsylvania 2009 “comPACT”, Red Delicious Press, Aurora, Colorado “Wünderkammer”, Travelling exhibition originating at Columbia College, Chicago, Illinois and shown in five different venues 2008 “Næstved International Mini Print Exhibition”, Ronnebæksholm Arts & Culture Center, Næstved, Denmark “Manière Noire, Mezzotinto”, Galerie de la Fontaine des Arts, de Rouyn-Noranda, Québec, Canada

Select Honors & Awards2013 “Winter Letterpress Residency”, Penland School of Crafts, Penland, North Carolina Small Grant ($2,464); University of North Texas, Denton, Texas (Principle Investigator) 2012 Gallery Visiting Artist & Scholar Award ($1,200) – forthcoming; Co-authored and organized a P.R.I.N.T Press collaboration between Ryan Burkhart (Master Printer) and Scott Ingram (Artist) at University of North Texas, Denton, Texas (Co-Investigators: Andrew DeCaen, Dr. Kelly Donahue-Wallace) 2011 Gallery Visiting Artist & Scholar Award ($2,594); Co-authored and -organized a P.R.I.N.T Press collaboration between Erika Adams (Master Printer) and Michelle Samour (Artist) at University of North Texas, Denton, Texas (Co-Investigators: Rachel Biggerstaff, Andrew DeCaen) 2011 Adobe Design Achievement Award, Honorable Mention; Innovation in Traditional Media in Education category 2010 Gallery Visiting Artist & Scholar Award ($2,000); Co-authored and organized a P.R.I.N.T Press collaboration between David Jones (Anchor Graphics Master Printer/Founder/Director) and Jeff Elrod (Painter) at University of North Texas,

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Lari Gibbons

Denton, Texas (Co-Investigators: Rachel Biggerstaff, Andrew DeCaen) $150 Juror’s Award, “The Printed Image 3”; Mulvane Art Museum and Alice C. Sabatini Gallery at the Topeka & Shawnee County Public Library, Topeka, Kansas 2009 Research & Creativity Enhancement Award ($9,781)– 10 University of North Texas, Denton, Texas (Principle Investigator) Special Recognition, “Celebrate Urban Birds”, Cornell Lab of Ornithology, Ithaca, New York Hispanic & Global Studies Initiatives Fund; University of North Texas, Denton, Texas (Principle Investigators: Drs. Ricardo Rozzi and James H. Kennedy) 2008 Gallery Visiting Artist And Scholar Award ($1,000); Co-authored and organized to bring Phyllis McGibbon (Professor, Wellesley College) to University of North Texas, Denton,Texas (Co-Investigator: Andrew DeCaen) 2007 Faculty Research Grant, ($4,245) – 08 University of North Texas, Denton, Texas (Principle Investigator)

Select Lectures, Presentations & Workshops2013 imPRESS, Frisco Art Gallery at Discovery Center, Frisco, Texas 2012 Impressionable: Printmaking Techniques and Innovations, Contemporary Art Dealers of Dallas, Dallas, Texas Selling Out?, Mid America Print Council, Cape Girardeau, Missouri Connections to the Visual Arts and Design, BioEnvironmental Polymer Society 20th Anniversary Celebration Conference, Denton, Texas Visiting Printmaker and Mezzotint Workshop, University of Akron, Akron, Ohio REVIVAL! Uncharted Paths Give New Perspectives, Southern Graphics Council International, New Orleans, Louisiana 2011 Mezzotint, Frogman’s Print and Paper Workshops, Vermillion, South Dakota Photopolymer Plates, Print Research Institute of North Texas (P.R.I.N.T Press), Denton, Texas A Conversation On Printmaking, Printmaking Convergence Program, University of Texas, Austin, Texas 2010 Visiting Artist, University of Texas of the Permian Basin, Odessa, Texas Panel Presentation, “Making It Viral: Infectious Pedagogical Practices”, Southern Graphics Council, Philadelphia, Pennsylvania 2009 Panel Co-Chair, “Approaches to Intra- and Cross-Disciplinary Learning and Teaching Foundations in Art: Theory and Education, Portland, Oregon 2008 Panel Presentation, “Fictional Realism”, The College Art Association, Dallas, Texas

Recent Collaborative Projects2010 Sub-Antarctic Biocultural Conservation Research Cluster, University of North – 10 Texas, Denton, Texas (Principle Investigators: Drs. Ricardo Rozzi and James H. Kennedy) 2009 Miniature Forests of Cape Horn, Environmental Education, Science & Technology,University of North Texas, Denton, Texas

Public Collections“Untitled” Frogman’s Print & Paper Workshops, Beresford, South Dakota; “Amalgate” (collaborative piece with Johanna Paas) University of Minnesota, Minneapolis, Min-nesota; “Herbarium I” Frogman’s Print & Paper Workshops, Beresford, South Dakota;

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Lari Gibbons

“Illuminations” Southern Graphics Council Archive, University of Mississippi, University, Mississippi; “Illuminations” University of South Dakota, Vermillion, South Dakota; “Fram Proceeding”Southern Graphics Council Archive, University of Mississippi, University, Mississippi; “Fram Proceeding” San Francisco State University, San Francisco, Califor-nia; “Flight i,” “Flight ii” and “Flight iii” Southern Graphics Council Archive, University of Mississippi, University, Mississippi; “Flight i,” “Flight ii” and “Flight iii” Columbia College, Chicago, Illinois; “Flight i,” “Flight ii” and “Flight iii” University of North Texas, Denton, Texas; “Seed i” and “Seed ii” Grafisk Vaerksted and Næstved Kommune, Næstved, Den-mark; “Departed” and “Passenger” Gradska Galerija Uzice, Serbia, Yugoslavia; “Seed i” Kirkwood College, Cedar Rapids, Iowa; “Dwellings vii” Monmouth University, West Long Branch, New Jersey; “Dwellings vii” Banff Centre, Banff, Alberta, Canada; “Helix” Depart-ment of Art Print Collection, University of Dallas, Irving, Texas; “Dwellings iv” Bradbury Gallery, Arkansas State University, Jonesboro, Arkansas; “Still Green iii” and “Still Green iv” Anchor Graphics, Chicago, Illinois; “Still Green iv” Kimmel Harding Nelson Center for the Arts, Nebraska City, Nebraska; “Dwellings iv” Amity Art Foundation, Woodbridge, Connecticut; “Dwellings iv” Print Study Centre, University of Alberta, Edmonton, Alber-ta, Canada; “Dwellings iv” Beijing Natural Culture Center, Beijing, China; “Helix” Brad-bury Gallery, Arkansas State University, Jonesboro, Arkansas; “Contact” La Collection Permanente du Cabinet d’Estampes de la dite Triennale, Musée d’Art Contemporain de Chamalières, Auvergne, France; “Contact” Fine Arts Center, Arkansas State University, Jonesboro, Arkansas; “Orbital” Art Department, University of Wisconsin at Parkside, Kenosha, Wisconsin; “Orbit,” “Eye Chart i,” “Eye Chart iii,” and “Elements” Grinnell Col-lege Permanent Collection, Print & Drawing Study Room, Burling Library, Grinnell, Iowa; “Lure ii” Appalachian Center for Crafts, Tennessee Technological University, Smithville, Tennessee; “Tails” Sheldon Memorial Art Gallery & Sculpture Garden, Lincoln, Nebras-ka; “Equinoctial” Studio School & Art Gallery, Hartwick College Museum, Oneonta, New York; “Measuring Devices iii” College of Fine & Performing Arts, University of Nebraska, Lincoln, Nebraska; “Lure ii” Department of Art Print Collection, University of Dallas, Ir-ving, Texas; “Eye Chart ii” and “Pithy” New York Public Library, New York, New York; “Eye Chart ii” Vivian & Gordon Gilkey Center for Graphic Arts, Portland Art Museum, Portland, Oregon; “Stratagem” Lillie M. Kleven Print Collection, Department of Visual Arts, Bemidji State University, Bemidji, Minnesota; “Untitled,” “Hooks” and “Hooks III” Grinnell College Permanent Collection, Print & Drawing Study Room, Burling Library, Grinnell, Iowa.

Passengers (Invasive Species) plexiglass and monofilament fifty disks, each 6 inch diameter, 2010 (unframed, on monofilament with clips)

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Lari Gibbons

Paths II 2012 relief 86 x 147 inches

Outgrowth I 2012 relief 87 x 141 inches

Outgrowth II 2012 relief 98 x 106 inches

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