EXHIBITION STATEMENT

Eve’s Garden: The Lost Creation

Paintings and Prints by Keith Howard

The Garden of Eden has found a new contemporary paradigm through a series of paintings and prints by internationally acclaimed artist, author and educator, Keith Howard, head of Contemporary Printmaking and Associate Professor at RIT’S School of Art.  Howard’s new body of work, the “EVE” series, juxtaposes contemporary artistic ideas with the ageless archetype of the biblical Eve. The centralized figure and the panoramic landscape work together in re-shaping the narrative to create a universal   twenty-first century concept of Eden and the realization of humanity’s presence to the possible loss and destruction to our earth.

Keith’s development of nontoxic printmaking techniques has shaped the way many art and printmaking professionals think about issues of sustainability, health and safety in the arts.  His program at R.I.T. is considered the most advanced academic nontoxic printmaking program in the USA.

In keeping with his penchant for innovation, Keith’s recent exploration into the creation of paintings introduces us to a new genre of artistic expression. These paintings initiate in the tradition of printmaking and evolve into a 21st century prototype for a global artisan collaborative that is made possible through the advancements of digital photography and internet communications.  Keith challenges the viewer to reexamine archetypes of the biblical Eve as we experience a modern Eve in a variety of panoramic landscapes.  He also challenges our concept of authorship, where ‘Master Printers’ would traditionally create original prints for painters, by reversing the order. Now the Printmaker works in collaboration with the Master Painter, Mr. Xiang Ming Lin from China. Keith emails his original photographic images to Mr. Lin who makes a Renaissance style oil painting copy for him. They have been collaborating on this series of paintings for about 5 years and have completed over 150 paintings 24” x 96”.

In celebration of the mission of Greentopia, AXOM Gallery will donate a portion of its proceeds from the sale of paintings and prints to the GENESEE LAND TRUST to support their efforts to preserve and protect the land within the Greater Rochester Area, including waterways, wetlands, farmland, open space, fish and wildlife habitat, and scenic or recreational areas.

ARTIST STATEMENT

PROCESS AND PURPOSE

THE PROCESS:

“Snake Tree Eve” is an original hand-pulled print using a relatively new printing process that has been called several different names from Solar Plate to Polymergravure and Contemporary Photogravure. Nevertheless the entire process uses contemporary materials while the print mimics the look of traditional photogravure.

1st

Snake Tree Eve does not start with this name it represents the last of many phases of process.  The first phase is taking thousands of digital photographs of SOA model Michelle Long posing nude with an apple.

2nd

The second phase involves creating a mythical landscape that is photographed on location. In this instance in the Utah desert under a large dead Pinion tree where I shot random digital photographs of the tree from under the limbs looking outward.

3rd

The third stage is collecting 12 random digital shots taken from under the Pinion tree and assembling them in Adobe Photoshop CS3 Photomerge.  CS3 allows me to reposition and force unlike elements of an image to merge resulting in an abstract landscape. I do this several times so that I may select the best landscape that I believe will work with an implanted Eve image.

4th

The forth stage is discovering the “right” Eve image to fit into this landscape knowing that I have over 10,000 Eve images in my image bank.  I have a tendency to retrieve more recent images from this image bank because the figurative element has evolved in several new directions over the past 4 years.

5th

The fifth stage is to cut and paste the Eve image into the landscape with Photoshop to create the Eve narrative.  This sometimes requires many hours of work that involves repositioning, cloning of compositional and pictorial elements.

6th

The sixth stage is to create the digital halftone on transparent film of Snake Tree Eve using a suitable inkjet printer that has been tested for optimum dot structure for intaglio printmaking.  It is not possible to get good results with many printers and for those that can be used for making a good quality halftone they require a lot of testing to learn which dot structure yields the best finished results.  This is an extremely important and difficult part of the image making process as the quality of the final Contemporary Photogravure is totally dependent on a high level of technical understanding of this part of the process.

7th

The seventh stage of the process involves exposing the digital halftone transparency to a photopolymer plate.  In this instance I prefer SolarPlates as they are considered Non-Toxic and they have the capability of producing an amazing tonal range along with extreme image detail.  As with all photo-printmaking techniques there is yet again more plate exposure testing and developing.

8th

Once the SolarPlate has been made the eighth stage involves printing it onto various paper with different density of inks.  In this print I use Hanemulher Copperplate both warm and bright white and Akua Intaglio Mars Black Ink mixed with a little Akua Silver Ink and a little Akua Red Oxide.  The proofing of this plate was difficult as the ink needed to be mixed with 50% transparent base to uncover a full tonal range.  http://www.youtube.com/watch?v=MVh6KhwCpj4

9th

The ninth stage the print needed to be placed in a special drying rack that flattened and dryed the ink.

10th

The tenth stage is naming and signing off the edition or part of the edition as not many printmakers print full editions unless they are sure of selling them.

11th

The last and by far the MOST DIFFICULT stage is selling your print.  The test of a true  printmaker is not how many prints he sells but how many prints he makes when he does not sell!

 

THE PURPOSE

For non-printmakers it would seem a way lot easier to just print this image out on a good quality inkjet printer. We printmakers go to extraordinary lengths to create hand-made prints because of the unique surface aesthetic each hand-made printing process brings to the printed image. It is music to our eyes and we have developed an extraordinary vocabulary that attempts to define and separate all printmaking techniques.  Rosemary Simmons authored Dictionary of Printmaking Terms a 128 page book that is relevant to traditional printmaking techniques and does not include much contemporary terminology. At www.NonToxicPrint.com I have authored a section on New Terminology that describes about 80 new printmaking terms.

Keith Howard

 

 

Curriculum Vitae

EDUCATION

1983-84 Masters in Studio Art, New York University, NY, New York.

1974 Post-Graduate Diploma in Education, Sydney Teachers College, Sydney, Australia.

1969-73 Painting Diploma (five-year, full-time program), National Art School, East Sydney Technical College, Sydney, Australia.

 

TEACHING & EDUCATIONAL EXPERIENCE

1999-Present Head of Contemporary Printmaking (Non-Toxic) Printmaking and Research, Rochester Institute of Technology,

Rochester, New York.

2002 Five – week teaching exchange with Prof. Marnix Averaert from the StedelijkKunstinstituut in Gent, Belgium, and the Academie for Arts in Zottegem, Belgium.

1996-99 Head of the Canadian School for Non-toxic Printmaking, Grande Prairie Regional College, Alberta, Canada.

86-95 Visual Arts Instructor, Peace River Visual Arts Annex, Grande Prairie Regional College, Alberta, Canada.

1984-86 Visual Arts Instructor, Lakehead University, Thunder Bay, Ontario, Canada.

1975-81 Instructor in charge of the Printmaking Department, Queensland College of Art, Australia.

RESEARCH AND PUBLICATION

2004 Article entitled Terminology Velocity published in the Winter 2004 journal Printmaking Today.

2003 THE CONTEMPORARY PRINTMAKER :Intaglio-Type and Acrylic Resist Etching. Text book 2002 Wrote an essay as part of the In-Print: Evolution in Contemporary Printmaking Conference in Hull, England.

2001 Keith Howard’s Non-Toxic Intaglio Instructional Video. Series One: Using Du Pont’s NEW ImagOn Ultra Photopolymer Film. Producer and writer of accompanying compendium.

2000 Forward to Polyester Plate Lithography a text book by George Roberts.

1998 NON-TOXIC INTAGLIO PRINTMAKING. Text book outlines my research into the Intaglio- Type family of non-toxic intaglio techniques utilizing Du Pont’s ImagOn film.

1995 “The Howard-PS-System: Photo Stencils for Water-Based Screen Printing”. Printmaking

Today. Autumn 1995.

1995 Developed the Howard-type 2 and the Howard-Etch-Type. Articles entitled,” The Howard-

E-Type Method: New Breakthrough for Photo Etching”. Printmaking Today,Summer 1995.

1994 Developed the photopolymer Howard-type method. Article entitled, “The Indirect Howard-type: First Introduction at the

Slade”. Printmaking Today. Fall 1994 issue.

1993 “Further Developments in the Howard Process: Halftone Image Making with Non-glare Glass”. Printmaking Today. Autumn 1993 issue.

1993 “Safe Etching and Photo Etching: The Next Generation”. Printmaking Today.

1993 “Surviving Teaching Practices in Studio Art Programs at Colleges and Universities; A Guide for Artists Who Want to Become Better Teachers”. Published by Fairview College, Canada.

1994 Developed the Direct Howard-type non-etch photo intaglio method. Article entitled,“Paradigm Shift: Keith Howard reports on the development of the Howard-type”. Printmaking Today. February 1994.

1991 “Safe Photo Etching for Photographers and Artists”. Text book.Wynne Resources, Alberta, Canada.

 

NON-TOXIC PRINTMAKING WORKSHOPS AND SEMINARS

2011 Oct 6-9 Hands-on non-toxic printmaking workshop to students at Clatslop Community College, Astoria, Oregon.

2011 March 1- 2; Middle Tennessee State University, invited by Prof. Christie Nuell.

2011 March 4 – 6; Atlantic Printmakers, Atlanta, invited by Executive Director Kathy Garrou.

2011 March 10 – 12; University of Georgia-Athens, invited by Prof. Melissa Hartman.

2011 March 14 – 15; University of New Orleans, invited by Prof. Dan Rule.

2011 March 21 – 23; U-Texas at San Antonio invited by Prof. Dennis Olsen.

2011 March 23 – 24; U-Texas at Austin invited by Prof. Lee Chesney.

2011 March 31; Yavapi College Prescott, Arizona invited by Prof. Josephine Gibbs.

2011 June 20 – 24; Summer 5 day Hands on Non-Toxic Intaglio Workshop at Making Art Safely Workshop in Santa Fe, organized by Don Messec.

2010 Feb. 23 -27 Taught a hands-on non-toxic intaglio workshop at the Center for Contemporary Printmaking in Norwalk, Connecticut.

2010 Summer 5 day Hands on Non-Toxic Intaglio Workshop, Making Art Safely, Santa Fe, NM.

2010 July 12 – 16, International Printmaking Summer School, sponsored by Robert Gordon University, and held at Peacock Visual Arts in Aberdeen, Scotland.

2009 Summer 5 day Hands on Non-Toxic Intaglio Workshop, Making Art Safely, Santa Fe, NM.

2009 March 12, Keynote Speaker “NoToxico” International Non-Toxic Printmaking Conference , Monterrey, Mexico.

2009 Participated on a Panel “Is Printmaking Going Green?” At the College Art Association Conference in Chicago.

2009 March, 5 day Hands-on Workshop Cento de las Artes III Fundidora Park, Monterrey, Mexico.

2008 September, 5 day Hands-on Workshop, Harke Art Centre, Ostersund, Sweden.

2008 September 6, Lecture at the Adlbergshallen on Printmaking beyond the Tradition, Ostersund, Sweden.

2008 Visiting artist talk Shepherd University, West Virginia.

2007 Visiting artist workshop and demonstrations University of Texas in San Antonio.

2007 Visiting artist workshop at SUNY Fredonia.

2007 Hands-on workshop Claudia Koch Studio in Geneva, Switzerland.

2007 Hands-on workshop at the Kaleidoscope Arts Foundation in Bermuda.

2007 Hands-on workshop, Institute for Indian American Art, New Mexico.

2007 Hands-on workshop, Institute for Indian American Art, New Mexico.

2006 Hands-on workshop, Institute for Indian American Art, New Mexico.

2006 Hands-on workshop, Kean University, New Jersey.

2005 Hands-on workshop, Institute for Indian American Art, New Mexico.

2005 Hands-on Intaglio-Type workshop, Kennesaw State University, Georgia.

2005 Hands-on Intaglio-Type workshop, Appalachian State University, North Carolina.

2004 Hands-on workshop, Gracefield Arts Centre, Dumfries Scotland.

2004 Kennesaw University, Georgia.

2004 Hands-on workshop, Institute for Indian American Art, New Mexico.

2003 Hands-on workshop, University of Indianapolis, Indiana.

2003 Hands-on workshop “Grabatu ez-toxikoko tailerra: ImagOn ULTRA at Tailerra Zubiarte, UHARTE (Nafarroa) Spain.

2003 Hands-on workshop, College of Santa Fe, New Mexico.

2003 Hands-on workshop, Bandung Institute of Technology, Indonesia.

2003 Hands-on workshop, Gracefield Arts Centre, Dumfries Scotland.

2002 Hands-on workshop, West Palm Beach Middle School, Florida (Sponsored by Mary Fisher).

2002 Hands-on workshop, West Palm Beach High School Florida (Sponsored by Mary Fisher).

2002 Hands-on workshop, Mary Fisher Productions, West Palm Beach, Florida.

2002 Hands-on workshop, Polymetaal in Leiden, The Netherlands.

2002 Hands-on workshop, Spokane Community College, Spokane, Washington.

2002 Hands-on workshop, College of Santa Fe, Santa Fe, New Mexico.

2002 Two hands-on workshops, Gracefield Arts Centre, Dumfries, Scotland.

2002 Seminar and Intaglio-Type demonstration, University of Minnesota, Moorhead, Minnesota.

2002 Seminar and Intaglio-Type demonstration at the University of Indianapolis, Bloomington, Indiana.

2001 Hands-on workshop, College of Santa Fe, Santa Fe, New Mexico.

2001 Hands-on workshop, Hemoltz Studio, Hamburg, Germany.

2001 Two hands-on workshops, Gracefield Arts Centre, Dumfries, Scotland.

2001 Two hands-on workshops, UltraVioleta Printmaking Studio in Buenos Aires, Argentina.

2001 University of Massachusetts, Boston, Massachusetts.

2001 Atelier Presse Papier, Trois Rivier, Quebec, Canada.

2000 School of Visual Art, San Juan, Puerto Rico.

2000 Gracefield Arts Center summer series of three workshops, Dumfries, Scotland.

2000 Massachusetts College of Art, Boston, Massachusetts.

2000 Pacific University, Forest Grove, Oregon.

2000 Southern Connecticut State University, New Haven, Connecticut.

1999 Rochester Institute of Technology, Rochester, New York.

1998 Smith College, Hartford, with representatives from Boston Museum School, Alfred University (NY), University of Hartford.

Mt. Hollyhock College, U-Mass Amherst, Hampshire College and Amherst College.

1998 Governors State University, Chicago, Illinois.

1998 Cornell University, Ithaca, New York.

1998 Key speaker, Scandinavian Non-Toxic Printmaking Symposium/Demonstration,

Copenhagen, Denmark.

1998 Two-month national non-toxic Intaglio workshop tour of Australia. Nine hands-on workshops encompassing approximately 80% of college and university art programs from Sydney, Perth, Adelaide, Canberra, Hobart and Melbourne.

1998 International non-toxic printmaking workshop series, Canadian School for Non-toxic Printmaking, Alberta, Canada. Representatives from: Ringling School of Art, FL; Seton Hill College PA; Sam Houston State University, TX; Moorhead State University, MN; Indian Mountain School, CN; Cornell University, NY; Kutztown University, PA; Gray’s School of Art, Robert Gordon University, Scotland; Okanagan, University, Kelowna, BC. Canada; Messiah College, PA; Chadron State University, Nebraska; Indiana University, IN; Rochester Institute of Technology, NY; Royal College of Art, Stockholm, Sweden; Yavapai College, AZ; Radford University, VA; Western New Mexico University, NM; Western Oregon University, OR; University of Illinois Springfield, IL; Valdosa State University, GA; Middle Tennessee State University, TN; Independence Community College; College of the Redwoods, CA; Boise State University, ID; Middlesex University, London, England; Antilles School, US Virgin Islands; University of Alaska at Juneau, AK; University of Idaho, ID; Sinte Gleska University, SD; Rutgers University, NJ; Wright State University, OH.

1997 College of Santa Fe, New Mexico with representatives from Loyola College, Maryland and Memphis College of Art, Memphis Tennessee.

1997 International non-toxic printmaking workshop series held at the Canadian School for Non-toxic Printmaking, Alberta, Canada. Representatives from; Rochester Institute of Technology; University of Alaska; University of Idaho; Manatee College, Florida; Moorhead State University, Minnesota; Studio for Non-toxic Printmaking, Denmark; Instituto de Arte Federico Brandt, Venezuela; Yavapai College, Utah; Box Hill TAFE College, Australia; Valdosa State University, Georgia; Crow’s Shadow Institute, Oregon; University of Vermont;Northwest College, Wyoming; Tamarind Institute, New Mexico; Bijutu Art University, Japan and Middlesex University, UK.

1997 Whitman College, Walla Walla, Washington.

1997 Crow’s Shadow Institute, Pendelton, Oregon.

1997 Ringling School of Art, Sarasota, Florida.

1997 Southern Graphics Council Conference, Miami, Florida.

1996 Middle Tennessee State University, Tennessee, with representatives from Austin Peayy University, Virginia Commonwealth University, Maryville College, University of Southern Illinois and the University of Mississippi.

1996 Moorhead State University, Minnesota.

1996 International Non-toxic Etching Master Workshop, Fairview College Peace River Campus, Alberta Canada with representatives from College of Eastern Utah, Yavapai College in Utah; Mott Community College in Michigan, Crow’s Shadow Institute in Oregon and The Texas Woman’s University. 1996 Royal Academy, London, England. 1996 Middlesex University, London England. 1996 Edinburgh Printmakers Workshop, Scotland.

1996 Dundee Printmakers Workshop, Scotland.

1996 Lee Arts Center, Arlington, Virginia, U.S.A.

1995 International Safe Etching Master Workshop, Fairview College Peace River Campus, Alberta, Canada with Representatives from Ringling School of Art and Design, Florida; Silvermine College of Art, Connecticut; Smith College, Massachusetts; Moorhead State University, Wyoming; Georgia State University, Alabama.

1995 The College of Santa Fe, New Mexico with representatives from the University of Alabama, Boise State University and Road Island School of Art and Design.

1995 One month lecture/workshop tour of Sweden encompassing the following educational and professional printmaking organizations: Stockholm Konstfackskolan (College of Fine Art and Design); Stockholm Konsthogskolan (Royal College of Art); Grafikskolan (School of Printmaking); Umea Konsthogskolan (Umea School of Art); Vallnd Konsthogskolan (Vallnd School of Art); Lararhogskola (Gothenburg Teachers College); Vuxenskolan (Gothenburg College of Further Ed.); Jorlanda Station Print workshop.

1995 Northern Print Studio, North Shields, England with representatives from the following educational and professionan organizations: University of Newcastle; University of Northumbria at Newcastle; Cumbria College of Art and Design; Edinburgh Printmakers; Northern Freeform; Newcastle College.

1995 Edinburgh Printmakers, Edinburgh, Scotland.

1995 Whitman College, Washington State.

1994 The Lee Art Center, Arlington, Virginia.

1994 Two-month lecture/workshop tour in the United Kingdom encompassing 38 professional printmaking organizations and art education institutions at the following institutions and professional print workshops: Slade School of Art,London University; London Print Workshop; Dublin School of Art, Ireland; Central Saint Martins School of Art, England; Oxford Printmakers Co-op, England; The Block Studio,England; Grays School of Art, Research Unit, Scotland; Edinburgh Print Workshop, Scotland; Sheffield Hallam University, England; University of West England and Chelsea School of Art and Design.

1994 International Safe Etching and Photo Etching Workshop hosted by Fairview, Canada.

1994 Pennsylvania Academy of Fine Art, Philadelphia, Pennsylvania.

1993 Tokyo National University of Art and Music, Japan.

1993 Yokohama Museum of Art, Japan, including participating representatives from: Tokyo National University of Arts and Music, Tokyo Zoukei University, Joshi Bijutu Woman’s Art University, Tama Art University, Nichi Dai University and Machida City Museum of International Print Art.

1993 International workshop on safe etching and photo etching, sponsored by Fairview College, Peace River, Alberta, Canada.

1991 Honolulu Academy of Arts, Honolulu, Hawaii.

1991 Lecture/workshop tour in Australia encompassing 21 institutions at the following venues; Australian Print Workshop, Melbourne; South Australian School of Art, Adelaide; Queensland College of Art, Brisbane; University of New South Wales, Sydney; East Sydney Technical College, National Art School, Sydney.

1991 McGill University School of Architecture, Montreal, Canada.

1991 Ontario College of Art, Toronto, Canada.

1990 Concordia University, Department of Printmaking and Photography, Montreal, Canada.

1990 La Guilde Graphique, Montreal, Canada.

1989 Introduced the “Howard Process” to Vancouver printmakers, artists and teachers at the Malaspina Print Society, BC, Canada.

 

PROFESSIONAL SPEAKING ENGAGEMENTS

2011 Oct. 6, Key Speaker at a Panel Discussion on the Concept of Collaboration in Art  at Clatsop Community College.

2011 Fall Quarter, Faculty exhibition at the Bevier Gallery, R.I.T., Rochester, New York.

2011-2012.

I was one of two printmakers selected to represent New York State in the East /West Portfolio, curated by Prof. Brian Kelly, Professor of Printmaking, Department Head, University of Louisiana at Lafayette. “The work is excellent, and a very good representation of American printmaking in the 21st century”, Prof. Brian Kelly.

The East West Portfolio Travelling Exhibition Schedules  is as follows:

Sept. 14 – Oct 14; Central Connecticut University.

Nov. 15 – Dec. 30; University of Central Florida.

Spring 2012; University of Colorado.

Spring 2012; University of Louisiana at Lafayette.

Spring 2012; Nicholls State University.

2013 March 17, 2013Feb. The University of Massachusetts at Dartmouth.

Nov. 23 – 27, 3rd Qijiang International Print Festival in China http://chinaprintfestival.weebly.com/selected-artists1.html

This International juried exhibition then travelled to the following venues:

Dec 4 – 18, Sichuan Fine Arts Institute, Huangjueping 108, Jiulongpo District, Chongqing 400053. China.

Dec 23 – Jan 14 Southwest University, No.2 Tiansheng Road, BeiBei District, Chongqing, 400715,P.R.China.

2009 Key speaker at the International Non-Toxic Printmaking Convention in Centro de las Artes III, Fundidora Park, Monterrey, Nuevo Leon, Mexico.

2009 Part of a panel discussion entitled “Non-Toxic Techniques and Processes of Production” at the International Non-Toxic Printmaking Convention, Centro de las Artes III, Fundidora Park, Monterrey, Nuevo Leon, Mexico.

2006 “Play, Fast Forward & Pause” public lecture on my art work at James Howe Fine Arts Gallery, Kean University, New Jersey.

2004 Visiting Artist Lecture, Santa Reparata, Florence, Italy.

2001 “Investigacion en Grafica No-Toxica” Universidad Nacional de Tres de Febrero Sede Centro Cultural Borges, Argentina. Key Speaker.

2001 “Nuevos avances en Grabado Non-Toxico”, Museo Nacional Del Grabado, Argentina.

2000 Panel entitled, “Hope You Are Feeling Better”, at the SECAR Conference, Louisville, Kentucky.

2000 Asia Pacific Art Education Conference, Hong Kong.

1999 Southern Graphics Council Conference, University of Arizona, Arizona.

1998 College Art Association Conference, Toronto, Canada.

1998 Mid-America Print Council Conference, Cincinnati, Ohio.

1995 “Teachers as Artists and Artists as Teachers”, Gothenburg Art Gallery, Sweden.

1995 Sitka Center for Art and Ecology, Oregon.

1994 Southern Graphics Council Annual Conference, at Texas Christian University, Fort Worth, Texas. Invitational speaker.

1993 Two presentations: “Surviving Teaching Practices in Studio Art Programs at Institutions of Higher Learning”; “New Developments in Safe Inexpensive Printmaking”. Twenty-eighth World Congress of the International Society for Education Through Art, Montreal Canada.

1993 “New Dimensions in Safe, Inexpensive Printmaking”. Thirty-third Annual Convention of the National Art Education Association Convention, Chicago, Illinois.

1993 “Safe Etching Innovations”, Yokohama Museum of Art, Yokohama, Japan.

1992 “New Dimensions in Safe Printmaking”. U-BC, Canada.

 

RECENT ONE-PERSON EXHIBITIONS

2011 Oct. 6 – 27, One-person exhibition of my Eve Paintings and Prints. A prize that I won as part of the Au Natural International Juried Art Exhibition at Catslop Community College Art Center Gallery in Astoria, Oregon. This prize also included an all expenses paid trip to speak at the opening of my exhibition. http://www.aunaturelart.com/view.php?yr=2011&id=107

2008 “Printmaking Beyond the Tradition” a decade of Contemporary Printmaking from Keith Howard, Ahlbergshallen, Ostersund, Sweden, 6-24 September.

2008 April 9 – May 9, “In The Garden of Eve” oil paintings, Edith Langley Barrett Fine Art Gallery, Utica College, NY.

2008 “8 Years at RIT Retrospective” My prints at the The Frank Gallery, Shepherd University, West Virginia.

2007 Elliot Gallery, Kaleidoscope Foundation, Bermuda.

2006 James Howe Fine Arts Gallery, Kean University.

2005 Catherine J. Smith Gallery, Appalachian State University, North Carolina.

2004 Kennesaw State University, Georgia.

2004 Seton Hill’s Harlan Gallery, Seton Hill University, Pennsylvania.

2003 Oct. 6 –Nov. 7, Christel DeHaan Fine Arts Center, University of Indianapolis, Indiana.

2003 Aug. 19 – Sept. 14, Pabellon de Mixtos de la Ciudadela of Pamplona, Spain.

2003 July 4 – 13, Bentara Budaya Jakarta, Indonesia.

2003 June 23-29, Galeri Soemardja, Bandung, Indonesia.

2003 May 27 – June 28, Casa de Cultura de Huarte, Spain.

2003 August, Irunea, Pamplona, Spain.

2003 Jan 3 – Feb. 3, Gallery East, Eastern Utah State College, Utah.

2002 Mar. 12 – Apr. 12, Eggmont Castle, Zottegem, Belgium.

2002 June 1- 30, Frans Masereel Centrum, Kasterlee, Belgium.

2002 Aug. 8 – Sept. 8, Gracefield Arts Centre, Dumfries, Scotland.

 

RECENT GROUP EXHIBITIONS

2011 Feb. 17 – April 14, International juried exhibit “Au Natural: The Nude in the 21st Century” juried by Jane Beebe, director of PDX Contemporary Art in Portland.

2011 R.I.T Faculty Show, Bevier Gallery, R.I.T. Rochester, New York.

2010 Aug. 10 – Oct 31. 5th  International Print Biennale, Douro, Portugal.

2010 Sept. 23 – Oct. 7. One Eve painting juried into ArtPrize, Grand Rapids, Michigan.

2010 R.I.T Faculty Show, Bevier Gallery, R.I.T. Rochester, New York.

2009 March 24-April 28 “Due Process”, an educational exhibit about the many processes of printmaking, At Gallery5, Richmond Virginia.

2009 March-April International Printmaking and Graphic Arts Exhibit, Centro de las Artes III, Fundidora Park, Monterrey, Nuevo Leon, Mexico.

2006 R.I.T Faculty Show, Bevier Gallery, R.I.T. Rochester, New York.

2005 R.I.T Faculty Show, Bevier Gallery, R.I.T. Rochester, New York.

2004 Non-Toxic Printmaking National Invitational Exhibit, Indianapolis Art Center, Indiana.

2004 R.I.T Faculty Show, Bevier Gallery, R.I.T. Rochester, New York.

2003 R.I.T Faculty Show, Bevier Gallery, R.I.T. Rochester, New York.

2002 December 15-Jan. 15, 2003, Rochester Print Club annual exhibition, NY.

2002 Sept. 13 – Oct. 16, Faculty Exhibition, Bevier Gallery, R.I.T., Rochester, New York.

2002 Sept. 26 – Oct. 17, “Work on Paper: Printmaking Invitational Exhibition”; also featuring prints by Jeff Sippel, Priscilla Block and Lisa Schneider Bulawsky. St. Luis Community College at Florissant Valley. St. Louis, Missouri.

2001 Oct. 21-Nov. 14, Re-Imaging the Multiple, Curated by the Late George Roberts, Rochester Institute of Technology, Rochester, New York.

2001 Sept. 14, Oct. 14, Faculty Exhibition, Bevier Gallery, R.I.T., Rochester, New York.

2001 May 17 – 30,”Non-Toxic Printmaking”, curated by Debra James Percival, Charlottetown Printmaking Center, P.E.I. Canada.

2001 May 1 – June 1, “Print Is Print”, curated by Chris Nelson Bill Hosterman, Museo Nacional Del Grabado, Buenos Aires, Argentina.

2001 Feb. 1–28, “Re-Imaging the Multiple: New Innovations in Contemporary Printmaking”, curated by the Late George.

Roberts, College of Eastern Utah, Utah.

2000 Mar. 2-30, Print is Print, curated by Chris Nelson Bill Hosterman, Northeastern Illinois University, Chicago, Illinois.

2000 Jan. 6-30, Print is Print, Warren Wilson College, North Carolina.

1999 Sept. 29 – Nov. 10, Re-Imaging the Multiple, Boise State-U, Idaho.

1993 Two presentations: “Surviving Teaching Practices in Studio Art Programs at Institutions of Higher Learning”; “New Developments in Safe Inexpensive Printmaking”. Twenty-eighth World Congress of the International Society for Education Through Art, Montreal Canada.

1993 “New Dimensions in Safe, Inexpensive Printmaking”. Thirty-third Annual Convention of the National Art Education Association Convention, Chicago, Illinois.

1993 “Safe Etching Innovations”, Yokohama Museum of Art, Yokohama, Japan.

1992 “New Dimensions in Safe Printmaking”. U-BC, Canada.

 

RECENT ONE-PERSON EXHIBITIONS

2011 Oct. 6 – 27, One-person exhibition of my Eve Paintings and Prints. A prize that I won as part of the Au Natural International Juried Art Exhibition at Catslop Community College Art Center Gallery in Astoria, Oregon. This prize also included an all expenses paid trip to speak at the opening of my exhibition. http://www.aunaturelart.com/view.php?yr=2011&id=107

2008 “Printmaking Beyond the Tradition” a decade of Contemporary Printmaking from Keith Howard, Ahlbergshallen, Ostersund, Sweden, 6-24 September.

2008 April 9 – May 9, “In The Garden of Eve” oil paintings, Edith Langley Barrett Fine Art Gallery, Utica College, NY.

2008 “8 Years at RIT Retrospective” My prints at the The Frank Gallery, Shepherd University, West Virginia.

2007 Elliot Gallery, Kaleidoscope Foundation, Bermuda.

2006 James Howe Fine Arts Gallery, Kean University.

2005 Catherine J. Smith Gallery, Appalachian State University, North Carolina.

2004 Kennesaw State University, Georgia.

2004 Seton Hill’s Harlan Gallery, Seton Hill University, Pennsylvania.

2003 Oct. 6 –Nov. 7, Christel DeHaan Fine Arts Center, University of Indianapolis, Indiana.

2003 Aug. 19 – Sept. 14, Pabellon de Mixtos de la Ciudadela of Pamplona, Spain.

2003 July 4 – 13, Bentara Budaya Jakarta, Indonesia.

2003 June 23-29, Galeri Soemardja, Bandung, Indonesia.

2003 May 27 – June 28, Casa de Cultura de Huarte, Spain.

2003 August, Irunea, Pamplona, Spain.

2003 Jan 3 – Feb. 3, Gallery East, Eastern Utah State College, Utah.

2002 Mar. 12 – Apr. 12, Eggmont Castle, Zottegem, Belgium.

2002 June 1- 30, Frans Masereel Centrum, Kasterlee, Belgium.

2002 Aug. 8 – Sept. 8, Gracefield Arts Centre, Dumfries, Scotland.

 

RECENT GROUP EXHIBITIONS

2011 Feb. 17 – April 14, International juried exhibit “Au Natural: The Nude in the 21st Century” juried by Jane Beebe, director of PDX Contemporary Art in Portland.

2011 R.I.T Faculty Show, Bevier Gallery, R.I.T. Rochester, New York.

2010 Aug. 10 – Oct 31. 5th  International Print Biennale, Douro, Portugal.

2010 Sept. 23 – Oct. 7. One Eve painting juried into ArtPrize, Grand Rapids, Michigan.

2010 R.I.T Faculty Show, Bevier Gallery, R.I.T. Rochester, New York.

2009 March 24-April 28 “Due Process”, an educational exhibit about the many processes of printmaking, At Gallery5, Richmond Virginia.

2009 March-April International Printmaking and Graphic Arts Exhibit, Centro de las Artes III, Fundidora Park, Monterrey, Nuevo Leon, Mexico.

2006 R.I.T Faculty Show, Bevier Gallery, R.I.T. Rochester, New York.

2005 R.I.T Faculty Show, Bevier Gallery, R.I.T. Rochester, New York.

2004 Non-Toxic Printmaking National Invitational Exhibit, Indianapolis Art Center, Indiana.

2004 R.I.T Faculty Show, Bevier Gallery, R.I.T. Rochester, New York.

2003 R.I.T Faculty Show, Bevier Gallery, R.I.T. Rochester, New York.

2002 December 15-Jan. 15, 2003, Rochester Print Club annual exhibition, NY.

2002 Sept. 13 – Oct. 16, Faculty Exhibition, Bevier Gallery, R.I.T., Rochester, New York.

2002 Sept. 26 – Oct. 17, “Work on Paper: Printmaking Invitational Exhibition”; also featuring prints by Jeff Sippel, Priscilla Block and Lisa Schneider Bulawsky. St. Luis Community College at Florissant Valley. St. Louis, Missouri.

2001 Oct. 21-Nov. 14, Re-Imaging the Multiple, Curated by the Late George Roberts, Rochester Institute of Technology, Rochester, New York.

2001 Sept. 14, Oct. 14, Faculty Exhibition, Bevier Gallery, R.I.T., Rochester, New York.

2001 May 17 – 30,”Non-Toxic Printmaking”, curated by Debra James Percival, Charlottetown Printmaking Center, P.E.I. Canada.

2001 May 1 – June 1, “Print Is Print”, curated by Chris Nelson Bill Hosterman, Museo Nacional Del Grabado, Buenos Aires, Argentina.

2001 Feb. 1–28, “Re-Imaging the Multiple: New Innovations in Contemporary Printmaking”, curated by the Late George.

Roberts, College of Eastern Utah, Utah.

2000 Mar. 2-30, Print is Print, curated by Chris Nelson Bill Hosterman, Northeastern Illinois University, Chicago, Illinois.

2000 Jan. 6-30, Print is Print, Warren Wilson College, North Carolina.