October 16 December 9, 2017
8th Splitgraphic Biennial. Old City Hall, Split, Croatia. (curated by Ingrid Ledent).
September 1 - October 5, 2017.
Kyoto International Print Exhibition (Kyoto Hanga) travels to Regina, Saskatchewan, showing at the Art Gallery of Regina.
August 1 Sept 30, 2017
3rd Global Print, International Print Exhibition. Douro, Portugal (invited)
May 20 - July 1, 2017.
Nicole Longnecker Gallery
Included in this exhibition will be The Birth of Things (2016), a collaborative artists' book by David Scott Armstrong, Nancy Fox, Amy DeWilde, Virakone Sonethasack, Amanda Forrest-Chan.
February 16 - March 25, 2017.
Kyoto International Print Exhibition (Kyoto Hanga) travels to Edmonton, Alberta, showing at the University of Alberta Museums Galleries at Enterprise Square.
Two prints from the recent Dark Garden series were included in Kyoto Hanga (Kyoto International Print Exhibition), an international exchange exhibition between Japan and Canada (curated by Liz Ingram and April Dean). Shown in Kyoto, Japan at the Kyoto Municipal Museum of Art (October, 2016); later traveling to Canada (in 2017) .
Bowl: or an Unlikeness, a sequence of 12 prints, was shown at the 8 Douro Biennial: International Print Exhibition. Douro, Portugal (invited)
October 16 - Nov. 16, 2015
Bowl: or an Unlikeness will be shown at the China Printmaking Museum, Guanlan, China in the exhibition:
Four Educational Institutions: An Invitational International Exhibition of Prints
Invited guest curator Ingrid Ledent (Belgium) chose works by four international institutions with print programs that represent top quality in printmaking education: Musashino Art University (Tokyo, Japan); Academy of Fine Arts (Antwerp, Belgium); The Central Academy of Fine Arts, (Beijing, China); University of Alberta, (Edmonton, Canada.)
China Printmaking Museum in Guanlan, China, October 16 to Nov. 16
July 25 Sept 30, 2015
Global Print 2015, International Print Exhibition. Douro, Portugal (invited)
March 18-21, 2015
SGC International Conference Knoxville, Tennessee
FROM TIME TO TIME
PORTFOLIO organized by The Department of Art and Design, University of Alberta.
2015 marks the 50th anniversary of the Department of Art and Design at the University of Alberta in Edmonton, Canada and the 45 anniversary of its studio (MFA) program, the oldest in the country. Since 1970, over eighty students have earned MFA degrees from the Department of Art and Design`s internationally renowned Printmaking Division and many have moved on to highly successful careers as artists, teachers, writers and curators both in Canada and around the world. This portfolio of twenty-seven prints by some of the divisions most accomplished alumni from 1974-2008, has been organized as part of the Department of Art and Design`s 50th anniversary celebrations; to honor the team of professors, contract instructors, technicians and artists-in-residence who have contributed to the success of the printmaking program over the years and in special recognition of the contribution of University of Alberta Professor Emeritus (1971-2006) Walter Jule, recipient of the 2015 Southern Graphics Council International Excellence in Teaching Award.
Participating in the Exhibition: Printed in: Canada/Taiwan
Curated by Guy Langevin and Rock Shen
Zhongshan National Gallery
at the Sun Yat-sen Memorial Hall
This international exchange exhibition features Taiwan print-artists exhibiting in Trois-Rivières, Canada at the Raymond-Lasnier Exhibition Hall and Canadian print-artists exhibiting in Taipei, Taiwan.
Among the other Canadian artists are: Derek Michael Besant, Mark Bovey, Kyla Fisher, Alexandra Haeseker, Carl Heywood, Kim Huynh, Davida Kidd, Guy Langevin, Marlene MacCallum, David Morrish, Otis Tamasauskas.
August 8 September 15
Participating in the 30th Anniversary Exhibition
Curated by Tessa Hawkins
10123 121 Street
Opening Reception August 18, 2012
The Society of Northern Alberta Print-artists (SNAP) has promoted the creation and display of contemporary print art and the experimentation of new, emerging techniques since the opening of its first print shop in Edmontons Great West Saddlery Building. SNAP Gallery highlights artists and artworks that encompass a wide range of methods and philosophies including work that reinterprets the definition of print art.
The 30th Anniversary Exhibition provides a retrospective space within the gallery for visitors to reflect on the techniques of printmaking and SNAPs continued effort to display artworks that challenge the traditional boundaries of print art. Ten artists were selected to participate in this exhibition: Lynne Allen, David Armstrong, Mark Bovey, Blair Brennan, Libby Hague, Walter Jule, Patrick Mahon, Jon Swindler, Tracey Templeton, and Sergei Tsvetkov. Each artist has created an outstanding example of both the versatility of print art as well as the exciting new and hybrid techniques yet to be explored. Print art has been a very active medium for experimentation since the second half of the twentieth century; Edmontons print artists continue to push this medium to new extremes.
The artworks compiled for the 30th Anniversary Exhibition operate as a means with which the artists display the process of creation, whether etching, carving, or compiling collaged elements. The repetition involved in the act of printmaking is simultaneously recorded in the process of the artist and his/her relationship to the transition of the materials to the final product. Requiring continuous manipulation of various media, the labour involved in each work is displayed through the scratches on the etching plate or the sculpting of a wooden roller. Images of the body act as a record of the life of the artist, mirroring the creative process as a tool of self-reflection for both the viewer and the artist. Details of wood and bark, manipulated in various ways, are seen throughout the show connecting the body to the environment it inhabits.
A cohesive theme emerges within SNAPs gallery through the artworks commentary on the human bodys relationship to the environment, a historically popular trope. The fragile, complex relationship between humans and the environment is reflected in the manipulated material of each artwork, through which both the physical and conceptual levels are formed. Various visual forms are displayed in the artworks and woven together to create layers of meaning within the physical material on display. These materials are intricately manipulated in each work and delicately balanced by deeper connotations and implications in SNAPs 30th Anniversary Exhibition.
The SNAP 30th Anniversary Portfolio:
I was invited, along with 15 other Canadian and International artists, to produce an editioned print in celebration of Society of Northern Alberta Print-Artists 30th anniversary.
Exhibition venues include:
- New Orleans, Louisiana Southern Graphics Council International symposium
- Houston, Texas Art League Houston: as part of Print Houston, 2012
- Edmonton, Alberta SNAP Gallery
July 17-August 29
solo exhibition at the Station Gallery, Whitby, Ontario.
Opening reception: Saturday, July 17th, 1pm
1450 Henry Street
crossing, still. The experience of being slowed then held at a rural crossing before a passing train is both one of awakened senses to the surrounding world (the rhythmic disruption of sight and sound), and, of suspension, where ones sensory attention to the world turns inward the mind drifts elsewhere, waiting, waiting in complete stasis as the world rumbles past. It is a holding point and crossing of world lines. In this exhibition of new works by David Scott Armstrong, the crossing of stillness and movement finds at its material and metaphoric intersection the printed trace, or what is left behind in the wake of intersecting world lines. Lengths and pieces of copper wire, a cracked ceramic bowl, discarded glass telephone insulators dug up from the ground, and lengths of green tape are the material elements which intersect in these printed images. They are works which reveal themselves variously through a gradual unfolding, and, all at once, through stickiness and unbecoming. Such is the tenuous nature of the image, and in the view of the artist, such is the medium and materiality of print.
The artist gratefully acknowledges the support of The Ontario Arts Council