CHRISTOPHER  DANIGGELIS

 SCHOLARLY ACCOMPLISHMENTS

 To define printmaking in scholarly terms is complex.  It is the technical mastery of all printmaking processes: Intaglio (etching and engraving metals), Serigraphy (screen printing), Lithography (limestone printing) and Relief (woodcut).  Although these processes are categorized under printmaking, the only technical commonality they share is the ability to create “multiples” or “editions” (hand printed copies from original plates).  Printing editions multi-billion dollar industry that has roots in ancient China, Germany and Italy. Printing is a whole other field within Printmaking and truly there are artists who can print, but not make plates, plate makers who cannot print, artist who can barely manage to master one or two processes in the entire field. As printmaker and practicing artist in the tradition of Hayter I have managed to master the above and also lesser known processes such as, dry point, mezzotint, aquatint, marblizing, wood engraving, linocuts, all photo mechanics, multi-plate color printing, paper making, bookbinding, letterpress, reduction printing, registration matrices, polyester plate lithography, collagraphy, cmyk printing , chine colle, laser engraving etc.  This knowledge of technique affords our department and the College of Arts and Sciences with a crossroad for all art making: a student or faculty painter, sculptor, ceramicist, video artist can make prints: in fine art terms it is a major player and validates fine art subject matter to the largest fine art market.

 Conceptually and historically, printmaking is the birth of mass media, catalyst for literacy and the move from an oral to written tradition in a largely illiterate pre-renaissance Europe.  In the great writing by Walter Benjamin The Work of Art In The Age Of Mechanical Reproduction (which is a core thought of printmaking), the multiple is not only a market product, but predicts the lessening aura of the “original” object, for a more powerful concept of Marxist reproduction which economically de-segregates the power of fine art (film, musical recordings, print) making it available to all. There is a great connection between the Marxism of YouTube, Facebook etc and the early pre-renaissance print market.   I have also received a grant to expand the printmaking area to including the beginning of what I believe is the next phase of the “multiple”: digital fabrication through laser engraving and CNC machines. I will be using a digitally driven laser engraving machine as an extension of the important culture defining concepts above.  I believe in the future the fate of printmaking, hard copy and journalism will be intertwined in an exciting culling of traditions, processes and markets.

 As an artist using printmaking as my media of choice I have exhibited prints alongside MacArthur Genius Award recipient Aminah Robinson at the Ross Museum in Ohio.  I was a 2013-2014 International Fulbright Core Award winner in Printmaking.  Of the 60,000+ applicants worldwide I was one of two research award winners offered in Germany and the only research award winner without a doctorate.  I have printed work for Richard Serra on behalf of the Leo Castelli Foundation which was purchased by the Metropolitan Museum of Art and other major New York collections Castelli is arguably the most important American Gallerist of the modern era, possibly ever.  Richard Serra is one, if not the greatest living sculptors today. My professional relationship with Luther Davis, master printer at Axelle Fine Art Prints in NYC is a great source of connection with the art world of New York.  Luther has printed for art world giants such as Matthew Barney, Robert Indiana, Mel Bochner, The Estate of Roy Lichtenstein.  Because these scholarly activities are contemporary in nature, I decided to recently shift my energies to the distant past. I am contracted by the Dard Hunter Estate to print a collection of 76 historically significant original etchings and engravings by artists such as Franciso Bartolozzi (founding member of the Royal Academy of Art, shared the same teacher and classroom as William Blake) , 1768) and John Sartain (world famous pioneer of the mezzotint process).  The plate are owned by the family of Dard Hunter (was an American authority on printing, paper, and papermaking, especially by hand, using the tools and craft of four centuries prior. Hunter produced two hundred copies of his book Old Papermaking, preparing every aspect of the book himself: he wrote the text, designed and cast the type, did the typesetting, handmade the paper, and printed and bound the book. A display at the Smithsonian Institution that appeared with his work read, "In the entire history of printing, these are the first books to have been made in their entirety by the labors of one man.")     

 The interrelationship with printmaking and very other media area in and out of the fine art arena is complex. Printmaking is the definition of interdisciplinary activity.  Also interdisciplinary in nature active visual literacy, critique and dialogue associated with fine art, including historical paradigms and current contemporary trends is essential to exist as a printmaker.  The printmaker must understand the most complex conceptual relationships as a translator from the sculptor, painter, fibers artist, draftsman, etc. While printing and managing printers for international artist Jonathan Hammer, represented by the Mathew Marks Gallery NYC, the printmakers must be able to handle the pressure of problem solving, dealing with ego and flawlessly executing difficult, possibly, unheard of innovations with process as a minimum requirement.  Recently Jonathan Hammer invited me to Spain to visit Joan Miro’s Studio, where he resides.

 I trained with Charles Massey Jr. at Ohio State University and David Faber at Wake Forest University.  Faber was a student of David Driesbach, who was a student of Maurico Lasansky and Stanley William Hayter.  Printmaking as a scholarly field is slightly cryptic in nature, but above names represent my proud lineage.  The “Hayter” pedigree, even in this century carries weight: Regarded as the most significant printmaker of the 20th century, in 1927 Hayter founded the legendary Atelier 17 studio in Paris. Since his death in 1988, it has been known as Atelier Contrepoint.  Among the artists Hayter was credited with influencing were Pablo Picasso, Alberto Giacometti, Joan Miró, Alexander Calder, Marc Chagall, Jackson Pollock, Mark Rothko, Mauricio Lasansky, K.R.H. Sonderborg and Tinca Stegovec..

 I also greatly enjoy visiting local high schools to conduct printmaking projects to invite AP students to visit the University of Missouri’s Print Lab.  I actively and enthusiastically participate in HS Art Day, where state wide High Schools visit for a day of demonstrations and lectures.  I have spoken at the Columbus Museum of Art on several occasions on the rich history and tradition of printmaking and also lectured at the Missouri State Historical Society.        

 My primary research focus lies in the area of printmaking (etching, engraving, relief, lithography, serigraphy and digital photographic techniques).  My achievement in this area is through invitational, peer juried and peer-curated exhibitions which are the equivalent of peer-reviewed publications in other academic fields. It is also defined by my professional printing activities in major international art capitals such as New York and Germany. The value of any competitive juried or invitational exhibition can be evaluated by the prestige of the venue, the exhibition’s geographical scope, the reputation of the jurors and/or curators and the reputation of my co-exhibitors. The information listed below (C.V.) primarily falls into the categories of competitive peer-reviewed or invitational national or international exhibitions, professional printing experience, and/or grants.

                                                                                                                                                                                                                                          
EDUCATION
M.F.A.  The Ohio State University, Columbus, Ohio
1995        (Full Funding)
B.A.  Wake Forest University, Winston-Salem, North Carolina
1993   (Fine Art and English Literature, Full Scholarship)

Contact Information

A126 Fine Arts Building
516.784.8896
Current University PositionAssociate Professor, Printmaking Coordinator and Director 
of Graduate Studies

DegreesM.F.A. Printmaking, The Ohio State University (1996)
B.A. BA Fine Arts/ English Literature, Wake Forest University (1992)
Areas of Interest and ExpertiseTeaching, Scholarly, Creative, Service, Extension and Outreach
Work and Professional ExperienceDirector of Graduate Studies MU, Columbia Missouri (2017 - Ongoing)
Associate Professor, Area Coordinator with Tenure University of Missouri, Columbia Missouri (2016 - Ongoing)
Professor, Assistant University of Missouri, Columbia Missouri (2010 - Ongoing)
Area coordinator, Printmaking MU, Columbia Missouri (2007 - Ongoing)
Professor, Assistant Visiting University of Missouri, Columbia Missouri (2007 - 2010)
Visiting Professor The Ohio State University, Columbus Ohio (2006 - 2007)
Associate Professor, Area Coordinator, BFA thesis Coordinator, Exhibition Coordinator The Columbus College of Art & Design, Columbus Ohio (1997 - 2006)
Coordinator for the OHIO Governors' Summer Program for the Gifted & Talented in the Arts Ohio State University, Columbus (1995 - 1995)
BiographyChris Daniggelis was born in Jackson Heights, Queens (1970) and was raised and educated in New York. He grew up in Wantagh Long Island in a lower middle class area south of Merrick Road in Western Nassau County.  He spent weekends in either Flushing, Queens or Bensonhurst Brooklyn.  He attended Wantagh High School.  He was a Track and Field and Cross Country runner since the 8th grade.  While at Wantagh, he was County Champion in Cross Country for Nassau County in 1987, finished 3rd at the New York Cross Country State meet, and was County Champion in the Mile and 3200 meter run in Indoor and Outdoor Track.  After winning both the Father judge and Penn Relay track meets in the 3000m meters, he was awarded a full Athletic Scholarship to Wake Forest University where he received a double major in English Literature and Fine Art Printmaking.  While at Wake forest, he track team had the highest GPA of any athletic team at Wake Forest and the ACC.  As a varsity athlete, he team finished 3rd place as an all-American division I team in the US NCAA cross-country championship in 1991 and when on to win many other ACC and District championships.  While receiving his double major, he ran between 70-90 miles per week.


After graduation he worked briefly as a Graphic Designer and at the Metropolitan Museum of Art.  He was accepted into the MFA Printmaking Program at the Ohio State University and shortly afterward received full funding and a GTA.  While at OSU he was Graduate Student President and President of the Student Printmaking Association.


After Graduate School he work for a year unloading trucks at UPS, substitute teaching in the Columbus inner city and sending work out for National and Local exhibitions.  In 1997 he was hired as an Instructor at CCAD to run the Printmaking Program and Coordinate the area, he remained at CCAD until 2007, his rank was Associate Professor.  He left CCAD as the program was in decline, to work for Ohio State University as a Visiting Artist and then was hired by the University of Missouri.  In 2010 he competed for a tenure track position at the university, and in 2016 was awarded tenure and promotion to Associate Professor.  As an Artist he has exhibited Nationally and Internationally.  In 2014, after 17 years of full time teaching, he competed and was awarded an International Fulbright Core Scholar Award for Research in Germany. 

Courses Taught (Official UM Record - Fall 2007 to Present)CARTGE_VS 7000 01 1, PRACTICE AND CRITIQUE, 8 (Fall 2019)
CARTGE_VS 8000 01 1, ADV PRACTICE AND CRITIQUE, 4 (Fall 2019)
CARTPR_VS 3700 01 1, INTERMEDIATE PRINTMAKING, 8 (Fall 2019)
CARTPR_VS 4700 02 1, ADVANCED PRINTMAKING, 3 (Fall 2019)
CARTDR_VS 7285 04 1, PROBLEMS IN DRAWING, 1 (Fall 2019)
CARTPR_VS 7700 01 1, GRADUATE PRINTMAKING, 2 (Fall 2019)
CARTPR_VS 8700 01 1, GRADUATE PRINTMAKING 2, 2 (Fall 2019)
CARTPR_VS 4785 01 1, PROBLEMS IN PRINTMAKING, 2 (Fall 2019)
CARTPR_VS 4700 01 1, ADVANCED PRINTMAKING, 2 (Summer 2019)
CARTPR_VS 2730 01 1, SCREEN PRINTING, 9 (Summer 2019)
CARTDR_VS 1050 01 4W1, DRAWING MATERIALS & METHODS, 9 (Summer 2019)
CART_PRNT 4785 01 1, PROBLEMS IN PRINTMAKING, 4 (Spring 2019)
CART_PRNT 4700 01 1, ADVANCED PRINTMAKING, 1 (Spring 2019)
CART_PRNT 7785 01 1, PROBLEMS IN PRINTMAKING, 2 (Spring 2019)
CART_GNRL 8090 01 1, MFA THESIS EXHIBIT DOC, 7 (Spring 2019)
CART_PRNT 2730 01 1, SCREEN PRINTING, 9 (Spring 2019)
CART_PRNT 8700 01 1, GRADUATE PRINTMAKING 2, 1 (Spring 2019)
CART_PRNT 7700 01 1, GRADUATE PRINTMAKING, 2 (Spring 2019)
CART_PRNT 3700 01 1, INTERMEDIATE PRINTMAKING, 7 (Spring 2019)
CART_PRNT 7700 01 1, GRADUATE PRINTMAKING, 1 (Fall 2018)
CART_PRNT 8700 01 1, GRADUATE PRINTMAKING 2, 4 (Fall 2018)
CART_PRNT 2700 01 1, INTRO ETCHING RELIEF PRINT, 17 (Fall 2018)
CART_GNRL 8090 01 1, MFA THESIS EXHIBIT DOC, 2 (Fall 2018)
CART_PRNT 4785 01 1, PROBLEMS IN PRINTMAKING, 2 (Fall 2018)
CART_PRNT 3700 01 1, INTERMEDIATE PRINTMAKING, 4 (Fall 2018)
CART_PRNT 4700 02 1, ADVANCED PRINTMAKING, 6 (Fall 2018)
CART_PRNT 7785 01 1, PROBLEMS IN PRINTMAKING, 2 (Fall 2018)
CART_PRNT 3700 01 1, INTERMEDIATE PRINTMAKING, 13 (Spring 2018)
CART_PRNT 7785 01 1, PROBLEMS IN PRINTMAKING, 6 (Spring 2018)
CART_PRNT 2730 01 1, SCREEN PRINTING, 14 (Spring 2018)
CART_GNRL 8090 01 1, MFA THESIS EXHIBIT DOC, 7 (Spring 2018)
CART_PRNT 8700 01 1, GRADUATE PRINTMAKING 2, 3 (Spring 2018)
CART_PRNT 4700 01 1, ADVANCED PRINTMAKING, 6 (Spring 2018)
CART_PRNT 4785 01 1, PROBLEMS IN PRINTMAKING, 2 (Spring 2018)
CART_PRNT 4785 01 1, PROBLEMS IN PRINTMAKING, 1 (Fall 2017)
CART_PRNT 2700 01 1, BEGINNING PRINTMAKING, 18 (Fall 2017)
CART_PRNT 7785 02 1, PROBLEMS IN PRINTMAKING, 1 (Fall 2017)
CART_PRNT 7785 01 1, PROBLEMS IN PRINTMAKING, 7 (Fall 2017)
CART_DRAW 7285 04 1, PROBLEMS IN DRAWING, 1 (Fall 2017)
CART_PRNT 4700 02 1, ADVANCED PRINTMAKING, 6 (Fall 2017)
CART_PRNT 7700 01 1, GRADUATE PRINTMAKING, 2 (Fall 2017)
CART_PRNT 7700 02 1, GRADUATE PRINTMAKING, 1 (Fall 2017)
CART_PRNT 8700 01 1, GRADUATE PRINTMAKING 2, 3 (Fall 2017)
CART_PRNT 3700 01 1, INTERMEDIATE PRINTMAKING, 4 (Fall 2017)
CART_PRNT 8700 01 1, GRADUATE PRINTMAKING 2, 4 (Spring 2017)
CART_PRNT 4700 01 1, ADVANCED PRINTMAKING, 3 (Spring 2017)
CART_PRNT 7700 01 1, GRADUATE PRINTMAKING, 5 (Spring 2017)
CART_PRNT 2730 01 1, SERIGRAPHY, 16 (Spring 2017)
CART_PRNT 7785 01 1, PROBLEMS IN PRINTMAKING, 1 (Spring 2017)
CART_PRNT 4700 02 1, ADVANCED PRINTMAKING, 2 (Fall 2016)
CART_PRNT 4700 01 1, ADVANCED PRINTMAKING, 3 (Fall 2016)
CART_PRNT 3700 01 1, INTERMEDIATE PRINTMAKING, 8 (Fall 2016)
CART_PRNT 7700 01 1, GRADUATE PRINTMAKING, 2 (Fall 2016)
CART_PRNT 2730 02 1, SERIGRAPHY, 1 (Fall 2016)
CART_PRNT 4785 01 1, PROBLEMS IN PRINTMAKING, 1 (Fall 2016)
CART_PRNT 8700 01 1, GRADUATE PRINTMAKING 2, 4 (Fall 2016)
CART_PRNT 2700 01 1, BEGINNING PRINTMAKING, 9 (Fall 2016)
CART_PRNT 3700 01 1, INTERMEDIATE PRINTMAKING, 8 (Spring 2016)
CART_PRNT 4785 01 1, PROBLEMS IN PRINTMAKING, 3 (Spring 2016)
CART_PRNT 7785 01 1, PROBLEMS IN PRINTMAKING, 1 (Spring 2016)
CART_PRNT 7700 01 1, GRADUATE PRINTMAKING, 4 (Spring 2016)
CART_PRNT 8700 01 1, GRADUATE PRINTMAKING 2, 1 (Spring 2016)
CART_PRNT 2730 01 1, SERIGRAPHY, 11 (Spring 2016)
CART_PRNT 4700 01 1, ADVANCED PRINTMAKING, 1 (Spring 2016)
CART_PRNT 4785 01 1, PROBLEMS IN PRINTMAKING, 2 (Fall 2015)
CART_PRNT 4700 01 1, ADVANCED PRINTMAKING, 2 (Fall 2015)
CART_PRNT 4700 02 1, ADVANCED PRINTMAKING, 4 (Fall 2015)
CART_PRNT 3700 01 1, INTERMEDIATE PRINTMAKING, 3 (Fall 2015)
CART_PRNT 2730 01 1, SERIGRAPHY, 7 (Fall 2015)
CART_PRNT 2700 02 1, BEGINNING PRINTMAKING, 12 (Fall 2015)
CART_PRNT 2700 01 1, BEGINNING PRINTMAKING, 17 (Fall 2015)
CART_PRNT 7785 01 1, PROBLEMS IN PRINTMAKING, 1 (Fall 2015)
CART_PRNT 7700 01 1, GRADUATE PRINTMAKING, 1 (Fall 2015)
CART_PRNT 4785 01 1, PROBLEMS IN PRINTMAKING, 1 (Summer 2015)
CART_PRNT 4700 01 4W1, ADVANCED PRINTMAKING, 2 (Summer 2015)
CART_PRNT 3700 01 4W1, INTERMEDIATE PRINTMAKING, 3 (Summer 2015)
CART_PRNT 2700 01 4W1, BEGINNING PRINTMAKING, 11 (Summer 2015)
CART_PRNT 7785 01 1, PROBLEMS IN PRINTMAKING, 2 (Spring 2015)
CART_PRNT 2730 01 1, SERIGRAPHY, 17 (Spring 2015)
CART_PRNT 3700 01 1, INTERMEDIATE PRINTMAKING, 5 (Spring 2015)
CART_PRNT 4700 01 1, ADVANCED PRINTMAKING, 8 (Spring 2015)
CART_PRNT 4785 01 1, PROBLEMS IN PRINTMAKING, 2 (Spring 2015)
CART_PRNT 7700 01 1, GRADUATE PRINTMAKING, 3 (Spring 2015)
CART_PRNT 4785 01 1, PROBLEMS IN PRINTMAKING, 2 (Fall 2014)
CART_PRNT 4700 01 1, ADVANCED PRINTMAKING, 2 (Fall 2014)
CART_PRNT 3700 01 1, INTERMEDIATE PRINTMAKING, 13 (Fall 2014)
CART_PRNT 2730 01 1, SERIGRAPHY, 13 (Fall 2014)
CART_PRNT 2700 01 1, BEGINNING PRINTMAKING, 16 (Fall 2014)
CART_PRNT 7785 01 1, PROBLEMS IN PRINTMAKING, 1 (Fall 2014)
CART_PRNT 7785 01 1, Problems in Printmaking, 1 (Summer 2013)
CART_PRNT 2700 01 4W1, Beginning Printmaking, 9 (Summer 2013)
CART_PRNT 3700 01 4W1, Intermediate Printmaking, 5 (Summer 2013)
CART_PRNT 4700 01 4W1, Advanced Printmaking, 1 (Summer 2013)
CART_PRNT 8700 01 1, Graduate Printmaking II, 1 (Spring 2013)
CART_PRNT 2730 01 1, Serigraphy, 18 (Spring 2013)
CART_PRNT 3700 01 1, Intermediate Printmaking, 14 (Spring 2013)
CART_PRNT 4700 01 1, Advanced Printmaking, 6 (Spring 2013)
CART_PRNT 4785 01 1, Problems in Printmaking, 1 (Spring 2013)
CART_PRNT 7700 01 1, Graduate Printmaking, 1 (Spring 2013)
CART_PRNT 7785 01 1, Problems in Printmaking, 4 (Spring 2013)
CART_PRNT 3700 01 1, Intermediate Printmaking, 9 (Fall 2012)
CART_PRNT 4700 01 1, Advanced Printmaking, 6 (Fall 2012)
CART_PRNT 2700 01 1, Beginning Printmaking, 20 (Fall 2012)
CART_PRNT 8700 01 1, Graduate Printmaking II, 1 (Fall 2012)
CART_PRNT 7785 01 1, Problems in Printmaking, 4 (Fall 2012)
CART_PRNT 4785 01 1, Problems in Printmaking, 2 (Fall 2012)
CART_GNRL 4975 01 1, Senior Seminar in Art, 31 (Spring 2012)
CART_PRNT 7700 01 1, Graduate Printmaking, 1 (Spring 2012)
CART_PRNT 2730 01 1, Serigraphy, 14 (Spring 2012)
CART_PRNT 3700 01 1, Intermediate Printmaking, 9 (Spring 2012)
CART_PRNT 7785 01 1, Problems in Printmaking, 6 (Spring 2012)
CART_PRNT 4785 01 1, Problems in Printmaking, 2 (Spring 2012)
CART_PRNT 4700 01 1, Advanced Printmaking, 7 (Spring 2012)
CART_PRNT 7700 01 1, Graduate Printmaking, 2 (Fall 2011)
CART_PRNT 3700 01 1, Intermediate Printmaking, 8 (Fall 2011)
CART_PRNT 4700 01 1, Advanced Printmaking, 1 (Fall 2011)
CART_PRNT 4785 01 1, Problems in Printmaking, 2 (Fall 2011)
CART_PRNT 2730 01 1, Serigraphy, 15 (Fall 2011)
CART_PRNT 2720 01 1, Lithography, 8 (Fall 2011)
CART_PRNT 2710 01 1, Intaglio Printmaking, 8 (Fall 2011)
CART_PRNT 2700 01 1, Beginning Printmaking, 7 (Fall 2011)
CART_PRNT 8700 01 1, Graduate Printmaking II, 1 (Fall 2011)
CART_PRNT 7785 01 1, Problems in Printmaking, 4 (Fall 2011)
CART_PRNT 4785 01 4W1, Problems in Printmaking, 5 (Summer 2011)
CART_PRNT 8700 01 1, Graduate Printmaking II, 1 (Spring 2011)
CART_PRNT 3700 01 1, Intermediate Printmaking, 10 (Spring 2011)
CART_PRNT 4700 01 1, Advanced Printmaking, 6 (Spring 2011)
CART_PRNT 4785 01 1, Problems in Printmaking, 4 (Spring 2011)
CART_PRNT 7700 01 1, Graduate Printmaking, 1 (Spring 2011)
CART_PRNT 2700 01 1, Beginning Printmaking, 11 (Spring 2011)
CART_PRNT 2720 01 1, Lithography, 2 (Spring 2011)
CART_PRNT 2710 01 1, Intaglio Printmaking, 8 (Spring 2011)
CART_PRNT 2700 01 1, Beginning Printmaking, 8 (Fall 2010)
CART_PRNT 2710 01 1, Intaglio Printmaking, 7 (Fall 2010)
CART_PRNT 8700 01 1, Graduate Printmaking II, 3 (Fall 2010)
CART_PRNT 7700 01 1, Graduate Printmaking, 1 (Fall 2010)
CART_PRNT 4700 02 1, Advanced Printmaking, 2 (Fall 2010)
CART_PRNT 3700 01 1, Intermediate Printmaking, 11 (Fall 2010)
CART_PRNT 2730 01 1, Serigraphy, 17 (Fall 2010)
CART_PRNT 4700 01 1, Advanced Printmaking, 7 (Fall 2010)
CART_PRNT 4785 01 1, Problems in Printmaking, 3 (Fall 2010)
CART_PRNT 2720 01 1, Lithography, 1 (Fall 2010)
CART_PRNT 2700 01 1, Beginning Printmaking, 4 (Spring 2010)
CART_PRNT 8700 01 1, Graduate Printmaking II, 3 (Spring 2010)
CART_PRNT 7785 01 1, Problems in Printmaking, 1 (Spring 2010)
CART_PRNT 4785 01 1, Problems in Printmaking, 2 (Spring 2010)
CART_PRNT 4700 01 1, Advanced Printmaking, 8 (Spring 2010)
CART_PRNT 3700 01 1, Intermediate Printmaking, 13 (Spring 2010)
CART_PRNT 3700 03 1, Intermediate Printmaking, 1 (Spring 2010)
CART_PRNT 2730 01 1, Serigraphy, 21 (Spring 2010)
CART_PRNT 2720 01 1, Lithography, 6 (Spring 2010)
CART_PRNT 2710 01 1, Intaglio Printmaking, 6 (Spring 2010)
CART_PRNT 7700 01 1, Graduate Printmaking, 2 (Spring 2010)
CART_PRNT 4785 01 1, Problems in Printmaking, 4 (Fall 2009)
CART_PRNT 3700 01 1, Intermediate Printmaking, 8 (Fall 2009)
CART_PRNT 2730 01 1, Serigraphy, 13 (Fall 2009)
CART_PRNT 2710 01 1, Intaglio Printmaking, 8 (Fall 2009)
CART_PRNT 8700 01 1, Graduate Printmaking II, 1 (Fall 2009)
CART_PRNT 7785 01 1, Problems in Printmaking, 2 (Fall 2009)
CART_PRNT 7700 01 1, Graduate Printmaking, 4 (Fall 2009)
CART_PRNT 2700 01 1, Beginning Printmaking, 4 (Fall 2009)
CART_DRAW 1050 03 1, Drawing I, 16 (Fall 2009)
CART_PRNT 4700 01 1, Advanced Printmaking, 4 (Fall 2009)
CART_PRNT 8700 01 4W1, Graduate Printmaking II, 1 (Summer 2009)
CART_PRNT 7700 01 4W1, Graduate Printmaking, 3 (Summer 2009)
CART_PRNT 2700 01 4W1, Beginning Printmaking, 4 (Summer 2009)
CART_PRNT 2710 01 4W1, Intaglio Printmaking, 5 (Summer 2009)
CART_PRNT 3700 01 4W1, Intermediate Printmaking, 5 (Summer 2009)
CART_PRNT 4700 01 4W1, Advanced Printmaking, 2 (Summer 2009)
CART_DRAW 1050 01 1, Drawing I, 21 (Spring 2009)
CART_PRNT 4785 01 1, Problems in Printmaking, 1 (Spring 2009)
CART_PRNT 2700 03 1, Beginning Printmaking, 7 (Spring 2009)
CART_PRNT 2720 02 1, Lithography, 2 (Spring 2009)
CART_PRNT 2730 01 1, Serigraphy, 19 (Spring 2009)
CART_PRNT 7700 01 1, Graduate Printmaking, 4 (Spring 2009)
CART_PRNT 7785 01 1, Problems in Printmaking, 1 (Spring 2009)
CART_PRNT 8700 01 1, Graduate Printmaking II, 1 (Spring 2009)
CART_PRNT 3700 03 1, Intermediate Printmaking, 4 (Spring 2009)
CART_PRNT 3700 01 1, Intermediate Printmaking, 5 (Spring 2009)
CART_PRNT 4700 01 1, Advanced Printmaking, 5 (Spring 2009)
CART_PRNT 2710 02 1, Intaglio Printmaking, 11 (Spring 2009)
CART_PRNT 4785 01 1, Problems in Printmaking, 1 (Fall 2008)
CART_PRNT 2700 03 1, Beginning Printmaking, 8 (Fall 2008)
CART_PRNT 2700 01 1, Beginning Printmaking, 1 (Fall 2008)
CART_PRNT 2710 01 1, Intaglio Printmaking, 5 (Fall 2008)
CART_PRNT 2730 01 1, Serigraphy, 14 (Fall 2008)
CART_PRNT 3700 01 1, Intermediate Printmaking, 6 (Fall 2008)
CART_PRNT 8700 01 1, Graduate Printmaking II, 2 (Fall 2008)
CART_PRNT 7785 01 1, Problems in Printmaking, 2 (Fall 2008)
CART_PRNT 7700 01 1, Graduate Printmaking, 1 (Fall 2008)
CART_PRNT 4700 01 1, Advanced Printmaking, 3 (Fall 2008)
CART_PRNT 4700 02 1, Advanced Printmaking, 1 (Fall 2008)
CART_DRAW 1050 09 1, Drawing I, 8 (Fall 2008)
CART_PRNT 2700 01 4W1, Beginning Printmaking, 10 (Summer 2008)
CART_PRNT 3700 01 4W1, Intermediate Printmaking, 5 (Summer 2008)
CART_PRNT 8700 01 4W1, Graduate Printmaking II, 1 (Summer 2008)
CART_PRNT 7700 01 4W1, Graduate Printmaking, 1 (Summer 2008)
CART_PRNT 4700 01 4W1, Advanced Printmaking, 1 (Summer 2008)
CART_PRNT 8700 01 1, Graduate Printmaking II, 2 (Spring 2008)
CART_PRNT 4700 03 1, Advanced Printmaking, 3 (Spring 2008)
CART_DRAW 1050 04 1, Drawing I, 21 (Spring 2008)
CART_PRNT 2700 03 1, Beginning Printmaking, 16 (Spring 2008)
CART_PRNT 7700 03 1, Graduate Printmaking, 1 (Spring 2008)
CART_PRNT 7700 02 1, Graduate Printmaking, 1 (Spring 2008)
CART_PRNT 7700 01 1, Graduate Printmaking, 3 (Spring 2008)
CART_PRNT 3700 03 1, Intermediate Printmaking, 4 (Spring 2008)
CART_GNRL 1030 04 1, Basic 2-D Design, 10 (Fall 2007)
CART_GNRL 1030 01 1, Basic 2-D Design, 17 (Fall 2007)

Student Advising (Official UM Record - Fall 2007 to Present)Fall 2011:
Undergraduate: See below
Master's/Specialists: See below
Doctoral: 0
Professional: 0

Mentorship of Students, Interns, Residents, and FellowsEl Jaouhari, Nabil, Master's, MFA Graduate ( 2009 -  2017)
Schneider, John Matthew, Master's, Printmaking mentor ( 2014 - Ongoing)
Nutt, Zarchary cole, Master's, thesis/exhibitions ( 2015 - Ongoing)
Bader, Kyle Patric , Master's, Thesis ( 2015 -  2017)
Donovan, Jessica, Bachelor's, Printmaking/international study/portfolio development Wrote 7 recommendation to grad school in printmaking ( 2015 -  2018)
Nutt, Zarchary cole, Master's, thesis exhibition spring 2018 ( 2015 -  2018)
Donovan, Jessica, Bachelor's, Printmaking/international study/portfolio development ( 2015 -  2017)
Franko, lisa, Master's, Thesis ( 2016 - Ongoing)
Franko, lisa, Master's, Thesis ( 2016 -  2018)
Knaup, Andrea Renea, Bachelor's, Screenprinting/framing ( 2016)
Tatum, Simon James Lawrence, Bachelor's, VAD award winner spring 2016, exhibitor at the Sager Baudis Gallery, awarded an international residency in Leipzig Germany, fully funded by Deutsche Bank, (fall 2017) offered post graduate position at the National Museum, Grand Cayman Islands, currently a candidate for Skowhegan residency. Article published in numbers 91 regional art review (with John Schneider. ( 2016 -  2017)
Henuber , Edward, Bachelor's, Printmaking ( 2016 -  2017)
Tatum, Simon James Lawrence, Bachelor's, Board of trustees for the SVS --- VAD award winner spring 2016, exhibitor at the Sager Baudis Gallery, awarded an international residency in Leipzig Germany, fully funded by Deutsche Bank, (fall 2017) offered post graduate position at the National Museum, Grand Cayman Islands, currently a candidate for Skowhegan residency. Article published in numbers 91 regional art review (with John Schneider. ( 2016 -  2018)
Boeschen, Haley, Bachelor's, VAD showcase ( 2016)
Frazier, Kevin, Bachelor's, Interview for graduate program at Syracuse University and SanFrancisco Art Institute! Undergraduate Scholarship: with printmaker Erica Martin (the Redford Micheal Perrine Art Scholarship) spring 2017 ( 2016 -  2019)
King, Erin, Master's, Thesis advisor--show this semester ( 2016 -  2019)
Stambaugh Higgins, Amy, Bachelor's, Several awards including purchase awards from the University of Missouri (undergraduate juried exhibition) ( 2016 -  2018)
Stambaugh Higgins, Amy, Bachelor's, Several awards including purchase awards from the University of Missouri (undergraduate juried exhibition) ( 2016 -  2018)
Frazier, Kevin, Bachelor's, Undergraduate Scholarship: with printmaker Erica Martin (the Redford Micheal Perrine Art Scholarship) spring 2017 ( 2016 - Ongoing)
Absheer, Philip, Bachelor's, BFA portflio ( 2016 -  2017)
Brown, Tia Ashante, Bachelor's, portfolio development ( 2016 - Ongoing)
King, Erin, Master's, Thesis advisor ( 2016 - Ongoing)
Slack, Ashlee Elaine, Bachelor's, Portfolio development ( 2016 - Ongoing)
Stambaugh Higgins, Amy, Bachelor's, BFA portfolio/recommendation writer Penland School of Craft ( 2016 - Ongoing)
Martin, Erica, Bachelor's, BFA portfolio ( 2016 - Ongoing)
undergraduate students assigned, Advising ( 2017 - Ongoing)
Lemieux, Madeleine Marie, Master's, ---MFA portfolio ( 2017 - Ongoing)
Sanchez, Jesus, Master's, MFA preparation ( 2017 - Ongoing)
Vilbig, Cathryn Nichole, Bachelor's, portfolio development ( 2017 - Ongoing)
Tyler, Jasmyne R, Bachelor's, Mentor: NcNair Scholar ( 2017 - Ongoing)
Painter , Caroline Austin, Master's, MFA committee ( 2017 - Ongoing)
Ynocencio, Brandi Jay, Bachelor's, Print portfolio ( 2017)
Blackwell, Hannah, Master's, MFA in Ceramics ( 2017 - Ongoing)
johnson, Zachary, Bachelor's ( 2018 - Ongoing)
Slack, Ashley, Bachelor's ( 2018)
Liles, Dannielle, Bachelor's ( 2018 - Ongoing)
DiCarlo, Andrea, Bachelor's ( 2018)
Wilson, Cole, Bachelor's ( 2018 - Ongoing)
Martin, Erica, Bachelor's ( 2018)
Karabesto, Nikos, Master's, Karabestos Odyessey ( 2018)
Schneider , John, Master's, MFA Exhibition: Battle Folds ( 2018 -  2018)
Zach, Nutt, Master's, MFA-----"& the Dynamo" ( 2018)
Nancy, Elliot, Bachelor's ( 2018 -  2018)
Haithcoat, Robin, Bachelor's, Photo major---advised student and assisted with projects for her London Exhibition (coaster project) and Award winning installation in the juried undergraduate exhibition, will be main advisor for summer internship ( 2018 - Ongoing)
Karabetsos, Nicholas Alexander, Master's, Mentor/adviser ( 2018 - Ongoing)
Hu, Halolei, Bachelor's, NA ( 2018 - Ongoing)
Continuing Education (delivered to external audience) and Extension TeachingTitle of Course: juror, Sponsor: Centralia School District ( 2008 -  2008)
Title of Course: outreach art day with Hickman HS, Sponsor: MU Printmaking ( 2011)
Title of Course: HS ART DAY, Sponsor: MU FA ( 2011)
Other Teaching ActivitiesTeaching Activity Type: Guest Teaching, Activity Title: Visiting Artist and Critic, Location: University of Central Oklahoma , Number of Participants: 10, 3 ( 2016)
Teaching Activity Type: Guest Teaching, Activity Title: Demonstration, Location: University of Central Oklahoma , Number of Participants: 30, 6 ( 2016)
Scholarly Contributions and Creative Activities Daniggelis, C.,
2009. Dreams and Revelations, 5th Annual National ExhibitMarin Museum of Contemporary Art (Marin MOCA). Marin Museum of Contemporary Art (Marin MOCA).
Daniggelis, C., 2011. 20/20 Visions. Louisville, Georgia.
Daniggelis, Christopher, 2009. Inkubator Press, Cocoon Gallery, Kansas City. Cocoon Gallery, Kansas City.
Daniggelis, Christopher, 2010. Faculty Show. G.C.B. Gallery.
daniggelis, Christopher, 2008. Faculty Show. G.C.B Gallery.
Daniggelis, C., 2008. Vantage points. G.C.B. Gallery.
Daniggelis, C.S., 2016. Regional Update:Missouri. Numbers Inc, -----, p.13.
Daniggelis, C.S., 2016. Visiting Artist Lecture. University of Central Oklahoma.
Daniggelis, C.S., 2016. visiting critic/studio visits. University of Central Oklahoma.
Daniggelis, C.S., 2016. In class Demonstrations. University of Central Oklahoma.
Daniggelis, C.S., 2016. East West Dialogues. Craft Studio, campus University of Missouri, 2016-08-16.
Daniggelis, C.S., 2016. Christopher Daniggelis: Transcriptions. Department of Art UCO, 2016-04-15.
Daniggelis, C.S., 2016. Faculty Exhibition. UMC, 2016-09-20.
Daniggelis, C.S., 2016. The EVAC project (Artists &Veterans Collaboration---Tiffin University. [Attachment]
Daniggelis, C.S., 2018. Article: "Regional Update: Central Missouri" (The work of John Schneider and Simon Tatum). Number: NinetyOne: an independent arts journal/Summer 2017/what is painting now?, #91. [Attachment]
http://www.numberinc.org/wp-content/uploads/2017/09/No.-91.pdf
Review of John Schneider and Simon Tatum
Daniggelis, C.S., 2017. Next: A Biennial of Print. The Nicole Longnecker Gallery, Houston TX, 2018-07-01.
Daniggelis, C.S., 2017. 30th September Competition. Alexandria Museum of Art, 2017-09-23.
http://themuseum.org/
Daniggelis, C.S., 2017. Line: A National Juried Exhibition. Attleboro Arts Musuem, 2017-07-16.
http://attleboroartsmuseum.org/
National Juried exhibition/PR Included.
Daniggelis, C.S., 2017. 25th Biennale National Juried Exhibition. Art League of Hilton Head Gallery, 2017-05-31.
http://www.beaufortartassociation.com/area-events/call-entry-art-league-hilton-head-biennale-2017/
Daniggelis, C.S., 2017. EVAC (Experiencing Veteran & Artist Collaboration. Diane Kidd Gallery Tiffin University, 2017-12-01. [Attachment]
Daniggelis, C.S., 2017. EVAC: Experiencing Veteran & Artist Collaboration. Cleveland Airport, Stephanie Tubbs Jones Gallery, 2017-01-01. [Attachment]
http://www.clevelandairport.com/airport/cle-art-program/temporary-exhibits/stephanie-tubbs-jones-art-gallery-evac
Daniggelis, C.S., 2017. Sager Braudis Gallery SVS FACULTY & STUDENT EXHIBITION. Sager Braudis Gallery, Columbia, MO, 2017-10-28. [Attachment]
http://sagerbraudisgallery.com/
Daniggelis, C.S., 2017. Printer: Limited edition of 40 two color screenprints for the artist Aleksandra Mir in tandem with the I-70 Billboard project with Anne Thompson. https://www.indiegogo.com/projects/i-70-sign-show-keep-abortion-legal--2#/, 2017-06-01.
https://www.indiegogo.com/projects/i-70-sign-show-keep-abortion-legal--2#/
Limited edition two color screen print (edition number #40). 20 for the highest donors contribution (kickstart) and 20 for the Artist Aleksandra Mir to gift, exhibit or sell into collection.

In collaboration with Anne Thompson's I-70 billboard project featured on national news (NPR).

Info on Alexsandra Mir: Aleksandra Mir
B. 1967, LUBIN, POLAND
Aleksandra Mir was born in 1967 in Lubin, Poland, and grew up in Sweden. She studied at Schillerska/Gothenburg University in Gothenburg (1986–87), School of Visual Arts in New York (earning her BFA in 1992), and the New School for Social Research in New York (1994–96). In much of her work, Mir solicits the participation of friends, acquaintances, and passersby in playful upheavals of social norms. She has unleashed her wry critiques on tourism in works like Life is Sweet in Sweden (1995), advocated for female bands in New Rock Feminism (1996), and documented women's reactions to recordings of cat-calling whistles in Copenhagen's central square in Pick Up (Oh Baby) (1996). For Cinema for the Unemployed: Hollywood Disaster Movies 1970–1997 (1998), Mir screened disaster genre films during a normal workweek (9 am–6 pm, Monday through Friday) and observed the varied attendance to challenge the definition of unemployment.

One of Mir's best-known works, The First Woman on the Moon (1999), interlaced issues of space travel, feminism, and imperialism when she staged a moon landing on a deserted Netherlandish beach, which she transformed into a moonscape with the help of bulldozers. The long linear display of found photographs that comprises HELLO (2000) fabricates an intimate community, connecting David Bowie, Jesus, Frida Kahlo, Liza Minelli, and Andy Warhol. For Daily News (2002), Mir solicited contributions from over a hundred friends to fabricate an alternative newspaper edition for September 11, the artist's birthday. For the project Living and Loving, begun in 2002, Mir composed poignant biographical magazines about ordinary individuals, starting with Donald Cappy, a campus security guard Mir met by happenstance. In 2003 Mir proposed the creation of a life-size replica of Stonehenge, an unrealized project appropriately named Stonehenge II, which she wanted to construct near the original. Through maps, renamed street signs, and other urban interventions, Mir wryly rendered Tokyo more “tourist-friendly” in Naming Tokyo (2003–04). Her video Organized Movement (2004) chronicles Mir's residency in Mexico City as she played with the cliché of American tourists attending Latin dance classes to launch discussions about broader forms of public, organized movements. She extended her critique of urban social interactions and isolation in The Big Umbrella (2004), for which she invited strangers to join her under a massive umbrella capable of sheltering sixteen people from the rain. In 2007 Mir, along with curator Paolo Falcone, art collector Marion Franchetti, and artists Luca De Gennaro and Salvo Prestifilippo, embarked on an 800-kilometer journey from Palermo to Venice in a 1977 Silver Shadow Rolls Royce, which they dubbed the “Sicilian Pavilion” in order to promote Sicilian culture and art at the 52nd Venice Biennale. For Newsroom 1986–2000 (2007), Mir copied approximately 200 covers of tabloids in felt-tip marker on oversized sheets of paper and mounted them in an overwhelming installation of gossipy footage. For the 2009 Venice Biennale, Mir printed one million postcards of such vistas as the Sahara Desert, Manhattan skyline, and Sydney Opera House, all overlaid with text declaring the image to be Venice.

Solo exhibitions of her work have been mounted at the New Museum's Window on Broadway, New York (1997); Institute of Contemporary Art, University of Pennsylvania, Philadelphia (2004); P.S. 1 Contemporary Art Center, New York (2004); The Power Plant, Toronto (2006); and the Institute of Contemporary Arts, London (2006). Her work has also been included in major group exhibitions such as the Whitney Biennial, New York (2004); The Shapes of Space at the Solomon R. Guggenheim Museum, New York (2007); and the Venice Biennale (2009). Mir lives and works in Palermo, Sicily.
Daniggelis, C.S., 2018. Viridian Artists Gallery The 29th Annual International Juried Exhibition 548 West 28th Street, #632 New York, NY 10001. 548 West 28th Street, #632 New York, NY 10001, 2019-07-14.
http://www.viridianartists.com/news-1/2018/6/6/press-release-viridians-29th-annual-international-juried-exhibition
Daniggelis, C.S., 2018. Axis Gallery: 13th National Juried Exhibition 625 S Street Sacramento, CA 95811. 625 S Street Sacramento, CA 95811, 2018-08-26.
http://axisgallery.org/home/exhibitions/13th-national-juried-exhibition/
Daniggelis, C.S., 2018. 64 ARTS National Juried Exhibition 2018. 64 Public Square Monmouth, IL 61462, 2019-10-20.
http://bcaarts.org/
Daniggelis, C.S., 2018. Stand Out Prints 2018: International Juried Print Exhibition. Highpoint Center for Printmaking 912 W. Lake Street Minneapolis, MN 5540, 2018-10-06.
Daniggelis, C.S., 2018. Valdosta National 2019 Valdosta State University  Dedo Maranville Fine Arts Gallery. Department of Art 1500 N. Patterson Street Valdosta, GA 31698, 2019-02-08.
https://www.valdostadailytimes.com/news/local_news/valdosta-national-artists-across-nation-vie-for-vsu-show/article_e0434c9e-cd90-5bf2-a1d1-ceda778b8d77.html
Daniggelis, C.S., 2018. EVAC: Experiencing Veteran & Artist Collaboration event dates11/01/17-01/31/18. Cleveland Airport, Stephanie Tubbs Jones Gallery, 2018-01-31. [Attachment]
http://www.clevelandairport.com/airport/cle-art-program/temporary-exhibits/stephanie-tubbs-jones-art-gallery-evac
Daniggelis, C.S., 2018. EVAC: Experiencing Veterans and Artists Collaboration Traveling National Exhibition. Army Transportation Museum, Fort Eustis (Virginia) 300 Washington Blvd., Besson Hall  Fort Eustis, Virginia 23604  Phone: (757) 878-1115, 2018-10-27.
https://www.evacproject.org/about.html
Daniggelis, C.S., 2018. EVAC: Experiencing Veterans and Artists Collaboration Traveling National Exhibition. Ronald Reagan National Airport (Virginia), Arlington, VA 22202, 2019-01-02.
https://www.flyreagan.com/dca/arts-program
Daniggelis, C.S., 2018. EVAC: Experiencing Veterans and Artists Collaboration Traveling National Exhibition. Walter Reed National Military Medical Center, 8901 Rockville Pike, Bethesda, MD 20889, 2019-01-02.
https://www.facebook.com/evacproject/Journal Editor, Peer Reviewer, AdjudicatorInternal Grant Reviewer, May 2016 ( 2016)
Community Engagement, Broader Impacts, and OutreachNational PR, 2018-02-02, University of Missouri, SVS, National Universities and Colleges, Hours per Month: 20, Number of Months: 2, Designer, Administrator, Editor, 212, no funding, no funding ( 2018 -  2018)
University CommitteesPolicy Committee Member (Fall 2018 - Fall 2018)
Graduate Studies Committee Member (Fall 2018 - Fall 2018)
Honorary Degree Commiteee Member (Spring 2018 - Fall 2018)
University committee: Undergraduate scholarship Committee Member (Spring 2018 - Spring 2019)
Honorary Degree Commiteee Member (Fall 2017 - Ongoing)
University Graduate Fellowship Commitee Member (Fall 2017 - Fall 2017)
University committee: Undergraduate scholarship Committee Member (Fall 2017 - Ongoing)
Evaluation Committee Member (Spring 2017 - Spring 2017)
Evaluation Committee Member (Spring 2017 - Spring 2017)
Policy committee Member (Spring 2017 - Spring 2017)
Student Awards Commitee Member (Spring 2017 - Ongoing)
Study Abroad Committee Member (Fall 2016 - Ongoing)
Mentoring Committee--Alexis Callender Member (Fall 2016 - Ongoing)
Policy Committee Member (Fall 2016 - Ongoing)
Undergraduate Portfolio Review Member (Fall 2016 - Ongoing)
Study Abroad Member (Spring 2016 - Ongoing)
Student Awards Member (Spring 2016 - Ongoing)
Program Assessment Member (Spring 2016 - Spring 2016)
Exhibition Committee Member (Fall 2010 - Spring 2013)
University Service (other than committees)Department, Area Coordinator, December 2016, Area Coordinator for Printmaking ( 2008 - Ongoing)
College or School, Director of Graduate Studies, September 2017, DGS ( 2017 -  2019)
College or School, Stand in for Program Director, Joe Johnson, May 2018, Presentation to SVS Advisory Board: State/Condition of SVSFA program ( 2018)
College or School, VAD Advisor, February 2018, VAD Advisor ( 2018 -  2019)
Department, Area Coordinator, September 2018, Area Coordinator for Printmaking ( 2019)
Faculty Workload Distribution40, 40, 20, 100 ( 2016 - Ongoing)
Volunteer Activities (unrelated to your profession)SVS FA, Title of Event or Project: Building Improvement., Helped Joe J, Jen and John Remove lockers for FAB main hall., June 2018, FAB Main Hall. ( 2018)
Honors, Awards, and RecognitionsPromoted to Associate Professor/with Tenure, University of Missouri ( 2016 - Ongoing)
Honorable Mention cash award Alexandria Musuem of Art, Alexandria Musuem of Art ( 2017)
Honorable Mention Valdosta National Juried Exhibition , Dedo Maranville Fine Art Gallery ( 2018)
International Juried Exhibition Award Merit Award 500.oo, HighPoint Center for Printmaking 912 West Lake, Minneapolis, MN 

INTERNATIONAL

Selected Exhibitions: Details

CHRIS DANIGGELIS: PRINT WORK, INTERNATIONAL FULBRIGHT CORE SHOLAR AWARD SOLO EXHIBITION
2015 
The LEIBNIZ-INSTITUTE FUR POLYMERFORMSCHUNG DRESDEN e.V, Scientific Research Institute Gallery, Solo Fulbright Exhibition, 12 pieces

Technischen Sammlungen Originaldruckgrafik, Grafikwerkstatt 
2014 
Included in the permanent collection, displayed in rotation, Technical Museum Dresden.

Kunsthaus Raskolnikow Gallerie
2014      
On permanent display by owner Iduna Bohning, Dresden Germany

THE NORTH AMERICAN PRINT BIENNIAL
2013 
The Boston Printmakers, an exhibition since 1948 Boston University in the 808 Gallery.  Juror Dennis Michael Jon, an associate curator in the department of prints and drawings at the Minneapolis Institute of Arts. From 2,306 entries internationally there were 139 being accepted for the exhibition.  Catalog included.  The North American Print Biennial is one of the most prestigious events in printmaking. From 1954 to 1969 the exhibition was held at the Museum of Fine Arts, Boston. Other hosts have included the Hayden Gallery at MIT, the Rose Art Museum, the Duxbury Art Complex Museum, the
Fitchburg Art Museum, the Danforth Museum, Boston University, the Art Institute of Boston, and the DeCordova Museum.

 FOREIGN AFFAIRS: THE OHIO AND DRESDEN RESIDENCY EXCAHNGE RETROSPECTIVE 
2006          John E. Fisher Gallery, Westerville, Ohio
In honor of the City of Dresden’s 800th anniversary, the Ohio Arts council and the State of Ohio sponsored an exhibition of international residency recipients at Otterbein College

UNIVERSITY GALLERY, REYKJAVIK, ICELAND 
1996         University College of Education, Reykjavik, Iceland
Exhibition of MFA students from The Ohio State University

NATIONAL

SGC INTERNATIONAL PRINTMAKING CONFERENCE: SECRETS PORTFOLIO
2015       National portfolio selection, University of Tennessee, Knoxville. Curated by Sophie Knee, CCAD. 
With national and international artists: Dennis Applebee (Macon, Georgia), Kristen Applebee (Macon, Georgia), Marty Azevedo( Mobile, Alabama), Christopher Daniggelis (University of Missouri), Benjy Davies (Gallipolis, Ohio), Jesus De La Rosa (Kingsville, Texas), Keith Garubba (Bethlehem, Pennsylvania),Elizabeth Gerdeman (Leipzig, Gremany) Rachel Heberling ( Cincinnati, Ohio), Ann Heineman (Columbus, Ohio), Hilary Hilario (Columbus, Ohio)
Sophie Knee (Columbus, Ohio), Michael Litzau (University of Oklahoma), Michelle Martin (University of Oklahoma), Peter Massing (Huntington, West Virginia), Blake McAdow (Columbus, Ohio),Kathy McGhee (CCAD) Saegan Moran ( Athens, Georgia), Gina Reynoso (Atlanta, Georgia), Ian Ruffino (Columbus, Ohio), Jennifer Slezak (Columbus, Ohio) and Sang-Mi Yoo ( Lubbock, Texas).

SECRETS PORTFOLIO: THE ZUCKERMAN MUSUEM OF ART ARCHIVE
2015
Kennessaw State University, Tennessee Named part of the SGC International Print Collection and Archive

PROCESS AS CONTENT
2012            Gallery Project, Ann Arbor, Michigan
Curated by Cristen Velliky, Professor of Fine Art at the University of Michigan- Flint.  Multimedia exhibit featuring 24 local, regional and national artists.  National Artists include Tom Phardel, Sharon Que, Kelly Salchow MacArthur,Megan Shein and Chris Daniggelis.

PAPER IN PARTICULAR NATIONAL EXHIBITION
2012            Larson Gallery, Columbia College, Columbia Missouri
National Juried Show curated by Art Werger, Professor of Printmaking at Ohio University, Athens, Ohio.  Werger is on display in The Corcoran Gallery of Art in Washington, D.C., the Boston Public Library, the Brooklyn Museum, the Philadelphia Museum of Art, the Museum of Fine Arts in Boston and the Trenton (N.J) Museum.

20/20 VISIONS- FORTH EDITION NATIONAL INVITATIONAL
2011           Fire House Gallery, Louisville Georgia
20 States participate.  One artist and their best student are chosen to represent their State.  States included are Alabama, Iowa, Mississippi, South Carolina, Florida, Kansas, Missouri, Tennessee, Georgia, Kentucky, Nebraska, Texas, Illinois, Louisiana, North Carolina, Virginia, Indiana, Michigan, Ohio and Wisconsin.

DREAMS AND REVELATIONS NATIONAL EXHIBITION
2009           The Marin Museum of Contemporary Art, Novato, California
The show features 59 pieces of various media from artists around the country. Philip Linhares, Chief Curator of Art at the Oakland Museum of California.

REBECCA IBEL GALLERY – FORMER GALLERY REPRESENTATION
2005(closed)-1999
Rebecca Ibel closed her gallery to become the full time art director for Ron Pizzuti.  Ron Pizzuti’s art collection is ranked 156th in the world.  Other artists represented by Rebecca Ibel include Jonathan Hammer (represented by Matthew Marks Gallery, NYC), Lynton Wells, Yek (Ameringer | Yohe | Fine Art), Ken Price (Matthew Marks, NYC) and Brice Marden.

THE METHOD AND THE MATRIX- CONTEMPORARY PRINTMAKING II
2004            Alice F. and Harris K. Weston Art Gallery, Aronoff Center for the Arts, Cincinnati, Ohio
Organized by the Ohio Arts Council and co-curated by Ohio artists Todd DeVriese, head of the Department of Art and Design at Zayed University in Dubai, United Arab Emirates Taking full advantage of the conceptual and technical means offered by the print medium, each artist in the exhibition succeeds in making their own mark on the world with their individual matrix

THE METHOD AND THE MATRIX- CONTEMPORARY PRINTMAKING I
2004          The Riffe Gallery, Columbus Ohio
The Ohio Arts Council's Riffe Gallery showcases the work of Ohio’s artists and the collections of the state’s museums and galleries.  This exhibition includes 14 nationally known artists.

PERSONAL VISIONS I
2003         The Ross Museum, Delaware, Ohio
Artists selected by curator Marty Kalb, a Professor at Ohio Wesleyan University.  Kalb’s work is included in the Metropolitan Museum of Art.  My work was included along with Aminah Robinson, $500,000 MacArthur Genius Grant Award winner.  Other Artists included are Malcolm Cochran, Head of Sculpture at Ohio State, Painter Pheoris West and Lowell Toldstedt.

REBECCA IBEL GALLERY – TEN YEARS IN COLUMBUS, PART II 
2003             Columbus, Ohio
Group show with Timothy Buckwalter, Curtis Fairman, Linda Gall, Mark Gettys, Jonathan Hammer, Robert Harms, Duncan Hannah, Christopher X. Herren, Dion Johnson, Fritz Kappler, Charles LaBelle, Skeet McAuley, Kim McCarty, Melissa Meyer, Carl Palazzolo, Ken Price, Billy Sullivan, Peter Sullivan, Lynton Wells, Rob Wynne and Yek.

REBECCA IBEL GALLERY – WITH JONATHAN HAMMER  
2002
Dual Exhibition with Jonathan Hammer Originally from Chicago, Hammer lived in California after receiving a degree in bookbinding from the London College of Bookbinding. His work has been shown in galleries and museums in New York, California and throughout Europe and is in major private and public collections including the San Francisco Museum of Modern Art, Berkeley Museum of Art and New York Public Library. Recently published by Yale Press is a book of Hammer's Dada theories accompanied with drawings from 'The Fantast' series. Currently living and working in Barcelona, Spain, Hammer has been exhibiting with the Rebecca Ibel Gallery since 1996.

HAND PULLED PRINTS V, PARCHMAN-STREMMEL GALLERIES
1997             San Antonio, Texas
National Exhibition juried by Ken Hale, Chairperson, University of Texas, Austin

22nd FRED G. WELLS NATIONAL JURIED EXHIBITION
1998             Elder Gallery, Nebraska Wesleyan University, Lincoln, Nebraska

21st ANNUAL HARPER NATIONAL PRINT AND DRAWING EXHIBITION
1997             Palatine, Illinois
National juried competition, juror: Debra Fisher, Harper College, Palatine, IL

SOUTHERN GRAPHICS COUNCIL INTERNATIONAL PRINT COMPETITION  
1996             Knoxville, Tennessee
Exhibition juried by David Hickey at the University of Tennessee.  David Hickey is an internationally celebrated artist and author of The Invisible Dragon, Air Guitar, and writer for ArtForum Magazine 

REGIONAL EXHIBITIONS

THE OHIO STATE UNIVERSITY ALUMNI EXHIBITION 
2007           Silver Image Gallery, Columbus, Ohio 
Invited by Professor Charles Massey Jr., Chair of Printmaking 

THE OHIO STATE UNIVERSITY ALUMNI EXHIBITION 
2006           Silver Image Gallery, Columbus, Ohio
Invited by Professor Charles Massey Jr., Chair of Printmaking

BIANNUAL FACULTY EXHIBITION  
2006           Canzani Center Gallery, Columbus, Ohio
Representing the Printmaking Department as an Associate Professor and Coordinator.

OHIO ART LEAGUE FALL JURIED EXHIBITION  
2005           Fort Hayes Shot Tower Gallery, Columbus, Ohio
Exhibition juried by Helen Molesworth, Chief Curator, The Institute of Contemporary Art, Boston, Mass.

BIANNUAL FACULTY EXHIBITION 
2004            Canzani Center Gallery, Columbus, Ohio 
Representing the printmaking department as an Assistant Professor and Coordinator.

FOUR ARTISTS, INVITATIONAL 
2004            Roygbiv Gallery, Columbus, Ohio
The #1 non-profit gallery in Columbus, Ohio.  Two shows featuring four artists.  My work was displayed with Philip von Raabe, Professor Emeritus, The Ohio State University

THE OHIO STATE FAIR FINE ARTS EXHIBITION 
2004            Ohio Fairgrounds, Columbus, Ohio
Professional division.

BIANNUAL FACULTY EXHIBITION  
2002            Canzani Center Gallery, Columbus, Ohio
Representing the printmaking department as an Assistant Professor and Coordinator.

CHRISTOPHER DANIGGELIS, WORKS ON PAPER 
2000           Scales Fine Arts Center, Wake Forest University, Winston-Salem, North Carolina
Solo Exhibition, 22 works.

BIANNUAL FACULTY EXHIBITION 
1999          Canzani Center Gallery, Columbus, Ohio
Representing the printmaking department as an Assistant Professor and Coordinator.

BIANNUAL FACULTY EXHIBITION 
1997          Canzani Center Gallery, Columbus, Ohio
Representing the printmaking department as an Assistant Professor and Coordinator.

LOCAL EXHIBITIONS


FACULTY SHOW- GEORGE CALEB BINGHAM GALLERY
2015          Columbia, Missouri
Representing the University of Missouri Printmaking Department as a tenure track Assistant Professor and Printmaking Coordinator

FACULTY SHOW- GEORGE CALEB BINGHAM GALLERY
2012
Representing the University of Missouri Printmaking Department as a tenure track Assistant Professor and Printmaking Coordinator

FACULTY SHOW- GEORGE CALEB BINGHAM GALLERY
2010
Representing the University of Missouri Printmaking Department as a visiting Assistant Professor

FACULTY SHOW- UNIVERSITY OF MISSOURI, KANSAS CITY
2010
Representing the University of Missouri Printmaking Department as a visiting Assistant Professor

COCOON GALLERY, ARTS INKUBATOR, KANSAS CITY
2009
Invitational with Brooke Cameron, representing the University of Missouri in Kansas City


FACULTY SHOW- GEORGE CALEB BINGHAM GALLERY
2008
Representing the University of Missouri Printmaking Department as a tenure track Assistant Professor and Printmaking Coordinator

VANTAGE POINTS- A VISITING FACULTY EXHIBITION
2008
Featuring works also by Matthew Ballou and Daniel Farnum


DIRECTIONS: THE ART OF PRINTMAKING 
1998                   Fort Hayes Shot Tower, Columbus, Ohio
Curated by Todd DeVriese, Department of Art and Design at Zayed University in Dubai, United Arab Emirates.  Artists includes: Lenard Brown (University of Texas Pan American), Master Printer Luther Davis (Axelle Fine Art, NYC), Michelle Martin (University of Tulsa).


BARTH GALLERIES, WINTER EXHIBITION 
1998                  
Two person exhibition with Mary Jo Bole, Professor of Ceramics, Ohio State University

 5: THE OBSOLETE EXPRESSIONS OF PRINT 
1998                   Gallery, Columbus, Ohio
The #1 non-profit gallery in Columbus, Ohio.  Solo Exhibition


OHIO ART LEAGUE FALL JURIED EXHIBITION 
1997                 Fort Hayes Shot Tower Gallery, Columbus, Ohio
Exhibition juried by Donna DeSalvo, Chief Curator of the Wexner Center, the Tate Modern Museum and currently the Chief Curator of the Whitney Museum.

 RE: ART 
1997               Roygbiv Gallery, Columbus, Ohio
The #1 non-profit gallery in Columbus, Ohio.  Group show reviewed in Columbus Dispatch


FROM THE NOTESBOOKS OF. . .
1997               Roygbiv Gallery, Columbus, Ohio
The #1 non-profit gallery in Columbus, Ohio.  Group show.

 COLUMBUS ART LEAGUE GALLERY, MEMBER CURATED EXHIBITION
1997               The Columbus Art League Gallery, Columbus, Ohio.   
Group show.

PELLINGTON GALLERY RECENT WORK
1996               German Village, Columbus, Ohio
The Pellington Gallery, solo exhibition.

PRESENTATIONS, CONFERENCES AND INVITED LECTURES


LECTURER:  Mathematisch-Physikalischer Salon (Royal Cabinet of Mathematical and Physical Instruments)
2015
Invited Michael Kory, curator, Harvard University, to present at the Museum’s annual summer” An Evening of Art”.

LECTURER:  CURATOR’S WALK THROUGH: THE GRAPHIC WORLD OF GEORGE CALEB BINGHAM
2012
Organized in commemoration of the 200th anniversary of Bingham’s birth, this exhibit looks at the artist’s collaborative relationship with publishers, printmakers, and financers.  Exploring the world of 19th century printmaking and publishing with a walk-through of the exhibit with Joan Stack.  Print Professor Chris Daniggelis from the MU Art Department will be on hand to demonstrate and talk about the history of the mezzotint.

VISITING CRITIC: THE OHIO STATE UNIVERSITY, PRINTMAKING DEPARTMENT
2011
Invited by Professor Emeritus Charles Massey Jr. to conduct end of the year reviews and critiques for advanced, intermediate and introductory students within the department.

VISITING ARTIST: ROCKBRIDGE HIGH SCHOOL
2011
Guest critic for the API, APII advanced art students.

DEPARTMENT OF ART EDUCATION, UNIVERSITY OF MISSOURI
2010
Invited by Chair Kathy Unrath to give a lecture on “Art as a Profession” and Artist lecture.

LECTURE AND CRITIQUE FOR A TENURE TRACK POSITION, UNIVERSITY OF MISSOURI
2010
Organized in commemoration of the 200th anniversary of Bingham’s birth, this exhibit looks at the artist’s collaborative relationship with publishers, printmakers, and financiers.  Exploring the world of 19th century printmaking and publishing with a walk-through of the exhibit with Joan Stack.  Print Professor Chris Daniggelis from the MU Art Department will be on hand to demonstrate and talk about the history of the mezzotint.

VISITING ARTIST: ROCKBRIDGE HIGH SCHOOL
2009
Guest critic for the API, APII advanced art students

GEORGE CALEB BINGHAM GALLERY LECTURE SERIES
2008
Lecture to the Senior Seminar class.

CENTRALIA SCHOOL DISTRICT
2008
 Juror for the Annual Student Art Exhibition, with lecture to parents in the district.

VISTING ARTIST, CRITIC, LECTURER WAYNE STATE UNIVERSITY
2007
Conducted a three day one on one, group and faculty critique of graduate and undergraduate students work accompanied by an evening lecture on current work.

GUEST LECTURER: THE COLUMBUS MUSUEM OF ART
2006
Conducted a lecture introducing International renowned Artist Tom Marioni (collected by MOMA, SFMMA and STATISCHE KUNSTATHALLE). 

125TH GALA EVENT SPEAKER, THE COLUMBUS COLLEGE OF ART & DESIGN
2006
Lectured, organized and demonstrated printmaking processes along with students at the Columbus College of Art & Design to 44 potential donors and board of trustees members raising $80,000.

GUEST LECTURER: THE COLUMBUS MUSEUM OF ART
2005
Lecture titled “Printmaking: Process and Context” presented to the Head Curators of the Columbus Museum, invited by Head curator of Contemporary Art, Annegrath Nill.

THE OHIO CHANNEL: OHIO’S PUBLIC BROADCASTING STATION
2004
Lecture and demonstration broadcast on public television around the Midwest, in coordination of the Ohio Arts Council’s State Gallery, The Riffe Center Exhibition: The Method and the Matrix.

GUEST LECTURER: THE COLUMBUS MUSEUM OF ART
2003
Invited to lecture at the Columbus Museum of Art by The Ohio State University’s Department of Art History, Dr. Arlene Meyer.  Lecture title: “Durer, Goya and Process”.
                                        
 GRANTS AND AWARDS

INTERNATIONAL FULBRIGHT CORE SCHOLAR AWARD
2013-2014
For 2013 Fulbright Core Scholars, were 534 total awards available world-wide, 253 of the awards were for study in Europe, 30 awards for study in German.  Of the 30 awards, only 15 were cleared and only 2 awards of 15 were research awards.I qualified for Junior Research (3224), because of my rank.  All the other awards mandate teaching and public lecturing.

Only one visual art grant was given in all of Europe.   One was a Rachelle Beaudoin, of Holy Cross and my award in Printmaking. In past, Fulbright lists, there are many that received a Fulbright in "Art" or "Fine Art" but not as many, if any granted in Printmaking.  Most awards are granted to PhD’s, I was one of two awards winners who was awarded with an MFA. International US Fullbright Core Scholar Award for Professors. Total applicants +60,000 worldwide. 
Application, award letter and invitation included.

THE STUDENT CAPITAL IMPROVEMENT GRANT
2013
Providing $5,500.00 toward the purchase of a Laser Engraver. SFCIC is a Chancellor’s Standing Committee, comprised of eight students, eight faculty members, and three ex-officio staff members that advise the Vice Chancellor for Student affairs on the allocation of funds generated by the capital improvements portion of the student fee. Faculty members are appointed by the Chancellor and serve three-year terms. Six undergraduate members are appointed by the Missouri Student Association (MSA) president to serve a one year term. Two graduate students are appointed by the Graduate Professional Council (GPC) president to serve a one year term.  Awarding 250,000 dollars annually to students and faculty

ARTS & SCIENCE FACULTY INCENTIVE GRANT
2013
Active Grant.  Amount requested $1500.00 For the promotion of research, scholarship of teaching, or professional development.  This grant is meant to help Biannual Alumni Exhibition.

GRADUATE FACULTY MENTOR AWARD NOMINEE
2012
Nominated by Alumni, Graduate students and Faculty for the GFM Award. The purpose of the MU Graduate Faculty Mentor Award is to recognize the mentoring relationship a graduate faculty adviser has developed with his or her graduate students. A $3,000 honorarium is provided to the graduate faculty member selected for this award. Full-time (including 9 months), active, current graduate faculty on the MU campus are eligible for this award. Each department or program may nominate one faculty member for this award. Nominators should consult with graduate students in the department or program before determining which faculty mentor to put forward. 

UNDERGRADUATE RESEARCH MENTOR SHIP AWARD
2011
Awarded $500.00 toward research and supplies for assisting International Fulbright Scholar and Honors Undergraduate Derek Frankhouser obtain a residency at the Bob Blackburn Studios NYC.

TENURE TRACK POSITION AWARDED
2010
With $25,000 start-up fees for the purchase of a new press bed benefiting students and faculty at the University of Missouri.

THE OHIO ARTS COUNCIL TRAVEL AWARD
2004
Awarded a fully funded $10,000.00 International Residency by the State of Ohio to travel to Germany and work at Grafikwerkstatt Print Studio, Dresden Germany.

THE COLUMBUS COLLEGE OF ART & DESIGN
2003
$1000.00 Faculty Enrichment Award


ARTIST RESIDENCIES

INTERNATIONAL FULBRIGHT SCHOLAR
2015
Invited by the City of Dresden, Department of Culture and Heritage to be a Artist in Residence at the Mathematisch-Physikalische Salon at Zwinger Palace, The University of Dresden and Grafikwerkstatt.

THE OHIO ARTS COUNCIL RESIDENCY
2004
International Residency to Grafikwerkstatt Print Studio, Dresden Germany.

CURATORIAL 

BERLIN KOMISSION, FULBRIGHT SELECTION COMMITTEE
2015
Invited as an International Juror for the 2014 Fulbright selection committee.

PUNCTUATION: SENIOR EXHIBITION
2012
George Caleb Bingham Gallery. One Month Exhibit.  36 exhibitors, 95 works

ANNUAL UNDERGRADUATE JURIED EXHIBITION
2012
George Caleb Bingham Gallery. One Month Exhibit.  50 Exhibitors, 110 works, juried by James VanDyke.

THE COLUMBUS COLLEGE OF ART& DESIGN ANNUAL UNDERGRADUATE EXHIBITION,
2007-1999
Annual curator of over 300 works, between 80-120 exhibitors in the Canzani, Beaton and V-Hall Galleries.  Responsibilities include: collection, return, display, signage, PR and record of all work. A total of 27 separate exhibitions. 

HILLEL: THE WEXNER JEWISH STUDENT CENTER
2006
Curator of 85 works of art, 55 exhibitors on the Campus of the Ohio State University

CAPITAL UNIVERSITY LAW SCHOOL
2005
Curator of 140 works of art, 68 exhibitors.  Columbus, Ohio


ROSS LABORATORIES CORPORATION
2005
Curator of 40 works of art, 18 Exhibitors. Columbus, Ohio


COLUMBUS CITY CENTER
2004
Curator of 25 works of art, 25 exhibitors. Columbus, Ohio


ROYGBIV 
2004
Curator of 70 works of art, 50 Exhibitors. Columbus, Ohio

 
PROFILES, PRESS AND REVIEWS

UNIVERSITY OF MISSOURI ONLINE MAGAZINE FULBRIGHT ARTICLE
2014


NORTH AMERICA PRINT BIANNUAL, BOSTON PRINTMAKERS
2013


ARTICLE ON THE BU TODAY, November 8, 2013
www.bu.edu/today/2013/the-best-in-printmaking-at-808-gallery/

Review of P.D. Packard from Brooklyn
www.prweb.com/releases/2013/11/prweb11301628.htm

William Evertson Blog
http://billevertson.blogspot.com/2013/10/2013-north-american-print-biennial.html

YouTube from Printmaker Barbara Putnam
http://www.youtube.com/watch?v=CL9SEs_s6s0


CHRIS DANIGGELIS-THE OHIO MEDIA CHANNEL
“The Method and the Matrix" 2011

COLUMBIA DAILY TRIBUNE
“Derek Frankhouser” 2011


COLUMBIA MISSOURIAN
“MU Art Department Buys Printmaking Press” 2011

COLUMBIA TRIBUNE
“ The State Historical Society of Missouri presents “The Graphic World of George Caleb Bingham” 2011

GJELLOWHILLO JELLOKHALIO BLOGSPOT, (MATT RICHARDS, RISD)
“This man practices what he preaches, I’m glad he teaches” 2010

 SOUTHEAST MISSOURIAN
“Sikeston native’s photo-based work on display in solo show at Mizzou” 2010

 CITYSCENE MAGAZINE, COLUMBUS ARTS, ENTERTAINMENT & STYLE
“Ten Years of Art, In Columbus, Ohio” 2008

 CITYSCENE MAGAZINE, COLUMBUS ARTS, ENTERTAINMENT & STYLE
“The Art of Chris Daniggelis”  2006


Columbus Dispatch Art Review
“Ohio Printmakers make their own Matrix” 2004

The New York Times
“Arkansas Wins” 1988

 FEATURED ON ARTSLANT.COM

TEACHING PHILOSOPHY


The best teachers are able to assist students to empower themselves at all levels of education and beyond.  After each student is “diagnosed”, my goal is to culture “breakthrough” moments in every class activity and assignment catered to his or her individual context. The most important part of the educational process is to give the student the ability to go beyond what is required, so that a sense of self-discipline and active research can be achieved. The teacher must specifically calibrate themselves to each student and introduce parameters through which students will succeed in claiming ownership of the historical, political and cultural context of subject matter. This process starts with strong critiques focusing on fundamental elements such as media relevance, material study, process relevance and presentation issues.  Academics are vital when a student develops an urgent sense of purpose focused on developing a unique, non-model driven visual language. This becomes complicated; there might not be a historical process available or process that will fit the scope of each individual expression.   A teacher must then move away from their comfortable talents and knowledge to help forge new processes, but with an intimate focus on the timeless value connecting all art forms: communication.  With each new process the student and teacher alike are challenged to re-create language itself.    


Constant critique and dialogue will allow the teacher to “learn” each student and pin point each student’s independent catalysis toward artistic growth to foster a “breakthrough”.  I utilize a view that a student is responsible for every mark and action and it is essential to develop strategies through structured and impromptu critique towards the “joy” of complete accountability. A teacher has to be able to effortlessly switch their train of thought to suit a room of students and cannot give repeat group assignments semester after semester.  This twenty century model of education could potentially turn the classroom into an academic graveyard particularly in the case of fine art.

Local or regional success is not acceptable in terms of graduate studies.  A graduate student should research through US News and World Report top 10 rankings in their field, read the syllabi and reading lists from those programs to enhance their perspective.  They should share these readings with their fellow graduate students.  They should be able to regularly challenge the opinions of their teachers without offense. They should be able to name all artists within their artistic lineage or paradigm (those artists who directly or indirectly relate to their concepts, subject and use of materials).

 The art market is an exclusive glamour industry thriving in major costal cosmopolitan cities worldwide and driven by tremendously wealthy patrons within a well connected network of museum curators, galleries corporate and private collectors.  A graduate student has to immediately understand that they are competing for a spot in this market and that graduate school is a “luxury”; we offer them a place to concentrate, without compromise, to develop a strategy of expressions that displays ultra sensitivity to the following issues: what is the role of media in your work, why do you choose certain materials and processes for expression, what is the politics and historical context within your choice of media, materials and processes, how do you distinguish yourself from artists who came before you or how do you contribute to what they have accomplished, who is your audience, how will you describe (orally or written) what you have attempted, is the presentation of our work subject or default? What is my philosophy as a teacher? Is it to pass down historically accepted modes of expression and processes that have centuries of tradition behind them so that the student can fit into a pre-existing model of expression?  Is that acceptable for a contemporary fine artist?

 Work ethic is something that is rarely taught with success.  A graduate student must have 40-45 images produced within a 3 year program.  Fourteen images a year divided into a two semesters plus teaching should leave the student with very little time for anything else.  I suggest that all graduate students have a show during their second year so they can problem solve presentation issues a year in advance of their show with the help of their graduate committee. 


Assignment driven work should be avoided at the graduate level: to create a healthy studio practice the graduate students have to set their own parameters and exercises.  If a graduate student requests an assignment or a skill (process) they should be able to articulate why and how it relates to their work?  Often students use learning a process as an excuse to avoid more imperative concerns and difficulties toward their thesis.  A thesis is traditionally regarded as an idea or concept that is either proved or disproved.  A Master's degree distinguishes itself from other degrees in that it requires a student to defend their practice, regardless of the field, in ethical, political, economical, and cultural impact (Kant, Conflict of the Faculties).  This is ultimately an act of empowerment.  Almost all nationally recognized academic Master's programs and many undergraduate BFA programs require students to submit a Thesis which presents their exhibited work in the following categories:  Historical context, artistic/conceptual influences, a description and defense of media, material and processes chosen, a description and defense of the presentation and curation of the exhibition, relevant quotes or related concepts from similar artists, ethical, political, economical and culture role of the artist, relevant auto-biographical informational, a description of the impact of MFA study, definitions of the artists creative process etc.

It is important to understand that this document assists the artist develop relevant statements and lectures as they enter the job market, create future formats for grant writing and classroom discussion, but most importantly the thesis forces the artist to communicate ideas and rationale using non-visual language (the language of the viewer).  This is a life skill and challenge for anyone in academics. Without the concise articulation of the product of one's expression, there is only taste and trend dictating the value of an artist’s effort.

My philosophy is to work with all students who need assistance handling these issues inside and outside of class.  A teacher should be available every day from 10am-7pm and also conduct nationally recognized individual research.  A teacher should lead with successful national or international research, not just words or exhibitions.  They should be able to handle all lab maintenance, budget constraints, infrastructure breakdown, undergraduate classes, committee meetings and outreach projects with intelligence and grace.

To be more specific, class to class, particularly in regard to undergraduates, the demonstrations given have to be detailed and far reaching.  For example, while teaching Serigraphy, I also teach a student how, in terms of budget, materials and techniques, they can affordably build similar photo exposure systems, hand build screens for printing with registration, etc which are mobile and without production compromises.  I also teach about dealing with suppliers and gallery owners as a condition of being an artist. 

 Unfortunately, one of the aspects of teaching art that goes overlooked but is used in every class is the ability to adapt, innovate and improve environments that are less than ideal with very little support.  Students must be reminded that working with lack of support is a point of historical pride for the fine artist and the environment in which they learn cannot and should not be depended upon for the success of their work. 

Outside of the massive amounts of detailed multistage processes that every faculty member uses daily, we innovate and problem solve each process so far beyond textbook explanations (which is, infield research) and selflessly share results with students.  There is so much of this very week of teaching, never credited or accounted for in publications but essential to remain truly vital. 

“I am the teacher of athletes, He that by me spreads a wider breast than my own proves the width of my own,

He most honors my style who learns under it to destroy the teacher.”

---Walt Whitman

 TEACHING RESPONSIBILITIES

 The University breaks up my teaching as 40%, my research as 40% and my service as 20%.  For my 40% effort toward teaching I teach a 3/2 teaching load, coordinate the printmaking lab in terms of budget, safety, faculty undergraduate and graduate advising.  Before I was Tenure Track, I taught 4/4 load and one semester due to budget concerns I taught a 4/5 teaching load.   I am responsible or curriculum improvements.  When started teaching in Printmaking every class was listed combining all areas of study (lithography, relief, intaglio) and stacked with every level (introduction, intermediate, advanced, problems courses, graduate courses and independent study) in one class.  This was due to past fear of low enrollment.  I changed the curriculum to Printmaking (I): Beginning Intaglio and Relief, Printmaking (II) Beginning Serigraphy, Printmaking (III) Intro to Lithography with Intaglio, Serigraphy and Relief, Printmaking (IV) advanced all process printmaking, Printmaking (V) Problems in Printmaking (special projects), Printmaking (VI) Independent Study, Graduate Printmaking (I, II and III).  Printmaking is a cross road for every fine art medium.  It is taught as a blending of all traditional, contemporary dialogue centered around issues of replication, historical and current modes of disseminating information, images etc.       I have taught the core critical-issues and Writing Intensive Senior Seminar Capstone for undergrads. These courses rotate each semester among faculty. When it was my turn to teach these, I spent considerable time revising the curricula, contribute to syllabi and share them with other faculty.

I advise on average 6-8 graduate students per week with one on one studio visits and drafting of thesis statements and advise 12-15 undergraduates outside of class toward graduate school applications, assignment and process strategies ( I could do more, but it would cut into research).  I have been an honors mentor for 5 undergraduates and have been on the graduate committees of two FA Graduate Student Presidents.  I have officially served on 8 graduated committees.  I arrange regular out of class visits to relevant local artist talks and exhibitions of note.  I have mentored one undergraduate research project in NYC at Bob Blackburn Studios and lectured on frame building, resume and C.V. writing, the graduate school application process, development of community outreach programs and fund raising.

CURRENT CLASSES

BEGINNING PRINT (I) ART_PRNT 2700-01, 2710-01, 2720-01:  An intense introduction to Relief and Intaglio Printmaking including: the inking, printing, presentation of prints, paper treatment, curing and tearing down of prints, signing and editioning with templates.  Process include etching, engraving, dry-point, aquatint spray and rosin, type of ground and grounding, al palma hand, paper and tarlatan wiping, soft ground (pencil and texture), mezzotint, type of printing paper, types of acid and step etching, health and safety concerns, scraping and burnishing, beveling and proper press/blanket use, guide to printing pressure, ink modification, mulling ink, collagraphs with rejective viscosity, multiple plate printing and registration, reduction printing, marblization, split fonts, stenciling ink, the sharpening of tools, spit bite, lift ground (condensed milk imaging using screen printing, photo mechanic and CMYK printing,Xerox transfer, plaster cast intaglio, lino and woodcut, black and white line cutting, guide to types of wood, spoon and press printing etc. 
Students are asked to understand the history of printmaking in utilitarian and fine art contexts. They are challenged to defend their use of process and image in regular critiques and pushed to innovate existing processes immediately.  Students must be able to fit their work into the history of fine art, outside of printmaking in regard to past and contemporary art movements, theory, politics and cultural trend.

 BEGINNING PRINT (II) ART_PRNT 2730-01: SERIGRAPHY
An intense introduction to Serigraphic Printmaking including: The stretching and building of screens, type of printing mesh, type of squeegee and durometer/blade type, all formats of registration possible as an introduction to three point pin registration, photo mechanic emulsions, exposure times, CMYK processing and registration of multiple photographic negatives, cleaning and storing the screen, screen printing at home with class built portable units, construction and cost of a hand built exposure system, water-color monotyping, reduction printing with screen filler and sharpie block out, split and junk font, multiple screen registration, paper selection and signing of prints.
Students are asked to understand the history of printmaking in utilitarian and fine art context. They are challenged to defend their use of process and image in regular critiques and pushed to innovate existing processes immediately.  Students must be able to fit their work into the history of fine art, outside of printmaking in regard to past and contemporary art movements, theory, politics and cultural trend. Particularly with the rich history and contribution of Warhol and Rauschenberg, weekly discussions on history of the appropriated image and found objects are central to this class. 

 Readings include Walter Benjamin, David Hickey and Hegel.
(More descriptions to follow/Syllabi enclosed)

USE OF INSTRUCTIONAL TECHNOLOGY
I use regular university technology such as power point, emails with attached readings, digital projection Adobe Illustrator and Photoshop on a daily basis, but must instruction is accomplished via live demonstration of the various processes, materials and systematic steps toward printmaking.  I use "weebly" to teach webpage design.  Every single process listed about is demonstrated and re-demonstrated as many times as necessary in every level of printmaking class, outside of class and every time there is an opportunity to instruct.  My technology is the ancient technology of printmaking. I send digital notes out after beginning class.  I have taught laser engraving applications to advanced printmakers.


TEACHING-RELATED ACCOMPLISHMENTS
In 2012 I was nominated for a graduate teaching mentorship award, I have had three undergraduate students accepted to top US Ranked MFA Programs, four students achieved tenure at the University level and one achieve an undergraduate Fulbright award.  Several students have been accepted into national juried exhibitions and published in art magazines such as New American Paintings.

I organized, as a class, the design and set up of a printmaking studio in Rock Bridge H.S, including the repair of a medium sized donated etching/relief press, the building of inking slabs, solvent rack, blotter/soaking area, etching/acid space, blanket storage and Serigraphy table.  Whenever required, I offer lectures Artist Lectures to Art Appreciation classes at the University.  I conduct HS Art day lectures, inviting regional high schools to visit the facilities.  I organize my own etching outreach programs inviting local High Schools to make and print etchings on campus.