ANN CONNER

Chair, Professor, Department of Art and Art History

The University of North Carolina Wilmington

Fall 2011 Courses

Intermediate Painting

ART 341–342 Intermediate Painting

Calendar
Materials List
Assignment Guide

Advanced Painting
ART 441–442 Advanced Painting
Calendar
Materials List
Assignment Guide

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Carlton Wilkinson

Ann Conner is a nationally acclaimed artist best known for her seductive and formally challenging color
woodcuts. Her distinctive prints are exhibited at Troisiéme Triennale du Bois Gravé Contemporain, Musée
Pierre Noël, Saint-Dié-des-Voges, France; International Print Center New York, NY; Kanagawa
Prefectural Gallery, Yokohama, Japan; Chicago Cultural Center; Flatbed Press Gallery Austin, TX;
Federal Reserve Bank Gallery, Boston; and shown in permanent collections at the Museum of Fine Arts,
Boston; California Palace of the Legion of Honor, San Francisco; New York Public Library; Fogg Art
Museum, Harvard University; The Library of Congress, Washington, DC; Credit Suisse First Boston,
London; and Louise Wells Cameron Art Museum, Wilmington, NC.

Her prints are reviewed in Art on Paper, New Art Examiner, Who’s Who in American Art, and Who’s Who
of American Women. She collaborates with Katherine Brimberry, Flatbed Press, Austin TX (publisher of
her woodcuts); Leslie Miller, The Grenfell Press, NYC; and James Stroud, Center Street Studio, Boston.
Ann was born in Wilmington. She received a BFA in art from Salem College, Winston-Salem, NC; and
MACT and MFA in painting from the University of North Carolina at Chapel Hill. She studied painting in
Asolo, Italy with Salem-Hofstra University Summer Program. Ann is a professor of Studio Art at the
University of North Carolina Wilmington.

ARTIST STATEMENT

Working in woodcut always is a challenge as the grain of the wood is so captivating. My woodcuts are, in
many ways, a response to this. I like carving into the natural flat wood, however using high-tech power
carver, or laser cutting blocks. Woodcut printing is the oldest form of printmaking, and it continues to have
relevance for me.

TEACHING PHILOSOPHY

In teaching painting and drawing I emphasize the language of materiality and conceptualization of
process through a wide variety of studio methods, materials, subjects and processes. Students
investigate materiality, and learn to speak visually through materials. The relationship of different supports
to imagery is also considered. I strive to challenge and push students to reach new personal goals, to
guide students through frustrating endeavors, and ensure that all studio practices are grounded in sound
approaches to perception and craftsmanship. Intermediate and advanced students investigate new
technical topics, hone perceptual skills, and are encouraged to seek diversity in independent projects
rather than to focus on narrow approaches. Professional travel keeps me current with historical and
contemporary exhibitions, a benefit to teaching.