ANN CONNER
Chair, Professor, Department of Art and Art History
The University of North Carolina Wilmington
Spring 2010 Courses
ART 341–432 Intermediate Painting
Calendar
Materials
List
Assignment
Guide
Advanced
Painting
ART
441–442 Advanced Painting
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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.