155:, consisted of graphics of children's swimming pools laid out in a public square and filled with images of mousetraps shaped like boats. Trailing from the traps were narrow sheets of paper with the text “I believe in the New York Stock Exchange” and other statements. The public was asked to participate by writing their own answers to the phrase “I believe in ________” on a narrow sheet of paper, which they then attached to the work.
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Youth in
Washington, D.C. In addition, Hugh Merrill has been invited on Kansas City Medical Missions trips to the Philippines, Guatemala and Cuba, and has worked with Soulfari to build an orphanage in Kenya. He serves on the board of United Inner City Service and is on the steering committee of Inkubator Press at the Arts Incubator.
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was a collaboration with
Patrick Moonasar and Matt Hilger which produced a series of posters of homeless children showing not their need but their value. The posters have been exhibited nationally including the 2008 conference for the National Association for the Education of Homeless Children and
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in community arts projects in Dana Beach, Florida; Sydney, Australia; Dublin, Ireland, as well as
Colorado Springs, CO; Pittsburgh, PA; Portland, OR; and a number of other cities nationwide. Building on these experiences, Merrill helped transform Chameleon Theatre, a small not-for-profit whose
57:. The following year he returned to MICA, where he discovered printmaking, specifically etching, a medium that would become his primary means of expression for the next four decades. Despite continued academic difficulties, Merrill completed his undergraduate work and was accepted to
101:, exhibited at Printworks Gallery in Chicago. As noted by Nelson-Atkins print curator George L. McKenna, these prints " imaginatively with the confrontation between man-made construction and natural landscape," through drawing, etching, printing, and reworking of the etching plates.
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was an
American artist, recognized internationally in the contemporary printmaking community. He has written articles on the redefinition of art, printmaking, and education and has taught and lectured on printmaking at over 75 universities, colleges, and schools worldwide.
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and The
Southern Graphics Council, of which he was president in the early 1990s. In 1991, he served as a conference co-chair for The Southern Graphics Council conference at the Kansas City Art Institute. He has been awarded a number of grants, including a regional
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In the 1970s, Hugh
Merrill began working on etchings of the urban environment, which he termed “real-estatescapes,” a phrase meant to represent the dominance of society over nature. In the 1980s Merrill focused on sequential etching suites, such as
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Fellowship, and the
Teaching Excellent in Printmaking Award at The Southern Graphics Council conference in 2007. His artwork has been exhibited internationally and his work has been collected by major museums, such as the
49:, was a state judge and Lieutenant Governor of Alabama. His father worked with the Democratic Party, advising Kennedy, Humphrey and Johnson on agricultural issues. Merrill began his artistic career in 1969 at the
139:, an arts and educational archive of drawing, writing, photography, and other art forms to help young people discuss the many influences on their sense of sense. Since its creation, Merrill has gone on to use
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During the 1990s, Hugh
Merrill became concerned that his prints and studio work were not having the direct impact on society that he had been striving for and began to look at the writings of
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Most recently
Merrill has worked with Staci Pratt, director of the Office of Homeless Liaison, Kansas City, KS Public Schools to facilitate a number of community arts projects, including
131:. He and Boltanski collaborated on the citywide community artwork Our City Ourselves. With the help of designer Bruce McIntosh, Merrill created a tabloid publication insert in the Sunday
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Hugh
Merrill began writing for publication in 2011, producing two books of poetry, a book of short story recollections, and books on art, printmaking and social practice. He has written
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inviting the public to bring their family photographs and personal archives to the museum where they could pin them to the walls. In conjunction with the exhibit, Merrill also created
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He returned from a trip to Poland, photographing and doing drawings in KrakĂłw and Auschwitz, determined to balance his studio vision with community arts actions.
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mission was to create dramatic plays about youth experience, into the broader Chameleon Arts and Youth Development agency that utilizes theater,
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and others, all of whom would have a profound impact on his thinking and work. After receiving his MFA from Yale in 1975, Merrill taught at
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In 2005, he was invited to produce a community arts action for the Impact Conference in Berlin, Germany and Poznan, Poland. The project,
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has gone on to be exhibited at the Dalarnas Museum for the Falun Print Triennial in Falun, Sweden and other museums around the world.
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53:(MICA). Within his first year, Merrill flunked out and ended up in Washington D.C., working in the offices of Alabama senator
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445:, exhibition catalog, Nelson-Atkins Museum of Art, Kansas City, MO and Springfield Museum of Art, Springfield, MO, 1984-1985.
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was edited by Jeanette Powers and published by Stubborn Mule Press. And his graphic zine,
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Born in 1949, Hugh Merrill was raised in Washington, D.C. and Alabama. His grandfather,
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356:, Southern Graphics Council conference book, Kansas City, MO, 2007: p18. Print.
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Lustfeldt, Heather. "Teaching Art and Making Art for the Real World."
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Hugh Merrill has been a speaker at numerous conferences, including the
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299:, exhibition catalog, Dalarnas Museum, Falun, Sweden, 2007: p138-143.
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Nomadic? Rover by Days Singing These Gang Plank Songs of the Ambler
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Divergent Consistencies: 40 Years of Studio and Community Artwork
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Shared Visions: Thoughts and Experiences in Social Arts Practice
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Preaching to the Choir: Thoughts on Contemporary Printmaking
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The Best of Printmaking: An International Collection
478:Pronko, Michael. "Art, the Artist and Politics."
85:(KCAI) in 1976, where he has been teaching since.
452:, A&C Black London, April 2006: p106-107.
81:before being hired to teach printmaking at the
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422:Midlands Invitational 2000: Works on Paper
406:Calloway, Rebekah. Biographical profile,
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438:, exhibition catalog, 2007: p10. Print.
550:Wheaton College (Massachusetts) faculty
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500:Chameleon Arts & Youth Development
391:Allen, Lynne and McGibbon, Phyliss.
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436:Twenty Year Commemorative Exhibition
441:McKenna, George L. Introduction,
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119:In 1996, Merrill worked with the
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51:Maryland Institute College of Art
434:Manchester Craftsmen's Guild.
181:National Endowment for the Arts
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413:Erskine, Eleanor. Interview,
395:, Rockport Publishers, 1997.
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520:American contemporary artists
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206:Minneapolis Institute of Arts
123:as a visiting artist for the
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354:Points, Plots, and Ploys
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214:Print Lovers at Thirty
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465:Imagery: Art for Wine
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377:Artknowledgenews.com
331:Southerngraphics.org
202:Cranbrook Art Museum
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320:Review-magazine.org
297:Falun Triennial2007
125:Christian Boltanski
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420:Farber, Janet L.
198:Harvard Art Museum
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540:1949 births
342:Tributaries
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473:1891267922
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386:References
309:NAEHCY.org
208:, and the
247:Footnotes
237:Dog Alley
67:Alex Katz
63:John Cage
41:Biography
241:Whiteout
273:UTK.edu
183:grant,
146:Hip Hop
75:Al Held
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129:So Far
189:Yaddo
168:Faces
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