Richard Martin Ash, American (1943 - )

Richard Ash
From 1980 to the present, my focus has been on the screen printing process, interrupted by bursts of enthusiasm for other print processes including monotypes, and a strong taste for the relief and intaglio processes.

My first memorable art experience as a freshman in art school revolved around seeing an etching being printed. The plate and paper appeared as one thing on the left side of the press, and something else on the right...magic! Nothing else mattered. After that moment, I was hooked.

My current body of prints, begun in 1999, represent a renewed interest in the collaging and layering of imagery. The series is associated with many themes, New Orleans cemeteries, germination, the last patented eggbeater, the drug culture, comic characters, issues of memory, and the beginning and the end of life.

-Richard Martin Ash

EDUCATION

Fort Wayne Art Institute, Fort Wayne, Indiana, 1963-64
Wichita State University, Wichita, Kansas, B.F.A. 1966, M.F.A. 1968
Major: Printmaking; Minor: Painting

EXPERIENCE: PROFESSIONAL

Wichita State University--Wichita, Kansas
Graduate Teaching Fellowship, Awarded 1966-67 and 1967-68
University of Washington--Seattle, Washington
Visiting Artist, Printmaking, Summer Quarter 1977
Midwestern State University--Wichita Falls, Texas (1968 to present)
Teaching responsibility: Printmaking, Drawing, and Gallery Courses
Chairman, Department of Art, Fall 1981, Academic Year 1982-83, 1989-2002
Gallery Director and Visiting Artist Program Coordinator, 1978-2002
Oklahoma Arts Institute—Quartz Mountain, Lone Wolf, Oklahoma, October 23-26, 2003
Order of Advancement:
Instructor 1968, Assistant Professor 1971, Associate Professor 1974, Professor 1979
Hardin Professor of the Year 1979-80

RESEARCH

Midwestern State University, Funded Research
1971 "Polyethylene Transfer Process"
1972 Resident Artist, Wichita Falls Museum and Art Center
1972 "Compositional Enlargement Through Photo-Sensitization"
1973 "Unique Images Created With Polyethylene and Zinc Plates by the Relief Process"
1974 "Photo Process Printmaking as Applied to Stone Lithography, Metal Plate Lithography
and Intaglio"
1975 Midwestern State University Foundation, Inc., Lakeside Studio, Lakeside, Michigan
1975 "Development & Preparation of a Circulating Exhibition"
1976 "Microfilm Manipulation as an Image Source"
1977 "A Visual Continuum Founded on the Workshop Concept"
1978 "Investigation into the Visual Potentials of the Agfa-Gevart Repromaster & Its Application to Photo-printmaking"
1979 "The Mono-print, A Reinvestigation"
1980 "An Investigation of the Handmade Paper Process"
1981 "Exploitation of the Intaglio Process"
1982 "Ortho Film Image Resource Development"
1983 "Steel Plates and Their Adaptation to the University Print shop"
1984-86 "Rubber, A New Intaglio Relief Printing Surface"
1986-95 (Midwestern State University did not fund organized research)
1996-97 "An Investigation of Photosensitive Plate-Making and Its Adaptation to Relief and Intaglio Process Printmaking”
1997-98 "An Investigation of ImagOn as a Photographic Matrix"
1998-99 "Further Investigation of ImagOn as a Photographic Matrix"
1999-00 "Photo-Polymer Film / Image Development"
2000-01 “An Adaptation of the Stencil to the Monotype Printing Process"
2001-02 “Stencil Monoprints: A Continued Investigation”

PRINTS PUBLISHED BY:

1983-84 Peregrine Press, Inc., Dallas, Texas
1985 Winn Press, Seattle, Washington
University of Oklahoma, Norman, Oklahoma
1986 University of Dallas , Matrix Program, Irving, Texas
1987 Clarion University, Sandford Gallery, Clarion, Pennsylvania
1990 University of Nevada, Las Vegas

PUBLIC COLLECTIONS

Modern Art Museum of Fort Worth, Fort Worth, Texas
Wichita Falls Museum and Art Center, Wichita Falls, Texas
Midwestern State University, Wichita Falls, Texas
University Art Museum, Arizona State University, Tempe, Arizona
Abilene Fine Arts Museum, Abilene, Texas
Wichita Art Museum, Wichita, Kansas
University of Dallas, Irving, Texas
University of Oklahoma, Norman, Oklahoma
Los Angeles Print Society, Los Angeles, California
New Mexico State University, Las Crues, New Mexico
Contemporary Art Center, New Orleans, Louisiana
Trenton State College, Trenton, New Jersey
Minot State University, North Dakota
University of South Dakota, Vermilion. South Dakota
East Tennessee Sta te University, Johnson City, Tennessee
Clarion University, Clarion, Pennsylvania
Prudential Insurance Company, Chicago, Illinois
Corpus Christi State University, Corpus Christi, Texas
Texas Christian University, Fort Worth, Texas
Texas Tech University, Lubbock, Texas
Texas Instruments, Dallas, Texas
Donna Beam Fine Arts Gallery, University of Nevada at Las Vegas, Nevada
NCNB, Dallas, Texas
Illinois Bell Telephone Co., Chicago, Illinois
Southwestern Bell Telephone Co., Dallas, Texas
AMOCO Corporation, Chicago, Illinois
Wichita State University, Wichita, Kansas
Arizona State University, Nelson Art Center, Phoenix, Arizona
Equitable Life Insurance Co., Chicago, Illinois
Hill Country Arts Foundation, Duncan and McAshan, Visual Arts Center, Ingram, Texas
Kemper Corporation, Chicago, Illinois
American Library Association, Chicago, Illinois
State Foundation on Culture and the Arts, Linekona Art Center, Honolulu, Hawaii
General Motors, Detroit, Michigan
Fort Hayes State University, Hayes, Kansas
Marcus Communications, Dallas, Texas
Art Museum of Southeast Texas, Beaumont, Texas
Waco Art Center
Tarlton State University, Stephenville, Texas
N.B.D. Bank, Flint, Michigan
The College of New Jersey, Ewing, New Jersey
The University of Texas at Tyler
Lincoln National Corporation, Fort Wayne, Indiana
Hermann Hospital, Houston, Texas
Davis Museum and Cultural Center, Wellesley College, Wellesley, Massachusetts
28
Springfield Art Museum, Springfield, Missouri
Longview Museum of Fine Arts, Longview, Texas
The University of Texas at Austin, J.S. Blanton Museum of Art
The Southern Graphics Council Archives
The Sheldon Art Gallery, University of Nebraska, Lincoln
Concordia University, Austin, Texas

Artist's Gallery


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