Faculty portfolios

  • From Four Chapters in the Present We Were. Chapter 1: WWII. Collagraph, India ink, graphite, collage, 48" x 62", 2011.
    From Four Chapters in the Present We Were. Chapter 1: WWII. Collagraph, India ink, graphite, collage, 48" x 62", 2011.
  • From Four Chapters in the Present We Were. Chapter 4: 9/11. Relief, collagraph, collage, 48" x 62", 2011.
    From Four Chapters in the Present We Were. Chapter 4: 9/11. Relief, collagraph, collage, 48" x 62", 2011.
  • Prosthetic Memory, JFK: Iron Measles. Softground etching, collagraph, monotype, digital collage, colored pencil, 24" x 32", 2009
    Prosthetic Memory, JFK: Iron Measles. Softground etching, collagraph, monotype, digital collage, colored pencil, 24" x 32", 2009
  • Prosthetic Memory, WWll: Apple Parts. Softground etching, inkjet collage, lithography, 24" x 32", 2010.
    Prosthetic Memory, WWll: Apple Parts. Softground etching, inkjet collage, lithography, 24" x 32", 2010.
  • Goose Drive. Softground etching, monotype, watercolor, 24" x 32", 2011.
    Goose Drive. Softground etching, monotype, watercolor, 24" x 32", 2011.
  • Magic Carpet Bay. Softground etching, inkjet, acrylic, monotype, collage, 24" x 32", 2011.
    Magic Carpet Bay. Softground etching, inkjet, acrylic, monotype, collage, 24" x 32", 2011.

Lisa Bulawsky

Professor

Director of Island Press

Area Coordinator, Printmaking

Phone: 
314-935-6571
Fax: 
314-935-6462

Bixby 104B

Campus Box 1031
Biography 

Lisa Bulawsky is widely recognized for her work in print media that spans a range of activities including installation, works on paper, and temporary public art. Her exhibitions include the International Print Center New York; Urban Institute of Contemporary Art in Grand Rapids, Michigan; Gallery 406 at Elon University; the Eleanor D. Wilson Museum at Hollins University; and the Dalarnas Museum in Sweden. Bulawsky's work in mixed media monotype is in the collection of the Royal Academy of Fine Art in Antwerp, Belgium, and the Nelson-Atkins Museum of Art in Kansas City, among others. It is featured in the 2009 book Printmaking: A Complete Guide to Materials & Processes, published by Prentice Hall and written by Beth Grabowski and Bill Fick. Bulawsky also engages the populist tradition in printmaking by creating temporary public works under the pseudonyms of Vertigo Press and Blindspot Galleries. Her work in the public sphere is recognized in Printmaking at the Edge by Richard Noyce, a book about international, contemporary trends in printmaking. More recently, Bulawsky is among the artists featured in Contemporary American Print Makers, written by E. Ashley Rooney and Stephanie Standish and published by Schiffer Publishing in 2015.

Bulawsky is currently the director of Island Press and the area coordinator for Printmaking in the Sam Fox School of Design & Visual Arts at Washington University. She has developed innovative pedagogy and curriculum in the College of Art stemming from her research interests and investment in the philosophical and political qualities inherent to printmaking. In 2008 and 2014, she received Sam Fox School Creative Activity Research Grants, and in 2011, she received the School's Excellence in Teaching Award. She was honored by the University at the 2013 Founder's Day celebration, where she received a Distinguished Faculty Award.

Bulawsky earned her BA from the University of California, Santa Cruz, and her MFA with honors in 1995 from the University of Kansas.

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Statement 

In my work, I expose and pick at the scab of culture by examining the people and events that shape it. I try to grapple with universal and unanswerable questions about what it is to be human, to be an agent of culture and an heir to its course. My recent research has focused on the reciprocal influence of culture on the individual through history and memory. The recent series Flashbulb Memories and Prosthetic Memories each examine personal remembrances in parallel with historical events in an effort to understand how we place value on the narratives that make us who we are.

My vision, gesture, and ideas filter through my knowledge and experience in printmaking. I am interested in the uniqueness of the printed mark, its beauty, depth, and security as well as the mark's physical ability to stand in metaphorically for the broader implications of "impression" and memory. I am also engaged with the populist tradition and the democratic potential of the multiple in printmaking, and create temporary public works that are direct and distributive in nature.