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Lisa Bulawsky



Lisa Bulawsky is a visual artist widely recognized for her works on paper, installation, and temporary public projects. She has enjoyed an active studio practice and career since the 1990s and is known for her creative research exploring personal and collective histories through the intrinsic properties of print media. Bulawsky’s works have been exhibited in solo and group exhibitions in the U.S. and internationally, including the Yerba Buena Center for the Arts in San Francisco (as part of the Fifty-fifty art collective); the Eleanor D. Wilson Museum in Roanoke, Virginia; the Dalarnas Museum in Sweden; and the Corcoran Gallery of Art in Washington, D.C.; among many others. Books featuring her work include “Printmaking at the Edge” (2006), “Printmaking: A Complete Guide to Materials and Processes” (2009), and “American Print Makers” (2014). She has received numerous grants and awards including an individual M-AAA NEA Fellowship for painting and works on paper, the Marvin Bileck Artist-in-Residence award at Bowdoin College, and the Francis Niederer Artist-in-Residence award at Hollins University. Her prints are in many collections including the Spencer Museum of Art, the Nelson-Atkins Museum, and the Royal Academy of Art in Antwerp, Belgium. Bulawsky earned her BA in Studio Art from the University of California, Santa Cruz, and her MFA with honors from the University of Kansas. She has taught at Washington University in St. Louis since 1996, receiving an Emerson Teaching Award in 2005 and a Founder’s Day Award for distinguished faculty in 2013, among other academic honors. She is the chair of the MFA in Visual Art program and the director of Island Press.
Personal website

Work by Lisa Bulawsky

On a black background, a figure in the center of the composition (a textured form at the bottom, perhaps a pedestal) — what might be the head is textured, its surface closely dotted; its limbs suggest an ambiguous identity (not sure if animal or human or something else).

The Doubt of Being (regressed)

Lithography, inkjet and collage on paper. 62 x 46".
On a wooden table against a white wall, six sculptures, whose surfaces are reminiscent of stone and wooden textures. Some sculptures have geometric lines running across the surface; in others the lines are not as orderly.

The Doubt of Being; detail of mini-monuments from The Soft Spot Collection

Papier mache and handprinted paper. dimensions vary.
Red-orange/vermilion shapes, some with cut-out circles, tiled against each other closely on a cream-white background. Through/overlaid on these shapes are lines that suggest a faint black illustration.

The Doubt of Being (disassembled)

Collage, inkjet, and monotype on Evolon. 60 x 44".
An exhibition in a white gallery with dark floors. In the center of the image against a wall/panel is the title "PORTABLE MEMORIES IN RISING SEAS" in blue. On the walls are artwork, as well as video projections in the front and back. Sculpted objects are also on a white platform in the center of the space.

Fifty-Fifty, Portable Memories in Rising Seas, 2018

Installation view, The Sanger Gallery, The Studios of Key West.
Three people look up at a white wall mounted onto which are several black drawing boards, a composition clipped to each. The compositions range in light to dark blues; some have white or black text and colorful illustrations.

Fifty-Fifty, Portable Memories in Rising Seas, 2018

Installation view, The Sanger Gallery, The Studios of Key West.
Printed works tiled, landscape orientation, on a tall white wall: some compositions are rendered in warm, pink/coral/peach/orange hues, while others are in black and white. Five wooden tables/platforms positioned in the center of the space, the closest one to us displaying a book, which is open on a spread containing a grayscale photograph.

A Clearing of Measures, 2015

Solo exhibition/installation at the Eleanor D. Wilson Museum, Hollins University.
01 bulawsky likeleaveslikeasheslikestars 2018 23

Like Leaves Like Ashes Like Stars, 2018-2023

installation view, ink, drawing, and collage, 11 x 13 inches each

Like Leaves Like Ashes Like Stars is a loose, unbound suite of handprinted and collaged images originally conceived as a book. The prints range from hand drawn to photographic, diagrammatic to poetic. There are currently over seventy-five images in the book and the project is ongoing – a rolling record of ruminations on subjective time.

05 bulawsky fiftyfifty portablememories yerbabuena2020

Portable Memories in Rising Seas, 2020

Fifty-Fifty art collective (Lisa Bulawsky and, Laurencia Strauss with Dimitry Saïd Chamy)
Exhibition installation (adapted for outdoors due to COVID)
Yerba Buena Center for the Arts, San Francisco, CA

Portable Memories in Rising Seas, a project by Fifty-Fifty art collective, is a socially engaged, multi-media project about sea level rise, connecting memory and climate change to create antidotes for grief. As a sequence of activities, the project culminating in iterative exhibitions. Each part of the process – film screenings, participatory drawing, interactive dialogue, underwater video, prints, posters, books, and zines – is valued as vital to the project’s success and impact.

04 bulawsky fiftyfifty portablememories tskw 2018

Portable Memories in Rising Seas Fifty-Fifty, 2018

Fifty-Fifty art collective (Lisa Bulawsky and Laurencia Strauss) Exhibition and participatory events
The Studio of Key West, Sanger Gallery, FL

Portable Memories in Rising Seas, a project by Fifty-Fifty art collective, is a socially engaged, multi-media project about sea level rise, connecting memory and climate change to create antidotes for grief. As a sequence of activities, the project culminating in iterative exhibitions. Each part of the process – film screenings, participatory drawing, interactive dialogue, underwater video, prints, posters, books, and zines – is valued as vital to the project’s success and impact.

03 lisabulawsky thedoubtofbeing unscathed 2022

The Doubt of Being (unscathed), 2022

43 x 57 inches, Ink and collage on Evolon

The Doubt of Being (2018-23) is a series of large-scale printed collages exploring the disorienting effects of pandemic time and deep time through the marks we make on the world and the marks made on us

02 bulawsky thedoubtofbeing fromthebottomup 2019

The Doubt of Being (from the bottom up), 2019

44 x 60 inches, Ink and collage on Evolon

The Doubt of Being (2018-23) is a series of large-scale printed collages exploring the disorienting effects of pandemic time and deep time through the marks we make on the world and the marks made on us