EDWARD FAUSTY 600 Palisade Ave. #405 Union City, NJ 07087 USA

201-330-1159    edward.fausty@verizon.net

EDUCATION
MFA Photography, Yale School of Art, 1986, studies with printer and MacArthur Fellow Richard Benson, inspired by his photo-lithographs
BFA, Cooper Union School of Art, 1979, studies with printer Norman Sanders who later suggests collotype as a photomechanical process. Studies with Joel Meyerowitz; immersion in his large & small format color work and sensiblity

WORK EXPERIENCE
Wide-format digital inkjet printer, specializing in pigmented ink on rag paper. Collaboration with artists and photographers making reproductions and brand new digital works since 2001
Adjunct faculty for nine years, advanced color photography SUNY at Westchester Community College in the 1990’s, helped students further develop their vision and technique
Spent twelve years researching and reviving the near-extinct collotype photomechanical printmaking process. In the 1990’s, worked with MacArthur Fellow Robert Blackburn at the Printmaking Workshop in New York, teaching collotype to international artists and photographers.
Made collotype editions for artists such as Takeshi Kawashima and Kiki Smith at my private studio
Color printer of Joel Sternfeld’s photographs. Editions of 90 or 150 with intricate corrections
Color printer at Dimension Color Labs, New York, early 1980’s, making prints for William Eggleston, Neil Slavin, Joel Meyerowitz and others.
Dye transfer technician at Jerry Wind Associates, late 1970’s, making prints for advertising and fine artists such as Joel Meyerowitz.

SOLO EXHIBITIONS
John Meagher Rotunda Gallery at City Hall, Jersey City, Fragile Utopia; 111 First Street, 2005
Hofstetter Arts Center, Martinsville, NJ, Working Towards Unity; printed in ink, 2004
Iron Monkey Gallery, Jersey City, NJ, 111 Studio Views, 2004
Tomasulu Gallery, Union County College,111; Rooftop and Studio Views, Nov. 2003
Learning Spirit Gallery, Jersey City, ‘Round About the Beginning, Sept., Oct., 2002, inkjet self-portraits
Hamilton Ale House, Jersey City, Foggy Nights: 111 Rooftops, Jan., 2001 Jersey City
Mack-Cali Corp. Artwindows, Space to Create: Views of Artists’ studios at 111 First St., 2001 Ocha Gallery, Metuchen, NJ, 1997: Color interior views
The Duda Residence, 1993: Collotypes from the series Going Back
World Theater Festival, Nancy, France, 1982: Ektacolor prints from The Lower East Side Project
The Henry Street Settlement, New York, 1981: The Lower East Side Project with Brian Rose

SELECTED GROUP EXHIBITIONS
Gallery Bi-Damas, Osaka, Japan, Small Works, ’03, ’04, ‘05
Paul Sharpe Contemporary Art, NYC, Robert Blackburn Memorial, June, ‘03
The U.S. Library of Congress, Creative Space: Prints from the PMW Collection, Jan. ‘03
Brooklyn Museum of Art, Digital Printmaking Now, June, 2001
Bogota Arts Center, Colombia, 1997: collotypes of Taiwan
Hostos Community College, Bronx, NY, 1996: The Power of Prints
Pan Pan Artspace, Taipei, Taiwan, 1995: Printmakers and public lecture
Bloomsburg University, Bloomsburg, PA, 1995: 4 From the Printmaking Workshop

Orozimbo Gallery, New York City, 1994: Memory of the Womb
The Center for Book Arts, New York City, 1992: L. Looking, handmade book exhibited
Progressive Cultureworks, Jersey City, 1992: Cannibalism
Canadian Center for Architecture Inaugural, 1989
Brooklyn Museum of Art, New York City, 1983: The Great East River Bridge

APPROACH TO ART AND PRINTMAKING
As a digital printer, dedicated to preserving the integrity and respect for materials to be seen in older printmaking techniques such as etching, lithography and collotype. Digital inkjet technology, although “cutting edge”, has the capability, using the right ink and papers, of extending the tradition of the fine print. As a photographer, interested in direct pictures, both traditional and experimental, that celebrate ink on paper.

AWARDS
Museum of Computer Art (MOCA), July 2001, best in show (online review by Don Archer
of Digital Printmaking Now at the Brooklyn Museum of Art)
National Endowment for the Arts (NEA) Survey Grant in Photography, 1983
Creative Artists Program Services (CAPS) (later NYFA) grant, 1981
Hudson River Museum Annual, 1979

SELECTED COLLECTIONS
The United States Library of Congress
Museum of Photography at George Eastman House, Rochester, NY
Yale University, New Haven, CT
Canadian Center For Architecture, Montreal, Canada
Goldman Sachs, Inc., New York
Pfizer

CURATORIAL WORK
Organized Exhibition at Victory Hall Cultural Center in Jersey City, winter of 2002: Beauty of Big, large scale painting, installations, drawing, photography, and digital printing.

BIBLIOGRAPHY
The Tris McCall Report, online review of A Fragile Utopia solo exhibit, 2005
MOCA, Museum of Computer Art, online review in 2001 of Digital Printmaking Now exhibit
at Brooklyn Museum
The Record, June 20, 2003, A Warehouse of Diverse Art
The Jersey Journal, Jan. 2001, Cat’s-eye View of Art Studios
The New York Times, July 7, 1996, A Print Show By 12 Workshop Members
The Union Daily (Taipei, Taiwan), Jan.1995, Printing and Light Come Together
describing exhibition and lecture given at Pan Pan Artspace. (article in Chinese)
The Jersey Journal, May, 1992, Cannibalism describing group show of that name
Canadian Center for Architecture, MIT Press, 1989, Architecture and its Image museum catalog
The Village Voice, Oct. 2, 1984, Lower Manhattan
Sy Rubin, ed., The Henry Street Settlement, New York, 1981, The Lower East Side
Artforum Magazine, Sept., 1981, Ed Fausty, Brian Rose
The New York Times, May 8, 1981, The Lower East Side: A Contemporary Portrait in Photographs

 

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