Articulations in Print: John Hitchcock:
Traces of the Plains
Museum of Contemporary Native Arts
108 Cathedral Place, Santa Fe, NM
January 25th - 31st July 2014
Traces of the Plains consists of works on paper. A multimedia installation of printed matter and video, the exhibition references the trauma of war and fragility of life. Artist John Hitchcock sets familiar images of U.S. military weaponry against unfamiliar mythological and hybrid creatures originating from the Wichita Mountains in western Oklahoma to allegorically explore the notion of assimilation and control.
1000 Holt Avenue Winter Park, FL 32789
January 4–April 13, 2014
"John Hitchcock negotiates identity through the creation of powerful images that address war, assimilation, and imperialism. To communicate these complex ideas, Hitchcock carefully considers his audiences and involves students by emphasizing the necessity of collaboration."
Amy Galpin, Ph.D., Curator of the Cornell Fine Arts Museum
Air Land Seed
516 Arts Central Ave SW Albuquerque, NM
Air, Land, Seed is the seventh Indigenous exhibition at the Venice Biennale (1999-2013), for which Mithlo has organized artists, curators and educators to do collaborative exhibits and actions. Directly after the
group’s participation in the 2013 Venice Biennale, their project continues at 516 ARTS for the exhibition, residency and public events. As part
of this project, 516 ARTS presents its first artist-in-residence project in partnership with the NPN/Visual Artists Network. Artists John Hitchcock
and Emily Arthur are working with Marwin Begaye and Ryan O’Malley to create Impact Vs. Influence, a series of banners, flags and give-aways culminating in the printmaking installation at 516 ARTS.
Air Land Seed
Arts University of Venice Ca' Foscari, Palazzo Cosulich, Venice, Italy on the occasion of the 55th Venice Biennale Exhibition
Air, Land, Seed addresses global tensions between home and exile, drawing from the unique perspectives of the Indigenous peoples of Native North America. Nine contemporary artists engaged in the politicized medium of printmaking will
exhibit works on paper, film and installation that question the forced displacements and ideologies that define our collective contemporary existence.
Herron School of Art and Design, Indianapolis, Indiana; University of Texas at Arlington, Texas; Museum of Contemporary Art, Jacksonville, FL
"Hitchcock turned pristine gallery spaces into theaters of war with dozens of printed, cut-out military helicopters banking and swarming the walls above hulking military tanks holding positions below. Against these modern-day war machines he projected the silhouette of a lone buffalo and the concentric rings of red targets, the visual filament connecting present-day U.S. actions around the globe with the violent history of our nation."
Dr. Jo Ortel Richard K. and Gloria I. Nystrom Fine Arts Professorial Chair in Art History Beloit College
First American Art Magazine
Issue Number 4, 2014
ARTiculations in Print, by Alex J. Peña (Comanche-Pawnee-San Ildefonso)
Art In Print
Volume 1, Number 3, 2011
A Matrix You Can Move In: Prints and Installation Art by Charles Schultz
Hemispheric Institute of Performance and Politics e-misférica August 1, 2011
Epicenter/Epicentro: Re Tracing the Plains,
Venice, Italy, review by Jessica L. Horton
At the core of Epicenter is a heap of indistinguishable pieces of black felt printed with silver paint, which spill outward into the distinct shapes of buffalo skulls, deer heads, and army tanks. Together they form the loose outline of a ship on the gallery floor. From this base sprout three flags, also made of felt, printed with the repeated insignia of deer head and buffalo skull. On the third flag, the image of the military tank is pointedly replaced by the head of a horse, an animal that, following its introduction by the Spanish into the Western Hemisphere, played an important role in warfare and resistance among the Comanche and other groups indigenous to the American plains. The preferred vessel of pirates, conquistadors, and everyday Venetians, the boat communicates a hybridized and shifting authority dispersed among symbols of warfare, indigenous America, and global travel.
Impractically Political at Pyramid Atlantic Art Center, Silver Springs, Maryland
"Hitchcock's work uses participation, humor and the familiar language of the sign to disarm his viewer and make palatable for contemplation the serious events and great injustices of our past and present histories. However, his work resists the trap of becoming didactic or preachy through play, inclusion and collaboration. Hitchcock extends an open invitation to all comers. By this, he expands his audience and creates reflective art that to witness will resonate and be with the participants long after the dismantling of the exhibition. It is the optimist, who hopes that possibly, through the experience of art, the viewer will perceive the world a little bit differently. This distinction makes all the difference, and through this endeavor, Hitchcock sustains his poignant artistic voice."
Anita Jung, Porfessor of Art, University of Iowa
Printmaking at the Edge Book Published by A&C Black, England, by Richard Noyce
Hardcover – April 20, 2006
Printmaking at the Edge explores the innovative techniques printmakers are using today. The topics covered range from the challenges of new technology and materials (for example, the latest high-tech plates and speciality papers and inks) to the persistence of traditional techniques and the new directions they are taking (for example, digital techniques being used with silkscreen and wood engraving). All scales and stages of printmaking are dealt with. This book is a vital source of information for students and includes interviews with prominent international artists, revealing the secrets behind their work and the possibilities for the future. Included is the work of artists from UK, USA, Canada, Japan, Poland, Argentina, Nicaragua, Belgium, Lithuania, Iceland, Austria, Finland, Sweden, Iraq, Korea, Taiwan and Australia.
Spring 2003, vol. 11 #1