Exhibits
"Power of Place: 35 years of the Chicago Printmakers Collaborative," The Merwin Gallery at Illinois Wesleyan University, Bloomington, IL, United States. January 22 - March 5, 2024
PUBLICATIONS
Introductory Essay for “The Gumball Project,” an interactive installation by Chicago artist JB Daniel reflecting the legacy of the 1894 Pullman Strike. February, 2024
“Resonance” selected for the New Glass Review 42, Corning Museum of Glass
Published by The Corning Museum of Glass, New Glass Review is an annual survey of glass in contemporary art, architecture, craft, and design created in the previous year by emerging and established artists, as well as students. The works are chosen by a changing jury of curators, artists, designers, art dealers, and critics, headed by the Curator of Modern and Contemporary Glass at The Corning Museum of Glass.
lectures
Artist Talk, Arizona Glass Alliance, Scottsdale, AZ, December 4, 2022
I’m honored to present an artist talk to the Arizona Glass Alliance.
Visiting Artist Colloquium, University of Wisconsin-Madison, March 9, 2022
I’m honored to be a visiting artist and lecturer for the University of Wisconsin-Madison as part of their colloquium series.
Editional Research: Innovations & Experiments at the Intersection of Print & Glass, 2022 SGCI Conference, Madison, Wisconsin, March 17 and 18th, 2022
I’m honored to be presenting a print and glass demo at the SGCI Conference.
Commissions
“Strata,” a Public Art commission with Jeremy Scidmore for the Science Engineering Innovation and Research building at The University of Texas at Arlington, installed in January 2022.
I’m honored to be selected with Jeremy Scidmore to create a site-specific glass and steel installation for UTA’s SEIR building. The project will collaborate with the twelve “research lab neighborhoods” within the building for inspiration for the imagery and design. See previous fabrication/design work at IV fab lab.
grants
I’m grateful to the following organizations for their generous support.
Foundation for Contemporary Arts: 2021 Emergency Grant
National YoungArts Foundation: 2021 Professional Development Grant
Ruth and Harold Chenven Foundation: 2020 Grant Awardee
FCA Covid-19 Emergency Grant: 2020 Grant Awardee
Teaching
I typically offer several intensive classes a year- classes will be listed here when registration is available. Previous venues include Pilchuck Glass School, Ox-Bow School of Art, Pittsburgh Glass Center, and North Lands Creative Glass. If you’d like to be added to my mailing list, please subscribe here!
Private/individual instruction is also available by request. Contact me for details.
Reviews
(Selected excerpts)
The Materials of the Immaterial: An interview with Carrie Iverson
“As an artist, Carrie Iverson works a bit like a scientist: she researches extensively, she experiments, she tests things out. Iverson’s site-specific installations investigate the nature of both the material and the immaterial. Whether working with glass, iron, or paper, these investigations lead to discoveries about place and history, and how a community lives within both.” Marc Paltrineri, Dukool Magazine
Review of “Correspondence”
“The “text” in Carrie Iverson’s Correspondence, part of the exhibition of the same name at Bullseye Gallery, exists just beyond the realm of the recognizable, giving the viewer that uncomfortable feeling of having something frustratingly out of one’s mental reach, on the tip of one’s tongue, or just beyond the field of visual focus. Traces of horizontal lines that mimic the form lines of text on a page are superimposed over the shadow of a curved form on a slab of white kiln-formed glass. Beside it are hung two horizontal slabs of slate, on which are inscribed in chalk traces of images, and possibly geometric forms or diagrams. But this isn’t a view to the possible–this and the other installations in this elegant exhibition serve as an elegy for loss of language (as a function of memory). This is personal: we are told in the artist’s statement that the work here is in response to her father’s loss of memory. But it’s also universal.
“Correspondence” is an arresting body of installation works, artist books, and objects in glass and paper that come at this loss of language from every angle, including examples of vague but recognizable representations of ghostly text-like image and object or its trace as a stand-in for lost word (or lost image that the lost words might have called to mind). In Metaphysics (all cited works are 2011), milk-white casts of small pieces of wood (gifts from the artist’s father) are arrayed on the wall with their graphite-coated originals as “shadows,” as word might be considered a shadow of the thing or idea it represents or corresponds to; while in Residual, fragments of handmade paper, footprints of objects left behind when the paper pulp around them has been washed away, create curious calligraphy. The line engraved like a horizon or seismograph across the center of the two clear glass tablets of Resonance suggest both the spidery handwriting of one who can no longer recall how to form letters and words or the feathery voiceprint of a voice producing uhs and ahs, while searching for the right word, or for any words at all. As aesthetically resolved in their quiet ways as they are content- and concept-rich, the works of Iverson’s “Correspondence” are in fact deeply and broadly resonant.” Lisa Radon, Art Ltd. Magazine
Catalog essay for “Survey”
“For Carrie Iverson, making art is a process of distilling experience and movement in ways that, when completed, challenge us to examine our construction of memory: how we remember, what we remember, and what meaning lies therein. Her primary medium of printmaking gives her the ideal tools for investigating the concept of memory from a variety of perspectives.” Lisa Stein Read Full Essay