Documentary by WGN News on the “Facade Project,” aired 11/07. Reporter-Steve Sanders, Producer-Pam Grimes, Photojournalist/Music-Mike D’Angelo.


“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 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 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 a 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 voice print 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.

Iverson’s art inextricably links method to subject matter. Printmaking by nature serves as a record of the artmaking process, with the plate’s soft ground retaining even the slightest imprints made on it-a fingerprint, the subtle grid on a sheet of paper, the weave of cloth. Iverson overlaps images, so that many of the works on view provide a palimpsest-an image superimposed over a partly erased one, in such a way that the old image can be seen beneath the new. In this way the artist supplies us with a metaphor for shifting layers of memory that must be acknowledged, sorted through and integrated.

The beauty of Iverson’s work lies in its combination of masterful printmaking with groundbreaking techniques, innovative materials and contemporary subject matter. While Iverson embraces traditional printmaking methods such as lithography, she also shows a strong conceptual bent in her work and continuously searches for new ways to present a scope of ideas. Whether producing individual works or site specific installations, printmaking is the platform from which she starts, the first step in a quest for the most suitable materials and techniques. For example, in the past she has integrated objects such as fabric, strings, anorthoscopes and photography into her installations.”
-Lisa Stein
Download Full Essay

Selected Publications

Jenkins, Mark. “In the galleries: ‘Misprints’ exhibition takes a purposeful approach,” Washington Post, April 12, 2019, (illustration)

Ingold, Kate. “Something’s Happening in Pullman,” Bad at Sports (Contemporary Art Talk), February 24, 2015, (illustrations)

Paltrineri, Marc. “The Materials of the Immaterial: An interview with Carrie Iverson,” DuKool Magazine, June/July 2015, pgs 203-7 (illustrations)

Radon, Lisa. “Carrie Iverson: “Correspondence” at Bullseye Gallery,” Art Ltd., January 2012, (illustration)

Speer, Richard, “Best of 2011,” Willamette Week, December 28, 2011

Hofstetter, Dan. “Full Transparency,” Art & Antiques, November 2011, (illustration)

Speer, Richard. “Correspondence,” Visual Art Source, September 29, 2011, (illustration)

Speer, Richard. “Carrie Iverson Correspondence / Stephen Scott Smith Burlap 2B,” Willamette Week, September 7, 2011, (illustration)

Speer, Richard. “Nexus: The Pacific Northwest Stakes its Claim as a Hotbed for Contemporary Glass,” Art Ltd., May 5, 2011

Blake, Victoria. “Italo Calvino’s book ‘Invisible Cities’ sets the inspiration for art displayed at Bullseye Gallery,” The Oregonian, September 3, 2010 (illustration)

Sanders, Beverly. “Layers of Memory,” American Craft Magazine, February/March 2008, Volume 68, no 1, pg. 32 (illustration)

Motley, John. “Carrie Iverson, Catalyst,” Portland Mercury, January 10, 2008, (illustration)

Stein, Lisa. “Survey: Carrie Iverson,” catalog essay for exhibition at the College of Lake County, Grayslake, Illinois (illustrations).

Kogan, Rick. “Putting a Face on War,” Chicago Tribune Magazine, Sunday, 6 May, photograph of the “Facade Project” by Charles Osgood

e-merge 2006: A Showcase of Rising Talents in Kiln Glass, Bullseye Resource Center, exhibition catalog, 50 pgs. pgs. 7, 9 (illustration) and 36 (illustration)

“A ‘Wake’ for the Dead in Iraq,” Chicago Tribune, Perspective, “The Wars in Iraq and Afghanistan: The Fallen,” Sunday, 28 May, Section 2, p. 2. Photograph of “Wake” installation at Phyllis Stigliano Gallery by Pete Souza

Foreman, Julie and Copenhaver, Katie. “The Sociable Artist As Printmaker,” Chicago Artists’ Coalition, Chicago Artists’ News, November, Volume XXXII, Number 10, pp. 1,7, (illustration)

Brooks, Ryan. “Public Displays: The Price of War Writ Large,” Chicago Reader, Calendar, Section 1, 13 August, p. 34 (illustration)

“Art Windows Put Face on War,” Chicago Tribune, Metro Section, Sunday, 8 August, p. 2 (illustration)