Page Bond Gallery

b. 1971, Santa Cruz, CA

Education

2000
Master of Fine Arts, Studio Art, New York University, New York, NY

1995
Bachelor of Fine Arts, concentration: Photography, University of New Hampshire, Durham, NH

Select Solo Exhibitions

2011    
Every Little Thing, Hunt Gallery, Mary Baldwin College, Staunton, VA
On View, 305 Van Brunt, Brooklyn, NY

2010    
That Passed the Time, Charles Harris Library Gallery, Wise, VA

2009    
New Waves 2009, Contemporary Art Center of Virginia, Virginia Beach, VA,  (juried by Josée Bienvenu & Brian Holcombe)

2008
May I Reason On, Caro D’Offay Gallery, Chicago, IL
Clover Archer, Works on Paper, Roanoke College, Salem, VA

2007
Yes, Let’s go, They Do Not Move, Nelson Fine Arts Gallery, Lexington, VA

2006
Clover Archer, Flower Bike Trailer, Forum College Art Gallery, Ferrum, VA
The Funeral Book Project, Nelson Fine Arts Gallery, Lexington,VA

1997
Second Sight, Photographs by Clover Archer, Canterbury Gallery, Canterbury, NH

Selected Group Exhibitions

2011
Don’t Think Twice, Marginal Arts Festival, Roanoke, VA

2009
Washington & Lee Faculty Exhibition, Capital One Corporation, Richmond, VA

2007
End(s) of Photography, McDonough Museum of Art, Youngstown, OH, curated by Saul Ostrow
Gang of Eight, Gallery 5th & Water, Charlottesville, VA
Colorist Chess Project, Caro D’Offay Gallery, Chicago, IL

2006
Works on Paper, Flux Factory, Long Island City ,NY

2005
Annual Autumn Group Show, Nelson Fine Arts Gallery, Lexington, VA
Portraits, National Arts Club, NewYork, NY

2003
Info@Blah, curated by iKatun, Mills Gallery, Boston, MA

2002
www.anthology-of-art.net, Jochen Gerz’s Performance, Video and Internet
Retrospective 1969-2002, Centre Georges Pompidou, Paris, France

2001
Paintings on Paper, Kentler International Drawing Space, Brooklyn, NY, curated by Tone Johansen
Emerging Artists Unusual Exhibition, HEREArt, New York, NY

2000
MFA Thesis Show: The Referent, 80 Washington Square East Galleries, New York, NY
Wish You Were Here, Ruby Gallery, Brooklyn, NY
Exurbia, Gallery Luisotti, Santa Monica, CA, curated by Shirley Irons
Snapshot, Contemporary Museum, Baltimore, MD (traveled to Arcadia University Art Gallery, Glenside,PA; Aldrich Museum of Contemporary Art, Ridgefield, CT)
SoFo, Artists South of 4th Place, Ruby Gallery, Brooklyn, NY

1999
Given Circumstances, New Work by Clover Archer & Julia Sass, The Rosenberg Gallery, New York, NY
The Jack Goodman Awards, The Rosenberg Gallery, NewYork, NY

1996
Past, Present, Future, Synchronicity Space,New York,NY
Member’s Choice, Robert Lincoln Levy Gallery, Portsmouth, NH
Inaugural Exhibition, Women’s Caucus For Art, The Belknap Mill Gallery,Laconia,NH

Bibliography

2008
Pernia, Garin. Clover Archer, New City Chicago, March 20

2007
Parsons, Laura. Culture - Arts Feature, The Hook, July 19

2004
Anthology of Art exhibition catalogue

2003
Sherman, Mary. Medium Trumps Message in Info@Blah, Boston Herald, April 27
McQuaid, Cate. Taming technology overload with artful systems, The Boston Globe, May 2

2001
Campbell, Clayton. Exurbia, Flash Art, January/February

2000
Exurbia (review), Santa Monica Mirror, Vol.2, issue 21, November 8 - 14
O’Sullivan, Michael.1, 300 Snapshots, One Surreal Show, The Washington Post Weekend, November 17

1996
Craven, Robert R., Robert Lincoln Levy Gallery New Members (review), Art New England, June/July

Awards & Honors

2006-09
Juried Gallery Member, Nelson Fine Arts Gallery, Lexington,

2004
All The Numbers I Know, Rotunda Gallery, Brooklyn, NY, exhibit title taken from my ongoing project

2001-Present
The Drawing Center Slide Registry, The Drawing Center, New York, NY

1999
Jack Goodman Award for Art & Technology, New York University, New York, NY

1995-96
Juried Member, NH Women’s Caucus For Art
Juried Member, The New Hampshire Art Association

Fellowships & Residencies

2011
Professional Fellowship, Virginia Museum of Fine Arts, Richmond, VA
Lenfest Faculty Research Fellowship, Washington and Lee University, Lexington, VA
Residency Fellowship, Virginia Center for Creative Arts, Amherst, VA

2009
Residency Fellowship, Virginia Center for Creative Arts, Amherst, VA

2008
Visiting Artist, Southern Virginia University, Buena Vista, VA

1999-00
Graduate Fellowship Recipient, New York University, New York, NY

Lectures

2012
Artist’s Talk: Nothing to Be Done, Page Bond Gallery, Richmond, VA

2010
Artist’s Talk: That Passed the Time, University of Virginia-Wise, Wise, VA

2009
Artist’s Talk: Over Time, Mary Baldwin College, Staunton, VA

2008
Artist’s Talk: Yes, Let’s Go, They Do Not Move, Roanoke College, Salem, VA

2006
Artist’s Talk: Bike, Flower, Trailer, Ferrum College, Ferrum, VA

Teaching

Present
Adjunct Faculty, Washington & Lee University, Lexington, VA
Introductory photography courses and Arts Management courses in the Art Department

2006
Adjunct Faculty, Ferrum College, Ferrum, VA
Beginning, intermediate and advanced photography courses in the Art Department

2001-02
Adjunct Faculty, New York University, New York, NY
Introductory photography courses in the Art Department

2000
Adjunct Faculty, University of New Hampshire, Durham, NH
Introductory photography course in the Art Department

Curatorial

2008-present
Gallery Director, Staniar Gallery, Washington & Lee University, Lexington, VA

2005-08
Curator, Waynesboro Heritage Foundation, Waynesboro, VA

By what methods and processes do we transform the raw data of perception, the moments that constitute our experience of temporal reality, into a coherent and meaningful narrative? My work reflects on this question, seeking to make visible the architecture that we create to order the world around and within us. Starting from visual materials that represent a disconnected image or aggregate of perceptions (found photographs, book pages torn from their original context, a collection of all of the numbers that I know, the text from Beckett’s Waiting for Godot), I set about constructing a system of association and connection. The resulting image is intended to emphasize both the arbitrariness and subjectivity of our conceptual systems. I do not intend for the viewer to understand these associational systems, as my interest lies not in the system itself but in the process of their construction. Instead, my work aims provoke the viewer to replicate this process of meaning construction in their engagement with each piece.

Trained as a photographer, I am especially intrigued by the practice of seeing, and the complexity of the relation between perception and interpretation. To capture a moment of time in a photograph is to attempt to replicate the process of capturing of a moment of perception in memory. Without integration into a system of personal knowledge, however, a photograph—like an isolated perception—appears lost, meaningless, arbitrary and isolated. Transferring a photographic image onto drawing paper allows me to manipulate the image, breaking into arbitrary parts that I then reconstruct by a systematic relation of my own making. Using media that represent conceptual work—the handwritten word, pencil and graphing, the tools of the draftsman and architect—I create an image that focuses the viewer’s attention on the structure of the linkages between perception and conception, image and meaning, experience and memory.

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Palmer & Archer