www.dc3artprojects.com \ 10567 – 111 Street \ Edmonton, Alberta T5H 3E8 \ Canada

Mitch Mitchell

Mitch Mitchell

Mitch Mitchell has just been appointed as an Assistant Professor of Print Media at Concordia University in Montreal and is an interdisciplinary print-based studio artist originally from Springfield, Illinois, USA. His visual research focuses on remarks and identities of industry, trade and globalization surrounding material and objects through the role of print and the graphic multiple. His multiple bodies of work range from small photogravures to large-scale warehouse installations. Prior to joining Concordia's Faculty of Fine Arts he taught at the Nova Scotia College of Art and Design, Memorial University and the University of Alberta in Edmonton. Mitch has had numerous solo and group exhibitions throughout Canada, the United States, Russia, China, Europe, Portugal and New Zealand. He has represented Canada in numerous biennials and was named Curator of Contemporary Canadian Graphic Print for the 2012 Novosibirsk Graphic Triennial in Russia. He has been an artist in residence at various cultural institutions including the Frans Masareel Centrum in Belgium, Atelier d'estampe Imago in New Brunswick and the Centre d'artistes Vaste et Vague in Quebec. Mitch has collaborated on numerous visual arts research projects with universities and

Mitch Mitchell, Distance Arc, quilted newsprint, silkscreen, rust, inflation system and electronics, 2012

artists, funded by multiple granting agencies (SSHRC, Canada Council and Edmonton Arts Council). He has received numerous awards for his studio practice and has been included in the collections of the Museum of Fine Arts Boston, Art Gallery of Nova Scotia, Berardo Museum in Lisbon, Portugal, and Shenzhen Art Museum in China.

Mitch Mitchell, The Metropolis Chronicles: Chicago 1954 Part I, archival inkjet on somerset

Mitch Mitchell, The Metropolis Chronicles: Chicago 1954 Part II,

archival inkjet on somerset satin, 2012

Mitch Mitchell: The Silence, by Sarah Fillmore

As one views the sublime, deeply haunting printed works in Mitch Mitchell’s Cities of the Prairies and The Longing Focal, there is a profound sense of silence. Strange when considering visual work, that sound or a lack thereof should come into play, and while Mitchell’s work is soundless, it is not mute. As one reads page after wordless page in these seductive books, one image melts into the next and a sense of foreboding and unrest takes hold. Small, subtle characters emerge above and beneath quiet, tense surfaces and a story of desolation, danger, and seduction unfolds. The danger is intangible, a prickly awakening of one’s “spidey senses” as what one reads as landscape morphs into a human skin, a frozen lake, a deserted quarry, and back to a snow-covered field. It’s difficult to tell if the surfaces in the image are organic or manmade, if they are of the present or future. Their eerie skin is flesh-like, but a frozen, lost, post-apocalyptic kind of flesh. There are piercings in this dermis, and dark forms lie under its surface. The few bright, electric spots of light burn coldly on barren flesh. What rests beneath the skin? What happened here? Where are we? What are we left with? Is it silence?

We search for the real in what we see. We want truth in documentary media, photographs and documents of the world around us. Canadian documentary photographer Edward Burtynsky darkly and beautifully captures the ravages of industry at specific places on the planet. Butynsky’s straight photography offers viewers site-specific views of the environmental impact manufacturers have had on China, India, Canada, and the United States. Mitchell makes a point of removing all points of reference within his prints- scale, horizon, physical markers that might help his viewer link the image to a specific time or place, a particular scene. In so doing, his scenes become universal and strangely personal, deeply intimate. Mitchell’s truth is manipulated. He digitally alters the photographs he takes of scenes he constructs in his studio using the detritus of his surrounding environment; latex, wire and bits of candy and rubber. His pilgrimage for truth led him to duplicity, to creating an ethereal landscape and prickly skin.

These prints reveal a mature understanding of our precarious standing on this planet. While unwilling to take an overtly political or environmental stand, his work warns of a place that may be all that is left after we take from it what we see as “ours” – tellingly eerie, foreboding, and dangerous places. These prints speak viscerally, of the body, of our humanity and of the thin skin we share with our surroundings. Despite their dark, quiet sensibility, these prints are revealingly erudite.

Fillmore is the Chief Curator of the Art Gallery of Nova Scotia & Curator of the Sobey Art Award

Mitch Mitchell, installation views of Distance Arc, quilted newsprint, silkscreen, rust, inflation system and electronics, 2012

Mitch Mitchell - Distance Arc

Mitch Mitchell is a student of history. He’s a scholar, but also a practitioner of his

studies. His interests are wide ranging and probing, and his surveys of the past are

made present and immediate in his work.

Using print media as his constant language, Mitchell tests the limits of its fluency, never

content to remain long on familiar ground. He takes great risks and insists, through

large scale installations such as Distance Arc, that printed matter matters, and that it is

virtually unbounded, and certainly not tied to the dimensions of a piece of paper or the

size of a press bed.

Mitchell employs traditional techniques, working with, and mastering, age-old printing

methods: etching, photogravure, intaglio, and silkscreen, Mitchell builds from these,

updating and challenging each to yield to his vision. His work takes liberties with

tradition, and through these he pulls “print” into sculpture, performance and film.

Print’s idiom in the hands of Mitchell is the language of the West, of cowboys and tin

men, of settlers and the working class. It’s of the East too, of everyman, of the rise of

the American dream, and of the sacrifices made along the way to achieve that way of

life.

Tradition is the backbone of Mitchell’s work, and unseen by the viewer its underpinnings

of family, ritual, and convention. At work in his studio, Mitchell repeats movements

hundreds and thousands of times. He quietly performs his tasks, inking plates, cutting

paper, folding, printing, and assembling. The labour is evident in the finished work,

which is not only technically taxing but physically so as well. His pace is set by Curtis

Mayfield, Lauryn Hill, Bob Dylan, the Roots. The beat drives the pace and the pace is

steady. His work ethic is extraordinary, and determined by his history.

Mitchell grew up outside Chicago, and his extended family played a large role in his

upbringing. The house his grandparents lived in was built by Mitchell’s grandfather, a

coal miner. Its basement housed a boiler that was coal-fed. The dust permeated the

basement and has made its way to Mitchell’s work via dusty black inks and ink-soaked

felt. His grandmother’s resilience is there too- the unvoiced story of a dinner made for a

dozen people with a single burner and three cast iron skillets is whispered through the

strength of the fragile matter Mitchell chooses as his medium. The ethos of hard work,

of overcoming adversity, and of doing it yourself that was imbued in the young Mitchell

through his grandparents example lives in his work. Invoked herein are many histories -

universal ones as well as personal. His family’s history and presence is imprinted in the

very fibre of the work.

The World’s Columbian Exposition, the Chicago World’s Fair, took place in 1893. It

shaped dominant thinking about art, architecture, city building and propelled the

optimism of the American spirit. That Fair, that time, was animated by a spirit of

optimism, of ambition, of pervasive faith in technology and a giddy feeling that there

were really no limits. It is very much the spirit of Chicago, of the Midwest, and that

history has inspired Mitchell. It provides a point of reference for his work. His

examination of the optimism and subsequent deflation of that sentiment is reflected in

Distance Arc, the rise and fall of its balloon echoing that of the national zeitgeist.

At once balloon, lung and sac, Distance Arc is a printed piece. It is simple, really: rust

printed on newsprint. Mitchell acknowledges its roots as print, knows its ephemeral

qualities and imbues it with a sense of the history of the print industry. The mediums

passage from booming, popular industry to artisanal status is never far from Mitchell’s

thought. His use of newsprint leads one to a direct correlation with the tenuous future of

mass-market newspapers, one of the great industrial holdouts in the print world.

Distance Arc too, seems doomed, yet nevertheless perseveres. The work comes with

instructions and permissions for its recreation. It comes with the acceptance of its

eventual failure. Its author offers hope by way of its possible rebirth. The work is

repeatable: Distance Arc is a print of a print.

In its production, Mitchell oiled the paper, a necessary step toward strengthening the

fragile substrate. The oiled quilt squares are hand sewn according to a pattern Mitchell

devised. Each stitch further weakens the already perilously thin paper. This fragile

membrane takes on a skin-like surface and, when assembled immediately reads as

human. The skin is stretched, inflated and deflated, expanding and contracting at

seemingly random intervals. Mitchell’s balloon breathes and gasps, lung-like. The

gasps, like the newsprint, offer a subtle commentary on the industry of printing

specifically, and more generally, on the dying industrial age embodied in his native “rust-

belt.” Through this, Mitchell sees his own past and future that of his parents and

grandparents, that of his country as well.

Mitchell’s practice is built on his strength of spirit, body and mind. Not content to merely

master printing techniques, Mitchell pulls print off the wall and into the centre of the

room. He pushes to fill space, making large-scale sculptural work, intervening in

warehouses and gallery spaces and ultimately seeing his prints as architecture

themselves. His vision is matched by his indomitable will. He doesn’t rest until that

vision is made tangible. It would not be misplaced to draw a connection to American folk

hero, John Henry, a steel-driving man with an unbeatable human spirit. Mitchell uses

print to tell his story, his history. He pays homage to hard work. His love of the medium,

his chosen medium, is evident, and his innovative approach to the medium and his

evocative use of and interpretation of history through the art of printing, gives voice to

the unsung workers of our industrial past and present.

Sarah Fillmore is the Chief Curator at the Art Gallery of Nova Scotia and the Head Curator of Canada’s Sobey Art Award. She has curated numerous solo and group exhibitions including the traveling

retrospective exhibition by Canadian Abstract painter Jacques Hurtubise, realist painter Mary Pratt, Lisa Liption: Stop @ Forever and an upcoming solo exhibition by Graeme Patterson. Group exhibitions

include SKIN: The Art of Seduction, Canadian Pioneers, The Last Frontier and the annual Sobey Art Award. Sarah is also curating an upcoming solo exhibition of recent work by Mitch Mitchell at the Art

Gallery of Nova Scotia.

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MITCH MITCHELL CURRICULUM VITAE Legal name: Jeffrey John Mitchell Jr Address: 31 Central St Corner Brook, NL A2H 2M6 Canada Phone (H): 780-965-1393 Email: mitch@mitchmitchellart.com Web: mitchmitchellart.com

EDUCATION: 2009: Master of Fine Arts Degree, Printmaking, University of Alberta, Edmonton, AB, Canada. 2001: Bachelor of Fine Arts Degree, Painting/Printmaking, Illinois State University, Bloomington, IL,

USA. 1998: Associates Degree in Science, Springfield College, Springfield, IL, USA. TEACHING EXPERIENCE: (Addendum #1) 2011-present: Visiting Assistant Professor, Printmaking Division, Memorial University, Grenfell

Campus, Corner Brook, NL, Canada. 2010-2011: Instructor, Printmaking Division, NSCAD University, Halifax, NS, Canada. Winter/Spring 2010: Instructor, Art and Design Fundamentals & BFA 3D Fundamentals, University of

Alberta, Edmonton, AB, Canada. Fall 2009: Graduate Instructor, Printmaking Division, University of Alberta, Edmonton, AB,

Canada. Spring 2009: Graduate Instructor, Art and Design Fundamentals, University of Alberta, Edmonton,

AB, Canada. 2008-2009: Graduate Student Instructor in Printmaking, University of Alberta, Edmonton, AB,

Canada. 2007-2010: Independent Instructor in Print, Society of Northern Alberta Print Artists, Edmonton,

AB, Canada. Board of Directors, Society of Northern Alberta Print Artists, Edmonton, AB, Canada.

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HONOURS, AWARDS & GRANTS: 2011-2012: Grand Prize, OPT Print Triennial, Kelowna Art Gallery, Kelowna, British Columbia,

Canada. (Jurors: Liz Wylie, Lubos Culen and Briar Craig). Grand Prize, Stand Out Prints, Highpoint Center for Printmaking, Minneapolis, MN,

USA. (Juried: Mark Pascale: Director of Print and Drawing at The Art Institute Chicago, Susan Inglett: Director of I.C. Editions and New York Artist Book Fair).

2011 The Otis Philbrick Memorial Prize, Boston Printmakers 2011 North American Print

Biennial, The Danforth Museum of Art, Framingham, MA, USA. 2010 Honorable Mention, 2010 Pacific Rim International Print Exhibition, University of

Christchurch, New Zealand. Honorable Mention, 2010 Southern Printmaking Bieniale, North Georgia College & State University, USA.

Honorable Mention, Biennial International Miniature Print Exhibition VI (BIMPE VI), Vancouver, BC, Canada.

2009: Honorable Mention, La Biennale Internationale d’estampe Contemporaine de Trois-

Rivières, Trois-Rivières, QC, Canada. Alberta Foundation for the Arts Graduate Scholarship in Art and Design. ($7,500)

2008: Faculty of the Arts Dean’s Recruitment Fellowship, University of Alberta. ($32,000) 2002: Honourable Mention, The Biennial International Print Exhibition (Bimpe), Vancouver, BC, Canada.

2000: Friends of the Arts Talent Grant, Illinois State University. 1999: Friends of the Arts Talent Grant, Illinois State University.

Elizabeth Stein Art Scholarship, Illinois State University. 1998: Best of Show, Sangamon Art Fair, Springfield, Il, USA. First Prize Purchase Award, Sangamon Art Fair, Springfield, Il, USA. EXHIBITIONS: SOLO EXHIBITIONS: 2015 (upcoming: Fall 2015) Untitled Solo Exhibition, Kelowna Art Gallery, Kelowna, BC, Canada. 2014 (upcoming: Fall 2014) Dust Emerges Black, Art Gallery of Nova Scotia, Halifax, NS, Canada, Curated by Sarah Fillmore. (Publication) 2013 BERTH, DC3 Contemporary Art Projects, Edmonton, AB, Canada. (upcoming: Summer 2013) FRAC, Alternator Centre for Contemporary Art, Kelowna, BC, Canada. 2012 Distance Arc, Galerie Sans Nom, Moncton, NB, Canada. BERTH, SPOROBOLE Centre en Art Actuel, Sherbrooke, Québec, Canada. 2011 The World is Flat, Centre d'artistes Vaste et Vague, Carleton-sur-Mer, Québec, Canada.

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Cities of the Prairie, ODD Gallery, Klondike Institute of Arts and Culture, Dawson City, Yukon, Canada. AGORA, Anna Leonowens Gallery, Halifax, NS, Canada. The World is Flat, Engramme, Quebec, Canada. Cities Of The Prairie, Presse Papier, Trois-Rivières, Quebec, Canada.

2010 AY Jackson was Here, Malaspina Printmakers, Vancouver, BC, Canada. Curated by Andrea

Pinhero.

Dust Emerges Black, Red Delicious Press, Denver, CO, USA.

Cities Of The Prairie, Southern Oregon University Gallery, Ashland, OR, USA. Cities Of The Prairie, A/P Gallery, Calgary, AB, Canada. 2009 The Longing Focal, FAB Gallery, University of Alberta. Edmonton, AB, Canada.

Tar Plane Wayfarer, SNAP/Red Strap Building. Edmonton, AB, Canada. 2008 Dispersion Series I & II: New Works from Mitch Mitchell, SNAP Studio Gallery. Edmonton, AB, Canada.

Recent Paintings: Mitch Mitchell, Honolulu International Airport, Honolulu, HI, USA.

2002 Melted in the Sun, Green Door Gallery, Chicago, IL, USA. Mitch Mitchell: New Works, The Flat, New Orleans, LA, USA. 2001 Bedside Toxicology, Illinois State University, Normal, IL, USA.

GROUP EXHIBITIONS: 2013 Where is Printmaking? In Search of New Meanings. Opole Contemporary Art Gallery, Opole,

Poland. (Curated by Aleksandra Janik, Catalogue). 2012 Contemporary Print in Canada, Southern University Art Museum, Chonging, China. (Curated

by Guy Langevin). The King and I, Anna Leonowens Gallery, NSCAD University, Halifax, NS, Canada. (Curated

by Stefan Hancherow and Eleanor King). OPT 2012 (Okanagan Print Triennial), Vernon Public Art Gallery, Vernon, BC, Canada.

(Curated by Briar Craig, Liz Wylie, Lubos Culen. Catalgue). SKIN, Art Gallery of Nova Scotia, Halifax, Nova Scotia, Canada. (Curated by Sarah Filmore,

Catalogue) North By North East: Nova Scotia Printmakers Association, The Ink Shop Gallery, Ithaca,

New York. Stand Out Prints, Highpoint Center for Printmaking, Minneapolis, MN, USA. The King and I: Hockeyville Bar, Confederation Art Centre Gallery, Charlottetown, PEI,

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Canada. (Curated by Stefan Hancherow and Eleanor King.) 2011 Contemporary Print in Canada, Chonqing National Gallery, Chonqing, China. Code, Telus Centre, University of Alberta Museums Collections, Alberta, Canada. Constructed Realities, Grafiken Hus, Mariefred, Sweden. (Catalogue)

Building Clouds: Six Contemporary Printmakers. Galerie d'art Louise et Reuben-Cohen. University of Moncton, NB, Canada. Curated by Jennifer Bélanger. La Biennale Internationale d’estampe Contemporaine de Trois-Rivières, Trois-Rivieres, QC,Canada. (Catalogue). 100 Prints, Open Studio, Toronto, ON, Canada.

Boston Printmakers 2011 North American Print Biennial, The Danforth Museum of Art, Framingham, MA, USA. (Catalogue) ISEA2011 Istanbul Biennial, FASS Gallery, Istanbul, Turkey. (Catalogue) New Prints 2010/Autumn, Visual Arts Center at The University of Texas/Austin, Austin, TX, USA.

2010 The King and I, Anna Leonowens Gallery, NSCAD University, Halifax, NS, Canada.

With A Twist, Anna Leonowens Gallery, NSCAD University, Halifax, NS, Canada.

Biennial International Miniature Print Exhibition VI (BIMPE VI), Vancouver, BC, Canada. Travelling: New Leaf Editions, Vancouver, BC.

Society of Northern Alberta Print Artists, Edmonton, AB, Canada.

New Prints 2010/Autumn: International Print Center New York, IPCNY Print Center Gallery, New York, NY, USA.

2010 Southern Printmaking Bienalle, North Georgia College & State University, USA.

2010 Pacific States Biennial National Print Exhibition, University of Hawai‘i at Hilo,

Hawaii, USA.

Pacific Rim International Print Exhibition 2010, University of Canterbury, New Zealand.

5th International Printmaking Biennial of Douro – 2010, Printmaking Museum of Douro, Alijo, Portugal (invited, catalogue).

Multiple Matters-Grafische Konzepte, Künstlerhaus Gallery, Wien, Austria.

30th Annual National Print Exhibition at Artlink Contemporary Gallery, Fort Wayne, IN, USA. 21St National Drawing & Print Exhibition, College of Notre Dame, Maryland, USA. Nice Place to Visit: Printmaking and the Anxious Landscape, The Davis Gallery, Hobart and William Smith Colleges, Geneva, NY, USA.

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International Print Triennial-Vienna-2010, Kunsterlerhaus, Vienna, Austria. Philigrafika 2010: The Unconscious New Prints/Autumn, Drexel University, Philadelphia, PA, USA.

2009 Weather Impressions, Nova Scotia Archives Gallery, The Nova Scotia Print Association

(NSPA). Halifax, NS, Canada. Grafika Czy Juz Fotografia: Is It Still Graphic Art if Already Photography?, Gallery of Contemporary Art, Opole. International Print Triennial-Krakow 2009, Krakow, Poland. (Catalogue). Germinations, FAB Gallery, University of Alberta, Edmonton, AB, Canada. New Prints/Autumn: International Print Center New York, IPCNY Print Center Gallery, New York, NY, USA.

PROSPECTUS: New Works from members of SNAP, SNAP Gallery, Edmonton, Alberta, Canada; 2010 Presented by GRAFF in Montreal, QC, Canada & The Belfast Print Workshop, Belfast, Ireland.

Print-Write, AFA Traveling Exhibition organized by the Art Gallery of Alberta, Edmonton, AB, Canada. (Sept 2009-Aug 2011). The Elms of El Paso: Brought to Life With Art, The Elms Art Gallery, El Paso, IL, USA. Los Angeles Printmaking Society 20th National Exhibition, Los Angeles, CA, USA. (Catalogue).

La Biennale Internationale d’estampe Contemporaine de Trois-Rivières, Trois-Rivieres, QC, Canada. (Catalogue). 32nd Bradley International Print and Drawing Exhibition, Peoria, IL, USA. Beyond Printmaking, Texas Tech University, Lubbock, TX. USA. NAGAS: North American Graduate Survey, Juried. University of Minnesota. The First Okanogan Triennial Exhibition, Juried. Vernon Public Art Gallery, Vernon, BC, Canada. (Catalogue).

2008 Wave: Blurring Boundaries. Traveling Exhibition: University of Alberta, Canada. Ewha

Womans University, Korea. Camberwell College of Arts, UK. University for the Creative Arts, UK. Cardiff School of Art & Design, UK. (Catalogue) Edmonton Prints, Red Strap Gallery (SNAP), Edmonton, AB, Canada. (Catalogue).

Successors: Illinois State University Printmaking Alumni Portfolio, Illinois State University, Bromen Medical Center. None Of The Above, SNAP Studio Gallery, Edmonton, AB, Canada. Re-Drawing the Line, Art Gallery of Alberta, Edmonton, AB, Canada. (Catalogue).

2007 Write-Print: word & Image, Extension Gallery, Enterprise Square, Edmonton, AB, Canada.

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2002 The Biennial International Print Exhibition (Bimpe), Vancouver, BC, Canada. (Catalogue).

Arenne’ Artists of Midwest Illinois, 316 Illinois Building Artists Show, Springfield, IL, USA. 2001 BFA Group Show, Illinois State University, Normal, IL, USA. 2000 BFA Group Show, Illinois State University, Normal, IL, USA.

Transcendentalism, Phoenix Gallery, Bloomington, IL, USA. 3 Artists: Tyler Budge, Mitch Mitchell, Matt Pullford, Phoenix Gallery, Bloomington, IL, USA.

1999 Landscapes and Mud Bogs, Improv Artists Studio, New Orleans, LA.

BFA Group Show, Illinois State University, Normal, IL, USA.

1998 Six Degrees of Separation, Phoenix Gallery, Bloomington, IL, USA.

Just a Group Show, Pigeon Gallery, Normal, IL, USA.

1997 Ten Feet of Fury, (Co-Artist/Fabricator) Public Sculpture, Becker Library, Benedictine University Springfield College in Illinois, Springfield, IL, USA.

RESIDENCIES: 2011 IMAGO l'atelier d'estampe Imago inc., Centre Culturel Aberdeen, Moncton, NB, Canada.

Centre d'artistes Vaste et Vague, Carleton-sur-Mer, Québec, Canada. 2010 Frans Masareel Centrum, Kasterlee, Belgium.

ARTIST PRESENTATIONS/TECHNICAL DEMONSTRATION: 2012 Artist Talk: Memorial University, Grenfell Campus. Corner Brook, NL, Canada. Demonstration: 3D Software and Intaglio/Lithography Integration. Artist Talk: University of Alberta, Fine Arts Department. Edmonton, AB, Canada. Demonstration: Direct/Photogravure, Photo Polymer Gravure. Artist Talk: Sporobole Centre en Art Actuel, Artist Presentation in Conjuntion with BERTH Exhibition. Sherbrooke, QC, Canada. Panel Discussion: Global Print Revolution in Contemporary Culture, Economy and

Trade. Panel: Mitch Mitchell, Prof. Alain Deneault, Eric Desmarais. Artist Talk: University of Sherbrooke, in Conjunction with “BERTH” Exhibition. Demonstration: Advanced Water-based Silkscreen, CMYK Seperations on Paper. Galerie Sans Nom, Artist Presentation in Conjunction with “Distance Arc” Exhibitioin, Aberdeen Centre. Moncton, NB, Canada.

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2011 Centre d'artistes Vaste et Vague, In Conjunction with “The World is Flat” Exhibition, Carleton-sur-Mer, Québec, Canada. IMAGO l'atelier d'estampe Imago inc., Artist Presentation In Conjunction with Artist

Residency, Centre Culturel Aberdeen, Moncton, NB, Canada. ODD Gallery, Klondike Institute of Arts and Culture, Artist Presentation In Conjunction with “Cities of the Prairie” Exhibition, Dawson City, Yukon, Canada.

Engramme, Artist Presentation In Conjunction with “The World is Flat” Exhibition,

Quebec, Canada.

2010 Southern Oregon University Fine Arts Department, In Conjunction with “Cities of the Prairie” Exhibition, Ashland, OR, USA. Illinois State University School of Fine Art, Normal, Il, USA. Demonstration: Non-Toxic Photopolymer Gravure, Intaglio Workshop. GALLERY SALES:

DC3 Art Projects, Edmonton, AB, Canada. (Representation)

O’Born Contemporary, Toronto, ON, Canada.

SNAP, Edmonton, AB, Canada.

Malaspina Printmakers, Vancouver, BC, Canada. PRESS: Landry, Mike, “In the Flesh” Telegraph Journal, S8, July 7, 2012. Wallace, Kate, “A Dreamy Dirigible” Telegraph Journal, NB, S-3, March 3, 2012. Filmore, Sarah, “Mitch Mitchell. The Silence.” Monograph Essay in conjuction with “Cities of the Prairie” Exhibition. Klondike Institute for Contemporary Art, ODD Gallery. Dean, April, “Mitch Mitchell Prints,” Red Delicious Press, Rocky Mountain PBS, October 2010, (http://www.rmpbs.org/calendarEvents/?event=9331). Blair, Marnie, “Allochthonos Landscapes: Photopolymer Gravures by Mitch Mitchell,” A/P Gallery, Commissioned Brochure article, May 2010. Fung, Amy, “PRAIRIE ARTSTERS: Depth of Print. The Longing Focal Takes its Prints to New Textured Heights”, Vue Weekly, November 26, 2009, 21. Priebe, Amanda, “Micro versus macro with Mitch Mitchell”, See Magazine, November 26, 2009, 19. Fung, Amy, “Kamikaze Tar Plane”, VueWeekly, Jan15-21, 2009, Arts 22. Morris, Brandon, “Six Degrees of Seperation”, The Daily Vidette, November 8, 2000, 8.

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PERMANENT COLLECTIONS: Art Gallery of Nova Scotia, Halifax, NS, Canada. Museum of Fine Arts, Boston, Boston, Massachusetts, USA. Art Gallery of Alberta, Edmonton, Alberta, Canada. Frans Masareel Centrum, Kasterlee, Belgium. Collection of Contemporary Art, Berardo Museum, Lisbon, Portugal. Alberta Foundations for the Arts, Edmonton, Alberta, Canada. University of Alberta Museums, University of Alberta, Canada. Normal Editions Workshop, Illinois State University, Bloomington, IL, USA. PUBLICATIONS: 2012 Digital Pulp: Contemporary Canadian Print, Curatorial Essay commissioned for the 2012

Novosibirsk Graphic Triennial Catalogue, Novosibirsk, Russia. 2011 “The Renaissance of the Rest. 2011” Methods of Being: Under the Aegis of the Written Word,

We Go Forth, Wrenwood Press, July: 1-2.