Edward Lambert
American
(Superior, Wisconsin, 1940 - )
Ed Lambert was born in Superior, Wisconsin in 1940, and while his initial forays into fabric printing were limited to silk screens for sorority and fraternity posters, by the time of his graduation with an MFA from Cranbrook Academy of Art, he had successfully transitioned those practical fabric printing techniques into fine art. When he joined the faculty at the University of Georgia in 1974 he had developed an appreciation for both silkscreen and photo emulsion transfer processes. It was this latter process that would eventually become primary in his more mature works of the 1990s.(1)
His connections to other University of Georgia faculty within the Lamar Dodd School of Art led to the beginning of a unique 3-year collaboration in 1995. In that year Mel Chin, another University of Georgia art professor was involving faculty and students from the University of Georgia and the California School of the Arts to undertake a purely democratic “condition of collaboration”.(2) In this project artworks were created around commonly decided upon socio-political themes or concerns and then placed subversively onto the set of the popular 1990s television program “Melrose Place”.(3) These works provided visible commentary on current events in an almost subliminal way. After a 1997 exhibition at the Geffen Center MOCA in Los Angeles, the works that resulted from this collaboration were auctioned off to benefit the students of both arts institution and further involve the public in this media/commodity experiment.(4)
In 2004, Lambert retired from the University of Georgia and continues to live in Athens with his wife Donna.
(1)Dorothy Joiner, “Fabric, Glitz, and Tattoos, FiberArts, Vol. 29 No. 4(Jan / Feb 2003), 32. (2)Smithsonian American Art Museum High Fiber, Final Checklist,, March, 2005, HYPERLINK "http://americanart.si.edu/press/press_kits/high_fiber/high_fiber_checklist.pdf" http://americanart.si.edu/press/press_kits/high_fiber/high_fiber_checklist.pdf (3)“Uncommon Sense” Press Release, March 1997, HYPERLINK "http://ww.moca.org/museum/exhibitioninfo_printable.php" http://ww.moca.org/museum/exhibitioninfo_printable.php (4)Patricia C. Phillips, “Points of Departure: Public Art’s Intentions, Indignities, and Interventions”, Sculpture, Vol.17 No.3(March 1998).
S. Masterson 9/09
American
(Superior, Wisconsin, 1940 - )
Ed Lambert was born in Superior, Wisconsin in 1940, and while his initial forays into fabric printing were limited to silk screens for sorority and fraternity posters, by the time of his graduation with an MFA from Cranbrook Academy of Art, he had successfully transitioned those practical fabric printing techniques into fine art. When he joined the faculty at the University of Georgia in 1974 he had developed an appreciation for both silkscreen and photo emulsion transfer processes. It was this latter process that would eventually become primary in his more mature works of the 1990s.(1)
His connections to other University of Georgia faculty within the Lamar Dodd School of Art led to the beginning of a unique 3-year collaboration in 1995. In that year Mel Chin, another University of Georgia art professor was involving faculty and students from the University of Georgia and the California School of the Arts to undertake a purely democratic “condition of collaboration”.(2) In this project artworks were created around commonly decided upon socio-political themes or concerns and then placed subversively onto the set of the popular 1990s television program “Melrose Place”.(3) These works provided visible commentary on current events in an almost subliminal way. After a 1997 exhibition at the Geffen Center MOCA in Los Angeles, the works that resulted from this collaboration were auctioned off to benefit the students of both arts institution and further involve the public in this media/commodity experiment.(4)
In 2004, Lambert retired from the University of Georgia and continues to live in Athens with his wife Donna.
(1)Dorothy Joiner, “Fabric, Glitz, and Tattoos, FiberArts, Vol. 29 No. 4(Jan / Feb 2003), 32. (2)Smithsonian American Art Museum High Fiber, Final Checklist,, March, 2005, HYPERLINK "http://americanart.si.edu/press/press_kits/high_fiber/high_fiber_checklist.pdf" http://americanart.si.edu/press/press_kits/high_fiber/high_fiber_checklist.pdf (3)“Uncommon Sense” Press Release, March 1997, HYPERLINK "http://ww.moca.org/museum/exhibitioninfo_printable.php" http://ww.moca.org/museum/exhibitioninfo_printable.php (4)Patricia C. Phillips, “Points of Departure: Public Art’s Intentions, Indignities, and Interventions”, Sculpture, Vol.17 No.3(March 1998).
S. Masterson 9/09
Artist Objects
