Ann Conrad Stewart was born in NYC and has been working as an artist since she received her A.B. from Princeton University in 1985. Graduating magna cum laude, she was awarded The Francis Lemoyne Page Prize for excellence in visual arts and moved to NYC where she worked as a teacher, painter and fine art printmaker and continued her education at Teacher’s College, Columbia and at Bob Blackburn’s Printmaking Workshop. Her work has been exhibited nationally and internationally in galleries and museums, including IPCNY and the Editions/ Artists Book Fair in New York, NY, the Print Center in Philadelphia, PA, the Katonah Museum in Katonah, NY, the Center for Contemporary Printmaking, Silvermine Galleries and the Mattatuck Museum in CT, the Tweed Museum in Duluth, MN, the Center for Maine Contemporary Art in Rockland, ME, Spheris Gallery in Hanover, NH, Lesley College in Boston, MA, the Hong Kong Design Institute in Hong Kong and the Harnett Museum of Art in Richmond, VA. Her work is held in both public and private collections including Princeton University, the Healing Center at the Shapiro Cardiac Center and Brigham and Women’s Hospital in Boston, Aspen Insurance UK limited in London, Teitler & Teitler and Memorial Sloan Kettering in NYC, Liberty Mutual in Plano, Texas and the University of Texas at Tyler. In 2010, she was awarded an artist’s residency on Great Cranberry Island, ME by the Heliker-Lahotan Foundation and in 2011 was selected for an Art Week residency on Great Spruce Head Island, ME. Now working and living in Connecticut and Maine, Stewart is a member of the Silvermine Guild of Artists. New work is available at Cynthia Brynes Contemporary Art, Harmon’s Market, The Center for Contemporary Printmaking, The Silvermine Guild, Nelson Macker Fine Art, Anthony Kirk Editions and Erdreich White Fine Art.
Ann Conrad Stewart’s work blurs the lines between printmaking, digital photography, and painting. She uses digital tools to “see” but not make, printmaking matrixes but only rarely editions her prints, and painting to add layers and depth. Prints are painted on, and the paintings often have printed elements. Digital seeing is the starting point; printmaking links each piece with others in a series, and the human hand subjects a piece to mutations and idiosyncratic evolution, making it unique in time and space.
Recent work focuses on imagery from technology itself (motherboards, bitmap patterns and Google Earth as well as landscape seen in the “zoom” mode) and examines how digital tools are allowing us to see familiar things in new ways. The titles reference our current place and time- where human endeavor is being revolutionized at a breathtaking
pace by advances in technology and science.
Though seemingly abstract, the work is solidly grounded in the world of visual reality.