The Jacqueline L. Zemel Prize for Printmaking
Endi Poskovic (born Sarajevo, Bosnia and Herzegovina; lives Ann Arbor, MI) received a BFA from the Academy of Fine Arts, University of Sarajevo in 1990 and an MFA from the State University of New York at Buffalo in 1993. His works have been exhibited extensively worldwide including at Des Moines Art Center, IA; Plains Art Museum, Fargo, ND; International Print Center New York; Bemis Center for Contemporary Art, Omaha, NE; and The Print Center, Philadelphia, PA; as well as Frans Masereel Centrum, Ghent Academie voor Beeldende Kunst and Stad Leuven Academie en Conservatorium, all andven, Belgium;um;Belgium; la Biennale de Trois-Rivières, Canada; Tallinn Triennial, Estonia; Deutsche Triennale Frechen, Germany; Krakow Print Triennial, Poland; Ljubljana Biennial, Slovenia; Tidaholm Konstlitografiska Museet, Sweden; and the Taiwan Print Biennial, R.O.C.. Poskovic’s work is held in museum collections including the Fogg Museum, Harvard Art Museum, Cambridge, MA; Detroit Institute of Arts, MI; Stanley Museum of Art, University of Iowa, Iowa City; and the Philadelphia Museum of Art; as well as the Art Museum of Estonia, Tallinn; Vaasa Ostrobothnian Museum, Finland; Fondation Fernet Branca, France; and the Alive Jincheon Printmaking Museum, South Korea; among many others. Poskovic is the recipient of the Fulbright Senior Research Fellowship; as well as fellowships from the Guggenheim Memorial Foundation; Kala Art Institute; MacDowell; New York State Arts Council; Pollock-Krasner Foundation; Rockefeller Foundation; Flemish Ministry of Culture, Belgium; Open Studio Toronto, Canada; Camargo Foundation, France; Bellagio Center, Italy; and the Norwegian Government; among others. A comprehensive book about his work, Endi Poskovic – Printworks 1999-2021, was published in June 2022 by the Zhejiang People’s Fine Arts Publishing House. He is a Professor of Art and Design at the University of Michigan-Ann Arbor.
Statement from the Artist:
The prints in “Dream Series” exist as an allegorical tale, a sort of a roman à clef about displacement and my faith in the orthodoxy of visual image. The visible constitutes a poetic language evocative of mystery, affording the thematic iconography to maintain its presence in the apparent opposition between reality and illusion. In my ongoing traversal between analog and digital realms, “Dream Series” is a body of work that stretches the boundaries of print media via translation, multiplicity and seriality. This expanded process of visualization is where the new context emerges.