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Consistent Divergencies: The Studio and Community Art of Hugh Merrill, 1969-2011

Consistent Divergencies charts the work of Hugh Merrill from 1968 through the present day. The book is divided into two parts: studio work and community work. Merrill began his career as an artist as a printmaker, but moved into the social practice arts world in the late 1980’s.

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Shared Visions: Thoughts and Experiences in Social Arts Practice

A practical guide to teaching socially engaged art. Although many educators have an interest in community art, there are few publications that provide effective methods of teaching it. A basic history of the genre as well as specific exercises and assignments help Shared Visions to bridge this gap.

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Hard copies can be purchased from Barnes and Noble

 
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Preaching to the Choir

Eight essays on printmaking and contemporary art by Hugh Merrill, examining the depth of creativity and the richness of contemporary printmaking.

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Portrait of Self

Portrait of Self deals exclusively with Merrill’s archiving process, where people collect everyday items and ephemera throughout their day, to form content for collaborative community works. This method has been used to produce small, personal pieces as well as large public art works. 

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Hard copies can be purchased from Lulu

 

Artworkers: Creativity and America

Hugh Merrill was invited by Spiva Center for the Arts to exhibit Consistent Divergencies. Acting as exhibiting artist, curator, and ringleader for the Joplin community arts actions, Merrill exhibited his own work in concert with pieces by Joplin area artists.

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Hard copies can be purchased from Amazon

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Nomadic? Rover by Days Singing These Gang Plank Songs of the Ambler

Hugh Merrill, the printmaker, has a dirty little secret: for many years, he has been covertly writing … poetry. His debut book of poems, Nomadic? Rover by Days Singing These Gang Plank Songs of the Ambler, reflects the intense and unguarded energy of a vital artist and natural storyteller who has deep connections to both historic and current movements. His subject matter ranges from childhood memories of racial inequality to contemporary ideas of gender fluidity, and his absurd ditties tickle the what the fuck bone in all of us. Littered amongst the poems are moments of prose and snippets of email exchanges between Merrill and his editor, Jeanette Powers. But perhaps the most dynamic aspect of this book is the inclusion of Merrill's original drawings and handwritten notes, which occupy the space around the poems: visual expansions from the poet’s haptic nonce of a squirrelly soul.

The book of poetry Nomadic? is not for download and is only for sale on Amazon and at 39 West Press.

 
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Faces

Zine produced with Staci Pratt and the office Of Homeless Children Kansas City, Kansas.

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Whiteout

The story is told through graphic images of family photos and newspaper articles of the Merrill’s of Alabama, growing up in that powerful and privileged world.

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Print Media Making Poster

This poster was produced by Hugh Merrill and Robert Howser to demonstrate to his students how the business and theory of art and printmaking functions. It is concerned with who buys what, when and where, and for how much. 

 
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Crossroads Current: Issue 11

Exhibition Todd Weiner Gallery

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Crossroads Current: Issue 36

Exhibition Todd Weiner Gallery

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Birds, Lincoln, Monuments

This booklet is a preview of the studio work done by Hugh Merrill in preparation for the Artworkers project at the Spiva Center for the Arts. The work feature is based on Birds, Lincoln, and Monument prompts.

 

Made in China

Hugh Merrill's six-week residency at Guanlan Original Printmaking Base in Shenzhen, China, resulted in his Made in Chinaexhibition presented in January and February 2013, at the Todd Weiner Gallery in Kansas City, MO. This body of work explores the relationship between commercialism and culture, and considers how form influences perception.

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Camera Dance

Camera Dance is a photo/essay booklet, in which Hugh Merrill explores the relationship between ritual and technology. In the summer of 2012, Merrill observed a Native American dance performance while visiting the Grand Canyon. He quickly noticed that the other attendees were watching the dance through their cell phones, video cameras, or tablets. Although the dance troupe was exceptional, it wasn’t enough to pull the audience’s attention away from their devices.

Hard copies can be purchased from Lulu