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Bill Brody
Works at self-employed
Attended Harvey Mudd College
Lives in Port Saint Lucie, FL
4,264 followers|299,046 views


Bill Brody

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I just totally revamped my website. 
I'm pretty satisfied so far EXCEPT where I've embedded Google Earth into my Places page. I used the online api documentation in multiple ways, and in every case my KML loads correctly, BUT, there are artifacts in the rendering.. I would be glad for advice on how to solve the problem
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Many years ago, my former student Tina Emmett told me of printing collagraphs using acrylic medium. In a nutshell, a printing matrix is inked, wiped and rolled so the entire surface is covered with oily printing ink. Acrylic medium is applied to cover the inked surface. After the acrylic medium is drym ore medium is applie3d followed by a layer of fabric and more medium. When all is dry, the fabric is peeled away from the printing matrix revealing a clear image on the fabric. I have used variations of this method to print traditional intaglios, caved metal and woodcuts. This method lends itself to post painting with oils.
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very cool!
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My understanding of the environmental risk associated with the cadmium colors lies more with the mining, refining and manufacture and less with their use in paints. I find acceptable oranges elsewhere and I can mix white with various transparent yellows to replace the cadmium yellows. The loss of the quinacridones is more problematic for me because of their intensity.
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This is definitely the case. Bulk dispense of mining materials carrying heavy minerals is far more of an issue than the occasional painter. That said, reasonable disposal of your materials is warranted.
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Love your paintings, they are spectacular.
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I did a lot of intaglio between 1964 and 2000. Since then I've focused more on woodcut, but lately done a bit of steel plate etching. Thanks for the positive feedback.

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I am most surely tuned to making sense by connecting with my fleshy, erotic self. My finite self can guess/intuit/confabulate partial dimensions, using an etcetera principle to fill in the infinite blanks.
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Images of a surreal mountainscape in process
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I can do a print of this painting, but the image needs to be uploaded to Fine Art America, an online print service. Here is the URL
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Have him in circles
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  • self-employed
    Artist, 2006 - present
  • University of Alaska Fairbanks
    Professor Emeritus, 1967 - 2006
  • Ripon College
    Assistant Professor, 1970 - 1975
  • Eastern Connecticut State University
    Professor, 1990 - 1991
  • Arctic Region Supercomputing Center
    Visualization Research Specialist, 2000 - 2006
Map of the places this user has livedMap of the places this user has livedMap of the places this user has lived
Port Saint Lucie, FL
Fairbanks, AK - Mohegan Colony, NY - Claremont, CA. - Port Saint Lucie, FL - Ripon, WI - New York, NY - Mansfield Center, CT - San Francisco, CA
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I am a visual artist. Most of my work represents what it is like to be somewhere, be it inside my head or out in the wilds.


Each summer I go deep into the wilderness of Alaska's mountains to paint. I spend my time chasing light and dancing shadow, trying to capture the dynamic richness of this spare and wonderful northern landscape. Recently I relocated to Florida so my opportunity to work outside has dramatically increased. Working immersed in a living landscape is my wellspring, grounding me for the more speculative flights of fancy in the studio.

 I reflect on my outdoor experiences when I make prints and intensely colored paintings on canvas and carved metal, fusing the figure with the landscape. This cycle of renewal has been repeated and refined over a number of years. 


I have been going into the wilderness for the past 25 years to witness the landscape by painting and drawing what it is like to be there in mind and body. I commit to this venture so long as I am able. This is my beacon, the measure against which all the rest of my art must stand. When I'm out in the landscape I wait until the land seems to move; to come alive. I start to see geological processes and personalize them. I feel how the land folds back onto itself, touching one part to another like a blow; like a caress; like hands rubbing against the cold... And then there's the light, and the clouds blowing and dancing in the sky. I paint all day, most every day. It is enormously satisfying to finish a large canvas in the field; the more difficult the subject matter, and the more challenging the terrain the better. Sometimes I force myself to break away and explore. Then I sketch and take panoramic photographs. The photographs are not source material for my paintings, but rather material for another kind of art, one of immersion in virtual reality, or for web presentation, or as very large photographic prints. The sketches, journals, and panoramas are source material for other paintings, prints and very large-scale works on forged and carved copper and bronze.

University of Alaska Fairbanks Art Professor 1967-69; 1977-2000
Visualization Researcher, BLUI project1997 - 2006

Brooklyn Museum
Arizona State University
Neville Museum
University of Alaska Museum
University of Alaska FairbanksFairbanks North Star Borough
St. Lawrence University
Queensborough Community College
Anchorage Museum of History and Art
Oklahoma State University
Portland Art Museum
Southern Illinois University
Alaska State Art Bank
Alaska State Court
Alaska State Virology Lab
Alaska State Criminology Lab
Kenai Borough
Robert Draft, Architects
Numerous public and private collections
Kensington Publishing

Alaska State Criminology Lab 12' w x 3' h painting. Installation date May, 2012. Anchorage, Alaska
Rabinowitz Courthouse, 28’ w x 4’ h carved and painted copper. Fairbanks, Alaska 2001. 
Hutchison Technology Center, two carved and painted bronze panels each 13.5’ w x 4’ h x 2’d. Fairbanks, Alaska 2005.

Kenai Borough School District, 44"w x 72" h oil painting. Soldatna, Alaska 2005
Alaska State Virolgy Laboratory, 12' w x 4' h oil painting. Fairbanks, Alaska 2008
Talkeetna Middle/Senior High School, 10'w x 4'h acrylic on carved naval bronze. Talkeetna, Alaska 2009

Alaska State Criminology Lab 12'w x 4'h painting. Anchorage, Alaska 2012


The Explorer's Club
Northwest Print Council
Los Angeles Printmakers
Salmagundi Club


Smithsonian Exhibition of Contemporary Alaskan Art, Washington, D. C. 
Wignalls Museum at Chaffey College, Rancho Cucamonga, California 
Anchorage Museum of History and Art, Anchorage, Alaska 
University of Alaska Museum, Fairbanks, Alaska Alaska State Museum, Juneau, Alaska 

Graham Gallery, New York, New York 

Portland Art Museum, Portland, Oregon 
Alaska Pacific University, Anchorage, Alaska 
Queensborough Community College, Queens, New York


Philadelphia Academy of Fine Art Biennial, Philadelphia, Pennsylvania 
The Print Club, Philadelphia, Pennsylvania 
The Brooklyn Museum Biennial, Brooklyn, New York, catalog reproduction 
Los Angeles Printmakers, Los Angeles, California, award, catalog reproduction 
Chautauqua National, Chautauqua, New York, award 
Boston Printmakers, Boston, Massachusetts, catalog reproduction
Harrisburg National, Harrisburg, Pennsylvania, awards  
Mini-Print International of Caldaques, Barcelona, Spain, catalog reproduction 
Salon du Portrait de Montreal, Montreal, Quebec, Canada, award 
Prints and the Paper, San Diego, California, award 
Cheekwood National, Nashville, Tennessee, catalog reproduction 
Cimmeron Biennial, Stillwater, Oklahoma, award 
Northwest Print Council / China Print Exchange

I have been professionally active since 1964 as an artist, professor, curator, mentor, and technological innovator in fields as diverse as printmaking and virtual reality programming.

Bragging rights
Plein Air painter in extremely remote places
  • Harvey Mudd College
    Mathematics, 1961 - 1965
  • Claremont Graduate University
    Painting, 1965 - 1967
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