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| birth_name = Byron Gordon McKeeby
| birth_name = Byron Gordon McKeeby
| birth_date = {{birth date|1936|02|27|mf=y}}
| birth_date = {{birth date|1936|02|27|mf=y}}
| birth_place = [[Humboldt, Iowa]]
| birth_place = [[Humboldt, Iowa]], US
| death_date = {{Death date and age|1984|11|03|1936|02|27}}
| death_date = {{Death date and age|1984|11|03|1936|02|27}}
| death_place = [[Knoxville, Tennessee]]
| death_place = [[Knoxville, Tennessee]], US
| resting_place = Berry Highland Memorial Cemetery, Knoxville
| resting_place = Berry Highland Memorial Cemetery, Knoxville
| resting_place_coordinates = <!-- {{Coord|LAT|LONG|type:landmark|display=inline}} -->
| resting_place_coordinates = <!-- {{Coord|LAT|LONG|type:landmark|display=inline}} -->
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McKeeby, son of Byron J. and Miriam McKeeby, was born on February 27, 1936, in [[Humboldt, Iowa]], later growing up in [[Cedar Rapids]], IA.<ref name=NewGeorgiaEncylopedia01 /><ref name=USCensus01 /> Growing up after the [[Great Depression]] and during the [[World War II]] 1940s, McKeeby knew the hardships of the day, particularly after his father died while he was still a teenager.<ref name=RetrospectiveCatalog13 /> McKeeby's youth, however, was enriched by his mother's interest in art, particularly [[Rosa Bonheur]].<ref name=RetrospectiveCatalog10 />
McKeeby, son of Byron J. and Miriam McKeeby, was born on February 27, 1936, in [[Humboldt, Iowa]], later growing up in [[Cedar Rapids]], IA.<ref name=NewGeorgiaEncylopedia01 /><ref name=USCensus01 /> Growing up after the [[Great Depression]] and during the [[World War II]] 1940s, McKeeby knew the hardships of the day, particularly after his father died while he was still a teenager.<ref name=RetrospectiveCatalog13 /> McKeeby's youth, however, was enriched by his mother's interest in art, particularly [[Rosa Bonheur]].<ref name=RetrospectiveCatalog10 />


McKeeby was the grandson of Byron H. McKeeby, a Cedar Rapids dentist, who posed as the farmer in Grant Wood's [[American Gothic]].<ref name=USCensus02 /><ref name=Byron_H_McKeeby01 /><ref name=Context01 /> Ultimately he referenced this relationship in an untitled, uneditioned lithograph (embedded with the wording 'The American Farmer Can Grow Just About Anything') known to be from 1984, which features his grandfather, Byron H. McKeeby's image.<ref name=RetrospectiveCatalog04 /><ref name=AmericanFarmer />
McKeeby was the grandson of Byron H. McKeeby, a Cedar Rapids dentist, who posed as the farmer in Grant Wood's ''[[American Gothic]]''.<ref name=USCensus02 /><ref name=Context01 /> Ultimately he referenced this relationship in an untitled, uneditioned lithograph (embedded with the wording 'The American Farmer Can Grow Just About Anything') known to be from 1984, which features his grandfather, Byron H. McKeeby's image.<ref name=RetrospectiveCatalog04 /><ref name=AmericanFarmer />


=== Education ===
=== Education ===
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Subsequently, McKeeby earned a [[Master of Fine Arts]] at [[Tulane University]] studying with innovative printmaker [[Jim Steg]], it was there his interest and rising success as a lithographer was realized. His Master's thesis paper focused on the macabre in art, entitled, "The Grotesque as a Positive Element in Art".<ref name=Masters_Paper /> A representative image from that time is "Okina".<ref name=Okina />
Subsequently, McKeeby earned a [[Master of Fine Arts]] at [[Tulane University]] studying with innovative printmaker [[Jim Steg]], it was there his interest and rising success as a lithographer was realized. His Master's thesis paper focused on the macabre in art, entitled, "The Grotesque as a Positive Element in Art".<ref name=Masters_Paper /> A representative image from that time is "Okina".<ref name=Okina />


Post M.F.A. McKeeby was awarded a [[Tamarind Institute]] Artist-Teacher Fellow in 1965 where he was mentored by [[Garo Antreasian]] deepening his interest and expertise in [[Lithography]]. During this time two lithographic prints, Monogatari<ref name=Monogatari01 /> and Okina<ref name=Okina01 /> were produced. McKeeby detailed his work as found in the Tamarind Print Record Archives<ref name=TamarindPrintRecord01 /><ref name=TamarindPrintRecord02 />. The record includes the specifics of the [[lithographic limestone]] grain, transfer and drawing materials, notes on etching and printing as well as notes of any surface treatment. McKeeby credits Antresian's (co-author of The Tamarind Book of Lithography; Art & Technique) <ref name=TamarindBook01 /> with an 'acid tint' method. The record of edition printing reveals specific color runs, paper types such as [[Arches paper]], and the print edition including proofs such as bon à tirer<ref name=BonaTirer01 />, printer's, [[Artist's proof]], trial, Tamarind, cancellation, or presentation proofs as well as the final edition size. The records also reveal the artist's creative hand side-by-side with the rigor of producing professional prints. Particular to McKeeby, the Tamarind record shows his interest in experimentation as part of the creative process. This approach became visible in the span of his life's art work and his approach in teaching.
Post M.F.A. McKeeby was awarded a [[Tamarind Institute]] Artist-Teacher Fellow in 1965 where he was mentored by [[Garo Antreasian]] deepening his interest and expertise in [[Lithography]]. During this time two lithographic prints, Monogatari<ref name=Monogatari01 /> and Okina,<ref name=Okina01 /> were produced. McKeeby detailed his work as found in the Tamarind Print Record Archives.<ref name=TamarindPrintRecord01 /><ref name=TamarindPrintRecord02 /> The record includes the specifics of the [[lithographic limestone]] grain, transfer and drawing materials, notes on etching and printing as well as notes of any surface treatment. McKeeby credits Antreasian (co-author of The Tamarind Book of Lithography; Art & Technique) <ref name=TamarindBook01 /> with an 'acid tint' method. The record of edition printing reveals specific color runs, paper types such as [[Arches paper]], and the print edition including proofs such as bon à tirer,<ref name=BonaTirer01 /> printer's, [[Artist's proof]], trial, Tamarind, cancellation, or presentation proofs as well as the final edition size. The records also reveal the artist's creative hand side-by-side with the rigor of producing professional prints. Particular to McKeeby, the Tamarind record shows his interest in experimentation as part of the creative process. This approach became visible in the span of his life's art work and his approach in teaching.


The guiding principles of the Tamarind Institute of creating master artist-printers, embracing diversity of style and fostering collaboration were employed in Fall of 1965 when McKeeby joined the [[University of Tennessee]], Knoxville, Art Department (now called the School of Art). There he became professor and head of the printmaking program until his death.<ref name=RetrospectiveCatalog03 />
The guiding principles of the Tamarind Institute of creating master artist-printers, embracing diversity of style and fostering collaboration were employed in Fall of 1965 when McKeeby joined the [[University of Tennessee]], Knoxville, Art Department (now called the School of Art). There he became professor and head of the printmaking program until his death.<ref name=RetrospectiveCatalog03 />
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== Permanent collections ==
== Permanent collections ==
* The largest repository of McKeeby artwork is browse-able through the [https://ewinggallery.omeka.net/items/browse?tags=Byron+McKeeby&page=1 Ewing Gallery Permanent Collection]
* The largest repository of McKeeby artwork is browsable through the [https://ewinggallery.omeka.net/items/browse?tags=Byron+McKeeby&page=1 Ewing Gallery Permanent Collection]
Below is a chronological list of McKeeby artwork in all permanent collections
Below is a chronological list of McKeeby artwork in all permanent collections
* [https://dma.org/art/collection/object/3236718 'Untitled'] Intaglio, 1963, Dallas Museum of Art, Contemporary Collection
* [https://dma.org/art/collection/object/3236718 'Untitled'] Intaglio, 1963, Dallas Museum of Art, Contemporary Collection
* [https://www.nga.gov/collection/artist-info.5796.html 'Okina' and 'Monogatari'] Lithographs, 1965, National Gallery of Art, additionally Okina at [https://nmdc.unm.edu/digital/collection/tamarind/id/4636/rec/4 New Mexico's Digital Collections, Tamarind Institute Catalog Raissone] and the [https://www.cartermuseum.org/collection/okina-1965308 Amon Carter Museum of American Art] and Monogatari at [https://nmdc.unm.edu/digital/collection/tamarind/id/4635/rec/3 New Mexico's Digital Collections, Tamarind Institute Catalog Raissone] and the [https://www.cartermuseum.org/collection/monogatari-1965307 Amon Carter Museum of American Art] and the [https://collections.lacma.org/node/167728 'Los Angeles County Museum of Art']
* [https://www.nga.gov/collection/artist-info.5796.html 'Okina' and 'Monogatari'] Lithographs, 1965, National Gallery of Art, additionally Okina at [https://nmdc.unm.edu/digital/collection/tamarind/id/4636/rec/4 New Mexico's Digital Collections, Tamarind Institute Catalog Raissone], the [https://www.nortonsimon.org/art/detail/P.1967.20.169 Norton Simon Museum] the [https://www.cartermuseum.org/collection/okina-1965308 Amon Carter Museum of American Art] and Monogatari at [https://nmdc.unm.edu/digital/collection/tamarind/id/4635/rec/3 New Mexico's Digital Collections, Tamarind Institute Catalog Raissone], the [https://www.nortonsimon.org/art/detail/P.1967.20.168 Norton Simon Museum] the [https://www.cartermuseum.org/collection/monogatari-1965307 Amon Carter Museum of American Art] and the [https://collections.lacma.org/node/167728 'Los Angeles County Museum of Art']
* [https://ewinggallery.omeka.net/items/show/310 'Ice Cream Truck'] Lithograph, 1966, Ewing Gallery Permanent Collection and the [https://www.asc701.org/small-but-mighty Arts & Science Center for Southeast Arkansas]
* [https://ewinggallery.omeka.net/items/show/310 'Ice Cream Truck'] Lithograph, 1966, Ewing Gallery Permanent Collection and the [https://www.asc701.org/small-but-mighty Arts & Science Center for Southeast Arkansas]
* [https://knoxart.pastperfectonline.com/webobject/4CF7C2AF-1D21-41C0-A0F1-675126480249 'The Great Operator'] Lithograph, 1966, Knoxville Museum of Art
* [https://knoxart.pastperfectonline.com/webobject/4CF7C2AF-1D21-41C0-A0F1-675126480249 'The Great Operator'] Lithograph, 1966, Knoxville Museum of Art
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<ref name=BonaTirer01>{{cite web |title=bon à tirer |url=https://en.wiktionary.org/wiki/bon_%C3%A0_tirer |website= Wiktionary}}</ref>
<ref name=BonaTirer01>{{cite web |title=bon à tirer |url=https://en.wiktionary.org/wiki/bon_%C3%A0_tirer |website= Wiktionary}}</ref>


⚫
<ref name="CNTRL_P02">{{cite journal |last1=Lyons |first1=Beauvais |last2=Suzuki |first2=Sarah |title=CNTRL+P: Printmaking in the 21st Century by the University of Tennessee Alumni |journal=Ewing Gallery of Art & Architecture |date=2015 |url=https://trace.tennessee.edu/utk_ewing/15 |publisher=Ewing Gallery of Art and Architecture, pg. 5|access-date=8 December 2021}}</ref>
<ref name=Byron_H_McKeeby01>{{cite web |title=Byron H McKeeby |url=https://www.findagrave.com/memorial/34234004/byron-henry-mckeeby |website=Find A Grave}}</ref>

⚫
<ref name="CNTRL_P02">{{cite book |last1=Lyons |first1=Beauvais |last2=Suzuki |first2=Sarah |title=CNTRL+P: Printmaking in the 21st Century by the University of Tennessee Alumni |date=2015 |url=https://trace.tennessee.edu/utk_ewing/15 |publisher=Ewing Gallery of Art and Architecture, pg. 5|access-date=8 December 2021}}</ref>


<ref name=CoeCollegeCourier>{{cite journal |title=We Ask A Renowned Modern Artist About Art |journal=Coe College Courier |date=1970 |page=8}}</ref>
<ref name=CoeCollegeCourier>{{cite journal |title=We Ask A Renowned Modern Artist About Art |journal=Coe College Courier |date=1970 |page=8}}</ref>
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<ref name=InternationalBiennial>{{cite web |title=Introduction of the Biennial |publisher=National Taiwan Museum of Fine Arts |url=http://printbiennial.ntmofa.gov.tw/print18/about_us_en/}}</ref>
<ref name=InternationalBiennial>{{cite web |title=Introduction of the Biennial |publisher=National Taiwan Museum of Fine Arts |url=http://printbiennial.ntmofa.gov.tw/print18/about_us_en/}}</ref>


<ref name="JSTOR_01">{{cite journal |last1=Finlay |first1=Nancy |title=American Printmaking in the Twentieth Century. |journal=The Princeton University Library Chronicle |date=1981 |volume=42 |issue=2 |page=109 |url=https://www.jstor.org/stable/26402233 |access-date=29 December 2020}}</ref>
<ref name="JSTOR_01">{{cite journal |last1=Finlay |first1=Nancy |title=American Printmaking in the Twentieth Century. |journal=The Princeton University Library Chronicle |date=1981 |volume=42 |issue=2 |page=109 |doi=10.2307/26402233 |jstor=26402233 |url=https://www.jstor.org/stable/26402233 |access-date=29 December 2020}}</ref>


<ref name=KnoxvilleJournal01>{{cite news |last=Rosson |first=Joe |title=A 'curmudgeon' but also an artist. Former professor didn't talk about art, he lived it.
<ref name=KnoxvilleJournal01>{{cite news |last=Rosson |first=Joe |title=A 'curmudgeon' but also an artist. Former professor didn't talk about art, he lived it.
|publisher=Knoxville Journal, section Style, pg. C1 |date=Nov 26, 1984 |url=https://www.loc.gov/item/sn85033481/ |oclc=11989592}}</ref>
|publisher=Knoxville Journal, section Style, pg. C1 |date=Nov 26, 1984 |url=https://www.loc.gov/item/sn85033481/ |oclc=11989592}}</ref>


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<ref name=Marriage01>{{cite web |last1=McKeeby |first1=Byron G |last2=Lamar |first2=Ana |title=Orleans Parish Marriage Records (search McKeeby) |url=https://www.sos.la.gov/HistoricalResources/ResearchHistoricalRecords/LocateHistoricalRecords/Pages/OrleansParishMarriageRecords.aspx |website=Louisiana Secretary of State |publisher=State of Louisiana |page=5529 |date=December 1964}}</ref>
<ref name=Marriage01>{{cite web |last1=McKeeby |first1=Byron G |last2=Lamar |first2=Ana |title=Orleans Parish Marriage Records (search McKeeby) |url=https://www.sos.la.gov/HistoricalResources/ResearchHistoricalRecords/LocateHistoricalRecords/Pages/OrleansParishMarriageRecords.aspx |website=Louisiana Secretary of State |publisher=State of Louisiana |page=5529 |date=December 1964}}</ref>
<ref name=Monogatari01>{{cite web |last1=McKeeby |first1=Byron |title=Monogatari |url= https://nmdc.unm.edu/digital/collection/tamarind/id/4635/rec/3 |website=UNM, New Mexico's Digital Collections, Tamarind Insitute Catalog Raisonne}}</ref>
<ref name=Monogatari01>{{cite web |last1=McKeeby |first1=Byron |title=Monogatari |url= https://nmdc.unm.edu/digital/collection/tamarind/id/4635/rec/3 |website=UNM, New Mexico's Digital Collections, Tamarind Institute Catalog Raisonne}}</ref>


<ref name=Masters_Paper>{{cite book |last1=McKeeby |first1=Byron G |title=The Grotesque as a Positive Element in Art |date=1965 |publisher=Unpublished Masters Paper |location=Newcomb Department of Art, Tulane University |url=http://www.worldcat.org/oclc/15600292}}</ref>
<ref name=Masters_Paper>{{cite book |last1=McKeeby |first1=Byron G |title=The Grotesque as a Positive Element in Art |date=1965 |publisher=Unpublished Masters Paper |location=Newcomb Department of Art, Tulane University |oclc=15600292 |url=http://www.worldcat.org/oclc/15600292}}</ref>


<ref name=NaturalWorld01>{{cite web |last1=McKeeby |first1=Byron G |title=22 Collection |url=https://ewinggallery.omeka.net/items/show/323 |website=Ewing Gallery Permanent Collection |publisher=Ewing Gallery, University of Tennessee |date=1969}}</ref>
<ref name=NaturalWorld01>{{cite web |last1=McKeeby |first1=Byron G |title=22 Collection |url=https://ewinggallery.omeka.net/items/show/323 |website=Ewing Gallery Permanent Collection |publisher=Ewing Gallery, University of Tennessee |date=1969}}</ref>
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<ref name=NewGeorgiaEncylopedia03>{{cite web |author1=Laura Diaz |author2=NGE Staff |title=Byron McKeeby (1936-1984) |url=https://www.georgiaencyclopedia.org/articles/arts-culture/byron-mckeeby-1936-1984?amp |website=New Georgia Encyclopedia |publisher=Georgia Humanities and the University of Georgia Press |date=January 8, 2016 |quote=The artist's words define his material, which is distinguished by themes of humor, satire, nature, and mortality.}}</ref>
<ref name=NewGeorgiaEncylopedia03>{{cite web |author1=Laura Diaz |author2=NGE Staff |title=Byron McKeeby (1936-1984) |url=https://www.georgiaencyclopedia.org/articles/arts-culture/byron-mckeeby-1936-1984?amp |website=New Georgia Encyclopedia |publisher=Georgia Humanities and the University of Georgia Press |date=January 8, 2016 |quote=The artist's words define his material, which is distinguished by themes of humor, satire, nature, and mortality.}}</ref>


<ref name=Okina>{{cite web |last1=McKeeby |first1=Byron Gordon |title=Okina |url=https://www.nga.gov/collection/art-object-page.63575.html/ |website=National Gallery of Art}}</ref>
<ref name=Okina>{{cite web |last1=McKeeby |first1=Byron Gordon |title=Okina |url=https://www.nga.gov/collection/art-object-page.63575.html/ |website=National Gallery of Art|date=1965 }}</ref>


<ref name=Okina01>{{cite web |last1=McKeeby |first1=Byron |title=Okina
<ref name=Okina01>{{cite web |last1=McKeeby |first1=Byron |title=Okina
|url=https://nmdc.unm.edu/digital/collection/tamarind/id/4636/rec/2
|url=https://nmdc.unm.edu/digital/collection/tamarind/id/4636/rec/2
|website= UNM, New Mexico's Digital Collections, Tamarind Insitute Catalog Raisonne}}</ref>
|website= UNM, New Mexico's Digital Collections, Tamarind Institute Catalog Raisonne}}</ref>


<ref name=PrintmakersSelect01>
<ref name=PrintmakersSelect01>
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|last2=Moore
|last2=Moore
|first2=Charles
|first2=Charles
|title=A 'curmudgeon' but also an artist. Former professor didn't talk about art, he lived it.
|title=A 'curmudgeon' but also an artist. Former professor didn't talk about art, he lived it.
|publisher=The Knoxville Journal, section Style
|publisher=The Knoxville Journal, section Style
|page=C1
|page=C1
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|last2=Stewart
|last2=Stewart
|first2=Clark
|first2=Clark
|title=A 'curmudgeon' but also an artist. Former professor didn't talk about art, he lived it.
|title=A 'curmudgeon' but also an artist. Former professor didn't talk about art, he lived it.
|publisher=The Knoxville Journal, section Style
|publisher=The Knoxville Journal, section Style
|page=C1
|page=C1
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== Further reading ==
== Further reading ==
* Ewing Gallery of Art and Architecture; Cleaver, Dale G.; Yates, Sam (1985). Byron McKeeby : prints and drawings from 1964 to 1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee, 28 unnumbered pages, [https://utk.primo.exlibrisgroup.com/permalink/01UTN_KNOXVILLE/bcmt7h/alma997923270102311 University of Tennessee Libraries], OCLC 19578054, and [https://trace.tennessee.edu/utk_ewing/33/ TRACE (Tennessee Research and Creative Exchange), digital download ]
* Ewing Gallery of Art and Architecture; Cleaver, Dale G.; Yates, Sam (1985). Byron McKeeby : prints and drawings from 1964 to 1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee, 28 unnumbered pages, [https://utk.primo.exlibrisgroup.com/permalink/01UTN_KNOXVILLE/bcmt7h/alma997923270102311 University of Tennessee Libraries], OCLC 19578054, and [https://trace.tennessee.edu/utk_ewing/33/ TRACE (Tennessee Research and Creative Exchange), digital download ]
* Find A Grave - [https://www.findagrave.com/memorial/229348903/byron-g-mckeeby Byron G McKeeby ]
* Rosson, Joe (1984). "A 'curmudgeon' but also an artist. Former professor didn't talk about art, he lived it". Knoxville Journal, Style section (Nov 26): C1 [https://www.loc.gov/item/sn85033481/ Library of Congress], [https://utk.primo.exlibrisgroup.com/permalink/01UTN_KNOXVILLE/1o769mb/alma999904910102311 University of Tennessee Libraries], OCLC=11989592
* Rosson, Joe (1984). "A 'curmudgeon' but also an artist. Former professor didn't talk about art, he lived it". Knoxville Journal, Style section (Nov 26): C1 [https://www.loc.gov/item/sn85033481/ Library of Congress], [https://utk.primo.exlibrisgroup.com/permalink/01UTN_KNOXVILLE/1o769mb/alma999904910102311 University of Tennessee Libraries], OCLC=11989592
* Tamarind Print Records - Kenneth Adams, Garo Antreasian, Joan Beckley, Steven Cortright, Robert Evermon, Jurgen Fischer, Ronald Grow, Raymond Jonson, Jack Lemon, Byron McKeeby, Thomas Minkler, Francis Noel, Storbridge Litho. Co.,, 1965., Folder: 46. [https://nmarchives.unm.edu/repositories/22/archival_objects/206525 UNM Center for Southwest Research & Special Collections].
* Tamarind Print Records - Kenneth Adams, Garo Antreasian, Joan Beckley, Steven Cortright, Robert Evermon, Jurgen Fischer, Ronald Grow, Raymond Jonson, Jack Lemon, Byron McKeeby, Thomas Minkler, Francis Noel, Storbridge Litho. Co.,, 1965., Folder: 46. [https://nmarchives.unm.edu/repositories/22/archival_objects/206525 UNM Center for Southwest Research & Special Collections].
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[[Category:20th-century American artists]]
[[Category:20th-century American artists]]
[[Category:20th-century American printmakers]]
[[Category:20th-century American printmakers]]
[[Category:American lithographers]]
[[Category:People from Humboldt, Iowa]]
[[Category:People from Humboldt, Iowa]]
[[Category:20th-century lithographers]]
[[Category:20th-century American lithographers]]

Latest revision as of 05:24, 11 November 2024

Byron G. McKeeby
McKeeby in 1983
Born
Byron Gordon McKeeby

(1936-02-27)February 27, 1936
Humboldt, Iowa, US
DiedNovember 3, 1984(1984-11-03) (aged 48)
Knoxville, Tennessee, US
Resting placeBerry Highland Memorial Cemetery, Knoxville
EducationCoe College, Art Institute of Chicago, Tulane University
Known forLithography
AwardsTamarind Institute Artist-Teacher Fellow

Byron Gordon McKeeby (1936-1984) was an American artist, educator and master printmaker known primarily for lithography.[1][2] McKeeby's interest dovetailed with a burgeoning contemporary community in advancing lithography as an art form. He was active in all form of print exhibition. He built a full scope printmaking department of rank at the University of Tennessee that exists today.

Biography

[edit]

Early years

[edit]

McKeeby, son of Byron J. and Miriam McKeeby, was born on February 27, 1936, in Humboldt, Iowa, later growing up in Cedar Rapids, IA.[3][4] Growing up after the Great Depression and during the World War II 1940s, McKeeby knew the hardships of the day, particularly after his father died while he was still a teenager.[5] McKeeby's youth, however, was enriched by his mother's interest in art, particularly Rosa Bonheur.[6]

McKeeby was the grandson of Byron H. McKeeby, a Cedar Rapids dentist, who posed as the farmer in Grant Wood's American Gothic.[7][8] Ultimately he referenced this relationship in an untitled, uneditioned lithograph (embedded with the wording 'The American Farmer Can Grow Just About Anything') known to be from 1984, which features his grandfather, Byron H. McKeeby's image.[9][10]

Education

[edit]

Like his parents, McKeeby was a Coe College graduate and while at Coe he became interested in art through Professor Marvin Cone, who was a lifelong friend of painter Grant Wood.[11][12] Years later in a Coe College interview McKeeby acknowledged that Cone was "an extraordinary human, and a lasting influence on his life".[13]

Upon graduating Coe College in 1959 he proceeded to the Art Institute of Chicago where he studied painting, graduating with a Bachelor of Fine Arts in 1963. Several of his class contemporaries, one of which was Jim Nutt, ultimately formed The Hairy Who, a group reflective of the 1960s independence of American art.[14]

Subsequently, McKeeby earned a Master of Fine Arts at Tulane University studying with innovative printmaker Jim Steg, it was there his interest and rising success as a lithographer was realized. His Master's thesis paper focused on the macabre in art, entitled, "The Grotesque as a Positive Element in Art".[15] A representative image from that time is "Okina".[16]

Post M.F.A. McKeeby was awarded a Tamarind Institute Artist-Teacher Fellow in 1965 where he was mentored by Garo Antreasian deepening his interest and expertise in Lithography. During this time two lithographic prints, Monogatari[17] and Okina,[18] were produced. McKeeby detailed his work as found in the Tamarind Print Record Archives.[19][20] The record includes the specifics of the lithographic limestone grain, transfer and drawing materials, notes on etching and printing as well as notes of any surface treatment. McKeeby credits Antreasian (co-author of The Tamarind Book of Lithography; Art & Technique) [21] with an 'acid tint' method. The record of edition printing reveals specific color runs, paper types such as Arches paper, and the print edition including proofs such as bon à tirer,[22] printer's, Artist's proof, trial, Tamarind, cancellation, or presentation proofs as well as the final edition size. The records also reveal the artist's creative hand side-by-side with the rigor of producing professional prints. Particular to McKeeby, the Tamarind record shows his interest in experimentation as part of the creative process. This approach became visible in the span of his life's art work and his approach in teaching.

The guiding principles of the Tamarind Institute of creating master artist-printers, embracing diversity of style and fostering collaboration were employed in Fall of 1965 when McKeeby joined the University of Tennessee, Knoxville, Art Department (now called the School of Art). There he became professor and head of the printmaking program until his death.[23]

Family

[edit]

McKeeby and Ana McKeeby were married from 1964 to 1981, with two sons.[24][25] Upon McKeeby's death on November 3, 1984, in Knoxville, Tennessee of diabetes,[3] he left sons Paulo and Neal, who had influenced his imagery.[26][27][28][29]

Career

[edit]

Educator

[edit]

As an educator, McKeeby taught all levels and aspects of printmaking during his tenure. Students in his printmaking classes learned lithography, engraving, viscosity printing, linocut, wood engraving, collagraphy, screen printing and monotyping. His expertise and teaching style was epitomized by then Art Department Head, Donald F. Kurka, as being 'dedicated to a professional standard of printmaking' and having 'a high tolerance toward divergent attitudes'.[30] Influencing McKeeby was his education and contemporary printmakers pushing technical experimentation.[31] In support of this McKeeby hosted workshops with academic and professional printmakers, such as Donald Saff, for student benefit. In 1981 the university built a new Art & Architecture building; it was opportunity for McKeeby to design a state-of-the-art printshop in support of teaching and creation.[32][33] Subsequent Printmaking Professor, Beauvais Lyons, credited McKeeby's open studio design that accommodates traditional and experimental techniques in a 2015 statement "The open plan encourages a climate of experimentation and the use of all techniques".[34] Further realization of the concept became part of "the incorporation of computer methods in print education".[34]

Artist

[edit]

McKeeby's work was dominated by black and white lithographs. His interest lead him to personally advance what had nearly become a dying art of stone lithography.[35] Drawing was essential for McKeeby, evidenced in the retrospective exhibit title, however, he often used experimentation techniques such as acetone transfer of printed images.[36]

Early works incorporated transfer images with drawn compositions.[37] His lifetime of work defied singular categorization; Art Historian Dale G Cleaver described McKeeby's art as 'posited dualities of existence: the contrasts of good and evil, compassion and violence, mechanical and organic, esoteric and mundane' which 'didn't fit any contemporary styles'.[38][30] McKeeby's art was also referred to as puckish, mischievously playful.[39] His interest spanned social issues,[40] the natural world,[41][42] language [43] and through his personal use of imagery he achieved humor and satire.[44] McKeeby's creative process was observed and commented upon by fellow printmaker, Brian R. Wells, as 'He was absorbed in the difference between improvisation and thinking a piece through'.[30]

Career-long McKeeby was active in exhibit competition and shown by invitation, his record was regional, national and international; he was awarded the Chairman's Prize at the 1983 International Biennial Print Exhibit ROC in Taipei, Taiwan.[45][46][47] McKeeby was described as prodigious by fellow Art Department faculty F. Clark Stewart and in total McKeeby amassed 200 group exhibitions and 19 one—man shows over twenty-two years.[48][49]

Posthumous Retrospective

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Indicative of McKeeby's energy and inertia, and at the time of his sudden death, the beginnings of an invitational show of printmakers and their student's work entitled "Printmakers Select Printmakers" was in progress. The Art Department with Gallery Directory Sam Yates' guidance from having worked with McKeeby on the invitational, realized the show in McKeeby's honor February 22- March 16, 1985.

Donald F Kurka wrote in dedication "Ironically, with his untimely death in November 1984, he unwittingly created his own memorial and final tribute to the major passion of his life: printmaking. It would be hard to imagine a more appropriate way to honor and exemplify his lifelong commitment to the field than to bring together the work of some of America's best printmakers and the work of some of their present and former students. His respect and support for his printmaking colleagues across the nation and, in turn, their influence on a new generation of printmakers demonstrate through the exhibition, Byron's devotion to printmaking in America and its future.

His life's work centered around making prints, teaching others to make prints and supporting his fellow printmakers. An artist's artist, a teacher's teacher, as a totally committed colleague, Byron had few equals. His personal integrity and the force of his dedication made all of us work harder, be truer to the best in ourselves and, above all, make art, not just talk art. He selected this invitational show on those same principles - choosing people who are equally engaged in their art as demonstrated through the quality of what they produce."[50][51]

In 1986 the Ewing Gallery, School of Art at the University of Tennessee at Knoxville, mounted a posthumous retrospective exhibit entitled Byron McKeeby : prints and drawings from 1964-1984 held February 16 - March 20, 1986.[52][53] The exhibit comprised sixty-six framed works selected from McKeeby's personal oeuvre by Art Historian Dale G. Cleaver who also wrote the catalog essay; the exhibit was coordinated by Gallery Director Sam Yates. After opening in Knoxville, the exhibit traveled primarily through the southeast.[54][55][56] An exhibit catalog was produced featuring a six-page essay with 20 black and white plates. The color cover reproduction is of a 1979 McKeeby viscosity print, Untitled(frog).[57][58]

Additionally McKeeby was honored during the 20th Annual Southern Graphics Council Conference, March 19–21, 1992, with a show of thirty retrospective prints.[59] A reception and talk, 'A Tribute To Byron McKeeby', by Dale Cleaver honored McKeeby's art, leadership, professional accomplishments, high standards and teaching.[60]

Great art concerns itself not with art, but with awakening the human consciousness to itself.

— Byron McKeeby [13][61][62]

Permanent collections

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Below is a chronological list of McKeeby artwork in all permanent collections

Without Date

References

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  1. ^ "McKeeby, Byron (American artist, born 1936)". Union List of Artists Names Online.
  2. ^ Ewing Gallery of Art and Architecture; Cleaver, Dale G. (1985). Byron McKeeby : prints and drawings from 1964-1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee. p. 2 of essay. OCLC 19578054. He had turned essentially to lithography
  3. ^ a b Laura Diaz; NGE Staff (January 8, 2016). "Byron McKeeby (1936-1984)". New Georgia Encyclopedia. Georgia Humanities and the University of Georgia Press. Byron McKeeby was born on February 27, 1936, in Humboldt, Iowa.
  4. ^ "16th Census of the United States, 1940, Population Schedule 'Byron J, Miriam and Byron G McKeeby'", United States census, 1940; Cedar Rapids, Linn County, Iowa; page 10-A, line 9-11, enumeration district 57-53. Retrieved on September 2020.
  5. ^ Ewing Gallery of Art and Architecture; Cleaver, Dale G. (1985). Byron McKeeby : prints and drawings from 1964-1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee. p. 1 of essay. OCLC 19578054. McKeeby grew up quickly in Cedar Rapids, Iowa, at the end of the Great Depression and during the Second World War and the post-war period of the 1940s. The family's modest means worsened with the father's death while McKeeby was yet a teenager.
  6. ^ Ewing Gallery of Art and Architecture; Cleaver, Dale G. (1985). Byron McKeeby : prints and drawings from 1964-1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee. p. 1 of essay. OCLC 19578054. Art had not been foreign to his family. The mother was especially interested in the painting of nineteenth-century French artist Rosa Bonheur.
  7. ^ 14th Census of the United States, 1920, Population Schedule 'Byron H and Byron J McKeeby', United States census, 1920; Cedar Rapids, Linn County, Iowa; page 5-A, line 3-5, enumeration district 122. Retrieved on September 2020 via Ancestry.com.
  8. ^ Weaver, Linda (November 19, 1984). "McKeeby: 1936-1984". Context(newsletter). Knoxville, TN: University of Tennessee: 6. Byron McKeeby's first claim to fame was being the grandson of the man pictured in Grant Wood's 'American Gothic'.
  9. ^ Ewing Gallery of Art and Architecture; Cleaver, Dale G. (1985). Byron McKeeby : prints and drawings from 1964-1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee. p. 5 of essay. OCLC 19578054. ..the heads of the man, McKeeby's grandfather, and woman from Grant Wood's American Gothic .. Plate 20
  10. ^ McKeeby, Byron Gordon (1984). "Untitled_American_Farmer_Can_Grow_Just_About_Anything". Ewing Gallery, University of Tennessee.
  11. ^ Ewing Gallery of Art and Architecture; Cleaver, Dale G. (1985). Byron McKeeby : prints and drawings from 1964-1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee. p. 1 of essay. OCLC 19578054. Both parents had been graduates of Coe College
  12. ^ Ewing Gallery of Art and Architecture; Cleaver, Dale G. (1985). Byron McKeeby : prints and drawings from 1964-1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee. p. 1 of essay. OCLC 19578054. McKeeby encountered art, under the tutelage of Marvin Cone
  13. ^ a b "We Ask A Renowned Modern Artist About Art". Coe College Courier: 8. 1970.
  14. ^ Ewing Gallery of Art and Architecture; Cleaver, Dale G. (1985). Byron McKeeby : prints and drawings from 1964-1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee. p. 1 of essay. OCLC 19578054. One of McKeeby's fellow students there was Jim Nutt, a later leader in the flamboyantly irreverent group of Chicago artists called the Hairy Who.
  15. ^ McKeeby, Byron G (1965). The Grotesque as a Positive Element in Art. Newcomb Department of Art, Tulane University: Unpublished Masters Paper. OCLC 15600292.
  16. ^ McKeeby, Byron Gordon (1965). "Okina". National Gallery of Art.
  17. ^ McKeeby, Byron. "Monogatari". UNM, New Mexico's Digital Collections, Tamarind Institute Catalog Raisonne.
  18. ^ McKeeby, Byron. "Okina". UNM, New Mexico's Digital Collections, Tamarind Institute Catalog Raisonne.
  19. ^ McKeeby, Byron. "Print Record for Monotagari lithograph" (June 24, 1965 - July 28, 1965) [Textual record]. UNM Center for Southwest Research & Special Collections, Tamarind Institute Records (MSS), Series: Administrative Files, Box: 11, folder 46, File: MSS 574, pp. 2. , Albuquerque NM: New Mexico Archives Online, University of New Mexico.
  20. ^ McKeeby, Byron. "Print Record for Okina lithograph" (July 23, 1965 - July 27, 1965) [Textual record]. UNM Center for Southwest Research & Special Collections, Tamarind Institute Records (MSS), Series: Administrative Files, Box: 11, folder 46, File: MSS 574, pp. 2. , Albuquerque NM: New Mexico Archives Online, University of New Mexico.
  21. ^ Antreasian, Garo; Adams, Clinton (1971). The Tamarind book of lithography: art & techniques. Los Angeles, New York: Tamarind Lithography Workshop ; Harry N. Abrams, Inc., Los Angeles, New York. p. 463 pages : illustrations (some color) ; 30 cm. OCLC 205837.
  22. ^ "bon à tirer". Wiktionary.
  23. ^ Ewing Gallery of Art and Architecture; Cleaver, Dale G. (1985). Byron McKeeby : prints and drawings from 1964-1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee. p. 2 of essay. OCLC 19578054. In the fall of 1965 Byron McKeeby came to teach at the Department of Art
  24. ^ McKeeby, Byron G; Lamar, Ana (December 1964). "Orleans Parish Marriage Records (search McKeeby)". Louisiana Secretary of State. State of Louisiana. p. 5529.
  25. ^ McKeeby, Ana; McKeeby, Byron G (August 8, 1981). "Public Records, Divorces Granted". Knoxville News Sentinel, section 1, pg. 6.
  26. ^ Drums & Tuba 'Neal McKeeby guitarist'
  27. ^ Ewing Gallery of Art and Architecture; Cleaver, Dale G. (1985). Byron McKeeby : prints and drawings from 1964-1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee. p. 4 of essay. OCLC 19578054. McKeeby's two sons were an important part of his life and influence on the content of his art.
  28. ^ Weaver, Linda; Cohen, Neil (November 19, 1984). "McKeeby: 1936-1984". Context (Newsletter). Knoxville, TN: University of Tennessee: 6. His devotion to his sons was apparent in other ways. For years he was a basketball and baseball coach of his boy's teams - with the same intensity as an artist.
  29. ^ Rosson, Joe; Moore, Charles (November 26, 1984). "A 'curmudgeon' but also an artist. Former professor didn't talk about art, he lived it". The Knoxville Journal, section Style. p. C1. OCLC 11989592. UT professor Charles Moore knew McKeeby through their children, (and said McKeeby) was a gentle and patient father. One time all our children wanted tree houses, the two of us entered into a silent competition to see which dad could build the best one. Byron put me in the shade. His tree house was first class. He even put in windows with etched glass.
  30. ^ a b c Weaver, Linda (November 19, 1984). "McKeeby: 1936-1984". Context(newsletter). Knoxville, TN: University of Tennessee: 6.
  31. ^ Finlay, Nancy (1981). "American Printmaking in the Twentieth Century". The Princeton University Library Chronicle. 42 (2): 109. doi:10.2307/26402233. JSTOR 26402233. Retrieved December 29, 2020.
  32. ^ Creekmore, Betsy B. "Art and Architecture Building". Volopedia. University of Tennessee Libraries. Retrieved December 17, 2021.
  33. ^ Ewing Gallery of Art and Architecture; Cleaver, Dale G. (1985). Byron McKeeby : prints and drawings from 1964-1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee. p. 2 of essay. OCLC 19578054. McKeeby spent hours with the architects of the new building to insure that its printshop would have ideal facilities.
  34. ^ a b Lyons, Beauvais; Suzuki, Sarah (2015). "CNTRL+P: Printmaking in the 21st Century by the University of Tennessee Alumni". Ewing Gallery of Art & Architecture. Ewing Gallery of Art and Architecture, pg. 5. Retrieved December 8, 2021.
  35. ^ Laura Diaz; NGE Staff (January 8, 2016). "Byron McKeeby (1936-1984)". New Georgia Encyclopedia. Georgia Humanities and the University of Georgia Press. While McKeeby was highly acclaimed for his talent in print media, his main interest lay in the nearly forgotten art of stone lithography.
  36. ^ Trojanowska, Anna. "Acetone Transfer". Lithography.
  37. ^ McKeeby, Byron G (1966). "Ice Cream Truck". Ewing Gallery Permanent Collection. Ewing Gallery, University of Tennessee.
  38. ^ Ewing Gallery of Art and Architecture; Cleaver, Dale G. (1985). Byron McKeeby : prints and drawings from 1964-1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee. p. 2 of essay. OCLC 19578054.
  39. ^ Taylor, Anne (1968). "Byron McKeeby: puckish commentator of the times". The Knoxvillian Magazine (May): 12. OCLC 18804123.
  40. ^ McKeeby, Byron G (1969). "Biafra". Ewing Gallery Permanent Collection. Ewing Gallery, University of Tennessee.
  41. ^ McKeeby, Byron G (1969). "22 Collection". Ewing Gallery Permanent Collection. Ewing Gallery, University of Tennessee.
  42. ^ McKeeby, Byron G (1969). "Locked Collection". Ewing Gallery Permanent Collection. Ewing Gallery, University of Tennessee.
  43. ^ McKeeby, Byron G (1969). "Vanishing Word". Ewing Gallery Permanent Collection. Ewing Gallery, University of Tennessee.
  44. ^ Laura Diaz; NGE Staff (January 8, 2016). "Byron McKeeby (1936-1984)". New Georgia Encyclopedia. Georgia Humanities and the University of Georgia Press. The artist's words define his material, which is distinguished by themes of humor, satire, nature, and mortality.
  45. ^ Ewing Gallery of Art and Architecture; Cleaver, Dale G. (1985). Byron McKeeby : prints and drawings from 1964-1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee. p. 2 of essay. OCLC 19578054. The pattern of wide-spread exhibition was established then and continued throughout his life.
  46. ^ Weaver, Linda (November 19, 1984). "McKeeby: 1936-1984". Context (Newsletter). Knoxville, TN: University of Tennessee: 6. His most recent honor was the Chairman's Prize at the 1983 International Print Exhibition in Taipei, Taiwan.
  47. ^ "Introduction of the Biennial". National Taiwan Museum of Fine Arts.
  48. ^ Rosson, Joe; Stewart, Clark (November 26, 1984). "A 'curmudgeon' but also an artist. Former professor didn't talk about art, he lived it". The Knoxville Journal, section Style. p. C1. OCLC 11989592. He was incredibly prolific," Stewart says. "One time when we went to a party over at his house, he was down in the basement taking one print out of each series and tearing up the rest (between 10 and 50 prints per series) because he didn't have space to store the bales and bales of prints he had made.
  49. ^ Rosson, Joe (November 26, 1984). "A 'curmudgeon' but also an artist. Former professor didn't talk about art, he lived it". Knoxville Journal, section Style, pg. C1. OCLC 11989592.
  50. ^ Kurka, Donald F. (1985). Printmakers Select Printmakers. Knoxville, TN: Art and Architecture Gallery, University of Tennessee - Knoxville. p. Dedication.
  51. ^ "Printmakers Select Printmakers". Ewing Gallery of Art, Current + Past Exhibition. Knoxville, TN: Art and Architecture Gallery, University of Tennessee - Knoxville. 1985.
  52. ^ Creekmore, Betsy B. "Ewing Gallery of Art". Volopedia. University of Tennessee Libraries. Retrieved December 17, 2021.
  53. ^ "McKeeby art to be featured in UT exhibit". Ewing Gallery, University of Tennessee, Knoxville: Knoxville News Sentinel. February 16, 1986. p. 114.
  54. ^ "Byron McKeeby: Prints and Drawings". Carroll Reece Museum, East Tennessee State University, Johnson City, TN: Knoxville News Sentinel. March 22, 1987. p. 119.
  55. ^ "Prints to be shown in Chattanooga". Hunter Museum of Arts, Chattanooga, TN: Knoxville News Sentinel. May 24, 1987. p. 123.
  56. ^ "A Retrospective Show of Prints by Byron McKeeby". Newcomb College of Art, Tulane University: Tulane University, WTUL Listener Guide. February 1–17, 1986. p. 2.
  57. ^ Ewing Gallery of Art and Architecture; Cleaver, Dale G.; Yates, Sam (1985). Byron McKeeby : prints and drawings from 1964-1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee. pp. 28 unnumbered. OCLC 19578054.
  58. ^ McKeeby, Byron Gordon (1979). "Untitled_Frog". Ewing Gallery, University of Tennessee.
  59. ^ 20th Annual Southern Graphics Council Conference with the University of Tennessee and the Knoxville Museum of Art. Knoxville, TN: Southern Graphics Council International Records, 1973-2016, Kennesaw State University Archives. March 19–21, 1992. p. Brochure.
  60. ^ 20th Annual Southern Graphics Council Conference with the University of Tennessee and the Knoxville Museum of Art. Knoxville, TN: Southern Graphics Council International Records, 1973-2016, Kennesaw State University Archives. March 19–21, 1992. p. Brochure. It is appropriate, at this meeting, to honor the art and the leadership of Byron McKeeby, who taught printmaking at the University of Tennessee from 1965 until his death in 1984. His professional accomplishments and high standards were an inspiration to generations of students, some of whom continue his leadership in printshops throughout the United States.
  61. ^ Ewing Gallery of Art and Architecture; Yates, Sam (1985). Byron McKeeby : prints and drawings from 1964-1984 : [catalog of the exhibition]. Knoxville, TN: Ewing Gallery of Art and Architecture, University of Tennessee. p. Introduction/Acknowledgements. OCLC 19578054.
  62. ^ "Byron McKeeby". Tennessee Arts Commission Permanent Collection. Tennessee Arts Commission.

Further reading

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