John Jacobsmeyer

John Jacobsmeyer is Director of Printmaking at the New York Academy of Art's Graduate School for Figurative Art, where he teaches printmaking, painting, and art theory. He has been an active contributor to conceptual figuration in the New York art scene for over two decades, with extensive teaching experience at over 40 colleges and universities worldwide including RISD, Central Academy of Fine Arts Beijing, Shanghai University, Vanderbilt University, and the Pratt Institute.

Jacobsmeyer earned his BFA from the University of New Hampshire and an MFA in painting and printmaking from Yale University. His artistic practice centers around intricate wood textures and patterns, often depicting complex wooden interiors and computer-inspired architecture. His work frequently explores the intersection of nature and culture, with a particular fascination for pine wood patterns that he developed from childhood experiences in his grandparents' pine cabin.

• Operates JJHS Press, publisher of his wordless book 'More Than Human' (2010)
• Created portfolio 'Safety First' for Shanghai Metro (2013)
• Recipient of numerous prestigious awards including Fulbright Fellowship, Pollack-Krasner Grant, and NYFA Fellowship

His work is housed in permanent collections of the Victoria and Albert Museum (London), Anderson Museum of Contemporary Art (New Mexico), Springfield Museum of Art (Ohio), and numerous other institutions worldwide. Jacobsmeyer's recent exhibitions like 'The Alligator Pit Recoded' (2020), 'Locus Colossus' (2020), and 'Great Feats and Defeats' (2018) demonstrate his continued innovation in blending traditional painting techniques with contemporary digital aesthetics and narrative structures.

• Ragdale Foundation residency
• MacDowell Colony residency
• Cill Rialig Ireland residency
• Shanghai University residency

Jacobsmeyer's technical mastery is particularly evident in his ability to create hyperreal wood environments on aluminum surfaces, implementing complex layering techniques inspired by Renaissance and Baroque masters. His work often features square formats that create unique perspectives imitating first-person video game viewpoints or surveillance camera angles, reflecting his fascination with the virtual world and digital representation.