Citation
Between silver light and orange shadow

Material Information

Title:
Between silver light and orange shadow paintings by Elena Sisto
Creator:
Sisto, Elena
Westfall, Stephen
Vigilante, Amy
Hwang, Connie
Donor:
University Gallery
Publication Date:
Language:
English
Physical Description:
[6] p., 27 pages of plates, [8] p. : ill. ; 22 cm.

Subjects

Subjects / Keywords:
University Gallery -- Exhibition Catalog -- Exhibition -- University of Florida -- 2000 - 2099 ( fast )
Portrait painting -- Exhibitions -- 21st century ( lcsh )
Portrait painting, American -- School of Visual Arts -- Women artists -- Elizabeth Firestone Graham Foundation -- Exhibitions ( lcsh )
Women in art -- Exhibitions ( lcsh )
Portrait painting ( fast )
Portrait painting, American ( fast )
Women in art ( fast )
Genre:
Exhibition catalogs ( aat )
catalog ( marcgt )
non-fiction ( marcgt )
Exhibition catalogs ( fast )

Notes

General Note:
Catalog for an exhibition at Freedom Tower Gallery, Miami Dade College, Sept. 7 - Nov.3, 2012; University Gallery, University of Florida, Dec. 4, 2012 - Feb. 1, 2013; Lori Bookstein Fine Art Gallery, New York, April 25 - May 25, 2013.
General Note:
Catalog design by Connie Hwang.
Funding:
Digitization by the Gary R. Libby Charitable Trust.
General Note:
Catalogue funding for the University Gallery venue was provided by a grant from the Elizabeth Firestone Graham Foundation.
Statement of Responsibility:
[essays by Steven Westfall and Amy Vigilante].

Record Information

Source Institution:
University of Florida Archives
Holding Location:
University of Florida
Rights Management:
Copyright Board of Trustees of the University of Florida
Resource Identifier:
841494535 ( OCLC )
ocn841494535

UFDC Membership

Aggregations:
University of Florida
University Archives

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Let's begin by discussing the term, "persona,"
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because understanding what: it means and how it might be applied to a body of imagery in painting is crucial to appreciating Elen a Sisto's extraordinary body of work. The term refers
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to the social mask that one wears out into the world, a mask that may overwhelm our deeper individuality if wecontinue to identifywithit when situations thatcall for more complicated , .responses arise. It can also refer simply toa fictive role adopted by an actor. Since "acting" of some kind is required of: most of us in many different social situations, it' s easy to see how a theatrical "self " can- develop pathologically, like Norma Desmond imagiing she's back in her gloryyears inSunsetBoulevard.

But painters and auteurs may provide an ,. incredibly rich aesthetic and narrative experience when they playwith personification.: In film we need only think of Charlie -Chaplin's Little Tramp, or Buster Keaton's Sad Sack. In painting, there's Picasso's serenely fertile Maria" Therese and raging Dora Maar, along with his,: late portrayals of himself as both matador aind ' .onquistador and Philip Guston's Klansmen. In literature there are Robert Browning's and Fernando Pessoa's speakers (including a., Character named Fernando Pessoa inThe Book ofDisquiet), Shakespeare's Lear and Hamlet, Roberto Bolano's eponymous character in T,he Savage Detectives.'The list is nearly endless.":

This exhibition documents the three major modes of portraying feminine personae that have occupied Elena Sisto's painting for the last ten years. In fact, Sisto has been exploring,


the personified figure for at least 25 years, beginning with her painterly re-castings of Nancy, Ernie Bushmiller's comic strip character from the 1930s. Other artists had appropriated Nancy, notably AndyWarhol and Joe Brainard, along with :post modern comic artists Bill,,' riffith ("Zippy, the Pinhead") and Scott , MacCloud, but Sisto is probably the only female artist to have made such extensive and beautiful use of the character as a personification of the feminine psyche. Sisto's Nancy is anxious ,and precocious, a giant little girl in social interactions of adult complexity. In some of these paintings, she is overmatched by the, situation and ,can wear a look of desperation.' In others she seems befuddled by the very existence of the painterlyworid she inhabits. Sisto is taking the opportunity to paint more schematically in these paintings, pushing the flat world of cartoons into painterly volumes so" that Nancy sometimes seems just barely held together by outline, or obscured by a wash that catches light like a cloud. Imagine her surprise!

Sisto is a NewYork schooled painter who studied with both Mercedes Matter and, most importantly, Nicholas Carone at The New York Studio School. It was a heady time. Her schoolmates included Robert Bordo, David Humphrey, Joyce Pensato, and Christopher Wool. Philip Guston passed through, and though Sisto never studied with him directly, she was to assimilate the tactility of his drawing with paint and his Italian Scuola Metafisica influences: Morandi, de Chirico, and Carlo Carra. Steeped in such a painting culture, she is reluctant to make a distinction between abstract




















er Guston developed a lumpen codex of objects 2 to and personages that rotated in and out of his pace pictorial tableaux:' a _ightbulb, cherries, a clock, hind body parts, a rug, the eyes of Musa (his wife),
Klansmen, wine bottles, cigarettes, bugs,
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a patched coat, paint brushes, his own head as a lima bean shaped Cyclops, etc. Manyof
y these forms were comprised of interchangeable
g ;parts: Musas eyelashes could also be the legs asso of a bug or the tassels of a rug. But it was the out flexing space that held ,everything together. tation, The grey or pink fields his protagonists cavorted )ush or conspired in were both a bearer ofhazy light an and a fleshy semisolid, a "skin" of paint that his




[l, later paintings. tared
ous Sistos Nancy dissolves into and remerges ism from a similar sticky dream space that's also
the taut membrane of the picture plane.
So do her subsequent figures from the 90s: this a balloon-headed baby girl (FIGIW I) and of
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a Tin Man (ncUe 2) speaking a blank, comic of play. In the spirit of play she subsequently word balloon. Most of these figures are painted made paintings of her own figures from as portraits that fill the pictorial frame from the imaginary fairytales (a double imagining) and neck up, rather than actors in a more elaborate, then a remarkable group of portraits of older narrative mis-en-scdne. But they are definitely women with trussed up hairstyles that she refers protagonists in a psychological narrative of to as her imaginary Spanish ancestors. I think of some kind. The baby girl's head changes color these characters as the Fairy Godmother "aunts" from painting to painting (FIGURC 3). She has of the young girls who were to debut in her something in her mouth: a pacifier or a gum paintings that commenced the new century. bubble. The Tin Man's speaking head is viewed
from slightly underneath, as though we were All of which deposits us where this exhibition looking at him from a smaller person's (child? begins, with Sisto's luminous Daughters series wife?) point of view. of three quarter portraits of adolescent girls in dresses with simple geometric design, which
Sisto was raising a young daughter with her double as pleated abstract paintings, like husband at the time and though it's important Malevich's peasant costumes updated and to insist there's no direct corollary to these given supple volume. These are perhaps the characters, it is clear that her work has become most restrained paintings of Sisto's career, preoccupied with the psychology of developing though more loosely painted than hyper-real, personhood. She has said they reflect some of with some of the simplicity that Beckmann her own moods and her psychological readings summons in his portraits from the 30s. The of family friends, besides her immediate family, other precedents I find are the standing solo and here the transference and mutability of saints in Piero della Francesca's predella panels. persona becomes vividly recognizable as a form ike Piero's saints, Sisto's grirls are it from above.




















Their background is more like wall than a cloudless Tuscan morning sky. Sisto is creating an atmosphere in which the sensual and sacred are intermingled.

By this time her own daughter was entering adolescence and she was reminded of what it was to be young girl growing in self-awareness and as yet, perhaps, not entirely aware or sure of her allure. The girls, essentially life sized, look directly at the viewer. Their gaze seems to have fallen upon us just at a moment of introduction; they are our interlocutors, simultaneously shy and engaged. In an interview conducted with the painter Ron Janowich in 2002, Sisto insists on the fictive or composite identities of these girls and the larger subject she is able to address through them:

I'm trying to create afigure that has its own reality, not a reality takenfrom life, and to make a painting that works as well on an abstract level as on a content level. I want it to have a sense oflife and the weight of life, but not be a copy of life.


It's also aboutselfpresentation-the construction of" an identity and the presentation of that identity to the world... These characters arejust at the threshold of beingapart of a public world, comingout of a private one. That brings into action all kinds of things like sexuality and design.

This "threshold" space is presented as something numinous, or at least a space where the numinous can be inferred. It's where a pending loss of innocence can be compensated


by a gain in awareness. Sisto is a feminist painter because she sees each stage of development in a woman.s life as a stage of empowerment. But as her comment above makes clear, she is never relinquishing a purposeful formal dialogue with the entire history of painting for the sake of illustrative content.

B 2005 Sisto's three quarter portraits were giving way to portraits of slightly older women from the neck up (there had been a few before,
notablyMairra (2002), but she belongs with the younger girls). As with all her figures, the faces of the bust portraits are composites or:
entirely made up. They are set against simple backgrounds that most often suggest an outdoor twilight. They have a simultaneously melancholy and enchanted air, as though they are setting out on or just becoming aware of the immanence of their futures. I think of them as contemplating college or some other journey far from home. Sisto's concentration on the face, whether in front or profile, allows her to more fully play with the gaze of the subject. Almost all of them seem to be looking at something to one side
beyond the frame of the picture, rather than the frontal regard of the younger girls. As with the SpanishAncestors, the narrative suggestions in -these portraits don't conflict with the simultaneous awareness that they are made 'of paint and painterly drawing as Morandi's endlessly recombinant bottles. It's as if we can see into their coalescing into images as a happybyproduct of Sisto's otherwise "abstract"
building of a painting's surface.-




















And yet, the narrative pull of characters into a representation of the psychic states of the female passage into adulthood persists. Many of Sisto's most recent paintings present various iterations of women art students, as though the' girls looking beyond the canvas in her earlier paintings have decided on their futures as makers and spinners of their own narratives in paint. Some of the recent paintings are portraits of young women lost in thought in front of a painting, perhaps their own or that of a classmate. Others show a student working, with postcards of paintings behind them pinned to a wall. There is a happy resonance in these paintings with Matisse, who loved to make a picture gallery out of the material picture plane "behind" a figure. And, of course, there is the resonance between the easels, brushes, postcards, and paints that surround these young women and the menacing, crepuscular studio attributes of a raging, aging Guston.

Sisto herself is a revered painting instructor who has taught for many years at the School of VisualArts and as a regular Visiting Artist at Chautauqua, among many other colleges and residencies. Like a mother seeing herself in her daughter and her daughter's friends, she clearly empathizes with these young women, as sensual in their youth and fiercely concentrating in their practice as a Hellenistic Greek warrior or athlete. In fact, it's become obvious that for the last decade Sisto's women have been modest inheritors of Picasso's Neo-Classical figures. They are more relational in scale to everyday life and more familiar to anyone who has ever identified with another's growing pains


and promise. They also possess the same combination of simplicity and purposeful expression in their features: a similar combination of looseness and clarity in their expressions.

Over the last decade Sisto's career took a backseat to motherhood and teaching. Now she has a new gallery, Lori Bookstein Fine Art, and this travelling exhibition to bring her work to the attention of a wider public. What they will behold is an artist wearing her acculturation and range of skills lightly, possessed of the deepest insight into her means and sympathy for her subjects. Any serious consideration of her body of work would reveal an artist who takes her place among the best figurative painters of her generation.

Stephen Westfall












AMY
VIGILANTE


Between Silver Light and Orange Shadow, an exhibition of paintings by New York artist Elena Sisto, presents 28 paintings created over the past 10 years. Sisto is a painter's painter, with an affinity for artists such as De Chirico, Giacometti, Morandi and Guston. Holding an impressive track record of important solo and group exhibitions, numerous residencies, workshops and grants including two from the National Endowment for the Arts, she is an acclaimed New York artist who studied at the Rhode Island School of Design, Brown University and the NewYork Studio School. Sisto has been a visiting artist at Bard, Bates, Brandeis, Colby, Hampshire, Parsons, Smith, Wesleyan, Yale, and many other prestigious schools.

Elena Sisto teaches painting and drawing at the School of Visual Arts in NewYork, where she has been for 15 years. She taught for years at a number of other northeastern institutions including Rhode Island School of Design, Columbia University, and the NewYork Studio School. Her manyyears working with art students is deeply reflected in her most recent paintings which look at women who are in the process of becoming artists. An artist examining art-making is classic and real, and the people in these works reflect both that pure truth and a coming of age. Without clearly expressing emotion, the characters portray focus and vulnerability.

The young women in Sisto's paintings are simultaneously interactive and introspective. They reach out to relate and also give us a chance to look within. Either way, there is a felt intuition


that allows us to form our own relationships to these paintings; they are seemingly autobiographical or somehow familiar. The newest paintings, of art students in typical attire of white T-shirts and jeans, are about the daily act of getting up and going to the studio. It's like the artist bared everything down to the bones and got to the basics: easel, canvas, brush, paint. Even the colors are straightforward: white, gray, black, blue, brown, with flashes of clear reds, yellows and greens.

The paintings function on an abstract level; well put together forms, tough shapes, fresh vitality. But the facial expressions and body language are also imbued with their own individual mental states. Whether it is psychological, physical, or spiritual, the figures stand independently, engaged in their own thoughts. Each of Sisto's paintings portrays a poignant moment in time.

Between Silver Light and Orange Shadow travels to the Freedom Tower G4llery of Miami-Dade College, the University Gallery at the University of Florida in Gainesville, and to Lori Bookstein Fine Art in the Chelsea Gallery District of New York City. We are most grateful to the lenders of Sisto's paintings for the exhibition; Stephen Westfall, author of a new and definitive essay on the work; Connie Hwang, catalog designer; and the administration and staff of all three exhibition venues that worked together to bring this exhibition to fruition.

Amy Vigilante, Ph.D.







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UNLESS OTHERWISE NOTED, ALL WORKS ARE COURTESY OF
LORI BOOKSTEIN FINE ART,
NEW YORK.



PLAr"c #1. DOUBLE 200o5-o7
Oil on linen 59x 36 inches


PLsrc #2. STRIPED TUNIC 200o5
Oil on linen 40x 30 inches
COLLECTION OF MS. CORNELIA PECKMAN AND MR. ALLAN REISS, NEW JERSEY


PLIIrC #3. YELLOW TRIANGLE 2002-05
Oil on linen 55x 36 inches
COLLECTION OF LORI BOOKSTEIN, NEW YORK


PLArc1 #4. HARLEQUIN 2002-05
Oil on linen 55x 36 inches


PLAre #5. BLUE ARGYLE 2005
Oil on linen 55x 36 inches
COLLECTION OF MR. AND MRS. JANE AND BARTON SHALLAT, MIAMI, FLORIDA


PLAIr #6. BLACK, WHITE, ORANGE, BLUE 2002-2005
Oil on linen 55 x 36 inches
PRIVATE COLLECTION, NEW YORK












PLA4rc 7. MARRA 2002
Oil on linen 35x37inches
COLLECTION OF MR. CHRIS & MRS. ELIZABETH CIRGENSKI, NEW YORK


PLr #8. SIDELONG 2007
Oil on linen 22x38 inches
COLLECTION OF DR. SAM & MRS. ANNETTE MANDEL, PALM BEACH, FLORIDA


PLAt C9. PYR 2005
Oil on linen 24x 48 inches
PRIVATE COLLECTION, NEW YORK


PL1-c #10. BLACK T 2012
Oil on linen 40x 4,8 inches


PLrA #11. UPSIDE DOWN 2011
Oil on linen 25 2x 36 inches


PLATr #12. STARTING OVER 2010
Oil on linen 44x 22 inches












PLAfr #13. PINK HAIR 2009
Oil on linen 24x 36 inches


PLAr #14. GREEN BRUSH 2011
Oil on linen 25 Y2x 36 1 inches


PLATr #15. UPSIDE DOWN 2011
Oil on linen 48x 40 inches


PLASr #16. REFLECT 2012
Oil on linen 36x 26 inches


PLArs #7. PATTERN 2010
Oil on linen 39x 35 inches


PLAT #18. SELF-PORTRAIT (WITH VAN DONGEN) 2011
Oil on linen 33x 40 inches
COLLECTION OF MS. LISE STRICKLER & MR. MARK GALLOGLY, NEW YORK


Pure #19. BETWEEN PAINTING AND LOOKING 2010
Oil on linen 38x 52 inches












PLArC #20. FULL POCKETS 2010
Oil on linen 24x 24 inches


PLAte 21. AT MIDNIGHT 2010
Oil on linen 36x 40 inches


PLArTe #22. PAINTER OF BIRDS 2010
Oil on linen 24x30 inches


PLXre #23. PAINTING WITH MUSIC 2010
Oil on linen 36x24 inches
PRIVATE COLLECTION


PLrC #24. GREEN SMEAR 2011
Oil on linen 52 x38 inches


PLATe #25. SNAFU 2011
Oil on linen 24x 36 inches


PLATC #26. TATTOO 2010
Oil on linen 37x40 inches


ON





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ELENA
SISTO


Born1952, Boston, MA Lives and Works in NewYork, NY


1970-77
Brown University, R.I. School of Design, BA in Art &Art History
New York Studio School of Drawing, Painting & Sculpture




"Between Silver Light and Orange Shadow, Paintings by Elena Sisto, September 6-November 3,2012, The Miami Freedom Tower, Miami Dade College, Miami, FL; December4, 2012 February 1, 2013, University Galleries, University of Florida, Gainesville, FL; April25May 25,2013, Lori Bookstein Fine Art, NewYork, NY

Katzen Museum of Art, American University, Washington, DC
a ,o o:4
'Littlejohn Contemporary Gallery, NewYork, NY

Harrisburg Community College, Rose Lehrman Art Center, Harrisburg, PA 2ittlejohn Conteprary Galle NewYork, NY

Littlejohn Contemporary Gallery, NewYork, NY

Littlejohn Contemporary Gallery, New York, NY 1999
Maer Museum, Randolph-Macon College, Lynchburg, VA
19.98
Littlejohn Contemporary Gallery, NewYork, NY Green eCounty1997MuseuofArt, SC
Greenville County Museum of Art, SC


1995
David Beitzel Gallery, NewYork, NY 1993"
Stephen Wirtz Gallery, San Francisco, CA 1992
Germans Van Eck Gallery, NewYork, NY 1991
Gallery 210, University of Missouri at St. Louis, MO 1991
Germans Van Eck Gallery, NewYork, NY 1990
DamonBrandt Gallery, NewYork, NY 986Vanderwoude Tananbam GlleryNewYork, NY Vanderwoude Tananbaum Gallery, NewYork, NY

Vanderwoude Tananbaum Gallery, NewYork, NY



Lori Bookstein Fine Art, NewYork, NY, "Heads"

University of Virginia, Charlottesville, VA, "Works on Paper"'
Schlesinger and Coleman Bancroft, NewYork, NY, "Oil and Water" 2009
aoo 9
Bucheon Gallery, San Francisco, CA (two-person show with Jenny Dubnow) Pera Museum, Istanbul, Turkey, "Octet" Sue Scott Gallery, New York, NY, "Subverted Genre" 2oo0-8
Hunterdown Museum, Clinton, NJ, "Inner Child: Good and Evil in the Garden of Memories'" The National Academy, NewYork, NY 183rd Annual Invitational Jeff Bailey Gallery, NewYork, NY, "Gouache and Only Gouache"



















20.07
Hunterdon Museum of Art, Clinton, NJ, "Inner Child: Good and Evil in the Garden of Memories" EFA Gallery, NewYork, NY., "Horizon" soo 6
Andrea Meislin Gallery, NewYork, NY, "Oh, YouBeautiful Doll"
Storefront Artists Project, Pittsfield, MA, ",Selections from the Cultural Corridor" . GeoffreyYoung Gallery, Great Barrington, MA, "Light inAugust"
University of Virginia Art Museum, Charlottesville, VA, "Complicit! Contemporary American Art and Mass Culture" The Philoctetes Center, NewYork, NY "Objects in Mind"
Trierenberg Corporation Gallery, Traun, Austria, "NewArt, NewYork: :Reflections on the Human Condition"

Obsolete Gallery, Venice, CA, "PrivateDrama" : BucheonGallery, San Francisco, CA, "Face Paint" NewYork Studio School Gallery, NewYork,: NY "The Continuous Mark: 40 Years of the New York Studio School"
Littlejohn Contemporary Gallery, NewYork, NY

Littlejohn Contemporary Gallery, NewYork,, NY New Jersey Center for the Visual Arts, Summit, NJ, "Unveiling the Image" . Mary Baldwin College, Hunt Gallery, Staunton," VA,"Mirror, Mirror: Imaging the Magic Tale" i,
2002 " .,. . . .. ". , .. Littlejohn Contemporary Gallery, NewYork, NY Bucheon Gallery, San Francisco, CA

Littlejohn Contemporary Gallery, NewYork, NY University Galleries of Illinois State University,


Normal, IL, "Pixerina Witcherina," traveled: to: Sarah Moody Gallery of Art, University of Alabama, Tuscaloosa; Hanes Art Gallery, Wake. Fore st University, WinstonSalem, NC Bucheon Gallery, San Francisco, CA 2000
Littlejohn Contemporary Gallery, NewYork, NY: 199 9
Allen Sheppard Gallery, NewYork, NY 19 98
Greenville County Museumof Art, Greenville, SC, "Women, Women, Women: Artists, Objects, Icons"; 1997
The Work Space @ Dolgenos Newman & Cronin, New York, "Hair-Do" DNA Gallery, Provincetown, MA, "Domestic Bliss" 19 96
DNA Gallery, Provincetown, MA Thread Waxing Space, "SCRATCH" Adam Baumgold Fine Art/Simon Capstick Dale iGallery, NewYork, N Y "Comic Inspirations" Wake Forest University, Winston -Salem, NC, "Range of Effect"
199 5
Weatherspoon Gallery, University of North Carolina at Greensboro, Greensboro, NC, "Art on Paper 1995"
DruArstark Gallery, New York, NY 199 4
Adam Baumgold Fine Art, NewYork, NY

"Selections"
ICA, Portland at MECA, Maine College of Art, Portland, ME, "Intimate" Katonah Museum of Art, Katonah, NY "SingleCell Creatures: Cartoons and their Influence on ContemporaryArts", GeoffreyAYoung Gallery, Great Barrington, MA, "Soliloquies"



















Howard Yezerski Gallery, Boston, MA, "Nine Months: Art & Pregnancy" UCLAWight Art Gallery, Los Angeles, CA, "Bad Girls, West"/
1993 .
The Corcoran Gallery of Art, Washington, DC, The 43d Biennial of ContemporaryAmerican Painting
UCI Fine Arts Gallery, University of California at Irvine, Irvine,: CA .
GermansVan Eck Gallery, New York, NY, "'GalleryArtists and Friends" Robert Morrison Gallery, NewYork, NY, "Summer Salon Show" Pamela Auchincloss Gallery, NewYork, NY, "Drawing Conclusions" Greenville County Museum of Art, Greenville, SC, 'Already"
K annert Art Museum, University of Illinois at Urbana-Champagne, Champaign, IL, "The Eidetic Image: Conitemporary Works on Paper" New_ York Studio School of Drawing, Painting, and Scupture, "Formative Past, Present Form" MaierMuseum of Art, Randolph Macon College, Lynchburg, VA. "Making Connections: Approaches to Space in Drawing"

WallachArt Gallery, Columbia University, New York, NY
Gall ery 400, University of Illinois at Chicago, Chicago, IL, "On Condition: Painting Between Abstraction and Figuration" Wexner Center for the Arts, Ohio State University, Columbus, OH, "Re: Framing Cartoons"
Germans Van Eck Gallery, NewYork, NY, "Play Between Fear and Desire"


19 91
Marc Richards Gallery, Los Angeles, CA, "Personal Mythologies" JamisonThomas Gallery, NewYork, NY, "Compulsion"
Ruggiero Gallery, NewYork, NY, Group Drawing Show
199o
RoyBoyd Gallery, Santa Monica, CA, "Examples Cool & Lonely"
Cummings Art Center, Connecticut College, New London, CT, "Fluid Geometry" Tom Cugliani Gallery, NewYork, NY, "Eros/ Thanatos, Death & Desire" Loughelton Gallery, NewYork, NY, "Re: Framing" 19 89
Fawbush Gallery, New York, NY, Drawings City Gallery, NewYork Dept. of CulturalAffairs, NewYork, NY, "Personal Icons" :Damon Brandt Gallery, NewYork, NY NewYork Studio School, NewYork, NY "Field and Frame: Meyer Schapiro's Semiotics. of Painting"
Ruggiero Henis Gallery, NewYork, NY, "Immanent Space" Henry Feiwel Gallery, NewYork, NY, "Is this a small picture?"
19 88
Bali Miller Gallery, NewYork, NY NewVisions Gallery, Ithaca, NY One Penn Plaza, NewYork, NY, "Nature in Art-44 WomenArtists" 1987
Bronx Museum of the Arts, Bronx, NY, "To Objectify the Subjective: Contemporary Symbolist Sensibilities"'. Winston Gallery, Washington, D.C.



















1986
Leo Castelli Greene St. Gallery, New York, NY, Skowhegan 40th Anniversary Exhibition One Penn Plaza, NewYork, iNY, "Short Stories" ' San Francisco Int'l1Airport, Airport Caf6, San Francisco, CA
Colby College Museum of Art, Waterville, ME, "Inner Images"
The Newark Museum, Newark, NJ. "Recent American Painting and Sculpture: 1975-1985' 1985
NewYork Studio School, New York, NY, Alumni Show
Vanderwoude Tananbaum Gallery, NewYork, NY, "Notions of Surrealism" NewYork Studio School, NewYork, NY, 20th anniversary show.
Jersey City Museum, Jersey City, NJ, "Mystery Show"
Sordoni Art Gallery, Wilkes College, Wilkes Barre, PA. "New Expressive Landscape" 19 84
Weatherspoon Gallery, University of North Carolina at Greensboro, Greensboro, NC, "Art on Paper 1984"
Jamaica Arts Center, Queens, NY, "Situations" A.I.R. Gallery, NewYork, NY, "WomenArtists of the 80s: NewTalent"
Yale University at Norfolk Gallery, Norfolk, CT Tyler School of Art, Philadelphia, PA, "Fears" 1983
Weatherspoon Gallery, UNC at Greensboro, Greensboro, NC, Art on Paper Rotunda Gallery, Brooklyn, NY


2008
Inglis Griswold Nelson Prize, National Academy Museum and School of FineArts 183rd Invitational


2007
Yaddo, Artist's Fellowship 19 99
Peter S. Reed Foundation Grant

Fine Arts Work Center, Provincetown, Artist's Fellowship 19,9 5
Hand Hollow Foundation Fellowship,,," . 19 89 -90o
National Endowment for the Arts VisualArtist's Fellowship 19 87
Millay Colony for the Arts. Artist's Residency
1g a ,. - a, 4 ,. . / . ( .' ,..

National Endowment for the Arts Visual Artist's Fell ,.owship., . 1976
Skowhegan School' 19 7 5
Yale Norfolk Program






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