Beverly Fishman by Miles McEnery Gallery

BEVERLY FISHMAN

MILES M c E N E RY G A L L E RY

520 West 21st Street New York NY 10011

tel +1 212 445 0051 www.milesmcenery.com

525 West 22nd Street New York NY 10011

BEVERLY FISHMAN: DRUGS OF CHOICE By Dawn Chan

In 2015, a young hedge-fund manager by the name of Martin Shkreli became the target of national ire when his company acquired manufacturing licenses for the anti-malarial drug Daraprim, in order to jack up the cost of a single pill from $13.50 to well over $700. Shkreli courted further controversy that same year when he laid down $2 million for an unreleased album by the New York hip-hop group Wu-Tang Clan—and then threatened to destroy the album rather than share it with the world. It may seem a strange coincidence that this young man had anointed himself the capricious gatekeeper to both a life-saving drug and the artistic output of a revered music collaborative. But Shkreli’s meddling in both pharmaceutical and cultural production may be less of a fluke than it first appears. After all, a drug—and an artwork—reaches deep, goes visceral, and elicits ineluctable physiological reactions. A drug dose—and an art encounter—is an experience with a discrete temporal scope, but also aftereffects that linger on. You catch it opening night. Or tune in to watch it once a week. Or take it once every twenty-four hours. Such overlaps between medicine and art are among the themes that Beverly Fishman’s oeuvre has nimbly explored for decades. Her arresting and inviting wall works on view at Miles McEnery Gallery are the newest instantiations of an ongoing series of pills/reliefs begun in 2012: shaped canvases spray-painted with urethane (the finish of choice for automobile manufacturers) in unique, mixed-to-order colors. At moments, dark, mute tones alternate with the glare of Lisa Frank-worthy hues. And the resulting perceptual vibrations seem to reprise Josef Albers’s teachings on the inherent instability of color.

Fishman’s reliefs take on a longstanding tradition of abstraction that straddles the painting-sculpture divide. As such, they are as much about their forward-facing surfaces as they are about their brightly painted edges, which in turn are as important as the swaths of white wall (framed within cut-out apertures), sometimes tinted with the diffuse light bouncing off the works. While inventing its own rules, Fishman’s work on view nonetheless fearlessly engages with established modes of abstraction. In its precision and in its treatment of surface, some will find resonances with finish fetish, as in the lacquered pieces of John McCracken. In the bright, shaped canvases, others will locate connections to Frank Stella or Ellsworth Kelly. To still others, this group of work will be notable for its gentle dialogue with Light and Space artists—like Craig Kauffman, or Helen Pashgian—and for the way it captures light’s atmospherics. The gleam of a yellow urethane surface in Untitled (ADHD) (2018), for example, might evoke construction-site machinery under the noonday sun. Or the diffuse light scattered by the fluorescent edges of Untitled (Insomnia) (2017) upon a perpendicular gallery wall conjures the sheen of wet, neon-lit asphalt late at night. For all that Fishman’s work channels the formal concerns of abstraction, she has also noted—in a 2017 interview with Art in America—that she belongs to “a generation of painters that needed to make the connection between abstract form and external reference more explicit than before— by incorporating texts or diagrams, for example, or by working with simple icons that looked like things in the world.” True to her ongoing interests in medicine and technology, the works in this show—candy-colored and dangerously seductive—offer a dark view of the pharmaceutical industry’s visual vocabulary. According to the artist, the work takes its starting points from skin tones, cosmetics, and industrial aesthetics, but also, crucially, the design decisions that shape both the appearance of pills and the brand identities of the companies that sell them. n

As early as 1500 B.C., pills—or katapotia, in ancient Greek, for “something to be swallowed”—were taken as cures to ailments. But unlike the foul-tasting tinctures, potions, and draughts in an apothecary’s arsenal, pills were created expressly to bypass our sense of smell and taste. As such, a pill’s visual characteristics are everything. Its appearance communicates its function and dosage. Unsurprisingly, then, the look of a pill is as crucial as any other aspect of a pharmaceutical company’s brand identity, whether the logo on a blister pack or the typeface on a sign welcoming visitors to corporate headquarters. And like the shaped wooden elements in Fishman’s pieces, all these design elements walk a careful line between the pure distilled forms one might find in geometric abstraction, and the disarray of real-world references. A quick look across the landscape of pharmaceutical brand identities drives home the point: The logo of the Swiss company Novartis, for example, seemingly depicts a mortar and pestle—stylized as a calligraphic, three-stroke rendering. The biopharmaceutical company Gilead’s logo is a leaf and shield, but turned into regions of red and white. Roche’s trademark perhaps represents a benzene ring or some similar molecule, but simplified into a no-nonsense hexagon. Naturally, these are logos that intentionally gesture at real-world references, and thus convey a company’s real-world utility. But these logos are also meant to stay firmly in the realm of abstraction, as if to establish a stiff distance from the real world’s contaminants and chaos. Fishman’s artworks, meanwhile, consider this sort of push and pull. Their shapes are somewhere between Minimalism’s Platonic forms, on the one hand, and silhouettes of real-world objects, on the other. In light of the artist’s concerns with technology and medicine, the ultra-flat veneers of her art take on additional significance. Evoking the unblemished surfaces of research labs or operating rooms, they are reminders that, in this context, objects with machine-made origins have value. This is both because they are sterile—visibly free of the contaminants that come with a human creator—and because they are standardized: free of hand-wrought irregularities and flaws.

Yet, it is not only the precision surfaces of these works that connect them to high-tech production techniques. Fishman notes that CNC milling is a component of her process. It is these technologies that enable the work’s beveled edges and round fillets that go beyond the stock protractor curves of, say, Stella’s shaped canvases. And therein lies one of the successful binaries of Fishman’s practice: She tackles, head-on, the concerns of abstraction itself, executing closed-system experiments in color, form, and space. But she also manages to be outward looking, examining how such arrangements of color, form, and space are both given new meaning by recent technologies and put to use by corporate brand identities. n

In a 1993 essay, Donald Judd noticed that many of the critics discussing his work tended to find that it transformed surrounding space into something “spiritual.” Judd attributed this tendency to our collectively limited conceptions of space. “Space is so unknown,” he wrote, “that the only comparison is to the beliefs of the past.” The precepts of feng shui, the golden ratio in architecture, the heights of a church’s nave: We collectively see something worshipful or mysterious in well-considered spatial arrangements. If abstraction’s use of space has traditionally invited comparisons to such spiritual “beliefs of the past,” Fishman’s pieces seem to function in savvy opposition. One might say the works incite comparison with beliefs of the present, or future. No longer are the workings of the human hand applied to endeavors that paid homage to the divine unknown. Here, it is the breathtaking precision of machines that has been conscripted to humanistic ends. Viewing the pills/reliefs, her audience is invited to wonder: What might abstraction look like when it reflects not the feelings of piety stirred by spatial relationships, but a sense of cool control as we medicate ourselves, edit genomes, and essentially outmaneuver our preordained fates?

Take the approximate letter “D” shape in Untitled (Anxiety) (2017), whose spine is flushed with the edge of a beveled rectangle, or take the two quarter-circles in Untitled (Pain, Asthma, Depression, ADHD, ADHD) (2018), their spines abutting a fun-house-stretched hexagon. These forms tile outward in precise alignment, and divide up the walls as if representing a very contemporary desire for a man-made kind of order. Parts are laid out, tidily, side by side, as if echoing modernity’s tendencies to demarcate and refasten, to measure out life with coffee spoons, if we might borrow T.S. Eliot’s words. Indeed, the works on view seem to reflect how contemporary patterns of existence are compartmentalized, divided up and linked together. Think of apartment units and video-game cutscenes, subway cars and calendar entries, airport terminals and browser windows. Think of pillboxes with rows of snap-lidded compartments embossed with the days of the week. Or pills themselves: cut into quarters for dosing, broken to be better swallowed, chopped up and shared with friends. Such treatment of space befits the work’s titles—dark or humorous, depending on your current feelings about health care. Consider Untitled (Anxiety, Depression, Asthma, High Blood Pressure) (2018). Here, a litany of chronic ailments functions as a name—which then leads us toward a wry line of questioning. Can a personal experience be reconstituted by an increasingly long list of intersecting conditions? How much more are we, really, than the predictions of an infinitely precise set of actuarial tables? And when medicine becomes precise and effective enough, will our behaviors start to perfectly correlate to the cocktail of pills we pop? As Fishman wrote in a 2018 essay for Cultural Politics, our contemporary global condition is one in which “drugs construct and contest our identities and in which the production and consumption of art can seem n like an addiction.” Dawn Chan is a New York–based writer and critic, as well as a former editor at Artforum magazine.

Untitled, 2016 Vinyl and paper collage on smooth acid free Bristol paper 19 x 24 inches 48.3 x 61 cm

Untitled (Anxiety), 2017 Urethane paint on wood 51 1/2 x 126 x 2 inches 130.8 x 320 x 5.1 cm

Untitled, 2016 Vinyl and paper collage on smooth acid free Bristol paper 24 x 19 inches 61 x 48.3 cm

Untitled (Insomnia), 2017 Urethane paint on wood 38 x 38 x 2 inches 96.5 x 96.5 x 5.1 cm

Untitled, 2017 Vinyl and paper collage on smooth acid free Bristol paper 17 x 14 inches 43.2 x 35.6 cm

Untitled (Sleepiness, Opioid Addiction, ADHD), 2017 Urethane paint on wood 62 1/2 x 62 1/2 x 2 inches 158.8 x 158.8 x 5.1 cm

Untitled, 2016 Vinyl and paper collage on smooth acid free Bristol paper 17 x 14 inches 43.2 x 35.6 cm

Untitled (b+a), 2017 Urethane paint on wood 38 1/2 x 38 x 2 inches 97.8 x 96.5 x 5.1 cm

Untitled, 2016-2017 Vinyl and paper collage on smooth acid free Bristol paper 17 x 14 inches 43.2 x 35.6 cm

Untitled (ADHD, Insomnia, Pain, Opioid, Addiction), 2017 Urethane paint on wood 71 1/4 x 48 x 2 inches 181 x 121.9 x 5.1 cm

Untitled, 2018 Vinyl and paper collage on smooth acid free Bristol paper 24 x 19 inches 61 x 48.3 cm

Untitled (Insomnia, Opioid Addiction, ADHD), 2018 Urethane paint on wood 39 x 39 x 2 inches 99.1 x 99.1 x 5.1 cm

Untitled, 2018 Vinyl and paper collage on smooth acid free Bristol paper 17 x 14 inches 43.2 x 35.6 cm

Untitled (Depression, Anxiety), 2018 Urethane paint on wood 42 x 40 x 2 inches 106.7 x 101.6 x 5.1 cm

Untitled, 2018 Vinyl and paper collage on smooth acid free Bristol paper 19 x 24 inches 48.3 x 61 cm

Untitled (Opioid Addiction, ADHD, Depression, Depression), 2018 Urethane paint on wood 51 1/2 x 98 x 2 inches 130.8 x 248.9 x 5.1 cm

Untitled, 2018 Vinyl and paper collage on smooth acid free Bristol paper 17 x 14 inches 43.2 x 35.6 cm

Untitled (Double Pain), 2018 Urethane paint on wood 38 x 34 x 2 inches 96.5 x 86.4 x 5.1 cm

Untitled, 2018 Vinyl and paper collage on smooth acid free Bristol paper 17 x 14 inches 43.2 x 35.6 cm

Untitled (ADHD), 2018 Urethane paint on wood 38 1/4 x 38 1/4 x 2 inches 97.2 x 97.2 x 5.1 cm

Untitled, 2018 Vinyl and paper collage on smooth acid free Bristol paper 19 x 24 inches 48.3 x 61 cm

Untitled (Pain, Asthma, Depression, ADHD, ADHD), 2018 Urethane paint on wood 48 1/2 x 113 1/2 x 2 inches 123.2 x 288.3 x 5.1 cm

Untitled, 2018 Vinyl and paper collage on smooth acid free Bristol paper 19 x 24 inches 48.3 x 61 cm

Untitled (Digestive Problems, Sleepiness, Anxiety, Alcoholism), 2018 Urethane paint on wood 52 x 107 x 2 inches 132.1 x 271.8 x 5.1 cm

Untitled, 2018 Vinyl collage on smooth acid free Bristol paper 17 x 14 inches 43.2 x 35.6 cm

Untitled (ADHD, Alcoholism, Opioid Addiction), 2018 Urethane paint on wood 72 x 51 1/2 x 2 inches 182.9 x 130.8 x 5.1 cm

Plate List page 9

page 17

Untitled, 2016

Untitled, 2017

Vinyl and paper collage on smooth

acid free Bristol paper

19 x 24 inches

17 x 14 inches

48.3 x 61 cm

43.2 x 35.6 cm

page 11

page 19

Untitled (Anxiety), 2017

Untitled (Sleepiness, Opioid Addiction, ADHD), 2017

Urethane paint on wood

51 /2 x 126 x 2 inches

62 1/2 x 62 1/2 x 2 inches

130.8 x 320 x 5.1 cm

158.8 x 158.8 x 5.1 cm

page 13

page 21

Untitled, 2016

Vinyl and paper collage on smooth

acid free Bristol paper

24 x 19 inches

17 x 14 inches

61 x 48.3 cm

43.2 x 35.6 cm

page 15

page 23

Untitled (Insomnia), 2017

Untitled (b+a), 2017

Urethane paint on wood

38 x 38 x 2 inches

38 1/2 x 38 x 2 inches

96.5 x 96.5 x 5.1 cm

97.8 x 96.5 x 5.1 cm

page 25

page 33

Untitled, 2016-2017

Untitled, 2018

Vinyl and paper collage on smooth

acid free Bristol paper

17 x 14 inches

43.2 x 35.6 cm

page 27

page 35

Untitled (ADHD, Insomnia, Pain, Opioid, Addiction), 2017

Untitled (Depression, Anxiety), 2018

Urethane paint on wood

71 /4 x 48 x 2 inches

42 x 40 x 2 inches

181 x 121.9 x 5.1 cm

106.7 x 101.6 x 5.1 cm

page 29

page 37

Untitled, 2018

Vinyl and paper collage on smooth

acid free Bristol paper

24 x 19 inches

19 x 24 inches

61 x 48.3 cm

48.3 x 61 cm

page 31

page 39

Untitled (Insomnia, Opioid Addiction, ADHD), 2018

Untitled (Opioid Addiction, ADHD, Depression, Depression), 2018

Urethane paint on wood

39 x 39 x 2 inches

51 1/2 x 98 x 2 inches

99.1 x 99.1 x 5.1 cm

130.8 x 248.9 x 5.1 cm

page 41

page 49

Untitled, 2018

Vinyl and paper collage on smooth

acid free Bristol paper

17 x 14 inches

19 x 24 inches

43.2 x 35.6 cm

48.3 x 61 cm

page 43

page 51

Untitled (Double Pain), 2018

Untitled (Pain, Asthma, Depression, ADHD, ADHD), 2018

Urethane paint on wood

38 x 34 x 2 inches

48 1/2 x 113 1/2 x 2 inches

96.5 x 86.4 x 5.1 cm

123.2 x 288.3 x 5.1 cm

page 45

page 53

Untitled, 2018

Vinyl and paper collage on smooth

acid free Bristol paper

17 x 14 inches

19 x 24 inches

43.2 x 35.6 cm

48.3 x 61 cm

page 47

page 55

Untitled (ADHD), 2018

Untitled (Digestive Problems, Sleepiness, Anxiety,

Urethane paint on wood

Alcoholism), 2018

38 /4 x 38 /4 x 2 inches

Urethane paint on wood

97.2 x 97.2 x 5.1 cm

52 x 107 x 2 inches

132.1 x 271.8 x 5.1 cm

page 57 Untitled, 2018 Vinyl collage on smooth acid free Bristol paper 17 x 14 inches 43.2 x 35.6 cm page 59 Untitled (ADHD, Alcoholism, Opioid Addiction), 2018 Urethane paint on wood 72 x 51 1/2 x 2 inches 182.9 x 130.8 x 5.1 cm

BEVERLY FISHMAN Born in Philadelphia, PA, in 1955 Lives and works in Detroit, MI EDUCATION 1980 MFA, Yale University, New Haven, CT 1977 BFA, Philadelphia College of Art, Philadelphia, PA

2011 Galerie Richard, New York, NY “Pharmako,” Galerie Richard, Paris, France “Pill Spill,” Toledo Museum of Art, Toledo, OH 2010 “Future Natural,” David Richard Contemporary, Santa Fe, NM “Beverly Fishman,” Pulse Art Fair, New York, NY “Pharmaco-Xanadu,” Bruno David Gallery Projects Space, St. Louis, MO 2009 “Kandyland,” Lemberg Gallery, Ferndale, MI “Beverly Fishman: Recent Paintings,” Bruno David Gallery, St. Louis, MO

SOLO EXHIBITIONS 2018 Miles McEnery Gallery, New York, NY “Chemical Sublime,” Kavi Gupta Gallery, Chicago, IL 2017 “T.N.N.,” Kravets Wehby Gallery, New York, NY “DOSE” (curated by Nick Cave), CUE Art Foundation, New York, NY “Another Day in Paradise,” Abroms-Engel Institute for the Visual Arts, University of Alabama, Birmingham, AL 2016 “Pain Management,” Library Street Collective, Detroit, MI 2015 “Big Pharma,” Columbus College of Art & Design, Columbus, OH “Beverly Fishman: In Sickness and in Health,” Chrysler Museum of Art, Norfolk, VA “Living Networks,” Wasserman Projects, Birmingham, MI 2013 “Focus: Beverly Fishman,” Eli and Edythe Broad Art Museum, East Lansing, MI “Artificial Paradise,” Wasserman Projects, Birmingham, MI 2012 “Pill Spill,” Detroit Institute of Art, Detroit, MI

2008 “Chromo-ecstasy” (curated by Dr. Sania Papa), Artis Causa Gallery, Thessaloniki, Greece “Optical Unconscious,” Tarble Arts Center, Eastern Illinois University, Charleston, IL 2007 “Matrix,” Galerie Jean-Luc & Takako Richard, Paris, France 2006 “Chromophilia,” Lemberg Gallery, Ferndale, MI 2005 “Chemical Abstraction,” Skestos Gabriele Gallery, Chicago, IL “Take as Needed,” Michael Steinberg Fine Art, New York, NY “One a Day,” Galerie Jean-Luc & Takako Richard, Paris, France “Beverly Fishman,” Daimler Chrysler Galerie, Berlin, Germany 2004 “Ecstasy,” Galerie Jean-Luc & Takako Richard, Paris, France 2003 “happy happy,” SolwayJones Gallery, Los Angeles, CA “Pharmakon,” Wellcome Trust, London, United Kingdom “From Here to There,” Lemberg Gallery, Ferndale, MI 2002 “Beverly Fishman,” Boom Gallery, Oak Park, IL

2001 “Feel Good,” Gallery 2211 SolwayJones, Los Angeles, CA 2000 “Pharmaco Xanadu,” White Columns, New York, NY “Drugstore,” PØST Gallery, Los Angeles, CA “Fantastic Voyage,” Lemberg Gallery, Ferndale, MI 1999 “Light and Dark Matter,” Boulder Museum of Contemporary Art, Boulder, CO 1998 “I.D. Series,” Susanne Hilberry Gallery, Birmingham, MI “Clusters: New Paintings,” Heriard-Cimino Gallery, New Orleans, LA 1997 “New Work,” Raleigh Gallery, Boca Raton, FL “Clusters, New Work,” Mott Community College, Flint, MI 66

1996 “Beverly Fishman: Critical Mass,” Susanne Hilberry Gallery, Birmingham, MI “Beverly Fishman, Recent Work,” Elgin Community College Gallery, Elgin, IL “Beverly Fishman: Breaking the Code,” The John J. McDonough Museum of Art, Youngstown, OH 1994 “Hybrids: Recent Paintings,” Indigo Galleries, Boca Raton, FL 1993 “Hybrids: New Work,” Cranbrook Art Museum, Bloomfield Hills, MI “New Works,” Cultural Art Center, Columbus, OH “New Paintings,” Susanne Hilberry Gallery, Birmingham, MI 1987 “Four Winners,” Stamford Museum and Nature Center, Stamford, CT 1986 “Drawings,” Sarah Doyle Gallery, Brown University, Providence, RI

1985 “Drawings, Paintings and Sculpture,” Housatonic Museum of Art, Bridgeport, CT Stamford Museum & Nature Center, Art/Ex Gallery, Stamford, CT Cummings Arts Center, Connecticut College, New London, CT GROUP EXHIBITIONS 2018 “Grafik,” Harper’s Books, East Hampton, NY “Xeriscape - Nina Chanel Abney, Rosson Crow, Beverly Fishman, Tschabalala Self and Wendy White,” Library Street Collective, Detroit, MI “Front International” (curated by Michelle Grabner), Cleveland Triennial for Contemporary Art, Cleveland, OH “Public Matter,” Library Street Collective, Detroit, MI “Primary,” Korn Gallery, Dorothy Young Center for the Arts, Drew University, Madison, NJ “‘Spieltrieb’: Polly Apfelbaum, Beverly Fishman, Ryan Mrozowski, Kathleen Ryan,” Jack Hanley Gallery, New York, NY 2017 “Remains of the Days,” Borusan Contemporary, Istanbul, Turkey “Paper,” Kavi Gupta Gallery, Chicago, IL “A Dazzling Decade,” Nerman Museum of Contemporary Art, Overland Park, KS “The Coffins of Paa Joe and the Pursuit of Happiness,” Jack Shainman Gallery, New York, NY “She Rocks,” Kravets Wehby Gallery, New York, NY 2016 “Sensuous/Pensive: At Odds and Overlapping” (curated by Donald Kuspit and Casey Gleghorn), Booth Gallery, New York, NY “Painting/Object,” Library Street Collective, Los Angeles, CA “Super Sketchy,” DCTV, New York, NY “New Works by Daniel Brice, Tim Forcum, Beverly Fishman, Dion Johnson, Joe Lloyd, John Schlue, Christian Tedeschi, and Wayne White,” Western Project @ JAUS, Los Angeles, CA

2015 “Going Big, Central Booking,” New York, NY “Compendium,” The Islip Art Museum, East Islip, NY “The Brain, Sun Valley Center for the Arts,” Ketchum, ID “Post-Op: The Responsive Eye Fifty Years After,” David Richard Gallery, Santa Fe, NM 2014 “42nd Annual International Glass Invitational Award Winners,” Fort Wayne Museum of Art, Fort Wayne, IN “Sensation,” David Richard Gallery, Santa Fe, NM 2013 “Color as Abstraction,” David Richard Gallery, Santa Fe, NM “Shattered: Contemporary Sculpture in Glass,” Frederik Meijer Gardens & Sculpture Park, Grand Rapids, MI “Heads, Shoulders…,” Florida State University Museum of Fine Art, Tallahassee, FL 2012 “Segment #3,” Borusan Contemporary, Istanbul, Turkey “Art on Paper,” Weatherspoon Art Museum, University of North Carolina, Greensboro, NC “Blue, White, and Red,” Bruno David Gallery, St. Louis, MO “First Year in New York,” Galerie Richard, New York, NY “Petits Formats,” Galerie Richard, Paris, France 2011 “No Object Is an Island: New Dialogues with the Cranbrook Collection,” Cranbrook Art Museum, Bloomfield Hills, MI 2010 “Pop, Op, and Geo Again,” David Richard Contemporary, Santa Fe, NM “Overpaper,” Bruno David Gallery, St. Louis, MO “Ceremonial Exhibition,” American Academy of Arts and Letters, New York, NY “Invitational,” American Academy of Arts and Letters, New York, NY 2009 “Infinitesimal Eternity: Images Made in the Face of Spectacle,” 32 Edgewood Gallery, Yale School of Art, New Haven, CT “opening season,” Artis Causa Gallery, Thessaloniki, Greece

“Michigan Masters Invitational,” Kresge Art Museum, Michigan State University, East Lansing, MI “Overview ‘09,” Bruno David Gallery, St. Louis, MO “Color,” Rena Sternberg Gallery, Glencoe, IL 2008 “Mixed Show,” Lemberg Gallery, Ferndale, MI “Small Treasures,” Lemberg Gallery, Ferndale, MI “Small Abstract Paintings,” Galerie Jean-Luc & Takako Richard, Paris, France 2007 “Alma Mater,” Kinkead Contemporary, Culver City, CA “Op Art: Then and Now,” Columbus Museum of Art, Columbus, OH “Mixed Exhibition,” Bernard Jacobson Gallery, London, United Kingdom “Introduction,” Artis Causa Gallery, Thessaloniki, Greece “The Inland See” (curated by James Yood), Richmond Center for Visual Arts, Western Michigan University, Kalamazoo, MI “Optical Edge” (curated by Robert C. Morgan), Pratt Manhattan Gallery, New York, NY “Fresh,” Lemberg Gallery, Ferndale, MI “WHY: Detroit,” Detroit Gallery, Detroit, MI 2006 “Group Show,” Bernard Jacobson Gallery, London, United Kingdom “Summer Group Show,” Lemberg Gallery, Ferndale, MI 2005 “Paper,” Skestos Gabriele Gallery, Chicago, IL “Extreme Abstraction,” Galerie Jean-Luc & Takako Richard, Paris, France 2004 “In Polytechnicolor,” Michael Steinberg Fine Art, New York, NY “Summer Show,” Lemberg Gallery, Ferndale, MI 2003 “Group Show,” Thomas Barry Fine Arts, Minneapolis, MN

2002 “Post-Digital Painting,” Cranbrook Art Museum, Bloomfield Hills, MI “Loaded,” Midway, St. Paul, MN “Zero Degrees,” The Brewery Project, Los Angeles, CA “Bitchin Pictures,” Gallery 2211 SolwayJones, Los Angeles, CA “Group Show,” SolwayJones, Los Angeles, CA 2001 “The Benefit Art Auction,” Museum of Contemporary Art, Chicago, IL “Colorforms,” Detroit Artists Market, Detroit, MI “Made,” PØST Gallery, Los Angeles, CA “Benefit Exhibition,” White Columns, New York, NY “RE:production,” Lemberg Gallery, Ferndale, MI 2000 “Go Ask Alice,” PØST Gallery, Los Angeles, CA

1995 “Interventions,” The Detroit Institute of Arts, Detroit, MI “Cranbrook Painting 1992–95,” Union League Club, New York, NY “Selections from the File,” Organization of Independent Artists, New York, NY “14th Michigan Biennial: The Language of Imagery,” Kresge Art Museum, Michigan State University, East Lansing, MI “Building the Cranbrook Collection: Acquisitions from Roy Slade’s Tenure (1977–1994),” Cranbrook Art Museum, Bloomfield Hills, MI “Recent Acquisitions,” Housatonic Museum of Art, Bridgeport, CT “Confrontation, Mediation, Transcendence,” Ohio State University, Columbus, OH “Tangible Verifications,” University of Akron, Akron, OH “Split Image,” Bloomfield College, Bloomfield, NJ “The Return of the Cadavre Exquis,” The Drawing Center, New York, NY “Signs of Life,” OIA, New York, NY

1999 “Gallery Artists,” Lemberg Gallery, Birmingham, MI “Beverly Fishman, Heather McGill, Carl Toth: Wall Magnets,” Cranbrook Art Museum, Bloomfield Hills, MI “Abstraction Two to Three,” Cleveland State University Art Gallery, Cleveland, OH “Postopia,” Craft and Folk Art Museum, Los Angeles, CA

1992 “Beneath the Surface,” 148 Gallery, New York, NY “Morphologic,” Art in General, New York, NY “Beyond Nature,” Marymount Manhattan College Gallery, New York, NY

1998 “Prime Focus,” University Galleries of Illinois State University, Normal, IL “Visualizing Digiteracy,” Memphis College of Art, Memphis, TN

1990 “Aspects of Nature,” College of New Rochelle, New Rochelle, NY

1997 “Flirting at a Distance: New Abstraction,” Delaware Center for Contemporary Arts, Wilmington, DE “Colors, Contrasts and Cultures,” Discovery Museum, Bridgeport, CT “Techno-Seduction,” Cooper Union, New York, NY “Salientgreen,” Susanne Hilberry Gallery, Birmingham, MI 1996 “Technologyculture,” Erie Art Museum, Erie, PA “Black and Blue,” Susanne Hilberry Gallery, Birmingham, MI

1991 “Divergent Currents,” Hal Katzen Gallery, New York, NY

1989 “Signifiers of the Spirit,” Artspace, New Haven, CT “Artists from Yale,” London Institute, London, United Kingdom “New Sculpture,” East Hampton Center of Contemporary Art, East Hampton, NY “The Drawing Show,” Massachusetts College of Art, Boston, MA 1988 “Hybrids,” Addison Ripley Gallery, Washington, D.C. “Blum, Coyne, Fishman,” John Slade Ely House, New Haven, CT

1986 “Blum, Coyne, Fishman,” P.S. 122, New York, NY “The Brutal Figure: Visceral Images,” Robeson Center Gallery, Rutgers University, Newark, NJ “The Changing Face of Liberty, Women’s Caucus for Art,” New York, NY, New Haven, CT, and Hartford, CT 1985 “Works on Paper,” Housatonic Museum of Art, Bridgeport, CT PUBLIC AND ACADEMIC LECTURES 2018 Visiting Lecturer and Critic, University of Nevada, Las Vegas, NV “Beverly Fishman in conversation with Alison Gass,” Kavi Gupta Gallery, Chicago, IL 2017 “Beverly Fishman in conversation with Phong Bui,” CUE Art Foundation, New York, NY “Beverly Fishman: Another Day in Paradise Panel Discussion,” University of Alabama at Birmingham, Birmingham, AL 2016 Taubman Art & Science Lecture with Dr. Eva Feldman, Cranbrook Art Museum, Bloomfield Hills, MI 2015 Visiting Lecturer, Denver Art Museum, Denver, CO Visiting Critic and Seminar, Rocky Mountain College of Art and Design, Denver, CO Visiting Lecturer and Critic, Columbus College of Art and Design, Columbus, OH Seminar, Ohio State University, Columbus, OH Public Lecture, Chrysler Museum of Art, Norfolk, VA 2015 Visiting Lecturer, Toledo Museum of Art, Toledo, OH 2014 Visiting Artist and Lecturer, Maryland Institute College of Art, Baltimore, MD

“Painting and the Digital,” Institute for the Humanities, University of Michigan, Ann Arbor, MI 2013 Beverly Fishman in conversation with Alison Gass, Eli and Edythe Broad Art Museum, Michigan State University, East Lansing, MI BECon 2013 Keynote Speaker, Portland, Oregon Visiting Artist and Lecturer, Summer Arts, California State University, Monterey Bay, CA 2012 Visiting Lecturer and Artist, University of the Arts, Philadelphia, PA Public Lecture, Detroit Institute of Arts, Detroit, MI 2011 Panel Discussion, Glass Pavilion, Toledo Museum of Art, Toledo, OH Visiting Lecturer and Artist, California State University, Fresno, CA Kentucky School of Art, Louisville, KY 2010 Sotheby’s Institute of Art, New York, NY Visiting Lecturer, Toledo Museum of Art, Toledo, OH 2009 Visiting Lecturer and Panelist in conjunction with “Infinitesimal Eternity: Images Made in the Face of Spectacle,” Yale School of Art, New Haven, CT Visiting Lecturer, Washington University in St. Louis, St. Louis, MO 2008 Visiting Lecturer and Artist, Eastern Illinois State University, Charleston, IL Visiting Lecturer and Artist, Minneapolis College of Art and Design, Minneapolis, MN Visiting Lecturer and Artist, Bethel University, St. Paul, MN Visiting Lecturer and Artist, Northwestern College, St. Paul, MN Talk and Panel Discussion, “Interactions: An International Conference on Women, Art, and Criticism,” University of Michigan, Ann Arbor, MI, and Cranbrook Academy of Art, Bloomfield Hills, MI Visiting Lecturer and Artist, California State University, Northridge, Northridge, CA

2006 Visiting Final Artist for Senior Painters, Maryland Institute College of Art, Baltimore, MD Visiting Lecturer and Artist, University of Alabama, Tuscaloosa, AL 2005 Visiting Lecturer and Artist, University of Delaware, Newark, DE Visiting Lecturer, Maryland Institute College of Art, Baltimore, MD

1993 Visiting Artist/Seminar, University of the Arts, Philadelphia, PA Visiting Artist, St. Mary’s College of Maryland, St. Mary City, MD 1991 Visiting Artist, Oberlin College, Oberlin, OH Visiting Artist, Kent State University, Kent, OH SELECTED TEACHING EXPERIENCE

2003 Visiting Lecturer and Artist, College for Creative Studies, Detroit, MI 2002 Visiting Lecturer and Artist, Graduate Department, Wayne State University, Detroit, MI Visiting Artist, California State University, Northridge, Los Angeles, CA 2000 Visiting Artist, Maryland Institute College of Art, Baltimore, MD 70

1998 Visiting Lecturer and Artist, Memphis College of Art, Memphis, TN 1997 Visiting Lecturer, Flint Institute of the Arts, Flint, MI 1996 Visiting Lecturer, Butler Institute of American Art, Youngstown, OH Visiting Artist, Youngstown State University, Youngstown, OH 1995 Visiting Lecturer, Goucher College, Towson, MD Visiting Lecturer and Artist, University of Michigan, Ann Arbor, MI Visiting Artist, Maryland Institute College of Art, Baltimore, MD 1994 Visiting Lecturer, Southern California Institute of Architecture, Los Angeles, CA Visiting Lecturer and Artist, Michigan State University, East Lansing, MI Visiting Lecturer and Artist, Cleveland Institute of Art, Cleveland, OH Panelist, “Split Image,” Bloomfield College, Bloomfield, NJ

1992–present Artist-in-Residence and Head of Painting, Cranbrook Academy of Art, Bloomfield Hills, MI 1988–92 Instructor, Maryland Institute College of Art, Baltimore, MD 1983–92 Associate Professor (adjunct), Graduate Art School, College of New Rochelle, New Rochelle, NY 1987 Visiting Assistant Professor, Connecticut College, New London, CT AWARDS AND RESIDENCIES 2015 GAPP Developmental Artist Residency, Toledo Museum of Art 2011 Guest Artist Pavilion Project, Toledo Museum of Art 2010 Hassam, Speicher, Betts, and Symons Purchase Award, American Academy of Arts and Letters 2008 Nomination for Kresge Eminent Artist Award

2005 John Simon Guggenheim Memorial Foundation Fellowship

SELECT COLLECTIONS Borusan Contemporary, Istanbul, Turkey

2003 Louis Comfort Tiffany Foundation Award

Chrysler Museum of Art, Norfolk, VA

1990 Artist Space Exhibition Grant NEA Fellowship Grant

Columbus Museum of Art, Columbus, OH

1986 Artist Space Emergency Materials Fund

Detroit Institute of Arts, Detroit, MI

Cranbrook Art Museum, Bloomfield Hills, MI

Discovery Museum, Bridgeport, CT 1979 Yale University Ford Foundation Special Project Grant Yale University Ford Foundation Summer Study Grant

Maxine & Stuart Frankel Foundation for Art, Bloomfield Hills, MI Housatonic Museum of Art, Bridgeport, CT

1977 Philadelphia College of Art Weber Award for Excellence in Painting

Kresge Art Museum, East Lansing, MI MacArthur Foundation Collection, Chicago, IL Mattatuck Museum, Waterbury, CT Pérez Art Museum Miami, Miami, FL Nerman Museum of Contemporary Art, Overland Park, KS Stamford Museum & Nature Center, Stamford, CT Toledo Museum of Art, Toledo, OH.

Published on the occasion of the exhibition

BEVERLY FISHMAN 11 October – 10 November 2018 Miles McEnery Gallery 520 West 21st Street New York NY 10011 tel +1 212 445 0051 www.milesmcenery.com Publication © 2018 Miles McEnery Gallery All rights reserved Essay © 2018 Dawn Chan Images on pages 11, 19, and 27 Courtesy of Kavi Gupta Gallery and the artist. Photographer John Lusis. 72 All other photography by Christopher Burke Studio, New York, NY Catalogue designed by HHA Design, New York, NY ISBN: 978-1-949327-01-4 Cover: Untitled (Pain, Asthma, Depression, ADHD, ADHD), (detail), 2018 Miles McEnery Gallery would like to thank Kavi Gupta Gallery and Dawn Chan

MILES M c E N E RY G A L L E RY