JUDY PFAFF
JUDY PFAFF
MILES McENERY GALLERY
JUDY PFAFF
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
PFAFF’S FOUR QUARTETS: NAVIGATING THE CHAOS By David Levi Strauss We live in an unsettled, unstable world. . . . —Judy Pfaff
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The artist Judy Pfaff was born in 1946, into a war-ravaged London still reeling from the Blitz. Beginning on September 7, 1940, the German Luftwaffe bombed London for 57 nights straight. Over the next eight months, London was bombed another 71 times. In 1944 and 1945, the city was the constant target of V-1 cruise missiles and V-2 rockets. More than a million London houses were leveled or badly damaged. Over 30,000 civilian Londoners were killed, and 50,000 more were seriously injured. Bread rationing was instituted over the entire United Kingdom from 1946–48. Hundreds of thousands of children were evacuated to the countryside to shelter them from the Blitz in London, but many more were trapped inside the city, without parents or any other kind of support, really, wandering around in the toxic ruins. This was the world that Judy Pfaff was born into. She had to make a place for herself, a place to be, in these ruins. Her father, a Royal Air Force pilot, was not around, and her mother left for Canada soon after Judy was born, so Judy was left in the care of her seamstress grandmother in the East End. When Judy was re-united with her mother, at age 10, in Detroit, she was a wild child. She left home at 15 and married her first husband, a U.S. Air Force pilot named Pfaff. Soon after this, she began to get serious about art, and to find a place for herself in art, first in a BFA program at Washington University in St. Louis, and eventually in the MFA program in painting at Yale, where Al Held became her lifelong mentor. After graduating from Yale in 1973, she moved to New York City and began showing her work.
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I give this short summary of Pfaff’s early life not to elicit sympathy, but to provide a brief glimpse into the deep sources of her work. Her work is often described as being filled with exuberance and joy, and it surely is, but it also has a radical base in the difficulties and material struggles of everyday life, and the working-class values of building out of a jam, of taking the dead and damaged matter you are given and transforming it into something astonishingly alive and resilient. The particular way this is done, including the stuff of the world, the manufactured material to be worked with or upon, as visible, legible substance embedded in the form, sets this work apart.
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“I’m at war with conventions,” Pfaff said in an interview in 1982. Her work came out of and has always responded to the formal concerns of post-war abstract painting, but the three-dimensional, architectural, environmental, “theatrical” manifestations of her work have sometimes made it difficult for critics and art historians to recognize or accurately characterize it. There are a handful of notable exceptions to this. In talking about Pfaff’s first show in New York, in 1974, at Artists Space (the non-profit space he co-founded), Irving Sandler characteristically cut through: “Her forms were abstract, composed primarily of open and closed rectangles and circles. . . Pfaff made painting sculptural as no other artist had.” 1 And it was Irving Sandler who put Pfaff’s site-specific installations in historical context most succinctly, in 2003: “When Pfaff began to make environments in the early 1970s, installation art was a marginal tendency in the art world. Since then, it has become central, in large part because of Pfaff’s work.”2 In 1967, Al Held had rejected Modernist flatness in painting to create a disjunctive illusionistic space, and in 1971, Frank Stella had declared his paintings were “up against the wall,” and needed “working space.” In 1980, Al Held referred to Pfaff’s Deepwater installation at Holly Solomon Gallery as engaging “elastic space,” and Pfaff’s friend Gordon Matta-Clark called it “anarchitecture,” a word he’d coined in reference to his own work. It all had to do with making a place to be, and
building it with her own bare hands. But that place to be had to be true to the being that existed and the one that was coming into being, in the work. In 1989, the great art historian Linda Nochlin saw how Pfaff’s work is gendered in terms of the modern discourse on chaos, and the “tendency to equate artistic ‘formlessness,’ in the sense of a rejection of rigid structure, with femininity.” Nochlin notes that this “tendency in the critical discourse to equate the feminine and the ‘chaotic,’” happens “whether the latter is seen as a negative or a positive characteristic,” and cautions against equating Pfaff’s work “with a kind of essentialist, ‘feminine’ chaos.” “On the contrary,” she continues, “it should perhaps be thought of in terms of an innovative, more flexible way of creating meaning: through evocation, allusion, analogy, and opening out of fluid, sometimes continuous, often disrupted figuration within a constantly changing spatial field,” and posits that this might engender an entirely different approach, “in some sense paradigmatic of a new and inventive kind of ordering,” resulting in “a structured chaos.”3 Irving Sandler, again, saw it clearly, in historical terms: “Her work drew close to the Action Painting side of Abstract Expressionism, closer than any sculptor of her generation. Like Pollock and de Kooning, Pfaff balances the conflicting pulls of chaos and order. And like them, she is adept at whipsawing between control and non-control in the unpremeditated process of art-making.”4 It is this “whipsawing between control and non-control” that is the motive force in Judy Pfaff’s work, and it has some resonance with what Michael Taussig has called in a different context “the mastery of non-mastery.” This is something Taussig discovered first in Walter Benjamin and his call “for an attitude towards technology of the mastery of non-mastery, reinforced by his understanding of the central importance of cosmic sensitivities prior to modernity.” The concept had much to do with countering the new technologies of war and technologies of killing. Taussig has
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called the mastery of non-mastery “an anarchistic, joyful notion, which puts the pressure on us in a Zen-like way to inhabit and subvert the impulse for domination.”5 At another point, he says “Mimesis is what mastery of non-mastery pivots on. You mimic and subvert mastery in one breath, in yourself as much as in the world.”6 The principal approach in Pfaff’s works on paper and “wall installs” is montage. The conventional art historical distinction between montage and collage is that in montage, the prime reason for choosing the individual elements is their subject matter; while in collage, the material is primarily chosen for formal reasons. In Pfaff’s work, this distinction is serially threatened, interrogated, and dispatched. It is not that the recognizable images don’t have content, but that the relation between form and content is being continually reimagined and realigned, and the relation is thus constantly in flux. 6
The two terms, collage and montage, are closely related etymologically, revealing their practical origins. Collage is from the French coller, “to glue,” and montage is from the French monter, “to mount.” It’s all about the adhesives. The Cubists were among the first to use these techniques effectively in modern times, and Pfaff has spoken of her work in the past as “speeded-up Cubism.” In her most recent works on paper, Pfaff prefers to begin with something already marked by hand, something with a vernacular history, so she has collected old books of carefully folded handwritten sales receipts from a druggist in Hudson, New York, and handwritten account ledgers from India, upon which to paint and draw. These works are always becoming, moving from one state of things to another, and the state of change extends as well into these works’ frames, individually activated and illuminated by fragments of gold and silver leaf.
I first saw three parts of the four-part Quartet series in the Esther Massry Gallery at the College of Saint Rose in Albany, New York in November 2018. Pfaff has had a relationship with this university gallery for some time, and this group show, curated by the gallery director Jeanne Flanagan and also including the work of Francis Cape and James Clark, was mounted to celebrate the tenth anniversary of the gallery. When I first laid eyes on Pfaff’s Quartet works, I began with Brian O’Doherty’s “vernacular glance,” which he described as “the city dweller’s rapid scan, rather than the art audience’s stare. . .The vernacular glance is. . . extraordinarily versatile in dealing with experience that would be totally confusing otherwise.”7 There is so much going on materially in these works, and so much movement, that it takes some time to slow the process down enough to begin to discern the moving parts. When one does that, one sees that each panel of the tetralogy is built up from six recurring elements: 1) a large square or near-square of photographically derived digital images on paper (botanical specimens, a Chinese market, images of other three-dimensional objects) that are stretched or mirrored or otherwise distorted in printing, to provide an image-field as ground; 2) aluminum disks in various sizes, some covered with the same printed material, and some colored and/or transparent; 3) bouquets or integrated masses of three-dimensional objects, including wire fencing and quaquaversal umbrella framing, acrylic, melted plastic, artificial flowers, paper lanterns, fungus, Styrofoam, and a black pumpkin; 4) electric lighting: fluorescent strips, yellow bulbs in ornamental bases, a bulb in a lantern, and miniature Christmas lights, all wired and plugged in; 5) six sets of bands of colored plastic strips on the tops and bottoms of the panels; and 6) framed horizontal works of encaustic circles, spirals, and other elemental shapes painted on book or ledger paper. Plus, there is one freestanding satellite element with a welded steel base and colored balls.
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These constituent elements have been coming together on wall installs as parts of Pfaff’s larger room-filling installations for some time now. Recent examples include a large flat wall piece included in Second Nature, installed at the Pavel Zoubok Gallery in 2014, and another included in Drawings Thick and Thin at Wheaton College in 2016. Earlier this year, a considerably pared-down wall install, including ten horizontal, framed paintings in oil stick and encaustic on vintage Indian paper, mounted over a digitally printed wall covering, appeared as Year of the Rat.
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The coordinated movement of these elements oscillates between image and abstraction. As the Belgian poet and painter Henri Michaux once said, “One advances only by means of abstraction, but one finds repose only in the image.” As one scans these pieces, the forms move in and out of legibility—hexagrams, musical staffs, even bits of linear writing, appear and recede, remaining insistently visual and tactile, continually testing the ultimate ductility of the materials and forms, and cultivating entropy. Pfaff’s “flat” works are never quite flat. They periodically grow off the wall and into the room in spatial aspiration. Even if they don’t physically break the picture plane, they almost always extend laterally, in time. The montage of forms is cinematic in scope. “I structure my work the way films are put together,” Pfaff has said. At one point, the panels of Quartet made me think of Stan Brakhage’s paintings on 75mm film that he was doing in the 1980s in Denver. The Quartet panels also work like multiple screens, constantly in motion, seeming to mimic the flashing chyrons and floating bars of color in cable news shows. The four parts of Pfaff’s quartet are all transilluminated, but in different ways. In Quartet One, the elements swirl over the entire surface like clouds over land. The two largest yellow circular forms torque and pull in opposite directions, opening up the interior as the activated planes
move across one another. In Quartet Two, the two halves of the composition are dominated by a spectral stack of five gray concentric disks with lighted centers that vibrate and rise, on the left, and an offset Duchampian rotorelief colored disk on the right, over a cantilevered shelf that pulls the eye down to the shadowed floor. Quartet Three is more optically heterogeneous, built up from snapshots of a Chinese market, and is more projective or absorptive than the other three parts. And Quartet Four is an ode to New World warblers—Passeriformes (perching), Parulidae— punctuated by a second, concluding, black pumpkin. Standing back, the overall effect of the four panels comes through their translucence, as individual elements spin and vibrate and move through the compositions. The individual frames (of the four panels) sometimes operate as slides or pieces of film, framed at top and bottom by the linear strips—bands of color which work as an abstract language. It sometimes seems as if Pfaff is making this form language up all over again, from the ruins. But this resilient form language is brought up into our current pandaemonium of a visual environment of multiple screens and constantly shifting platforms, in its haecceity as a made world. It is a newly unsettled, unstable world, wherein Pfaff, “whipsawing between control and non-control,” navigates the chaos.8
David Levi Strauss is the author of Words Not Spent Today Buy Smaller Images Tomorrow (New York: Aperture, 2014), From Head to Hand: Art and the Manual (Oxford, England: Oxford University Press, 2010), Between the Eyes: Essays on Photography and Politics, with an introduction by John Berger (New York: Aperture, 2003, second edition, 2012), and Between Dog & Wolf: Essays on Art and Politics (Brooklyn, NY: Autonomedia 1999, second edition, 2010). He is Chair of the graduate program in Art Writing at the School of Visual Arts in New York.
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Endnotes 1. Irving Sandler, “Judy Pfaff: Tracking the Cosmos,” in Judy Pfaff (New York & Manchester, Vermont: Hudson Hills Press, 2003), p. 1 & 15. 2. Ibid., p. 46. 3. L inda Nochlin, “Judy Pfaff, or the Persistence of Chaos,” in Judy Pfaff (New York: Holly Solomon Gallery; and Washington, D.C.: National Museum of Women in the Arts, 1989), p. 8, 9, and 7. 4. S andler, “Judy Pfaff: Tracking the Cosmos,” p. 13. 5. Michael Taussig, “Michael Taussig in Conversation with Nathlie Provosty and Jarrett Earnest,” The Brooklyn Rail, November 5, 2015. 6. I bid. See also Michael Taussig, “Kobane: The Mastery of Non-Mastery,” in To Dare Imagining: Rojava Revolution, edited by Dilar Dirik, David Levi Strauss, Michael Taussig, and Peter Lamborn Wilson (Brooklyn: Autonomedia, 2016). 7. Brian O’Doherty, American Masters: The Voice and the Myth (New York: Ridge Press, Random House, 1973), p. 201. Quoted by Irving Sandler in “Judy Pfaff: Tracking the Cosmos,” p. 28. 8. “ It is chaos of a specific sort, nationally and historically locatable, urban in its intensity and dynamism, late capitalist in its commodity-like profusion, its ungrounded overproduction of disjunctive associations.” Nochlin, “Judy Pfaff and the Persistence of Chaos,” p. 7.
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Quartet One, 2018
Photographic inspired digital image, wire frame, acrylic, melted plastic, aluminum discs, fungus, paper, glitter, Styrofoam, fluorescent light, drawing in artist’s frame 120.75 x 156 x 32 inches 306.7 x 396.2 x 81.3 cm
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Quartet Two, 2018 Photographic inspired digital image, steel frame, acrylic, expanded foam, aluminum discs, light bulbs, wood, melted plastic, Styrofoam, drawing in artist’s frame 128.5 x 160 x 60 inches 326.4 x 406.4 x 152.4 cm
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Quartet Three, 2018 Photographic inspired digital image, acrylic, expanded foam, aluminum discs, paper, acrylic, melted plastic, Styrofoam, drawing in artist’s frame 121 x 149 x 21 inches 307.3 x 378.5 x 53.3 cm
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Quartet Four, 2018
Photographic inspired digital image, aluminum discs, paper, thread, wood, drawings in artist’s frames 85 x 132 x 2 inches 215.9 x 335.3 x 5.1 cm
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+’s & -’s #25, 2018 Chinese book papers, oil stick, encaustic, in artist’s frame 13.5 x 30 inches 34.3 x 76.2 cm
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Year of the Rat 8, 2018 Oil stick, encaustic, vintage Indian paper, in artist’s frame 13.5 x 33 inches 34.3 x 83.8 cm Year of the Rat 10, 2018 Oil stick, encaustic, vintage Indian paper, in artist’s frame 13.5 x 34 inches 34.3 x 86.4 cm
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Year of the Rat 11, 2018 Oil stick, encaustic, vintage Indian paper, in artist’s frame 13 x 40.5 inches 33 x 102.9 cm Year of the Rat 20, 2018
Oil stick, encaustic, vintage Indian paper, in artist’s frame 12.5 x 56.25 inches 31.8 x 142.9 cm
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rOOster 41, 2017
Oil stick, encaustic, vintage Indian paper, in artist’s frame 12.25 x 29.25 inches 31.1 x 74.3 cm
rOOster 42, 2017 Oil stick, encaustic, vintage Indian paper, in artist’s frame 12.25 x 29.25 inches 31.1 x 74.3 cm rOOster 43, 2017 Oil stick, encaustic, vintage Indian paper, in artist’s frame 12.25 x 29.25 inches 31.1 x 74.3 cm
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Untitled, 2016 Oil stick, ink, vintage Indian paper, in artist’s frame 13 x 79 inches 33 x 200.7 cm
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Raga 3, 2013
Oil stick, encaustic, vintage Indian paper, in artist’s frame 10 x 22 inches 25.4 x 55.9 cm
Raga 6, 2013 Oil stick, encaustic, vintage Indian paper, in artist’s frame 10 x 22 inches 25.4 x 55.9 cm
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Raga 10, 2013 Oil stick, encaustic, vintage Indian paper, in artist’s frame 9.875 x 20.875 inches 25.1 x 55.6 cm
Raga 16, 2013 Oil stick, encaustic, vintage Indian paper, in artist’s frame 10 x 20 inches 25.4 x 50.8 cm
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Untitled, 2016 Oil stick, ink, vintage Indian paper, in artist’s frame 16.5 x 23.5 inches 41.9 x 59.7 cm
Ragamala 9, 2013 Oil stick, encaustic, vintage Indian paper, in artist’s frame 10 x 46 inches 25.4 x 116.8 cm Ragamala 11, 2013
Oil stick, encaustic, vintage Indian paper, in artist’s frame 10 x 51 inches 25.4 x 129.5 cm
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Ragamala 14, 2013 Oil stick, encaustic, vintage Chinese and American documents, in artist’s frame 18.25 x 86.75 inches 46.4 x 220.3 cm
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Udaipur 18, 2013
Oil stick, encaustic, vintage Indian paper, in artist’s frame 9.5 x 21.25 inches 24.1 x 54 cm
Udaipur 19, 2014 Oil stick, encaustic, vintage Indian paper, collage, in artist’s frame 9.5 x 21 inches 24.1 x 53.3 cm
Udaipur 36, 2014
Oil stick, encaustic, vintage Indian paper, in artist’s frame 8.75 x 18.75 inches 22.2 x 47.6 cm
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Moon Tail Beta, 2018 Melted plastic, paper, acrylic, resin 22 x 22.5 x 10 inches 55.9 x 57.2 x 25.4 cm
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A – Tisket, 2018
Melted plastic, paper, acrylic, resin 22.5 x 25 x 15 inches 57.2 x 63.5 x 38.1 cm
JUDY PFAFF Born in London, United Kingdom in 1946 Lives and works in Tivoli, NY EDUCATION 1999 Honorary Doctorate, Pratt Institute, Brooklyn, NY 1973 MFA, Yale University, New Haven, CT 1971 BFA, Washington University, St. Louis, MO 1970 Norfolk Summer School of Music and Art, Norfolk, CT
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1968 Southern Illinois University, Edwardsville, IL 1965 Wayne State University, Detroit, MI SOLO EXHIBITIONS 2019 Miles McEnery Gallery, New York, NY 2018 “Judy Pfaff: Prints from the Raga series,” Robischon Gallery, Denver, CO “× × × ÷ ÷ ÷ + + +,” Gaa Gallery, Wellfleet, MA “Judy Pfaff: New Prints,” Atrium Gallery, St. Louis, MO “Judy Pfaff at Volta NY,” Accola Griefen Gallery, New York, NY “New Prints by Judy Pfaff,” Tandem Press Apex Gallery, Madison, WI
“Un Universo Di Colori,” Andrea Ingenito Contemporary Art, Milan, Italy 2017 “Tivoli Tisbury (A Romance),” Messums Wiltshire, Tisbury, United Kingdom “Project Space: Judy Pfaff,” James Barron Art, Kent, CT “Abstract Poetry,” Andrea Ingenito Contemporary Art, Capri, Italy “Hearts and Bones,” Art100, New York, NY 2016 “Turtle,” Akron Art Museum, Akron, OH “Drawings Thick and Thin,” Wheaton College, Norton, MA “Grasshopper,” CR10, Linlithgo, NY “Somewhere After,” Lafayette College, Easton, PA 2015 “Betwixt: Judy Pfaff 1985-92,” Mount Holyoke College, South Hadley, MA “‘SCENE I: The Garden, Enter Mrs Barnes” in “The Order of Things: Mark Dion, Judy Pfaff, Fred Wilson,” The Barnes Foundation, Philadelphia, PA “Somewhere Before,” York College of Pennsylvania, York, PA 2014 Garrison Art Center, Garrison, NY “Run Amok,” Loretta Howard Gallery, New York, NY “Second Nature,” Pavel Zoubok Gallery, New York, NY 2013 “Judy Pfaff: The Art of Flower Arranging,” Azusa Pacific University, Azusa, CA Susanne Hilberry Gallery, Detroit, MI University of Wyoming Art Museum, Laramie, WY 2012 Robischon Gallery, Denver, CO Ameringer | McEnery | Yohe, New York, NY
“Walter Gropius Master Artist Series Presents: Judy Pfaff, A Survey: 1979-2012: Thick and Thin,” Huntington Museum of Art, Huntington, WV “Judy Pfaff: Recent Work,” Bruno David Gallery, Saint Louis, MO 2011 “Judy Pfaff: Twenty Years At Bellas Artes,” Bellas Artes Gallery, Santa Fe, NM “Year of the Dog,” Greenfield Sacks Gallery, Santa Monica, CA “Spring of the Print,” Eleanor D. Wilson Museum, Wetherill-Wilson Gallery, Hollins University, Roanoke, VA Weatherspoon Art Museum, University of North Carolina at Greensboro, NC 2010 “Tivoli Gardens,” Braunstein Quay Gallery, San Francisco, CA “Five Decades,” Ameringer | McEnery | Yohe, New York, NY “I Dwell in Possibility,” Tayloe Piggott Gallery, Jackson, WY David Weinberg Gallery, Chicago, IL Reavley Gallery in the Cole Art Center, Stephen F. Austin State University, Nacogdoches, TX 2009 “Sculptures,” Flint Institute of Arts, Flint, MI “Constructed Paper,” Carl Solway Gallery, Cincinnati, OH “Paper,” Ameringer Yohe Fine Art, New York, NY “Wild Rose,” Installation, Massry Center for the Arts, The College of Saint Rose, Albany, NY 2008 “Paperworks, Year of the Dog, Pig, Rat, Etc.,” Massry Center for the Arts, The College of Saint Rose, Albany, NY “Judy Pfaff: Very Recent Work,” Bellas Artes Gallery, Santa Fe, NM 2007 “. . . all of the above,” Installation, Rice University Art Gallery, Houston, TX “New Prints and Drawings,” Samuel Dorsky Musuem of Art, SUNY, New Paltz, NY
2006 “Buckets of Rain,” Installation, Ameringer Yohe Fine Art, New York, NY 2005 “Recent Works on Paper,” Lemberg Gallery, Ferndale, MI “Works on Paper,” Sears-Peyton Gallery, New York, NY “New Prints,” Elena Zang Gallery, Woodstock, NY “Installations, Prints & Drawings,” Butler Institute of American Art, Youngstown, OH “Regina,” Commissioned set design for American Symphony Orchestra, Fisher Center, Annandale-on-Hudson, NY 2004 “Installations, Prints & Drawings,” Carl Solway Gallery, Cincinnati, OH “Recent Work,” Bellas Artes Gallery, Santa Fe, NM “En Restauro” Installation, Institute of Contemporary Art (ICA) Ramp Projects, University of Pennsylvania, Philadelphia, PA “Recent Prints and Drawings,” Ulster County Community College, Stone Ridge, NY 2003 “Neither Here Nor There,” Installation, Ameringer Yohe Fine Art, New York, NY “New Work,” Robischon Gallery, Denver, CO 2002 “Chapel and Brook,” Bellas Artes Gallery, Santa Fe, NM “2-D: An Installation of Works on Paper,” Sarah Moody Gallery of Art, University of Alabama, Tuscaloosa, AL “The Squares of Savannah,” Contemporary Masters Exhibition Series, Baron Pinnacle Gallery, Savannah College of Art and Design, Savannah, GA 2001 “The Art of Judy Pfaff,” Elvehjem Museum of Art, University of Wisconsin-Madison, WI “Photogravures,” Flanders Gallery, Minneapolis, MN
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2000 “New Drawings,” Robischon Gallery, Denver, CO “Transforming Traditions,” Schneider Museum of Art, Southern Oregon University Ashland, OR “If I had a Boat,” Installation, Elvehjem Museum of Art, Madison, WI, curated by Russell Panczenko “New Work,” Bellas Artes Gallery, Santa Fe, NM “Notes on Light and Color,” Installation, Jaffe Friede & Strauss Galleries, Dartmouth College, Hanover, NH 1999 “Yâ – Wa,” Commission for ODS Tower, Portland, OR “Drawings and Prints,” Karen McCready Fine Art, New York, NY “New Prints,” Susanne Hilberry Gallery, Detroit, MI “Notes on Light and Shadow,” Installation in Presage of Passage, Museum of Art, Brigham Young University, Provo, UT “Drawings and Prints,” Robischon Gallery, Denver, CO
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1998 “Corona de Espinhos,” Installation in 1998 Bienal de São Paulo, U.S. Representative, São Paulo, Brazil “Cha,” Drawings Installation, Galerie Deux, Tokyo, Japan “Sculpture and Drawings,” Bellas Artes Gallery, Santa Fe, NM “Jardín De Los Cuervos,” Installation, Bellas Artes Gallery, Santa Fe, NM
1995 “Elephant,” Installation, Rose Art Museum, Brandeis University, Waltham, MA, curated by Carl Beltz “Prints,” Elvehjem Museum of Art, Mayer Gallery, Madison, WI “Mixed Media Works on Paper,” Linda Farris Gallery, Seattle, WA “Sculpture and Drawings,” Bellas Artes Gallery, Santa Fe, NM “Ear to Ear,” Installation, Alyce de Roulet Williamson Gallery, Art Center College of Design, Pasadena, CA 1994 “Cirque, CIRQUE,” Commission, Pennsylvania Convention Center Art Program, Philadelphia, PA “Cielo Requerdo,” Installation in “Landscape as Metaphor,” Columbus Museum of Art, Columbus, OH “New Works on Paper,” André Emmerich Gallery, New York, NY “Cielo,” Installation in “Landscape as Metaphor,” Denver Art Museum, Denver, CO Lobby Sculpture Exhibit at the Community Gallery, Brooklyn Union Gas Company, New York, NY 1993 “Recent Sculpture and Drawings,” Nancy Drysdale Gallery, Washington, DC “Corpo Onbrosso,” Installation for Inaugural Exhibition, The Rotunda Gallery, New York, NY
1997 “Round Hole Square Peg,” Installation, André Emmerich Gallery, NY “Recent Drawings,” Saint-Gaudens National Historic Site, Cornish, NH “Untitled,” Installation of Drawings, Adobe Krow Archives Gallery, Bakersfield, CA
1992 Museum of Art, SUNY Purchase, NY “Flusso E Riflusso,” Installation, Max Protetch Gallery, New York, NY “Sweet Water, Heat Lightning,” GTE Commission, Irving, TX
1996 “New Prints, Drawings and Sculpture,” Susanne Hilberry Gallery, Birmingham, MI “New Work,” André Emmerich Gallery, New York, NY “New Work,” Bellas Artes Gallery, Santa Fe, NM
1991 “Bandas de Acero,” Installation, Morris Gallery of the Pennsylvania Academy of the Fine Arts, Philadelphia, PA Susanne Hilberry Gallery, Birmingham, MI The Fabric Workshop, Philadelphia, PA
1990 “Sculpture and Works on Paper,” Cleveland Center for Contemporary Art, Cleveland, OH “Equinox,” Max Protetch Gallery, New York, NY Dana Art Center, Loyola University, New Orleans, LA “Prints & Drawings,” The College of Saint Rose Gallery, Albany, NY “Dessins,” Thomas Solomon’s Garage, Los Angeles, CA 1989 “Currents 41,” St. Louis Art Museum, St. Louis, MO 1988 “Forefront,” Installation, The National Museum of Women in the Arts, Washington, D.C. / Holly Solomon Gallery, New York, NY “10,000 Things,” Holly Solomon Gallery, New York, NY “New Work, New York,” Carnegie Mellon University Art Gallery, Pittsburgh, PA “Six of One, Half A Dozen of Another,” Crown Point Press, San Francisco, CA 1987 “N.Y.C.-B.Q.E.,” Installation, Biennial Exhibition, Whitney Museum of American Art, New York, NY “11211,” Installation in Art in the Anchorage, sponsored by Creative Time, Brooklyn Bridge, New York, NY Susanne Hilberry Gallery, Birmingham, MI 1986 Indoor/Outdoor Sculpture Exhibition, El Bohio, New York, NY “Autonomous Objects,” Knight Gallery, Spirit Square Center for the Arts, Charlotte, NC “Superette,” Installation in Wall Works, John Weber Gallery, New York, NY “Apples and Oranges,” Installation, Holly Solomon Gallery, New York, NY 1985 “The Italians,” Installation in Figurative Sculpture, Susanne Hilberry Gallery, Birmingham, MI
“Gu, Choki, Pa,” Installation in Vernacular Abstraction, Spiral Wacoal Art Center, Tokyo, Japan “Prototypes,” Installation in A New Beginning, Hudson River Museum, Yonkers, NY 1984 “Untitled,” Commissioned Installation, Spokane City Hall Foyer, Spokane, WA “Recent Work,” Daniel Weinberg Gallery, Los Angeles, CA 1983 “3D,” Installation, Holly Solomon Gallery, New York, NY “Untitled,” Installation in “The Sixth Day: A Survey of Recent Developments in Figurative Sculpture,” The Renaissance Society at the University of Chicago, Chicago, IL Installation and Collages, Holly Solomon Gallery, New York, NY 1982 “Either War,” Installation in Art Venture/XL Biennale de Venezia, Venice, Italy “Boa,” Installation, University Art Gallery, University of Massachusetts, Amherst, MA “Untitled” Installation in “Collages and Construction,” Hallwalls, Buffalo, NY “Rock / Paper / Scissors,” Installation, Albright-Knox Art Gallery, Buffalo, NY “Four Minute Mile,” Installation in “Guy Goodwin, Bill Jensen, Louise Fishman, Stuart Diamond, Judy Pfaff, Suzanne Lemberg,” Usdan Gallery, Bennington College, Bennington, VT 1981 “Body Language: Figurative Aspects of Recent Art, Hayden Gallery,” Massachusetts Institute of Technology, Cambridge, MA “Ziggurat,” Installation in “Zeitgenössische Kunst seit 1939,” Museen Stadt Köln, Cologne, Germany, curated by Kasper König “Dragon,” Installation in Biennial Exhibition, Whitney Museum of American Art, New York, NY
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“Rorschach” Installation in “Installations, Collages and Drawings,” John & Mable Ringling Museum of Art, Sarasota, FL “Kabuki,” Installation in “Directions 1981, (Formula Atlantic),” Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. 1980 “Quintana Roo,” Installation in “Walls!,” Contemporary Arts Center, Cincinnati, OH “Deepwater,” Installation, Holly Solomon Gallery, New York, NY “Red Hot,” Installation in “Watercolors,” PS1 Museum, Long Island City, NY “Charms” Installation in “Extensions: Jennifer Bartlett, Lynda Benglis, Robert Longo, Judy Pfaff,” Contemporary Arts Museum, Houston, TX
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1979 “Untitled,” Installation in “Judy Pfaff, Martha Boyden,Arlene Bayer,” Eugenia Cucalon Gallery, New York, NY “Reinventing The Wheel,” Installation in “10 Artists / Artists Space,” Neuberger Museum, SUNY Purchase, NY “Schohaire,” Installation in “Pfaff, Provisor, Stikas,Wells,” Holly Solomon Gallery, New York, NY “Mixed Emotions,” Installation in “Food / Frameworks,” Holly Solomon Gallery, New York, NY “Untitled,” Installation in “Canal Street,” Barbara Gladstone Gallery, New York, NY 1978 “Prototypes,” Installation, Los Angeles Contemporary Exhibitions Gallery, Los Angeles, CA Artist’s Space, New York, NY 1977 “The World Is Flat,” Installation, Theater Gallery, University of South Florida, Tampa, FL “La Ciudad De Los Angeles,” School of Art and Design, Institute of the Arts, Valencia, CA “14 Women Artists,” Virginia Commonwealth University, Richmond, VA
“Space Window: Man in Space and Space in Art,” Woods-Gerry Gallery, Rhode Island School of Design, Providence, RI 1976 “Brier,” Tyler School of Art, Temple University, Philadelphia, PA “Charlemagne: “Approaching Painting, Part III,” Hallwalls, Buffalo, NY “New Work / New York,” Fine Arts Gallery, California State University, Los Angeles, CA 1975 “J.A.S.O.N. / J.A.S.O.N.,” Artists Space, New York, NY Biennial Exhibition, Whitney Museum of American Art, New York, NY “W.S.S.F.,” Ohio State University, Columbus, OH 1974 Webb and Parsons Gallery, New Canaan, CT 1973 Razor Gallery, New York, NY GROUP EXHIBITIONS 2018 “Sculptors ReCollected: Francis Cape, James Clark, Judy Pfaff,” The Esther Massry Gallery, The College of Saint Rose, Albany, NY “Terrain: The Space Between from the Collections of Jordan D. Schnitzer and His Family Foundation,” The Schneider Museum of Art, South Oregon University, Ashland, OR “Teaching and Learning Through Photography, Tanzania,” Steven Kasher Gallery, New York, NY “Belief in Giants,” Miles McEnery Gallery, New York, NY “Modern Women’s Prints,” Snite Museum of Art, Notre Dame, IN “Absence Makes the Heart Grow Fonder,” The LeRoy Neiman Gallery, Columbia School of the Arts, New York, NY “The Bleak and the Burgeoning,” Walton Arts Center, Fayetteville, AR “Spheres Of Influence: Al Held, Michael Craig-Martin, Judy Pfaff, and Stanley Whitney,” Senior & Shopmaker Gallery, New York, NY “Twenty Years at Bellas Artes,” Bella Artes Gallery, Santa Fe, NM
2017 “Seeing With Our Own Eyes,” Forum Gallery, New York, NY “No Boundaries,” Marlborough Gallery, New York, NY “Masterclass: A Survey of Work from the 20th Century,” Pavel Zoubok Gallery, New York, NY “Matisse and American Art,” Montclair Art Museum, Montclair, NJ 2016 “35 Years of Beauty Without Regret,” Bellas Artes Gallery, Santa Fe, NM “Declaration: Louise Bourgeois, Ruth Bernhard, Linda Fleming, Helen Frankenthaler, Ann Hamilton, Jae Ko, Yayoi Kusama, Joan Mitchell, Alice Neel, Shirin Neshat, Judy Pfaff, Lorna Simpson, Mickalene Thomas, and Kara Walker,” Robischon Gallery, Denver, CO “The Nest: an Exhibition of Art in Nature,” Katonah Museum of Art, Katonah, NY “Marks Made,” Museum of Fine Arts, St. Petersburg, FL 2015 “Thirty Nine Years,” Susanne Hilberry Gallery, Detroit, MI “Going Big,” Central Booking, New York, NY “Object’hood,” Lesley Heller Workspace, New York, NY “Eating Painting,” Project Art Space, New York, NY “Judy Pfaff & Gillian Jagger,” The Re Institute, Millerton, NY “The Annual 2015: The Depth of the Surface,” The National Academy, New York, NY Elena Zang Summer Group Show, Elena Zang Gallery, Woodstock, NY “JANE BENSON, KUEHNE/KLEIN, ROBERT KUSHNER, JUDY PFAFF,” Pavel Zoubok Gallery, New York, NY “Emanation: Art + Process,” Wheaton Arts, Millville, NJ 2014 “Herland,” Deutsche Bank Collection, New York, NY “Holiday Group Show,” Elena Zang Gallery, Woodstock, NY “Influx,” CR10 Arts, Linlithgo, NY “Black White Silver,” Bellas Artes Gallery, Santa Fe, NM “Summer Review,” Loretta Howard Gallery, New York, NY “New Summer Group Show,” Elena Zang Gallery, Woodstock, NY
“Modern & Contemporary Selections from the Permanent Collection,” The Maier Museum of Art at Randolph College, Lynchburg, VA “Impressive Impressions,” Ohio University Kennedy Museum of Art, Columbus, OH “REfocus: Contemporary Photogravure,” Dowd Gallery, SUNY Cortland, NY “Aquaflora,” Lauren Rogers Museum of Art, Laurel, MS “Hooray for Hollywood,” Pavel Zoubok Gallery & Mixed Greens Gallery, New York, NY “The House We Live In,” Fisher Studio Arts Building, Bard College, Annandale-on-Hudson, NY 2013 “The House We Live In,” Fisher Studio Arts Building, Bard College, Annandale-on-Hudson, NY “Cut And Paste,” Boulder Museum of Contemporary Art, Boulder, CO “The Land Before and After Time,” Accola Griefen Gallery, New York, NY “Interweaving,” Tayloe Piggott Gallery, Jackson, WY “Material World – Spun: Adventures in Textiles,” Hamilton Building, Denver Art Museum, Denver, CO “Materialized,” Robischon Gallery, Denver, CO “Tandem Press: Twenty-Five Years,” Chazen Museum of Art, Madison, WI 2012 “Visit With Friends: Expanded Museum,” Yale University Art Gallery, New Haven, CT “Artists Choose Artists,” Flomenhaft Gallery, New York, NY “To be a Lady: Forty-Five Women in the Arts,” Avenue of the Americas Art Gallery, New York, NY “THANKS: 50th Anniversary Year Exhibition,” Carl Solway Gallery, Cincinnati, OH “Visual Feast: A Pattern and Decoration Exhibition,” Accola Griefen Gallery, New York, NY “Matters of Fact,” Hessel Museum of Art, Bard College, Center for Curatorial Studies, Annandale-on-Hudson, NY 2011 Pavel Zoubak Gallery, New York, NY
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“Art x Women at the Affordable Art Fair,” A.I.R. Gallery, New York, NY “The Influentials,” The Visual Arts Gallery, School of Visual Arts, New York, NY “It’s All Good!! Apocalypse Now,” Sideshow Gallery, New York, NY 2010 “For the Love of Paper – 13 Artists,” Tayloe Piggott Gallery, Jackson, WY “American Printmaking Now,” National Art Museum of China, Beijing, China “Mirrors of Continuous Change: Global Art in a Global World,” Taekwang Industrial Co. Ltd., Seoul, Korea “Judy Pfaff, Nicola Lopez, Suzanne Caporael – Tandem Press,” Pace Prints, New York, NY “Oeuvres sur papier,” Galerie Jean-Luc & Takako Richard, Paris, France
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2009 “UNLIMITED IMPRESSIONS,” The Art Gallery, University of Maryland, College Park, MA “SLASH Paper Under the Knife,” Museum of Arts and Design, New York, NY “DAUGHTERS OF THE REVOLUTION Women and Collage,” Pavel Zoubok Gallery, New York, NY “Sculptors Draw,” Lesley Heller Gallery, New York, NY “Exhibition of Works by Newly Elected Members and Recipients of Honors and Awards,” American Academy of Arts and Letters, New York, NY
“3D: An Exhibition of Contemporary Sculpture,” Carl Solway Gallery, Cincinnati, OH 2005 “Judy Pfaff, Jane Rosen,” Braunstein/Quay Gallery, San Francisco, CA “Collage Signs & Surfaces,” Pavel Zoubok Gallery, New York, NY “Nine Contemporary Sculptors: Fellows of the Saint-Gaudens Memorial,” The UBS Art Gallery, New York, NY 2004 “Women Artists of the Twentieth Century: Sweet Briar College, Anne Gary Pannell Art Gallery Collection,” Sweet Briar College, Sweet Briar, VA “Collage: The Art of Attachment,” Elena Zang Gallery, Woodstock, NY “Group Exhibition of Paintings & Sculpture,” Heritage Bank of Commerce, San Jose, CA “Watercolors,” Dorsky Gallery/Curatorial Programs, Long Island City, NY “Judy Pfaff and Gregg Coniff: Camera and Ink,” Milwaukee Art Museum, Milwaukee, WI “A Method Toward a Means,” Savannah Gallery, Savannah College of Art and Design, Savannah, GA “Judy Pfaff / Peregrine Honig,” Byron C. Cohen Gallery for Contemporary Art, Kansas City, MO
2007 “After the Revolution: Women Who Transformed Contemporary Art,” Curatorial Programs, Long Island City, NY “Decades: Featuring Judy Pfaff,” Robischon Gallery, Denver, CO
2003 “From Surface to Form: Rosen, Morris, Pfaff,” William Traver Gallery, Seattle, WA “New Gallery Artists: Judy Pfaff and Harry Kramer,” Ameringer Yohe Fine Art, The Gallery Center, Boca Raton, FL “Drawings: Squeak Carnwath, Jane Rosen, Judy Pfaff,” Sears-Peyton Gallery, New York, NY “Pressure Points: Recent Prints from the Collections of Jordan D. Schnitzer and the Jordan and Mina Schnitzer Foundation,” El Paso, TX “Group Show,” Elena Zang Gallery, Woodstock, NY
2006 “Ron Gorchov, Judy Pfaff, John Torreano,” Susanne Hilberry Gallery, Detroit, MI
2002 “Good Things Come in Small Packages,” Ameringer Yohe Fine Art, New York, NY
2008 “Midnight Full of Stars,” Visual Arts Center of New Jersey, Summit, NJ
“New Faces,” Robert Kidd Gallery, Birmingham, MI “The Belles of Amherst: Contemporary Women Artists,” Mead Art Museum, Amherst, MA “Art Chicago 2002,” Tandem Press, Chicago, IL “The 177th Annual,” National Academy of Design, New York, NY “American Academy Invitational Exhibition of Painting & Sculpture,” The American Academy of Arts and Letters, New York, NY “Art in Context,” Schmidt Bigham Gallery, Benefit Exhibition and Silent Auction, New York, NY “Darkness and Brightness,” Sears-Peyton-Gallery, New York, NY
“Construction Site: Chamberlain, Pfaff, Stella,” Ameringer-Howard Gallery, New York, NY “Welded! Sculpture of the Twentieth Century,” Neuberger Museum, SUNY Purchase, NY “Studio Arts Faculty Exhibition 2000,” Fischer Studio Arts Building, Bard College, Annandale-on-Hudson, NY “Beyond the Press: Innovations in Print,” Hand Workshop Art Center, Richmond, VA “Works from the Studio,” Elizabeth Leach Gallery, Portland, OR “Recent Prints,” Robischon Gallery, Denver, CO
2001 “Group Show,” Elena Zang Gallery, Woodstock, NY “Art Is For The Spirit,” Deutsche Bank, New York, NY “Rupture and Revision: Collage in America,” Pavel Zoubok, Inc., New York, NY “Yale Alumni,” New Haven, CT “Art Transplant, British Artists in New York,” British Consul-General’s Residence, New York, NY “Mostly Black and White: Photography and Works on Paper,” Elizabeth Leach Gallery, Portland, OR “Pressure Points: Recent Prints from the Collection of Jordan D. Schnitzer,” Bellas Artes Gallery, Santa Fe, NM “New Prints 2001,” International Print Center New York (IPCNY), New York, NY “Conversations from the Heart: Paintings, Sculpture, Drawings,” The Educational Alliance Gallery, New York, NY “Shadow Dancing,” D’Amelio/Torres Gallery, New York, NY
1999 “Jane Hammond and Judy Pfaff,” Byron Cohen Gallery, Kansas City, MO “Off the Wall,” Asheville Art Museum, Asheville, NC “Indoor Group Show,” Elena Zang Gallery, Woodstock, NY “Sculptors and Their Environments,” Rockland Center for the Arts, West Nyack, NY “Where the Girls Are: Prints by Women from the DIA’s Collection,” The Detroit Institute of Arts, Detroit, MI “Women in Print,” Jim Kempner Fine Art, New York, NY “Stella, Pfaff, Sugarman,” Tatunz, New York, NY
2000 “Judy Pfaff, Mary Frank, Joan Snyder,” Elena Zang Gallery, Woodstock, NY “The Likeness of Being,” D.C. Moore Gallery, New York, NY “THE END: An Independent Vision of Contemporary Culture, 1982-2000,” Exit Art, New York, NY “Can Chaos Have a Theory: Robert Frank, Elizabeth Murray, Judy Pfaff, Keith Sonnier, Daniel Spoerri,” Pratt Institute, Brooklyn and Pratt Manhattan Gallery, New York, NY
1998 “Recent Acquisitions: Contemporary Prints,” The National Museum of American Art, Washington, D.C. “Portraits Speak: Chuck Close In Conversation With 27 Of His Subjects,” Dorfman Projects, New York, NY “Artists of the Hudson Valley,” Kendall Art and Design, Hudson, NY “Drawings: Judy Pfaff & Jane Rosen,” Kendall Art and Design, Hudson, NY “Pop Abstraction,” Museum of American Art, Philadelphia, PA “Group Show,” Elena Zang Gallery, Woodstock, NY 1997 “Drawn and Quartered,” Karen McCready Gallery, New York, NY “Drawings. . . An Annual Bi-coastal Invitational,” Meyerson & Nowinski, Seattle, WA “Pieces Speak,” Sylvia Netzer Gallery 128, New York, NY
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“A Thought Intercepted,” California Museum of Art, Luther Burband Center for the Arts, Santa Rosa, CA “Before Construction Occurs, Sculptors’ Drawings,” School of Visual Arts, New York, NY “Flowers,” Elena Zang Gallery, Woodstock, NY “Real(ist) Women II,” Northwood University, West Palm Beach, CA “Annual Outdoor Sculpture Show,” Elena Zang Gallery, Woodstock, NY “Indoor Group Show,” Elena Zang Gallery, Woodstock, NY 1996 “Indoor Group Show,” Elena Zang Gallery, Woodstock, NY “Summer Group Exhibition,” Thomas Babeor & Co., La Jolla, CA “Bard College Group Exhibition,” Kanazawa, Ishikawa, Japan “New Visions: Al Held, Jules Olitski, Judy Pfaff,” André Emmerich Gallery, New York, NY “New Art On Paper,” Philadelphia Museum of Art, Philadelphia, PA “West Meets East,” Numark Gallery, Washington, D.C.
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1995 Greene County Council for Arts, Catskill, NY “In Three Dimensions: Women Sculptors of the ‘90s,” Snug Harbor Cultural Center, Staten Island, NY 1994 Matthew Marks Gallery, New York, NY “Inspired By Nature,” Neuberger Museum, SUNY Purchase, Purchase, NY “Art On Paper,” Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC “Three Degrees of Separation,” Sonnabend Gallery, New York, NY American Academy Invitational Exhibition of Painting and Sculpture, American Academy of Arts and Letters, New York, NY “Rough Cuts: The Extended Artist’s Notebook,” Abrons Arts Center, New York, NY “Garden of Sculptural Delights,” Exit Art, New York, NY 1993 “Foundation for Contemporary Performance Arts Benefit Exhibition,” Leo Castelli Gallery, New York, NY
“The Return of the Cadavre Exquis,” The Drawing Center, New York, NY “Reflections on the Center: 25 Years,” The Cleveland Center for Contemporary Art, Cleveland, OH “Color Options: Josef Albers, Alexander Calder, Judy Pfaff, Janet Taylor, William T. Williams,” The Fine Arts Gallery, Westchester, NY “Spheres of Influence: Artists and Their Students,” Whitney Museum of American Art at Champion, Stamford, CT “Scratching the Surface: Between Paper and Printing,” The Gallery of the Department of Art and Art History, Colgate University, New York, NY “Outdoor Sculpture: Displayed Indoors,” Max Protetch Gallery, New York, NY “Table Sculpture,” André Emmerich Gallery, New York, NY “Artschwager, Egner, Farber, Goodwin, Gorchov, Jensen, Mitchnick, Morley, Pfaff, Phelan,” Susanne Hilberry Gallery, MI “Sculptors on Paper,” Linda Farris Gallery, Seattle, WA “Lyric with An Edge,” Victoria Munroe Fine Art, New York, NY “Works on Paper,” Max Protetch Gallery, New York, NY “Help Build Iris House,” The Women & AIDS Working Group, New York, NY 1992 “44th Annual Academy-Institute Purchase Exhibition” American Academy and Institute of Arts and Letters, New York, NY “BCCDHHHJKNPPRSSW,” Miriam and Ira D. Wallach Art Gallery, Columbia University, New York, NY “Process to Presence: Issues in Sculpture 1960–1990,” Locks Gallery, Philadelphia, PA “American Figuration,” Henie Onstad Art Center, Høvikodden, Norway 1991 “Sculptors’ Drawings,” Bellas Artes Gallery, Santa Fe, NM “Presswork: The Art of Women Printmakers,” The National Museum of Women in the Arts, Washington. D.C. “From A – Z: Prints and Drawings from the Permanent Collection,” University of Massachusetts, Amherst, MA “Physicality,” Hunter College, City University of New York, New York, NY “Drawing Conclusions,” Installation, Molica Guidarte Gallery, New York, NY
“25th Anniversary Exhibition,” Gloria Luria Gallery, Bay Harbor Islands, FL “Discarded,” The Emerson Gallery at Rockland Center for the Arts, West Nyack, NY “Contemporary Woodblock Prints,” The Leif E. Johnson Memorial Exhibition, Edison Community College, Fort Myers, FL “Glass in the Service of Meaning,” Tacoma Art Museum, Tacoma, WA “Interactions: Collaborations in the Visual and Performing Arts,” Institute of Contemporary Art, University of Pennsylvania, Philadelphia, PA 1990 “Painted Forms: Recent Metal Sculpture,” Whitney Museum of American Art at Philip Morris, New York, NY “Eva Hesse, Louise Lawler, Agnes Martin, Melissa Meyer, Judy Pfaff, Kiki Smith, Jackie Winsor,” Holly Solomon Gallery, New York, NY “Art on Paper,” Weatherspoon Art Gallery, The University of North Carolina at Greensboro, Greensboro, NC “Seoul Art Festival – Contemporary Paintings on Hanji,” Seoul, Korea “Mind & Matter,” Chosun Ilbo Gallery, Seoul, Korea, traveled to Dowse Art Museum, Wellington, New Zealand “Scatter,” Shea & Beker, New York, NY “Diverse Representations,” The Morris Museum, Morristown, NJ “Altered States,” Crown Point Press, New York, NY “The Children’s AIDS Project – A Benefit Exhibition: In Memory of James, 1984 – 1988,” Daniel Weinberg Gallery, Santa Monica, CA “A Decade of American Drawing,” Daniel Weinberg Gallery, Los Angeles, CA “Sculptors on Paper,” Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE “On the Move,” The Museum of Modern Art Advisory Service, Pfizer Inc., New York, NY “Immaterial Objects: Works from the Permanent Collection,” Whitney Museum of American Art, New York, NY 1989 “Delineations: Patrick Ireland, Judy Pfaff, Paul Di Marinis,” Fuller Gross Gallery, San Francisco, CA
“Lines in Space,” Hillwood Art Gallery, Long Island University, Brookville, NY “Making Their Mark,” Cincinnati Art Museum, Cincinnati, OH “Contemporary Environments,” Museum of Modern Art, New York, NY “Golden Opportunity: Benefit Sale for the Resettlement of Salvadorian Refugees,” Castelli Graphics, New York, NY “Abstraction in Question,” The John and Mable Ringling Museum of Art, Sarasota, FL “Mike Kelly, Judy Pfaff, Keith Sonnier,” Susanne Hilberry Gallery, Birmingham, MI “Contemporary Woodblock Prints,” Jersey City Museum, Jersey City, NJ “Projects & Portfolios: The 25th National Print Exhibition,” Brooklyn Museum, New York, NY “20 Years: Max Protetch Gallery,” Max Protetch Gallery, New York, NY 1988 “Indoor/Outdoor Sculpture Exhibition,” El Bohio Community and Cultural Center, New York, NY “Aspects of Abstraction,” Holly Solomon Gallery, New York, NY “A Graphic Muse: Prints by Contemporary Women,” Mt. Holyoke College Art Museum, South Hadley, MA “Summer Group Show,” Holly Solomon Gallery, New York, NY “Narrative Art,” Mark Twain Gallery, Saint Louis, MO “American Baroque,” Holly Solomon Gallery, New York, NY “Sculpture Since the Sixties,” Whitney Museum of American Art at Equitable Center, New York, NY
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AWARDS AND RESIDENCIES 2017 Francis J. Greenburger Award, Art OMI Jack Wolgin Annual Visiting Artist Award, Tyler School of Art, Temple University, Philadelphia, PA 2015 National Academy Award for Excellence in Sculpture, National Academy Museum and School, New York, NY 2014 Lifetime Achievement Award, International Sculpture Center 2013 American Academy of Arts and Sciences, Class of New Fellows and Foreign Honorary Members, field of Visual and Performing Arts 2010 Southern Graphics Council International Conference Lifetime Achievement Award, Mark/Remarque, Philadelphia, PA
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2009 Member of the American Academy of Arts and Letters, New York, NY USA Fellowship, Los Angeles, CA Dean’s Medal, Sam Fox School of Design & Visual Arts, Washington University, St. Louis, MO USA Rasmuson Fellow 2006 Barnett and Annalee Newman Foundation Award 2004 MacArthur Fellowship (Genius Award) 2003 Nancy Graves Foundation Award
2002 Award of Merit Medal for Sculpture, American Academy of Arts and Letters, New York, NY
SELECT COLLECTIONS
1999 Honorary Doctorate, Pratt Institute, New York, NY
Whitney Museum of American Art, New York, NY
Museum of Modern Art, New York, NY
Brooklyn Museum, New York, NY 1998 U.S. Representative for the Bienal de São Paulo Distinguished Alumni Award, Washington University
Albright-Knox Art Gallery, Buffalo, NY Detroit Institute of Art, Detroit, MI
1997 Fellow of the Saint Gaudens Memorial 1986 National Endowment for the Arts, Sculpture
Chazen Museum of Art, University of Wisconsin, Madison, WI Cleveland Museum of Art, Cleveland, OH High Museum of Art, Atlanta, GA
1984 Bessie Award, Set Design for “Wind Devil,” BAM Production by Nina Weiner Dance Company
National Museum of Women in the Arts, Washington, D.C. Smithsonian American Art Museum, Washington, D.C.
1983 Guggenheim Fellowship, Sculpture 1979 National Endowment for the Arts, Sculpture 1976 Creative Artist Public Services, Sculpture
Sammlung Ludwig, Aachen, Germany Seonhwa Art and Culture Foundation, Seoul, Korea
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Published on the occasion of the exhibition
JUDY PFAFF 7 February – 9 March 2019 Miles McEnery Gallery 520 West 21st Street New York NY 10011 tel +1 212 445 0051 www.milesmcenery.com Publication © 2019 Miles McEnery Gallery All rights reserved Essay © 2018 David Levi Strauss
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Photography by Peter Mauney, Tivoli, NY Christopher Burke Studio, New York, NY Catalogue layout by McCall Associates, New York, NY ISBN: 978-1-949327-07-6 Cover: Udaipur 36, (detail), 2014 Page 2: Untitled, (detail), 2016 Page 11: Ragamala 14, (detail), 2013
MILES M c E N E RY G A L L E RY
JUDY PFAFF
JUDY PFAFF
MILES McENERY GALLERY