Beverly Fishman: New Paintings by Bruno David Gallery

BEVERLY FISHMAN NEW PAINTINGS

BEVERLY FISHMAN: NEW PAINTINGS January 23 - February 28, 2009 Bruno David Gallery 3721 Washington Boulevard Saint Louis, 63108 Missouri, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Director: Bruno L. David This catalogue was published in conjunction with the exhibition Beverly Fishman: New Paintings Editor: Bruno L. David Catalog Designer: Yoko Kiyoi Design Assistants: Sage A. David and Claudia R. David Printed in USA All works courtesy of Bruno David Gallery and Beverly Fishman Artwork photos by Bruno David Gallery staff Cover Image: Dividose: purpleyellowpurple (detail), 2008. Silkscreen on polished stainless steel, 84 x 30 inches (213.36 x 76.20 cm) Copyright ÂŠ 2009 Bruno David Gallery, Inc. All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery, Inc.

Contents

A Conversation between Beverly Fishman and Matthew Biro Afterword by Bruno L. David Checklist of the Exhibition Biography

A Conversation between Beverly Fishman and Matthew Biro 2

Matthew Biro: Describe your most recent work and tell us a little about how it has changed over the past few years. Beverly Fishman: My most recent paintings consist of silkscreen on polished stainless steel. They mark a significant

development in the paintings that I have been making since 2002. Since that time, I have been making modular paintings on powder-coated aluminum with either silk-screen or vinyl-collage. All the paintings I make contain trace representational elements – morphed pharmaceutical logos, pill shapes, EKG and EEG patterns, letters evoking genetic code, acoustic sound files, and circuit board diagrams. This mostly appropriated imagery is chosen to get the viewer to think about the ways in which science and technology represent the human body and its processes today as well as how the pharmaceutical industry sells us the promise of changing our mental and physical states through chemistry. These associations, I hope, help to guide the viewer’s experience of the formal aspects of the paintings, which use repeating patterns and contrasting and harmonizing colors to evoke a rhythmic and flickering experience of sensory overload. In addition, I hope the viewer will also think about how I combine the hand with the machine when making the paintings and how this reflects the growing connections between humans and technology that forms the primary theme of my work. Biro: And how do the new paintings on polished stainless steel mark and evolution of those concerns? Fishman: I have always been interested in having my paintings produce a strong physical reaction in the viewer. Through

their optical patterns and color relations, I want them to produce a deeply visceral and drug-like effect and to prod the viewer to think about how science and medicine have historically gained more power to affect us. Since the surfaces of the new paintings are reflective, they now bring the image of the viewer’s body and the environment as seen from his or her particular perspective into the work itself. Not only does that make the formal experience of the painting more mutable and responsive to the viewer’s movements in front of the work, but the reflections also emphasize one of my main conceptual preoccupations – that our minds and our bodies are constantly being pictured and affected through different forms of representation. When looking at my new paintings, I want you to see yourself existing in a technological space of medical imaging technologies, computer-driven manipulation processes, and chemical panaceas.

Biro: Do you still think of yourself as producing discrete paintings or are you now thinking more about creating an overall environment? Fishman: While I still think in terms of producing discrete paintings, I don’t see them as divorced from environmental con-

cerns. Painting shouldn’t just sit on a wall and inspire passive contemplation. Rather, painting should be active; it should energize and mobilize its site; and it should attempt to physically engage with its viewers. For this reason, I don’t see a clear-cut division between paintings and environments; and, as a result, I have over the past few years also designed wallpaper upon which my works can be sited. Because the modular character of my paintings already moves towards activating the wall and transforming the experience of the work into an environmental one, I see the creation of combined painting and wallpaper environments as a logical outgrowth of my process. Biro: Are there particular painters with whom you see yourself to be in dialogue with? Fishman: Well, generally, I think of my work as participating in a dialogue with multiple figures that came before me.

In terms of my interest in the mechanization of the handmade painterly gesture, the most obvious inspirations are Marcel Duchamp and Andy Warhol, although, if you look closely at my work, you’ll also see a definite interest in Roy Lichtenstein as well. As far as the idea of appropriation goes, and the ways in which you can use the strategy to examine the myths that the mass media tries to sell you, Warhol is again the primary point of reference – although I’ve obviously learned a lot from the painters and photographers who emerged in the 1980s. Op Art has also been a huge inspiration – I’m fascinated by the subtle strategies of Bridget Riley, Richard Anuszkiewicz, and Julian Stanczak, who created powerful effects with pattern and color. Minimalism and Postminimalism have also been important in terms of my engagement with industrial fabrication techniques. Finally, I’ve found the work of Ree Morton, Judy Pfaff, and Elizabeth Murray, who were my mentors, to be particularly inspiring because of the various ways in which they’ve pushed painting beyond its traditional limits without losing sight of the issues and concerns with which the medium has historically grappled. The important point, however, is that if you’re going to make paintings, you need to be aware of the history of your medium and to the questions and solutions that have been raised before you.

Matthew Biro is a writer, art critic, and Professor of Modern and Contemporary Art at the University of Michigan. Among his many publications are articles and reviews for Contemporary (London), Art Papers (Atlanta, GA), and New Art Examiner (Chicago, IL). His first book, Anselm Kiefer and the Philosophy of Martin Heidegger, was published by Cambridge University Press in 1998. His new book, The Dada Cyborg: Figures of the New Human in Weimar Berlin, is forthcoming from the University of Minnesota Press. This essay/conversation is one in a series of the galleryâ&#x20AC;&#x2122;s exhibitions written by fellow gallery artists and friends.

Afterwords by Bruno L. David 6

I am pleased to exhibit a new series of paintings by Beverly Fishman. Ms.Fishman is one of the preemnent artists of her generation: a pioneering painter whose work combines abstraction with the exploration of science, technology and medicine. Her latest work is a vibrant barrage of information derived from and alluding to charted systems and functions of the natural universe. Fishman utilizes materials from paint and silkscreen, to polished and powder-coated metal to manipulate light and color, illuminating themes addressing abstraction, technology, medicine, and the body. The amount of information in the artistâ&#x20AC;&#x2122;s work is at once overwhelming and sublime: the mathematical waves and grids overlap in a seemingly endless supply of information. The work simultaneously describes order and chaos found in both the natural and the manufactured world. Fishman plots out natural phenomena, such as the visible light spectrum, through equations, and alludes to practices in color theory through juxtaposition and use of material. Her paintings are visual explorations of a scientific universe, a myriad of literal and metaphorical layers that capture the immensity of what the human mind can and cannot perceive. Beverly Fishman received her BFA from the Philadelphia College of Art in 1977, and her Master of Fine Arts from Yale University in 1980. She subsequently taught at the College of New Rochelle, New York, the Maryland Institute College of Art, and Cranbrook Academy of Art in Bloomfield Hills, Michigan, where she is the Head of the Painting Department since 1992. Since 2000, Ms. Fishman has had over a dozen one-person exhibitions at galleries in New York, London, Paris, Berlin, Chicago, and Los Angeles. Her work has also been included in many thematic exhibitions addressing abstraction, technology, medicine, and the body. Recent exhibitions include Op Art: Then and Now at the Columbus Museum in Ohio (2007); Dreaming of a More Better Future at the Cleveland Art Institute Gallery (2005); Post-Digital Painting at Cranbrook Art Museum (2003); Go Ask Alice at Post in Los Angeles (2000); Prime Focus at Illinois State University in Normal (1998); Techno Seduction at Cooper Union Galleries in New York City (1997); Colors, Contrasts and

Cultures at the Discovery Museum, Bridgeport, Connecticut; and Technology Culture at Erie Art Museum in Erie, Pennsylvania (1996). She has been awarded numerous honors including a Guggenheim Fellowship Award (2005) a Louis Comfort Tiffany Foundation Award (2003) a National Endowment for the Arts Fellowship Grant (1989), an Artist Space Grant (1986/1990), and a Ford Foundation Grant (1979).

Checklist of the exhibition and Images

Dividose: FGO, 2008

Silkscreen and vinyl collage on powder-coated aluminum 70-1/2 x 84 inches (179.07 x 213.36 cm) (3 panels)

Dividose: FGO (detail), 2008

Silkscreen and vinyl collage on powder-coated aluminum 70.5 x 84 inches (179.07 x 213.36 cm) (3 panels)

Dividose: Flour. Y. O. R. G. B., 2008

Silkscreen on polished stainless steel 55.75 x 84 inches (141.60 x 213.36 cm) (2 panels)

Dividose: Flour. Y. O. R. G. B. (detail), 2008

Silkscreen on polished stainless steel 55.75 x 84 inches (141.60 x 213.36 cm) (2 panels)

Dividose: purpleyellowpurple, 2008 Silkscreen on polished stainless steel 84 x 30 inches (213.36 x 76.20 cm)

Dividose: purpleyellowpurple (detail), 2008 Silkscreen on polished stainless steel 84 x 30 inches (213.36 x 76.20 cm)

Dividose: wavebulgeyellow, 2008

Silkscreen on polished stainless steel 55-3/4 x 84 inches (141.60 x 213.36 cm)

VTGO: 010, 2008

Silkscreen on powder coated aluminum 60 x 84 inches (152.40 x 213.36 cm) (3 panels)

Untitled, 2008

Silkscreen on polished stainless steel 26 x 18 inches (66.04 x 45.72 cm)

Untitled, 2008

Silkscreen on polished stainless steel 26 x 18 inches (66.04 x 45.72 cm)

Untitled, 2008

Silkscreen on polished stainless steel 26 x 18 inches (66.04 x 45.72 cm)

Untitled, 2008

Silkscreen on polished stainless steel 26 x 18 inches (66.04 x 45.72 cm)

Beverly Fishman: New Paintings at Bruno David Gallery, 2009 (Installation View - detail)

Beverly Fishman EDUCATION MFA BFA

Yale University, New Haven, CT Philadelphia College of Art, Philadelphia, PA

SOLO EXHIBITION 2009 2008 2007 2006 2005 2004 2003 2002 2001 2000 1999 1998 1997 1996

Bruno David Gallery, Beverly Fishman: New Paintings, St. Louis, MO (catalogue) Artis Causa Gallery, Beverly Fishman, Thessaloniki, Greece Tarble Arts Center, Optical Unconscious, Eastern Illinois University, IL (brochure, essay by Lucy Hartley) Galerie Jean-Luc & Takao Richard, Matrix, Paris, France Lemberg Gallery, Chromophilia, Ferndale, MI Skestos Gabriele Gallery, Chemical Abstraction, Chicago, IL Michael Steinberg Fine Art, Take As Needed, New York, NY Galerie Jean-Luc & Takao Richard, One a Day, Paris, France Daimler Chrysler Galerie, Beverly Fishman, Berlin, Germany Galerie Jean-Luc & Takako Richard, Ecstasy, Paris, France (catalogue) SolwayJones Gallery, happy happy, Los Angeles, CA Two Ten Gallery, Pharmakon, Wellcome Trust, London, England (catalogue) Lemberg Gallery, From Here to There, Ferndale, MI Boom Gallery, Beverly Fishman, Oak Park, IL Gallery 2211 SolwayJones, Feel Good, Los Angeles, CA White Columns, Pharmaco Xanadu, New York, NY Post Gallery, Drugstore, Los Angeles, CA Lemberg Gallery, Fantastic Voyage, Ferndale, MI (brochure) Boulder Museum of Contemporary Art, Light and Dark Matter, Boulder, CO (essay) Susanne Hilberry Gallery, I.D. Series, Birmingham, MI Heriard-Cimino Gallery, Clusters: New Paintings, New Orleans, LA Raleigh Gallery, New Work, Boca Raton, FL Clusters, New Work, Mott Community College, Flint, MI Susanne Hilberry Gallery, Beverly Fishman: Critical Mass, Birmingham, MI Beverly Fishman, Recent Work, Elgin Community College Gallery, Elgin, IL (catalogue)

1996 1994 1993 1987 1986 1985 1984

Beverly Fishman: Breaking the Code, The John J. McDonough Museum of Art, Youngstown, OH (brochure) Hybrids: Recent Paintings, Indigo Gallery, Boca Raton, FL Hybrids: New Work, Cranbrook Museum of Art, Bloomfield Hills, MI New Works, Cultural Art Center, Columbus, OH New Paintings, Susanne Hilberry Gallery, Birmingham, MI Four, Stamford Museum and Nature Center, Stamford, CT Drawings, Sarah Doyle Gallery, Brown University, Providence, RI Drawings, Paintings and Sculpture, Housatonic Museum of Art, Bridgeport, CT (catalogue) Stamford Museum & Nature Center, Art/Ex Gallery, Stamford, CT Connecticut College, Cummings Art Center, New London, CT Sculpture, Urbach Gallery, New Haven, CT

SELECTED GROUP EXHIBITION 2008 2007 2006

Color, Rena Sternberg Gallery, Glencoe, IL Mixed Show, Lemberg Gallery, Ferndale, MI Maco Art Fair, Mexico, Skestos Gabriele Gallery, Chicago, IL Creating Velocity, Community Arts Gallery, Paramount Bank, Ferndale, MI Small Treasures, Lemberg Gallery, Ferndale, MI Small Abstract Paintings, Galerie Jean-Luc & Takako Richard, Paris Alma Mater, Kinkead Contemporary, Culver City, CA Op Art: Then and Now, Columbus Museum of Art, Columbus, Ohio Mixed Exhibition, Bernard Jacobson Gallery, London, England Introduction, Artis Causa Gallery, Thessaloniki, Greece Group Show, Toxic Gallery, Luxembourg Inland See, Richmond Center for Visual Arts, Western Michigan University, curated by James Yood (catalogue) Optical Edge, Pratt Manhattan Gallery, NY, NY, Curated by Robert C. Morgan Art Cologne, Galerie Jean-Luc & Takako Richard, Cologne, Germany Arte Fiera, Bologna, Italy, Galerie Jean-Luc & Takako Richard LA Art Fair, Skestos Gabriele Gallery, Chicago, IL London Art Fair, Bernard Jacobson Gallery, London, England Fresh, Lemberg Gallery, Ferndale, MI WHY: Detroit, Detroit Gallery, Detroit MI Art Cologne, Galerie Jean-Luc & Takako Richard, Cologne, Germany Group Show, Bernard Jacobson Gallery, London, England Art Basel, Bernard Jacobson Gallery, Basel, Switzerland

2006 2005 2004 2003 2002 2001 2000 1999 1998 1997 1996 1995

Summer Group Show, Lemberg Gallery, Ferndale, MI Paper, Skestos Gabriele Gallery, Chicago, IL Extreme Abstraction, Galerie Jean-Luc & Takako Richard, Paris, France In Polytechnicolor, Michael Steinberg Fine Art, New York, NY Summer Show, Lemberg Gallery, Ferndale, MI Rotterdam Art Fair, Galerie Jean-Luc & Takako Richard, the Netherlands Frankfurt Art Fair, Galerie Jean-Luc & Takako Richard, Frankfurt, Germany Group Show, Thomas Barry Fine Arts, Minneapolis, MN Post-Digital Painting, Cranbrook Art Museum, MI (catalogue) Loaded, Midway, St. Paul, MN Zero Degrees, The Brewery Projects, Los Angeles, CA Bitchin Pictures, Gallery 2211 SolwayJones, Los Angeles, CA Group Show, SolwayJones, Los Angeles, CA Group Show, Lemberg Gallery, Ferndale, MI 2001 MCA Benefit Art Auction, Museum of Contemporary Art, Chicago, IL Colorforms, Detroit Artists Market, Detroit, MI (catalogue) Made, Post Gallery, Los Angeles, CA Benefit Exhibition, White Columns, New York, NY RE:production, Lemberg Gallery, Ferndale, MI Go Ask Alice, Post Gallery, Los Angeles, CA Gallery Artists, Lemberg Gallery, Birmingham, MI Beverly Fishman, Heather McGill, Carl Toth: Wall Magnets, Cranbrook Art Museum, Bloomfield Hills, MI (brochure) Abstraction two to three, Cleveland University Art Gallery, Cleveland, OH Postopia, Craft and Folk Art Museum, Los Angeles, CA Prime Focus, Illinois State University, University Galleries, Normal, IL (brochure) Visualizing Digiteracy, Memphis College of Art, Memphis, TN (traveling exhibition) Flirting at a Distance: New Abstraction, Delaware Center for Contemporary Arts, DE (catalogue) Colors, Contrasts and Cultures, Discovery Museum, Bridgeport, CT Techno Seduction, Cooper Union Galleries, New York, NY Salientgreen, Susanne Hilberry Gallery, Birmingham, MI Technologyculture, Erie Art Museum, Erie, PA Black and Blue, Susanne Hilberry Gallery, Birmingham, MI 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 (catalogue)

1995 1992 1991 1990 1989

1988 1986 1985

Building the Cranbrook Collection; Acquisitions from Roy Slade’s Tenure (1977-1994), Cranbrook Academy of 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 and 395 West Broadway, New York, NY Signs of Life, OIA, New York, NY Beneath the Surface, 148 Gallery, Tribeca, New York (catalogue, R. Rubenstein) 360’E-Venti, Pino Moleca Gallery, New York, NY and Rome, Italy (catalogue) Morphologic, Art in General, New York, NY Beyond Nature, Marymount Manhattan College Gallery, New York, NY Divergent Currents, Hal Katzen Gallery, New York, NY Aspects of Nature, College of New Rochelle, New Rochelle, NY Signifiers of the Spirit, Artspace, New Haven, CT Artists from Yale, London Institute, London, England New Sculpture, East Hampton Center of Contemporary Art, East Hampton, NY (catalogue) The Drawing Show, Massachusetts College of Art, Boston, MA Hybrids, Addison Ripley Gallery, Washington DC Blum, Coyne, Fishman, John Slade Ely House, New Haven, CT Blum, Coyne, Fishman, P.S. 122, New York, NY The Brutal Figure; Visceral Images, Robeson Center Gallery, Rutgers University, Newark, NJ (catalogue) The Changing Face of Liberty, Women’s Caucus for Art, New York, NY and New Haven, and Hartford, CT Works on Paper, Housatonic Museum of Art, Bridgeport, CT (guest curator) (catalogue)

DESIGN PROJECTS 2002-present 2002 1999-2002

Nambe jewelry in collaboration with Peter Stathis Lighting designs in collaboration with Scott Klinker Lighting, furniture, and jewelry designs in collaboration with Peter Stathis

SELECTED BIBLIOGRAPHY 2007 2006 2005 2004 2003 2002 2001 2000 1999

Stafford, Barbara. Echo Objects: The Cognitive Work of Images, Chicago: The University of Chicago Press, 2007 (photo) Houston, Joe and Hickey, Dave. Optic Nerve, New York and London: The Columbus Museum of Art in association with Merrell Publishers, 2007 (photo) Stafford, Barbara. “The Remaining 10%: The Role of Sensory Knowledge in the Age of the Self-Organizing Brain,” in Elkins, James, ed., Visual Literacy, New York: Routledge, 2007 (photo) Morgan, Robert C. Optical Edge, New York: Pratt Manhattan Gallery, 2007 (photo) Grenier, Alexandre. “Extreme Abstraction,” Pariscope, February 2006, p.174 (photo) Cassidy, Victor M. “Beverly Fishman at Skestos Gabriele,” Art in America, April 2006, p.167 (photo) Univers Des Arts Japon, #16, 2006, p. 179 (photo) “Beverly Fishman: Lumino-Chocs,” Lemoniteur Des Pharmacies, December 17, 2005, pp. 22-23 (photos). de Bourbon, Aude. “Paysages Cellulaires: Beverly Fishman,” Art Actual, March/April 2004, p. 21 (photo) Houston, Joe. “Ecstasy,” in Beverly Fishman (Painters of the XXI Century), Paris: Galerie Jean-Luc & Takako Richard, 2004 Louis Comfort Tiffany Foundation Awards 2004 Catalogue, New York: Louis Comfort Tiffany Foundation, 2004 (photos) Banger, Alex. Wallpaper Magazine, London, December 2003, p. 192 (photo) Biro, Matthew. “Post-Digital Painting,” contemporary # 50 (photo) Jones, Denna, essay. Pharmakon, London: Wellcome Trust, The TwoTen Gallery, 2003 Martin, Colin. “Exhibition Inspired by Pharmaceuticals,” The Lancet, December 2003, Vol. 362, p. 2129 (photos) Morrisoe, Julia. “From Here To There: Beverly Fishman, Lemberg Gallery,” Dialogue, December/January (photo) Ostrow, Saul and Houston, Joe. Beverly Fishman (Cranbrook Monographs), Winchester, England: Telos Art Press, 2003 Arbitrare Magazine (Italy) #413, 2002, color photo of Nambe Jewelry Miro, Marsha. “A Cause to Celebrate,” Art News, June 2001 Novak, Carol. “Colorforms,” New Art Examiner, May/June 2001 Westfall, Stephen, essay. Colorforms, Detroit: Detroit Artists Market, 2001 Avgikos, Jan. “Better Living Through Chemistry,” Lemberg Gallery (brochure) (photos) Bonds, Amanda. “Pill Popping,” surface #24, 2000 (photo) Daslu, March 2000 (photo) “Fall Arts Preview,” Hour Detroit Magazine, September 2000 (photo) “Kunst Mit ‘Kleinen Trostern,’” freundin (Germany), June 2000 (photo) Mwangaguhunga, Ron. “New Technology versus Old Masters,” MacDirectory, Fall/Summer 2000 (photos) O’Kelly, Emma. “Pop Art,” wallpaper, January/February 2000 (photos) Apel, Dora. “Beverly Fishman at Susanne Hilberry,” New Art Examiner, March 1999 (photo) Apel, Dora. “Light and Dark Matter,” Boulder Museum of Contemporary Art, 1999 (brochure) (photo) Blinderman, Barry, essay. “Wall Magnets,” Cranbrook Art Museum, 1999 (color brochure) (photo) Crawford, Lynn. “Beverly Fishman at Susanne Hilberry,” Art in America, February 1999 (photo)

1998 1997 1996 1995 1996 1995

“Placebo Effect,” Black & White (Australia), June 1998 (photo) Stafford, Barbara Marie. Visual Analogy: Consciousness as the Art of Connecting, Cambridge, MA: The MIT Press, 1998 Bookhart, D. Eric. “Adelle Badeaux and Beverly Fishman,” Art Papers, November/December 1998 Guten Cohen, Keri. “Human Cells, human ingenuity inspire art,” Detroit Free Press October 18, 1998: 5G Miro, Marsha. “Design as a Discourse,” Casabella, June 1997, 38-47 (photo) “Techno-Seduction,” catalogue, reprinted in Art Journal, Spring 1997 “Techno-Seduction.” New York: Cooper Union, 1997 (catalogue) (photo) Zimmer, William. “Color, So Much the Essence of What Happens in a Painting,” New York Times, December 21, 1997 (photo) Green, Roger. “Interventions, Detroit Institute of Arts,” Art News, June 1996 Wojtas, Thomas. “Beverly Fishman, Suzanne Hilberry Gallery,” Art Papers, July/August 1996 (photo) Rubinstein, Rafael, essay. “Beverly Fishman: Breaking the Code,” brochure, John J. McDonough Museum of Art, Youngstown, OH, (photos) Zimmer, William. “Color, So Much the Essence of What Happens in a Painting,” New York Times, December 21, 1997 (photo) Green, Roger. “Interventions, Detroit Institute of Arts,” Art News, June 1996 Wojtas, Thomas. “Beverly Fishman, Suzanne Hilberry Gallery,” Art Papers, July/August 1996 (photo) Rubinstein, Rafael, essay. “Beverly Fishman: Breaking the Code,” brochure, John J. McDonough Museum of Art, Youngstown, OH, (photos)

SELECTED TEACHING EXPERIENCE 1992-present 1988-92 1983-92 1987

Head of Painting Department, Artist-in-Residence, Cranbrook Academy of Art, Bloomfield Hills, MI Instructor, Maryland Institute, College of Art, Baltimore, MD Associate Professor, (adjunct) College of New Rochelle, Graduate Art School, New Rochelle, NY Visiting Assistant Professor, Connecticut College New London, CT

AWARDS/GRANTS 2005 2003 1990 1989-1990 1986 1979 1977

Guggenheim Fellowship Award Louis Comfort Tiffany Foundation Award Artist Space, Exhibition Grant NEA Fellowship Grant Artist Space, Emergency Materials Fund Yale University Ford Foundation Special Project Grant Yale University Ford Foundation Summer Study Grant Philadelphia College of Art Weber Award for Excellence in Painting

SELECTED COLLECTIONS Cantor Fitzgerald, New York, NY Columbus Museum of Art, Columbus, Ohio Compuware World Headquarters, Detroit, MI Cranbrook Art Museum, Bloomfield Hills, MI Daimler-Chrysler Corporation, MI The Detroit Institute of Arts, Detroit, MI The Discovery Museum, Bridgeport, CT Dirk Denison Architects, Chicago, IL Financial Management Corporation, Chicago, IL Maxine and Stuart Frankel Foundation for Art, Bloomfield Hills, MI Ken Freed, Boston, MA Fred Alger Management Inc., New York, NY Gilbert and Lila Silverman, Bloomfield Hills, MI Hallmark Cards, Inc., Kansas City, MO Housatonic Museum of Art, Bridgeport, CT Illinois Institute of Technology, Chicago, Ill Istanbul Art Centre, Istanbul, Turkey Joseph Melillo, New York, NY MacArthur Foundation Collection, Chicago, IL Mattatuck Museum, Waterbury, CT Norwalk Community College, Norwalk, CT Alfred Taubman, Bloomfield Hills, MI Julie and Robert Taubman, Bloomfield Hills, MI The Prudential Headquarters, Newark, NJ Queens College Art Collection, Queens, NY Stamford Museum and Nature Center, Stamford, CT UBS Financial Services Inc. United Nations Embassy in Istanbul, Turkey (permanent collection) United Nations Vienna, US Mission to International Organizations in Vienna, Austria (temporary (color catalogue) United States Embassy, Burundi (temporary) (catalogue) United States Embassy, Mauritius (temporary) United States Embassy in Oslo, Norway/David and Doreen Hermelin (temporary) University of Michigan Biomedical Science Research Building, Ann Arbor, MI University of Michigan Life Sciences Institute, Ann Arbor, MI

ARTISTS Margaret Adams Ingo Baumgarten Dickson Beall Laura Beard Elaine Blatt Nanette Boileau Martin Brief Lisa K. Blatt Shawn Burkard Bunny Burson Carmon Colangelo Alex Couwenberg Jill Downen Yvette Drury Dubinsky Eleanor Dubinsky Maya Escobar Corey Escoto

Beverly Fishman Damon Freed William Griffin Joan Hall Takashi Horisaki Kim Humphries Kelley Johnson Howard Jones (Estate) Chris Kahler Bill Kohn (Estate) Katharine Kuharic Leslie Laskey Sandra Marchewa Peter Marcus Kathryn Neale Moses Nornberg

Patricia Olynyk Robert Pettus Daniel Raedeke Chris Rubin de la Borbolla Cherie Sampson Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Lindsey Stouffer The Fancy Christ Cindy Tower Ian Weaver Brett Williams Ken Worley

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