M O N I K A W U L F E RS LINES
MONIKA WULFERS LINES
January 10 - February 21, 2015 Bruno David Gallery 3721 Washington Boulevard Saint Louis, Missouri 63108, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Owner/Director: Bruno L. David
Bruno David Projects 1245 South Vandeventer Avenue Saint Louis, Missouri 63110, U.S.A. info@brunodavidprojects.com www.brunodavidprojects.com Director: Keri Robertson
This catalogue was published in conjunction with the exhibition “Monika Wulfers: Lines” at Bruno David Projects, 2015. Editor: Bruno L. David Catalogue Designer: Eileen Milford and Laine Johnson Designer Assistant: Claudia R. David Printed in USA All works courtesy of Monika Wulfers and Bruno David Gallery Photographs by Bruno David Gallery Cover image: Monika Wulfers: Lines, 2015 (Installation view-detail) At Bruno David Projects First Edition Copyright © 2015 Bruno David Gallery and Bruno David Projects All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery and Bruno David Projects
CONTENTS
RUNNING NUMBERS: THE CONCEPTUAL MINIMALISM OF MONIKA WULFERS BY DANIEL TIFFANY ARTIST STATEMENT BY MONIKA WULFERS Afterword BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY
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RUNNING WITH NUMBERS: THE CONCEPTUAL MINIMALISM OF MONIKA WULFERS by Daniel Tiffany Public perception of the history of minimalist and conceptual art is dominated by male artists working out of New York City: Donald Judd, Carl Andre, Dan Graham, Sol LeWitt, Robert Morris, Dan Flavin, and so on. A recent 2014 show of neon “drawings” by the German-American artist Monika Wulfers at the Elmhurst Art Museum (outside of Chicago) suggests that this paradigm is not the last word on the genealogy of minimalism. Wulfers, who was born in Berlin in 1942, was one of several minimalist conceptual artists born during World War II, including the South African Ian Wilson (b. 1940), Dan Graham (b. 1942), and Fred Sandback (b. 1943)—all of whom Wulfers knew and interacted with in New York or Chicago. Although she has exhibited sporadically in major museums in the United States, England, Austria, Germany, and Czechoslovakia, her work has not received the attention it deserves. Unlike most of the canonical figures associated with minimalism or conceptualism, Wulfers made her art in Chicago (in addition to a sixteen-year residency on a remote island in Lake Michigan). Wulfers migrated from Germany to the U.S. in 1963 and settled in Chicago after a brief stint in New York City, where she has visited and maintained friendships over the years. In Chicago, she studied with Ray Yoshida and Stan Brakhage at the School of the Art Institute. She was also one of the founders of the formative–and still vital–Chicago women’s art collective, ARC. Wulfers’s art, which occurs in a variety of media, uses lines and blocks of numbers to work through a rigorous abstraction of visual forms. Abstract components of space are re-inscribed three-dimensionally, as in her sculpture “FOUR EQUAL LINES, not a square” (2010), which features four argon tubes hanging from the ceiling in a diamond-like configuration, eliminating arbitrary gesture and subjective design. Placement, scale, and mathematical concepts as they relate to space-defining objects are important elements of her work. Numbers are used to calculate the linear representation of points on a grid; her “Random” series, for example, are monochromatic paintings composed mainly of diagonally-oriented lines that employ titles such as “Random 1345 1346” (2008). In the broadest sense, her work is concerned less with linear progression than with connectivity and continuities between points (or poles of interpretation). Wulfers’s work demands that the early history of minimalist art take into account the role of the computer—and its use by women in particular. Between 1975 and 1982, she produced most of her work by using the mainframe computer at the Argonne National
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Laboratory—some of the earliest computational art—where her work with light and lines was first recorded on computer-generated slides and films. In addition, her approach to producing computer-generated images anticipated an orientation toward digital media that is common today. Specifically, she viewed computer art as a medium that needs to be defined by its unique attributes, rather than simply creating images with the aid of a computer using mathematical formulas or equations. Wulfers created and occupied the position of Artist-in-Residence at the Argonne National Laboratory (the top-secret lab affiliated with the University of Chicago) between 1975 and 1983. Working at night with a security clearance, she used the Argonne mainframe computer to lay the groundwork for her subsequent projects, ranging in media from painting and printmaking to sound work, neon, and installation. In 1982, she helped Dan Graham produce his first permanent public commission (“Argonne Pavilion”) and, in a nice turn of materialist wit, saw her work that year evolve from the Argonne computer to argon gas in neon forms, exhibited first mounted on a wall like paintings and later suspended in space. Her “number visuals” also caught the attention of the legendary Hudson, who exhibited her work in a show called “The Non-Spiritual in Art” at the original Feature gallery in Chicago in 1987. Working nearly contemporaneously with the German conceptualist Hanne Darboven (a year younger than Wulfers, whose work with numbers and writing began to appear in New York in the late 1960s), Wulfers cleared the ground for her paradigm of line and number-based models with a series of all-white paintings produced in 1972-73 after seeing the 1972 Robert Ryman show at the Guggenheim. In contrast to Ryman’s variable repeating brushstrokes, Wulfers used scumbling — daubing the surface with a nearly dry brush — to apply paint to the unprimed canvas (parts of which she left unpainted). Whereas Ryman’s brushstrokes were applied side by side, she used a circular brush motion. These lines of ‘light’ overlapped and created a moiré effect, which reversed when looking at the work from different angles. These paintings were exhibited in a Mies van der Rohe building in downtown Chicago in 1975. In the early 1970s, Wulfers’s white paintings yielded a series of blank, trapezoidal canvases, which in turn yielded a programmatic impulse to draw linear connections between given points of outlines (which were assigned numbers: A1, A2, B1, B2, etc.). As a result, she began to simply list the numbers as text, or to read them aloud as “sound work” (an approach influenced in part by the writing of Gertrude Stein). With conceptualist Ian Wilson, whom she had first befriended while attending North Central College
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in 1964, she shared a methodology of logically working through all possibilities within a given set of options, even as, by the early 1970s, she disagreed with his rejection of the physical object (ultimately retaining the spare registration of lines characteristic of her work). During this exploratory period of her career, Wulfers elaborated her experimentation with lines and numbers (sequentially titled “One Line at a Time,” “Two Lines at a Time,” and so on, up to “Nine Lines at a Time”) by producing silkscreened templates that were placed in acrylic trays and fitted into a custom box that opened like a book. The number/line paradigm then became the basis of her work on the Argonne computer beginning in 1975, and of her search for a “faster pencil,” which could conceive (and “draw”) all of the coordinates and lines at once. Through the use of blocks of numbers to define and interpret space, Wulfers’s early work articulated its enduring ambition to do and “see” something that is implied rather than visible. It is in this respect that her work shares a close correspondence with the space-defining yarn sculptures of Fred Sandback. In 1975, while working on the Argonne computer, she developed a template that she called “Random 1111 8888,” which would become the foundation of later work in various media (from print to painting to neon). During the same period, she met Robert Barry, Lawrence Weiner, and Hans Haacke in New York. Wulfers worked on a Tektronix terminal at Argonne, with access to a computer-activated box camera (FR 80) similar to, though larger than, hand-operated devices used by photographers. With these tools, she produced computer-generated images on slides and film, as well as thermo-copies that were bound into books. This work was first exhibited publicly in a solo show at the Goethe Institute of Chicago in 1979. In addition, Wulfers documented her “sound work” (reciting letters and numerals of linear possibilities) with a recording produced at the Argonne Lab in 1977. That same year, she participated in early colloquia on computer-based art at the ACM/Siggraph Computer Software Conference in Seattle and at the Lawrence Berkeley Laboratory in Berkeley, California. In 1978, Lucy Lippard attended Wulfers’s presentation on computer art for the Women’s Caucus at Oxbow, Michigan, curious to see how Wulfers would draw a line with a computer, one at a time in real time. Wulfers established a live connection to Argonne National Laboratory using a 12-party line and outlets embedded in the floor. Every time someone else at the conference made a telephone call, however, or stepped too hard on the floor in what is now the quaint summer camp for the School of the Art Institute of Chicago, the lines were disconnected. Despite the pitfalls, this event brought the new world of technology to life for some fifty women artists who attended the presentation. 4
Influenced by Dan Flavin’s fluorescent “Monuments to Tatlin,” Wulfers produced her first “Random Neon Sculpture” (based on the computer template of “Random 1111 8888”) in 1986. An early example of her neon “drawings” was exhibited (along with work by Duchamp, John Cage, Dick Higgins, and others) in a show entitled “Chance World: Method and System in the Art of the Twentieth Century,” held in Ludwigshafen, Germany in 1992. In her latest neon work (exhibited at the Elmhurst Art Museum in 2014), white light-tubes of equal length are connected by soft gas-tube sign cable (the circuit closed by a transformer) and suspended by monofilament from the ceiling in geometrical configurations. These floating sculptures, like her paintings, present lines as objective units of visual reality, which are not found in nature and, as a result of their particular configuration, generate subjective (and illusory) experience in the viewer. The neon pieces in her recent show, each called “Five Equal Lines, but not a pentagon,” are variable sculptures through which the spectator can stroll. These works rigorously define space, but they also envelop the viewer. While all the tubes are the same length (7 feet each), they are not seen as such because of the phenomenon of foreshortening. Depending on a viewer’s location and angle of vision, everyone sees these forms differently, though the forms themselves are constant. What one sees is thus different from the physical reality of the work. The actuality of the object is invisible, as viewers perceive their own altered reality. Monika Wulfers’s art seeks to define space, but also to cultivate the viewer’s experience and awareness of space. The twentieth-century spatial device of the grid organizes her work, yet Renaissance perspective reemerges through the grid, as in the foreshortening implied in her recent light sculptures. Archaic and modern configurations of space thus coincide in the subjective dimension of her work. Her neon sculptures are at once objects and ambient experiences; they confront the viewer, inducing reflections about space but also inviting the viewer to engage by literally entering the work. Nearly 40 years ago, Wulfers’s pioneering work with computers allowed her to discover a way to enhance repetition by generating a simultaneous modality of iteration–without losing unique, singular, and individual forms. As she sees it, these repetitive structures can function as abstract images of the self’s assertion and absorption in contemporary mass culture. Daniel Tiffany is a Los Angeles-based writer. Daniel Tiffany is the author of a chapbook and nine volumes of poetry and literary criticism, including “Neptune Park” (Omnidawn, 2013) and “My Silver Planet: A Secret History of Poetry and Kitsch” (Johns Hopkins 2014). He is a recipient of the Berlin Prize, awarded by the American Academy in Berlin, and has translated works from Greek, French, and Italian. He lives in Los Angeles and Berlin. This text is re-printed with the authorization of Daniel Tiffany. First published by HYPERALLERGIC on July 13, 2014. This text is one in a series of the gallery’s exhibitions written by fellow gallery artists and friends. 5
ARTIST STATEMENT by Monika Wulfers
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The concept of ‘line’, a mark made on or in a surface, is an invention like systems of writing and ciphers, none of which are found in Nature. A straight line is the shortest distance between two points. In space, a point would be the absolute reduction of a line. A point can be defined by a dot or by numerical notation and can be seen as an objective unit. Letters and numerals are objective units. These units serve as organizing elements of reality. I am working with the relationships of these units as premise for visual knowing. In 1975, I watched a line invent itself, as a small green phosphor, traveling across the computer screen. Just like radii make up the circumference of a circle, many small green dots made up a line on-screen in real time. My recent work incorporates principles of movement and energy and consists of photo-based, computer-generated digital images, drawings, and paintings. Recent light sculptures are “three-dimensional” polygons made of argon-mercury tubes of equal length suspended over the ground. Viewers are invited to walk inside and around the work. Placement, scale, and mathematical concepts relating to objects in space are an important part of my work. Abstract components of space are two and three-dimensionally described eliminating arbitrary gesture and subjective design. In the Random series, coordinate systems are used to show connections between specific points along the parameter of chosen, outlined forms so that “unseen“ spatial relationships are delineated. Numbers are used to calculate the linear representation of points located on a grid. Lines and numbers are equivalents, and number lines become the titles of the work. I am depicting reality, not by showing the object itself but by showing its interior dimension. I am working in the tradition of earlier painters, such as Kazimir Malevich, and later Barnett Newman and Ad Reinhardt, who used black paint as their medium. I have been influenced by the conceptual artists of the sixties, including Ian Wilson, who ultimately dematerialized the object, using language in contextual manipulations in his early discussions, and eventually rejecting all physical forms of his practice. Lawrence Weiner’s practice of using language as an element of sculpture transferred into the two-dimensional plane had a formative impact on me.
Chicago, 2015
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Afterword BY BRUNO L. DAVID
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I am pleased to present a new exhibition by German-born, Chicago-based artist Monika Wulfers. Wulfers explores the concept of line in minimalist sculptures and paintings, as well as computer generated images and constructs. Various representations of lines and shapes created by lines are seen in her work which draws upon spatial and temporal constructs. Recent work incorporates principles of movement and energy and consists of photos, computer generated digital images, drawings and paintings. She uses two and three dimensions to examine the line and our perception of it. Monika Wulfers was born in Berlin, Germany. She received her M.F.A. from the School of the Art Institute of Chicago and her B.A. from North Central College, Naperville, Illinois. Wulfers has exhibited her art in such museums as the Museum of West Bohemia, Czech Republic; Elmhurst Art Museum, Elmhurst, Illinois; Kunst Mit Eigensinn, Museum Moderner Kunst, Museum des 20.Jahrhunderts, Vienna, Austria; The Art Institute of Chicago; Goethe Institute Chicago; University of California, Riverside, California; WilhelmHack-Museum, Ludwigshafen, Germany; DePaul University, Chicago; Museum of Contemporary Art, Chicago; The Kemper Collection, Chicago, Illinois. Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery. I would like to express my sincere thanks to Daniel Tiffany for allowing us to re-print his 2014 essay about the work of Monika Wulfers. I would like to express my sincere appreciation to Keri Robertson, Director of the Bruno David Projects, for co-curating and organizing this exhibition. I am deeply grateful to Eileen Milford and Laine Johnson, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Keri Robertson, Cleo Azariadis, Eileen Milford, Laine Johnson, Daniel Stumeier.
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CHECKLIST & IMAGES OF THE EXHIBITION
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Monika Wulfers: Lines (installation view)
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Random 3314 3315, 2008 Oil and acrylic on canvas 64 x 96 inches (162.96 x 243.84 cm)
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Random 1868 1867, 2008 Oil and acrylic on canvas 64 x 96 inches (162.96 x 243.84 cm)
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Random 4482 4883, 2008 Oil and acrylic on canvas 64 x 96 inches (162.96 x 243.84 cm)
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Random 1345 1346, 2008 Oil and acrylic on canvas 64 x 96 inches (162.96 x 243.84 cm)
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Random 1881 1882, 2008 Oil and acrylic on canvas 64 x 96 inches (162.96 x 243.84 cm)
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Random 4788 4888, 2008 Oil and acrylic on canvas 64 x 96 inches (162.96 x 243.84 cm)
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Monika Wulfers: Lines (installation view)
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Monika Wulfers: Lines (installation view)
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Monika Wulfers: Lines (installation view)
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Moniks Wulfers: Lines (installation view: 5 elements), 2014 Glass tubes, argon, transformer, wiring, monofilament Size variable
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Monika Wulfers: Lines (installation view)
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1337 1338 (drawing), 2014 Ink on paper (edition of 15) 8 x 10 inches (20.32 x 25.4 cm)
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1357 1358 (drawing), 2014 Ink on paper (edition of 15) 8 x 10 inches (20.32 x 25.4 cm)
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1788 1888 (drawing), 2014 Ink on paper (edition of 15) 8 x 10 inches (20.32 x 25.4 cm)
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4788 4888 (drawing), 2014 Ink on paper (edition of 15) 8 x 10 inches (20.32 x 25.4 cm)
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Monika Wulfers: Lines (installation view)
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Monika Wulfers: Lines (installation view)
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Monika Wulfers: Lines (installation view)
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Monika Wulfers: Lines (installation view)
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Monika Wulfers: Lines (installation view)
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Monika Wulfers: Lines (installation view)
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Five Equal Lines, not a pentagon X, 2014 Glass tubes, argon, transformer, wiring, monofilament 178 x 80 x 141 inches
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Five Equal Lines, not a pentagon VI, 2014 Glass tubes, argon, transformer, wiring, monofilament 95 x 80 x 192 inches
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Five Equal Lines, not a pentagon X, 2014 Glass tubes, argon, transformer, wiring, monofilament 178 x 80 x 141 inches
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Five Equal Lines, not a pentagon VIII, 2014 Glass tubes, argon, transformer, wiring, monofilament 113 x 144 x 125 inches
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Monika Wulfers: Lines (Installation view: 5 elements)
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Monika Wulfers: Lines (installation view)
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MONIKA WULFERS Born in Berlin, Germany
EDUCATION M.F.A. School of the Art Institute of Chicago, Chicago, Illinois B.A. North Central College, Naperville, Illinois
SOLO EXHIBITIONS 2016 2015 2014 2011 2010 2009 2008
North Central College, “Momika Wulfers”, Naperville, Illinois Bruno David Projects, “Lines,” Saint Louis, MO (catalogue) Elmhurst Art Museum, “Monika Wulfers,” Elmhurst, Illinois Special Project, Expo Chicago, “Monika Wulfers,” Chicago, Illinois Gordon Center for Integrative Science, “Monika Wulfers,” University of Chicago, Illinois Dreambox Gallery, “Monika Wulfers,” Chicago, Illinois Bridgeport Art Center, “Monika Wulfers,” Chicago, Illinois Gordon Center for Integrative Science, “Monika Wulfers,” University of Chicago, Illinois FLATFILE Gallery, “Monika Wulfers,” Chicago, Illinois Indiana University Gallery, “Monika Wulfers,” Gary, Indiana
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SELECTED GROUP EXHIBITIONS 2015 2014 2013 2012 2011 2010 2009 2008
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OVERVIEW_2015, Bruno David Gallery, St. Louis, Missouri John David Mooney Foundation, Chicago, Illinois and/or, Bruno David Gallery, St. Louis, Missouri Biennial 28, South Bend Museum of Art, South Bend, Indiana Sculpture Invasion, Koehline Museum of Art, Des Plaines Community College, Des Plaines, Illinois Inaugural Exhibition, Evanston Art Center, Evanston, Illinois Projector Poetry, Cobalt Studio, Chicago, Illinois Museum of West Bohemia, IX. International Biennial of Drawing Pilsen, Czech Republic Lubeznik Center for the Arts, Michigan City, Indiana Las Manos Gallery, Chicago, Illinois Gallery 4, Bridgeport Art Center, Chicago, Illinois Cliff Dweller’s Club, Chicago, Illinois CSI at Bridgeport Art Center, Chicago, Illinois Light Sense, Zhou B Art Center, Chicago, Illinois Light Sculpture Media Culture, Artist/Curator, Chicago Artists Months, Bridgeport Art Center, Chicago, Illinois Las Manos Gallery, Chicago, Illinois Sculpture International Chicago, Sculpture Garden, Bridgeport Art Center, Chicago, Illinois Gallery of Slovak Union of Visual Arts,Dostojevského rad 2, Bratislava, Slovak Republic Biennale Der Zeichenkunst, Auswahl Der Besten Arbeiten (Selection of Best Work), Biennial Drawing Plsen, Centre Bavaria Bohemia, Schönsee, Germany Governor State University, University Park, Illinois Las Manos Gallery, Chicago, Illinois Howard Brown Benefit, Bridgeport Art Center, Chicago, Illinois Island Style, Washington Island, Wisconsin Museum of West Bohemia, VII. International Biennial of Drawing Pilsen, Czech Republic LACDA, L.A. Center for Digital Art, Los Angeles, California Artists of Eastbank, Chicago, Illinois Indiana University Northwest, Gary, Indiana
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Gordon Center for Integrative Science, University of Chicago, Chicago, Illinois Online Digital Art Gallery D-ART 2008 for the 12th International Conference Information Visualisation iV 08, South Bank University London, England 5th International Conference “Computer Graphics, Imaging and Visualization” CGIV 08 Universiti Sains Malaysia (USM) Penang, Malaysia Textually Speaking, FLATFILEgalleries, Chicago, Illinois Minimal, FLATFILEgalleries, Chicago, Illinois
SELECTED EXHIBITIONS 1975-2007 Beverly Shores Depot Museum and Art Gallery, Beverly Shores, Indiana (solo) Contemporary Abstract Photography, Ellen Curlee Gallery, St. Louis, Missouri Mary and Leigh Block Museum of Art, Northwestern University, Evanston, Illinois Black and White, FLATFILEgalleries, Chicago, Illinois Chicago Art Open, Chicago, Illinois Marsgallery, Chicago, Illinois St. Louis Artists’ Guild, St. Louis, Missouri Chicago Music Garage, Chicago, Illinois R. T. Wright Community Gallery, College of Lake County, Grayslake, Illinois The Exquisite Snake, Jean Albano Gallery, Chicago. Illinois Biennial Faculty Show, Reicher Gallery, Barat College, Lake Forest, Illinois The Weidner Center For The Performing Arts, Green Bay, Wisconsin The Wisconsin Art Gallery, Green Bay, Wisconsin Vietnam Photographs, Washington Island Art and Nature Center, Washington Island, Wisconsin (solo) Zufall-Spiel, Methode und System in der Gegenwartskunst, (exhibitin catalog), Wilhelm-Hack-Museum, Ludwigshafen, Germany The Non-Spiritual in Art, Feature Gallery, Chicago, Illinois University of California, Riverside, California Editions & Additions, International Book Works, Northlight Gallery, Arizona State University, Tempe, Arizona Kunst Mit Eigensinn, Museum Moderner Kunst/Museum des 20.Jahrhunderts, (exhibition catalog), Vienna, Austria The Art Institute of Chicago, Chicago and Vicinity Show, Chicago, Illinois
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SELECTED EXHIBITIONS 1975-2007 CONTINUED Institute for Design and Experimental Art, Sacramento, California Argonne National Laboratory, Argonne Illinois (solo) Artists Books, Museum of Contemporary Art, Chicago, Illinois Spaces, Cleveland, Ohio Goethe Institute Chicago, Lines and Numbers, (exhibition catalog) Introduction by Anne Rorimer Chicago, Illinois (solo) Ohio State University Art Galleries, Columbus, Ohio ACM Computer Art Invitational, (presenter), Seattle, Washington Lawrence Berkeley Laboratory, (lecturer), Berkeley, California North Central College, Naperville, Illinois (solo) Illinois Center Plaza, Chicago, Illinois (solo) Davidson National Print and Drawing Show, (juried), Davidson, North Carolina Dittmar Gallery, Northwestern University, Evanston, Illinois
BIBLIOGRAPHY Berger, Philip. Tiffany, Daniel. Klein, Paul. Osborne, Mary A. Weinstein, Michael. Ehler, Alicia. Pinkham, R.D. Magliaro, J. Kinsley, M. Manning, C. Toerpe, Gail Larson.
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“Return of the Pier Show”, The Architects Newspaper, October 17, 2014 “The conceptual minimalism of Monika Wulfers,” Hyperallergic, July 13, 2014 “Light On,” Huffington Post, 2014 “Wulfers’ sculptures light up Bridgeport Art Center for Chicago Artists Month,” October 2, 2012 “Tip of the Week,” New City, April 24, 2008, p. 26 “Textually Speaking,” 62Time Out Chicago, March 20-26, 2008 “Rocky Mountain Institute Case Studies of Economic Analysis and Community Decision Making for Decentralized Wastewater Systems,” #13 Washington Island Case Study, Boulder, CO, 2004 “Washington Island Gallery & Gardens,” DoorVoice, August 1997 “Light In The Gallery,” The Washington Island Observer, Jul 1996
Coleman, Beth. “Artist Strikes Balance on Washington Island,” Green Bay Press - Gazette, December 19, 1993 Steebs, Kenta. “Islander Sees Art As Way To Re-open Ties With Vietnam,” The Door County Advocate, May 14, 1993 Holeczek, Bernhard. “Zufall als Prinzip, Spielwelt, Methode und Systems, Methode, und System in der Kunst des 20,” Jahrhunderts, (exhibtion Von Mengden, Lida. catalogue), 1992, p. 320 Eiblemayr, Silvia. “Kunst Mit Eigen-Sinn, Internationale Ausstellung Aktueller Kunst von Frauen (catalog), Vienna: Museum Moderner Kunst/ Export, Valie. Museum des 20,” Jahrhunderts, 1984, (Herausgeber Silvia Eiblemayr, Valie Export, Monika Prischl Maier, p. 266) Prischl Maier, Monika.
AWARDS 2014 2013 2012 2008 2007
Individual Artists Program, Department of Cultural Affairs and Special Event Individual Artists Program, Department of Cultural Affairs and Special Event CAAP Community Arts Assistance Program Grant, City of Chicago, Department of Cultural Affairs, Cultural Grants CAAP Community Arts Assistance Program Grant, City of Chicago, Department of Cultural Affairs, Cultural Grants CAAP Community Arts Assistance Program Grant, City of Chicago, Department of Cultural Affairs, Cultural Grants
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PUBLIC AND PRIVATE COLLECTIONS Wilhelm-Hack-Museum, Ludwigshafen, Germany DePaul University, Chicago, Illinois Speyer Collection, Chicago, Illinois Argonne National Laboratory Museum of Contemporary Art, Chicago, Artists Books, Chicago, Illinois Susan Aurinko, Chicago, Illinois Bruce Gregga, Montecito, California The Kemper Collection, Chicago, Illinois Dr. and Mrs. Marvin Makinen, Chicago, Illinois Dr. and Mrs. Walter Massey, Chicago, Illinois Barbara Rose and Neil Peck, Chicago, Illinois Maria Smithburg, Chicago, Illinois Hamza Walker, Chicago, Illinois
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ARTISTS Laura Beard Heather Bennett Lisa K. Blatt Bunny Burson Shawn Burkard Michael Byron Carmon Colangelo Alex Couwenberg Jill Downen Yvette Drury Dubinsky Beverly Fishman Damon Freed
Douglass Freed Ellen Jantzen Michael Jantzen Kelley Johnson Howard Jones (Estate) Chris Kahler Bill Kohn (Estate) Leslie Laskey Peter Marcus Patricia Olynyk Gary Passanise Judy Pfaff
Daniel Raedeke Tom Reed Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Shane Simmons Buzz Spector Cindy Tower Ken Worley Monika Wulfers
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