Paul Sharits Paintings & Drawings
Cirrus 1981
Cirrus Gallery, Los Angeles, Exhibition Mailer, 1980-81
Cinema As Cognition ~ artist’s talk, August 1975 In August of 1975, Paul Sharits was asked to discuss his notions about “Cinema as Cognition.” His premise was that there is the possibility of synthesizing various, even contradictory concepts of perception-consciousness or a kind of knowing-meaning into a unified open systems model through a close analysis of the most fundamental levels of what one understands as “cinema.” One need only look below the usage level of cinema (its typical use as documentary and narrative function) to its infrastructures, its elementary particles of signification. The task is curious since, on the one hand, one would have to rebuild cinema in order to analyze it. On the other hand, one has to speculatively analyze it – build micro morphological structure function models – in order to rebuild it. After several years of drawing and painting in the early 1960s, Sharits strayed from the practice because it did not seem rich enough for a general philosophical investigation. The temporal signs of cinema and the representational irony of a projected film instead lend to his enterprise a set of characteristics which suggest a process of human knowing. When cinema is viewed through the Sharits proposal, its analysis become more complex, a research team is demanded to employ the tools of linguistics, mathematics, information theory, structuralism, phenomenology, psychophysiology, cybernetics, and general systems. The proper study of any one of these areas is necessarily
a lifetime preoccupation, and Sharits admitted to lacking any claims to adequately grasp even one of them. Nevertheless, he was more interested in the thoughts and ideas of philosophers than those of art historians or art critics. It was not always the case, but for Sharits after 1971, he considered artmaking merely a tool, a convenient and poetic tool, for generating an art career where film works were the final, formal media result, and later using drawings and paintings to illustrate the result. As conceptual art, with its text making and rule-driven pretext began to influence the philosophically driven artwork from other artists of the day, so too did Sharits insist that the formalist tactics of his works better satisfy the context of the museum / gallery platform rather than the theatrical (“filmmaking”) context. Sharits never embraced for himself either the moniker filmmaker or artistwho-makes-films; but instead saw his activity as proto theoretical; an artisan of infrastructural cinema. He was however grateful that the museum / gallery world provided the most usable venue from which his propositional artwork displays could function. Needless to say, a good part of what is to constitute the paradigm of projected films were his diagrams, films-asobjects, written language as conceptual illustration, drawings and even paintings to enable them to be properly read and be deciphered by the viewer. * * *
Ansia / Fiori I (on rough sea with Barone Melino) 1980 colored pencil on paper 12 X 8 inches ( cover image )
subjectivities of consciousness.” t previous page Edge of Spring III 1981 acrylic on canvas 24 x 30 inches
Paul Sharits is celebrated as one of the seminal figures of American avantgarde film during the 1960s and 1970s, in particular as it relates to the structure of filmmaking. His investigation focuses on the material and technological basis of cinema and how that relates to the cinematic experience. Primarily the aesthetic and theoretical investigation of such seemingly benign subjects as the film frame, the sprocket hole, the grainy image, the mechanics of the projector all lead to the creation of film-based or inspired art objects, including the exposed and randomly colored celluloid film strip. This materialist orientation contrasts sharply with the cinematic role of storytelling. Sharits makes this clear in a statement prepared for the Fourth International Experimental Film Festival in Belgium in 1967: “I wish to abandon imitation and illusion and enter directly into the higher drama of celluloid, twodimensional strips, individual rectangular frames, the nature of sprockets and emulsion, projector operations, the three-dimensional light beam, environmental illumination, the two-dimensional reflective screen surface, the retinal screen, optic nerve and individual psycho-physical
Beginning in the mid-1960s, Sharits conceived his film projects by drawing colored scores or maps that would occupy him for months. These modular drawings chart out a chromatic progression and variation in a grid of short dashes, longer lines, or fully colored squares, with each representing one frame of a piece of film footage. The individual drawings with their geometric patterns of colored marks, as in “Studies/Shutter Interface,” 1975, are captivating, abstract artworks. The frame study drawings and paintings, which map the structure of a few minutes of film footage, are intended to read like pages in a book. In other cases like “Untitled, Frozen Film Frame,” 1980, one reads from the top down as if looking at equal-length strips of film vertically arranged in rows. The exhibition at the Cirrus Gallery in Los Angeles presents schematic scores or maps or diagrams as they relate to his experiments in filmmaking or the process by which the materials represent the thought process that led to their creation. To show such objects in this way, they refuse to locate meaning in one object or create a hierarchy of objects and allow the material mechanisms of cinema to demystify their physicality. *** Paul Sharits talks about his films at Whitney Museum of American Art, New American Filmmakers Series ARTIST TALK January 14th, 1975
My work, between the years 1965 and 1968 emphasized individual film frames as basic structural units. Successions of these highly individualized frames, in themselves flat, generate, the so-called ‘flicker effect’ which in turn creates senses of protrusions from the flat screen surface. Works made after 1968 subsume ‘the frame’ and progressively focus-in upon the physical linearity of the film strip as subject. The latest work, CLOR SOUND FRAMES, intends to bring both of these concerns into a dynamic equilibrium, interfacing the frame-like successiveness of film and its ribbon-like continuousness. The general tone of my work since 1968 has been quieter, more contemplative and analytical than the earlier ‘flicker’ films; I view this change as representing a more radical insistence on differentiating film as art from movies as dramatic or comic entertainment. These newer works would like to be observed more than followed, with their viewers becoming more and more selfreflective and less and less passively engaged in my ‘inventive gymnastics.’ This shift in tone is not simply a matter of a shift in iconography but has just as much to do with a new way of composing the works in their temporal structure; that is to say, overt structural complexity has given way to an evenness and obviousness of time shaping which thereby allows the viewer to bypass decipherment and enter directly into deep perceptual / conceptual present-ness (something which painting and sculpture have traditionally accepted as a fundamental condition.) To accomplish this, a variety of compositional modes have been explored. In S:TREAM:S:S:E CTION:S:ECTION:S:S:ECTION:S :ECTIONED, one quickly observes
that a relatively predictable logic is being developed and thereby feels free to explore the individual moments of spatial tension – shifting, color movement relations, and sound-image heterodyne modulations which are the most significant manifestations of this film, a film which questions, in developmental transformation of its images, the duality of illusion flow and actual film flow through a projector. In INFERENTIAL CURRENT, developmental logic is dispensed with, so that an even more direct apprehending of film’s illusion of movement and spaces can be considered, even enjoyed. AXIOMATIC GRANULARITY is so self-generative that one can completely forget about its maker and feel the kind of awe that one feels when watching any intriguing natural phenomenon. Still, in all these works, which intend to lay bare the actuality of film, to modulate film in the terms of film itself, I have had to realize what my prove to be the ultimate irony: that in revealing the structure of the magic lantern’s illusionism, I have arrived at a cinema with more illusion than the normative cinema, which naively accepts its indexical nature and counts on its audience to suspend disbelief. COLOR SOUND FRAMES is related to several larger scale, multiple screen ongoing gallery or museum film pieces, such as the two-screen work, DIVERGENT INTERSECTING VECTORS; the three-screen piece, SYNCHRONOUSOUNDTRACKS; and the six-screen silent work, VARIABLE AREA OPTICAL SOUNDTRACKS. All of these recent works map out the possibilities of oscillatory composition; they are non-conclusive, non-dramatic
Untitled 1978 marker on vellum 22-1/2 x 17-1/2 inches
and non-developmental. They are not so much expressions as they are esthetically articulated specimens of our first medium of moving representation and manifestation of my own deep appreciation of their intrinsic suggestions for expansions of our potential sensibility. * * * ___________________ “I want the films to have a physical presence and there is also a kind of physical adjustment I want to get between the sound and the image. It’s not any rational measure or anything—I’ve just got to figure out how to get it to be the right balance so that one is constantly threatening the other. One element threatens with violence, the other with beauty.” Paul Sharits, Interview with Linda Cathcart, Dream Displacement and Other Projects, 1976 Greene Naftali is pleased to present a solo exhibition of works by Paul Sharits (1943-1993), the artist’s third at the gallery. This is the third time Greene Naftali has presented a seminal locational film by the artist, the first two being 3rd Degree (1982) and Shutter Interface (1975). Sharits was a pioneering figure in experimental film, always interested in investigating the physical properties of celluloid and its related mechanical hardware: projector, film reel, and sound component. This elemental attitude towards cinema led to his advancement of multi-projector film
installations in the early ‘70s— what he termed locational films—a form of filmmaking and display that sought to expand the limits of cinema by exposing its means of production. This exhibition marks the New York City debut of Dream Displacement (1976), Sharits’ four-projector locational film installation, originally exhibited at the Albright-Knox Art Gallery in 1976 and re-presented there in 2012 for their group exhibition Wish You Here: The Buffalo Avant-Garde in the 1970s. The work, whose title departs from Freud’s discussion of dreams, combines the sounds of breaking glass through quadrophonic speakers with visuals taken from Sharits’ flicker film SPECIMEN II. As Sharits explains, the film was “shot by rephotography, first ‘traveling’ slowly in one direction, then shot, in superimposition, going in the opposite direction,” producing a continuous intersection of film frames on a horizontal register. Stripped of any narrativizing elements, the perceptual, aural, and spatial effects of the viewer emerge as primary experiences. Also on view are works that variously focus on psychic interiority and the body, themes common throughout Sharits practice, and in particular during the time that he made Dream Displacement. These include Left Foot (1982), a large-scale two-panel painting that zooms in on a left leg, heavily veined and depicted from the calf down. Several drawings of the same subject accompany the work, including those that focus on
hands in states of various contortion and distress. A selection of studies illustrating faces in shock, pain, hysteria, fear, and revulsion are also on view, heightening the sense of the body as vessel for interior strife. Dream Displacement is a copresentation of Greene Naftali and Anthology Film Archives, New York and has been preserved from the original materials in Anthology’s collection. This exhibition has been possible through the close collaboration of Christopher Sharits/The Estate of Paul Sharits and Anthology Film Archives. This locational film has been restored thanks to the funds of the Albright Knox Art Gallery, and will also be premiered in Texas in Strange Pilgrims, The Contemporary Austin, on view September 27, 2015 through January 24, 2016. Sharits was acknowledged during his lifetime with shows at the Walker Art Center, the Contemporary Arts Museum Houston, and the AlbrightKnox Art Gallery, as well as included in documenta 6 and multiple Whitney Biennials. He was recently the subject of a retrospective at the Fridericianum, Kassel, and has been in numerous group exhibitions, including most recently America is Hard to See, Whitney Museum of Art, and Wish You Were Here: The Buffalo Avant- Garde in the 1970s, Albright Knox Art Gallery. Past writings by Marc Siegel & Green Naftali have contributed to this catalogue. * * *
Buffalo IV 1977 acrylic on canvas 60 x 48 inches
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Untitled, Frozen Film Frame 1980 esposed celluloid film strips 51 x 37 inches
New York City Winter Anxiety I 1981 colored pencil on paper 12 X 8 inches
Ghost Ranch: New Mexico 1981 colored pencil on paper 12 X 8 inches
Edge of Spring, 1981 / Buffalo I 1981 acrylic on canvas 30 X 24 inches
Untitled 1980 acrylic on canvas 32 X 24 inches
Positano VIII 1980 acrylic on canvas 60 X 48 inches
Santa Fe 1981 colored pencil on paper 12 X 8 inches
Artweek of Paul Sharits: Paintings and Drawings, Cirrus Gallery December 1981
BIOGRAPHY PAUL SHARITS b. 1943 in Denver, Colorado d. 1993 in Buffalo, New York EDUCATION 1966 MFA in Visual Design, Indiana University, Bloomington, Indiana 1964 BFA in Painting, University of Denver, Denver, Colorado SOLO EXHIBITIONS 2015 Dream Displacement, Greene Naftali, New York 2014 Paul Sharits – A Retrospective, Fridericianum, Kassel (catalogue) 2011 Greene Naftali, New York 2009 Greene Naftali, New York 2008 Declarative Mode: Paul Sharits’ Bicentennial Film, Burchfield-Penney Art Center, Buffalo State College, Buffalo, New York (catalogue) Paul Sharits, Figments, Espace multimedia Gantner, Bourgogne, France (catalogue) 2000 The Filmic Art of Paul Sharits, Burchfield-Penney Art Center, Buffalo State College, Buffalo, New York (catalogue) 1993 Paul Sharits—A Retrospective, Anthology Film Archives, New York 1981 Paul Sharits: Paintings & Drawings, Cirrus Gallery, Los Angeles 1979 Complete film retrospective, Anthology Film Archives, New York 1977 Centre National D’Art et de Culture Georges-Pompidou, Paris Galerie Ricke, Cologne Gallery “A,” Amsterdam Galerie Waalkens, Finsterwolde, The Netherlands Droll/Kolbert Gallery, New York 1976 Paul Sharits: Dream Displacement and Other Projects, Albright-Knox Art Gallery, Buffalo (catalogue) 1975 One-week screening, Whitney Museum of American Art, New York 1974 Bykert Gallery, New York Galerie Ricke, Cologne 1972 Bykert Gallery, New York GROUP EXHIBITIONS 2015 Works on Paper, Greene Naftali, New York America Is Hard to See, Whitney Museum of Art, New York Alchemy Film and Moving Images Festival, Heart of Hawick, Roxburgshire, United Kingdom Strange Pilgrims, The Contemporary Austin, Austin (catalogue) 2014 my eyes can’t focus and my brain is talking: A Film Program in Two Parts, Lisa Cooley, New York (screening) Art Expanded: 1958-1978, Walker Art Center, Minneapolis The Cable Cuys, Future Gallery, Berlin
2012 2011 2010 2009 2008 2007 2006 2005 2004 2001 1995 1982 1977
Ghosts In The Machine, New Museum, New York Du Monde clos à l’univers infini. Le Quartier, Centre d’art Contemporain de Quimper, France Wish You Were Here: The Buffalo Avant-Garde in the 1970s. Albright-Knox Art Gallery, Buffalo (catalogue) S:TREAM:S:S:ECTION:S:ECTION:S:S:ECTIONED, Anthology Film Archives, New York Essential Cinema: N:O:T:H:I:N:G and T,O,U,C,H,I,N,G, Anthology Film Archives, New York (screening) Secondary Evidence of Things Unseen, VeneKlasen/Werner, Berlin Museum für Moderne Kunst Frankfurt, Frankfurt am Main Artpark: 1974-1984, UB Art Gallery, Buffalo 10,000 Lives, Gwangju Biennale, Gwangju, Korea (catalogue) Contemporary Art from the Collection, curated by Kathy Halbreich and Christophe Cherix, Museum of Modern Art, New York The Pursuer, Greene Naftali, New York Moving Images, Museum Ludwig, Cologne (catalogue) Looking Back: The White Columns Annual, White Columns, New York The Secret Life of Objects, Midway Contemporary Art, Minneapolis Sonic Youth Etc. : Sensational Fix, Kunsthalle Düsseldorf, and Kunst im Tunnel, Düsseldorf, Germany Dogtooth and Tessellate, The Approach, London 3 Radicals, Robert Breer, Paul Sharits, Cameron Jamie, TENT, International Film Festival Rotterdam, Rotterdam Works on Paper by Gallery Artists and Ricci Albenda, Greene Naftali, NY Gut of the Quantifier, Lisa Cooley, New York Painting Now and Forever, Part II, Greene Naftali and Matthew Marks, NY Epileptic Seizure Comparison, Greene Naftali, New York MindFrames, Media Study at Buffalo 1973-1990, ZKM | Center for Art and Media, Karlsruhe, Germany Bits & Pieces Put Together to Present a Semblance of a Whole, Walker Art Center Collections, curated by Joan Rothfuss and Elizabeth Carpenter, Walker Art Center, Minneapolis X-Screen: Film Installation and Action of the ‘60’s and ‘70s, The Museum of Modern Art Ludwig Foundation, Vienna Into the Light: The Projected Image in American Art 1964-1977, Whitney Museum of American Art, New York (catalogue) Paul Sharits: Word Paintings and Fluxus Pieces, Big Orbit Gallery, Buffalo, New York Mediums of Language: Vernon Fisher, Myrel Chernick, Paul Sharits, Hayden Gallery, MIT, Cambridge documenta 6, Kassel, Germany Illusion and Reality, traveling exhibition (Australian National Gallery, Can- berra; Western Australian Art Gallery, Perth; Queensland Art Gallery, Bris- bane; Art Gallery of New South Wales, Sydney; Art Gallery of South Aus- tralia, Adelaide; National Gallery of Victoria, Melbourne; Tasmanian Mu-
seum an Art Gallery, Hobart) Some Trends and Provocations in the American Film Avant-Garde, Harvard University, Cambridge TIME, Philadelphia College of Art Museum, Philadelphia WORDS, Downtown Whitney Museum, New York Fotoarbeiten, Galerie Ricke, Cologne The Moving Image/N.Y. State, traveling exhibit, SUNY System Film as Film, Kölnischer Kunstverein, Cologne Galerie A, Amsterdam 1976 Une Histoire du Cinema, Centre Pompidou, Paris Happenings, Video, Film, Photography, Performance, State Art Museum, Wuppertal, Germany International Forum on Avant-Garde Film, Edinburgh Film Festival, Scot land Telluride Film Festival, Telluride, Colorado Structural Film Retrospective, National Film Theatre, London A History of American Avant-Garde Cinema, Museum of Modern Art, NY Open to New Ideas: A Collection of New Art for Jimmy Carter, Georgia Museum of Art, Athens, Georgia 1975 Art Film Tour 1974/5, Städtisches Museum Schloss Morsbroich, Leverku sen, Germany Art 6/75, International Art Fair, Basel Independent Filmmakers Series, Whitney Museum, New York Language and Structure, Kensington Arts Association, Toronto Art Transition, M.I.T., Boston International Art Fair by Galerie Ricke, Co logne 1974 Projected Images, Walker Art Center, Minneapolis An Evening of Expanded Cinema, Cirrus Gallery, Los Angeles KLANG/LICHT/DUFT – Spiele, Theatre am Turm, Frankfurt am Main Film As/On Art, Kennedy Center, Washington D.C. New Forms in Film: Cinema d’avant-garde Americain, Maison des Congres, Montreux, Switzerland Experiment in Film, Casino Knokke-Heist, Belgium Metamusik-Festival, Berlin Festival Internacional de Cine Experimental Para Formatos No Comercia les, Centro de Arte y Comunicacion, Buenos Aires 1973 Options and Alternatives: Some Directions in Recent Art, Yale University Underground Festival 3, Filmstudio 70, Rome Art 3, International Art Fair, Basel Festival of Independent Film, National Film Theater, London Performances, Music, Film, Contemporary Art Museum, Houston Internationale Kunst-und Informationsmesse, Düsseldorf Film als Kunstwerk, Retrospect, Kölner kunstmarktes L’Avant Garde Americaine, Studio Christine 2, Paris The Mystic Circle, Burnaby Art Gallery, Burnaby, B. C. Six Filmmakers, Albright-Knox Art Gallery, Buffalo, New York
CATALOGUES AND MONOGRAPHS 2015 Paul Sharits – A Retrospective. exh. cat. Kassel: Fridericianum. Pesanti, Heather. Strange Pilgrims. Austin: University of Texas Press. 2012 Pesanti, Heather. Wish You Were Here: The Buffalo Avant-garde in the 1970’s. exh. cat. Buffalo: Albright-Knox Art Gallery, Buffalo, New York 2010 Gioni, Massimiliano. 10000 Lives - Gwangju Biennale 2010. exh. cat. Gwangju: Gwangju Biennale Foundation. Scheibitz, Thomas. A Moving Plan B – Chapter One. exh. cat. Cologne: Walther König. 2009 MUTC #3: Acoustic Colors. exh. cat. China: Yuki Minami. 2008 Beauvais, Yann. Paul Sharits. exh. cat. Dijon: Presses du Réel. Sharits, Paul. Declarative Mode. exh. cat. Buffalo: Burchfield Penny Art Center. Sharits, Paul. Sharits. Exh. Cat. Dijon: Presses Du Reel. Vasulka, Woody and Peter Weibel, ed. Buffalo Heads : Media Study, Media Practice, Media Pioneers, 1973-1990. exh. cat. Karlsruhe: ZKM | Center for Art and Media Karlsruhe. Joseph, Branden W. Beyond the Dream Syndicate: Tony Conrad and the Arts After Cage. New York: Zone Books. 2001 Iles, Chrissie. Into The Light: The Projected Image in American Art 1964- 1977, exh. cat. New York: Whitney Museum of American Art, New York 2000 Sharits, Paul. The Filmic Art of Paul Sharits. Buffalo: Burchfield-Penny Art Center. 1978 Sharits, Paul. Film Culture No. 65-66. New York: Culture. 1976 Sharits, Paul. Dream Displacement and Other Projects. exh. cat. Buffalo: Albright-Knox Art Gallery, Buffalo, New York SELECTED ARTICLES 2015 Balsom, Erika. “Parallax Plurality.” Artforum September: 354-361. Siegel, Marc. “Structural Integrity.” Artforum. January: 71-74. 2013 Battaglia, Andy. “The Message in the Medium.” The Wall Street Journal 7 September: Web. 2012 Baden, Eric. “Wish You Were Here: The Buffalo Avant-Garde in the 1970s.” Art Papers. July/August: 40-41. Dabkowski, Colin. “Back to the ‘70s with ‘Wish You Were Here.’” BuffaloNews.com. March 29: Web. Fitzgibbon, Coleen. “Structures and Spaces: Cine-Installation.” Millennium Film Journal. April: 46-49. Hatch, Kevin. Looking for Bruce Connor. Cambridge: MIT Press. 179. Jones, Kristin M. “Beyond Human.” The Wall Street Journal 1 August. Joseph, Branden W. “Previews: ‘Wish You Were Here: The Buffalo Avant- Garde in the 1970s.’” Artforum, January: 109. Jovanovic, Rozalia. “Paul Sharits.” Modern Painters, February: 75. Kino, Carol. “Renaissance in an Industrial Shadow.” The New York Times. May 6: AR18. O’Neill-Butler, Lauren. “Paul Sharits.” Artforum, February: 229.
Pesanti, Heather, ed. “Wish You Were Here: The Buffalo Avant-garde in the 1970s.” Buffalo: Albright-Knox Art Gallery. 25-27, New York Shultz-Figueroa, Benjamin. “Counter Projections: Paul Sharits at Greene Naftali Gallery.” The Brooklyn Rail, February. Woodward, Richard B. “They Shuffled Off to Buffalo.” The Wall Street Jour- nal. April 26: D4. 2011 Farzin, Media. “The Unfinished Film.” art agenda, 14 July. Fitzpatrick, Corrine. “The Unfinished Film.” Artforum, July. Johnson, Ken. “Paul Sharits.” The New York Times, 23 December: C30. 2010 Comer, Stuart. “Stuart Comer.” Frieze, January/February: 28. Rosenberg, Karen. “Commentary That’s Both Visual and Vocal.” The New York Times, 2 July: C26. 2009 Butterfield-Rosen, Emmelyn. “Critic’s Picks: Paul Sharits.” Artforum, 17 March: Web. Dault, Julia. “Paul Sharits at Greene Naftali.” Akimbo, 26 February: Web. Jenkins, Bruce. “Out of the Dark.” Artforum, Summer: 111-14 Jones, Kristin M. “Paul Sharits.” Frieze, June-August: 194. Kley, Elisabeth. “Gotham Art and Theater.” Artnet, 31 March: Web. Mack, Joshua. “Paul Sharits.” Time Out New York, 12-18 March: 47 Minami, Yuki, ed. Mute # 3: Acoustic Colors. Tokyo: Tanin Inc., 78-85. Smith, Roberta. “Paul Sharits.” The New York Times, 13 March. 2008 Chan, Paul. “Trembling Before Time: On the drawings of Paul Sharits.” Parkett, Issue 83: 8-12. “Epileptic Seizure Comparison.” The New Yorker, 7 January. Sholis, Brian. “Gut of the Quantifier.” Artforum, March: Web. 2005 Mousley, Sheryl. “Paul Sharits.” Bits and Pieces Put Together to Present a Semblance of a Whole: Walker Art Center Collections, Ed. Pamela Johnson and Kathleen McLean, New York: DAP, 509. 2001 Iles, Chrissie. Into the Light: The Projected Image in American Art 19641977. New York: Whitney Museum of American Art. 144-47. 2000 Weekly, Nancy. The Filmic Art of Paul Sharits. Kenmore: Partners’ Press. 1978 Mekas, Jonas, ed. Film Culture, No. 65-66. Montpelier: Capital City Press. 79-80. 1976 Krauss, Rosalind. “Paul Sharits.” In: Paul Sharits: Dream Displacement and Other Projects. Buffalo: Albright-Knox Gallery, New York – Reprint in Film Culture, No. 65- 66, 1978: 89-102. 1973 Mekas, Jonas. “Movie Journal.” The Village Voice, March 22: 74. 1971 Cornwell, Regina. “Paul Sharits: Illusion and Object.” Artforum, September: 56-62.
PROFESSORSHIPS 1973 – 1992 SUNY at Buffalo, Buffalo, New York 1970 – 1973 Antioch College, Yellow Springs, Ohio 1967 – 1970 Maryland Institute of Art, Baltimore, Maryland AWARDS 1989 DAAD Fellowship, Berlin, Germany 1987 DAAD Fellowship, Berlin, Germany 1982 Grant for Film, National Endowment for the Arts 1979 Grant for Film, National Endowment for the Arts COLLECTIONS The Art Institute of Chicago, Chicago, Illinois Carnegie Museum of Art, Pittsburgh, Pennsylvania Centre Pompidou, Paris, France The Hirshhorn Museum, Washington, DC Museum Ludwig, Cologne, Germany The Metropolitan Museum of Art, New York, New York Museum of Modern Art, New York, New York The Walker, Minneapolis, Minnesota Whitney Museum of American Art, New York, New York
Frozen Film Frame Study: DM2B 1976 colored pencil on graph paper 17 X 22 inches
Positano VII 1980 acrylic on canvas 48 X 60 inches
Copyright Cirrus Editions ltd. © 2016
Cirrus 1981
cirrus editions ltd Š 2016