MARTIN WEINSTEIN
VEDUTE PA L I N S E S T I
MARTIN WEINSTEIN C U R AT E D BY J O N AT H A N R I D E R
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VEDUTE PA L I N S E S T I
A S S I S TA N T C U R ATO R : YA S M I N E PA N Z I R O N I
E X H I B I T I O N: A P R I L 20 J U LY 10, 2022 C ASTELLO 780
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Fondamenta San Giuseppe • Sestiere Castello, 780 • 30122 Venezia • + 39 342 947 5913
O N T H E C O V E R : D E T A I L O F V E N I C E , 2 D A W N S • A C R Y L I C O N M U LT I P L E A C R Y L I C S H E E T S , 1 1 X 1 6 ½ X 2 ½ I N C H E S
MARTIN WEINSTEIN
C U R ATO R ’ S N O T E:
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J O N AT H A N R I D E R
TO RETURN TO RETURN TO THE SAME PLACE TO RETURN TO THE SAME PLACE AGAIN TO RETURN TO THE SAME PLACE AGAIN AND AGAIN TO RETURN TO THE SAME PLACE AGAIN AND AGAIN, EACH TIME OLDER TO RETURN TO THE SAME PLACE AGAIN AND AGAIN, EACH TIME OLDER, EACH TIME CHANGED TO RETURN TO THE SAME PLACE AGAIN AND AGAIN, EACH TIME OLDER, EACH TIME CHANGED, EACH TIME DIFFERENT YOU AND THE PLACE TO RETURN TO THE SAME PLACE AGAIN AND AGAIN, EACH TIME OLDER, EACH TIME CHANGED, EACH TIME DIFFERENT YOU AND THE PLACE IN WAYS BIG AND SMALL
W
hy are we compelled to return to certain places? What does walking the same streets, hearing the same sounds, watching
the same twilights, etc., accomplish? In a world of seemingly infinite possibilities with equally infinite decisions, why choose to walk the same paths again and again? To be tethered to certain locales—hometowns can be north stars for many of us—perhaps acknowledges that we actually have roots. Maybe the act of returning can be a grounding exercise, one which (re)affirms our place in and connection to the universe.
On my last trip, I flew into Venice in the middle of an early morning thunderstorm; it was cold, raining hard, and foggy. My Alilaguna water taxi broke down en route to the city—the engine overheated—and we bounced around in the choppy gray water of the continued
C U R ATO R ’ S N O T E :
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lagoon, somewhere between Murano and Cimitero di San Michele. I’ve visited Venice several times but never arrived by water, and this time (my sixth or seventh) felt more cinematic than any before. Shrouded in a dense fog, the city was only partially visible, and snaking down the Grand Canal, the only things discernible were the murky turquoise water and the occasional flash of street lamp. It was melancholic, quiet (but for the sound of the boat against the water), and somehow befitting of such a magnificent city, not to play its best cards.
Martin’s depictions of Venice are magnificent, energetic, and unsteady on their feet. Rather than capturing any one moment, Martin layers them, stacking scenes painted on different occasions, at different times, and under different atmospheric conditions. In his views looking south, high above the Riva degli Schiavoni, toward Santa Maria della Salute and beyond, horizon lines teeter and slump, times of day overlap, jockey for clarity, and ultimately collapse. A dangling, precarious city of extremes is depicted in its full glory, fragility, and theatricality. Tenuousness and inevitability are baked into every brick of, as John Ruskin wrote, a “dying city, magnificent in her dissipation.” I, Martin, we, will continue to return to this impossible city, resplendent in its impossibility—to witness its impossibility—until we or it disappears.
MARTIN WEINSTEIN
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D. D O M I N I C K LO M B A R D I
P
lein air painting, or the landscape genre in general, often gets a bad rap due to its sentimentality, however, there are still a fair
amount of contemporary artists that show us there is still more to say about the world we live in. These artists are the ones who bring something new and enticing to the table, who explore new ways in which one can see our surroundings with new eyes and a fresh point of view. You might think of Peter Doig’s transcendental treks through stands of trees or Bo Bartlett’s ability to capture the absolute intensity of stillness, as both comment on the great outdoors. Then we have Martin Weinstein, who offers another seductive scenario by adding the distinction of time to the mix. Something like what Monet did with his Haystack paintings that specified certain times of the day, but in Weinstein’s instance, we are seeing those enlightening moments in distinctly separate layers.
All of the paintings in this exhibition look out into the basin of San Marco in Venice. Each one is composed of three overlapping clear acrylic panels, painted days, weeks or years apart revealing variations in light, movement and weather experienced at one of our planet's most beautiful cities. From dawn to dusk, as colors change, mists rise, clouds form and winds change, Weinstein is there to record in fluent strokes of paint, his view of Venice as one big socio-ecosystem. Unlike the intricate, overwhelming detail of Canaletto’s stark Venetian vistas, Weinstein takes us much closer to a waking dream state where the passage of time is more in tune with nature’s whims than the clock in the Piazza San Marco nearby.
Consider the brilliantly placed, shifting, after-image effect of Santa Maria della Salute in Venice, 2 Dawns (2017), as its early morning, ghostly pink patina seems to slide seamlessly into the open sea. A little later in the day, when the morning sun lost its oblique angle in Venice, 2 Mornings (2018), Santa Maria della Salute seems to have been resuscitated, and doubles back behind its originator as it stands on more solid footing. These shifts, the off-alignments, happen as Weinstein shows us his innate ability to define time by swinging space around in various ways and angles. When we see or perceive space, our bodies can shift, minds can wonder, and the time in between complete mental awareness can get lost between the many transitions. By revealing these nuances, Weinstein transforms reality, altering the state of observation in ways that can be keenly observed in his paintings. continued
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In Venice, Santa Maria, 2 Evenings (2019), the dwindling daylight and the shifts in the skyline give way to reflected light, as swirling pools of interlocking white loops and flutters activate the sea, the one thing that is distinct in this field of fantasy. With Venice, Dusks (2018), I am reminded of James Abbott McNeill Whistler’s nocturne paintings of those magical moments when the edge of night is activated by flickering points of artificial light. Weinstein’s Venice, Dusks brings our attention through the effects of all the localized light sources, especially how the setting sunlight dances across the rippling surface of the water as it simultaneously glances across the bottom edges of the sweeping clouds. Weinstein is also recording how our vision changes when the light shifts – how the wind often picks up at the end of day and how details that once were crystal clear, become more reliant on far more subtle visual effects and softened memory.
Venice is well known for its flooding, but the wind can also take its toll. In Venice, Stormy Evenings (2019), the bell tower of St Mark's Basilica seems to bolt back under the turbulence from the sky, as overpowering winds bend its formative verticality backward just short of the breaking point. That tension is what draws us in, while the tumultuous clouds in the ominous gray sky add additional weight to the narrative. Many years ago, J. M. W. Turner created incredible representations of Venice in the mid-19th century, which utilized atmosphere and color well beyond his contemporaries. Weinstein’s art redefines that same tradition, whereby certain elements are intensified, and others recede in a counterflow of definite and indefinite forms, conjuring with time in a timeless city of mystery, mirth and culture.
MARTIN WEINSTEIN
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I have been drawing and painting in Venice since childhood. Since 2015 I have brought my longstanding method of painting in layers on floating pieces of transparent, slightly frosted acrylic sheets to my work in the city. These sheets represent for me instants of perception, which when layered become a record of time, experience and memory, and an acknowledgement that these perceptions are illusory. These works have been assembled from 3 layers painted in multiple sessions of direct observation, from the same location, often in multiple years. Different times of day are combined and by often submerging closer, earlier depictions of the view beneath distant, later versions, I hope to ignore standard expectations about a layered presentation of space and time. The layers are juxtaposed at angles to each other, and the slight frosting of the surface makes the images slip slightly out of focus as they recede, expressing for me the slipperiness of our experiences and our memories. The bottom layer is usually an abstract painting signaling the ultimate unknowability of reality. Sometimes this layer is just painted black. As Paul Valéry wrote, ”God made everything out of nothing, but the nothingness shows through.”
MARTIN WEINSTEIN
MARTIN WEINSTEIN
I N S TA L L AT I O N V I E W
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V E N I C E , 2 D A W N S • 2 0 1 7 , A C R Y L I C O N M U LT I P L E A C R Y L I C S H E E T S , 1 1 X 1 6 ½ X 2 ½ I N C H E S
MARTIN WEINSTEIN
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V E N I C E , 2 M O R N I N G S • 2 0 1 8 , A C R Y L I C O N M U LT I P L E A C R Y L I C S H E E T S , 1 1 X 1 6 ½ X 2 ½ I N C H E S
MARTIN WEINSTEIN
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V E N I C E , 2 M O R N I N G S • 2 0 1 6 2 0 1 8 , A C R Y L I C O N M U LT I P L E A C R Y L I C S H E E T S , 1 1 X 1 6 ½ X 2 ½ I N C H E S
MARTIN WEINSTEIN
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V E N I C E , S A N TA M A R I A , 2 E V E N I N G S • 2 0 1 9 , A C R Y L I C O N M U LT I P L E A C R Y L I C S H E E T S , 1 1 X 1 6 ½ X 2 ½ I N C H E S
MARTIN WEINSTEIN
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V E N I C E , 2 A F T E R N O O N S • 2 0 1 7 , A C R Y L I C O N M U LT I P L E A C R Y L I C S H E E T S , 1 1 X 1 6 ½ X 2 ½ I N C H E S
MARTIN WEINSTEIN
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V E N I C E , S T G I O R G I O, A F T E R N O O N A N D E V E N I N G • 2 0 1 9 , A C R Y L I C O N M U LT I P L E A C R Y L I C S H E E T S , 1 1 X 1 6 ½ X 2 ½ I N C H E S
MARTIN WEINSTEIN
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V E N I C E , S T O R M Y E V E N I N G S • 2 0 1 9 , A C R Y L I C O N M U LT I P L E A C R Y L I C S H E E T S , 1 1 X 1 6 ½ X 2 ½ I N C H E S
MARTIN WEINSTEIN
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V E N I C E , S T O R M Y M O R N I N G S • 2 0 2 1 , A C R Y L I C O N M U LT I P L E A C R Y L I C S H E E T S , 1 1 X 1 3 ½ X 2 ½ I N C H E S
MARTIN WEINSTEIN
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V E N I C E , 2 S U N S E T S • 2 0 1 3 , A C R Y L I C O N M U LT I P L E A C R Y L I C S H E E T S , 1 1 X 1 6 ½ X 2 ½ I N C H E S
MARTIN WEINSTEIN
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V E N I C E , 2 E V E N I N G S , 2 Y E A R S • 2 0 1 9 2 0 2 1 , A C R Y L I C O N M U LT I P L E A C R Y L I C S H E E T S , 1 1 X 1 3 ½ X 2 ½ I N C H E S
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V E N I C E , D U S K S • 2 0 1 8 , A C R Y L I C O N M U LT I P L E A C R Y L I C S H E E T S , 1 1 X 1 6 ½ X 2 ½ I N C H E S
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M A R T I N W E I N S T E I N:
CV
S O LO E X H I B I T I O N S 2022
VEDUTE PALINSESTI CASTELLO 780, VENEZIA, ITALIA
MOMENT TO MOMENT PEARL FINCHER ART MUSEUM, SPRING, TX
2016
PLATONIA MSW STUDIO, NEW YORK, NY
Martin Weinstein: PAINTINGS WESTFIELD ATHENAEUM, WESTFIELD, MA 2012
Martin Weinstein: PAINTINGS 2021
MOMENT TO MOMENT SOUTH DAKOTA ART MUSEUM, BROOKINGS, SD
FRANKLIN RIEHLMAN FINE ART, NEW YORK, NY 2010
THE PORTRAIT IN NATURE 2020
MOMENT TO MOMENT HARDIN CENTER FOR CULTURAL ARTS, GADSDEN, AL 2019
MOMENT TO MOMENT
MACNIDER ART MUSEUM, MASON CITY, IA
THE PORTRAIT IN NATURE IDAHO FALLS ARTS COUNCIL, IDAHO FALLS, ID
THE TERESA PAINTINGS VISUAL ARTS CENTER, WASHINGTON PAVILLION, SIOUX FALLS, SD
THE PARTHENON MUSEUM, NASHVILLE, TN
ILLUSION AND CERTAINTY BEYOND A DAY
FERNBANK MUSEUM OF NATURAL HISTORY, ATLANTA, GA
LICHTUNDFIRE GALLERY, NEW YORK, NY
Martin Weinstein: PAINTINGS 2018
PLATONIA GODDARD CENTER FOR VISUAL ARTS, ARDMORE, OK
FRANKLIN RIEHLMAN FINE ART, NEW YORK, NY 2009
FOUR SEASONS 2017
PLATONIA PEGGY NOTEBAERT MUSEUM OF THE ACADEMY OF SCIENCE, CHICAGO, IL
PLATONIA QUINCY ART CENTER, QUINCY, IL
ALLEN GALLERY, NEW YORK, NY
ILLUSION AND CERTAINTY HILLSTROM MUSEUM OF ART, SAINT PETER, MN
MARTIN WEINSTEIN
2008
KENOTEN WALTER WICKISER GALLERY, NEW YORK, NY
VEDUTE PA L I N S E S T I
2005
ILLUSION AND CERTAINTY JACQUELINE CASEY HUDGENS CENTER FOR THE ARTS, DULUTH, GA
STRATA
ILLUSION AND CERTAINTY
AFP GALLERIES, NEW YORK, NY
MUSEUM OF THE SOUTHWEST, MIDLAND, TX
ILLUSION AND CERTAINTY
ILLUSION AND CERTAINTY
HILLSTROM MUSEUM OF ART, SAINT PETER, MN
WICHITA ART MUSEUM, WICHITA, KS
SUBJECTIVE PORTRAITS
2004
SUNY UTICA, EDITH BARRETT FINE ART GALLERY, UTICA, NY
ILLUSION AND CERTAINTY 2007
THE ANDERSON FINE ARTS CENTER, ANDERSON, IN
SUBJECTIVE PORTRAITS
ILLUSION AND CERTAINTY
KRASL ART CENTER, MI
THE PARTHENON, NASHVILLE, TN
SUBJECTIVE PORTRAITS
2003
THE PARKERSBURG ART CENTER, PARKERSBURG, WV 2006
ILLUSION AND CERTAINTY THE MUSEUM OF ARTS AND SCIENCES, DAYTONA BEACH, FL
ILLUSION AND CERTAINTY
ILLUSION AND CERTAINTY
WATERWORKS VISUAL ART CENTER, SALISBURY, NC
ELLIOTT MUSEUM, HUTCHINSON ISLAND, STUART, FL
ILLUSION AND CERTAINTY
1996
EMPORIA STATE UNIVERSITY, EMPORIA, KS
TIME LANDSCAPES 4 STAR GALLERY, INDIANAPOLIS, IN
Martin Weinstein: PAINTINGS MYUNGSOOK LEE GALLERY, NEW YORK, NY 1994
MARTIN WEINSTEIN
Martin Weinstein Paintings (1989-1994): MUTABLE PERCEPTION
TEW GALLERIES, ATLANTA, GA
LIST GALLERY, SWARTHMORE COLLEGE, SWARTHMORE, PA
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S E L E C T E D G R O U P E X H I B I T I O N S 2022
FOREST BATHING WOODSTOCK BYRDCLIFFE GUILD, WOODSTOCK, NY 2021
2018
PATTERN, POWER, CHAOS AND QUIET HOUSATONIC MUSEUM OF ART. BRIDGEPORT, CT
LUXURIOUS GROWTH LICHTUNDFIRE GALLERY, NEW YORK, NY
LANDX
SENSE OF ICE
RED FOX CONTEMPORARY ART, POUND RIDGE, NY
LICHTUNDFIRE GALLERY, NEW YORK, NY
IN FULL BOOM
2017
LICHTUNDFIRE GALLERY, NEW YORK, NY
COUNTERPOINTS TO THE NARRATIVE: Sparky Campanella, Mark Sharp, and Martin Weinstein
IN CONVERSATION
LICHTUNDFIRE GALLERY, NEW YORK, NY
KATHRYN MARKEL FINE ART, NEW YORK, NY
PRESENCE
Resonance and Memory: THE ESSENCE OF LANDSCAPE BRICK CITY GALLERY, SPRINGFIELD, MO
LICHTUNDFIRE GALLERY, NEW YORK, NY 2020
Resonance and Memory: THE ESSENCE OF LANDSCAPE THE IRVING ARTS CENTER, IRVING, TX
PENDULUM OF TIME LICHTUNDFIRE GALLERY, NEW YORK, NY
Resonance and Memory: THE ESSENCE OF LANDSCAPE
2019
UNIVERSITY OF SOUTHERN MAINE, GORHAM CAMPUS ART GALLERY, GORHAM, ME
REMEMBER WHEN IT WINTER WAS
THE STATE OF NEW YORK PAINTING
LICHTUNDFIRE GALLERY, NEW YORK, NY
KINGSBOROUGH ART MUSEUM, BROOKLYN, NY
EDGE OF ABSTRACTION
2016
LICHTUNDFIRE GALLERY, NEW YORK, NY
Resonance and Memory: THE ESSENCE OF LANDSCAPE WATER WORKS
THE BIEDENHARN MUSEUM & GARDENS, MONROE, LA
WALTER WICKISER GALLERY, NEW YORK, NY
Resonance and Memory: THE ESSENCE OF LANDSCAPE MICHELSON MUSEUM OF ART, MARSHALL, TX
MARTIN WEINSTEIN
2015
2009
Resonance and Memory: THE ESSENCE OF LANDSCAPE
ILLUSIONS: Linda Cross, Brian Peterson, Martin Weinstein, Deborah Zlotsky
FORT SMITH REGIONAL ART MUSEUM, FORTH SMITH, TX
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SCHICK ART GALLERY, SKIDMORE COLLEGE, SARATOGA SPRINGS, NY 2014
Resonance and Memory: THE ESSENCE OF LANDSCAPE ELGA WIMMER PPC, NEW YORK, NY
THE LANDSCAPE REVISITED: Martin Weinstein, Jonathan Beer, Sandra Gottlieb CHARLES B. GODDARD CENTER FOR VISUAL AND PERFORMING ARTS, ARDMORE, OK
THE LANDSCAPE REVISITED: Martin Weinstein, Jonathan Beer, Sandra Gottlieb EDITH BARRETT FINE ART GALLERY, UTICA COLLEGE, UTICA, NY
MARTIN WEINSTEIN AND REBECA PITTMAN OXFORD PERFORMING ARTS CENTER, OXFORD, AL
VACATION VENUES FRANKLIN 54 GALLERY + PROJECTS, NEW YORK, NY 2008
184th Annual: AN INVITATIONAL EXHIBITION OF CONTEMPORARY AMERICAN ART NATIONAL ACADEMY MUSEUM, NEW YORK, NY 2007
Male/Female: THE NEW REALISM GALLERY HENOCH, NEW YORK, NY 2004
SKIES & SCAPES 2013
DFN GALLERY, NEW YORK, NY
THE LANDSCAPE REVISITED: Martin Weinstein, Jonathan Beer, Sandra Gottlieb
2003
ROSEMONT COLLEGE, LAWRENCE GALLERY, ROSEMONT, PA
ARTISTS SELECT ARTISTS THE CENTURY ASSOCIATION, NEW YORK, NY
MARTIN WEINSTEIN AND REBECA PITTMAN JOYCE GOLDSTEIN GALLERY, CHATHAM, NY
2002
THE LANDSCAPE REVISITED: Martin Weinstein, Jonathan Beer
GALLERY 100, SARATOGA SPRINGS, NY
FERST CENTER FOR THE ARTS, ATLANTA, GA 2010
SIXTH ANNUAL BAMART SILENT AUCTION BROOKLYN ACADEMY OF MUSIC, BROOKLYN, NY
TRAVEL
2001
ARTISTS CHOOSE ARTISTS LAKE GEORGE ARTS PROJECT, LAKE GEORGE, NY
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2000
1994
The Figure: ANOTHER SIDE OF MODERNISM
Songs of the Earth: TWENTYTWO AMERICAN PAINTERS OF THE LANDSCAPE
NEWHOUSE CENTER FOR CONTEMPORARY ART AT SNUG HARBOR CULTURAL CENTER, NEW YORK, NY 1999
TWELVE DUETS KOUROS GALLERY, NEW YORK, NY
Ensemble dans la Vie et dans l'Art: ART CONTEMPORAIN INTERNATIONAL
AHI GALLERY, NEW YORK, NY
TO ENCHANT BLUE CYNTHIA MCCALLISTER GALLERY, BIXLER GALLERY, NEW YORK, NY
ISN'T IT ROMANTIC ART INITIATIVES AT ON CROSBY ST. NEW YORK, NY
L'INSTITUTE POLONAIS DE PARIS, PARIS, FRANCE
1993
1998
GALLERIA ZACHETA, WARSAW, POLAND
AMICI DI TWORKI
THE CONCEPTUALIZED LANDSCAPE : Elisa Amoroso, Howard Watler, Martin Weinstein
A MOMENT BECOMES ETERNITY
ROBERT STEELE GALLERY, NEW YORK, NY
BERGEN MUSEUM OF ART AND SCIENCE, PARAMUS, NJ
PERSONAL VISIONS IN PAINT: Katie DeGroot Martin Weinstein Kate Leavitt
1992
SARATOGA ARTS COUNCIL, SARATOGA, NY
FORT EDWARD ART CENTER, FORT EDWARD, NY
The Mind's Eye: CONTEMPORARY LANDSCAPE PAINTING
1989
REVIEWING THE FAMILIAR
THE LAKE GEORGE ARTS PROJECT, LAKE GEORGE, NY
VISIONARY LANDSCAPES 1997
ART IN GENERAL, NEW YORK, NY
INTIMATE UNIVERSE REVISITED
1988
ROBERT STEELE GALLERY, NEW YORK, NY
10 DOWNTOWN RECOLLECTIONS AND REFLECTIONS
LA MAMA GALLERIA, NEW YORK, NY
MYUNGSOOK LEE GALLERY, NEW YORK, NY
SMALL PICTURES 1997
369 GALLERY, EDINBURGH, SCOTLAND, UK
THE SMALL PAINTING
1987
O'HARA GALLERY, NEW YORK, NY
MEMORY IMAGES ART IN GENERAL, NEW YORK, NY
MARTIN WEINSTEIN
4 ARTISTS FROM NEW YORK
2004
369 GALLERY, EDINBURGH, SCOTLAND
Bostick, Alan. “The Illusion of Time,” The Tennessean, Sunday, March 7.
1988
NATURAL HISTORY ART IN GENERAL, NEW YORK, NY
S E L E C T E D B I B L I O G R A P H Y
2003
Vine, Richard. Time Framed: Martin Weinstein's Recent Landscapes, Exhibition catalogue, May 2003-2005, Illusion and Certainty: Martin Weinstein, paintings
2019
Walls, Michael. Martin Weinstein: Seeing Beauty, Conceiving A Response, Exhibition catalogue, May 2003-2005, Illusion and Certainty: Martin Weinstein, paintings
Goodman. Jonathan. “Martin Weinstein at Lichtundfire”. White Hot Magazine June, 2019.
2001
2018
Nahas, Dominque. Moment by Moment: Paintings of Martin Weinstein, Brochure.
Friswell, Richard. “Connecticut’s Housatonic Museum of Art with Eclectic Landscape Exhibition: New Perspectives”, Artes Magazine, March 11, 2018. 2015
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1997
Henry, Gerrit. "Martin Weinstein at MyungSook Lee", Art in America, May.
Hrbacek, Mary. “Elga Wimmer PCC with “Resonance and Memory: The Essense of Landscape,” Artes Magazine, January 7, 2015.
1995
2014
1994
Hrbacek, Mary. “Elga Wimmer PCC with “Resonance and Memory: The Essense of Landscape,” NY Art Beat, December 31, 2014.
Donahoe, Victoria. "N.Y. Artist Weinstein's Paintings at College", The Philadelphia Enquirer, October 10.
2005
Hornaday, Ann. "The Industrial Evolution", The New York Daily News, March 16.
Shull, Chris. “Time Passages,” The Wichita Eagle, Friday October 21, 2005. “WAM Opens Illusion and Certainty,” Wichita Times, River City Review, November/December 2005. “WAM to Feature Paintings of Martin Weinstein,” WestSide Story, Wichita, November 2005. Temple, Georgia. “Second-generation Artist Shows his ‘Layered’ Work,” Midland Reporter-Telegram, Sunday August 1. Cover Arts & Entertainment, Section p. 1F
Tatransky, Valantin. "Natural History", Arts Magazine, October.
Kuryluk, Ewa. Vision and Memory: Martin Weinstein's Pictorial Complexity, Exhibition catalogue, September 30 - October 30, 1994. Mutable Perception: Martin Weinstein Paintings and Drawings 1989 - 1994. continued
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1993
Watkins, Eileen. "Museum Offers Spectacular Exhibition Focusing on the Flower as Eternal Moment", The Sunday Star Ledger, July 4.
P R O F E S S I O N A L A F F I L I AT I O N S 1990 2005
Chairperson, Board of Directors, Art in General, New York, NY
1987
Handy, Ellen. "Memory Images,” Arts Magazine, May. Kuryluk, Ewa. Time Revisited and Regained, Exhibition catalogue published by The Scottish Arts Council
L E C T U R E S A N D P U B L I C E N G AG E M E N T S 2017
Visiting Artist, USM Art Galleries Gorham and Portland, Portland, ME
S E L E C T E D CO R P O R AT E CO L L E C T I O N S
Galerie Jean Claude Bellier, Paris, France Chase Manhattan Bank, New York, NY Collections Frendel, Brown and Weissman, New York, NY Paradise and Alberts, New York, NY Snitow Show Consultants, New York, NY
2008
Visiting Artist, Schick Art Gallery, Skidmore College, Saratoga Springs, NY 1994
"Romanticism: Dead or Alive?" Panel discussion, Art Initiatives, New York, NY 1993
Swarthmore College, Swarthmore, PA 1985
"Artists in the City", WNYC Radio, Jenny Dixon interview
D E TA I L O F V E N I C E , D U S K S • 2 0 1 8 , A C R Y L I C O N M U LT I P L E A C R Y L I C S H E E T S , 1 1 X 1 6 ½ X 2 ½ I N C H E S
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