Posted / Turning

POSTED / TURNING JANE ROSEN

02 AUG — 15 SEPT 2024

JANE ROSEN

POSTED / TURNING

MAYA FRODEMAN GALLERY

ACKNOWLEDGEMENTS

Heartfelt thanks to Ross Richmond, Sebastian Ages, Shannon Belardi, Gustavo Gutierrez, Edith and Eduardo Marin, Lety Pemberton, and Linda Renaud at Stone Creationsfortheirincredibleworkonthesculptureonviewin“Posted/Turning”. Without this team the show would not be possible.

To Mei Rose, Bookie, the ravens, Garfield, and the animal life that we share this place with, I give my gratitude and love.

I give deep thanks for the amazing effort of Maya and the great team at Maya Frodeman Gallery for making this show possible.

- Jane

RED SHOULDERED HAWK ON BEAUMANIÈRE , 2024

Grey linen Provençale stone on hand carved Beaumanière Provençale stone

70 x 8 x 16 inches

BRIGHTNESS, 2023

Handblown, rolled in marble, and carved pigmented glass 17 x 6 x 4 inches

DARKNESS, 2023

Handblown, rolled in marble, and carved pigmented glass 18 x 6 x 4 inches

SAHARA WALL BIRD, 2024

Handblown and carved pigmented glass

15 x 5 x 4 inches

Painting is concerned with the ten things you can see; these are, darkness and brightness, color and substance, form and place, remoteness and nearness, movement and rest.

- Leonardo Da Vinci

Handblown and carved pigmented glass on Beaumanière stone 67 x 8 x 15 inches

SAHARA FALCON , 2024

Like two golden birds perched on the selfsame tree, intimate friends, the ego and the Self dwell in the same body. The former eats the sweet and sour fruits of the tree of life, while the latter looks on in detachment.

- The Mundaka Upanishad

SEAL ON ROCK, 2024

Black Portuguese marble on three elements of recycled Beaumanière carved stone 42 x 46 x 16 inches

RITA (FOR HAYWORTH), 2023-2024

Handblown, rolled in marble, and carved pigmented glass on Beaumanière carved stone

68 x 10 x 14 inches

AVA (FOR GARDNER) , 2024

Handblown, rolled in marble, and carved pigmented glass 15 x 5 x 4 inches

POSTED RAVEN , 2023

glass and Beaumanière limestone

57 x 8 x 13 inches

Handblown

TURNING RAVEN , 2023

Handblown glass and Beaumanière limestone

57 x 8 x 13 inches

All I have produced before the age of seventy is not worth taking into account. At seventy-three I have learned a little about the real structure of nature, of animals, plants, trees, birds, fishes and insects. In consequence when I am eighty, I shall have made still more progress. At ninety I shall penetrate the mystery of things; at one hundred I shall certainly have reached a marvelous stage; and when I am a hundred and ten, everything I do, be it a dot or a line, will be alive. I beg those who live as long as I to see if I do not keep my word. Written at the age of seventy five by me, once Hokusai, today Gwakto Rojin, the old man mad about drawing.

- Hokusai

PRAYING

RAVEN , 2012-2013

Handblown glass, marble mix and ink

17 1/2 x 6 x 4 inches

MAMA RAVEN MOULTING , 2021

Charcoal, ink, casein and coffee on paper

50 x 42 inches

SUMMER RAVEN, 2023

Unique print with hand-painted pigment and coffee on paper 52 x 42 inches

TREE OF LIFE, 2020 - 2023

Charcoal, Sumi-e ink and coffee on paper

60 x 42 inches

WHITE RAVEN BLACK RAVEN, 2016

Sumi-e ink, ink and casein on paper

22 1/2 x 30 inches

BABY BEAR, 2024

Italian marble and French recycled stone

41 x 12 x 16 inches

MINI PET FINDERS, 2013 -2020

Handblown and carved pigmented glass

2 x 21 x 3 inches

UNTITLED FORM, 2014-2022

57 x 16 x 16 inches

Limestone and marble

THE IDEA BEHIND MY WORKS

What is the idea behind my works and what appeals to people about them? It is the pivot on which all art turns--equilibrium, a counterbalancing of masses which gives rise to movement. That is the crux of art, whether those who conceive art as something different from “crass reality” like it or not. Art is like love. For many people it is a dream, an event of the soul, a palace, a sweet odor, a jewel. But none of these are the real thing. What is essential in love is union. Everything else is detail--delightful, thrilling maybe, but detail. The same is true of art. If someone comes and praises my symbolism, my power of expression, still I know that the only important thing are the surfaces. Respect the surfaces, depict them correctly from everyside,andmovementwillcome;shiftthemasses,andcreateanewequilibrium. The human body can be compared to a striding temple; and like a temple, it has a center of gravity around which the volumes of the body are distributed and ordered. Once you have realized this, you know everything. It is simple, but you have to see it. Academic artists don’t want to see it. Instead of realizing that this is the key to my method, people call me a poet...They say my sculpture is the sculpture of an enthusiast. I do not deny that it contains much of a violent nature, but this overwroughtqualitydoesnotcomeoutofme,itispartofnatureitselfanditsmotion.

The works of God are by their nature exaggerated; I am only true to them. Nor is my temperament overexcited; it is tranquil. Nor am I a dreamer, but a mathematician, and if my work is good, then it is because it’s geometric...

When you follow nature, you follow everything... It is not a matter of creating “The New”;thewords“creating”and“inventing”aresuperfluouswords. Revelationcomes only to those who perceive with their eyes and minds. Everything is contained in what surrounds us. Everything is given in nature, which is imbued with eternal, uninterrupted movement. A woman’s body, a mountain, a horse are one and the same thing in terms of conception, and they all are built according to the same principles.

- Auguste Rodin

WHITE MARBLE HORSE , 2023

57 x 15 x 10 inches

Portuguese white marble and limestone

WHITE MARBLE HERON , 2023

Portuguese white marble and twelfth century Provençale limestone 39 x 25 x 9 inches

When you see a fish, you do not think of its scales, do you? You think of its speed, its floating, flashing body seen through the water…. Well, I’ve tried to express just that. If I made fins and eyes and scales, I would arrest its movement and hold you by a pattern or a shape of reality. I want just the flash of its spirit.

- Brancusi

GLASS WALL OWL, 2024

Handblown pigmented glass 14 x 5 x 4 inches

LARGE MERLIN , 2023

Handblown pigmented glass, Chinese sandstone and limestone

63 x 8 x 7 inches

WAVE THEORY, 2013-2021

Portuguese black marble 12 x 96 x 9 inches

MALLET

MORANDI , 2022

Handblown pigmented glass, kiln cast crystal, and limestone

42 x 63 x 24 inches

He who works with his hands is a laborer. He who works with his hands and his head is a craftsman.

He who works with his hands and his head and his heart is an artist.

- Saint Francis of Assisi

GAME OF THRONES (G o T) , 2020

46 x 16 x 13 inches (each)

Beaumanière stone and limestone

GAME OF THRONES , 2023

Ink, chalk, coffee and sanquine on paper

28 x 39 inches

LEONARDO , 2004

Handpainted etching with lithography 44 x 30 inches

RAPHAEL

I shall not refrain from including among these precepts a new device for the imagination which, although it may seem rather trivial and almost ludicrous, is nevertheless extremely useful in arousing the mind to various inventions. And this is, if you look at any walls spotted with stains, or with stones of various patterns, if you have to invent some setting, you may be able to see therein a resemblance to various landscapes, graced with mountains, rivers, rocks, trees, plains, great valleys and hills in varied arrangement; or, again, you may see various battles and figures in action; or strange faces and costumes, and an endless variety of things which you can distill into well drawn forms. And what happens with regard to such walls and variegated stones is just as with the sound of bells, in whose jangle you may find any name or word you choose to imagine.

- Leonardo da Vinci

LA TOYA , 2004

Etching, lithography, hand coloring, varied edition of ten 28 x 39 inches

Left: Negrita outside Jane’s studio looking for carrots, by Richard Whittaker

BRONZE CASH CUT OUT (SUMI-E) ON STONE BENCH, 2023

Unique Sumi-e ink patina, bronze and limestone

16 x 26 x 4 inches

MARSH TRIPTYCH, 2018

Coffee, Sumi-e ink, and ink wash on paper 22 x 30 inches each

GREY CALLIGRAPHIC GOSHAWK ON STONE, 2019

Handblown pigmented glass and limestone

58 x 8 x 20 inches

HAWK CROSS, 2024

Sumi-e ink, ink and casein on limestone

15 1/2 x 15 1/2 inches

LANDSCAPE HILLS, 2024

Sumi-e ink, ink and casein on limestone 15 1/2 x 15 1/2 inches

BIRDMAN, 2011-2018

Limestone and pigment

55 x 8 x 15 inches

DIAMOND BACK, 2024

Handblown and carved pigmented glass on limestone

42 x 8 x 12 inches

BEAR, 1999-2024

Handblown pigmented glass 9 x 7 x 7 inches

HONEY

IMMATURE, 1999-2024

Handblown pigmented glass 9 x 7 x 7 inches

As reprinted from Second Nature (exhibition catalog, Tayloe Piggott Gallery, 2011) thirteen years ago--- such a wonderful revisiting...

The hawks perch in a tall tree. A tree that grows and changes each time they land in it, build a nest in it, perch on it balancing in the wind. In the late afternoon, they are illuminated in such a way that they both blend into this tree and appear translucent simultaneously, much like the branches of the tree that are illuminated in this late afternoon light. How extraordinary that I was given the opportunity to learn about glass, that the sandblasted pigmented glass birds are illuminated in the same way that the birds I cohabit with appear to be. That the recycled provencal stone seems like an eternal beam of light, much like the streams of light that filter through the clerestories in the studio. The light passing through the studio taught me to adapt to a new way of working. I learned to work with the light as teacher, rather than trying to control the lighting conditions. Wouldn’t it be grand if we were that responsive to the changes that one’s life brings our way. What aging can say about youth, what light can say about darkness, what animals can guide us towards if we listen. What if this knowledge were in fact second nature to us. We are, in fact, composed of two natures, which seems to me so much like the passage in the Upanishads.

- Jane Rosen

IN CONVERSATION WITH RICHARD WHITTAKER

Jane Rosen: It’s a hard word for me, “seeing,” because I’m firmly convinced that seeing has nothing to do with the eyes in that way. I’m not saying it doesn’t include the eyes. An impression comes in. It may come in through the eyes. When I’m looking at a bird or an animal, especially when I’m drawing it, the key is the shift in cognition where— and I know when it happens—I can sense it.

Richard Whittaker: Are you talking about drawing?

JR: I’m talking about life. When we talk about taking in an impression, most of the time I’m not taking you in, I’m trying to make an impression on you. I’m going out. And there’s a shift that happens when I’m drawing or when I’m looking at the dog or a horse or looking at someone in my mind’s eye, there’s a shift where something in me listens, but not with my ears. There’s another kind of listening. It’s kind of like from the knees up to the shoulders is like a receiver or a satellite dish allowing something to come in almost through my middle. It could be seeing who someone is.

RW: Well, I wanted to go back to where you mentioned earlier something about this bar of light that falls into your studio. Now you said that this bar of light has…

JR: It changed my life. I always had studios where there were no bars of light coming in because that kind of light changes everything, completely washing out the pieces. And at first, I was very upset with the lighting.

RW: Right. There’s a huge contrast between the shadow and the direct sunlight.

JR: All day from dawn until dusk you get extremes of light bouncing all over and it was interfering. Then, just sitting in this chair day after day, week after week—I never did free-standing, vertical pieces like this before; my hawks were all low to the ground, like the Egyptian wing piece—but what started to happen was I started to listen to the light. I started to catch the light at various moments where the light would inform what the height of the piece needed to be, or the turn of the head. I started seeing the light as a help rather than trying to control it. Being in relation to the light was a big thing!

The other thing is that I’m very involved with vertical and horizontal movement, a movement in and out and a movement up and down. An inner emotional stance is an outer visual one. If you get nervous, for example, all the energy seems to go up. Your jaw tightens and your eyes scrunch and you hold your breath up high.

So there’s this movement of going out to the piece, like if you shot an arrow out to the piece. You’re looking at it, but there is also a filtering back so that you’re also aware of yourself and the piece. So that’s a movement in and out. And the movement up and down, I start to wonder, isn’t this a cross? These pieces become representations of a seeing both in and out. And the light, which I resisted enormously, became the teacher.

RW: Can we call that seeing?

JR: Yes. That’s another form of seeing. But when I talked about the conference, it’s that more than one part of you needs to see. You can’t see with your head alone. You can’t see with your heart alone, because it’s very partial. You can’t see with your body alone because basically, I don’t want to put down the cigarette or the cake.

The day I met that raven you were asking about, this is what happened. I heard the dogs barking in the living room. Not a bark like “someone is here,” which is an announcement. Not a bark like “get away from my stuff.” That’s a territorial thing. Not a bark of fear like, “Oh, my God there’s a bobcat on the deck!” It was a bark I wasn’t used to, a kind of “What are you doing?”

I walked into the living room and there was the raven underneath the chair at the dining room table. I looked at this big raven with huge claws and this huge Roman beak. The raven somehow had walked into the house before we had become friends and had gotten stuck underneath the chair. I believe it was a mom and she was coming in looking for food.

I looked at the raven and the raven looked at me. She had these beautiful eyes and she blinked at me. It was clear she said to me, “I’m stuck. I don’t know how I got under this chair. I can’t get out and you’ve got two pretty big dogs. I’m in a situation here.”

So I looked at the raven and said, “Okay. Here’s the deal. You’re big. You have sharp claws and this beak. You could hurt me. I’m going to pet your back and if you don’t try to peck me or claw me, I will get you out from under the chair. If you try to peck me or claw me, you’re on your own.” She looked at me, cocking her head like she was thinking about it. It wasn’t like she understood my words or I understood hers. There was something in my tone that was explaining to her, in the same way there was something in your inner tone explaining to the dog that you were about to make a move. He was watching in an instinctive way what you were conjuring. And was just waiting for your signal. He had it worked out long before you did.

So I pet the back of the raven and not only does she not claw me, she pulls her claws into her belly and tucks her beak into her chest. I pick her up and I hold her like this [cradled in her arms] and she is perfectly still. I put her out on the picnic table figuring she would make a beeline out of there. She turned around, she looked at me and she nodded.

Excerpted from an Interview by Richard Whittaker in the August 2011 issue of Parabola Magazine (as reprinted from Second Nature)

Above & left: Photos by Richard Whittaker of Jane in her studio

Above & right: Sebastian Ages in Jane’s studio

JANE ROSEN

Born New York, New York in 1950

Lives and works in San Gregorio, California

EDUCATION

1972 BA, New York University, New York, New York

1975 Art Students League, New York, New York

SOLO EXHIBITIONS

2024

GreatGrey, Sears Peyton Gallery, New York, NY (forthcoming)

Posted/Turning, Maya Frodeman Gallery (formerly Tayloe Piggott Gallery), Jackson, WY

2023 Hermitage, Tayloe Piggott Gallery, Jackson, WY

2022

ADog’sLife, Traver Gallery, Seattle, WY

DualNature(withlight), Traver Gallery, Seattle, WY

2021 Paws/Pause, Tayloe Piggott Gallery, Jackson, WY

2020 TallTale, Traver Gallery, Seatte, WA, BirdBook, Gail Severn Gallery, Sun Valley, ID

2019 RanchLife, Tayloe Piggott Gallery, Jackson, WY

2019 WritteninStone, Traver Gallery, Seattle, WA

2018

KnighttoRook, Sears Peyton Gallery, New York, NY

2017 Red(Rufous), Tayloe Piggott Gallery, Jackson, WY

2016 Hisfor…, Gail Severn Gallery, Sun Valley, ID

2015 Cash/Morandi, Sears Peyton Gallery, New York, NY

2014 Pasture, Tayloe Piggott Gallery, Jackson, WY

2012 lightmorph/darkmorph. Gail Severn Gallery, Sun Valley, ID

FullCircle, Cynthia Reeves Projects, Hanover, NH

2011 WildLife, Braunstein-Quay Gallery, San Francisco, CA

SecondNature, Tayloe Piggott Gallery, Jackson, WY

2010 AClassofBirds, Sears-Peyton Gallery, New York, NY

2009

2008

NewandSelectedWorks, JH Muse Gallery, Jackson, WY

SummerBird, Gail Severn Gallery, Sun Valley, ID

PostedTurning, Traver Gallery, Seattle, WA

Gamut, Braunstein/Quay Gallery, San Francisco, CA

2007 MeiMeiSeries, Sears-Peyton Gallery, New York, NY

Re:incarnations, Gwenda Jay / Addington Gallery, Chicago, IL

2006 Tracking, Friesen Gallery, Seattle, WA

2005 WheelofNature, Friesen Gallery, Sun Valley, ID

2004

CoastalInfluence, Braunstein/Quay Gallery, San Francisco, CA

2003 Alpan Gallery, Huntington, NY

2002

1998

1996

1995

1993

1992

1990

SmallScale, Sears-Peyton Gallery, New York, NY

ReadingTeaLeaves, Byron Cohen Gallery, Kansas City, MO

Joan Roebuck Gallery, Lafayette, CA

MovementandRest, Grace Borgenicht Gallery, New York, NY

MovementandRest, Colgate University Art Museum, Hamilton, NY

BetterNature, Grace Borgenicht Gallery, New York, NY

Joan Roebuck Gallery, Lafayette, CA

Mincher-Wilcox Gallery, San Francisco, CA

Mincher-Wilcox Gallery, San Francisco, CA

1989 Sun/Moon, Grace Borgenicht Gallery, New York, NY

1988

1987

1982

1980

1978

1975

1974

OakIslandStudies, Grace Borgenicht Gallery, New York, NY

Forming, Grace Borgenicht Gallery, New York, NY

Edward Thorp Gallery, New York, NY

Edward Thorp Gallery, New York, NY

Edward Thorp Gallery, New York, NY

Carlo Lamagna Gallery, New York, NY

80 Washington Square East Gallery, New York, NY

GROUP EXHIBITIONS

2024 TheStoneAge, Bienvenu Stienberg & J, New York, NY

2023 LooksGood:OnPaper , Bienvenu Stienberg & J, New York, NY

BeatingUnderCoveroftheWoods , Carol Corey Fine Art, Kent, CT

Material Matters , Seager Gray Gallery, Mill Valley, CA

2022 FourWomen, Seager Gray Gallery, Mill Valley, CA

Bonheur&Beyond , National Museum of Wildlife, Jackson, WY

Material Matters , Seager Gray Gallery, Mill Valley, CA

2021 Material Matters , Seager Gray Gallery, Mill Valley, CA

2020 OneNightinCalifornia:ContemporaryNocturnes,Bakersfield Art Museum, Bakersfield, CA

MaterialMatters, Seager Gray, Mill Valley, CA

BetweenWorlds, Seager Gray, Mill Valley, CA

2019 TheObjectasArt, Seager Gray Gallery, Mill Valley, CA

MaterialMatters, Seager Gray, Mill Valley, CA

Pressed,Printed,Sliced,andCreased, Carl Cherry Center, Carmel, CA

AllintheFamily, Seager Gray Gallery, Mill Valley, CA

Meditation/Mediation, Traver Gallery, Seattle, WA

Preview2019, Gail Severn Gallery, Sun Valley, ID

2018 TheSpectrumofWomen,InHonorofWomen’sHistoryMonth, Gail Severn Gallery, ID

MaterialMatters, Seager Gray Gallery, Mill Valley, CA

WildThing:AdventureswiththePermanentCollection, Scottsdale Museum of Contemporary Art, Scottsdale, AZ

ColorVI, Featuring Squeak Carnwath, Julie Speidel, Jane Rosen, Gary Komarin, and RaphaëlleGoethals , Gail Severn Gallery, Sun Valley, ID

NaturalInclinations, Seager Gray Gallery, Mill Valley, CA

Seattle Art Fair, Gail Severn Gallery, Sun Valley, ID

Art Market San Francisco, Gail Severn Gallery, Sun Valley, ID

JaneRosen,RaphaëlleGoethals, Gail Severn Gallery, Sun Valley,, ID

2017 Preview 2018, Featuring Kathy Moss, Jane Rosen, Michael Gregory, Marcia Myers, Linda Christensen, Gail Severn Gallery, Sun Valley, ID

Wings,FeaturingJaneRosenMorrisGraves,LuisGonzalesPalma,KikiSmith, Gail Severn Gallery, Sun Valley, ID

ForgeandStone:ContemporaryCaliforniaWomenSculptors:YnezJohnstonDiana Moore,GwynnMurrill,GertrudParker,LisaReinertson,JaneRosenandAlisonSaar, Sonoma Valley Museum of Art, Sonoma, CA

Fauna:AnimalsinContemporaryArt:WaltonFord,BhartiKher,ColleenKiely,Stephen Petegorsky,ShelleyReed,JaneRosen,MichalRovner,andRickShaefer, Brattleboro Museum and Art Center, Brattleboro, VT

IntotheDeep, Museum of Glass, Tacoma, WA

PowderandSmoke, Seager Gray Gallery, Mill Valley, CA

AtaLanguorousPace:MichaelAbrams,AgnesBarley,ShawnDulaney,Thomas Hager,TylerHaughey,PatriciaIglesias,KarenJ.Revis,JaneRosen,JasonFrank Rothenberg,RickShaefer,SuzySpence,JenWinkHays,andAndrewZimmerman, Sears Peyton Gallery, New York, NY

StateofNatureVI,FeaturingValerieHammond,JaneRosen,HungLiu,GwynnMurrill, MorrisGraves,andAlyssaMonks, Gail Severn Gallery, Sun Valley, ID

Art Market San Francisco, Gail Severn Gallery

MaterialMatters, Seager Gray Gallery, Mill Valley, CA

IntotheDeep, Museum of Glass, Tacoma, WA

IntimateSculpture, Winfield Gallery, Carmel, CA

SummerSalon, Sears Peyton Gallery, NY

2016 SummerSalon:PowderandSmoke, Seager Gray Gallery, Mill Valley, CA

WeMoveThroughTimeTogether, Sears Peyton Gallery, NY

BirdintheHand, Palo Alto Art Center, Palo Alto, CA

MaterialMatters, Seager Gray Gallery, Mill Valley, CA

2015 Preview2015, Gail Severn Gallery, Sun Valley, ID

JimCampbell:NewWorkandCollaborationswithJaneRosen, San Jose Institute of Contemporary Art, San Jose, CA

AnimaliaIV, Gail Severn Gallery, Sun Valley, ID

StateofNatureIV, Gail Severn Gallery, Sun Valley, ID

TerraCognita, Seager Gray Gallery, Mill Valley, CA

GalleryArtistsGroupShow, Traver Gallery, Seattle, WA

MaterialMatters, Seager Gray Gallery, Mill Valley, CA

InvitationalExhibitionofVisualArts, American Academy of Arts and Letters, NYC

2014 Marks&Conversations,ContemporaryPainting&Sculpture, Gail Severn Gallery, ID

JaneRosen&RaphaëlleGoethals, Gail Severn Gallery, Sun Valley, ID

StateofNatureIII, Gail Severn Gallery, Sun Valley, ID

AMenagerieofMetaphors, Maier Museum of Art, Randolph College, Lynchburg, VA

Wings&Wheels, Phoenix Airport, curated by Phoenix Arts Commission, Phoenix, AZ

CompelledbytheforcesofNature,Metro Show, curated by Michael Klein, New York, NY

ShadesofWhite, Traver Gallery, Seattle WA, curated by Bill Traver

AGatheringwithDozierBell,CatherineHamilton,JaneRosenandKikiSmith, Welch School of Art and Design, Welch Galleries, Georgia State University, Atlanta, GA

curated by Cynthia Farnell

2013 FormandPlace;JaneRosen/AnnHollingsworth, Seager Gray Gallery, Mill Valley, CA

StateofNatureII, Gail Severn Gallery, Sun Valley, ID

AnimaliaII, Gail Severn Gallery, Sun Valley, ID

2012 CreativeNature, Phoenix Sky Harbor International Airport, Phoenix, AZ

ConferenceoftheBirds, Cynthia-Reeves Projects, Mana Contemporary, Jersey City, NJ

StateofNature, Gail Severn Gallery, Sun Valley, ID

EnteringtheWild, Di Rosa Preserve, Napa, CA. curated by Anne Veh

PastasPrologue-Preview2012, Gail Severn Gallery, Sun Valley, ID

2011 WorksonpaperII, Danese Gallery, New York, NY

Armory Show, Danese Gallery, New York, NY

TheNatureofGlass, Shack Art Center, Everett, WA

Heritage Bank, San Jose, CA. curated by Jane Salvin

ConferenceoftheBirds, curated by Cynthia Reeves, NH

Nature, Gail Severn Gallery, ID

MarksandConversations, Sun Valley, ID

2010 ArtinEmbassiesExhibition, Lisbon, Portugal

Forloveofpaper, Tayloe Piggott Gallery, Jackson WYO

IntimatetoMonumental, Gail Severn Gallery, Sun Valley, ID

OtherasAnimal, Danese Gallery, NY, curated by April Gornik

Invitational Exhibition of Visual Arts, American Academy of Arts and Letters, NYC

FutureTense:LandscapeinTransition, Stephan Stoyanov Gallery, NYC, curated by Dede Young

JamesCastle&JaneRosen, Dallas Art Fair, Dallas, TX

2009 EdMusanteandJaneRosen, Gail Severn Gallery, Sun Valley, ID

SuperFlat, Braunstein Quay Gallery, San Francisco, Ca.

AshestoAshes,LifeandDeathinContemporaryGlass, Virginia Commonwealth Center, Virginia Beach, Virginia

NaturalBlunders, De Saisset Museum, Santa Clara, C

HolidaySpecial:GalleryGroupShow, Braunstein/Quay Gallery, San Francisco, CA

ContemporaryDrawingsandWorksonPaper, Center for Contemporary Art, Sacramento, CA

2008 Collaboration, Traver Gallery, Seattle, WA

TheFineArtofBanking, Heritage Bank, San Jose, CA

2007 Migration, Friesen Gallery, Seattle, WA

Migration, Friesen Gallery, Sun Valley, ID

2006 FromNature, Gwenda Jay/Addington Gallery, Chicago, IL

AboutGlass, Friesen Gallery, Seattle, WA

ShiftingintoBalance, Buckhorn Sculpture Park, Petaluma, CA

Alignment, Friesen Gallery, Seattle, WA

2005 JudyPfaff,JaneRosen, Braunstein/Quay Gallery, San Francisco, CA SpeakingVolumes, curated by Judith Tolnick Champa Fine Art Center Galleries, University of Rhode Island, R.I.

2004 GroupShow, Braunstein/Quay Gallery, San Francisco, CA

ModeandCeremony, curated by Dan Kany, Friesen Gallery, Seattle, WA TenandaBillion, curated by Jane Salvin, Heritage Bank, San Jose, CA

2003 SqueakCarnwath,JudyPfaff,JaneRosen:Drawings, Sears-Peyton Gallery, NYC FromSurfacetoForm, William Traver Gallery, Seattle, WA MediumRare, curated by Dan Kany, Friesen Gallery, Sun Valley, ID

2002 ContemporarySculpture,505Montgomery, San Francisco, CA, curated by Art Source Darkness and Brightness, Sears-Peyton Gallery, New York, NY

25thAnniversaryShow, William Traver Gallery, Seattle, WA

2001 OntheWall/OfftheWall, Gwenda Jay / Addington Gallery, Chicago, IL, curated by Gwenda Jay

LimitedEditions, Phoenix Arts Commission, Phoenix, AZ

Invent/Imagine, Hewlett Packard, Palo Alto, CA, curated by Art Source

KickBack, Worth Ryder Gallery, University of California at Berkeley, CA

2000 LookingTowardstheFuture, San Francisco Museum of Modern Art Rental Gallery, CA

BoomBoom, Worth Ryder Gallery, University of California at Berkeley, CA

MaterialTransformations, A.T. Kearney, San Francisco, CA, curated by the San Francisco Art Institute and Art Source

Etherton Gallery, Tucson, AZ

1998 FacultyShow, Worth Ryder Gallery, University of California at Berkeley, CA DrawnTogether,DrawnApart,JudyPfaff,JaneRosen, Kendall Fine Art, Hudson, NY

Flora, Elise Goodheart Fine Arts, Sag Harbor, NY, curated by Douglas Maxwell

1997 VisitingArtists, Worth Ryder Gallery, University of California at Berkeley, CA SpringBenefitShow, Sculpture Center, NY

1979-1997, Visual Arts Gallery, New York, NY, curated by Jerry Saltz

TheHorseasIcon, Mirren Gallery, CA

OntheRim,Transamerica, San Francisco, CA, curated by Tessa Wilcox of Art Source

1996 Reynard,Rosen, Spheris Gallery, NH

Sculpture:Review/Preview, Cohen Berkowitz Gallery, Kansas City, MO

1995 PaperView, Cohen Berkowitz Gallery, Kansas City, MO

TheOrganic, Greene County Council on the Arts, Catskills, NY

TheBodyasMetaphor, Bard College, Annandale-on-Hudson, NY

Sculpture, Grace Borgenicht Gallery, New York, NY

VisitingArtists, Worth Ryder Gallery, University of California at Berkeley, CA

1994 1994-1995Preview, Grace Borgenicht Gallery, New York, NY

1993 InauguralExhibition, Evans, Gropper, Willis Gallery, San Francisco, CA

BreachingContainment, The Gallery, Three Zero, NY

Grace Borgenicht Gallery, New York, NY

1991 40YearsofExhibitions, Grace Borgenicht Gallery, New York, NY

1990 GroupShow, Mincher-Wilcox Gallery, San Francisco, CA

1989 CLIMATE89, Grace Borgenicht Gallery, New York, NY

1988 ArtonPaper1988, Weatherspoon Art Gallery, Greensboro, NC

Sculpture/OntheWall/OntheFloor, Katzen-Brown Gallery, New York, NY

1987 NewYork-Beijing:22AmericanArtistsWorksonPaper, Beijing Art Institute, Shanghai Art Museum, China, Snug Harbor Cultural Center, Staten Island, NY

Constructs, Anita Shapolsky, New York, NY

TheHumanForm/TheSpiritualVision, Alexander Wood Gallery, New York, NY

TheLevelofVolume, Carl Solway Gallery, Cincinnati, OH

AlternativeSupports:ContemporarySculptureontheWall, David Winton Bell Gallery, List Art Center, Brown University, Providence, RI

1986 Illuminations:TheArtofourFuture, Art et Industrie, New York, NY

UniversalImages:PeopleandNatureinSculpture, 909 Third Avenue, New York, NY

Martina Hamilton Gallery, New York, NY

1985 AvenueCbytheSea, Tower Gallery, Southhampton, New York, NY

1982

Deeker Gallery, Maryland Institute College, Baltimore, MD

AgitatedFigures:TheNewEmotionalism,Hallwalls, Buffalo, NY, curated by Hal Bromm

1981 Edward Thorp Gallery, New York, NY

FigurativelySculpting, Art and Urban Resources, P.S. 1, Queens, New York, NY

1980 Edward Thorp Gallery, New York, NY

Sculptures, Proctor Art Center, Bard College, Annandale-on-Hudson, New York, NY

Current/NewYork, Joe and Emily Lowe Gallery, Syracuse, NY

1979 Webb and Parsons Gallery, New Canaan, CT

Edward Thorp Gallery, New York, NY

1978 PrivateMyths, the Queens Museum, Queens, NY

Constructs, Organization of Independent Artists, New York, NY

1976 ApproachingPainting, Ashford Hollow Foundations, Buffalo, NY

1975 112 Greene Street, New York, NY

PaintingAliveandWell, Brainard Art Gallery, State University of New York at Potsdam

COLLECTIONS

Albright-Knox Art Gallery, Buffalo, NY

Aspen Art Museum, Aspen, CO

Berkeley Art Musum, BAMPFA, Berkeley, CA

Brooklyn Museum, NY

Chase Manhattan Bank, NY

Chevron Corporation, CA

Ciba-Geigy Chemical Corporation, Ardsley, NY

Douglas Maxwell, NY

Eric Fischl and April Gornik

Grace Borgenicht Collection, NY

Lowe Art Museum, FL

Luso American Foundation, Portugal

Maier Museum of Art, Virginia

The Mallin Collection, Buckhorn Sculpture Park, CT

Memorial Art Gallery of Rochester, University of Rochester, NY

Mitsubishi Corporation, LA

Museum of Contemporary Art, San Diego, CA

National Museum of Wildlife Art, Jackson, WY

Novell, Provo, UT

Phoenix Arts Commission, Phoenix, AZ

Proskauer, Rose, Goetze and Mendelsohn, NY

Prudential Insurance Company, Newark, NJ

Scottsdale Museum of Art, Scottsdale, AZ

Sonoma State University Art Collection, Rohnert Park, CA

U.S. Consulate Guangzhou, China, US Department of State, Art in Embassies

U. S. Embassy in Baghdad, Iraq

U. S. Embassy in Tunis, Tunisia

Yellowstone Museum, Billings, MT

AWARDS

2015 Arts and Letters Award, Academy of Arts & Letters Invitational Exhibition, New York

2010 Purchase Award, Academy of Arts & Letters Invitational Exhibition, New York

2008 Artist in Residence, Pilchuck Glass School, Seattle, Washington

1999 Artist in Residence, Pilchuck Glass School, Seattle, Washington

1988 MADEIN / Luso-American Foundation Grant

1982 - 1983 CAPS, Full Award in Sculpture

1980 - 1981 NEA, Full Award in Sculpture

BIBLIOGRAPHY

2024 Posted/Turning , Catalog, Maya Frodeman Gallery (formerly Tayloe Piggott Gallery)

2023 JaneRosen:Hermitage , Catalog, Tayloe Piggott Gallery

2021 Dual Nature , published by Pointed Leaf Press

2020

MaterialMatters, Exhibition catalog, Seager Gray Gallery

2019 FormFitting, Winter 2020, Milieu Magazine

TheObjectasArt, Exhibition catalog, Seager Gray Gallery

WritteninStone, Exhibition catalog, Traver Gallery

Editorial Feature, Visual Art Source, Review by Matthew Kangas

2018 Gentry Magazine, January 2018, “A Keen Perspective” by Jill Layman

KnighttoRook, Exhibition catalog, Sears Peyton Gallery

HawkStory, September 2018, Works and Conversations, by Richard Whittaker

2017 MaterialMatters, Exhibition catalog, Seager Gray Gallery

Red(Rufous), Exhibition catalog, Tayloe Piggott Gallery

ForgeandStone, Exhibition catalog, Sonoma Valley Museum of Art

2016 H is for… , Exhibition catalog, essay by Douglas F. Maxwell, Gail Severn Gallery

MaterialMatters, Exhibition catalog, Seager Gray Gallery

Finesse Magazine, The Evolution Issue, Vol. 10, Laurie Frankel, photographer

2015 Cash-Morandi, Exhibition catalog, Sears Peyton Gallery

Charles Desmarais, SF Chronicle review, Art and Technology, “A Tricky Pairing,”

December 9

TerraCognita, Exhibition catalog, Seager Gray Gallery

2014 AMenagerieofMetaphors,Exhibition catalog Kathy Muehlemann, Maier Museum of Art

Michael Klein January Newsletter, “Jane Rosen, The Morandi Series “

Pasture, Exhibition catalogue, Jane Rosen at the Tayloe Piggott Gallery

AGathering , Exhibition catalogue, issuu.com

2013

FormandPlace:JaneRosen/AnnHollingsworth, Exhibition catalog, essay by Maria Porges, Seager Gray Gallery

“Form and Place,” SquareCylinder , review by David M. Roth

“Best of 2013,” SquareCylinder , David M. Roth

2012 “Inside the artist’s studio,” 7x7magazine , November 2012

lightmorph/darkmorph,Exhibition catalog, essay by Michael Klein, Gail Severn Gallery

ConferenceoftheBirds, Exhibition catalog, Cynthia-Reeves Projects

WhatOthersHaveSung, Exhibition catalog, Paul Reynard

2011 WorksonPaperII, Exhibition Catalog, Danese Gallery

Seeing (Fall issue), Parabola , interview by Richard Whittaker

Art in Embassies , catalog, Lisbon, Portugal

Kenneth Baker, SF Chronicle review of Wild Life , April 30, 2011

Richard Whittaker, profile of Jane Rosen, “Wild Life”, SquareCylinder , May 1, 2011

SecondNature, Exhibition catalog, Tayloe Piggott Gallery, Jackson, WY

2010 OtherasAnimal, Exhibition Catalog, Danese Gallery

AClassofBirds, Exhibition Catalog, Sears Peyton Gallery

Cochran, Tracy. “ A Class of Birds,” ParabolaEditorsBlog , September 13, 2010

2009 “New & Selected Works Review,” Jackson Hole News & Guide , November 25, 2009

2008 “Jane Rosen,” by Garden Jan Castro, SculptureMagazine , October 1, 2008

Jakki Spicer, Artweek, May 2008, Vol. 39, Issue 4

2007 Richard Whittaker “Jane Rosen, East and West”, No. 15

2006

2005

“Works and Conversations,” Alan Artner, ChicagoTribune, May 18, 2007

“The Conversations, interviews with sixteen contemporary artists” by Richard Whittaker, Whale and Star Press

Matthew Kangas, TheSeattleTimes, October 2006.

Kenneth Baker, ArtNews, November 2005.

Reviews:National,JudyPfaffandJaneRosen,Braunstein/Quay, San Francisco, November

Doug Norris, “URI ias ‘Speaking Voumes’ in latest exhibition, North-EastIndependent Journal , June 30, 2005

Kenneth Baker, “Pfaff and Rosen at Braunstein/Quay”, San Francisco Chronicle, April 16

2002 Byrne, Chris. “The Original Print: Understanding Technique in Contemporary Fine Printmaking,” GuildPublications, 2002

FineArtCollectionoftheU.S.EmbassyinTunis,Tunisia, Catalog, October 2002

1998 Phyllis Braff, “Art Reviews,” NewYorkTimes, August 9, 1998

Erica-Lynn Gambino, “Symbolism in Two Shows”, SouthamptonPress, August 8, 1998

Joan D’Arcy, “Exhibits pays homage to ...”, DailyFreeman, Kingston, February 20, 1998

1996 Alice Thorson, “Group Counterpoint”, KansasCityStar, June 21, 1996

1995 Richard Whittaker, “Jane Rosen: Artist and Teacher”, T.S.A., Winter, 1994/95

1993 Monroe Hodder, “For Pleasure,” Artweek, November 4, 1993

Dorothy Bowen, “Bird’s eye view of art gallery,” ContraCostaSun, Oct. 24, 1993 “Hawks inspire. . .,” ContraCostaSun, October 12, 1993

Patricia C. Phillips, “Review,” Artforum, Summer, 1993

1990 Ruth Bass, “Review,” ARTNews, April 1990

1988 Eric Gibson, “Nature and Sculpture: A New Subjectivity Takes Root,” Sculpture, September / October 1988.

John Yau, Artforum, March 1988

1987 Stephen Westfall, ArtinAmerica, July 1987

Eric Gibson, “Review,” Sculpture, May / June 1987

Ken Sofer, “Review,” ARTNews, May 1987

1982 Michael Klein, “Review,” ARTNews, October 1982

Jon Friedman, “Review,” Arts, September 1982

Roberta Smith, “Group Flex,” TheVillageVoice, June 22, 1982

Richard Flood, “Agitated Figures: The New Emotionalism,” Hallwalls, Buffalo, NY

Jeanne Siegel, “The New Reliefs,” Arts, April 1982

1978 Jeanne Siegel, “Recent Colored Reliefs,” Arts, September 1978

John Loring, “Review,” ArtinAmerica, May / June 1978

Tiffany Bell, “Review,” Arts, May 1978

Allen Ellenzweig, “Private Myths,” catalogue, Queens Musuem

Grace Glueck, “Greater SoHo-Spring Guide to Downtown Art World,” NewYorkTimes, March 31, 1978

1975

“Review,” Arts, December 1975

“Review,” Arts, January 1975

PEDAGOGY

1996 - 2006 Special Lecturer, University of California at Berkeley, Berkeley, CA

1998 Research Fellow, LaCoste School of the Arts, France

1995 - 1996 Milton Avery Distinguished Visiting Professor, Bard College, Annandale-on-theHudson, NY

1994 - 1995 Special Lecturer, University of California at Berkeley, Berkeley, CA

1993 Visiting Consulting Professor, Stanford University, Stanford, CA

1990 - 1992 Visiting Asst. Professor, University of California at Davis, Davis, CA

1985 Visiting Professor, Maryland Institute, College of Fine Arts, Baltimore, MD

1978 - 1989 Senior Faculty, School of Visual Arts, New York, NY

SELECTED VISITING ARTIST LECTURES

Bard College

Cleveland Art Institute

Colgate University

Elvehjem Museum of Art at the University of Wisconsin, Madison

LaCoste School of the Arts, France

Parsons School of Design

Pilchuck Glass School

School of Visual Arts

Stanford University

Syracuse University

Tulane University

University of California at Davis

University of Montana at Bozeman

Photography credit: Jane Rosen, Richard Whittaker, Dona Tracy, Edith Silva, Max Tretikov, Scotty McDonald, & Sebastian Ages