About Jennifer Moreland

http://acmefineart.com

Posts by Jennifer Moreland:

Lester Johnson and Peter Busa featured in New England Home Magazine

FINAL_NE Home_Johnson&Busa

New England Home magazine features a beautiful spread of a high-rise makeover, which showcases two fine examples by acclaimed artists Lester Johnson (1919-2010) and Peter Busa (1914-1985). It’s wonderful to see these works in an interior context and they are displayed quite beautifully among layers of gorgeous grays and pops of color. Featured in one living area is Johnson’s Two Heads (1969) and in the bedroom is Busa’s Reclining Figure (ca. 1948).

Image credits: Bruce Buck Photography

George McNeil: About Place Review from Rhino Horn Artists, Adam Zucker, and Berkshire Fine Art

Picture 058
George McNeil, Wave Painting 9/26/68, 1968
oil on panel, 13 x 16 1/2″

ACME Fine Art’s George McNeil: About Place exhibition received a stellar review from Rhino Horn Artists, Adam Zucker, and Berkshire Fine Art. Access to the complete review can be found at Rhino Horn Group or Berkshire Fine Art. We are thankful for your support! For questions about the show or works exhibited, please contact the gallery at www.acmefineart.com.

 

 

ACME in the Press

FINAL_Improper Bostonian_Still Life Invitational

What a tremendous turnout we had for our Still Life Invitational show, which was opened from 7 Nov. – 3 Jan. 2015. It was a great surprise right before the holidays when we were featured in the December holiday issue of the Improper Bostonian! The image displayed in the article is Kenneth Stubbs’s Still Life with Fruits, 1960, casein on masonite, 12 3/4 x 15 3/4″. Click here to learn more about the artist and for further details about the painting, please contact us at www.acmefineart.com.

Herman Maril

Maril Aaron Levin Photo_email size_cropped
Photo courtesy of Aaron M. Levin

Herman Maril
(1908-1986)

Education:
Baltimore Technical Institute
Maryland Institute, College of Art

Selected Exhibitions:
2003 University of Maryland, University College, Adelphi, MD
2001 James Graham and Sons, New York
2000 Cape Museum of Fine Arts, Dennis, MA
1998 Butler Institute of American Art, Youngstown, Ohio
1997 Adirondack Community College, Queensbury, NY
1994 Provincetown Art Association Museum, Provincetown, MA
1991 Academy of the Arts, Easton, MD
1991 Susan Conway Gallery, Washington D.C.
1984 Wichita Art Museum, Wichita, Kansas
1981 University of Virginia Art Museum, Charlottesville, VA
1980 The Forum Gallery, New York
1977 University of Maryland Art Department Gallery, College Park, MD
1972 Franz Bader Gallery, Washington, D.C.
1967 Baltimore Museum of Art, Baltimore, MD
1964 John Hopkins University, Baltimore, MD
1962 Castellane Gallery, New York
1961 Corcoran Gallery of Art, Washington D.C.
1957 University of Maryland Art Department Gallery, College Park, MD
1955 Philadelphia Art Alliance
1941 Everhart Museum of Art, Scranton, PA
1939 World’s Fair, New York
1932 Society of Independent Artists

Selected Public Collections:
Metropolitan Museum of Art
National Academy of Design
Whitney Museum of American Art
Baltimore Museum of Art
Corcoran Gallery of Art
National Collection of Fine Arts, Smithsonian Institution
The Phillips Collection
The Newark Museum
Santa Barbara Museum of Art
Virginia Museum of Fine Arts
Peale Museum
Wichita Art Museum
Provincetown Art Association and Museum
Mead Art Museum, Amherst College
Howard University Gallery of Art
Hampton University
American University
University of Maryland
Johns Hopkins University
University of Arizona

George McNeil: About Place: Three Decades of Landscape Inspired Abstraction

McNeil_Now Street #2_1990-HighRes-lg

Now Street #2, 1990, oil on canvas, 68 x 74″

 

For ACME Fine Art’s first exhibition of the 2015 season Gallery Director David Cowan will present the gallery’s sixth solo show of oil paintings by 20th century expressionist master George McNeil. The exhibition will open at ACME Fine Art’s SoWa gallery on Friday, 9 January 2015. A reception will be held from 5:00 to 8:00 p.m. on 6 February in conjunction with SoWa’s First Friday of February celebration. The exhibition will be comprised of a group of 18 landscape inspired paintings from the estate of the artist that date from between 1955 and 1990. The works range from small, highly abstract panels that were painted en-plein-air at the height of the Abstract Expressionist Movement, to monumental mixed media studio paintings that McNeil made from the beginning of the Figurative Expressionist Movement—mid-century through the late 20th century—as part of what later became known as the Neo-Expressionist Movement. The exhibition will be on view through Saturday, 21 February 2015. Exhibition catalogues will be available through the gallery.

George McNeil was a true pioneer of American modern art. Today he is recognized as one of the few true first-generation Abstract Expressionist painters. It should also be noted, however, that McNeil’s legacy in modern art began long before his participation in the advent of the New York School.  Among his other early noteworthy accomplishments, McNeil was one of the founders of the American Abstract Artists group in 1936, and in 1939 he was one of only five non-objective artists whose work was selected for the New York World’s Fair exhibition.

McNeil got his start as an artist as early as 1922 when—while still a teenager—he attended art classes at the Brooklyn Museum. Thanks to seminal exhibitions that he viewed at the Brooklyn Museum of their Societe Anonyme collection and others at the Metropolitan Museum during the 1920s, McNeil became an ardent admirer of the work of Picasso, Matisse, Duchamp, and Picabia. Between 1927 and 1932 McNeil’s studies at the Art Students League introduced him to Vaclav Vytlacil, Jan Matulka, and most importantly, Hans Hofmann. McNeil became closely associated with Hofmann during this period. In 1936 and 1937 McNeil acted as Hofmann’s class monitor, official assistant, and unofficial interpreter of Hofmann’s theories. (An often-repeated story about McNeil’s role as interpreter is that when Lee Krasner was asked what she thought of Hofmann’s theories, she responded that she could not say, because all she really understood was McNeil’s version). The collegial atmosphere of the Hofmann School helped sponsor his lifelong friendships with artists such Giorgio Cavallon, Mercedes Matter, John Opper, William Freed, Lillian Orlowsky, and Rae Eames. Similarly, McNeil’s participation in the Federal Arts Project in the 1930s led to associations with Burgoyne Diller, Willem De Kooning, and James Brooks.

After earning his Doctorate in Education from Columbia University in 1943, McNeil served in the U.S. Navy during World War II. His distinguished teaching career began with a two-year post at the University of Wyoming following the war, after which he accepted the Directorship of the Pratt Institute Evening Art Program. As Director, McNeil was responsible for bringing Franz Kline, Philip Guston, Reuben Nakian, and other noteworthy artists in to teach classes. McNeil served on the faculty at Pratt from 1948 until 1981. During his tenure at Pratt, McNeill also taught at the University of California at Berkeley in 1956 and 1957, and at the New York Studio School of Painting, Drawing, and Sculpture from 1966 to 1981.

In the late 1940s, McNeil joined the Charles Egan Gallery in Manhattan. Egan was one of the premiere galleries in New York to introduce the work of Abstract Expressionist artists. During this time, the Egan stable included Willem De Kooning, Franz Kline, Jack Tworkov, Giorgio Cavallon, Philip Guston, and Robert de Niro Sr. In 1950 McNeil had his first of four solo exhibitions at the Charles Egan Gallery. Since that time McNeil’s work has been widely exhibited in galleries, in private collections, and in museum venues alike. Some of the highlights include: participation in group exhibitions at the Art Institute of Chicago (1947), Museum of Modern Art (1951, 1959, 1969, 1985), the Whitney Museum of American Art (1957, 1961, 1965, 1988) Solomon R. Guggenheim Museum (1961), and the Pennsylvania Academy of Fine Arts (1962, 1966). Today, George McNeil’s work is in the permanent collections of the Metropolitan Museum of Art, the Museum of Modern Art, the National Gallery of Art, the Whitney Museum of American Art, the Brooklyn Museum of Art, and the Corcoran Gallery of Art.

ACME Fine Art’s 2015 exhibition of landscape inspired paintings by McNeil starts with paintings made during Abstract Expressionism’s heyday, the 1950s. His work from the ‘50s is characterized by his signature use of multiple layers of thick impasto with interlaced textural bands and surface areas of heavy pigment. These canvasses are the boldly colorful, spontaneously conceived, emphatic, artistic statements by an artist who had found his natural expressionist’s voice. In short, they constitute classic, New York School, Abstract Expressionism. From mid-decade on, many of the painting titles take on place names, such as Antietam, Illyria, and Tharsus, and they seem to evoke the ethos of the places after which they are named.

This was the period that brought McNeil’s work the serious critical attention that it deserved. He had excellent gallery representation at mid-century, and his work was exhibited regularly, first at Egan (until 1954), then at the Poindexter Gallery (through 1959), and later on at the Howard Wise Gallery (1960-1967). It should also be noted that his work was regularly reviewed by such publications as Time Magazine, the New York Times, and Art News, and by writers such as Thomas Hess, Barbara Rose, Clement Greenberg, William Seitz, and Irving Sandler.

The decade of the 1960s was an important period of transition for McNeil. In the early 1960s his forms—while still equally textural, rich, and complex—in many cases carried figural as well landscape associations. Frequently the titles of these paintings—such as Pamplona, Bosra, or Rhoda—echo this transition. McNeil made several trips abroad in the ‘60s and began to experiment with making plein-air landscapes at sights where important Impressionist landscapes had been painted. Of course, McNeil’s versions bear no resemblance to his predecessors’. Instead, as demonstrated in paintings like Les Bruyeres, and Le Raincey, they are boldly colorful, raw, spontaneous, unedited, utterances in thicker than thick oil paint. Modest in size, each of them captures a moment while packing a visual wallop.

This was a pivotal decade for McNeil during which the figure emerged and became identifiable. By the end of it, the figure had become more fully sensate in McNeil’s work; nonetheless, the expression remained an abstract vehicle used by the artist as an additional tool in his visual language. These evocative transitional works, including Ballet Dancer #8 and Bather #25, led the way to the emotionally charged Neo-Expressionist canvasses that became McNeil’s hallmark in the 1970s, ‘80s, and ‘90s.

George McNeil’s late century, riotously expressed Neo-Expressionist works complete the exhibition and they demonstrate a culmination of McNeil’s artistic prowess. In paintings such as Now Street #2, 89 West 6th Street, and St. Marks Place, McNeil integrates figurative expression with a gritty urban landscape, successfully capturing a fully realized synthesis of his creative ambition, while also conveying an indelible rendering of both time and place.

ACME Fine Art is located at 450 Harrison Avenue in Boston’s SoWa Arts District, and is open from 11:00am to 5:30pm Tuesday through Saturday. GEORGE McNEIL: ABOUT PLACE will be on view at the gallery from 9 January through 21 February 2015. It will also be on view online at www.acmefineart.com.

 

James Lechay

U

JAMES LECHAY
(1907-2001)

Education
University of Illinois, 1928

Awards
Benjamin Altman Prize, National Academy of Design
Norman Wait Harris Bronze Medal, Chicago Art Institute

Selected Solo Exhibitions
2013 James Lechay: Flower Paintings, 1960s through 1990s, Spanierman Gallery,
New York, NY
1997 James Lechay, Paintings, Provincetown Art Association and Museum,
Provincetown, MA
1985 James Lechay, Kraushaar Galleries, New York, NY
1972 James Lechay: Selected Work, University of Iowa, Iowa City, IA
1971 Luther College Centennial Union
1955 James Lechay, January 24th through February 19th, Kraushaar Galleries,
New York, NY
1946 New York in Watercolor by James Lechay, Macbeth Gallery, New York, NY
1936 James Lechay: Exhibition of Paintings, Another Place, New York, NY

Selected Group Exhibitions
2014 Still Life Invitational 2014, ACME Fine Art, Boston, MA
2013 Eye on UI Faculty: Byron Burford, Stuart Edie, and James Lechay,
FIGGE Art Museum, Davenport, IA
2012 Summer Selections, Spanierman Gallery, New York, NY

Selected Collections
Art Institute of Chicago, Chicago, IL
Joslyn Art Museum, Omaha, NE
Metropolitan Museum of Art, New York, NY
Des Moines Art Center, Des Moines, IA
Ferargil Galleries, New York, NY MacBeth Gallery, New York, NY
Provincetown Art Association and Museum, Provincetown, MA
Addison Gallery of American Art, Andover, MA
National Academy of Design Museum, New York, NY
National Museum of American Art-Smithsonian, Washington, DC
New Britain Museum of American Art, New Britain, CT
Pennsylvania Academy of the Fine Arts, Philadelphia, PA
Sheldon Museum of Art, Lincoln, NE
Brooklyn Museum of Art, Brooklyn, NY
University of Arizona Museum of Art, Tucson, AZ
University of Iowa Museum of Art, Iowa City, IA
University of Wyoming Art Museum, Laramie, WY
Wichita Art Museum, Wichita, KS
FIGGE Art Museum, Davenport, IA

Biography
James Lechay was born in New York, NY on July 5, 1907 to Russian immigrant parents.
He received a degree in psychology from the University of Illinois in 1928 and returned to
New York to study art privately with his elder brother, artist Myron Lechay, but otherwise was a self-taught artist. Lechay taught painting and drawing at the University of Iowa starting in 1945 until his retirement in 1971. He also taught workshops at various other institutions such as Stanford, New York University, and the Skowhegan School of Painting and Sculpture. During the course of his career he received countless medals, awards, and honors for his work. Lechay exhibited with the likes of Mark Rothko, Willem de Kooning, Jules Olitski, Nathan Oliveira, Helen Frankenthaler, and Alice Neel to name only a few. He lived out his retirement in Wellfleet, MA until his death on August 11, 2001 at the age of 94.

LESTER JOHNSON: CLASSICAL THEMES at ACME Fine Art

Dancers 1966 oil on canvas 26 x 40

ACME Fine Art will open the Fall season with an exhibition of large and important canvases by the Figurative Expressionist master, Lester Johnson. The exhibition, titled Lester Johnson: Classical Themes, will open on Friday, 19 September, and will be on view through Saturday, 25 October 2014. A reception in conjunction with SoWa’s First Friday festivities will be held on Friday, 3 October between 5:00 and 8:00 in the evening.

This will be ACME Fine Art’s fourth solo exhibition of Lester Johnson’s work and it will feature nine seminal oil paintings from what was a pivotal decade for Johnson: the 1960s. During the 1960s the Martha Jackson Gallery in New York, and the H.C.E. and the Sun Galleries in Provincetown were frequent venues for Johnson’s contemporary work. It was also during this decade that Johnson’s paintings were selected for inclusion in groundbreaking exhibitions at the Smithsonian Institution, the Museum of Modern Art, and the Whitney Museum of American Art. His canvases from this period are bold and vigorously expressive regardless of scale, and they demonstrate a poetic virtuosity that became Lester Johnson’s hallmark.

The paintings selected by Gallery Director David Cowan for this exhibition demonstrate the artist’s interest in classical art and architecture, and they collectively display this thematic thread in Johnson’s paintings from the specific period between 1964 and 1968. Johnson’s interest in classical form can be seen in subject matter, in such paintings as Polykliton Figure, and his brilliant series of Three Graces canvases, and in structural form in monumental paintings such as Milford BathersSilhouette and Archway. Despite the artist’s use of and reference to the antique in these works, it would be a mistake to view them as anything other than trailblazing statements in the Figurative Expressionist movement.

Lester Johnson is one of a handful of avant-garde artists who abandoned non-figurative painting in the 1950s in order to harness the power of the human figure as a primary vehicle for artistic self-expression. Today, Johnson is recognized as one of the most important and influential painters of his generation. Since his first solo exhibition at New York’s Artists Gallery in 1951, Johnson’s work has been featured in more than 100 solo exhibitions, and included in important group exhibitions at the Pennsylvania Academy of Fine Arts, Whitney Museum of American Art, Solomon R. Guggenheim Museum, Museum of Modern Art, Art Institute of Chicago, and the Museum of Fine Arts, Boston, to name just a few. Lester Johnson’s work is in the permanent public collections of the Metropolitan Museum of Art, Museum of Modern Art, National Museum of American Art, Solomon R. Guggenheim Museum, Carnegie Museum of Art, and the Fogg Art Museum at Harvard University.

Exhibition catalogues are available through the gallery, and the entire exhibition is viewable on line both at www.acmefineart.com and at ACME Fine Art’s ARTSY web site. For more information about the exhibition or the artist please contact the gallery at info@acmefineart.com or 617.585.9551.

SUMMER SALON 2014

ACME McNeil Kips Bay edited
George McNeil (1908-1995) Kips Bay, 1966, oil on panel, 11 3/4 x 15″

This year ACME Fine Art will for the first time open the gallery’s ever-popular annual Summer Salon exhibition in the gallery’s new exhibition space at 1 Thayer Street / 450 Harrison Avenue in Boston’s South End. The exhibition will open on Friday, 11 July. A reception will be held in conjunction with SoWa’s First Friday events from 5:00 to 8:00 on the evening of Friday, 11 July. The exhibition will be on view through Saturday,16 August. Please note that the gallery will be closed from 4 July through 7 July in celebration of the holiday.

Lipsky Fusillade
Pat Lipsky (1941- ) Fusillade, 2005, oil on canvas, 52 x 79 3/4″

This year’s Summer Salon will feature a variety of summer-themed artworks created during the twentieth century at New England’s renowned summer art colonies, as well as a selection of important works reprised from gallery and museum exhibitions of the 2013/2014 season. Highlights will include a beautifully expressive, fully abstract oil on paper by Hans Hofmann, a monumental canvas by contemporary painter Pat Lipsky, and an important oil painting from the mid-1960s held over from our critically acclaimed recent exhibition of works by Jack Tworkov. Other artists whose artwork will form a part of the exhibition include: Edwin Dickinson, Michael Loew, George McNeil, Charles Littler, Kenneth Stubbs, Dorothy Eisner, Maurice Freedman, Hayes Ownby, Panos Ghikas, William Freed, Lillian Orlowsky, Sharli Powers Land, Philip Malicoat, Daniel Brustlein, Robert Beauchamp,Tony Vevers, and Lester Johnson. Sculpture by Gilbert Franklin, Ilya and Resia Schor, and paintings by contemporary artists, Rose Basile, Myrna Harrison and George Lloyd will round out the exhibition.

Untitled 1962
Hans Hofmann (1880-1966) Untitled, 1962, oil on paper, 23 5/8 x 11″

ACME Fine Art’s 12th Annual SUMMER SALON exhibition will open on Friday 11, July 2014 and will be on view through Saturday, 16 August 2014. This will be ACME Fine Art’s firstSummer Salon at 1 Thayer Street / 450 Harrison Avenue in Boston. Parking is available at the Albany Street parking lot at the south end of the building. Please contact the gallery at 617.585.9551 or info@acmefineart.com for further information about exhibitions or artists. Summer Gallery Hours are 11:00 a.m. to 5:00 p.m. Wednesday through Saturday and by appointment.

 

 

Now Representing Pat Lipsky


   Pat Lipsky Swann, 2005, oil on canvas, 32 ¾ x 55 ¾”

 
  PAT LIPSKY at ACME FINE ART
We are delighted to announce that ACME Fine Art now represents the acclaimed contemporary painter Pat Lipsky. Lipsky paints bold geometric canvasses using a surprisingly painterly approach that, combined with a richly evocative palette, yields something truly fresh and original. She has been the recepient of the prestigious Adolf and Esther Gottlieb Foundation Grant and twice received Pollock Krasner Foundation Grants. Lipsky’s paintings have been included in exhibitions at the National Academy Museum, the Hirshhorn Museum, the Whitney Museum of American Art, the Art Students League, and the Norton Museum of Art. Her work is in the permanent collections of such institutions as the Brooklyn Museum, the Fogg Art Museum at Harvard University, the Hirshhorn Museum and Sculpture Garden, the San Francisco Museum of Modern Art, the Wadsworth Atheneum, the Walker Art Center, and the Whitney Museum of American Art. Examples of Lipsky’s work that are currently available are now on view at www.acmefineart.com.

Pat Lipsky began exhibiting her work in the 1960s at the Andre Emmerich Gallery soon after earning degrees at Cornell University and at Hunter College. Her gestural abstractions from that period were well received by the public and the critics. The past twenty years have seen Lipsky move into geometric abstraction in a big way. Recent exhibitions have been glowingly reviewed in Art in America, The New Yorker, the New York Times, the Partisan Review, and Art New England. Writing for the New York Sun, David Cohen described Lipsky as …not merely the dean of contemporary geometric abstraction, but its dominatrix. He went on to describe her work by saying: She offers color and shape relationships within structures of unrelenting rigidity, and it is not always clear whether the formal disciplines to which she subjects the eye are for her own satisfaction or for the viewer’s. A steely, seemingly dispassionate composure contains seething reserves of aesthetic emotion.

Lipsky’s paintings are large, at first simple, and then engagingly complex. Her compositions are made up of many layers of carefully studied, hand-applied pigment. They tantalize the eye, engage the head, and upon careful study do reveal the artist’s humanity, in a way that cannot help but reach the heart. Perhaps the best description of Lipsky’s recent canvasses that we have read was written by Stephan Westfall for Art in America: …her work has evolved into a geometric abstraction that features a shallow space composed of overlapping rectangles of various flat colors. Because the rectangles are made freehand, and the colors are arrived at through a patient buildup of successive coats of paint, a subtle gestural quality has been retained, animating the paintings far more than we’ve come to expect from Minimalist or Neo-Geo art. …one gets the sense of Lipsky’s painting being a one-woman operation once the canvas is primed, and its animate spirit the result of a human body determining the scale of the paintings and making them with a deliberateness and persistence that doesn’t rely on tape to find an edge.

 

George, 1999, oil on canvas, 41 7/8 x 65 1/8″

Pat Lipsky’s paintings need to be seen first hand to be fully appreciated. Plans are underway to mount a retrospective exhibition at ACME Fine Art of Lipsky’s geometric work in the coming calendar year. Please stay tuned for details. For complete biographical information visitwww.acmefineart.com.

The New York Times, 4 April 2003:

Ms. Lipsky’s compositions distantly resemble piano keyboards, enhancing the feeling of Bach-like musicality. The more you gaze at them, the more absorbing they become.   -Ken Johnson

 

Pat Lipsky

Lipsky1

Photo courtesy: Stephanie Cassidy 

PAT LIPSKY
(1941 – )

EDUCATION
M.F.A. Hunter College, New York, NY

B.F.A. Cornell University, Ithaca, NY

SOLO EXHIBITIONS
2015      Pat Lipsky: Twenty Years, ACME Fine Art, Boston, MA

2006      Color Paintings, Elizabeth Harris Gallery, New York, NY

2006      Les Vitraux, The Church Cathedral of St John the Divine, New York, NY

2005      New Monotypes, Aurobora Press, San Francisco, CA, 2005

2004      Elizabeth Harris Gallery, New York, NY

2003      Elizabeth Harris Gallery, New York, NY

2003      L.I.C.K. Ltd. Fine Art, Long Island City, NY

2002      Les Vitraux, Galerie Piltzer, Compagne, Barbizon, France

2001      Elizabeth Harris Gallery, New York, NY

1999      Elizabeth Harris Gallery, New York, NY

1999      The Kitchen, New York, NY

1997      Lori Bookstein Fine Art, New York, NY

1994      Virginia Miller Gallery, Coral Gables, FL

1991      Andre Zarre Gallery, New York, NY

1989      Slater-Price Fine Arts, New York, NY

1988      Gloria Luria Gallery, Bay Harbor Island, FL

1987      Promenade Gallery, Hartford, CT

1978      Medici-Berenson Gallery, Bay Harbor Island, FL

1978      Andre Zarre Gallery, New York, NY

1976      Berenson Gallery, Bay Harbor Island, FL

1976      Deitcher OReilly Gallery, New York, NY

1975      Andre Emmerich Gallery, New York, NY

1974      Andre Emmerich Gallery, New York, NY

1974      Berenson Gallery, Bay Harbor Island, FL

1972      Andre Emmerich Gallery, New York, NY

1971      Everson Museum of Art, Syracuse, NY

1971      London Arts Gallery, Detroit, MI

1970      Andre Emmerich Gallery, New York, NY

1968      Farleigh Dickinson University, Rutherford, NJ

SELECTED GROUP EXHIBITIONS
2014      Cadence, Margaret Thatcher Projects, New York, NY

2012      Hanji Metamorphoses, High Line Gallery, New York, NY

2011      Art in Embassies, The Hague, OPCW, The Hague, Netherlands

2011      Never the Same Twice, DC Moore Gallery, New York, NY

2010      Instructors Group Show, The Art Students League of New York, New York, NY

2010      Aurobora Press, Ideal Forms Summer Select, San Francisco, CA

2009      The Print Gallery, Annual Exhibition, Philadelphia Eagles at Lincoln Field,
Philadelphia, PA

2009      Expanding Boundaries: Lyrical Abstraction: Selections from the Permanent Collection, Boca Raton Museum of Art, Boca Raton, FL

2009      Gallery Selections, Spanierman Modern, New York, NY

2008      The 183rd Annual Invitational Exhibition of Contemporary American Art, National Academy Museum, New York, NY

2008      No Chromophobia, OK Harris, New York, NY

2007      The Other Half, Women in the Collection, Boca Raton Museum of Art,
Boca Raton, FL

2007      Paintings of Color, Tribes Gallery, New York, NY

2006      Neoplastic Redux, Elizabeth Harris Gallery, New York, NY

2005      Master Prints by 44 Artists, Art Gallery, Univ. of Colorado at Denver, CO

2005      American Embassy, Sarajevo, Bosnia

2004      The Art of the Definite, DC Moore Gallery, New York, NY

2003      Holiday Group Show, Ruth Bachofner Gallery, Santa Monica, CA

2003     The Print Fair, Seventh Regiment Armory, New York, NY

2001       American Academy of Arts & Letters Ceremonial Exhibition of Prize Winners, New York, NY

2001       American Academy of Arts & Letters Invitational Exhibition of Painting & Sculpture, New York, NY

1998       A Year in the Life of Modernism, Tribe Gallery, New York, NY

1997       Arbus to Zynsky, Norton Museum of Art, Palm Beach, FL

1997       Selections from Twentieth Century Modernism, Lori Bookstein Fine Art, New York, NY

1996       Small Gems, Tribe Gallery, New York, NY

1996       Affinities, Snyder Fine Arts, New York, NY

1996       Sixteen by One, Gallery One, Toronto, Canada

1995       In Small Dimension, Andre Zarre Gallery, New York, NY

1994       Summer Show, CS Schulte Gallery, Millburn, NJ

1994       Ambassadors Choice, State Department, Mexico City, Mexico

1993       Directors Choice, Virginia Miller Gallery

1993       Group Show, Galerie Denise Rene, Paris, France

1993       Some Important Works, CS Schulte Gallery, Millburn, NJ

1992       Celebrating Formalism, CS Schulte Galleries, Millburn, NJ

1992       Three from New York, Gloria Luria Gallery, Miami, FL

1991       Ernesto Mayans Gallery, Santa Fe, New Mexico

1990       Andre Zarre Gallery, New York, NY

1988       Summer Show, Ruth Siegel Gallery, New York, NY

1988       Interior Visions, Herbert F. Johnson Museum, Ithaca, NY

1988       Lillian Heidenberg Gallery, New York, NY

1987       Still Life Painting, University of Massachusetts, Amherst, MA

1987       Vistas, G.W. Einstein Gallery, New York, NY

1986       New Solutions, Gloria Luria Gallery, Bay Harbor Island, FL

1986       Five Galleries at the Aetna Institute, Hartford, CT

1985       Andre Zarre Gallery, New York, NY

1983       Women in the Collection, Herbert F. Johnson Museum, Ithaca, NY

1983       Pat Sutton, Peter Reginato, Jane Love Gallery, Salisbury, CT

1979       Sarah Rentschler Gallery, New York, NY

1978       Sketch-Books and Preparatory Drawings, Miami Dade Jr. College, Miami, FL

1977       Invitational Painting Exhibition, Moravian College Art Gallery, Bethlehem, PA

1976       25 American Artists, Andre Zarre Gallery, New York, NY

1976       Invitational Painting Exhibit, Skidmore College Gallery, Saratoga, NY

1974       Opening exhibition, Hirshhorn Museum and Sculpture Garden, Washington, D.C.

1974       Art in Public Places, The Toledo Museum of Art, Toledo, OH

1974       Faculty Show, San Francisco Art Institute, San Francisco, CA

1974       Ten Years, Larry Aldrich Museum, Ridgefield, CT

1974       Waves, Grand Rapids Art Museum, Grand Rapids, MI

1973       Images of Movement, Stamford Museum and Nature Center, Stamford, CT

1973       Waves, Cranbrook Academy of Art Museum, Bloomfield Hills, MI

1972       Selections, Larry Aldrich Museum, Ridgefield, CT

1971       Lyrical Abstraction, Whitney Museum of American Art, New York, NY

1971       Paintings of the Sixties, Tyler Museum of Art, Tyler, TX

1971       Projected Art: Artists at Work, Finch Art Museum, New York, NY

1970       Recent Acquisitions of the Michener Collection, University of Texas, Austin, TX

1970       Lyrical Abstraction, Phoenix Art Museum, Phoenix, AZ

1970       Contemporary Art 1970, Kansas State University, Manhattan, KS

1970       Highlights,1969-70, Lyrical Abstraction, Larry Aldrich Museum, Ridgefield, CT

1969       Allan Stone Gallery, New York, NY

1967       Chase Manhattan Bank, New York, NY

BIBLIOGRAPHY
2013      Webster, Camilla, New York Natives, Because it Matters: Is it Convincing?, November 6

2012      Lalitamba, cover reproduction “Dowager,” Homolka, Florence, Interview with Pat Lipsky,
pg. 123—133

2011      Modern Painter, “Ins and Outs,” Gallery Hops, September, pg. 11

2011      Armstrong, Tom, “A Singular Vision,” The Quantuck Lane Press, pg. 198, 205, 213

2011      Bradbury, Dominic (photographs), Frances, Scott (text), “Light and Sound,” House and Garden, April, p. 151

2010      Giovanni, Joseph, “In the Garden,” Architectural Digest, October, p. 101

2009      Riley, II, Charles A., “Art at Lincoln Center: The Public Art and List Print and Poster Collections,” April, p. 198

2009      Goodrich, John, “Gallery Beat,” City Arts, NY Press, July 29, pg. 9

2009      “Highlights” Pat Lipsky, AAP, Cornell, Architecture Art Planning, News 06, Spring, pg. 23

2009       Swartz-Turfle, Harry, “When Beauty is Enough,” Daily Gusto, Feb 4

2008      “Goings on About Town,” The New Yorker, July 7, p. 8

2008      Halasz, Piri, “From the Mayor’s Doorstep, No. 79” (June/July, 2008) p. 45-46

2008      Kunitz, Daniel, “The Grab-Bag Anthology,” The New York Sun, June 5, pg. 17

2008      Rosenberg, Karen, “Where Have All the Paintings Gone? To the National Academy,” The New York Times, May 30, pg. E4

2007      Fraser Jenkins, David, Seeing Color, Lipsky and PiperThe British Journal of Stained Glass, December, p 95-102

2007      Wilkin, Karen, Pat Lipsky at Elizabeth HarrisArt in America, March, p. 170

2006      Cohen, David, “Afterlife of an Ideal,” The New York Sun, June 29, pg. 16

2006      Halasz, Piri, “Deserted Playing Field, No. 69” (15 July) Supplement to the deluxe print edition

2005      Perry, Vicky, “Abstract Painting, Concepts and Techniques,” Watson Guptill, pgs 15, 58, 82

2005      Raven, Ann, “A Landscape in the Abstract Shapes Its Dwelling,” The New York Times, June 16, F6

2005      Qualls, Larry, “Between the Sheets,” Art on Paper, May/June, pg. 16

2005      Westfall, Stephen, “Review of Exhibitions,” Art in America, February

2004      Halasz, Piri, “From the Mayor’s Doorstep, No. 56” (15 October, 2004) Supplement to the deluxe print edition

2004      Cohen, David, The New York Sun, September 23

2003      Johnson, Ken, “Art in Review,” The New York Times, April 4, D4

2003      Johnson, Ken, “Last Chance,” The New York Times, April 11, D8

2003      “Goings on About Town,” The New Yorker, April 14, p. 16

2003      Wilkin, Karen, “Anywhere In Between,” The New Criterion, June 2003

2003      Wilkin, Karen, “Formalist Investigations of Medieval Forms: Pat Lipsky and the Spirit of Color,” PAJ Journal, 73, January, pp. 61-69

2002      Rothschild, Jo Ann, “Pat Lipsky’s Recent Abstractions,” Art New England, Feb/March, pp. 20-21

2001      Zimmerman, Mark, “The Stillness of Painting,” PAJ, no. 69, September, pp. 71-73

2001      Wilkin, Karen, “At the Galleries,” The Partisan Review, Spring, 2, pp. 285-288

2001      Halasz, Piri, From the Mayor’s Doorstep, piri.home.mindspring.com, p. 10

2001      Snow, Erica, NY ARTS, March, p.71

2001      Walentini, Joseph, Abstract Art Online, vol. 111, #6, February, pp.  1-3

2001      Goodrich, John, “Pat Lipsky,” ReviewNY.com, February 15

2000      Wilkin, Karen, At the Galleries, Partisan Review, Winter, 1, pp. 146-148

1999      D’Souza, Aruna, Review of Exhibitions, Art in America, December, p. 111

1999      Walentini, Joseph, Artist Profile, Abstract Art online, November, pp. 1-3

1999      Halasz, Piri, From the Mayors Doorstep, NY ARTS, October, p. 19

1999      Goings on About Town, The New Yorker, October 4, p. 22

1999      Walentini, Joseph, Gallery Views/Chelsea, Abstract Art Online, October

1999      Johnson, Ken, Art Guide, The New York Times, September 17, E37

1999      Hanks, Victoria, Studio Visit with Pat Lipsky, NY ARTS, September, vol. 4, no. 8, p. 55

1999      Coleman, Janet, An Interview with Pat Lipsky and Ted Wiprud, WBAI Radio, February

1997      Wilkin, Karen, Pat Lipsky: The Black Paintings, 1993-1997, catalogue essay, Lori Bookstein Fine Art, August

1997      Halasz, Piri, Ph.D., “A Gathering of the Tribes,” From the Mayors Doorstep No. 6B

1997      Coleman, Janet, An Interview with Pat Lipsky, WBAI Radio, May

1996      Wilkin, Karen, At the Galleries, Partisan Review, Fall

1996      Smith, Roberta, Across Cultural Bounds, The New York Times, August 2

1994      Bernstein, Charles, “Pat Lipsky Sutton,” Art Papers, Volume 18, July/August

1994      Damian, Carol, Coral Gables, Artnews, May

1994      Turner, Elisa, “Diamonds and Other Gems,” The Miami Herald, January 14

1993      Crum, Katherine, “Pat Lipsky Sutton and the Challenge of Formalism,”Womans Art Journal, vol 14

1993      Karlins, N.L, “Pat Lipsky Sutton’s Resounding Rectangles,” The Westsider, October 24

1991      Rosoff, Patricia, “Pat Sutton,” Arts Magazine, Summer

1990      A Local Accent, Hartford Courant, D17, September 24

1990      North Shore Sensibility, Architectural Digest, July

1989      Art Scene, Switch (Japan), November

1989      Berkman, Meredith. Family Plot, New York Magazine, October 16

1988      Ahlander, Leslie Judd, “Bold New Still Lifes Stun and Fascinate,” Miami News, April 15

1987      Damsker, Matt, “Dynamic Duo,” Hartford Courant, May 24

1987      Damsker, Matt, “Works Cap,” Hartford Courant, May 21

1986      Hanson, Bernard, Works of Art School Faculty, Hartford Courant, November 16

1986      Langford, Sandra, Report From VCCA, Authors Guild Bulletin, Fall

1986      Hanson, Bernard, Five Galleries at Aetna, Hartford Courant, June 1

1983      Art Fundamentals – Theory and Practice, Octivick

1982      Trends and Testimonies of Contemporary Art, Accademia, Italia

1982      Monteverdi, Mario, The History of International Art

1980      Frackman, Noel, and Thornton Willis, Arts Magazine, November

1977      Bell, Linda, Reviews, Arts Magazine, January

1976      Frank, Peter, Reviews, ARTnews, December

1976      Kramer, Hilton, Reviews, The New York Times, October 29

1976      Glueck, Grace, Art People, The New York Times, September 17

1976      Siegel, Judy, “Wither Painting? Artists Talk on Art,” Women Artists Newsletter, April

1976      Frackman, Noel, “Pat Lipsky Sutton,” Arts Magazine, January

1975      Wooster, Anne S, Reviews, ARTnews, September

1975      Siegel, Jeanne, Reviews, Art in America, September

1975      Hodgson, Moira, Interview with Pat Lipsky, The Soho Weekly News, July 10

1974      Whee, Kim, “A Personal Definition of Pictorial Space,” Arts Magazine, November

1974      Bell, Jane, Reviews, Arts Magazine, May

1974      Siegel, Jeanne, Reviews and Previews, ARTnews, April

1974      Mellow, James R, “Two Shows Brighten Soho Scene,” The New York Times, March 2

1974      Bowling, Frank, “A Modest Proposal,” Arts Magazine, February

1973      Smith, Alvin, “New York Letter,” Art International, The Lugano Review, October

1972      Hess, Thomas, “Thick Paint and Hofmann,” New York Magazine, December 18

1972      Reviews, Art in America, October

1972      Siegel, Jeanne, Reviews and Previews, ARTnews, October

1971      Willis, Domingo, “Color Abstraction,” Arts Magazine, January

1970      Exhibitions Contemporary Art 1970, Kansas State University Press, Manhattan, KS

1970      Reviews and Previews, ARTnews, September

1970      Pat Lipsky at Emmerich, Arts Magazine, Summer

1970      Kramer, Hilton, “Two Interesting Talents Make Debut,” The New York Times, June 13

1969      Aldrich, Larry, “Young Lyrical Painters,” Art in America

LECTURES, INTERVIEWS, WRITING
2014      Art Students League, Winter Lecture Series, What Happened to the Art World?, January 7

2013      Art in America, Letters, Greenberg Vs Krauss, Letter to the Editor, October, pg. 20

2013      New York Natives, Native Icon, Pat Lipsky: Unrepentant Abstract Painter, video interview, September

2013      LineaInterview with Pat Lipsky, Ira Goldberg, June

2013      LineaThe Studio Project, Stephanie Cassidy, April

2012      Hanji Seminar, lecture on materials, Korean American Association, New York, June

2012       Lalitamba #5, An Interview with Pat Lipsky, Homolka, Florence, pg. 123-133

2011      ARTBEAT, What Tony, Lee and Clem Told Me, March, Issue 6, pg. 30

2010      The East Hampton Star, “The Last Act,” fiction by Pat Lipsky, June 10th

2009      New York Studio School, Spring Lecture Series, Feb. 3, The Right Color

2007      Sherwin, Brian, Art Space Talk: Pat LipskyMyArtsSpace Blog, September 6

2002      Morris Louis, video by Robert Pierce, Robert Pierce Productions

1999      Coleman, Janet, “An Interview with Pat Lipsky and Ted Wiprud,” WBAI Radio, February

1997      Coleman, Janet, “An Interview with Pat Lipsky,” WBAI Radio, May

1984      The Importance of Taste in Art, panel discussion, with Clement Greenberg, New York University

HONORS & AWARDS
2008      Pollock Krasner Foundation Grant

2008      Edwin Palmer Memorial Prize, National Academy Museum

2004      Lincoln Center Prints Program, Silk Screen Poster and Print Edition, Keyboard Variations

2001      Purchase Prize, Hassam Speicher Betts Funds, American Academy and Institute of Arts and Letters

2000      Krasner-Pollock Foundation Grant

1999      Adolph and Esther Gottlieb Individual Support Grant

1999       Jerome Foundation, Dark Love

1998      New York Foundation for the Arts, Dark Love

1998      New York State Council on the Arts, Dark Love

1997      Dictionary of International Biography

1996      New York Foundation, Painting in Ireland, Tyrone Guthrie Centre, Co Monaghan, Ireland

1993      Virginia Center for the Creative Arts

1992      New York Foundation for the Arts, Painting in France

1992      Winsor & Newton Paint Company, Painting in France

1991      Coffin Grant, University of Hartford

1989      Two Thousand Notable American Women

TEACHING
2010-       Instructor, Art Students League

1997         Visiting Artist, Chautauqua Institution, Chautauqua, New York

1990         Instructor, Parsons School of Design, New York

1983-02     Associate Professor, Hartford Art School, University of Hartford

1982-83    Instructor, Parsons School of Design, New York

1980-81    Instructor, State University of New York, Purchase

1974          Visiting Artist, San Francisco Art Institute, San Francisco

1972-73    Instructor, Hunter College, New York

1968-69    Instructor, Farleigh Dickinson University, Teaneck, New Jersey