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April  tGoRNiK 


Embodied  Landscapes 

ENWALD-WOLF  GaLLERY,  ThE  UNIVERSITY  OF  THE  ArTS 

Museum  of  American  Art  of  the  Pennsylvania  Academy  of  the  Fine  Arts 


April  Gornik 
Embodied  Landscapes 


Selected  Paintings 

ROSENWALD-WOLF  GaLLERY, 

The  University  of  the  Arts 
9  January-6  March,  1998 

Selected  Works  on  Paper 
Museum  of  American  Art  of  the 
Pennsylvania  Academy  of  the  Fine  Arts 

9  jANUARY-19  April,  1998 

Organized  by  Leah  Douglas,  Gallery  Director 
The  University  of  the  Arts 


T  b  i  s     e  X  h  i  b  i  t  i  0  t2     has     been    funded    b  y 


The  Pennsylvania  Council  on  the  Arts 

The  Exhibitions  Program  at  The  University  of  the  Arts 

The  Museum  of  American  Art  of  the  Pennsylvania  Academy  of  the  Fine  Arts 


Lend  e  r  s     to     the     e  x  bib. 


Paul  and  Helaine  Cantor 

Doris  and  David  Mortman 

Natalie  Rea 

Mary  Jane  M^arcaslano  and  Ralph  Gibson 

Edward  Thorp  Gallery,  New  York 


Rosenwald-Wolf  Gallery, 

The  Unfversity  of  the  Arts 

320  South  Broad  Street 

Philadelphl^,  pa  19102 

Museum  of  American  Art  of  the 

Pennsylvania  Academy  of  the  Fine  Arts 

118  North  Broad  Street 

Philadelphia,  PA  19102 


I  value  above  all  the  ability  of-  art  to  move  me 
emotionally  and  ps\'chically,  without  answers. 
I  make  art  that  makes  me  question,  that  derives 
its  power  from  being  vulnerable  to  interpretation, 
that  is  intuitive,  that  is  beautiful. 

—  April  Gornik 


EMBODIED  LANDSCAPES:   Paintings  and  Drawings  of  April  Gornik 


THIS  EXHIBITION  OF  LANDSCAPE  WORKS  bv  April  Gornik 
marks  a  number  of  firsts.  Not  only  is  it  Gornik's  first  solo 
showing  in  Philadelphia,  a  city  known  tor  its  indigenous  prac- 
tice ot  contemporary  landscape  painting,'  but  it  represents  a 
first-time  curatorial  collaboration  between  two  local  visual-arts 
institutions:  the  Rosenwald- Wolf  Gallery  of  The  Universirv'  of 
the  Arts,  whose  director,  Leah  Douglas,  conceived  ot  and  orga- 
nized the  exhibition,  and  the  Museum  of  American  Art  ot  the 
Pennsylvania  Academy  of  the  Fine  Arts.  The  exhibition  has 
been  divided  berween  the  two  venues,  with  Gornik's  paintings 
featured  at  the  former  and  her  drawings  and  prints  on  display 
at  the  latter. 

Born  in  Cleveland,  Ohio,  Gornik  studied  at  the  Cleveland 
Institute  of  Art  before  transferring  to  the  Nova  Scotia  College 
of  Art  and  Design,  in  Canada;  she  currently  lives  in  New  York. 
At  first  glance,  the  artist  and  her  art  present  a  number  of  para- 
doxes: she  is  an  urbanite  who  constructs  evocative,  sharply  real- 
ized views  of  nature  in  her  lower-  Manhattan  studio;  she  is  also 
a  thoroughly  contemporary  artist  trained  in  the  theories  of  con- 
ceptualism  who  acknowledges  a  debt  to  the  history  of  art,  ren- 
dering works  that  self-consciously  recall  America's  late  nine- 
teenth- and  early  twentieth-century  landscape  tradition.  Yet, 
these  apparent  tensions  resolve  themselves  in  the  hybrid  nature 
of  Gornik's  art  and  its  sources.  Neither  realist  nor  abstract,  the 
work  falls  somewhere  in  berween;  one  critic  has  described  her 
stylized  approach  as  "cultivated  primitivism,"  referring  to  her 
"faux-naif  obsession  with  rendering  the  particularities  of 
a  scene. "- 

Dubbed  a  neoromantic  in  the  eighties,  Gornik  has  long 
been  measured  against  the  reach  of  history.  Apparently  because 
of  the  artist's  own  stated  predilection  for  certain  nineteenth- 
century  American  painters  —  Martin  Johnson  Heade  is  most 
frequently  cited  -  critics  have  viewed  Gornik  as  a  latter-day 


(or  postmodern)  luminist.  This  view  is  legitimate  on  many 
levels.  As  a  category  of  landscape  painting  virtually  invented 
by  post-war  art  historians  sympathetic  to  modernist  aesthetics, 
luminism  -  and,  thus,  Gornik's  shared  affinity  with  its  practi- 
tioners -  is  inherently  at  a  historical  remove. ^^  Although  not 
employed  in  the  nineteenth  century,  the  term  "luminism"  is 
generally  applied  to  the  culminating  phase  of  the  Hudson  River 
School,  the  popular  midcentury  landscape  tradition  that  has 
been  interpreted,  both  then  and  now,  in  terms  of  national  iden- 
tity. Less  a  coherent  movement  than  a  collection  of  stylistic 
attributes,  luminism  is  identified  primarily  by  horizontal,  open 
compositions  and  an  emphasis  on  light  and  atmosphere  over 
other  natural  effects. 

More  intimate  in  scale  and  mood  than  the  bombastic 
spectacles  of  Frederic  Edwin  Church  and  Albert  Bierstadt,  the 
quiet,  contemplative  waterside  views  by  luminist  painters  like 
Heade  and  Fitz  Hugh  Lane  suggest  the  same  lack  of  narrative 
detail  and  detached  artistic  presence  apparent  in  Gornik's 
work.  The  smooth,  glassy  surface  of  a  painting  such  as  Moon 
Bay  (1996)  conveys  a  silent,  static  quality  (punctuated  by  the 
massive  islanded  rocks)  that  in  nineteenth-century  imagery  may 
have  evoked  Ralph  Waldo  Emerson's  theory  of  transcenden- 
talism -  the  notion  that  the  divine  spirit  is  present  in  all  physi- 
cal matter  —  the  major  intellectual  tenet  of  luminism. 

Although  the  sheer  size  of  Gornik's  work,  both  paintings 
and  drawings,  seems  to  share  more  with  the  sublime  produc- 
tions of  Church  and  Bierstadt,  its  internal  spatial  immensity 
and  concern  with  minimalist  structure  recalls  luminism's  essen- 
tially conceptual  nature.'^  Moreover,  the  intrinsic  theatricality  of 
Gornik's  landscapes,  with  their  mysterious  threat  of  impending 
disaster  -  for  example.   Smoke  (1985),  and  Wind  Behind  Rain 
(1993)  -  underscored  by  the  transitional  suggestion  of  many 
of  her  titles  —  echo  such  works  as  Heade's  stormy  views  of 


Narragansett  Bay. 

Like  the  so-called  luminists,  Gornik  approaches  landscape 
as  an  exploration  of  light  and  form;  she  is  less  interested  in  ren- 
dering the  details  of  any  specific  locale  than  in  describing  imag- 
ined views  in  spatial  terms.  5  She  uses  atmospheric  space  to 
beckon  the  viewer  into  her  unsettling,  depopulated  landscapes, 
in  an  effort  to  show  "space  looking  back  at  you."''  This  inven- 
tive approach  to  her  subject  matter  has  given  Gornik's  imagery 
a  highly  distinctive  quality.  Despite  the  apparent  disappearance 
of  the  artist's  hand  in  the  scene,  these  works  of  bewitching, 
almost  surreal  beauty  reveal  a  signature  sry\e  and  sensibility 
unmistakably  her  own. 

What  does  it  mean  to  be  a  landscape  painter  - 
stereotypically  one  of  the  most  tradition-bound  practices  — 
in  the  postmodern  age?  In  Gornik's  case,  it  signifies  a 
serious  exploration  of  the  meditative  qualities  of  the  genre 
through  highly  sophisticated  formal  means.  Never  simply  an 
unmediated  recording  of  reality,  landscapes  have  always  been 
loaded  with  cultural  meanings.  Gornik's  contrived  settings 
—drawn  from  memories,  dreams,  imaginings,  as  well  as 
photographs  —  are  no  exception.  An  artist  who  finds  the 
answers  in  her  head  rather  than  outdoors,  Gornik  eschews  the 
plein-air  approach  of  her  historical  predecessors  both  in  her 
drawings  and  paintings.  Although  she  uses  the  former  as 
preliminary  guides  for  the  latter,  her  drawings  (and  prints) 
are  fully  realized  tonal  productions,  full  of  luminous, 
painterly  effects. 

Gornik  describes  her  art  in  terms  of  her  own  emotional 
landscape,  a  concept  most  apparent  in  the  recent  waterfall 
paintings  and  waterway  drawings.  Examining  the  implications 
of  landscape  as  a  metaphor  for  human  sexuality  -  that  is,  the 
body  -  these  images  also  beg  comparison  with  the  sensual, 
organic  landscape  imagery  of  such  American  modernists  as 
Georgia  O'Keefife,  Arthur  Dove,  and  Charles  Burchfield. 

Gornik's  critical  and  popular  success,  which  has 
positioned  her  as  one  of  the  most  prominent  landscape  painters 


in  the  contemporary  art  world,  reveals  much  about  the  endur- 
ing taste  for  the  genre  and  its  transformation  in  America.  As 
Carter  Ratclifif  has  observed,  Gornik  "persuades  us  to  reimagine 
the  familiar  elements  of  landscape"  through  a  language  of  per- 
sonal expression.^  Whether  understood  in  the  aesthetic  context 
of  romanticism,  luminism,  surrealism,  or  even  postmodernism, 
her  work  conveys  an  emotional  and  psychological  resonance 
that  speaks  to  many. 

—  Sylvia  Yount,  Curator  of  Collections 
Museum  of"  American  Art  of  the 
Pennsylvania  Academy  of  the  Fine  Arts 


1  See  catalog  for  Lisa  Panzera's  recent  curatorial  exploration.  An  Extended 

View:  Landscapes  by  Philadelphia  Artists,   May  28-August  1,  1997 
(Philadelphia:  Levy  Gallery  for  the  Arts  in  Philadelphia,  Moore 
College  of  Art  and  Design). 

2  Stephen  Westfall,  "April  Gornik  at  Edward  Thorp".  Art  In  America, 

(October  1986),  168. 

3  John  Wilmerding,  Introduction,  American  Light:  The  Liiminist 

Movement,  1850-1875  (Washington,  D.C.:  National  Gallery  of 
Art,  1980),  11-20. 

4  Barbara  Novak,  "On  Defining  Luminism,"  American  Light,  The  Luminist 

Movement,  1850-1875,  (Washington,  D.C.:  National  Gallery  of 
Art,  1980),  28. 

5  In  an  interview  with  the  author,  Gornik  cited  Henri  Matisse  as  her 

all-time  favorite  artist,  admiring  his  use  of  color  and  light  as 
structural  elements. 

6  Carter  Ratcliff  April  Gomik:  Recent  Paintings.  April  21 -May  26,  1990 

(New  York:  Edward  Thorp  Gallery),  13. 

7  Ibid.,  8. 


selected    paintings 


Turning  Waterfall,  oil  on  linen,  76"  x  76",  1997 


Digitized  by  the  Internet  Archive 

in  2011  with  funding  from 

LYRASIS  IVIembers  and  Sloan  Foundation 


http://www.archive.org/details/aprilgornikembodOOdoug 


Moon  Bay,  oil  on  linen,  72"  x  96",  1996 


Waterfall,  oil  on  linen,  70"  x  62",  1995 


Stepped  Waterfall,  oil  on  linen,  69"  x  65 


Wind  Behind  Rain,  oil  on  linen,  79"  x  90",  1993 


Smoke,  oil  on  canvas,  76"  x  100",  1985 


selected    works     on    paper 


Following  the  Waterway,  charcoal  on  paper,  29"  x  40",  1995 


Waterway  Clearing,  charcoal  on  paper,  38"  x  50",  1995 


Two  Clouds,    charcoal  on  paper, 


38    X  50",    1994 


Atlas,  charcoal  on  paper,  38"  x  50",  1993 


Inside  Out,  charcoal  on  paper,  38"  x  43",  1991 


Cloud  Plume,  charcoal  on  paper,  53.5"  x  41.25",  1991 


Impending  Rain,  charcoal  on  paper,  38"  x  50",  1990 


Divide,  intaglio,  31"  x  39",  1994 


Light  After  the  Flood,  intaglio,  24"  x  41",  1987 


EXHIBITION   CHECKLIST 

I.  TURNING   WATERFALL   •   OIL  ON   LINEN    •    76"  X  76"   ■    1997 

I.  MOON    BAY   ■    OIL  ON   LINEN   ■    72"  X  96"   •    1996 

3.  WATERFALL   •   OIL  ON   LINEN    •    70"  X  62"   •    1995 

4.  STEPPED   WATERFALL   •    OIL  ON   LINEN    ■    69"  X  65"   •    199'i 

5.  WIND    BEHIND   RAIN    ■    OIL  ON   LINEN    ■    79"  X  90"   ■    1993 

6.  SMOKE    ■    OIL  ON    CANVAS    ■    76"  X    lOo"    ■    198s 

7.  FOLLOWING   THE   WATERWAY   ■    CHARCOAL  ON   PAPER   •    29"  X  40"   ■    199<i 

8.  WATERWAY  CLEARING    ■   CHARCOAL  ON   PAPER   ■    38"  X  50"   ■    199s 

9.  TWO    CLOUDS    ■    CHARCOAL  ON    PAPER    ■    38"  X    So"    •    1994 

10.  ATLAS    ■    CHARCOAL  ON    PAPER    ■    38"  X    50"    ■    1993 

II.  INSIDE   OUT    ■    CHARCOAL  ON    PAPER    ■    38"  X   43"    ■    1991 

12.  CLOUD    PLLIME    ■    CHARCOAL  ON    PAPER    ■    53.5"   X  41.2s"    •    I99I 

13.  IMPENDING   RAIN    ■    CHARCOAL  ON   PAPER   •    38"  X  50"   •    1990 

14.  DIVIDE    ■    INTAGLIO    •    31"  X   39"    •    I994 

15.  LIGHT  AFTER  THE   FLOOD      •     INTAGLIO   •    24"  X  41"    ■    1987 


April  Gornik:  Bibliography 

Born:         April  20,  1953.    Clevel.ind.  Ohio 
Lives:         New  York,  NY 


EDUC  \TION 

Cleveland  Insritute  of  Art,  Cleveland,  Ohio,  1971-75 

Nova  Scotia  College  of  Art  and  Design,  Nova  Scotia,  Canada,  B.F.A.,  1976 

ONE  PERSON  EXHIBITIONS 

1998  Universiu'  ot  the  Arts,  Philadelphia,  PA  and  the  Museum  ot  American  Art 

of  the  PennsyUania  Academy  of  the  Fine  Arts,   Philadelphia,  PA 
1997         Turner- Runyon  Gallery,  Dallas,  TX 

1996  Eduard  Thorp  Galler>-,  New  York,  NY 

1995  Kohn  Turner  Gallery,  Los  Angeles,  CA 
1 994         Edward  Thorp  Gallery,  New  York,  NY 

Guild  Hall  Museum,  East  Hampton,  NY 

Offshore  Gallery,  East  Hampton,  NY 
1993  Frederick  R.  Weisman  Museum  of  Art,  Pepperdine  Universin',  Malibu,  CA 

Mary  Ryan  Gallery,  New  York,  NY,  1993,  "April  Gornik,  Prmts" 
1992         Edward  Thorp  Gallery,  New  York,  NY 
1990  Edward  Thorp  Gallery,  New  York,  NY 

1988  University  Art  Museum,  California  State  University,  Long  Beach,  CA 

The  Sable-Castelli  Gallery,  Toronto,  Canada 
1 987         Edward  Thorp  Gallery,  New  York,  NY 
1986         Edward  Thorp  Gallery,  New  York,  m' 
1985  The  Sable-Castelli  Gallery,  Toronto,  Canada 

Galerie  Springer,  Berlin 
1984         Edward  Thorp  Gallery,  New  York,  NY 

Texas  Gallery,  Houston,  TX 
1983         The  New  Gallery  of  Contemporary  Art,  Cleveland,  OH 

Edward  Thorp  Gallery,  New  York,  NY 
1 982  Edward  Thorp  Gallery,  New  York,  NY 

University  ol  Colorado  Art  Galleries,  Boulder  CO 
1981  Edward  Thorp  Gallery,  New  York,  NY 

GROUP  EXHIBITIONS 

1997  Center  lor  Curatorial  Studies  Museum,  Bard  College, 

Annandale-on-Hudson,  NY,  "In  Plain  Sight" 
Edward  Thorp  Gallery,  New  York,  NY,  "Gallery  Group  Exhibition" 
Hammond  Gallery,  Lancaster  OH,  "Eight  From  Ohio:  In 

and  Out  ot  Bounds" 

1996  Turner  &  Runyon  Gallery,  Dallas,  TX,  "Inaugural  Exhibition" 
Samuel  P.  Harn  Museum  of  Art,   Gainesville,  FL,    "Destiny  Manifest: 

American  Landscape  Paintings  in  the  Nineties ' 


1992 


Freedman  Gallery,  Albright  College  Center  for  the  Arts,  Reading  PA, 

"20/20:  The   Visionary  Legacy  ol  Doris  Chanin  Freedman" 
Fotouhi-Cramer  Gallery,  NY,  NY,  "By  the  Sea" 
James  Graham  &  Sons,  NY,  NY  "Water" 
Fine  Arrs  Gallery  at  Southampton  College,  Southampton,  NY, 

"Master  Workshop  Exhibition" 
Viridian  Artists  Inc,  NY,  NY,  "The  Paris  Review  Print  and  Poster  Series" 
Arnot  Art  Museum,  Elmira,  New  York,  "Re- Presenting  Representation  11" 
Edward  Thorp  Gallery,  New  York,  NY  "Summer  Gallery  Group" 
The  Work  Space  at  Dolgenos  Newman  &  Cronin,  New  York,  NY, 

"Down  The  Garden  Path" 
Mary  Ryan  Gallery,  NY,  "Elementum" 
Art  Museum  at  Florida  International  University,  Miami,  FL,  "American  Art 

Today:  Night  Paintings" 
California  Center  For  the  Arts  Museum,  Escondido,  CA, 

Revisiting  Landscape" 
Lizan-Tops  Gallery,  East  Hampton  "Light  and  Shadow:  The 

Changing  Season" 
Galerie  de  la  Tour,  Amsterdam,    1995.  "100  Personal  Heroes  Part  2" 
Edward  Thorp  Gallery,  New  York,  NY,  "Winter  Gallery  Group" 
Gallery  Camino  Real,  Boca  Raton,  FL,  "Landscape  Not  Landscape" 
Neuberger  Museum  of  Art,  Purchase,  NY,  "Inspired  by  Nature" 
Aldrich  Museum,  Ridgefield,  CT,  "Timely  and  Timeless" 
Edward  Thorp  Gallery,  New  York,  NY',  "Summer  Galler.-  Group  ' 
Jan  Weiner  Caller)-,  Kansas  City,  MO,  "Still  Light" 
Aspen  Art  Museum,  Aspen,  CO,  "Mountains  of  the  Mind:  Ametican 

Mountain  Landscape  Painting  from  1850  to  the  Present" 
Feigen  Inc.,  Chicago,  IL,  "Changing  Views " 
Jan  Abrams  Gallery,  L.A.,  CA,  "A  Woman's  Nature" 
The  Morristown  Museum,  "Living  With  Art:  The  Collection  of 

EUyn  and  Saul   Dennison" 
Cleveland  Center  for  Contemporary  Art,   Cleveland,  OH,  "25  \ears" 
Edward  Thorp  Gallery,  New  York,  NY,  "Gallery  Group" 
Whitney  Museum,  Fitchburg,  CT,  "Landscape  as  Metaphor" 
The  Aldrich  Museum  of  Contemporary  Arr,  Ridgefield,  CT,  "Four  Friends" 
travelled  to:  Rayburn  Foundation,  New  York,  NY,   and 
Ringling  Museum,  Sarasota,  FL,   and 
Oklahoma  Museum  of  Art,  Oklahoma  City,  OK 
Edward  Thorp  Gallery,  New  York,  NY  "Gallery  Group" 
Transamerica  Pyramid  Lobby,  San  Francisco,  "Selective  Vision" 
The  Parrish  Art  Museum,  Southampton,  NY,  "Romance  and  Irony  in 

Recent  American  Art" 
The  National  Museum  of  Women,  Washington,   DC,  "Presswork:  Art  of 

Women  Printmakers" 
Weatherspoon  Art  Gallery,  Univ.  of  N.  Carolina,  Greensboro,  NC 

"Art  on  Paper" 
Parrish  Museum  Design  Biennial,  Parrish  Art  Museum,  Southampton, 

NY,  "Weathervanes" 


Edward  Thorp  Ci.illery,  New  York,  NY,  "Summer" 
Mary  Ryan  Gallery,  New  York,  NY,  "Landscapes" 
Annina  Nosei  Gallery,  New  York,  NY,  "Landscape  Painting" 
1 990  Edward  Thorp  Gallery,  New  York,  NY,  "Gallery  Group  Exhibition" 

Museum  ol  Art.  Rhode  Island  School  ol  Design,  Providence,  RI, 

"Terra  Incognita" 
Residence  of  the  Ambassador,  Mexico  Cit)',  Mexico,  Mexico  Cit\-,  Mexico, 

"Contemporary  American  Artists" 
Graham  Modern,  New  York,  NY   "Landscape  on  Paper" 
Virginia  Museum  of  Fine  Arts,  Richmond,  VA,  "Harmony  &  Discord: 

American  Landscape  Today" 
Whitney  Downtown  at  Federal  Reserve  Plaza,  NY,  and  Fairfield  Count\',  CT, 

"The  (Un)Making  of  Nature" 
The  Art  Gallery  of  Western  Australia,  Perth,  "Romance  &  lron\'  in  Recent 

American  Art" 
Chicago  Public  Library  Cultural  Center,  "Didier  Nolet:  Dreams  ot  a  Man 

Awake" 
Indiana  University  Art  Museum,  IN,  "Echo  Press:  A  Decade  of  Printmaking" 
1989  The  Parrish  Art  Museum,  Southampton,  NY,  "Painting  Horizons: 

Jane  Freilicher,  Albert  York,  April  Gornik" 
Daniel  Weinberg  Gallery,  Los  Angeles,  CA,  "A  Decade  of 

Drawings:  1980-1989" 
Greensboro,  NC,  Weatherspoon  Art  Gallery,  Universit)'  of  Notth  Carolina, 

"Art  on  Paper  1989" 
Edward  Thorp  Gallery,  New  York,  NY,  "Summer" 
Three  Rivers  Arts  Festival,  Pittsburgh,  PA,  "The  Transformative  Vision: 

Contemporary  American  Landscape  Painting" 
The  Dayton  Art  Institute,  Dayton.  OH,  "A  Cettain  Slant  of  Light:  The 

Contemporary  American  Landscape" 
National  Gallery  of  Art,  Wash,  DC.  "The  1980s:  Prints  from  the  Collection 

of  Joshua  P.  Smith" 
Ruggiero  Hems  Gallery,  NY,  "Imminent  Space" 
Modern  Art  Museum  of  Fort  Worth,  TX,  "10  +  10:  Contemporary 

Soviet  &  American  Painters," 
travelled  to:  San  Francisco  Museum  of  Modern  Art,  San  Francisco,  CA, 
Albright  Knox  Art  Gallery,  Buffalo,  NY   and 
Milwaukee  Art  Museum,  Milwaukee,  Wl,   and 
The  Corcoran  Gallery  of  Art,  Washington  DC,   and 
Artist's  Union  Hall  of  the  Tretyakov  Embankment,  Moscow,   and 
Central  Artists'  Hall,  Tbilisi,  Georgian  Soviet  Socialist  Republic,   and 
Central   Exhibition  Hall,  Leningrad, 
The  WTiitney  Museum  of  American  Art,  New  York.  NY. 

"1989  Biennial  Exhibition" 
The  Whitney  Museum  of  American  Art  at  the  Equitable  Center. 

New  York.  NY.  "Nocturnal  Visions  in  Contemporary  Painting" 
The  Montclair  Art   Museum.  Montclair,  NJ.  "Art  of  the  '80s  from  the 

Chemical  Bank  Collection" 
The  Art  Museum  at  Flotida  International  University,  Miami,  FL 

"American  Art  Today;  Contemporary  Landscape " 


1988  Museum  of  Art.  Rhode  Island  School  of  [:)esign.  Providence,  Rl, 

"Art  for  Your  Collection" 
The  Parrish  Art  Museum,  Southampton,  NY,  "Drawing  on  the 

East  End,  1940-1988" 
Fay  Gold  Gallery,  Atlanta,  GA,  "New  American  Landscape" 
Edward  Thorp  Gallery,  New  York.  NY,  "'Group  Show" 
Marlborough  Gallery,  New  York,  NY,  "Changing  Perspectives  in 

Contemporary  Representations" 
Greenville  County  Museum  of  Art,  Greenville.  SC.  "Just  Like  a  Woman"" 
National  Academy  ot  Design.  New  York.  NY.  "Realism  Today: 

American  Drawings  from  the  Rita  Rich  Collection," 
travelled  to:  Smith  College.  Northampton.  MA.  and 
The  Arkansas  Arts  Center.  Little  Rock,  AK,  a)id 
The  Butler  Institute  of  American  Art.  Youngstown,  OH 
1 98""  Edward  Thorp  Galler)'.  New  York.  NY,  '"Caller)'  Group" 

Wellesley  College  Museum,  MA.  "1976-1986:  Ten  Years  of  Collecting 

Contemporary  American  Art,  Selections  from  rhe  Edward  R. 

Downe.  Jr.  Collection"' 
Art  Gallery,  Long  Island  University,  Southampton,  NY,    "The  Masters  11" 
Chemical  Bank  Gallery,  New  York,  NY,  "The  Great  Outdoors" 
The  Rockwell  Museum,  Corning,  NY,  '"Boundless  Realism:    Conteniporarv 

Landscape  Painting  in  the  West" 
Barbara  Mathes  Gallery,  New  York,  NY,  ""Disquiet  in  the  Landscape" 
The  Whitney  Museum  of  American  Art,  Fairfield  Counrj',  Stamford,  CT. 

""The  New  Romantic  Landscape" 
Sherry  French  Gallery.  New  York,  NY.  "Night  Light/Night  Life" 
Squibb  Gallery.  Princeton.  NJ.  "Landscapes:  Real  &  Imagined" 
1986         Aldrich  Museum  ot  Contemporary  Art.  Ridgetleld.  CT.  "A  Contempotary 

View  ot  Nature'" 
Lorence  Monk  Gallery.  New  York.  NY.  "Manor  in  the  Landscape" 
Weatherspoon  Art  Gallery,  The  University  of  North  Carolina  at 

Greensboro,  NC.  ""Art  on  Papet" 
Freedman  Gallery.  Albright  College.  Reading,  PA.  ""The  Freedman  Gallery: 

The  First  Decade" 
Lehman  College  Art  Gallery,  Bronx.  NY.  ""Landscape  in  the  Age  ot  .Anxien'" 
Edward  Thorp  Gallery,  New  York,  NY,  ""Group  Show'" 
Michael  Kohn  Gallery,  Los  Angeles.  CA,  "Still  Life/Life  Still" 
Phoenix  Art  Museum,  Phoenix,  AZ,  ""New  Narrative  Painting: 

Selections  from  The  Metropolitan  Museum  of  Art" 
Elliot  Smith  Gallery,  Saint  Louis,  MO,  ""The  American  Landscape"' 
Edward  Thorp  Gallery,  New  York,  NY,  "Group  Show" 
Luhring.  Augustine  &  Hodes,  New  York,  NY.  "Watercolors" 
Contemporary  Arts  Center.  New  Orleans.  LA.  ""Landscape.  Seascape. 

Cityscape  1960-198S," 
The  New  York  Academy  of  Art.   ""Landscape.  Seascape, 

Cityscape  1960-1985." 
Jus  de  Pomme  Gallerj',  New  York.  NY,  ""Artists  Pick  Artists""