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Collections
| Exhibitions | Publications
| Statement |
Press Release
Selected
Collections
| The Metropolitan Museum of Art, New York, NY |
| The Fitzwilliam Museum, Cambridge, England |
| Rijksprentenkabinett, Rijksmuseum, Amsterdam,
Holland |
| National Gallery of Science, Washington, DC |
| National Gallery of Art, Lessing Rosenwald
Collection, Washington, DC |
| Yale University Art Gallery, New Haven, CT |
| Museo de Arte de Ponce, Ponce, PR |
| The New York Public Library, New York, NY |
| RCA Corporation, New York, NY |
| Owens-Corning, Toledo, OH |
| National Aeronautics and Space Agency, Washington,
DC |
| McGraw Hill Companies, Columbus, Ohio |
| Currier Museum of Art, Manchester, NH |
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Selected
Solo Exhibitions
| 2006 |
Blue Mountain Gallery, New York,
NY |
| 2006 |
Paul Mellon Arts Center, Choate Rosemary Hall,
Wallingford, CT |
| 2004 - 2006 |
Fenn Gallery, Woodbury, CT |
| 2004 |
National Academy of Sciences, Washington, DC |
| 2002 |
City University of New York, Staten Island,
NY |
| 1999 |
Paul Mellon Arts Center Gallery, Choate Rosemary
Hall, Wallingford, CT |
| 1997 |
Marlboro College, Marlboro, VT –also
1986 |
| 1994 |
Munson Gallery, New Haven, CT Also ‘90,
'87, '85 and '79 |
| 1991 |
Connecticut Commission on the Arts sponsored
show at the Legislative Office Building, Hartford, CT |
| 1982 |
Center for the Arts, Wesleyan University, Middletown,
CT |
| 1978 |
Sterling and Francine Clark Art Institute,
Williamstown, MA |
| 1977 |
Gallery Fikrun Wa Fann, Alexandria, Egypt |
| 1974 |
Slater Museum, Norwich, CT |
| 1971 |
Philips Exeter Academy, Exeter, NH |
| 1965 |
Hinckley-Brohel Gallery, Washington DC |
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Commissions
| National Aeronautics and Space Administration,
Washington, DC, 1991 |
| Barbara Gladstone Gallery, New York, NY, 1983 |
| Barnard College, New York, NY, 1979 |
| Gladstone-Villani Gallery, New York, NY, 1979 |
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Publications
| 100 Creative Drawing Ideas, Shambhala Publications,
Boston: 2004 |
| Cover photo for Mrs. Dumpty by Chana Bloch,
University of Wisconsin Press, Madison: 1998 |
| The Blank Canvas , Shambhala Publications,
Boston: 1993. |
| “Images Out of Time”; Connecticut
Review, Spring 1988 |
| Illustrator (18 Photographs) for Click, Rumble,
Roar; ed. by Lee Bennett Hopkins, Pub. T. Y. Crowell (Harper
& Row)New York: 1987 |
| Illustrator (20 photographs) for Song in Stone;
ed. by Lee Bennett Hopkins, Pub. T. Y. Crowell (Harper &
Row) NewYork: 1983 (also French and Italian Ed.) |
| Illustrator (32 drawings) for Past and Present,
The Continuity of Classic Myths ; Hakkert, Ltd., London, Ont.:
1972 |
| “The Impress of Anatomy”; Artists
Proof, Pratt Institute, Dec. 1965 |
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Statement
CONTEMPORARY RUINS
In earlier civilizations ruins were
remainders and reminders of the glory of long passed times. People
pondered what could still be seen of the palaces, great public buildings
and places of worship. The everyday working world disappeared totally
without any record to commemorate its importance. How different
the fate of edifices now. Ruins occupy a special place in our contemporary
landscape. Nearly everywhere there are vestiges of commercial buildings
and machines that many people still remember as vital to their communities.
Industrial progress has doomed them in the space of a few decades.
They are the relics of America’s industrial glory at mid century:
great structures erected to support the technologies that shaped
the country we now live in. As a painter I have been inspired by
the endless examples in which the triumphs of industry turn out
to be just a moment away from obsolescence, casualties of our rapid
technological evolution. Indeed, this development often occurs by
design. We all know that time takes its toll, but the phenomenon
has accelerated in recent decades.
I have painted abandoned factories, ships, bridges, and large machines.
A good part of my fascination with these subjects comes from the
altered architectural spaces and peculiar beauty created by massive
neglect. The effects of weather frequently give these ruins more
color than they originally possessed, and decay may make two formerly
identical forms eventually appear quite different from each other.
As these artifacts are released from their original function, they
serve briefly as poignant installations or sculptures, before being
swept away by the “future”.
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