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Liberty #2
2010; Colored pencil and graphite on paper; 8.5” x 5.5”


“Some physicists have proposed that it is the very act of observation that conjures up the hard edges of the familiar world”. “A game is a way of representing the world. Thus, a game transposes systems of values or abstract formal systems into concrete objects.” I am a painter. I am interested in the logic and demands of representation interpreted and transformed within the abstraction of painting. Everything is real, in the sense it can be seen in the world. In much of my work there is a collision of certain aspects of linear perspective and the constantly changing perspective of real space. I use an extreme point of view and radical scale change of images to put pressure on the picture plane and engage and even disorient the viewer. The temporal aspects of painting particularly its ability to present complex pictorial space are extremely important to me. The hand is the instrument that leaves evidence that mediates between the materiality of the object, the painting and the non-materiality of thought. The imagery is layered, context and identification collide and the images are mutable as they position themselves in the interpretive space of the painting. The work uses a visual language that reaches beyond self and sets up criteria that is specific to the form of painting. I create a complex pictorial structure where the viewer is engaged as an active participant. The congruence of things, both formal and subject becomes the image. It shifts and changes and becomes something else as you look at it in time, if you stand in front of the painting. The juxtaposition and the spatial pressure make it odd and remove it from a more coherent idea of what you might look at if you saw something. The positioning of the individual in relation to what they’re looking at determines how they see. That nothing has actuality unless we perceive it. I was trained as an abstract painter and I still make paintings out of that framework. Structure, color, all of those things, forms, come out of that, the geometry of the painting as it is being made. Ideas of space are primary, the construction of space, and the fact that any object is actually contained only in its space. When you move the object, you shift the space. The relationship of planes is the scaffold of the space, where things hit the planes. This matters, because the space in a painting is perceived in relationship to our bodies and the sense of the “up and down” of the gravitational world we live in. The tension in the work is partly built by a consciousness that edge and line have two sides and when you shift one you shift the other. The painting is democratic all parts are dependent on each other. Language is a screen that can stop an actualization of the visual, the sense perception of seeing, and something kinetic. This is why color is such a precious tool of painting the magic of color, and how we see it. It is the one thing that has no real language equivalent. So in painting the language link of color is absent. I build the visual structure with what I call the hands eye. It appears on the page or canvas simultaneously with the act of doing and I don’t name it anything. The changing aspect of vision and our relationship to it is part of my subject. Can I de-familiarize an image, put it back in the world so you re-see it, so we know it again? The painting or drawing stops time and locates a concrete perceptual moment. The painting exists temporally in the viewers present.



237 Bleecker Street
New York, NY 10014



Yale University, Master of Fine Arts with honors, 1963
Yale University, Bachelor of Fine Arts with honors, 1961
Cooper Union, Certificate, 1959


2012 AIR Gallery, Brooklyn, NY; Liberty
2010 AIR Gallery, Brooklyn, NY; Planes
Genovese/Sullivan, Andover, MA; Increments: Exhibition and Book Signing
2009 AIR Gallery, Brooklyn, NY; Increments: Drawings
Olson Gallery, Bethel University, Saint Paul, MN; Elegy/War Games: Drawings
2007 AIR Gallery, New York; Shadowed World / Shattered World
2006 Genovese / Sullivan, Boston; Shattered World and Related Work
2004 AIR Gallery, New York; Elegy/War Games
2003 Genovese / Sullivan. Boston; After the Fall
2002 AIR Gallery, New York; Lamenting Angels
2001 University Art Gallery, University of the South, Sewanee, TN; Earth and Sky
2000 Columbia University, School of International Studies, New York; Journal: Syntax of Mourning
1999 AIR Gallery, New York; Journal: Syntax of Mourning
Genovese / Sullivan, Boston; Journal: Syntax of Mourning
1997 Genovese / Sullivan, Boston; The Ledger Series
AIR Gallery, New York; The Ledger Series


2009 Increments: Drawings, 1970-1995 Regina Granne, The Crumpled Press, New York, NY


2011 Konsthallen, Sandviken, Sweden; Vestiges
AIR Gallery, Brooklyn, NY; Vestiges
Art x Women at The Affordable Art Fair, NYC
AIR Gallery, Brooklyn, NY; Wish You Were Here 10
2009 AIR Gallery, Brooklyn, New York; Mother/Mother
George Adams Gallery, NYC, Pink Slips
Williamsburg Art and Historical Center, New York; Women Forward: Celebrating Women’s History Month, 2009
2008 Tracey/ Barry Gallery, Bobst Library, NYU; A.I.R. Gallery: The History Show, Archival materials from 1972 to the present
AIR Gallery, New York; Part II: A.I.R. Gallery: The History Show, Work by A.I.R. artists from 1972 to the present
2007 Spencertown Academy Arts Center, NY; The Map Show
Philip Stein Gallery; St. Louis; Drawings from New York
North Dakota Museum of Art, Grand Forks; Moment by Moment: Meditations of the Hand.
2006 National Academy Museum, New York; The 181st Annual Invitational
2B Gallery. Budapest, Hungary; Sculptors: Commemorating the 1956 Revolution
2B Gallery, Budapest, Hungary; AIR in Budapest
2005 Washington Art Association, Washington Depot, CT; Against the Grain: Three Independents
2003 Sejong Art Museum, Seoul, Korea; Seoul International Art Festival
2002 Yamasaki, Osaka and Himeji, Japan; A Wall of Prayer / A Crises in New York
AIR Gallery, New York, Wish you were here
2000 North Dakota Museum of Art, Grand Forks; Drawing in the Present Tense
Eastern Connecticut State University, Willimantic; Drawing in the Present Tense
AIR Gallery, New York; Turning Points
1999 Parsons The New School for Design, New York; Drawing in the Present Tense;
AIR Gallery, New York; Macro/Micro
Genovese / Sullivan. Boston; Figurative Abstraction/ Abstract Figuration
Art Academy of Cincinnati, OH; Perceptual Drawing; An Invitational Exhibition
1998 Delaware Art Center, Narrowsburg, NY; Nature: Point of Departure
AIR Gallery, New York; Currants
Kingsborough Community College, Brooklyn, NY; 25 Years of A.I.R.
Canessa Gallery, San Francisco, CA; 25 Years of A.I.R.
AIR Gallery, New York; A Tribute to Tibet
Milton Avery Graduate School of the Arts, Annandale, NY; Bard MFA Faculty Show
Parsons Gallery, New York; Six
1997 AIR Gallery, New York; Generations
The Chocolate Factory, Red Hook, NY; Bard MFA Faculty Show
The Cooper Union, New York; A Large Show of Small Works
AIR Gallery, New York; Eleven at A.I.R.
The Arsenal Gallery, New York; Women’s Work
Genovese Gallery, Boston, MA; She Said


2010 Cabinet, Brooklyn, NY; 5th Anniversary Celebration of Crumpled Press
AIR Gallery Brooklyn, NY; Artist as Witness: Words on War
AIR Gallery, Brooklyn, NY; Conversation about Increments
2009 AIR Gallery, Brooklyn, NY; Who’s Afraid of Political Art? Women talk on Political Art Today, part of A.I.R. Gallery: The History Show
Olson Gallery, Bethel University, Saint Paul, MN; Elegy/War Games: Drawings


A.I.R. Gallery, New York, NY - 1995
Andover Gallery of Fine Art, Boston, MA - 1980
Cutler-Staviridis Gallery, Boston, MA - 1981
Genovese Sullivan Gallery, Boston, MA - 1996, 1991, and 1987.
Marlin-McLeaf Gallery, Philadelphia, PA - 1970
Parsons School of Design, New York, NY - 1980
Paul Clapper Library, Queens College, Queens, NY - 1974
Philadelphia Art Alliance, Philadelphia, PA - 1970
Tatistcheff Gallery, New York, NY - 1989


Addison Gallery of Fine Arts, Philips Academy, Andover, MA - 1981
A.I.R. Gallery, New York, NY - 1995, 1994, 1993, 1992
Bienal Internacional De Pintura, Cuenca, Ecuador - 1989
Childe Hassam Purchase Exhibition, American Academy of Arts and Letters, New York - 1968
Gallery 72, Omaha, NE - 1988
Genovese Gallery, Boston, MA - 1990
Genovese Graphics, Boston, MA - 1990
Harold Reed Gallery, New York, NY - 1979
Hofstra Museum, Hofstra, NY - 1987
Laura Knott Gallery, Bradford, MA - 1988
National Invitational Drawing Exhibition, Southern Illinois University, Carbondale, IL
Norman R. Eppnik Gallery, Emporia, KA - 1995
Paley Levy Gallery, Moore College, Philadelphia, PA - 1993
Parsons Gallery, New York, NY - 1994
Parsons School of Design, New York, NY - 1993, 1992
Pennsylvania Academy of Art, Philadelphia, PA - 1969
Pfizer Inc., New York, NY - 1990
Proctor Art Center, Bard College, Annandale, NY - 1981, 1974
Rhode Island Arts Festival, Providence, RI - 1968
Schick Art Gallery, Skidmore College, Saratoga Springs, NY - 1987
Tatistcheff Gallery, New York, NY - 1989


Arbetarbladet, June 20, 2011. New York Takes a Look at Sandviken
Gefle Dagblat, June 18, 2011. Be cool in Sandviken!
artcritical.com, June 2009. Regina Granne: Increments: Drawings, 1970-1995 at A.I.R. Gallery
Lucid Culture, March 9, 2009. The 2009 Williamsburg Art & Historical Society Group Show, Part 1
The Olson Gallery, Bethel University Essay, January 29, 2009. Regina Granne, Elegy: War Games
The Boston Globe, November 16, 2006. Three Artists Paint Their Vision of the World
The Boston Globe, March 21, 2003. A Look at Grief and Mourning
The Chronicle, March 9, 2001. University Art Gallery Presents “Earth and Sky”
The Sewanee Mountain Messenger, March 8, 2001. Regina Granne Show Opens
Chattanooga Times Free Press, March 4, 2001. Earth and Sky
South End News, September 16, 1999. Mourning Becomes the Genovese
The Boston Globe, September 30, 1999. Gratitude for Life: Artist’s Evolution, Facing Pain
New York Times, October 13, 1999. Drawing in the Present Tense
City Beat, February 11, 1999. Utter Kiosk
The Times Herald-Record, January 23, 1998. Seeing Nature From New Angles
Art News, September 1997. Regina Granne, AIR
The Boston Phoenix, May 30, 1997. Off the Street
South End News, May 9, 1996. Adam and Eve in a Renaissance Hall of Mirrors
South End News, November 28, 1991. Woman’s Place is in Her Art
Nii, Yuko. Women Forward, with essay by Robert Morgan, Williamsburg Art & Historical Center, 2009
Winter, Roger. On Drawing, Fourth Edition, Rowman and Littlefield Publ. Inc., 2008
Birmelin, Blair T. The Paintings and Drawings of Regina Granne, 2007
Malloy, Nancy. An Invitational Exhibition of Contemporary American Art, National Academy Museum, 2006
Hindle, Yvonne and Seymour, Pip. Paint Theory, Paint Practice, Lee Press, 2000
Brown, Clint and McLean, Cheryl. Drawing from Life. Harcourt Brace Janovich, 1992.
Eddy, Don. Tatischeff Gallery Monograph, 1988.
Westfall, Stephen. AIR Gallery Monograph, 1995.
ZAPP, Vol. 1, No. 3, 2005.
Balken, Debra Bricker. Drawing in the Present Tense, Parsons School of Design, 1999
Marincola, Paula. The Faculty Exhibition, Goldie Paley Gallery, Levy Gallery for the Arts of Philadelphia, Moore College of Art and Design, Philadelphia, PA, 1993
Thea, Carolee and Miller, David. Self-Portraits, The Message, The Materials, Schick Art Gallery, Skidmore College, Saratoga Springs. NY, 1987
Birmelin, Robert. Drawings & pastels by Regina B. Granne, Art Center, Klapper Library, 1974


Parsons The New School for Design, NY; Faculty; 1973 – 2009
Milton Avery Graduate School of the Arts; Bard College Faculty; 1983-2006
Parsons The New School for Design, NY; MFA Program Faculty; 1993-2005
Parsons The New School for Design, NY; MFA Program Coordinator; 1993-2002
Art Academy of Cincinnati, Visiting Artist; 1994
Moore College of Art, Philadelphia, Visiting Instructor; 1990-92
Lakehead University, Ontario, Canada; Visiting Artist; 1989
Queens College, CUNY, NY; Lecturer; 1973-1984
Bard College, Annandale-on-Hudson, NY; Assistant Professor of Art; 1973-74
Ridgewood School of Art, Ridgewood, NJ; Instructor, Drawing and Painting; 1967-1973

Brooklyn Museum: Elizabeth A. Sackler Center for Feminist Art: Feminist Art Database: Regina Granne
A.I.R. Gallery