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"Lady Be Good",
oil, enamel, and sand on linen, 2013, 20"x 24"


My solo show, Susan Bee, Doomed to Win: Paintings from the Early 1980s, will be on view from April 3 through April 27, 2014. The show is curated by Kat Griefen in association with Accola Griefen Gallery.

Black and white film stills are the pictorial basis of the majority of my new oil paintings. The keyed-up colors, energetic patterns and painterly abstractions that also populate these pieces make them psychologically complex. The solitary individuals, couples and familial groups depicted in these works are nearly overwhelmed by tumultuous passages of paint that threaten to separate and engulf the figures. These works are full of tension as well as tenderness. From playful dots and dashes to aggressive, frenetic brush strokes, I try to make palpable a wide range of human emotions. These primarily small oil paintings dramatize the relationships between male and female characters through the lens of the dark, violent films of the 1940s and 1950s. The paintings use a flattened and abstracted picture plane as a starting area for uncanny narrative and figurative overlays that engage psychic dislocation, trauma, and incongruous mystical and religious iconography. These new works figure complexity, sensuality, dramatic tension, and strong emotions as an interwoven whole. The paintings confront, without resolving or sublimating, gender roles and power relationships. My focus is on the marked visual constellations that underlie key popular culture stereotypes.

I am interested in finding variety within a given painting format. By the use of various patterns, color palettes and techniques in the spaces surrounding the figures and often on the costumes on the figures, I am creating compositions appropriate for the content and mood of each work. This doesn’t mean, however, that I am seeking only to provide abstract equivalents for the inner states of my protagonists. I am connecting the figurative and abstract parts of each painting and ultimately hope to absorb them as a single experience, though often the non-figurative areas take on a life of their own.

My recent paintings also feature landscapes based on paintings by Casper David Friedrich, Soutine, and other visionaries of the sublime. These landscapes are painted with an emphasis on the expressivity and color potential of the paint. Looking back on the trajectory of my solo shows, I can see that my approach to the subject matter and painting changed over time. My recent paintings are tighter and more focused on the interactions between the characters. Meanwhile, my landscapes have become more romantic and expressionistic, and oriented to fantasy and religious and dream-like visions. I find myself creating narratives with an emphasis on the inherent painterly composition.

I have become very taken by the idea of theatricality and artifice. I am creating these paintings as spaces for a drama to take place. The figures are actors and actresses in a stage that I am setting up for them to play out their roles. The film stills I’m referencing are very dramatic. There is a subtle undertone that is pulling you in and pushing you out. I remain intrigued by the dangerous women and the desolate men in the film noirs. These paintings have brought into focus the power of the individual faces and bodies and their relationship to the painted ground and also their relation to each other. I’m now emphasizing the dynamic between the figures, whether they’re pressing against a windowpane, or pressing up against each other. In fact, the paintings’ focus is on these relationships and the psychological space and emotions that are carved out among the persons that I’m portraying.

Recent Press (excerpts from reviews of Criss Cross: New Paintings at Accola Griefen Gallery, 2013)

From: Miriam Atkin , “Longing Inside the Frame: Susan Bee at Accola Griefen,” Art Critical, June 28, 2013 “Bypassing a post-modernist disbelief in the sign’s capacity for truth, Susan Bee’s current show, titled Criss Cross at Accola Griefen, announces a sincere love for the image. Bee’s apparent faith in the capacity of the painted figure to truly say something flies in the face of stylish irony and dispassionate conceptualism. I see her practice as heroic: perhaps the devout image-maker in our climate of stagnant disillusionment is a post-millennial wanderer in sea and fog.”

From: Sharon Butler, Two Coats of Paint, Susan Bee Movies, June 15, 2013 “Her game was bright, vivid paintings inspired by film noir stills. She loaded her canvases with swirling Ab-Ex tropes. Casual viewers could take them for cheerful. They’d be wrong. A girl gingerly approaching a man who’s holding a paring knife, a doll slapping a rake in the kisser, two gimlet-eyed dames waiting in a car for trouble—all the color in the world couldn’t stifle the want or the fear in these paintings. That was the point. Look at them, sure, she said, but then drink them in.”

From: The New Yorker , Goings on About Town, "Susan Bee," July 1, 2013 "Bee's skills as a colorist and her stylistic abandon make the show worth seeking out. Flat figures are outlined in black, as if in the pages of coloring books, offset by bright backgrounds that loosely reference modernist painting (Pollock-like dribbles, Mondrian-esque geometries). In one picture, two young women cower in a backseat as bright daubs of abstraction fill the rear window. It's horror vacui by way of film noir."

From: Ann McCoy, "Susan Bee Paints the Spaces Between People," The Forward, June 28, 2013 “The real nature of the relationships in Bee’s paintings seems to exist in the space around the figures. Much has been written in modern psychology about the interactive field, and field dynamics. Bee paints the dynamism of the interactive field and we see the energetic component in bold relief. The space around the figures is often applied with thick paint that does not resemble the paint handling used to create the figures. Bee’s application captures a palpable energy. This critic can think of no other artist who paints the way Bee does.”

From: Alexander Shulan, "Susan Bee: Criss Cross, New Paintings," Brooklyn Rail (July/August 2013) “Looking at ‘Out of the Window,’ I couldn’t help but think about Pollock’s famous remark to Hans Hoffman: when asked if he worked from nature, he replied, ‘I am nature.’ In ‘Out of the Window’ something similar is at play—an abstraction, which comes from some private mental space, is juxtaposed against a figurative image that is overt in its psychology. In the unity of the two, something ineffable is expressed.”

From: Lori Zimmer, "Putting Paint to the Test," ArtSlant, June 15, 2013 “Bee’s pieces are meant to be consumed at a close distance. From afar, they appear to be simply pictorial, almost child-like in their boldly brazen color palette. The gradation from one hue to the next reads as extremely deliberate, and at a distance her paintings feel like collage, as if each figure were on a different plane from the others. Bee herself embraces the feeling of collage, but not in the same way that her paintings read from across the room. When viewed close up and intimately, one can see that Bee uses collage methods in her layers of paint, texture and strokes, in the surface plane, fragmenting one color to the next like stained glass with varying criss cross or hatch marks.”





Hunter College, M.A., Art, 1977
Barnard College, B.A., Art History and Art, 1973
High School of Music and Art, NY


Solo Shows
Doomed to Win: Paintings from the Early 1980s, A.I.R. Gallery, New York, 2014 (curated by Kat Griefen)
Criss Cross: New Paintings, Accola Griefen Gallery, New York, 2013 (catalog with essay by Raphael Rubinstein)
Recalculating: New Paintings, A.I.R. Gallery, New York, 2011
Susan Bee: A Retrospective, Kelly Writer's House, University of Pennsylvania, Philadelphia, 2010
Eye of the Storm: New Paintings, A.I.R. Gallery, New York, 2009
Seeing Double: Paintings by Susan Bee and Miriam Laufer, A.I.R. Gallery, New York, 2006 (catalog with essay by Johanna Drucker)
Sign Under Test: Paintings and Artist’s Books, Pacific Switchboard Art Space, Portland, Oregon, 2004
Miss Dynamite: New Paintings, A.I.R. Gallery, New York, 2003
Miss Dynamite and Other Tales, Olin Art Gallery, Kenyon College, Gambier, Ohio, 2002
Ice Cream Sunday: Paintings and Works on Paper, Ben Shahn Galleries, William Paterson University of New Jersey, 2001 (catalog with essay by David Shapiro)
New Work, Herbert H. Lehman Suite, Rare Books and Manuscript Library, School of International Affairs, Columbia University, New York, 2000
Beware the Lady: New Paintings and Works on Paper, A.I.R. Gallery, New York, 2000 (catalog with an essay by John Yau)
Touchdown, Recent Paintings, Cornershop Gallery, Buffalo, 1999
Post-Americana: New Paintings, A.I.R. Gallery, New York, 1998
Recent Paintings and a New Artist's Book, Granary Books Gallery, New York, 1997
New Paintings, Virginia Lust Gallery, New York, 1992
Altered Images, Jack Morris Gallery, New York, 1979
Solo Show, Office of the Graduate School, Columbia University, New York, 1972

Selected Group Shows
Paperazzi 3, Janet Kurnatowski Gallery, NY, 2014
Sideshow Nation II at the Alamo, Sideshow Gallery, NY, 2014
Come Together: Surviving Sandy, Year 1, curated by Phong Bui, Industry City, NY, 2013
Generations IX: The Red/Pink Show, A.I.R. Gallery, 2013
The Sacred and Profane Love Machine, Ortega Y Gasset Projects, NY, 2013
Introducing..., ArtStrand Gallery, Provincetown, MA, 2013
No Regrets, Westbeth Gallery, NY, 2013
40/40: A Double Vision, curated by Lilly Wei, A.I.R. Gallery, NY, 2013
Air Space, Barnard College, NY, 2013
Sideshow Nation, Sideshow Gallery, NY, 2013
Paperazzi 2, Janet Kurnatowski Gallery, NY, 2013
Anomalistic Revolution, A.I.R. Gallery, NY, 2012
Poems & Pictures: A Renaissance in the Art of the Book (1946-1981), Columbia College, Chicago, 2012;
Museum of Printing History, Houston, TX, 2011; Western New York Book Arts Center, Buffalo, NY, 2011; Center for Book Arts, NY, 2010
Summit, Sovereign Nation, NY, 2012
Mic: Check, Sideshow Gallery, NY, 2012
Au Plaisir du Livre: Collectif Generation et les nouvelles perspective de livre d'artiste, Librairie Auguste Blaizot, Paris, France, 2011
Vestige: Traces of Reality, Konsthallen, Sandviken, Sweden and A.I.R. Gallery, NY, 2011
Women of the Book: Jewish Artists, Jewish Themes, Park School, Baltimore, MD, 2011
Leslie Scalapino Memorial Exhibition, Reed College Art Gallery, Portland, OR, 2011
It's All Good Apocalypse Now!!! Sideshow Gallery, Brooklyn, NY, 2011
Locks in Translation, Gallery West, Suffolk County Community College, NY, 2010
The Granary Books Collection: An Exhibit, Library, Ohio State University, Columbus, OH, 2010
Generations 7, A.I.R. Gallery, NY, 2009
Hudson's Valley at 400: Paradise or Paradise Lost?, Athens Cultural Center, Athens, NY, 2009
All Suffering Soon to End!, Callicoon Fine Arts, Callicoon, NY, 2009
Global Books, Cite du Livre, Aix-en-Provence, France, 2009
A.I.R. Gallery: The History Show: Works from 1972 to the present, Part I, A.I.R. Gallery, NY, 2008
A.I.R. Gallery: The History Show: Archival materials from 1972 to the present, Fales Library, New York University, NY, 2008-2009
Metaphor Taking Shape: Poetry, Art, and the Book, Bienecke Library, Yale University, New Haven, CT, 2008 One True Thing, A.I.R. Gallery, NY; Putney School, VT, 2007
Complicit! Contemporary American Art and Mass Culture, University of Virginia Art Museum, Charlottesville, VA, 2006
Too Much Bliss: Twenty Years of Granary Books, Smith College Museum, MA, 2005-2006
Upstarts and Matriarchs: Jewish Women Artists and the Transformation of American Art, Mizel Center, Denver, CO, 2005
Triennial 9: Form and Contente: Corporal Identity-Body Language, Traveling show, 2003-2004;
Museum fur Angewandte Kunst, Frankfurt, Germany; Chicago Ateneum; Museum of Arts and Design, NY
Revolt She Said, MLF (Mouvement de la Liberation des Femmes), Forde Espace d’art contemporain, Geneva, Switzerland, 2004
Sketches, A.I.R. Gallery, NY, 2004
Generations .04, A.I.R. Gallery, NY, 2004
Retrospectives, Gallery 312, Chicago, IL, 2003
Love and/or Terror, University of Arizona Museum of Art, Tucson, AZ, 2003
Wish You Were Here Too; New Moves, A.I.R. Gallery, NY, 2003
Publishing Granary's Books: A Conversation in the Margins, University of California, San Diego, Mandeville Special Collections Library, 2003
Pieces 5, Gallery 128, NY, 2002
Generations III: A Survey of Women Artists, A.I.R. Gallery, NY, 2002
Talking to Myself: Culture, Fantasy, and the Domestic Condition, Porter Troupe Gallery, San Diego, 2001
Poetry Plastique, Marianne Boesky Gallery, NY, 2001
Art for Plot, The Kitchen, NY, 2001
Tributaries, A.I.R. Gallery, NY, 2001
Women of the Book: Jewish Artists, Jewish Themes, Traveling Show, 1997-2005
Celebrating Yaddo Artists, Williamsburg Art and Historical Center, Brooklyn, NY, 2000
Off the Shelf: Contemporary Artists' Books, Mass Moca, 2000
Generations II, A.I.R. Gallery, NY, 2000
The Next Word, Text and/as Image and/as Design and/as Meaning, Neuberger Museum, Purchase, NY, 1998-1999
The Art of the Book, Sterling Library, Yale University, CT, 1998
A Secret Location on the Lower East Side, The New York Public Library, 1998
A.I.R. 25th Anniversary Show, Kingsborough College Gallery, NY, 1998
Generations, A.I.R. Gallery, New York, 1997
Girls!Girls!Girls!, Tricia Collins, Grand Salon, New York, 1997
Field Days, Cerulean Embankments, Geoffrey Young Gallery, Great Barrington, MA, 1996
My Friends in My Apartment, Barbara Pollack's apt., New York, 1996
Voices from the Heart, HarperCollins Exhibition Space, New York, 1996
Open Book, Barnard College Gallery, New York, 1993, 1994, 1996
A Child’s World, Dru Arstark Gallery, New York, 1995
$800 Show, G.E. Einstein Gallery, New York, 1995
Three Artists, Granary Books Gallery, New York, 1995
Symbolic Surface, Klarfeld Perry Gallery, New York, 1994
Art & Language: Re-reading the Boundless Book, Minnesota Center for Book Arts, Minneapolis, 1994
This is Not a Hat, Police Building Gallery, OIA, New York, 1993
Women's Art, Women's Lives, Women's Issues, Tweed Gallery, New York, 1993
Songs of Retribution, Richard Anderson Gallery, New York, 1993
Blast Art Benefit, New York, 1992, 1993, 1994
The Beauty in Breathing, Ruth & Marvin Sackner Archive, American Lung Association, Miami Beach, 1992
Ecstasy Shop, Dooley Le Cappellaine Gallery, New York, 1992
The Tree, Elysium Arts, New York, 1991
Fire and Ice, Hallwalls, Buffalo, 1991
Burning in Hell, Franklin Furnace, New York, 1991
Individual Style, Virginia Lust Gallery, New York, 1990
China: June 4, P.S. 1 Museum, New York, 1990
Sex and Subtext, Ceres Gallery, New York, 1990
Fresh from New York, Govett-Brewster Gallery, New Zealand, 1989; Artspace, Auckland, New Zealand, 1988
In Pieces: The Figure Fragmented, P.S. 122, New York, 1987
PoArtics, BACA Downtown, New York, 1987
Heresies: Issues that won't go away, PPOW, New York, 1987
Out of the Ooo Cloud, Blum Art Institute, Bard College, 1986
Taking Liberties, Pace University Gallery, New York, 1986
State of Mind/State of Union, Interart Center, New York, 1985
Work in Concrete, Pompeii Gallery, New York, 1984
Woman Artists of the 80s: New Talent, A.I.R., New York, 1984
Dreams and Nightmares, Interart Center Gallery, New York, 1984
Re(Birth), Moonmade Space, New York, 1984
Artists Call, Work, New York, 1984
Bodies & Souls, Artists' Choice Museum at David Findlay Jr. Gallery, NY, 1983
Holiday Invitational, A.I.R. New York, 1982, 1983, 1984, 1985
Project Installation, P.S. 1, New York, 1982
Escapes, Art Latitude Gallery, New York, 1981
Photo-Fusion, Pratt Institute Gallery, New York, 1981
Wordworks, P.S. 122, New York, 1980
Tycho, Snug Harbor Cultural Center, New York, 1980
New Work from New York, Mercato del Sale Gallery, Milan, 1979
Destination Paris, Lara Vincy Gallery, Paris, 1979
Posters, Books, and Postcards, Women's Building, Los Angeles, 1978
Artwords and Bookworks, Los Angeles Institute of Art, 1977
Hunter College Graduate Show, Hunter College Gallery, NY, 1976
Women Artists, University of California, Santa Barbara, 1974
Three Artists, Earl Hall Gallery, Columbia University, NY, 1972


Coeditor: M/E/A/N/I/N/G Online #1-6 (2002-2013)
Coeditor: M/E/A/N/I/N/G: An Anthology of Artists' Writings, Theory, and Criticism, Duke University Press, 2000
Coeditor: M/E/A/N/I/N/G, 1986-1996, New York
Guest coeditor, Ripple Effects: Painting and Language, New Observations, #113, 1996, NY


Atkin, Miriam, "Longing Inside the Frame: Susan Bee at Accola Griefen," Artcritical (June 28, 2013)
Atkin, Miriam, "Sputtering Regularity: Eye of the Storm," web blog, April 2009
Atzmon, Leslie and Brian Spolans, Non-Text: An Exhibition of Text as Image , Eastern Michigan University, 2013; Eastern Illinois University, 2014
Bernstein, Emma Bee and Nona Willis Aronowitz, Girldrive, Seal Press, 2009
Blast Art Benefit Catalogue, NY, 1992, 1993
Borkhuis, Charles, "The Face of Noir," Jacket 2 (May 28, 2011)
Butler, Sharon, "Susan Bee Movies," Two Coats of Paint, June 15, 2013
Butler, Sharon, "Mythological Creature: Susan Bee," Two Coats of Paint, June 22, 2011
Cere-ious Collaborations, Review of Bed Hangings, Publisher's Weekly, May 14, 2001
Clay, Steven, When Will the Book Be Done? Granary's Books, Granary Books, 2001
Clay, Steven and Rodney Phillips, A Secret Location on the Lower East Side, The New York Public Library and Granary Books, 1998
Cohen, Joshua, “For This Mother and Daughter, The Family Business Is Culture,” Forward, Feb. 17, 2006
Coleman, A.D., Photo-Fusion, Pratt Institute Gallery, NY, 1981
Cotter, Holland, "Poetry Plastique," The New York Times, Feb. 23, 2001
Cotter, Holland, "When Word's Meaning Is In Their Look," The New York Times, Oct. 16, 1998
Curnow, Wystan, Fresh from New York, Artspace, Auckland, New Zealand, 1988
Delaney, Rick, Women of the Book: Jewish Artists, Jewish Themes, Park School, Baltimore, MD, 2011
Denson, Roger, "Nomads Occupy the Global Village: Left Political Art Timeline, 2001-2012," Huffington Post, May 1, 2012
Drucker, Johanna, "Susan Bee: Post-Americana," Art Papers 47, July-August 1998
Drucker, Johanna, The Next Word, Text and/as Image and/as Design and/as Meaning, Neuberger Museum of Art, Purchase, NY, 1998
Drucker, Johanna, "Susan Bee: Arcane Painting," Sulfur, No. 28, 1991
Drucker, Johanna, The Century of Artists’ Books, Granary Books, 1995
Drucker, Johanna, Seeing Double: Paintings by Susan Bee and Miriam Laufer, 2006
Drucker, Johanna, Sweet Dreams: Contemporary Art and Complicity, U of Chicago, 2005
Elliot, Joe, “Back to Basics: 3 Primers from Granary Books,” Journal of Artists’ Books, 3, Spring, 1995
Feliciano, Kristina, Making Memory Books By Hand, Quarry Books, Gloucester, MA, 1999
Fischbach, Chris, "Granary Books," Rain Taxi, Vol. 4, No. 3, Fall 1999
Frueh, Joanna,"Art Press on M/E/A/N/I/N/G," New Art Examiner, March 1990
Global Books: Les Livres d'Artists de Gervais Jassaud, Aix-en-Provence, 2009
Goldsmith, Kenneth, "Are You Experienced?": A Review of Talespin and Little Orphan Anagram, Sulfur, No. 41, 1997
Goodman, Jonathan, “Susan Bee at A.I.R.,” Art in America, October 1998
Goodman, Jonathan, "Susan Bee and Miriam Laufer at A.I.R.," December 2006
Hoffberg, Judith, Women of the Book: Jewish Artists, Jewish Themes, Florida Atlantic University, 2001
Huntington, Richard, "Buffalo editor strives for new meaning in art criticism," Buffalo News, March 3, 1991
Jullich, Jeffrey, "Bed Hangings," Electronic Poetry Review, #2, 2001
Katz, Vincent, "Brooklyn in Winter," Vanitas Magazine, Mar. 2, 2009
Katz, Vincent, "The Women's Rooms, Apollo Magazine, May 2009
Killian, Kevin, "Open Space," SF MoMA, web blog, July 5, 2009
Levin, Gail and Elissa Auther, Upstarts and Matriarchs: Jewish Women Artists and the Transformation of American Art, Mizel Center, Denver, CO, 2005
Licata, Elizabeth, "Gestural Rhythms and Curious Cut-Outs: Bee's Beat Feminism at Cornershop,"Artvoice, Buffalo, NY, 1999
McCoy, Ann, "Susan Bee Paints the Spaces Between People, The Forward , June 28, 2013
McEvilley, Thomas, "Susan Bee at A.I.R.," Art in America, December 2000
McGann, Jerome, Black Riders: The Visible Language of Modernism, Princeton University Press, 1993
McGann, Jerome, A Book of the Book, Rothenberg and Clay, eds., Granary Books, 2000
Mendelsohn, Meredith, Susan Bee: A.I.R., ArtNews, June 2009, Vol.108, No. 6
Michel, Ellen Kennedy, Review of Belladonna Elders #4, Rain Taxi Online (Spring 2009)
Morgan, Robert C., “Seeing Double,” Brooklyn Rail, March 2006
Morgan, Robert C., After the Deluge: Essays for the Art of the Nineties, Red Bass, 1993
Morgan, Robert C., "After the Deluge: The Return of the Inner Directed Artist," Arts Magazine, March 1992
Morgan, Robert C., The End of the Art World, Allsworth Press, 1998
Morgan, Robert C., "Doric Column," Cover, March 1993
Morgan, Robert C., review of Granary Books show, Review, February 1997
Morgan Robert C., Symbolic Surface, Klarfeld Perry Gallery, NY, 1994
Muller, Dena, One True Thing, A.I.R. Gallery, 2007
New Yorker , Goings on About Town, "Susan Bee," July 1, 2013
Olson, Craig, "Susan Bee: Eye of the Storm, Brooklyn Rail, March 2009
Peterson, Tim, Night A.I.R. , Mappemude blog, June 9, 2006
Peterson, Tim, On Susan Bee & Charles Bernstein image/text talk at the Analagous Series (2004)
Robins, Corinne, "Collaborations," American Book Review, Jan/Feb 1999
Robins, Corinne, Women Artists of the 80s: New Talent, A.I.R., New York, 1984
Row, D.K., “Constructions of Pulpy, Kitschy Art,” The Oregonian, April 2, 2004
Rumble, Ken, "Bed Hangings," Rain Taxi, Vol. 6, No. 3, Fall 2001
Rubinstein, Raphael, "Capitals of Pain & Love: Susan Bee's Recent Work," Accola Griefen Gallery (Catalog essay, 2013)
Rubinstein, Raphael, Susan Bee at A.I.R., Art in America, October 2011
Rubinstein, Raphael, "Poets and Painters," Art in America, February 2002
Sackner, Marvin, The Beauty in Breathing, Ruth & Marvin Sackner Archive, American Lung Association, Miami Beach, 1992
Sammons, Claire, The Invention Tree, "Books Received,"JAB 33, Spring 2013
Sanders, Jay and Charles Bernstein, Poetry Plastique, Marianne Boesky Gallery & Granary Books, 2001, NY
Schlesinger, Kyle, Poems & Pictures, Center for Book Arts, NY, 2010
Schor, Mira, A Decade of Negative Thinking, Duke University Press, 2009
Shapiro, David, Ice Cream Sunday: Paintings and Works on Paper, catalog essay, William Paterson University, 2001
Shulan, Alexander, "Susan Bee: Criss Cross, New Paintings, Brooklyn Rail, July/August 2013
Silliman, Ron, Belladonna Elders #4 (March 23, 2009)
Silliman, Ron, "Seeing Double" (Jan. 24, 2006)
Suvakovic, Misko, Umetnost I Politika, Belgrade, Serbia, 2013
Suvakovic, Misko, “Painting After Painting: An Analysis of Susan Bee’s Paintings,” ProFemina, Yugoslavia, 1995;
M/E/A/N/I/N/G #18, NY, 1995; M/E/A/N/I/N/G: An Anthology of Artists' Writings, Theory, and Criticism, Duke University Press, 2000
Tabios, Eileen, “Susan Bee: New Paintings, Artist's Books,” Review.com (Dec. 1, 2000)
Tabios, Eileen Tabios, My Romance, Giraffe Books, 2001
Yau, John, Bodies & Souls, Artists' Choice Museum, New York, 1983
Yau, John, Beware the Lady: New Paintings and Works on Paper, catalog essay, 2000
Zimmer, William, Art Review, The New York Times, New Jersey edition, Nov. 11, 2001
Zivancevic, Nina, “Susan Bee: New Paintings and Works on Paper,” NY Arts, Vol 5, no 5, May 2000


Acme Journal, Vol. 1, No. 3, 1994, New York
Art Journal, Winter 1999, Vol. 58, No. 4, New York
A.I.R. Gallery: The History Show, "A Short History,"with Kat Griefen, 2008
Art & Artists, 13:7, 1984, New York
Art Papers, "Making M/E/A/N/I/N/G in the 21st Century," with Mira Schor, November/ December 2013
Beauty and Critique, ed. R. Milazzo, Mussman-Bruce, 1982, NY
Bitch Magazine, "Oh Yoko," 2009, Portland, OR
Brooklyn Rail, "Breathing Room," March 2013
Brooklyn Rail, Geoffrey Cruickshank-Hagenbuckle, "Interview with Susan Bee," May 2007
Brooklyn Rail, "Kandinsky's Painting with White Border," Feb. 2012
Brooklyn Rail, "George Kuchar's Otherworldly Humanity," with Charles Bernstein, Dec. 2011/ Jan. 2012
The Capilano Review, 3.12/Fall 2010, Vancouver, Canada
Culture Catch, "Theater of Painting: Susan Bee & Bradley Rubenstein," (March 16, 2013)
Delirious Hem, A Tribute to Leslie Scalapino , September 5, 2010
Elders Series #4, Tribute to Emma Bee Bernstein, Belladonna Books, 2009
E-ratio #15, "Susan Bee interviewed by Gregory Vincent St. Thomasino," 2011-2012
Chain, Vol. 1, 1994, Buffalo
Jacket 2, "Susan Bee on Segue and Roof Books," Nov. 19, 2012
Johanna Drucker, Druckworks:1972-2012, Epicenter, Chicago, 2012
Journal of Artists’ Books, 3, Spring 1995
L=A=N=G=U=A=G=E, 1978-79, New York
The L=A=N=G=U=A=G=E Book, Southern Illinois Univ. Press, 1984
Manifesto: A Century of Isms, ed. Mary Ann Caws, Univ. of Nebraska Press, 2001
Mother Reader: Essential Writings on Motherhood,ed. Moyra Davey, Seven Stories Press, 2001
M/E/A/N/I/N/G: An Anthology of Artists' Writings, Theory, and Criticism, Duke University Press, 2000
M/E/A/N/I/N/G, Nos. 1, 2, 5, 7, 12, 13, 15, 1986-94, New York
M/E/A/N/I/N/G Online #1-5 (2002-2011)
New Observations, #113, 1996, New York
Poetics Journal, "Women and Modernism," No. 4, 1984, Berkeley
Poetry Plastique, Marianne Boesky Gallery & Granary Books, 2001, New York
Provincetown Arts, "Miriam Laufer: Twentieth Century Voyage," Volume 28, 2013/14, Provincetown, MA.
Sibila, "Lee Sherry (1947-2012)," Nov. 25, 2012
Site 95 Journal, "Editorial," Volume 01, Issue 05, May 2012
Sovereign Nation , Interview with Tom Winchester, June 6, 2011
Talking the Boundless Book: Art, Language & the Book Arts, Minnesota Center for Book Arts, 1995
Temporary Art Review, "The Sacred and Profane Love Machine: Interview with Susan Bee" by Clare Britt (Nov. 6, 2013)
Women Artists News, 1979-80, New York: Editor
Women of the Book: Jewish Artists, Jewish Themes, Florida Atlantic University, 2001


Fabulas Feminae, text and design by Johanna Drucker, forthcoming
The Invention Tree, poems by Jerome McGann, Chax Press, 2012
Pied Bot, poems by Charles Bernstein, photos by Susan Bee, Joca Seria, France, 2012
Entre, poems by Regis Bonvicino, Global Books, France, 2009
The Burning Babe and Other Poems, poems by Jerome Rothenberg, Granary Books, 2005
A Girl's Life, text by Johanna Drucker, Granary Books, 2002
Bed Hangings, poems by Susan Howe, Granary Books, 2001
Log Rhythms, poem by Charles Bernstein, Granary Books, 1998
Little Orphan Anagram, poems by Charles Bernstein, Granary Books, 1997
Talespin, Granary Books, 1995
Liquid Perceptions, 1994
Fool's Gold, poems by Charles Bernstein, Chax Press, 1991
The Nude Formalism, poems by Charles Bernstein, Sun and Moon, 1989
The Occurrence of Tune, poem by Charles Bernstein, Segue, 1981
Not, Asylum's Press, 1980
Photogram, Asylum's Press, 1978


Eye of Witness: A Jerome Rothenberg Reader, Black Widow Press, 2013
BOMB Magazine: Portfolio by Susan Bee (#124, Summer 2013)
Stacy Doris Memorial, Evening Will Come, Issue 17, May 2012
MiPOesias , Volume #25, Issue 1, April 2012
"Before You Go" with poem by Charles Bernstein, Artcritical.com, June 9, 2011
The Capilano Review, 3.12/ Fall 2010, Vancouver, Canada
Recipes from a Red Planet, by Meredith Quartermain, Book Thug, Toronto, Canada, 2010
OEI, #48-49-50, 2010, Sweden War and Peace #4, O Books, 2009
Elders Series #4, Tribute to Emma Bee Bernstein, Belladonna Books, 2009
Pierogi Press #11, 2004, Brooklyn, NY
Sibila: Revista de Poesia e Cultura, Ano II, No. 3, 2002, Sao Paulo, Brazil
Riding the Meridian, Volume 2, #2, Winter 2000
Log Rhythms, UbuWeb, Visual & Concrete Poetry, Fall 2000
Sulfur, #45/46, Spring 2000, Ypsilanti, MI
Art Journal, Winter 1999, Vol. 58, No. 4, New York
New Observations, #116, 1997, New York
Crayon, #1, 1997, New York,
New Observations, #113, 1996, New York
M/E/A/N/I/N/G, #19/20, 1996, New York
Tongue to Boot, No. 2, 1995, London, UK
Taproot Reviews, No. 7/8, 1995, Lakewood, Ohio
The Little Magazine, Vol. 21, (CD-Rom), 1995, Albany
ProFemina, No. 3, 1995, Belgrade, Yugoslavia
Ribot, No. 2, 1994, Los Angeles
Responsmix, 1994, Seattle
Sixty Percent Solution, 1994, NY
Blast, 1994, New York
Sulfur, No. 28, 1991, Ypsilanti, MI
Avec, No. 5, 1991, Santa Rosa, CA
Heresies, No. 24, 1989, New York
How(ever), 1989, San Francisco
"Painting Is Alive," Women Artists News, 1989, New York
Nil: Visuelle Literatur, No. 1, 1989, Dusseldorf
Generator, 1990, 1989, 1987, Mentor, Ohio
Jimmy & Lucy's House of "K",1987, Oakland
Effects: Magazine for New Art Theory, No. 2, 1984, New York
"Manifestos," Washington Review of the Arts, 1983, D.C.
Splash, No. 1, 1984, New Zealand
Views Beside . . . , Editions Vogelsang, 1982, Berlin
Deciphering America, Kontexts Publications, 1979, Amsterdam
Doc(k)s, 1981, 1980, 1979, Paris
Renegade, No. 1, 1979, New York
Roof, 4, 1977, New York
54 Pages, 1977, New York
Assembling, 1977, New York


Visiting Professor, Pratt Institute, 2014
Faculty, Center for Programs in Contemporary Writing, University of Pennsylvania, 2012-present
Faculty, School of Visual Arts, MFA in Art Criticism and Writing, 2005-present
Artist-Teacher, Vermont College, MFA in Visual Art, 2007-2008


MacDowell Colony Fellowship, 2012
Fellowship, Virginia Center for the Creative Arts, 2002, 1999
Yaddo Fellowship, 2001, 1996
Publication Grants, Visual Arts Program, National Endowment for the Arts, 1992-1997
Publication Grants, Visual Arts Program, New York State Council on the Arts, 1989-1997


Private Collections
Roslyn Abrams & Bruce Pandolfini, Rae Armantrout & Charles Korkegian, Paul Auster & Siri Hustvedt, Jesse Ausubel, Jennifer Bartlett, Susan David Bernstein, Regis Bonvicino, Lee Anne Brown, Abigail Child, Steve Clay, Michelle Cliff, Penelope Creeley, Michael Davidson, Richard Deming & Nancy Kuhl, Johanna Drucker, Marty Ehrlich & Erica Hunt, Al Filreis, Norman Fischer, Jon Friedman, Peter Gizzi, Kenneth Goldsmith, Vanalyne Green, Mimi Gross, Erica Kaufman, Ann Lauterbach, Hank & Jane Lazer, Angelo Lomeo, Herbert & Virginia Lust, Joan McClusky & Ted Greenwald, Rachel Levitsky, Douglas Messerli & Howard Fox, Tracie Morris, Charles Morrow, Eileen Myles, Lyn Oliensis, Bob Perelman & Francie Shaw, Nick Piombino & Toni Simon, Peter & Meredith Quartermain, Claudia Rankine, Raphael Rubinstein & Elena Berrlio, Marvin & Ruth Sackner, Robert Schenkkan, Mira Schor, James Sherry & Deborah Thomas, Ron Silliman, Leslee Smoke, Joan Snitzer, Elke Solomon, Stefani Starin, Arlene Stein, Emma Straub, Peter & Susan Straub, Eileen Tabios, Richard Tuttle & Mei-Mei Berssenbrugge, Diane Ward, Elizabeth Willis, Tom White, Meg Wolder, Geoffrey Young

Public Collections
Douglas F. Cooley Memorial Art Gallery at Reed College, Portland, OR, Bibliotheque Nationale de France, The British Library, Getty Museum, Victoria & Albert Museum, Yale University, Library of Congress, Clark Art Institute, New York Public Library, Spencer Collection, Princeton University Library, Dartmouth College Art Library, University of California, San Diego Special Collections, Harvard University Library, Columbia University, Sackner Collection of Concrete Poetry and Artist's Books, Museum of Arts and Design, NY, Stanford University, Ohio State University Library, Smith College Library, Boston Athenaeum, University of Georgia Library, University of Pennsylvania Library, University of Delaware Library, University of Iowa, University of Minnesota, University of Wisconsin, University of Alberta, York University, University of California, Santa Barbara, State University of New York at Buffalo, Wesleyan College Library, The Athenaeum, La Jolla, Brown University Library


Accola Griefen Gallery, New York
A.I.R. Gallery, Brooklyn, New York
Artist's Books, Granary Books, New York
Drawings, Pierogi, Brooklyn, New York