“Recalculating” is the title of my May 2011 show. One of the three overlapping series brought together in this show is based on stills from films, mostly noirs. 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, without collage, 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.

Images of natural elements (trees, sailboats, clouds, oceans, and mountains) form the basis of another series. These paintings are inspired by Caspar David Friedrich, Marsden Hartley, Charles Burchfield, and other painters of symbolic, imaginary, and romantic landscapes. These landscapes are painted with an emphasis on the expressivity and color potential of the paint.

A third series reflects a quieter, more meditative approach to similar themes and in addition features mythological and religious figures such as angels, fairies, saints, and demons. In the second and third series, some of the paintings have collage and some do not.

My paintings have an eclectic relation to popular visual culture, and a connection to surrealism in its dreamlike reveries and to folk-art and mystical traditions. Some of these paintings draw on a collage of images drawn from Victorian art, old postcards, photos, and advertisements, and medieval art. These works display an intense insistence on integrating collage with oil paint and they are characterized by their wry humor and unaccountable ironies. Each of these pictures is a combinatory assemblage of “things” and “images” that reveal our cultural imaginaries as inexorably rooted in visual culture.

In ArtNews, June 2009, Meredith Mendelsohn wrote: “For ‘Eye of the Storm’ Susan Bee presents an intriguing selection of bright, bold paintings full of dramatic narratives… Bee cleverly combines expressive brushwork with a variety of imagery, either painted or cut from postcards, calendars, advertisements, and other sources she collects. A single work can evoke at once anxiety, melancholy, humor, and disdain…. Bee’s figures also appear to be from separate realities: the painted ones belong to the world of the painting—while the collage ones—a buxom pinup from the 1940s, for instance—seem to come from a dream or nightmare…. Bee’s brushwork has grown increasingly graphic over the past few years, and Eye of the Storm (2007) has the crispness of a wood cut while still being quite painterly…. Bee’s playfulness with paint and collage as well as the ambiguity and drama of her work leaves viewers with a lingering sense of both unease and fascination.”

Craig Olson, writes in the Brooklyn Rail (March 2009): “Bee’s work projects out of the absurdity and openness of the surrealist ether like a root dipped in blood. Consecrated in a motley crew of archetypes, animals, cutout pulp novel women, myths, and holy winged demons, her recent work offers us a glimpse into the ageless disasters that have become all too real for us again, the metaphoric readings we apply to them, and the futility of ever trying to harness control over their power…. Bee seems to suggest there is no position, materially or spiritually, that we can use to understand the totality of our fate. There are only fragments and ruptured moments, glimpses of the absurd beauty of things as they come crashing down around us.”

Vincent Katz puts it this way in Vanitas, 2009: “Susan Bee's … new paintings have moved into a new area. Her familiar wavy seas and sexy femmes fatales are still there, but there are also starker areas, large unmodulated shapes that reminded me of Al Held's blunt, brightly colored, geometric paintings from the early 1960s.”

“In Bee's assemblage paintings, disruption occurs on both a material and visual level,” according to John Yau in 2000. “It is both vertical and horizontal, reminding us that however one can imagine the world fitting together, the things in it (and we too are things) remain distinct and separate. Reconciliation is tentative and fleeting, the result of the viewer's engagement with the work.”

“Bee is a painter who creates voluptuous works,” writes Johanna Drucker wrote in 2006, “visually rich and sensually satisfying and produces works of engaged and distinctly feminist sensibility, concerned with the imagery of self and female others in the iconography of mainstream culture. Women still struggle with an art world rooted in ageist, gendered politics, but women have also made their own place and legitimacy, their own authoritative discourse and sites, within that world.”

epc.buffalo.edu/authors/bee/
M/E/A/N/I/N/G: writing.upenn.edu/pepc/meaning/04/
bernstei@bway.net

EDUCATION

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

SELECTED EXHIBITIONS

Solo Shows

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, Brooklyn, NY, 2009
Seeing Double: Paintings by Susan Bee and Miriam Laufer, A.I.R. Gallery, NY,
2006 (catalogue 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 at William
Paterson University of New Jersey, 2001 (catalogue with essay by David Shapiro)
New Work, 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
(catalogue with 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 Photo Images, Jack Morris Gallery, New York, 1979
Solo Show, Office of the Graduate School, Columbia University, New York, 1972

Selected Group Shows

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
Poems & Pictures: A Renaissance in the Art of the Book (1946-1981), Center for Book
Arts, NY, 2010; Museum of Printing History, Houston, TX, 2011; Western New York Book Arts Center, Buffalo, NY, 2011
Locks in Translation, Gallery West, Suffolk County Community College, NY, 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
Your Documents Please, Museum of Arts and Crafts, Itami, Japan and various locations, 2008-2010
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
Pink Kid Gloves, Chashama Gallery, NY, 2006
Complicit! Contemporary American Art and Mass Culture, University of Virginia Art Museum, Charlottesville, VA, 2006
Conceptual Comics, Banff Centre for the Arts, Alberta, Canada, 2006
Generations, A.I.R. Gallery, NY, 1997, 2002, 2004, 2006
Too Much Bliss: Twenty Years of Granary Books, Smith College Museum, MA, 2005-06
I.D.:id; Wish You Were Here IV, A.I.R. Gallery, NY, 2005
Upstarts and Matriarchs: Jewish Women Artists and the Transformation of American Art,
Mizel Center for Arts and Culture, Denver, CO, 2005
Pieces 6, Gallery 128, NY, 2005
Women of the Book: Jewish Artists, Jewish Themes, Traveling Show, 1997-2005
Articles & Waves, Geoffrey Young Gallery, Great Barrington, MA, 2004
Summer Group Show, Margaret Porter Troupe Literary & Visual Arts Salon, NY, 2004
Mixed Company: Women Choose Men (with Richard Tuttle), A.I.R. Gallery, NY, 2004
Corporal Identity—Body Language, Triennial 9 for Form and Content, USA and
Germany, Museum fur Angewandte Kunst, Frankfurt, Germany; Museum of Arts and Design, NY, 2003-2004
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
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
Talking to Myself: Culture, Fantasy, and the Domestic Condition, Porter Troupe Gallery,
San Diego, CA, 2001
Poetry Plastique, Marianne Boesky Gallery, NY, 2001
Art for Plot, The Kitchen, NY, 2001
Tributaries, A.I.R. Gallery, NY, 2001
Celebrating Yaddo Artists, Williamsburg Art and Historical Center, Brooklyn, NY, 2000
Off the Shelf: Contemporary Artists' Books, Mass Moca, 2000
Souvenirs/Documents: 20 Years, P.S. 122 Gallery, NY, 1999
The Next Word, Text and/as Image and/as Design and/as Meaning,
Neuberger Museum of Art, Purchase, NY, 1998-1999
Winter Group Show, A.I.R. Gallery, NY, 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 Tribute to Tibet, A.I.R. Gallery, NY, 1998
A World View, World Artists for Tibet, The Times Square Lobby Gallery, NYC, 1998
A.I.R. Gallery Group Show, Canessa Gallery, San Francisco, CA, 1998
A.I.R. 25th Anniversary Show, Kingsborough College Gallery, NY, 1998
Girls!Girls!Girls!, Tricia Collins, Grand Salon, New York, 1997
Field Days, 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
Three Artists, Granary Books Gallery, New York, 1995
Symbolic Surface, Klarfeld Perry Gallery, New York, 1994
Art & Language, Minnesota Center for Book Arts, Minneapolis, 1994
Songs of Retribution, Richard Anderson Gallery, New York, 1993
The Beauty in Breathing, Ruth & Marvin Sackner Archive, American
Lung Association, Miami Beach, 1992
Ecstasy Shop, Dooley Le Cappellaine Gallery, New York, 1992
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 Plymouth, 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
State of Mind/State of Union, Interart Center, New York, 1985
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
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

Publications

Edited Publications
Coeditor: M/E/A/N/I/N/G Online: #1-4, (2002-2007)
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
Coeditor, Ripple Effects: Painting and Language, New Observations, #113, 1996, NY

Reviews and Criticism, including Catalogs and Books

Atkin, Miriam,"Sputtering Regularity: Eye of the Storm, " web blog , April 2009
Bernstein, Emma Bee and Nona Willis Aronowitz, Girldrive, Seal Press, 2009
Blast Art Benefit Catalogue, NY, 1992, 1993
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
Cruickshank-Hagenbuckle, Geoffrey, "Susan Bee," Brooklyn Rail, May 2007
Curnow, Wystan, Fresh from New York, Artspace, Auckland, New Zealand, 1988
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
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
Olson, Craig, "Susan Bee: Eye of the Storm, Brooklyn Rail, March 2009
Peterson, Tim, Night A.I.R., Mappemude blog, June 9, 2006
Robins, Corinne, "Collaborations," American Book Review, Jan/Feb 1999
Robins, Corinne, Women Artists of the 80s: New Talent, A.I.R., New York, 1984
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
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
Silliman, Ron, "Seeing Double," blog, Jan. 24, 2006
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, December 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

Artist's Books

Entre, poems by Regis Bonvicino, Global Books, France, 2009
The Burning Babe and Other 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

Teaching

Faculty, School of Visual Arts, MFA in Art Criticism and Writing, 2005-present
Artist-Teacher, Vermont College, MFA in Visual Arts, 2007-2008

Selected Presentations

Talk, Collaboration and the Artist’s Book, Universite de Caen, France, 2011; Maison de la Poesie, Paris, France, 2011
Artist's Talk, Kelly Writer's House, University of Pennsylvania, PA, Nov. 16, 2010
America as Myth and Reality, American Studies Association of Korea, 2010
Collaborations, Seoul National University, Seoul, Korea, Oct. 20, 2010
Leslie Scalapino Memorial, St. Mark's Poetry Project, NY, June 21, 2010
Raucous: On Arakawa and Gins, Barnard College, April 30, 2010
Girldrive Reading: Bluestocking Bookstore, NY, 2010; KGB Bar, NY, 2009
Artist's Talk, Leslie Scalapino and Tom White's house, Oakland, CA, June 20, 2009
Talk, Tribute to Emma Bee Bernstein, Belladonna, A.I.R. Gallery, NY, March 1, 2009
Talk on Collaborations, OEI event, Weld, Stockholm, Sweden, July 1, 2008
A Tribute to Barbara Guest, St. Mark's Poetry Project, NY, April 26, 2008
Beyond the Waves: Feminist Artists Talk Across Generations, Sackler Center for Feminist Art, Brooklyn Museum, NY, March 30, 2008
Hannah Weiner's Open House, Performance, St. Mark's Poetry Project, NY, 2007
Talk on Collaboration, Conference on 20th Century Poetry, Wuhan, China, 2007
Talk on Collaboration, Beijing Language and Culture University, Beijing, China, 2007
Granary Books: Poets and Painters, St. Mark's Poetry Project, NY, 2007
Susan Bee and Johanna Drucker, Reading, Segue, Bowery Poetry Club, NY, 2007
Talespin: On Making Artist's Books, College Art Association, NY, 2007
Talk on Collaborations, Night A.I.R., A.I.R. Gallery, NY, 2006
Artist's Talk, Maryland Institute of Art, Baltimore, MD, 2005
Artist's Talk, The Analogous Series, M.I.T., Cambridge, MA, 2004
Talk, Universidade de Coimbra, Portugal, 2004
Talk, Pacific Switchboard, Portland, OR, 2004
Talk on Collaborations, Poets and Painters Series, University of Pennsylvania, PA, 2004
Reading, Line Readings for Children, The Drawing Center, NY, 2003
"A Girl's Life," Cuban Union of Artists and Writers, Havana, Cuba, 2003
"Miss Dynamite," Kenyon College, Gambier, Ohio, 2002
A M/E/A/N/I/N/G Forum: Is Resistance Futile?, A.I.R. Gallery, 2001
Reading, Manifesto: A Century of Isms, Poet's House, NY, 2001
Panel on Poetry Plastique, Marianne Boesky Gallery, NY, 2001
Lecture, Visiting Artist/Critic Program, University of Wisconsin at Madison, 2000
Talk on Artists Books: "The History of Material Texts," Univ. of Pennsylvania, 1999
Talk: Kingsborough College, NY, 1998
Panel: Working Conditions, Parsons School of Art, NY, 1994
Talks: Art and Language: Re-reading the Boundless Book, Minnesota Center for Book Arts, Minneapolis 1994;
Coordinator: Artist's Talks, Sorkin Gallery, NY, 1988
Panel: "Critics--A New Generation," A.I.R. Gallery, NY, 1982

Grants

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, New York State Council on the Arts, 1989-1997

COLLECTIONS

Selected Private Collections

Paul Auster & Siri Hustvedt, Jesse Ausubel, Jennifer Bartlett, Susan David Bernstein, Regis Bonvicino, Lee Anne Brown, Abigail Child, Steve Clay, Penelope Creeley, Michael Davidson, Dean Drummond & Stefani Starin, Johanna Drucker, Marty Ehrlich & Erica Hunt, Jon Friedman, Peter Gizzi & Elizabeth Willis, 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, Bob Perelman & Francie Shaw, Nick Piombino & Toni Simon, Peter & Meredith Quartermain, Claudia Rankine, Adrienne Rich, Marvin & Ruth Sackner, Mira Schor, James Sherry & Deborah Thomas, Ron Silliman, Joan Snitzer, Elke Solomon, Arlene Stein, Peter & Susan Straub, Eileen Tabios, Richard Tuttle & Mei-Mei Berssenbrugge, Diane Ward, Tom White, Geoffrey Young

Public Collections (Artist's Book)

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, 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, University of California, Santa Barbara, SUNY Buffalo, Wesleyan College Library, The Athenaeum, La Jolla, Brown University Library

GALLERY REPRESENTATION

A.I.R. Gallery, New York
Artist's Books, Granary Books, New York
Drawings, Pierogi Flat Files, Brooklyn, NY