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Awards and Residencies:
2011 Peter S. Reed Foundation Grant, Painting
2010 Pratt Institute Faculty Fund Award, Printmaking
2008 Jack Tilton’s Tong Xian Art Residency, Beijing, China|
2007 Juror Award, 30th Small Works Exhibition, New York University, NY, Painting
2002 Santa Fe Art Institute, 9/11 Residency, Santa Fe, New Mexico
2001 Pratt Institute Faculty Fund Award
2000 International Studio Program, Elizabeth Foundation, New York
1998 Art Omi International Residency, Omi, New York
1997 Elizabeth Foundation for the Arts, Award in Painting, New York
1995 Virginia Center for the Creative Arts, Virginia
1994 Yaddo Artists Residency, Saratoga Springs, NY
1992 Triangle Artists Workshop, Pine Plains, NY
1991 National Studio Award, Clocktower, P.S.1, New York
1989 National Endowment for the Arts, Award in Painting
1987 Igor Foundation Award, Award in Painting
2012 “Animal Spirits - Citadel,” The Proposition Gallery, LES, NYC
2011 “Occupy Wall Street," Creon Gallery, NYC Installation and Video Interviews
2009 “Animal Spirits” Kleinert James Art Center, Woodstock, N.Y (Curated by Paul Smart)
“Animal Spirits,” Creon Gallery, NYC (curtaed by Norm Hinsey)
“Noma Gallery, San Francisco, CA (catalogue)
2007 “Star Nebulae” Pool Art Fair, Miami, FL
2005 “Field/City,” Proposition Gallery, New York, NY
2003 “Paintings & Digital Clones,” Proposition Gallery, New York, NY
2003 A R T , New York, NY
2000 Eckert Fine Art, two person show,Naples, FL.
1999 “Conversation Exhibition,” Art Resources Transfer, New York,NY
1998 “Paintings 1995-98,” E,M. Donahue Gallery, New York, NY (catalogue)
1997 “Future Byzantium,” Haines Gallery, San Francisco , CA.
1996 Ben Shahn Gallery, W. Paterson College, Wayne, NJ.
Galerie Asbæk, Copenhagen, Denmark
Towson University Art Gallery, Baltimore, Md .
1995 E.M. Donahue Gallery, New York, NY (catalogue)
1994 “Botanicals,” Littlejohn/Sternau Gallery, New York, NY
“Paintings,” Betsy Rosenfield Gallery, Chicago
1993 “Botanical Monoprints,”Frankel Nathanson Gallery, Maplewood, NJ
“Lexicons of Paradise,”E.M. Donahue Gallery, New York
“Lexicons of Paradise,” New York Academy of Sciences, New York
1992 “Paradise,”Betsy Rosenfield Gallery, Chicago
1991 “Paradisiacal Lexicon,” E. M. Donahue, New York
Bannister Gallery,Rhode Island College, Rhode Island
1990 E.M. Donahue Gallery, New York (catalogue)
1989 Mincher/Wilcox Gallery, San Francisco
1988 “Biological Impressionism,” E.M. Donahue, New York (cata)
1987 “Natural Selection,” Ground Zero, New York
1986 “Recent Paintings,” Limbo Gallery, New York
1985 “Modern Fossils,” Khiva Gallery, San Francisco
1984 “Modern Fossils,” M-13 Gallery, New York
“Modern Fossils,” Fashion Moda, Bronx, NY
2012 “Loft In The Red Zone:9/11 Tribute,” curated by Marika Maiorova, Moscow Museum of Modern Art, Russia
“Whale Oil to Whole Foods,” curated by Christy Rupp and Fawn Potash, Green County Center for the Arts, Catskill, NY
“Cowgirls,”Brik Gallery, curated by Sideshow Gallery, Catskill, NY
“Getting From Here to There: Images About Transition,” APF Gallery, Curated by RG Edelman, NY
2011 Pink Gallery, Seoul, Korea
Loft In The Red Zone, JP Morgan Wall Street, NYC
“Crossing Disciplines: Books,”Schaffler Gallery, Pratt Institute, Brooklyn, NY.
2010-11 “Fracking:Art and Activism Against the Drill,” EXIT ART, New York, NY.
2010 “Grace Project,” Door Art Fair, Seoul, Korea (catalogue)
“Two Way Mirror,” Curated by David Gibson, Zea May Print Center, Northhampton, MA.
“Dialectical Landscapes,” Curated by Alyssa Fanning, Seton Hall University, Newark, NJ
“Metaphysical Materialism,” Curated by Pam Longobardi, Tinney Contemporary Art,
Nashville, TN. (catalogue with essay by Peter Frank)
BAU Institute Print Portfolio, Art Finance Partners, New York, NY.
“Color, But No Apologies,” Curated by Evan Levine, Broadway Suites, New York, NY.
“Starter Kit for Collectors,” Curated by Tom Corn, Tribes Gallery, New York, NY.
“What Matters Most,” Curated by Amy Lipton, EXIT Art, New York, NY.
“Ides of March,” ABC No Rio, New York, NY.
“Estonia,” Curated by Jaanika Peerna, New York, NY>
2009 “Eye/World,” Curated by Emily Cheng, Harlen, NY. (catalogue)
“Pierogi A Go-Go,” Pierogi Boiler Room, Brooklyn, NY.
2009 “Slow News International,” Art Under the Garage, Honolulu, HA
2008 “Fundamental Abstraction,” Cheryl Haines Gallery, San Francisco, CA
“Entropic Renovators,” Broadthinking, Art Now Fair, New York, NY.
“Cosmological Map”, Broadthinking, ABC No Rio, New York, NY
2007 “Pierogi Flat File Show,” Curated by Austin Thomas, Pocket Utopia Gallery, Brooklyn, NY.
“HOWL,” Bowery Poetry Club, New York, NY.
“Sensing Peace,”Benefit Event, Pier 23, San Francisco, Ca.
“Broadthinking,” Silent Space Gallery, Kingston, NY .
“Bryant St. Gallery” Affordable Art Fair, New York, NY.
2006“Aids Benefit,” Sikkema Gallery, New York, NY.
“December Group.”Leslie Heller Gallery, New York, NY
“Mixdtrix,” Curated by Jeff Wright, Thompkins Square Library Gallery, New York, NY.
“Group Show,” Curated by Jim Cornwall,Silent Space Gallery, Kingston, NY
“Faculty Exhibition,” Pratt Institute, Brooklyn, NY
“Group Show,” AIR Gallery, New York, NY.
2005 “ABC NoRio,”, Deitch Projects, New York, NY.
“East Village,” Hal Bromm Gallery, New York, NY.
“Crossing Disciplines - Drawing,” Pratt Institute, Brooklyn, NY
2004Yaddo Benefit Exhibition & Auction, NY
“Girls & Guns,” The Proposition, NY
“Howl,” Benefit , Sorensin Foundation, NY
2003“Wandering Library,” Traveling to Jewish Museum, Venice, Italy; Tel Aviv Museum, Israel. (catalogue)
“Genetic Expressions: Art After DNA,” Heckscher Museum, Huntington, NY.
“Howl,” Orinsanz Foundation, New York,NY
2002“Reactions,” Exit Art, NYC
“Cubarism,”Gallery X, Bronx, NY.
Yaddo Auction, NYC
Chicago Art Fair, Chicago
2001“Yaddo Variations,” New York, NY.
“Ground Zero,” Gallery X, Bronx, NY.
“Ground Zero,” Max Fish, New York, NY.
“Gallery Group,” Donahue Sosinski Gallery, New York, NY.
“Chromatic Cryptology,” Tribes Gallery, New York, NY.
2000 International Studio Program, New York, NY.
“Faculty Exhibition,” Pratt Institute, Brooklyn, NY
“Postcards from the Edge,” Andrew Krebs Gallery, New York, NY.
“ArtWalk,” studio tour, Coalition for the Homeless,New York, NY.
“Choices, Painting,” Donahue Sosinski Gallery, New York
“2000,” Donahue Sosinski Gallery, New York, NY.
International Artists’ Museum, New York
1999“Wildflower,” Katonah Museum of Art, Katonah, NY, (catalogue)
“Artwalk,” Coalition for the Homeless, New York, NY.
“East Village Revival,” Cortland Jessup Gallery, New York, NY
“Group,”Art Resources Transfer
“Land of 1000 Galleries - East Village,”cur: Gracie Mansion, Life Cafe, NY
1998“Absolute Secret”,McKee Gallery, New York
“Women Artists in Vogel Collection”, National Gallery of Art, Washington., D.C.
“Tribute to Tibet”, Donahue Sosinski Gallery, New York
“Group,” Art Resources Transfer
1997 “Drawings,”M 13 Gallery, New York
“Ten Views”, AAA Gallery, New York
“Anniversary Show”, AIR Gallery, New York
“Artwalk”, New York
1996Cologne Art Fair, Cologne,Germany
Art on Paper, Weatherspoon Art Gallery, Greensboro, NC
“Prints from Solo Impressions”, National Museum of Women in the Arts,
“Artwalk “, New York
“New York”, Andrea Pintsch, Munich, Germany
“Photographism in Painting”, Pratt Manhattan & Schaffler Galleries, N Y (cata)
“Graphics from Solo Impression”, Albright-Knox Art Gallery, Buffalo, N Y
“Artist as Curator, Curator as Artist,” Bergen Museum of Art & Science, NJ (cata)
1995“Summer Group,” Galerie Asbæk, Copenhagen, Denmark
“Pulp Fiction”, Gallery A, Chicago, IL.
“Semaphore - Placing the Mark,” Art Initiatives, New York, NY.
“Reinventing the Emblem”, Yale University Art Gallery, New Haven, CT
“Celestial to Earthly,” Curated by Jane Schneider, U.of Wisconsin at LaCrosse, WI.
1994“100 Hearts”, Simon Watson Gallery, New York, NY.
“Flooded Camera,” Curated by Suzanne Joelson, The Workspace, New York, NY.
“Invitational,” Hunter College Art Gallery, New York, NY.
“Prints, Solo Impressions,” College of Wooster Art Museum, Wooster, OH (catalogue)
“Chicago Art Fair,”with Betsy Rosenfield Gallery, Chicago
“A World of Maps,” Anchorage Museum of History and Art, Anchorage, Alaska. (catalogue)
“Blast Benefit,” Curated by Jordan Crandall, TZ’Art & Co., New York, NY. (catalogue)
“Bennington College Benefit Auction,” Matthew Marks Gallery, New York, NY.
1993“Bomb Magazine Benefit Auction,” Fawbush Gallery, New York, NY.
“Promotional Copy,” Guggenheim Museum Soho, New York, NY. (catalogue)
“Scratching the Surface,” Curated by Stuart Anthony, Colgate University, Hamilton, NY. (brochure)
“Animal Kingdom,” Champion International, Stamford, CT.
“Paper Trails: Eidetic Image,” Krannert Art Museum, Champaign, IL. (catalogue)
“Songs of Retribution,” Curated by Nancy Spero, Richard Anderson Gallery, New York, NY.
“Mating Instinct,” Penine Hart Gallery, New York, NY.
“Malta’s Cradle, Reflections on the Abyss of Time,” Solo Impressions, New York, NY
1992“Artful Nature,” Evanston Art Center, Chicago (brochure)
“Group,” Curated by Mia Feroleto, Anandale-on-Hudson, NY
“Wounded Healer,” E.M. Donahue Gallery, New York, NY.
“Process as Issue,” College of New Rochelle, Curated by Arlyne Bayer, New York, NY.
“Nature of Science,” Pratt Manhattan Gallery, Punk Building, New York, NY; Schaffler Gallery, Brooklyn, NY.
“Transmodern,” Baumgardner Gallery, Curated by J.W. Mahoney, Washington,D.C.
“Consumption of Paradise, Elise Mott Ives Gallery, Curated by Paul Bridgewater, New York, NY
“14th Annual Benefit, Center for Photography, Woodstock, NY.
“1992 Chicago International Art Fair, Solo Press & Betsy Rosenfield Gallery,Chicago, IL.
“Group Show,”David Beitzel Gallery, New York, NY.
“The Retangled Bank,” Curated by Frank Gillette, E.M. Donahue Gallery, New York, NY.
“National Studio Program Exhibition,” P.S.1, Long Island City, NY.
“Blast Benefit Auction,” New York, NY
“Points of View: 11 New York Artists,” Curated by E. Ginsburg, Eastern Montana College Gallery, Billings, MT.
“Ornament,” John Post Lee Gallery, NYC
1991“Abstract Information,” Curated by Ellen Handy, Sacred Heart University, CT
“Bion,” Curated by Lys Martin, Betsy Rosenfield Gallery, Chicago, IL.
Chicago Art Fair, Solo Press and Betsy Rosenfield booths
“New Generations:New York,” Curated by Elaine King, Carnegie Institute Gallery, Pittsburgh, PA. ( catalogue)
“Hot of the Press,” Voorhees Zimmerly Museum, Rutgers University, Rutgers, NJ
“Monotypes,” Graham Modern, New York, NY.
“13th Annual Benefit,” Center for Photography, Woodstock, NY
“Prints,” Peyton Rule Gallery, Denver, CO.
“Blast Benefit,” Curated by Jordan Crandall, NY (catalogue)
1990“Three Person Group,” Betsy Rosenfield Gallery, Chicago, IL
Galerie Nadeau, Philadelphia, PA
Betsy Rosenfield Gallery, Chicago, IL
“Natural History Recreated,” cur: E Levy, Center for Photography,Woodstock, NY
“Collage,” Henry Feiwell, New York
“Change of Decade,” E.M. Donahue Gallery, NYC
1989“Climate 89, “E.M. Donahue, NYC
Sydney Peyton Gallery, Denver, CO
1988 Mincher Wilcox Gallery, San Francisco
“EV” Nancy Bratton Gallery, NYC
1987“East Village,” cur: Baird Jones, Stamford Museum, CT
Center for Contemporay Art, Chicago, IL
“Recent Painting”, cur: Mia Feroletto, Hudson River Museum, NY
1986“East Village Ladies Salute the South Bronx,” Fashion Moda, New York
“Artistic License,” cur: David Ebony, Gallery New York, NY
“Small Scale Abstraction,” Grace Borgenicht Gallery, NY
Sales Gallery, Baltimore Museum of Art, Baltimore
“Illuminations, the Art of Our Future,” Art and Industry, NYC
Summer Show, E.M. Donahue, NYC
“Invitational,” Grace Borgenicht Gallery, NY (catalogue)
Khiva Gallery, San Francisco
“The Artist as Theatre,” Limbo Gallery, NY
“Acquisitions Since, 1980,” Aldrich Museum of Contemporary Art, Ridgefield, CT
“Text/Texture,” Ground Zero, NY
1985“Avenue C by the Sea,”Tower Gallery, Southhampton, NY
“A Summer Place,” cur:David Ebony, Sarah Y. Rentschler, NY
“The Non-Objective World 1985,” cur: S. Westfall, Kamikaze, NeYork
“Abstract Painting,” Wolff Gallery, New York
“Prints February 1985,” curated by M. Manning, Phenix City Gallery, NY
“Primal Elements,” M-13 Gallery, New York
1984“Amore Store,” Jack Tilton Gallery, New York
“Chill-Out New York,” cur: S Kaplan, Kenkeliba, NY
“Abstract Painting,” cur: P.Jensen, Susan Montezino Gallery, Phila, PA
“Spititual Abstraction,” Nohra Haime Gallery, NY
“Artschwager, Benglis, Cyphers, Halley, Obering, Parker, Christminster Fine Art,
1983“Amore Store,” Jack Tilton Gallery, New York
“Terminal Show,” Army Terminal Building, Brooklyn
“3-D Photographs”, Herman Wunsche, Bonn, Germany
Ronald Feldman Gallery, New York
3-D Photographs, Castelli Graphics, New York
Ceramic Forms in Art, Zim-Lerner, New York
Recent Acquisitions, Aldrich Museum, Ridgefield, CT
1982“Anti-Apocalypse: Artist Respond to Nuclear Peril,” Ben Shahn Galleries, Will. Paterson College, NJ
“Energism, Arthur Roger Gallery, New Orleans, LA
Soho Center for Visual Arts, NYC
“Critical Perspectives,” P.S.1, Long Island City, NY. (catalogue)
1981“First Energist Drawing Show,” Curated by Dr. Ronny. Cohen, Stefanotti Gallery, NY
McClemont Doug, "Fracking: Art and Activism Against the Drill," ART News, February 2011.
Frank, Peter, “Foreword: Remembering Nature,” catalogue essay for Tinney Contemporary Gallery, Nashville, TN, June 2010.
Walden, Deborah, “Hidden Worlds, Metaphysical Materiality, at Tinney Gallery, ” Nashville Arts Magazine, July, 2010.
Longobardi, Pam, “Hidden Worlds,” essay for ‘Metaphysical Materiality,’ Tinney Contemporary Gallery, Nashville, TN, June 2010.
Finch, Charlie, Creon, ArtNET, Nov 2009.
Noma Exhbition Review, ArtBusiness, Nov 2009
Baker, Kenneth, “Cyphers at Noma Gallery,” San Francisco Chronicle, November 28, 2009.
Wei, Lilly, “Peggy Cyphers -Neverlands,” catalogue essay for Noma Gallery Exhibition, Dec.2009.
Sparrow, “Peggy Cyphers – An Appreciation,”Kleinert James Art Gallery, catalogue essay, Woodstock, NY November 2009.
Oshiro, Joleen, “Artists Worldwide adapt to Scroll,” Star Bulletin, Honolulu, Sept.6,2009
Yung, Susan L., Broadthinking: Unnatural Acts, NY ARTS, Winter,/spring 2009.
Smart, Paul, “Drawn by the Dark, Reaching Toward the Light, Woodstock Times, 12/24/08
Baker, Kenneth, “Fundamental Abstraction”San Francisco Chronicle, July 5, 2008.
Daniels, Demetria, “Entropic Renovators,” Big Apple News, Spring 2008. (photo)
Smart, Paul, “Broad Strokes,” Broad Thinking Show review, Ulster Press, Aug 2007
Valdez, Sarah, “Peggy Cyphers”, Art In America, November 2003 (photo)
Smith, Roberta, “Peggy Cyphers,” The New York Times, Friday, May 16, 2003.
Naves, Mario,”Peggy Cyphers: Blots, Blobs and Drips,” The New York Observer, Wed. May 5, 2003
Robinson, Walter, Artnet, April 16, 2003. (photo)
Mcclelland, Eileen,”Summer Soiree,” Naples Daily News, August 24, 2000.(photo)
Pereira, Miriam,”Summer Soiree,” The News Press, Naples, Fl., July 21, 2000.(photo)
Edwards, Susan H., “WILDflowers,” Katonah Museum of Art, Cata, July-Oct. 1999..
ed.Meryman, Elizabeth, The Sciences, photo reproduction, Jan.Feb 2000.
Stone, Barbara, “New York’s New and Avante Garde Art Galleries,” City & Co. 1999.
Heartney, Eleanor, “Peggy Cyphers,” Art in America, January 1999.(photo)
Johnson, Ken, “Peggy Cyphers,” The New York Times, October 2 and 9, 1998.
Curcio, Robert, “Peggy Cyphers Topography of Time,” Cover, Number 6 1998.(photo)
Ebony, David, “NYC Top Ten,” Art Icons, internet review, Fall 1998.
Carrier, David, “New York Shows,” The Burlington Magazine,” September 1997.
Schwabsky, Barry, “Three Painters Add a Human Touch to Abstraction,” The NewYork Times, Sept 22, 1996
Eileen Watkins, “Artistic trio’s exhibitions target the natures of time and space,” Sunday Star-Ledger, Oct 6 1996
Misfeldt, Mai, “Naturligheder,” Berlingske Tidende, June 3, 1996 (photo)
Cohen, Ronny, “Peggy Cyphers,” ARTFORUM, June 1996 (photo)
Carrier, David, “New York-Autumn exhibitions of painting and drawing,”The Burlington Magazine, March 1996
Dorsey, John, “Painter Peggy Cyphers,” The Baltimore Sun, March 5, 1996 (photo)
Ebony, David, “The NYC Top Ten,”Art Icons, Internet review - http://www.articons.com, January 1996 (photo)
Mahoney, Robert, “Grave Totems of Luminous Buoyancy,” COVER, Jan. 1996 (photo) Wauson, Kim, cata, “The Depths of Luminescence,” December 1995Wright, Jeff, “Currently Showing, Peggy Cyphers,” COVER, Summer, 1995 (photo) Schleifer, Kirsten Brooke, “ Cyphers - Chicago Reviews,” New Art Examiner, March 1994 (photo)
Ebony David, “Peggy Cyphers,” Art in America, December 1993 (photo)
Zimmer, Bill, “Peggy Cyphers, Primordial States and the Present Day,” The New York Times, Oct 3 1993 (photo)
Saltz, Jerry, Art in America, September 1993
Morgan, Robert C., “Bits of Modernism, Now and Then,” COVER, August, 1993 (photo)
King, Elaine, catalogue essay, “A Kaleidoscopic Realm of Time,” April 1993
Atterberry, Gisele, “An Art Show for the Eyes and Mind ,Too,” News Gazette, Chicago, March 1993
Artner, Alan, “I Space blazes a trail of American Works on Paper,” Chicago Tribune, July 23, 1993
Wilkin, Karen, “At the Galleries,” Partisan Review, #2 Spring 1993, Vol LL (photo) Seidel, Miriam, “Wounded Healer,” New Art Examiner, April 1993 Kozik, K.K., “P. Cyphers Makes Her Mark,” Cover, April 1992 (photos)McCracken, David, Chicago Tribune, February 28, 1992 (photo)
Handy, Ellen, Arts Magazine, January1992 (photo)
King, Elaine, “A Precarious Balance of Being,” New Generations:New York, Carnegie Mellon Art Gallery, 1991 (photo)
McCracken, David, “Artists draw on the science of nature,” Chicago Tribune, Fri, June 28, 1991
Cunniff, Joseph, “Bion,” Inside Lincoln Park, Chicago, July 1991
Perl, Jed, “ Third Season: 1988-89, Peggy Cyphers,” “Gallery Going: Four Seasons in the Art World,” (NY: Harcourt Brace Jovanovich, 1991), pp. 231-233
Bulka, Michael, New Art Examiner, January 1991
Brody, Jacqueline, “Prints Published: ” Print Collector’s Newsletter, November 1990 (photo)
Levy, Ellen, “Natural History Recreated,” ICP Journal, Fall 1990
Meyers, Terry, “Peggy Cyphers,” Arts Magazine, September 1990
Pozzi, Lucio, “Surrealisimo Ecologico,” Le Opinioni, Milan, Italy, May 1990
Grunberg, Andy, “Peggy Cyphers,” The New York Times, April 20, 1990
Morgan, Robert C., cata, “Peggy Cyphers,” April 1990
Smith, Duncan, catalogue essay, “Peggy Cyphers,” April 1990
Wright, Jeff, Cover, April 1990 (photos)
Perl, Jed, “Autumn Alphabet (Peggy Cyphers),” The New Criterion, March 1989
Handy, Ellen, “ Peggy Cyphers,” Arts Magazine, January 1989 (photo)
Kaplan, Steven, “Interview,,” Cover, October 1988 (photos)
Crandall, Jordan, editor, Artist’s Statement, SPLASH, October 1988 (photo)
Smith, Duncan, “Turning the Urn, Painting and Writing from the Perspective of an Emblematic Criticism,” Flash Art, Summer, 1988
Smith, Roberta, “Peggy Cyphers,” The New York Times, Friday, February 13, 1987
Frank, Peter, Michael McKenzie, New,Used, & Improved Art of the Eighties, Abbeyville Press, NY 1987 (photo)
Jones, Baird, “East Village Art Report,” Downtown, February 11, 1987 Tully, Judd, “ Peggy Cyphers,” Arts Magazine, May 1986 (photo)
Kaplan, Steven, “FIT East Village Show,” East Village Eye, April 1986
Hagenberg, Roland, editor, East Village 1986, A Guide, A Documentary, Pelham Press, New York, 1986 (photos)
Daniels, Demetria, “East Village Report,” SAW, March 5, 1986 (photo)
Torphy, Will, “A Private Geology of the Mind,” Artweek, December 14, 1985 (photo)
Brody, Jackie, “Peggy Cyphers, Recent Prints, Phenix City,” Print Collectors Newsletter, April 1985
Cameron, Dan, “The Groundhog Report,” Arts Magazine, March 1985 Cohen, Ronny, “Peggy Cyphers,” Artforum, February 1985 (photo) “A Sketch of New York,” Dame, January 1985, Tokyo (photo)
Westfall, Stephen, “Peggy Cyphers,” Arts Magazine, January 1985 (photo)
Hagenberg, Roland, editor, East Village 1985, A Guide, A Documentary, Pelham Press, New York 1985 (photos)
“In New York Notiert,” Aufbau, Berlin, October 26, 1984
Donahue, Victoria, “ Is Abstract Painting Regaining its Popularity,” Philadelphia Inquirer, September 14, 1984
Smith, Roberta, “Chill Out, New York,” Village Voice, September 5, 1984
Friedman, Do.,” Philosophical Mural,” Fashion Modal, East Village Eye, June 1984 (photo)
Levit, Linda, editor, “Abstractions,” New Observations 26, New York 1984 (photo)
Nadelman, Cynthia, “Ceramic Forms in Art,” ART News, September 1983 (photo)
Print Collectors Newsletter, review, “ First Energist Book,” May 1983
Zimmer, William, “Aldrich Museum’s Recent Acquisitions,”New York Times,Mar 19,83
McCallister, Jared, “Unconventional Show of Art,” The Daily News, March 23, 1983
Collins, T., and R. Milazzo, editors, “Collaborations,” New Observations 21, NY 1983
Cohen, Ronny, catalogue essay, “Critical Perspectives,” P.S.1, Long Island City 1982
Kuspit, Donald, Critical Perspectives at P.S.1,” ARTFORUM, April 1982
Selected Public Collections
Tel Aviv Museum, Israel
Imagery Estate Winery Collection, Carnegie Art Museum, CA.
Columbia Museum of Art, Columbia, SC
Seattle Art Museum, Seattle, Wash.
Cedar Rapids Museum of Art, Cedar Rapids, Iowa
University Museum, Southern Illinois University, Carbondale, IL
Anchorage Museum of History and Art, Alaska
Arthur Anderson Chicago
Sol LeWitt Collection
Sean Scully Collection,
Lucio Pozzi Collection
Chase Manhattan Bank
Davis, Polk, Wardwell
Dunn & Bradstreet
Equitable Life Assurances Society of the U.S.
I.M.C. Fertilizer Group, Inc., Illinois
Johnson & Johnson
Library of Congress, Smithsonian Institution, Washington, D.C.
National Gallery, Washington, D.C.
New Mexico State University, Las Cruces
National Museum of Women in the Arts, Washington, D.C.
Patterson Museum, New Jersey
Prudential Life Insurance, New Jersey
Rutgers University Print Archives, New Jersey
Saks Fifth Avenue
Towson University, Baltimore,Maryland
Weatherspoon Art Gallery, Greensboro, NC
Published Writings by the Artist
2010 “An Optimistic Year, Biennial 2010,” The Thing.Net and Resolve40, Online
2008 “Louise Bourgeois at Guggenheim Museum,” Summer , www.Tribes.org
2007 “Manipulations,” catalogue essay, Landmark Arts, Texas Tech University
2005“Thordis A.”, Tema Celeste, Milano, Italy & New York
2001“Artist/Gallery Relations.” included in ‘The Practical Handbook for the Emerging Artist,” by Margaret Lazzari, 2nd Edition, Harcourt College Publishers, 2001
2001“Brooklyn Bridge,” New Observations, Travel Issue, NYC
1999“The Paintings of Markus Hiekkero,” catalogue text, KIASMA, Museum of Contemporary Art, Helsinki, Finland
1998 “Fertility,” NEW OBSERVATIONS, ed: E. Knerr, Summer 1998.
1997“After The Fall, Aspects of Abstract Painting since 1970”, essay, Snug Harbor Cultural CTR., Staten Island
“Artists on Art,” ed: Diane Karp, New Observations
1993Artists Statement, Tema Celeste, ed; Joelson and Scott, Milan, February
1992 “Forum: On Motherhood, Art, and Apple Pie,” MEANING, ed:Schor & Bee, NYC, 1992
“Consumption of Paradise,”Art Journal, ed:Jackie Brookner, May 1992 (photos)
“New York in Review,” Arts Magazine, reviews column February, May
1991“New York In Review,” Arts magazine, review column January, February, March, April, May, Summer, September
“Sean Scully,” Tema Celeste, Milan, ItalySpring 1991.
“Geological Time,” Blast, Artist’s statement written for catalogue, New York, 1991. (photo)
“Biomorphic Impressionism,” catalogue, New Generations: NY, Carnegie Mellon Art Gallery, Pittsburgh
1990“New York in Review,” Arts Magazine, ed: B. Schwabsky, Jan, Feb, March, April, May, June, Summer, Sept, Oct, Dec
1989“ New York in Review,” Arts Magazine, Jan, Feb, March, April, May, June, Summer, Sept, Oct, Dec
“Arts in New York,” Cover, ed: Jeff C. Wright, monthly reviews
1988“Biomorphic Impressionism,” Splash, ed: Jordan Crandall, NY, Oct (photo)
“Progress,” guest editor, issue #57, New Observations, New York.
“The Global Politics of Progress,” New Observations, #57, New York.
“Arts New York,” Cover, reviews, monthly through out the year
1987“Arts New York,” Cover, reviews, monthly throughout the year
1989 - 2011 Professor of Fine Arts, CCE, Pratt Institute, NY
2002-3 Program Coordinator, Pratt in Tuscany, Luca, Italy
2002-3Coordinator, Painting and Drawing, Pratt Institute, NY
2001Pratt in Venice, Professor of Painting
12001Visiting Artist, Hofstra University, Long Island, NY
1997Visiting Artist, Royal Academy of Art, Helsinki, Finland
Visiting Artist, Lahti Polytechnic Institute, Lahti, Finland
1996 Visiting Assistant Professor, University of North Carolina, Greensboro, NC
1994 Coordinator of Painting & Drawing, Pratt Institute
1990-1996 Visiting Artist, New York University, New York
1986-1997New York School of Interior Design, New York
1986-1989Parsons School of Design, New York
1986/1988School of Visual Arts
Lectures & Panels
2010 “Environmental Art,” Leonardo Foundation, LEAF, New York, NY.
2002Guest lecture,Georgia State, Atlanta, GA
2001Guest Lecturer, Grad. Painting, Parsons School of Design, New York
1996Weatherspoon Art Gallery Museum, “Art on Paper” “Networking & Collaboration” Greensboro, NC
1997Guest Lecturer, Lahti Polytechnic, Finland
1995Guest Lecturer, Penn State University, Pennsylvania
1992Guest Lecturer,Cranbrook Academy of Art, MI
Guest Lecturer, University of Hartford, studio dialogue, Hartford, CT
Artists Talk on Art. New York panelist “The Gender of Oedipus”
Pratt Institute, panelist “Nature of Science”
Guest Lecturer,Montclair State University, Montclair, NJ
1991Guest Lecturer, Bannister College, Providence, RI
Guest Lecturer,Guilford College, studio dialogue, Greensboro, NC
1990Guest Lecturer, Syracuse University, Syracuse, NY
1989Guest Lecturer, University of Delaware, DE
THE PROPOSITION | NOVEMBER 17 – DECEMBER 16, 2012
Peggy Cyphers has put on a show of startling originality at the Proposition, located nearby the New Museum on the Lower East Side. The artist, who has more than three decades of experience living and working in New York, calls the exhibitionAnimal Spirits, in reference to the creatures symbolized by feathers or fur or claws in her compositions. As a painter interested in challenging her audience, Cyphers here has locked in the standpoint of her field of view, so that the viewer’s outlook occurs as if he were looking upward toward a sky separating four images, each occupying a corner of the painting. Although the names of the paintings are often the names of animals, there is, as well, the feeling that one has raised his head in the midst of a canyon surrounded by dark buildings—a common experience in New York City. This may not be the artist’s intention, but the sky imagery keeping the abstracted animal pictures apart does give the sense that the perspective is skewed vertically and not horizontally. It is sometimes hard to know what to make of the work, in part because its surface has several differing orientations. But somehow—and this is to Cyphers’s credit—the riddles command the audience’s attention, even when the overall gestalt is uncertain, both formally and thematically.
In “Dove” (2012), the painting appears to have been made by rotating the sides, so that the picture’s orientation varies from one image to the next. In the lower right corner curled grayish-brown forms occur; above, in the upper right, abstract forms with a tooth-like edge appear to be hanging downwards from the top of the painting. In the lower left, tubes of some sort are bunched together, while above them, in the upper left, the viewer finds a furry mass with small, brown icicle-like or small claw forms curling around its edge. One hesitates to say which animal these parts of the painting belong to, but this only magnifies the mystery of the overall effect. Separating the four quadrants is a gray sky that naturally forms the semblance of a cross—an image that takes place in most of the paintings. Whatever specific references they point to, the canvases convey a sense of eerie otherness. In “Floaters” (2012), the imagery appears to be more about rock formations, with the four ascending columns ending in foliage of some sort. Here Cyphers has applied sand and gold leaf to complicate the surface. And unlike “Dove,” the sky is blue.
In “Storm Glider Hawk” (2012), there is the suggestion of feathers, along with rectangular stones forming a hill on the lower left, and mountainous masses in the upper left and lower right. Yet the masses are formed by patterns of columns with curled tops—images that suggest, in some way, a human presence as opposed to the presentation of nature alone. The sky in “Storm Glider Hawk” is heavy and gray; we get a glimpse of the coming storm. Part abstraction, part nature, part cultivated pattern, the work eschews symbolism in favor of presenting something difficult to grasp. Yet despite the obscurity, Cyphers clearly has a specific event or image in her mind. In “Silver Spirit” (2012), silver and gold leaf enliven what looks very much like rock formations of different colors—gray, blue, tan. Posed halfway between abstract patterning and geological reference, “Silver Spirit” reminds us that painting is still capable of capturing our interest, despite the funerary orations that the medium is dead. Cyphers makes it clear that she has opted for a double awareness, in which non-objective insight vies with close scrutiny of the natural world.
The American artist Peggy Cyphers seems to live up to her name. The painter and printmaker has returned to The Proposition, a frequent home for her past work, after a lengthy eight-year spell, and she continues her traditional embrace of the abstract.
Cyphers’ new exhibition is entitled Animal Spirits, though it often feels like a misnomer; the imagery definitely presents more spirit than any tangible animal. The eight-piece collection, canvases of various sizes, features painted cloud-like shapes and in every one, they emerge from the canvases’ four corners. But abstract as they appear, there is still the nod toward the natural world, albeit one that harkens to landscapes. In the painting Floaters, each shape resembles a mountain, and with its light blue background, one might feel as if they’re looking up into the sun from the bottom of a canyon.
The color palette on display throughout the exhibition is mainly neutral – black, shades of grey and brown, and army green are prominent, though there are blues and even an occasional burgundy. In Gold Spirit, Cyphers paints that color under a thin layer of black paint, allowing it to peek through. Additional pieces have gold and silver foil filling in the spaces between, while still others have glitter infused into the paint.
But while the colors may not stand out, the patterns and textures certainly do. Cyphers’ mastery comes through in the development of her corner shapes, each one made of intricate repeated brush strokes. Round, worm-like shapes resemble graffiti bubble letters, or snails; thin brown lines are stacked atop each other like a well-arranged pile of sticks. Within a set of seemingly infinite layers of perfect circles, each hair of the brush has created even more concentric circles. In one section of the painting Bear (which may well have been hung at a different angle than originally intended), Cyphers creates a tightly woven puzzle where everything fits in its right place, like a well-played game of Tetris. Another painting, Dove, has in its bottom-left corner a set of structures that look like pipes, or some plant living on the bottom of the sea.
Accompanying the Animal Spirits paintings is a video installation, Stacked Waterfalls, which plays from dusk ‘till dawn on a gallery wall. For this piece, Cyphers thinks globally and acts locally – though inspired by the waterfalls of China, the installation’s video was filmed in Brooklyn’s Prospect Park. Five images of the waterfall are staggered and arranged on top of each other, although, notably, one image is upside-down. Through this ever-so-slight reversal, Cyphers hopes to challenge the very nature of nature.
Xiomara Martinez-White is a lifelong New Yorker, with a few stints abroad in Spain, France, and South Africa. She began in journalism at the Smith College Sophian newspaper, writing the music review column "It's Only Rock 'n' Roll," and has continued as a writer, editor and reporter in the arts and entertainment field. Her work has been published in Marie Claire, People.com., The Frisky.com and The New York Times' In Transit blog.