Virginia Maksymowicz
Biografia
Sono nata nel 1952 a Brooklyn, NY. Mi sono laureata in belle arti presso il Brooklyn College/ Università della Città di New York, e ho consequito un Master of Fine Arts presso l’Università della California, San Diego.
Ho avuto mostre alle gallerie Franklin Furnace, Alternative Museum, Elizabeth Foundation e Grey Gallery di New York, e in gallerie di college, università e organizzazioni no-profit negli Stati Uniti e all’estero. La mia mostra personale più recente, “The Lightness of Bearing,” si è tenuta alla Rowan University di Glassboro, nel New Jersey.
Dopo la laurea, ho lavorato per due anni come artista CETA (Comprehensive Employment and Training Act) presso la Cultural Council Foundation di New York. Il CETA era un programma di impiego finanziato a livello federale che impiegava 20.000 artisti in tutti gli Stati Uniti, il più grande programma del genere dai tempi della Works Progress Administration degli anni ‘30. Negli anni ‘80, ero il Direttore Esecutivo della Amos Eno Gallery (nel quartiere di SoHo) e Articles Editor per il quotidiano Art & Artists. Nel 1991 mi sono trasferita a Philadelphia insieme al marito fotografo Blaise Tobia, che aveva ottenuto un posto di insegnante alla Drexel University.
Ho ricevuto una borsa di studio per la scultura dal National Endownment for the Arts nel 1984 ed sono stata artista ospite presso l’American Academy of Rome (tre volte); artista in residenza presso il Powel House Museum di Philadelphia; e borsista presso il Vermont Studio Center. Nel 2018 ho completato una residenza di due settimane presso la Trainor Arts nel Maine.
Le mie mostre sono state recensite sul New York Times, New York Newsday, New Art Examiner, Philadelphia Inquirer e Artblog. Articoli di approfondimento sono stati pubblicati sulla rivista Sculpture e sulla rivista coast-to-coast di Amtrak, The National.
Addesso sono professoressa emerita al Franklin & Marshall College di Lancaster, Pennsylvania, dopo aver insegnato all’Oberlin College in Ohio, Wayne State University nel Michigan, St. Joseph’s University e Moore College of Art and Design di Philadelphia.
Sono un membro delle organizzazioni Philadelphia Sculptors, DaVinci Art Alliance, International Sculpture Center, Women’s Caucus for Art e College Art Association.
Curriculum
PROFESSIONAL: Exhibitions (solo)
2025 (upcoming) DaVinci Art Alliance, Philadelphia, PA “Comparisons”
2023 Rowan University Art Gallery, Glassboro, NJ: “The Lightness of Bearing”
2022 William H. Gray/30th-Street Station, Philadelphia, PA: “Tools of the Trade”
(permanent)
2018 METHOD Gallery, Seattle, WA: “Invisible Alignment”
Phillips Museum of Art, Lancaster, PA: “Structural Transparencies” St. Mark’s Episcopal Cathedral, Seattle, WA: “Stations of the Cross”
2016 SACI Gallery, Florence, Italy: “Architectural Overlays”
Holy Family University, Philadelphia, PA: “Architectural Overlays”
2014 Philadelphia Episcopal Cathedral, PA: “Stations of the Cross”
2011 Art on the Avenue, Philadelphia, PA: “Previously Occupied”
Memorial Hall, National Shrine of the Immaculate Conception: “Stations of the
Cross”
2009-10 Michener Art Museum, Doylestown, PA: “Aesthetic Distance”
2008 Delaware Center for the Contemporary Arts, Wilmington, DE: “Structure and
Metaphor”
2007 Landmarks Contemporary Projects, Powel House, Philadelphia, PA: “Rules of
Civility”
Narthex Gallery, Saint Peter’s Church, New York, NY: “Stations of the Cross
2006 Center Art Gallery, Calvin College, Grand Rapids, MI: “Searching for Patterns”
2005 Penelec Gallery, Allegheny College, Meadville, PA: “Stations of the Cross”
2003 Richard E. Peeler Art Center, DePauw University, Greencastle, IN: “Accumulated
Intention” (twenty-year retrospective)
2002 Ceres Project Room, Elizabeth Foundation, New York, NY: “The Physical
Boundaries of this World”
Phillips Museum of Art, Lancaster, PA: “Alternating Figures” (ten-year retrospective)
2001 Silicon Gallery, Philadelphia, PA: “Grief” (window installation)
2000 Phoenix Gallery Project Room, New York, NY: “Garden of Earthly Delights”
1998 St. Joseph’s University Art Gallery, Philadelphia, PA: “Cameo Appearances”
1997-99 Artfronts, Philadelphia, PA: What is it that we refuse to see?
1989 Dana Gallery, Franklin & Marshall College, Lancaster, PA: “Situational Ethics”
1988 Amos Eno Gallery, NYC: “Insider Information”
1987 Forum A Gallery, University of Maine at Augusta: solo show
1985 Federal Hall National Monument, NYC: “On The Street (A Lesson in Social
Stratification),” installation sponsored by the Lower Manhattan Cultural Council
Public Image Gallery, NYC: The Bottom Line, installation sponsored by Public
Image and Artists Space/Artist Grants
Selected Exhibitions (group)
2025 Kunstmatrix/Women’s Caucus for Art: “Looking Out: A Connected Perspective”
(digital platform based in Berlin, Germany)
Lux Center for the Arts, Lincoln, NE: “Under the Influence”
2024 DaVinci Art Alliance, Philadelphia, PA: “Perennial Visions VI”
Winter Visual Arts Center, Lancaster, PA: “Always Evolving”
Fine Arts Center Gallery, Montgomery County Community College, Blue Bell, PA:
“Pushing Buttons”
(re)FOCUS 2024: Artfronts Partnership/Philadelphia Sculptors: “Pillars of Grace”
DaVinci Art Alliance, Philadelphia, PA: “Inside Out, Upside Down, and Sideways”
2023 DaVinci Art Alliance, Philadelphia, PA: “Perennial Visions V” PhotoLounge, Philadelphia, PA: “Depth of Field”
DaVinci Art Alliance, Philadelphia, PA: “In Search of Something More” Artworks Trenton, NJ: “The Women’s Caucus for Art”
2022 Noyes Museum, Hammonton, NJ: “Lilt”
Phillips Museum of Art, Lancaster, PA: “Resurgence” Cornell University, Ithaca, NY: “The Sculpture Shoppe”
iMPeRFeCT Galley, Philadelphia, PA: “Artists in Solidarity with Ukraine” Stola Contemporary Art, Chicago, IL: “Best of Women”
2021 Newhouse Gallery, Snug Harbor Cultural Center, Staten Island, NY: “Don’t Shut
Up”
America-Italy Society, Philadelphia, PA: “Sbagliato (Mistaken), from Rome to
Philadelphia”
The Art Trust, West Chester, PA: “Immersion” (3-person show)
Wilma W. Daniels Gallery, Wilmington, NC: “PSSST”
Esther Klein Gallery, Philadelphia, PA: “Unprecedented Times”
2020 Curtis Center for the Arts, Littleton, CO: “Old Myths, New Stories” Target Gallery, Torpedo Factory, Alexandria, VA: “MYTHOS”
2019 iMPeRFeCT Gallery, Philadelphia, PA: “Salon des Refusés”
Phillips Museum, Franklin & Marshall College, Lancaster, PA: “Fresh: Faculty
Exhibition”
2018 City Hall Gallery, Philadelphia, PA: “Ethereal/Material”
Mandeville Gallery, University of California, San Diego: “The Agency of Art”
2017 BRIC Arts, Brooklyn, NY: “Open Call: Truth”
Whitney Museum of American Art, New York, NY: “Whitney Biennial: Debtfair”
(participating artist in a project of Occupy Museums)
Art Gallery at City Hall, Philadelphia, PA: “Small Sculpture”
2016 Nash Gallery, University of Minnesota, Minneapolis, MN: “The Women and Money
Project”
Phillips Museum, Franklin & Marshall College, Lancaster, PA: “Faculty Exhibition”
2015 Marketview Arts, York, PA: “Mirror, Mirror: Artists Redefining Identity” Crane Arts, Philadelphia, PA: “Old Enough to Know Better”
Globe Dye Works (Philadelphia Fringe Festival): “Pope Up”
Phillips Museum, Franklin & Marshall College, Lancaster, PA: “Faculty Exhibition”
Forum Gallery, Cranbrook Academy of Art, Bloomfield Hills, MI: “Circles”
2014 POST Philadelphia: “Installation (in progress)”
Holy Family University Art Gallery, Philadelphia, PA: “Connections”
2013 Dalton Gallery, Agnes Scott College, Decatur, GA: “Material Witness” SPP Galleries, Philadelphia Inquirer Building, PA: “VIOLENCE”
DOSHI Gallery, State Museum of Pennsylvania, Harrisburg, PA: “Course and
Discourse”
2012 Altered Esthetics, Minneapolis, MN: “Anger, Angst and Art” Delaware Center for Contemporary Art, “Fragile Boundaries” Altered Esthetics, Minneapolis, MN: “Collecting Evidence” Bronx Art Space, NYC: “Circuitous Routes”
Phillips Museum of Art, Lancaster, PA: “Biennial Faculty Exhibition”
2011 Painted Bride Art Center, Philadelphia, PA: “Art in the Open” Delaware Art Museum, Wilmington, DE: “Battle of the Sexes”
International House, University of Pennsylvania, Philadelphia, PA: “Women and
Water”
2010 Woodmere Museum, Philadelphia, PA: “Constructed Visions”
Phillips Museum, Franklin & Marshall College, Lancaster, PA: “Faculty Exhibition”
2009 Amos Eno Gallery, New York, NY: “Past and Present” Art in City Hall, Philadelphia, PA: “Paper Works!”
Lancaster Art Museum (Benefit Event), “Bodily Pleasures” (2-person show)
2008 National Museum of Catholic Art and History, New York, NY: “Three Artists for Lent and Easter”
Plastic Club, Philadelphia, PA: “Plastic at the Plastic” Islip Art Museum, Islip, NY: “Couples”
Florissant Valley Gallery, St. Louis Community College, MO: “Women and the
Environment”
Redding Gallery, Wilmington, DE: “Stitch by Stitch” and “Environmental Distress”
2007 Museum of Modern Art, New York, NY: “Reconstructing the Feminist Past: Art
World Critique, 1960 to Now”
Foundation for the Sacred Arts, travelling exhibit, “Redeeming Beauty”
2006 Sculpturesite Gallery, San Francisco, CA: “Body Language: Figurative Works by
Five Women Sculptors”
Fabric Workshop and Museum, Philadelphia, PA: “A Conversation at the Table” Perzel Center Art Gallery, Holy Family University, Philadelphia, PA: “Beginnings”
2005 Philadelphia Fringe Festival: “Dissonance”
International Book Fair, Seoul, South Korea: Women’s Caucus for Art book project,
Who We Are
Art in City Hall, Philadelphia, PA: “Art Full Text”
Emily Davis Gallery, The University of Akron, OH: “Man & Beast”
The Galleries at Moore College of Art and Design, Philadelphia, PA: “A Show of Hands”
Highwire Gallery, Philadelphia, PA: “Making History”
Williams Art Center Gallery, Lafayette College, Easton, PA: “Sheltered”
Stedman Gallery, Rutgers University, Camden: “Philly Women/Philly Books,”
exhibit of Women’s Caucus for Art book project Who We Are
Brookfield Craft Center, Brookfield, CT: “Translucence”
2004 InLiquid, Philadelphia, PA: “Benefit v.5.0”
B-Square Gallery, Philadelphia, PA: “Dream”
Zonk Arts Gallery, Philadelphia, PA: “Multeity”
Broadway Gallery, New York City: “Drawing Conclusions II” Mulberry Art Studios, Lancaster, PA: “Bodies of Art”
The Bookmobile/Mobilivre Project, touring throughout U.S and Canada, exhibit of
Women’s Caucus for Art book project, Who We Are
Philadelphia Free Library (main branch), Print and Picture Department, exhibit of
Women’s Caucus for Art book project, Who We Are
2003 Museum of Contemporary Art, Fort Collins, CO: “Corners”
Residential College Gallery, University of Michigan, Ann Arbor, MI: “Frames of
Identity; Images of Self”
2002 Mulberry Art Studios, Lancaster, PA: “Bodies of Art”
Stedman Gallery, Rutgers University, Camden: “Not So Pretty” Cherry Street Tavern, Philadelphia, PA: “Members Only”
Medical College of Pennsylvania, Philadelphia, PA: “A Celebration of Community” Silicon Gallery, New York City: “Here and Now”
2001 Consortium Gallery, Portland Maine; Open Space Gallery, Allentown, PA; Center
for Cultural Change, Northampton, MA (traveling exhibit): “Counting Coups”
American Visionary Art Museum, Baltimore, MD: “Mardi Gras Soul Train” Dieu Donné Gallery, New York City: “Land/Escape”
2000 Baltimore Artscape: School 33 Gallery, Baltimore, MD: “Artafexus”
Liberty Place, Philadelphia, PA: “Art Works/Water Works” Phoenix Gallery Project Room, New York, NY: “Generativity”
1999 Philadelphia Fringe Festival, Philadelphia, PA (site-specific installation with Blaise
Tobia)
Baltimore Artscape, Baltimore, MD: “Martyrology” (installation)
1998 Levy Gallery, Moore College of Art and Design, Philadelphia, PA: “The 1998
Faculty Exhibition”
Borowsky Gallery, Philadelphia, PA: “Neoclassicism Revisited”
Laband Gallery, Loyola Marymount University, Los Angeles, CA: “Contempo-
Italianate”
Westby Gallery, Rowan University, Glassboro, NJ: “Reprocessed Legacies,” (4- person show)
1997 CCC Gallery, Philadelphia, PA: “WCA 25th Anniversary Chapter Exhibit”
1996 Moore College of Art and Design, Philadelphia, PA: documentation of “Lily of the
Mohawks”
Southern Exposure, San Francisco, CA: “Work/Space: Visual Relations
Incorporate”(outdoor installation in financial district)
Lawrence Gallery, Rosemont College, Rosemont (Philadelphia), PA: “Women: Object/Subject”
Bromfield Gallery, Boston, MA: “Transforming Tradition”
1995 Mitchell Museum, Mt. Vernon (Chicago), IL: “Lightweight Works” Primary Objects Gallery, San Antonio, TX: “People, Places, Things”
1994 Franklin & Marshall College, Lancaster, PA: “Retrievals”
Prince Street Gallery, NYC: “Family Values” S.S. White, Philadelphia, PA: “Sum & Parts”
Staller Center for the Arts, SUNY Stony Brook, NY: “Paper Works” Primary Objects Gallery, San Antonio, TX: “Ancestors and Elders”
Pennsylvania School of Art & Design, Lancaster, PA: “Interiors and Icons”
1993 City Hall, Philadelphia, PA: “All in All, I’d Rather Be in Philadelphia”
1992 Abington Art Center, Jenkintown, PA: “American Pie: Myth Representation” (4- person show)
Shepherd College, Shepherdstown, WV: “Market Strategies” (two-person show)
Maria Feliz Gallery, Jim Thorpe, PA: “Tangibles and Metaphors” (two-person show)
1991 ARC Gallery, Chicago, IL: “Inappropriate Men”
The Alternative Museum, NYC: “Beyond Aesthetics: Works of Conscience”
1990 The Clocktower, NYC: “Positive Actions: Visual AIDS”
Swords into Plowshares Gallery, Detroit, MI: “Cultural Exchange” (two-person show)
The Armory, Philadelphia, PA: “Art at the Armory”
1989 Bronx River Art Gallery, NYC: “Art Against Apartheid” N.A.M.E. Gallery, Chicago, IL: “Assumptions”
1988 RCCA, Troy, NY: two-person show
Islip Art Museum, NY: “The Plight of the Figure”
PS 122, NYC: “The Portrait Retold: Present Histories”
City Without Walls, Newark, NJ: “Uhruru: African and American Artists Against
Apartheid”
Lawndale Art Center, Houston, TX: “Back to the Future”
1987 Bronx River Art Gallery, NYC: “Art in Unestablished Channels” Minor Injury Gallery, NYC: “10%”
Franklin Furnace, NYC: “Money/Power”
Momenta Gallery, Philadelphia, PA: “Voices of Dissent”
Rotunda Gallery, NYC: “Fragments”
1986 Contemporary Art Center, New Orleans, LA: “Oppression/Expression”
10 on 8, NYC: “Imaginary Brooklyn”
Sonoma State University Art Gallery, Rohnert Park, CA: “With the Land” Wiesner Gallery, NYC: “Undercurrents”
Pace University Gallery, NYC: “Taking Liberties”
1985 Grey Gallery, New York University, NYC: “Precious: An American Cottage Industry of the Eighties”
1984 22 Wooster, NYC: “Art Against Apartheid”
Artcite, Windsor, Ontario, Canada: “Crossed Borders”
La Chambre Blanche, Quebec, Canada: “Féministe toi-même, féministe quand-
même”
1983 Franklin Furnace, NYC: “End of the Rainbow”
Contemporary Art Institute of Detroit, MI: “The Demise of Opulence and the
Death of Art”
1982 College of Wooster Art Museum, Wooster, OH: “Extended Stories” (2-person show) Allen Memorial Art Museum, Oberlin, OH: collection
College of Wooster, Wooster, OH: installation, “Dinosaur/Human Trackway”
1980 Museum of Contemporary Art, Sao Paulo, Brazil: “American Women Artists” Lever House Gallery, NYC: “Art for Public Places”
Federal Plaza, NYC: “Nineteen at Twenty Six”
1979 Pratt Gallery, NYC: “Art for Public Spaces: Proposals/Solutions” Newhouse Gallery, NYC: “Artists By The Sea”
Six City Activities: NYC/The Achilles Press (archived at the Franklin Furnace
Collection, Museum of Modern Art, NYC)
New York Botanical Garden: installation, Conceptual Garden
1978 Battery Park, NYC: Organization of Independent Artists
Snug Harbor Cultural Center, NYC: installation
BACA Downtown, NYC: mural
1977 Mandeville Gallery, University of California, San Diego: “We’ll Call You” Mandeville Gallery, U.C.S.D.: “The Artist’s Book”
Otis Art Institute, Los Angeles, CA: “Fourth Annual Exhibition of Drawings by MFA Candidates”
TRACES: (with Bruce Reynolds) La Jolla/The Achilles Press
San Diego Mesa College: installation
1976 HEADS: La Jolla/The Achilles Press
Guide to Locating Sculpture: La Jolla/The Achilles Press (archived at the Franklin
Furnace Collection, Museum of Modern Art, NYC)
U.C.S.D. Campus: installations (2)
1975 The Floating Wall, Santa Ana, CA: “Twenty Perspectives”
Commissions
2024 Chris McNew for The Clio Project: sculpture entitled Epiphany
2019 Amtrak, artist-interpreted route map for The National magazine
2005 St. Thomas Episcopal Church, Lancaster, PA: “Stations of the Cross,” set of 14
finished, charcoal drawings and 14 sculptural reliefs
Residencies
2019 Artist-in-Residence, Trainor Arts, Surry, Maine (August)
2014 Visiting Artist, American Academy in Rome (May)
2012 Visiting Artist, American Academy in Rome (November)
2007 Artist-in-Residence, Vermont Studio Center, Johnson, VT (May-June)
2006-07 Artist-in-Residence, Powel House, Philadelphia PA (June-October)
2006 Visiting Artist, American Academy in Rome (September-October)
Catalogues, Books, Magazines, Etc.
2024 (re)FOCUS 2024, with essays by Robert Cozzolino, Ruth Fine, Imani Roach, and
Judith Stein, Moore College of Art and Design, Philadelphia, PA; p. 169
2023 The Lightness of Bearing, with essay by Andrea Kirsh, Rowan Unversity, Glassboro, PA
2022 Best of Women, Stola Contemporary Art, Chicago, IL
2020 MYTHOS, with essay by Dr. Michele Greet, Target Gallery, Torpedo Factory, Alexandria, VA: October; <https://spark.adobe.com/page/6HUfGJOOG7iA2>
2019 Scenic Route in Amtrak’s The National, with essay by Tom Smyth, photos by Jason Varney, Dec. 2019/Jan. 2020, Washington, DC: National Railroad Passenger Corporation, pp. 18-20
2018 Structural Transparencies, with essay by Margot Hobbs, Lancaster, PA: Phillips
Museum of Art
2016 Openings: A Memoir from the Women’s Art Movement, New York City 1970-1992, by Sabra Moore; forward by Lucy Lippard, Margaret Randall, New Village Press, New York, NY
Architectural Overlays, with essay by Mary Coss, Achilles Press, Philadelphia, PA
2015 Mirror, Mirror, with essay by Leslie Kaufman, Philadelphia Sculptors and York
College, York, PA
Pope Up, with essay by Leslie Kaufman, Philadelphia Sculptors/Fringe Arts/Globe
Dye Works, Philadelphia, PA
2013 Material Witness, with essay by Marcia Wood, Dalton Gallery, Agnes Scott
College, Decatur, GA
Bound, published by Women’s Caucus for Art in conjunction with exhibition at
Phoenix Gallery, New York, NY
2008 Couples, with essays by Karen Shaw, curator and Mary Lou Cohalan, director, Islip
Art Museum, East Islip, NY
2007 Documenting a Feminist Past: Art World Critique, published by the Museum of Modern Art in conjunction with the exhibition and symposium, New York, NY; January 2007
<http://www.moma.org/interactives/exhibitions/2007/feminist_past/>
2005 Sheltered, with essay by Paul Felder, Williams Art Center Gallery, Lafayette
College, Easton, PA
2004 Corners, with essay by Erica France, Museum of Contemporary Art, Ft. Collins, CO
2002 Alternating Figures, with essay, “Yes, Virginia,” by Arlene Raven, Dana Gallery,
Phillips Museum, Lancaster, PA
1998 Contempo-Italianate, with essay by Mary-Kay Lombino, Laband Gallery, Loyola
Marymount University, Los Angeles, CA
DCCA Visiting Critic publication, with essay based on visits to artists’ studios by
Patricia C. Phillips, Delaware Center for the Contemporary Arts, Wilmington, DE
1994 Paper Works, Staller Center for the Arts, SUNY, Stony Brook, NY
1992 American Pie: Myth Representation, with essay, “Democracy, Disorder, and the
New Political Art,” by Miles Orvell, Abington Art Center, PA and CEPA, NY
1991 The Female Body: Figures, Styles, Speculations, with essay “Dilemmas of
Visibility: Contemporary Women Artists’ Representations of Female Bodies,” by
Darcy Grimaldo Grigsby; Laurence Goldstein, editor, University of Michigan
In Stitches, with essay by Gloria Kaufman, Indiana University Press
Contemporary Women Artists’ Representations of Female Bodies,” by Darcy
Grimaldo Grigsby; Laurence Goldstein, editor, University of Michigan
1990 Art at the Armory, Moonstone, Inc., Philadelphia, PA
1988 Plight of the Figure, with essay by Karen Shaw, Islip Art Museum, Islip, NY Assumption, with essay by Irene Tsatsos, N.A.M.E. Gallery, Chicago, IL Uhuru, with essay by Joseph B. Diescho, City Without Walls, Newark, NJ
Insider Information, with essay, “Gekko and The Guerrilla Girls,” by Judd Tully,
Amos Eno Gallery, NYC
1987 Borderlands, Artcite Gallery, Windsor, Ontario, Canada
10%, with an essay by Kathi Norklun, Minor Injury Gallery, Brooklyn, NY
Feministe toi meme: feministe quande meme, La Chambre Blanche, Quebec, Canada
1986 Oppression/Expression, Contemporary Art Center, New Orleans, LA
With the Land, Sonoma State Art Gallery, CA
Works for Freedom/Art Against Apartheid, Ikon, NYC
1985 Precious, with essay by Thomas Sokolowski, Grey Art Gallery, New York
University, NYC
1984 Féministe toi-même, féministe quand-même, La Chambre Blanche, Québec, Canada
1983 The Demise of Opulence and The Death of Art, Contemporary Art Institute of
Detroit, MI
1980 American Women Artists, Museum of Contemporary Art, Sao Paulo, Brazil
Artist Project: On The Identification and Utilization of Largely Untapped Resources,
The Cultural Council Foundation/Publishing Center for Cultural Resources, NYC
Selected Reviews and Articles
2024 “Blaise Tobia and Virginia Maksymowicz and their ‘collaborative enterprise in art and life’,” Miles Orvell, Philadelphia Artblog, May 20 < https://www.theartblog.org/2024/05/blaise-tobia-and-virginia-maksymowicz-and- their-collaborative-enterprise-in-art-and-life/>
“L’omaggio di Sama Alshaibi alle donne che portano sulla testa tutti i pesi del mondo,” Angiola Dodacci-Pisanelli, L’Espresso, July 3
<https://lespresso.it/c/idee/2024/7/3/lomaggio-di-sama-alshaibi-alle-donne-che- portano-sulla-testa-tutti-i-pesi-del-mondo/51404>
2023 “Virginia Maksymowicz and the ‘Lightness of Bearing’ at Rowan University Art
Gallery,” exhibition review, Mary Murphy, Philadelphia Artblog, October 20
<https://www.theartblog.org/2023/10/virginia-maksymowicz-and-the-lightness- of-bearing-at-rowan-university-art-gallery/>
“Virginia Maksymowicz,” Lori Waxman, The Philadelphia Citizen, October 15
<https://thephiladelphiacitizen.org/the-60-wrd-min-art-critic-comes-to- philadelphia/>
2022 “First new sculpture in 70 years for Philly’s 30th Street Station,” radio broadcast
and article, Peter Crimmins, WHYY, April 30 <https://whyy.org/articles/first-new- sculpture-in-70-years-for-phillys-30th-street-station/>
“Contemporary and ancient art exhibit enlivens Ithaca mall,” Linda B. Glaser,
Cornell Chronicle, May 24 <
enlivens-ithaca-mall>
2021 “Artists say a forgotten Nixon-era jobs program could radically alter federal arts
funding,” Stephan Salisbury, The Philadelphia Inquirer, April 9
2020 “Exhibit upends. male-centric myths, legends and folklore,” exhibition review of
“MYTHOS,” Mark Jenkins, The Washington Post, October 16
2019 “It worked in Paris for Manet and Cézanne. Now Philly has its own Salon des Refusés,” exhibition review, Edith Newhall, The Philadelphia Inquirer, July 21, p. H8
2016 “Strong Supports,” Sarah Archino, Sculpture Magazine, vol. 35, no.6, July/August
2015 “Subversive Wisdom,” review of “Old Enough to Know Better,” Samantha
Maldonado, The Broad Street Review, Art & Architecture, November 20
“Fringe pope-inspired exhibit has sculptures, reverent and critical,” Peter
Crimmins, National Public Radio, WHYY, September 4
2013 “Fanfare for Maksymowicz: A Campus Legend in the Shadow of a ‘Fallen Star,’”
Dave Hampton, Public Broadcasting Service, KPBS, May 9
”Irony overshadows angst, humor edges anger in show of women artists at Agnes
Scott,” Harriette Grissom, Arts Atlanta , October 17
2012 “Shows are a good reason for a short trip to Delaware,” review of “Fragile
Boundaries,” Edith Newhall, The Philadelphia Inquirer, July 29
2011 “Wall to Wall,” review of “Previously Occupied,” Stephan Salisbury, The
Philadelphia Inquirer, November 10
“On the avenue — Lancaster Avenue that is,” review of “Queries,” Roberta Fallon,
the artblog October 20
“Artist’s work aims to make Stations of the Cross ‘more immediate’,” by Becket Adams, Catholic News Service, March 31 (national feed picked up by newspapers nationwide)
2010 “Lawn art: Woodmere’s surprising summer sculpture show,” Edith Newhall, The
Philadelphia Inquirer, July 25
2009 “Top Flight,” Gwen Shrift, Bucks County Courier Times, November 29
“Works made of paper bring fragile technique to a show at City Hall,” Victoria
Donohoe, The Philadelphia Inquirer, October 23
“Work that radiates pure energy,” Victoria Donohoe, The Philadelphia Inquirer, February 12
2008 “Married to Art and Each Other,” Benjamin Genocchio, New York Times, April 27
“Playing matchmaker with these six ‘couples’,” Ariella Budick, New York Newsday, April 11
2008 “Virginia Maksymowicz, Structure and Metaphor,” interview by Marie Elcin, Women’s Caucus for Art, Philadelphia Chapter, July 19, <http://phila- wca.blogspot.com>
2005 Review of Stations of the Cross, Angela Melkisethian, Sculpture Magazine, vol. 24, no. 6, July/August, Washington, DC: International Sculpture Center
Review of “Art Full Text” exhibit, Celeste Starita, The Weekly Press, March
30, Philadelphia, PA
“Text Messaging,” exhibit review, Roberta Fallon and Libby Rosof, artblog, April 1
<http://www.fallonandrosof.com/archives/2005_03_27_archive.html>
“’Sheltered’ a tornado of creations by 20 artists,” exhibit review, Geoff Gehman,
The Morning Call, January 13, Easton, PA
2004 Review of Who We Are exhibit at Philadelphia Free Library, Bonnie
McAllister, Paw Print Magazine, vol. 2, issue 2, April, print and online
<http://www.philadelphiawriters.com/>, Philadelphia, PA: Philadelphia
Writers
2003 Review of The Physical Boundaries of this World, Ana Finel Honigman, Sculpture
Magazine, vol. 22, no.2, March, Washington, DC: International Sculpture Center
2000 “Full Frontal Beauty,” review of “Artfronts” exhibits, Patrick Moorhead, l.i.p. magazine, winter, Philadelphia, PA
1999 Review of “Artscape 2000 Minus 1” exhibit, George Howell, Sculpture Magazine,
December
1998 Review of “Artfronts” exhibits, Leslie Kaufman, Sculpture Magazine, September
“Show Offers Modern Perspective into Italy’s Art-History Past, review of “Contempo-
Italianate” exhibit, William Wilson, Los Angeles Times, November 13
Review of “Contempo-Italianate” exhibit, Peter Frank, LA Weekly, November 13
“Back to the Classics,” review of “Neoclassicism Revisited” exhibit, Edward J.
Sozanski, The Philadelphia Inquirer, October 9
1996 Review of “Women: Object/Subject” exhibit, Edward J. Sozanski, The Philadelphia
Inquirer, Friday, April 26
“14 Women’s Works Both Strong and Accessible” review of “Women: Object/Subject” exhibit, Victoria Donohoe, The Philadelphia Inquirer, Sunday, April 28
1994 “A Rich Exhibition of Paper Possibilities,” review of “Paper Works” exhibit,
Margaret Moorman, New York Newsday, April 8
“Review: Ancestors and Elders” exhibit, Marcia Goren Weser, San Antonio Voices of Art, March
1993 Review of “American Pie: Myth Representation” exhibit, Mary Murphy, New Art
Examiner, March
1992 “Political art with style and decorum,” review of “American Pie: Myth Representation” exhibit, Edward J. Sozanski, The Philadelphia Inquirer, Friday, November 6
Review of “American Pie: Myth Representation” exhibit, Victoria Donohoe, The
Philadelphia Inquirer, Sunday, October 25
1988 “Re-Positioning the Art of the Portrait” review of “The Portrait Retold” exhibit,
Kathryn Gleason, Metro Herald, NYC, June 15-28
“Human Body as Metaphor,” review of “The Plight of the Figure” exhibit, Helen A.
Harrison, New York Times, October 23
“Artistic Figures of Authority,” review of “The Plight of the Figure” exhibit, Margaret
Moorman, New York Newsday, September 2
“Art Blaring Back at Prevailing Culture,” article in conjunction with “Insider
Information,” Michael J. Farrell, National Catholic Reporter, November 4
“Truth—Like Greed—is Good,” review of “Insider Information,” Kathryn Gleason,
Metro Herald, NYC, November 25
1987 “Women and Discrimination in Art,” review of solo show at University of
Maine, Augusta, Edgar Allen Beem, The Maine Times, September 25
1986 “CAC Show Has A Conscience But Not Much Artistic Interest,” review of
“Oppression/Expression” exhibit, Robert Green, The Times-Picayune, June 1
“Back to Earth,” review of “With the Land” exhibit, Rebecca Solnit, Artweek, April
1985 “Art: Show Propounds a ‘Precious’ Esthetic,” review of “Precious” exhibit, Grace
Glueck, New York Times, March 29
“Precious,” review of “Precious” exhibit, Kay Larson, New York Magazine, April 24 “Show and Tell,” review of “Precious” exhibit, Kim Levin, Village Voice, April 23 “The Parameters of Precious,” review of “Precious” exhibit, Aimee Rankin, Art in
America, September
1980 “Mulheres Americanas,” review of “American Women Artists” exhibit, Jo Ann Hein,
Brazil Herald, November 8
Review of “Art for Public Places,” John Russell, The New York Times, August 28
1979 “CETA By The Sea and CETA Underground,” review of “Artists by the Sea” exhibit,
John Perreault, SoHo Weekly News, August 16
Other Professional Recognition
2024 Interview as part of (re)FOCUS2024, “You Oughta Know,” arts segment, PBS,
WHYY, Philadelphia
2021 Artists video as part of exhibition “Don’t Shut Up,” Newhouse Gallery, NYC
2020 Artist video interview as a recipient of a Philadelphia Sculptors grant
2012 Artwork featured: “Following Christ to Calvary: The Stations of the Cross,” St.
Anthony Messenger, March
Interview about Christo & Jeanne-Claude, their artwork and their Honorary Degree from F&M included in book, Christo and Four Modern Creators of Environmental Art, by Dennis L. Forbes, Sebrofforbesbooks, USA
2011 Artwork featured: “ Stations of the Cross,” Sculpture Magazine, International
Sculpture Center, July/August
2005 Artwork included, The Sculpture Reference Illustrated, by Arthur Williams, Gulfport, MS: Sculpture Books Publishing
2004 Featured artist for part of the month of June by Phillyart.net: <http://phillyart.net/>
2003 Featured artist for the month of June by the Philadelphia Chapter of the Women’s
Caucus for Art: <http://www.inliquid.com/wca/framset.html>
1991 Artwork featured on the cover and in the centerfold of The Female Body: Figures, Styles, Speculations, Laurence Goldstein, editor, University of Michigan
Artwork featured in centerfold of Seasonal Performances: A Michigan Quarterly
Review Reader, Laurence Goldstein, editor, University of Michigan
Artwork featured on the cover and in the centerfold of the Michigan Quarterly
Review: The Female Body; Laurence Goldstein, editor, University of Michigan
1986 Artwork, On the Street, featured on the cover of the Lower Manhattan Cultural
Council 1985-86 Annual Report
Artwork, On the Street, featured in “Artist Pages,” The New Art Examiner, Chicago, IL
Artwork, On The Street, featured in Women Artists News, Cynthia Navaretta, editor, Midmarch Press, NYC, September
1985 Artwork, On The Street, featured in Upfront, Lippard, Perr, Sutherland and Wexler, editors, PAD/D, NYC, Winter
Written Publications
2024 “Three different art experiences in Washington, D.C., at the National Gallery, American University and Glenstone.,” Blaise Tobia, coauthor, the artblog, Roberta Fallon, editor-in-chief, Philadelphia, December 9
<https://www.theartblog.org/2024/12/three-different-art-experiences-in- washington-d-c-at-the-national-gallery-american-university-and-glenstone/>
“Artomatic Art Fair, for artists, by artists, 25 years strong, in Washington, D.C.,” Blaise Tobia, coauthor, the artblog, Roberta Fallon, editor-in-chief, Philadelphia, March 28 <https://www.theartblog.org/2024/03/artomatic-art-fair-for-artists-by- artists-25-years-strong-in-washington-d-c/>
“Headlong dances with Marie Laurencin at the Barnes Foundation,” the artblog, Roberta Fallon, editor-in-chief, Philadelphia, January 22 < https://www.theartblog.org/2024/01/headlong-dances-with-marie-laurencin-at-the- barnes-foundation/>
2023 “On the Paper Trail at New York’s Art on Paper Fair,” Blaise Tobia, coauthor, the artblog, Roberta Fallon, editor-in-chief, Philadelphia, September 20
<https://www.theartblog.org/2023/09/on-the-paper-trail-at-new-yorks-art-on-
paper-fair/
“The Meditative Eye,” catalogue essay, Ron Mehlman at Chesterwood, edited by Margaret Cherin, Stockbridge, MA: Chesterwood/The National Trust for Historic Preservation, pp. 33-40
“Philadelphia Artists in Amsterdam and Berlin,” the artblog, Roberta Fallon, editor- in-chief, Philadelphia, June 1 <https://www.theartblog.org/2023/05/philadelphia- artists-in-amsterdam-and-berlin/>
2022 “Anarchy at its Best: O’Flaherty’s Open Summer Call and the Overwhelming Response,” Blaise Tobia, coauthor, the artblog, Roberta Fallon, editor-in-chief, Philadelphia, July 29 <https://www.theartblog.org/2022/07/oflahertys-summer- open-call-and-the-overwhelming-response/>
2020 “The Forgotten Federally Employed Artists,” Hyperallergic, Brooklyn, NY December
25 <https://hyperallergic.com/610071/the-forgotten-federally-employed-artists/>
“What’s next? Visual Arts on the downside of the Covid-19 curve,” Blaise Tobia,
coauthor, the artblog, Roberta Fallon, editor-in-chief, Philadelphia, April 20
<https://www.theartblog.org/2020/04/whats-next-visual-arts-on-the-downside-of-
the-covid-19-curve/>
2018 “Beyond Survival: Public Funding for the Arts and Humanities,” Blaise Tobia, coauthor, Art Journal Open, College Art Association, NYC
<http://artjournal.collegeart.org/?p=10421>
2017 “International Sculpture Day 2017,” Sculpture Magazine, vol. 36, No. 8, October, Washington, DC: International Sculpture Center
2015 “Report from Seattle,” Blaise Tobia, coauthor, the artblog, Roberta Fallon and Libby Rosof, editors, Philadelphia, April 10 <http://www.theartblog.org/2015/08/report- from-seattle/>
“An Alternate Approach to Establishing a Studio Doctorate in Fine Art,” Blaise Tobia, coauthor, Leonardo, November, Cambridge, MA: MIT Press
2013 “William Kentridge’s The Refusal of Time,” the Museo Nazionale delle Arti del XXI Secolo, Rome, exhibition review, Sculpture Magazine, vol. 32, No. 6; July/August, Washington, DC: International Sculpture Center; pp. 68-69
2012 “The Meditative Eye: The Sculpture of Ron Mehlman,” Sculpture Magazine, vol. 31, no. 9, November, Washington, DC: International Sculpture Center
“Gibellina: Where Art Renews Life,” chapter in Artists Reclaim the Commons: New Works/New Territories/New Publics; Glenn Harper and Twylene Moyer, editors; Hamilton, NJ: International Sculpture Center Press; pp. 95-99
“Art in China,” Blaise Tobia, coauthor, the artblog, Roberta Fallon and Libby Rosof, editors, Philadelphia, October 4, 2012 < http://www.theartblog.org/2012/10/art-in- china-part-1-a-visit-to-galleries-and-artist-studios-in-beijing/>
October 7, 2012 <http://www.theartblog.org/2012/10/art-in-china-part-1-a-visit-to-
galleries-and-artist-studios-in-beijing/>
“Bell’Italia /Art New and Old,” Blaise Tobia, coauthor, the artblog, Roberta Fallon and Libby Rosof, editors, Philadelphia, February 20 < http://www.theartblog.org/2013/02/bellitalia-art-new-and-old-observations-on-art- in-italy-in-three-parts-part-1/>
February 24, 2013 <http://www.theartblog.org/2013/02/bellitalia-art-new-and-old- an-observation-on-art-in-italy-in-three-parts-part-2/>
February 26, 2013 <http://www.theartblog.org/2013/02/bellitalia-art-new-and-old-
an-observation-on-art-in-italy-in-three-parts-part-3/>
“Acid Mine Drainage and Art: Art, History, and Science in Rural Pennsylvania,” chapter in The New Earthwork: Art, Action, Agency, Glenn Harper and Twylene Moyer, editors; Hamilton, NJ: International Sculpture Center Press; Chapter 14
“Looking Back (a history of the Women’s Caucus for Art),” Artlines, Fall , pp. 1-2,
New York, NY: Women’s Caucus for Art
2011 “All Manner of Things: the Art of Barbara Strasen,” catalogue essay, Blaise Tobia,
coauthor; George Billis Gallery: New York and Los Angeles
2009 “Deborah Sigel,” exhibition review of “Suspended Visions,” Sculpture Magazine, vol. 29, no.1, January/February, Washington, DC: International Sculpture Center
“The Art of In-Between,” Embracing the Uncarved Wood: Sculptural Reliefs from
Shandong, China, Lancaster, PA: Franklin & Marshall College
2008 “Report from China: the contemporary art scene,” July 19, artblog, Philadelphia,
<http://theartblog.org/>
“Reimagining Religious Art,” ARTs: The Arts in Religious and Theological Studies,
vol. 19, no.1, New Brighton, MN: United Theological Seminary of the Twin
Cities
2007 “Trusting Serendipity: A Conversation with John Phillips and Carolyn Healy,” Sculpture Magazine, vol. 26, no. 6, July/August, Washington, DC: International Sculpture Center
“Reclaiming the Past: Art, History, and Science in Rural Pennsylvania,” Sculpture Magazine, vol. 26, no. 4, May, Washington, DC: International Sculpture Center
2006 “Vanitas,” catalogue essay for Philadelphia/Tri-State Artists Equity exhibition, Sykes Gallery, Millersville University, PA
“Fragments and Repetition: extending the narrative of sculptural installation,” Interpreting Ceramics, <http://www.uwic.ac.uk/ICRC/issue001/contents.htm>, Cardiff, Wales
2004 “Brant Schuller,” exhibition review of “Blockade,” Sculpture Magazine, vol. 23, no.
7, September, Washington, DC: International Sculpture Center
“Incarnational Art,” book review of Postmodern Heretics: Catholic Imagination in Contemporary Art by Eleanor Heartney, Sojourners Magazine, vol. 33, no. 7, July, Washington, DC
“A Row with an Angel” and “Difficult Art: Sometimes the best art isn’t at all beautiful,” republished in Spirit of Fire, Sojourners, Washington, DC
“Collateral Damage: Echoes in Our Soul,” exhibit review, New York Arts Magazine, vol. 9, no. 5/6, May/June 2004, New York, NY
2003 Articles (2), “Installation” and “Antony Gormley” in Encyclopedia of Sculpture, edited by Antonia Boström, vol. 2, pp. 693-694; 785-788, New York, NY and London, England: Routledge
“Figuratively Speaking,” review of International Sculpture Center conference, Sculpture Magazine, vol. 22, no. 9, November, Washington, DC: International Sculpture Center
“Randy Dalton,” exhibit review, Sculpture Magazine, vol. 22, no. 5, June, Washington, DC: International Sculpture Center
“Dangerous Art: Sometimes the best art isn’t at all beautiful,” Sojourners Magazine, vol. 32, no. 3, May-June, Washington, DC
2001 “The Atelier Revisited,” Sculpture Magazine, vol. 20, no. 6, July/August, Washington, DC: International Sculpture Center
“La Scuola Alfamediale,” coauthored with Blaise Tobia and Tullio Sirchia, Digital Creativity: Crossing the Border, proceedings of the 4th Computers in Art and Design Education conference, April, 2001, Glasgow, Scotland: Glasgow School of Art Press
“High, Low, and In-Between,” Sculpture Magazine, vol. 20, no.2, March, Washington, DC: International Sculpture Center
2000 “Valie Export,” exhibit review, Sculpture Magazine, vol. 19, no. 7, September, Washington, DC: International Sculpture Center
“Bringing the Cost to Light,” with Blaise Tobia, included in anthology, Social Problems of the Modern World, edited by Frances Moulder, Florence, KY: Wadsworth Publishing
“Artists Talking,” Sculpture Magazine, vol. 19, no. 6, May, Washington, DC: International Sculpture Center
1999 Technical entries included in the Hand Papermakers’ Cookbook, NYC: Dieu
Donné Press
“Art & Ecology,” Sculpture Magazine, vol. 18, no. 3, February, Washington, DC: International Sculpture Center
“From the Met to Sacred Heart,” National Catholic Reporter, Vol. 35, No. 17, April
24, Kansas City, MO
“Public Art in Gibellina,” Sicilia Parra, Gaetano Cipolla, editor, Spring, NYC: St.
John’s University
1998 “Artist Viola’s world infused with divine,” National Catholic Reporter, Vol. 33, No.
16, April 24, Kansas City, MO
“Nuns as Artists,” book review, Women Artists News, vol. 23, Book Review Issue, NYC: Midmarch Associates
1997 “Brave New World,” Glenn Harper, ed., Art Papers, vol. 21, issue 4, July-August, Atlanta, GA
“Gibellina: An Uncommon Collaboration,” Sculpture Magazine, vol. 16, no. 2, February, Washington, DC: International Sculpture Center
“Black Madonnas: feminism, religion, & politics in Italy by Lucia Chiavola Birnbaum,” book review, Women Artists News, vol. 22, Book Review Issue, NYC: Midmarch Associates
1996 “A Row With An Angel,” Sojourners, May-June, vol. 25, No. 3, Washington, DC
“Artists view cyberspace as their newest canvas,” National Catholic Reporter, Vol.
32, No. 16, February 16, Kansas City, MO
“After the Machine by Miles Orvell,” book review, Women Artists News, vol. 21, Book Review Issue, NYC: Midmarch Associates
1995 “Arresting Images by Steven C. Dubin,” book review, Women Artists News, vol. 20, Book Review Issue, NYC: Midmarch Associates
1994 “Parallel understandings: a retrospective” with Blaise Tobia, The Witness, October, Detroit, MI: Episcopal Church Publishing Company
“Christ in New York” (Duane Michals) with Blaise Tobia, The Witness, August/September, Detroit, MI: ECPC
“Challenging the canons,” (Mary Beth Edelson) with Blaise Tobia, The Witness, July, Detroit, MI: ECPC
“Celebrating disabled and minority women,” (Sanda Aronson) with Blaise Tobia,
The Witness, June, Detroit, MI: ECPC
“Bringing the cost to light,” (Craig Freeman) with Blaise Tobia, The Witness, May, Detroit, MI: ECPC
1993 “Frustrated dialogue,” (Marina Abramovic and Ulay) with Blaise Tobia, The
Witness, April, Detroit, MI: ECPC
“America’s Finest?” (David Avalos, Louis Hock and Elizabeth Sisco) with Blaise
Tobia, The Witness, March, Detroit: ECPC
“Revolutionary Art,” (Andy Warhol and the Artworkers’ Coalition), The Witness,
January/February, Detroit, MI: ECPC
“Light in Darkness?,” (Ad Reinhardt and Thomas Merton), The Witness, December, Detroit, MI: ECPC
“Rethinking ‘Religious’ Art,” The Catholic World, November/December, Mahwah, NJ: The Paulist Press
“Shrouded Lives,” (Carolyn Warfield) with Blaise Tobia, The Witness, November, Detroit, MI: ECPC
“The Surrealities of Meat,” (Sue Coe) with Blaise Tobia, The Witness, October, Detroit, MI: ECPC
“Educating Through Art,” (CETA Artists Project, Willie Birch, Herb Perr and Tim
Rollins) with Blaise Tobia, The Witness, September, Detroit, MI: ECPC
“Portraits of Pain,” (Lin Baum) with Blaise Tobia, The Witness, July/August, Detroit, MI: ECPC
“Confronting New York’s Trash,” (Agnes Denes and Mierle Laderman Ukeles) with
Blaise Tobia, The Witness, June, Detroit, MI: ECPC
“Soul Progress” (Alex and Allison Grey) with Blaise Tobia, The Witness, May, Detroit, MI: ECPC
“Crossroads: Reflections on the Politics of Culture by Don Adams and Arlene Goldbard,” book review, Women Artists News, vol. 18, Spring, NYC: Midmarch Associates
“When You Can Not Pay,” (John-Ed Croft) with Blaise Tobia, The Witness, April, Detroit, MI: ECPC
“Liberation Symbology,” (Lynn Randolph) with Blaise Tobia, The Witness, March, Detroit, MI:ECPC
“Computer Aging,” (Nancy Burson) with Blaise Tobia, The Witness, January/February, Detroit, MI: ECPC
“Like Mother, Like Daughter? . . . Yes and No” (Joyce and Elizabeth Scott), New
Directions for Women, January/February, Englewood, NJ
1992 “Through the Back Door: Alternative Approaches to Public Art,” Art and the Public
Sphere, W.J.T. Mitchell, editor, Chicago, IL: The University of Chicago Press
Selected writings and talks, Mutiny and the Mainstream: Talk That Changed Art
1975-90, Judy Seigel, editor, NYC: Midmarch Press
“Witness to Dissent,” (Clarissa Sligh) with Blaise Tobia, The Witness, December, Detroit, MI: ECPC
“Is Silence a Sacrament?” (Kathy Constantinides) with Blaise Tobia, The Witness, November, Detroit, MI: ECPC
“The Great Wall of Los Angeles,” (Judy Baca) with Blaise Tobia, The Witness, October, Detroit, MI: ECPC
“Shards of Hope,” (Sandra Menefee Taylor) with Blaise Tobia, The Witness, September, Detroit, MI: ECPC
“Unmasking Fear,” (Willie Birch) with Blaise Tobia, The Witness, June, Detroit, MI: ECPC
“Ordained by Community,” (Robert Lentz) with Blaise Tobia, The Witness, May, Detroit, MI:
“Renewing the Earth,” (Newton & Helen Harrison) with Blaise Tobia, The Witness, April, Detroit, MI: ECPC
“Painter brushes with poor in war zones, refugee camps,” (Lin Baum) The National
Catholic Reporter, Vol. 28, No. 17, February 28, Kansas City, MO
“Gods of Money,” (Barton Lidice Benés) with Blaise Tobia, The Witness, March, Detroit: Detroit, MI: ECPC
“Messages to the Public,” (Public Art Fund) with Blaise Tobia, The Witness,
February, Detroit, MI: ECPC
“Artists in Suits,” High Performance, Winter 1992, Los Angeles, CA: Astro Artz
“Giving a Face to the Powerless,” (Lin Baum) New Directions for Women, January/February, Englewood, NJ
“Native Art,” (Syracuse Cultural Workers) with Blaise Tobia, The Witness, January, Detroit, MI: ECPC
1991 “Korean Women Mine Personal Lives for Art,” (Sunny Soe and Yong Soon Min)
New Directions for Women, November/December, Englewood , NJ
“Judy Chicago: Birthing Art,” with Blaise Tobia, The Witness, December, Detroit, MI: ECPC
“Sisters of Survival: Performing Against Nuclearism,” with Blaise Tobia, The
Witness, November, Detroit, MI: ECPC
“Swords Into Plowshares; Tanks Into Artworks,” with Blaise Tobia, The Witness, October, Detroit, MI: ECPC
“Christian Art: Concern for the World,” with Blaise Tobia, The Witness, September, Detroit, MI: ECPC
“Prophets of the Modern Age: Taking Art to the Streets,” Sojourners, May, Washington, DC
“Motherhood is Core of Artist’s Imagery,” (Charleen Touchette), New Directions for
Women, March/April: Englewood, NJ
“‘Last Supper’: Elucidating faith with anguished hearts,” (Bill T. Jones/Arne
Zane/Michael Perry) The National Catholic Reporter, Vol. 27, No. 12, January
18, Kansas City, MO
1990 “The Practice of Photography: Education, Gender and Ideology,” Society for Photographic Education panel review, Women Artists News, vol. 15, no. 3, Fall, NYC: Midmarch Associates
“Women’s Art Registry of Minnesota,” Ibid.
“Dangerous Transgressions,” (panel review), Women Artists News, vol. 15, no.
1&2, Spring/Summer, NYC: Midmarch Associates
“Parable of the Streets: Making Art about the ‘Real Deal’,” (John Malpede and the
L.A.P.D.), Sojourners, June, Washington, DC
“Prodding the Conscience,” The Other Side, January/February, Philadelphia, PA: Jubilee, Inc.
“Lynne Avadenka,” review, Ibid.
1989 “Feminist Art Criticism: An Anthology by Freuh, Langer and Raven,” review, Art&Artists, vol. 18, No. 4, August/September, NYC: Foundation for the Community of Artists
“Telling Stories/Compelling Events,” catalogue essay (Lynne Avadenka and Kathy
Constantinides), Detroit Art Institute, Detroit, MI
“I’d Rather CENSORED in Philadelphia,” Art&Artists, vol. 18, no. 3, June/July, NYC: FCA
“The Sands of Time,” Art&Artists, vol. 18, no. 2, April/May, NYC: FCA
“Squeamish Art World Squelches Exhibition,” New Directions for Women,
March/April: Englewood, NJ
“Art Safety: Hazards and Precautions (A Videotape),” review, Art&Artists, vol. 18, no. 1, February/March, NYC: The Foundation for the Community of Artists
1988 “Icons of Family Life Make Grist for Artist’s Mill,” (Clarissa Sligh), New Directions for Women, January/February: Englewood, NJ
“On Another Planet,” Art&Artists, vol. 17, no. 6, December/January, NYC: FCA
“Crossing Over: Feminism and the Art of Social Concern by Arlene Raven,” review,
Art&Artists, vol. 17, no. 4, August/September, NYC: FCA
“She Transforms Garbage Into Art,” (Mierle Laderman Ukeles), New Directions for
Women, September/October: Englewood, NJ
“Women Artists (and others) Caucusing,” Art&Artists, vol. 17, no. 3, June/July, NYC: FCA
“Tax Demo/Tax Footnote,” Art&Artists, vol. 17, no. 3, June/July, NYC: FCA
“Getting Noticed: Ellen Lubell on Art Reviewing,” Art&Artists, vol. 17, no. 3, June/July, NYC: FCA
“Children & Creativity Make for Tough Mix,” (Frances Charteris, Audrey Flack, Martha Jackson-Jarvis, Joan Semmel, Charleen Touchette), New Directions for Women, July/August: Englewood, NJ
“Artist Makes Own Parade,” (Glenna Park), New Directions for Women, May /June: Englewood, NJ
“Musings on CETA: A Review of Bureaucratizing the Muse by Steven C. Dubin,”
Art&Artists, vol. 17, no. 2, April/May, NYC: FCA
1987 “Guerrilla Girls Mix Laughter, Politics,” New Directions for Women, March/April: Englewood, NJ
“Making Activist Art,” Heresies, no. 22, NYC: Heresies Collective. “Conferring Art,” Art&Artists, vol. 16, no. 6, December/January, NYC: FCA “AIDS&Art,” Art&Artists, Op. Cit.
“Individuals: A Selected History of Contemporary Art,” review, Art&Artists, vol. 16, no. 4, August/September, NYC: FCA
“Report from Cincinnati: Works by Women,” Art&Artists, vol. 16, no. 3, June/July, NYC: FCA
“Oberlin Notes,” Art&Artists, vol. 16, no. 2, April/May, NYC: FCA
“A Gallery Grows in Brooklyn,” Art&Artists, Op. Cit.
“Flocking to New York/Fleeing from New York,” Art&Artists, vol. 16, no. 1, February/March, NYC: FCA
“On Decentralization: A Talk with Peter Frank,” Art&Artists, Op. Cit.
“Susan Share: Unique Books and Collapsible Sculptures,” review, High
Performance, Los Angeles: Astro Artz
1986 “Stroll Magazine and The Act, ” reviews, Art&Artists, vol. 15, no. 4, July/August, NYC: FCA
“Alternative Realities,” Art&Artists, vol. 15, no. 2, March/April, NYC: FCA
1985 “Let’s Define Public Sculpture,” Art&Artists, vol. 14, no. 3, May/June, NYC: FCA
1983 “The Artist/Christian Dilemma,” co-authored with Blaise Tobia, Artists for Social
Responsibility, January, Johnson, VT: ASR
1982 Ibid., The Other Side, vol. 19, no. 11, December, Philadelphia, PA: Jubilee, Inc.
1978 “Myth and the Sexual Division of Labor,” Heresies, vol. 4, NYC: Heresies Collective
Presentations/ /Conferences/Awards/Grants/Professional Activities
2025 Panelist (with Blaise Tobia and John Kreidler) and participant, “Forgotten Federal Art Legacies: The New Deal to CETA in San Francisco,” The Living New Deal and the California College for the Arts, San Francisco, CA, March 6-8
2024 Cooordinator and Presenter (with Blaise Tobia and Mary Okin), “CETA: The Forgotten Federally-Funded Artists,” 3-part webinar series, The Living New Deal, Berkeley, CA, October 3, 10, 17 <https://livingnewdeal.org/lnd- events/webinars/>
Panelist, “CETA and the Arts,” with Blaise Tobia and George Koch, Artomatic, Washington, DC, March 22
Panelist, “Claiming Space: Women Artists in Philadelphia,” moderated by Patti Jordan, with Vashti DuBois, Pauline Houston McCall and Cynthia Philkill, Council Caucus Room, Philadelphia City Hall
Project Organizer, “(re)FOCUS at City Hall” exhibition, in conjunction with the Women’s Caucus for Art and the Office of Arts, Culture, and the Creative Economy, Philadelphia, PA
Curator with Blaise Tobia, “Visual Poetry: A Life in Art,” memorial exhibition for
printmaker Jerry DiFalco, DaVinci Art Alliance, Philadelphia, PA.
2023 Juror, “Five into One” exhibition, Moore College of Art & Design, Philadelphia, PA
Reviewer, Percent for the Art Committee, Office of Arts, Culture, and the Creative
Economy, Blanche A. Nixon Library, Philadelphia, PA
Virtual Visiting Artist, with Blaise Tobia, Senior Seminar with Prof. Robert Katz, University of Maine at Augusta, October 4
Lecture, “Ron Mehlman and the Artist’s Ethic,” with Blaise Tobia, Chesterwood/The
National Trust for Historic Preservation, Stockbridge, MA, July 15
Moderator and panelist, “Art History in Search of a Historian,” College Art
Association annual conference, NYC, February 17
2022 Panel Presentation, “Critical Lens: Art X CETA,” Municipal Archives/DORIS, New
York, NY, October 11
Grant: Illuminate the Arts (City of Philadelphia/Office of Arts/Culture and the
Creative Economy/Arts and Culture Task Force)
Webinar, “How an Almost-Forgotten Federal Program Kickstarted the Feminist Art Movement,” with Jerri Allyn, Arlene Rakoncay, Senga Nengudi, Maren Hassinger, Ann Kalmach and Nina Kuo, co-sponsored by the Women’s Caucus for Art, City Lore Gallery and the Artists Alliance, March 9
2021 Exhibition assistance, “ART / WORK: How the Government-Funded CETA Jobs Program Put Artists to Work,” historical show at City Lore and Cuchifritos Gallery + Project Space, NYC
Grant: Illuminate the Arts (City of Philadelphia/Office of Arts/Culture and the
Creative Economy/Arts and Culture Task Force)
Webinar and interactive Zoom, “Sbagliato:from Rome to Philadelphia,” with Blaise Tobia, co-sponsored by the America-Italy Society and the Italian Consulate, Philadelphia, February 5 and March 5
Lecture, “Undeniable Metaphors: The Human Body, Architecture and Meaning,”
Senior College Lecture Series, University of Maine at Augusta, April 19
Radio segment and podcast, “Artists Look Back for a Path Forward,” moderator George Bodarky with Blaise Tobia, Larry Racioppo, Meryl Meisler and Rochelle Slovin, Cityscape, WFUV, NYC, April 15
Podcast, “CETA – When Cultural Workers Were Paid Salaried Workers,” interviewer Joseph Shemtov, with Blaise Tobia and Allan Edmunds, The Free Library of Philadelphia, July 17
Radio segment, “Immersion at The Art Trust,” interviewer Constance McBride with
Hannah Vogel and Francis Beaty, Art Watch, WCHE, PA, August 11
Curated exhibition (with Blaise Tobia), “New Sicilian Topographics,” with Massimo Cristaldi and Sandro Scalia, Art on the Avenue Gallery, as part of 20/20 Photo Festival, Philadelphia, September 16-26
Curated exhibition (with Blaise Tobia), “Inhabit: three variations on domesticity,” with Thomas Gartside, John Lindsay and Jason Thompson, Art on the Avenue Gallery, September 2-11
Curated exhibition, “Sbagliato:from Rome to Philadelphia,” with Blaise Tobia, co- sponsored by the America-Italy Society and the Italian Consulate, Philadelphia, October 28
Webinar, “CETA and the Arts,” with Blaise Tobia and Colleen Hooper, in conjunction with “For the Greatest Number: the WPA,” Philadelphia Free Library, December 15
2020 Grant: Foundation for Contemporary Arts
Grant: Philadelphia Sculptors
Radio Interview and Podcast, “The CETA Program,” co-presenter Blaise Tobia, interviewer Constance McBride, Art Watch, WCHE, PA, November 11
Participant, webinar, “The Arts and the State in Times of Crisis: The Prospect of a
New WPA” moderated by Arlene Goldbard and Francois Matarasso, October 6
Webinar, “CETA and the Arts,” co-presenter Blaise Tobia, Appraisers Association of America, September 30
Podcast, “What will culture look like in the next decade? (looking back at CETA’s
support of the Arts in the 1970s), The Art Newspaper
Papermaking and casting workshop, University of the Arts, Philadelphia, PA
2019 Curator with Simone Spicer, Salon des Refusés, iMPeRFeCT Gallery, Philadelphia, PA
Organizer, “The Forgotten Federal Artists,” panel at the College Art Association annual conference, NYC
Juror for Women’s Caucus for Art exhibition, NOW!, Art in City Hall, Philadelphia, PA
2018 Artist Talk with Shannon Stratton, Chief Curator, Museum of Arts & Design, in conjunction with “Structural Transparencies” exhibition at Phillips Museum of Art, Lancaster, PA
2016 Grant: Office of College Grants funding for solo exhibition, “Architectural Overlays,” at SACI Gallery, Florence, Italy
2013 Grant: Office of College Grants funding for Visiting Artist at the American Academy in Rome
2012 Grant: Office of College Grants funding for Visiting Artist at the American Academy in Rome
2011 Moderator, “Relics and Reliquaries Reconsidered,” in conjunction with the
Maryland Institute College of Art, Walters Art Museum, Baltimore, MD
2008 Reviewer for Mid-Atlantic Arts Foundation fellowships in sculpture, Baltimore, MD
Panelist, “Beauty and Identity,” Gretchen Hupfel Symposium, Delaware Center for
the Contemporary Arts, Wilmington, DE
2007 Presented paper, “Paper Dolls: Women Sculptors and the Body in Pulp,” as part of panel, “Why Beat Pulp? Mapping Paper Terrains in 2006-07,”chaired by Helen Frederick, Pyramid Atlantic Art Center, at College Art Association conference, in New York City (received College Professional Development Fund grant).
Grant: full fellowship for a one-month residency at the Vermont Studio Center, Johnson, VT
2006 Juror for Philadelphia/Tri-State Artists Equity exhibition, Sykes Gallery, Millersville
University, PA
Grant: Central Pennsylvania Consortium/Mellon Foundation for Visiting Artist at the
American Academy in Rome
Reviewer for Pennsylvania Humanities Council Humanities-in-the-Arts-Initiative for the AMD&ART Great Map and History Symposium, under the direction of T. Allan Comp, as part of a mining land-reclamation project in Vintondale, PA
Juror and Presenter of Women’s Caucus for Art achievement award at the
Philadelphia District-Wide Art Exhibit
Presented paper, “Fragments and Repetition: extending the narrative of sculptural installation,” at the “Fragmented Figure” conference at the Cardiff School of Art in Wales, UK (received College Professional Development Fund grants)
2005 Presented paper, “American Art, American Religion and American Society: Catholicism and Social Justice,” as part of a panel chaired by Eleanor Heartney at the College Art Association annual meeting in Atlanta, GA (received College Professional Development Fund grant)
Grant: College Professional Development Fund, The Stations of the Cross
exhibition, Allegheny College, Meadville, PA
2004 Juror of Women’s Caucus for Art best of show award for “Re/Fuse,” an area-wide exhibit of students in college art programs held at the Philadelphia Ethical Society
Attendee, Women’s Caucus for Art Networking Day, “In Pursuit of Art and Life,”
Bethesda, MD
Reviewer for Pennsylvania Humanities Council Humanities-in-the-Arts-Initiative panel moderated Sid Sachs, with Amy Schlegel, Edna Andrade and Roslyn Drexler in conjunction with Drexler exhibit at Rosenwald-Wolf Gallery, Philadelphia, PA
Presentation given, “Picturing Women: A Cross-Disciplinary Symposium,” Women’s Caucus for Art session, Bryn Mawr College, March 19, 2004
Grant: Faculty Travel, for the College Art Association annual meeting in Seattle, WA
Reviewer for “Figuratively Speaking,” International Sculpture Center conference at
the Johnson Atelier, Hamilton, New Jersey in June
2003 Presenter, “National Roundtable on Faith, Art, and Social Activism,” Sojourners
Magazine, Washington, DC, March 7, 2003
Grant: Faculty Research, for exhibits at the Museum of Contemporary Art in
Colorado, and the University of Michigan, Ann Arbor
Grant: Faculty Travel for attending the College Art Association annual meeting in
New York City
Juror and Presenter of Women’s Caucus for Art achievement award at the
Philadelphia District-Wide Art Exhibit
Honored with a name inscription on the national Women’s Caucus for Art mural in
Philadelphia
2002 Attendee, “Crossing the Line,” conference sponsored by Philadelphia Sculptors,
Tri-State Sculptors and the International Sculpture Center, Philadelphia, PA
Reviewer, Philadelphia Public Art Office, Public Art Commission competition
Panel Co-Chair, with Mary Dritschel, “How to Keep Your Art Out of the Garage Sales After You’re Gone,” College Art Association conference, February 2002, Philadelphia, PA
Speaker in connection with a 20-year retrospective exhibit of my work at the Peeler
Arts Center, DePauw University, Greencastle, IN
2001 Presentation given, “Religion, Art, Politics and Controversy: Can We All Just Try to
Get Along?” Sojourners Conference, Wheaton College, IL, July 2001
Grant: Pennsylvania Council on the Arts for catalogue accompanying “Alternating
Figures” exhibit at Phillips Museum, F&M
Grant: Faculty Research “Physical Boundaries of this World” exhibit at the
Elizabeth Foundation, NYC
Artist lecture, Dana Gallery, Phillips Museum, Franklin & Marshall College, Lancaster, PA
Juror and Presenter of Women’s Caucus for Art achievement award at the
Philadelphia District-Wide Art Exhibit
Presentation given, “A Model for Multimedia Education,” joint with Blaise Tobia and Tullio Sirchia, CADE (Computers in Art and Design Education) biennial conference, Glasgow, April 2001 (received Faculty Travel Grant)
2000 Presentation given, “La Scuola Alfamediale,” joint with Blaise Tobia, SCAN (Small
Computers in the Arts Network) annual conference, Philadelphia, November
2000
Reviewer for Pennsylvania Humanities Council Humanities-in-the-Arts-Initiative for Susan Sontag in conjunction with exhibit at Rosenbach Museum , Philadelphia, PA
Grant: Faculty Travel for attending the College Art Association annual meeting in
Chicago, IL
Juror and Presenter of Women’s Caucus for Art achievement award at the
Philadelphia District-Wide Art Exhibit
1999 Grant: Leeway Foundation Window of Opportunity
Speaker, “Too Feminist, Too Eighties, Too Much Like Kiki Smith,” The Feminist Art
and Art History Conference, Barnard College, Columbia University
1998 Speaker, “What Makes a Coop Gallery Successful,” Artists Talk on Art, Phoenix
Gallery, New York, NY
Moderator, “Engaging Cultures,” with Luis Jiménez, Molly Blieden and Willie Birch,
International Sculpture Center Conference, Chicago, IL
Visiting Artist lecture and workshop at Rosemont College, Rosemont, PA
1997 Participant in “Brave New World,” on-line roundtable discussion hosted by Glenn
Harper, editor, Sculpture Magazine
Visiting Artist lecture at Rowan University, Glassboro, NJ Visiting Artist lecture at Fleisher Art Memorial, Philadelphia, PA Grant: Pennsylvania Humanities Council
1996 Speaker, “Bad Girls, Humor and the Art of Seduction,” Women’s Issues in a Global
Context, Dickinson College, Carlisle, PA
Visiting Artist lecture at Montclair State College, NJ
1995 Speaker, “The (Female) Body Politic,” DePauw University, Indianapolis, Indiana
Visiting Artist lecture at The Mitchell Museum, Mt. Vernon, IL
1994 Chair, “Artists at the Crossroads: A Critical Look at the Past, Present and Future of Artist-Run Spaces,” with Ivan Karp (O.K. Harris Gallery), Dan Concholar (Art Information Center), Marion Griffiths (Sculpture Center) and Sally Hazelet Drummond (painter), Amos Eno Gallery, NYC
1993 Curator, “Funny Girls: Women, Humor and the Visual Arts,” Maria Feliz Gallery, Jim
Thorpe, PA
Visiting artist lecture at the Women’s Center, Franklin & Marshall College,
Lancaster, PA
1992 Co-Chair (with Dr. Jeanne Fox-Friedman), “Bad Girls, Humor and the Art of Seduction,” The Feminist Art and Art History Conference, Barnard College, Columbia University
Speaker, “Bad Girls, Humor and the Art of Seduction,” Comedic Voice and Vision in Contemporary Western Art, International Society for Humor in Art, Brittany, France
1991 Grant: New York State Council on the Humanities
Panelist, “Religion as Re-Source for Artists,” chaired by Deborah Haynes, Women’s Caucus for Art conference in New York
Panelist, “Sculpture on the Threshold of the Nineties,” with Eleanor Heartney, Lisa
Hoke and Marc Strauss, Franklin & Marshall College, PA
1990 Visiting artist lecture at the Minneapolis College of Art & Design, MN
1989 Chaired Women’s Caucus for Art panel at annual conference, “Clothing as Model; Clothing as Metaphor” in San Francisco
Visiting artist lecture at the Dana Gallery, Franklin & Marshall College, Lancaster, PA
1988 Fellowship: Art Matters Incorporated
Grant: Barbara Deming Fund
Grant: Artists Space/Artist Grant
Panelist, “Art in the Age of Austerity,” with sociologist Steven Dubin , Socialist
Scholars Conference sponsored by the City University of New York
1987 Grant: Artists Space/Artist Grant
Interviewed on Maine Public Radio about artwork in solo show at University of
Maine, Augusta (Kathryn Pfeiffer, 10/87)
Visiting artist lecture at the University of Maine, Augusta
Visiting artist lecture and workshop at Chestnut Hill College, Philadelphia, PA
1986 Curated (and received grant funding for) “Time, Form, Nature, Mind,” an exhibit at
10 on 8 in NYC
Initiated and coordinated Association of Artist-Run Galleries/SoHo reception during the College Art Association meeting in NYC
1985 Grant: Public Image Gallery for sculpture installation
Grant: Artists Space/Artist Grant
Grant: Lower Manhattan Cultural Council for site-specific sculpture
Interviewed on National Public Radio at the public hearings for Richard Serra’s
Tilted Arc (Andy Lyman, Morning Edition, 3/8/85)
1984 Fellowship: National Endowment for the Arts Fellowship
Visiting artist lecture at the College of St. Rose, Albany, NY
EDUCATION
1974-77 MFA, Visual Arts, University of California, San Diego
primary studies in sculpture, performance, art theory/criticism; graduated summa cum laude
1969-73 BA, Fine Art, Brooklyn College, City University of New York
major in fine arts, minor in art education; graduated magna cum laude
1973-74 Brooklyn Museum Art School
courses in figurative sculpture
1983-96 continuing studies: Cass Technical, Detroit; Drexel University, Philadelphia
courses in welding and carpentry
T EACHING POSITIONS
2018-present Professor Emerita, Franklin & Marshall College, Lancaster, PA
full-time —
2016-18 Professor, Franklin & Marshall College, Lancaster, PA
2006-16 Associate Professor, Franklin & Marshall College, Lancaster, PA
2000-06 Assistant Professor, Franklin & Marshall College, Lancaster, PA
1995-96; 99 Visiting Assistant Professor, Franklin & Marshall College, Lancaster, PA
1990 Visiting Artist, Minneapolis College of Art and Design, Minneapolis, MN
1981-82 Visiting Sculptor, Wayne State University, Detroit, MI
1980-81 Visiting Assistant Professor, Oberlin College, Oberlin, OH
adjunct —
2011-13 Graduate Faculty, MFA Studio, Moore College of Art and Design, Philadelphia, PA
1999-2000 Adjunct Professor, St. Joseph’s University, Philadelphia, PA
1996-99 Adjunct Professor, Moore College of Art and Design, Philadelphia, PA
1991-2; 94 Adjunct Assistant Professor, Franklin & Marshall College, Lancaster, PA
1988 Adjunct Assistant Professor, Design Department, Drexel University, Philadelphia, PA
1975-77 Teaching Assistant, Visual Arts Department, The University of California, San
Diego
O T H E R POSITIONS
1986-89 Articles Editor, Art&Artists, Foundation for the Community of Artists, New York
City
1983-86 Executive Director, Amos Eno Gallery, New York City
1978-79 Artist-in-Residence, Cultural Council Foundation CETA Artist Project, New York
City
