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1949
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Born in Portland, Maine / Currently lives and works in New York City
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1974
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MFA, Yale University, New Haven, Connecticut
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1972
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BA, Yale University, New Haven, Connecticut
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2008
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Isaac N. Maynard Prize for Painting , National Academy Museum, New York.
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1987
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National Endowment for the Arts Grant in Painting.
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1971-2
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Scholar of the House in Painting. Yale University, New Haven, CT.
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2011
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Holly Johnson Gallery, Dallas, TX
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2010
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Galerie von Bartha, Basel
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McClain Gallery, Houston TX
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2009
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Rosenbaum Contemporary Art, Boca Raton FL
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2008
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Icon Contemporary Art, Brunswick ME
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2006
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Von Lintel Gallery, New York
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2005
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White8 Galerie, Villach
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2004
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Von Lintel Gallery, New York
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2002
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Galerie von Bartha, Basel
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Von Lintel Gallery, New York
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2001
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The MAC (McKinney Avenue Contemporary), Dallas
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Numark Gallery ( McKinney Avenue Contemporary), Dallas
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Edwin A. Ulrich Museum of Art, Wichita
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2000
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Galerie Brandstetter & Wyss, Zurich
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Galerie von Lintel & Nusser, Munich
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Marella Arte Contemporanea, Milan
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Jan Weiner Gallery, Kansas City
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1999
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Galerie von Lintel & Nusser, New York
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Galerie Brandstetter & Wyss, Zurich
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Betsy Senior Gallery, New York
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Numark Gallery, Washington DC
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1998
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Turner + Runyon Gallery, Dallas
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1997
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Galerie Thomas von Lintel, Munich†
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1996
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André Emmerich, New York
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1995
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André Emmerich, New York
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Galerie Thomas von Lintel, Munich
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Locks Gallery, Philadelphia
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1994
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Pamela Auchincloss Gallery, New York
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1993
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John Good Gallery, New York†
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1992
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Ascan Crone Gallery, Hamburg
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Katy Block Fine Art, Boston
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1991
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Galerie Thaddaeus Ropac, Paris†
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Richard Feigen Gallery, Chicago†
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John Good Gallery, New York†
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Fujii Gallery, Tokyo†
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1990
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Galerie Thaddaeus Ropac, Salzburg
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1989
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John Good Gallery, New York†
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Cava Gallery, Philadelphia
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1988
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Ascan Crone Gallery, Hamburg†
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1987
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John Good Gallery, New York†
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1984
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55 Mercer Street Gallery, New York
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1982
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State University of New York, Purchase
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Art Galaxy, New York
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† denotes exhibition catalog.
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Selected Group Exhibitions
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2010
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Pulp, White Gallery, Butler College, Wichita KS
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Back and Forth, Holly Johnson Gallery, Dallas, Tx
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Above and Below, Greenhut Galleries, Portland, ME
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Dallas Art Fair, Holly Johnson Gallery, Dallas, TX
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2009
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Manhattan Special. Poissant Gallery, Houston, TX
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Continuum. Bulletspace, New York
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Summerize 2009, Jan Weiner Gallery, Kansas City, MO
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2008
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Juxtapositions, Galerie von Bartha, Basel
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Pulling Ideas, Portland Museum of Art, Portland ME
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183rd Annual Invitational Exhibition, National Academy Museum, New York
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Pulp drawings, Gallery 210, Brooklyn, New York
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American Abstract Artists Slobodkina Tribute, The Painting Center, New York
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Simple, Gallery 210, Brooklyn, New York
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Linear Perspectives, June Fitzpatrick Gallery, Portland ME
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2007
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Monoprints, Pace Prints, New York
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Everything I Do Always Comes Back To Me, Curated by Milton Glaser, Visual Arts
Gallery, New York
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Continuum, Saint Peter’s College Art Gallery, O’Toole Library, Jersey City
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2006
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Between The Lines, Drawings by Contemporary Artists, RxArt, Ralph Lauren,
Miami
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New Editions, Brand X Projects, New York
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New Monoprints, Pace Prints, New York
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Maine Printmakers 1980-2005, Center for Maine Contemporary Art, Rockland
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2005
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Universal Medium, McClain Gallery, Houston
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Patterns and Grids, Pace Gallery, New York
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Ideal: Selections from American Abstract Artists, Metaphor contemporary art,
Brooklyn
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Optical Simulations, Yellow Bird Gallery, Newburgh, NY
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Suitcase, Museo Di Palazzo Pietromarchi, Marsciano, Italy
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People and Things, Whirlwind Space, New York
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Co-dependent: Artists and Curators Select Artists, The Living Room (FAU), Miami
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2004
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Schriftbilder Bilderschrift, Galerie von Bartha. Basel†
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Dialogue: Abstract. Recent Painting & Drawing. Space, New York
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Summarize/Summer Eyes 2. Jan Weiner Gallery. Kansas City, MO
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2003
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American Beauty, McClain Gallery. Houston TX
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Thinking in Line : A Survey of Contemporary Drawing, curated by John Moore and
Ron Janowich. University Gallery, University of Florida. Gainesville, Florida†
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Faculty Exhibition. Lincoln Center Gallery, Fordham University. New York
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Howl. Thomkins Square Park ‘Art in the Park’ Project. New York
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Under Pressure: Prints from Two Palms Press. Arthur A. Houghton Jr. Gallery, The
Cooper Union. New York
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Before and After Science. Marella Arte Contemporanea. Milan†
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In Black and White. Scott Forrest Gallery. Millburn, NJ
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2002
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Zenroxy. Curated by Ivan Vera. von Lintel Gallery. New York
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The Drawing Center 25th Anniversary Benefit Selections Exhibition. The Drawing
Center. New York
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New Editions & Monoprints. Pace Prints. New York
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Invitational Exhibition of Painting & Sculpture. American Academy and Institute
of
Arts and Letters. New York
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Under Pressure. Second phase of travelling exhibition organized by Alexandra
Muse and Pamela Auchincloss: University Gallery, University of Massachusetts.
Amherst, MA
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Kent State University Art Gallery, Kent State University. Kent, OH
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Summarize/Summer Eyes. Jan Weiner Gallery. Kansas City, MO
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Choose Your Partner... An International Drawing Show. Nusser & Baumgart
Contemporary. Munich
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Connecting the Past to the Present. Edwin A. Ulrich Museum of Art. Wichita, KS
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2001
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Kinds of Drawings. Herter Art Gallery. University of Massachusetts. Amherst, MA
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Under Pressure. Travelling exhibition organized by Alexandra Muse and Pamela
Auchincloss: Lyman Allyn Museum of Art, Connecticut College, New London, CT
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The Scrick Art Gallery, Skidmore College, Saratoga Springs, NY
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Meadows Museum, Southern Methodist University, Dallas, TX†
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Painting Abstraction II. New York Studio School. New York
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New Prints. Pace Gallery. New York
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College Proofs: The Riverhouse Editions Collection at the Mary and Leigh Block
Museum of Art. Northwestern University, Chicago†
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To Benefit the Children (silent auction to benefit families of the WTC disaster).
Satellite Project Space, LIC NYC
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2000
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Drawings & Photographs. Invitational Benefit Exhibition. Matthew Marks Gallery.
New York
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Inner Eye: Contemporary Art from the Marc and Livia Straus Collection.
Neuberger Museum of Art. Purchase. New York
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One by One, Painting versus Drawing. Galerie von Lintel & Nusser. Munich
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International Biennial of Graphic Arts 23. Mednarodni Graficˆni Likovni Center.
Ljubljana, Slovenia
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1999
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Abstract American Painting. Bernier/Tanit. Brussels, Belgium
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Group Show. Barbara Davis Gallery. Houston, TX
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1998
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Flexing the Abs. RareArt Properties, Inc. New York
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Masters of the Masters. Butler Institute of American Art. Youngstown, Ohio
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The Inner Eye. Samuel P. Harn Museum of Art. University of Florida. Gainesville,
Florida
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1997
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Divergent Models. Nassauischer Kunstverein. Wiesbaden, Germany†
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New Abstraction. Betsy Senior Gallery. New York
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Small Paintings. Green on Red Galleries. Dublin, Ireland
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Fractures/Constructs. Claremont Graduate University. Claremont, California†
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Drawing from Life. Invitational Drawing Exhibition. Stark Gallery. New York
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National Airport Artists on Paper. Numark Gallery. Washington, DC
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1996
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Trois Collections d’Artistes. Musee des Beaux Arts. La Chaux de Fonds,
Switzerland
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Acquiring Minds: Contemporary Art in Santa Barbara Collections. Contemporary
Arts Forum. Santa Barbara, CA
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Abstraction. Turner, Byrne + Runyon. Dallas
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1995
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Critiques of Pure Abstraction. Armand Hammer Museum of Art, UCLA. Los
Angeles
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Mark Rosenthal, Guest Curator, Independent Curators Inc. New York†
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Repicturing Abstraction: The Abducted Image. Marsh Art Gallery, University of
Richmond. Richmond, VA†
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New York Paper Now. Galerie Thomas von Lintel. Munich
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Faculty Painting. Houghton Gallery, The Cooper Union. New York†
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Embraceable You. Ringling School of Art and Design. Sarasota, FL†
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Tamarind: Into the Nineties. Weatherspoon Art Gallery, University of North
Carolina. Greensboro, NC. Traveling to Lehigh University Art Galleries, Bethlehem,
PA; Herter Art Gallery at the University of Massachusetts at Amherst, MA; and
University of New Hampshire Art Galleries at Durham, NH
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Una Nouva Tradizione Americana. Galleria Oddi Baglioni. Rome
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Paper View. Cohen Berkowitz Gallery. Kansas City, MO
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1994
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Just a Story from America. Galleria In Arco. Turin, Italy
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Praticamente Argento. Studio La Cittá. Verona, Italy
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Critiques of Pure Abstraction. Blaffer Gallery, University of Houston. Houston.
Mark Rosenthal, Guest Curator, Independant Curators Inc. New York†
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New York Abstract Painting. Salvatore Ala Gallery. New York
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Pittura Americana. Galleria Oddi Baglioni. Rome
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Color. Pamela Auchincloss Gallery. New York
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Cross Cultural Influences in Painting. E.S. Vandam. New York. Curated by Saul
Ostrow
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1993
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Recent Tamarind Prints. University of New Mexico Art Museum. Albuquerque, NM
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New American Abstraction: The Conscious Gesture. Locks Gallery. Philadelphia
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New Abstraction. Betsy Senior Contemporary Prints. New York
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David. Horodner/Romley Gallery. New York. Curated by Saul Ostrow
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Modernities. Baumgartner Galleries, Inc. Washington DC. Curated by Joseph
Masheck and Manfred Baumgartner
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Tom Lieber/David Row. Maine Coast Artists. Rockport, ME
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Sailing to Byzantium with Disenchantment. Sergio Tossi. Prato, Italy. Curated by
Elio Cappuccio†
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Jours Tranquilles á Clichy. Rue Rochechouart. Paris. Curated by Alain Kirili.
(& Tennisport Arts, New York.)
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Abstract Painting. Evelyn Aimis Gallery. Boca Raton, Florida
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Yale Collects Yale: 1950–1993. Yale University Museum of Art. New Haven, CT†
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Italia/America l’Astrazione Redefinita. State Museum of San Marino. San Marino,
Italy. Curated by Demetrio Paparoni†
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1992
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Invitational Exhibition of Painting and Sculpture. American Academy and Institute
of Arts and Letters. New York
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Baziotes to Basquiat...and Beyond. Bellas Artes. Santa Fe, NM
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Emerging New York Artists. University of Nebraska. Omaha, NE
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Summer Becomes Eclectic. Mars Gallery. Tokyo
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New York Selections: Contemporary Works on Paper. Sunrise Art Museum.
Charleston, VA
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Prints. Betsy Senior Contemporary Prints. New York
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1991
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Thaddaeus Ropac Gallery. Paris, France
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Senza Tempo. Studio La Cittá . Verona, Italy
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Conceptual Abstraction. Sidney Janis Gallery. New York†
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Architectures. Galleria In Arco. Turin, Italy†
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La Metafisica della Luce. John Good Gallery. New York. Curated by Demetrio
Paparoni†
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Figuring Abstraction. Vrej Baghoomian Gallery. New York
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Invitational. Tony Shafrazi Gallery. New York
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Strategies for the Next Painting. Wolff Gallery. New York†
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Strategies for the Next Painting. Feigen Gallery. Chicago†
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Synthesis. John Good Gallery. New York
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Painting. Galerie Lelong. New York
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Drawings. Pamela Auchincloss Gallery. New York
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Works on Paper. John Good Gallery. New York
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Monotypes from the Garner Tullis Workshop. Thomas Segal Gallery. Boston
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1990
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Rope. Fernando Alcolea. Barcelona. Curated by Christian Leigh
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Working on Paper. High Museum of Art. Atlanta, GA
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Geometric Abstraction. Marc Richards Gallery. Los Angeles
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10 Abstract Painters. Baumgartner Galleries, Inc. Washington, DC
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Untitled. John Good Gallery. New York
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Provocative Abstraction: New Painting, New York. Karl Bornstein Gallery. Los
Angeles
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1989
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Contemporary Works on Paper. John Good Gallery. New York
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Geometric Abstraction. Persons Lindell Gallery. Helsinki†
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Post-Modern Painters. John Good Gallery. New York
|
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Simple in Appearances. Marc Richards Gallery. Los Angeles
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Painting Between the Sacred and the Profane. Galerie Rahmel. Cologne, Germany
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Neo Geo/New Abstraction. The J.B. Speed Art Museum. Louisville, KY
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Methods of Abstraction. Gallery Urban. New York
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Fundamental Abstraction. Haines Gallery. San Francisco
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Sightings. Institute of North American Studies. Barcelona†
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Works on Paper. Shea & Beker Gallery. New York
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1988
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Real Abstract. John Good Gallery. New York
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Four Corners of Abstraction. Jacob Javits Center. International Gallery
Invitational. New York. Curated by Bill Arning
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Drawings. Cava Gallery. Philadelphia
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David Row: Paintings / Tom Bills: Sculpture. John Good Gallery. New York
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1987
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Group Invitational. M-13 Gallery. New York
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Solid Abstraction. Saxon Lee Gallery. Los Angeles†
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Stimulation. John Good Gallery. New York
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Romantic Science. One Penn Plaza. New York. Curated by Carola Van den Houten
and Stephen Westfall
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1986
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William Baziotes, George Negroponte, David Row. John Good Gallery. New York
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Invitational. Condeso Lawler Gallery. New York
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Twelve from New York. Yale University School of Art. New Haven, Connecticut
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Not Flat. The Pyramid Club. New York
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1985
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General Electric Winter Drawing Show. General Electric Corporate Headquarters.
Stamford, CT
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1982
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New Drawing in America. The Drawing Center. New York†
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Regular Artists. Painting Space 122. New York†
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1981
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The Chelsea Saloon Show. The Chelsea Saloon. New York
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1978
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Line-up. The Drawing Center. New York
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1974
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MFA Thesis Show. Yale University School of Art, New Haven, CT
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2008
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POLSKY, Richard. “An Art Mutual Fund” ArtNet Magazine, May 30, 2008, featured
article
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2007
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WEI, Lilly. “David Row at Von Lintel” Art in America, February 2007, pp.
148
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MACADAM, Barbara. “The New Abstraction” Art News, April 2007, pp. 115
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POLSKY, Richard. “Abstract Logic” Absolute, February/March 2007, pp. 65
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SCHUBERT, Lisa. The Flag Project, Rubin Museum, 2007, pp. 131, 185
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2006
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BAKER, RC. “Best in Show: David Row” Village Voice, November 8-14, pp. 59
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NOBEL, Philip. “Frame of Reference.” Architectural Digest, February, pp.
146-147
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2005
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LA ROCCO, Ben. “Ideal.” The Brooklyn Rail, July/August, p. 15
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KIRSCH, Elisabeth. “Standout Parts.” The Kansas City Star, August 25, p.
27
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2004
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FYFE, Joe. “David Row at Von Lintel.” Art in America, December, p. 131
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NAVES, Mario. “David Row’s Futuristic Abstraction.” New York Observer,
October
11, pp.18
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WALTEMATH, Joan “Deep Space.” The Brooklyn Rail, October, pp. 22
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2003
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BARBER, Cynthia “David Row’s Language of Abstraction.” Impressions:
Tamarind
Institute, Winter 2003
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2002
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BROOKHART, Melissa. “David Row.” Tema Celeste, March/April, p. 90
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2001
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MITCHELL, Charles Dee. “Range of Express... David Row Uses Lines and Color.”
The Dallas Morning News, December 5, p. 14C
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ZIMMER, William. “Where Landscapes Go Beyond a View of the Horizon.” The
New York Times, Sunday, March 11
|
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SHULL, Chris. “The ABCs of Art: Abstract Artist David Row.” The Wichita
Eagle,
June 24
|
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DAWSON, Jessica. “Reading Between the Layers.” The Washington Post, January
16
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2000
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KIRSCH, Elisabeth. “Trading tension for simplicity.” The Kansas City Star,
April 7,
p. 34
|
|
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DIEHL, Carol. “David Row at von Lintel & Nusser.” Art in America, February,
p.
125
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|
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SHEETS, Hilarie M. “David Row.” Art News, January, pp. 164, 166
|
|
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VINCENT, Steven. “Whatever Happened to....” Art & Auction, November,
p. 172
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1999
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EDELMAN, Robert. “David Row.” Art Net.Com, November 21
|
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NAVES, Mario. “David Row Slowly Abandons Compositional Calculation.” New
York Observer, November 15, pp. 17, 19
|
|
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RIERER, Matthias. “New York–Traum Deutbemer Galeristen.” Aufban, November
12, Vol 23, pp. 9
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|
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JOHNSON, Ken. “David Row.” The New York Times, November 5, Section E, p.
44
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MAC ADAM, Alfred. “David Row.” Art News, April, pp. 14, 121
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|
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VINCENT, Steven. “Emmerich and Sothebys: What Happened?” Art & Auction,
pp.
10- 14
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RIBI, Thomas. “Die Sprache der Geometrie auf Brechen.” Neue Zurcher Zeitung,
February 5, p. 46
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____. “Two Approaches to Genius.” Washington Post, February 11, p. 32
|
|
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ERFLE, Anne. “Kraftegegen Neue Medien.” Suddeutsche Zeitung, February 11
|
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HORNY, Tinga. “Hier Regiert die Vielfalt.” Handelsblatt Kunstmarkt, February
11
|
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1998
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HOGREFE, Jeffrey. “Emmerich’s Artists Stage Revolt.” The New York Observer,
October 12, pp. 1, 25
|
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____. “David Row.” Noëma, December, Nr. 50, p. 10
|
|
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____. “Flexing the Abs.” New York Contemporary Art Report, November, Vol.
1,
Issue IV, p. 121
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COLE, Mark. “David Row.” Artlies, Spring, p. 53
|
|
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CARRIER, David. “Modernist Art and Its Market.” Art Journal, Winter, pp.
102,
104
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DANIEL, Mike. “Expanding canvas: David Row energizes a venerable medium.”
The Dallas Morning News, February 27, p. 51
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1997
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ZINSSER, John. “Continuous Model: the Paintings of David Row.” Edition Lintel,
Munich, Germany, 128 pp.
|
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MAC ADAM, Alfred. “Studio: David Row.” Art News, June, pp. 85, 86
|
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SCHWABSKY, Barry. “The Widening Circle.” Cambridge University Press,
Cambridge UK, pp. 9, 85-88, 93-94, 133
|
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VON PILAR, Ute. “Blick in die Amerikanische Kunstszene.” Wiesbadener Kurier,
September 5, 8, 18
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VON MELTEN, Birgitta. “Plastikschlauch und Farbe.” Wiesbadener Tagblatt,
Sept.
1, 8
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WISEMAN, Carter. “Flights and Fancy.” Art News, June, pp. 116-121
|
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SCHMID, Britta. “Farbige Materialhaufen.” Rhein-Maine Zeitung, October 15
|
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UPSHAW, Reagan. “David Row at André Emmerich.” Art in America, March,
pp.
105, 106
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|
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KOPLOS, Janet. “Drawing from Life’ at Stark.” Art in America, May,
p. 126
|
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PAPARONI, Demetrio. “Il Corpo Vedente Dell’Arte.” Castelvecchi, Rome,
p. 61
|
|
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LINN, Charles, AIA. “Cesar Pelli’s New... National Airport...” Architectural
Record,
October, p. 94
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PAPARONI, Demetrio. “Il Corpo Parlante Dell’Arte.” Castelvecchi, Rome,
pp. 113-
116
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1996
|
SMITH, Roberta. “Palettes Full of Ideas About What Painting Should Be.”
The New
York Times, November 1
|
|
|
ROSENTHAL, Mark. “Abstraction in the Twentieth Century: Total Risk, Freedom,
Discipline.” Guggenheim Museum Publications, New York, New York, pp. 234, 235
|
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PERROT, Antoine. “Peindre? Enquete et Entretiens Sur La Peitre Abstraite.”
Positions, Galerie B. Jordan M. Devarrieux, pp. 119-121, 153-156
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1995
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ROLLMANN, Barbara. “Aktuell im Munchner Galerien.” Suddeutsche Zeitung,
NR
125, June 1
|
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GLUCKMAN, Richard. “If I had...” Art & Auction, December, p. 87
|
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RINDLER, Robert. “Who said the canvas was dead?” At Cooper Union, Fall,
p. 4
|
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GOLDBERGER, Paul. “The Art of His Choosing.” The New York Times Magazine,
February 26, p. 39
|
|
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MELROD, George. “Seducing the Eye” Art & Antiques, March, p. 32
|
|
|
1994
|
ROSENTHAL, Mark. “Critique of Pure Abstraction: David Row.” Atelier
International, June, cover + pp. 102, 103
|
|
|
SCHWABSKY, Barry. “David Row.” Artforum, February, p. 88
|
|
|
SALTZ, Jerry. “A Year in the Life: Tropic of Painting.” Art in America,
October, p.
99
|
|
|
KALINA, Richard. “David Row.” Art in America, May, pp. 111, 112
|
|
|
BALDWIN, Karen. “Monotypes from Garner Tullis Workshop.” Ackland Quarterly,
Winter, 1993-94, Number 39, cover + p. 9
|
|
|
BRODIE, Jackie. “David Row.” The Print Collectors Newsletter, Sept.-Oct.,
p. 147
|
|
|
1993
|
BEEM, Edgar Allen. “The Mysteries of Abstraction. Tom Lieber and David Row
paint in parallel universes.” Maine Times, August 27
|
|
|
GIMELSON, Deborah. “Paintings by Numbers.” Mirabella, February, p. 41
|
|
|
DAGEN, Philippe. “Arts, Tout nouveau, tout frais.” Le Monde, June 11
|
|
|
GREENLEAF, Ken. “Artists might as well be from opposite ends of the country.”
Maine Sunday Telegram, August 29
|
|
|
ZIMMER, William. “Yale Celebrates Its Artists and Collectors Since 1950.”
The
New York Times, June 27
|
|
|
BRODIE, Jackie. “David Row.” The Print Collectors Newsletter, Nov.-Dec.,
p. 187
|
|
|
1992
|
ROSE, Barbara. “The Abstract Art Renaissance.” Art & Auction, April,
p. 40
|
|
|
CARRIER, David. “Afterlight: Abstract Painting in the Era of Its Belatedness.”
Arts
Magazine, March, p. 60
|
|
|
PAPARONI, Demetrio. “David Row: A Conversation With Demetrio Paparoni.”
Tema Celeste, January/March, cover + pp. 94, 95
|
|
|
BELL, Tiffany. “Looking at Kelly’s Paintings Now.” Artstudio, No. 24,
pp. 158–175
|
|
|
MURPHY, Mary. “Negotiating New Abstraction” New Art Examiner, Summer, pp.
16–20
|
|
|
MacADAM, Barbara. “La Metafisica della Luce.” Art News, February
|
|
|
TREVISAN, Giorgio. “Arte Senza Tempo.” Cronache Delle Arti, April, p. 2
|
|
|
BRODIE, Jackie. “David Row.” The Print Collectors Newsletter, January-February
|
|
|
1991
|
BRENSON, Michael. “David Row.” The New York Times, March 15
|
|
|
BROMBERG, Craig. “The Untitled Orbit: Abstraction Returns (again) — A New
Generation Puts a Different Spin on Painting.” Art & Auction, October, p. 147
|
|
|
DAGEN, Philippe. “On the Use of Color: Two Generations, Two Antagonistic
Concepts of Painting, David Row and Gerhard Richter.” Le Monde, September
|
|
|
SCHWABSKY, Barry. “David Row.” Arts Magazine, May, p. 76
|
|
|
BOUZERAND, Jacques. “Selection Arts: David Row.” Le Point, September
|
|
|
ZINSSER, John. “Geometry and Its Discontents.” Tema Celeste, Autumn, p.
72
|
|
|
JOHNSON, Kenneth. “David Row.” Art in America, July
|
|
|
MORGAN, Robert C. “David Row.” Tema Celeste, May/June, p. 93
|
|
|
1990
|
HYDE, James; KALINA, Richard; ROW, David. “The Ambiguity of Freedom: Three
Painters Discuss Abstraction Now.” The Journal of Art, June/July/August, p. 29
|
|
|
TAGER, Alisa. “David Row.” LAPIZ International Art Magazine, No. 77, April,
p. 74
|
|
|
RUBINSTEIN, Meyer Raphael. “David Row.” Art News, May, p. 158
|
|
|
____. “David Row.” The New Yorker, March 18
|
|
|
MOORMAN, Margaret. “Paintings at Galerie Lelong.” Art News, November, p.
134
|
|
|
SERVIN, James. “Soho Stares at Hard Times.” The New York Times Magazine,
January 20
|
|
|
____. “Synthesis.” The New Yorker, January
|
|
|
ARDENNE, Paul. “David Row.” Art Press, No. 163, November, p. 88
|
|
|
1989
|
GALLIGAN, Gregory. “New York; Fields of Self-Inquiry.” Art International,
Autumn,
p. 55
|
|
|
GRIMES, Nancy. “David Row.” Art News, September, p. 176
|
|
|
HAGEN, Charles. “David Row.” Artforum, Summer, p. 143
|
|
|
CYPHERS, Peggy. “New York in Review.” Arts Magazine, Summer, p. 91
|
|
|
GILBERT-ROLFE, Jeremy. “The Current State of Nonrepresentation.” Visions
Art
Quarterly, Spring, pp. 3-7
|
|
|
BAKER, Kenneth. “New Yorkers Showing at Haines Gallery.” San Francisco
Chronicle, June 24
|
|
|
BRENSON, Michael. “David Row.” New York Times. March 17
|
|
|
1987
|
WESTFALL, Stephen. “David Row at John Good.” Art in America, December, pp.
161, 162
|
|
|
GIMELSON, Deborah. “Amman for all Seasons.” Art & Auction, Nov., pp.
190 -
197
|
|
|
RUBINSTEIN, Meyer Raphael, WEINER, Daniel. “David Row.” Arts Magazine,
September
|
|
|
1986
|
YELLIN, Deborah. “Review.” 108 Magazine, September
|
|
|
1985
|
____. Reproduction. Bomb Magazine, Winter
|
|
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1983
|
SHAW, John. New Observations, 8
|
|
|
1982
|
KUSPIT, Donald. “Review.” ArtForum, April
|
|
|
RUSSELL, John. “English Painters and American Draughtsmen.” The New York
Times, March 21
|
|
|
1978
|
____. “Line-up: A Group Exhibition.” The Village Voice, October 23
|
|
|
BELL, Jane. “From the Inside Looking Out.” New York Arts Journal, December
|
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|
Selected Books and Catalogues
|
|
|
|
|
|
2007
|
SCHUBERT, Lisa. The Flag Project, Rubin Museum of Art, 2007, pp. 131, 185.
|
|
|
2005
|
PERRY, Vicky. Abstract Painting. Watson Guptil Publications/ New York. (pp 34,
130, 134, with illustrations)
|
|
|
2004
|
LEMOINE, Serge. Shriftbilder Bildershrift. “De Pictura et Poesi.” Edition
Galerie von
Bartha, Basel. (pp 44-45)
|
|
|
2003
|
MOORE, John L, and JANOWICH, Ron. Thinking in Line. A Survey of
Contemporary Drawing. University Gallery, University of Florida, Gainesville, FL
|
|
|
MARELLA, Primo Giovanni. Before and After Science. Edizione Marella Arte
Contemporanea. Milan, Italy.
|
|
|
2001
|
SCHWABSKY, Barry. Under Pressure. Lyman Allyn Museum of Art at Connecticut
College, New London, CT.
|
|
|
SANDBACK, Amy Baker, and KUSHNER, Marilyn S. College Proofs. The Riverhouse
Editions. Mary and Leigh Block Museum of Art, Northwestern University, Chicago,
IL. (pp. 11, 41, 96, 97)
|
|
|
2000
|
PELLI, Cesar. National Airport Terminal. Rockport Publishers, Gloucester MA. (pp.
18, 107, 117)
|
|
|
DEVON, Marjorie. Tamarind: 40 years. University of New Mexico Press,
Albuquerque NM (p. 78, 82, 85, 116, 164)
|
|
|
1999
|
NEHER, Ross. Blindfolding the Muse. Prenom Press, New York. (p. 106)
|
|
|
KRZISNIK , Zoran. International Biennial of Graphic Arts 23. MGLC. Ljubljana,
Slovenia.
|
|
|
1997
|
ZINSSER, John. Continuous Model: the Paintings of David Row. Edition Lintel,
Munich, Germany. (128 pages)
|
|
|
CARRIER, David. Fractures/Constructs. Claremont Graduate University/Pamela
Auchincloss Gallery, Claremont, California. (128 pages)
|
|
|
1996
|
ROSENTHAL, Mark. Abstraction in the Twentieth Century: Total Risk, Freedom,
Discipline. Guggenheim Museum Publications, New York, New York. (pp. 234,
235)
|
|
|
RINDLER, Robert. Painting Faculty. The Cooper Union School of Art. New York.
(pp. 62-63, 78)
|
|
|
1993
|
CAPPUCCIO, Elio. Sailing to Byzantium, with Disenchantment. Sergio Tossi. Prato,
Italy.
|
|
|
MASCHEK, Joseph. Modernities: Art Matters in the Present. Pennsylvania State
University Press. Pittsburgh, Pennsylvania. (pp. 297–301)
|
|
|
PAPARONI, Demetrio. Italia-America L’astrazione ridefinita. Galleria Nazionale
d’Arte Moderna. Republica di San Marino. (pp. 134-139)
|
|
|
RUBINSTEIN, Meyer Raphael. David Row: Return to Orbit. John Good Gallery.
New York. (16 pages)
|
|
|
WEBER, Nicolas Fox. Yale Collects Yale: 1950–1993. Yale University Museum of
Art. New Haven, Connecticut. (pp. 80, 89, 95)
|
|
|
1991
|
LEIGH, Christian. David Row. Galerie Thaddaeus Ropac, John Good Gallery,
Feigen Gallery. Paris, New York, Chicago. (44 pages)
|
|
|
JANIS, Sidney. Conceptual Abstraction. Sidney Janis Gallery. New York.
|
|
|
OSTROW, Saul. Strategies for the Next Painting. Wolff Gallery, Feigen
Incorporated. New York.
|
|
|
PAPARONI, Demetrio. Architectures. Galleria In Arco. Turino, Italy.
|
|
|
PAPARONI, Demetrio. La Metafisica della Luce. John Good Gallery, NY. (pp. 10-
12, 18-23, 54-55, 61)
|
|
|
TULLIS, Garner. David Row: A Silent Tableau. Fuji Gallery. Tokyo. (16 pages)
|
|
|
1989
|
AUCHINCLOSS, Pamela. Geometry and Abstraction: An Evolution of Suprematist
Thought. Persons & Lindell Gallery. Helsinki.
|
|
|
BEUTH, Reinhard; BUSSE, Paul; and CRONE, Ascan. Kunst im Congress Centrum
Hamburg. Ascan Crone. Hamburg. (pp. 2, 9, 13, 86, 87)
|
|
|
MASHECK, Joseph. David Row: Row, Peirce, and the Texture of Thought in
Painting. John Good Gallery. New York. (12 pages)
|
|
|
1988
|
OSTROW, Saul. David Row. Ascan Crone. Hamburg. (24 pages)
|
|
|
KUSPIT, Donald. Sightings. Institute of North American Studies, Pratt Institute.
Brooklyn, New York.
|
|
|
1987
|
ZIMMER, William. David Row. John Good Gallery. New York. (8 pages)
|
|
|
1982
|
BECK, Martha. New Drawing In America. The Drawing Center. New York.
|
|
|
|
|
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|
|
Public Collections
|
|
|
|
|
Ackland Art Museum. University of North Carolina at Chapel Hill, NC
|
|
|
Allentown Art Museum. Allentown, PA
|
|
|
The Brooklyn Museum. Brooklyn, New York
|
|
|
Carnegie Museum of Art. Pittsburgh, PA
|
|
|
The Cleveland Museum of Art. Cleveland, OH
|
|
|
Edwin A. Ulrich Museum of Art. Wichita, Kansas
|
|
|
Eli Luria Library, Santa Barbara City College. Santa Barbara, CA
|
|
|
Galleria Nazionale D’Arte Moderna. San Marino, Republica di San Marino
|
|
|
The Hood Museum of Art. Dartmouth College, Hanover, NH
|
|
|
The Hudson Valley Center for Contemporary Art. Peekskill, NY
|
|
|
JP Morgan Chase, New York, NY
|
|
|
Mary and Leigh Block Museum of Art. Northwestern University, Chicago, IL
|
|
|
Museum of Contemporary Art. San Diego, CA
|
|
|
Oklahoma Museum of Art, Oklahoma City, Oklahoma
|
|
|
Portland Museum of Art, Portland, ME
|
|
|
Rochester Institute Museum Collection, Rochester, New York
|
|
|
Rutgers, The State University of New Jersey, Jane Voorhees Zimmerli Art Museum, New
Brunswick, NJ
|
|
|
RxArt, New York, New York
|
|
|
Sherbrooke Fine Arts Museum, Sherbrooke, Quebec
|
|
|
Spencer Museum of Art, University of Kansas, Lawrence, KS
|
|
|
Thacher Proffitt & Wood, New York, NY
|
|
|
University of Massachusetts, University Gallery. Amherst, MA
|
|
|
University of Miami Art Gallery. Miami, OH
|
|
|
University of New Mexico Art Museum. Albuquerque, NM
|
|
|
Washington National Airport. Cesar Pelli Commission. Washington, DC
|
|
|
|
|
|
2007 -
|
Associate Professor, MFA Fine Arts Program, The School of Visual Arts, New
York, NY
|
|
|
2003-2007
|
Associate Professor, Visual Arts Department. Fordham University, Bronx, NY
|
|
|
1996-2003
|
Associate Professor, MFA Fine Arts Program The School of Visual Arts, New York,
NY
|
|
|
2000-2001
|
Associate Professor, Princeton University, Princeton, NJ
|
|
|
1998-1999
|
Assistant Professor, Graduate Program. Hunter Collage, City University of New
York. New York, NY
|
|
|
1994-1996
|
Assistant Professor, Advanced Painting. The Cooper Union of the Arts and
Sciences, New York, NY
|
|
|
1985-1986
|
Assistant Professor, Light, Color, and Design. Pratt Institute, Brooklyn, NY
|
|
|
1977-1990
|
Instructor of Foundation, 2D, Drawing and Color. The School of Visual Arts, New
York, NY.
|
|
|
1977-1978
|
Instructor of Drawing and Photography. Rutgers University, Newark, NJ
|
|
|
1973-1974
|
Teaching Assistant, Advanced Painting. Yale University, New Haven, CT
|
|
|
|
|
|
|
|
|
Visiting Lecturer and Critic:
|
|
|
|
|
|
2006
|
Visiting Critic and Lecturer. The School of Visual Arts MFA Fine Arts Program, NYC
|
|
|
Visiting Critic and Lecturer. Mass Art, Boston, MA
|
|
|
2005
|
Visiting Lecturer. New York Studio School, New York, NY
|
|
|
2004
|
Visiting Critic and Lecturer. Hartford School of Art, Hartford, CT
|
|
|
2003
|
Visiting Critic and Lecturer. Florida Atlantic University, Boca Raton, FL
|
|
|
2002
|
Visiting Critic. Rhode Island School of Design, Providence, RI
|
|
|
Visiting Critic. Fordham University, New York, NY
|
|
|
2001
|
Visiting Critic and Lecturer. Pratt Institute, Brooklyn, NY
|
|
|
2000
|
Visiting Critic and Lecturer. Kansas City Art Institute, Kansas City, MO
|
|
|
Visiting Lecturer. Memorial Art Museum, Rochester, NY
|
|
|
Visiting Critic. Rochester Institute of Technology, Rochester, NY
|
|
|
1999
|
Visiting Lecturer. Princeton University, Princeton, NJ
|
|
|
1998
|
Visiting Lecturer. Pratt Institute, Brooklyn, NY
|
|
|
Visiting Lecturer. Hunter College, City University of New York, NY
|
|
|
1997
|
Visiting Lecturer and Critic. The Claremont Graduate School of Art, Claremont, CA
|
|
|
1996
|
Visiting Lecturer and Painting Critic. Mt. Royal School of Art, Maryland Institute,
Baltimore, MD
|
|
|
1995
|
Visiting Lecturer and Critic. The Claremont Graduate School of Art, Claremont, CA
|
|
|
Visiting Professor. The Claremont Graduate School of Art, Claremont, CA
|
|
|
1994
|
Visiting Lecturer and Painting Critic. Kent State University, Kent, OH
|
|
|
1993
|
Visiting Lecturer and Critic. Syracuse University, Syracuse, NY
|
|
|
Visiting Artist, Tamarind Institute, University of New Mexico. Albuquerque, NM
|
|
|
1991
|
Visiting Artist in Lithography. Tamarind Institute, University of New Mexico.
Albuquerque, NM
|
|
|
1990
|
Visiting Lecturer. New York Studio School, New York, NY
|
|
|
Visiting Lecturer and Painting Critic. Montserrat College of Art, Beverly, MA
|
|
|
1988
|
Visiting Critic. Pratt Institute, Brooklyn, NY
|
|
|
1987
|
Visiting Lecturer and Critic. Bates College, Lewiston, ME
|
|
|
1986
|
Panelist for Symposium, “Twelve from New York.” Yale School of Art, New
Haven, CT
|
|
|
1981
|
Visiting Lecturer and Painting Critic. Tyler School of Art, Temple University,
Philadelphia, PA
|
|
|
|
|
|
|
|
|
Printmaking Projects and Editions
|
|
|
|
|
|
2007
|
Pace Editions. Notes from the Street: Eighteen Monoprints. New York
|
|
|
2006
|
Tamarind Institute. Lithography. University of New Mexico. Albuquerque, NM
|
|
|
2005
|
Pace Editions. Elements, A Suite of Five Color Etchings. New York
|
|
|
Brand X Editions. Screen Prints and Monoprints. New York
|
|
|
2004
|
Pace Editions. Etchings and Monotypes. New York
|
|
|
2003
|
Tamarind Institute. Lithography. University of New Mexico. Albuquerque, NM
|
|
|
2002
|
Two Palms Press. Monotypes. New York
|
|
|
2001
|
Pace Editions. Etchings and Monotypes. New York
|
|
|
2000
|
Riverhouse Editions. Etchings. Steamboat Springs, CO
|
|
|
Two Palms Press. Monotypes. New York
|
|
|
1999
|
Tamarind Institute. Lithography. University of New Mexico. Albuquerque, NM
|
|
|
1998
|
Two Palms Press. Monotypes. New York
|
|
|
1997
|
Two Palms Press. Monotypes. New York
|
|
|
1995
|
Pace Editions. Drypoint and Monotypes. Spring Street Workshop, New York
|
|
|
Echo Press. Lithography. Bloomington, IN
|
|
|
Two Palms Press. Monotypes. New York
|
|
|
1994
|
Pace Editions. Etching, Aquatint, Drypoint and Monotype. Spring Street
Workshop, New York
|
|
|
Two Palms Press. Monoprint. New York
|
|
|
1993
|
Tamarind Institute. Lithography. University of New Mexico. Albuquerque, NM
|
|
|
1992
|
Galerie Lelong. Etching, Aquatint, Drypoint and Monotype. Paris
|
|
|
1991
|
Tamarind Institute. Lithography. University of New Mexico. Albuquerque, NM
|
|
|
1990
|
Garner Tullis Workshop. Monoprint. New York
|
|
|
Garner Tullis Workshop. Monotype and Woodcut. Santa Barbara, CA
|
|
|
1989
|
Garner Tullis Workshop. Monotype and Woodcut. New York and Santa Barbara,
CA
|
|
|
1988
|
Garner Tullis Workshop. Monotype. New York
|
|
|
|
|
|
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