Current Exhibitions:

 

Works are on exhibit at my Kingston, New York Studio.

Email: helmutart@hotmail.com
or call:
646 263 3532
for appointment.

2003 FLORIDA STATE UNIVERSITY MUSEUM OF FINE ART, 250 Fine Arts Building, Tallahassee FL 32306-1140. The title of the exhibition was, Combined Talents: Florida International. Curators of this exhibition were: Kabuya P. Bowens and Janice Hartwell. This show Opened on August 25th. The exhibition continued through September 28th.

2002 SAMUEL DORSKY MUSEUM OF ART, Hudson Valley Artists 2002, West Wing, SUNY at New Paltz, 75 S. Manheim Blvd. Suite 9, New Paltz, NY 12561-2443. The exhibition was open on June 22nd from 2 - 4 p.m. and continued through August 23rd. The Juror was Sydney O. Jenkins

2002 NATHAN D. ROSEN MUSEUM GALLERY, in the Adolph Rose Levis Jewish Community Center, 9801 Donna Klein Blvd., Boca Raton, FL 33428-1755. Title of the Exhibition; was Art 2002. Opened on March 17th and continued through April 21st. The curator of this exhibition was Richard J. Frank.

1999 THE ART MUSEUM OF SOUTHEAST TEXAS, Beaumont, TX, Transcending Limits: Moving beyond Mainstream and Margin, Texas Fine Arts Association's touring program, The Exhibition was on view from August 6th, through September 5th, CATALOG  

1999 THE BUTLER INSTITUTE OF AMERICAN ART, Youngstown, OH, 63rd Midyear Exhibition, the Exhibition was on view from July 10th through August 28th, CURATOR, James Harithas 

1998 HOLTER MUSEUM OF ART, Helena, Montana, ANA 27, the Exhibition was on view from August 28 through October 27, CURATOR, Peter Frank 

1998 THE CHRYSLER MUSEUM OF ART, Norfolk, Virginia, The 34th Irene Leache Memorial Exhibition, CURATOR, Carolina Ponce De Leon 

1998 THE BUTLER INSTITUTE OF AMERICAN ART, Youngstown, OH, 62nd Annual National Midyear Exhibition, the Exhibition was on view from June 28 through August 30, CURATORS, Gladys Nilsson and Jim Nut 

1996 HOLTER MUSEUM OF ART, Helena, Montana, ANA 25 

1995 SAN BERNADINO COUNTY MUSEUM, Redlands CA, 30th Annual International Exhibition 

1994 THE BUTLER INSTITUTE OF AMERICAN ART, Youngstown, OH, 58th Annual National Midyear Exhibition 

1993 CHEEKWOOD MUSEUM OF ART, Nashville, TN, The Cheekwood National Contemporary Painting Competition (catalog) 

1993 SAN BERNADINO COUNTY MUSEUM, Redlands, CA, 28th Annual  Open Exhibition 

1992 CENTRO CULTURAL RECOLETA, Buenos Aires, Argentina America 500 (catalog) 

1983 PHOENIX ART MUSEUM, Phoenix, AZ, New York (catalog) 

1982 METROPOLITAN MUSEUM AND ART CENTER, Coral Gables, FL, New York (catalog) 

1977 THE ALDRICH MUSEUM OF CONTEMPORARY ARTS, Ridgefield, CT, The Sixth Annual Contemporary Reflection Exhibition (catalog) 

1969 DETROIT INSTITUTE OF ARTS, Detroit, MI, Michigan Artists

Thesis was written in May 2009 and Thesis represents the new direction my work has taken since then.

Introduction

My thesis will be a series of three short films and about 75 framed digital prints taken from the films. The films will show in designated darkrooms and the prints will show in the same gallery space. The name of the entire three-piece ensemble is HHProject.

Everything touches on an important aspect of water: when it is used and even when it is worshipped. Over the last forty years I made art and put together approximately one hundred forty exhibits. In the last three years I transformed my work into digital art. My website is my art catalogue. My thesis project for NYIT is named HHProject.

Influences - 1

When people do what they love, they invariably include their influences. I want to name Leonardo daVinci and his painting of the Mona Lisa. The Mona Lisa was commissioned by a wealthy person but the painting was never completed. Leonardo kept the Mona Lisa in his possession all his life. It was with his effects when he died. He abandoned the commission and got involved with a desire to make a “perfect painting of a woman,” perhaps an idealized female figure. The need to search for perfect modeling may have led to his device of sfumato. That means Leonardo layered thin applications of his paint many times over and over to provide a mysterious quality of depth and tonality. He was the first and he was the model for the French Academy that was to come in the future.

The Mona Lisa background could not exist in reality and is basically a composite of two different landscapes. Leonardo tilted one scene to give it some dynamic movement (Leonardo’s Notebooks). The foreground of the painting and the background double landscape were layered together into an idealized balance to form … what? I would answer, to form a well balanced composite of idealized forms.

What has this to do with my statement? I too bring together composite figures in hopes of making all the greater an impact. My mixed images are not at all mixed messages. My message is that the medium of water is the ancient transmitter of good and the not so good and it is ubiquitous. Water will be seen in three different applications of its many powers.

Influences - 2

Now, for shocks, consider Andy Warhol, he who has reached a technological progression from Leonardo. Warhol is the pop artist as iconoclast. He would be concerned with a digital breakup of familiar objects into multiple variations rather like unwinding DNA into individual genes. Or, rather like a filmmaker relying not on the action of a perfect scene, but relying on a slow motion scene that is stilled in order to find a variation on one discreet scene….like viewing one painting.

Warhol, unlike Leonardo, is not looking for a self made image as a piece of perfection. Warhol sought the common, classic model and wanted to give it a full life cycle that would go through its life as a frame-for-frame still. This would emphasize its entire idealized existence. The repetition of familiar objects into a color spectrum of variable differences practically defines Warhol’s work. In simplest terms, Warhol was about strict variation on an extremely narrow theme (Andy Warhol). Warhol influences me because I also use multiple images. In my situation I have a more realistic subject matter to depict, even when it has to do with arcane issues of Inca poetic rain reverence. My concerns are aesthetic, not commercial. My work is concerned with what comes tomorrow; therefore I invested in the new technologies. Finally, I love music and will therefore incorporate musicality with the films to the best of my ability. HHProject, Janus-like looks to the past, present and future to make art that shows itself meaningfully to the viewer.　

Prior to Thesis This has held true.

Straight lines are the product of my thirty year search to simplify art as the abstract expressionist lives it. Straight lines are the sheerest statements to be made for art, the clearest, as my work describes ever finer edges. I aim for ironical understatement in the contrast between bleak unmarried lines and the lush fecundity of fresh color. Shiny finishes are not decorative; rather, they commemorate the beauties of art that has lived before. 

PORT FOLIO WEEKLY, June 2-8, 1998, Norfolk VA

Beauty Fills d'Art Center, By Catherine Dorsey 

Culled from over 220 images, 52 pieces of two and three dimensional artworks are included in the d'Art Center's 8th Annual Mid-Atlantic Arts and Fine Crafts Exhibit. Juror William Hennessey, director of the Chrysler, made the selection and awarded prizes in six different categories. 

Crystal Spheres of The Heavens, Part VIII, a three dimensional work by Helmut Amann, is painted on wood panels that protrude from the wall. Hard-edged designs painted in a rainbow of matte and pearlized paints heighten the series' sculptural quality. 

The Steamboat Today, August 1, 1997

Summer Art '97 By Tom Ross

New York artist Helmut Amann captured "Best of Show" in Summer Art '97 with a dramatic mixed media work entitled "Silver Anniversary." It is based on a series of three-dimensional rectangles. The piece measures 86 inches in width and reflects a subtle mastery of color, form and shadow. The exhibition will open at The Depot Art Center with a public reception at 5 p.m. on Friday. The fine art exhibit and sale features multi-media professional and amateur artists from throughout the western states. 

Susan Totty, an Arizona gallery director judged the show, with ties to Steamboat Springs. Totty is the director at Gallery 10 in Scottsdale. She came to Steamboat in 1989 and opened Four Directions Gallery, which specialized in Native American Art. When the gallery closed in 1994 she took the position at Gallery 10, where she assists in purchasing Native American fetishes, Navajo folk art and contemporary weaving. For more than 25 years, she has been a eclat-tic collector of Native Americana, contemporary paintings by emerging artists, outsider art and textiles. 

Local artists are invited to discuss their work over coffee with Totty on Saturday from 9-1 1am at the Depot. Among the work that the group is likely to discuss is Amann's carefully displayed series of rectangles. 

Amann says his work is about the contrast between stark lines and fertile color. 

"Straight lines are the product of my 25-year search to simplify art as the abstract expressionist lives it," Amann said. "In straight lines are the sheerest statement to be made for art, the clearest. As my work describes ever finer edges, I aim for ironic understatement in the contrast between bleak unmarried lines and the lush fecundity of fresh color." 

 

The New York Time, September 15, 1996

Esthetic Alchemy and Surprising Photos  "Winners '96" By Helen A. Harrison,

The show includes work by the top award winners of this year's juried art exhibition chosen by Jennifer Blessing, a curator at the Solomon R. Guggenheim Museum, and the photography exhibition, for which Thomas Collins of the Museum of Modern Art was juror. 

Helmut Amann's geometric wall relief's play with perceptions in an optical sense, using color and shape to imply depth and movement where none exist. Each element is painted and inscribed to suggest three-dimensional structures although they are actually almost flat. Almost, but not quite. They are also almost all the same, but subtly varied within each grouping, creating a captivating progression of gradual metamorphosis from one form to the next. 
 

The New York Times, Sunday, November 12, 1995, By Helen A. Harrison

Juried Shows Add New Ingredients to Old 

20th Annual Juried Fine Arts Exhibition 

Adding new ingredients to the old recipe is one of the advantages of juried shows. Louise Weinberg, winner of the top awards and Helmut Amann with the second prize were previously unknown to this writer. 

Ms. Weinberg's incised copper panels use anatomical details and text to explore issues of emotion and communication. Her prize-winning piece, "Messages received by the Sense of Touch," includes a statement in sign language, while the other, " Where His Heart was," replaces the organ with a written message. 

In contrast to this subjectivity, Mr. Amann's two "Crystal Spheres of the Heavens" reliefs are studies in objective geometry. His formal constellations arranged in groupings on the wall, use bands of color to create the illusion of slatted structures on what are actually planar elements. Cool and precise, Mr. Amann's work engages the mind more fully than the senses. 

For sensual stimulation, turn to L. B. Volle's "Reef," a wax panel with outlined shapes embedded in its surface. Like the coral polyps that they resemble, the layered forms seem to float in a realm that is at once alien and inviting. The same might be said of Sue Palmisano's amusingly titled oil "Venus Envy No. 2," a portrait of lush plant life that beckons seductively while looking disconcertingly carnivorous. 

Another outstanding oil, Bogdan Dumitrica's "If We Can Hear the Bells," gives equal weight and presence to four different types of bells. This handsome and deceptively simple work is rich with metaphorical possibilities. James Cook's "Gran," a sculpture of cloche and amplifier shapes that also sends mixed messages, complements it. 

Two archetypal ceramic figures by James Corbett represent the king and queen of tantrum lore. The presences recall Max Ernst's treatment of a similar theme. 
 

Newsday, November 3, 1995, By Margaret Moorman

A Full Palette of Talent Arrayed in Smithtown. 

Twentieth Annual Juried Fine Arts Exhibition 

Presented through Nov. 26 by the Smithtown Townships Arts Council at the Mills Pond house, 660 Route 25A, Smithtown, Open 11 a.m. to 4 p.m. Tuesday through Friday, noon-4pm and Saturday and Sunday. 

Large group shows like this one, in which 51 disparate artworks vie for attention, offer something for everyone, though in the cacophony of styles, colors, sizes and mediums, the more contemplative works could easily get lost. 

A viewer has to take time to find and appreciate even the work of the first-prize winner, Louise Weinberg, whose two medium-sized, nearly monochromatic tablets of etched and inked copper over wood have a quiet presence. It takes patience to make out their subtly drawn images; such as "For the Moment of Skin to Skin," spelled out above drawings of hands forming the letters in sign language. 

Another understated but authoritative work is "Ecotone: Reye," by Cynthia Stone. Listing her materials as "aluminum, oil and acrylic," Stone exhibits a tall, abstract rectangle made out of three or four sheets of window-screen stained with swathes of paint and then layered with their edges meeting precisely, building up less than half an inch of depth. Viewed from different angles, the surface has a tide like, rippling effect. 

This is not to say that much of the more exuberant, colorful pieces do not merit extended appreciation. The show's judge, Jennifer Blessing of the Guggenheim Museum, has done an admirable job of balancing different kinds of work. 

For his striking, tumultuous collage, "Fetching Fruitcake," Bruce Helander has taken a found image of a dog carrying a wrapped parcel and placed it among many other picture fragments, torn from old posters or other printed matter, that are eerily threatening -- a crowd of people with raised fists, a man brandishing a club. There is an unmistakable, menacing quality to the work, as if the ordinary, everyday world of the cartoonish dog performing his little task is about to turn ugly. 

Susan Rappel's humorous, abstract work on paper, "One in Nine," is full of life, with a fast-looking, loopy line and colors that seem intentionally off, such as a flesh pink or a brackish green. Second-place winner Helmut Amann exhibits two-multi part, geometric wall sculptures that are bright and beautifully constructed. 

Much of the natural talent on view would lend itself successfully to illustration. Zhong Xia Chen's skillful "Foot of the Mountain" shows an antelope resting beneath distant snow-capped peaks; it's painted with the delicacy and naturalism seen in exhibits at New York's American Museum of Natural History. 

And Steven Manolopoulos' etching of a forest glade with a single, glowing flower has a wide border packed with tiny tours de force -- a classically cross-hatched sunset, Mandarin-like abstractions, a cartoon hand. It is as if he were making a demonstration piece to display all the styles in his quiver. Fairy tales would be perfect subjects for someone with Manolopoulos' imagination and eye for detail. 

As in most broadly selected group shows, there is much competent work here that is fundamentally uninteresting --- nicely drawn figure studies, still life’s of gleaming fruit, sunny landscapes. However, there are also a few pieces that are just the opposite, by practitioners who appear untrained but who possess the important advantage of strong feeling and complicated ideas. 

The most striking of these is "Confusion," a large gouache teeming with figures by Helene Baum. A devil-like creature in the center seems to exude shapes like cartoon speech-balloons. Inside these are topsy-turvy scenes of children swinging or people on a park bench; it's as if they have been blown off-kilter by a sudden wind. Outside the balloons, ghostly beings float in a midnight-blue fog. Though awkwardly drawn, the figures show a determination that gives them a monumental aspect. Like Helander, Baum is exploring the uncertainties of everyday life and coming to terms with a world in which what is pleasant and secure one minute may disappear the next. 
 

1992, Art Seen Video by David Howard

Geometric Hard Edge Abstraction 

An unconscious forerunner of installation art Amann combines the geometric form of interior environments with the geometry of his art work creating an intriguing geometric integration. The picture plane also becomes a repository of optical change. Cutting, assembling, and painting the surface in conjunction with the actual display are all included in this well thought out tape about an unusual artist and the original artwork he creates. 
 

Aligemeines Kunstler Lexikon, (General Directory of Artists), Amann, page 540, 1986

Arnann, Helmut, US-amer. Maler, * 19.5.1947 Stuttgart, lebt in New York. Stud.: bis 1970 Malerei, Druckgraphik and Bildhauerei am Pratt Inst., Brooklyn, New York (BFA). 1974 amer. Stratsburgerschaft. 1979 Europa-Reise. Mitgl.:1980 Artist file at Artist Space; 1983 Organization of Independent Artists; 1984 New York Artists Equity Assoc.; 1984 Artist Certification. - A. erzielt in seien abstrakten Gemalden auf Leinwand oder auf bes. Konstruktionen metallisch glanzende Effektc durch Verwendung von Acrylfarben mit Perlmutt-und Metailpigmenten. (collections): ASHLAND, VA, Best Products Co.: Copper, Acryl auf Leinen, 1979. BLOOMFIELD HILLS, MI, Silverman: Subatomic, acryl auf Leinen, 1978., METUCHEN, NJ, William Rabb: Two and a half bands on copper, Acryl auf Leinen, 1979. NEW YORK, Long Island, Citybank: Capital For Colums, erected during the New Era, 3 Konstruktionen, Acryl auf Holz, 1984. - Louis K. Meisel Gall.: Light green to blue, Acryl auf Leinen, 1978. Mark Goldstein: Crystal Habits 5, 6, 7, drei Konstruktionen, Acryl auf Holz, 1983. OSSINING, CT, Mearl Corp.: Concentric Circles, Acryl auf Holyz, 1976. PEPER PIKE, OH, Robert Garfield: Pearl II, Acril auf Cotton, 1975. (Exhibitions): 1974, '76, '77 New York, Razor Gall.; 1979 Superior, Wisconsin, Univ. G: 1977 Ridgcfleld, Conn., The Aldrich Mus. of Contemp. Art: The 6tb Annual Contemp. Rellection Exhib. / New York: 1978 Soho Center for the Visual Arts: Six Painters; 1979 Louis K. Meisel Gall.: Abstract Painters; 1981 O.K.Harris Gall.: Invitational Show; 1985 Jayne Baum Gall.: Ceremonial Light /1982-83 Tallahassee, Fla., Univ. Fine Arts Gall.; Coral Gables, Fla., Mus. & Art Center; Phoenix, AZ, Art Mus.: New New York (Wanderausst., Kat.). (reviews), ArtsMag 49 1975(5); 51:1977(7); 55:1981(10)17, Abb.; Art in America (New York) 70:1982(7)131,223. - Mitt. des Kunstiers.  Ch. Rohrschneider 
 
 

Art Magazine, By Michael Florescu, June 1981

The debasement of gold not the exclusive responsibility of financiers and politicians. Artists, too, share the blame. Since Giotto, say, in the West, gold, the most ductile of all the elements, has, over the years, come to be employed primarily for its superficial characteristics. The glitz and glitter of much punk and "new wave" art activity is for some the only experience of what was once the accepted visual element for the expression of spirituality. 

It is important to remember this because gold pigment (and to a lesser degree, silver and bronze and mother-of pearl) is an integral part of Helmut Amann's new pieces. And he employs it in a manner that suggests that he, for one, is mindful of its real significance. He employs gold not as embellishment or cosmetically, but as content. Epitome of the rare and precious, gold is almost infinitely capable, both in actuality and in a metaphysical sense, of transformation. Which is why it has always been the element par excellence for the accommodation of the spiritual. Amann knows this instinctively. The shaping of his non-rectilinear canvases has evidently not been arbitrary; it has been to accommodate the curvilinear band of gold, which is the dominant feature of his compositions. Moon on Jerusalem is an excellent example of his method. An irregular hexagon, this painting, like all of the pieces in his current series, deals not merely in spatial illusion, in the relationship between depth and shallowness, but in the tensions between contraction and expansion, between transmitted and reflected light. 

Despite the ambiguity of the forms brought into being and shaped by these tensions, despite the fact that each of them may be interpreted visually in more ways than first meets the eye (the way often determined by the angle at which the light falls on it), every one without exception represents the principle of the open box. Ordinarily, one thinks of a box as an object for the containment of another object or objects. The quality and condition of the objects contained sometimes, but not the translation of corporeal reality into the realm of the divine, they had at the same time to serve for the containment of the spirit until the completion of its passage to the domain of the irreal. The supreme effect of the use of gold by the ancient Egyptians was to make an unmistakable distinction between the two elements. Thus was the virtue of inequality made manifest. 

In our own day, the otherworldly properties of gold, properly employed, can be in no way denied. Amann, by introducing this magical element into the matrix of geometric illusion, is drawing our attention to, and throwing into high relief, the minimalist tradition from which this, his latest work, developed. By introducing the magical element to the minimalist structure, Amman is demonstrating that the single most important characteristic of that structure was its emotional denial and its celebration of sensory deprivation. 

The introduction of one element, even the richest of all the elements, into the being of another may by itself do no more than suggest potential for change. But Amann has done more. He has employed the vernacular of geometric illusion to enact the drama of sequence of the passage of one medium through another. Metaphorically, it is the inevitable consequence of the collision of disparate cultures. The disparate cultures Amann has actualized are inherent and visible in the works themselves. The box-like illusions, which are the works, are his versions of the reliquary. Amann's reliquaries differ essentially from the reliquaries we are accustomed to in that his serve as repositories not of the flesh but of the spirit. The literally outlandish shapes of Amann's illusionary boxes can be seen to transform themselves as a consequence of the light reflected off them. And the light they transmit is a consequence of the light that is reflected. 

To claim a religious intent on behalf of this most interesting artist would be to do him a disservice. Yet the intimations of the ineffable are not to be denied. The very least of his accomplishments to date is to render to the impersonal manifestations of geometry, and geometrical illusion a flavor of the personal; the irregularity and asymmetry of his canvases and the painterly surface of their would-be solid faces powerfully suggest the affirmation of an individual and vulnerable spirit. 

 

Museum, Gallery and Art Association Exhibitions: 

2011 Hudson Gallery, Sylvania, Ohio, 43560. The name of the show is the Wow Now project Exhibition. The Opening is on March 26, and runs through April 23, 2011. Juror: Thomas Hilty.

2010 SILVERMINE GUILD ART CENTER, New Canaan, CT 06840. 61st Art of the Northeast. Exhibition dates April 30 through June 11, 2010. Juror: Katie Rashid.

2010 SOUTH SHORE ART CENTER, Cohasset, MA . Media Mix, Art work selected: Abduction Dance_2. Exhibition dates March 19 through May 2, 2010.

2010 FAYETTEVILLE TECHNICAL COMMUNITY COLLEGE ART GALLERY, Fayetteville, NC 28303: Two works selected, A Hard Rain...Double_2 and A Hard Rain...Double_3. Exhibition Dates were from February 26th through March 12, 2010.

2008 NEW YORK INSTITUTE OF TECHNOLOGY, 16 West 61 Street, Eleventh Floor Gallery, New York, NY 10023. The title of the exhibition was: MFA Art Exhibition. This show Opened on May 5th through May 11th.

2008 FONDO DEL SOL, 2112 R Street NW, Washington,DC. May 3 rd, One day exhibit of Movie: Waterfall, Rain, Sky.

2004 GIRARDOT NATIONAL JURIED EXHIBITION, 32 N. Main Street, Cape Girardeau, MO, 63701. The title of the exhibition was: 2004 Girardot National Juried Exhibition. This show Opened on July 2 through July 31st

2004 THE MONTPELLER CENTER FOR ARTS AND EDUCATION, 17205 Mountain Road, Montpellier, Virginia, 23192. The title of the exhibition was: 2004 Celebration of the Arts. This show Opened on April 24th through June 4th

2004 SMITHTOWN TOWNSHIP ARTS COUNCIL, St. James, NY, Smithtown Township Arts Council "Golden Visions Art Exhibit". Opened on April 24th and continued through May 22

2003 FLORIDA STATE UNIVERSITY MUSEUM OF FINE ART, 250 Fine Arts Building, Tallahassee FL 32306-1140. The title of the exhibition was, Combined Talents: Florida International. Curators of this exhibition were: Kabuya P. Bowens and Janice Hartwell. This show Opened on August 25th. The exhibition continued through September 28th.

2003 STEAMBOAT SPRINGS ARTS COUNCIL, Steamboat Springs, CO, Summer Art 2003 at the Eleanor Bliss Center for the Arts at the Depot. The Exhibition was on view from August 1st through September 14th. The Judging was done by Mimi Moore

2003 SMITHTOWN TOWNSHIP ARTS COUNCIL, St. James, NY, Smithtown Township Arts Council 4th Annual Senior Citizen Art Exhibition, Opening reception was on Saturday June 14th and continued through July 19th

2003 INFRAMUNDO GALLERY, 106 Spring Street #6S, New York, NY 10012, the title of the exhibition, The Morbidity Show, Paintings, Drawings and Digital Prints dealing with degradation. The show opened on May 10th and continued through June 21st

2003 SPACe, SPANISH PEAKS ART COUNCIL, 132 W. Ryus, La Veta, CO 81055. The title of the exhibition is, SPACe Photo Show. Three digital prints were exhibited 8 1/2" X 11". Judging of the show by William Davis. The show opened on May 3rd through May 28th

2003 THE MONTPELLER CENTER FOR ARTS AND EDUCATION, 17205 Mountain Road, Montpellier, Virginia, 23192. The title of the exhibition is, 2003 Celebration of the Arts. This show Opened on April 5th through May 28th

2003 THE GALLERY 509, State Street #6, Madison WI 50703. Title of the exhibition: Dimension Matters 2003, Group Exhibit. Two digital prints were exhibited 8 1/2" X 11". Show dates: February 1st through February 22nd

2002 SMITHTOWN TOWNSHIP ARTS COUNCIL 27th Annual Juried Fine Arts Exhibition at the Mill Pond House. Located at 660 Rte. 25A, St. James, NY 11780. CURATORS: Susan Cross and Stan Brodsky. Exhibition was on view from October 18th through November 24th

2002 SAMUEL DORSKY MUSEUM OF ART, Hudson Valley Artists 2002, West Wing, SUNY at New Paltz, 75 S. Manheim Blvd. Suite 9, New Paltz, NY 12561-2443. The exhibition was open on June 22nd from 2 - 4 p.m. and continued through August 23rd. The Juror was Sydney O. Jenkins

2002 ARTS COUNCIL / GALLERY 100, Girardot National Juried Exhibition, 119 Independence, Cape Girardeau, MO 63703. The exhibition opened on July 5th through July 26th, 2002. The CURATOR was Jan Estep

2002 NORTHERN COLORADO ARTIST ASSOCIATION, Lincoln Center, 417 West Magnolia, Fort Collins, Colorado. Title of the Exhibition was 11th National Art Exhibition & Sale. Opened on April 20th, through May 17. The curator of this exhibition was Georgianna Contiguglia.

2002 NATHAN D. ROSEN MUSEUM GALLERY, in the Adolph Rose Levis Jewish Community Center, 9801 Donna Klein Blvd., Boca Raton, FL 33428-1755. Title of the Exhibition; was Art 2002. Opened on March 17th and continued through April 21st. The curator of this exhibition was Richard J. Frank.

2002 ELEANOR BLISS CENTER FOR THE ARTS at the Depot, 1001 13th Street, Steamboat Springs, Colorado, 80477. Title of the Exhibition was Winter Works 2002. Opened on January 18th, through February 24th. The curator of this exhibition was Susan Shatter

2001 SMITHTOWN TOWNSHIP ARTS COUNCIL, St. James, NY, Members Exhibit, Exhibition was on view from December 8th through December 30th

2001 INFRAMUNDO GALLERY, Group Exhibit, 106 Spring Street, #6s, New York, NY, 10012, New York Artists Reacting to the Horrific Events at the World Trade Center, Exhibition was on view from November 10th to December 22nd

2001 STUDIO 4 WEST, Art Gallery, 4 Round House Road, Piermont, NY, 10968, Title of the Exhibition: Thoughts of Progress. Exhibition was on view from August 24th through September 2nd

2001 STUDIO 4 WEST, Art Gallery, 4 Round House Road, Piermont, NY, 10968, Title of the Exhibition: International Juried Competition, Curator: Graciela Kartofel. Exhibition was on view from August 1st through August 20th

2001 DOT'S ART NATIONAL EXHIBITION, Arts Council/Gallery 100,119 Independence Street, Cape Gigareau, MO, 63703. Exhibition opened on July 6th through July 28th

2001 CHAUTAUQUA CENTER FOR THE VISUAL ARTS, Chautauqua, NY, 14722, Title of the Exhibition: 44th Chautauqua National Exhibition of American Art, Curator: Barbara Rose. Exhibition opened on June 15th through July 11th. Opening reception was held on June 24th

2001 INFRAMUNDO GALLERY, 106 Spring Street, #6S, New York, NY, Title of the Exhibition: Crystallized Dreams. Exhibition opened on May 3rd through June 28th

2001 BALD EAGLE ART LEAGUE AND THE SUSQUEHANNA VALLEY FESTIVAL OF THE ARTS, Williamsport, PA 17701, Title of the Exhibition: Regional Art Exhibition, Curator: Shirley Zampelli Startz-Davis. Exhibition opened on June 1, 2, and 3rd at the Pennsylvania College of Technology, Williamsport, PA. And on June 4th through June 29th, at B & S Picture Frames Gallery, Williamsport, PA 17701

2001 ART ASSOCIATION OF HARRISBURG, 21 North Front Street, Harrisburg, PA, Title of the Exhibition: 73rd Annual Juried Exhibition, Curator: Susan Cross. Exhibition opened on May 12th and continued through June 14th, 2001

2001 SHIPPENSBURG UNIVERSITY, 1871 Old Main Drive, Shippensburg, PA, 17257, Exhibition at the Kauffman Gallery, Title of the Exhibition: Play - 2nd Annual Juried National Exhibition, Curator: Ivan Karp. Exhibition was on view from April 2nd through April 18th

2001 STUDIO 4 WEST, Art Gallery, 4 Round House Road, Piermont, NY, 10968, Title of the Exhibition: Third National Juried Exhibition, Curators: Patricia Gutierrez, Betty DeMarco, Pamela Fedele. Exhibition was on view from March 28th through April 16th

2001 INFRAMUNDO GALLERY, 106 Spring Street, New York, NY, Paintings of Visions & Dreams, The Exhibition was organized by Pedro Lujan and were the three visual artist on the panel at Artist Talk On Art. The Exhibition was view From January 11th through March 3rd

2000 ARTIST TALK ON ART, The Phoenix Gallery, New York, December 8th, Panel on Visions and  Dreams, Moderator: Pedro Lujan, Panel members showed 10 slides on the profound influence of Vision and Dreams in their works

2000 FRANKLIN SQUARE GALLERY, 130 East West Street, Southport, NC, Associated Artists of Southport, July National Exhibition, CURATOR: Don Getz. The Exhibition was on view from June 19th through July 29th 

2000 d'ART CENTER, Norfolk, VA, The 10th Annual Mid Atlantic Art Exhibition, CURATOR: Lester Van Winkle The Exhibition was on view from April 21st through June 25th 

2000 WAYNE ART CENTER, 413 Maplewood Avenue, Wayne, PA,The 2000 National Spring Open Juried Exhibition, CURATOR: Barbara Grossman. The Exhibition was on view from May 14th through June 16th,

2000 RIDGE ART ASSOCIATION, Winter Haven, Florida, 4th Annual National All Media Exhibition, CURATOR: Joseph B. Schenk, the Exhibition was on view from April 8th through May 14th 

2000 Gallery Charas / El Bohio, 605 East 9th Street (between Ave. B & C) New York, NY, International Art Exhibition, CURATOR: Paul Cabezas. The Exhibition was on view from April 29th through May 13th, 2000

1999 The Jones Center for Contemporary Arts, Austin, TX, Transcending Limits: Moving beyond Mainstream and Margin. CURATOR: Don Bacigalupi, Director and Chief Curator, Blaffer Gallery, The University of Houston and Michael Ray Charles, artist and Assistant Professor, The University of Texas at Austin. The Exhibition was on view from December 10th through February 20th, 2000, CATALOG

1999 Blue Star Art Space, San Antonio, TX, Transcending Limits: Moving beyond Mainstream and Margin, Texas Fine Arts Association's touring program, The Exhibition was on view from September 20th, through October 18th, CATALOG

1999 The Art Museum of Southeast Texas, Beaumont, TX, Transcending Limits: Moving beyond Mainstream and Margin, Texas Fine Arts Association's touring program, The Exhibition was on view from Aug. 6th, through Sept. 5th, CATALOG

1999 Arts Council of Southeast Missouri, Cape Girardeau, MO, "DOTSArt", CURATOR, Ben Mahmoud. The Exhibition was on view from August 6th through August 29th

1999 Steamboat Springs Arts Council, Steamboat Springs, CO, Summer Art. The Exhibition was on view from July 30th through August 29th,

1999 The Butler Institute of American Art, Youngstown, OH, 63rd Midyear Exhibition, the Exhibition was on view from July 10th through August 28th, CURATOR, James Harithas 

1999 Salon Inframundo, New York, NY, The Exhibition was on view from May 13th through June 13th 

1999 Ridge Art Association, Winter Haven, Florida, Int. 3rd Annual National All Media Exhibition, CURATOR: Daniel Stetson, The Exhibition was on view from April 17th through May 16th, 

1999 d'ART CENTER, Norfolk, Virginia, 9th Annual Mid Atlantic Arts Exhibition, CURATOR: Carol Rand, The Exhibition was on view from February 26th through April 8th 

1999 Slocumb Galleries, East Tennessee State University, Johnson City TN, Positive Negative 14, CURATOR, Stephen C. Wicks. Exhibition was held from February 8th to March 5th 

1999 Steamboat Springs Art Council, Steamboat Springs, CO, Winter Works Fine Arts Show, The Exhibition was on view from January 29th through February 25th 

1998 Arts Council Gallery 100, Cape Girardeau MO, Art Experience '98, The Exhibition was on view from August 7 through August 30, CURATOR, Pamela White Trimpe 

1998 Holter Museum of Art, Helena, Montana, ANA 27, The Exhibition was on view from August 28 through October 27, CURATOR, Peter Frank 

1998 Steamboat Springs Art Council, Steamboat Springs, CO, Summer Works Fine Arts Show, The Exhibition was on view from July 30 through August 27, CURATOR, Andrea Archer 

1998 Associated Artists of Southport, July 4th National Exhibition, Southport, NC, The Exhibition was on view from July 1 through August 1

1998 The Chrysler Museum of Art, Norfolk, Virginia, The 34th Irene Leache Memorial Exhibition, the Exhibition was on view from June 26 through September 6, CURATOR, Carolina Ponce De Leon 

1998 The Butler Institute of American Art, Youngstown, OH, 62th Annual National Midyear Exhibition, the Exhibition was on view from June 28 through August 30, CURATORS, Gladys Nilsson and Jim Nut 

1998 d'Art Center, Norfolk, Virginia, 8th Annual Mid Atlantic Arts Exhibition, CURATOR, William J. Hennessey 

1998 Steamboat Springs Art Council, Steamboat Springs, CO, Winter Works Fine Arts Show 

1998-89 Art Source, Cleveland, OH, Group Shows 

1997 The Stage Gallery, Merrick, NY, Abstract ' 97 

1997 Steamboat Springs Art Council, Steamboat Springs, CO, Summer Works Fine Arts Show

1997 Smithtown Township Arts Council, St. James, NY Selectively Seeking Silver, STAC's 25th Anniversary Exhibition 

1997 d'ART CENTER, Norfolk, Virginia, 7th Annual Mid Atlantic Arts Exhibition 

1997 Salon Inframundo, New York, NY Portraits-Visions-Dreams, Exhibition 

1997 The Ridge Art Association, Winter Haven, FL, 1st Annual All Media Exhibition

1997 Steamboat Springs Art Council, Steamboat Springs, CO, Winter Works Fine Arts Show

1997 New Jersey Center for Visual Arts, Summit, NJ, International Show 

1996 Smithtowm Township Arts Council, St. James, NY, Annual Members' Art Forum

1996 Smithtowm Township Arts Council, St. James, NY, 21st Annual Art Competition

1996 Holter Museum of Art, Helena, Montana, ANA 25 

1996 The Stage Gallery, Merrick, NY, Celebrate with Art 

1996 Smithtowm Township Arts Council, Winners 96', Exhibition, St. James, NY

1996 Carnegie Art Center, North Tonawanda, NY, 4th Annual National Exhibition 

1996 Sacramento Fine Arts Center, Carmichael, CA, Magnus Opus IX, 9th Intl. Open 

1996-89 Art Source, Cleveland, OH, Group Shows

1995 The Smithtown Township Arts Council, St. James, New York, 20th Annual Art Competition 

1995 San Bernadino County Museum, Redlands CA, 30th Annual International Exhibition

1995 La Jolla Village Art Competition, La Jolla, CA, Art Prospect, 

1995 Second Annual National Congress of Art & Design, Salt Lake City, UT, Art Reach '95 Exhibition, catalog, video 

1995 South Cobb Arts Alliance, Inc., Marbletown, GA, Eighth National Art Exhibition 

1995 Hill Country Arts Foundation, Ingram, TX, 23rd Annual National Painting and Sculptural Exhibition 

1990-1996 Robert L. Kidd Gallery, Birmingham, MI, Group Shows 

1989-1996 Art Source, Cleveland, OH, Group Shows 

1994 Stamford Art Association, Stamford, CT, Thirteenth Annual Faber Birren Color Award Show 

1994 The Butler Institute of American Art, Youngstown, OH, 58th Annual National Midyear Exhibition 

1994 Manatee Community College, Bradenton, FL, Artarget Open Competition 

1994 Art Center of Northern New Jersey, New Milford, NJ, National Show 

1994 The Hill Country Arts Foundation, Ingram, TX, Confluence 1994 

1994 Sodarco, Montreal, Montreal International Visual Arts Competition, Winter 

1994 Pentimenti Gallery, Philadelphia, PA, Philadelphia International Contemporary Art Competition 

1994-89 Art Source, Cleveland, OH, Group Shows 

1994-90 Robert L. Kidd Gallery, Birmingham, MI, Group Shows 

1993 Cheekwood Museum of Art, Nashville, TN, The Cheekwood National Contemporary Painting Competition (catalog) 

1993 Sodarco, Montreal, Montreal International Visual Arts Competition, Fall 

1993 Smithtown Township Arts Council, St. James, NY, 18th Annual Art Competition 

1993 San Bernadino County Museum, Redlands, CA, 28th Annual Open Exhibition 

1993 Noel Fine Arts, Bronxville, NY, Summer Exhibition 

1993 Cooperstown Art Association, Cooperstown, NY, 58th Annual National Exhibition 

1993 Bald Eagle Art League, Williamsport, PA, National Art Exhibition 

1993 Foster Goldstrum Gallery, New York. NY, Auction for Aids Relief 

1993 The Florida Society of Fine Arts, Miami, FL, Spring International Competition 

1993 The Michael Stone Collection, Washington, DC, Springtime in Washington 

1993 McPherson College, McPherson, KS, Aesthetics ' 93 

1993 The Savannah National, Savannah, GA, Collectors' Choice 

1992 The City College, New York, NY, America 500 (catalog) 

1992 Centro Cultural Recoleta, Buenos Aires, Argentina America 500 (catalog) 

1992 Broom Street Gallery, New York, NY, "Continuum..." 

1991 Station Gallery, Katonah, NY, Manhattan Breakfast Club 

1991 Foster Goldstrom Gallery, New York, NY, Group Show 

1991-90 Henri Gallery, Washington, DC, Group Shows 

1991-89 The Windsor's Gallery, Boca Raton, FL, Group Shows 

1991-90 Creative Edge Fine Arts, W. Palm Beach, FL, A Little Bit of SOHO 

1989 The Museum of the National Arts Foundation, Javits Federal Building, New York, NY Aesthetics ' 89 

1989 Frank Bustamante Gallery, New York, NY, Aesthetics ' 89

1989 Nancy Ryan, Art Source, New York, NY, Abstract ' 89 

1988-86 Jayne H. Baum Gallery, New York, NY, Group Shows 

1986-80 Robert L. Kidd Galleries, Birmingham, MI, Group Shows 

1985 Jayne H. Baum Gallery and the Hudson Center Galleries, New York, NY, The Razor Show 

1985-84 Jayne H. Baum Gallery, New York, NY, Ceremonial Light 

1983 & 1979 University of Wisconsin at Superior, WI, New York I, & New York II 

1983 Phoenix Art Museum, Phoenix, AZ, New York (catalog) 

1982 Metropolitan Museum and Art Center, Coral Gables, FL, New York (catalog) 

1982 University Fine Arts Gallery, Florida State University, Tallahassee, FL, New York (catalog) 

1981 O.K. Harris Gallery, New York, NY, Invitational Show 

1981 Miniatura Gallery, New York, NY, Group Show 

1980 Race Gallery, Philadelphia, PA (presented by O.K. Harris Gallery), O.K. Harris Works of Art 

1979 Louis K. Meisel Gallery, New York, NY, Abstract Painters 

1978 Soho Center for the Visual Arts, NY, NY, Six Painters 

1977 The Aldrich Museum of Contemporary Arts, Ridgefield, CT, The Sixth Annual Contemporary Reflection Exhibition (catalog) 

1977 Razor Gallery, New York, NY, one-man Show 

1976 Razor Gallery, New York, NY, one-man Show 

1975 Razor Gallery, New York, NY, Group Shows 

1974 Razor Gallery,New York, NY, one-man Show 

1973 Razor Gallery, New York, NY, Group Shows 

1972 Spectrum Gallery, New York, NY, Group Shows 

1971 The Museum, New York, NY, Group Show 

1970 The Museum, New York, NY, Pratt Institute, "33" 

M.F.A. Masters of Fine Arts, May 2009, New York Institute of Technology (NYIT) New York, NY

M.S.E. Masters of Science in Special Education , June 2006, Touro College, New York, NY

M.C.A. Masters in Communication Arts, August 2005, New York Institute of Technology (NYIT) New York, NY

B.F.A. 1970, Pratt Institute, Brooklyn, NY
 

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