Lives and works in New York
Mount Holyoke College, B.A., Political Science, magna cum laude, 1970.
The School of the Art Institute of Chicago, M.F.A., Painting, 1978.
Louis Stern Fine Arts, Los Angeles, CA, “Modern Times: Recent Paintings and Drawings,” 2016.
Gary Snyder Fine Art, Project Space, New York, NY, “Recent Paintings,” 2011.
Ruth Chandler Williamson Art Gallery, Scripps College, Claremont, CA. Sense and Sensation: Laurie Fendrich, Paintings and Drawings 1990-2010, curated by Mary MacNaughton, director of the museum. With catalog and catalog essay by Mark Stevens, 2010; exhibition traveled to Montana Museum of Art, 2011.
Gary Snyder Fine Art, Project Space, New York, NY, “Laurie Fendrich: Drawings From the South of France,” 4 November-19 December 2009.
Palm Beach Art Fair, Palm Beach, FL, represented by Katharina Rich Perlow Gallery, December 2007.
MiamiNow, Art Fair, Miami, FL, represented by Katharina Rich Perlow Gallery, December 2007.
Katharina Rich Perlow Gallery, New York, NY, Drawing Exhibition, October 2007.
Katharina Rich Perlow Gallery, New York, NY, Dec. 2006-Jan 2007.
Gary Snyder Fine Art, New York, NY, Dec. 2002-Jan. 2003; catalog with color reproductions and essay by Karen Wilkin.
Hatton Gallery, Colorado State University, Fort Collins, CO, “Laurie Fendrich: Drawings,” 2002; catalog with reproductions and essay by Alfred MacAdam.
Linda Schwartz Gallery, Cincinnati, OH, 2000.
E.M. Donahue Gallery, New York, NY, 1995.
The Galbreath Gallery, Lexington, KY, 1994.
Jan Cicero Gallery, Chicago, IL, 1993, 1986, 1983, 1981.
John Davis Gallery, New York, NY, 1990.
College of Notre Dame of Maryland, Baltimore, MD, 1982.
Frans Wynans Gallery, Vancouver, B.C., Canada, 1982.
Zurcher Gallery, NY, “11 Women of Spirit,” Frieze New York Satellite Show, 2021.
Theodore Art, Brooklyn, NY, “Houses in Motion,” Oct. 26-Dec. 8, 2019.
Tower Fine Arts Gallery, The College at Brockport SUNY, Brockport, NY, “Continuity to Change: Recent History of American Abstraction, Jan. 31, 2019-March 3, 2019.
AAA (American Abstract Artists), “Blurring Boundaries: The Women of American Abstract Artists,” curated by Rebecca DiGiovanna, Clara M. Eagle Gallery, Murray State University, Murray, Kentucky, Sep. 27-Nov. 1, 2018; Ewing Gallery, University of Tennessee at Knoxville, Knoxville, TN, Nov. 15-Dec. 10, 2018.
Sonoma State University, Sonoma, CA, 2-person exhibition (works on paper), with Peter Plagens, February-March, 2017; The Richmond Gallery, Western Michigan University, Kalamazoo, MI: “Black/White/Color/Life,” March-May, 2018.
Morris-Warren Gallery, New York, NY, “HeadSpace,” organized by Amanda Church, Kim Uchiyama and Izam Zawahra, 2016.
The New York Armory Show, Gary Snyder booth, 2012.
Lohin-Geduld Gallery, New York, NY and Janet Kurnatowski Gallery, Brooklyn, NY, 2009, “Color-Time-Space,” curated by Joanne Freeman and Kim Uchiyama.
Painting’s Edge, Parks Exhibition Center, Idyllwild Arts, Idyllwild, CA 2008 ?Abstraction, Gary Snyder Project Room, 3-person show, 2008.
Riverside Art Alliance Gallery, Riverside, CA, “Painting’s Edge 2008,” 22 July-16 August 2008.
Eaton Fine Art, Inc., West Palm Beach, FL, “Contemporary Selections,” 3 Aug-29 September 2007.
Katharina Rich Perlow Gallery, New York, NY, Summer Show, 2007.
Katharina Rich Perlow Gallery, New York, NY, Summer Show, 2006.
Katharina Rich Perlow Gallery, New York, NY, “Loosely Defined,” 2006.
Gallery Siano, Philadelphia, PA, “Order(ed),” curated by Julie Karabenick, 2006.
The Painting Center, New York, NY, “The Legacy of Hans Hofmann,” curated by Karen Wilkin and Geoffrey Dorfman, Nov. 3-Dec. 24, 2005.
New York Arts Gallery, New York, NY, “Engaging the Structural,” curated by Julie Karabenick, April 2005. With catalog essay by Lilly Wei.
National Academy of Design, 179th Annual Invitational Exhibition, invitational group exhibition, May 6-June 20, 2004; with catalog.
New York Arts, “Drawing Conclusions II,” curated by Gae Savannah and Jill Conner, Dec. 12, 2003-Jan. 13, 2004, New York, NY.
P.S. 1 Museum, New York, “After Matisse/Picasso,” 2003.
Eaton Fine Art, West Palm Beach, FL; “Artists and Writers and Husbands and Wives,” four-person show with Peter Plagens, Barbara Novak, and Brian O’Doherty; catalog with 3500 word essay by each artist and reproductions of works, 2002.
Linda Schwartz Gallery, Cincinnati, OH, 2000, 2001.
Gary Snyder Fine Art, opening exhibition of new gallery in Chelsea, 2001.
Pratt Gallery, Puck Building, New York, NY, 1999, and Schafler Gallery, Pratt Institute, Brooklyn, NY, “Women and Geometric Abstraction,” curated by Kit White, 2000.
N-3 Gallery, Brooklyn, NY 1999.
Jan Cicero Gallery, Chicago, IL, 2000, 1999, 1987, 1984, 1982, 1979.
Earl McGrath Gallery, New York, NY 1998 (two exhibitions).
Gramercy International Art Fair, New York, NY, 1997.
Snyder Fine Art, New York, NY, “The New Naturalism,” 1997.
Snyder Fine Art, New York, NY, “Geometric Abstraction, 1937-1997,” 1997.
Snyder Fine Art, New York, NY, “Affinities,” 1996.
Donahue/Sosinski Gallery, New York, NY, 1996.
Emily Lowe Museum of Art, Hempstead, NY, 1998, 1994, 1991.
Los Angeles County Museum of Art, “The Mask Project,” 1992, with catalog.
P.S. 1 Museum, New York, “Slow Art: Painting in New York Now,” 1992, curated by Alanna Heiss.
John Davis Gallery, New York, NY, 1989, 1990.
Condeso/Lawler Gallery, New York, NY, 1986.
Duo exhibition (with Jim DeFrance), 239 S. Los Angeles St., Los Angeles, CA, 1984.
“Critical Perspectives,” P.S. 1 Museum, NY, 1982, with catalog.
“Contemporary Art from North Carolina,” Squibb Corporation.
Gallery, Princeton, NJ, and North Carolina Museum of Art, Raleigh, NC, 1982, with catalog.
“Painting, Notes & Sketches,” Guggenheim Gallery, Chapman College, Orange, CA, 1980.
“Introductions,” (Four artists) Watson-Willour Gallery, Houston, TX 1979.
Professor Emerita of Fine Arts and Art History, Hofstra University, September 2014-present.
Visiting Professor, Hofstra University Honors College, Spring, 2015; Spring, 2018.
Professor of Fine Arts, Hofstra University, Hempstead, NY, 2001-2014.
Associate Professor of Fine Arts, Hofstra University, Hempstead, NY, 1995-2001.
Director, Comparative Arts and Culture Program (M.A. Degree), Hofstra University, Fall 2011-2014; 2003-Summer 2008.
Adjunct Faculty, Department of Fine Arts, Hofstra University, Hempstead, NY, 1989-95.
Painting Faculty, Art Center College of Design, Pasadena, CA, 1980-85.
Instructor, University of Southern California, Los Angeles, CA 1979-80.
Instructor, University of Houston, Houston, TX, 1978-79.
The San Francisco Art Institute, San Francisco, CA, Distinguished Visiting Artist, Fall semester, 2015.
The Pratt Institute, Brooklyn, NY, Visiting Professor of Painting, Fall and Spring, 2014-2015.
The University of Texas, Austin, Nov. 21, 2014, Lecture November, 2014.
The Pratt Institute, 2011, 2012, 2013 (Visiting Artist: critiques).
The University of Albany, Albany, New York, November 2012.
New York Academy of Art, New York, NY, Visiting Critic, January 2009.
Idyllwild Arts Summer Program, Idyllwild, CA, 30 June 2007.
July, 2008, “Critical Voices Program,” Irish Arts Council, Dublin, Ireland, May 2003.
Visiting Artist, Critic and Artist Residency Series, Colorado State University, 7-11 October, 2002.
The Pratt Institute, 1999 (semester seminar).
University of Delaware, Visiting Artist, 1998.
Triangle Workshop, summer, 1997.
The School of the Art Institute of Chicago, Chicago, IL, 1993.
Claremont Graduate School, Claremont, CA, 1984.
East Carolina University, Greenville, NC,1983.
Emily Carr College of Art, Vancouver, B.C., 1981 (fall semester).
Brown Foundation Fellow, awarded by the Museum of Fine Arts, Houston, TX; 1-month residency, Dora Maar House, Ménerbes, France, August 1-31, 2017; first 1-month residency April 31-May 31, 2009.
John Simon Guggenheim Memorial Foundation Fellowship, Fine Arts, 2016.
Artist in Residence, The Siena Art Institute, Siena, Italy, June, 2012.
National Endowment for the Arts, Painting Fellowship, 1983-84.
Artillery Magazine, Interview by Suzanne Muchnic, Nov/Dec 2016.
ArtNews, May 2011, review by Hunter Drohojowska-Philp.
Artcritical, 14 February 2011, “Star-Crossed Lovers,” review by Franklin Einspruch.
Art in America, January 2011, “Laurie Fendrich: Sense and Sensation,” review by Leah Ohlman; (http://www.artinamericamagazine.com/reviews/laurie-fendrich).
The Brooklyn Rail, March 2011, “Hard Edge-ness in American Abstract Painting,” Robert C. Morgan.
Geoform, ( www.geoform.net), Interview by Julie Karabenick, with images of paintings from 1977 through 2007, posted April-Oct. 2007 (archived on the website)
New York Absolute Magazine, February/March 2007.
“Abstract Logic.” By Richard Polsky.
ArtForum, March 2007, review by Donald Kuspit.
Art in America, March 2007, review by Nancy Princenthal.
ArtNews Magazine, February 2007, review by Ann Landi.
The New York Observer, 8 January 2007. Individual review, Mario Naves.
The New York Sun, 14 December 2006, review by Maureen Mullarkey.
The Philadelphia Inquirer, 26 May 2006. Review of “Order(ed),” by Edith Newhall; select mention.
The New York Observer, 27 February 2006. Review of “Loosely Defined,” by Mario Naves; select mention.
The New York Sun, Nov. 25-27 2006 Weekend Edition, “Celebrating Hofmann’s Enduring Influence,” review by John Goodrich; select mention.
The New York Observer, 21 November, 2005. Review of “Hans Hofmann: The Legacy”; select mention.
The New York Times, Art Listings, 18 November 2005.
NYArts Magazine, online September-December, 2004, “In Conversation with Laurie Fendrich,” interview and illustrations, by Julie Karabenick; in print, NYArts Magazine, November/December, 2004.
The New York Times, May 14, 2004, “The 179th Annual,” review with select mention, by Ken Johnson.
Art in America, June 2003, review by Eleanor Heartney.
The New York Times, 27 January 2003, review by Grace Glueck.
The New York Observer, 6 January 2003, “Laurie Fendrich May Be Harbinger of New Movement,” by Hilton Kramer.
ArtNet online, January 2003, review by Walter Robinson.
AbArt Online, January 2003, review by Joseph Walentini, editor.
New York Magazine, 16 December 2002, “Talent: Living Color,” by Edith Newhall.
ArtNews Magazine, “Up Now”; review by Lilly Wei, December 2002.
Palm Beach Daily News, Apr. 28, 2002, review and interview by Jan Sjostrom.
The Cincinnati Enquirer,” 28 March, 2000, review by Owen Findsen.
“Women and Geometric Abstraction,” Dec. 1999, review by Robert C. Morgan.
From the Mayor’s Doorstep,” March, 1999, review by Piri Halasz.
Partisan Review, Fall, 1996, review by Karen Wilkin.
The New York Times, 2 August, 1996, review by Roberta Smith.
Partisan Review, Winter, 1996, review by Karen Wilkin.
Art in America, January 1996, review by Richard Kalina.
The New York Times, 13 October, 1995, review by Pepe Karmel.
New York Magazine, 11 September, 1995, by Edith Newhall.
Dialogue, Mar/Apr 1994, review by James McCormick.
Artforum Magazine, May 1993, review by James Yood.
Art in America, June 1990, review by Walter Thompson.
ARTS Magazine, April 1990, review by Peggy Cyphers.
Lectures and Panels
The Review Panel, in association with artcritical.com. The Brooklyn Library. Moderated by David Cohen, Panel member March 8, 2016; March 11, 2020.
“New Arts Program,” Lehigh and Berks, PA Television Station. James Carroll, Program host and Interviewer, to be recorded October 2019. Live television interview about the AAA traveling exhibition, “Blurring Boundaries. With fellow AAA panelists. https://newartsprogram.org/events-and-schedules/
Panel Discussion, “The Evolution of Art Criticism,” Harwood Museum of Art, Taox, NM, Sep. 28, 2019. Moderated by Ann Landi. With Peter Plagens, Lucy Lippard and Garth Clark.
“Chancellor’s Colloquium Distinguished Speakers Series,”The University of California, Davis, January 18, 2017.
Drawing Workshop, University of California Davis, Fine Arts Department, January 17, 2017.
The School of the Art Institute of Chicago, April 16, 2016. “Art Words,” moderated by James Elkins, 2016.
The Thomas Jefferson Center for the Study of Core Texts and Ideas, lecture November 20, 2014.
Melville House, Brooklyn, NY, “Abstract Painting Today,” moderated by Jason Stopa, September 16, 2014.
The Pratt Institute, Brooklyn, NY, “Painting Matters Now,” moderated by Nancy Grimes; panel participant, 2013.
FATE (Foundations in Art: Theory and Education) Conference, panel Participant, Brian Curtis, Moderator, Savannah, GA, April 2013.
College Art Association, Jury Member for CAA Awards to MFA Students, 2011-13.
Scripps College, public interview with Mark Stevens, Oct. 31, 2010.
Montana Museum of Art, March 30, 2011.
The Dora Maar House, Ménerbes, France, May 29, 2009.
Red Dot Art Fair, Park South Hotel, New York, NY; panelist; Maureen Mullarkey, moderator, 29 March 2008.
FATE (Foundations in Art: Theory and Education) Conference, panel participant, “ Reflections on An Endangered Species,” Brian Curtis, Moderator, Milwaukee, WI, 30 March 2007.
Red Dot Art Fair, Park South Hotel, New York, NY; panelist, “ContemporaryArt: Currency or Culture?,” Maureen Mullarkey, moderator, 25 February 2007.
Tisch School of the Arts, juried paper presentation, “The Persistence of Romanticism,” 23 February 2007.
Hofstra University 9/11 Symposium, “Remembering 9/11: Making a Memorial For Everyone,” Panel Moderator, 5 September 2006.
Gallery Siano, “Order(ed),” Panel Participant, 6 May 2006.
The Whitney Museum of American Art, New York, NY, Scholar’s Think Tank. Panel participant, 21 April, 2006.
The University of Kentucky, Visiting Lecturer, 27 March 2006.
The Painting Center, Panel Member. “The Legacy of Hans Hofmann,” panel discussion moderated by Karen Wilkin, 3 November 2005.
Concordia University, Montreal, Canada. Annual Liberal Arts College Alumni Lecturer. Lecture: “Why Artists Always Lie: The Inherent Antagonism Between Art and Philosophy,” 11 November 2005; Visiting Professor, College Seminar, 10 November 2005; topic Balzac’s “The Unknown Masterpiece.”
The Otis College of Art and Design, Lecture, 25 August 2005.
The Look & Listen Festival, at Robert Miller Gallery, New York, NY, Panelist, 14 April 2005. With Meredith Monk and Joan Jeanrenaud. Moderated by Steven Mackey, Composer and Professor of Music, Princeton University.
The New York Studio School, New York, NY, Artists and Critics Lecture Series, January 2003.
Keynote Speaker, Colorado Art Education Association, Fall Conference, Breckenridge, CO, 13 October 2002.
Public Lecture, Colorado State University, 9 October 2002.
Session Chair, College Art Association Annual Meeting, Philadelphia, PA (February 2002); panel participant, 2002.
Participant, “Talking History,” Aired on Public Radio, nationwide, the week of December 10, 2001.
Lecture, Raritan Valley Community College, Keynote Speaker, Community of Scholars Colloquium, November 15, 2001.
Lecture, The Pratt Institute, Artist/Lecture Series 1999, April 29, 1999.
Panelist, College Art Association Annual Meeting, Los Angeles, CA, February 11, 1999.
Lecture, The University of Delaware, 1998.
Lecture, “Why Paint a Painting at the End of the 20th Century?” The Distinguished Faculty Lecture Series, 1997, Hofstra University, 1997.
“Abstract Painting Now,” The New York Studio School, NY, NY, with Hilton Kramer, Barry Schwabsky, and Pat Sutton, 1994.
Lecture, The University of Kentucky, Lexington, KY, 1993.
Lecture, The School of the Art Institute of Chicago, Chicago, IL, 1993.
“Uncharted: American Abstract Art in the Digital Age,” Hofstra University Art Museum, Jan-June 2020. Curated with Creighton Michael, fellow artist at American Abstract Artists, and Karen Albert, Acting Director and Chief Curator, Hofstra University Art Museum.
Publications (Laurie Fendrich Author)
Blogger, The Chronicle Review, “Brainstorm,” 2007-2012: Archived.
“Real Artists Don’t Make Artist’s Statements,” in Art of Critique, an anthology of essays edited by Stephen Knudsen, 2018.
“Vija Celmins, To Fix the Image in Memory,” Two Coats of Paint, Dec. 2018 http://www.twocoatsofpaint.com/2018/12/vija-celmins-fix-image-memory.html
“The Square Drawing,” Two Coats of Paint, June 30, 2018 http://www.twocoatsofpaint.com/2018/06/fiction-square-drawing-laurie-fendrich.html
“The Teddy Bears,” Two Coats of Paint, June 1, 2017
“How Critical Thinking Sabotages Painting,” The Chronicle Review in The Chronicle of Higher Education, March 20, 2016 http://lauriefendrich.com/wp- content/uploads/2016/04/How-Critical-Thinking-Sabotages-Painting.pdf
“Doug Hilson: Cityscapes,” catalog essay on Doug Hilson, Hofstra University Museum, 2015.
“The Forever Professors,” The Chronicle Review in The Chronicle of Higher Education, cover essay. November 17, 2014.
“A Conversation Between Laurie Fendrich and Peter Plagens, ArtPulse Magazine, No. 17, Vol. 5, 2013.
“Dave Hickey and the Politics of Beauty,” cover story profile on Dave Hickey, The Chronicle Review in The Chronicle of Higher Education, January 7, 2013. Cover story http://chronicle.com/article/The-Last-Word-Is-Beauty/136409/
“Picture the Meaning,” review of Bernard Berenson: A Life in the Picture Trade, by Rachel Cohen (2013): Yale University Press). The Chronicle Review, December 13, 2013 http://chronicle.com/article/An-Eye-for-Anguish/143547/
“What Artists Know,” in What Do Artists Know, an anthology of essays edited by James Elkins, Pennsylvania State University Press, 2012.
“Irving Sandler: Scene It All,” The Chronicle Review in The Chronicle of Higher Education, July 10, 2011. Cover story profile on Irving Sandler.
“The Breakup,” in Make Mine a Double, edited by Regina Barreca. University Press of New England, 2011. Also available on Academia.edu http://hofstra.academia.edu/LaurieFendrich
“Abstract Painting and the Rule of Doubt,” in Recovering Reason: Essays in Honor of Thomas L. Pangle, edited by Tim Burns. Lexington Books (2010).
“Painting the New World,” review of Painter in a Savage Land: The Strange Saga of The First European Artist in North America,” by Miles Harvey, in The Common Review, Winter, 2009.
“Creative Class, Dismissed,” The Chronicle Review in The Chronicle of Higher Education, 25 January 2008.
“Art of Darkness,” review of The Colorful Apocalypse: Journeys in Outsider Art, by Greg Bottoms, in The Common Review, Vol. 6, No. 3, Winter 2008.
“Judith Geichman: A Matter of Nature,” catalog essay on Judith Geichman, Alfedema Gallery, Chicago, IL, 2007.
“Art Schools: A Group Crit,” Issues & Commentary, Art in America, 1 May 2007, thirteen participants, selected by editor Raphael Rubenstein; 1000- word commentary.
“Sculpture Unafraid,” catalog essay on Don Gummer, Marlborough Gallery, New York, NY, 2007.
“A Pedagogical Straightjacket,” The Chronicle Review in The Chronicle of Higher Education, 7 June 2007. Cover Story.
“Blowing Art-Theory Smoke,” The Chronicle Review in The Chronicle of Higher Education, 12 May 2006.
“The Lie of the Portrait,” The Chronicle Review in The Chronicle of Higher Education, 11 November 2005. Reproduced on line by Clio’s Eye, the Film and Audio Visual Magazine for the Historian, Stephen F. Austin State University, Nacodoches, TX (www.clioseye.sfasu.edu), February 2007.
“A Portrait of the Artist as a Young Mess,” The Chronicle Review in The Chronicle of Higher Education, 3 June 2005.
“Sleeping Beauty,” The Common Review, Vol.3, Number 3, December 2004. Selected for posting on the web site of The Common Review; cited in The Chronicle Review Daily Report (web), The Chronicle of Higher Education, as the magazine/journal selection of the day. Reprinted in Current, March/April 2005 (Number 471).
“Wishing You Would Wish This,” column participant, The Chronicle Review in The Chronicle of Higher Education, 9 January 2004.
“A Brush With Leo Strauss,” The Chronicle Review in The Chronicle of Higher Education, 12 December 2003.
“Matisse Wins!,” The Chronicle Review in The Chronicle of Higher Education, 7 March 2003.
“Confessions of an Abstract Painter,” The Chronicle Review in The Chronicle of Higher Education, 10 May 2002.
“Traces of Artistry,” The Chronicle Review in The Chronicle of Higher Education, 11 January 2002.
“History Overcomes Stories,” The Chronicle Review in The Chronicle of Higher Education, 28 September 2001. Reprinted in The Essay Connection, ed. by Lynn Z. Bloom (New York: Houghton Mifflin Company), 2004; also reprinted in The Arlington.
Reader: Canons and Contexts, ed. By Lynn Z. Bloom and Louise Z. Smith (Boston: Bedford/St. Martin’s Press, 2003.
“Deconstruct This,” column participant, The Chronicle Review in The Chronicle of Higher Education, 1 December 2000.
“Perceptual Drawing in the Age of the Keyboard,” The Chronicle Review in The Chronicle of Higher Education, 17 November 2000.
Why Painting Matters (Bloomington, IN: Phi Delta Kappa Educational Foundation), 2000.
“Why Abstract Painting Still Matters,” The Chronicle Review in The Chronicle of Higher Education, 30 April 1999. Cover story. Reprinted in Drawing Us In: Essays on How We Experience Visual Art, ed. by Deborah Chasman (Boston: Beacon Press), 2000.