LAURIE FENDRICH

Lives and works in New York

 

Education

 

Mount Holyoke College, B.A., Political Science, magna cum laude, 1970

 

The School of the Art Institute of Chicago, M.F.A., Painting, 1978

 

 

Solo Exhibitions

 

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

 

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

 

Group Exhibitions

 

Sonoma State University Art Gallery, 2-person exhibition (drawings); with Peter Plagens, 2017

 

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

 

Teaching

 

Professor Emerita of Fine Arts and Art History, Hofstra University, September 2014-present

 

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

 

Visiting Artist

 

The San Francisco Art Institute, Visiting Artist, Fall semester, 2015

 

The Pratt Institute, Brooklyn, NY, 2014-2015

 

The University of Texas, Austin, Nov. 21, 2014, Visiting Artist (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)

 

Artist’s Fellowships

 

John Simon Guggenheim Memorial Foundation Fellowship, Fine Arts, 2016

 

Artist in Residence, The Siena Art Institute, Siena, Italy, June, 2012

 

Brown Foundation Fellow, awarded by the Museum of Fine Arts, Houston, TX; 1-month residency, Dora Maar House, Ménerbes, France. 31 April – 31 May 2009

 

National Endowment for the Arts, Painting Fellowship, 1983-84

 

Selected Bibliography

 

Artillery Magazine, Nov/Dec 2016, profile by Suzanne Muchnic

 

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

 

“Drawings from the South of France,” City Arts, 18 November 2009, review by Mario Naves

 

The New York Sun, 24 July 2008. “A Delicious Paradox,” review by Stephen Maine.

 

art press, (Paris edition), March 2007, review by Robert C. Morgan

 

Geoform, (url: www.geoform.net), Interview by Julie Karabenick, with images of paintings going back to 1977, 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; Select mention

 

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

 

Chancellor’s Colloquium Distinguished Speakers Series, The University of California, Davis, January 18, 2017.

 

The School of the Art Institute of Chicago, April 16, 2016. “Art Words,” moderated by James Elkins, 2016

 

The Review Panel, in association with artcritical.com. The Brooklyn Library. Moderated by David Cohen. Panelists: Svetlana Alpers, David Salle, Laurie Fendrich. March 8, 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

 

Publications (Artist’s Writings)

 

Blogger, The Chronicle Review, “Brainstorm,” 2007-2012: Archived.

http://chronicle.com/blogs/brainstorm/author/lfendrich

 

“Real Artists Don’t Make Artist’s Statements,” in Art of Critique, an anthology of essays edited by Stephen Knudsen. Forthcoming 2016 or 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

 

“The Teddy Bears,” 2014. Web publication.

http://www.academia.edu/12281466/The_Teddy_Bears

“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