I first exhibited Draped Paintings in 1968 at the Kornblee Gallery in NYC. My ‘ONE MAN SHOWS,’ (as described by James Mellow in his Dec. 1971 NY Times “Cheops Would Approve” review) at Kornblee were in 1969, 1970, and 1971. Art critic Cindy Nemser wrote a rebuttal to the Mellow review in the NY Times January 9, 1972 and the headline read: CAN WOMEN HAVE ONE MAN SHOWS? Other solo exhibits include: 1976 Rosa Esman Gallery, NYC 1977 Wright State University Gallery, Dayton, OH, 1978 Deson-Zake Gallery, Chicago and Steffanotti Gallery, NYC 1982, 1979, 1981, .82 P.S.1, Queens, NY. Art writer Robert Pincus-Witten reviewed my shows in Art Forum, March, 1970 pg.82, 1972, pg. 80-81, and mentioned my work in the article he wrote on, “ROSENQUIST AND SAMARAS, Robert Pincus Witten, pg. 63-69 Art Forum 1972. Works were included: 1970 in the 1973 Whitney Museum Biennial NYC, the same venue, I joined to march with women in protest of the museum’s deficient representation from qualified women artists. Draped paintings or Paint Readings exhibited include: “Highlights Of The Season” Larry Aldrich Museum, Ridgefield, Conn.1970, “Painting and Sculpture Today, Indianapolis, Museum of Art, Indiana, 1970 “Hanging and Leaning”, Emily Lowe Gallery cur. Robert Littman. 1970, Trinity College Museum, Conn., 1970 Museum of Modern Art, Art Lending exhibit, NY, 1971 Akron Museum of Art, Akron, OH, 1972 Suffolk Museum, Stonybrook, NY, 1972 The Newark Museum, Newark, NJ. 1972, Kunsthaus, Hamburg, Germany, “American Women Artists Today”, The Art Institute of Chicago, “American Artists Today” 1972, Everyman Gallery, 1971 Janie C. Lee Gallery, Austin, Texas, 1972 Bard College, Croton-on-Hudson, 1973, Brockton Museum, Boston, MA. 1973, New York Cultural Center, NYC, “WomenChooseWomen.” “Soft as Art, 1974 Fischback Gallery, Philadelphia, Penna., Michael Walls Gallery, NYC, “15 Contemporary Artists” 1975, Rosa Esman Gallery NY, 1976, Womencenter, Boulder CO., “Thinking Drawings” 1977, Pat Hamilton Gallery, NY. Drawing Today in New York 1977 Art Fair, Bologna, It. 1978.
Written pieces re: works created in the ‘70’s include: 1971 Arts Magazine, Dec. Jan. 1970, 1972, Landscape Architecture Magazine, Anita Margrille, Spring, 1972 Art News Magazine, February, Art News Magazine, January, pg.71, 1973, Chicago Sun, December, Chicago Daily, December, 1973 Vogue Magazine, 1973 Village Voice, John Perrault, Jan. 25, Feb 1, Mar., 1973 New York Times, Peter Schjeldahl, April, 1973 Ms. Magazine, May, 1974 Art Forum Magazine, June, 1976 Art News, P. Frank, Mar., 1976, 57th Street Review, Yankowitz, Jan 1976, Soho Weekly News, John Perrault, Jan.22, 1980 Village Voice, “Art Investors Guide”, Carrie Rickey/Trebay, 1980, Issuesand Images, San Fran., April, Mary Stofflet 1982, Progressive Architecture Magazine, p.211, Nory Miller Sept. 1982.
During mid 1970’s I continued exploring feminist theory, joined women in the forming Heresies Magazine: A Feminist Journal On Art and Politics. Initially meetings were held at Lucy Lippard’s home in SOHO. I joined a CR group, helped form some in NYC and one in Japan with a small group of women living in the countryside near Nagoya Prefecture. Disturbed by a society built on bones of the disenfranchised, supported actions of women demanding exposure in the male-dominated art arena in 1960s-‘70s. 1975, taught a course at WomanSchool /Finch College NYC, titled IS THERE A FEMALE AESTHETIC?
Steffanotti Gallery produced “Voices of the Eye” my writings/scores1971-‘79. In 1979 created “Scenario Sounds: Personae MimickingsandEthnographic Weavings”; Book of prints w. audio, Pub 1981 and Performed at: Avante Garde Festival Wash. Sq. Church NYC Leah Levy Gallery, San. Fran. 1981, Cal Arts, Valencia CA.1981. Portions printed: 1978 New Wilderness Letter, J. Rothenberg, “Notes from the Ground”, Vol.1, No.5, 1979 Anthology, R. Kostelanetz, Critical Assembling, and in 1980 Anthology, “Text-Sound Texts”, William Morrow, Inc. again in 1984 “Technicians of the Sacred”, Jerome Rothenberg and included in private/public collections, e.g. MOMA’s Dadabase Artist Books Archives, reprint 2007 sold at Printed Matter. NYC.
I co-chaired a panel at the College Art Assoc. NYC with Carey Lovelace, showing slides, discussion re: sampled women artists during late 1960’s-1970’s who produced seminal works not conceptually dealing with female imagery. These I termed, “Lone Rangers.” Panelists included Jackie Windsor, Pat Steir, Mary Miss, Jackie Ferrara, and Michelle Stuart.
My installations are excavations for levity buried inside the serious, designed to stretch commonly accepted definitions. Projects exhibited include: Katonah Art Museum, Germans Van Eck Gallery, Ronald Feldman Fine Arts, Guild Hall Art Museum, Frederieke Taylor TZ Art, Heidi Cho Gallery, Saatchi and Saatchi, NYC. Albright College Campus Center, Pa. Permanent sited art: partner YANKOWITZandHOLDEN can be seen in Washington State, Arts for Transit ,51stst./ Lex. subway, NYC, I.S.145 Queens, Board of Ed., Dept. of Transit, Jersey City Bergen County, Freehold, and Newark N.J. Santa Monica Ca. Grants include Ford Found. NEA, CAPS, Pollock-Krasner, Visiting Artist Amer. Academy Rome.
Recentt installations include a house of quotes ‘hovering at night’, reflecting artists, architects, and performers thoughts. Kiosk.Edu was viewed at the garden of Guild Hall Art Museum, and Chicago Art Fair, 2005. CloudHouse; A piece hosting a cloud via ultra sound vibrations, seen continually changing shape, envisioned as a soothsayer forecasting dangerous imminent weather conditions. It was installed at Saatchi andSaatchi, NY and E.H. Long Island.
A permanent Interactive Poetry Walk for Cleveland by Yankowitz and Holden, composed of 3ft. diam. spheres, granite paths, and seating elements. Spheres seem as if rolled to a halt, leaving behind a trail of text imprints as if remnants from embossed letters burnishing granite paths. As one leans over to read words respective visions come alive when electronic sensors activate voices from those artists whose creations were/are inspired by life in Cleveland, Ohio.