James Nares back @ Durham Press

James Nares, long-time Durham Press friend and collaborator , returned to the studio recently to complete work on his new screenprint, THUMP. This new edition is the 13th print James has created at Durham Press, and he and JP (the master printer here) continue to push the dynamic dimensionality of his painted brushstrokes into amazing, rich, vibrant screenprinted editions. When asked recently about his experience of working at Durham Press and with JP on this process, James said:

Working at Durham Press is really a pleasure. JP’s knowledge of, and experience with the silkscreening process is second to none, and working with him is a collaboration, as with another artist. He has come up with an ingenious method to create screen prints of my brush strokes which have all the body and tones of an actual, painted brush stroke, but without the use of half-tone…

For those maybe unfamiliar with the screenprinting process, creating a halftone is the process of turning all the tone in an image into various sized and spaced dots in order to create the tonal variation. This allows all of the tone to be printed at once and is what you are looking at when you see a black and white photo printed in the newspaper, for example. What gives James’ prints the fluidity, the subtle shift in tone and the overall richness of color is that is is not printed as a halftone, but is rather broken down into 10-15 layers of varied tone and color and then rebuilt, through printing each layer one on top of the other. It is a complicated process, but creates a seamlessness in the color and tonal shifts that would not be possible otherwise.

To see THUMP as well as some of the other work James has produced with Durham Press, please visit our booth at the IFPDA Print Fair in New York City. The fair is held at the Park Avenue Armory and runs from November 5th – November 8th, 2009.

Also, James film Rome in ‘78 is currently being shown at MOMA as part of the film exhibition, Looking at Music: Side 2. The next screening will be on Saturday, November 28th at 7:30 p.m. The film, according to the MOMA website, is “a narrative about the Roman emperor Caligula set in a shabby Manhattan apartment, proposes an analogy between ancient Rome and modern America as cultural empires. The image below is a still from the film.

Beatriz Milhazes events this Fall

Fall 2008 is shaping up to be a busy one for Durham Press friend and artist, Beatriz Milhazes, as she has several noteworthy events taking place in both the United States and abroad in the upcoming months. On September 6th, her retrospective exhibition at the Pinacoteca do Estado in Sao Paulo, Brazil opens. The show will feature work spanning Beatriz’s career including a number of prints she has made in collaboration with Durham Press.

On October 10th, her third solo exhibition at James Cohan Gallery opens. The show runs from October 10th, 2008 to November 15th, 2008 and will feature a selection of her new paintings and collages. The James Cohan website provides the following press release for the exhibition:

James Cohan Gallery is pleased to present an exhibition of new works by artist Beatriz Milhazes, opening October 10th and running through November 15th 2008. As one of the most celebrated Brazilian artists working today, Milhazes’ exuberantly colored, rhythmically constructed abstract paintings, collages, prints and architectural installations are well-known worldwide. Milhazes merges all of the formal concerns inherent in abstract painting with a dizzying hybrid of influences that bounce off of each other to produce works in which, as the artist describes, “culture eats culture.” In her attempt to make the viewer’s eye “spin around,” Milhazes deftly uses images as a distribution system for color.

In this third solo gallery exhibition, Milhazes will present a selection of collages and paintings. In the past, the paintings have been the inspiration for the artist’s other endeavors, such as her collages made from chocolate candy wrappers, shopping bags and colored paper and her installations on building façades. In this latest body of work however, the reverse is true; the paintings, whose surfaces are built up from an elaborate process of transferring motifs painted on plastic sheet, are increasingly influenced by the immediacy of working with small bits of paper and the bold strokes of large-scale architecture. This shift, as well as a deepening involvement in nature — the artist’s Rio de Janeiro studio borders her beloved Botanic Gardens — has influenced Milhazes’ new work, making it even more rigorously structured with broader fields of color and new elements derived from abstractions of natural and architectural forms.

Not afraid to gather inspiration from sources such as Brazilian folk arts and decoration, Milhazes embraces these “low” art influences and balances them with the high-minded modernism that was brought to Latin America by an earlier generation of artists such Helio Oticica and Tarsila do Amaral. Mix in the rhythms and grooves of Tropicalismo, the spectacle of color that is Carnival and the over-the-top ornamentation of the Colonial Baroque and the paintings exemplify “anything goes”—an apt phrase coined by the Neo-Concrete artist Waldemar Coreiro in the 1960’s. As Paolo Herkenhoff explains in his catalogue essay for Milhazes’ exhibition Mares do Sul, rather than trying to create a destabilizing effect, “Milhazes aspires to encountering harmony in the absurd, her painting not being the collapse of order but that moment that follows vertigo.”

Beatriz Milhazes is participating in several important exhibitions and events in the upcoming year. Milhazes is the subject of a major survey exhibition at the Pincoteca do Estado in São Paolo, Brazil opening on September 6th 2008. Another solo exhibition is planned at the Fondation Cartier in Paris opening March 2009. Both of these solo exhibitions will include site-specific installations on the windows of the museums. Milhazes will be participating in a number of group exhibitions this fall including When Lives Become Form at the Museum of Contemporary Art, Tokyo, curated by Yuko Hasegawa, opening October 21st; the Prospect 1 New Orleans, the largest biennial of international art to be organized in the US, opening October 31st for which she has been commissioned to make a chandelier-like room installation. Concurrent with the Frieze Art Fair in October 2008 will be the launch of Milhazes’ new artist book published by Ridinghouse, London, UK. In addition, The Rug Company, London UK will be launching a new limited edition artist tapestry project in October 2008 for which Milhazes has created a work and New York fabric manufacturer, Maharam is producing a line of artist’s fabrics that will include a design by Milhazes also to come out this fall.

Milhazes has exhibited widely in museums around the world and has represented her country at the 50th Venice Biennale, 2003. She has participated in many international biennial exhibitions including; Shanghai Biennale, 2006; XXVI Bienal de São Paolo, 2006 and 1998; the 11th Biennale of Sydney, 1998 and the Carnegie International, 1995. Milhazes was born in 1960 in Rio de Janiero, Brazil where lives and works today.

For further information, please contact Jane Cohan in New York at jane@jamescohan.com or telephone 212-714-9500.

As mentioned in the press release, Beatriz will also be participating in Prospect 1. New Orleans, the largest biennial of international contemporary art ever organized in the United States. Prospect 1 was curated by Dan Cameron and runs from November 1st, 2008 through January 18, 2009.

This Fall will also see the release of Beatriz’s new artist’s book published by Ridinghouse, London, UK, as well as a new limited edition artist tapestry produced by The Rug Company, London UK and a line of artists’ fabrics produced by Maharam that includes one of Beatriz’s designs. For more information about any of these projects, please visit the embedded links.

Polly Apfelbaum at Locks Gallery

Polly Apfelbaum’s exhibition, Monochromes 2003-2007, opens at Locks Gallery in Philadelphia on September 5th, 2008. The show runs from September 2nd through September 30th and will feature a number of Polly’s “fallen painting” installations. The Locks Gallery website provides the following press release:

Locks Gallery is pleased to present an exhibition of fabric installations by Polly Apfelbaum, on view September 2-30, 2008. There will be a reception for the artist on Friday, September 5, 5:30-7:30 pm.

Polly Apfelbaum’s highly intricate fabric installations – works she describes as “fallen paintings”, range from mandalic sunbursts to riotous spills and Pop-inspired gardens. Comprised of hundreds of individual dyed fabric pieces, Apfelbaum’s installations reference modern art history – the 1950s poured works of Morris Louis and Helen Frankenthaler, and Lynda Benglis’s latex floor pieces. With their vibrant, saturated colors, Apfelbaum’s works explore the nature of craft, Pop design aesthetic, and sewn, hand-crafted applications.

The Locks Gallery exhibit will bring together 4 large-scale floor works from 2003–07 that have not been previously exhibited together. Each of the four works presents a variation on flower imagery. Limited to a single color with the flowers outlined in black, these flower power works line the gallery wall’s perimeter and envelope the viewer like a cartoon garden brought to life.

A series of the artist’s 20 x 24 inch Polaroid images of her flowers will also be shown in the Locks installation.

New York-based Apfelbaum has had one-person museum exhibitions throughout the US and Europe. Her recent solo exhibitions were held at the Contemporary Art Museum, St. Louis and the Paine Gallery, Massachusetts College of Art, Boston. The ICA Philadelphia organized a 2003 retrospective that traveled to the Contemporary Art Center, Cincinnati and the Kemper Museum of Art, Kansas City, MO. The artist’s work is in numerous museum collections including MoMA, the Whitney Museum of Art, L.A. County Museum of Art, Philadelphia Museum of Art, Dallas Museum of Art and Musee d’Art Moderne de la Ville de Paris.

Locks Gallery is located at 600 Washington Square South in Philadelphia, PA. Gallery hours are Tuesday through Saturday, 10am to 6pm. For additional information, please contact Locks Gallery at 215.629.1000 voice, 215.629.3868 fax, or info@locksgallery.com.

For more information, please visit the Locks Gallery website here.

Alison Elizabeth Taylor Installation Photographs

We recently received several installation photographs of Alison Elizabeth Taylor’s incredible exhibition at James Cohan Gallery. The show received positive reviews from a number of publications, including Artforum, The New York Times, and Modern Painters, all of which can be seen and read here. The images below are of several of Alison’s smaller works in the front gallery at James Cohan and then two shots of her Room installation that occupied the back. For more information, please visit the James Cohan website, and to see the new portfolio of screenprints Alison made in collaboration with Durham Press, please visit her section on our website here.

View of Alison Elizabeth Taylor’s Room as you enter the space

View of Room looking out of the space

Several of Alison’s smaller wood-veneer pieces in the front space at James Cohan Gallery

Alison Elizabeth Taylor @ James Cohan Gallery

This Thursday, May 22nd, Alison Elizabeth Taylor’s exhibition, New Works, will also open at James Cohan Gallery in New York City. The show runs from May 22 – June 21, 2008 and will include Alison’s recent collaboration with Durham Press, Idylls, alongside her stunning wood veneer inlay pieces (see image below). The James Cohan website features the following press release for the exhibition:

James Cohan Gallery is pleased to announce an exhibition of new works by Alison Elizabeth Taylor, whose marquetry, or wood-inlay, figurative works reveal the hidden histories of everyday lives. In her use of wood veneer, Taylor subverts the material’s customary use as a decorative element used to convey a sense of wealth, power, and elite social status. Taylor’s oblique narratives refer to mainstream American culture and interests— large vehicles, sex, guns, video games, religion, hunting and the military—that seem to predominate. Limited to a palette of natural woods, she innovates by using the grain and tone of the veneer to explore issues of space, surface, line, color, and form. Her paintings uniquely transgress the traditional distinction between craft and high art.

The centerpiece of Taylor’s exhibition is a free-standing architectural installation in Gallery Three entitled Room. Like the trompe l’oeil masterpiece known as the Duke of Urbino’s Studiolo from the Ducal Palace in Gubbio (1479-1482), now in the collection of the Metropolitan Museum of Art, the contents but not the occupant of Room are depicted in detailed wooden marquetry panels. During the Italian Renaissance, patrons commissioned large intarsia projects, like the Gubbio Studiolo, as expressions of their wealth and power to confirm their positions in society by illustrating their educated tastes—the images amounting to an idealized autobiography. In contrast, Taylor’s Room does not exalt her subject. In this architectural portrait, Taylor examines the habitat and possessions of its resident, who reveals himself to be a character living on the edge of society.

The Room is a trove of objects fascinating and mundane: a US Army helmet from Vietnam rests in a display case with a handgun; a deer hoof is mounted on a horseshoe; a lamp has been fashioned of a hollowed-out grenade; the room is inhabited by animals taxidermied or carved. Many of the objects have price tags attached, indicating the multiple uses of the space: a store, a workshop, and a habitation. An open window hints that the occupant may have escaped. The east-facing window looks out onto a stretch of land decimated by the incursion of tract-homes which threaten to crowd Room out of existence. Through the opposite window is rocky, virgin desert. There, beauty and entropy entwine, contrasting with the ordered monotony of development. As the rural desert concedes to suburban planning, it becomes what the subject was trying to escape: over-crowded, over-priced and stifling. The old bargain he struck with the desert—freedom for isolation —has been reneged.

Single-panel works installed in the front galleries further chronicle those who are driven by their desire to escape society and who ultimately realize the impossibility of finding respite. In Hank (2007), a shabbily dressed man peddles a bicycle up a mountain incline, and his worried glance over his shoulder suggests that he is fleeing some danger. Slab City (2007) pictures another kind of trouble —two characters, one entirely nude, the other dishevelled, ignore what looks to be a person submerged and drowning in an adjacent pond. Taylor’s subjects are society’s dropouts whose surroundings—a geodesic dome or a VW bus—suggest that they fled to the West in search of the refuge of an alternative lifestyle. Despite their utopian dreams, her characters find themselves in predicaments that are far from enlightened. At least, this is what we imagine; Taylor masterfully piques viewers’ interest while leaving many questions unanswered.

A native of Las Vegas, Alison Elizabeth Taylor is concerned with the changing desert and environmental sustainability. This is Taylor’s second exhibition at James Cohan Gallery. Taylor graduated with an MFA from Columbia University, New York, in 2005. She has been featured in group exhibitions such as 96 Gillespie’s Dirty Pigeons (2005, London); Other America at Exit Art (2005, New York); Truly She is None Other at New Image Art Gallery (2006, Los Angeles); and The Powder Room at Track 16 Gallery (2007, Los Angeles).

For more information, please visit www.jamescohan.com

Hank by Alison Elizabeth Taylor (image courtesy of James Cohan Gallery)

Roland Fischer @ Von Lintel Gallery

This Thursday, May 22nd, marks the opening of Roland Fischer’s exhibition at Von Lintel Gallery. The show will feature photographs from a number of Roland’s series, including Facades and Chinese Pool Portraits. The exhibition runs from May 22 through June 28, 2008.

The Von Lintel Gallery sent out the following press release for the exhibition:

Von Lintel Galley is pleased to present an exhibition of new photographs by German photographer Roland Fischer.

Including outstanding new additions to his Facades series and striking Chinese Pool Portraits, an offshoot of his well-received Los Angeles Portraits series, the works in this show exemplify the
new territory Fischer continues to explore in his unflagging examination of the formal aspects of photography.

Whether photographing buildings for his Facades, or people for his Pool Portraits, Fischer focuses
our attention directly on a specific entity. In the case of the buildings, Fischer fills the frame of his viewfinder with their facades, stripping them of the distracting visual cacophony that normally
surrounds them. Isolated so, their vivid colors and dramatic geometries demonstrate a striking formalism and visual punch that call to mind a photographic version of modernist abstract painting. Fischer’s human subjects are also visually isolated, with only their heads and shoulders visible above the un-modulated blue of a still, indoor pool. De-contextualizing them this way, and portraying them with crystalline clarity, Fischer pointedly concentrates the viewer’s awareness of the individuality of the building or person. Each picture is imbued with the feeling that it holds captive the spirit of its subject, and thus, his photographs transcend mere documentation and border on the sublime.

Born in 1958, Munich based photographer Roland Fischer is a key figure in contemporary German
photography. Photo Technik International named him one of Germany’s top ten photographers alongside Demand, Gursky, Ruff, and Struth. His work has been the subject of many national and international exhibitions and is included in numerous public collections, such as at the Musée d’art Moderne de la Ville de Paris; Staatsgemäldesammlungen, Munich; Musée d’Art Moderne et Contemporain, Strasbourg; Museum van Hedendaagse Kunst, Antwerp; Saarland Museum, Saarbrücken and the Grand Rapids Art Museum, Grand Rapids.

For more information, please visit www.vonlintel.com.

James Nares – Motion Pictures film screening

This weekend James Nares will be screening a number of his films at the Anthology Film Archives in New York City (32 Second Avenue between 1st and 2nd Streets). The Anthology Film Archives provides the following press release for the program:

James Nares is known primarily as a painter. His reputation in film rests mainly with ROME ‘78, NO JAPS AT MY FUNERAL and WAITING FOR THE WIND, three rarely-screened movies he made between 1978 and 1982, when he was associated with what came to be known as the No Wave movement in New York. However, he was making films before that period, and has continued to make them ever since. Presented here is a selection of 34 films (many in brand-new prints) made from 1975 to 2007, only seven of which have ever been screened. All the movies from 1975 and 1976 were missing and presumed lost until a number of them were discovered in deep storage in 2007. Nares has spent the past year revisiting and restoring all this work, and in the case of one, THE LIGHTHOUSE, finishing a movie which had been lying in rough-edit form for 17 years. Program 7, on Thursday, May 22, will be followed by a conversation between Nares and writer Luc Sante (LOW LIFE)!

Each night a different selection of films will be screened, and the full schedule can be seen here. For more information, please visit www.anthologyfilmarchives.org.

Revision, Reiteration, Recombination installation images

Curator Leslie Wayne chatting in front of Lydia Dona’s Portraits & Speed…

We recently received installation images from the exhibition Revision, Reiteration, Recombination: Process and the Contemporary Print curated by Leslie Wayne. The show featured Durham Press prints by Polly Apfelbaum, Lydia Dona and Leslie Wayne among others and traveled to two separate venues. The included images were taken from the installation at the College of Visual Arts in Minneapolis where JP joined Leslie and another invited guest in a roundtable discussion. By all accounts, the exhibition was a success and may travel to other venues later next year.

Polly Apfelbaum’s Baby Love 84 (left) among other works in the exhibition

Image of the installation including works by Leslie Wayne (center right) and Lydia Dona (right)

New Durham Press prints @ Marty Walker Gallery

Tonight marks the opening of Recent Prints by Polly Apfelbaum, Roland Fischer, Beatriz Milhazes, James Nares and Alison Elizabeth Taylor at Marty Walker Gallery in Dallas, Texas. All of the prints in the show are recent projects completed at Durham Press, and for Roland Fischer’s Facades on Paper III, James Nares’ GO and Alison Elizabeth Taylor’s Idylls, this is the first time they will have ever been exhibited outside of the print fairs. The show runs from March 29th to May 3rd, 2008 with an opening reception tonight, March 29th, from 5-8 pm. For more information, please visit www.martywalkergallery.com and click on “Current Exhibition.”

The Marty Walker Gallery website features the following press release for the show:

Marty Walker Gallery presents recent prints from Durham Press. Celebrating its 20th anniversary, Durham Press has earned a reputation for impeccable quality among artists, dealers and curators worldwide. A fine art print publisher based in a turn-of-the century schoolhouse in Bucks County, Pennsylvania, the Press has published and produced over one hundred limited edition contemporary prints with influential artists from around the world. Its projects have been placed with major museums and contemporary art collections, including the Museum of Modern Art and Whitney Museum of American Art, and the Press is a member of the IFPDA. This exhibition features extraordinary new prints by Polly Apfelbaum, Roland Fischer, Beatriz Milhazes, James Nares, and Alison Elizabeth Taylor.

Polly Apfelbaum’s new multicolor wood-block prints recall the artist’s marker on silk-rayon velvet wall pieces, part Josef Albers, part Gene Davis, with the same pop sensibility that informed her flower series. The woodblock monoprint in the exhibit consists of a composition of stripes featuring a spectrum of up to eighty colors. Apfelbaum’s ubiquitous stripes simultaneously address color theory, fashion, pop culture, and rhythm, revealing themselves as both cliché yet iconic. Apfelbaum’s work is included in numerous museum collections, including the Armand Hammer Museum of Art, Dallas Museum of Art, Kemper Museum of Contemporary Art, Chicago Museum of Contemporary Art, and Magasin 3 Stockholm, Sweden.

Brazilian artist Beatriz Milhazes embraces motifs that might become kitschy in less skilled hands. Heavily influenced by both the botanical gardens outside her studio and her sister’s dance company, the flirtatious colors and festive patterns are steeped in carnivalesque rhythms and landscape of her native Brazil. Milhazes has exhibited extensively, showing at the 2006 Shanghai Biennial and the 2004 Venice Biennale. Milhazes has work included in the collections of The Metropolitan Museum of Art, Guggenheim, 21st Century Museum of Contemporary Art, Kanzawa, Japan, and Museo Nacional Centro de Arte Reina Sophia Madrid, Spain.

For James Nares, painting is a sort of ritual process. A finished work, comprised of a single “perfect” brushstroke, in some ways relates to Asian calligraphy. However, unlike working with ink on paper, open to the caprices of chance, Nares reworks canvases over and over until a precise gesture appears capturing the perfect brush stroke. Born in England, Nares has worked and lived in New York since 1974. Nares work is included in many collections, including Albright Knox Museum, Museum of Modern Art, and the Whitney Museum of American Art.

German photographer Roland Fischer photographs sections of buildings’ façades in such a way as to flatten their geometry and create two-dimensional abstract compositions that are simple and starkly beautiful. Closely cropped buildings allude to both abstract painting and portraiture, purposefully concealing the context and size of large buildings in order emphasize their unique decorative and geometric patterns. Work by Fischer is included in collections, such as the Margulies Family Collection, Merrill Lynch London, Microsoft, and Museo Municipal de Arte Contemporáneo de Madrid, among others.

And in the OTHER GALLERY, recent Columbia graduate, Alison Elizabeth Taylor masterfully works ambiguous scenes of small-town adolescent angst in a suite of screenprints published by Durham Press making their exhibition debut at Marty Walker Gallery. In this suite, Taylor continues to portray suburban small-town scenes of mischief, boredom, and awkwardness, among barren landscapes and tacky interiors. Taylor’s narratives are sharp social critiques displaying the banal and the abject in her dystopic vision of modern life. Taylor’s mundane landscapes are executed in the antiquated medium of marquetry (wood veneer inlay), for a solo exhibit at James Cohan Gallery, May 22 -June 21st, 2008.

Polly Apfelbaum @ Center for Contemporary Arts, Santa Fe

Next month, Polly Apfelbaum is going to be part of a group exhibition at the Center for Contemporary Arts Santa Fe in Santa Fe, New Mexico. The exhibition, titled Hair of the Dog, features Polly’s work alongside that of AES+F, Ann Gaziano, Rebecca Holland, Jason Manly, Philip Sanderson and Brandon Soder. The exhibition runs from April 5th through May 25th, 2008, with an opening reception on April 5th from 5 to 7 pm. For more information, please visit the Center for Contemporary Arts Santa Fe website here.

According to the Center for Contemporary Arts website:

The exhibition Hair of the Dog investigates the vocabulary, limitations, and mythology of the medium of painting through modern art history and into the 21st century. The artists and their works do not lend themselves to conclusions; rather, the aim is to provoke critical considerations of how painting functions as art in our culture. None of the artists in the exhibition will apply pigment to canvas in the traditional manner; some will not use paint at all. Portraiture, landscape, and narrative are some of the structures within the language of painting to be engaged. Featuring the work of AES+F, Polly Apfelbaum, Ann Gaziano, Rebecca Holland, Jason Manly, Philip Sanderson, & Brandon Soder; mediums include needlepoint, video, installation, photography, and cast sugar.

Lydia Dona @ Michael Steinberg Fine Art

Fuel Injection by Lydia Dona

Lydia Dona’s exhibition, From Heat to Sub-Zero, is now on display at Michael Steinberg Fine Art in New York City. The show features a combination of Lydia’s paintings and prints, including Fuel Injection made in collaboration with Durham Press. The show runs from March 21st through April 26th, 2008. For more information, please visit www.michaelsteinbergfineart.com.

From the Michael Steinberg Fine Art website:

Michael Steinberg Fine Art is pleased to present “From Heat To Sub-Zero”, an exhibition of new works by Lydia Dona. Featured in the exhibition is the monumental triptych from which the show derives its name. Completed in 2008, this painting offers an opportunity to understand the interplay between the artist’s recent paintings and her graphic work. Accompanying the painting are three large format etchings published by Poligrafa of Barcelona, Spain, as well as a silkscreen print issued by Durham Press of Durham, Pennsylvania. Seen in combination, the influence of the graphics on Dona’s painting becomes apparent.

The exploration of urban environment, the encroachment of technology on the human body and the organic enmeshments with the chemical changes surrounding them has been a repetitive development and preoccupation in Dona’s approach to abstraction.

The cinematic devices of sequence, framing, cutting and variety of lightings, have infiltrated their way into the monumentality so this triptych is constructed between breaks, meeting points, and the complexity of transformation.

The introduction of silver metallic paint, copper and oxide copper play a new role in the idea of chemical change as well as a sculptural and photographic impact into the canvas. The utilization of auto car repairs, tubes, and diagrams is constructing and evolving into lines that created a new relationship and a challenging despair between environments sunk into mass.

The linear elements move and entangle themselves creating a new context with the line, marks, borders, and cityscapes. The super charged content and motion, the visual charge of heavy metal and light metal decreases in temperatures to the edge of the self-elimination and the potent frames of experimentation.

Lydia Dona lives and works in New York City. Well known both nationally and internationally, Dona’s work has been featured in important museum exhibitions such as the 1991 Corcoran Biennial in Washington, D.C., and From Albers to Paik, Works from the Daimler Chrysler Collection, Neue Nationalgalerie, Berlin, in 1999. Recent group shows include Officina America at the galleria D’arte Moderna Bologna, Italy, in 2002, and About Painting at the Tang Museum, Saratoga Springs, New York, in 2004. Between 1995 and 1997, a survey show of her work from 1989 – 1995 traveled in the United States and Canada. Lydia Dona’s work is included in numerous significant collections, both public and private.