James Siena 2025 by Miles McEnery Gallery

JAMES SIENA, THE DOING

Geoffrey Young

You can’t see the wind, but there’s a breeze blowing through James Siena’s new works. Oxygenating and bestirring, this wind is as subtle as it is omnipresent, as cooling to the forehead as it is capable of affecting the currents of the artist’s thinking.

All art starts somewhere, the mind and hand of the artist risking a first move. But when I look at Siena’s mad tangles of line and color, so complex and alluring, I’m not sure that knowing his point of departure would clarify a thing. Because it’s not where a painting starts, but how it ends, that matters. That said, one senses that in Siena there’s a plan, even if said plan is obscured by the vagaries of process. Nor can we know exactly how this true believer sticks to the plan in line after line, shape after shape, curve after curve, and interval after interval, as his hand and eye make their way to the inevitable end.

And speaking of “ends,” Siena himself doesn’t know what the end will look like until it emerges, after all procedures, measuring devices, and scrupulous additions of lines are complete. Then “Eureka!” Here’s the thing, finally realized! Is it a diva, a doppelganger, a red tide, a beach blanket Babylon? Has it been propelled by horror vacui, or an avian’s nesting instincts? And we viewers—like Doubting Thomases examining the wounds of Christ—we benefit by direct personal experience of what has been made. Turns out that the slower we go, the more deliberate our questions and answers, the more fully formed is our perception of what the work is.

Siena trusts the doing, no matter the hurdles. He has always known that a bump in the road tells the driver that he’s on the way. The confidence and sustained commitment it takes to realize a work that requires weeks or months of labor has become the procedural norm for Siena. He honors the doubts and decisions as they come up by finding a way to make them do his bidding.

Each painting, through micro-attention (the tiniest marks in minuscule spaces), and macro-belief (stand back and behold the webs, shimmers, and skeins in the light of their all-over presence), arrives at a kind of harmonic convergence. In lesser hands, this entanglement of adjusted shapes and colors might result in a cacophony of abrasive noises. But Siena’s poetic logic is a force generator; his feel for the momentary is as acute as his desire for the heroic is ever present.

The yellow and orange windswept movement in Phenotasp (2024) whispers as it whirls, entangled in loops and updrafts. In its arhythmic scatter, it is very like the studied carelessness of style known as sprezzatura. Nonetheless, Phenotasp is never without purpose, never truly random, no matter the weather. Siena relishes the way his devotion to process can deliver the unforeseen happy retinal accident. Constraints, executed with verve and curiosity, contribute to the membrane and tissue of the work.

Pre-internet, one didn’t hear the word “algorithm” all that often. But since the late eighties Siena has been at the forefront of knowing that an algorithm can be a tool for calculating and colonizing visual space. Put to work, a structural building block can generate complexes of ocular delight. If I do this, and then this, and then this again….

If the results of his procedures lead a viewer to think of nets, weavings, untold channels of information, so be it. Saturated with screen imagery in a digital age, we feel a kinship with Siena’s dense arrays. And if we stand back, remain open, and let a work hit us? It’s not a crime for painting to reflect the excitement and anxiety we all share in an era of unbridled commercialization.

My first reaction to the paintings was a series of questions. “What am I looking at? How was it made? What tradition does it belong to? And what does it make me think of?” If some of his clustered lines seem to enclose spaces, while others are striated, open and flowing, can we figure out why? Have Siena’s dust devils been blown into crazy patterns by storm or story? Once seen they start to mutate.

The writer Laura Bannister has praised Siena’s “labyrinth of lines.” And the poet and artist Marjorie Welish has identified the artist’s inclination “to bring contrary procedures into conjunction, a trick which invites havoc and disheveled spacing.” As a viewer, I’m always aware of how his limited palette fuses color and texture. These works resemble controlled burns, as if nature is perpetuating itself in an eddy of swirling lines. Our eyes bounce around like Mexican jumping beans. The range of his specific effects bursts like eloquent outbreaks of good news.

In Elutea (2024), a wide-bodied, one-color work, the artist’s tightly fitted pirouettes and turns are nearly unfathomable. It is almost as if we’re engaged with sound waves, or the wiggle of desert mirages. Though it is as systematically careful as it is sprawling, Elutea remains a generative engine of novel textures. Obsession accounts for one attribute of these luxurious accumulations. And persistence seconds the motion. Though extremely fine lines saturate Elutea, they never stop short or fail to advance the picture. From another point of view, their fineness might seem vulnerable, as if some nut with scissors could clip and shred them in a trice. Yet nothing unravels in this painting or undermines the muscular achievement of its presence.

Looking at these new works, it is natural for the question “what?” to be followed by the exclamation “wow!” By what quirky turns do the repetitions of his curving parallel lines begin to deliver what seem to be a rogue’s gallery of shapes? As we strive to “read” his works, what is the syntax? Wordless texts read from top to bottom, or is it from side to side? The middle out? From the sides in? Is there a way to negotiate their neural pathways? Do his offbeat grids overlap, or collide? Do they cohere, or sheer? What is the relation of the edge of the canvas to the content within? What makes this baby weave, undulate, swerve, jiggle and dance? Questions like these arise when a work like L’Émeutière (2024) is examined. Its remarkable balance is achieved when a perfect combination of the exact right colors produces the exact right feeling in the exact right formal innovation.

Trying to make sense of the specter that works on our eyes as we engage with art is like trying to explain love.

Step closer and see the hand in each edge, see the care in each line. See print media evolve into sound, see sound transform into cyber space. Was it John Milton’s Satan who told the first joke in the Garden of Eden? No, we’re not laughing. But art redeems human foible by reminding us of what has been lost by showing us what we still have. Though it’s no longer a battle between good and evil or between greed and empathy (these poles will ever be at odds), still the art of James Siena is on the side of the angels (his strident atheism be damned!)

Grains of information may be the sands that make up our digital beaches, but a Siena painting is not a vessel of info, nor a pail of sand, nor a towel laid out on some digital shore. It’s paint on linen. It’s a matterof-fact hand-made object. It’s an independent investigation of vision where sight and mind work their magic. Beauty, at the center of Siena’s art, advances a tradition of abstraction that is millennia old. His art reminds us to connect the pleasure we get from contemporary art by embracing the historical continuity of aesthetic experience. Just as new paintings can influence our perceptions of the past, James Siena’s new works most assuredly alter the future.

Geoffrey Young’s recent chapbooks include LOOK WHO’S TALKING (with art by Mel Bochner); DATES (prose & drawings by author); & three books of art and poetry, including MONK’S MOOD, MONEY, & PIVOT. Born in LA in 1944, he has taught at various colleges, including Vassar and Columbia, and has lived in Great Barrington, MA since 1982. After 28 years, and more than a hundred shows, he closed his contemporary art gallery at the end of 2018.

Page 7

Anion, 2023

Acrylic and graphite on linen

75 x 59 inches

191 x 150 cm

Page 9

Striata, 2023

Acrylic and graphite on linen

60 x 48 inches

152 x 122 cm

Page 11

7.2024RVDT, 2024

Acrylic and graphite on linen

58 x 45 inches

147 x 114 cm

Page 13

Elutea, 2024

Acrylic and graphite on linen

60 x 86 inches

152 x 218 cm

Page 15

Phenotasp, 2024

Acrylic and graphite on linen

60 x 48 inches

152 x 122 cm

Page 17

Cephaelin, 2025

Acrylic on linen

70 x 56 inches

178 x 142 cm

Page 19

Écrouleron, 2025

Acrylic on linen

80 x 63 inches

203 x 160 cm

Page 21

Naecemoa, 2025

Acrylic on linen

60 x 48 inches

152 x 122 cm

Page 23

1.RVDT, 2024

Acrylic and graphite on linen

18 x 24 inches

46 x 61 cm

Page 25

2.RVDT, 2024

Acrylic and graphite on linen

18 x 24 inches

46 x 61 cm

Page 27

L’Émeutière, 2024

Acrylic on linen

18 x 24 inches

46 x 61 cm

JAMES SIENA

Born in 1957 in Oceanside, CA

Lives and works in New York, NY and Otis, MA

EDUCATION

1979

BFA, Cornell University, Ithaca, NY

SOLO EXHIBITIONS

2025

Miles McEnery Gallery, New York, NY

2023

Miles McEnery Gallery, New York, NY

“Work on Paper, 1999 - 2022,” Bookstein Projects, New York, NY

2022

Miles McEnery Gallery, New York, NY

2021

“Vergence,” Baronian, Brussels, Belgium

2020

“Phased Resonators & Reciprocating Transitions: Paintings and Watercolors,” Ratio 3, San Francisco, CA

2019

“Cascade Effect,” Galerie Xippas, Paris, France

“Resonance Under Pressure,” The Print Center, Philadelphia, PA

“Project Room: James Siena,” Pace Prints, New York, NY

Pace Gallery, New York, NY

2017

Pace Gallery, New York, NY

2016

“Pockets of Wheat,” The Museum of Modern Art, New York, NY

2015

Xippas Art Contemporain, Geneva, Switzerland

“New Sculpture,” Pace Gallery, New York, NY

“Typewriter Drawings,” Hiram Butler Gallery, Houston, TX

“Labyrinthian Structures,” Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY

2014

“Sequence, Direction, Package, Connection,” Dieu Donné, New York, NY

Galerie Xippas, Paris, France

2011

Pace Gallery, New York, NY

2010

Daniel Weinberg Gallery, Los Angeles, CA

Pace Prints, New York, NY

“From the Studio,” Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY

2009

“Works by Master Artist James Siena,” Atlantic Center for the Arts, New Smyrna Beach, FL

2008

Pace Wildenstein, New York, NY

2007

“BIG FAST INK: Drawings, 1996-2007” (curated by Geoffrey Young), University Art Museum, University of Albany, Albany, NY

“Prints and States,” Pace Prints, New York, NY

“As Heads is Tails,” Mario Diacono Gallery, Boston, MA

“Recent Editions,” Greg Kucera Gallery, Seattle, WA

2005

“New Paintings and Gouaches,” Pace Wildenstein, New York, NY

“Ten Years of Printmaking,” William Shearburn Gallery, St. Louis, MO

2004

“Selected Paintings and Drawings 1990-2004,” Daniel Weinberg Gallery, Los Angeles, CA

2003

Gorney Bravin + Lee, New York, NY

“James Siena: Drawing and Painting,” Walter & McBean Galleries, San Francisco Art Institute, San Francisco, CA; traveled to the University of Akron, Akron, OH

2002

“Recent Paintings,” Daniel Weinberg Gallery, Los Angeles, CA

2001

“James Siena: 1991-2001,” Gorney Bravin + Lee, New York, NY

2000

“Project Room,” Gorney Bravin + Lee, New York, NY

Daniel Weinberg Gallery, Los Angeles, CA

1998

Daniel Weinberg Gallery, San Francisco, CA

1997

Cristinerose Gallery, New York, NY

1996

Pierogi 2000, Brooklyn, NY

1986

J. Noblett Gallery, Sonoma, CA

GROUP EXHIBITIONS

2025

“Works on Paper,” Pamela Salisbury Gallery, Hudson, NY

“A Delicate Balance,” Jim Kempner Fine Art, New York, NY

“Dynamic Duos: The Art of Working in Pairs” (curated by Madeleine Viljoen), New York Public Library, New York, NY

2024

“All Bangers, All The Time: 25th Anniversary Exhibition,” Miles McEnery Gallery, New York, NY

“Menagerie” (curated by Alix Bailey), The Painting Center, New York, NY

“Desire Lines,” Brattleboro Museum & Art Center, Brattleboro, VT

“Mercury Rising,” Bookstein Projects, New York, NY

“Printer’s Picks: A Look at Priorities and Processes” (curated by Phil Sanders), David Krut Projects, New York, NY

2023

“Naturaleza Abstracta,” Xippas Punta del Este, Punta del Este, Uruguay

“I remember you well in the Chelsea Hotel,” Fleiss-Vallois, Hotel Chelsea, New York, NY

“Retinal Hysteria” (curated by Robert Storr), Venus Over Manhattan, New York, NY

“Raha Raissnia & James Siena,” Galerie Xippas, Paris, France

“James Siena & Katia Santibañez: Two Plus Two Equals Three,” Pamela Salisbury Gallery, Hudson, NY

“Mosaics” (curated by Deborah Goodman Davis), James Barron Art, Kent, CT

“The Searchers,” The Philadelphia Art Alliance at University of the Arts, Philadelphia, PA

“Come A Little Closer,” DC Moore Gallery, New York, NY

2022

“Why I Make Art” (curated by Brian Alfred), Miles McEnery Gallery, New York, NY

“SAME SHEETS, SAME BED: James Siena & Katia

Santibañez,” Cheymore Gallery, Tuxedo Park, NY

“Among Friends: Three Views of a Collection,” The FLAG Art Foundation, New York, NY

“Two to Tango,” Bernay Fine Art, Great Barrington, MA

2019

“Daedalus’ Choice,” Galerie Xippas, Paris, France

“New Typographies: Typewriter Art as Print,” The Print Center, Philadelphia, PA

2018

“The Annual Professional Painters’ Exhibition,” Century Association, New York, NY

“The Heckscher Collects: Recent Acquisitions,” The Heckscher Museum of Art, Huntington, NY

“The New Members Exhibition,” Century Association, New York, NY

“Out of Control,” Venus Over Manhattan, New York, NY

“Principia Mathematica,” Pace Gallery, New York, NY

“The Projective Drawing,” Austrian Cultural Forum, New York, NY

“Island Press: Recent Prints,” Mildred Lane Kemper Art Museum, Washington University, St. Louis, MO

2017

“Dialéctica,” Galerie Xippas, Paris, France

“The State of New York Painting: Works of Intimate Scale by Colorists,” Kingsborough Art Museum, Brooklyn, NY

“In the Absence of Color: Artists Working in Black and White,” Hollis Taggart Galleries, New York, NY

“Why Draw? 500 Years of Drawings and Watercolors,” Bowdoin College Museum of Art, Bowdoin College, Brunswick, ME

“Almost Nothing,” James Barron Art, Kent, CT

2016

“Random X,” Galerie Xippas, Punta del Este, Uruguay

“Abstracción,” Galerie Xippas, Montevideo, Uruguay

“Going Home,” Bortolami Gallery, New York, NY

“Big Art / Small Scale,” Philip Slein Gallery, St. Louis, MO

“Talking on Paper,” Pace Gallery, Beijing, China

2015

“Systems and Corruptions,” National Exemplar Gallery, New York, NY

“Intimacy and Discourse: Reasonable-Sized Paintings, Part I,” Mana Contemporary, Jersey City, NJ

“Linear Elements: Alain Kirili and James Siena,” OMI

International Arts Center, Ghent, NY

“On the Square Part II,” Pace Gallery, New York, NY

“Drawings and Prints: Selections from the Permanent Collection,” The Metropolitan Museum of Art, New York, NY

“SKIN (Part 1),” National Exemplar Gallery, New York, NY

“Summer Group Show,” Pace Gallery, New York, NY

“Black / White” (curated by Brian Alfred), Ameringer | McEnery | Yohe, New York, NY

“Eureka,” Pace Gallery, New York, NY

“Invitational Exhibition of Visual Arts,” American Academy of Arts and Letters, New York, NY

“Back to the Future Part II,” Life on Mars Gallery, New York, NY

2014

“Line: Making the Mark,” Museum of Fine Arts Houston, Houston, TX

“Space Out: Migration to the Interior,” Red Bull Studios, New York, NY

“Orly Genger and James Siena: Works on Paper,” Sargent’s Daughters, New York, NY

“Pierogi xx: Twentieth Anniversary Exhibition,” Pierogi, New York, NY

“In the Round,” Pace Gallery, New York, NY

“Oblique Strategies: Track 2,” Peter Fingesten Gallery, Pace University, New York, NY

“The Age of Small Things,” Dodge Gallery, New York, NY

2013

“Heat Chaos Resistance: It’s Time to Live in the Scattered Sun,” Radiator Gallery, New York, NY

“Come Together: Surviving Sandy Year 1,” Industry City, Brooklyn, NY

“System/Repetition,” Russell Bowman Art Advisory, Chicago, IL

“Image and Abstraction,” Pace Gallery, New York, NY

“Abstract Generation: Now in Print,” The Museum of Modern Art, New York, NY

“The Annual: 2013,” National Academy of Art, New York, NY

“Geometric Abstraction,” Pace Prints, New York, NY

2012

“Diamond Leaves: 86 Brilliant Artist Books from Around the World,” Central Academy of Fine Arts Museum, Beijing, China

“Summer Group Show,” Pace Gallery, New York, NY

“Print/Out: 20 Years in Print,” The Museum of Modern Art, New York, NY

“Paper A-Z,” Sue Scott Gallery, New York, NY

“Recent Editions,” Pace Gallery, New York, NY

“6 Abstract Painters,” DC Moore Gallery, New York, NY

“50 Years at Pace,” Pace Gallery, New York, NY

“Couples,” Ferrin Gallery, Pittsford, MA

“NeoIntegrity: Comics Edition,” Museum of Comics and Cartoon Art, New York, NY

“The Visible Vagina,” David Nolan Gallery, New York, NY

“On the Square,” Pace Wildenstein, New York, NY

2009

“A Walk on the Beach,” Pace Wildenstein, New York, NY

“Patterns Connect: Tribal Art and Works by James Siena,” Pace Primitive, New York, NY

“Morphological Mutiny,” Galerie Nolan Judin, Berlin,

Germany; traveled to David Nolan Gallery, New York, NY

“New at the Morgan: Acquisitions Since 2004,” The Morgan Library & Museum, New York, NY

“Talk Dirty to Me,” Larissa Goldston Gallery, New York, NY

2008

“Chroma,” Ruth S. Harley Center Gallery, Adelphi University, Garden City, NY

“Revision, Reiteration, Recombination: Process and the Contemporary Print,” College of Visual Arts, St. Paul, MN

“Sensory Overload: Light, Motion, and the Optical in Art since 1945,” Milwaukee Art Museum, Milwaukee, WI

“Attention to Details,” The FLAG Art Foundation, New York, NY

2007

“All for Art! Great Private Collections Among Us,”

Montréal Museum of Fine Arts, Montréal, Canada

“Neointegrity,” Derek Eller Gallery, New York, NY

“Judith Linhares / James Siena,” University Art Museum, University of Albany, Albany, NY

“Works on Paper,” Reynolds Gallery, Richmond, VA

“Tara Donovan, Sol Lewitt, Robert Mangold, James Siena: Minimalist Prints,” Augen Gallery, Portland, OR

“Not For Sales,” P.S.1 Contemporary Art Center, Long Island City, NY

“Lateral Attitudes,” Raritan Valley Community College Art Gallery, Somerville, NJ

2006

“Drawing Through It: Works on Paper from the 1970s to Now,” David Nolan Gallery, New York, NY

“Dieu Donné Papermill: The First 30 Years,” C.G. Boerner, New York, NY

“Contemporary Masterworks: Saint Louis Collects,”

Contemporary Art Museum St. Louis, St. Louis, MO

“The Compulsive Line: Etching 1900 to Now,” The Museum of Modern Art, New York, NY

2005

“James Siena by Chuck Close and James Siena Prints,” Pace Prints, New York, NY

“Group Exhibition,” PaceWildenstein, New York, NY

“237th Royal Academy of Art from Madeline & Les Stern,” Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY

“New Acquisition Installation,” Johnson Gallery for Drawings and Prints, The Metropolitan Museum of Art, New York, NY

“Drawings from the 1960s to the Present,” Daniel Weinberg Gallery, Los Angeles, CA

“Logical Conclusions: 40 Years of Rule-Based Art,” Pace Wildenstein, New York, NY

“two d,” Green On Red Gallery, Dublin, Ireland

“Super Cool,” Kathryn Markel Fine Arts, New York, NY

“Sets, Series, and Suites: Contemporary Prints,” Museum of Fine Arts Boston, Boston, MA

2004

“Drawing a Pulse,” Slusser Gallery, School of Art and Design, University of Michigan, Ann Arbor, MI

“Summer 2004,” Pace Wildenstein, New York, NY

“The 2004 Biennial,” Whitney Museum of American Art, New York, NY

“Endless Love,” DC Moore Gallery, New York, NY

2003

“Black White,” Danese, New York, NY

2002

“The Fall Line,” OSP Gallery, Boston, MA

“New Editions and Monoprints,” Pace Prints, New York, NY

“The 177th Annual: An Invitational Exhibition,” National Academy of Design Museum, New York, NY

“New Editions,” Senior & Shopmaker Gallery, New York, NY

“On Paper,” Daniel Weinberg Gallery, Los Angeles, CA

“The Tipping Point,” Locks Gallery, Philadelphia, PA

2001

“Repetition in Discourse,” The Painting Center, New York, NY

“Accumulations,” School of Art Gallery, Kent State University, OH

“BOXY,” Dee/Glasoe Gallery, New York, NY

“By Hand: Pattern, Precision, and Repetition in Contemporary Drawing,” California State University, Long Beach, Long Beach, CA

2000

“Art on Paper,” Weatherspoon Art Museum, Greensboro, NC

“Mapping, Territory, Connexions,” Galerie Anne de Villepoix, Paris, France

“Fluid Flow,” James Graham and Sons, New York, NY

“Invitational Exhibition,” American Academy of Arts and Letters, New York, NY

“Greater New York,” P.S.1 Contemporary Art Center, Long Island City, NY

1999

“Cyber Cypher Either End,” Mario Diacono Gallery, Boston, MA

“Invitational Exhibition,” American Academy of Arts and Letters, New York, NY

“Pattern,” Graham Gallery, New York, NY

“Trippy World,” Baron/Boisante Editions, New York, NY

“New Work: Painting Today, Recent Acquisitions,” San Francisco Museum of Modern Art, San Francisco, CA

“One by Four,” Daniel Weinberg Gallery, Los Angeles, CA

“Ultra Buzz,” Johnson County Community College, Overland Park, KS

“Rage for Art (Pierogi Reborn),” Pierogi 2000, Brooklyn, NY

“Free Coke,” Greene Naftali Gallery, New York, NY

“post-hypnotic,” Illinois State University, Normal, IL; traveled to McKinney Avenue Contemporary, Dallas, TX; Contemporary Arts Center, Cincinnati, OH;

Atlanta College of Art Gallery, Atlanta, GA; Chicago Cultural Center, Chicago, IL; and the Tweed Museum of Art, University of Minnesota, Duluth, MN

1998

“The Risk of Existence,” Phyllis Kind Gallery, New York, NY

“Wallpaper,” Nicholas Davies Gallery, New York, NY

“Exploring Interior Landscape: Art from the Collection of Clifford Diver,” Delaware Art Museum, Wilmington, DE

1997

“All the Things You Are,” Geoffrey Young Gallery, Great Barrington, MA

“Tracery,” Betsy Senior Gallery, New York, NY

“Current Undercurrent,” Brooklyn Museum of Art, New York, NY

1996

“96 Works on Paper,” Geoffrey Young Gallery, Great Barrington, MA

1995

“Group Exhibition,” S. Cono Pizzeria, Brooklyn, NY

“Obsession,” Chassie Post Gallery, New York, NY

“Selections,” Adam Baumgold Gallery, New York, NY

“Wheel of Fortune,” Lombard-Freid Fine Arts, New York, NY

“Other Rooms,” Ronald Feldman Gallery, New York, NY

1994

“The Beauty Show,” Four Walls, Brooklyn, NY

“Group Exhibition,” Lipton Owens Company, New York, NY

“Jobs Overseas,” Kunstverein München, Munich, Germany

“Sworn Statements,” Geoffrey Young Gallery, Great Barrington, MA

1993

“Group Grope,” Geoffrey Young Gallery, Great Barrington, MA

“The Return of the Cadavre Exquis,” The Drawing Center, New York, NY; traveled to Corcoran Gallery of Art, Washington, D.C.; Santa Monica Museum of Art, Santa Monica, CA; Forum for Contemporary Art, St. Louis, MO; and The American Center, Paris, France

1992

“Vibology,” White Columns, New York, NY

1991

“The Painting Project,” Four Walls, Brooklyn, NY

1990

“A Question of Paint,” Hallwalls Contemporary Arts Center, Buffalo, NY

1989

“The Art of the Computer and Xerox Machine,” Minor Injury Gallery, Brooklyn, NY

“Drawings,” Wolff Gallery, New York, NY

1988

“Almost White,” Gabrielle Bryers Gallery, New York, NY

“James Siena / Cary Smith,” Wolff Gallery, New York, NY

1987

“Atelier Conversations,” John Good Gallery, New York, NY

“Dan Schmidt / James Siena,” J. Noblett Gallery, Sonoma, CA

“George Korsmit / Willy Heeks / James Siena,” Jeffrey Neale Gallery, New York, NY

“Group Exhibition,” Wolff Gallery, New York, NY

1986

“By Other Means,” Just Above Midtown/Downtown, New York, NY

AWARDS & RESIDENCIES

2021

Guggenheim Fellowship in the Fine Arts, John Simon

Guggenheim Memorial Foundation, New York, NY

2018 – 2022

Co-Chair, Membership and Nominations Committee, Corporation of Yaddo, Saratoga Springs, NY

2018

Chair, Abbey Mural Prize Committee, National Academy of Design, New York, NY

Chair, Affiliated Rome Fellowship Committee, National Academy of Design, New York, NY

2015 – 2017

Executive Committee, Corporation of Yaddo, Saratoga Springs, NY

2015

Residency, Fundación Casa Wabi, Oaxaca, Mexico

2013

Resident Fellow, American Academy in Rome, Rome, Italy

Elected to the Board of Governors, National Academy of Design, New York, NY

2012 – 2014

Chair of Admissions, Corporation of Yaddo, Saratoga Springs, NY

2011

Elected to the National Academy of Design, New York, NY

2008 – 2011

Director and Chair of the Visual Arts Selection Committee, Corporation of Yaddo, Saratoga Springs, NY

2004

Elected to Membership, Corporation of Yaddo, Saratoga Springs, NY

Residency, Yaddo, Saratoga Springs, NY

2000

Louis Comfort Tiffany Award, New York, NY

Arts and Letters Award in Painting, American Academy of Arts and Letters, New York, NY

1998

Purchase Award, American Academy of Arts and Letters, New York, NY

1995

Grant, New York Foundation for the Arts, New York, NY

1979

Charles Goodwin Sands Medal, Cornell University, Ithaca, NY

1977

Edward Durell Stone Award, Cornell University, Ithaca, NY

James Siena 2025

JAMES SIENA

JAMES SIENA

JAMES SIENA, THE DOING

EDUCATION

SOLO EXHIBITIONS

GROUP EXHIBITIONS

AWARDS & RESIDENCIES

SELECT COLLECTIONS

JAMES SIENA