MARTIN WEINSTEIN
NOTHING GOES AWAY
MARTIN WEINSTEIN
EXHIBITION: MAY 8 - JULY 26, 2026
CASTELLO 925
FONDAMENTA SAN GIUSEPPE • SESTIERE CASTELLO, 925 • 30122 VENEZIA, ITALIA
ESSAY: JEN DRAGON | THE POIGNANT GIFT
For years, Martin Weinstein has painted Venice, mostly from a particular balcony overlooking the Lagoon. It is from this perch that the interaction of the clouds with the sun and water is best perceived. Small percussive details, such as boats, flowers, and domestic shadows, complement the dramatic light that defines the architecture both inside and outside. These views of Venice not only serve as vehicles for atmospheric light and color but also as the setting for exploring a new dimension of pictorial space.
In Weinstein’s paintings, the water’s surface is the turning point between what can and cannot be seen. The surface acts as a mirror for what lies above, and the reflected image, in turn, partially obscures what lies below. To extend this imagery, the transition between what is outside and what is inside shifts with the point of view: from below the water, there is a clear view of the sky, whereas from above, the surface is obscured, reflecting the sky back onto itself. It is in these vertices that Martin Weinstein dwells — the edges of space. To further explore this phenomenon, the artist has developed a painting technique that deconstructs space into transparent acrylic layers encased in a clear plastic container. Each layer is positioned to interact with the other while the box itself channels and amplifies the ambient light, bringing the scene to life as a painterly diorama.
It’s important to note that Martin Weinstein has a longstanding fascination with theater construction, with its layers of scenic flats defining the spatial environment and the concept of the proscenium, or fourth wall, which is dissolved so that the audience can perceive the action. Within Weinstein’s paintings, all perspective originates with the viewer, and the traditional ordered illusion of foreground, middle ground, and background is rearranged as layers that should logically sequence front to back become realigned to create a less linear and more orbital spatial experience: What is behind is now in front, transforming the passive viewer into an active participant. This recombined prismatic space exhibits a dimensional origami, as the illusion is both folded and unfolding depending on the angle of perception.
Despite the geometric fabrication of the acrylic layers encased in these customized boxes, Weinstein is an improviser, allowing the moment of time to be his model. This accounts for the gestural velocity of his brushwork, racing the constantly changing light and hellbent on capturing fleeting details. Weinstein’s paintings feature elusive highlights ballasted by equally fugitive shadows- each phenomenon dependent on the existence of the other, yet often isolated from one another on discrete painted layers only to be recombined retroactively in the eye of the viewer.
MARTIN WEINSTEIN : NOTHING GOES AWAY
In Weinstein’s world, there is a sense of urgency, as the scene changes as rapidly as a conversation: light constantly skids across surfaces, clouds form and reform in seconds, and quiet shadows emerge and lengthen with the random shifts of the day. Because of these exigencies, Weinstein often paints, like Monet,in multiples, returning to the scene at different times of the day to recapture similar phenomena.
In Venice, Evenings, Inside Over Outside, One Year Over Another, there is as much as a year between the layers in the painting, but the staccato points of light over the interior of the room have the specifics of an instantaneous event.
In other paintings, it is the reorganization of the layers that gives the sensation of surrounding space.
Toward the Lido, Morning Over Evening, Outside Over Inside provides an all-encompassing sensation of the room behind the viewer, paradoxically presented as layered over the landscape with the deft highlights on the water intruding in front of the window, pushing the domestic scene behind the horizon, positioned as if it is a background thought. In Venice, Dawn Over Dusk, Weinstein seeks to align two distinct times of day, sunrise and sunset, so that the light phenomena balance and amplify one another.
Beyond the mechanics of physically separating the layers of perception, Martin Weinstein also describes the sensation of memory. Although memory is subjective and non-linear, the shared experience of what is remembered is an existential construction composed of scenic stills and paraphrased conversations. However, recollections do not have the same duration as the original event: It doesn’t take an hour to remember an hour. Weinstein seeks to decompress the experience of memory from a photo album of brief scenes to the longer durations of transitions of light, subtle movements of forms, and the integration of pure observation with experience. Straddling two timeframes at once — both past and present — Weinstein’s paintings depict the paradox of the inner eye, represented by the interior space of a room, merging together with the outer eye whose gaze remains fixed on the horizon. This dual imagination is made particularly clear in the Ca’ di Dio paintings. The round windows are at once portals to the outside and geometric slices of the implied spherical space encompassing the painting. The importance of the positioning of the painted acrylic layers is indicated by the titles. In Ca Di Dio, Azalea, Inside Over Outside, and Ca di Dio Regatta, Inside Over Outside, Weinstein asserts that the inside painted layer is over the outside. This placement allows us to
ESSAY: JEN DRAGON |
ESSAY: JEN DRAGON | THE POIGNANT GIFT
view the scene from within the room, from the artist’s perspective, looking out. In Ca di Dio Clouds and Sun, Outside Over Inside, and in Ca di Dio, Mornings, Outside Over Inside, we are now required to reverse our understanding of the sequence. The outside layer, placed over the interior scene, allows for a more direct experience of the exterior environment and transforms the inside scene into a background mirage.
These spatial shifts force the viewer to experience Weinstein’s world in a visceral way. There are no fixed points in Martin Weinstein’s world, only the transition from one moment to another. The multilayered construction compels us to move physically to understand the multiple, ever-shifting perspectives. Although the artworks are defined by their quadratic geometry, their transparency allows the dynamics of a spherical space to resonate against the constraints of the painting’s edges, like the surface of a soap bubble.
Apart from capturing the phenomenon of space, Martin Weinstein’s paintings are also simply responses to what is loved: a garden, a flower, the sun through the clouds, the city of Venice, his wife, Tereza, his friends, the calm of an afternoon, the atmosphere preceding a storm… for Weinstein, the list is both vast and intimate and serves as wordless journal entries. Each object is a subject of equal value: a petal’s edge is as important as the turbulent clouds of an oncoming storm; the outline of a cup and saucer is rendered as intently as the profile of San Giorgio. There is, at once, a celebration of life and all its manifestations, as well as an implied melancholy about the potential for loss. The painting, in its boxed configuration, becomes a poignant package where all these fleeting nanoseconds coalesce into an eternity, and Weinstein’s vision is delivered to us as a gift. The most beautiful city in the world, Venice, is ours, and the artist’s depiction of both nature and the work of human hands gives us hope. One feels a determination to document every moment, as if to stretch memory back to its original form and relive the past to its fullest extent. By offering us his world, Martin Weinstein’s paintings compassionately invite us to experience the intensity of our own lives and of those we love.
JEN DRAGON
FEBRUARY 2026
MARTIN WEINSTEIN : NOTHING GOES AWAY
ARTIST
STATEMENT:
MARTIN WEINSTEIN
The paintings in this exhibition have been painted on multiple acrylic sheets which are held, separated from each other and angled, in specially fabricated plexiglass boxes. The layers have been painted en plein air at the same location in Venice over days, weeks or years. The layers can include abstract elements and some may be painted on more than one side.
These layers enable me to depict my view of reality as a layered experience, constructed over time, in which locations, times and emotions are in a state of permanence which nonetheless is always fluctuating.
LAYER ONE, BACK
LAYER TWO + LAYER ONE, BACK
LAYER THREE, FRONT + LAYER TWO, MIDDLE + LAYER ONE, BACK
But I began then to think of time as having a shape, something you could see, like a series of liquid transparencies, one laid on top of another. You don’t look back along time but down through it, like water. Sometimes this comes to the surface, sometimes that, sometimes nothing. Nothing goes away.
”
MARGARET ATWOOD
SANTA MARIA DELLA SALUTE, ONE MORNING OVER ANOTHER, 2025 | acrylic on multiple acrylic sheets | 11 x 14.5 x 2.5 inches
VENICE, SUNSETS, INSIDE OVER OUTSIDE, 2024 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
VENICE, AFTERNOON OVER EVENING, 2024 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
CA DI DIO, AZALEA, INSIDE OVER OUTSIDE, 2024 | acrylic on multiple acrylic sheets | 11 x 14.5 x 2.5 inches
VENICE, EVENINGS, INSIDE OVER OUTSIDE, ONE YEAR OVER ANOTHER, 2025 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
VENICE, DAWN OVER DUSK, 2025 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
VENICE, SUNSET UNDER NOON, INSIDE OVER OUTSIDE, 2025 | acrylic on multiple acrylic sheets | 11 x 14.5 x 2.5 inches
TOWARD THE LIDO, MORNING OVER EVENING, OUTSIDE OVER INSIDE, 2025 |
acrylic on multiple acrylic sheets | 11 x 14.5 x 2.5 inches
THE SALUTE, ONE EVENING
TOWARD
OVER ANOTHER, 2025 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
VENICE, EVENINGS, OUTSIDE OVER INSIDE, 2025 | acrylic on multiple acrylic sheets | 11 x 14.5 x 2.5 inches
CA DI DIO, MORNINGS, OUTSIDE OVER INSIDE, 2024 | acrylic on multiple acrylic sheets | 14 x 11.5 x 2.5 inches
VENICE, SUNSETS, OUTSIDE OVER INSIDE WITH BAD NEWS, 2025 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
TOWARD SAN GIORGIO, MORNING OVER AFTERNOON, OUTSIDE OVER INSIDE, 2025 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
CA DI DIO, CLOUDS AND SUN, OUTSIDE OVER INSIDE, 2024 | acrylic on multiple acrylic sheets | 11 x 14.5 x 2.5 inches
LAGOON, SUNRISE, OUTSIDE OVER INSIDE, 2024 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
VENICE LATE AFTERNOON OVER EVENING, OUTSIDE OVER INSIDE, 2025 | acrylic on multiple acrylic sheets | 11 x 14.5 x 2.5 inches
VENICE, 2 NOONS, INSIDE OVER OUTSIDE, 2024 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
SANTA MARIA MAGGIORE, MORNINGS, OUTSIDE OVER INSIDE, 2024 | acrylic on multiple acrylic sheets | 11 x 14.5 x 2.5 inches
CA DI DIO, REGATTA, INSIDE OVER OUTSIDE, 2024
acrylic on multiple acrylic sheets
11 x 17 x 2.5 inches
VENICE, LOOKING SOUTH, OUTSIDE OVER INSIDE, 2024 | acrylic on multiple acrylic sheets | 11 x 14.5 x 2.5 inches
SAN GIORGIO, ONE AFTERNOON OVER ANOTHER, 2025 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
TOWARD GIUDECCA, AFTERNOONS, OUTSIDE OVER INSIDE, 2025 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
TOWARD THE DOGANA, EARLY EVENINGS, INSIDE OVER OUTSIDE, 2024 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
VENICE, EVENINGS, OUTSIDE OVER INSIDE, (JOHN AND KATIE), 2024 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
VENICE, CLOUDY AFTERNOONS, OUTSIDE OVER INSIDE, 2024 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
VENICE, ONE SUNSET OVER ANOTHER, 2025 | acrylic on multiple acrylic sheets | 11 x 17 x 2.5 inches
MARTIN WEINSTEIN | CV
SOLO EXHIBITIONS
2026
NOTHING GOES AWAY
Castello 925, Venezia, Italia
2025
CONTINUUM
Lichtundfire Gallery, New York, NY
LOOKING THROUGH TIMES
Southern Vermont Art Center, Manchester, VT
2024
DENTRO | FUORI
Castello 780, Venezia, Italia
LOOKING THROUGH TIMES
Cross Contemporary Art Projects
New York City, NY
MOMENT TO MOMENT
Discovery Museum, Bridgeport, CT
2023
INSIDE/OUTSIDE
Castello 780, Venezia, Italia
SEEING THROUGH TIMES
Lake George Arts Project, Lake George, NY
2022
VEDUTE PALINSESTI
Castello 780, Venezia, Italia
2021
MOMENT TO MOMENT
South Dakota Art Museum, Brookings, SD
Pearl Fincher Art Museum, Spring, TX
MARTIN WEINSTEIN : NOTHING GOES AWAY
2020
MOMENT TO MOMENT
Hardin Center for Cultural Arts, Gadsden, AL
2019
MOMENT TO MOMENT
The Parthenon Museum, Nashville, TN
BEYOND A DAY
Lichtundfire Gallery, New York, NY
2018
PLATONIA
Goddard Center for Visual Arts, Ardmore, OK
2017
PLATONIA
Peggy Notebaert Museum of the Academy of Science, Chicago, IL
Quincy Art Center, Quincy, IL
2016
PLATONIA
MSW STUDIO, New York, NY
MARTIN WEINSTEIN: PAINTINGS
Westfield Athenaeum, Westfield, MA
2012
MARTIN WEINSTEIN: PAINTINGS
Franklin Riehlman Fine Art, New York, NY
2010
THE PORTRAIT IN NATURE
MacNider Art Museum, Mason City, IA
SOLO EXHIBITIONS continued
THE PORTRAIT IN NATURE
Idaho Falls Arts Council, Idaho Falls, ID
THE TERESA PAINTINGS
Visual Arts Center, Washington Pavillion, Sioux Falls, SD
ILLUSION AND CERTAINTY: MARTIN WEINSTEIN
Fernbank Museum of Natural History, Atlanta, GA
MARTIN WEINSTEIN: PAINTINGS
Franklin Riehlman Fine Art, New York, NY
2009
FOUR SEASONS
Allen Gallery, New York, NY
ILLUSION AND CERTAINTY: MARTIN WEINSTEIN
Hillstrom Museum of Art, St. Peter, MN
2008
KENOTEN
Walter Wickiser Gallery, New York, NY
STRATA
AFP Galleries, New York, NY
ILLUSION AND CERTAINTY: MARTIN WEINSTEIN
Hillstrom Museum of Art, Saint Peter, MN
SUBJECTIVE PORTRAITS
SUNY Utica, Edith Barrett Fine Art Gallery, Utica, NY
2007
SUBJECTIVE PORTRAITS
Krasl Art Center, MI
The Parkersburg Art Center, Parkersburg, WV
2006
ILLUSION AND CERTAINTY: MARTIN WEINSTEIN
Waterworks Visual Art Center, Salisbury, NC
Emporia State University, Emporia, KS
TIME LANDSCAPES
4 Star Gallery, Indianapolis, IN
MARTIN WEINSTEIN
TEW Galleries, Atlanta, GA
2005
ILLUSION AND CERTAINTY: MARTIN WEINSTEIN
Jacqueline Casey Hudgens Center For The Arts, Duluth, GA
Museum of the Southwest, Midland, TX
Wichita Art Museum, Wichita, KS
2004
ILLUSION AND CERTAINTY: MARTIN WEINSTEIN
New York Hall of Science, Queens, NY
The Anderson Fine Arts Center, Anderson, IN
The Parthenon, Nashville, TN
2003
ILLUSION AND CERTAINTY: MARTIN WEINSTEIN
The Museum of Arts and Sciences, Daytona Beach, FL
Elliott Museum, Hutchinson Island, Stuart, FL
1996
MARTIN WEINSTEIN, PAINTINGS
MyungSook Lee Gallery, New York, NY
1994
MUTABLE PERCEPTION: MARTIN WEINSTEIN, PAINTINGS , 1989-1994
List Gallery, Swarthmore College, Swarthmore, PA
SELECTED GROUP EXHIBITIONS
2025
FOREST BATHING
The Richards Gallery at Opus 40, Saugerties, NY
BEYOND HORIZON
Lichtundfire Gallery, New York, NY
ARIADNE’S CREST · AD ASTRA/TO THE STARS
Lichtundfire Gallery, New York, NY
2024
I FORESTI — curated by Jen Dragon Castello 925, Venice, Italy
THE MAGICAL GARDEN SHOW
Lichtundfire Gallery, New York, NY
TRANSCENDING TIME
Lichtundfire Gallery, New York, NY
2023
REFRACTURE
Lichtundfire Gallery, New York, NY
LEMON SKY
Lichtundfire Gallery, New York, NY
IN IT FOR THE LONG HAUL — curated by Robert Curcio
Lichtundfire Gallery, New York, NY
2022
SUMMER BLUES
Lichtundfire Gallery, New York, NY
FOREST BATHING
Kleinert/James Center for the Arts, Woodstock, NY
2021
LANDX
Red Fox Contemporary Art, Pound Ridge, NY
IN FULL BOOM
Lichtundfire Gallery, NY
IN CONVERSATION
Kathryn Markel Fine Art, New York, NY
PRESENCE
Lichtundfire Gallery, New York, NY
2020
PENDULUM OF TIME
Lichtundfire Gallery, New York, NY
2019
REMEMBER WHEN IT WINTER WAS Lichtundfire Gallery, New York, NY
EDGE OF ABSTRACTION
Lichtundfire Gallery, New York, NY
WATER WORKS
Walter Wickiser Gallery, New York, NY
2018
PATTERN, POWER, CHAOS AND QUIET
Housatonic Museum of Art, Bridgeport, CT
LUXURIOUS GROWTH
Lichtundfire Gallery, New York, NY
SENSE OF ICE
Lichtundfire Gallery, New York, NY
MARTIN WEINSTEIN : NOTHING GOES AWAY
SELECTED GROUP EXHIBITIONS continued
2017
COUNTERPOINTS TO THE NARRATIVE:
Sparky Campanella, Mark Sharp, Martin Weinstein
Lichtundfire Gallery, New York, NY
RESONANCE AND MEMORY: THE ESSENCE OF LANDSCAPE
Brick City Gallery, Springfield, MO
The Irving Arts Center, Irving, TX
University of Southern Maine, Gorham Campus Art Gallery, Gorham, ME
THE STATE OF NEW YORK PAINTING
Kingsborough Art Museum, Brooklyn, NY
2016
RESONANCE AND MEMORY: THE ESSENCE OF LANDSCAPE
The Biedenharn Museum & Gardens, Monroe, LA
Michelson Museum of Art, Marshall, TX
2015
Resonance and Memory: THE ESSENCE OF LANDSCAPE
Fort Smith Regional Art Museum, Forth Smith, TX
2014
RESONANCE AND MEMORY: THE ESSENCE OF LANDSCAPE
Elga Wimmer PPC, New York, NY
THE LANDSCAPE REVISITED:
Martin Weinstein, Jonathan Beer, Sandra Gottlieb
Charles B. Goddard Center for Visual and Performing Arts, Ardmore, OK
Edith Barrett Fine Art Gallery, Utica College, Utica, NY
MARTIN WEINSTEIN AND REBECA PITTMAN
Oxford Performing Arts Center, Oxford, AL
2013
THE LANDSCAPE REVISITED:
Martin Weinstein, Jonathan Beer, Sandra Gottlieb Rosemont College, Lawrence Gallery, Rosemont, PA
MARTIN WEINSTEIN AND REBECA PITTMAN
Joyce Goldstein Gallery, Chatham, NY
2012
THE LANDSCAPE REVISITED:
Martin Weinstein, Jonathan Beer Ferst Center for the Arts, Atlanta, GA
2010
SIXTH ANNUAL BAMART SILENT AUCTION
Brooklyn Academy of Music, Brooklyn, NY
2009
ILLUSIONS:
Linda Cross, Brian Peterson, Martin Weinstein, Deborah Zlotsky
Schick Art Gallery, Skidmore College, Saratoga Springs, NY
VACATION VENUES
Franklin 54 Gallery + Projects, New York, NY
2008
184th ANNUAL: AN INVITATIONAL EXHIBITION OF CONTEMPORARY AMERICAN ART
National Academy Museum, New York, NY
2007
MALE/FEMALE: THE NEW REALISM
Gallery Henoch, New York, NY
2004
SKIES & SCAPES
DFN Gallery, New York, NY
2003
ARTISTS SELECT ARTISTS
The Century Association, New York, NY
2002
TRAVEL
Gallery 100, Saratoga Springs, NY
2001
ARTISTS CHOOSE ARTISTS
Lake George Arts Project, Lake George, NY
2000
The Figure: ANOTHER SIDE OF MODERNISM
Newhouse Center for Contemporary Art at Snug Harbor Cultural Center, New York, NY
1999
TWELVE DUETS
Kouros Gallery, New York, NY
Ensemble dans la Vie et dans l’Art:
ART CONTEMPORAIN INTERNATIONAL
l’Institute Polonais de Paris, Paris, France
1998
THE CONCEPTUALIZED LANDSCAPE:
Elisa Amoroso, Howard Watler, Martin Weinstein
Robert Steele Gallery, New York, NY
PERSONAL VISIONS IN PAINT:
Katie DeGroot Martin Weinstein Kate Leavitt Saratoga Arts Council, Saratoga, NY
The Mind’s Eye: CONTEMPORARY LANDSCAPE PAINTING
The Lake George Arts Project, Lake George, NY
1997
INTIMATE UNIVERSE (REVISITED)
Robert Steele Gallery, New York, NY
RECOLLECTIONS AND REFLECTIONS
MyungSook Lee Gallery, New York, NY
1995
THE SMALL PAINTING
O’Hara Gallery, New York, NY
1994
Songs of the Earth: TWENTY-TWO AMERICAN PAINTERS OF THE LANDSCAPE
AHI Gallery, New York, NY
TO ENCHANT (BLUE)
Cynthia McCallister Gallery, Bixler Gallery, New York, NY
ISN’T IT ROMANTIC
Art Initiatives at On Crosby St. New York, NY
1993
AMICI DI TWORKI
Galleria Zacheta, Warsaw, Poland
MARTIN WEINSTEIN : NOTHING GOES AWAY
SELECTED GROUP EXHIBITIONS continued
A MOMENT BECOMES ETERNITY
Bergen Museum of Art and Science, Paramus, NJ
1992
REVIEWING THE FAMILIAR
Fort Edward Art Center, Fort Edward, NY
1989
VISIONARY LANDSCAPES
Art in General, New York, NY
1988
10 DOWNTOWN
La MaMa Galleria, New York, NY
SMALL PICTURES
369 Gallery, Edinburgh, Scotland, UK
1987
MEMORY IMAGES
Art in General, New York, NY
4 ARTISTS FROM NEW YORK
369 Gallery, Edinburgh, Scotland
1988
NATURAL HISTORY
Art in General, New York, NY
SELECTED BIBLIOGRAPHY
2024
Lombardi, D. Dominick, “Martin Weinstein: Looking Through Times”, Dart International Magazine, August 8, 2024
2020
Kumar Das, Siba, “When Night Falls – Making Embodied Cognition Sublime”, Dart international Magazine, July 10, 2020
2019
Lombardi, D. Dominick, “Waterworks”, Dart International Magazine, April 13, 2019
2018
Friswell, Richard. “Connecticut’s Housatonic Museum of Art with Eclectic Landscape Exhibition: New Perspectives”, Artes Magazine, March 11, 2018
2015
Hrbacek, Mary. “Elga Wimmer PCC with “Resonance and Memory: The Essense of Landscape,” Artes Magazine, January 7, 2015
2014
Hrbacek, Mary. “Elga Wimmer PCC with “Resonance and Memory: The Essense of Landscape,” NY Art Beat, December 31, 2014
2005
Shull, Chris. “Time Passages,” The Wichita Eagle, Friday October 21, 2005
“WAM Opens Illusion and Certainty,” Wichita Times, River City Review, November/December 2005
“WAM to Feature Paintings of Martin Weinstein,” WestSide Story, Wichita, November 2005
Temple, Georgia. “Second-generation Artist Shows his ‘Layered’ Work,” Midland Reporter-Telegram, Sunday August 1. Cover Arts & Entertainment, Section p. 1F
2004
Bostick, Alan. “The Illusion of Time,” The Tennessean, Sunday, March 7
2003
Vine, Richard. Time Framed: Martin Weinstein’s Recent Landscapes, Exhibition catalogue, May 20032005, Illusion and Certainty: Martin Weinstein, paintings
Walls, Michael. Martin Weinstein: Seeing Beauty, Conceiving A Response, Exhibition catalogue, May 2003 - 2005, Illusion and Certainty: Martin Weinstein, paintings
2001
Nahas, Dominque. Moment by Moment: Paintings of Martin Weinstein, Brochure
1997
Henry, Gerrit. “Martin Weinstein at MyungSook Lee”, Art in America, May
1995
Tatransky, Valantin. “Natural History”, Arts Magazine, October
1994
Donahoe, Victoria. “N.Y. Artist Weinstein’s Paintings at College”, The Philadelphia Enquirer, October 10
Hornaday, Ann. “The Industrial Evolution”, The New York Daily News, March 16
Kuryluk, Ewa. Vision and Memory: Martin Weinstein’s Pictorial Complexity, Exhibition catalogue, September 30 - October 30, 1994. Mutable Perception: Martin Weinstein Paintings and Drawings 1989 - 1994
1993
Watkins, Eileen. “Museum Offers Spectacular Exhibition Focusing on the Flower as Eternal Moment”, The Sunday Star Ledger, July 4
1987
Handy, Ellen. “Memory Images,” Arts Magazine, May.
Kuryluk, Ewa. Time Revisited and Regained, Exhibition catalogue published by The Scottish Arts Council
WEINSTEIN : NOTHING GOES AWAY
LECT URES AND PUBLIC ENGAGEMENTS
2017
Visiting Artist, USM Art Galleries Gorham and Portland, Portland, ME
2008
Visiting Artist, Schick Art Gallery, Skidmore College, Saratoga Springs, NY
1994
“Romanticism: Dead or Alive?” Panel discussion, Art Initiatives, New York, NY
1993
Swarthmore College, Swarthmore, PA
1985
“Artists in the City”, WNYC Radio, Jenny Dixon interview
PROFESSIONAL AFFILIATIONS
Currently Co-Chair at Friends of AIM, The Bronx Museum of the Arts
1990 - 2005
Chairperson, Board of Directors, Art in General, New York, NY
SELECTED CORPORATE COLLECTIONS
Galerie Jean Claude Bellier, Paris, France
Chase Manhattan Bank, New York, NY
Collections Frendel, Brown and Weissman, New York, NY
Paradise and Alberts, New York, NY
Snitow Show Consultants, New York, NY
EDUCATION
BFA Tyler School of Art
MARTIN
