J ulie H effernan
(Questioning the Arguments)
Julie Heffernan engages the tradition of the Old Masters to address contemporary preoccupations with the self, the body, and ecological anxiety about the fate of the natural world. Her influences range widely from Northern Renaissance artists and Dutch genre painting to the Hudson River School, literature, mythology, and the Catholic iconography of her upbringing.
This exhibition takes its title from Amitav Ghosh’s powerful critique connecting the spice trade and its controversial legacy to our contemporary climate crisis. Ghosh’s book sent Heffernan back to the Dutch still life paintings she has long admired and radically altered how she viewed the genre and the artists who painted them.
Dutch masters rendered their botanicals with trompe l’oeil precision, but Heffernan redefines that convention. Across six new paintings, dramatically scaled roses, peonies, daisies, tulips, and poppies erupt beyond the canvas. Painted with vivid color and explosive brushwork, Heffernan’s compositions are not exercises in quiet contemplation. They seduce and entangle the viewer in the disorienting scene.
Heffernan’s flora also appear in various states of bloom and decay, an impossible abundance, a fantasy of plenty. But where the Dutch masters embedded their vanitas symbolism in skulls, hourglasses, and porcelain, Heffernan gives us nutmegs on the vine. Small, irresistible, devastating. The nutmeg is the object whose powdered spice launched genocidal atrocities, the forbidden fruit of its time. The Dutch masters memorialized an individual human life, while Heffernan scales memento mori to the entire planet. The dying flowers are not only a reminder of human mortality. They are a warning that the world itself is in peril. i ntroduction
Nature Morte
2026
Oil on canvas
60 x 52 inches
In Ghosh’s view, the colonial atrocities of the past and the disasters of our present moment are not separate histories but a single unbroken line. As the eye moves deeper into Heffernan’s canvases, narrative scenes unfold in miniature among the stems and petals as if seen through the wrong end of a telescope, Bosch-like in their fevered intensity, at once nightmarish and documentary. Planes crash, volcanoes erupt, cities burn. Heffernan’s titles read like dispatches from an unrelenting news cycle — LA Fires , Gaza , Venezuel a, Evacuations , Eruptions
Heffernan’s audience has come to expect self-portraits, women or men inserted as protagonist and avatar. In this exhibition, a significant shift occurs: the central figure is absent. Yet these may be her most personal paintings to date. Her monumental blooms become her stand-in, as both still life and self-portrait, bearing witness to catastrophe. What remains is her conviction that we are slowly making our world unlivable. These paintings are a call to action. In Heffernan’s hands, looking is never a passive act. It is the beginning of a reckoning.
SHELLEY FARMER Director, Hirschl & Adler Modern
Nature Morte (Venezuela)
n utmeg ’ s c urse : A Painter’s Perspective
JULIE HEFFERNAN
No one was more surprised than me when last summer I found myself painting gigantic flowers the size of platters. I wasn’t worried though. I’ve been painting long enough to know—when something unexpected happens in the studio, just go with it.
I’d been reading Amitav Ghosh’s 2021 book The Nutmeg’s Curse: Parables for a Planet in Crisis about Dutch traders sailing to places like the Banda Archipelago in eastern Indonesia, not only to buy their spices—nurtured over millennia by the rich soil from nearby volcanoes—but also, when they couldn’t gain a monopoly on those spices, to seize them by force—torturing and massacring the Banda population to the point of near-annihilation.
I have always loved Dutch Golden Age painting, especially the still lifes, recognizing in them some undercurrent of intentionality different from other Old Master still lifes. So, when I found myself looking closely at them again and seeing now nutmegs and poppies all over the place, I wondered whether these artists might have been in on what was behind the acquisition of such highly valued plants. By painting them so beautifully, they were elevating their importance, but I wondered if these artists also were aware that they might be adopting the role of chroniclers, testifying to the difficult truths of an exploitative age. Was that what was causing the frisson I felt when regarding the steely perfection of those tulips, of the insects crawling on them? I started imagining those artists using all their exquisite techniques—not to “gild those lilies”—but rather to subvert the political system behind their acquisition: the Dutch East India Company. Ghosh claims that the company’s exploits were the genesis for the environmental depredations we’re experiencing today.
Morte
Nature Morte
(Questioning the Arguments)
Detail
Whether or not that was the case doesn’t matter to me. What I want to revisit here is the idea that beauty should exist to complexify, not prettify. The best artists use beauty for that purpose, to make sense of their own fraught times.
Nutmegs and poppies, with all their beauty and exquisite chemical properties—nutmeg’s ability to add flavor and panache to a dull Dutch diet, the poppy’s ability to quell pain—had created the impetus for those dissatisfied Dutchmen and their later descendants to wreak havoc on a sovereign people on the other side of the world. What’s the equivalent now? In an age when luxuries are delivered to our doorsteps from an Amazon truck, what are we getting now from our own sojourns into other sovereign nations? With television and social media the staples of everyday life, there is a danger of the spectacle of barbarism over there providing its own balm: we are soothed by the simple realization that it is not happening to us.
To paraphrase Dave Hickey in The Invisible Dragon: Four Essays on Beauty, beauty provides the pathos (the emotional content) that recommends the logos (the conceptual content/ideas in the work), and Dutch paintings certainly do make me want to look So, to respond today to those painters of centuries ago, I decided that I would use my own flowers, their sinuous, spiraling petals made to attract, as scrims for spectacles to remind us of the destruction, catastrophic events, the latest horrors in our daily news feed, replete with little figures from Pierre-Jacques Volaire’s paintings, perched on platforms and gazing at erupting volcanoes with rapturous glee. In our times these spectacles encompass Los Angeles wildfires, bombings in Gaza, Venezuela, and now Iran, all barely recognizable as dangers when seen from such a remove. The excitation is all: the entire world staring down at their phones as our planet cooks.
Paintings are made for hidden messages, the potential beauty in their surfaces perfect for secreting imagery that complicates our expectations. I’m accustomed to doing that in my own work, and adding the logos of our own politics as hidden images in my gigantic, emotive flowers helped me finally understand what I was doing last summer. All that pathos, all those beautiful forms, were making me look…even harder.
Nature Morte ( Eruptions)
2026
Oil on canvas
56 x 68 inches
Nature Morte (LA Fires)
2026 Oil on canvas
50 x 66 inches
Nature Morte (Venezuela)
2026
Oil on canvas
56 x 66 1/ 2 inches
J ulie H effernan
1956 Peoria, IL
e ducation
1985 Master of Fine Arts, Painting, Yale School of Art, New Haven, CT
1981 Bachelor of Fine Arts, Painting and Printmaking, University of California at Santa Cruz, Santa Cruz, CA
s elected s olo e x H ibitions
2024–25 Whether You Fall , Catherine Clark Gallery, San Francisco, CA
2023 The swamps are pink with June , Hirschl & Adler Modern, New York, NY
2020 Hot Heads , Catharine Clark Gallery, San Francisco, CA
2019 Rowan University, Glassboro, NJ
When the Waters Rise , Cuesta College, San Luis Obispo, CA [traveled to Clear Lake Art Gallery, University of Houston, Houston, TX]
Rockford Art Museum, Rockford, IL
2018 When the Water Rises , Virginia Museum of Contemporary Art, Virginia Beach, VA [traveled to Palmer Museum of Art, Pennsylvania State University, University Park, PA; Mennello Museum, Orlando, FL; Scarfone/Hartley Gallery, The University of Tampa, Tampa, FL]
Hunter Gatherer, PPOW Gallery, New York, NY
2017 In the Garden of Earthly Delights , San Angelo Museum of Fine Arts, San Angelo, TX
Slang Aesthetics , Mesa Contemporary Arts Center, Mesa, AZ
When the Water Rises , LSU Museum of Art, Baton Rouge, LA
2016 When the Water Rises , Catharine Clark Gallery, San Francisco, CA Anderson Gallery, Bridgewater State University, Bridgewater, MA
Hillman Jackson Gallery, Bard College of Simon’s Rock, Great Barrington, MA
2015 Lima Art Gallery, Ohio State University, Lima, OH
Mark Moore Gallery, Los Angeles, CA
Nature Morte (LA Fires)
Detail
2014 Micheal Haas Gallery, Berlin, Germany
2013 Sky is Falling , The Palo Alto Cultural Center, Palo Alto, CA [traveled to The Crocker Art Museum, Sacramento, CA, PPOW Gallery, New York, NY]
2012 Mark Moore Gallery, Los Angeles, CA
New Frontiers , The Oklahoma City Museum of Art, Oklahoma City, OK
2011 Holding Up , Catharine Clark Gallery, San Francisco, CA [traveled to University Art Gallery, California State University Stanislaus, Turlock, CA]
Megumi Ogita Gallery, Tokyo, Japan
2010 Boy O Boy, PPOW Gallery, New York, NY
2009 Guest Artist for Spring Season, Brooklyn Academy of Music, Brooklyn, NY
Mark Moore Gallery, Los Angeles, CA
2008 Broken Homes , Catharine Clark Gallery, San Francisco, CA
Luxe Art Institute, Encinitas, CA
Megumi Ogita Gallery, Tokyo, Japan
2007
Booty, PPOW Gallery, New York, NY
2006 Everything that Rises , Weatherspoon Art Museum, Greensboro, NC [traveled to Columbia Art Museum, Columbia, SC; University Art Museum, University at Albany, State University of New York, NY]
Catharine Clark Gallery, San Francisco, CA
PPOW Gallery, New York, NY
2005 Lisa Sette Gallery, Scottsdale, AZ
Robert Kidd Gallery, Birmingham, MI
2004 Bannister Gallery, Rhode Island College, Providence, RI
Mint Museum, Charlotte, NC
John Michael Kohler Art Center, Sheboygan, WI
Peter Miller Gallery, Chicago, IL
Paul Kopeikin Gallery, Los Angeles, CA
2003 PPOW Gallery, New York, NY
Herter Art Gallery, Univeresity of Massachusetts Amherst, Amherst, MA
LittleJohn Contemporary, New York, NY
2002 The Divine Fruit , James David Brooks Gallery, Fairmont State College, School of Fine Arts, Fairmount, WV
Linda Durham Gallery, Galisteo, NM
2001
Peter Miller Gallery, Chicago, IL
PPOW and Little Contemporary, New York, NY
s elected g roup e x H ibitions
2026 Women’s Work: Beyond Craft and Convention , Hirschl & Adler Modern, New York, NY
2025 Survival Tips for Unfriendly Times , PERG, Ludwigsburg, Germany
2023–25 Art in Embassies Program, Reception Room in American Embassy, Santiago, Chile
2023–24 Rockefeller Capital Management
2023 SELF: Portraits + Places , Woodstock Byrdcliffe Guild, Woodstock, NY
2022 Hospitality Suite , Mindy Solomon Gallery, Miami, FL
2021 To Hear and Be Heard , Dowd Art and Art History Gallery, Santa Clara University, Santa Clara, CA
2020 7th Annual Catamaran Art Show, R. Blitzer Gallery, Santa Cruz, CA
Painting the Figure NOW III , Wausau Museum of Contemporary Art, Wausau, WI
Sit Still: Self-Portraits in the Age of Distraction , Anna Zorina Gallery, New York, NY
Masters of the Universe , Distance Gallery, online
2019 Getting to Know You , Reinberger Gallery, Cleveland Institute of Art, Cleveland, OH
Environmental Impact , Museum of the North Carolina Arboretum, Asheville, NC
Afflatus , 5-50 Gallery, Long Island City, NY
Dance with Me , Zurcher Gallery, New York, NY
2018 Figurative Moving Forward - The Future of Art: Exhibition of Recent Visiting Artists , Lyme Academy, Lyme, CT
Natural Proclivities , Shirley Fiterman Art Center, Borough of Manhattan Community College, New York, NY
Intimacies and Other Stories , George Segal Gallery, Montclair State University, Montclair, NJ
2017 No Man’s Land: A Collection of Works by Contemporary Female Artists , Andrews Gallery, College of William and Mary, Williamsburg, VA
Seeing with Our Own Eyes , Forum Gallery, New York, NY
Objectifying Myself , William Benton Museum of Art, University of Connecticut, Storrs, CT
Masculine—Feminine , Beall Center for Art and Technology, UC Irvine, Irvine, CA
Et in Arcadia Ego , William Roland Gallery of Fine Art, Cal Lutheran University, Thousand Oaks, CA
Separation Anxiety, Project Artspace, New York, NY
2016 @ Pussy Power, David & Schweitzer Gallery, Brooklyn, NY
The 105th Annual Exhibition of Contemporary Art:
Threatening Beauty, Maier Museum of Art at Randolph College, Lynchburg, VA
Representing Rainbows , Gerald Peters Presents, New York, NY
Mir ist das Leben Lieber, Weserburg Museum Fur Moderne Kunst, Sammlung Reydan Weiss, Bremen, Germany
Arcadia , New Museum Los Gatos, Los Gatos, CA
More Than Your Selfie , New Museum Los Gatos, Los Gatos, CA
2015 ENVIRONMENTAL IMPACT , The Art Museum, SUNY Potsdam, Potsdam, NY [traveled to Stauth Memorial Museum, Montexuma, KS; Saint Mary’s College Museum of Art, Moraga, CA]
Paul and Lulu Hilliard University Art Museum, University of Louisiana at Lafayette, LA
Wrath: Nature Strikes Back , Wave Hill, Bronx, NY
Far, Far and Away, CMA, New York, NY
Eden Eden , Torri Gallery, Paris, France
50/50: Fifty Artists from 5 Decades UCSC Alumni Exhibition, Sesnon Gallery, UC Santa Cruz, Santa Cruz, CA
EXOTICA and 4 Other Cases of the Self, ME Collectors
Room Berlin, Berlin, Germany
2014
Play Hard , Terrault Contemporary, Baltimore, MD
Living and Sustaining a Creative Life , Book Event and Exhibition, Aberson Exhibits, Tulsa, OK
Forecast ¸ Anderson Gallery, Virginia Commonwealth University, Richmond, VA
EXOTICA and 4 Other Cases of the Self , ME Museum, Olbricht Collection, Berlin, Germany
Women , ME Museum, Olbricht Collection, Berlin, Germany (Detail) , H-Space Gallery, Bangkok [traveled to Transition Gallery, London, UK]
Hyper-Resemblences , Wallach Art Gallery, Columbia University, New York, NY
Through the Looking Glass , Gateway Project, Newark, NJ
What Does Love Look Like , Friesen Gallery, Ketchum, ID
Women Choose Women Again , Visual Arts Center of New Jersey, Summit, NJ
2013 Things Wondrous and Humble, American Still Life , Reynolda House Museum of American Art, Winston-Salem, NC
The Least Orthodox Goddess , Gallery 151, New York, NY
Environmental Impact , Brookgreen Gardens, Murrells Inlet, SC [traveled to Peninsula Arts Center, Newport News, VA; Erie Art Museum, Erie, PA; Kalamazoo Institute of Arts, Kalamazoo, MI; The R.W. Norton Art Gallery,
Shreveport, LA; Canton Museum of Art, Canton, OH]
Four Women , All Visual Arts, London, UK
Elizabeth Foundation for the Arts, New York, NY
2013 Annual , National Academy Museum, New York, NY
2012 Women’s Work , National Academy Museum, New York, NY
Twisted Sisters , Kristen Dodge Gallery, New York, NY
The Perfect Storm , Julie Saul Gallery, New York, NY
The Linda Lee Alter Collection of Art by Women , traveling exhibition, Pennsylvania Academy of Art, Philadelphia, PA
The Calendar’s Tales: Fantasy, Figuration and Representation , 808 Gallery, School of Visual Arts, Boston University, Boston, MA
2011 Land of Magic: Artists Explore Make-Believe , Bedford Gallery, Lesher Center for the Arts, Walnut Creek, CA
Memories of the Future , Maison Rouge, Olbricht Collection, Paris, France
Single Fare 2: Please Swipe Again , Sloan Fine Art, New York, NY
Eileen S. Kaminsky Family Foundation, Mana Art Center, Jersey City, NJ
Acrimboldo-Artistsa Milanese tra Leonardo e Caravaggio , Palazzo Reale, Milan, Italy
Open , Mark Moore Gallery, Santa Monica, CA
Uncovered , Eden Rock Gallery, St. Barthes
2010 The Reflected Gaze–Self Portraiture Today, Torrance Art Museum, Torrance, CA
Surface Tension , South Bend Museum of Art, South Bend, IN
In Canon , Delaware Center for the Contemporary Arts, Wilmington, DE
Nice to Meet You , Sloan Fine Art, New York, NY
Private (Dis)play, New York Academy of Art, New York, NY
Eye World , Triple Candie, New York, NY
The Other as Animal , Danese Gallery, New York, NY
2009 Speak for the Trees , Friesen Art Gallery, Sun Valley, ID
Bods: Rethinking the Figure , Robert Kidd Gallery, Birmingham, MI
The Platonic Ideal , Forum Gallery, New York, NY
Epic Painting , Samek Art Gallery, Bucknell University, Lewisburg, PA
Flower Power, Herter Gallery, University of Massachusetts Amherst, Amherst, MA
Beyond Appearances , Lehman College Art Gallery, Bronx, NY
Signs of the Apocalypse/Rapture , Hyde Park Art Center, Chicago, IL
Forces of Nature , Danese Gallery, New York, NY
Trouble in Paradise , Tucson Museum of Art, Tucson, AZ
private (dis)play, Center of Creative Arts, St. Louis, MO
Enchantment , Joseloff Gallery, Hartford Art School, University of Hartford, Hartford, CT
A Dog’s Life , Main Gallery, Memphis College of Art, Memphis, TN
The Garden at 2am , Gana Art, New York, NY
Giving Face: Portraits for a New Generation , Nicholas Robinson Gallery, New York, NY
Imaginary Menagerie , Palo Alto Art Center, Palo Alto, CA
Art Connections , George Segal Gallery, Montclair State University, Montclair, NJ
2008
Say Good-bye to… , Clifford Art Gallery, Hamilton, NY
The Figure Revealed , Kalamazoo Institute of Arts, Kalamazoo, MI
Belle Du Jour, Collette Blanchard Gallery, New York, NY
The 183rd Annual: An Invitational Exhibition of Contemporary American Art , National Academy Museum, New York, NY
2007
Old School , Hauser and Wirth Gallery, London, England [traveled to Zwirner and Wirth Gallery, New York, NY]
The Feminist Figure , Forum Gallery, New York, NY
Girly Show , Wignall Museum, Cucamonga, CA
Ultrasonic International II: Transcending Transience , Mark Moore Gallery, Santa Monica, CA
Breaking Ground , Catharine Clark Gallery, San Francisco, CA
The Beholder’s Eye , Salmagundi Club, New York, NY
Transitional Objects: Contemporary Still Life , Neuberger Museum of Art, Purchase College, Harrison, NY
More is More: Maximalist Tendencies in Recent American Painting , Florida State University Museum of Fine Arts, Tallahassee, FL
2006 New Old Masters , National Museum, Gdansk, Poland
20th Anniversary Show, Lisa Sette Gallery, Scottsdale, AZ
Transformative Portraits: Altered Identities in Contemporary Art , Richard A. and Rissa W. Grossman Gallery, Lafayette College, Easton, PA
Figuring the Landscape , Contemporary Art Galleries, University of Connecticut, Storrs, CT
Realm of the Spirit , Mike Weiss Gallery, New York, NY
Why the Nude , Phyllis Harriman Mason Gallery,
The Art Students League of New York, New York, NY
Transitional Objects: Contemporary Still Life , Neuberger Museum, Purchase, NY
2005 Mike Weiss Gallery, New York, NY
New Art, New York , Trierenberg Art, Traun, Austria
Social Insecurity, Catharine Clark Gallery, San Francisco, CA
High Drama: Eugene Berman and the Theater of the Melancholic Sublime , Georgia Museum of Art, Athens, GA
[traveled to McNay Art Museum, San Antonio, TX; Long Beach Museum of Art, Long Beach, CA]
Paint on Metal , Tucson Museum of Art, Tucson, AZ
Claire Oliver Fine Art, New York, NY
2004 Me, Myself and I , University Galleries,
Florida Atlantic University, Boca Raton, FL
Enchantment , Wave Hill, New York, NY
Tang Museum, Skidmore College, Saratoga Springs, NY
179th Annual Exhibition of Contemporary American Art , National Academy Museum, New York, NY
Garden of Earthly Delights , Massachusetts College of Art, Boston, MA
Exquisite Corpse: Rules for an Unruly Project , Bowdoin College Museum of Art, Brunswick, ME
Trouble in Paradise , Van Brunt Gallery, New York, NY
2003 Palmer Museum of Art, Pennsylvania State University, University Park, PA
The New VMFA: Collecting for the Future , Virginia Museum of Fine Arts, Richmond, VA
Woman on Woman , White Box Gallery, New York, NY
2002 Masquerade , Kohler Arts Center, Sheboygan, WI
Social Landscape , PPOW Gallery, New York, NY
Collecting Contemporary Art: A Community Dialogue , Ackland Art Museum, Chapel Hill, NC
American Academy Invitational Exhibition of Painting and Sculpture , The American Academy of Arts and Letters, New York, NY
Snapshot , Aldrich Museum of Contemporary Art, Ridgefield, CT
Pixerina Witcherina, Wake Forest University Fine Arts Gallery, Winston-Salem, NC
2001 Yale University School of Art Alumni Show, Holcombe T. Green, Jr. Hall, New Haven, CT
Of Dreams and Dreamers , Carl Hammer Gallery, Chicago, IL
Pixerina Witcherina , University Galleries, University of Illinois, Normal, IL
2000 Snapshot , Contemporary Museum, Baltimore, MD
The Swamp, On the Edge of Eden , Samuel P. Harn Museum, Gainesville, FL
American Art Today: Fantasies and Curiosities , The Art Museum at Florida International University, Miami, FL
Nude + Narrative , PPOW Gallery, New York, NY
The Figure: Another Side of Modernism , Newhouse Center for Contemporary Art, Snug Harbor Art Center, Staten Island, NY
Private Worlds , Art in General, New York, NY
Re-configuring the Heroic , Artemesia Gallery, Chicago, IL
Self-Portraiture , Kwangju Biennale 2000, Kwangju, South Korea
Looking Back, Bard College, Center for Curatorial Studies Museum, Annandale-on-Hudson, NY
What Goes Around Comes Around , Katonah Museum, Katonah, NY
Quirky , Adam Baumgold Fine Art, Harrisburg, PA
Susquehanna Art Museum, Harrisburg, PA
Animal Artifice , Hudson River Museum, Yonkers, NY
s pecial p ro J ects
Ongoing: Painters on Paintings : a blog for artists about another artist’s work
2024 Graphic novel Babe in the Woods , or the Art of Getting Lost, published by Algonquin Books, New York
2021 Painting for Limited Edition Custom Gibson Guitar for lead guitarist of Tool, Adam Jones
Painting reproduced for Recording Everything that Rises by Jeff Cregeur
2020
2019
Official portrait for Wisconsin Supreme Court
Chief Justice Shirley Abrahamson
Largescale painting for National Geographic Antarctica
Research Ship Nature Morte (Eruptions)
Detail
s pecial c ollections
Arizona State University Art Museum, Tempe, AZ
Ackland Art Museum, University of North Carolina, Chapel Hill, NC
Brooklyn Museum, Brooklyn, NY
Columbia Museum of Art, Columbia, SC
Crocker Art Museum, Sacramento, CA
Damien Hirst’s Murderme Collection, London, United Kingdom
Honolulu Museum of Art, Honolulu, HI
Knoxville Museum of Art, Knoxville, TN
Louisiana State University Museum of Art, Baton Rouge, LA
McNay Art Museum, San Antonio, TX
Collectors Room Berlin, Stiftung Olbricht (Olbricht Foundation), Berlin, Germany
McEvoy Foundation for the Arts, San Francisco, CA
National Academy Museum, New York, NY
New Britain Museum of Art, New Britain, CT
Norton Museum of Art, West Palm Beach, FL
Palmer Museum of Art, University Park, PA
Pennsylvania Academy of Fine Art, Philadelphia, PA
Persis Corporation/Twigg-Smith Collection, Honolulu, HI
Progressive Corporation, Mayfield Village, OH
Rockford Art Museum, Rockford, IL
Sammlung Reydan Weiss, Obertsdorf, Germany
The Mint Museum, Charlotte, NC
Twin Farms, Barnard, VT
University of Iowa Museum of Art, Iowa City, IA
Virginia Museum of Fine Art, Richmond, VA
Wake Forest University Collection of Contemporary Art, Winston-Salem, NC
Weatherspoon Art Museum, Greensboro, NC
Zabludowicz Art Trust, London, United Kingdom
a wards / r esidencies /H onors
2021 Painting Fellowship, New York Foundation for the Arts
2017 Meridian Scholar (Studio-F) Artist-in-Residence Fellowship, University of Tampa, FL
Arts Residency Fellowship program hosted by the Camargo Foundation, BAU Institute, Cassis, France
Featured Artist for 2017 Gala, MacDowell Foundation, New York, NY
2016
Anonymous Was a Woman Award, Nominee
2014 Board Member, National Academy Museum, New York, NY
2013 Milton and Sally Avery Fellow, MacDowell Colony, Peterborough, NH
2012
MacDowell Fellowship, MacDowell Colony, Peterborough, NH
Yaddo Fellowship, Saratoga Springs, NY (declined)
Lee Ellen Fleming Artist-in-Residence, University of Virginia, Charlottesville, VA
2011 Inducted as Academician to the National Academy of Art, New York, NY
2010
Commencement Speaker, Pennsylvania Academy of Fine Arts, Philadelphia, PA
Winifred Johnson Clive Foundation Distinguished Visiting Painting Fellow, San Francisco Art Institute, San Francisco, CA
2009 Guest Artist, Brooklyn Academy of Music, Brooklyn, NY
2008
2004
2003
2002
1996
1995
1994
Thomas Bennett Clarke Prize, National Academy Museum, New York, NY
Thomas R. Proctor Prize, National Academy Museum, New York, NY
National Honor Society of Phi Kappa Phi, Awarded by Montclair State University, Montclair, NJ
American Academy of Arts and Letters, Nominee
Individual Artists Grant, National Endowment for the Arts
Individual Fellowship Grant, National Endowment for the Arts Fund for Research, Pennsylvania State University
College Faculty Research Grant, Pennsylvania State University
Project Residency Grant, Hillwood Art Museum, New York State Council on the Arts
1990 Painting Fellowship, Skowhegan School of Painting and Sculpture, Skowhegan, ME
1987
1986
1985
Artist-in-Residence and Studio Grant, Institute for Art and Urban Resources, PS 1, New York, NY
Fulbright-Hayes Grant to West Berlin/Annette Kade Grant for the Creative and Performing Arts
Prize for Highest Achievement in Painting, Ely Harwood Schless Memorial, Yale University, New Haven, CT
design
Elizabeth Finger photography
Eric W. Baumgartner cover
Nature Morte (Evacuations) , 2026 (detail)
Oil on canvas
66 x 54 inches
frontis
Nature Morte (Gaza) , 2026
Oil on canvas
56 x 68 inche s
© 2026 Hirschl & Adler Modern
ISBN 978-1-937941-31-4
H&A