Marilyn Nelson

Artwork EXHIBITS News/Press CV/BIO

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Artwork

Marilyn Nelson Marilyn Nelson Untitled (blue) Acrylic on canvas 1981 65.5 x 65.5 x 1.25 at David Richard Gallery

Untitled (blue)
- Acrylic on canvas , 1981
65.5 x 65.5 x 1.25 in

Artwork

Marilyn Nelson
Untitled (blue)
Acrylic on canvas 1981
65.5 x 65.5 x 1.25 in

NELM12674

Marilyn Nelson Marilyn Nelson Cities Acrylic on canvas 1982 66 x 66 x 1.25 at David Richard Gallery

Marilyn Nelson
Cities
Acrylic on canvas 1982
66 x 66 x 1.25 in

NELM12675

Marilyn Nelson Marilyn Nelson Untitled (gray) Acrylic on canvas 1978 65.5 x 65.5 x 1.25 at David Richard Gallery

Marilyn Nelson
Untitled (gray)
Acrylic on canvas 1978
65.5 x 65.5 x 1.25 in

NELM12672

Marilyn Nelson Marilyn Nelson Untitled (pink) Acrylic on canvas 1980 65.5 x 65.5 x 1.25 at David Richard Gallery

Marilyn Nelson
Untitled (pink)
Acrylic on canvas 1980
65.5 x 65.5 x 1.25 in
Call For Price
NELM12673

3, 6, 12, 24, 48, 120 Works per page

Artwork

Marilyn Nelson

Untitled (blue)

Acrylic on canvas 1981

65.5 x 65.5 x 1.25 in

NELM12674

Marilyn Nelson

Cities

Acrylic on canvas 1982

66 x 66 x 1.25 in

NELM12675

Marilyn Nelson

Untitled (gray)

Acrylic on canvas 1978

65.5 x 65.5 x 1.25 in

NELM12672

Marilyn Nelson

Untitled (pink)

Acrylic on canvas 1980

65.5 x 65.5 x 1.25 in

Call For Price

NELM12673

Exhibitions

Optics and Perceptions_ Prismatic_ Patterned_ Vect

Marilyn Nelson
Optics and Perception: Prismatic, Patterned, Vectored, and Perspectival Approaches
Tuesday, November 19, 2024 - Tuesday, January 14, 2025
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Marilyn Nelson
International Women's Day
Monday, March 8, 2021 - Monday, March 8, 2021
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Marilyn Nelson
Systemic Pattern Painting: Artists of The Criss-Cross Cooperative featuring Charles DiJulio, Dean Fleming, Richard Kallweit, Gloria Klein, Marilyn Nelson, Clark Richert, Dee Shapiro, Robert Swain, George Woodman, Mario Yrisarry
Sunday, September 9, 2018 - Saturday, October 13, 2018
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Marilyn Nelson
Panel Discussion: Richard Kallweit, Marilyn Nelson and Clark Richert and will be moderated by Anne Swartz, Professor of Art History, Savannah College of Art and Design
Tuesday, September 11, 2018 - Tuesday, September 11, 2018
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Bio

Born in Seattle, Washington, Marilyn Nelson grew up in a Naval military family who often relocated from city to city. Her high school years were spent in Naples, Italy during which time she traveled throughout Europe, North Africa and the Middle East. These travels allowed her to visit major museums and archeological sites, influencing her work and life perspectives. Marilyn earned her BFA in printmaking and drawing (1975) and her MFA (1988) in painting, both from the University of Colorado, Boulder. From 1979-1985 she was Art Director / Designer at Celestial Seasonings, an herb tea company in Boulder, CO. During this time she was an active artist with the Criss-Cross Collective, a group of artists creating and exhibiting Systemic Pattern paintings, sculptures, and films.

Marilyn has lived in Fayetteville, AR since 1993. She is an Emeritus Professor of Art, University of Arkansas, where she was head of the Visual Design area and achieved awards for teaching and research activities. Her art work has been widely exhibited in solo and group shows nationally and internationally. Being a certified yoga instructor, she currently teaches in and around Fayetteville, Arkansas.

Gallery Statement / Profile

Artist on the move:

This sounds very trite, but I was always an artist. I grew up in a military family that moved often. When continually relocating, changing schools, learning new neighborhoods, making new friends, etc., a child spends more time struggling to adapt to the present than in thinking of a possible future. The future was always uncertain. However, wherever we lived I was kept busy with numerous physical and art activities.

By 2nd grade my parents had me taking color design classes with a neighborhood artist. As a child I spent hours weaving potholders, making paint-by-number masterpieces and assembling mosaics from craft kits. In 5th grade, my friends and I developed a board game called Shopping Spree, and my task was to chart out the stores on a large sheet of graph paper, creating grid mazes to connect them. At 14, living in Naples, Italy, I not only took art class at school, but also studied oil painting (still life and landscape) after school with an English woman. Living there, we had the opportunity to visit museums and galleries locally and across Europe.

By the time I was in 7th or 8th grade I pronounced that I wanted to be an art teacher. (I did become a university professor of art and design later on).

Growing up in a service family, we lived in many states and other countries. We moved often and traveled extensively. I left home at the age of 17 experiencing culture shock as I slowly adjusted to civilian life.

Military art brat:

During my three years of high school in Naples, Italy (my dad was a Naval officer) my family traveled extensively throughout Europe, the Middle East and Egypt where we visited major museums and archeological sites. Informing my high school art-making the most may have been the Great Pyramids, Victor Vasarely’s paintings in Paris, and Andy Warhol’s exhibition at the Berlin Nationalgallerie. I found the repetitive, hard-edged, colorful and vibrating work new, exciting, thoughtful and inspiring.

I’m looking over:

Since early childhood, I have found and collected four-leaf clovers, a process of identifying the anomaly within the patterned field of clover-leaf shapes. Some of these clovers have appeared in my work. I once painted each flag of every independent nation in the world on a four-leaf clover—176 clover flags all together. I have numerous books/journals of my four-leaf clover collection, often mapping and documenting where they were found.

Everything counts:

Compulsive counting has been evident since childhood and is key to my paintings. I enjoyed activities requiring rhythmic counting in tandem with body movements: I played hopscotch within the grid; the Hawaiian jumping dance-like game Tininkling; I bounced excessively on the pogo stick; I twirled a baton, making patterns in the air as a high school majorette; I played the piano (though not well); I sang in the chorus; and into my 30s I still performed as a tap dancer. And as a young competitive swimmer, every stroke, breath, and lap was counted. It is no surprise that my paintings involved ordering shapes and colors through counting.

Parts into wholes:

An innate sense of organization was essential to hand-making most of my clothes as I grew up. In sewing, a pattern is the template from which the parts of a garment are cut out of the fabric. The act of sewing is assembling component parts that must fit together to complete the apparel. Vital to the seamstress is the ability to conceptualize the finished product in advance, maintain precise craftsmanship, focus, and patience.

Flagspotting:

Living near Navy shipyards I watched vessels arrive waving their brightly colored, geometrically patterned maritime signal flags. These memories along with my father’s WWII signal flag flash card set inspired a suite of 26 editions of hand-pulled screen prints titled “U.S. Naval Signal Flag Narratives,” the only narrative, autobiographical works I’ve produced.

Formalism + function:

I’m a formalist. What I return to and appreciate most is work with formal concerns and qualities. Not only do I look at painting and sculpture, I enjoy 20th century design and photography. It excites me to discover the structural relationships and design of work. Narrative content is generally secondary to me. Of interest are finding similarity of shapes, forms, elemental spatial intervals, noticing visual continuation throughout, figure-ground relationships, color interactions, geometry, etc. I’m drawn to works that stimulate me intellectually and emotionally.

A few admired artists/designers who fall into the above categories: Moholy-Nagy, Herbert Bayer, Stuart Davis, Henri Matisse, Max Bill, Herbert Matter, Paul Rand, Frederic Remington, Minor White, Alfred Jensen, Victor Vasarely, Bridget Riley, Richard Anuszkiewicz, Mark Rothko, Kyle Cooper. They all share a strong sense of craft and precision. The craft inspires me. I’m energized and inspired by their use of color or their keen sense of compositional design.

Sitting with murals:

I also enjoy many artists from long ago time periods. For example, recently in Siena I sat for hours with Lorenzetti’s murals “Allegory of Good and Bad Government,” absorbing the political story of the judgment, and the effects on the city and the countryside of both good and bad governments.

The takeaway:

I want viewers to have an intellectual and emotional response, an admiration of the patience and craftsmanship to make it, a sense of structure, of formal considerations and a sense of joy.

Failbetter:

I keep everything that I don’t sell or give away. When looking back at my work from long ago I’m awed that it came from me. I learn from my failures. Without failing an artist cannot succeed.

I’m painting/I’m painting again:

I love the rhythm, repetition and lyrics of Talking Heads. I relate to music with structure, and honestly dislike improvisational jazz because to me it is jarringly disjointed.

I can’t begin to compare my paintings to the works of these artists, but I enjoy the intelligence of Leonard Cohen’s poetry and Ivan Doig’s novels. I relate to the sound and patterning of musicians such as Max Richter and Julianna Barwick.

Systemic painting is:

Systemic patterning may be described as anti-impressionistic, non-minimalistic, non-conceptual works; mechanic and precise techniques; ordered pieces shaped by the mind prior to execution; and those that integrate individual elements systematically, permitting each element to maintain its own identity while serving to comprise the whole. In the ARTSPACE Summer 1982 issue, Gordon McConnell wrote about Criss-Cross, “the work is not predominantly emotive, nor is it symbolic or tendentious. Each work is the product of more or less rational systems of conception and facture, lawfully realized according to codes established by the artist . . . the significance of this work lies in its providing the viewer with the direct experience of ruled organization–by means of reasoned systems characterized by clarity, unity, and the potential for integrated expansion.”

Pattern painting vs. paintings with patterns:

What is the difference between a pattern painter and a painter that uses pattern?

To answer this question I would say it is a unit figure repeated across a field. The unit figure may be a representational, an abstracted image or non-objective shape, or a geometric form.

To me a pattern painting has no central focal point. That indicates the possibility of a continuance of the pattern outside of the painted canvas, perhaps extending into infinity. The act of pattern painting can be quite meditative—painting the same form over and over again. Even though for me each hexagon is very small, my body and the brush find a synchronized rhythm, as with swimming, dancing, sewing, etc, the physical activities I pursued growing up.

The abstract made visible:

I loved the expressive qualities of the P&D movement, but it wasn’t for me to do as an artist.

Systemic Pattern projects were in direct contrast to the simultaneously occurring Pattern and Decoration movement of the 1970s-80s. Artists like Miriam Schapiro, Joyce Kozloff, Robert Kushner, Valerie Jaudon, and Kim MacConnel typically patterned semantically, repeating representational or abstracted shapes. They drew inspiration from cultural and historical patterns worldwide. Anti-formalists, sometimes whimsical, they often emphasized painterly or expressive qualities. Conversely, the ideals of Systemic Pattern painting contemporized aspects of the “Concrete Art Manifesto” of 1930 attributed to the Dutch painter Theo van Doesbourg, later popularized by Max Bill.

Theo van Doesbourg stated that there was nothing more concrete than a line, a color, a plain. Max Bill expanded this to say that concrete art is to create in a tangible form, something that previously did not exist, to depict abstract thoughts in a visible form.

All a non:

Nonrepresentational painting expresses emotion or concept without depicting a person, place or thing. I gravitate to these works because of what I’ve already stated about my love for discovering the design of a work of art without narrative content.

Not one to play favorites:

I’m more interested in the interaction of colors when applied side-by-side than in having favorite color schemes.

Recurring patterns, shapes, patterns, shapes:

Regular polygons, especially the hexagon, grids, tree leaves, and the four-leaf clover.

To me the hexagon is a beautiful form, angular, yet slightly rounded. Six-sided, it is one of three regular polygons to tessellate perfectly. I am 66” tall, six is my lucky number, and when growing up, there were six members in my immediate family.

I’ve also done quite a bit of work exploring the visual relationships between geometric structures and those of nature, sometimes painting patterns on the surface of four-leaf clovers or leaves.

Abstract’s appeal:

Maybe because abstraction distorts, alters reality, allowing the viewer to question what is real and to create his/her own narrative about the work.

Color against color:

In hard-edge paintings, I enjoy the clarity of color against color. Colors don’t get all muddied up. Hard-edge painting reminds me of the sharp-edged shadows from the afternoon sun in the western landscape.

Getting lost:

Non-objective work provides a space for the viewer to just “be,” perhaps to allow the eye to wander throughout the piece locating subtle contrasts created by the artist. The viewer can become lost for hours in thoughts that may or may not relate to the painting. I frequently visit my family in Houston and on many occasions have visited the Rothko Chapel, a beautiful space to sit and contemplate or meditate.

Got grid?:

The grid is fundamental to humanity. We have imposed grids upon the landscape, grids charting the oceans and stars. Our lives are organized around the grid of our calendars, our houses, our cities, our technology, etc. Look around, grids are everywhere.

The grid in art has provided a structural framework within which to present the artist’s concepts for hundreds of years. The grid was also used to develop the illusion of perspective in landscape art.

Overheard reactions:

“How long did that take to do?”

“How did you come up with that idea?”

“This is stunning, mesmerizing.”

“Quite obsessive.”

“Well crafted. How did you do that?”

“You must have the patience of a saint.”

In search of:

I just work. I create for myself. It’s all exploratory. However, my graphic design work in the past was specifically for clients and to serve a purpose. I see a difference.

Where she is now:

I currently live in Fayetteville, Arkansas where I’m an Emeritus Professor of Art from the University of Arkansas.

Dialoguing:

I love talking to other artists and designers—as long as their work is well crafted and not clunky. Otherwise, I have difficulty knowing what to say.

I exchange ideas with other artist and designer friends, and my husband. I hike deep into the forest with my dogs and let them, the seasons, the trees, birds, snakes, squirrels, coyotes and the deer inspire me.

Finding the Wow!:

I identify with artists who work with pattern and geometry; and/or whose work is an exploratory process; those that allow an underlying structure to the work; those that can make me say “WOW” about the use of color (or value shifts in black and white work): works in which it is apparent there is a great amount of thought involved. I dislike sloppy work and lazy thinking as an artist.

CV/BIO

Education

MFA, University of Colorado, Boulder, Colorado, 1988

Colorado Teaching Certificate, Type A-1, K-12, 1976

BFA/Studio, University of Colorado, Boulder, Colorado, 1975

University Teaching Positions

Emeritus Professor, School of Art, University of Arkansas, Fayetteville 2013

Associate Professor, Art Department, University of Arkansas, Fayetteville 1999-2013

Assistant Professor, Art Department, University of Arkansas, Fayetteville 1993-1999

Assistant Professor, Department of Art, Eastern New Mexico University, Portales 1990-1993

Visiting Assistant Professor, Department of Art, University of Oregon, Eugene 1989-1990

Graduate Part-Time Instructor, Department of Art, University of Colorado, Boulder 1986-1988

Instructor, Visual Arts, Community College of Denver, Denver, CO 1985-1987

Solo Exhibitions

2011 U.S. Naval Signal Flag Narratives, Memorial Hall Galleries, Chadron, NE

Signs and Signals, Historic Arkansas Museum, Little Rock, AR (two-person)

2008 Access Grid, Mullins Library Gallery, University of Arkansas, Fayetteville, AR, 2008

2006 The Flotsam and Jetsam Of Memory, TePaske Gallery, Krover Art Center, Orange, IA

2005 Afloat & Ashore, T.W. Wood Gallery & Arts Center, Vermont College, Montpelier, VT

(two-person)

2003 Marilyn Nelson, Rosewood Gallery, Kettering, OH, 2003

Marilyn Nelson, School of Art Gallery, Pratt at Munson Williams Proctor Art Institute,

Utica, NY

2002 Watermark, Maryland Hall for the Creative Arts, A.I.R. Gallery, Annapolis, MD

N²S³, Fine Arts Center Gallery, University of Arkansas, Fayetteville (two-person)

1999 Signals and Significant Objects, Crawford County Art Center, Van Buren, AR

Enumeration of Place, Foundations Gallery, Rogers University, Tulsa, OK

1998 Collecting, Counting, Constructing, Juanita K. Hammons Hall for the Performing Arts,

Springfield, MO

Numbers, Nature, and Notations, Golden Gallery, Eastern New Mexico University,

Portales, NM

1997 Anomalies in Nature: Collecting Four-Leaf Clovers, McHenry County College, Crystal

Lake, IL

Constructions From Nature, Arts Center of the Ozarks, Springdale, AR

1996 Natural Domain, Trahern Gallery, Austin Peay University, Clarksville, TN (two-person)

Controlled Frenzy: 1978–1987, Anne Kittrell Gallery, University of Arkansas,

Fayetteville, AR

1994 Flora, Patterns, And Geometry, Fine Art Center Gallery, University of Arkansas,

Fayetteville, AR

1991 Four-Leaf Clovers, Golden Gallery, Eastern New Mexico University, Portales, NM

1990 3, 4, 5, 6, Eula Mae Edwards Museum, Clovis, NM

1988 Polygonal Possibilities, University of Colorado, Boulder, CO

International Group Exhibitions

2009 32nd Bradley International Print and Drawing Exhibition, Heuser Art Center Gallery,

Bradley University, Peoria, IL (juror: Lynwood Kreneck, Director, Colorprint USA)

(online catalogue)

2006 Sumei International Print 2006, Sumei Multidisciplinary Arts, Newark, NJ (juror:

Samantha Rippner, Curator, Department of Drawings and Prints, Metropolita

Museum of Art) (catalogue)

2005 La Biennale Internationale D’estampe Contemporaine, Trois-Rivères, Québec, Canada

(catalogue and online catalogue)

The Boston Printmakers North American Print Biennial, Emmanuel College, Boston, MA

(juror: Joann Moser, Senior Curator of Graphic Arts, Smithsonian American Art

Museum) (catalogue)

2004 Gallery International’s Global All Media Competition, Baltimore, MD (juror: Hai-Ou Hou) 2003 Siggraph: 30th International Conference On Computer Graphics And Interactive

Techniques, San Diego, CA (juried) (catalogue)

First Printmaking Biennial International, _a romana studio_, New York, NY (juror: Hilary

Lorenz) (catalogue)

The Me in Team: International Group Invitational, Heuser Art Center Gallery, Peoria, IL

2001 October Competition, Armory Art Center, W. Palm Beach, FL (juror: Peter Frank, Critic)

(catalogue)

2000 Hollywood International Juried Print Exhibition, Art and Culture Center of Hollywood,

Hollywood, FL (juror: Kenneth Kerslake, Master Printer)

1999 USC International Digital Works on Paper, McKissick Museum, Columbia, SC (juror:

Charles Stainback, Director, Art Gallery, Skidmore College, Saratoga Springs, NY) (catalogue)

1996 University Artists, University at Skoplje, Skoplje, Macedonia (cataogue)

1992 Women, Witches, Sibyls, Fabrino, Italy

1983 Criss-Cross En La Ciudad De Mexico, Gallery Pecanians, Mexico City, Mexico (curator:

Sandra Martinez, Fine Art Consultant)

National and Regional Group Exhibitions

2016 Hovab @ The Dairy: Criss-Cross Collective, McMahon Gallery, Boulder, CO (catalogue)

2015 Criss-Cross Artists, Museum of Friends, Walsenburg, CO

RetroActive, RULE Gallery PopUp Exhibition at Pirate: Contemporary Art, Denver, CO

2013 University of Arkansas Faculty Exhibitions, 2013, 2009, 2006, 2001, 1998, 1997, 1995

(catalogues)

2011 Diamond National, Fine Arts Center, Hot Springs, AR (juror: Alison Parsons, Gallery

Director) (online catalogue) (exhibition award)

2010 A Reverence For Water: a special collaboration with ANJEC, Printmaking Council of New

Jersey, Branchburg, NJ (juror: Candace McKee Ashmun, environmental activist)

(catalogue)

Transferring Ink II, Janice Griffiths Gallery, Fallbrook Art Center, Fallbrook, CA

(online catalogue)

Myths & Marks: Archetypes through the Ages, Printmaking Council of New Jersey,

Branchburg, NJ (juror: Sally Spofford) (catalogue)

2009 The Odysseus Project: Finding Home, Art @ 12, Boston, MA (curator: Anne Loyer)

(online catalogue)

2008 The War Against Peace, Ciel Gallery, Charlotte, NC (curator: Pam Goode)

(online catalogue)

Sixth Annual Juried Exhibition, Organization of Independent Artists, New York, NY (juror:

Joe Sanders, Florida State University)

Watermark ‘08, Studio 107, Whiteville, NC, 2008 (juror: Eileen Foti, Montclair State

University, NJ, Master Printer) (catalogue)

Back To The Basics: Exploring Natural Materials, RFD Gallery, Swainsboro, GA (juror: Liz

Atzberger, Florida Atlantic University)

2007 Florida Printmakers Invitational, The Museum of Florida Art, DeLand, FL (curator: Lise

Drost, University of Miami) (catalogue)

Los Angeles Printmaking Society 19th National Exhibition, Riverside Art Museum,

Riverside, CA (juror: Archana Horsting, Director, Kala Art Institute, Berkeley, CA)

(catalogue)

Florida Printmakers 15th National Print Competition, Dunedin Fine Arts Center,

Dunedin, FL (juror: Joe Sanders, Florida State University) (catalogue)

Art On Paper, Maryland Federation of Art Circle Gallery, Annapolis, MD (juror: Helen

Frederick, Executive Director & Founder, Pyramid Atlantic)

American Color Print Society National Print Exhibition, Cheltenham Art Center,

Cheltenham, PA (juror: Eileen Foti, Montclair State University and Master Printer)

2006 The Transferred Image, 33 Collective Gallery, Chicago, IL

Carved, Etched, & Pulled: Stories, Symbols, & Self, Lincoln Center Gallery, Ft. Collins, CO

(online catalogue)

6th National Print Exhibition, Janet Turner Print Museum, Chico, CA (juror: Deborah

Cornell, Boston University)

2005 Los Angeles Printmaking Society 18th National Exhibition, Armory Center for the Arts,

Pasadena, CA (juror: Ruth Weisberg, Dean of Fine Arts, USC) (catalogue)

2004 OIA Third National Exhibition, Gallery 402, New York, NY (juror: Ronnie Laudfield)

(online catalogue)

National Exhibition, Impact Artists’ Gallery, Buffalo, NY (juror: Catherine Burchfield

Parker)

Remembrances Of Things Past, South Shore Art Center, Cohasset, MA

(juror: Todd McKie)

A Sense Of Place, Gertrude Herbert Institute of Art, Augusta, GA (juror: Charles Reeve)

(catalogue)

Myth, Magic & Metaphor, Union Street Gallery, Chicago, IL (juror: Tom Torluemke)

2003 Digitally Speaking, WomanMADE Gallery, Chicago, IL (juror: Dorothy Simpson Krause)

(online catalogue)

Print Exhibition, Greenleaf Gallery, Whittier College, Whittier, CA (juror: Kim Russo)

Beyond Pop, Howard County Center for the Arts, Ellicott City, MD

29th Bradley National Print and Drawing Exhibition, Heuser Art Center, Bradley

University, Peoria, IL (juror: Karen Kunc, University of Nebraska) (catalogue and

online catalogue)

Florida Printmakers 13th National Print Competition, University of Miami, Coral Gables,

FL (juror: Bradlee Shanks) (catalogue and online catalogue)

2002 Dpi Digitally Propelled Ideas, W. Keith and Janet Kellogg University Art Gallery, California

State Polytechnic University, Pomona, CA (juror: Jack Duganne, Master Printer)

(online catalogue)

National II, A.R.C. Gallery, Chicago, IL (juror: Barbara Zucker, sculptor)

1st Biennial National Print Competition, Old Main Art Gallery, Flagstaff, AZ

(juror: Bruce Horn)

Southern Printmaking Biennale, Nix Center, N. Georgia University, Dahlonega, GA

(juror: Sydney Cross, Southern Graphics Council President) (catalogue)

2001 13th National Drawing And Print Competitive Exhibition, Gormley Gallery, College of

Notre Dame of Maryland, Baltimore, MD (juror: Jack Rasmussen, Director, Maryland Art Place)

Exits & Entries, Fredericksburg Center for the Creative Arts, Fredericksburg, VA

(curator: Preston Thayer)

Third Minnesota National Print Biennial, Frederick R. Weisman Art Museum,

Minneapolis, MN (jurors: Lyndel King, Patricia McDonnell, Weisman Art

Museum)

Prints U.S.A., Springfield Art Museum, Springfield, MO (juror: Daniel Piersol, Curator

prints and drawings, New Orleans Museum of Art) (catalogue)

21st National Print Exhibition, Artlink, Fort Wayne, IN (curator: Patricia McDonald)

2000 National Juried Print Exhibition, SUMEI Multidisciplinary Arts Center, Newark, NJ

(juror: Judith Hecker, Curator, Department of Prints, Museum of Modern Art,

NY) (catalogue)

Autobiography, Appleton Art Center, Appleton, WI

New Works by Sarah Nobeles, Marilyn Nelson, Mary Finneran, Ft. Smith Art Center, Ft.

Smith, AR

New Works/Nine States, Art St. Louis, St. Louis, MO (juror: Muriel Magenta)

1999 Printmaking Perspectives, Kirkland Art Center, Clinton, NY

Hand-Pulled Prints VII, Parchman Stremmel Galleries, San Antonio, TX (juror: Lyle

Williams, Curator of prints, McNay Art Museum, San Antonio, TX) (catalogue)

Innovations In Printmaking, Cade Fine Arts Center Gallery, Arnold, MD (juror: Helen

Frederick, Director, Pyramid Atlantic, Riverdale, MD)

Founding Members Show: 20th Anniversary Celebration, SPARK Gallery, Denver, CO

Counterpoint 1999, Duncan-McAshan Visual Arts Center, Ingram, TX (juror:

Katherine Brimberry, Master Printer) (catalogue)

1998 Pressed And Pulled VII, Blackbridge Hall Gallery, Georgia State University, Milledgeville,

GA (juror: Wayne Kline) (catalogue)

Prints And Printmakers National Exhibition, Fine Arts Center en Taos, Taos, NM

(juror: Gary Cook, Stables Gallery, Taos)

Profusion of Digital Art, Center for Visual Art, Oakland, CA

Watermark - Works On Paper, Studio 107, Whiteville, NC (juror: Glenn Eure, Gallery

Director) (catalogue)

20th National Juried Print Exhibition, Turnbull Gallery, Schenectady Museum,

Schenectady, NY (juror: Robert Kipniss, Printmaker)

1997 National Printmaking Show, College of Art Gallery, Trenton State College, Trenton, NJ

(Juror: Margaret Johnson)

10th National Computer Art Invitational, Gallery of Art, Eastern Washington University,

Cheney, WA

Computer Art/New Media, The Stage Gallery, Merrick, NY (jurors: Angela Ferri,

Geraldine Costentino) (exhibition award)

For The Visual Arts, Juanita Hammons Hall for the Performing Arts, Springfield, MO

(exhibition award)

1996 The Depth of 2-D, Alliance for the Varied Arts Gallery, Bullen Center, Logan, UT

Culture And Agriculture, New Visions Gallery, Marshfield Clinic, Marshfield, WI

(catalogue)

Summertime, Tempe Arts Center, Tempe AZ (juror: Patty Haberman, Exhibition

Coordinator)

Many Voices One Song, Exhibition in conjunction with the Seventh Annual Northwest

Arkansas Women’s Festival and Conference, Anne Kittrell Gallery,

Fayetteville, AR

1995 Artists Responses: Drawing A - Z, Doughtry Art Center Gallery, Austin, TX

(juror: Peter Saul, University of Texas)

Digital/Digitally Mediated, Eddie Rhodes Gallery, San Pablo, CA (curator: Wayne Wright)

Memphis Arts Festival, Art in the Park, Memphis, TN (juror: Regina Perry)

1994 Women Artists ‘94, Matrix Gallery of Women Artists, Sacramento, CA

(juror: Mabrie Ormes)

37th Chautauqua National Exhibition Of American Art, Chautauqua Art Association

Gallery, Chautauqua, NY, 1994

1993 But Is It Art ...Currents In Electronic Imaging, Kittredge Gallery, Tacoma, WA

(curator: Betty Regan, Director)

Graphic Images, Forms, Words, Humanities Fine Arts Center Gallery, University of

Minnesota, Morris, MN (curator: Fred Peterson, Director)

Botanics, Gallery Ten, Rockford, IL (juror: Deborah Stromsdorfer) Ana 22, Holter

Museum of Art, Helena, MT (Juror: Dana Boussard) The Face of Woman, Las Vegas Arts Council, Las Vegas, NM

1992 Primarily Paint, Laguna Gloria Art Museum, Austin, TX (juror: Peter Doroshenko,

Curator, Contemporary Arts Museum, Houston, TX) (catalogue)

Artstravaganza 5th Annual National Juried Exhibition, Miller Plaza, Chattanooga, TN

(juror: Miriam Schapiro)

Tenth Annual Women’s National Juried Art Exhibition, Walton Arts Center,

Fayetteville, AR

Creating Ourselves—National Women’s Art Exhibition, Eastern New Mexico University,

Portales, NM

Tenth Annual National Exhibition, Roswell Fine Arts League, Roswell, NM

(exhibition award)

1991 Art Experience ‘91–National Fine Art Competition, Gallery 100, Cape Girardeau, MO

Awards Exhibition, The Art Gallery, Umpqua Community College, Roseburg, OR

1990 Works On or Of Paper, The Art Gallery, Umpqua Community College, Roseburg, OR

(Juror: Margaret Prentice, University of Oregon) (exhibition award)

Computer Generations, Laverne Krause Gallery, Eugene, OR

1989 Big Sky Biennial VI, Works On Canvas and Small Sculpture, John Davis Gallery, Idaho

State University, ID

The Computer Art Show, Washington Abbey, Eugene, OR

Pindar Gallery Competition, New York, NY (juror: Lisa Phillips) (exhibition award)

1988 Mountain Plains Highlights Juried Exhibition, Museum of East Texas, Lufkin, TX

(juror: Gordon McConnell, Curator, Yellowstone Art Center, Billings, MT)

1987 Women Creating/Creating Women, University Memorial Center Fine Art Gallery,

Boulder, CO (juror: Lucy Lippard, Author, Critic)

1983 Marilyn Nelson, Margaret Neumann, Suzy Roesler, Spark Gallery, Denver, CO

Development In The Criss-Cross Group, Alain Bilhaud Gallery, New York, NY (catalogue)

1982 Colorado State Of The Arts: Colorado Criss-Cross, Denver Art Museum, Denver, CO

(curator: Dianne Vanderlip, Curator of Contemporary Art, Denver Art Museum)

Multi-Media Pattern–Lin Fife, Marilyn Nelson, Pauline Olson, Spark Gallery, Denver, CO

Criss-Cross At The Yellowstone Art Center, Billings, MT (curator: Gordon McConnell,

Curator, Yellowstone Art Center, Billings, MT) (catalogue)

1981 Colorado Springs Biennial, Colorado Springs Fine Arts Center, CO

(juror: David Ryan, Director, Fort Worth Art Museum) (catalogue)

Systemic Patterning, Hanson Gallery, New York, NY, 1980 (curator: Joyce Herman-

Hanson, Director, Hanson Galleries)

1980 Arts ‘80, Boulder Center for the Visual Arts, Boulder, CO (juror: Ellen Lubell, Critic) 1979 Criss-Cross Pattern Project, Boulder Center for the Visual Arts, Boulder, CO

Colorado Women In The Arts, Arvada Art Center, Arvada, CO, 1979 (juror: Dianne

Vanderlip, Curator of Contemporary Art, Denver Art Museum) (catalogue)

(exhibition award)

Arts ‘79, Boulder Center for the Visual Arts, Boulder, CO, 1979 (juror: Max Kozloff, Critic,

Author) (exhibition award)

Criss-Cross Spring Pattern Project, 5 E. 3rd St., New York, NY