John Van der Banck (1694-1739) was a short-lived English portrait painter and book illustrator, who enjoyed a high reputation during the reign of King George I; his early death was due to an intemperate and extravagant lifestyle.

Vanderbank was born in London, the eldest son of John Vanderbank Snr. His father was a Huguenot tapestry weaver, born in Paris, but forced to flee to Holland before coming to England; there he became head of a Soho tapestry weaving factory.

Vanderbank’s book illustrations include: the portrait of Sir Isaac Newton used in the frontispiece of the 1726 edition of Principia; the 66 plates of the first edition in Spanish of Cervantes‘ Don Quixote published in London (1738); and illustrations for ‘Twenty-five Actions of the Manage Horse, engraved by Josephus Sympson (1729). His 1725 portrait of Sir Isaac Newton hangs in Trinity College, Cambridge. Many of his portraits were engraved by John Faber Jr. and George White. Vanderbank was amongst a group of artists painted by William Hogarth, of which there is an engraving by R. Sawyer.

Van der Banck, Jr. studied under Sir Godfrey Kneller at James Thornhill’s art academy in Great Queen Street from 1711 until 1720, when he joined with Louis Cheron to found his own academy in St. Martin’s Lane. The venture proved a failure, and in 1729 he went to France to avoid his creditors. On his return he entered “the liberties of the Fleet” – “mansion houses” near Fleet prison, London, in which certain privileged prisoners could serve out their sentences in return for payment.

It was noted by George Vertue that “only intemperance prevented Van der Banck from being the greatest portraitist of his generation.” He died of Tuberculosis in Holies Street, Cavendish Square, London, on 23 Dec. 1739, aged about 45, and is buried in Marylebone church.

French artist and writer (1898-1963), Jean Cocteau made his name widely known in poetry, fiction, film, ballet, art, and opera. In everything he did there is a reflection of surrealism, psychoanalysis, cubism, and his Catholic religion, occasionally influenced by opium and often homoerotically explicit. In his time Cocteau was a promoter of the avant-garde whose friends included Picasso, Marcel Proust, Erik Satie and Diaghilev. His family was wealthy and politically prominent. His attorney father’s suicide when Cocteau was only nine years old made a deep impression central to his entire life, creating a sense of human weakness that could only be  compensated by service in the performing arts with loyalty to the mysterious forces in the universe; to quote the poet–“poetry is the basis of all art, a religion without hope; the worst tragedy for a poet is to be admired through being misunderstood.”

Born near Genoa in San Sebastiano in the middle of the 18th century, Giani was trained first in Pavia then in Bologna, where he studied with Domenico Pedrini and Ubaldo Gandolfi. In 1780, age 22,  he moved to Rome, studying with Pompeo Batoni, Giuseppe Antolini and Christoph Unterberger at the Accademia di San Luca to begin his independent career as a fresco painter. He absorbed influences ranging from ancient Greek and Roman art to Michelangelo’s and Raphael’s Renaissance classicism and the Romantic classicism of contemporaries such as Johann Heinrich Fuseli. Between 1784 and 1794 he lived in Bologna and Faenza, executing decorative commissions. In 1803 he was summoned to Paris. Until the fall of Napoleon, Giani divided his time between Paris and Italy; then he successfully survived the political changes and continued to execute decorative schemes in Rome. He died in Rome in 1823.

Abbéma was born in Étampes, Essonne. She began painting in her early teens, and studied under such notables of the period as Charles Joshua Chaplin, Jean-Jacques Henner and Carolus-Duran. She first received recognition for her work at age 23 when she painted a portrait of Sarah Bernhardt, her lifelong friend and possibly her lover.[2]

She went on to paint portraits of other contemporary notables, and also painted panels and murals which adorned the Paris Town Hall, the Paris Opera House, numerous theatres including the “Theatre Sarah Bernhardt”, and the “Palace of the Colonial Governor” at Dakar, Senegal.

She was a regular exhibitor at the Paris Salon, where she received an honorable mention for her panels in 1881. Abbéma was also among the female artists whose works were exhibited in the Women’s Building at the 1893 World Columbian Exposition in Chicago. A bust Sarah Bernhardt sculpted of Abbéma was also exhibited at the exposition.

Abbéma specialized in oil portraits and watercolors, and many of her works showed the influence from Chinese and Japanese painters, as well as contemporary masters such as Édouard Manet. She frequently depicted flowers in her works. Among her best known works are The Seasons, April Morning, Place de la Concorde, Among the Flowers, Winter, and portraits of actress Jeanne Samary, Emperor Dom Pedro II of Brazil, Ferdinand de Lesseps, and Charles Garnier.

Abbéma was also an accomplished printmaker, sculptor, and designer, as well as a writer who made regular contributions to the journals Gazette des Beaux-Arts and L’Art.

Among the many honors conferred upon Abbéma was nomination as “Official Painter of the Third Republic.” She was also awarded a bronze medal at the 1900 Exposition Universelle and in 1906 made a Chevalier of the Order of the Légion d’honneur.

Abbéma died in Paris in 1927. At the end of the 20th century, as contributions by women to the arts in past centuries received more critical and historical attention, her works have been enjoying a renewed popularity.

Education:

1981 MFA University of Illinois

1977 BA Yale University

Solo Exhibitions

2014 Simmons Gallagher Gallery, Cody, WY

Moberg/Chicago, Chicago, IL

Moberg/Des Moines, Des Moines, IA

2013 Ucross Gallery, Ucross, WY

Welch School Galleries, Georgia State, Atlanta, GA

2010 Corrigan Gallery, Charleston, SC

Sumter County Gallery of Art, Sumter, SC

2008 Plus Gallery, Denver, CO

2007 Alpha Gallery, Boston, MA

2006 Wichita Art Museum

2005 Plus Gallery, Devner, LA

University of Wyoming Art Museum, Laramie, WY

Ucross Gallery, Clearmont, WY

2004 E.J. Belloocq Gallery, Louisiana Tech University, Ruston, LA

2003 Tatistcheff & Co. Inc., New York, NY

Art Resources Transfer, New York, NY

2002 Ron Judish Fine Arts, Denver, CO

2001 Tatistcheff & Co. Inc., New York, NY

Rosenberg Gallery, Goucher College, Baltimore, MD

Edwin A. Ulrich Museum, Wichita State University, Wichita, KS

1999 Ron Judish Fine Arts, Denver, CO

Tatistcheff & Co. Inc., New York, NY

Arvada Center for the Arts and Humanities, Arvada, CO

1996 Tatistcheff & Co. Inc., New York, NY

1995 Kohn Turner Gallery, Los Angles, CA

1994 Grace Borgenicht Gallery, New York, NY

1993 Jonson Gallery, University of New Mexico, Albuquerque, NM

1992 Grace Borgenicht Gallery, New York, NY

Yellowstone Art Center, Billings, MT

I-Space, Chicago, IL

1991 Jan Turner Gallery, Los Angeles, CA

1990 Grace Borgenicht Gallery, New York, NY

Nancy Lurie Gallery Chicago, IL

J.B. Speed Art Museum, Louisville, KY

1989 Grace Borgenicht Gallery, New York, NY

Weatherspoon Art Gallery, Greensboro, NC

Yellowstone Art Center, Billings, MT

1988 Grace Borgenicht Gallery, New York, NY

Yale University, New Haven, CT

School 33 Art Center, Baltimore, MD

Jan Turner Gallery, Los Angeles, CA

1987 University Galleries, Illinois State University, Normal, IL

1986 Grace Borgenicht Gallery, New York, NY

Washington Project for the Arts, Washington, DC

1985 New Museum of Contemporary Art, New York, NY

More Gallery, Philadelphia, PA

1983 Nancy Lurie Gallery Chicago, IL

1981 Krannart Museum, University of Illinois, Champaign-Urbana,IL

1977 Trumbull College, New Haven, CT

Group Exhibitions

2007 Art of The Gettysburg Review, Schmucker Art Gallery, Gettysburg, PA

John Hull and Barbara Duvall, Halsey Gallery, Charleston, SC

Colorado Landscape, Center for the Visual Arts, Denver, CO

Disasters of War, Mizell Gallery, Denver, CO

2006 Selections from the Collection, Art Museum of Missoula, Missoula, MT

Yellowstone Museum, Art Auction, Billings, MT

2005 Gallery Artists, Tatistcheff Gallery, NYC

The Janitor, Plus Gallery, Denver, CO

Post Cards from the Wild West, Nicolaysen Art Museum, Casper, WY

2004 179th Annual: An Invitational Exhibition of Contemporary American Art, The National Academy of Design, New York, NY

State of the Union, Zeile + Judish, Denver, CO

War, Gallery Sovereign, Boulder, CO

Salon d’Arts, Colorado History Musuem, Denver, CO

2004 E.J. Belloocq Gallery, Louisiana Tech University, Ruston, LA

2003 Facing Reality: The Seavest Collection of Contemporary Realism, Neuberger Museum of Art, Purchase, NY

10 + 10, Museum of Contemporary Art Denver, Denver, CO

Out of the Bullpen: Baseball in Contemporary Art, Art Museum of Missoula, Missoula, MT

Art and Ecology, Museum of Contemporary Art Boulder, Boulder CO

Postcards from the Wild West, Nicolaysen Art Museum, Casper WO

Heads, Studio Aiello, Denver, CO

Dream Makers, Escuela Nacional de Artes Plastica, Xochimiloco, Mexico

2002 Series, Center for Contemporary Art, University of Colorado at Colorado Springs, Colorado Springs, CO

Man’s Best Friend, Tatischeff & Co., New York, NY

Eye Candy, Judish Fine Arts, Denver, CO

UCD Faculty Show, Emmanuel Gallery, Denver, CO

2001 Gun Show, RC Fine Arts Gallery, Maplewood, NJ

Visibly Told, Delaware College of Art & Design, Wilmington, DE

Art & Ecology, Colorado Mountain College, Glenwood Springs, CO

Handful of Soldiers, Governor’s Gallery, Santa Fe, NM

Gallery Artists, Ron Judish Fine Arts, Denver, CO

UCD Faculty Exhibition, Emmanuel Gallery, Denver, CO

2000 The Figure: Another Side of Modernism, New House Center for Contemporary Art, Snug Harbor, Staten Island, NY

Crowded Prairie, Nicolaysen Art Museum, Casper, WY

Crowded Prairie, Ucross Foundation, Clearemont, WY

Memory and Change: Visions of the American West, Loveland Art Museum, CO

Tatistcheff & Co. Inc., New York, NY

Summer Stock II, Ron Judish Fine Arts, Denver, CO

1999 Art of the American West, Denver Art Museum, Denver, CO

Six by Six, Project Gallery, Wichita, KS

Summer Stock, Ron Judish Fine Arts, Denver, CO NY

UCD Faculty Exhibition, Emmanuel Gallery, Denver, CO

1998 Richard Bosman and John Hull, A.R.T. Resources, New York

Three Figurative Artists, University of Miami Dade, Kendall Campus, Miami, FL

Selected Artists, 3rd Canyon Gallery, Denver, CO

Yellowstone, Montana State Art Gallery, Bozeman, MT

UCD Faculty Exhibition, Emmanuel Gallery, Denver, CO

Norfolk ‘98 Faculty Exhibition, Norfolk, CT

Selections from the Permanent Collection, Yellowstone Art Museum, Billings, MT

SMART, Tatistcheff & Co. Inc., New York, NY

1997 Drawing from Life, Tatistcheff & Co. Inc., New York, NY

Circus, Nancy Hoffman Gallery, New York, NY

Art Resources, Santa Fe Art Expo, Santa Fe, NM

Norfolk ‘97 Faculty Exhibition, Norfolk, CT

UCD Faculty Exhibition, Emmanuel Gallery, Denver, CO

1996 Baseball Paintings, Curt Marcus Gallery, New York, NY

The Alamo, Beinecke Library, Yale University, New Haven, CT

Five Painters: Imagination, Observation and Experience, School 33 Art Center, Baltimore, MD

Art and the Athlete, Millard Sheets Gallery, Los Angeles, CA

1995 Temporarily Possessed: Semi Permanent Collection, The New Museum of Contemporary Art, New York, NY

Summer Group Exhibition, Tatistcheff & Co. Inc., New York, NY

Baseball, Hofstra University Art Museum, New York, NY

Norfolk ’95 Faculty Exhibition, Norfolk, CT

1994 Teamwork, Krasdale Foods Gallery, White Plains, NY

Location, Frederick Lawson Gallery, Milwaukee Institute of Art & Design

Preview Exhibition, Grace Borgenicht Gallery, New York, NY

4 Painters, Munson Gallery, New Haven, CT

1993 Grace Borgenicht Gallery, New York, NY

Yale Collects Yale, Yale University Art Gallery, New Haven, CT

Men Working, G.W. Einstein Gallery, New York, NY

Norfolk ‘93 Faculty Exhibition, Norfolk, CT

1992 The Artist at Ringside, The Butler Museum of American Art,Youngstown, OH, traveled to The National Museum of Sport, Indianapolis, IN

The New Whitney Dissenters, Sherry French Gallery, New York, NY; traveled to Anchorage Museum of History and Art, Anchorage, AK

Rockford College Art Gallery, Rockford, IL and The Fitchburg Art Museum, Fitchburg, MA

1990 The Connecticut Biennial, The Bruce Museum, Greenwich, CT

TX Expressive Visions and Exquisite Images: Two Aspects of Art of the 90’s from the Richard Brown Baker Collection, Meadow Brook Art Gallery, Oakland University, Rochester, MI

The Children Among Us, Krasdale Foods Gallery, White Plains, NY

Illumination and Radiance: Epiphanies in Contemporary Painting, Sherry French Gallery, New York, NY; traveled to Kalamazoo Institute of Arts, Kalamazoo, MI, Riverside Art Museum, Riverside, CA, Museum of the Southwest, Midland, TX and Rahr-West Museum, Manitowoc,

1989 Romance and Irony, National Gallery of New Zealand, Wellington, New Zealand; traveled to The Art Gallery of Western Australia, Perth, Australia, The Parrish Art Museum, South Hampton, NY and The Tampa Museum of Art, Tampa, FL

Climate 89, Grace Borgenicht Gallery, NY

Group Exhibition, Alternative Museum, NY

1988 Art of Paper,1988, Weatherspoon Art Gallery, Greensboro, NC

1987 THE 1980’s: A Generation of American Painters and Sculptors, The Metropolitan Museum of Art, New York, NY

1986 Invitational, Condeso-Lawler Galley, New York, NY

The Grand Game of Baseball, Museum of the Borough of Brooklyn, NY

Paintings, Jan Turner Gallery, Los Angeles, CA

Short Stories, One Penn Plaza, New York, NY

Small Paintings, More Gallery, Philadelphia, PA

Works on Paper, Struve Gallery, Chicago, IL

Here and Now, Greenville County Art Museum, Greenville, SC

1979-1986:Ten Years Collecting Contemporary American Art, Selections from the Edward R. Downe, Jr. Collection, Wellesley College Museum, Wellesley, MA

Painting and Sculpture Today, Indianapolis Museum of Art, Indianapolis, IN

Narration Drawing, New York Studio School, New York, NY

Group Show, Semaphore East, New York, NY

1985 Images of War, Hall Walls/C.E.P.A., Buffalo, NY

New Figuration, Southern Alleghenies Museum of Art, Loretto, PA

Politics and Painting, Rutgers University Art Museum, Newark, NJ

Innocence and Experience, Greenville County Art Museum, Greenville, SC

Scapes, Art Museum, University of California, Santa Barbara, CA

Paintings, Jan Turner Gallery, Los Angeles, CA

Works on Paper, More Gallery, Philadelphia, PA

1984 Religion and Mythology, N.A.M.E. Gallery, Chicago, IL

Personal Visions, Janus Gallery, Los Angeles, CA

Inside Reality, Maryland Art Place, Baltimore, MD

1982 Chicago Collects, Museum of Northern Illinois University, DeKalb, IL

Maryland Artists Exhibition, Maryland Institute of Art Gallery, Baltimore, MD

1983 Paintings, Nancy Lurie Gallery, Chicago, IL

Juried Exhibition, Baltimore Arts Festival, Baltimore, MD

Critical Perspectives, P.S. 1, Long Island City, Queens, NY

1981 A New Generation of Artists, Illinois Bell Gallery, Chicago, IL

Awards

2005 Westword, Best Realist Show of 2005

2004 Thomas Benedict Clarke Prize, National Academy Museum

2002 Rocky Mountain News, Top 10 Art Exhibitions of 2002

2002 Westword, Best Realist Show of 2002

2001 High Plains Fellowship, Ucross Foundation

2000 Researcher of the Year, University of Colorado at Denver, CO

1995 Achievement Award Acrylic, American Artist

1987-1988 NEA, Visual Artist Fellowship Grant, Painting

1986-1987 Maryland State Art Council, Visual Artist Fellowship Grant, Painting

1985-1986 NEA, Visual Artist Fellowship Grant, Painting

1983-1984 NEA, Visual Artist Fellowship Grant, Painting

1982-1983 NEA, Visual Artist Fellowship Grant, Painting

Bibliography

“Today’s American Scene”, essay by Mindy Neustifter Beesaw, The Sporting Life exhibition catalogue, Ucross, WY, 2013

“Inside Acrylics”, Phillip Garrett, 4 paintings reproduced, 2013

“Love Reports to Spring Training”, Linda Kittell, cover illustration, 2012

“Devil’s Canyon”, cover illustration, Epoch, Volume 58, Number 2, Cornell University, September, 2009

“Solo Efforts Pay Off”, Kyle MacMillan, Denver Post, Denver, CO, August, 15, 2008

“John Hull and Manning Williams”, The Charleston Mercury, Charleston, SC, March 27, 2008

“John Hull and Barbara Duval: Works”, Olivia Pool, The Post and Courier, Charleston, SC, October 25, 2007

“Artist Inspired by Junkyard ‘Edge’”, Dottie Ashley, The Post and Courier, Charleston, SC, October 21, 2007

Horror Show, Michael Paglia, Westword, February 22-28, 2007

Search For Modern Life, Ken Johnson, The Boston Globe, January 24, 2007

Critic’s Picks, Ken Johnson, The Boston Globe, January, 14, 2007

Metal Shows It’s Rough Edge, Mary Chandler, Rocky Mountain News, November 4, 2006

Take Me Out to the Art Show, Chris Shull, Wichita Eagle, June 18, 2006

Exploring Facets of the Diamond Life, Alice Thorson, Kansas City Star, June 18, 2006

Best of Denver, 2005, Westword

Messages from a Dark Place, Mary Chandler, Rocky Mountain News, June 21, 2005

Action Pictures, Michael Paglia, Westord, Denver, CO, January 27-February 2, 2005

Dangerous Liasons, Michael Paglia, Westword, April 7-13, 2005

The Art of the Game, Chris Shull, Wichta Eagle, July 24, 2005

Art Beat , Michael Paglia, Westword, Denver, CO, June 17-23, 2004

Critics Choice , Mary Chandler, Rocky Mountain News, Denver, CO, June 12, 2004

John Hull’s American Narrative Visions , Wendy Ward, City Paper, Baltimore, MD, March 24 –31, 2004

Gallery Sovereign Demonstrates Power of Political Art , J. Gluckstern, The Daily Camera, Boulder, CO, March 7, 2004

Top of the Rocky , Mary Chandler, Rocky Mountain News, Denver, CO, Oct. 30, 2003

Heads , Michael Paglia, Westword, Denver, CO, Oct. 29 – Nov 4, 2003

Risk Management , Michael Paglia, Westword, Denver, CO, June 12 – 18, 2003

Selection Process Makes Interesting Biennial at MCA , J. Gluckstern, The Daily Camera, Boulder, CO, June 15, 2003

Star Power , Mary Chandler, Rocky Mountain News, Denver, CO, June 6, 2003

Exhibit Shines Spotlight on Contemporary Art , Kyle MacMillan, Denver Post, Denver, CO, June 5, 2003

Stable Runs Course at Judish , Mary Chandler, Rocky Mountain News, Denver, CO, May 23, 2003

Year in Review , Mary Chandler, Rocky Mountain News, Denver, CO, Dec. 28, 2002

Eye Popping Exhibit , Kyle MacMillin, Denver Post, Denver, CO, Dec. 6, 2002

Eye Candy , Mary Chandler, Rocky Mountain News, Denver, CO, Nov. 29, 2002

Best of 2002 , Michael Paglia, Westword, Denver, CO, April 4-10, 2002

Critics Choice , Mary Chandler, Rocky Mountain News, Denver, CO, Feb. 16, 2002

The Wild Side , Michael Paglia, Westword, Denver, CO, Jan 21 – Feb. 8, 2002

Tough Love: John Hull’s Canvases Capture the Hard Facts of Life , Mary Chandler, Rocky Mountain News, Denver, CO, Jan. 15, 2002

City Focus: Denver , Michael Paglia, Art News, New York, Jan., 2002

New American Paintings, Number 42, The Open Studio Press, Boston, MA, 2002

The Gettysburg Review, Summer 2002, Gettysburg College, Gettysburg, PA, 2002

A Creative Legacy, A history of the National Endowment for the Arts Visual Artists’ Fellowship Program, Harry N. Abrams, New York, NY, 2002

Great American Writers, Volume Nine, Cavendish Books, White Plains, NY, 2002

Handful of Soldiers , David Steinberg, The Albuquerque Journal, Albuquerque, NM, Dec. 25, 2001

V Marks the Spot , Anne Ray and Francesca Rodriquez, Santa Fe Reporter, Santa Fe, NM, Dec. 15-25, 2001

Good Heavens , Michael Paglia, Westword, Denver, CO, Nov. 8-14, 2001

Paint a Story , Heather Evangelatos, The Sheridan Press, Sheridan, WY, Aug. 25, 2001

John Hull , Alexi Worth, The New Yorker, April, 20, 2001

A Moment in Time , Paul Weidmen, Santa Fe, New Mexican, Sante Fe, NM, March 23, 2001

Galleries/Midtown , New York Times, New York, NY, March 18, 2001

Gun Show Right on Target , Dan Bischoff, Newark Star Ledger, Newark, NJ, Feb. 23, 2001

Painting Challenges-with vigor , Mary Chandler, Rocky Mountain News, Denver, CO, Nov. 14, 2000

John Hull , Alexi Worth, The New Yorker, New York, NY, April 20, 2001

Baseball: The National Pastime in Art and Literature, edited by David Colbert, Time Life Books, New York, NY, 2000, pp. 78, 82, 83, 156.

John Hull at Tatistcheff , Lance Esplund, Art in America, Dec. 1999

Opposites Attract , Michael Paglia, Westword, Denver CO, Nov. 18-24, 1999

Best of Denver 1999- Best Solo Painting Show , Westword, Denver, CO, June 24-30, 1999

John Hull , Alexi Worth, The New Yorker, New York, April 26 & May 3, 1999

The Wild, Wild West , Michael Paglia, Westword, Denver, CO, April 1-7, 1999

SMART , Ken Johnson, New York Times, May 29, 1998

Battle of the Sexes, John Hull’s New Series on Men and Women , Mike Giuliano, City Paper, May 8, 1996

Five Artists with Something to Say , John Dorsey, The Sun, Baltimore, MD, May 1, 1996

John Hull: Kohn Turner , Suzanne Muchnic, Art News, Summer, 1995

John Hull, Grace Borgenicht , Carol Kino, Art News, Dec., 1994

John Hull , Josh Meyer, MUSE 1994

Milwaukee Exhibit Probes Concept of Place , Sheboygan Press, April 5, 1994

Critical Reflections , Wesley Pulka, THE Magazine, Santa Fe, NM, Nov. 1993, p. 39

Art Lines , David Staton, Albuquerque Journal, Sept. 23, 1993

Men Working , Jeff Wright, Cover, August 1993

Yale Celebrates Its Artists and Its Collectors Since 1950 , William Zimmer, New York Times, June 27, 1993

John Hull: Grace Borgenicht , Megan Mueller, ARTnews, Jan. 1993, p.140

Backing Clinton , Carol Kino, Modern Painters, Winter 1992/93

Minds Eye Provides Window to History , Elaine Coleman, Los Alamos National Laboratory News Bulletin, Jan. 22, 1993, p.16

Baseball: A Treasury of Art and Literature, Michael Ruscoe, ed., Hugh Lauter Levin, Associates, Inc., 1993, reproductions pp.286, 287

Order of Battle: John Hull’s Vision of the Little Big Horn , catalogue for exhibition, 1992,Yellowstone Art Center, Billings, MT

Exhibition is Window on Society , Phyllis Braff, The New York Times, May 14, 1991

Play Ball: A Look at the American Pastime , Jeff Johnson, reproduction, U.S.Art, Oct. 1990

Painting as a Minor Art Form: Artist John Hull has Caught the Moods of Louisville’s Triple A Redbirds on Canvas , Rick Wolff, Sports Illustrated, Sept. 17, 1990

Baseball Art Shows View from Dugout of Redbirds , Jim Adams, The Courier Journal, Louisville, KY, June 24,1990

John Hull at the J.B. Speed Art Museum , Diane Heilenman, Review, The Courier Journal, Louisville, KY, June 24, 1990

Birds in the Brush , Bruce Allar, Louisville Magazine, June 1990

The Art of Baseball , Shelly Mehlman Dinhofer, Harmony Books, New York, 1990

Life Through Baseball , Gerald Ryan, The Courier-Journal, Louisville, KY, June 13, 1989

His Work Explores the In-Betweens of Our Lives , Linell Smith, The Baltimore Sun, August 20, 1988

Content Shares Stage in Hull’s Recent Work , John Dorsey, The Baltimore Sun, August 16, 1988

Painter John Hull and the Responsibility of the Artist , John Dorsey, The Baltimore Sun, August 1988

John Hull , Judd Tully, Arts Magazine, Dec. 1986

Between Heaven and Hull , Craig Hankin, Warfield’s, Oct. 1986

Unfamiliar Creatures in Alien Seas , Paul Richard, The Washington Post, Feb. 12, 1986

Scapes Exhibit: Rooms With too Many Views , Suzanne Muchnic, Los Angeles Times, Dec. 9, 1985

Images of War: An Exercise in Distancing the Dreadful , Richard Huntington, Buffalo Evening News, Nov. 29, 1985

The Scopes of Scapes , Shirley Tatum, Daily Nexus, Nov. 14, 1985

Scapes: Looking at the World , Carrie Radlo, The Weekly, Nov. 7, 1985

Scapes , Phyllis Plous, catalogue for the exhibition at University Art Museum, Santa Barbara, CA, 1985

John Hull , Mary Judge, New Art Examiner, Nov. 1985

The Surrounding World: Scapes , Robert McDonald, Artweek, Nov. 1985

Political Messages , William Zimmer, The New York Times, Oct. 27, 1985

Painter Reveals… , Bill Marvel, Dallas Times Herald, May 7, 1985

Necessary Evils , Lucy Lippard, Village Voice, March 19, 1985

Outpost of Progress , Grace Glueck, The New York Times, March 8, 1985

Museum Beat , Roberta Graff, South Shore Record, March 7, 1985 Outpost of Progress: The Paintings of John Hull , Marcia Tucker, catalogue for exhibition, New Museum of Contemporary Art, New York, NY

Religion and Mythology , Joshua Kind, New Art Examiner, Jan. 1985

Inside Reality , John Dorsey, Baltimore Morning Sun, June 1984

Chicago Bluster and Brawn , Charlotte Moser, ARTnews, May 1983, p.102

An Iconography of Recent Figurative Painting , Marcia Tucker, reproduction, Artform Magazine, Summer 1982, p.75

An Artists Notebook, Bernard Chaet, acknowledgement in preface, Holt, Reinhardt and Winston, 1979

The Art of Drawing, Bernard Chaet, reproductions, Holt, Reinhardt and Winston, 1978

Catalogues:

“Cody Nite Rodeo,” Simpson Gallagher Gallery, Cody, WY 2014

“The Sporting Life,” UCROSS Foundation Art Gallery, Clearmont, WY, 2013

“Ucross: 27 Years of Visual Arts Residencies,” Nicalaysen Art Museum, Casper, WY 2010

“The Federal Reserve Collection,” The Federal Reserve Bank, Kansas City, KS, 2008

John Hull: Paintings of the Wichita Wranglers, Wichita Art Museum, Wichita, KS, 2006

John Hull: Pictures from Sonny’s Place, essay by Annie Proulx, University of Wyoming Art Museum/Ucross Foundation, 2005

‘turnrow,’ Fall 2005, literary magazine published by the University of Louisiana, Monroe, 9 paintings reproduced ‘lillies and cannonballs review’, Spring/Summer 2005, NYC, 3 drawings reproduced

“New American Paintings: The 9th Open Studios Western Competition”, The Open Studio Press, Boston, MA

“Catalogue Illustre de Peinture et Sculpure”, Salon d’Arts, Denver, CO, 2005

The 179th Annual: An Invitational Exhibition of Contemporary American Art, The National Academy of Design, New York, NY, 2004

Salon d’Arts: Exhibiton Catalogue, Colorado History Museum, Denver, CO, 2004 Pictures from Life’s Other Side: The paintings of John Hull, A.R.T. Press, New York, NY, 2003

Imitation of Life: The Paintings of John Hull, Goucher College, Baltimore, MD, 2001

Series, Judith Swirsky, 2001, pp. 12-15

Ulrich, Wichita State University, 2001, p. 5

Handful of Soldiers, The New Mexico Office of Cultural Affairs, 2001, Office Cover, pp. 11,12

The Figure: Another Side of Modernism, Newhouse Center for Contemporary Art, Snug Harbor, SI, NY, 2000

Artists on Art. Observations by Yale Faculty on selections from Yale University Art Gallery, Yale University Art Gallery, 1999, pp 14,15

The Alamo, Grace Borgenicht Gallery, 1994

S-Site, Jonson Gallery, University of New Mexico, Albuquerque, NM 1993

Yale Collects Yale, Yale University Art Gallery, New Haven, CT, 1993, pp43, 77

John Hull: Custer’s Last Stand, Yellowstone Arts Center, Billings, MT 1992

The Artist at Ringside, The Butler Museum of American Art, Youngstown, OH, 1992

The Connecticut Biennial II, The Bruce Museum, Greenwich, CT 1991

John Hull: Paintings and Drawings of the Louisville Redbirds, Grace Borgenicht Gallery, New York, NY, 1990

John Hull: Paintings and Drawings of the Louisville Redbirds, J.B. Speed Art Museum, Louisville, KY, 1990

Romance and Irony in Recent American Art, Art Gallery of Western Australia, Perth, Australia, 1989

In Our Time, Grace Borgenicht Gallery, New York, NY, 1989

In Our Time, The Yellowstone Art Center, Billings, MT, 1989

John Hull: Paintings and Drawings 1981-1989, School 33 Art Center, Baltimore, MD, 1988

John Hull: The King Lear Series, University Galleries, Illinois State University, Normal, IL, 1987

1976-1986: Ten Years of Collecting Contemporary American Art, Selections from the Edward R. Downe, Jr. Collection, Wellesley College Museum, MA 1986, pp. 40-41

The Political Landscape, Rutgers University, NJ, 1985

Outposts of Progress: The Paintings of John Hull, New Museum of Contemporary Art, New York, 1985

Sandra Yagi is interested in the intersection between science and art, using themes of anatomy, genetic manipulation, evolution, and medical oddities as tools in the creation of intricate, small and medium scale paintings in traditional styles. These works depict strange worlds where flesh is malleable, skeletons of conjoined twins play, flayed simians invade the historical canons of Western art, and small, delicate, genetically hybrid creatures satisfy unusual curiosities and symbolize moral conundrums.

Los Angeles artist Sandow Birk is a well traveled graduate of the Otis/Parson’s Art Institute. Frequently developed as expansive, multi-media projects, his works have dealt with contemporary life in its entirety. With an emphasis on social issues, frequent themes of his past work have included inner city violence, graffiti, political issues, travel, war, and prisons, as well as surfing and skateboarding. He was a recipient of an NEA International Travel Grant to Mexico City in 1995 to study mural painting, a Guggenheim Fellowship in 1996, and a Fulbright Fellowship for painting to Rio de Janeiro for 1997. In 1999 he was awarded a Getty Fellowship for painting, followed by a City of Los Angeles (COLA) Fellowship in 2001. In 2007 he was an artist in residence at the Smithsonian Institute in Washington, DC, and at the Cité Internationale des Arts in Paris in 2008.

His work is in the collections of the Library of Congress, Metropolitan Museum of Art, NY, San Francisco Museum of Modern Art, San Diego Museum of Contemporary Art, The Getty Center, Los Angeles, Los Angeles County Museum of Art, New York Historical Society, New York Public Library, Crystal Bridges Museum of American Art, Laguna Art Museum, Laguna Beach, CA, De Young Museum – Legion of Honor, San Francisco, CA, Achenbach Graphic Arts Council, Fine Arts Museums of San Francisco, CA, Biblioteca Nazionale Centrale di Roma, Italy, University of Notre Dame, Notre Dame, IN, Arizona State University Art Museum, Tempe, AZ, Cornell University Library, Ithaca, NY, among others.

Sim’s recent geometric paintings start with ideas explored by 1970s hard-edge Op Art.

The distressed works provide an alternative to the pristine surfaces and clean solids of the pure Op Art tradition. They are modified and enhanced by the use of distressed and organically worked surfaces. Like his predecessors, he starts with a simple, geometric-shaped, linen canvas, and generates a dimensional illusion with line and color. Sims then avoids the temptation to seek perfection, instead introducing layers of striated color and texture that highlight a tension between the underlying geometry and the propensity towards decay of all physical objects.

The line works are studies in impure line work. Like the distressed paintings, they add a hand made quaility to the “perfection” of the geomtery; making them emotional as well as rational.

The drip paintings process and distort symbols and images into near abstraction, retaining just enough of the image to retain a rudimentary recognition. He thoughtfully extends the reach of methods such as pixillation, halftoning, and patterning through manual means which humanizes the painting so that there is a warmth and handmade quality.

Sims’ neon works are concerned with the interaction of light, space, and color.

Laurie Lipton was born in New York and began drawing at the age of four. She was the first person to graduate from Carnegie-Mellon University in Pennsylvania with a Fine Arts Degree in Drawing (with honours). She has lived in Holland, Belgium, Germany, France and London, and has made her home in Los Angeles since 2011. Her work has been exhibited extensively throughout Europe and the USA.

Lipton was inspired by the religious paintings of the Flemish School. She tried to teach herself how to paint in the style of the 16th century Dutch Masters and failed. When traveling around Europe as a student, she began developing her very own peculiar drawing technique, building up tone with thousands of fine cross-hatching lines like an egg tempera painting. “It’s an insane way to draw”, she says, “but the resulting detail and luminosity is worth the amount of effort. My drawings take longer to create than a painting of equal size and detail.”

“It was all abstract and conceptual art when I attended university. My teachers told me that figurative art went ‘out’ in the Middle Ages and that I should express myself using form and shapes, but splashes on canvas and rocks on the floor bored me. I knew what I wanted: I wanted to create something no one had ever seen before, something that was brewing in the back of my brain. I used to sit for hours in the library copying Durer, Memling, Van Eyck, Goya and Rembrandt. The photographer, Diane Arbus, was another of my inspirations. Her use of black and white hit me at the core of my Being. Black and white is the color of ancient photographs and old TV shows… it is the color of ghosts, longing, time passing, memory, and madness. Black and white ached. I realized that it was perfect for the imagery in my work.”

Shane Guffogg is a painter with a deeply disciplined approach to his art making. His practice was influenced by his many years as the studio assistant to Ed Ruscha, who encouraged him to find his voice and pursue his singular vision. Steeped in the Southern California traditions of light and space, cool school, and synchromism, Guffogg is a painter of lyrical abstraction — his works fuse color, movement, spirit, and form into a sophisticated whole.

Guffogg recently had a retrospective of his work at the Academy of Fine Arts Museum St. Petersburg, Russia.This exhiibition is also now traveling to the Museum of Modern Art Baku, Baku, Azerbijian, The Pushkin Museum, Moscow, Russia, and at Palais de Tokyo Museum, Paris, France.

Shane Guffogg is in the collections of: The Hammer Museum, Los Angeles, Duke University Museum, Durham NC, Fresno Art Museum, Fresno CA, Jumex Foundation, Mexico City, Laguna Art Museum, Laguna Beach CA, Long Beach Museum of Art, Long Beach CA.