Location: United States
2020 PUNCHINELLO STORIES Ray Wiggs gallery
2020 PUNCHINELLO IN CRISIS Leslie Lohman
Project Space NYC NY
2018-9 WHAT MAKES THE ENGINE GO, IPTAR NYC NY
2018 HOME WITH PUNCHINELLO , Rice Polak,
2014 FIRE! Rice Polack Gallery Provincetown MA
2013 LOVE’S PROGRESS: 1989-2013, PTg Center
2012 ON THE BEACH AT NIGHT The Ptg Cter, NYC
2012 PAINTINGS, Rice Polack Gallery Provincetown MA
2011 NIGHT & DAY Julie Heller Gallery Ptown MA
2010 PUNCHINELLO AS OTHER, ptg Ctr NY
2008 25 YEARS OF WORK, Provincetown Art Museum,
2015-17 ART AIDS AMERICA curator Jonathan Katz & Rock Hushka., Library Los Angeles, Tacoma Museum of Art , Zuckerman Museum of Art, Atlanta, Bronx Museum, NYC NY
2015 DOGS AND CATS curator Nancy Grimes and Leslie Lalehzar, Mark Miller, Gallery NYC
2015 I WANTED BODY AS FORM AND VICE VERSA curator Chris Stiegler Vis AIDS
2014 SECRETLY, FREQUENTLY (COWBOY DRAG) curator Anthony Easton Vis AIDS
2013 AMERICAN NOIR INTO A DARK PAST curator Robert Atkins Visual AIDS Web Gal.
2012 NO WASTED WORDS NO ILLUSIONS curator Ann Northrop Visual AIDS Web Gal.
2011 THE SWORD OF DAMOCLES The Painting Center ,NYC, NY
Awards and Grants
2016 John Simon Memorial Guggenheim Fellowship
1998 Thomas B. Clarke Award in Painting, National Academy Museum
1995 &89 Ingram Merrill Award in Painting
1992 Art Matters Inc. Fellowship
1984.6.8 National Endowment for the Arts Fellowship
These Paintings come from a series of paintings I started when the Covid pandemic hit New York City . I have always painted in response to autobiography . My experience in the world becomes transformed into Punchinello’s and gives me a way into the exploration of a breadth of psychic responses; ones that I have and ones I imagine. These four paintings explore four locations in New York City where the effect of pandemic seared our lives. The series is ongoing .
Since late 2013, I have been obsessed by the simple rhyme of Tinker Tailor—I love the seeming banality of the list that in verses and versions expands and resonates with associations and confluences. Umberto Eco says we make lists because we are afraid of dying. I agree, and would add we make lists to understand and to make connections. I enjoy the John Le Carré novels that use the rhyme. In them, the characters’ search for information is indirect—the questions asked reveal as much about the questioner as the answers reveal about those questioned. This is how art and the imagination work too—through implication and within ambiguities. So my ubiquitous Punch explores a series of activities. He inhabits the roles of the rhyme. It is a journey of possibility rather than of death and loss.The sequence, like many of my recent series, is malleable—interchanging the placement of the paintings brings to light new connections, possible narratives and causalities that underscore the niggling strangeness of life, with its interconnectedness and unknowability.