Mike Solomon is a hands-on, interdisciplinary artist. Engaging physically and conceptually with a wide range of materials—including colored pencils, watercolor tinted papers, beeswax, Rhoplex, acrylic gels, resin, Mylar, plasticine, resin, and fiberglass—he produces paintings, sculpture, installations, assemblages, watercolors, prints and photographs. Layering is an important part of his methodology, resulting in composite forms that are mesmerizing, luminous, and ethereal. While inspired by nature, his art goes beyond mimesis into a spiritual realm. At once complex and unified, his works express his view of art as a means of conveying the diversity and oneness of humanity—which is also of significance in the Bahá’i Faith to which he adheres. His career was inspired by his parents (his father Syd Solomon was a noted Abstract Expressionist in East Hampton and Sarasota, Florida), by teachers (he received his B.A. from the University of California, Santa Barbara’s College of Creative Studies and his MFA from Hunter College), by mentors, James Brooks and David Budd, and through assistantships with John Chamberlain and Alfonso Ossorio. Versed in art from his earliest years, he draws from early Abstraction and the process and structures of Minimalism, in works that seem plucked from the maelstrom of humanity into contemplative moments. In a 2012 article in the Sag Harbor Press, Helen A. Harrison, director of the Pollock-Krasner House and Study Center, East Hampton, connected Solomon’s work to the long tradition of abstracting from nature, such as in the art of Arthur Dove (admired by Solomon), while indicating that what sets Solomon’s work apart is that he seeks to go beyond the sensuous appeal of his material, to embody “fundamental qualities that he perceives in nature, for which he creates aesthetic analogies.”[i]
Since 1979, Solomon has been featured in numerous exhibitions, among them solo exhibitions at Queens Museum, 1988 and at the Greenville County Museum of Art, South Carolina, 2019. The latter displayed his installation Sentient and acquired his work Radiant Acquiescence. In 2020, the museum purchased a suite of twenty colored pencil drawings Solomon created from newsfeeds of Black doctors working on the front lines during the pandemic, at a time when he was caring for his 102-year-old mother in Florida. In 2021, Solomon’s installation Kristallnacht was exhibited at the Tampa Museum of Art, in which Solomon, recalling the terrifying Kristallnacht, 1938, (Night of Broken Glass), used shadow images of broken glass shards, to metaphorically express our time of broken barriers, creating works that are “dangerous and beautiful, chaotic and cathartic.” His 2023 show at Berry Campbell, features the Wayfarer Project, an installation series that has been in process for five years. Its visual component consists of foot and shoe prints on long strips of translucent Mylar sheets, mounted in skyward arcs. The project expresses humanity throughout time, “moving toward an endlessly evolving horizon of possibilities in the search for a better life, a more harmonious state of being, and a state of peace and safety and love.” Presently in his mid-career, Solomon (born in 1956) is an artist whose multi-faceted, richly nuanced, and radiant work is at an exciting stage.
[i] Helen A. Harrison, “Mike Solomon Makes His Mark,” Sag Harbor Express, October 18, 2012, p. 20.
Mike Solomon is an interdisciplinary artist whose practice involves a physical and conceptual engagement with a wide range of materials (colored pencils, watercolor tinted papers, beeswax, Rhoplex, acrylic gels, resin, Mylar, plasticine, resin, and fiberglass), resulting in multi-media paintings, sculpture, installations, assemblages, watercolors, prints, and photographs. Layering is an important part of his methodology, producing composite forms that are mesmerizing, luminous, and ethereal. While inspired by nature, Solomon’s art goes beyond mimesis into a spiritual realm. At once complex and cohesive, his works convey his view that art is a process through which one can experience “unity in diversity,” a bedrock principle of the Bahá’i Faith to which he adheres. Versed in art from his earliest years, he draws from the influence of Abstract Expressionism and the structural limits of Minimalism, in works that seem plucked from the maelstrom of humanity into contemplative moments.
Born in 1956, Solomon is now in his mid-career, at an exciting point in his oeuvre. However, he has already seemingly led several lives in art, and his work—featured in solo and group exhibitions and installations on Long Island and beyond since the late 1970s—has received much recognition.
Solomon grew up surrounded by art in both Sarasota, Florida, and East Hampton; he lived half the year in each location. In the circle of his father, Syd (1917–2004), a noted Abstract Expressionist, and his mother, Annie (1918–2020) (who enjoyed bringing people together) were prominent artists and writers, including Elia Kazan, Willem de Kooning, Philip Guston, Larry Rivers, Conrad Marca-Relli, Charlotte Park, James Brooks, Alfonso Ossorio, Jim Dine, Jerry Lieber, Eric Von Schmidt, Joy Williams, John D. MacDonald, Betty Friedan, Kurt Vonnegut, Dan Budnick and Lucia Wilcox (once the partner of Fernand Léger). Solomon recalls that his parents’ “homes, in both north and south, were the epicenters for culture.” He and his sister experienced life as “a movable party that flowed back and forth” between the two locations, where in different schools in each, they had to “break in and out of the same peer groups” year after year. The result for Solomon was “a sense of duality,” which had its difficulties but also gave him “a wider lens on people and the world.”
Solomon often visited artists’ studios in his childhood, acquiring a familiarity with art, processes, and practices, often not achieved by artists until well into their careers. His father’s instruction in the difficult medium of watercolor gave him an awareness of art as a “mentally demanding practice,” and he was aware from a young age “of what it takes to make art physically.” Watercolor, in which he still works sporadically, evolved into using other translucent media, such as beeswax, resin, fiberglass, and Mylar. Those around him, in his youth, including Guston and de Kooning—whose daughter Lisa was a peer—led him to understand art as a means of “questioning very deep ideas and then constructing a special expression for them.” In his teens he read books that instilled spiritual awareness, including the writings of Herman Hesse and Kahlil Gibran as well as The Hidden Words by Baha’u’llah, the founder of the Bahá’i Faith. The Bahá’i belief in the concept of “unity in diversity” seemed to Solomon “like a master key” to his “variousness and duality.” He found in Bahá’i, a “trusted center, a place of meaning, logic, and acceptance,” which gave him a sense of purpose. He decided concurrently to become a Bahá’i and an artist. (A role model was artist Mark Tobey, also a Bahá’i.)
Solomon studied at the Skowhegan School of Sculpture and Painting, Maine (1975) and at the Yale Summer School of Music and Art, Norfolk, Connecticut (1978), where he was influenced by Joan Snyder. At the time, he was using the grid in small acrylic abstractions. Solomon attended the University of California, Santa Barbara, where his teachers included Charles Garabedian and John McCracken. During his California years, he created journalistic watercolors of shorelines, with which he conveyed his responses to “nature’s overwhelming beauty,” a desire that resonates throughout his life. He spent the fall of 1978 on an independent study in New York, with David Budd, who taught at the School of Visual Arts, and Ray Parker, who taught at Hunter College. Then, living downtown in a shared loft, he began creating paper assemblages. The process of producing them dovetailed for him with the Bahá’i “unity in diversity” ideal “because one uses many parts to build a whole work.” Solomon’s first solo exhibition was at UC Santa Barbara, in 1979, the year of his graduation from the university’s College of Creative Studies. Subsequently John Chamberlain hired him as an assistant at Chamberlain’s new Sarasota studio. There, Solomon was astounded by the materials Chamberlain amassed, which were “processed in an assembly line—cutting, crushing, painting in a chance-based method, maybe crushing them again and then sorting them into numerous piles.” Solomon saw Bahá’i philosophy working again in Chamberlain’s assemblage of the diverse pieces of crushed metal.
Three solo shows of Solomon’s work were held in the late 1980s: in 1986, at Vered Gallery, East Hampton, in 1988; at the Queens Museum of Art; and in 1989 at Hunter College, from where he received his MFA in that year. In 1990, Solomon became Alfonso Ossorio’s studio assistant at the Creeks, Ossorio’s fifty-seven-acre estate in East Hampton, which had a long cultural history—it was built in 1899 by Albert and Adele Herter and Ossorio hosted the leading Abstract Expressionists who worked on Long Island’s East End in the mid-twentieth century. Ossorio’s works in ink, wax, and watercolor became Solomon’s obsession, “not only for the technical aspects of their layering, but also for the way Ossorio integrated representation—a use of media to tell a story—and abstraction—an exploration of media itself and of the elemental structures of vision.” Ossorio was then quite ill and, becoming familiar with his assemblages, enabled Solomon to advise on their conservation. After Ossorio’s death in late 1990, Solomon established a foundation to manage his art and archives, bringing recognition to the Creeks and Ossorio’s role in Abstract Expressionism. Due to his interest in connecting art historical points, Solomon became a writer and lecturer on art, activities he actively maintains.
In the early 1990s, Solomon’s novel exploration of his media was given recognition by the poet and educator Robert Long (1955–2006), who commented that works by Solomon in plasticene “don’t ‘represent’ nature; they are a piece of nature. The resource—the medium—is not only the source of inspiration: it is with numerous subtle adjustments . . . the end product.” In the New York Times, Phyllis Braff similarly stated how in his use of beeswax, “the process of transformation can become the subject.” Solomon produced several beeswax series in the 1990s. In 1999 he had his second museum show, held at The Heckscher Museum in Long Island. Included were “Hats,” large “portrait paintings” on muslin, in which only hats depicted subjects in works, such as Walt (Whitman) and Vincent (Van Gogh). That year Solomon was included in Waxing Poetic: Encaustic Art in America, held at the Montclair Art Museum. Reviewing the show—which included a Roman Fayum portrait along with works by Jasper Johns, Brice Marden, Robert Mangold, and Lynda Benglis—William Zimmer commented in the New York Times that Solomon’s drawing of an ear of Indian corn, “made with beeswax directly from a beekeeper” was “one of the simpler but most exemplary works” in the show.
In 2000 Solomon turned toward nature and particularly his relationship with the ocean (he was an avid surfer) in a series of small, tinted beeswax and wire mesh sculptures that he felt had a “fetishistic quality.” They were featured in The Surfer’s Journal, the “Architectural Digest” of the surf world. According to the poet and art critic Robert Long, they conveyed the movement of the “tube formed by a wave’s curl as it crests and begins to collapse.”
In 2001, Solomon was an advisor for Surf’s Up, an exhibition on surfing culture, curated by the late John McWhinnie at Glenn Horowitz Bookseller, East Hampton. Solomon participated in the show along with artists including Richard Prince, Julian Schnabel, Ashley Bickerton, Ken Price, and the filmmaker/photographer Michael Halsband. In 2006, when Solomon had a solo exhibition at Salomon Contemporary (no relation), East Hampton, Long wrote the catalogue’s introduction of layered paintings with beeswax on muslin stretched over acrylics on canvas, noting that “outlines of corpuscle-like shapes seemed to emerge and fade in the nearly transparent beeswax.” Long stated: “only rarely does this light appear on canvas—it happens in Jane Freilicher, Fairfield Porter, Jane Wilson, and, of course, de Kooning—and it can only be represented indirectly.” Long went on to note that Solomon, however, is of a different generation and temperament, and the materials he uses allow him to treat light more directly. What he has accomplished in these paintings is more on the level of magic than mimicry. He shows us something familiar about the world in a way we had not anticipated, and transcendence arrives in that moment of surprised recognition.” Toward the end of the show, Long read from his newly published book De Kooning’s Bicycle: Artists and Writers in the Hamptons (2005, Farrar, Straus, and Giroux), surrounded by Solomon’s work. In the Southampton Press, Andrew Botsford commented on the “lovely juxtaposition,” noting that Solomon was “very much a painter’s painter, and Long is just as clearly a writer’s writer.” Botsford observed that Solomon’s works “toy with the viewer’s powers of perception,” creating striking effects that are “only fully realized after spending some time before the work.”
At Salomon Contemporary in 2008, Solomon exhibited large sculptures, produced with pliable nylon netting, which he torqued and twisted to form sections of waves that he then locked into shape by seven layers of fiberglass. He conceived of the pieces as one large installation work, unified by their green tint and the one-inch black grid of the netting in all the works. As he told Sarah Douglas in an interview, the works were “not just parts of a conceptual whole, but can be seen as parts of an actual moment, when all of these various water events might be happening at once.” Relating these works to the structural concerns of architects such as Frank Gehry and Zaha Hadid, the architect Maziar Behrooz stated that “because of the complex calculations required in mapping compound curves, Solomon’s sculptural process—of hand stretching pliable nylon netting and then solidifying it with translucent fiberglass—represents an analog, more tactile, say artistic way, of getting to the same place.” Behrooz pronounced the works, “Brilliant.”
At the end of the decade, Solomon continued to draw inspiration from beaches and skies, producing plein-air watercolors capturing specific conditions of waves and light. To these “meteorological watercolors,” he added tiny notations indicating dates, locations, weather, water conditions and an occasional anecdote. When these works were shown in 2008, Solomon wrote “They are memories of a specific time and place.” He commented that the “diaristic aspect” was his way of “bringing people closer to experiencing the ocean and the day.” Also in 2008, Solomon was included in Sand: Memory, Meaning, and Metaphor, held at the Parrish Art Museum, and featuring works by artists of many eras, including James McNeill Whistler, Arthur Dove, Pablo Picasso, Jasper Johns, Ed Ruscha, Alice Aycock, Ashley Bickerton, and Donald Lipski. In 2011, sculptor Aycock chose Solomon for the acclaimed biennial exhibition Artists Choose Artists at the Parrish Art Museum.
Solomon has continued to explore process and materials, and how they function in art, aesthetically, metaphorically, culturally, and spiritually. In 2012, he began producing paintings in an additive method, first by rendering vertical or horizontal “dashes” with watercolor on rice paper and then embedding the paper in resin which makes it and the marks translucent. He repeated this process creating a composite of many layers of resin embedded in tinted papers. He then polished the surfaces. Although the works are less than a quarter of an inch thick, deep space emerges in them. The resulting imagery, as Janet Goleas noted, “is magically diffuse.” She stated that the paintings hover “between subject and object with an irresistible, melt-in-your-mouth translucence, their fleeting edges of actual moments, coalescing and pulling apart within small poetries of memory, awareness, and redolence.” In a 2012 article in the Sag Harbor Press, Helen A. Harrison, director of the Pollock-Krasner House and Study Center, East Hampton, connected Solomon’s work to the long tradition of abstracting from nature, such as in the art of Arthur Dove (admired by Solomon), while indicating that what sets Solomon’s work apart is that he seeks to go beyond the sensuous appeal of his material, to embody “fundamental qualities that he perceives in nature, for which he creates aesthetic analogies.”
In June 2015, Solomon exhibited layered watercolor and resin works at Kathryn Markel Fine Art in Bridgehampton, New York, which were described by the art critic James Croak as “anchored less in the grid-like abstractions of the New York School than in the early Modernism and grid structure of the De Stijl group in The Netherlands.” He stated that Piet Mondrian’s Composition in Brown and Gray (1913–14) or Composition in Line (Black and White) (1916–17), “derived from a geometric reduction of landscape, would seem to be immediate ancestors.” Also in 2015, Solomon was included in Defining Abstraction, curated by Mark Ormond for the Ringling College of Art and Design, Sarasota.
Covering Art Southampton, 2016 (held on the grounds of the Parrish Art Museum and Southampton Hospital), in the Huffington Post, Bruce Helander singled out Solomon for “beautiful, color saturated paintings that have a built-in grid reminiscent of early Larry Poons geometric accents [and] contain an elegant veil of dreamlike mist.” Helander stated: “Solomon is a tastemaker if there ever was one.” In that year, Solomon was featured in Art of Our Time, curated by Matthew McLendon at the John and Mable Ringling Museum of Art, Sarasota. Solomon’s first exhibition at Berry Campbell, titled Immediate Splendor, was held in 2017. Continuing to work in watercolor on paper and infused resin, Solomon created three different modes, achieved by modifying his marks (short horizontal and vertical brush strokes, long plaid stripes and soft hexagonal shapes floating in space) and color intensities. In a review Peter Malone took note of a set of panels that mimicked and were named after the bokeh effect, the aesthetic effect of geometric figures that appear in the foregrounds of intentionally out-of-focus photographs, commenting “Solomon’s work is not overtly philosophical, but he seems intent on isolating the visual from the tactile. It is an unusual approach and one that succeeds in concentrating a viewer’s attention on the image itself.”
In 2018 Solomon began using Mylar to create his Native Shore series. This work and its title reflected his 2014 return to Sarasota, his birthplace, to take care of his aging mother and to organize his parents’ large archive. In an article in Sarasota Magazine, he told Kay Kipling “I’ve had a kind of Homeric return to Sarasota, after a Forrest Gump life in art.” His return to Sarasota inspired him with the idea that flatness was the dominant characteristic of the shoreline of the Gulf of Mexico. Using simple horizontal stripes of color painted across sheets of translucent Mylar, he played with ordering layers of painted sheets. Discussing this work Nathan Skiles, a fellow artist and professor at Ringling College of Art and Design wrote: “Solomon’s layered approach to painting allows for a subtle overlapping of hue and value. Oscillating between a mantra induced trance and the slick surface of 60’s Finish Fetish, the work evokes the timeless rhythms of the ocean and the immediate cool of a freshly glassed surfboard.”
Solo shows of Solomon’s art were held at the East Hampton Public Library in 2018 and Native Shore at Alfstad & Contemporary, Sarasota. In 2019 the Greenville County Museum of Art, South Carolina, held Solomon’s third major museum exhibition, featuring the installation Sentient, which focused on how light penetrates the Mylar composites painted with acrylic colors. In vertically suspended works installed throughout the large galley, the available light penetrated the works from both sides to solicit all the potentials of the translucent media. The museum acquired Solomon’s Radiant Acquiescence, a watercolor, resin work dedicated to Mark Tobey. In 2019, Solomon was featured in A Life with Art: Gifts from Dwight and Susan Emanuelson, held at the Columbia Museum of Art, South Carolina.
During the 2020 lockdown, while taking care of his mother (then 102), Solomon created twenty colored-pencil drawings based on newsfeeds about the pandemic and the protests that followed the deaths of George Floyd and Ahmad Arberry. The first series depicted Black doctors working on the pandemic’s front lines, followed by images of essential workers and protesters. The Parrish Art Museum hosted Solomon's phone-video about these works, while Joyce Beckenstein’s article, “Artists’ Stories from the Pandemic,” in the Brooklyn Rail featured Solomon’s drawing of Dr. Ala Stamford of Philadelphia. The Greenville County Museum of Art purchased the entire suite of twenty drawings for its permanent collection. The works were also featured in Sarasota publications, including SRQ and the Sarasota Herald Tribune, and they were exhibited virtually on the Sarasota Art Museum’s website.
For the Tampa Museum of Art, Solomon created another installation in 2021, titled Kristallnacht, which was one of the museum’s contributions to SKYWAY: A Contemporary Collaboration (organized along with three other museums). For Solomon, the installation derived from thinking about “the violation of safe spaces that have recently occurred in schools, churches, synagogues, and mosques.” As he researched these events, he came across photographs of Kristallnacht, 1938 (The Night of Broken Glass). He “tried to imagine what it would feel and look like when broken glass came flying in.” He states: “With Kristallnacht as a metaphor, I used glass shards as stencils to apply color to this series of Mylar works. The broken glass image is at once dangerous and beautiful, chaotic, and cathartic. It alludes to violence and fear; yet in its shimmering it catches the light.”
At Berry Campbell in 2023, Solomon will exhibit an installation as part of Wayfarer project that has been percolating for five years. Its visual component consists of foot and shoe prints on long layered strips of translucent Mylar mounted in skyward arcs, expressing humanity throughout time “moving toward an endlessly evolving horizon of possibilities, searching for a better life, a more harmonious state of being, a state of peace and safety and love.”
Solomon is included in numerous private collections including those of Edward Albee, Lorraine Cooper, Beth Rudin deWoody, Dan Flavin Jr., Tom and Darlene Furst, Peter Maas, Richard Meier, Mr. and Mrs. Richard Prince, Alex Oliver, Sam Alfstad, Michele Berty, Geoffrey Young and Priscilla Rattazzi. His selected public collections include Cantor Fitzgerald Collection, New York; Oliver and Wyman, New York; Columbia Museum of Art, South Carolina; Greenville County Museum of Art, South Carolina; Guild Hall Museum, East Hampton, New York; J. Crew, New York; Parrish Art Museum, Water Mill, New York; and the Ringling Museum of Art, Sarasota, Florida. Solomon has twice been the recipient of the Pollock-Krasner Foundation Grant, in 2001 and 2012.
Lisa N. Peters, PhD, 2023
 These quotes from the artist and those that follow are from “The Diversity Within: A Brief Art Autobiography by Mike Solomon,” July 1, 2023.
 During Ossorio’s time at the Creeks, frequent visitors were artists, Jasper Johns, Louise Nevelson, Claes Oldenburg, Andy Warhol, Marcel Duchamp, and Mark Rothko; and critics, Clement Greenberg, Harold Rosenberg, and Thomas Hess. In 1959, the Solomon family lived at the Creeks for three months.
 A chapter in Magda Salvesen and Diane Cousineau, Artists’ Estates: Reputations in Trust (New Brunswick, N.J.: Rutgers University, 2005) is devoted to Solomon and the Ossorio Foundation.
 Robert Long, “Perspectives,” Southampton Press, June 22, 1992.
 Phyllis Braff, “Guild Hall Displays Work of its Neighbors in ‘Young Blood,’” New York Times, November 11, 1993, LI-19.
 William Zimmer, “Wax as a Medium and a Message,” New York Times, June 6, 1999, p. NJ-9.
 Robert Long, “Surf’s Up—Glenn Horowitz Bookseller East Hampton,” East Hampton Star, August 9, 2001.
 Robert Long, “Introduction: Like a Shark,” in Mike Solomon: Recent Paintings and Sculpture, exh. cat. East Hampton, N.Y.: Salomon Contemporary, 2006.
 Andrew Botsford, “A ‘Third Reality’ in Paint, Words,” Southampton Press, July 27, 2006, p. B3.
 Sarah Douglas, An Interview with Mike Solomon (New York: Salomon Contemporary, 2008).
 Maziar Behrooz, quoted in “Mike Solomon: Sea of Light Opens at Alfstad& Contemporary.
 Janet Goleas, “Fragrance: Mike Solomon—Returning to the Mark,” October 19, 2012, firstname.lastname@example.org, accessed July 10, 2023.
 Helen A. Harrison, “Mike Solomon Makes His Mark,” Sag Harbor Express, October 18, 2012, p. 20.
 James Croak, “Quiet Beauty Whispered in Mike Solomon’s ‘Under Water Color,’” Hamptons Art Hub, June 9, 2015.
 Bruce Helander, “Multiple Gems at Art Southampton, 2016,” Huffington Post, July 6, 2016.
 Peter Malone, “Mike Solomon Works Concentrate Attention and Tease Perception,” Hamptons Art Hub, June 12, 2017.
 Kay Kipling, “The Shoreline Beckons in the Art of Returning Native Son Mike Solomon,” Sarasota Magazine, March 15, 2018.
 Nathan Skiles, Native Shore, exh. cat. (Sarasota, Fla.: Alfstad & Contemporary, 2018).
 Solomon, artist statement, 2020.
 Solomon, Wayfarer project description, June 28, 2023.
1975, Skowhegan School of Sculpture and Painting, Skowhegan, Maine
1978, Yale Summer School of Music and Art, Norfolk, Connecticut
1978, Independent study with Ray Parker and David Budd, New York, New York
1979, Bachelor of Arts, College of Creative Studies, University of California, Santa Barbara, California
1989 Masters of Fine Art, Hunter College, New York, New York
SELECTED SOLO EXHIBITIONS
Greenville County Museum of Art, Greenville, South Carolina, Sentient, 2019.
East Hampton Public Library, East Hampton New York 2018.
Alfstad & Contemporary, Sarasota, Florida, 2018.
Berry Campbell Gallery, New York, Immediate Splendor, 2017.
Kathryn Markel Fine Art, Bridgehampton, New York, 2015.
Alfstad & Contemporary, Sarasota, Florida, 2015.
Allyn Gallup Contemporary, Sarasota, Florida, 2014.
Salomon Contemporary, New York, 2012.
Salomon Contemporary, East Hampton, New York, 2008.
John McWhinnie at Glenn Horowitz Bookseller, East Hampton, New York, 2008.
Salomon Contemporary, East Hampton, New York, 2006.
Greene Contemporary, Sarasota, Florida, 2006.
The Green Barn, Sagaponack, New York, 2002.
Heckscher Museum of Art, Roslyn, New York, 1999.
Ann Harper Gallery, Amagansett, New York, 1996.
Benton Gallery, Southampton, New York, 1993.
Benton Gallery, Southampton, New York, 1992.
Hunter College, New York, 1989.
Queens Museum of Art, Queens, New York, 1988.
Vered Gallery, East Hampton, New York, 1986.
University of California, Santa Barbara, California, 1979.
SELECTED GROUP EXHIBITIONS
The John & Mable Ringling Museum of Art, Sarasota, Florida, A Decade of Collecting, 2022-23.
Gallery Petite, Brooklyn, The Ocean Show, 2021.
Tampa Museum of Art, Florida, Skyway 20/21: A Contemporary Collaboration, 2021.
Berry Campbell, New York, Artist Insights/ Contemporary Highlights, 2020.
Berry Campbell, New York, Summer Selections, 2019.
VSOP Art + Design Projects, Greenport, New York, On the Grid: Contemporary Explorations, 2019.
Columbia Museum of Art, South Carolina, A Life With Art | Gifts from Dwight and Sue Emanuelson, 2019.
Gallery Petite, Brooklyn, Oceansize, July 3 - September 16, 2018
Berry Campbell Gallery, New York, Summer Selections, July 5-August 28, 2018
Berry Campbell Gallery, Palm Beach Modern and Contemporary Art Fair, Palm Beach, Florida, January 11- 15, 2018
Alfstad & Contemporary, Aqua Art Fair, Miami, December 6 - 10, 1017
Geoffrey Young Gallery, Great Barrington, Massachusetts, Supreme Friction, June 3 – July 1, 2017
Berry Campbell Gallery, Palm Beach Modern and Contemporary Art Fair, Palm Beach, Florida, January 20 -24, 2017
Geoffrey Young Gallery, Great Barrington, Massachusetts, Supreme Friction, June 3 – July 1, 2017
Arkansas Art Center, Little Rock, Arkansas, 48th Collectors Show and Sale, November 11, 2016-Janauary 8, 2017
John and Mable Ringling Museum of Art, Sarasota, Florida, Art of Our Time, November 5, 2016 – October 5, 2017
Geoffrey Young Gallery, Great Barrington, Massachusetts, Hanging Paper, August 6 - 27, 2016
Berry Campbell Gallery, New York, Summer Selections, July 5-August 28, 2016
Art Southampton, Southampton, New York, Berry Campbell Gallery, July 5-10, 2016
Berry Campbell Gallery, New York, Summer Selections, June 30-September 14, 2015.
Art Silicon Valley, San Mateo, California, Berry Campbell Gallery October 9-11, 2015
Berry Campbell Gallery, New York, Something, Curated by Noah Becker, January 7- February 6, 2016.
Art Wynwood, Miami, Florida, Berry Campbell Gallery, February 12-16, 2016.
Allyn Gallup Contemporary, Sarasota, Florida, Small and Big, January, 2016.
Ringling College of Art and Design, Selby Gallery, Sarasota, Florida, Defining Abstraction, July 10 – August 5, 2015.
Allyn Gallup Contemporary, Sarasota, Florida, The Lightness of Being: Abstracts: Part 1, May 1-June 13, 2015.
Sara Nightingale Fine Art, Water Mill, New York, 2015.
Hamptons Art Markt, Sara Nightingale Fine Art, Bridgehampton, New York, 2015.
Allyn Gallup Contemporary, Sarasota, Florida, A Few Great, Big Pictures, May 16-July 28, 2014.
McNeill Art Group, Southampton, New York, Mark Makers, July 4- August 4, 2014.
Dallas Art Fair, Ashley Tatum Fine Art, Dallas, Texas, 2013.
Allyn Gallup Contemporary, Sarasota, Florida Some Wonderful Abstractions, August 15- October 5, 2013.
The 20th Annual Watermill Center Benefit, Water Mill, New York, July 27, 2013.
Hamptons Art Markt, Sara Nightingale Gallery, Bridgehampton, New York, July 11 – 14, 2013.
Guild Hall Museum, East Hampton, New York, Artists & Writers They Played in the Game, June 15 - July 28, 2013.
Sarah Nightingale Gallery Water Mill, New York, April - May 30, 2013.
Ringling College of Art and Design, Sarasota, Florida, Abstract, adj.; Expressing a quality apart from an object, February 21- April 3, 2013.
Fireplace Project, Springs, New York, Inside Outsiders, June 29 – July 16, 2012 (Curated by Mary Heilmann).
Harper’s Books, East Hampton, New York, Open for the Stones, May 26th – June 25, 2012.
Dallas Art Fair, Salomon Contemporary Booth, Dallas, Texas, 2012.
Harper’s Books East Hampton, New York, Group Therapy, April 21 – May 21, 2012.
Parrish Art Museum, Water Mill, New York, Artists Chose Artists, August 21 – October 9, 2011 (Chosen by sculptor Alice Aycock).
Islip Art Museum, Islip, New York, Flag Day, June 15 – September 4, 2011.
John McWhinnie / Glenn Horowitz Bookseller, East Hampton, New York, Local 87, July 2 – September 15, 2011.
Gerald Peters Gallery, New York, New York, Hampton’s Artists: Then and Now, May 5 – June 5, 2011.
Salomon Contemporary, New York, New York, Plank Road, 2010.
McNeill Art Group Project Space, New York, Plastic, Rubber, Wood, October 21 – December 14, 2009.
Parrish Art Museum, Water Mill, New York, Sand: Memory, Meaning and Metaphor, June 29 - September 14, 2008.
Scope Hamptons, East Hampton, New York, July 24 – 27, 2008.
Anelle Gandelman Gallery, Larchmont, New York, 2008.
Telfair Museum of Art, Savannah, Georgia , East End Artists: Past and Present, October 17, 2007 – January 6, 2008.
Greene Contemporary, Sarasota, Florida, Assemblage, August 3 - September 1, 2007.
Scope Art Fair, East Hampton, New York, July 26 – July 29, 2007.
Salvatore Ferragamo Gallery, New York, New York, Water, February 7 – June 4, 2007 (Curated by Blair Voltz Clark)
Chelsea Art Museum, New York, The Food Show: The Hungry Eye, November 16 – February 24, 2006 (Curated by Rob Edleman).
Spanierman Modern, New York, Long Island Abstraction 1950 to the Present, September 7 – October 28, 2006.
Salomon Contemporary, East Hampton, New York, Hanging Out: A Re-visitation of Summer 2006, September 10 – October 7, 2006.
Salomon Contemporary, East Hampton, New York, October – December, 2005.
Parrish Art Museum, Southampton, New York, People, Places And Things: Works from the Collection, April 2 – May 15, 2005.
Remy Toledo Gallery, New York, Then and Now: Hampton Artists, March 31 – April 16, 2005.
Hampton Road Gallery, Southampton, New York, Works on Paper, March 6 - March 17, 2005.
Parrish Art Museum, Water Mill, New York, Recent Acquisitions: Framing the Collection, September- December, 2004
Hampton Road Gallery, Southampton, New York, Fresh Paint, September 11 – October 11, 2004.
Milk Gallery, New York, Surf Culture: The Art History of Surfing, July, 2004 (Originated at Laguna Museum of Art, Laguna, CA, traveled to Honolulu Contemporary Art Museum, Honolulu, Hawaii), 2004.
The Work Space, New York, September 19- November 16, 2002 (Curated by Leslie Heller)
Glenn Horowitz Bookseller East Hampton, New York, The Sea, May 25 – June 24, 2002.
Glenn Horowitz Bookseller East Hampton, New York, Surf’s Up: Pop Culture and Beyond, July 14 – August 16, 2001.
Guild Hall Museum, East Hampton, New York, The Global Village: 9 Artists of East Hampton, April 14 – May 27, 2001.
Montclair Art Museum, Montclair, New Jersey, traveled to Knoxville Museum of Art, Knoxville, TN, Waxing Poetic: Encaustic Art in America, 1999.
Staller Art Center, State University of New York, Stony Brook, NY, South Fork Artists, 1995.
Guild Hall Museum, East Hampton, New York, Young Blood, 1993.
O.K. Harris New York, New York, Centennial Biennial Invitational, 1991.
SELECTED PUBLIC AND PRIVATE COLLECTIONS
Beth Rudin deWoody
Barnett Bank, Tampa, FL
Cantor Fitzgerald Collection, New York, NY
Columbia Museum of Art, Columbia, SC
Dan Flavin, Jr.
Tom and Darlene Furst
Greenville County Museum of Art, Greenville, South Carolina
Guild Hall Museum, East Hampton, NY
J Crew, New York, NY
Parrish Art Museum, Water Mill, NY
Mr. and Mrs. Richard Prince
John and Mable Ringling Museum of Art, Sarasota, FL
Pricilla Rattazzi Whittle
Oliver / Wyman
2001 Pollock – Krasner Foundation Grant
2012 Pollock – Krasner Foundation Grant