Born 1966 Bayside, NY Education 2008 PhD, New York University, Dept. of Hebrew and Judaic Studies 2000 MA, New York University, Dept. of Religious Studies 1998 MA, Pratt Institute, Dept. of Art History MA, Pratt Institute, Dept. of Fine Arts 1990 BA, Pratt Institute, Dept. of Fine Arts 1984-1986 United States Military Academy Solo Exhibitions 2009 On and On: Inquiries into Indeterminacy, Margaret Thatcher Projects, New York, NY Workings, Brian Gross Fine Art, San Francisco, CA Ermanno Tedeschi Gallery, Rome and Turin, Italy 2008 Galerie Renate Bender, Munich, Germany Never. Ever., Marcia Wood Gallery, Atlanta, Georgia 2007 dematerializations / interstices / permutations, Brian Gross Fine Art, San Francisco, CA Activity, Margaret Thatcher Projects, New York, NY 2006 Innumerable Naught Nary, Marcia Wood Gallery, Atlanta, GA Recent Paintings, Renate Bender Gallery, Munich, Germany 2005 Amassing Color, Margaret Thatcher Projects, New York, NY Marking Time, Brian Gross Fine Art, San Francisco, CA 2004 Marcia Wood Gallery, Atlanta, GA 2003 435,546 Marks, Margaret Thatcher Projects, New York, NY Group Exhibitions 2010 Gesture, Brian Gross Fine Art, San Francisco, CA 2008 Material Color, Hunterdon County Art Museum, Clinton, NJ This Just In, Marcia Wood Gallery, Atlanta, GA The Fascination of the Color Red, Galerie Renate Bender, Munich, Germany 2007 Luxe, Marcia Wood Gallery, Atlanta, GA …das viereckige rot?, Galerie Albert Baumgarten, Freiburg, Germany Farbe, Galerie Huebner, Hamburg, Germany Surface Impressions, Islip Art Museum, Islip, NY 2006 Blue!, Karl Ernst Osthaus-Museum Hagen, Germany Don’t Touch, Renate Bender Gallery, Munich, Germany 2005 About Paint, Westport Arts Center, Westport, CT Living Gray, Karl Ernst Osthaus-Museum Hagen, Germany Summer Sensation, Margaret Thatcher Projects, New York, NY 2004 Art Festival for World Peace, Shanghai ArtHouse, Margaret Thatcher Projects, New York, NY Die Farbe hat mich II, Karl Ernst Osthaus-Museum Hagen, Germany Gallery Bijutsu Sekai, Tokyo Innovate, Marcia Wood Gallery, Atlanta, GA M% Gallery, Cleveland, OH Painting as Process: Reevaluating Painting, group exhibition with Gerhard Richter and Robert Ryman, Earl Lu Gallery, LASALLE-SIA College of the Arts, Singapore 2003 Seeing Red: an International Exhibition of Nonobjective Painting, Hunter College, New York, NY, curated by Michael Fehr, Director, Karl Ernst Osthaus-Museum Hagen, Germany Tickled Pink, Marcia Wood Gallery, Atlanta, GA 2002 Roy Boyd Gallery, Chicago, IL Breathing Room, Margaret Thatcher Projects, New York, NY Blobs, Wiggles and Dots, Webs and Crustillations, The Work Space, New York, NY, curated by Lucio Pozzi 2001 Margaret Thatcher Projects, New York, NY coLABORATORY, Gale Gates et al., Brooklyn, NY Items from the Permanent Collection, Williamsburg Art and Historical Center, Brooklyn, NY 2000 01.15.00, Gale Gates et al., Brooklyn, NY 1999 Size Matters, Gale Gates et al., Brooklyn, NY Group Exhibition, Gale Gates et al., Brooklyn, NY 1998 The Calculus of Transfiguration, Williamsburg Art and Historical Center, Brooklyn, NY Higher Worlds, Pelham Art Center, Pelham, NY 1997 Downtown Arts Annual Group Exhibition, New York, NY. Juried by Fereshteh Daftari, Martin Eisenberg and Charlotta Kotik Symposium Finalist, New York. Work selected by Michael Brenson, critiqued by Janet Koplos, Donald Kuspit, Peter Schjeldahl and Simon Watson 1993 Alexander Gallery, New York, NY Three Young Future Majors, Alexander Gallery, New York, NY Public Collections Karl Ernst Osthaus-Museum Hagen, Germany Bibliography Material Color, Exhibition catalog, 2009. The Hunterdon County Art Museum, Clinton, NJ. Trelles, Emma. “What I Saw at Art Basel: Day 1,” South Florida Sun-Sentinel, December 5, 2007. Budick, Ariella. “Scratching the ‘Surface’ and teasing your senses,” Newsday, April 2007. “Indeterminable Painting: Thoughts on the Work of Robert Sagerman,” catalog essay by Michael Fehr, Munich, 2006. Kunstform Internations, No. 176, June 2005. Review of exhibition “Living Gray,” by Thomas W. Kuhn. K-West, April 2005. Review of the exhibition, “Living Gray,” by Stefanie Stadel. SF Weekly, May 25, 2005. Review by Sharon Mizota. “Abstract Painting: Concepts and Techniques,” by Vicky Perry, 2005. About Paint. Exhibition catalog, 2005. Art in America, December 2004. Painting as Process: Reevaluating Painting, Exhibition catalogue, 2004, Earl Lu Gallery, LASALLE- SIA College of the Arts, Singapore The Atlanta Journal-Constitution, February 1, 2004, review by Jerry Cullum Art News, Novermber, 2003, article by Amei Wallach NY Arts, September, 2003, review by Mark Cohen Seeing Red, Exhibition catalog, 2003, The Karl Ernst Osthaus-Museum Hagen, Germany NY Arts, February, 2002. Review by Terrence Lindall. La Republica, June 14, 1999. Review by Enzo Siciliano. Publications Authored “The Syncretic Esotericism of Egidio da Viterbo and the Development of the Sistine Chapel Ceiling Program.” Acta ad Archaeologiam et Artium Historiam Pertinentia 19 (2005): 37-76. “A Kabbalistic Reading of the Sistine Chapel Ceiling.” Acta ad Archaeologiam et Artium Historiam Pertinentia 16 (2002): 93-177. Scholarly Papers Presented 2008 “Abraham Abulafia and the Cruciform Covenant.” Association for Judaic Studies Annual Conference 2006 “The Sistine Chapel Ceiling and Renaissance Christian Kabbalah.” Association for Judaic Studies Annual Conference, Poster Session “The Kabbalist Abraham Abulafia’s Conflicted Attitude towards Christianity.” International Congress on Medieval Studies, Western Michigan University, Kalamazoo 2003 “Cosmogonic Diminution and Messianic Reconstitution: The Kabbalistic Sistine Chapel Ceiling Program of Egidio da Viterbo.” Sacro e Profano, Conference of the Norwegian Institute in Rome “A Kabbalistic Reading of the Sistine Chapel Ceiling.” Pictor in carmine: An Interdisciplinary Conference on Mural Paintings in Medieval Churches, 1100-1500, New York University 1999 “The Gospel of Thomas: Apocalypticism, the Temporal and Art.” The Future of Man Symposium. The Williamsburg Art and Historical Center, Brooklyn, NY 1998 “The Calculus of Transfiguration: Postmodernism, Jewish Mysticism and Art.” The Williamsburg Symposium: Meaning, Form and Process in Late Twentieth Century Art. The Williamsburg Art and Historical Center, Brooklyn, NY
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