501:, before taking a tenured-track position in the fall at Ball State University in Muncie, Indiana. After moving to New York, Grad joined the full-time faculty as a Professor at the Massachusetts College of Art and Design (MassArt) in 1981. She was the first woman to hold a tenure-track, full-time position teaching painting in MassArt's Fine Arts 2D Department. Grad taught advanced drawing, painting, and an "Art in Boston" course that took students to local galleries and artist studios. She also served as the department's Chairman (1997-2000) and Painting Coordinator (2011-2014). Grad retired as Professor Emerita in 2015.
216:, where she remained until retiring as Professor Emerita in 2015. She commuted from New York until 1987, when she moved to Boston and married Peter Allen; three years later their son, Samuel, was born. In subsequent decades, Grad has had notable solo exhibitions at the Kemper Museum of Contemporary Art, Danforth Art, the Bernard Toale, Howard Yezerski and Miller Yezerski galleries (Boston), and Findlay Galleries (New York and Palm Beach). Grad lives with her husband and works in Wayland, Massachusetts, outside of Boston.
95:(born 1950) is an American artist and educator, known for abstract, fractured landscape paintings, which combine organic and geometric forms, colliding planes and patterns, and multiple perspectives. Her work's themes include the instability of experience, the ephemerality of nature, and the complexity of navigating cultural environments in flux. While best known as a painter, Grad also produces drawings, prints, mixed-media works and artist books. She has exhibited in venues including the
427:, 2018) in terms of collisions—of colors, forms, patterns, perspectives and meanings—a notion reinforced in her multi-canvas works, which abut different-sized painted panels to create a sense of unstable, disjointed perimeters. John Yau relates Grad's carefully developed, "splintered pictorial space" and ability to maintain a continuous tension between defined sections and the overall image to the abstract landscapes of
359:(2005), and incised etchings on plexiglass. The etchings, which featured diagrammatic drawings of human figures, architecture and hieroglyphics, were placed off the wall, creating a subtle play of ephemeral line and shadows. Critics and curators described the explorations of primal myths, belief systems and the body's relation to the cosmos as playful, clever and intriguing.
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463:. It was one of the first in the U.S., after A.I.R. in New York. The idea for the collective, initially Poe's, took shape when the five women visited the studios of 150 women artists in Chicago, and then gathered a large group to select twenty founding members who would show in revolving, two-person exhibits. That larger group also included
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285:, included paintings and mixed-media pieces that sometimes incorporated weaving. After moving to New York in 1979, Grad began explored imagery from her new surroundings—cityscapes, street life, pinball machines, the figure—in more representational paintings that she exhibited at 55 Mercer Gallery in New York and Jan Cicero in Chicago.
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Grad is often highly influenced by her environment. For a three-year period in the late 1970s, she commuted from
Indiana to Chicago in a small plane, drawing aerial views on the trips. The imagery found its way into her work—and continues to—in ribbon-like bands of modulated color and patterning that
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wrote that Grad's "patterns and striations evoke watery reflections and geological strata, tilled land and strip mines, without shedding their identity as abstract, painterly marks. She evokes a world undergoing myriad changes, from the incremental and unavoidable to the deliberate and cataclysmic."
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Grad has also produced more than seventy artist books. In 1996, she exhibited the "Origins" series, which features small "dreamscapes" that unfold in accordion formats, echoing the layered abstraction of her paintings. Between 2002 and 2004, she created a socially oriented series of books, including
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In the 1980s and 1990s, Grad returned to nature, and eventually, abstraction, influenced by her commutes to Boston and move to more pastoral
Wayland, Massachusetts in 1991. Art historian Bonnie Grad (no relation) wrote that this new work "transports viewers to a primordial natural world of incipient
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described the Art
Institute of Chicago "Chicago and Vicinity Show," as "a triumph" for Artemisia, as its members (including Grad) accounted for more than one-tenth of all the artists chosen. Grad was a member and regular exhibitor at Artemisia until 1977. Artemisia Gallery remained in operation for
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pictorial spaces, onto which she layered lyrical, rhythmic plays of biomorphic shapes, resembling seeds, pods, ferns or branches about to blossom or fruit. She unified the compositions by overlaying heavy, map-like white and black line work suggesting tendrils, vessels and honeycombs, which brought
351:. Cate McQuaid called it "meaty, satisfying work" that unpeeled like onion skins to reveal layers of subtle, translucent organic forms and ideas involving spirituality and consciousness; others described the pieces as challenging "koans" enacting an uneasy truce of nature and geometry. In the
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Grad has produced drawings, prints and mixed media art throughout her career. Her drawing exhibition at
Bernard Toale (2000) featured painterly watercolor and ink works on mylar and paper, that mixed text, abstract shapes and a detailed, "secret" visual language reminiscent of Klee or
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in Muncie, Indiana. When she tired of small-town life in 1979, she moved into a cheap loft in the "flower district" on the outskirts of current-day
Chelsea in New York City, continuing to exhibit in Chicago and nationally. In 1981, she joined the full-time faculty at the
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Grad's later paintings have grown more dizzying, disorienting, dense, and expansive in their themes, which reference topography, maps, city grids and borders, the built environment, ecology, and the layering of cultures, one upon or next to another (e.g.,
517:, among others. Her work has been recognized with awards from the Artist's Resource Trust Fund of the Berkshire Taconic Community Foundation (2013, 2005), New England for the Arts (1996), Massachusetts Council on the Arts and Humanities Fellow (1985),
521:(1975), and George D. & Isabella A. Brown Fellowship, Art Institute of Chicago (1975, 1972). She has been awarded artist residencies from Jentel Arts (2012), Ballinglen Arts Foundation (2011), and the Kalani Honua Artists Retreat Center (1987).
479:, and was joined by a second women's collective, ARC Gallery; together they sought to challenge the notion that women artists were dilettantes by offering a professional venue equal to the city's commercial galleries. The following year, the
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becoming." Her first solo exhibition in Boston (Bernard Toale, 1996) was a synthesis of her travel and nature experiences and her sophisticated integration of abstraction and referential imagery. These new paintings, such as
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Grad began a four-decade career in education in 1974, while still in graduate school, teaching art part time at the
Illinois Institute of Technology and Triton College. In 1976, she was a visiting artist and instructor at
268:. She generally rejects explicit imagery in favor of invented spaces that she creates with paint and color, which serve as metaphors for the complexity and instability of experience, culture and the environment.
435:, but note in Grad's flitting between the tangible and evanescent, a greater emotional register that expresses the difficulty of navigating complex communication, geographic and psychological divides.
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were strong influences. In 1972, she completed her BFA and married
Sheldon Grad (divorced, 1973); she earned an MFA there in 1975. While in school, Grad exhibited at the Artemisia,
408:(2011) as "fabricated from a virtual reality high in the sky," "far outside reality," yet convincingly real. They situate them alongside cultural representations such as the
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and Nancy Lurie galleries, and in the Art
Institute of Chicago's prestigious "Artists of Chicago and Vicinity" shows (1973, 1975). She also began teaching part-time at the
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s Cate McQuaid observed, "Grad paints energy and movement, not things. stripes, colors, and crashing forms conveying urgency as she places us on the precipice of chaos."
338:," but marked Grad's shift in emphasis from modernist essential forms to fleeting depictions of air, light, the passing of seasons, and "nature's ceaseless flux."
371:(made as America entered the Iraq War), that incorporated abstract heads and figures, text, numbers, and diverse forms and materials such as eggshells and boots.
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Grad was born
Barbara Janet Horwitz in Chicago, Illinois in 1950. She studied painting, as well as photography, drawing, printmaking and art history, at the
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Grad's work is noted for its loose, painterly invented spaces, lush color, and ability to conjure wide-ranging allusions to land and seascapes,
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141:, one the country's first women-artist collectives, in Chicago in 1973. She has been an educator for over four decades, most notably at the
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Grad emerged amid a period of intense artistic activity in
Chicago in the early 1970s, alongside new gallery districts, critical voices,
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Grad's work has been acquired by numerous public and private collections, including those of the Art Institute of Chicago,
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In 1973, Grad was one of five women artists, including Joy Poe (her studio mate), Phyllis McDonald, Emily Pinkowski and
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891:, Museum of Contemporary Art, ed. Lynne Warren. New York: Thames and Hudson, 1996, p.16-20. Retrieved October 12, 2018.
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suggested landscapes and plant forms, which she sometimes combined with geometric shapes, as in the painting,
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Critics noted the work's lush depths and handling of paint, which appeared both spontaneous and controlled.
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O'Brien, Barbara. "The Circumstantial Evidence of Place, Finding Our Way Into (and Out of) a Painting,"
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reflecting the "ancestral need to take a bird's-eye view, the better to locate oneself on the planet."
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s, Francine Koslow-Miller compared the "primitive stylizations and pictographic lines" to the work of
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726:, Vol. 33, No. 2, Special Issue: Feminist Art and Social Movements: Beyond NY/LA, 2012, pp. 55-75.
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traveling group show "Standing on One Leg" (2005–8), Grad exhibited mixed-media works, such as
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wrote that the work recalled the "circular, fertile forms" of Lee Krasner and "the lyricism of
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Grad, Bonnie. "Barbara Grad," Exhibition essay, Boston: Bernard Toale Gallery, 1996.
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310:(1996), employed autumnal washes of loose, patchwork grids that formed fractured,
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Wilson, Tammy. "Transplanted big-city artist finds fresh inspiration here,"
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30 years, showing innovative work from Chicago and the world, according to
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Allen, Jane and Derek Guthrie. "Artemisia triumphs in C. and V. show,"
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Taylor, Robert. "The striking visions of eight area artists,"
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Temin, Christine. "'Art of the State' introduces new faces,"
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Sherwood, Susan L. "Finalist hopes to create visual poetry,"
552:], Catalogue, essay, Palm Beach, FL: Findlay Galleries, 2018.
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McQuaid, Cate. "Arresting views of an uncomfortable world,"
1041:, Catalogue essay, Boston: Boston Center for the Arts, 2005.
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McQuaid, Cate. Review: "Barbara Grad: References: 1996–7,"
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The Wayland/Weston Town Crier. "Danforth Museum Exhibit,"
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Schulze, Franz. "Art in Chicago: The Two Traditions," in
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McQuaid, Cate. "Fasten Your Seat Belts For 'Off Road'",
281:(1978). This work, which she exhibited at Artemisia and
1054:, Catalogue, Boston: Boston Center for the Arts, 2005.
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Kirsch, Elisabeth. "Exhibit is a Higher Form of Art,"
752:, Catalogue, Palm Beach, FL: Findlay Galleries, 2018.
638:, Atglen, PA: Schiffer Publishing Ltd, 2012, p. 82–3.
145:. Grad has been based in the Boston area since 1987.
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Foster, Richard. "Barbara Grad's maps of the mind,"
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In 1976, Grad took a full-time teaching position at
1089:Fardy, Jonathan. "Standing on One Foot @ The BCA,"
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1173:McQuaid, Cate. "Barbara Grad: Lost Horizons,"
750:Barbara Grad – FAQ: Frequently Asked Questions
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550:Barbara Grad – FAQ: Frequently Asked Questions
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488:curator Lynne Warren, before closing in 2003.
1359:School of the Art Institute of Chicago alumni
1164:, Archived Works. Retrieved October 29, 2018.
1151:, Archived Works. Retrieved October 29, 2018.
1138:, Archived Works. Retrieved October 29, 2018.
1125:, Archived Works. Retrieved October 29, 2018.
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918:"'Lost Horizons' at Howard Yezerski Gallery,"
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768:Video Villa: New Paintings by Barbara Grad
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404:, 2012). Critics describe works such as
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724:Frontiers: A Journal of Women Studies
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446:, oil on linen, 108" x 60", 2018.
203:, oil on canvas, 72" x 48", 1978.
101:Kemper Museum of Contemporary Art
1267:New American Paintings Number 62
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810:New American Paintings Number 26
382:, oil on linen, 94" x 60", 2011.
296:, oil on linen, 48" x 72", 1996.
240:with a personal vision, such as
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1080:, October 14, 2005, Weekend D7.
590:Stapen, Nancy. "Barbara Grad,"
519:National Endowment for the Arts
342:Drawings and mixed media series
1334:20th-century American painters
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1149:Recent Paintings 2008–2012 (1)
1136:Recent Paintings 2008–2012 (3)
334:and the impassioned vision of
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1309:Barbara Grad official website
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902:Barbara Grad: Lost Horizons
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1162:Recent Paintings 2013–2018
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499:Carnegie Mellon University
486:Museum of Contemporary Art
477:Museum of Contemporary Art
353:Boston Center for the Arts
113:Indianapolis Museum of Art
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1282:, Catalogue, 2006, p. 41.
1278:Artist's Resource Trust.
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1379:Educators from Illinois
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1193:"A Collaborative Art,"
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1052:Standing on One Foot
1039:Standing on One Foot
614:The Kansas City Star
748:Findlay Galleries.
636:100 Boston Painters
492:Career in education
387:Abstract landscapes
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469:Vera Klement
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416:in Ohio, or
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105:Danforth Art
93:Barbara Grad
92:
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85:Barbara Grad
35:Grad in 2017
23:Barbara Grad
1369:1950 births
548:Yau, John.
410:Nazca Lines
365:Random Data
332:Arthur Dove
178:Ray Yoshida
1318:Categories
525:References
398:Greenspace
272:Early work
266:David Park
228:, and the
968:ArtsMedia
964:Wolf Kahn
412:of Peru,
320:Artforum'
254:Paul Klee
250:Kandinsky
246:Lee Godie
53:Education
921:Artscope
685:Artforum
444:Salt Air
425:Salt Air
402:Re-Build
400:, 2009;
396:, 2008;
264:such as
192:(1974).
154:John Yau
122:Artforum
981:The Tab
592:ARTNews
394:Erosion
328:ARTnews
234:Yoshida
134:ARTnews
81:Website
406:Plan B
380:Plan B
312:Cubist
279:Trails
260:, and
201:Trails
117:A.I.R.
1123:Books
71:Style
367:and
349:MirĂł
244:and
131:and
115:and
44:1950
41:Born
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