Aktuelle und vergangene Ausstellungstermine:
16.03.2005
Polly Apfelbaum: Good And Plenty
24.06.2005
Polly Apfelbaum, Katharina Grosse, Karin Sander, Jessica Stockholder
28.10.2005
Galerie nächst St. Stephan: Art Cologne 2005
01.12.2005
Galerie nächst St. Stephan - Art Basel Miami 2005
14.06.2006
Art 37 Basel
01.11.2006
Galerie nächst St. Stephan - Art Cologne 2006
Weitere Termine:
ONE PERSON EXHIBITIONS:
2005
Galerie nächst St Stephan Rosemarie Schwarzwälder, Vienna, Austria
2004
Contemporary Art Museum, St Louis, MO, curated by Paul Ha
2003
Massachusetts College of Art, Boston, MA, curated by Lisa Tung, catalogue
Institute of Contemporary Art, Philadelphia, PA; travels to Contemporary Arts Center, Cincinnati,
OH; Kemper Museum of Art, Kansas City, MO, catalogue
Today I Love Everybody, Triple Candie, Harlem, NY
2002
Gun Club, Karyn Lovegrove Gallery, Los Angeles, CA
2000
Powerpuff, D'Amelio Terras, New York, NY
Skin and Bones, Bowdoin College Museum of Art, Brunswick, ME, catalogue
Crazy Green, Bruised Orange, Karyn Lovegrove, Los Angeles, CA
1999
Flying Hearts; Galeria Camargo Vilaça, São Paulo, Brazil
1998
Reckless, Museum of Contemporary Art NYKY, Kiasma, Helsinki, Finland, catalogue
Ice, D'Amelio Terras, New York, NY
1997
The Night, Walter/McBean Gallery, San Francisco Art Institute, San Francisco, CA
Floor Drawing, Realismusstudio der NGBK, Künstlerhaus Am Acker, Berlin, Germany, brochure
1996
Eclipse, Boesky & Callery Fine Arts, New York, NY
1995
Wallworks and Drawings, Hirschl and Adler Modern, New York, NY
1994
Wall Work, Project Room: Postmasters Gallery, New York, NY
This is Where I Come From, Neuberger Museum of Art, Purchase, New York, brochure
This is Where I Come From, Residence Secondaire, Paris, France, brochure
1993
Wonderbread, Galerie Etienne Ficheroulle, Brussels, Belgium
1992
The Blot on my Bonnet, Amy Lipton Gallery, New York, NY
1991
Level World, Hilly See, Galerie Etienne Ficheroulle, Brussels, Belgium
The Constellation of the Dart, Sue Spaid Fine Art, Los Angeles, California
1990
Wives´ Tales, Amy Lipton Gallery, New York, NY
The Language of Flowers, Special Projects, PS1, Long Island City, NY
1989
The Daisy Chain, Loughelton Gallery, New York, NY
1988
The Somnambulist, Loughelton Gallery, New York, NY
1986
Still Lives, Hallwalls, Buffalo, NY
Wood Work, Paulo Salvador Gallery, New York, NY
SELECTED GROUP EXHIBITIONS:
2005
The Shape of Color, The Art Gallery of Ontario, Toronto, Canada
Extreme Abstraction, Albright Knox Gallery, Buffalo, NY
POPulence, Blaffer Gallery, University of Houston, Houston, Texas
Color/Pattern/Grid: Selections from the Austin Museum of Art, The Austin Museum of Art, Texas
30 Ways to Make a Painting, Carl Solway Gallery, Cinncinnatti, Ohio
In the Abstract, Angles Gallery, Santa Monica, California
One-Armed Bandit, D´Amelio Terras, New York, NY
2004
Kunst-Stoff, Galerie nächst St Stephan Rosemarie Schwarzwälder, Vienna, Austria
Live Forever or Die Trying, Torch Gallery, Amsterdam, The Netherlands, curated by Twan Janssen
Lodz Biennale, Lodz, Poland
Soft Edge, Museum of Contemporary Art, Chicago, Illinois, curated by Staci Boris
Cakewalk, Ambrosino Gallery, Miami, Florida, curated by Jen DeNike
Flowers Observed, Flowers Transformed, The Andy Warhol Museum, Pittsburgh, Pennsylvania
Across the Border, Museum Dhondt Dhaenens, Deurle, Belgium
The 179th Annual: An Invitational Exhibition of Contemporary American Art, National Academy
Museum, New York, NY
Optimo, The Ballroom, Marfa, Texas, curated by Alexander Gray
Settlements, Musée d´art moderne, La Terrasse, Saint-Etienne, France, curated by Lorand Heygi
A Kind of Bliss,The Drawing Room, London, United Kingdom, organized by Kate McFarlane
2003
Endless Love, DC Moore Gallery, New York, NY
Hands to Work, Mind to Art, Borusan Foundation for Art and Culture, Istanbul, Turkey, curated by
Elga Wimmer
Celebrating Sculpture: Modern and Contemporary Works from Dallas Collections, Dallas Museum of
Art, Dallas, TX
3-2-1, Gallery M,, New York, NY
Hover: Polly Apfelbaum and Pae White, Henry Art Gallery, Seattle, WA
Plingeling, Magasin 3, Stockholm, Sweden
NYPD: New York Pattern & Decoration, Shoshana Wayne Gallery, Santa Monica, CA, curated by
Michael Duncan
Rendered, sara meltzer Gallery, New York, NY
Bienal de Valencia, vacant lots, Valencia, Spain
My Mother is an Artist, Ernest Rubenstein Gallery at The Educational Alliance, New York, NY,
curated by Sheila Pepe
Splat, Boom, Pow: The Influence of Crtoons on Contemporary Art, Contemporary Arts Museum,
Houston, Texas
Stacked, D'Amelio Terras, New York, NY
Stop & Go, FRAC Nord-Pas de Calais, Dunkerque, France
Stacked, D´Amelio Terras, New York, NY
2002
Support/Surface Prescient: Then and Now, Dorsky Gallery Curatorial Program, Long Island City, NY,
curated by Saul Ostrow
Invitational Exhibition of Painting and Sculpture, Academy of Arts and Letters, New York, NY
Polly Apfelbaum and Beatriz Milhazes, D'Amelio Terras, New York, NY
Sprawl, The Contemporary Arts Center, Cincinnati, Ohio, curated by Sue Spaid
Spookie Knowledge, Pearl, London
Kraftpuffar Kammare Rotsystem, Skulpturens Hus, Stockholm, Sweden
Officina America, Galeria d'Arte Moderna, Bologna, Italy
The Eye of the Beholder, Dundee Contemporary Arts, Dundee, Scotland
Painting Matter, James Cohan Gallery, New York, NY
2001
Max 2001: All About Paint, The University of Memphis Art Museum, Memphis, Tennesse, curated by
Holly Block, catalogue (Flying Hearts
Points, Lines, Plans, Les Filles du Calvaire, Paris, France
Six Contemporary Artists, Clifford Gallery, Colgate University, Hamilton, NY, curated by Michael
Jenkins
Best of Season, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut
Patterns: Between Object and Arabesque, Kunsthallen Brandts Kladefabrik, Denmark
Operativo, Museo Rufino Tamayo, Mexico City, Mexico
Sculpture as Field, Kunstverein Göttingen, Göttingen, Germany, catalogue
The Return of the Real: A Selection from the Daniel Hechter Art Collection, Tel Aviv Museum of Art,
Tel Aviv, Israel
All About Paint, The University of Memphis Art Museum, Memphis, Tennessee, curated by Holly
Block
Waterworks: USAkvarell 2001, Nordiska Akvarellmeseet, Skarhamn, Sweden, curated by Kim Levin,
catalogue
As Painting: Division and Displacement, Wexner Center for the Arts, Columbus, Ohio, catalogue
Drawing, Frith Street Gallery, London England
Objective Color, Yale University Art Gallery, Connecticut
Making the Making, Apex Art, New York, New York, curated by Charles Goldman, brochure
2000
Painting Pushed to Extremes, Worcester Art Museum, Worcester, Massachusetts
Paint Land, Lemon Sky Project, Los Angeles, California, curated by Terry R Myers
Live From New York, Haines Gallery, San Francisco, California
Summer group show, DÁmelio Terras, New York, New York
Painting Function: Making It Real, SPACES, Cleveland, Ohio
spilled edge soft corners, Blackwood Gallery, The University of Toronto at Mississauga, Toronto,
Ontario, Canada Traveling to Galerie Christiane Chassay, Montreal, Quebec, Canada
1999
Geez Louise: Art After Louise Nevelson, Educational Alliance Gallery, New York, New York
Chromaform: Color in Sculpture, Nevada Institute for Contemporary Art, Las Vegas, Nevada, curated
by Frances Colpitt
Traveled onto New Mexico State University Art Gallery, Las Cruces, New Mexico and to the
University of Texas Art Gallery, catalogue
The Body in Question: Tracing, Displacing, and Remaking the Human Figure in Contemporary Art,
Speed Art Museum, Louisville, Kentucky
Neither/Nor, Grand Arts, Kansas City, Missouri, brochure
Postmark: An Abstract Effect, Site Santa Fe, New Mexico, curated by Louis Grachos and Bruce W
Ferguson, catalogue
Abstract Painting, Once Removed, Contemporary Arts Museum, Houston, Texas, catalogue
1998
Hindsight, The Whitney Museum of American Art, New York, New York
Colorfields, Luckman Fine Arts Gallery, Los Angeles, California curated by David Page
Everyday, organized by Jonathan Watkins, 11th Biennale of Sydney, Australia, catalogue
Beyond Minimalism: Polly Apfelbaum and Tony Feher, Koyanagi Gallery, Tokyo, Japan, brochure
Abstract Painting, Once Removed, Contemporary Arts Museum, Houston, Texas, catalogue Traveled
onto The Kemper Museum of Contemporary Art and Design, Kansas City, Missouri
Humble County, D'Amelio Terras, New York, New York
Painting Objectives, Galerie Evelyne Canus, France
Decorative Strategies, The Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New
York, brochure
Spatiotemporal, Magasin 3 Stockholm Konstall, Stockholm, Sweden, catalogue
Alternative Measures, College of New Rochelle, New York, curated by Susan M Canning, catalogue
Homemade Champagne, organized by David Pagel, Claremont Graduate University, California,
catalogue
Conversations: Polly Apfelbaum and Lynn McCarty, Art Resources Transfer Inc, New York, New
York, brochure
Alternative Measures, College of new Rochelle, New York, curated by Susan M Canning, catalogue
(Ground Cover
1997
Polly Apfelbaum/Lucky Debellevue, Dalarnas Museum, Falun, Sweden
Simple Form, Henry Art Gallery, University of Washington, Seattle
Hanging By A Thread, Hudson River Museum, Yonkers, New York, catalogue
Divergent Models, Nassauischer Kunstverein Weisbaden eV, Germany, curated by Saul Ostrow,
catalogue
Other, 4th Biennale D'art Contemporain de Lyon, France, curated by Harald Szeemann, catalogue
Variations of Structure, Trans Hudson Gallery, New York
Working Out the Kinks, Herslebsgate 10b, Künstlerhaus Bethanien, Berlin, Germany, organized by
Sue Spaid
Women's Work: Examining the Feminine in Contemporary Painting, Southeastern Center for
Contemporary Art, Winston-Salem, North Carolina, brochure
Sculpture, James Graham & Sons, New York, New York
Onomatopoeia, Studio La Cittá, Verona, Italy, curated by Anthony Iannacci, brochure
Fashion Moda, Cleveland Center for Contemporary Art, Cleveland,Ohio, curated by Lisa Marks,
brochure
After the Fall, Snug Harbor Cultural Center, Staten Island, New York, curated by Lilly Wei, catalogue
Vraiment: feminisme et art, Le Magasin, Grenoble, France, curated by Laura Cottingham, catalogue
Painting the Extended Field, Rooseum Center for Contemporary Art, Malmö, Sweden, catalogue
(Eclipse
1996
Painting All-Over, Again, Ayuntamiento De Zaragosa, Zaragosa, Spain, curated by Saul Ostrow,
catalogue
Painting - The Extended Field, Magasin 3 Stockholm, Sweden (catalogue Traveled to Rooseum Center
for Contemporary Art, Malmo, Sweden
Der Fleck, Galerie Im Kornerpark, Berlin, Germany, curated by Dr Peter Flunken
Painting In An Expanding Field, Bennington College, Bennington, Vermont, curated by Saul Ostrow
The Kingdom of Flora, Shoshana Wayne Gallery, Santa Monica, California
1995
Painting Outside Painting, 44th Corcoran Painting Biennial, Corcoran Museum of Art, Washington,
DC, curated by Terri Sultan, catalogue
Skew: Un-Ruly Painting, Gallery 400, The University of Illinois at Chicago, Illinois
Smells Like Venyl, Roger Merians Gallery, New York, New York, organized by Thaddeus Strode and
Sarah Seager
Raw, Postmasters Gallery, New York, New York
Tampering: Artists and Abstraction Today, High Museum of Art, Atlanta, Georgia, brochure
Painting the Intimate View, The Painting Center, curated by Betty Cunningham
Permanent Collection Exhibition, Brooklyn Museum of Art, Brooklyn, New York
Color: sign, system, sensibility, Stark Gallery, New York, New York
Like Young: Twelve New York Painters, Three Rivers Festival, Pittburgh, Pennsylvania, curated by
Ingrid Schaffner
30th Anniversary of the Israel Museum, Marian Goodman Gallery, New York, and The Israel
Museum, Jerusalem
Pittura-immedia, Neue Galerie am Landesmuseum Joanneum Graz, Austria, catalogue
1994
DIY, New York, New York, curated by Paul Ha
The Social Fabric, Beaver College Gallery, Glenside, Pennsylvania, catalogue
Revisioning the Familiar, Ezra and Cecile Zilkha Gallery, Weslyn University, Middletown,
Conneticut, catalogue
Sense and Sensibility: Women and Minimalism in the 90's, The Museum of Modern Art, New York,
New York, curated by Lynn Zelevansky, catalogue
Redefining the Pop Icon in the 90´s Pamela Auchincloss Gallery, New York, New York
Polly Apfelbaum/Tony Feher/Claudia Matzko, Patrick Callery Gallery, New York, New York
Up the Establishment: ICI 20th Anniversary Benefit Exhibition, Sonnabend Gallery, New York, New
York, curated by Dan Cameron
Untitled, Postmasters Gallery, New York, New York
1993
Legend In My Living Room, Rhona Hoffman Gallery, Chicago, Illinois, curated by Terry R Myers,
brochure
Playing House, Natalie Karg gallery, New York, New York, catalogue
Transient Décor Room 311, Roger Smith Hotel, New York, New York, organized by Horodner
Romley Gallery, New York, New York
Empty Dress: Clothing as Surrogate in Recent Art sTraveling exhibition 1993-1996, organized and
circulated by ICI, New York, New York, curated by Nina Felshin, catalogue
Future Perfect, curated by Dan Cameron, Heiligenkreuuzerhof, Vienna, Austria, curated by Dan
Cameron, catalogue
Yours, Wooster Gardens, New York, New York, curated by Michael Jenkins
Object Bodies, Depauw University, Greencastle, IN, curated by Terry R Myers
Surfs Up, Horodner Romley Gallery, New York, New York
Just to name a few…, Barbara Weiss Gallery, Berlin, Germany
1992
Anti-Masculine, Kim Light Gallery, Los Angeles, California, curated by Bill Arning
In and Out, Back and Forth, Julia Arts Foundation, New York, New York
Material Boundaries Between the Sexes, Genovese Gallery, Boston, Massachusettes
An Essemplastic Shift, A/C Project Room, New York, New York
Shape Shifters, Amy Lipton Gallery, New York, New York
Outside Possibilities, The Rushmore Festival, Woodbury, New York, New York, curated by Saul
Ostrow, catalogue
Mssr B's Curio Shop, Threadwaxing Space, New York, New York, curated by Bill Arning, catalogue
Detour, International House, Columbia University, New York, New York
There Is A Light That Never Goes Out, Amy Lipton Gallery, New York, New York, curated by Terry
Myers, brochure
1991
Plastic Fantastic Lover, objet a, BlumHelman Warehouse, New York, New York, curated by Catherine
Liu, catalogue
Sculpture Festival, Snug Harbor Cultural Center, Staten Island, New York
When objects dream and talk in their sleep, Jack Tilton Gallery, New York, New York
1990
All Quiet on the Western Front, Galerie Antoine Candau, Paris, France, catalogue
A Force of Repetition, New Jersey State Museum, Trenton, New Jersey, catalogue
Reconciling the Unverified : New Metaphysical Art, Amy Lipton gallery, New York, New York,
curated by Roger Denson
Animation and Ornament, Lowe Gallery, Syracuse University, Syracuse, New York
In Her Image, Barbara Toll Gallery, New York, New York
The Engineered Object, Coup de Grace Gallery, New York, New York
Drawings, Althea Viafora Gallery, New York, New York
Shaman, John Good Gallery, New York, New York
Suggestive Objects, Art in General, New York, New York
Corporealities, Sue Spaid Fine Art, Los Angeles, California
Sculpture: Polly Apfelbaum, Richard Rezac, Joe Smith, CCA, Chicago, Illinois
Je Viens de Chez le Charcutier, Galerie Ghislaine Hussenot, Paris, France
Catalog, Gracie Mansion Gallery, New York, New York
Acquisitions 1989, FNAC, Paris, France, catalogue
Fragments, Parts, Wholes : The Body and Culture, White Columns, New York, New York, curated by
Saul Ostrow
Snug Harbor Sculpture Festival, Snug Harbor Cultural Center, Staten Island, New York, Pocketful of
Posies
1989
Drawings, Wolff Gallery, New York, New York
Filling in the Gap, Feigen Gallery, Chicago, Illionois, curated by Saul Ostrow
Containers, Shoshana Wayne Gallery, Santa Monica, California, curated by David Pagel
About Devices, White Columns, New York, New York
The Milky Way, , Shoshana Wayne Gallery, Santa Monica, California, curated by
StephenWestfall
1988
Palestra, Castello di Rivara, Rivara, Italy
Polly Apfelbaum/Tom Radloff/Carol Szymanski, Loughelton Galleri, New York, New York
Fabricated Not Found, Loughelton Galleri, New York, New York
Contemplating Things, fiction/non/fiction, New York, New York
1987
The Level of Volume, Carl Soloway Gallery, Cinncinatti, Ohio, organized by Judy Pfaff
The Double Bind, Loughelton Galleri, New York, New York
1986
Artists in the Marketplace, Bronx Museum of Art, Bronx, New York, catalogue
Selections, Artists Space, New York, New York, curated by Valerie Smith, catalogue
New Uses, White Columns, New York, New York
Biographie●Ausstellungen●Literatur●Arbeiten |
Pressemitteilungen:
10.06.2005
AUSSTELLUNGEN INTERNATIONAL - u.a. Polly Apfelbaum, Herbert Brandl, Bernard Frize, Imi Knoebel, ...
Weitere Publikationen:
SELECTED BIBLIOGRAPHY / CATALOGUES
Inside the Studio: Two Decades of Talks with Artists in New York New York Independent Curators
International, 2004. Text by Judith Olch Richards
What Does Love Have To Do With It Boston, Massachusetts: Massachusetts College of Art, 2004.
Texts by Libby Lumpkin and Lane Relyea
Polly Apfelbaum Philadelphia, Pennsylvania: Institue of Contemporary Art, 2003. Essays by Tim
Griffin, Irving Sandler, and Ingrid Schaffner
Patterns: Between Object and Arabesque Odense, Denmark: Kunsthallen Brandts Klaedegfabrik, 2002.
Text by Lene Burkard
American Visionaries: Selections from the Withney Museum of Americanb Art New York: Withney
Museum of Americanb Art, 2002. Text by Anderson Maxwell
As Painting: Division and Displacement Columbus, Ohio: Wexner Center for the Arts, 2001. Text on
Polly Apfelbaum by Laura Libson
Waterworks US Akvarell 2001 Skarhamn, Sweden: The Nordic Watercolor Museum, 2001. Texts by
Kim Levin and Berndt Arell
Skulptur als Feld Osterfildern-Ruit, Germany: Hatje Cantz Verlag, 2001. Text by Julia Otto
Polly Apfelbaum: Installations 1996-2000 Brunswick, ME: Bowdoin Collge Museum of Art,
2000. Texts by Katy Kline
Chromaform: Color in Sculpture San Antonio, Texas: UTSA Gallery, 1999. Text on Polly Apfelbaum
by August di Stefano
Postmark: An Abstract Effect Santa Fee, NM: Site Santa Fee, 1999. Essays by Bruce Ferguson, David
Moos, and David Pagel
Abstract Painting Once Removed Houston, Texas: Contemporary Arts Museum, 1998. Texts by Dana
Friis-Hansen, David Pagel, Raphael Rubenstein, and Peter Shjeldahl
Polly Apfelbaum, Helsinki, Finland: Museum of Contemporary Art, Kiasma, 1998. Text by Libby
Lumpkin
Every Day Sydney, Australia: The Biennial of Sydney, 1998. Texts by Jonathan Watkins, Viktor
Misiano, Djon Mundine, and Phatarawadee Phataranawik
After The Fall: Aspects of Abstract Painting Since
1970, Staten Island, New York: Snug Harbor
Cultural Center, 1997. Text by Lilly Wei
Other 4th Contemporary Art Biennial of Lyon Lyon, France: Réunion des Musées Nationaux, 1997.
Texts by Thierry Raspail and Thierry Prat, Hannes Bohringer, Cecilia Livererio Lavelli, Olivier
Kaeppelin, and Harald Szeeman
Painting Outside Painting: 44th Biennial Exhibition of Contemporary American Painting Washington,
DC: The Corcoran Gallery of Art, 1996. Text on Polly Apfelbaum by David Pagel
Painting-The Extended Field Stockholm, Sweden: Magasin 3, 1996. Texts by Sven-Olov Wallenstein
Pittura Immedia: Painting in the 90´s Klagenfurt, Germany: Verlag Ritter Klagenfurt, 1995. Texts by
Peter Weibel
Sense and Sensibility: Women Artists and Minimalism in the Nineties New York: The Museum of Modern Art, 1994. Text by Lynn Zelevansky
Future Perfect, Vienna, Austria: Heiligenkreuzerhof Wien, 1993. Text by Dan Cameron
REVIEWS AND PREVIEWS
Henry, Clare. "Dyeing for Acclaim." Financial Times. July 12, 2004
Thorson, Alice. "Apfelbaum faces uncertain times with beauty and art." The Kansas
City Star. July 4, 2004: H1 & H3, illus.
"Polly Apfelbaum's 'Fallen Paintings' at the Kemper Museum." Kansas City Magazine.
July 2004, illus.
Bembnister, Theresa. "Pretty Polly." The Pitch. June 24-20, 2004: p. 31, illus.
Bonetti, David. “Apfelbaum makes flowers bloom in the winter.” The St. Louis Post-
Dispatch. February 1, 2004.
Spaid, Sue. “Sumptuous Smorgasbord.” City Beat. December 10, 2003: 55, illus.
McQuaid, Kate. “Giving meaning to flower power.” The Boston Globe. November 29,
2003: D1-D2.
Myers, Terry R. “Polly Apfelbaum.” Art US. November-December 2003: pp.38-39,
illus.
Znamierowski, Nell. “Polly Apfelbaum: Fallen Paintings.” Fiber Arts Magazine. November-December
2003: pp. 60-61, illus.
Demos, T.J. “Polly Apfelbaum.” Artforum, October,
2003: p. 176, illus.
Newhall, Edith. “Polly Apfelbaum.” ARTnews. October 2003: p. 138, illus.
Herbert, Martin. “Polly Apfelbaum.” Frieze. October
2003: p. 120.
Jana, Reena. “Polly Apfelbaum.” ARTnews. Summer
2003: p. 158, illus.
Rice, Robin. “Puh-leeze Don’t Squeeze the Artwork.” Philadelphia City Paper. June 19-25,
2003.
---. “Institute of Contemporary Art.” June 2003, Vol. 22 No. 5, p. 15, illus.
Stoilas, Helen. “Polly Apfelbaums: ICA Philadelphia.” The Art Newspaper May 2003: p.7.
Lloyd, Ann Wilson. “Seamstress of ‘Splats’ and 7,000 Asterisks.” The New York Times, May 11,
2003.
Sozanski, Edward J. “Colors, questions to floor you.” The Philadelphia Inquirer May
11, 2003: H10, illus.
Auricchio, Laura. “Polly Apfelbaum, Today I Love Everybody.” TimeOut New York No.
397, May 8-15, 2003: 61, illus.
Dailey, Meghan. “Preview: Polly Apfelbaum.” Artforum May 2003: 52.
Hirsch, Faye. “Working Proof: Print Reviews.” Art on Paper January-
February 2003: 66-69, illus.
Pagel, David. “A Supersatured Return to the Spirit of the Punk Era.” Los
Angeles Times May 10, 2002: F26, illus.
Higgie, Jennifer. “Spookie Knowledge.” Frieze May 2002: 87, illus.
Coles, Alex. "Drawings, Frith Street Gallery." Art Monthly May 2001: 30-32, illus.
Gordon, Wesley. "Polly Apfelbaum." New Art Examiner Vol 9, No 6, 2001: 54, illus.
Spaeth, Catherine. “As Painting.” New Art Examiner Vol 29, No 1, 2001: illus.
Addison, Laura. "Velvet ground. Polly Apfelbaum's Materialism."
Portland Phoenix February 4, 2000: illus.
Newhall, Edith. “The Fabric of her Life.” New York Magazine November 20, 2000:
123, illus.
Cann, Valerie. "Apfelbaum's bolts of fabric loaded with fun and intrigue." Maine
Sunday Telegram February 20, 2000.
Dailey, Meghan. "Polly Apfelbaum, 'Powerpuff'.” Time Out New York
November 23–30, 2000: 75, illus.
Frank, Peter. "Polly Apfelbaum, Kate Shepherd, Pure De(sign)."
Los Angeles Weekly April 13, 2000: illus.
– . “Working Proof.” Art on Paper January/February 2000.
Gold, Donna. "Eye of the Beholder." Maine Times February 17, 2000.
Myers, Terry R. "Polly Apfelbaum." Artext 70, August—October 2000: 86.
Williams, Alena. "Polly Apfelbaum." art issues Summer 2000: illus.
Ollman, Leah. "Fabric Pieces Revel in the Joy of Color." Los Angeles
Times March 31, 2000.
Phillips, Autumn. "Roll out the art." Casco Bay Weekly January 27, 2000: illus.
Cotter, Holland. "A Tour Through Chelsea." New York Times May 15, 1998: E33.
Condon, Elizabeth. "Polly Apfelbaum/ Lynn McCarty." NewArt Examiner Vol 25, No 7,
March—April 1998: 44, illus.
Porges, Maria. ""Polly Apfelbaum San Francisco Art Institute." Artforum November
1997: 120-121, illus.
Bonetti, David. “Gallery Watch.” San Francisco Examiner August 1, 1997: illus.
Baker, Kenneth. "Polly Apfelbaum's Suggestive Scatterings." San Francisco
Chronicle July 31, 1997: C1, illus.
Helfand, Greg. "Polly Apfelbaum." San Francisco Bay Guardian July 30, 1997:
illus.
Conrads, Martin. "Popund Glam." Zitty February 28, 1997: illus.
Kreis, Elfie. "Ein Toast auf den Samt." Tagelspiegel Feb 18: illus.
Rubenstein, Raphael. "Polly Apfelbaum." Art in America January 1997: 93, illus.
Thurson, Alice. "Polly Apfelbaum." Kansas City Star October 27, 1996: J3.
Edelman, Robert G. "Polly Apfelbaum." art press Issue 218, November 1996: 70-1.
Landi, Anne. "Polly Apfelbaum." Art News 95.9, October 1996: 136-7, illus.
Smith, Roberta. "Polly Apfelbaum." New York Times September 6, 1996: E19.
Schwendener, Martha. "Polly Apfelbaum." Time Out NY September 4-11, 1996:
33, illus.
Zimmer, William. "An Existential Installation." New York Times October 30, 1995.
Schaffner, Ingrid. "Polly Apfelbaum." Artforum Vol 33, No 10, Summer 1995: 107.
Karmel, Pepe. “Color: Sign, system, sensibility.” New York Times July 21, 1995.
Hess, Elizabeth. "Minimal Women." Village Voice July 15, 1995.
Glueck, Grace. "Polly Apfelbaum." New York Observer April 10, 1995.
Smith, Roberta. “Exhibition review.” New York Times February 15, 1994.
Braff, Phyliss. "Hybrid Sculpture." New York Times June 13, 1993.
Smith, Roberta. "Yours." New York Times January 15, 1993.
Avgikos, Jan. " Polly Apfelbaum." Artforum Vol 30, No 10, Summer 1992: 109, illus.
Mahoney, Robert. "There is a light..." Arts Magazine Vol 66, No 8, April 1992:
91, illus.
Levin, Kim. "Choices." Village Voice April 7, 1992.
Smith, Roberta. "Polly Apfelbaum." New York Times April 3, 1992.
Cameron, Dan. "(Critical Edge) The Changing Tide." Art & Auction January 1992.
Smith, Roberta. "Abstraction: A Trend That May Be Coming Back." New York Times
January 10, 1992.
Pagel, David. “Polly Apfelbaum.” Lapiz No 80, October 1991: 83.
Mahoney, Robert. “Polly Apfelbaum.” Flash Art March-April 1991.
Phillips, Patricia. Exhibition review. Artforum Vol 29, No 6, February 1991.
Zimmer, William. "Repetition as a Theme." New York Times September 9, 1990.
Grundberg, Andy. "A Force of Repetition." New York Times August 24, 1990.
Smith, Roberta. "Suggestive Objects." New York Times April 27, 1990.
Mahoney, Robert. Exhibition review. Arts Magazine Vol 67, No 4, February 1990:
123.
Myers, Terry R. Exhibition review. Lapiz February 1990: illus.
Weiner, Daniel. Exhibition review. Tema Celeste Issue 24, January-March 1990: 67-
68, illus.
Levin, Kim. "Voice Choices." Village Voice December 12, 1989.
Westfall, Stephen. Exhibition review. Art in America Vol 76, No 12, December 1988:
155-156.
Phillips, Patricia C. Exhibition review. Artforum Vol 27, No 1, September 1988:
141, illus.
Rubenstein, Meyer and Daniel Weiner. Exhibition review. Flash Art No 141, Summer
1988: 137, illus.
Westfall, Stephen. Exhibition review. Arts Magazine September 1986.
Harris, Patty. Exhibition review. 108 Review March-April 1986: 1.
Pincus, Robert L. "New York's Newest Artists." San Diego Union August 1986.
FEATURE ARTICLES
Herbert, Martin. “How Much Paint Does It Take to Make A Painting.” Modern Painters
Autumn 2004: pp. 82-85, illus.
Siegel, Jeanne. "Eva Hesse's Influence Today? Conversations with Three
Contemporary Artists." Art Journal, Vol. 63, no.2, Summer 2004: pp. 72
Westfall, Stephen. “Formalism’s Poetic Frontier,” Art in America January 2004: pp.
70-75, 115, cover illus.
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