Stephen Pace

Statement/Biography

STEPHEN PACE (1918-2010)

In 1961, the noted critic Thomas Hess recognized Stephen Pace’s place as an Abstract Expressionist, writing in the introduction to a show of his work: “Pace is a brilliant member of the second generation of New York School painters [who] burst on the scene in the early 1950s, fully made, as if from the forehead of the Statue of Liberty.” [1] Helen Frankenthaler, Grace Hartigan, and Milton Resnick were among the other artists Hess had in mind. As art historian Martica Sawin noted of Pace’s art of this time: “The brush dragged across rough underpainting, the strategic drip, the brusque cancellation of any suggestion of latent image or defined shape, the look of struggle built into the layers of paint, the breaking apart of anything that might hint at order—these are all hallmarks of the work of the younger Abstract Expressionists.” [2]

Born in Charleston, Missouri, Stephen Pace spent his early years working on his family’s farms in southeastern Missouri and Indiana. However, art was always part of his life. As a child, he used available materials—elderberries, coffee, or house paint—to paint on tin, glass, and even barn windows. At age seventeen, he received his first art instruction from WPA artist and illustrator Robert Lahr. Called up by the military in 1939, Pace served first at Camp Lee, near Petersburg, Virginia, and then in England, where he was pulled from the infantry to design chemical-resistant clothing and produce war-related posters. In 1944, he was reassigned to the Seine Base Engineers, arriving in Paris just after the Germans withdrew. One day, while drawing along the Seine, he made the chance acquaintance of Gertrude Stein. She took him to Picasso’s studio and invited him to her home, introducing him to Picasso, Braque, and Dufy.

After the war, Pace furthered his study of art on the G.I. Bill, enrolling at the Instituto Allende in San Miguel Allende, Mexico. There, he took a class in fresco from a former assistant to Diego Rivera and, in another chance encounter, met Milton Avery, who was visiting Mexico with his wife and daughter. Pace would become one of Avery’s closest friends; he and Mark Rothko were the only speakers at Avery’s memorial service in 1965.  Pace moved to New York in 1947, settling into a cold-water flat on Mulberry Street in Little Italy and studying at the Art Students League under Morris Kantor and Cameron Booth. He soon began frequenting the Cedar Bar in Greenwich Village, where he met and engaged in discussions with Franz Kline and other Abstract Expressionists. Through Avery, with whom he reconnected, Pace got to know Rothko, Barnett Newman, and Adolph Gottlieb.

Shortly after marrying in 1949, Pace went to Europe with his wife Palmina Natalini (Pam). Supported further by the G.I. Bill, he studied in Paris (at the Académie de la Grande Chaumière) and in Florence (at the Instituto del Arte)—in Paris he shared a large studio with other American veterans, including Sam Francis and Frank Lobdell. Pace returned to New York in the fall of 1951. With a few months remaining on the G.I. Bill, he enrolled in Hans Hofmann’s school; he later studied with Hofmann in Provincetown, Massachusetts. Pace felt an immediate affinity with Hofmann, who, in turn, viewed Pace as one of his prize pupils.  Hofmann stated this in a 1959 article in Look Magazine. [3] In an exhibition catalogue statement for a two-person exhibition of Stephen Pace and George McNeil, Hofmann comments, “most sincere congratulations to such magnificent choices in great contemporary talents…two remarkable painters with great plastic imagination and immense vitality and inventiveness in the realm of color.” [4] When Hofmann’s classes became so popular that it was difficult for him to give students individual attention, he visited Pace’s studio to critique his work in person. In his art, Pace extended Hofmann’s ideas of the tension between volume and surface to vivid compositions in which he explored ways of making forms as free as possible without allowing them to lose their sense of belonging and confinement in their given formats. Dore Ashton wrote in 1960, that in Pace’s abstractions, on view at Howard Wise Gallery, “energetic elements battle their way to equilibrium. No matter how baroque Mr. Pace’s compositions are—and they are nearly all fretted with tilting and bucking forms—they do, ultimately come to rest.” [5]

From 1953 to 1961, Pace was often included in annuals at the Whitney Museum of American Art, exhibiting alongside Kline and Hofmann. In 1954, he was represented in the third annual exhibition at the historically important Stable Gallery. His friendships with Willem and Elaine de Kooning and Jackson Pollock may have developed from the Stable show in which their work was also included. When Pace had a solo exhibition in 1954 at Artists Gallery, the poet and art critic Frank O’Hara stated in Art News: “He doesn’t cultivate a ‘look’; some paintings have a delicate breathy surface with ominous dry light behind, others are more outgoing in their organization and move in a public, rhetorical manner.” [6] Sawin wrote in the same year: “Lavish with both paint and energy, Stephen Pace employs jumbled layers of color, scumbled, splattered and overrun by lines and dribbles in a burst of disorder and chaos. The shapes which dimly emerge amid the tumultuous jostling are of a biomorphic character reminiscent of Gorky, but painted with a freedom and abandon which has a dizzying effect.” [7] Pace exhibited at Poindexter Gallery, New York, in 1956 and 1957, and from 1957 to 1966 at HCE Gallery in Provincetown. In 1959, he accepted the first of many teaching jobs at Washington University, taking a post just vacated by Max Beckmann. In 1960, he was included in an important exhibition of contemporary abstraction at the Cleveland Art Museum.

Around 1962, just after his inclusion in a major show in Cleveland, Stephen Pace turned his attention from abstraction back to representation.  In the 1940s, Pace painted in a traditional language, rendering still lifes and portraits.  After studying with Hans Hofmann, he moved into the world of non-objective painting, achieving wide-spread success.  Inspired by his time in Provincetown and several trips to Maine, longing to return to his roots, Pace began painting representational imagery defined by Martica Sawin as “Minimal Figuration.”[8] 

Figure-studies were an important part of the artist’s long-career.  Provincetown inspired his fascination with a series of paintings called the Sunbathers or Dancing Bathers. His summers in Maine are noted by paintings of sunflowers, coastal scenes and landscapes. Growing up in Missouri and Indiana on a farm, open fields, horses and plant-life were also favorite subjects. 

This post-1962 style is characterized by remnants of his Abstract Expressionist brushwork, broad and bold planes of color with large areas of negative space, which results in lively Post-Impressionist scenes inspired by everyday life recalling Matisse, Bonnard, and his friend Milton Avery. This is the manner in which he would continue to paint for over fifty years. 

Though noted as a significant second-generation Abstract Expressionist from 1949 to 1962, Stephen Pace painted representational imagery grounded in minimalism, using broad brush strokes and negative spaces to create lively Post-Impressionist inspired scenes of everyday life.  Inspired by his time in Provincetown and summers in Maine, Pace painted scenes of the coast and coastal-life.  Growing up in Missouri and Indiana on a farm, open fields, horses and plant-life were also favorite subjects.  Figure-studies were also an important part of the artist’s long-career.  Provincetown inspired his fascination with a series of paintings called the Bathers or Dancing Bathers. There is a joyousness to this work that calls to mind Matisse, Bonnard and his friend, Milton Avery.

Of his post-1962, representational work, Peter Frank writes a review of Sachs Gallery’s show in 57th Street Review: “When, after a long period of relative invisibility, Stephen Pace had a solo show in New York – June of 1964, if I remember correctly, at Howard Wise – there was a great commotion over the fact that he was painting, gasp, figures! Not that figure painting had become so rare, especially not by then. Pace had been a promising member of the Abstract Expressionists’ second generation; it was not his conversion to representation that raised eyebrows, it was the kind of representational work he was doing. Pace had not thrown in his lot with the Pop artists or any other such New Imagists. Nor, however, had he taken up the restrained impressionism—such as that of Fairfield Porter, Elias Goldberg, Nell Blaine, and others—which has characterized a large and significant segment of New York painting since the second world war. No, Pace was insisting on having his cake and eating it, too – painting different things in the same way he used to paint. Pace painted his people and animals and buildings just as he had painted abstract forms and fields, maintaining various aspects of his Abstract Expressionist style: the large formats, the vivid, right-out-of-the-tube color sense, and the painterly stroke that bespoke not just the hand’s motion, but the whole arm’s.”[9]

Stephen Pace’s career spanned over eight decades with major exhibitions at the Museum of Modern Art, New York, the Whitney Museum of American Art, New York and the Provincetown Art Association, Massachusetts.  He is included over 50 museum collections around the world.  In 2010, at the age of 92, he died peacefully in New Harmony, Indiana. 

Lisa N. Peters Ph.D.

© Berry Campbell


[1] Thomas Hess, catalogue essay, Stephen Pace and George McNeil exhibition (New York: Howard Wise Gallery, 1961). The exhibition was held at the Rose Art Museum, Brandeis University, Waltham Massachusetts; the Walker Art Center, Minneapolis; and the Columbus Museum of Art, Ohio.
[2] Martica Sawin, “Stephen Pace: Action Painting in Two Modes,” Arts (April 1987), p. 72. Sawin is the author of the monograph, Stephen Pace (New York: Hudson Hills, 2004).
[3] Hofmann is quoted in Charlotte Willard, “Four Masters of Modern Art Select New Talent,” Look Magazine (November 24, 1959), p. 64.
[4] Hans Hofmann, commentary in Stephen Pace / George McNeil, exh. cat, (New York: Howard Wise Gallery, 1961).
[5] Dore Ashton, “Battle of Elements: Exhibition of Paintings by Stephen Pace at Wise Gallery Shows Baroque Strain,” New York Times, March 31, 1960, p. 64.
[6] Frank O’Hara, Art News 52 (February 1954), p. 45.
[7] M[artica] S[awin], “Stephen Pace,” Art Digest 29 (February 15, 1954), p. 42.
[8] Martica Sawin, “Stephen Pace,” (New York and Manchester: Hudson Hills Press, 2004.
[9] Peter Frank, “Stephen Pace,” 57th Street Review, February 1976, p. 8-10.


CV

1918, born Charleston, Missouri
2010, died New Harmony, Indiana

SOLO EXHIBITIONS
Meeting Room of Rappite Men’s Dormitory, New Harmony, Indiana, 1939.
Bosse High School, Evansville, Indiana, 1945.
University of Indiana, Bloomington, 1946.
Danforth Memorial Library, Charleston, Missouri, 1948.
Hendler Gallery, Philadelphia, 1953.
Artists Gallery, New York, 1954.
HCE Gallery, Provincetown, Massachusetts, 1956.
Poindexter Gallery, New York, 1956.
Poindexter Gallery, New York, 1957.
HCE Gallery, Provincetown, Massachusetts, 1958.
HCE Gallery, Provincetown, Massachusetts, 1959.
Washington University, St. Louis, Missouri, 1959.
Dilexi Gallery, San Francisco, 1960.
Holland Goldowksy Gallery, Chicago, 1960.
Howard Wise Gallery, Cleveland, Ohio, 1960.
Howard Wise Gallery, New York, 1960.
Dwan Gallery, Los Angeles, Stephen Pace: Paintings, 1961.
The Hayden Gallery, Cambridge, Massachusetts, 1961.
HCE Gallery, Provincetown, Massachusetts, 1961.
Howard Wise Gallery, New York, 1961.
HCE Gallery, Provincetown, Massachusetts, 1962.
Chicago Arts Club, 1962.
HCE Gallery, Provincetown, Massachusetts, 1963.
Howard Wise Gallery, New York, 1963.
Howard Wise Gallery, New York, 1965.]
HCE Gallery, Provincetown, Massachusetts, 1966.
Ridler Gallery, Evansville, Indiana, 1966.
University Art Museum, University of California, Berkeley, 1968.
Graham Gallery, New York, 1969.
Des Moines Art Center, Iowa, 1970.
University of Texas Art Museum, Austin, 1970.
Charlotte Crosby Kemper Gallery, Kansas City, Missouri, 1973.
Kansas City Art Institute, Missouri, 1973.
Maine Coast Artists, Rockport, 1973.
A.M. Sachs Gallery, New York, 1974.
College Art Gallery, Drew University, Madison, New Jersey, 1975.
Deer Isle Art Association, Maine, 1975.
Proctor Art Center, Bard College, Annandale-on-Hudson, New York, 1975.
A.M. Sachs Gallery, New York, 1976.
Polo Gallery, Georgetown, Washington, DC, 1976.
Watkins Art Gallery, American University, Washington, DC, 1976.
New Harmony Gallery, Indiana, 1977.
A.M. Sachs Gallery, New York, 1978.
The Farm Gallery, Far Hills, New Jersey, 1978.
A.M. Sachs Gallery, New York, 1979.
Barbara Fielder Gallery, Washington, DC, 1980.
A.M. Sachs Gallery, New York, 1981.
Barbara Fielder Gallery, Washington, DC, 1981.
Chastenet Gallery, Washington, DC, 1981.
A.M. Sachs Gallery, New York, 1983.
A.M. Sachs Gallery, New York, 1985.
Leighton Gallery, Blue Hill, Maine, 1985.
Katharina Rich Perlow Gallery, New York, 1987.
Leighton Gallery, Blue Hill, Maine, 1987.
Katharina Rich Perlow Gallery, New York, 1989.
Leighton Gallery, Blue Hill, Maine, 1989.
Katharina Rich Perlow Gallery, New York, 1989.
Leighton Gallery, Blue Hill, Maine, 1991.
Katharina Rich Perlow Gallery, New York, 1991
Vanderwood Tannenbaum Gallery, New York, 1991.
Weatherspoon Art Gallery, University of North Carolina, Greensboro, 1991.
Evansville Museum of Arts and Sciences, 1992.
Maine Coast Artists, Rockport, 1994.
Olin Arts Center, Bates College Museum of Art, Lewiston, Maine, 1994.
Katharina Rich Perlow Gallery, New York, 1994 – 95.
Courtyard Gallery, Washington, DC, 1996.
Katharina Rich Perlow Gallery, New York, 1997.
Katharina Rich Perlow Gallery, New York, 1998.
Union College, Schenectady, New York, 1999.
Katharina Rich Perlow Gallery, New York, 2000.
A.J. Buecke Gallery, Northeast Harbor, Maine, 2002.
Katharina Rich Perlow Gallery, New York, 2002.
Katharina Rich Perlow Gallery, New York, 2004.
Katharina Rich Perlow Gallery, New York, 2006.
Katharina Rich Perlow Gallery, New York, 2007.
McCutchan Art Center/Pace Galleries, University of Southern Indiana, Evansville, Stephen Pace: A Life in Art, 1918 – 2010, 2011.
Spanierman Gallery, New York, 2011.
Spanierman Modern, New York, Abstract Expressionist, 2011.
Spanierman Gallery, Minimalist Figuration, 2012 – 13.
Berry Campbell, New York, Stephen Pace: Abstract Expressionist, 2014.
Dowling Walsh, Rockland, Stephen Pace, 2015.
Berry Campbell, New York, 2016.
Dowling Walsh, Rockland, Stephen Pace, 2018.
Berry Campbell, New York, Stephen Pace: Reflections, 2019.
Provincetown Art Association and Museum, Massachusetts, Stephen Pace in Provincetown, 2019.

SELECTED GROUP EXHIBITIONS
Camp Lee Service Club, Petersburg, Virginia, 1942.
National Gallery of Art, Washington, DC, Life Magazine Group Exhibitions, 1942.
Cheltenham Art Gallery, England, U.S. Army Art, 1944.
National Gallery, Washington, DC, Soldier Art (Fighting Forces Series), 1945.
Evansville Art Museum, Indiana, Art Guild Annual, 1947.
Chinese Gallery, New York, 1949.
Greiss Gallery, New York, Woodcuts by Feininger; Lithographs by Weber; Watercolors and Drawings by Lorian; and Watercolors and Drawings by Pace, 1949.
Laurel Gallery, New York, New Talent, 1949.
Solon des Réalités Nouvelles, Paris, 1949.
Florence Festival Exhibition, Italy, 1950.
Galerie Huit, Paris, 1950.
Palais des Beaux-Arts, Paris, Solon des Réalités Nouvelles, 5éme Salon, 1950.
Palazzo Davanzati, Florence, 1951.
Hudson Guild, New York, Seventh Chelsea Exhibition, 1952.
Artists Equity Association, New York, 17th Annual Exhibition of the American Abstract Artists, 1953.
Brooklyn Museum of Art, New York, International Watercolor Exhibition: 17th Biennial, 1953.
Hacker Gallery, New York, American Abstract Artists, Annual Spring Exhibition, 1953.
Whitney Museum of American Art, New York, Annual Exhibition of Contemporary American Sculpture, Watercolors, and Drawings, 1953.
Pennsylvania Academy of Fine Arts, Philadelphia, Eighteenth Annual American Abstract Artists, 1954.
Stable Gallery, New York, New York Artists Third Annual Exhibition of Painting and Sculpture, 1954,
Whitney Museum of American Art, New York, Annual Exhibitions of Contemporary American Sculpture, Watercolors, and Drawings, 1954.
Wisconsin Union Gallery, University of Wisconsin, Madison, Contemporary American Drawings, 1954.
Brooklyn Museum of Art, New York, International Watercolor Exhibition: 18th Biennial, 1955.
Carnegie Institute, Pittsburgh, The 1955 Pittsburgh International Exhibition of Contemporary Painting, 1955.
National Museum of Modern Art, Tokyo, American Abstract Art, 1955.
New School for Social Research, New York, American Abstract Art, 1955.
Walker Art Center, Minneapolis (traveled to Stable Gallery, New York), Vanguard, 1955: A Painter’s Selection of New American Paintings, 1955.
International Association of Plastic Arts, Seventy-Five American Painters, 1956.
Musée Cantini, Marseilles, Frances, Peintres Américains Contemporains, 1956.
Musée Municipal, Laon, 41 Aquarellistes Americains D’Augourd’Hui, 1956.
Stable Gallery, New York, New York Artists Fifith Annual Exhibition of American Painting and Sculpture, 1956.
Whitney Museum of American Art, New York, Annual Exhibitions of Contemporary American Sculpture, Watercolors, and Drawings, 1956.
American Abstract Artists, New York, 21st Annual Exhibition: The Contemporaries, 1957.
Columbus Museum of Art, Ohio, 1957.
Corcoran Gallery of Art, Washington, DC (traveled to the Toledo Museum of Art, Ohio), The 25th Biennial Exhibition, 1957.
Memorial Union Gallery, Madison, Wisconsin, Nine Painters, 1957.
Museum of Modern Art, New York (traveled to various French museums), Recent American Watercolors, 1957.
Museum of Modern Art, New York (traveled to various Japanese museums), Fourth International Art Exhibition, 1957.
Tanager Gallery, New York, Group Exhibitions, 1957.
Whitney Museum of American Art, New York, Annual Exhibitions of Contemporary American Sculpture, Watercolors, and Drawings, 1957.
United States Information Agency (traveled to various locations), Abstract Impressionism, 1958.
Whitney Museum of American Art, New York, Annual Exhibitions of Contemporary American Sculpture, Watercolors, and Drawings, 1958.
Museum of Modern Art, New York (traveled to various locations), Art: USA: 59: A Force, A Language, A Frontier, 1959.
Allyn Gallery, Southern Illinois University, Carbondale, Group Exhibition, 1960.
Walker Art Center, Minneapolis, Minnesota, Sixty American Painters, 1960.
Wildenstein Gallery, New York, Fifth International Hallmark Art Award, 1960.
Rose Art Museum, Brandeis University, Waltham, Massachusetts (with George McNeil), 1961.
Whitney Museum of American Art, New York, Annual Exhibitions of Contemporary American Sculpture, Watercolors, and Drawings, 1961.
Colum (obus Gallery of Fine Arts, Ohio (with George McNeil), 1962.
Manila, Philippines, Art in Embassies, 1962.
Walker Art Center, Minneapolis, Minnesota (with George McNeil), 1962.
Corcoran Gallery of Art, Washington, DC, The 28th Biennial Exhibition, 1963.
Howard Wise Gallery, New York, Nine Artists Through Decades, 1963.
Norfolk Museum of Arts and Sciences, Virginia, An Exhibition of the Jean Outland Chrysler Collection, 1963.
Museum of Modern Art (traveled to various locations in Asia, Australia, and Europe), Abstract Watercolors by Fourteen Americans, 1964.
University of Texas, Austin (traveled to various locations in Australia and Central and South America), The James Michener Collection, 1964.
University of Texas, Austin, Recent American Paintings, 1964.
Chicago Art Institute, 1966.
University Art Museum, University of California, Berkeley, Selection 1967: Recent Acquisitions in Modern Art, 1967.
Art Museum of the University of Texas, Austin, Painting as Painting, 1968.
Borgenicht Gallery, New York, Homage to Matisse, 1969.
Amerika Haus, Berlin, Die Amerikanische Malerei (organized by University of Texas, Austin), 1973.
Art Museum of the University of Texas, Austin (traveled to various locations in Germany and Romania), American Painting, 1973.
Ciba-Geigy Corporation, Ardsley, New York, The Ciba-Geigy Art Collection: Acquisitions as of Summer 1973, 1973.
Weatherspoon Art Gallery, University of North Carolina, Greensboro, Art on Paper 1973: One Hundred Contemporary American Art Works Purchased for the Dillard Collection of the Weatherspoon Gallery, 1973.
Borgenicht Gallery, New York, Intimate Landscapes, 1975.
Landmark Gallery, New York, Landscapes, 1975.
Maine Coast Artists, Rockport, 1975.
Washington Project for the Arts, Washington, DC, Drawings from the Studios of Washington Artists, 1975.
American Academy of Arts and Letters, New York, Hassam Purchase Exhibition, 1976.
Contemporary Art Gallery, Milwaukee, Wisconsin, Artworks, 1976.
Guilford College, Greensboro, North Carolina, Watercolors, 1976.
Neuberger Museum, State University of New York, Purchase, 1976.
Santa Rosa Junior College, California, Drawing Invitational, 1976.
State Museum, Augusta, Maine, Bicentennial Exhibition, 1976.
Wichita Falls Museum, Texas, Works on Paper from the Ciba-Geigy Collection, 1976.
A.M. Sachs Gallery, New York, Gallery Artists, 1977.
Delaware Art Museum, Wilmington, Watercolors, 1977.
Evansville Art Museum, Indiana, Artists from the Tristate Area, 1977.
Everson Museum, Syracuse, New York (traveled to Provincetown Art Association and Museum, Massachusetts), Provincetown, 1870 – 1970, 1977.
Weatherspoon Art Gallery, University of North Carolina, Greensboro, Art on Paper, 1977, 1978.
Gallery 3, Savannah, Georgia, 1977.
The Phillips Collection, Washington, DC, New Acquisitions, 1978.
Provincetown Art Association and Museum, Massachusetts, Days – Lumberyard Studios: Provincetown 1914 – 1971, 1978.
Foundry Gallery, Washington, DC, Realism and Representation, 1979.
Metropolitan Museum of Art, New York, Hans Hofmann as Teacher: Drawings by His Students, 1979.
Mitchell Museum, Mount Vernon, Illinois, American Watercolorists, 1979.
Residence of the Vice-President of the United States, Washington, DC, Art from Northeast Art Museums, 1979.
The Rudolph Gallery, Woodstock, New York, 1979.
Weatherspoon Art Gallery, University of North Carolina, Greensboro, 1979.
Deer Isle Art Association, Maine, Annual Exhibitions, 1979.
Deer Isle Art Association, Maine, Annual Exhibitions, 1980.
Delaware Art Museum, Wilmington, Annual Exhibition, 1980.
Gallery K., Washington, DC, Art of the Eighties, 1980.
Art Fellows Gallery, Belfast, Maine, Summer Invitational, 1981.
Corcoran Gallery of Art, Washington, DC, Recent Acquisitions, 1981.
Deer Isle Art Association, Maine, Annual Exhibitions, 1981.
Corcoran Gallery of Art, Washington, DC, 10 x 10 x 10, 1982.
Deer Isle Art Association, Maine, Annual Exhibition, 1982.
Deer Isle Art Association, Maine, Annual Exhibition, 1983.
Gallery Association of New York State, Twentieth-Century American Watercolors, 1983.
Turtle Gallery, Deer Isle, Maine, 1983.
Corcoran Gallery of Art, Washington, DC, Washington Watercolors, 1984.
Deer Isle Art Association, Maine, Annual Exhibition, 1984.
Turtle Gallery, Deer Isle, Maine, 1984.
Deer Isle Art Association, Maine, Annual Exhibition, 1985.
Turtle Gallery, Deer Isle, Maine, 1985.
Deer Isle Art Association, Maine, Annual Exhibition, 1986.
Turtle Gallery, Deer Isle, Maine, 1986.
Baruch College Gallery, City University of New York (traveled to School of Art Gallery, Foster Hall, Louisiana State University, Baton Rouge), Figural Art of the New York School: Selections from the Ciba-Geigy Art Collection, 1985 – 86.
Deer Isle Art Association, Maine, Annual Exhibition, 1987.
Katharina Rich Perlow Gallery, New York, Summer Figures in Landscape and Seascape, 1987.
Members’ Gallery, Baltimore Museum of Art, Maryland, 1987.
Turtle Gallery, Deer Isle, Maine, 1987.
Deer Isle Art Association, Maine, Annual Exhibition, 1988.
Farnsworth Museum, Rockland, Maine, Maine Artists, 1988.
Pratt Manhattan Gallery, New York, This Was Pratt, 1988.
Turtle Gallery, Deer Isle, Maine, 1988.
Deer Isle Art Association, Maine, Annual Exhibitions, 1989.
The Gallery in Hastings on Hudson, New York, The Figure Revisited, 1989.
Turtle Gallery, Deer Isle, Maine, 1989.
Deer Isle Art Association, Maine, Annual Exhibitions, 1990.
Members’ Gallery, Albright-Knox Museum of Art, Buffalo, New York, 1990.
Turtle Gallery, Deer Isle, Maine, 1990.
Deer Isle Art Association, Maine, Annual Exhibitions, 1991.
Turtle Gallery, Deer Isle, Maine, 1991.
Deer Isle Art Association, Maine, Annual Exhibitions, 1992.
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Recent Acquisitions, 1992.
Turtle Gallery, Deer Isle, Maine, 1992.
Deer Isle Art Association, Maine, Annual Exhibitions, 1993.
Maine Coast Artists, Rockport, On the Edge, 1993.
National Academy of Design, New York, Annual Exhibition, 1993.
Provincetown Art Association, Massachusetts, The League at the Cape, 1993.
Turtle Gallery, Deer Isle, Maine, 1993.
Wickiser Gallery, New York, Group Exhibition, 1993.
Deer Isle Art Association, Maine, Annual Exhibitions, 1994.
Turtle Gallery, Deer Isle, Maine, 1994.
Anita Shapolsky Gallery, New York, Animals, Animals, 1995.
Brown University, Providence, Rhode Island, American Artists in Uniform, 1995.
Deer Isle Art Association, Maine, Annual Exhibitions, 1995.
National Academy of Design, New York, Annual Exhibition, 1995.
Turtle Gallery, Deer Isle, Maine, 1995.
Deer Isle Art Association, Maine, Annual Exhibitions, 1996.
Turtle Gallery, Deer Isle, Maine, 1996.
Deer Isle Art Association, Maine, Annual Exhibitions, 1997.
National Academy of Design, New York, Annual Exhibition, 1997.
Turtle Gallery, Deer Isle, Maine, 1997
W. Wickiser Gallery, New York, Variations of the Nude, 1997.
C. Watson Gallery, Stonington, Maine, Group Exhibition, 1998.
Deer Isle Art Association, Maine, Annual Exhibitions, 1998.
Turtle Gallery, Deer Isle, Maine, 1998.
C. Watson Gallery, Stonington, Maine, Group Exhibition, 1999.
Deer Isle Art Association, Maine, Annual Exhibitions, 1999.
National Academy of Design, New York, Annual Exhibition, 1999.
Turtle Gallery, Deer Isle, Maine, 1999.
C. Watson Gallery, Stonington, Maine, Group Exhibition, 2000.
Deer Isle Art Association, Maine, Annual Exhibitions, 2000.
National Arts Club, New York, Provincetown Museum Collection, 2000.
Turtle Gallery, Deer Isle, Maine, 2000.
W. Wickiser Gallery, New York, Artists of the Third Millennium, 2000.
C. Watson Gallery, Stonington, Maine, Group Exhibition, 2001.
National Academy of Design, New York, Annual Exhibition, 2001.
Turtle Gallery, Deer Isle, Maine, 2001.
C. Watson Gallery, Stonington, Maine, Group Exhibition, 2002.
Center for Maine Contemporary Art, Rockport, Past/Present/Future, 2002.
Farnsworth Art Museum, Rockland, Maine, Abstraction in Maine, 2002.
Turtle Gallery, Deer Isle, Maine, 2002.
Vienna, Austria, Art in Embassies: Contemporary American Art, 2002.
C. Watson Gallery, Stonington, Maine, Group Exhibition, 2003.
Turtle Gallery, Deer Isle, Maine, 2003.
Blue Hill Public Library, Maine, Maine Connections: The Obscure and the Celebrated Artists, 1920 – 2005, 2005.
Blue Hill Library, Maine, Collectors’ Choice: A Group Exhibition, 2006.
Spanierman Gallery, New York, Fifteen Modern and Contemporary Artists, 2011.
Spanierman Gallery, New York, Maine: An Artist’s Retreat, 2011.
Spanierman Modern, New York, Abstract Expressionism and Its Legacy, 2011.
Spanierman Modern, AbEx and Color Field Painting, 2012.
Miami Project, Berry Campbell, 2014.
Art Silicon Valley/San Francisco, Berry Campbell, 2014.
Berry Campbell, New York, A Year in Review, 2014.
Berry Campbell, New York, Masters of Expressionism in Postwar America, 2014.
Art Miami, Berry Campbell, 2015.
Berry Campbell, New York, Summer Selections, 2015.
Art Wynwood, Berry Campbell, 2015.
Quidley & Company, Nantucket, Savage Nature: The Importance of Place in Early American Modernism, 2016.
Berry Campbell Gallery, New York, Summer Selections, 2016.
Colby College Museum of Art, Waterville, Maine, Visionary Painting, June 1-August 27, 2017 (curated by Alex Katz).
Cavalier Gallery, Group Show, 2017.
Dorothea and Leo Rabkin Foundation, Portland, Maine, Celebrating Maine’s Artist-Endowed Foundations, 2018.
Peter Freeman Gallery, New York, Summer, 2018.
Dowling Walsh, Rockland, PRESS PAUSE | A GROUP EXHIBTION, 2018.
Cavalier Galleries, New York, 57th Street: America’s Artistic Legacy, Part I, 2018.
Dowling Walsh, Rockland, Summer Highlights, 2018.
Berry Campbell, New York, Summer Selections, 2018.
Dowling Walsh, Rockland, Maine, New Additions, 2019. 
Berry Campbell, New York, Summer Selections, 2019.


SELECTED PRIVATE AND PUBLIC COLLECTIONS
Allen Memorial Art Museum, Oberlin, Ohio
American University, Washington, DC
Arkansas Art Center, Little Rock
AT&T Corporate Offices, Chicago
Baruch College, The City University of New York
Bates College Museum of Art, Lewiston, Maine
Blanton Museum of Art, The University of Texas, James Michener Collection, Austin
Bowdoin College Museum of Art, Brunswick, Maine
Bristol-Myers Squibb Collection, Princeton, New Jersey
Brown University, Providence, Rhode Island
The Bundy Modern, Waitsfield, Vermont
Chrysler Museum of Art, Norfolk, Virginia
Ciba-Geigy Corporation, New York
Colby College, Waterville, Maine
Columbus Museum of Art, Ohio
Corcoran Gallery of Art, Washington, DC
Institut Curie, Paris
Deloitte, Haskins & Sells, Washington, DC
Des Moines Art Center, Iowa
Evansville Museum of Arts. History, and Sciences, Indiana
Farnsworth Art Museum, Rockland, Maine
Field Corporation, Chicago
Fryeburg Academy, Maine
Hallmark Art Collection, Kansas City, Missouri
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC
Hospital Corporation of America, Nashville, Tennessee
Indianapolis Museum of Art, Indiana
Patrick Lannan Foundation, Venice, California
JP Morgan Chase Collection, New York
Metropolitan Museum of Art, New York
Miller and Chevalier, Washington, DC
Monhegan Museum of Art, Maine
Munson-Williams-Proctor Arts Institute, Utica, New York
Museum of Fine Arts, Boston
National Academy of Design, New York
Newark Museum, New Jersey
New Orleans Museum of Art, Louisiana
Ogunquit Museum of American Art, Maine
The Phillips Collection, Washington, DC
Portland Museum of Art, Maine
Provincetown Art Association and Museum, Massachusetts
Prudential Life Insurance Company, New York
Smithsonian American Art Museum, Washington, DC
UC Berkley Art Museum and Pacific Film Archive, California
Union College, Schenectady, New York
University of Denver, Colorado
University of Maine Museum of Art, Bangor
University of Northern Iowa, Cedar Falls
University of Southern Indiana, Evansville
Walker Art Center, Minneapolis, Minnesota
Weatherspoon Art Museum, University of Northern Carolina, Greensboro
Whitney Museum of American Art, New York
Yale University Art Gallery, New Haven, Connecticut
Zimmerli Art Museum, Rutgers, The State University of New Jersey, New Brunswick