Jackie Battenfield

Solo & Two Artist Shows

2004 Hothouse, DM Contemporary, Mill Neck, NY
Tiptoe Motion, GwendaJayAddington Gallery, Chicago, IL
2003 Day Burn, Addison/Ripley Gallery, Washington, DC
Organic Poetry: Jackie Battenfield & Barbara Andrus, Friends Academy, Locust Valley, NY
2001 Piedmont Arts Association, Piedmont, VA
2000 Patricia Rovzar Gallery, Kirkland, WA
1999 Robert Kidd Gallery, Birmingham, MI
Four Breaths, Marsh Art Gallery, University of Richmond, VA
Watermarks, Gallery CDS, St. Croix, U.S. Virgin Islands
1998 Water’s Edge, Brenda Kroos Gallery, Cleveland, OH
Roots & Wings, Gwenda Jay Gallery, Chicago, IL
New Paintings & Works on Paper, Addison/Ripley Gallery, Washington, D.C.
Gestures, Nelson/Rovzar Gallery, Kirkland, WA
1997 Jackie Battenfield & Cecily Kahn: Recent Work, The Painting Center, NY
1996 Nelson Rovzar Gallery, Kirkland, WA
1995 Addison/Ripley Fine Art, Washington, D.C.
1994 Fire & Water, Erickson & Elins Gallery, San Francisco, CA
1993-95 Mizu, The Sounds of Water, Marsh Art Gallery, University of Richmond, VA and traveled to
The Art Gallery, University of New Hampshire; Chicago Center for the Print, Chicago, IL;
Erickson & Elins Gallery, San Francisco; Addison/Ripley Fine Art, Washington, D.C.
1993 Geometry & Gesture: Battenfield & Martin, Hampshire College, Amherst, MA
Natural Forces, Addison/Ripley Fine Art, Washington, DC
Focus on the Artist, FGIC Gallery, New York
1990 Dreams & Schemes, DTW Gallery, New York
1987 Field Encounters, Martha Schaeffer Fine Art & First Women’s Bank, New York
1981 Space Arcs, Invitational, Hera Cooperative Gallery, Wakefield, RI
1980 Recent Work, Invitational, Zoller Gallery, Pennsylvania State University, University Park
1979 Minimalist Work, Two person show, Hubris Gallery, New York
1978 Modules, Lyman Hall Gallery, Syracuse University, NY
1976 Villanova University Art Gallery, PA
1975 Kern Gallery, Pennsylvania State University, University Park

Group Shows

2005 Landscape in the Abstract, Invitational curated exhibition. Chicago Art Dealers Association,
Chicago, IL
The Color of Night: How Artists Work With Darkness, Zimmerli Art Museum, Rutgers, NJ
2004 Dealers Choice, Robert Kidd Gallery, Birmingham, MI
Jackie Battenfield Prints, Cherrystone Gallery, Wellfleet, MA
Four New York Artists, Patrick Olson Gallery, Plymouth, MI
Newer Genres, Zimmerli Art Museum, New Brunswick, NJ
2003 Recent Acquisitions, Palmer Museum of Art, University Park, PA
Lithographs, Cherry Stone Gallery, Wellfleet, MA
$99 Bargain Store Show, Cynthia Broan Gallery, New York
Paper 2003, Metaphor Contemporary Art, Brooklyn, NY
2002 Drawings for Peace, Kentler International Drawing Space, Brooklyn, New York
Works on Paper, DFN Gallery, New York
2001 Erickson & Elins Gallery, San Francisco, CA
Power in my Hand: Works on Paper by Women Artists from the Permanent Collection,
Palmer Museum of Art, University Park, PA
2000 Significant Impressions, Addison/Ripley Fine Art, Washington, D.C.
Erickson & Elins Gallery, San Francisco, CA
2Palimpsest, Chelsea Gallery, Western Carolina State University, Asheville, NC
Helen Basilevsky Gallery, Nightingale-Bamford School, New York
Feast Your Eyes, Wendy Cooper Gallery, Madison, WI
1999 Take Out/Eat In, Molloy College Art Gallery, Rockville Centre, Long Island
The Paper Show, Harnett Murray Gallery, New York City
10 X 10, Addison/Ripley Fine Art & E.C. May and Company, Washington, D.C.
1998 The Preview Show, Harnett Murray Gallery, New York City
Art for the University: Celebrating the 30th Anniversary of the Marsh Art Gallery
University of Richmond, VA
A Sampling of Recent American Prints, Addison/Ripley Fine Art, Washington, D.C.
Michael Petronko Gallery, New York City
1998 Paper +, Dieu Donne Papermill & Gallery, New York
Artist as Curator, Concept Gallery, Pittsburgh, PA
1997 Generations, A.I.R. Gallery 20th Anniversary Exhibition, A.I.R. Gallery, New York
Preludes, Addison/Ripley Fine Art, Washington, D.C.
Do You See What I See? Gallery at Salishan, Gleneden Beach, OR
1996 Realism to Abstraction, Brenda Kroos Gallery, Cleveland, OH
1995-96 The Curator as Artist/The Artist as Curator, Bergen Museum of Art & Science, Bergen, NJ
1995 Small Works, Butters Gallery, Portland, OR
Works of 25 Contemporary Artists from New York, Yuki Sun International, Nagoya, Japan
What is a Print? The Montclair Art Museum, NJ
1994 New Works on Paper Nelson/Rovzar Gallery, Kirkland, WA, (3 person show)
Recent Acquisitions, Marsh Gallery, University of Richmond, VA
Function Dysfunction, Gwenda Jay Gallery, Chicago, IL
Monotypes: Not Letting Go of the Ghost, TriBeCa 148 Gallery, New York
Revised Context, Butters Gallery, Portland, OR
Change is in the Air, Gwenda Jay Gallery, Chicago, IL
1993 Beauty, University Gallery, New Mexico State University, Las Cruces
The Nature of the Landscape, Caputo House Gallery, Madison, WI
Introductions, Gwenda Jay Gallery, Chicago, IL
Hugh R. Hill Gallery, Kent, CT
Maximization, TriBeCa 148 Gallery, New York
Introductions: 3 New Gallery Artists, Butters Gallery, Portland, OR
1992-93 Winter Politics, One Square Mile Gallery, Sea Cliff, NY
1992 The 1.5 Show, Muranushi/Lederman Productions, TriBeCa 148 Gallery, New York
1990-91 Marks of Vision, Harmony Hall Regional Center Gallery, Fort Washington, MD
1987 Abstraction, Soho Center for Visual Artists, New York
1986 Multiple Choice, Art In General, New York
1982 Selections from the Sasaki Collection, Galerie Saison, Tokyo, Japan
1981 5 Young New York City Artists, Ericson Gallery, New York
10 Downtown, Invitational, New York
1978 The Annual, Everson Museum of Art, Syracuse, NY
Fiber Works, Delaware Art Museum, Wilmington
1977 Artists of Central New York, Munson Williams Proctor Institute, Museum of Art

Commissions (selected)

2002 Luminous Fields, painting commission for Jinling Tower, Nanjing, China
2001 Flying High, 4 panel painting commission, Merck & Co., New Jersey
1993 Uzu Maki, Scroll Painting for Janis Brenner & Dancers, Danspace Project Performance, NY
Stage 200/Dance Building at UCLA (1994) and Dance Theater Workshop, NY (1994)
1990 Earth’s Standards, United States Pharmacopeial Convention, Inc., Rockville, MD
Site-specific, vertical, triptych painting for three story central atrium. Permanent collection
1980 Outdoor Sculpture, Pennsylvania State University, University Park. Temporary installation

Grants/Awards/Honors

1996 Warren Tanner Memorial Art Fund Award in Painting
1991 Pollock-Krasner Foundation Grant in Painting

Artist Residencies

2005 John B. Hurford Humanities Center Artist-in-Residence Program
2003 Women’s Studio Workshop, Rosendale, NY

Publications/Reviews/Bibliography

2004 Drury, Amalie, “City Art”, CS: Chicago Social, February 2004, illustration, page 38
Aiglon, Kelly, WHERE Chicago Magazine, February 2004, illustration, page 27
2000 Monotypes in Contemporary American Printmaking, From the Rutgers Archives for Printmaking Studios, Jane
Voorhees Zimmerli Art Museum, Fall/Winter newsletter, illustration, page 5
Hirsch, Faye, “Working Proof”, Art on Paper, Vol.4.No.5, May-June 2000, pg.70, (color illus.)
1999 Braff, Phyllis,“Works on Paper, With a Difference,” The New York Times, February 21
(b&w illus.) Review of Molloy College exhibition, “Take Out/Eat In”
New American Paintings, No.20, The Open Studios Press, pages 8-11 (color illus.)
1998 Hirsch, Faye, “Working Proof,” Art On Paper, Vol.3, No.2 Nov-Dec. 1998, pg. 51
Inquiring Mind, Fall 1998, vol. 15, no. 1, pages 22 & 23, (b&w illus.)
Sparks, Amy Bracken, “Artists delve into Liquidity,” The Cleveland Plain Dealer, October 14
(color illus.)
Buchholz, Barbara B., “gallery watch,” The Chicago Tribune, July 10
Brody, Jacqueline, Paper +, exhibition catalog, Dieu Donne Papermill, NYC
1997 Rohrer-Dann, Mary, “Business 101 for Artists,” The Penn Stater, September/October 1997
1996 Raynor, Vivian,” ...The Twain May (or May Not) Meet,” The New York Times, January 28
Landsman,Judith, Artist as Curator/Curator as Artist, exhibition catalog, interview
1995 Melrod, George, “Exploring Nature and Line as Metaphor”ART & ANTIQUES ,February 95
(color illus.)
1994 Robins, Corrinne, Monotypes: Not Giving Up The Ghost, exhibition catalog
TriBeCa 148 Gallery, Art Initiatives, New York
Gardner, Christine , “Envisioning Sounds,” Seacoast Times, New Hampshire, March 21
1993 Roberts-Pullen,Paulette, “Still Waters,” Richmond Lifestyle Weekly, September 21 (b&w illus.)
Bullard,CeCe, “Sound, Motion Translated to Pictures,” Richmond Times-Dispatch, Sept. 13
Waller, Richard, Jackie Battenfield: Mizu, The Sounds of Water, exhibition catalog,
Marsh Gallery, University of Richmond, VA
Yellen,Elaine, Art at FGIC, exhibition catalog, Federal Guaranty Insurance Corp. New York
Braff, Phyllis, “Imagery in Fiber” The New York Times, May 2
1987 McKenna, Sheila, “Profile,” New York Newsday, May 20
1980 Larsen, Kay, “Voice Choices,” The Village Voice, April 14

Education

1978 MFA, College of Visual and Performing Arts, Syracuse University, New York
1971 BS, Pennsylvania State University, University Park

Current Professional Activities

2004 Adjunct Professor, MFA Program, Columbia University, New York, NY
2002-2005 Consultant and Co-leader, Creative Capital Foundation Professional Development Pilot Workshop Program
2003 Head Project Consultant, Full-Time Artist, MFA curriculum in Professional Practices and Career Development
for Visual Artists
2001 James C. Mumby Visiting Artists Program, Pennsylvania Academy of the Fine Arts, Philadelphia.
2000 Turner Colors Lectures, 3 week lecture tour of Japan’s art schools and universities.
1992-2003 Program Facilitator Artist in the Marketplace (AIM) Program, Bronx Museum of the Arts
Organize and conduct an innovative 12 week seminar on career management for artists.
2000-2003 President, Board of Directors, Lower East Side Printshop, New York
1995-2003 Board of Directors, Arts & Architecture /Performing Arts Alumni Society
College of Arts and Architecture, Pennsylvania State University, University Park, PA
1989-2003 Artist Advisory Committee, The Rotunda Gallery, Brooklyn, NY

Selected Collections

Babson College, Boston, MA
Ronald Bass, New York
Cablevision, Long Island, NY
Davis, Polk & Wardwell, New York
Dow Jones & Co. Inc., Princeton, NJ
Fidelity Investments, Boston, MA
Harvey Fierstein, Ridgefield, CT
Dr. Werner Ganz, Bern, Switzerland
Hong Kong Regent Hotel, Hong Kong
Jinling Tower, Nanjing, China
LVMH, San Francisco, CA
Montclair Art Museum, Montclair, NJ
New York Public Library, NYC
Osaka Hyatt Hotel, Osaka, Japan
Palace Hotel, Beijing, China
Palmer Museum of Art, University Park, PA
Progressive Corporation, OH
Sasaki Collection, Tokyo, Japan
Salomon Brothers, Smith Barney, New York
United States of America, Department of State, Washington, D.C.
United States of America, Department of State, Embassy Collections
Lima, Peru
Sao Paolo, Brazil
Zaghreb, Croatia
University of Arizona Museum of Art, Tucson, Arizona
University of Richmond Museums, Richmond, VA
The Jane Voorhees

Artist Statement

Weather dominates landscape in the most seductive manner. It is nature at its most abstract--most violent, most serene, most mysterious, most prosaic--and it mirrors the changing emotional landscape within me. My painting practice is to work with watery pigments, I pour sweep, brush, drip, and fling layers of paint like clouds scudding across the sky. I coax pools of paint into translucent veils of color. Anchoring these ephemeral elements are gestural tree limbs, horizontal water marks, stripes and blocks of color.

For the last five years, in my paintings and prints, I have focused on the fluidity of water and the natural gestural action of tree branches alongside abstract brush strokes and poured layers of paint. Within this process I find a meditative place from which to reflect on the concept of time. Each image captures a single moment, while reflecting all moments.

Works on Paper

The collage series began as a game which led me to my current interest in landscape. Working with monotypes of gestural marks on colored and textured Asian papers, I cut them up into six inch squares to create a "palette" of color, mass and line. Arranging these squares into long horizontal bands began to evoke psychologically charged landscapes of storms, brush fires and tidal waves. In the larger monotypes, I reversed the process, beginning with a dramatic gestural painting and then printing on the Asian papers. All of these works capture an arrested moment through the painterly tension which is created between the deep space of a intensely colored field, the floating marks of expressive materials imbedded in the sheet (bamboo leaves, horsehair, gold leaf slivers) and the hard edge of the cut paper.