|This biography from the Archives of AskART:|
|After many years of teaching in the East, he moved to Taos, New Mexico in the late 1990s. He became adjunct professor of art at the University of New Mexico in Taos.|
Graduate-Boston Museum School of FineArts, Boston, Mass.
B.S. Art Education, Tufts University, Boston, Mass.
M.A. Art History, Boston University, Boston, Mass.
Selected Solo Exhibitions:
2010 A Muse Gallery, Columbus, Ohio
2007 H. Heather Edelman Gallery, New York City
2006 A Muse Gallery, Columbus, Ohio
2006 H. Heather Edelman Gallery, NYC
1997 “Colors of the Canyon,” H. H. Edelman Gallery, New York, New York
l990 Michael Allen Gallery, Brookline, Mass.
1989 Michael Allen Gallery,Brookline, Mass.
1988 Highgate Galleries, Boston, Mass.
Merrill Gallery, New York University, New York City
l987 Northeastern Gallery, Boston, Mass.
l984 Lyle Evan Gallery, Lexington, Mass.
l982 American College of Greece, Athens, Greece
Hellenic Union Gallery, Athens, Greece
Woodstock Gallery, London, England
l979 New Arts Center, Sussex, England
l978 Woodstock Gallery, London, England
l972 MacIvor Reddi Gallery, Art Institute of Boston
l969 Concourse Gallery, State St. Bank, Boston, Mass.
l965 Tasca Gallery, New York, New York
l964 Tasca Gallery, New York
l962 Mary Harriman Gallery, Boston, Mass.
l961 Carl Siembab Gallery, Boston, Mass.
l959 Carl Siembab Gallery, Boston, Mass.
Selected Group and Two-Person Exhibitions:
2008 A Muse Gallery, Columbus, Ohio
2001 “Papier, Papel, Paper” holiday exhibit, A Muse Gallery, Columbus, Ohio
l994 “Confluence,” South Shore Arts Center, Cohasset, Mass.
Symphony Hall Boston Artists, Cabot Cahners Gallery, Boston, Mass.
1967 “New England Art in Five Parts,” DeCordova Museum, Lincoln, Mass.
l965 “American Drawings,” Bucknell University, Pennsylvania
l964 “New England Contemporary Artists Invitational Exhibition, Boston, Mass.
l960 “American Society of Graphic Artists, New York City
SantaFe One Heart, Karen Cole, August 15, 2009
Albuquerque Journal North, Craig Sullivan, July 14, 2000
Crosswinds Weekly, Richard Garriott-Stejskal, April 20, 2000
Weekly Alibi, Steven Robert Allen, April 20, 2000
The Sunday Journal, Wesley Pulka, May l4, 2000
The Sunday Journal North, Craig Sullivan, August l, l999
PasaTiempo, The New Mexican, Joe Quattro, July 30, l999
Albuquerque Journal North, Craig Sullivan, July 30, l999
PasaTiempo, The New Mexican, Alex Magocsi, August 28, l998
PasaTiempo, The New Mexican, Gussie Fauntleroy, August 21, l998
Southwest Art, “Best of the West,” August, l998
PasaTiempo, The New Mexican, Emily Van Cleve, Sept. 26, l997
Boston Globe, Critics’ Choices, Robert Taylor, Nov. 20, l998
Arts & Sciences Chronicle, Northeastern University, Winter-Spring, l988
Arts Review, Beatrice Phillpotts, London, England, April 23, l982
Art Scene, London, England, April, l982
NU News, “Exhibition Paintings by Robert Wells,” Rhonda Parolise, April l980
Falmouth Review, Martin Robbins, Spring l967
Tasca Gallery, New York Herald Tribune, January l964
New England Art in Five Parts, Frederick Walkey, DeCordova Museum, l963
Museum of Fine Arts, Boston, Mass.
Museum of Art, Tel Aviv, Israel
Bucknell University, Pennsylvania
Hellenic-American Union Galleries, Athens, Greece
Sheraton Corp., Boston, MA
American College of Greece, Athens
National Shawmut Bank, Boston, Mass.
Mutual Life Insurance Co., Boston, Mass.
Arts Centre, Sussex, England
Finlay/Brewer Estate Agents, London
Brandeis University, Waltham, Mass.
Bank of Boston, Boston, Mass.
Art for Industry, Brookline, Mass.
Elan Corp. New York City and Ireland
Ryuzo Nagaoka, Chiba, Japan
Michelle Scissom-Fletcher, Albuquerque, New Mexico
“My non-objective abstract work depicts the colors, textures and motion occurring in the natural world. Surface and textural variations, spherical and organic forms represent my interest in the universal paradox: change over time, and seemingly simultaneous permanence. Light seems to pass through structures, with planes intersecting and shifting, to create a kinetic effect. Dramatic contrast I consider to be an important component in all my work. Light spaces invite the viewer to pass into the painting, to ‘see’ new forms and shapes in an attempt to discard habitual or conditioned ways of seeing the world.
My most recent series of oils on linen, Color Music reflect the bold and subtle colors and forms in nature as depicted in an ever-moving flow of color and light--a continuation of the Earthflow paintings. Inspired by the tones, harmonies and rhythms of classical music scores though never representative of the composer’s musical ideas as such, I paint the “colors” I hear in the music. My ongoing interest in the microcosm of life is seen in the molecular-like (“moleculii”) shapes painted into macro cosmic space.
Information provided by the artist
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