|This biography from the Archives of AskART:|
|Feminist painter-printmaker Ida Applebroog, a conceptualist, performance and video artist, and social critic using a cartoon style of drawing and painting, was born in 1929 in the Bronx, New York. About her art, she says, "I'm conducting a cultural anatomy of what makes us miserable today." She established her studio in New York City.|
In 1980 and 1985, she was awarded grants from the National Endowment for the Arts; in 1986 and 1990, from the New York Foundation on the Arts; in 1990, a Guggenheim Fellowship; and in 1998, a MacArthur Foundation award. In 1997, she received an Honorary Doctorate from the Parsons School of Design, New York City.
Her work is in the collections of the Wadsworth Atheneum, Hartford, Connecticut, and Museum of Modern Art, Metropolitan Museum of Art and Guggenheim Museum in New York City.
Applebroog has participated in an immense number of group exhibitions including those at the Museum of Modern Art, New York City; Brooklyn Museum, New York City; Indianapolis Museum of Art, Indiana; Los Angeles Museum of Art, California; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and Havana, Cuba.
From 1948-1950, Applebroog studied at the New York Institute of Applied Arts and Sciences, New York City, and fifteen years later, in 1965-1968, at the Art Institute of Chicago, in Illinois. In 1991-1992, she held the Milton Avery Professorship at Bard College in Annandale-on-Hudson, New York.
Applebroog illustrated a 1993 version of A Christmas Carol by Charles Dickens, published by Arion Press. She self-published books in 1977, 1979 and 1981, including Galileo Works, Dyspepsia Works, and Blue Books, respectively. The artist created videos in 1977, 1978 and 1989: "Lunch Hour Tapes", "It's No Use Alberto", and "Belladonna" (in collaboration with her daughter, Beth B.).
Her one-person exhibitions include the Whitney Museum of American Art, New York City, 1978; the Ronald Feldman Gallery, New York City, 1981, 1983, 1985-1987, 1989, 1991; Contemporary Arts Museum, Houston, Texas, 1990; and in 1992, Realismus Studio, Berlin, Germany, and Kunsthallen Brandts Klaedefabrik, Odense, Denmark.
A detailed listing of the artist's one-person exhibitions includes:
Innocence versus Realite, Galerie Nathalie Pariente, Paris, France. Nothing Personal, Paintings 1987-1997, Pennsylvania Academy of Fine Arts/Museum of American Art, Philadelphia, PA.
Nothing Personal, Paintings 1987-1997, Corcoran Gallery of Art, Washington, DC.
Prints, Barry Rosen & Jaap Van Liere, New York, NY.
Baumgartner Gallery, Washington, DC.
Modernism, San Francisco, CA.
Babra Gross Galerie, Munich, Germany,
Living, Ronald Feldman Fine Arts, New York, NY.
Galerie Akinci, Amsterdam.
Tattle-Tales, Ronald Feldman Fine Arts, New York, NY.
Everything is Fine, Freedman Gallery, Center for the Arts, Albright College, Reading, PA.
Selected Paintings 1985-1991, Moody Gallery of Art, University of Alabama, Tuscaloosa
Frith Street Gallery, London, England
Metropoltian Museum of Art, New York, NY.
Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC
Gallery Paule Anglim, San Francisco, CA.
Orchard Gallery, Derry, North Ireland, March 20 - April 30. Traveled to: Irish museum of Modern Art, Dublin, Ireland, May 20 - September 5; Cubitt Street Gallery, London, November 30 - January 28, 1994
Everything Is Fine, Brooklyn Museum, New York, NY
Kunsthallen Brandts Klaedefabrik, Odense, Denmark.
Realistmus Studio, Berlin, Germany.
Galerie Akinci, Amsterdam, The Netherlands.
Stichting de Apple, Amsterdam, The Netherlands.
Safety Zone, Ronald Feldman Fine Arts, New York, NY
Ulmer Museum, Ulm, Germany, September 29 - November 10; Bonner Kunstverein, Bonn Germany, November 29 - January 20; NGBK Berlin, Berlin, Germany April, 1992
Barbara Gross Galerie, Munich, Germany
Exhibition Hall, Avtozavodskaya, Moscow.
Galerie Langer Fain, Paris, France
Happy Families, Contemporary Arts Museum, Houston, TX, February 24 - May 20; The Power Plant, Toronto, Canada, June 22 - September 3
Barbara Gross Galerie at The Frankfurt Art Fair, West Germany.
Riverside Studios, London, England.
Seibu, Seed Hall, Tokyo, Japan.
Herter Art Gallery, University of Massachusetts, Amherst
Art At The Edge High Museum of Art, Atlanta, GA, September 12 - October 29; Carnegie Mellon Art Gallery, Pittsburgh, PA. November 11 - December 22.
Barbara Gross Galerie, Munich, West Germany
Nostrums, Ronald Feldman Fine Arts, New York, NY
Reed College, Portland, OR, September 18 - October 30
Paintings, Prints, and Artist's Books, 1977-87, Picker Art Gallery, Colgate University, Hamilton, NY, , October 23 - November 22.
Wadsworth Atheneum, Matrix Gallery, Hartford, CT. September 19 - November 22
Ronald Feldman Fine Arts, New York, NY
University of Kentucky Art Museum, Lexington, KY
Cul de Sacs, Ronald Feldman Fine Arts, New York, NY
Investigations 1986, Institute of Contemporary Art, University of Pennsylvania, Philadelphia
Galleria del Cavallino, Venice, Italy, October 26 - November 26.
Dart Gallery, Chicago, IL.
Real Art Ways, Hartford, CT.
Carl Solway Gallery, Cincinnati, OH.
Anderson Gallery, Virginia Commonwealth University, Richmond, VA.
Tommy Segal Gallery, Boston, MA.
Castillo Gallery, New York, NY.
The Chrysler Museum, Norfolk, VA.
Inmates and Others, Ronald Feldman Fine Art, New York, NY, October 13 - November 24.
Spectacolor Board, Time Square, (Public Art Fund), New York, NY.
Common Causes, Koplin Gallery, Los Angeles, CA.
1982 Current Events, Ronald Feldman Fine Arts, New York, NY, November 6 - December 4.
Nigel Greenwood Gallery, London, England.
Bowdoin College Museum of Art, Brunswick, ME
Gallerie il Diagramma, Milan, Italy.
Galleria del Cavallino, Venice, Italy
Douglas College, Brunswick, NJ.
Ronald Feldman Fine Arts, New York, NY. February 7 - March 7.
Rotterdam Arts Foundation, Rotterdam, Holland.
Printed Matter Windows, New York, NY.
Apropos, Lucerne, Switzerland.
Williams College Museum of Art, Williamstown, MA
Manuscript, Franklin Furnace, New York, NY
Whitney Museum of American Art, New York, NY.
Paper Stagings, Ellen Sragow Gallery, New York,
Women's Interart Center, New York, NY.
Newport Harbor Art Museum, Newport Beach, CA.
Soft Forms, Boehm Gallery, Palomar College, San Marcos, CA
Ida Applebroog's bibliography includes:
"Art at the Edge: Ida Applebroog". Essay by Susan Krane. Atlanta, Georgia: High Museum of Art, 1989.
"Ida Applebroog: Essay" by Brigitte Reinhardt, Annelie Pohlen, Robert Storr, Carla Schulz-Hoffmann. Ulm., Bonn, and Berlin, Germany: Ulmer Museum, Bonner Kunstverein and RealismusStudio de Neuen Gasellschaft fur Bildenda Kunst. 1991.
Ida Applebroog: Tokyo, Japan: Seibu, Seed Hall, 1990.
Ida Applebroog: Happy Families, A Fifteen-Year Survey. Essays by Marilyn Zeitlin, Thomas Sokolowski and Sims Lowry; Houston, TX: Contemporary Arts Museum, 1990.
Ida Applebroog: Nostrums, Belladona. Essay by Carlo McCormick. New York: Ronald Feldman Fine Arts, 1989.
Ida Applebroog: Essays by Ronald Feldman, Carrie Rickey, Lucy R. McGreevy, Carter Ratcliff. New York: Ronald Feldman Fine Arts, 1987.
Ida Applebroog: Essay by Thomas W. Sokolowski. Venice, Italy: Galleria del Cavallino, 1981.
Ida Applebroog: Essay by Evelyn Apgar. New Brunswick, NJ: Douglass College, 1981.
Ida Applebroog/Matrix 96. Essay by Andrea Miller-Keller. Hartford, CN: Wadsworth Atheneum, 1987.
Investigations 16: Ida Applebroog. Essay by Judith Tannenbaum. Philadelphia: Philadelphia Institute of Contemporary Art, University of Pennsylvania, 1986.
John and Nancy Heller, North American Women Artists of the 20th Century
|This biography from the Archives of AskART:|
Ida Applebroog was born in the Bronx, New York in 1929 to Polish immigrant parents. She was interested in art from the time she was a child. She studied at the New York State Institute of Applied Arts and Science. Her first job was at an advertising agency, but she found that frustrating since she was carrying out other people's ideas instead of her own. In 1956 she moved west to study at the School of the Art Institute of Chicago. She credits that school for acquainting her with materials and techniques that helped her with the various mediums; she worked as a commercial artist and art teacher and in 1968 she moved to California. She taught at the University of California at San Diego, but in 1974 she returned to New York.
Applebroog is purposely evasive about her private life and even her politics. She is married to a man named Gideon Horowitz and they have four children. She sometimes uses the name Horowitz, alone or in combination with the name Applebroog. Many of her works are clearly feminist; her distaste for hospitals, institutions and medical personnel are a recurrent theme. With a deadpan sense of humor, she has dealt with violence. Her multipanel large-scale paintings are made up of thin overlapping layers of cartoonish characters in disturbing and humorous psychological states.
Applebroog appears smaller than her five feet five inches. She wears her black hair cropped short, no makeup, and usually dresses in the same outfit: black jeans, a black sweatshirt, and a black vest - only because she hates to shop. Although she tries to maintain a cool facade, in keeping with the enigmatic quality of her work , she is unable to conceal an intense, warm, even vulnerable personality. Outraged at the world as it is, she responds with a wry humor and a fundamental sense that people are worth fighting for.
Who's Who in American Art, 1980, R.R. Bowker
Nancy Princenthal in Art in America, February 1988
Ruth Bass in ARTnews, May 1988.
Written and compiled by Jean Ershler Schatz, artist and researcher from Laguna Woods, California.
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