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 John Perreault  (20/21st century)

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Lived/Active: New York      Known for: Abstract painting

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John Perreault
An example of work by John Perreault
Artwork images are copyright of the artist or assignee
This biography from the Archives of AskART:
John Perreault is an art critic, poet, artist, and past president of the American Section of the International Association of Art Critics.  He works in coffee, sand, acrylic, and colored ink. 

Artist Statement:

Coffee:  Victor Hugo, who wrote The Hunchback of Notre Dame and other classics in the 19th Century,  also produced over 3000 works on paper using coffee, some of which look like Abstract Expressionist paintings.  But the real inspiration for my Instant Coffee Paintings is the scheduled demolition of the 14 bedroom Washington Lodge (c. 1845) nestled between Bellport Village and Brookhaven Hamlet.  It was once the home of G. Washington (1871-1946) the inventor and promoter of instant coffee.  I use a mixture of different brands of instant coffee diluted to various degrees to create different shades and textures on the canvas.  These paintings also speak to the iniquitousness of coffee in the global society.  The paintings have been conserved with a clear, varnish so that they should not degrade over time.

Sand:  Sand has been used in paintings by Pablo Picasso, George Braque, Andre Masson, and Jackson Pollock.  I began using sand during a residency at the Provincetown Contract in an historic dune shack in the middle of the Provincetown sand dunes.  Later, wanting more variety, I noticed dingy, gray sand on  Bellport’s Ho-Hum beach on Fire Island.  It smelled very peculiar for something often dismissed as the remains of ice age iron deposits.  Iron doesn’t usually smell like motor oil.  Thus I discovered the basis of a new kind of oil paint, mine for the taking.

Acrylics and Ink:  Recently, I have started working diluted acrylics and inks, combining them with both coffee and sand to experiment with color in conjunction with these other

Selected Solo Exhibitions:
2008  Critical Mass Redux, The Laboratory for Art and Research, Denver, Colorado.
2005  Toothpaste Mural #2, Cochise College, AZ
2003  Toothpaste Dream/Zahnpasta Traum.  Three-Dimensional Drawing and Toothpaste Dream Performance. Berliner Kunstprojekt.

Other Exhibitions:
2012  John Perreault and Mark Van Wagner: Drawing from Sand
          Lincoln Gallery, Naropa University, Boulder, Colorado
          Gallery 125, Bellport, New York.
2011  John Perreault and Mark Van Wagner: Drawing from Sand
          Kauai Museum, Hawaii. December - February
2008  Street Works and Performances, The Lab, Denver Colorado
2006  Pattern Language
          Krannert Art Museum, University of Illinois, Urbana. January
          University Art Museum, U. of C., Santa Barbara. June 2006
          Weisman Museum of Art, U. of Minnesota, Minneapolis. October 2006
2005  Beijing Biennial
2005  Pattern Language: Clothing as Communicator, Tufts University Gallery,
          Medford Mass.                                
2005  Over the Top; Under the Rug. S.I.C.A., Long Branch, N.J.  2005    
          Meditation/Mediation Performances, The Lab Gallery, NYC
2005  Artcard, Sharjah Art Museum, United Arab Emirates
2003  Artists Fashions, Chelsea Art Museum, NYC.; Berliner Kunstprojekt.
2002  The Free Biennial. Alphabet Streetwork, Tomkins Square Park, NYC.
2002  With/Against Materials, Toothpaste Tondos. Bowman, Penelec and
          Megahan  Galleries, Allegany College, Meadville, PA
2001  The John H. Hauberg Fellowship-Mercury (enameled glass panel for Dick
          Weiss' Time Is A River), William Traver Gallery, Seattle
2001  Neckties: Tying Us Together, Toothpaste Ties. Kohler Arts Center,
          Sheboygan,     WI.
2000  Duchamp Traveling Exhibition: Kulturbahnhof, Bremen, Germany;
          Emmanuel Heller Gallery, Tel-Aviv, Israel; The Artists' Museum, Lodz, Poland.         
1985  The Gathering of the Avant-Garde, Kenkelba House, NYC
1983  Early Alternatives,The New Museum
1975   Language & Structure, Nova Scotia College of Art and Design
1970  Art in the Mind, Oberlin College
1969  Words, Dwan Gallery, NYC (curator: Sol LeWitt)
1969  557, 087, Seattle Museum of Art (curator: Lucy Lippard)
1969  957,087, Vancouver Art Gallery (curator: Lucy Lippard)                        
Co-coordinator and participant:
1970  World Works, NYC
1969  The Fashion Show Poetry Events I & II, Center for Inter-American Relations and St. Mark's Church, NYC ( by Eduardo Costa, Hannah Weiner, and John Perreault, with fashions by themselves and James Lee Byars, Alex Katz, Les Levine, Marisol, Claes Oldenburg, Jim Rosenquist, Andy Warhol and others
1969  Street Works (I - VI), various locations in NYC and the Architectural League of New York
Solo Performances (selected)
2008-2011 Circumambulations: World Trade Center Site, P.S.1/MoMA, M.A.D.,
           Eastern State Penitentiary, Washington Lodge, Castle Williams on Governors Island.
2008  Block-Long Dinner Party Circumambulation
           K.K. Projects, New Orleans.
2008   Critical Mass Redux, The Laboratory for Art and Ideas,
           Denver, Colorado.
1971  Whitney Museum of Art; Loeb Center, N.Y.U.
1970  Wadsworth Atheneum, Hartford;  96th Street YMHA...
1969  University Arts Festival, Ann Arbor;  Hunter College...
1968  The Architectural League of N.Y.; New York University...
1967  St. Mark's Church, NYC.
Poetry and Fiction:
Magazine publication:
Locus Solus, Art and Literature, Paris Review, C Magazine, Lines, Nomad,
Sun & Moon
, etc. (See special John Perreault issue of Serif for complete listing of magazine publication and poetry anthologies.)
Selections from Motets and Stolen Rhymes, Milk Magazine ( fall 2004.

Hotel Death and Other Tales, Sun & Moon Press, Los Angeles, 1989.
Harry, Coach House Press, Toronto. 1974.
Luck, Kulchur Press, New York. 1969.
Camouflage, Lines Press, Cambridge, Mass.(With an introduction by John Ashbery).1966.
Dylan Thomas Prize, New School, 1962
National Endowment for the Arts, 1967
Art Criticism, Curatorial, Teaching and Administrative Employment:
2003 - present  Regular on-line art column:
2002  Penny McCall Foundation grant  (for "invaluable contribution to the art world")
1999- 2003  Contributing Editor, N.Y. Arts Magazine
1996- present  Trustee, Louis Comfort Tiffany Foundation
1996- 2002  Editor, GLASS, The UrbanGlass Art Quarterly

1995- 1997  Regular Contributor, REVIEW

1995- 2002  Executive Director, UrbanGlass, Brooklyn
Director and curator, Robert Lehman Gallery, UrbanGlass,Brooklyn
1995  Critic-in-Residence, Glass and Theory Departments, School of  Art, University of Australia, Canberra
1993-95  Artistic Director, UrbanGlass, Brooklyn
1990-93  Senior Curator, The American Craft Museum
1988-90  Art critic specializing in contemporary art, design and  crafts;  lecturer.
                         Regular contributor The Village Voice.
1985-88  Director and Curator, Newhouse Center for Contemporary Art
                Snug Harbor Cultural Center, Staten Island, N.Y., N.Y.
1983-1984  Chief Curator, Everson Museum of Art, Syracuse, N.Y.
1975-1982  Senior Art Critic, Soho News, NYC
 1982  Visiting Professor of Art Criticism and Contemporary Art, SUN Binghamton.
1978-1981  President, The American Section, International Association of Art Critics.
1979  Art Criticism Fellowship, National Endowment for the Arts
1977  Distinguished Professor of Art Criticism, U. of Arizona .
1976  Professor of Art Criticism and Contemporary Art, University of California, San Diego.
1966-1974  Chief Art Critic, The Village Voice, NYC.
1974  U.S. Commissioner of the Tokyo Biennale of Figurative Art.
1973  Art Criticism Fellowship, National Endowment.
                                      *   *  *
Articles on contemporary art, crafts, and design:
Art News, Arts, Art International, Artscanada, Art and Artist. New York, Vogue,
Art in America, Artforum, Portfolio, Du, Art Criticism, The Village Voice, American Craft, American Ceramics, Glass Magazine, Sculpture Magazine, Review, New York Arts.

Selected Catalogue essays:
Patterning Painting, Palais des Beaux Arts, Brussels
Directions in Realism, Danforth Museum
Wiley Territory, Walker Art Center
Usable Art, Queens Museum
Decoration, Venice Biennale
Streamline Design, Queens Museum
Floored, C.W.Post College
Chuck Close, Pace Gallery
Audrey Fleck, Louis Meisel Gallery
Adornments, Bernice Steinbaum Gallery
Fiber R/Evolution, Milwaukee Art Museum
Ann Sperry: A Survey, Snug Harbor
Gillian Jagger: Major Works, Snug Harbor
The New Furniture, American Craft Museum
More Than One, American Craft Museum
Selected Anthologies:
Minimal Art, E.P. Dutton, 1968
Idea Art, E.P. Dutton, 1973
Theories of Contemporary Art, Prentice-Hall, 1985
Objects and Meanings, Scarecrow Press
The Art Quilt (Preface), Quilt Digest Press, 1986
Richard Estes by Louis Meisel with an Essay by John Perreault, Abrams, 1986
The Drawings and Watercolors of Philip Pearlstein,  Abrams. 1988.
Curator of the following exhibitions (selected):
1995-02  Over 25 exhibitions of contemporary glass art at the Robert
               Lehman Gallery of UrbanGlass; solos, theme shows and three biennial surveys.
1992       American Ceramics of the Arts and Crafts Movement, Centenary Project, American Craft Museum
1991       More Than One, American Craft Museum
1990       The New Furniture, American Craft Museum
1987       Ana Mendieta, New Museum (co-curated with Petra Barreras del Rio
1985-88  75 exhibitions at Snug Harbor.
1984       Streamline Design, Queens Museum
1983       Floored (Lynda Benglis, Lila Katzen, Harmony Hammond, Tina Girouard,  Hillwood Art Gallery , C. W. Post College
1983       Fordham Sculpture Garden (Co-curated with Vivienne Wechter).
1981       Usable Art (Joyce Kozloff, Scott Burton, etc). SUNY Plattsburg,
                   Queens Museum, Danforth Museum
1977       Pattern Painting, P.S. 1
1974       American Section, First Tokyo Biennale of Figurative Art
1973       The Male Nude, School of Visual Art, Art Gallery, N.Y.C.
1969        Co-organizer of The Fashion Show Poetry Event (Warhol, Oldenburg, Marisol, Rosenquist, etc.) Center for Inter-American Relations.

Information provided by Lisette Ruch.

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