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 Bill Scott  (1956 - )

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Lived/Active: Pennsylvania      Known for: abstract botanical painting

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Bill Scott
An example of work by Bill Scott
Artwork images are copyright of the artist or assignee
Biography from Hollis Taggart Galleries (Artists, S-Z):
Bill Scott’s vibrant paintings lie within the aesthetic continuum of the Philadelphia colorist tradition, passed on to Scott and his contemporaries through mentors such as painters Quita Brodhead and Jane Piper, who were themselves students of Arthur B. Carles, the pioneer of Philadelphia modernism. Also a student of the globally recognized abstractionist Joan Mitchell, Scott fuses his local artistic heritage together with the raw energy embedded in her abstractions. It is this unique combination of influences—including abstract compositions, saturated color, calligraphic line, large scale, and pure vitality—that drive Scott’s paintings and instill them with expressive spirit.

The underlying geometry of brilliantly colored patchworks in Scott’s paintings are the foundation of his compositions. Dark, sinuous lines overlay and weave together these blocks of color, uniting the pictorial elements underneath. This compositional device relates to Scott’s work in printmaking; he notes, “the authority of the printed etched line, more than anything else, has impacted on my recent paintings.” At the same time that printmaking methods inform his paintings, the brilliant passages of color suggest the texture of collage. In Scott’s work, the harmony created by calligraphic lines and a vivid palette defines the surfaces of his canvases and infuses the images with animation and depth.

Born in Bryn Mawr and raised in Haverford, Scott studied at the Pennsylvania Academy of the Fine Arts from 1974 to 1979. Scott’s continuity and legacy within the Philadelphia tradition, united with his own unique process and approach to composition and form, have been recognized by colleagues, critics and collectors. He has exhibited widely for the past twenty years at museum venues including Swarthmore College, Hollins University, the State Museum of Pennsylvania, and the University of Delaware. In addition to painting and printmaking, Scott is an accomplished writer on art. He contributes regularly to "Art in America" and has written for exhibition catalogues of the National Gallery of Art and the Philadelphia Museum of Art.

His work was accepted to the National Academy Museum’s 179th Annual exhibition in 2004, where it won the Adolph and Clara Obrig Prize. Other major public collections that include Scott’s work include the Delaware Art Museum, the Pennsylvania Academy of the Fine Arts, the Philadelphia Museum of Art, the Butler Institute of American Art, and the Munson-Williams-Proctor Institute Museum of Art.

© Copyright 2011 Hollis Taggart Galleries

Biography from Hollis Taggart Galleries (Artists, R-Z):
Bill Scott’s paintings lie within the cultural continuum of the Philadelphia colorist tradition, passed on to him and his contemporaries through mentors such as painters Quita Brodhead and Jane Piper, who were themselves students of Arthur B. Carles, the pioneer of Philadelphia modernism.  Also a student of the recognized abstractionist Joan Mitchell, Scott fuses his local artistic heritage together with the raw energy embedded in her abstractions.  It is this unique combination of influences—including abstract compositions, saturated color, calligraphic line, large scale, and pure vitality—that drive Scott’s paintings and instill them with expressive spirit.

The underlying geometry of brilliantly colored patchworks in Scott’s paintings evokes the sensations and textures of collage.  Complementing these blocks of color are often overlying, dark lines that serve to weave the pictorial arrangements together.  Of this new compositional element Scott has stated, “the authority of the printed etched line, more than anything else, has impacted on my recent paintings.” In Scott’s work, the harmony created by calligraphic lines and a vivid palette defines the surfaces of his canvases and infuses the images with animation and depth."

Born in Bryn Mawr and raised in Haverford, Scott studied at the Pennsylvania Academy of the Fine Arts from 1974 to 1979.  Scott’s continuity and legacy within the Philadelphia tradition, united with his own unique process and approach to composition and form, have been recognized by colleagues, critics and collectors.  His work has recently been accepted to the National Academy Museum’s 179th Annual exhibition in 2004, where it won the Adolph and Clara Obrig Prize. Other major public collections that include Scott’s work include the Delaware Art Museum, the Pennsylvania Academy of the Fine Arts, the  Philadelphia Museum of Art, the Butler Institute of American Art, and the Munson Williams Proctor Institute Museum of Art.

SELECTED SOLO EXHIBITIONS
2004    Bill Scott: Process and Continuity, Hollis Taggart Galleries, New York, NY
2000    Zone One Contemporary, Asheville, N.C. (also in 1997)
1992    Contemporary Artists Series, The State Museum of Pennsylvania,
1987    Peale House Galleries of the Pennsylvania Academy of the Fine Arts,             Philadelphia, Pa. (with Mary Nomecos)

SELECTED GROUP EXHIBITIONS
2004    179th Annual: An Invitational Exhibition of Contemporary American Art, National Academy of Design, New York, N.Y.
2003    Introductions, Hidell-Brooks Gallery, Charlotte, N.C. The Unbroken Circle: A Tribute to Quita Brodhead, Wayne Art Center, Wayne, Pa.
2002    The Nature of Nature, Boyden Gallery, St. Mary’s College of Maryland, St.         Mary’s City, Md. (Jeffrey Carr, curator)
 2000    Jane Piper & Her Circle: Three Generations of Painters in Philadelphia, The State Museum of Pennsylvania, Harrisburg, Pa.
1999    Four Artists: Theophilus Brown, Jeff Carr, George Nick & Bill Scott, Hollins         University, Roanoke, Va.
        Jane Piper and Her Influence, Wayne Art Center, Wayne, Pa.
        Kinds of Drawing, Western Carolina University, Cullowhee, N.C. (curated by Ro Lohin)
    Land, Sea & Sky, Washington Art Association, Washington Depot, Conn.
1998    The Flower Show, M B Modern, New York, N.Y.
    Languages of Reflection: The Art Showcase XI, The Bond Market Association,         New York, N.Y.
    The Fine Art of Giving: Gifts of Art to The State Museum 1987-1997, The State         Museum of Pennsylvania, Harrisburg, Pa.
1997    American Art Today: The Garden, The Art Museum, Florida International             University, Miami, Fla.
1996    Invitational Drawing Exhibition, Smith College, Northampton, Mass.
1992    Contemporary Acquisitions from The Julius Bloch Memorial Fund, Philadelphia Museum of Art, Pa.
1987    Works on Paper, Indiana University, Bloomington, Indiana.
1986    Challenge Exhibition III, Samuel S. Fleisher Art Memorial, Philadelphia, Pa.

SELECTED BIBLIOGRAPHY
Berkson, Bill. “About Bill Scott.” Bill Scott. New York: Prince Street Gallery, 1997, pp. 4-6.
Bowles, Emily. “Philadelphia: Bill Scott at Mangel.” Art in America 90 (November 2002): 161, 163.
Campbell, Lawrence. “New York: Bill Scott at Prince Street Gallery.” Art in America 84 (March 1996): 102-103.
Donohoe, Victoria. “The Arts.” The Philadelphia Inquirer, 13 December 1998, MC7.
Finkelstein, Louis. The Paintings of Bill Scott. Philadelphia: Mangel Gallery, 1999.
Jordan, Sarah. “Critic’s Pick: Great Scott.” Philadelphia 93, no. 2 (February 2002), 152.
LeClair, Charles. The Art of Watercolor. New York: Watson-Guptill Publications, 1994, 76-77. (Revised and expanded edition, 1999, pp. 82-83 and back cover).
Rice, Robin. “Art: Sonnets & Struggles.” Philadelphia City Paper, no. 584 (31 May-6 June 1996), cover and p. 21.
Scott, Bill. “A Personal Approach to Acrylics.” Watercolor 2 (Summer 1996): 102-107.
Seidel, Miriam. “Philadelphia: Bill Scott at Mangel.” Art in America 80 (November 1992): 145, 147.
Smith, Roberta. “Art in Review.” New York Times, 8 October 1993, C30.
Sozanski, Edward J. ”Art: Shifting his Stance.” Philadelphia Inquirer, 15 March 2002, W34.
_____. “On Galleries: An Abstractionist Cozies Up to an Objective Correlative.” Philadelphia Inquirer, 18 February 1994, 36.
Stuckey, Charles. Bill Scott. New York: Prince Street Gallery, 1993.
West, Judy. “Cheery on Top: A Low-key, Light-filled Studio Caps a Fitler Square House.” Philadelphia Inquirer Magazine, 10 March 2002, 26-27.
Wolfe, John. “In Profile. Bill Scott: A Confirmed Aesthete Shows His Colors.” Art & Antiques 19 (January 1996): 96.

SELECTED PUBLIC COLLECTIONS
Arkansas Arts Center, Little Rock, Arkansas
Asheville Art Museum, North Carolina
Beverly Hills Hotel, California
Bryn Mawr College, Pennsylvania
Butler Institute of American Art, Youngstown, Ohio
CIGNA Museum and Art Collection, Philadelphia, Pennsylvania
Community College of Philadelphia, Pennsylvania
Delaware Art Museum, Wilmington, Delaware
Dickinson College, Carlisle, Pennsylvania, (Mr. and Mrs. Meyer P. Potamkin Collection)
Federal Reserve Bank, Philadelphia, Pennsylvania
Munson-Williams-Proctor Institute, Museum of Art, Utica, New York
Pennsylvania Academy of the Fine Arts, Philadelphia, Pennsylvania
Philadelphia Museum of Art, Pennsylvania
The State Museum of Pennsylvania, Harrisburg, Pennsylvania
Western Carolina University, Belk Art Gallery, Cullowhee, North Carolina
Woodmere Art Museum, Philadelphia, Pennsylvania

Selected Writings:
“Arthur B. Carles.” Art in America 73 (January 1985): 102-103.
The Art of Jane Piper. Philadelphia: Woodmere Art Museum, 1995, 10-17.
“[Berthe Morisot:] Desde La Pintura,” Mujeres Impresionistas. Bilbao: Museo de Bellas Artes de Bilbao, 2001, 40-51.
Berthe Morisot—Impressionist (with Charles F. Stuckey). New York: Hudson Hills Press, 1987, 187-216.
“Berthe Morisot,” Manet and the Sea. Philadelphia: Philadelphia Museum of Art, 2003, 227-233.
“Deborah Deichler.” American Artist 81 (May 1988): 36-41.
“Doris Staffel at Jessica Berwind Gallery, Philadelphia.” Art in America 81 (November 1993): 134-135.
“In The Eye of the Tiger [A Reminiscence of Joan Mitchell].” Art in America 83 (March 1995): 70-77.
“Jacqueline Cotter at Hahn Gallery, Philadelphia.” Art in America 81 (February 1993): 116.
Jane Piper and Her Circle: Three Generations of Painters in Philadelphia. Harrisburg: The State Museum of Pennsylvania, 2001.
“Joe Shannon at Gallery K, Washington, D.C.” Art in America 88 (May 2000): 171.
“Judith Schaechter at the ICA, Philadelphia.” Art in America 83 (November 1995): 120.
Martha Armstrong. New York: The Bowery Gallery, 1995.
Penelope Harris: Retrospective. Philadelphia: Woodmere Art Museum, 2001.
Quita Brodhead: Celebrating a Century. New York: Hollis Taggart Galleries, 2001, 6-13.
“Randall Exon at the James A. Michener Art Museum, Doylestown, Pa.” Art in America 92 (January 2004): 109-110.
“Remembering a Teacher Who Cared [on Arthur B. Carles].” American Artist 81 (July 1988): 60-65.
“Rose Naftulin at Gross McCleaf Gallery, Philadelphia.” Art in America 85 (September 1997): 115.
“Sarah McEneaney at More Gallery, Philadelphia.” Art in America 83 (March 1995): 109.
Sideo Fromboluti. Paris: Galerie Darthea Speyer; New York: New York Studio School of Drawing, Painting and Sculpture, 1993.
“Stephen Estock at Schmidt-Dean Gallery, Philadelphia.” Art in America 9 (October 2002): 140-141.


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