GEORGIA MARSH

In a moment of digital dominance it is important to be reminded that a painting is a thing, an embodied, physical object, the experience of which is formed by its material attributes. 

The current Arc Paintings consist of images of plant forms and large color shapes, painted in oil on a matte polyester film called Duralar — a coolly mechanical white surface suggestive of the screen of a digital device. This material is mounted to a translucent Lexan support which floats an inch away from the wall, allowing light to pass through and bounce back from the surface behind. 

These paintings are abstract, not in the sense of a tension between representation and abstraction but in the sense of an idea that moves away from content and fixedness of meaning.

If white can be said to contain all colors, then flowers, as signifiers, contain every signified. It is not that flowers are meaningless— real flowers and plants, of course, are indifferent to interpretation— it is that painted flowers, depictions of flowers, are so overburdened and overlain with meanings and significance that they become, across all cultures and across the arc of all cultural histories, a repository for all possible meanings. They overflow.

Georgia Marsh currently lives and works in New York. Her work is found in the collections of the Museum of Fine Arts, Boston, MA; the Metropolitan Museum of Art, New York; the Musee Nationale d’Art Moderne, Centre Pompidou, Paris, France; and the Cleveland Art Museum, Cleveland, OH, among others and has been included in recent years in group exhibitions at the RISD Museum of Art, Providence, RI; the Jane Voorhees Zimmerli Museum, Rutgers University, New Brunswick, NJ; and the Aldrich Museum, Ridgefield, CT. 

SELECTED ONE PERSON SHOWS

2021
Texas Gallery, Stills, Houston, TX

2018
Senior & Shopmaker Gallery, Arc Paintings, New York

2015
Senior & Shopmaker Gallery, Archives of Eden, New York

2014
Jamestown Arts Center, The Flower Show, Jamestown, RI

2012
Suydam Diepenbrok Gallery, Newport, RI

2008
Senior & Shopmaker Gallery, New Watercolors, New York

2003
Senior & Shopmaker Gallery, Fieldwork, New York

2002
Senior & Shopmaker Gallery, New Paintings, New York

2000
Senior & Shopmaker Gallery, Ink Pictures, New York

1997
Betsy Senior Gallery, Georgia Marsh: A Drawing Survey 1974-1997,
New York

1996
The Aldrich Museum of Contemporary Art, Georgia Marsh: Intervals and Compositions, Ridgefield, CT

1995
Galerie Laage/Salomon, Paris

1994
Betsy Senior Gallery, New York

1993
Beth Urdang Gallery, Boston
Galerie Montenay, Paris

1992
Beth Urdang Gallery, Boston

1991
A/D Gallery, New York

1987
McNeil Gallery, Philadelphia

1986
Vanguard Gallery, Philadelphia

1985
Bette Stoler Gallery, New York

1984
Bette Stoler Gallery, New York
Galerie Gillespie/Laage, Paris

1978
Galerie Gillespie/Laage, Paris

1975
Galerie Daniel Templon, Milan
Cannaviello Studio D'Arte, Rome

SELECTED GROUP EXHIBITIONS

2021
Albert Merola Gallery, Day and Night, Provincetown, MA

2019
Senior & Shopmaker Gallery, On the Edge, New York

Texas Gallery, Flora, Houston, TX

2016
Senior & Shopmaker Gallery, New York

2013
RISD Museum of Art, Locally Made, Recent Acquisitions, Providence, RI

The Jane Voohes Zimmerli Art Museum at  Rutgers: Stars, Contemporary Prints by Derrière L’Étoile Studios, Part 2, Brunswick, NJ

2010
The Aldrich Museum of Contempory Art, Aldrich Undercover, Ridgefield, CT

2009
Senior & Shopmaker Gallery, Drawings and Watercolors, New York

2008 
Senior & Shopmaker Gallery, New York

2006
Provincetown Art Museum, The Art of the Garden, Provincetown, MA

2005
The Aldrich Museum of Contemporary Art, Contemporary Erotic Drawing, Curated by Sara Kellner and Stuart Horodner, Ridgefield, CT, (catalogue) and Diverse Works, Houston, TX

Smith College, Imprint: 20 Years of the Smith College Workshop, Northampton, MA

2002
The Drawing Center, 25th Anniversary Selections Exhibition,
New York

2000
Galerie Laage-Salomon, Nature et Urbanisme, Paris

Centre Georges Pompidou, Le Regard egoist: Christian Boltanski: Inventaire du Cabinet d’art Graphique, Paris

Senior & Shopmaker Gallery, New York

Boston Museum of Fine Arts, The New Provincetown Print Project, Boston

Booth Contemporary Art, Sensibilities, Wakefield, RI

1999
New York Public Library, Sight/Insight: Visual Commentaries on the Physical World, Curated by Roberta Waddell, New York

Karen McCready Fine Art, Zen Spirit: The Invisible Thread, New York

A/D Gallery, A Decade, New York

Beth Urdang Gallery, 10th Anniversary Celebration, Boston

1998
Galerie Laage-Salomon, Drawings of the 70's and the 90's, Paris

Southeastern Center for Contemporary Art, Divining Nature,
Curated by Susan Lubowsky-Talbott, Winston-Salem, NC

1997
The Aldrich Museum of Contemporary Art, Best of the Season 1996-97, (brochure), Ridgefield, CT

The National Museum of American Art, Singular Impressions: The Monotype in America, Curated by Joann Moser, Washington, DC

Apex Art, Ornament and Landscape: On the Nature of Artifice, Curated by
Tom Huhn, (brochure), New York

Visual Arts Gallery, An Exhibition of Curators, Curated by Jerry Saltz, New York

Long Point Gallery, Invitational, Provincetown, MA

Betsy Senior Gallery, Tracery, New York

1996
Betsy Senior Gallery, New York

Numark Gallery, West Meets East, Washington, DC

1995
The Aldrich Museum of Contemporary Art, Drawn on the Museum, (brochure), Ridgefield, CT

The Concourse Gallery, Women in Print: Prints from 3M by Contemporary Women Printmakers, (catalogue), St. Paul, MN

1994
The Gallery at Takashimaya, Re-Orientations: Looking East, (Ellen Brooks,
Georgia Marsh, Wade Saunders), Curated by Lynn Gumpert, (catalogue),
New York

Condeso/Lawler Gallery, Theme and Variations, Curated by Tiffany Bell,
New York

The Art Complex Museum, Duxbury, MA

1993
Brooke Alexander Editions for the Lower Manhattan Cultural Council,
New York

The Drawing Center, Selections/Spring, Curated by Anne Philbin, (brochure), New York

Barbara Mathes Gallery, On Paper, New York

Barbara Mathes Gallery, Gallery Selections, New York

A/D Editions. (Travel: University of Massachusetts, Amherst, MA
Beverly Reynolds Gallery, Richmond, VA; Ronnie Greenberg Gallery, St. Louis, MO; Bernard Toale Gallery, Boston, MA

The Ewing Gallery of Art and Architecture, University of Tennessee, Ten Years, Twenty Nine Artists, (catalogue), Knoxville, TN 

1992
Galerie Montenay, Ermata: Errances du sacré – Wanderings of the Sacred,
Curated by Sania Papa, (catalogue), Paris

Betsy Senior Gallery, New York

John Stoler Gallery, Minneapolis, MN

Lorence-Monk Gallery, Black and White, New York

The Jane Voorhees Zimmerli Art Museum, Rutgers University. The 1992 Rutgers Print Archives Portfolio, New Brunswick, NJ

Peter Josephs Gallery, A/D Editions, New York

Gerald Peters Gallery, Things for the Home, Dallas, TX

Aldrich Museum of Contemporary Art, X6 New Directions in Multiples, Ridgefield, CT

1991
Blum Helman Gallery, Rhyme or Reason, New York

Lorence-Monk Gallery, New York

A/D Gallery, New York

Lorence-Monk Gallery, Drawings, New York

1989
The Whitney Museum of American Art at Equitable, Nocturnal Visions in Contemporary Painting, New York

A/D Gallery, Inaugural Exhibition, New York

Scott Hanson Gallery, The Objective World, New York

1988
Loughlton Gallery, Of Another Nature, Curated by Germano Celant, (brochure), New York

McNeil Gallery, In Her Own Voice, Philadelphia, PA

1987
The Whitney Museum of American Art, New Romantic Landscapes, Stamford, CT

McNeil Gallery, Manor in the Landscape, Philadelphia, PA

1986
Bette Stoler Gallery, New York

Attitude Art, The Tar Show, New York

Lorence-Monk Gallery, Manor in the Landscape, New York

1984
Bette Stoler Gallery, Grand Gestures, New York

1980
The Times Square Show, New York

1976
Transparence/ Transperenze, Drawing in USA, Curated by Germano Celant, Cannaviello Studio D’Arte, Rome

Le Dessin Americain 1965-1975, Maison de la Culture de Rennes, Rennes, France

1975
La Biennale de Paris (9ieme), Musée National de l’art Moderne, Paris

Union des Femmes Peintres et Sculptures, Musée de l’art Moderne de la ville de Paris, Paris

Galerie Mollet-Vielleville, Paris

1974
Soutien au MIL, Rue St Antoine, Paris

1972
Americans in Rome, United States Information Service Library,
United States Embassy, Rome

SELECTED BIBLIOGRAPHY

2018
Huhn, Tom. “The Arc of History Painting.” (exhibition catalogue),
New York

2005
GLUECK, Grace. “Airborne Sex and Wicked Wallpaper: Sensual Samplings.”  The New York Times. July 29, 2005

GENNOCHIO, Benjamin. “Erotic Art Goes Mainstream.” The New York Times. May 8, 2005

2003
KALB, Peter. “Georgia Marsh at Senior & Shopmaker ”Art in America, April 2003, p. 139, (illustration)

2000
MILLER, Christopher. “Sense and Sensibilities”. artsMEDIA,
February 15-March 15, pp. 18-19

1998
PRINCENTHAL, Nancy. “Working Proofs: Georgia Marsh “Ma Langue”. Art on Paper, Vol. 3 No.1, Sept.-Oct. 

1997
ZIMMER, William. “A Gallery Sampler at the Aldrich”. The New York Times. December 14

PHILBRICK, Harry. “The Best of the Season” (exhibition catalogue), Ridgefield, CT, (illustration)

PRINCENTHAL, Nancy. "Working Proofs: Georgia Marsh "Fleur de Peau”. On Paper. Vol.1 No.6, July/August, p. 36

1995
DAHGBERT, Anne. “Georgia Marsh”. ArtForum. December, (illustration)

EDELMAN, Robert. “Georgia Marsh”. ArtPress. November, pp. 68-69, (illustrations)

PINTE, Jean-Louis. “Une nature sensuelle.” Figaroscope. September 27-October 3, (illustration)
_."Galeries". Liberation, Friday 15 Sept. Paris
_.Paris Capital, Sept. p. 105. Paris (illustration)
_.Connaissances des Arts, No. 520, Sept. Paris
_.“Paris, Peintures, et premieres pierres: Un Tour des Galleries”, Le Journal des Arts,  No. 18. Oct. Paris

ZIMMER, William. “Dreams, Landscape and Wall Paintings”.
The New York Times. March 19.

1994
COOKE, Lynne. “Interview with Georgia Marsh”. Reorientations: Looking East, (exhibition catalogue), Takashimaya, New York

LARSON, Kay. “Asia Minor”. New York Magazine. March 7, pp. 80-96

WALLACH, Amei. “Immigrant Asians' Debut”. New York  Newsday. March 11.

HAGEN, Charles. “The Print Fair”. The New York Times. November 11

TATLOR, Robert. “Provincetown's Magnetic Force”. The Boston Globe. July 22

1993
STAPEN, Nancy. “Fractured Photographs: Three Artists Challenge the Way We See”. The Boston Globe. September 23, (illustration)

1992
STAPEN, Nancy. “Landscapes Go Beyond Nature to Explore Relationships with Culture”. The Boston Globe. April 26, (illustration)

TALLMAN, Susan. "Breaching the Barrier - Georgia Marsh's Printed Fabrics". ARTS Magazine. January, pp. 13-14, (illustration)

1991
EDELMAN, Robert. “Paysage Recycle: Le Paysage dans la peinture americaine contemporaine”. Art Press, Paris. March, pp. 22-29, (illustration)

1989
BRENSON, Michael. “Straightened Landscapes of a Post-Modern Era”. The New York Times. January 13, p. C3, (illustration)

1988
DONOHUE, Victoria. “An Exhibition of Work for and by Women”. The Philadelphia Enquirer. March 4, p. 4C, (illustration)

1987
DONOHUE, Victoria. “Landscapes That Reach a Long Way”. The Philadelphia Enquirer. November 28, p. 4C, (illustration)

DONOHUE, Marlena. “Georgia Marsh”. The Los Angeles Times. October 2, Part VI, p. 21, (illustration)

INDIANA, Gary. “Georgia Marsh: Du Micro au macrocosm”. ArtPress, Paris. June, (illustration)

MARINCOLA, Paul. “Georgia Marsh”. ArtForum. February, pp. 121-122, (illustration)

1986
INDIANA, Gary. “Landscape Today”. The Village Voice. December, (illustration)

F.A.C.T. Book Committee. “Caught Looking, Feminism, Pornography & Censorship” Caught Looking Inc. New York, (illustration)

1985
INDIANA, Gary. “Quarterly Dividends”. The Village Voice. October 8, p. 89, (illustration)

INDIANA, Gary. “Framing Creatures”. The Village Voice. May 7, p. 71

1984
“An American Landscape”. BOMB Magazine. Winter. p. 29, (illustration)
_.WINTOUR, Anna. “What's Modern?” VOGUE. January, pp. 175-176, (illustration)
_.BOMB Magazine, No. 9. Spring/Summer, (cover illustration)  

1982
SUSSLER, Betsy. “Les Mots sonts sur la terre comme des mouches sur les champs”. BOMB Magazine. Spring.

1976
OLIVA, Bonito. “Transparence/Transparenze”. Rome, (exhibition catalogue)

1975
LASSALE, Helene. “Ouvres dans les collections du Musee de l'art moderne”. Art Americaine, Musee Nationale d'art moderne, Paris

“La Biennale de Paris (9ieme)”, (exhibition catalogue)

MILLET, Catherine. “Biennale 75”. ArtPress, Sept/Oct 1975, (illustration), Paris

Plus Moins Zero, Sept. 1975, (illustration), Brussels