DUO: Judith Murray and Robert Yasuda by Sundaram Tagore Gallery

JUDITH MURRAY

ROBERT YASUDA

JUDITH MURRAY

ROBERT YASUDA

Established in 2000, Sundaram Tagore Gallery is devoted to examining the exchange of ideas between Western and non-Western cultures. We focus on developing exhibitions and hosting not-for-profit events that encourage spiritual, social and aesthetic dialogues. In a world where communication is instant and cultures are colliding and melding as never before, our goal is to provide venues for art that transcend boundaries of all sorts. With alliances across the globe, our interest in cross-cultural exchange extends beyond the visual arts into many other disciplines, including poetry, literature, performance art, film and music.

DUO LEGENDARY CURATOR ALANNA HEISS TALKS TO JUDITH MURRAY AND ROBERT YASUDA IN THEIR NEW YORK STUDIOS, MAY 29, 2014 I met Judith Murray and Robert Yasuda early in their careers in New York in the seventies, as young artists already bound up in one another’s lives but with fiercely

independent visions in their work. The pair were quickly absorbed into the milieu of emerging artists of the time, and I embarked on what would become iconic exhibitions featuring both Judith and Bob—but separately. In 1978, Judith and I mounted her solo exhibition at the Clocktower Gallery, the legendary alternative-art space in downtown Manhattan. During that period, Judith’s paintings focused on irregular geometric figures in bold colors, starkly contrasted by, and practically hovering over, an all-black field. At that point she had already developed her signature touch: marking the edge of the canvas with a vertical strip of color, underscoring the physical border of the painting as object. My first show with Bob was Rooms, the inaugural 1976 P.S.1 Contemporary Art Center (now MoMA PS1) exhibition, which also included Richard Serra, Lawrence Weiner, Mary Miss and Richard Tuttle. Bob’s work at that stage was unusual for a painter: he was doing a cross between installation and painting, which involved a painting on a large diagonal wall that intersected a room at P.S.1.

These were, of course, projects that I undertook with either Judith or Bob, and while the other was always present in a way, I approached their painting and presentation with an undivided attention to her or his unique composition. It was, consequently, a great (and intriguing) surprise when they told me they had agreed to a joint exhibition opening in the fall of 2014 in Singapore, and asked me to interview them in honor of its debut. There are a multitude of similarities in both artistsâ&#x20AC;&#x2122; work that cry out for this duet performance. Color in both Judithâ&#x20AC;&#x2122;s and Bobâ&#x20AC;&#x2122;s paintings holds a luminescent quality, as though the canvases were gathering light from some unseen, hidden source. Perhaps this predilection for warmth and light hints at their mutual love of the tropics, and their many happy times spent together in Hawaii and the Florida Keys. Both their paintings straddle the border between two-dimensional picture plane and sculpture, and play with the physical presence of the object. Lastly, and arguably most importantly, neither Judith nor Bob can

be typecast to their contemporaries; their work and their lives constantly defy the traps and tropes of the world around them. Unlike so many of their counterparts, Judith and Bob have survived as artists, companions and couple. Each role they assume as a pair holds all the strength of their respect for one another. It has been a pleasure to watch as, over the years, their work transforms and their relationship thrives; it is not often that the two go hand in hand. Curiosity about this unusual partnership caused me to accept their invitation and conduct a lengthy interview. The story that unfolds in the course of our discussion is one of self-discipline and conscientious creativity. The Duo exhibition, which has in reality been so many years in the making, promises unfailingly to embody these same characteristics. Interview follows on page 48.

AUGUST JUDITH MURRAY 2014, oil on linen, 40 x 44 inches/101.6 x 111.8 cm

AMAZON ROBERT YASUDA 2014, acrylic on fabric on wood, 40 x 24 inches/101.6 x 61 cm

POLAR JUDITH MURRAY 2014, oil on linen, 20 x 22 inches/50.8 x 55.9 cm

LIFELINE ROBERT YASUDA 2013, acrylic on fabric on wood, 84 x 72 inches/213.4 x 182.9 cm overall (left panel 84 x 36 inches/213.4 x 91.4 cm; right panel 84 x 36 inches/213.4 x 91.4 cm)

SYNONYM ROBERT YASUDA 2011, acrylic on fabric on wood, 43 x 47 inches/109.2 x 119.4 cm

TRACE ROBERT YASUDA 2013, acrylic on fabric on wood, 39 x 30 inches/99.1 x 76.2 cm

THERMAL JUDITH MURRAY 2014, oil on linen, 56 x 61 inches/142.2 x 154.9 cm

POLARITY JUDITH MURRAY 2014, oil on linen, 36 x 80.5 inches/91.4 x 204.5 cm overall (left panel 36 x 40 inches/91.4 x 101.6 cm; right panel 36 x 40 inches/91.4 x 101.6 cm)

VOYAGER ROBERT YASUDA 2009, acrylic on fabric on wood, 14 x 84 inches/35.6 x 213.4 cm

FIRE & ICE JUDITH MURRAY 2014, oil on linen, 40 x 44 inches/101.6 x 111.8 cm

CITRON ROBERT YASUDA 2012, acrylic on fabric on wood, 33 x 49 inches/83.2 x 124.5 cm

ORIGINS ROBERT YASUDA 2013, acrylic on fabric on wood, 36 x 64 inches/91.4 x 162.6 cm

ECHO JUDITH MURRAY 2014, oil on linen, 40 x 88.75 inches/101.6 x 225.4 cm overall (left panel 40 x 44 inches/101.6 x 111.8 cm; right panel 40 x 44 inches/101.6 x 111.8 cm)

FLUX ROBERT YASUDA 2011, acrylic on fabric on wood, 32 x 19 inches/81.3 x 48.3 cm

EXPEDITION JUDITH MURRAY 2014, oil on linen, 40 x 44 inches/101.6 x 111.8 cm

ALTITUDE JUDITH MURRAY 2014, oil on linen, 50 x 55 inches/127 x 139.7 cm

THRESHOLD ROBERT YASUDA 2013, acrylic on fabric on wood, 43 x 44 inches/109.2 x 111.8 cm

LOOKOUT JUDITH MURRAY 2007–2008, oil on linen, 38 x 42 inches/96.5 x 106.7 cm

CONVEYER ROBERT YASUDA 2009, acrylic on fabric on wood, 70.5 x 13.5 inches/179.1 x 34.3 cm

OUTPOST JUDITH MURRAY 2012–2014, oil on linen, 20 x 22 inches/50.8 x 55.9 cm

SIGNAL ROBERT YASUDA 2013, acrylic on fabric on wood, 55 x 34 inches/139.7 x 86.4 cm

PANORAMA JUDITH MURRAY 2014, oil on linen, 72 x 148.5 inches/182.9 x 377.2 cm overall (left panel 72 x 72 inches/182.9 x 182.9 cm; right panel 72 x 75 inches/182.9 x 190.5 cm)

BOTANIKOS ROBERT YASUDA 2013, acrylic on fabric on wood, 80 x 74 inches/203.2 x 188 cm overall (left panel 80 x 22 inches/203.2 x 55.9 cm; center panel 80 x 24 inches/203.2 x 61 cm; right panel 80 x 28 inches/203.2 x 71.1 cm)

SUGARLOAF KEY #1 JUDITH MURRAY 2014, oil and acrylic on Aquarius paper, 22 x 30 inches/55.9 x 76.2 cm

SUGARLOAF KEY #2 JUDITH MURRAY 2014, oil and acrylic on Aquarius paper, 22 x 30 inches/55.9 x 76.2 cm

ALANNA HEISS: To join you this afternoon is a pleasure; fortunately not a rare one. Throughout my life I’ve been able to join you and Bob in rooms around the world where we’ve talked about what we are doing, where we’re going to eat that night, what we are going to eat… And then always the next question is: How is work going? Where is it going? And what have you made recently? Tell me, is this the first show that you’ve ever been in together as a couple? JUDITH MURRAY: Yes, it is. ROBERT YASUDA: This is the first show we’ve ever been in where we are mixing our paintings. JM: We had a show together in Italy but it was in separate rooms, like two solo shows. So, while we were showing at the same time, we weren’t showing the work together. AH: You obviously planned this show very carefully and for months, so it would explore the balance that you know to exist between your works. I think you used the word “balance” as opposed to specific words like “contradiction” or “exploration.” You 48

know Bob’s work; Bob knows your work better than anybody knows anyone else’s work. And you planned this show so there would be a conversation between the pieces in the show. Is that correct? JM: We thought that any of his paintings could go with any of my paintings. So, I just made paintings for the past two years. And Bob made paintings. And then we started just fairly recently to move them around and to look at them next to each other. Occasionally we had to change a painting. But most of the time it just worked and looked great together. AH: Were there many rejects? RY: No. There weren’t any rejects in that sense. We found that the work seemed to be very sympathetic with each other. I came to that realization—many years ago. For a long time Judith and I had separate studios. Then about twenty years ago or maybe a little longer than that, Judith was evicted from her studio. AH: Right. I remember—and that was very dramatic. RY: Yes, and she moved to West Broadway [in New York City’s SoHo neighborhood] which was fortunately a very large space. Suddenly we had our studios on the same floor and I came to a realization by just having the work in the vicinity all the time that they really worked together. And so I guess the realization started then.

AH: But my memory of you as young painters is that you always very rigidly kept to separate studios. And that you had—it was not only painting but it’s the time one goes to be alone with one’s self. JM: Right, I thought it was very important especially for a woman to have her own place. Actually we live like that to this day. We don’t just walk into each other’s place. We knock on doors or we call even though we’re next door. Both of our places are mostly complete for our individual needs. AH: Perhaps though that is a reflection of early good lessons for both artists and couples, respecting workspace. Judith in her studio, 1981

JM:

And we have a great respect for privacy. It’s very

important to us.

AH: I think that’s becoming a little more clear to me, those important early decisions that you made to have private space. I always wondered how it worked with artists and how you handled it? When you first met, were you both artists? RY: We were art students. JM: But we were committed to being artists. We were very young but serious in a way that someone young can be. Fanatic. AH: Do you think that it was a common appreciation of the issues surrounding the making of art that drew you together? JM: The reason I even noticed Bob was because I first noticed his work and decided to seek out who the person was behind the work. So, that was definitely part of it. Probably the reason I even took notice of Bob originally was because of his work. RY: But there was another aspect to it that was very important. And that is we both were very influenced and motivated by coming to New York and discovering the New York School. It was during those years in the late fifties when those painters were showing. And we both liked the same work. AH: Are you talking about the Cedar Tavern days?

JM: We went to the Cedar Tavern but we were like babies. We both came to New York in 1958 and had heard about it. RY: The drinking age then was eighteen in New York. But going to galleries and seeing Barnett Newman and Clyfford Still and etcetera. And so one of the things that was very important is that we liked the same artists. Because if we didn’t…we wanted to go and see similar shows: Ad Reinhardt and that sort of thing and work that was difficult, not accepted by a lot of people at that time. And yet we found that we were drawn to it. And that was important. AH: Oh, it’s everything. RY: If we didn’t click on that, we would not have continued. So that’s a factor. AH: That’s of course absolutely true. You really can’t live with someone whose work you don’t respect, even as a non-artist like myself. It’s too difficult. AH: So, first, you started off as artists who were pretty much committed to art. You were already in the corridor of art, moving through that corridor. And then did your relationship—when you were growing together, did your work change initially in any way? 50

Or were you always just completely independent? JM: It didn’t change. RY: We were independent. We were very wary of sharing too much. So, Judith and I always had separate studios. Until recently. JM: I mean, until I was evicted from my studio. We then divided the West Broadway space into two complete working living places. RY: Not only were we in the same building but on the same floor. We were very concerned whether this would work or whether this was going to be the end of our relationship. JM: It has worked out fine. We like to spend time in both places. AH: This is fabulous. I mean, this is art real estate talk that really could help a lot of people. AH: Since Bob is originally from Hawaii when did Hawaii enter as a location that you went to? Had you already been together for a year or so when you went to Hawaii? JM: No, not at all. I got a job there. I taught at the University of Hawaii. We had been living on and off together for about eight years. Bob stayed in New York. He did not want to go back to Hawaii. AH: Eight years?

RY: We were very wary about getting married. JM: And I had been in the Foreign Service. I was with the State Department, the United States Information Agency. I was an artist-in-residence. At that point I was stationed behind the Iron Curtain in Poland. When I came back to the United States after that, I decided I wanted to teach. And the University of Hawaii offered me a job. AH: Did you go to Poland with Judith? RY: No. I stayed in New York and painted by myself, quietly. I was painting for my first solo show at Galerie Bruno Bischofberger in Zurich. In fact I had moved out of the city Robert in his studio, 1981

and was living alone on Long Island. I was twenty-six years old. After Judith returned from Poland we moved back to the

city in the early seventies and converted this loft where we are now into living-working and Judith rented a loft on Pearl Street. At that time this neighborhood was factories with many empty buildings. Before SoHo was SoHo. We have been here ever since. AH: The intersection between art and real estate of all kinds is a very deep and strong one in the United States. Many artists had a fantastic grasp of real estate. And I’ve always wondered why that is. But that’s really another discussion. The two of you are brilliant in seeing spaces. Because you’re always saying to yourself, I assume: Could I make work here? And then: Could I live here? RY: We missed being quiet in nature and looked for a place to work out of the city as well as the city studios. We have actually gotten beautiful places, beautiful locations, but if it couldn’t function as studios we moved on. We finally designed and built our present studios in the Florida Keys, which has worked out very well. JM: The studio is our primary consideration. AH: That’s primary because you can’t spend any time in a place where you can’t work. AH: Could you tell me what you see as very different from Bob’s work as a young artist to his work now, what might you find out

about his changes—that you originally saw? Because we’re talking about the two of you being together when you were young. I wondered if there was kind of an arc of change in his work that you could identify from your long-term looking at it? If there was a sort of Clement Greenberg linear line. JM: It is over fifty years and he has a big inventory. His early paintings were on canvas painted in oil. Later he changed medium and supports and within each group there are many paintings. Then there are the large installation paintings, and the shaped paintings, until now where he is carving and sculpting his paintings. I think that in some ways the paintings now are most similar to the very early paintings that he was doing. They have always been a combination of heroic and beautiful. AH: Okay, that is a very interesting comment and not unusual. JM: I’ve known all of the paintings. I know the paintings so well that I see change in each one. In a way that’s what we do. Each painting has its own quirks, its own identity. We each know every single painting the other has done. AH: Could you talk about Judith’s work in the same sort of overview from knowing her early works? 52

RY: Judith had a studio at that point down on Pearl Street that she would go and disappear in. And quite often I wouldn’t see the work for weeks. And then I would be invited for a studio visit. And the work was very, as far as I was concerned, very specific to her. There was no one else I knew who was doing work like it in those early years. And interestingly enough, it just continued in a linear direction right from Pearl Street to her studio on Broadway, and then to here. Like her signature right-hand bar and her palette established in the mid-seventies there was a constant series of inventions from one year to the next within her structure that continues to this day. There must be hundreds of paintings with right hand bars and her palette. There are no Judith Murray’s since 1975 without those two factors. Within that her forms, approach, surface, and space, were subject to change. AH: Well, I think when I got to know Judith’s work and we did a show at the Clocktower in the eighties I believe, in the early eighties… JM: It was 1979. People said they couldn’t refer to a painting being black, red, white and yellow because they were all black, red, white and yellow. When I started working with these colors, which I felt were primary colors, I knew it was long-term. I had my palette that I was developing and finding an infinite variety of variations from my basic palette. Colors that were sometimes unusual because of their basis.

And in fact, I’m still only working with black, red, white and yellow. You saw my palette table. And it’s just those four colors: And all of my paintings—all of the range of colors in my paintings come from only those four colors. AH: So there’s no blue? JM: No blue and no green. AH: Which both are big important colors to you, Bob. RY: Yes. AH: That’s interesting. Do you think she’s being careful not to use your colors? RY: No. Judith in her studio, 2014

JM: It has nothing to do with Bob… RY: Judith has her own idea about primary colors and a

basic palette. The American Museum of Natural History had a show about the Paleolithic period. And they had a diorama of a cave and cave painting from that time represented. And there were four pots of early pigment. And it was black, white, red and yellow. I have this other idea about color that is based on red, yellow, and blue, and the color wheel. Judith has an entirely different palette idea. JM: Over the years, it was a slow shift. If one looked at the work in the early seventies, I was painting eccentric hard-edged shapes on mat and gloss black fields. Later I changed and then changed again, etcetera. AH: The floating shapes. JM: There was a point where I just wanted to become more physical with the paintings and less controlled. So then the whole painting started becoming more activated and the shapes themselves got reduced, until the paintings became another kind of balance. AH: Well, I mean, Bob, you must have watched this dramatic change with some concern? I mean, an artist’s partner is just

not the same as a civilian partner. So the emotions and the ruling parts of their life are to a great extent involved in what they’re making—so, you must have wondered: What in the world is going to happen? RY: Well, over the years I’ve been constantly surprised. Because I’d go for a studio visit and I’d look at this painting and think “This is different.” And I’d go a few months later and it’d be different from the previous visit. Because I think one of the things that we both like about each other is that we really like to push. And there was this whole idea about the trademark symbol, notion of design and personal signature. You mentioned Greenberg earlier. Somehow we never were too focused on those restrictions consciously. We were more interested in painting and invention and seeing what can happen when one really explored a lot of different variables. So of course we both ended up with somewhat signature work. And you can see from this group that it’s not a singular kind of idea but rather a number of different ideas that we feel perfectly free in showing together. JM: I have a theory which I think would help in terms of explaining our work being together. I think Bob’s work and mine in the 54

underlying thinking are very similar in our approach, in our planning, and even in what we want it to look like, even if ultimately they look different. There are certain aspects of both of our work where there is no changing, no going back. A total commitment. Actually the edge of a precipice. For Bob it is when he carves the wood and for me it is when I make a commitment to what the surface is going to be and start sculpting with the oil paint. There is no going back. My work is totally additive. How I use the oil paint is how the painting is going to ultimately develop. For that reason I am pleased when someone looks closely at the surface. Because our paintings work together but are not alike, an abstract tension is created between them that neither of us singly could accomplish. AH: About criticism. One reason that there are gangs of artists is so that they can actually feel free in talking to each other about their work in a critical way but with the trust that you have in a gang. Then there’s another kind of criticism, which is very intimate. It doesn’t involve the magazine critic or newspaper writer. It doesn’t involve the bar discussion. It’s not the gang that talks to each other. But it’s the partnership that you have. How do you handle the whole issue or partner critiques, partner criticism? Because of the fact that you have seen each other’s work over such a long period of time, probably in one way the best critics; so how do you address that? RY: We have no hesitation in being very direct with each other.

JM: We welcome it. RY: We find that it really works in terms of not wasting time. JM: I consider myself lucky to have Bob. RY: As do I with Judith. AH: Why? RY: Because Judith will come in and say what she thinks and I am interested in what she has to say. Then I’d think about it. AH: Do you do this outside of the invited studio visit? JM: Well, sometimes, if we happen to just—to notice something. AH: You don’t wait for a point in time or something like that? JM: No. Robert in his studio, 2014

RY: No—no holding back. We found that that’s the best way to deal with it.

JM: We feel incredibly lucky to have another trusted eye that you respect, that can offer you this information. You might reject it but it gives you a chance to think about something else that maybe you didn’t consider before. No, we’re very lucky about that. AH: Do you still talk about art together? JM: Yes. AH: Is it the basic vocabulary of your conversation? JM: That, and gardens—and food. AH: And food. Food, gardens and art. That’s pretty good. I think that makes for a very satisfactory relationship. This is a hard interview for me to do simply because I know you so well and I know the answers or I think I do for most of the things. Here’s a tricky one that’s been tricky for me in my more intimate relationships with artists. How does it work when one of the two of you is recognized by the outside world and the other is not? JM: It really depends on what age we’re talking about. When we were young, it was more difficult. One does compare. When

Studio installation, 2014

you’re young, there is this thing called gratification and being recognized for your work is very nice, very satisfying. Makes you happy. Makes you stronger. Now that has totally changed. For many years, we were pleased for each other’s successes without any sense of competition. AH: But there’s another moment where you just have a sinking feeling your stomach. So often, not critical recognition but when work is sold, that is a little bit problematic because of the money…. JM: Ever since we were students, ever since we were living together, we’ve always had one bank account. We don’t separate it. Everything goes into one pot. So, you know, if Bob sells work, I am so pleased. And if I sell work, I am so pleased. And if anyone needs money, you just take it. AH: So you don’t sort it out so that the studio costs of one are paid for by… RY: We don’t have any defining financial rules. As long as there is enough why does it matter who made what? AH: That’s actually quite unusual for people who have stayed together. How long exactly have you been together? JM: Oh, around fifty-five years. AH: Well, just congratulations on that. Because stupid as it is, I suppose because money is a measurable thing rather than good criticism or bad criticism or this or that, you can actually measure what money has meant within a relationship that makes it a troublesome point for other couples. JM: We’ve noticed that. AH: What about color in both of your paintings? You’re both colorists. What kind of surface do you build up and how different is it with the materials that you use? Just tell me how you build up a surface in your paintings, now, contemporarily, currently? RY: Well, one of the differences is that in the early seventies when I started to do really big installation paintings, I couldn’t paint in oil anymore because the drying time prohibited anything of a big size. So, I had to switch to water-based, primarily acrylic paint. And that opened up an entirely new realm of color, which is very different from oil colors. So, the color came as a result of changing mediums. Because the colors in water-based paint are very different than the colors in oil-based paint, even though they’re the same brand. The way that one develops the color is very, very different. In acrylic paints for instance, I do a lot of layering. And I’ll have a painting that sometimes has fifty layers on it. But fifty layers with acrylic painting is not difficult because you can dry each

layer. Whereas you can’t do that with oil paint. Fifty layers would take you years in an oil painting. AH: And now you’re using primarily acrylics. RY: Only, solely. Acrylic painting is closer to something like fresco. AH: So that’s why the wall paintings that you did had that frescoish feeling about them? RY: Yes. And I actually even had that in mind when I was doing them. AH: I became interested in your work through the sculptors that I hung out with. I found out about you through them. They were interested in you because you were the only painter who entered their world in a way that was meaningful to them…as a painter-sculptor. RY: And I was friendly with them because of what they were doing. The sculptors that I was interested in were pushing boundaries and inventing different approaches. Their work was very strong and tough. There was a physicalness to them that we both responded to. Judith was also interested in this kind of work and we looked at a lot of it. AH: How do you choose color that you live with for your homes? Or are your homes just in fact really studios? 58

JM: They are both, but mostly studios. There are basically two colors: white and gray. AH: A while ago I realized that Italian Minimalism admitted color under the rules that were only two: white and gray. Those were the only colors you could have. AH: In sort of a summing up, you’re both what I now understand to be mature artists. I was trying hard to accept the possibility of me being a middle-aged person. And then my husband said to me: “But we’re not middle-aged. We’re older than that.” I said: “You don’t mean elderly, do you? Maybe mature and wise?” Anyway, we should end up by talking about friendships and friends and what’s strong and important: members of this art community. And in that sense, New York City becomes a very small town.

Alanna Heiss, founder and director of Clocktower Productions, is a leader of the groundbreaking early 1970s alternative spaces movement in New York City, which radically changed the way large-scale art projects were produced, shown and seen. In 1972 she founded the legendary Clocktower Gallery, and in 1976 she founded P.S.1 Contemporary Art Center (now MoMA PS1) which she directed for thirty-two years, and transformed into an internationally renowned non-collecting center for the production and presentation of contemporary art. Heiss has organized more than seven hundred exhibitions at P.S.1 and in art spaces around the world. In 2003 she founded Art Radio WPS1.org, the Internet radio station of P.S.1 and first-ever all-art museum station. Among her numerous publications are catalogues of the work of Janet Cardiff, Alex Katz, Dennis Oppenheim, Michelangelo Pistoletto, Katharina Sieverding and John Wesley. Heiss was commissioner of the 1985 Paris Biennale and commissioner of the 1986 American Pavilion at the Venice Biennale. She served as chief curator of the Tribute for John Cage, organized for the 1993 Venice Biennale, and as the Curatorial Director of the 2002 Shanghai Biennale, and she was a panelist for the Yokohama 2005 International Triennale of Contemporary Art. She is the recipient of the Mayor’s Award for Contributions to the Artistic Viability of New York City, France’s Chevalier des Arts et des Lettres in the Légion d’Honneur, the Royal Swedish Order of the Polar Star, the Skowhegan Award for outstanding work in the arts, and the CCS Bard Award in 2007 for Curatorial Excellence. Born in Louisville, Kentucky, in 1943, Alanna Heiss lives in New York City with her husband, Fredrick Sherman.

JUDITH MURRAY Born in New York City, February 22, 1941 Lives and works in New York City and Sugarloaf Key, Florida

1998 Schmidt-Dean Gallery, Philadelphia 1996 Conde Gallery, New York 1987 Jan Turner Gallery, Los Angeles EDUCATION 1986 Pam Adler Gallery, New York 1964 MFA, Pratt Institute, Brooklyn 1985 Hillwood Art Museum, Long Island University, Brookville, 1963 Academia de Bellas Artes de San Fernando, Madrid New York (curated by Judy Collischan Van Wagner) 1962 BFA, Pratt Institute, Brooklyn 1982 Concentrations V: Judith Murray, The Dallas Museum of Fine Arts, Texas (curated by Sue Graze) SELECTED SOLO EXHIBITIONS Janus Gallery, Los Angeles 2012 Without Borders, Sundaram Tagore Gallery, New York 1981 Betsy Rosenfield Gallery, Chicago 2009 Continuum, Sundaram Tagore Gallery, New York 1980 Pam Adler Gallery, New York Continuum, Sundaram Tagore Gallery, Beverly Hills 1979 Pam Adler Gallery, New York 2006 Phases and Layers, Sundaram Tagore Gallery, New York 1978 The Clocktower, The Institute for Contemporary Art, New 2005 Small Works, Sundaram Tagore Gallery, New York York (curated by Alanna Heiss) 2004 Energies and Equations, Sundaram Tagore Gallery, New York 1976 Betty Parsons/Jock Truman Gallery, New York 2003 Paintings, New Arts Museum, Kutztown, Pennsylvania Seeing Into the Abstract, Sundaram Tagore Gallery, New York SELECTED TWO-PERSON EXHIBITIONS 2001 Toward a Supreme Fiction, PS1, The Museum of Modern 2014 Duo, Judith Murray & Robert Yasuda, Sundaram Tagore Art, Long Island City, New York Gallery, Singapore 2000 A Gathering of Weather: Wallace Stevens Birthday, 2005 Pittura: Note, Judith Murray & Robert Yasuda, Galleria Hartford Public Library, Hartford, Connecticut Miralli, Viterbo, Italy Gibson Gallery, State University of New York at Potsdam 1999 Judith Murray & Merrill Wagner, Simon Gallery, 1999 redyellowblackwhite, Ben Shahn Gallery, William Morristown, New Jersey Paterson University, Wayne, New Jersey (curated by Judith Murray & Larry Web, 76 Varick Street Gallery, Nancy Einreinhofer) New York

SELECTED GROUP EXHIBITIONS 2013 The Annual: 2013, National Academy Museum, New York Sideshow Nation, Sideshow Gallery, Brooklyn, New York To Be A Lady, curated by Jason Andrew, Sundaram Tagore Gallery, Singapore 2012 American Academy of Arts and Letters Invitational Exhibition of Painting and Sculpture, New York American Abstract Artist International, Paris 2011 Abstraction to the Power of Infinity, The Icebox, Philadelphia Contemporary Selections: Aligning Abstractions, National Academy Museum, New York Perspectives: Nine Women, Nine Views, Sundaram Tagore Gallery, New York American Abstract Artist 75th Anniversary Exhibition, OK Harris Works of Art, New York Splendor of Dynamic Structure: Celebrating 75 Years of the American Abstract Artist, Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York 2010/11 American Abstract Artists International, Ontranto, Italy; Berlin, Germany 2010 4X20 Lasciare Asciugare, Studio Fontaine, Viterbo, Italy The Reason for Hope, Sundaram Tagore Gallery, New York 2009 Seven Women, Seven Stories, Sundaram Tagore Gallery, Beverly Hills Here and Now, Sundaram Tagore Gallery, Hong Kong 2008 East/West, Sundaram Tagore Gallery, Hong Kong American Abstract Artists: Tribute to Esphyr Slobodkina, The Painting Center, New York

2007 Continuum, in celebration of the 70th Anniversary of the American Abstract Artist, St. Peterâ&#x20AC;&#x2122;s Art Gallery, Jersey City, New Jersey Surface Impressions, Islip Museum, East Islip, New York 2006 The 181st Annual Invitational Exhibition of Contemporary American Art, National Academy Museum, New York East/West, Sundaram Tagore Gallery, New York 2005 American Academy of Arts and Letters Invitational Exhibition of Painting and Sculpture, New York Next Level, Sundaram Tagore Gallery, New York Optical Simulations, American Abstract Artist, Yellow Bird Gallery, Newburgh, New York 2004 Beyond the Surface, Sundaram Tagore Gallery, New York 2003/04 The Invisible Thread: Buddhist Spirit in Contemporary Art, The Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island, New York Inner World, Sundaram Tagore Gallery, New York 2002 Compass Points, Sundaram Tagore Gallery, New York 2001 Painting Abstraction II, New York Studio School, New York Opening Celebration, Schmidt-Dean Gallery, Philadelphia 2000 Reconstructing Abstraction, Mitchell Algus Gallery, New York 1999 Subliminal View, Trans Hudson Gallery, New York Sleight of Hand, Cummings Art Center, Connecticut College, New London; 76 Varick Street Gallery, New York; Studio 38, Utrecht, Netherlands Schmidt-Dean Gallery, Philadelphia 1998 The Tip of the Iceberg, Dorfman Projects Gallery, New York (curated by Bill Bartman)

1997 After the Fall: Aspects of Abstract Painting Since the 1970s, The Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island, New York (curated by Lilly Wei) Trans Hudson Gallery, New York 1996 Visual Thinking, Galeria de Arte Plastica Contemporanea, Guatemala City, Guatemala Pioneers of Abstract Art, 1936-1996, Baruch College, New York American Abstract Artist 60th Anniversary Exhibition, The James Howe Fine Arts Gallery, Kean College, Union, New Jersey (catalogue); Westbeth Gallery, New York 1995 American Academy of Arts and Letters Invitational Exhibition of Painting and Sculpture, New York 1994 Theme & Variation, Condeso/Lawler Gallery, New York (curated by Tiffany Bell) 1993 The Persistence of Abstraction, American Abstract Artists, Edwin A. Ulrich Museum of Art, Wichita State University, Kansas; 1994, The Noyes Museum, Oceanville, New Jersey (catalogue) 1992 Slow Art: Painting in New York Now, P.S. 1 Museum, The Institute of Contemporary Art, Long Island City, New York (curated by Alanna Heiss) 1991 Stephen Solovy Fine Art, Chicago 1989/91Lines of Vision: Drawings by Contemporary Women (curated by Judith Collischan; traveled to twelve American museums; catalogue) 1989/90 100 Women Artists, sponsored by the United States Information Agency (traveled to museums in Mexico, Central and South America) 1989 Geometric Abstraction and the Modern Spirit, Neuberger

Museum, State University of New York Purchase 1988/92 A Living Tradition: Selections from the American Abstract Artists, Bronx Museum of the Arts, New York (traveled to Finland, Romania, Israel, Poland, Leningrad, Berlin, Canada) 1988 One Twenty Eight Gallery, New York (curated by Jean- Noel Herlin) 1987 New Work, American Abstract Artists, City Gallery, New York 50th Anniversary Print Portfolio, American Abstract Artists, James Howe Gallery, Kean College, New Jersey, and City Gallery, New York 1986 Movements: An Exhibition of Geometric Abstraction, Philip Dash Gallery, New York Structure and Metaphor: Six Contemporary Visions, Warm Gallery, Minneapolis, Minnesota (curated by Ronnie Cohen; catalogue) American Abstract Artists 50th Anniversary Celebration, The Bronx Museum of the Arts, New York 1985 8 x 10, Washington County Museum of Fine Arts, Haggerstown, Maryland Abstract Painting, 1985, Pam Adler Gallery, New York 1984 Artist Space, New York Westbeth Gallery, New York 1983 American Abstract Artist: Paintings, Moody Gallery of Art, University of Alabama, Tuscaloosa; Weatherspoon Art Gallery, University of North Carolina, Greensboro Art on Paper, Weatherspoon Art Gallery, University of North Carolina, Greensboro (curated by Donald Droll) Studies and Drawings: Joyce Kosloff, Elizabeth Murray, Judith Murray, Lincoln Center Gallery, New York Pam Adler Gallery, New York

1982 Abstract Substance and Meaning: Paintings by Women Artists, The Women’s Caucus for Art (catalogue: Views by Women Artists) New Work, New York, Delahunty Gallery, Dallas 1981 Painting and Sculpture, Miami Dade College, Miami Works from the Collection of Milton Brutten and Helen Herrick, Ben Shahn Gallery, William Paterson College, Wayne, New Jersey 1980/82 Art in Our Time, HHK Foundation for Contemporary Art, Milwaukee Art Museum; Contemporary Arts Center, Cincinnati, Ohio; Columbus Museum of Art, Ohio; Virginia Museum of Fine Arts, Richmond; Krannert Art Museum, University of Illinois, Champaign; High Museum of Art, Atlanta; University of Iowa Museum of Art, Iowa City; Brooks Memorial Art Gallery, Memphis, Tennessee; University Art Museum, Austin, Texas (traveled from 1980 to 1982) 1980 Bard College, Annandale-on-Hudson, New York Pool, Artist’s Space, New York Pam Adler Gallery, New York 1979 1979 Biennial Exhibition, The Whitney Museum of American Art, New York (catalogue) Mind Set: An Ongoing Involvement with the Rational Tradition, John Weber Gallery, New York 1978 Painting, Five Views: Benglis, Goldberg, Murray, Pozzi, Umlauf, Ben Shahn Gallery, William Paterson College, Wayne, New Jerse New York: A Selection of the Last Ten Years, The Otis Art Institute, Los Angeles (curated by Betty Parsons) 1977 Works, P.S.1 Museum, The Institute for Contemporary Art, Long Island City, New York (traveled to ten countries from 1977-1979)

A Painting Show, P.S. 1 Museum, The Institute for Contemporary Art, Long Island City, New York New York, New York, Marion Locks Gallery, Philadelphia Susan Caldwell Gallery, New York A Collection in Progress, Moore College of Art Gallery, Philadelphia 1976 Critics Choose, Ira Joel Haber, Bill Jensen, Judith Murray, 55 Mercer Street Gallery, New York First Williamsburg Exhibition of Painting and Sculpture, Brooklyn New Abstract Objects, Hallwalls, Buffalo, New York PUBLIC COMMISSIONS 1991/92 Mozart Bicentennial at Lincoln Center, New York 1986 Mostly Mozart Festival 20th Anniversary, New York 1981 Mostly Mozart Festival, New York Poster and print, Lincoln Center for the Performing Arts, Avery Fisher Hall, New York HONORS AND AWARDS 2005 American Academy of Arts and Letters, Academy Award in Art 2002/03 Guggenheim Memorial Foundation, Artist Fellowship in Painting 1983/84 National Endowment for the Arts, Artist Fellowship in Painting PROFESSIONAL MEMBERSHIPS National Academy Museum American Abstract Artist Artist Fellowship, Inc.

TEACHING/LECTURES/MEDIA 2010/14 Judith Murray: Phases and Layers, You Tube, Part 1 and 2 2006 DVD; Judith Murray: Phases and Layers, documentary film by Albert Maysles & Mark Ledzian; with Robert Storr Lecture, National Museum of Women in the Art, Washington, DC 2003 Lecture, New Arts Program, Kutztown, Pennsyivania PBS Television interview: “New Arts Alive - Judith Murray,” interviewer, James Carroll, catalogue transcription 2001 PBS Television interview “Judith Murray” with William Zimmer 1994 Teaching, Princeton University, Princeton, New Jersey 1987 Lecture, Sarah Lawrence College, Bronxville, New York 1984 Lecture, Pratt Institute, Brooklyn 1978 Lecture, Long Island University, CW Post College, Greenvale, New York 1974/77 Teaching, Long Island University, Greenvalle, New York 1967 Teaching, New York Institute of Technology, New York Lecture, Festival of the Arts – Pacific Rim, Kauai, Hawaii 1966 Teaching, University of Hawaii, Honolulu 1965 Artist-in-Residence, Grafica Americanska, Krakow, Warsaw, and Szczecin, Poland (with the United States Information Agency)

BOOKS AND CATALOGUES 2012 David Cohen, Without Borders, catalogue (New York: Sundaram Tagore Gallery) 2009 Charles A. Riley II, Art at Lincoln Center: The Public Art and List Print and Poster Collections (New Jersey: John Wiley and Sons, Inc.): pp. 152, 163, 172 2009 Judith Murray, On Working, catalogue (New York: Sundaram Tagore Gallery and The Continuum International Publishing Group Ltd.) 2008 Fritz Drury and Joanne Stryker, Drawing: Structure and Vision (New Jersey: Pearson-Prentice Hall Publishers): pp. 137, 138 2006 Martha Keller, ed., American Abstract Artist Journal No. 5, On Edge Alanna Heiss, Edward Leffingwell, Richard Kalina, Judith Murray: From Vibrato to Legato (New York: Sundaram Tagore Gallery and Ahmedabad, India: Mapin Publishing) 2003 Richard Kalina, Seeing Into the Abstract, catalogue (New York: Sundaram Tagore Gallery) 2001 James Carroll, Conversation with Judith Murray, October 14, 2003 and May 8, 2001, catalogue Bob Witz, ed., “Judith Murray, Paintings,” Appearances, No. 27: pp. 38-39 1999 Lilly Wei, Judith Murray: redyellowblackwhite, catalogue (New Jersey: William Paterson University) 1998/96/94 Duane and Sarah Preble, eds., Artforms: An Introduction to the Visual Arts, 6th Edition (New York: Harper Collins College Publishers) 1992 Jules Heller, An Encyclopedia of Twentieth-Century North American Women Artists (New York/London: Garland Publishing)

1989 Judy Collischan Van Wagner, Lines of Vision: Drawings by Contemporary Women (New York: Hudson Hills Press) 1986 Ronnie Cohen, Structure and Metaphor: Six Contemporary Visions, catalogue (Minneapolis: WARM Gallery) 1985 William Zimmer, Judith Murray and Ursula von Rydingsvard, catalogue, CW Post College, Long Island University (Greenvale: Hillwood Art) Judy Collischan Van Wagner, Judith Murray: Interview, catalogue, Hillwood Art Museum, CW Post College, Long Island University (Greenvale: Hillwood Art) 1982 Sue Graze, Judith Murray: Concentrations V, catalogue (Dallas: The Dallas Museum of Fine Arts) 1980/82 Andrea S. Van Dyke, Art In Our Time, catalogue, HHK Foundation for Contemporary Art (Milwaukee: The Foundation) 1979 Nancy Einreinhofer, Painting: Five Views, catalogue, Ben Shahn Gallery (Wayne, New Jersey: William Paterson University) 1976 Judith Tannenbaum, New York Art Yearbook, 1975-1976, (New York: Noyes Art Books)

Steven Alexander Journal, “American Abstract Artist at OK Harris,” blog 2009 Lilly Wei, “Judith Murray: Continuum,” The Brooklyn Rail, New York 2007 Jonathan Goodman, “Review of Exhibitions,”Art in America, New York Abby Alpert, “Media Video and DVD,” Booklist, Chicago Denise Green, “New York New York,” Art Monthly Australia #196, Australia Sandra Ban, “Review,” ARTnews, New York 2006 Ken Johnson, “For a Broad Landscape, An Equally Wide Survey,” New York Times 2005 “Due Americani a Viterbo,” Controvoce, Sicily Robert Ayers, “Review,” ARTnews, New York 2003 Michael Amy, “Review,” Art in America, New York 1999 Barry Schwabsky, “Abstract Introspection in Two Distinct Styles,” New York Times 1998 Lilly Wei, “Review,” Art in America, New York Andrew Long, “OPENINGS,” Art & Antiques, New York William Zimmer, “Geometric Abstraction’s Varied Moods,” SELECTED BIBLIOGRAPHY New York Times 2012 Lawrence Osgood, “Neither Hats nor Unicorns: 1987 Kristine McKenna, “Judith Murray,” Los Angeles Times Judith Murray at Sundaram Tagore,” 6/12/12 artcritical.com 1986 Gail Stavitsky, “Three Aspects of Abstraction,” Arts David Cohen, “Art Critical Pick: Judith Murray,” 5/11/12, Magazine, New York artcritical.com John Loughery, “Judith Murray,” Arts Magazine, New York, April 2011 Ben Knight, “Fine Artist of the Month: Contrapuntal Poem William Zimmer, “American Abstract Artists Look Back at for Judith Murray,” blog 50 Year History,” New York Times Barbara MacAdam, “American Abstract Artist,” ARTnews, Gail Stavitsky, “Judith Murray,” Arts Magazine, New York New York 1985 Phyllis Braff, “Two Artists on the Cutting Edge,” New York Times Linda DiGusta, “Art Wars,” Cognoscenti, New York Gail Stavitsky, “Judith Murray,” Arts Magazine, New York

1982 Janet Kutner, “Ms. Murray’s Style Defies Categorization,” Dallas Morning News Ron Lowe, “Geometric Paintings Shown,” The Fort Worth Star Telegram Bill Marvel, “Judith Murray,” “Critic’s Choice,” Dallas Times Herald Suzanne Muchnic, “Judith Murray,” Los Angeles Times 1981 Elizabeth Frank, “Judith Murray,” Art in America, New York Stephen Westfall, “Judith Murray,” Arts Magazine, New York 1980 William Zimmer, “Murray Mint,” The SoHo Weekly News, New York William Zimmer, “Judith Murray,” The SoHo Weekly News, New York 1979 Corrine Robins, “Whitney Biennial,” Arts Magazine, New York Jon Friedman, “Judith Murray,” Arts Magazine, New York Richard Whelan, “Discerning Trends at the Whitney,” ARTnews, New York April Kingsley, “Planes...in...Space,” The Village Voice, New York April Kingsley, “Getting It Together,” The Village Voice, New York 1977 William Zimmer, “Critics Choose,” The SoHo Weekly News, New York John Perreault, “Ten Best Exhibitions of 1976,” The SoHo Weekly News, New York 1976 John Perreault, “A Nonconformist Painter,” The SoHo Weekly News, New York

Studio installation, 2014

ROBERT YASUDA Born in Lihue, Hawaii, November 14, 1940 Lives and works in New York City EDUCATION M.F.A., Pratt Institute, Brooklyn, New York B.F.A., Pratt Institute, Brooklyn, New York HONORS & AWARDS American Academy of Arts and Letters Purchase Award National Endowment for the Arts, Artist Fellowship Grant-Painting John Hay Whitney Foundation Grant TEACHING Professor of Painting and Drawing, Long Island University, Greenvale, New York New York Institute of Technology, Westbury, New York SELECTED SOLO EXHIBITIONS 2014 Make Haste Slowly (Isogaba Maware â&#x20AC;&#x201C; Japanese Proverb), Sundaram Tagore Gallery, New York 2012 David Lusk Gallery, Memphis 2010 Sundaram Tagore Gallery, New York 2008 David Lusk Gallery, Memphis 2006 Elizabeth Harris Gallery, New York

2005 David Lusk Gallery, Memphis 2004 Elizabeth Harris Gallery, New York 2003 David Lusk Gallery, Memphis 2002 Elizabeth Harris Gallery, New York 2000 David Lusk Gallery, Memphis 1999 New Arts Program, Kutztown, Pennsylvania 1998 Elizabeth Harris Gallery, New York 1997 Ledbetter Lusk Gallery, Memphis 1996 Elizabeth Harris Gallery, New York 1993 Elizabeth Harris Gallery, New York 1990 Julian Pretto Gallery, New York 1987 Koplin Gallery, Los Angeles 1984 Betty Parsons Gallery, New York 1982 Marianne Deson Gallery, Chicago Koplin Gallery, Los Angeles 1981 Betty Parsons Gallery, New York Hoshour Gallery, Albuquerque, New Mexico 1980 Thomas Babeor Gallery, La Jolla, California 1979 Betty Parsons Gallery, New York Gallery December, Dusseldorf, Germany 1977 Betty Parsons Gallery, New York 1975 Betty Parsons Gallery, New York 1970 Long Island University, Brookville, New York 1969 Galerie Bischofberger, St. Moritz, Switzerland 1968 Galerie Bischofberger, Zurich

SELECTED GROUP EXHIBITIONS 2013 Art in Embassies Exhibition, United States Embassy, Ulaanbaatar, Mongolia Nation II at the Alamo, Sideshow Gallery, Brooklyn, New York Surface Tension, Sundaram Tagore Gallery, New York Sideshow Nation, Sideshow Gallery, Brooklyn, New York Summer Group Show, Sundaram Tagore Gallery, New York 2012 Emergence & Structure, Richard A. and Rissa W. Grossman Gallery, Lafayette College, Easton, Pennsylvania; MDC Freedom Tower Gallery, Miami Dade College, Miami; University Gallery, University of Florida, Gainesville 2011 Facing East: Contemporary Asian Art, Sundaram Tagore Gallery, New York Private Memphis, Dixon Gallery and Gardens, Memphis 2010 Rasa: Contemporary Asian Art, Sundaram Tagore Gallery, Beverly Hills/Hong Kong The Reason for Hope, Sundaram Tagore Gallery, Beverly Hills/New York Landscape: Real and Imagined, McNay Art Museum, San Antonio, Texas 185th Annual: An Invitational Exhibition of Contemporary American Art, National Academy Museum, New York 2009 Here and Now, Sundaram Tagore Gallery, Hong Kong 2008 Invitational Exhibition, American Academy of Arts and Letters, New York, NY; Purchase Award in Painting In Your Mindâ&#x20AC;&#x2122;s Eye, Sundaram Tagore Gallery, Hong Kong 2007 Winter Selections, J. Johnson Gallery, Jacksonville Beach, Florida Surface Impressions, Islip Art Museum, East Islip, New York 2005 Galleria Miralli, Viterbo, Italy Abstract Painters, J. Johnson Gallery, Jacksonville Beach, Florida Honolulu to New York, The Contemporary Museum, Honolulu 2003 Summer Color, Elizabeth Harris Gallery, New York 2001 Monochrome/Monochrome?, Florence Lynch Gallery, New York

David Lusk Gallery, Memphis 1998 Elizabeth Harris Gallery, New York 1997 After the Fall: Aspects of Abstract Painting Since the 1970s, The Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, New York 1995 Elizabeth Harris Gallery, New York 1993 6 Abstract Artists, Elizabeth Harris Gallery, New York 1992 Slow Art: Painting in NY Now, The Institute for Contemporary Art, Long Island Stark Gallery, New York 1991 Small Scale Works, Julian Pretto Gallery, New York 1990 Julian Pretto Gallery, New York 1988 Reveal, Koplin Gallery, Los Angeles 1986 Wall Constructions, Cutler-Schreiber Gallery, New York Inaugural Exhibition, Cutler-Schreiber Gallery, New York 1985 Craig Cornelius Gallery, New York 8 x 10, Washington County Museum of Fine Arts, Hagerstown, Maryland 1984 A More Store, Jack Tilton Gallery, New York Olympic Exhibition, Koplin Gallery, Los Angeles Hundreds of Drawings, Artists Space, New York 1983 Group II, Betty Parsons Gallery, New York Rouge et Noir, Hoshour Gallery, Albuquerque, New Mexico CAP Gallery, Houston A More Store, Jack Tilton Gallery, New York 1982 Betty Parsons Gallery, New York 1981 Betty Parsons Gallery, New York A Painting Show, Marianne Deson Gallery, Chicago 1980 Betty Parsons Gallery, New York Heath Gallery, Atlanta Drawings from the Collection of Milton Brutten and Helen Herrick, Ben Shahn Galleries, Wayne, New Jersey Lowe Art Gallery, Syracuse University, New York 1979 Drawing, Hal Bromm Gallery, New York

Albright-Knox Art Gallery, Buffalo Curated by Betty Parsons, Otis Art Institute, Los Angeles 1978 Betty Parsons Gallery, New York Indianapolis Museum of Art, Indiana Hal Bromm Gallery, New York 1977 Projects, PS1 Museum, Long Island City, New York Worcester Art Museum, Maryland Arte Fiera 77, Bologna 1976 Betty Parsons Gallery, New York This is Not a Work of Art, Parsons-Truman Gallery, New York 1975 Parsons-Truman Gallery, New York Albright-Knox Art Gallery, Buffalo, New York 1970 Allan Stone Gallery, New York 1969 Galerie Bischofberger, Zurich 1968 Prospect 68, Dusseldorf, Germany Fordham University, New York SELECTED COLLECTIONS Bass Museum of Art, Miami Beach Brooklyn Museum, New York Carnegie Institute, Pittsburgh, Pennsylvania Chase Manhattan Bank, New York The Craftool Collection, New York The Library of Congress, Washington, D.C. Long Island University, Brookville, New York Mr. Hans Mayer Collection, Zurich The Museum of Modern Art, Phoenix, Arizona The New York Public Library, New York Mr. Gifford Phillips Collection, New York Pratt Institute, Brooklyn, New York Prudential Insurance Company The State Foundation for the Arts, Honolulu Wadsworth Atheneum, Hartford, Connecticut McNay Art Museum, San Antonio, Texas

TWO-PERSON EXHIBITIONS 2014 Duo, Judith Murray & Robert Yasuda, Sundaram Tagore Gallery, Singapore 2005 Galleria Miralli, Viterbo, Italy (with Judith Murray) SPECIAL PROJECTS: PAINTING INSTALLATIONS (ROOM & SITE-SPECIFIC) 2001 Oceanic, nine-panel site-specific permanent installation, Key West, Florida 1985 The Anchorage Exhibition, large painting installations, Brooklyn Bridge Anchorage, New York 1983 Bayou Exhibition, room painting installation, Houston Art Fair 1982 Wall Size Works, painting installation, Freedman Gallery, Albright College, Reading, Pennsylvania 1981 Gallery painting installation, Betty Parsons Gallery, New York 1980 Albuquerque Sight-Line, three-room painting installation, Hoshour Gallery, Albuquerque, New Mexico Sculpture at the Coliseum, free-standing painting installation, New York Coliseum Pompton Road, two-painting installation, Ben Shahn Galleries, William Paterson College, Wayne, New Jersey Cabrillo Point 10/29, two-room painting installation, Thomas Babeor Gallery, La Jolla, California 1979 Wall Paintingâ&#x20AC;&#x201D;Ryman, Hafif, Pozzi, Jackson, Yasuda, Museum of Contemporary Art, Chicago Great Big Drawing Show, drawing installation, PS1 Museum, The Institute for Contemporary Art, Long Island City, New York 1977 Special Project, 35th Biennial Exhibition, free-standing painting installation, Corcoran Gallery of Art, Washington, DC 1976 Double Oblique, The Clocktower, The Institute for Contemporary Art, New York Rooms, Inaugural Exhibition, two-room painting

installation, PS1 Museum, The Institute for Contemporary David Gilmarten, “Wall Size Works,” Times, Reading, PA, Art, Long Island City, New York October 13 1975 Leaning Wall, painting installation, Betty Parsons Gallery, Anon, “Robert Yasuda,” Los Angeles Times, November 5 New York 1981 George Bradley, “Robert Yasuda Recent Paintings,” Arts Magazine, May SELECTED BIBLIOGRAPHY Ray Abeyta, “Robert Yasuda: A Subtle Vision,” New 2014 Dion Tan, “Robert Yasuda Carves a Luminous Frame at Mexico Daily Lobo, November Sundaram Tagore,” video, Blouin artinfo, February 1980 Katryn Callahan, “Robert Yasuda,” Times Advocate, San David Cohen, “Make Haste Slowly,” Art Critical, March Diego, CA, November 13 Lilly Wei, “Robert Yasuda at Sundaram Tagore,” Art News, Richard Reilly, “Compositions of Visual Engineering,” San June, p. 99 Diego Union, November 16 2010 Doug McClemont, “Robert Yasuda at Sundaram Tagore,” 1979 Hilton Kramer, “Review,” The New York Times, March 24 ARTnews, September, p. 109 Alan Artner, “Robert Yasuda,” Chicago Tribune, March 25 2006 Michael Brennan, “Robert Yasuda,” The Brooklyn Rail, Jack Burnham, “Painting Up Against the Wall,” The New October, p. 26 Art Examiner, May 2004 Edward Leffingwell, “Robert Yasuda at Elizabeth Harris,” James Auer, “Best of Old, New at Chicago”, The Art In America, December Milwaukee Journal, March 25 2002 Jonathan Goodman, “Review,” Art News, June 1977 Peter Frank, “Bob Yasuda,” Art News, February Barabara A. MacAdam, “Review,” Art News, June Jo Ann Lewis, “Yasuda at the Corcoran,” The Washington 1999 James Carroll, “A Visit with Bob Yasuda,” New Arts Post, February 5 Program, Kutztown, PA, catalogue Donald Sanders, “Robert Yasuda,” Jackson Daily News/ 1996 Pepe Karmel, “Review,” The New York Times, February 16, p. C24 The Clarion Ledger, Jackson, MS, February 27 1994 Judd Tully, “Luminous Illusion,” Cover Magazine, March, p. 15 Thomas Hess, “Across the River into P.S.1,” New York 1985 Amy Virshup, “Moving Experiences,” New York Magazine, May Magazine, April 25 Kim Levin, “Art in the Anchorage,” The Village Voice, May 21 Benjamin Forgey, “Robert Yasuda,” Art News, May Susan Fleminger, “Inside the Bridge: Art in the Depths of the Noel Frackmann, “Robert Yasuda,” Arts Magazine, June Anchorage,” Prospect Press, May 1976 Kenneth Wahl, “Robert Yasuda,” 57th Street Review, January 1983 Alan Artner, “Best Solo Shows,” Chicago Tribune, Jan 2 Robert Grosvenor, “Painting Wall,” 57th Street Review, January 1982 Alan Artner, “Robert Yasuda,” Chicago Tribune, June 10 John Perrault, “Report Card: P.S.1, I Love You,” The Soho Kathleen Shields, “Robert Yasuda- Albuquerque Sight Weekly News, June 17 Line,” Art Space, Spring Nancy Foote, “The Apotheosis of a Crummy Space,” Tullio Francesco De Santis, “Robert Yasuda,” Reading Artforum, October Eagle, Reading, PA, October 17

SUNDARAM TAGORE GALLERIES new york new york hong kong singapore

547 West 27th Street, New York, NY 10001 • tel 212 677 4520 fax 212 677 4521 • gallery@sundaramtagore.com 1100 Madison Avenue, New York, NY 10028 • tel 212 288 2889 57-59 Hollywood Road, Central, Hong Kong • tel 852 2581 9678 fax 852 2581 9673 • hongkong@sundaramtagore.com 01-05 Gillman Barracks, 5 Lock Road, Singapore 108933 • tel 65 6694 3378 • singapore@sundaramtagore.com

President and curator: Sundaram Tagore Director, New York: Susan McCaffrey Director, Hong Kong: Faina Derman Designer: Russell Whitehead www.sundaramtagore.com

Art consultants: Teresa Kelley Bonnie B. Lee Deborah Moreau Benjamin Rosenblatt Raj Sen Melanie Taylor

Photographer 1981: Peter Bellamy Studio assistant: Taketo Shimada Text © 2014 Sundaram Tagore Gallery Images © Sundaram Tagore Gallery All rights reserved under international copyright conventions. No part of this catalogue may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. Cover: Studio installation, 2014