EMILY EVELETH 2024

EMILY!EVELETH

EMILY EVELETH

511 West 22nd Street New York NY 10011

515 West 22nd Street New York NY 10011

525 West 22nd Street New York NY 10011

520 West 21st Street New York NY 10011

TASTE

By Bridget R. Cooks, Ph.D.

Emily Eveleth’s paintings are about desire. They excite viewers with promises of sticky, sweet, immediate moments of pleasure. Saturated in powdery whites, bubblegum pinks, and golden browns, her paintings stun and seduce. Her old master approach to painting the subject ma!er is so textured and her surfaces are so luscious that viewers may at first forget that they are simply looking at pictures of donuts. They will instead be distracted by visceral responses to the sensuality of her brushstrokes, glazes, and thick, cavernous curves. These exaggerated forms become almost carnal when they are transformed into an Eveleth painting. Light and fluffy or full and oozing, Eveleth’s donuts embody the things viewers want but are not supposed to have. They challenge viewers to resist gratification, and they simultaneously invite them to succumb to their urges.

In her most recent set of paintings, Eveleth for the first time includes pa!erned elements in her compositions. These embellished se!ings signal her consideration of donuts in terms of class. She places them in decorative environments to explore their relationship, in both flavor and style, to taste. Eveleth has turned to the rococo period of art history to explore questionable tastes in painting. For example, the eighteenth-century French artist François Boucher painted in an ornate style that has long been dismissed for registering below discriminating aesthetic taste. With feathery brushstrokes that characterize the rococo, he rendered ethereal scenes of cheerful figures in lush landscapes. Eveleth, however, reconsiders the theatrical element in Boucher’s work, which welcomes viewers into a frivolous, stylized world of sensuality. She harnesses this performative flair to emphasize the drama and artificiality of donuts in new interior spaces.

3

4

Élisabeth Louise Vigée Le Brun, Madame du Barry, 1782. Oil on canvas, 45 1⁄4 x 35 1⁄4 inches (114.94 x 89.54 cm). Corcorn Collection (William A. Clark Collection).

The classic varieties of these pastries are popular across socio-economic registers.

However, Eveleth’s donuts are working class and in this series they seem to want to be more. In Mme. Du Barry, the floral motif of the white silk brocade brings a measure of elegance and refinement to the pair of pink frosted donuts. They become items of feminine luxury in front of the ornamental background. The reflective surface beneath them provides the opportunity for vanity and confirms the donuts’ presence as something to be looked at. Here, the donuts fulfill their aspirations to be beautiful objects. Arranged in front of the decadent fabric, the pair lie in a leisurely manner, like an odalisque waiting to be a!ended to. The title of the painting refers to Jeanne Bécu, Comtesse du Barry, the last maîtresse-entitre of King Louis XV in late-eighteenth-century France. She was an illegitimate child born into an impoverished economic milieu. She worked as a prostitute—a past that her critics used to damn her—before being chosen by the king to serve as his official mistress. Eveleth denotes Bécu’s rise in status from poor beginnings to royal wealth through the object choices and the background design of her

The Swing, 1767 (oil on canvas) Fragonard, Jean-Honoré (1732-1806). Wallace Collection, London, United Kingdom.

painting. In a different environment, the Barbie pink donuts may lend themselves to associations with dollhouse dreams of girlhood. Eveleth’s impasto brushstrokes and delicately stenciled edges, however, signal an affluent identity and expensive tastes. Contemporary portraits of Madame Du Barry, such as the portrait by Élisabeth Vigée Le Brun in 1782, were painted in the rococo style that intrigues Eveleth. Mme. du Barry retains the dreamy quality that is the style’s hallmark. The painting cultivates a taste in the viewers for the flavor of the donuts, as the donuts demonstrate their cultivated taste for the finer things in life.

The life-size scale of Mme. du Barry is modest compared with the scale of Eveleth’s painting An Outing. Its tumbled stack of icing-covered donuts presses against and nearly fills the painting’s foreground. Eveleth sourced the colors for this painting from Jean-Honoré Fragonard’s rococo painting, The Swing (1767). His figurative work revels in excessive decadence and sensuality. A wide-eyed young woman seated on a gold and red velvet-roped swing soars in the air above a young

5

male suitor. Layers of her frilly pink gown fill with air at the center of the painting and billow in the breeze. Enraptured, she raises her le' leg to kick off her mule and thrill her suitor with a glance beneath her pe!icoat. The couple’s transgressive behavior is reflected by the agitated dog at the feet of the man pulling the swing, and the shocked expressions of the Pu!i statuary in the untamed and overgrown garden. A statue of Cupid si!ing above the suitor hushes the dog with a shushing gesture, supporting the flirtatious interlude.

Eveleth was inspired to begin her composition by a fabric that embraces artifice: a pink and gold zebra-striped pa!ern that was already a vibrant reimagining of the animal’s coat. She manipulated the pa!ern further by changing its pale!e to the spruce green and gray of Fragonard’s playful landscape. The result combines the artificiality of the donuts with the artificiality of the fabric’s bold pa!ern. Like the excessive style and theatrical scene of Fragonard’s painting, An Outing dares viewers to enjoy its temptation.

6

Eveleth continues to blur the lines between her objects and their environment in Persuasion, in which three donuts rest compressed, heavy with jelly. Their shadowy orifices gently ooze over their sides creating a syrupy, viscous tower. The visual difference between the donuts and their background becomes porous, as each takes on a!ributes of the other. The gray and white ground behind the stack mixes with streaks of brown li'ed from the donuts’ baked dough. Curvilinear brushstrokes highlight their glazed surface and mimic the movement of a large brocade design in the painting’s background. The floral motif is partially wiped away by a wide sweeping stroke that traces the donuts’ rotund silhoue!e.

Eveleth’s paintings of groups of donuts suggest relationships among them. Her paintings of single donuts take on the a!ributes of portraiture: The object is the sole focus of the work and has a self-awareness of how it wants to be seen. For example, in Our Lady of the Flowers the viewer is immediately aware that the thick, sugary donut wants to engage with the viewer. The dark hole in its side exposes a deep red interior that exudes a sweet filling. Its stark chromatic contrast limns the donut’s bo!om edge. The precious, sickly sweet confection is enhanced

by the pastel colors of the floral pa!ern behind it. Eveleth borrowed the print from a black and white Lilly Pulitzer clothing fabric for women and girls. Changed to a pink and turquoise pa!ern, the bright design becomes a vivid expression of spring. Vertical drips temper the blossoms by blurring their so' edges. The drips’ allusion to decay suggests a contemporary vanitas for contemplating the cycle of life and death. The titles for Our Lady of the Flowers and Eveleth’s similar composition, Diary of a Thief, reference the 1943 erotic novel and the 1944 memoir (whose title is usually rendered in English as The Thief’s Journal) by the French philosopher and author Jean Genet. Eveleth’s paintings jibe with themes of pleasure, self-indulgence, and danger in Genet’s works. Their loose and wet appearance is influenced by the freedom of expression modeled by Genet and his characters.

Eveleth’s works range in size from a few inches square to over seven feet in height.

She gives each painting the same amount of space on the gallery walls, allowing viewers to engage with the paintings on equal terms. This exhibition includes several very small paintings that offer multiple views of donuts on a single plane.

Crush (2023) present a pair of donuts in the middle ground and a convex detail of their points of convergence in the foreground. The fish-eye effect distorts their appearance; it’s as if viewers see them through a peephole or magnifying glass. Through these up-close and intimate views, the donuts become performers who tantalize the senses and await the responses of their viewers, who are now positioned as voyeurs.

Maybe it’s the confidence of these familiar forms that makes them so a!ractive.

Whether freshly frosted or in various state of crumbling, they want to be looked at. Sometimes viewers catch them admiring their reflections in polished surfaces.

Their doubles become abstract forms, as if they were icebergs or mountains mirrored by the sea. Dramatic lighting eggs on their performances. They take the stage and embody the epic proportions of the things they could have been.

With serious humor, Eveleth treats these ordinary delights with a reverence reserved for high-art portraits and still lifes. Her si!ers rise to the occasion by

7

eagerly showing, without shame, just what they are. Eveleth does not depict them confined within their original packaging of greyish-brown boxes or waxy white bags. Nor are they kept at a distance beneath the glass of a baker’s showcase.

These donuts have been lovingly moved to environments where they can shine.

Through this thoughtful treatment, they become the protagonists of their own narratives. They exercise the freedom to emote and capture the a!ention they think they so richly deserve.

8

Bridget R. Cooks, Ph.D. Professor and Chancellor’s Fellow University of California, Irvine

9

10

Dissolving, 2022 Oil on panel 26 x 18 inches 66 x 45.7 cm

12

Houses of Joy, 2022 Oil on panel 26 x 18 inches 66 x 45.7 cm

14

Play this Love with Me, 2022 Oil on panel 26 x 18 inches 66 x 45.7 cm

16

The Gaudy Image, 2022 Oil on panel 26 x 18 inches 66 x 45.7 cm

18

The Small Rooms of Paris, 2022 Oil on panel 26 x 18 inches 66 x 45.7 cm

20

The So! Machine, 2022 Oil on panel 26 x 18 inches 66 x 45.7 cm

22

Advice from the Boudoir, 2023 Oil on canvas 49 x 76 inches 124.5 x 193 cm

24

An Outing, 2023 Oil on canvas 78 x 71 inches 198.1 x 180.3 cm

26

Diary of a Thief, 2023 Oil on canvas 58 x 49 inches 147.3 x 124.5 cm

28

Narcissus’s Agreement, 2023 Oil on canvas 65 x 60 inches 165.1 x 152.4 cm

30

Nude Descending, 2023 Oil on canvas 92 x 76 inches 233.7 x 193 cm

32

Pink Zebra, 2023 Oil on canvas 78 x 78 inches 198.1 x 198.1 cm

34

Pompadour’s Dream, 2023 Oil on canvas 80 x 62 1⁄4 inches 203.2 x 158.1 cm

36

Storm Clouds, 2023 Oil on canvas 92 x 70 inches 233.7 x 177.8 cm

Entrance, 2023

Oil, mica and metallic paint on panel 15 x 17 1/2 inches 38.1 x 45.1 cm

Stage Le!, 2023

Oil and metallic paint on panel 18 x 20 inches 45.7 x 50.8 cm

Maelstrom, 2023 Oil on panel 7 1⁄4 x 5 1⁄4 inches 18.4 x 13.3 cm

The Swing, 2022 Oil on panel 6 5⁄8 x 5 3⁄8 inches 16.8 x 13.7 cm

Optically Allusive, 2023 Oil and silver leaf on panel 6 x 10 3⁄8 inches 15.2 x 26.4 cm

Narcissus, 2023

Oil paint, powdered mica, and metallic paint on panel 7 1⁄2 x 7 inches 19.1 x 17.8 cm

Counterpart, 2023

Oil and silver leaf on panel 7 1⁄2 x 7 inches 19.1 x 17.8 cm

Exit, 2023

Oil on panel 7 3⁄8 x 7 7⁄8 inches 18.7 x 20 cm

Bombshell, 2023 Oil on panel 7 3⁄4 x 6 inches 19.7 x 15.2 cm

Upper Management, 2023 Oil on panel 8 x 6 inches 20.3 x 15.2 cm

Mme. Du Barry, 2023

Oil, wax and mica on panel 5 1⁄4 x 10 1⁄8 inches 13.3 x 25.7 cm

Gold Marilyn, 2023

Oil and gold leaf on panel 7 1⁄2 x 7 inches 19.1 x 17.8 cm

Purity, 2023

Oil on panel 5 1/4 x 6 5/8 inches 13.3 x 16.8 cm

Perspective, 2023 Oil on panel 6 1⁄4 x 5 3⁄4 inches 15.9 x 14.6 cm

Late Bloomer, 2022 Oil on panel 5 3⁄4 x 7 3⁄4 inches 14.6 x 19.7 cm

Our Lady of the Flowers, 2022 Oil on panel 7 1⁄4 x 5 3⁄8 inches 18.4 x 13.7 cm

Crush, 2023

Oil on panel 5 1⁄8 x 7 5⁄8 inches 13 x 19.4 cm

Reconsidered Appeal, 2023 Oil on panel 5 1⁄2 x 6 3⁄4 inches 14 x 17.1 cm

56

Title of Painting, 2018 Oil on canvas 78 3/4 x 59 inches 200 x 150 cm

EMILY EVELETH Born in Hartford, CT in 1960 Lives and works in Sherborn, MA EDUCATION 1987 Massachuse!s College of Art, Boston, MA 1983 BA, Smith College, Northampton, MA SOLO EXHIBITIONS 2024 “Everything but the Truth,” Miles McEnery Gallery, New York, NY 2021 Miles McEnery Gallery, New York, NY “Future Possessive,” Zillman Museum of Art, Bangor, ME 2019 “Results of Interpretation,” Broad Institute, Cambridge, MA 2018 “Past Imperfect,” Howard Yezerski Gallery, Boston, MA 2016 “New Paintings - Degrees of Artifice,” Danese/ Corey, New York, NY “Art on the Marquee” (with Amy Baxter McDonald), Boston Convention Center, Boston, MA

2014 “Future Tense,” Miller/Yezerski Gallery, Boston, MA “Perspective,” Carroll House Gallery, Keene State College, Keene, NH 2012 “New Paintings - Golden Age,” Danese, New York, NY 2010 “Luscious: Paintings by Emily Eveleth,” Smith College Museum of Art, Northampton, MA “Be!er Not Tell You Now,” Howard Yezerski Gallery, Boston, MA 2008 “New Paintings - Full Circle,” Danese, New York, NY 2006 “It’s All True,” Danese, New York, NY 2004 “Recent Paintings,” Howard Yezerski Gallery, Boston, MA 2003 “Paintings and Drawings,” Danese, New York, NY 2002 “Paintings,” Reynolds Gallery, Richmond, VA “So Long Ago I Can’t Remember;” Howard Yezerski Gallery, Boston, MA 2001 “New Paintings,” Danese, New York, NY 2000 “Small Paintings,” Hidell Brooks Gallery, Charlo!e, NC

57

1999 “New Paintings,” Howard Yezerski Gallery, Boston, MA “New Paintings and Drawings,” Danese, New York, NY 1998 Howard Yezerski Gallery, Boston, MA 1997 “A Painter Selects,” The Danforth Museum of Art, Framingham, MA 1996 Howard Yezerski Gallery, Boston, MA Allan Stone Gallery, New York, NY

58

1995 “NoBIAS,” Bennington, VT Akus Gallery, Eastern Connecticut State University, Willimantic, CT 1994 Howard Yezerski Gallery, Boston, MA 1990 Harcus Gallery, Boston, MA 1988 Harcus Gallery, Boston, MA 1986 Harcus Gallery, Boston, MA GROUP EXHIBITIONS 2023 “Think Twice,” Carol Corey Fine Art, Kent, CT “Beating Under Cover of the Woods: Animals in Contemporary Art,” Carol Corey Fine Art, Kent, CT

2021 “Birds of the Northeast: Gulls to Great Auks,” Fairfield University Art Museum, Fairfield, CT “Beginning: The Inaugural Exhibition,” Carol Corey Fine Art, Kent, CT “Garden Party,” Carol Corey Fine Art, Kent, CT 2020 “À La Carte: A Visual Exploration of our Relationship with Food,” Abroms-Engel Institute for the Visual Arts, Birmingham, AL 2019 “Kith and Kin,” Lesley University, Cambridge, MA “Off the Menu,” Bedford Gallery, Walnut Creek, CA “Like Sugar,” Tang Teaching Museum, Saratoga Springs, NY 2018 “Capita,” Danese/Corey, New York, NY 2017 “We Dream/Beauty Beyond and Beneath” (curated by Deborah Davidson), Suffolk University Gallery, Boston, MA 2016 “Drawing Conclusions,” Danese/Corey, New York, NY “Fertile Solitude” (curated by Elizabeth Devlin), Mills Gallery, Boston Center for the Arts, Boston, MA “Feast,” Nassau County Museum of Art, Roslyn Harbor, NY “Luscious,” Bra!leboro Museum & Art Center, Bra!leboro, VT 2015 “Dynamic Conversations” (curated by Chris Ri(in), South Shore Art Center, Cohasset, MA

“Confections,” Allan Stone Projects, New York, NY “Gaining Perspective: A Visual History of MassART,” Massachuse!s College of Art and Design, Boston, MA 2014 “Food For Thought,” Weatherspoon Art Museum, Greensboro, NC “Painting Intricacies,” Nave Gallery Annex, Somerville, MA 2013 “Still Life Lives,” Fitchburg Art Museum, Fitchburg, MA “The Linda Lee Alter Collection of Art by Women,” Pennsylvania Academy of the Fine Arts, Philadelphia, PA 2011 “Works On Paper II,” Danese, New York, NY “Feast,” Lemberg Gallery, Ferndale, MI “In the Presence of Light,” Danese, New York, NY “Naked,” Howard Yezerski Gallery, Boston, MA “Poetical Fire,” Sheldon Museum of Art, Lincoln, NE 2010 “Sweetness and Light,” Hampden Gallery, University of Massachuse!s, Amherst, MA “Works on Paper,” Danese, New York, NY 2009 “I Want Candy: The Sweet Stuff in American Art,” Fresno Metropolitan Museum, Fresno, CA; traveled to Nicolaysen Art Museum and Discovery Center, Casper, WY “Drawing Itself,” Bra!leboro Museum & Art Center, Bra!leboro, VT

2008 “Here’s the Thing: The Single Object Still Life,” Katonah Museum of Art, Katonah, NY “Studio 23 Presents LOL the CommandP BFF 4EVA Portfolio,” Transmission Gallery, Richmond, VA “Transmission Introduces Studio 23,” Transmission Gallery, Richmond,VA 2007 “All the More Real: Portrayals of Intimacy and Empathy” (curated by Eric Fischl and Merrill Falkenberg), Parrish Art Museum, Southampton, NY “The Sweet Stuff in American Art,” Hudson River Museum, Yonkers, NY “Sugar Buzz,” Lehman College Art Gallery, New York, NY “Loneliness and Melancholy” (curated by Pawel Wojtasik and Susan Classen Sullivan), Hans Weiss Newspace Gallery, Manchester Community College, Manchester, NY 2006 “Transitional Objects: Contemporary Still Life,” Neuberger Museum of Art, Purchase, NY “The Hungry Eye,” Neuberger Museum of Art, Purchase, NY “Emily Eveleth and Jonathan Shahn: Paintings and Sculpture,” Saint-Gaudens, Cornish, NH 2005 “Unrehearsed Acts” (curated by Christine Darnell), Artspace, New Haven, CT “Works on Paper,” Danese, New York, NY “Head Count,” Howard Yezerski Gallery, Boston, MA 2004 “Disturbing the Peace,” Danese, New York, NY “Full Disclosure,” Geoffrey Young Gallery, Great Barrington, MA

59

60

“Sexy Sustenance,” Lillian Imming Gallery, Emmanuel College, Boston, MA “Some of Their Parts,” Howard Yezerski Gallery, Boston, MA “Summer Show,” Danese, New York, NY

“Figure, Fantasy & Illusion,” Danforth Museum of Art, Framingham, MA “New Realism for a New Millennium,” Memorial Art Gallery, University of Rochester, Rochester, NY

2003 “One Hundred Years of American Artists,” 40 Contemporary Artists, Rochefort-en-terre, France “American Art,” Residence of the US Ambassador, Copenhagen, Denmark “Sweet Tooth,” COPIA: The American Center for Wine, Food & the Arts, Napa, CA

1999 “Best of the Season: Selected Work from the 1998 – 1999 Gallery Season,” The Aldrich Contemporary Art Museum, Ridgefield, CT “Food for Thought,” New Jersey Center for Contemporary Art, Summit, NJ; traveled to Hidell Brooks Gallery, Charlo!e, NC

2002 “Painting in Boston: 1950 – 2000,” The DeCordova Museum, Lincoln, MA “Drawings from the Grinnell College Collection,” Faulconer Gallery, Grinnell College, Grinnell, IA “177th Annual: Invitational Exhibition,” National Academy of Design Museum, New York, NY 2001 “Group Exhibition,” Lemberg Gallery, Ferndale, MI “Private Thoughts: Personal Demons,” The Klemm Gallery at Siena Heights University, Adrian, MI 2000 “deCordova Downtown,” The Federal Reserve Gallery, Boston, MA “Face Off,” Fuller Museum of Art, Brockton, MA “Eloquent Objects: The Sense and Sensibilities of Still-Life Painting,” Bates College Museum of Art, Lewiston, ME “Landscape at the Millennium,” Chapel Art Center, Saint Anselm College, Manchester, NH

1998 “Talent,” Allan Stone Gallery, New York, NY “Notions of Color: Oil Sketching in Maine,” Bates College Museum of Art, Lewiston, ME “Cornucopia,” Winston Wächter Fine Art, New York, NY “Food For Thought,” DC Moore Gallery, New York, NY “Gallery Group,” Allan Stone Gallery, New York, NY 1997 “Making a Still-Life: Ten Variations,” The South Shore Art Center, Cohasset, MA 1996 “Posing Reality,” University Gallery, Fine Arts Center, University of Massachuse!s, Amherst, MA “Contemporary Still Life,” Chapel Art Center, Saint Anselm College, Manchester, NH “Contemporary Landscapes,” Virginia Lynch Gallery, Tiverton, RI “Northern Voices: The No-Brow Traveling Medicine Show,” Christine Price Gallery, Castleton State College, Castleton, VT

1995 “Four American Painters,” Musée du Chateau de Rochefort-en-Terre, Rochefort-en-Terre, France “Talent,” Allan Stone Gallery, New York, NY “Still Life,” Virginia Lynch Gallery, Tiverton, RI “Northern Voices: The No-Brow Traveling Medicine Show,” AS220, Providence, RI “Art for All Seasons,” Massachuse!s Audubon’s Broadmore Wildlife Sanctuary, South Natick, MA 1994 “1994 Exhibition of Painting and Sculpture” (curated by Klaus Kertess), Berkshire Museum, Pi!sfield, MA “Gallery Group,” Allan Stone Gallery, New York, NY “Palate/Pale!e,” Starr Gallery, Newton, MA “Art for All Seasons,” Massachuse!s Audubon’s Broadmore Wildlife Sanctuary, South Natick, MA “Group Show,” Gleason Fine Art, Boothbay Harbor, ME 1993 “Altered Reality,” Howard Yezerski Gallery, Boston, MA “Seventh Triennial Exhibition,” Fuller Museum of Art, Brockton, MA “Group Show,” Barbara Sco! Gallery, Miami, FL “Seeing the Object,” Massachuse!s College of Art, Boston, MA 1992 “Reality as Metaphor,” Danforth Museum, Framingham, MA “Gallery Group,” Allan Stone Gallery, New York, NY “New England/New Talent,” Fitchburg Museum of Art, Fitchburg, MA

“Woman in the Visual Arts,” Erector Square Gallery, New Haven, CT “New Art ‘92,” Kingston Gallery, Boston, MA 1991 “Boston Through the Years,” Harcus Gallery, Boston, MA 1990 “New at the Art Guild,” Farmington, CT 1988 “The Factory, A Reconsideration,” Laura Kno! Gallery, Bradford College, Bradford, MA 1987 “Enduring Visions,” Copley Society of Art, Boston, MA “Interior Spaces,” Danforth Museum of Art, Framingham, MA “Working Women,” Harcus Gallery, Boston, MA 1986 “Nature Observed,” Danforth Museum of Art, Framingham, MA 1985 “Small Works U.S.A.,” Gallery 401, Providence, RI “Games People Play,” Faneuil Gallery, Massachuse!s General Hospital, Boston, MA 1984 “Summer Show,” The Red Barn Gallery, Fisher’s Island, NY 1983 “Two Woman Show,” Smith College, Northampton, MA

61

LECTURES + VISITING ARTIST ENGAGEMENTS 2016 School of the Museum of Fine Arts Boston, Boston, MA Massachuse!s College of Art and Design, Boston, MA Farnsworth Museum of Art, Rockland, ME

62

1992 Show Award, New Art ‘92, Kingston Gallery, Boston, MA Merit Award, Women in the Visual Arts, Erector Square Gallery, New Haven, CT 1989 Finalist in Painting, Massachuse!s Artists Fellowship Program, Boston, MA

2015 On Beauty, Emily Eveleth and David Tester: A Catalyst Conversation Lecture at the Broad Institute, Cambridge, MA and Suffolk University, Boston, MA

1986 Painting and Printmaking Department Achievement Award, Massachuse!s College of Art and Design, Boston, MA

2013 Lesley University, Masters of Fine Arts Program, Boston, MA Savannah College of Art and Design, Atlanta, GA

SELECT COLLECTIONS

2010 Visiting Artist, Beloit College, Beloit, WI 2002 Visiting Artist, American Academy in Rome, Rome, Italy

Boston Public Library, Boston, MA Eastern Connecticut State University, Willimantic, CT Fairfield University Art Museum, Fairfield, CT Faulconer Gallery, Grinnell College, Grinnell, IA Museum of Fine Arts Boston, Boston, MA

AWARDS

The New England, Boston, MA

1996 French Government Grant, Artist Residency Program, Rochefort-en-Terre, France

Pennsylvania Academy of the Fine Arts, Philadelphia, PA

1995 Art Ma!ers Inc. Fellowship, New York, NY 1994 Fellowship Award in Painting, National Endowment for the Arts/New England Foundation for the Arts, Boston, MA

Sheldon Museum of Art, Lincoln, NE Smith College Museum of Art, Northampton, MA

63

Published on the occasion of the exhibition

EMILY!EVELETH EVERYTHING!BUT!THE!TRUTH 8 February – 23 March 2024 Miles McEnery Gallery 515 West 22nd Street New York NY 10011 tel +1 212 445 0051 www.milesmcenery.com Publication © 2024 Miles McEnery Gallery All rights reserved Essay © 2023 Bridget Cooks Photo credit: p. 4: © Wallace Collection, London, UK/Bridgeman Images p. 5 : © National Gallery of Art, Washington, D.C. Publications and Archival Associate Julia Schlank, New York, NY Photography by Damianos Photography, Framingham, MA Dan Bradica, New York, NY Catalogue layout by Spevack Loeb, New York, NY ISBN: 979-8-3507-2661-9 Cover: Pink Zebra, (detail), 2023

64