Yvette Drury Dubinsky: There and Gone

YVET TE D R U RY D U BI N S K Y THERE AND GONE

bruno david gallery

YVETTE DRURY DUBINSKY There and Gone

May 10 - June 22, 2013 Bruno David Gallery 3721 Washington Boulevard Saint Louis, 63108 Missouri, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Director: Bruno L. David This catalogue was published in conjunction with the exhibition Yvette Drury Dubinsky: There and Gone Editor: Bruno L. David Catalogue Designers: Jimena Gracia and Lona D. Moody Printed in USA All works courtesy of Bruno David Gallery and Yvette Drury Dubinsky Photographs by Richard Sprengeler and Bruno David Gallery Cover image:

Fig for Lunch (detail) 2013 Mixed media on Japanese paper 22 x 34 1/2 inches (diptych) (55.88 x 87.63 cm)

First Edition Copyright Š 2013 Bruno David Gallery, Inc. All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery, Inc.

CONTENTS

Yvette Drury Dubinsky: THERE AND GONE

BY KAREN K. BUTLER Afterword

BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

Yvette Drury Dubinsky: THERE AND GONE

BY KAREN K. BUTLER

How does an artist thoughtfully and empathetically represent the tragedy and devastation of war? Particularly, in this case, an artist whose experience of the destruction is at a remove— transmitted through letters from friends, email correspondence, and newspaper and television reports. Yvette Dubinsky’s exhibition There and Gone grapples with the devastation and widespread upheaval resulting from the Syrian civil war beginning in 2011 by evoking the challenges faced by two families living through the conflict. Necessarily mediated by distance, Dubinsky’s work approaches the subject matter through predominantly abstract means, incorporating maps, images of fruit, and occasionally castoff industrial materials in a series of collages and a large-scale installation. In one significant example, she calls upon Pablo Picasso’s Guernica, one of the most important and successful pictorial condemnations of the destruction of war in 20th-century Western art.

In 2009, Dubinsky traveled throughout Lebanon and Syria where she explored the archeological and cultural heritage of the region, which, at the time, was relatively stable and becoming economically prosperous. She befriended two Syrian families with whom she continued to remain in contact and through whom her experience of the current destruction of the war-torn region became personal and more real. With only email contact and knowledge of the current political situation that was primarily media driven, Dubinsky watched painfully as both families were forced to relocate and become refugees. The impotent experience of watching at a remove as two families similar to her own experienced tragedy and loss instigated the body of work represented in There and Gone.

Symbols of Islamic and Syrian culture are dispersed throughout the work in this exhibition. Aleppo to Damascus (2012–13), a large mixed-media installation, is the centerpiece of the exhibition and the work that most directly addresses the rupture of civic life as well as the ambiguities of the political situation in the region. The installation evokes the widespread destruction that Syria has faced with particular emphasis on two iconic cities, Aleppo, the largest city in Syria and one of the oldest and most culturally rich, and Damascus, the capital of Syria and the second largest. A large found piece of rusting rebar forms a net-like structure to which Dubinsky has attached maps and other references to historic Syrian cities (Homs and Palmyra) as well as images of political figures and anonymous distraught individuals, borrowed from a variety of media sources. Dispersed throughout are evocative and often heart rending depictions of crying women in headscarfs and tormented male figures in taqiyahs, or skull caps. Images of fruit and nuts common to the Middle East, such as pistachios, pomegranates, and dates, symbolically remind the visitor not only of the fecundity of the region, but, as some of the most important exports of the country, they also suggest its economic turmoil. Poignantly recalling the destruction of more ephemeral aspects of culture, the silhouette of a shattered oud, a pear-shaped instrument commonly used in Middle Eastern music, appears at an impossible angle.

Some of the suggestive force of the work comes from its direct references to Picasso’s Guernica, which condemns and memorializes the bombing of the Basque town of Guernica on April 26, 1937. In a provocative gesture amidst the symbols of destruction and war, Dubinsky has replaced Picasso’s bull, often thought by scholars to represent Spanish dictator Francisco Franco, with the image of a lion, a reference to the nickname of Syria’s ruler, Bashar al-Assad. If in the position of Picasso’s bull, he is the perpetrator of much of the destruction, he also appears in a different iteration as a victim, flattened on the ground. A strong statement about the devastation and destruction wrought by war, both the literal layering of found objects and materials and the overlapping art historical references suggest at once the sad continuity of civil conflict and the difficulty of comprehending and conveying it through art.

If the installation Aleppo to Damascus, with all its turmoil and tragedy, is the dramatic centerpiece of the exhibition, the ten collages make up a series of smaller but no less potent satellite images. The earliest and most abstract works in the group use a monotype process as a foundation. In later works, this monotype is digitally scanned and manipulated, often reversed, decentered, and cropped, then reprinted on Japanese paper. Over that new, unique ground, in a process similar to a photogram, Dubinsky adds a cyanotype emulsion in brushy passages. The result is a series of semi-abstract organic shapes that are left open to interpretation. Lastly she collages images of fruit and nuts that have been set on her digital scanner, creating a high-resolution scanned image similar to a photograph.

In Storm Blowing West (2013), a triptych that evocatively suggests that the ripples of war in the Middle East will seep beyond geographic boundaries, passages of dark blue and white cyanotype on a rich yellow ground spiral out from right to left. This effect is underscored by flecks of red, green, and blue and images of bold red pistachio nuts, with only the abstracted pattern of a taqiyah and the symbolism of the nuts to suggest the Syrian context. As the title suggests, the storm is indeed blowing west, but what form its abstract effects will take is as yet unknown. The diptych, Fig for Lunch (2013), employs some of the same techniques and rich deep color, through a similarly understated symbolism. Amidst the beautiful turmoil of the abstracted shapes and colors, a single fig refers to one of the foundational aspects of Syrian economic and cultural life—not only is Syria one of the largest exporters of dried figs, but symbols of the fruit have been found at ancient sites in the region. Musing Solo (2013) and the triptych Airborne Pistachios (2013) with their complex interweaving and rich coloring are closely related, forming a group of four works united, in part, by their allusive qualities.

In a subset of the series of collages, Dubinsky employs fragments of maps, often overlapping and fractured, to comment on the destruction and suffering in Syria and the complexities of life in the Middle East more broadly. In Saul to Paul, Spiral (2013), Aleppo’s Nuts in Damascus (2013), and Breaking Up (2013), fragmented maps of the streets of Aleppo and Damascus, printed on mylar and collaged across the splattered surface of the work, along with dispersed images of fruit and nuts, allude literally to the destruction of the historic byways and structures of these towns and more metaphorically to the chaos of body and spirit. In Saul to Paul, Spiral, a

map of Damascus shows Straight Street (or Medhat Basha in Arabic), the street where the biblical figure of Saul underwent conversion and became the Apostle Paul in the New Testament. Amidst the visual chaos and evocation of destruction, the reminder of the shared religious history suggests, perhaps, the global effect of such civil strife.

Long Fires/Split Streets (2013), the last work in the group of collages, relates most closely to the installation Aleppo to Damascus. A triptych, the three panels are united by color and pattern as well as three areas of flames and maps made from a variety of materials, recalling the flames licking away at the edge of a map of Damascus at the bottom of the installation in Aleppo to Damascus. The thematic darkness derived from the references to burning cities and the overall sepia tone of the work ultimately suggest the more potent darkness of the destruction of war.

With this group of works, Dubinsky has effectively conveyed a very personal and evocative response to a terrible situation that is often only perceived through mediated and depersonalized forms—the newspaper, television, and internet correspondence. In turn, filtered through the distancing of art historical references to Guernica and the veil of abstraction, Dubinsky’s works suggest the challenges one must overcome to both represent and experience such tragedy from afar.

Karen K. Butler is associate curator at the Mildred Lane Kemper Art Museum at Washington University in St. Louis. She recently curated the exhibition Georges Braque and the Cubist Still Life, 1928-1945, co-organized with The Phillips Collection in Washington, D.C., and has curated exhibitions on contemporary art, post-World War II French art, American abstraction, and photography.

AFTERWORD

BY BRUNO L. DAVID 10

I am pleased to present a new exhibition titled “There and Gone” by Yvette Drury Dubinsky and her third solo exhibition with the Bruno David Gallery. This new body of work is inspired by Dubinsky’s intense reaction to the violence and destruction currently happening in Syria and in the Middle East and presented as a mixed media installation with a group of related smaller works.

Dubinsky traveled in Lebanon and Syria in late 2009, exploring astonishing archeological treasures and monuments and befriending two Syrian families. Since then, the historic sites she visited have gone under siege and some have been destroyed. Caught in the crossfire of Syria’s war, the members of one family were forced from their Damascus home and are now living as refugees in a mountain village. The other family, from Aleppo, fled to Turkey. Without income, the two families face a dramatic change from the middle class lifestyle they led when Dubinsky met them.

THERE AND GONE deals with bearing witness to Syria’s war and the human plight therein as well as Dubinsky’s emotions arising as she works from the perspective of her relatively peaceful, parallel existence in the United States. Combining drawings, monoprints, painting, alternative photography, industrial materials and found objects, THERE AND GONE imagines the pain, ruins, rubble and carnage in places which just three years ago were alive and intact.

Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery since its founding in 2005. I would like to express my sincere thanks to Kate Butler for her thoughtful essay. I am deeply grateful to Jimena Gracia and Lona Moody, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Cleo Azariadis, Lona Moody, Jimena Gracia, Christy Kirk, Sophie Lipman, Ashley Milow, and Nicole Fry. .

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CHECKLIST & IMAGES OF THE EXHIBITION

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Aleppo to Damascus, 2013 Mixed media installation H 10 x W 22 x D 6 feet (H 3.05 x W 6.70 x 1.82 m)

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Aleppo to Damascus, 2013 (detail view) Mixed media installation H 10 x W 22 x D 6 feet (H 3.05 x W 6.70 x 1.82 m)

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Aleppo to Damascus, 2013 (detail view) Mixed media installation H 10 x W 22 x D 6 feet (H 3.05 x W 6.70 x 1.82 m)

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Aleppo to Damascus, 2013 (detail view) Mixed media installation H 10 x W 22 x D 6 feet (H 3.05 x W 6.70 x 1.82 m)

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Aleppo to Damascus, 2013 (detail view) Mixed media installation H 10 x W 22 x D 6 feet (H 3.05 x W 6.70 x 1.82 m)

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Aleppo to Damascus, 2013 (detail view) Mixed media installation H 10 x W 22 x D 6 feet (H 3.05 x W 6.70 x 1.82 m)

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Aleppo to Damascus, 2013 (detail view) Mixed media installation H 10 x W 22 x D 6 feet (H 3.05 x W 6.70 x 1.82 m)

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Aleppo to Damascus, 2013 (detail view) Mixed media installation H 10 x W 22 x D 6 feet (H 3.05 x W 6.70 x 1.82 m)

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Long Fires / Split Streets, 2013 (right image: detail) Mixed media on Japanese paper 67 x 17 inches (170.18 x 43.18 cm)

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Thing I / Truro Wind, 2012-13 Monotype and mixed media on Rives paper 36 x 25 inches (91.4 x 63.5 cm)

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Saul to Paul, Spiral, 2013 Monotype and mixed media on Rives paper 30 x 22 inches (76.2 x 55.88 cm)

Aleppo’s Nuts in Damascus, 2013 Monotype and mixed media on Rives paper 30 x 22 inches (76.2 x 55.88 cm)

Thing 2 / Truro Blues, 2012 Monotype and mixed media on Rives paper 36 x 25 inches (91.4 x 63.5 cm)

Musing Solo, 2013 Mixed media on Japanese paper 17 x 22 inches (43.18 x 55.88 cm)

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Airborne Pistachios, 2013 Mixed media on Japanese paper 52 x 22 inches (triptych) (132.08 x 55.88 cm)

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Aleppo Pistachios Transformed, 2012-13 Monotype and mixed media on Rives paper 41 x 29 inches (104.14 x 73.66 cm)

Fig for Lunch, 2013 Mixed media on Japanese paper 22 x 34-1/2 inches (diptych) (55.88 x 87.63 cm)

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Storm Blowing West, 2013 Mixed media on Japanese paper 22 x 52 inches (55.88 x 6132.08 cm)

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Flying Dates and Pomegranates, 2012-13 Monotype and mixed media on Rives paper 44 x 30 inches (111.76 x 63.5 cm)

Breaking Up, 2012-13 Monotype and mixed media on Rives paper 30 x 22 inches (76.2 x 55.8 cm)

YVETTE DRURY DUBINSKY: There and Gone at Bruno David Gallery, 2013 (Installation view)

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YVETTE DRURY DUBINSKY: There and Gone at Bruno David Gallery, 2013 (Installation view)

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YVETTE DRURY DUBINSKY: There and Gone at Bruno David Gallery, 2013 (Installation view)

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YVETTE DRURY DUBINSKY Lives and works in St. Louis, Missouri and Truro, Massachusetts.

EDUCATION 2000-12 2002 1990 1989 1987 1966 1964

Fine Arts Work Center, Provincetown, MA The Maine Photographic Workshops, Rockport, ME M.F.A., Printmaking, Washington University School of Art, St. Louis, MO The Maine Photographic Workshops, Rockport, ME Printmaking: Santa Reparata Graphic Arts Centre, Florence, Italy M.A., Sociology, Washington University Graduate School of Arts and Sciences, St. Louis, MO A.B., cum laude, Washington University, St. Louis, MO

SELECTED SOLO EXHIBITIONS 2013 2010

2009 2007 2006 2005

2003 2001 2000

Bruno David Gallery, There and Gone, St. Louis, MO, June. (Catalogue) Farm Gallery, Yvette Drury Dubinsky, Wellfleet, MA Koussevitzky Art Gallery, Yvette Drury Dubinsky, Pittsfield, MA Bruno David Gallery, Dividing Time: New Work on Paper, St. Louis, MO, May. (Catalogue) Bruno David Gallery, Cité des Arts: Mixed Media, St. Louis, MO, April. (Catalogue) Cité Internationale des Arts Gallerie, Formes Biologiques, Paris, France Elliot Smith Gallery, Alternatives, St. Louis, MO (Curated by Bruno David) COA Art Gallery, Antioxidants and Alternatives, Truro, MA Bonsack Gallery, Cuba, St. Louis, MO Canyon Ranch Gallery, Antioxidant Vegetables and Fruits, Tucson, AZ Bonsack Gallery, Antioxidants Images: Works on Paper, St. Louis, MO Fleishman-Hillard Inc., Antioxidants Images: Works on Paper, St. Louis, MO

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SELECTED SOLO EXHIBITIONS 1999 1994

1992 1991 1989

Elliot Smith Contemporary Art, Works on/of Paper, St. Louis, MO Sazama Gallery, Contacts, Chicago, Il Elliot Smith Contemporary Art, New Work, St. Louis, MO Margaret Harwell Art Museum, Tactile Exteriors, Poplar Bluff, MO Martin Schweig Gallery, Surfaces, St. Louis, MO Meramec Theatre Gallery, Prints, St. Louis, MO

SELECTED GROUP EXHIBITIONS

2013

2012

2011

2010

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Boston Printmakers 2013 North American Print Biennial, Boston, MA Spring Competition, Schoolhouse Gallery, Provincetown, MA Monoprint Project, Fine Arts Work Center, Provincetown, MA BLUE-WHITE-RED, Bruno David Gallery, St. Louis, MO Work on Paper I, Bruno David Gallery, St. Louis, MO Monoprint Project and Artists Project, Fine Arts Work Center, Provincetown, MA Members Juried Exhibition, Provincetown Art Association, Provincetown, MA Group Exhibition, Gallery Ehva, Provincetown, MA OVERPAPER, with Carmon Colangelo, William Conger, Alex Couwenberg, Jill Downen, Yvette Drury Dubinsky, Beverly Fishman, Joan Hall, Ann Hamilton, Kelley Johnson, Chris Kahler, Matthew Penkala, Judy Pfaff, Paul Henry Ramirez, and Buzz Spector.

Bruno David Gallery, St. Louis, MO (catalogue) Spring Arts Competition, Schoolhouse Gallery, Provincetown, MA Green, Provincetown Art Association and Museum, Provincetown, MA Members Juried Exhibition, Provincetown Art Association, Provincetown, MA Monoprint Project, Fine Arts Work Center, Provincetown, MA Gallery Artists, Bruno David Gallery (Project Room), St. Louis, MO Group Exhibition, Gallery Ehva, Provincetown, MA

2010 2009

2008

2007

2006

2005

2004

2003

2002

Group Exhibition, Washington University School of Law, St. Louis, MO Monoprint Project, Fine Arts Work Center, Provincetown, MA Overview_09, Bruno David Gallery, St. Louis, MO Group Exhibition, Truro Center for the Arts at Castle Hill, Truro, MA Monoprint Project, Fine Arts Work Center, Provincetown, MA Four Aces, Bruno David Gallery, St. Louis, MO (Traveling Exhibition) Overview_08, Bruno David Gallery, St. Louis, MO Spring Arts Competition, Schoolhouse Gallery, Provincetown, MA ArtsDesire, Contemporary Art Museum St. Louis, St. Louis, MO Rivulet, Bruno David Gallery, St. Louis, MO Metro, 2007, looped DVD projection, 3 minutes, Video by Yvette Drury Dubinsky and music composed by Axel Singer, Bruno David Gallery (new Media Room), St. Louis, MO Overview, Bruno David Gallery, St. Louis, MO Monoprint Project, Fine Arts Work Center, Provincetown, MA Member Juried, Provincetown Art Association and Museum, Provincetown, MA Inaugural Exhibition, Bruno David Gallery, St. Louis, MO Monoprint Project, Fine Arts Work Center, Provincetown, MA Women Only, Elliot Smith Contemporary Art, curated by Bruno David, St. Louis, MO Group Show, Photo District Gallery, NY, NY Twenty, Elliot Smith Contemporary Art, St. Louis Earth, Landscape and The Pamet, Ethan Cohen/Arthaus, Truro, MA SCOPE Art Fair, (With Ethan Cohen Fine Art, NY, NY) Miami Beach, FL Group Exhibition, Provincetown Art Association and Museum, Provincetown, MA Regarding Objects, The Sheldon Gallery, St. Louis, MO and Innsbrook Conference Center, MO Group Exhibition, Provincetown Art Association and Museum, Provincetown, MA Group Show, Elliot Smith Contemporary Art, St. Louis New Group Exhibition, Provincetown Art Association and Museum, Provincetown, MA Sun Works, The Art Institute of Boston, Boston, MA Prints, Triton Museum, Santa Clara, California Contemporary Print Expo, Elliot Smith Contemporary Art, St. Louis, MO

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2002 2001

2000

1999

1998

1997

1996

1995

1995

1994

1994 1993

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New Traditions in Printmaking, Hunt Gallery, Webster University, St. Louis, MO Group Exhibition, Provincetown Art Association and Museum, Provincetown, MA Group Exhibition, Elliot Smith Contemporary Art, St. Louis, MO The People Project, St. Louis, MO Group Exhibition, Provincetown Art Association and Museum, Provincetown, MA Of Self and World, St. Louis Art Museum and Innsbrook Estates, curated by Olivia Las Gonzales, St. Louis, MO Art, St. Louis Repertory Theatre, St. Louis, MO Group Exhibition, Provincetown Art Association and Museum, Provincetown, MA Group Show, Hunt Gallery, St. Louis, MO Competition Exhibition, Provincetown Art Association and Museum, Provincetown, MA Group Exhibition, Gallery 551, San Francisco, CA Group Show, Elliot Smith Contemporary Art. St. Louis, MO Group Show, East End Gallery, Provincetown, MA St. Louis, The City Series, Cedar Rapids Museum of Art, Cedar Rapids, IA Group Exhibition, Cherry Stone Gallery, Wellfleet, MA NAWBO Awards Exhibition, St. Louis Art Museum, St. Louis, MO Group Exhibition, Elliot Smith Contemporary Art, St. Louis, MO Group Show, Cherry Stone Gallery, Wellfleet MA Sharing Images, Maryville University Gallery, St. Louis, MO Group Exhibition, The Saint Louis Art Museum, St. Louis, MO Group Show, Elliot Smith Contemporary Art, St. Louis, MO The Harbor, Provincetown Art Association and Museum, Provincetown, MA Absolutely Abstract, Elliot Smith Contemporary Art, St. Louis, MO The Box (From Duchamp to Horn), Ubu Gallery, New York, NY The Return of the Cadavre Exquis, The Forum for Contemporary Art, St. Louis, MO Group Exhibition, (California Society of Printmakers), Triton Museum, Santa Clara, CA New Work by Gallery Artists, Elliot Smith Contemporary Art, St. Louis, MO Group Exhibition, Chicago International Art Forms, Chicago, IL Gallery Artists, Sazama Gallery, Chicago, IL A compassionate Response to AIDS. The Design Center, St. Louis,

1992

1991 1990

1988

The Return of the Cadavre Exquis, The Drawing Center, New York, NY Art St. Louis IX, Art Saint Louis Gallery, St. Louis, MO Summer Salon, Sazama Gallery, Chicago, IL US-Norway Exchange, Galleri Norske Grafikere, Oslo, Norway 510 Compton Show, Elliot Smith Contemporary Art, St. Louis, MO LAPS 93, Los Angeles, CA Crossroads, Art Festival, St. Louis, MO The Human Form, Metropolitan Square Building, St. Louis, MO Picture This, Atrium Gallery, St. Louis, MO VII Harwell Mail In Show, Margaret Harwell Art Museum, Poplar Bluff, MO Art St. Louis VII, Art Saint Louis Gallery, St. Louis, MO The Indomitable Spirit, The Greenberg Gallery, St. Louis, MO ACLU Biennial, Randall Gallery, St. Louis, MO National Exposures 90, Winston-Salem, NC Art St. Louis VI, Art St. Louis Gallery, St. Louis, MO Portrait, St. Louis Artists Guild, St. Louis, MO Thesis Exhibition, WU Gallery of Art, Washington University School of Art, St. Louis, MO Photography, St. Louis Artists Guild, St. Louis, MO Intimate Translations, The Hunt Gallery, Webster University, St. Louis, MO National Aperture 4, Associated Artists gallery, Winston-Salem, NC Prints and Drawings, St. Louis Artists Guild, St. Louis, MO Contemporary Women Artists VI, Bixby Gallery, St. Louis, MO Art St. Louis IV, Gateway 1, St. Louis, MO

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GRANTS & AWARDS Distinguished Alumni Award, Washington University, St. Louis, MO, 2009 Residency, Cité Internationale des Arts, Paris, France Provincetown Art Association and Museum, National Finalist Competition National Association of Women Business Owners - St. Louis Honoree, “Artists Choose Artists” Art St. Louis X, First Place Purchase Award, Margaret Harwell Art Museum Honor Award, Art St. Louis VI BIBLIOGRAPHY Butler, Kate Duffy, Robert W. Baran, Jessica.

Marcus, Peter.

Stone, Harriet.

Bonetti, David.

Beall, Dickson Miller, Rob. Cooper, Ivy. Bonetti, David.

Crone, Tomas.

Beall, Hugh.

Miller, Rob. Beall, Hugh & Griffin, William Bonetti, David.

Sieloff, Alison.

Bonetti, David.

Murphy, Anne.

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“Yvette Drury Dubinsky”, Catalogue Essay, Bruno David Gallery Publications, June 2013 “Dubinsky’s ‘There and Gone’ offers glimpses of Syria before and during civil war”, STL BEACON, May 22, 2013 “New - In the Galleries: Yvette Drury Dubinsky”, RiverFront Times, June 6, 2013 “Yvette Drury Dubinsky”, Catalogue Essay, Bruno David Gallery Publications, May 2009 “Paris Palimpset”, Catalogue Essay, Bruno David Gallery Publications, April 2007 “Highlights”, St. Louis Post Dispatch, April 19, 2007 “Three’s Company”, West End Word, April 18, 2007 “’Over hung’ show or ‘Hung over’ critic?” Saintlouisart, November 17, 2005.

“Bruno David Gallery: Inaugural Exhibition”, Riverfront Times, November 9, 2005.

“Bruno David Gallery”, St. Louis Post Dispatch, November 9, 2005 “Bruno David to Open on Friday”, 52nd City, October 2005 “The Bruno buzz”, West End Word, October 26, 2005 “Bruno David Gallery: Inaugural Exhibition”, Saintlouisart, October 25, 2005 “Bruno David Gallery: Inaugural Exhibition”, Illusion Junkie, October 25, 2005.

Web Video: http://illusionjunkie.blogspot.com/2005/10/bruno-david-inaugural-exhibition.html “Bruno David Gallery: Inaugural Exhibition”, St. Louis Post Dispatch, October 20, 2005 “Grand Grand Center”, Riverfront Times, October 19, 2005 “Gallery musical chairs”, St. Louis Post Dispatch, October 1, 2005 “Art News”, The Healthy Planet, September 2005

Bonetti, David.

“Art in 2004,” St. Louis Post-Dispatch, January 2, 2005 Bonetti, David.

“Gallery musical chairs”, St. Louis Post Dispatch, October 1, 2005 Murphy, Anne.

“Art News”, The Healthy Planet, September 2005 Bonetti, David.

“Art in 2004,” St. Louis Post-Dispatch, January 2, 2005 ----------------- “----------------“, Cape Code Voice ----------------- “----------------“, Provincetown Banner ----------------- “Artist Celebrate Elliot Smith With Works Incorporating 20,” St. Louis Post-Dispatch, October 3, 2004. p. F6. St. Louis, MO. Cooper, Ivy. “1984-2004 Twentieth Anniversary Celebration At Elliot Smith”, Riverfront Times, September 29, 2004, St. Louis, MO. Cooper, Ivy. “Women Only”, Riverfront Times, April 28, 2004, St. Louis, MO Duffy, Robert W. “Tim Curtis...Yvette Drury Dubinsky: Alternative Photo Process with Mixed Media on Paper and Wood”,

St. Louis Post-Dispatch, 1994, St. Louis, MO Bellos, Alexandra.

“Tim Curtis: Sculpture, Yvette Drury Dubinsky: Photography”, The Riverfront Times, 1994, St. Louis, MO Wasserman, Tina.

“Yvette Drury Dubinsky”, New Art Examiner, 1994 James, Christopher. The Book of Alternative Photographic Processes, Announcement Design Weinstein, Michael. “Contacts”, New City, 1994 Duffy, Robert W. “Subject, Ideas, Processes Make Harmonious Union”, St. Louis Post-Dispatch, 1992, St. Louis, MO Bellos, Alexandra.

“Sketchbook: The Group Exhibition at the Blue Moon”, The Riverfront Times, 1991, St. Louis, MO Crets, Jennifer.

“Variety Highlights Awards Exhibit”, St. Louis-Post Dispatch, 1991, St. Louis, MO Macias K. Patricia. “Art Honor Show Features 2-D Work”, The West End Word, 1991, St. Louis, MO Schmittendorf, Karen.“100 Works Offer Overview of St. Louis Art Scene”, St. Louis-Post Dispatch, 1990, St. Louis, MO Wolf, John-Paul.

“Intimate Translations”, St. Louis Artists Coalition Newsletter, 1990 Shepley Ferring, Carol “Art St. Louis”, New Art Examiner, 1989

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PUBLICATIONS - FILM The Book of Alternative Photographic Processes, Editions 1 and 2, Christopher James Announcement Design, “Hand in Hand”, Center for Contemporary Art, St. Louis, MO. Cover design “Ovations”, Brochure and Programs for Edison Theatre 1994-1995 Season, Washington University Truro Neighborhood Association. Postcard Design River Styx, #34 and #65. Cover Design Yvette Drury Dubinsky, Dickson Beall, 4 minutes video, April 2007

COLLECTIONS (SELECTED PUBLIC & CORPORATE) Art In Embassies Program, The United States Department of State (temporary) The Saint Louis Art Museum The Buhl Collection, NY Federal Reserve Bank of St. Louis, MO Thompson Coburn Law Firm, St. Louis, MO Margaret Harwell Art Museum, Poplar Bluff, MO CORTEX: Biotechnology incubator headquarters, St. Louis, MO Westin Cupples Station Hotel, St. Louis, MO USBank, St. Louis, MO McCarthy Construction Company Headquarters, St. Louis, MO Senator Thomas F. Eagleton, MO Elizabeth Millard, OR

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ARTISTS Laura Beard Martin Brief Lisa K. Blatt Bunny Burson Carmon Colangelo Alex Couwenberg Jill Downen Yvette Drury Dubinsky Beverly Fishman

Damon Freed Joan Hall Richard Hull Kim Humphries Kelley Johnson Howard Jones (Estate) Chris Kahler Bill Kohn (Estate) Leslie Laskey Patricia Olynyk

Gary Passanise Judy Pfaff Daniel Raedeke Charles Schwall Christina Shmigel Thomas Sleet Buzz Spector Cindy Tower Mario Trejo Ken Worley

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