152:-based artist. She is known for immersive installations, architectural interventions and sculptures that bring sound, optics and kinetics into play to create alternative, multisensory experiences. She uses utilitarian materials (e.g., tubes, mirrors, lenses, magnets) to warp, reshape or deepen perception, generating unexpected, ephemeral and participatory experiences out of common situations. Critics suggest that her work inhabits liminal areas, both literally (transitory architectural spaces and functional systems) and conceptually, bridging the perceptible and evanescent, public and private, visual and embodied, affective and technical.
394:(2008, Indianapolis Museum of Art) was an immersive installation of 208 speakers strung from the ceiling of a large lobby. Visitors heard tender, whispered utterances by human voices orchestrated into a moving soundscape akin to wind, breaking surf or rustling leaves, which suggested the transience of affection, want and pleasure. The public work,
471:(2016) is a long-term work that uses lenses and fiber-optic cable to harness sunlight from the roof of the Art Gallery of Western Australia; it emits a bright beam inside the museum near the entry and—after entering a cavity behind a wall—meets a prism and fills the interior space with an ever-shifting rainbow. In the permanent New York
437:, which turned the site's amphitheater into an instrument, using elements embedded beneath the floor that created sound and physical vibrations; Lilly Wei described the 16-channel composition, which included people's thoughts about joy, as a "symphony of voices, hums, thrums, the aural assuming a corporeal presence."
446:
363:" through clear tubes outfitted with mirrors and lenses along grooves in the museum's five-story stairwell, where it mixed with ambient sound. The piece tied visitors and various spaces together with interspersed sound, reflections of movement throughout the stairwell, and nostalgia activated by the song.
134:
263:
in response to a series of local hate crimes including the burning of an under-construction synagogue. It consisted of a continuous, 4.5-mile red sewing thread running from the museum through businesses, synagogues, churches, shops and homes and ending at a Jewish community center; its members agreed
520:
In her "Bone Scores" (2016) and "Void Weaves" (2017), Swartz created works of wire, paper, ceramic, nets and magnets that translated inaudible audio recordings (e.g., of breathing, a Geiger counter, a rainstorm, fireworks) into vibration and gesture. Within each work, coiled wire carrying electrical
498:
Swartz's sculpture has more often emphasized optical effects involving perceptual displacement, physical sensation, motion, time and balance. In solo exhibitions between 2004 and 2007, she presented a range of such work: forest-like constructions of fiber-optic cables, PVC pipe, mirrors, magnifiers
511:
In subsequent series, Swartz used delicate forms and movements and precariousness to convey pathos and human emotion. "Hope
Studies" (2007) comprised eight simple, quivering assemblages with ticking clock mechanisms embedded in concrete that activated imperceptible, insistent movements of wire and
517:
while "Surrogates" (2012) consisted of stacked cement-and-mica blocks with concealed clock motors, whose dimensions corresponded to those of Swartz, her husband and her daughter; their erratic ticking evoked heartbeats and time bombs, suggesting the notion of family as a precarious balancing act.
516:
critic Bill Hanley wrote, "Resembling weeds growing up from their inert brutalist bases, the series … measures seconds in figurative gestures that evoke human fragility in the face of passing time." Her "Stability
Studies" (2012) featured carefully balanced structures that seemed to defy gravity,
326:
Swartz's work has centered on site-specific sonic and optical installations, sculpture and photographs. Her sound works have used low-tech and more sophisticated technologies to disperse music, recorded messages and ambient sound through large, multi-floor and multi-location sites, crossing
507:
s Martha
Schwendener characterized them as "aligned with older ideas and technologies: the imagined single viewer of one-point perspective, the camera obscura, or the stereoscope … an enduring sense of wonder at the beauty and strangeness still achievable with optical and sonic tricks."
375:
429:) featured 18 glass and ceramic "Re-Sounding Vessels" that amplified, conducted and emitted a specific tone generated through an electronic feedback process based on the shape and air volume of each vessel. In 2018, she created the sound installation
371:—the Bowery's last transient hotel. A bright yellow plastic conduit equipped with mirrors served as an auditory and optical periscope, enabling visitors and passersby to peek into the hotel's lounge area and engage residents in conversation.
156:
critic Peter R. Kalb wrote, "Swartz appeals to the senses and emotions with a quiet lyricism, using unassuming materials and marshaling grand forces like wind and magnetism" to offer "a thoughtful excursion into sound, sight and psyche."
327:
dimensions of space and time. The optical installations often use lenses, mirrors and tubes to displace space and suggest a sense of perception in flux. Her often-minimal sculpture frequently employs optics, sound and kinetics.
465:(2004/2012), she ran thin blue tape across walls and in and out of orifices that viewers could peer into, where it seemed to grow and thin in distorted three-dimensional space before entering another hole.
254:
involving a garden, mirrors, lenses and glass as ephemeral and painterly, "inhabit the everyday, transforming it, however briefly, into something poetic." Her first project to emphasize participants was
499:
and periscopes offering refracted and reflected views; photographs of bubbles, water drops and mirrors capturing dislocated skyscapes and landscapes; and delicate studies in visual tension, such as
521:
current stimulated magnets to produce periodic shudders and vibrations that
Marjorie Welish wrote, were "dissonant with respect to the loveliness of the visual elements as initially encountered."
461:(2004/2012) featured transparent winding tubes suspended from clear cylindrical columns that led to a rough hole and crack in a wall through which viewers could see a small, intense rainbow. For
271:
In 2003, Swartz broadened her perceptual interests to sound and emotional memory, seeking to extend audience engagement with her work. She gained wide recognition for sonic installations at the
1879:
486:. The portals generate abstract views of the site and its idyllic surroundings and mirror the library's function of transporting visitors to new perspectives; the installation received a
339:(2003, MoMA PS1), Swartz connected speakers in the space's basement through PVC pipe to a large blue amplifying funnel on its top floor. The funnel emitted a faint overlay of the songs "
314:
In addition to her artmaking, Swartz has been a member of the art faculty at Bard
College since 2006 and previously taught at the Skowhegan School of Art and in the MFA program at the
406:
described as "intentionally subtle and hilariously mixed … equal parts infomercial, public service announcement and motivational mantra." The commissioned public bench installation
1019:
382:, blown glass, unglazed porcelain, electronics and sound generated from the objects, dimensions variable, 2017; Installation view, The Museum of Arts and Design, NYC.
1649:
1003:
1859:
627:
414:) used speakers activated by visitors—in this case, people holding hands—to play quotes about interdependence voiced by children. For the long-term installation
367:(2004, New Museum) offered a participatory experience that crossed physical, sensory and social boundaries, joining art viewers and residents of the neighboring
1304:
1844:
1249:
141:, PVC and plastic tubing, plexiglass, funnel, paint, LED lights, record player, mirror and 2-channel soundtrack, 2012; Installation view, deCordova Museum.
220:
55:
1109:
453:, lenses, stainless steel, glass and view, 14" diameter inset into exterior wall, 2019; Installation view, Hunters Point Community Library, Queens, NY.
908:
1864:
1834:
940:
296:
173:
418:(2016–ongoing, Mass MOCA), Swartz integrated a 20-channel, non-narrative soundscape of single sung notes and spoken text spoken into a footbridge.
1794:
830:
1829:
1824:
487:
1839:
340:
304:
1728:
1412:
775:
288:
189:
111:
1874:
1799:
669:
300:
1869:
1789:
231:, is an established artist known for paintings and mixed-media works that explore light, spirituality, healing and feminist themes.
1814:
534:
181:
103:
1854:
1804:
546:
402:
Park, Manhattan) employed computer-generated voices emitted from elevators, drinking fountains and restrooms, whose messages
1338:
251:
1849:
1819:
529:
Swartz has been recognized with fellowships and awards from the
Foundation for Contemporary Arts, Anonymous Was a Woman,
1809:
457:
Swartz's optical works date back to her early career; she recreated two of them for her "How Deep Is Your" exhibitions.
1738:
608:
557:
193:
107:
1125:
390:, 2006, Liverpool Biennial) or surrounded visitors in tapestries of sound, blurring notions of public and private.
386:
In several acoustic installations, Swartz presented intimate spoken messages that "seeped" out of hidden speakers (
308:
234:
Swartz received early attention for artworks exploring visual perception and the act of looking, exhibited at the
284:
445:
1748:
1678:
542:
426:
185:
115:
1383:
876:
482:(2019), Swartz embedded four circular optical portals in the walls and roof of a Queens library designed by
348:
133:
1784:
1413:"Julianne Swartz interview – 'Joy is also talking about sorrow and despair, so we will know what joy is,'"
260:
235:
1169:
1582:
1553:
315:
216:
200:
59:
1512:
732:
650:
1779:
1757:
1634:
292:
1595:
1250:"Vasari Diary: Julianne Swartz, Munch Meets Schoenberg at the Met, and Artists Playing With Dolls,"
299:(2019), among other venues. A mid-career survey of her work, "How Deep is Your," traveled from the
1608:
374:
561:
280:
1431:
1707:
478:
411:
360:
272:
228:
212:
77:
39:
503:, a rainbow of magnets attached to wires that arced from the wall and rose from the floor.
538:
472:
239:
927:
892:
215:
in 1967. She studied poetry, receiving a BA in creative writing and photography from the
1763:
1460:
1354:
368:
359:(2004, Whitney Biennial), she piped layered recordings of people singing and speaking "
169:
161:
1773:
243:
177:
149:
556:
Her work belongs to the public collections of the Art
Gallery of Western Australia,
1061:
846:
224:
51:
909:"American Academy of Arts and Letters Announces New Members and Award Recipients,"
1662:
975:
1569:
1195:
1047:
Heartney, Eleanor. "Brooklyn! At the Palm Beach
Institute of Contemporary Art,"
483:
434:
352:
1621:
264:
to "host" and watch over the thread, inspired by a symbolic practice called an
530:
276:
85:
399:
81:
73:
69:
697:
Reiman, Joshua. "The Shape of Sound: A Conversation with
Julianne Swartz,"
1694:
1156:
344:
165:
1181:
Carlock, Marty. "Julianne Swartz, deCordova
Sculpture Park and Museum,"
756:
Kalb, Peter R. "Julianne Swartz, deCordova Sculpture Park and Museum,"
550:
283:(Tate Liverpool, 2006). Later solo exhibitions have taken place at the
670:"From da 'Hood to da Whitney: 3 Artists from Williamsburg Make Good,"
1398:
Arnett, Dugan. "In Cambridge, an inspiring reason to hold hands,"
1020:"Funky Digs With Lots of Space for Performance-Oriented Hipsters,"
776:"Funky Digs With Lots of Space for Performance-Oriented Hipsters,"
533:, American Academy of Arts and Letters, Joan Mitchell Foundation,
444:
373:
132:
1723:
589:
Ganis, William V. "Julianne Swartz, Indianapolis Museum of Art,"
125:
265:
1212:
Smee, Sebastian. "Works as fragile as how we see ourselves,"
980:, New York: Hudson Hills Press, 2002. Retrieved May 8, 2023.
227:, where she earned an MFA in sculpture in 2003. Her mother,
560:, deCordova Museum, Indianapolis Museum of Art, MASS MoCA,
977:
Reminders of Invisible Light: The Art of Beth Ames Swartz
545:, among others. She has received artist residencies from
941:"Celebrate Hudson Valley art and artists at the Dorsky,"
1062:"Sci-Fi and Gardens: Susan Graham and Julianne Swartz,"
974:
Rubin, David, Arlene Raven and Eva Schlein Jungermann.
1305:"Exhibit Offers a Peek Inside the Lives of Outsiders,"
1115:, July 25, 2004, sect. 2, p. 2. Retrieved May 5, 2023.
1076:
Honigman, Ana Finel. "Susan Graham, Julianne Swartz,"
1554:"Wired for Sound: Julianne Swartz at Josée Bienvenu,"
451:
Four Directions from Hunters Point (West Interrupted)
1025:, September 28, 2001. p. E39. Retrieved May 5, 2023.
781:, September 28, 2001. p. E39. Retrieved May 5, 2023.
160:Swartz has exhibited at institutions including the
121:
99:
91:
65:
47:
28:
21:
1004:"Beyond 'Eeeww!': A World of Insects and Spiders,"
1880:Skowhegan School of Painting and Sculpture alumni
903:
901:
1434:News. September 24, 2019. Retrieved May 5, 2023.
1384:"New Voices: Animal Instincts for the Highline,"
1369:Kwon, Liz. "Art & Space: Julianne Swartz,"
1131:, July 30, 2004, p. E37. Retrieved May 5, 2023.
645:
643:
641:
639:
355:) that also leaked out on the journey up. For
711:
709:
707:
564:, and Scottsdale Museum of Contemporary Art.
8:
1443:Susser, Deborah Sussman. "Julianne Swartz,"
1333:
1331:
1290:Markus, David. "Telephoning From Skid Row,"
1244:
1242:
1240:
1104:
1102:
1009:, February 13, 2000. Retrieved May 5, 2023.
957:
955:
953:
951:
949:
943:News, April 22, 2011. Retrieved May 8, 2023.
789:
787:
664:
662:
180:, Jerusalem. She has been recognized by the
1559:, December 30, 2017. Retrieved May 8, 2023.
1226:
1224:
1222:
961:MacAdam, Barbara A. "Magnetic Resonances,"
1572:, Visiting Artists. Retrieved May 5, 2023.
1418:, January 13, 2019. Retrieved May 8, 2023.
1371:BOB International Magazine of Space Design
1168:Institute for Contemporary Art, Richmond.
1088:
1086:
770:
768:
766:
693:
691:
689:
687:
685:
683:
681:
622:
620:
603:
601:
599:
221:Skowhegan School of Painting and Sculpture
56:Skowhegan School of Painting and Sculpture
18:
1585:December 18, 2015. Retrieved May 5, 2023.
1344:, August 19, 2011. Retrieved May 5, 2023.
1339:"Sculptural Surprises Grace the Streets,"
1255:, January 2, 2018. Retrieved May 5, 2023.
1208:
1206:
1204:
1092:Lewis, Zachary. "A thread of tolerance,"
825:
823:
821:
727:
725:
614:, January 2, 2019. Retrieved May 8, 2023.
609:"Sculpting the Uncanny: Julianne Swartz,"
585:
583:
581:
579:
577:
1583:"Artists News: Only a Few More Sleeps…,"
1518:, September 2007. Retrieved May 8, 2023.
1432:"Hunters Point Library Opens in Queens,"
1318:
1316:
1310:, August 1, 2004. Retrieved May 5, 2023.
914:, April 14, 2010. Retrieved May 5, 2023.
807:
805:
803:
752:
750:
748:
746:
744:
297:Institute for Contemporary Art, Richmond
174:Massachusetts Museum of Contemporary Art
1706:Scottsdale Museum of Contemporary Art.
1389:, June 12, 2011. Retrieved May 8, 2023.
1360:, February 2009. Retrieved May 8, 2023.
922:
920:
836:, June 23, 2016. Retrieved May 8, 2023.
831:"At Mass MoCA, wondering about wonder,"
738:, December 2012. Retrieved May 8, 2023.
656:, February 2002. Retrieved May 5, 2023.
573:
1760:, Bienvenu Steinberg & J, New York
1426:
1424:
1325:. "Julianne Swartz," October 25, 2004.
1151:
1149:
1067:, October 2002. Retrieved May 8, 2023.
887:
885:
871:
869:
867:
865:
863:
861:
859:
857:
855:
811:Key, Philip. "Art that talks to you,"
633:, June 7, 2011. Retrieved May 8, 2023.
488:New York City Public Design Commission
1860:21st-century American women sculptors
1710:, Collections. Retrieved May 5, 2023.
1652:, Collections. Retrieved May 5, 2023.
1639:, Exhibitions. Retrieved May 5, 2023.
1527:Nahas, Dominique. "Julianne Swartz,"
1277:Weyland, Jocko. "American Splendor,"
793:Labelle, Charles. "Julianne Swartz,"
715:Tikhonova, Yulia. "Julianne Swartz,"
305:Scottsdale Museum of Contemporary Art
7:
879:, Recipients. Retrieved May 5, 2023.
675:, March 2004. Retrieved May 8, 2023.
289:Museum of Contemporary Art Cleveland
190:American Academy of Arts and Letters
112:American Academy of Arts and Letters
1845:American women installation artists
1624:, Residents. Retrieved May 5, 2023.
1172:Exhibitions. Retrieved May 8, 2023.
849:Exhibitions. Retrieved May 8, 2023.
1633:Art Gallery of Western Australia.
1581:New York Foundation for the Arts.
1543:. "Julianne Swartz," June 3, 2012.
1485:Weiner, Emily. "Julianne Swartz,"
1264:Gopnik, Blake. "Julianne Swartz,"
1110:"The New Museum's New Non-Museum,"
875:Foundation for Contemporary Arts.
250:characterized her installation at
14:
1766:, Lisa Sette Gallery, Phoenix, AZ
1751:In Harmonicity, The Tonal Walkway
1681:In Harmonicity, The Tonal Walkway
1668:, Artwork. Retrieved May 5, 2023.
1472:Saltz, Jerry. "Julianne Swartz,"
1230:Hanley, Bill. "Humanizing Time,"
1198:, Faculty. Retrieved May 5, 2023.
1159:, Faculty. Retrieved May 5, 2023.
1034:Scott, Andrea. "Project Spaces,"
895:, Artists. Retrieved May 5, 2023.
416:In-Harmonicity, the Tonal Walkway
1724:Julianne Swartz official website
535:New York Foundation for the Arts
490:award for Excellence in Design.
246:between 1997 and 2003. In 2002,
203:with her husband, Ken Landauer.
182:Foundation for Contemporary Arts
104:Foundation for Contemporary Arts
1865:21st-century American sculptors
1835:Sculptors from New York (state)
1498:Baker, R.C. "Julianne Swartz,"
1143:. "Jewish Museum," March, 2008.
1795:American women digital artists
1607:Cité internationale des arts.
1170:" Julianne Swartz, Sine Body,"
219:in 1989, before attending the
1:
1830:Artists from Phoenix, Arizona
1825:American installation artists
1648:Colby College Museum of Art.
1840:University of Arizona alumni
1661:Indianapolis Museum of Art.
989:Levin, Kim. "Choices: Art,"
547:Cité internationale des arts
1373:, November 2011, p. 128–33.
628:"New Art on the High Line,"
558:Colby College Museum of Art
108:Anonymous Was a Woman Award
1896:
1875:21st-century American Jews
1800:American new media artists
1594:Bronx Museum of the Arts.
891:Joan Mitchell Foundation.
845:Israel Museum, Jerusalem.
607:Walker-Billaud, Mathilde.
335:For her first sound work,
309:Indianapolis Museum of Art
1739:Julianne Swartz interview
1729:Julianne Swartz interview
1697:. Retrieved May 23, 2023.
1268:, March 14, 2004, p. N06.
494:Sculpture and photographs
1870:American women academics
1790:American digital artists
1684:. Retrieved May 5, 2023.
1611:. Retrieved May 5, 2023.
1598:. Retrieved May 5, 2023.
1185:, January/February 2013.
1080:, January–February 2003.
930:. Retrieved May 5, 2023.
719:, January/February 2010.
543:Bronx Museum of the Arts
427:Museum of Art and Design
259:(2001), created for the
186:Joan Mitchell Foundation
116:Joan Mitchell Foundation
1815:Jewish American artists
1430:Queens Public Library.
1155:School of Visual Arts.
926:Anonymous Was a Woman.
1855:Sculptors from Arizona
1805:American sound artists
907:Klopfenstein, Karley.
525:Awards and collections
454:
383:
261:Susquehanna Art Museum
236:Brooklyn Museum of Art
142:
1636:Blue Sky with Rainbow
1216:, September 15, 2012.
1051:, April 2002, p. 157.
701:, May 2017, p. 44–51.
649:Schwendener, Martha.
477:Four Directions From
469:Blue Sky with Rainbow
448:
441:Optical installations
377:
341:How Deep Is Your Love
316:School of Visual Arts
217:University of Arizona
201:Stone Ridge, New York
194:Anonymous Was a Woman
136:
60:University of Arizona
1850:Bard College faculty
1820:Jewish women artists
1733:Studio International
1693:Phoenix Art Museum.
1416:Studio International
1248:MacAdam, Barbara A.
293:Oude Kerk, Amsterdam
279:(both 2004) and the
238:, Islip Art Museum,
207:Education and career
1810:Women sound artists
1476:, June 11–18, 2012.
1281:, March 4–11, 2004.
1266:The Washington Post
1002:Harrison, Helen A.
331:Sound installations
211:Swartz was born in
1552:Welish, Marjorie.
1513:"Julianne Swartz,"
1461:"Julianne Swartz,"
1355:"Julianne Swartz,"
1342:The New York Times
1308:The New York Times
1294:, October 1, 2004.
1129:The New York Times
1113:The New York Times
1060:Powhida, William.
1023:The New York Times
1007:The New York Times
815:, August 21, 2006.
779:The New York Times
733:"Julianne Swartz,"
651:"Julianne Swartz,"
631:The New York Times
562:Phoenix Art Museum
455:
404:The New York Times
384:
322:Work and reception
281:Liverpool Biennial
143:
1679:Julianne Swartz,
1666:, Julianne Swartz
1500:The Village Voice
1474:New York Magazine
1303:Moynihan, Colin.
1124:Graeber, Laurel.
1096:, April 18, 2001.
1065:The Brooklyn Rail
1038:, March 31, 2003.
993:, April 20, 1997.
991:The Village Voice
829:Smee, Sebastian.
673:The Brooklyn Rail
668:Pearlman, Ellen.
449:Julianne Swartz,
378:Julianne Swartz,
357:Somewhere Harmony
248:The Brooklyn Rail
148:(born 1967) is a
137:Julianne Swartz,
131:
130:
1887:
1749:Julianne Swart,
1711:
1704:
1698:
1691:
1685:
1675:
1669:
1659:
1653:
1646:
1640:
1631:
1625:
1618:
1612:
1605:
1599:
1592:
1586:
1579:
1573:
1566:
1560:
1550:
1544:
1538:
1532:
1525:
1519:
1509:
1503:
1496:
1490:
1489:, June 28, 2007.
1487:TimeOut New York
1483:
1477:
1470:
1464:
1454:
1448:
1447:, November 2006.
1441:
1435:
1428:
1419:
1409:
1403:
1400:The Boston Globe
1396:
1390:
1382:Walsh, Brienne.
1380:
1374:
1367:
1361:
1351:
1345:
1335:
1326:
1320:
1311:
1301:
1295:
1288:
1282:
1279:TimeOut New York
1275:
1269:
1262:
1256:
1246:
1235:
1228:
1217:
1214:The Boston Globe
1210:
1199:
1192:
1186:
1179:
1173:
1166:
1160:
1153:
1144:
1138:
1132:
1122:
1116:
1108:Kennedy, Randy.
1106:
1097:
1094:The Patriot-News
1090:
1081:
1074:
1068:
1058:
1052:
1045:
1039:
1032:
1026:
1018:Smith, Roberta.
1016:
1010:
1000:
994:
987:
981:
972:
966:
965:, February 2005.
959:
944:
939:SUNY New Paltz.
937:
931:
924:
915:
905:
896:
889:
880:
873:
850:
843:
837:
834:The Boston Globe
827:
816:
809:
798:
791:
782:
774:Smith, Roberta.
772:
761:
760:, February 2013.
754:
739:
729:
720:
713:
702:
695:
676:
666:
657:
647:
634:
624:
615:
605:
594:
587:
412:Cambridge Common
361:Over the Rainbow
337:How Deep is Your
301:deCordova Museum
273:Whitney Biennial
252:Schroeder Romero
229:Beth Ames Swartz
213:Phoenix, Arizona
199:Swartz lives in
176:(Mass MoCA) and
139:How Deep is Your
78:installation art
40:Phoenix, Arizona
19:
1895:
1894:
1890:
1889:
1888:
1886:
1885:
1884:
1770:
1769:
1764:Julianne Swartz
1758:Julianne Swartz
1720:
1715:
1714:
1708:Julianne Swartz
1705:
1701:
1695:Julianne Swartz
1692:
1688:
1676:
1672:
1660:
1656:
1650:Julianne Swartz
1647:
1643:
1632:
1628:
1622:Julianne Swartz
1619:
1615:
1609:Julianne Swartz
1606:
1602:
1593:
1589:
1580:
1576:
1570:Julianne Swartz
1567:
1563:
1551:
1547:
1539:
1535:
1526:
1522:
1510:
1506:
1502:, May 22, 2007.
1497:
1493:
1484:
1480:
1471:
1467:
1455:
1451:
1442:
1438:
1429:
1422:
1410:
1406:
1402:, June 2, 2017.
1397:
1393:
1381:
1377:
1368:
1364:
1353:Weiner, Emily.
1352:
1348:
1336:
1329:
1321:
1314:
1302:
1298:
1289:
1285:
1276:
1272:
1263:
1259:
1247:
1238:
1234:, May 28, 2007.
1229:
1220:
1211:
1202:
1196:Julianne Swartz
1193:
1189:
1180:
1176:
1167:
1163:
1157:Julianne Swartz
1154:
1147:
1139:
1135:
1123:
1119:
1107:
1100:
1091:
1084:
1075:
1071:
1059:
1055:
1046:
1042:
1033:
1029:
1017:
1013:
1001:
997:
988:
984:
973:
969:
960:
947:
938:
934:
925:
918:
906:
899:
893:Julianne Swartz
890:
883:
877:Julianne Swartz
874:
853:
844:
840:
828:
819:
810:
801:
792:
785:
773:
764:
755:
742:
730:
723:
714:
705:
696:
679:
667:
660:
648:
637:
625:
618:
606:
597:
588:
575:
570:
553:and Skowhegan.
539:Public Art Fund
527:
496:
473:Percent for Art
443:
396:Digital Empathy
365:Can You Hear Me
333:
324:
240:SculptureCenter
209:
154:Art in America
146:Julianne Swartz
126:Julianne Swartz
43:
37:
35:
34:
33:Julianne Swartz
24:
23:Julianne Swartz
17:
16:American artist
12:
11:
5:
1893:
1891:
1883:
1882:
1877:
1872:
1867:
1862:
1857:
1852:
1847:
1842:
1837:
1832:
1827:
1822:
1817:
1812:
1807:
1802:
1797:
1792:
1787:
1782:
1772:
1771:
1768:
1767:
1761:
1755:
1746:
1736:
1726:
1719:
1718:External links
1716:
1713:
1712:
1699:
1686:
1670:
1654:
1641:
1626:
1613:
1600:
1587:
1574:
1561:
1545:
1541:The New Yorker
1533:
1520:
1504:
1491:
1478:
1465:
1457:The New Yorker
1449:
1445:Art in America
1436:
1420:
1404:
1391:
1387:Art in America
1375:
1362:
1346:
1337:Johnson, Ken.
1327:
1323:The New Yorker
1312:
1296:
1283:
1270:
1257:
1236:
1218:
1200:
1194:Bard College.
1187:
1174:
1161:
1145:
1141:The New Yorker
1133:
1126:"Family Fare,"
1117:
1098:
1082:
1069:
1053:
1049:Art in America
1040:
1036:The New Yorker
1027:
1011:
995:
982:
967:
945:
932:
916:
897:
881:
851:
838:
817:
799:
783:
762:
758:Art in America
740:
721:
703:
677:
658:
635:
626:Browne, Alix.
616:
595:
572:
571:
569:
566:
526:
523:
495:
492:
442:
439:
369:Sunshine Hotel
332:
329:
323:
320:
303:(2012) to the
208:
205:
170:Tate Liverpool
162:Whitney Museum
129:
128:
123:
119:
118:
101:
97:
96:
93:
89:
88:
67:
66:Known for
63:
62:
49:
45:
44:
38:
32:
30:
26:
25:
22:
15:
13:
10:
9:
6:
4:
3:
2:
1892:
1881:
1878:
1876:
1873:
1871:
1868:
1866:
1863:
1861:
1858:
1856:
1853:
1851:
1848:
1846:
1843:
1841:
1838:
1836:
1833:
1831:
1828:
1826:
1823:
1821:
1818:
1816:
1813:
1811:
1808:
1806:
1803:
1801:
1798:
1796:
1793:
1791:
1788:
1786:
1785:Living people
1783:
1781:
1778:
1777:
1775:
1765:
1762:
1759:
1756:
1753:
1752:
1747:
1744:
1740:
1737:
1734:
1730:
1727:
1725:
1722:
1721:
1717:
1709:
1703:
1700:
1696:
1690:
1687:
1683:
1682:
1674:
1671:
1667:
1665:
1658:
1655:
1651:
1645:
1642:
1638:
1637:
1630:
1627:
1623:
1617:
1614:
1610:
1604:
1601:
1597:
1591:
1588:
1584:
1578:
1575:
1571:
1565:
1562:
1558:
1555:
1549:
1546:
1542:
1537:
1534:
1530:
1524:
1521:
1517:
1514:
1511:Hall, Emily.
1508:
1505:
1501:
1495:
1492:
1488:
1482:
1479:
1475:
1469:
1466:
1463:May 28, 2007.
1462:
1458:
1453:
1450:
1446:
1440:
1437:
1433:
1427:
1425:
1421:
1417:
1414:
1408:
1405:
1401:
1395:
1392:
1388:
1385:
1379:
1376:
1372:
1366:
1363:
1359:
1356:
1350:
1347:
1343:
1340:
1334:
1332:
1328:
1324:
1319:
1317:
1313:
1309:
1306:
1300:
1297:
1293:
1287:
1284:
1280:
1274:
1271:
1267:
1261:
1258:
1254:
1251:
1245:
1243:
1241:
1237:
1233:
1227:
1225:
1223:
1219:
1215:
1209:
1207:
1205:
1201:
1197:
1191:
1188:
1184:
1178:
1175:
1171:
1165:
1162:
1158:
1152:
1150:
1146:
1142:
1137:
1134:
1130:
1127:
1121:
1118:
1114:
1111:
1105:
1103:
1099:
1095:
1089:
1087:
1083:
1079:
1073:
1070:
1066:
1063:
1057:
1054:
1050:
1044:
1041:
1037:
1031:
1028:
1024:
1021:
1015:
1012:
1008:
1005:
999:
996:
992:
986:
983:
979:
978:
971:
968:
964:
958:
956:
954:
952:
950:
946:
942:
936:
933:
929:
923:
921:
917:
913:
910:
904:
902:
898:
894:
888:
886:
882:
878:
872:
870:
868:
866:
864:
862:
860:
858:
856:
852:
848:
847:"Good Night,"
842:
839:
835:
832:
826:
824:
822:
818:
814:
808:
806:
804:
800:
797:, March 2005.
796:
790:
788:
784:
780:
777:
771:
769:
767:
763:
759:
753:
751:
749:
747:
745:
741:
737:
734:
731:Banai, Nuit.
728:
726:
722:
718:
712:
710:
708:
704:
700:
694:
692:
690:
688:
686:
684:
682:
678:
674:
671:
665:
663:
659:
655:
652:
646:
644:
642:
640:
636:
632:
629:
623:
621:
617:
613:
610:
604:
602:
600:
596:
592:
586:
584:
582:
580:
578:
574:
567:
565:
563:
559:
554:
552:
548:
544:
540:
536:
532:
524:
522:
518:
515:
509:
506:
502:
493:
491:
489:
485:
481:
480:
479:Hunters Point
474:
470:
466:
464:
460:
452:
447:
440:
438:
436:
432:
428:
424:
419:
417:
413:
409:
405:
401:
397:
393:
389:
381:
376:
372:
370:
366:
362:
358:
354:
350:
346:
342:
338:
330:
328:
321:
319:
317:
312:
310:
306:
302:
298:
294:
290:
286:
285:Jewish Museum
282:
278:
274:
269:
267:
262:
258:
253:
249:
245:
244:Artists Space
241:
237:
232:
230:
226:
222:
218:
214:
206:
204:
202:
197:
195:
191:
187:
183:
179:
178:Israel Museum
175:
171:
167:
163:
158:
155:
151:
147:
140:
135:
127:
124:
120:
117:
113:
109:
105:
102:
98:
94:
90:
87:
83:
79:
75:
71:
68:
64:
61:
57:
53:
50:
46:
41:
31:
27:
20:
1750:
1742:
1732:
1702:
1689:
1680:
1673:
1663:
1657:
1644:
1635:
1629:
1616:
1603:
1596:Past Fellows
1590:
1577:
1568:UrbanGlass.
1564:
1556:
1548:
1540:
1536:
1528:
1523:
1515:
1507:
1499:
1494:
1486:
1481:
1473:
1468:
1456:
1452:
1444:
1439:
1415:
1411:Wei, Lilly.
1407:
1399:
1394:
1386:
1378:
1370:
1365:
1357:
1349:
1341:
1322:
1307:
1299:
1291:
1286:
1278:
1273:
1265:
1260:
1252:
1231:
1213:
1190:
1182:
1177:
1164:
1140:
1136:
1128:
1120:
1112:
1093:
1077:
1072:
1064:
1056:
1048:
1043:
1035:
1030:
1022:
1014:
1006:
998:
990:
985:
976:
970:
962:
935:
911:
841:
833:
812:
794:
778:
757:
735:
716:
698:
672:
653:
630:
611:
590:
555:
528:
519:
513:
510:
504:
500:
497:
476:
475:commission,
468:
467:
463:Line Drawing
462:
458:
456:
450:
430:
422:
420:
415:
407:
403:
395:
391:
387:
385:
379:
364:
356:
336:
334:
325:
313:
270:
256:
247:
233:
225:Bard College
210:
198:
159:
153:
145:
144:
138:
95:Ken Landauer
52:Bard College
1780:1967 births
1754:, MASS MoCA
1677:Mass MoCA.
1557:Artcritical
1531:, May 2008.
912:Artcritical
593:, May 2015.
484:Steven Holl
435:Grace Farms
408:We Complete
388:Affirmation
353:John Lennon
307:(2013) and
295:(2013) and
223:(1999) and
1774:Categories
928:Recipients
813:Daily Post
568:References
531:UrbanGlass
459:Excavation
431:Joy, Still
398:(2011–12,
277:New Museum
86:public art
1620:Art Omi.
1529:Sculpture
1183:Sculpture
1078:Sculpture
717:Sculpture
699:Sculpture
591:Sculpture
505:Artforum'
423:Sine Body
400:High Line
380:Sine Body
257:Link/Line
82:sculpture
74:new media
70:Sound Art
48:Education
1516:Artforum
1358:Artforum
736:Artforum
654:Artforum
512:string.
501:Spectrum
345:Bee Gees
311:(2014).
291:(2011),
287:(2009),
166:MoMA PS1
150:New York
1664:Terrain
1253:ARTnews
1232:Rhizome
963:ARTnews
551:Art Omi
514:Rhizome
425:(2017,
410:(2017,
392:Terrain
347:) and "
343:" (the
122:Website
1745:, 2019
1735:, 2019
1292:NYArts
795:Frieze
192:, and
100:Awards
92:Spouse
1743:Bomb
612:Bomb
541:and
421:Her
349:Love
266:eruv
242:and
42:, US
36:1967
29:Born
433:at
351:" (
1776::
1741:,
1731:,
1459:.
1423:^
1330:^
1315:^
1239:^
1221:^
1203:^
1148:^
1101:^
1085:^
948:^
919:^
900:^
884:^
854:^
820:^
802:^
786:^
765:^
743:^
724:^
706:^
680:^
661:^
638:^
619:^
598:^
576:^
549:,
537:,
318:.
275:,
268:.
196:.
188:,
184:,
172:,
168:,
164:,
114:,
110:,
106:,
84:,
80:,
76:,
72:,
58:,
54:,
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
