151:, on four continents. Her work has been widely reviewed and resides in numerous private, university and corporate collections. Sensemann is known as a versatile and prolific creator, whose ideas have led her to explore diverse painting materials, media (drawing, photography, collage, performance), subject matter (architectural, botanical, biological and organic forms, self-portraiture), and styles from abstraction to realism. Critics note her work's densely packed compositions, shallow fields of oscillating space, complex tactile surfaces, and sensuous color and linearity. James Yood wrote that Sensemann's abstract paintings were "fraught with meaning, charged with value, and seething with import" in their spiritual seeking. Art historian Leisa Rundquist described her photomontage self-portraits as "strangely sensual, yet disturbing" images drawn from "the depths of the unconscious."
436:(1998), producing grotesque and seductive alterations to her flesh that suggested decay, ravage or regeneration, endured with a facial expression of impassivity. These works, created through non-digital means and ultimately numbering more than 700, recalled cultural constructions of symbiosis between women and nature and were interpreted as meditations on the transience and the ephemerality of life, the passage of time and its effects, and notions of beauty, eroticism and glamour. In the "Impersonations" works, whose titles reference masquerade and the role of surface in mapping identity, she explored her "unbridled urge to merge with unfamiliar and unknown," fusing with marble busts, statuary, Roman murals and decorative objects to take on a range of characters:
565:, and Artemisia Gallery. Described as "curatorially adventurous," her shows have explored signature themes such as pleasure, eroticism and excess ("Libidinal," "Heat," "Obsession," "Touch," "More is More"), the body ("Physiotasmagorical," "Brain/Body"), and feminism. The shows "Skew: The Unruly Grid" (1995) and "Pleasure (Beyond Guilt)" (1996) investigated and critiqued masculinist traditions of the grid in art and the production of art for the (traditionally male) voyeuristic gaze, respectively.
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explored the spirit and psychological implications of austere interiors that symbolized the domain of women. Sensemann enlivened the spaces with ghost-like whorls or spirals that hinted at kinetic energy, "spiritual emanations" or traces from unseen or absent actors and encounters. She initially based the works on architectural forms she photographed on trips to Italy ("Tusculana" series) or
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205:(UIC), where she would remain until 2010. After she and Hehemann had two children, Lucas (b. 1981) and Marah (b. 1985). Sensemann continued to show internationally and throughout the United States, including solo exhibitions at the Roy Boyd, Artemisia (both Chicago), Fay Gold (Atlanta) and Locus (St. Louis) galleries and the
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biological and social structures—cells, tears, stars, populations—the holistic surfaces maintain a fluctuating balance of definition and diffusion, qualities glimpsed in
Sensemann's earlier "Sheer" and "Lace" series (1995–8) and fantastic landscapes, which also featured shallow spaces and concentrated patterning.
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Sensemann began teaching in 1973 at the school of art and design at the
University of Illinois Urbana-Champaign. She earned tenure at age 30, leaving as an associate professor in 1981 for the school of art and design, University of Illinois at Chicago. As professor at UIC, she taught studio classes,
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textiles, with expressionist calligraphic patterns or spontaneous flows of color suggesting primordial ooze. The "Night Sky" series (2005–7) featured more neutral, monochrome palettes and forms referencing constellations, sea life and human biology. An offshoot of that work was a show of large—up to
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focused
Sensemann in a more discordant, political direction in her "State" series (1990), which used geometric shapes to reference gun sights and targets, and thick paint application to create flux through shifts of light and vantage point. In the "Gulf War" series (1991), she translated masterworks
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In 1993, Sensemann made an overt break with the strife of the "Gulf War" works and abstraction. She began creating decorative, collaged oil paintings on upholstery fabric that recalled the overflowing compositions and patterns of her fantastic landscapes. The paintings also indicated a shift to the
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into charged, jostling compositions of unrestrained abstract color, light and texture. Within these darker, chaotic works she placed unexpected "intrusions," such as the word "raft" or outlined votive candles, signaling the possibility of hope or resolution. Critic
Kristin Schleifer described these
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and "fantastic landscapes" of dense, brightly colored botanical imagery that flirted with both realism and abstraction. Her move to
Chicago in 1979 inspired a shift to abstract, architectonic work that nonetheless suggested actual spaces. Often titled after mythological goddesses, the new paintings
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surfaces described as "painstakingly textured, almost sculptural relief." Critic James Yood suggested
Sensemann's "churning brushwork, intense colors, stippled surfaces, and abstract symbology" signified a pursuit of higher knowledge through the methods of modern art. Sensemann moved toward sparer
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Sensemann returned to more abstract art in the 2000s, with several bodies of large-scale, baroque works in which accumulations of small marks, dots, dashes or blips collide and overlap to create dizzying fields of complex patterns. Suggesting micro- or macroscopic investigations of disparate
592:(2003), with poems on love and loss that she wrote through a self-devised game plucking words from Hawthorne's short stories. In recent years, she has turned to fiction writing, including two short stories, "Encountering History" (2016) and "Blasting" (2018), both published in
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504:'s Net" (2016–8) works, she focused on skewed grid patterns of intricate net and lace-like arrangements, that ranged from organic to almost geometric and expressed a Buddhist visualization of interconnectedness and a feminist critique of 1960s, hard-edged abstraction.
209:, among many. She also served as co-president and board member of Artemisia Gallery (1994–2001), where she co-created international artist exchange and mentoring programs, curated shows, and exhibited and lectured internationally on women's issues in art.
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Critics described the photomontages as rich, sensuous, disturbing and primal in their ability to conjure deep psychic responses. Their unexpected transformations evoked the dichotomies of attraction/desire and repulsion/fear found in Gothic works like
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images. Probing them with a politically incorrect sensibility, she compiled taxonomies of highly gendered images that offered fresh readings and satiric, sometimes disturbing commentary on roleplay, stereotypes, misinformation and "masculine" art.
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and lecturing on painting, feminist work, contemporary women in the arts, and her own work at institutions in China, Italy, Germany, South Korea and the U.S. She has been selected as a visiting artist at more than twenty schools including the
525:. Sensemann served in several capacities at the school, including appointments as director of graduate studies (1986–90), acting director (1989–91), and director of undergraduate studies (2000–05). In 2010, she retired as professor emerita.
316:(1989–90), whose title derives from a Hebrew word associated with feminine divine attributes. Alan Artner described them as the culmination of a "process of reduction that long has signaled an artistic quest for spiritual purity."
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called them "acts of disclosure rather than concealment," revealing a negotiation between inner fluidity and bodily limitation. The images often probed transgressive realms of the imagination at the edge of identity, as in
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more direct critical language of feminist collage. In a subsequent series of 600 collages, she embraced strategies of juxtaposition, fragmentation and rupture, reflecting the alternative influence of Hannah Höch,
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35 feet—realistic, but patterned drawings of natural and organic forms that some considered among
Sensemann's most brave and intriguing work. The "Dots" series (2007–11), which includes paintings such as
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In addition to her art career, Sensemann was an art professor and administrator for over three decades, most notably at the
University of Illinois at Chicago and the grassroots women's cooperative
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Sensemann reworked these strategies in new works that combined Gothic sensibilities, feminist self-portraiture, and themes of voyeurism, vulnerability and exhibitionism influenced by the work of
432:. Carefully superimposing photographs she took of organic substances over intimate close-ups of her face, she merged with flora, seaweed or cacti in "De-Monstrations" works such as
158:. She has also been a frequent curator and lecturer, and in recent years, begun writing fiction and teaching courses in mindfulness meditation. Sensemann lives and works in
253:. These influences manifest in her work's emphasis on visual and tactile sensuality and themes of indeterminacy, transformation, and what she calls "restless becoming."
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Sensemann describes her approach to art as "expansive, holistic, multi-focused, and non-hierarchical," and cites the influence of feminist artists such as
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in 1949. Her early interest in art was sparked by trips with her mother to New York City art museums and a supportive art teacher who introduced her to
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expressionist paintings as a logical progression in
Sensemann's work that evoked the forces of nature with a greater vitality than ever before.
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307:(1983) employed geometric organizations of architectural planes, light and shadow that created ambiguous space, yet anchored complex, scoured
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Gorman, Albertus. "Shared
Natures: The Art of Susan Sensemann and Sheryl Haler," Louisville Visual Arts Association: Exhibition essay, 1998.
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115:(born 1949) is an American artist, educator and arts administrator, best known for her detailed, largely abstract patterned paintings and
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1595:, Rima Lunina Schultz and Adele Hast (Eds.), Bloomington, IN: Indiana University Press, 2001, p. 430–2. Retrieved September 27, 2018.
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411:" images from 19th-century bibles, mid-20th-century childbirth, health and parenting manuals, encyclopedias, art reproductions and
500:(2016), extended her explorations of pattern to more colorful, oscillating forms reminiscent of flora, cells, or hives. With the "
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Sensemann has written catalogue essays to accompany her curated exhibitions, as well as pieces on artists such as Hannah Höch,
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186:, Rome. She enrolled in the graduate program at Tyler at Temple University (MFA, painting, 1973), studying with painter
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463:(2001), which effects an alternating, reciprocal exchange of feminine and masculine between Sensemann and a fierce
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created a course on writing for artists, and led a class in Rome. Some of her students include conceptual artist
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neighborhood (they divorced in 2004). In 1981, Sensemann joined the faculty at the School of Art and Design,
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Susan Sensemann papers, Archives of American Art, Loyola University Chicago, Women & Leadership Archive
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572:(an influence on Sensemann's abstract work of the 1980s), and Claire Wolf Krantz, for publications such as
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In the 1970s, Sensemann focused on small egg-tempera and oil paintings of feminist archetypes such as
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Segard, Michel. "The Other Tradition grows up: Chicago Abstractionists rise above a bitter legacy,"
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Wolf Krantz, Claire and Susan Sensemann. "Word for Word: Claire Wolf Krantz/Susan Sensemann,"
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Sensemann's works are held in private, university and corporate collections, including the
588:" series (2002–4) paired photomontages of her face and silk funerary arrangements, such as
127:, spiritual and feminist sensibilities. She has exhibited her work at venues including the
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Easthampton City Arts. "Artwalk Susan Sensemann," Events, 2022. Retrieved March 29, 2023.
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Sensemann's educational experience also includes teaching international workshops at the
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Steinpreis, Joel. "Intellectualism, Spiritualism, and Physicality: A Glutton's Feast,"
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Mount Vernon Democrat. "New Harmony Gallery to feature collages from Chicago artist,"
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1413:, Chapel Hill, NC: Duke University Press Books, 1995. Retrieved September 21, 2018.
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1610:, Performance video, Fitzgerald's Nightclub, 2017. Retrieved September 24, 2018.
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Howard, Jane. "Bold Strokes: Susan Sensemann, Chicago," (A woman for Lear's),
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384:"Burst: incapable of control, her temper was inspired as a marvelous wildness"
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by Patty Carroll and James Yood, Chicago: University of Illinois Press, 1991.
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182:(BFA, 1971), but gravitated to painting after spending junior year at the
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McCracken, David. "3 Artists Take Collage on a Joyride of Perspectives,"
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forms, before turning to structures from pre-Renaissance paintings by
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Degener, Patricia. "Abstract Paintings Deal With Abstract Subject,"
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Cut with the kitchen knife: The Weimar Photomontages of Hannah Hoch
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Painted in reds, cranberries, tangerines and aquas, works such as
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Mauro, Lucia. "Walking the line between beauty and the beast,"
806:, Section 7, August 2, 1985, 48. Retrieved September 12, 2018.
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Sensemann has been an active curator, at venues including the
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In her "Goo" series (2003), she created works influenced by
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Women Building Chicago 1790-1990: A Biographical Dictionary
1512:. November 17, 1995, p. 31–2. Retrieved September 19, 2018.
1085:, Section 5, June 8, 1987, 9. Retrieved September 12, 2018.
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Nordhaus-Bike, Anne M. "The state of Chicago's galleries,"
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Artist Susan Sensemann, in 2018, in front of her painting,
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Moehl, Karl. "Dan Nardi, Susan Sensemann, Barry Tinsley,"
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Sensemann, Susan. "Mutuality: Itatani/Krantz/Sensemann,"
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Skin Shows: Gothic Horror and the Technology of Monsters
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Weinstein, Michael. "Susan Sensemann, De-Monstrations,"
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Uphoff, Lynn. "Museum show features Illinois artists,"
1426:, Paintings, ca. 2003. Retrieved September 17, 2018.
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Daniel, Jeff. "Urban scene gets vibrant rendering,"
1244:, Paintings, ca. 1993. Retrieved September 17, 2018.
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Parr, Debra. "Susan Sensemann: Abstract Paintings,"
327:, oil on canvas, three panels, each 60” x 24", 1990.
1467:, Paintings, 2007–10. Retrieved September 17, 2018.
1369:, Chicago: Ukrainian Institute of Modern Art, 2012.
765:, Chicago: Ukrainian Institute of Modern Art, 2012.
193:In 1973, Sensemann took a teaching position at the
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1439:, Paintings, 2005–7. Retrieved September 17, 2018.
1228:, Paintings, 2000–1. Retrieved September 17, 2018.
1130:, Paintings, 1983–4. Retrieved September 17, 2018.
1114:, Paintings, 1980–1. Retrieved September 17, 2018.
1080:"Artist's fresh look revitalizes familiar scenes,"
876:. February 28, 1999. Retrieved September 21, 2018.
1531:. January 18, 1996. Retrieved September 19, 2018.
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1050:Phillips, Katie. "Susan Sensemann at Roy Boyd,"
407:(1995), Sensemann made startling use of cut-up "
1665:, March 30, 1995. Retrieved September 12, 2018.
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628:, among many. She has been awarded grants from
241:, as well as Italian Renaissance painters like
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996:August 12, 2016. Retrieved September 19, 2018.
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1480:, Paintings. Retrieved September 17, 2018.
1296:, 1997–2000. Retrieved September 17, 2018.
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717:Rundquist, Leisa A. "Impersonations," in
624:, Millikin University, Ripon College and
517:, writer Mira Bartok, mixed-media artist
467:countenance on an Italian serving plate.
1398:, exhibition essay, Ripon College, 1998.
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312:geometric forms in later series such as
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1325:Weinstein, Michael. "Susan Sensemann,"
1257:Collages. Retrieved September 17, 2018.
912:Finocchio, Dominic. "Susan Sensemann,"
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195:University of Illinois Urbana-Champaign
801:"Sensemann puts the unseen on canvas,"
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547:School of the Art Institute of Chicago
369:, cut paper and glue, 18” x 14", 1995.
1094:Cassidy, Victor, "Visions of Eight,"
781:Vendelin, Carmen. "Susan Sensemann,"
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1719:21st-century American women painters
1714:20th-century American women painters
1580:, V. 1, No. 1, Spring 1994, p. 71–3.
1007:"Announcing the release of CQR #26,"
626:Lakeview Museum of Arts and Sciences
1367:Mutuality: Itatani/Krantz/Sensemann
1159:McCracken, David. "Gallery Scene,"
759:Mutuality: Itatani/Krantz/Sensemann
757:Ukrainian Institute of Modern Art.
693:Yood, James. "Susan Sensemann," in
1189:, Section 5, February 2, 1989, 11.
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1563:, Chicago: Susan Sensemann, 2000.
1316:, Chicago: Susan Sensemann, 2000.
1185:Artner, Alan. "Susan Sensemann,"
976:Fulton, Jean. "Susan Sensemann,"
721:, Chicago: Susan Sensemann, 2000.
225:, oil on canvas, 64" x 64", 1983.
203:University of Illinois at Chicago
1543:Hawkins, Margaret. "Libidinal,"
958:Yood, James. "Susan Sensemann,"
824:, March 1, 1981, Sect. 8, p. 10.
386:, lambda print, 39” x 26", 2003.
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1561:Susan Sensemann: Impersonations
1493:. Retrieved September 17, 2018.
1454:. Retrieved September 19, 2018.
1314:Susan Sensemann: Impersonations
719:Susan Sensemann: Impersonations
1709:20th-century American painters
1699:21st-century American painters
1645:Sensemann, Susan. "Blasting,"
840:, February 22–28, 1996, p. 25.
530:Royal Conservatory of Brussels
74:Painting, Drawing, Photography
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1576:by Maud Lavin, Book review,
916:, Winter/Spring 1995, p. 15.
622:Southern Illinois University
341:of conflict and violence by
614:Northeast Normal University
600:Collections and recognition
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1729:Syracuse University alumni
1054:, July/August 1984, p. 48.
1005:Chicago Quarterly Review.
989:Chicago Quarterly Review.
160:Easthampton, Massachusetts
1724:American feminist artists
1647:Chicago Quarterly Review,
1634:Chicago Quarterly Review,
1619:Susan Sensemann website.
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994:Chicago Quarterly Review,
257:Architectural Abstraction
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1754:American women educators
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1237:Susan Sensemann website.
980:, September 1987, p. 43.
743:, November 19, 1997, B4.
594:Chicago Quarterly Review
543:Texas Woman's University
535:Cranbrook Academy of Art
471:"Dots" and "Nets" series
129:Art Institute of Chicago
1749:Educators from Illinois
1340:St. Louis Post Dispatch
1174:St. Louis Post Dispatch
1163:, June 12, 1992, p. 75.
1098:. April 5, 1985, p. 36.
851:St. Louis Post Dispatch
539:Jilin Normal University
149:Art Institute of Boston
145:Chicago Cultural Center
141:Indianapolis Art Center
51:Glen Cove, New York, US
1526:"Frames of Reference,"
871:"A Collaborative Art,"
679:, Fall 2003, p. 19–25.
618:University of Delaware
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170:Sensemann was born in
1704:Painters from Chicago
1589:Sensemann, Susan. In
1507:"Unlocking the Grid,"
1451:Art Letter (09/08/06)
1281:Mount Vernon Democrat
1150:, June 1992, p. 50–1.
898:, March 1984, p. 8–9.
606:Illinois State Museum
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292:Piero della Francesca
247:Artemisia Gentileschi
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137:The Living Art Museum
1478:"Indra's Net" series
1407:Halberstam, Judith.
1255:"Myths and Methods,"
838:Cincinnati City Beat
785:, March 1998, p. 52.
634:British Arts Council
553:Curating and writing
37:The Sum of Something
1607:Dancing in the Dark
1382:, November 6, 1997.
1329:, October 15, 1998.
1200:Journal Star Peoria
1052:Images & Issues
991:"CQR #22 is here,"
853:, December 8, 1994.
586:Nathaniel Hawthorne
559:Evanston Art Center
413:National Geographic
403:. In works such as
298:" works (1983–4).
207:Evanston Art Center
184:Tyler School of Art
180:Syracuse University
172:Glen Cove, New York
65:Syracuse University
61:Tyler School of Art
1734:Culture of Chicago
1604:Sensemann, Susan.
1572:Sensemann, Susan.
1559:Sensemann, Susan.
1437:"Night Sky" series
1215:, May 1992, p. 36.
1202:, January 9, 1992.
962:, May 1985, p. 77.
508:Career as educator
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213:Work and reception
1545:Chicago Sun Times
1270:, April 16, 1993.
1226:"Gulf War" series
822:Indianapolis Star
610:Purdue University
483:Susan Sensemann,
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336:The looming U.S.
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946:, January 1993.
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869:Seaman, Donna.
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188:Richard Callner
168:
166:Life and career
113:Susan Sensemann
105:Susan Sensemann
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1424:"Goo" series
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446:Mary Shelley
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430:Ana Mendieta
426:Sophie Calle
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374:Collage work
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296:Annunciation
284:Fra Angelico
272:Japanese art
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1739:1949 births
1294:Photography
563:Gallery 400
523:Jorge Pardo
399:and writer
231:Hannah Höch
119:reflecting
1693:Categories
1066:Macondo #8
640:References
581:Art Papers
570:Miyoko Ito
343:Caravaggio
243:Caravaggio
91:Postmodern
1491:Biography
1110:Tusculana
763:Mutuality
616:(China),
541:(China),
409:Americana
355:Rembrandt
351:Gericault
347:Delacroix
314:"Shekina"
267:Magdalene
235:Eva Hesse
57:Education
1380:New City
1327:New City
590:Burst...
338:Gulf War
294:in the "
199:Bucktown
95:Feminist
83:Abstract
1034:, 1997.
465:Bacchus
309:impasto
251:Bellini
125:baroque
101:Website
87:Collage
39:(2017).
1621:Poetry
1242:series
1240:Fabric
1128:series
1112:series
438:Buddha
304:Eguchi
288:Giotto
280:Duccio
276:kabuki
263:Salome
223:Eguchi
176:Cubism
147:, and
133:A.I.R.
121:gothic
630:MUCIA
502:Indra
461:Slice
325:State
79:Style
578:and
545:and
434:Hide
428:and
353:and
290:and
274:and
265:and
249:and
237:and
48:1949
45:Born
448:'s
1695::
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