LISA PARKER HYATT

Transcription

LISA PARKER HYATT

LISA PARKER HYATT
Beaux-arts des Amériques

3944, rue St-Denis

Montréal, Québec H2W 2M2
LISA PARKER HYATT
Œuvre ouverte : Œuvres récentes de Lisa Parker Hyatt
Open Text : New Work by Lisa Parker Hyatt
Exposition du 17 mai au 16 juin 2012
Exhibition May 17 through June 16, 2012
Montréal, Canada
J
Clouds in a Room, 2012
huile sur toile de lin / oil on linen
106.18 µ 182.88 cm / 42" µ 72"
e connais Lisa depuis 1975, époque à laquelle nous nous
sommes côtoyées à Miami. J’ai eu le plaisir de voir son
exposition à la Galerie Allan Stone à New York en 1978,
alors qu’elle partageait l’espace avec Wayne Thiebaud. En
1986, lorsque Lisa quitta sa ville natale pour s’installer dans
la région de Washington, DC, j’ai pu suivre son parcours
par l’intermédiaire de sa mère, la peintre Phyllis Parker, une
femme charmante et très talentueuse qui fut l’une de mes
collègues au South Florida Art Center de Miami Beach. J’ai
ainsi pu faire la connaissance des enfants de Lisa, puisqu’ils
figurent dans un tableau de Phyllis, intitulé Family Tree.
En 2007, lorsque nous ouvrîmes la galerie à Montréal,
Lisa accepta de s’associer à nous. Nous avons ainsi pu
reprendre nos échanges là où ils avaient été interrompus,
une relation cependant murie et enrichie par nos joies et
nos peines respectives, de même que par les triomphes et
les infortunes qui ponctuent toute vie.
Lisa est une peintre figurative, fascinée par le pouvoir
d’expression du médium qu’elle utilise, la peinture.
Sa merveilleuse touche apparaît cependant tout aussi
importante que le choix de ses sujets. Les surfaces sublimes
et somptueuses, de même que l’inquiétante beauté des
peintures démentent les enjeux souvent délicats relatifs à
la vie contemporaine qui la préoccupent et l’inspirent à la
fois. Outre son intérêt pour les ombres projetées par les
portes et les fenêtres récurrent dans son œuvre, les cadres
autour de ces ouvertures semblent abriter les émotions
turbulentes et passionnées d’une artiste qui s’exprime plus
intimement et complètement par l’entremise de son œuvre.
Pour Lisa, la littérature est essentielle à la vie. Et, il
arrive que nous partagions nos découvertes en matière de
littérature. Durant une de ces récentes visites, nous avons
discuté du concept d’« opera aperta » ou œuvre ouverte,
cette notion élaborée par Umberto Eco au début des années
soixante. Et, on peut effectivement affirmer que l’œuvre
narrative de Lisa peut être perçue comme un champ de
significations qui peut être abordé de manière « ouverte ».
Nous sommes ainsi face au choix qui consiste à laisser la
lecture de certains aspects de l’œuvre à la discrétion du
public ou au hasard, et ainsi instaurer un échange interactif
entre l’artiste et le spectateur. Cette philosophie convient
parfaitement à Lisa puisqu’elle correspond à sa démarche
dans la vie : se passionner pour une question sans pour
autant être nécessairement en quête d’une réponse.
Lucienne Lefebvre Glaubinger
Jacqueline Hébert Stoneberger
Montréal, QC, mai 2012
L
isa and I have a shared history that goes back to Miami
1975. I had the pleasure of attending her show at Allan
Stone Gallery in New York in 1978, where the other side
of the room was devoted to Wayne Thiebaud. When Lisa
moved from her hometown to the Washington, DC, area in
1986, I kept track of her through her delightful and talented
mother, the painter Phyllis Parker, one of my colleagues
at the South Florida Art Center in Miami Beach. I was to
meet Lisa’s children through Phyllis’ painting, Family Tree. In
2007, Lisa agreed to join us when we launched the gallery
in Montréal. We have, thus, been able to take up where
we left off, albeit matured and enriched by the respective
joys and sorrows, triumphs, and calamities that are part of
every life.
Lisa is a figurative painter who is fascinated by the
abstract power of her medium – paint. Her exquisite brushstrokes seem to share equal importance with her subjects.
The sublime and luscious surfaces and the ominous
beauty of the paintings belie the often difficult issues
of contemporary life that both concern and inspire her.
In addition to her longtime interest in the shadows cast
by doors and windows in her work, the frames around
these apertures seem also to contain the passionate and
turbulent emotions of an artist who expresses herself most
completely through her work.
Literature is fundamental to Lisa’s life. We sometimes
share our literary discoveries. During one of these recent
musings, we talked about the concept of “opera aperta,” or
open text, the ideas developed by Umberto Eco in the early
60s. Indeed, Lisa’s narrative works may be seen as fields of
meaning that can be understood as “open.” This calls for a
decision to leave arrangements of some parts of a work to
the public or to chance – an interactive exchange between
the artist and the viewer. This philosophy suits Lisa as that
is how she approaches life – fascinated by a question and
not necessarily in search of an answer.
Lucienne Lefebvre Glaubinger
Jacqueline Hébert Stoneberger
Montréal, QC, May 2012
Five Planes, Four Apertures, 2010, huile sur toile de lin / oil on linen, 101.6 µ 152.4 cm / 40" µ 60"
Théâtre de l’invisible :
l’art fugitif de Lisa Parker Hyatt
Theater of the Invisible:
The Elusive Art of Lisa Parker Hyatt
Vous êtes dans une maison, vous déambulez d’une pièce
à l’autre. À l’extérieur, un avion passe et, soudain, vous
vous envolez, transporté par un sentiment d’abandon et de
liberté. C’est là la réalité du rêve qui anime les intérieurs
et les paysages célestes mystérieux de Lisa Parker Hyatt.
Depuis des dizaines d’années, Mme Hyatt peint des
images se situant à la limite du réel et de l’imaginaire avec
une clarté qui persiste même lorsqu’on ferme les yeux.
Habituellement, les scènes qu’elle crée sont réalisées
de mémoire à l’aide de multiples sources photographiques,
l’embrasure d’une porte ou une porte, esquissés chez
des amis ou dans son propre intérieur, des fenêtres, des
« ouvertures » et des couloirs, tous tissés ensemble dans
une même trame. Les espaces sont généralement vides,
leur point de vue situé haut, comme les murs de la toile
de fond d’un théâtre. Constitués de superpositions
et de fragments, les environnements structurés sont
volontairement ambigus, suggérant des « sensations
périphériques . . . comme s’il se passait quelque chose à la
limite de notre champ de vision. »*
You are in a house, moving from room to room. Outside, a
plane passes by, and suddenly you are flying through the
air, overcome with a sense of release and freedom. This is
the dream reality of Lisa Parker Hyatt’s mysterious interiors
and skyscapes. For decades Hyatt has painted images that
walk the line between the real and the imagined with a
clarity that persists even when eyes are closed.
Typically, her scenes are assembled from memory and
multiple photographed sources – a doorway from a friend’s
home, another from her own, extra windows, “apertures,”
and hallways – all stitched together. The spaces are
largely empty, the point of view high, like the walls of a
theater backdrop. Layered and fragmented, the structured
environments are purposely ambiguous, suggestive of
“peripheral sensations . . . as if something is happening just
outside our field of vision.”*
Space is Hyatt’s muse, and so is light, which can
transform something concrete and static into something
soft and human. “Architecture is all about motion and it
doesn’t exist without light,” she explains. She renders white
L’espace est la muse de Mme Hyatt, et il en va de même
pour la lumière, qui peut transformer le concret et le statique
en quelque chose de doux et d’humain. « L’architecture
est un art de mouvement et n’existe pas sans lumière, »
explique-t-elle. Elle illustre la lumière blanche en faisant
appel à des teintes subtiles de violet, de bleu ou d’ocre,
reflétant une capacité de perception vivement nuancée
issue de nombreuses années d’observation attentive et de
patiente méditation.
Diverses curiosités viennent interrompre ces espaces
méditatifs. D’abord ces avions de papier d’une taille
inusitée, seuls ou par groupes, ponctuant l’atmosphère
et révélant autant d’indices du mouvement de l‘air. De
vrais avions apparaissent dans des fenêtres ou tels des
ombres, en réponse aux jouets qui leur servent de doubles.
De duveteux cumulus flottent à l’intérieur, autres indices
de l’état de rêve (ou d’intériorité) de la mise en scène.
De récentes œuvres explorent des plans, où flottent des
formations de nuages et d’avions, sans horizon visible.
Les couloirs abstraits tourbillonnent et tournoient dans
l’espace des ciels bleus, suggérant un changement de
température sur lequel nous n’avons aucune prise. À
certains moments, les avions solitaires évoluent en bordure
du tableau, n’échappant jamais entièrement à l’évocation
des connotations du 11 septembre.
Le plus récent intervenant est Ultraman, ce superhéros
japonais des années soixante qui réussit à conjurer la
menace en combattant les monstres mettant la Terre en
péril. Son costume rouge et argent et son dynamisme
apportent une nouvelle énergie au tableau, en tant que
symbole aux perspectives ouvertes de la protection et de la
libération. Pour l’artiste, il incarne le « pouvoir et la force »
et se rattache à son expérience de la Guerre froide et de la
Crise des missiles de Cuba, à une époque où elle se sentait
vulnérable.
L’œuvre de Lisa Parker Hyatt aspire à l’impossible :
suggérer l’invisible sans le révéler. Elle traite de I’air qui
souffle l’avion de papier dans les airs, de la brise traversant
la fenêtre, de la lumière vacillante du soleil ou de la vapeur
d’eau. Sur un autre plan, elle illustre ce que les humains
dissimulent : les insécurités intimes et privées, les peurs
et les désirs. Nous recherchons tous un lieu offrant confort
et sécurité et nous souhaitons secrètement qu’un héros
vienne à notre secours.
Selon Lisa Parker Hyatt, la présence d’esprit et la
conscience sont à la source de la totale prise en main par
l’homme, de même que la célébration des merveilles de
l’inconnu et de l’invisible.
Leah Stoddard
Leah Stoddard est conservatrice adjointe du volet art contemporain au Musée Taubman de Roanoke, en Virginie.
* Citations extraites d’entrevues de Lisa Parker Hyatt réalisées par
l’auteure le 1 mars et le 6 avril 2012.
light in subtle hues of violet, blue, or ochre, reflecting a
nuanced perceptual ability that comes from years of close
observation and quiet patience.
Curiosities interrupt these meditative spaces. There are
outsized paper airplanes, solo or in clusters, punctuating
the atmosphere as they announce the flow of air. Actual
planes appear through windows or as shadows, as if to
answer their toy counterparts. Fluffy cumulus clouds float
indoors, clues to the dream state (or interiority) of the
setting. Recent work explores planes and cloud formations
with no horizon line in sight. The abstract passages
swirl and eddy across blue skies, suggesting a change in
weather beyond our control. At times the solitary planes
exist at the painting’s edge, never able to fully escape 9/11
connotations.
The newest intercessor is Ultraman, the 1960s Japanese
superhero who saves the day by flying in to battle monsters
threatening the Earth. His red/silver bodysuit and dynamics
energize the field, an open symbol of protection and
liberation. To the artist he is about ”power and strength,”
linked to her experiences with the Cold War and the Cuban
Missile Crisis, to a time when she felt vulnerable.
Hyatt’s work takes on the impossible: to suggest the
invisible without revealing it. It is about the air that holds
the paper plane aloft, the breeze from an open window,
shifting sunlight, or water vapor. On another level, it is
what humans keep hidden: private insecurities, fears, and
desires. We all seek an away place of comfort and safety or
wish for a hero to come to the rescue. Hyatt suggests that
empowerment comes from being present and mindful, and
from celebrating the wonder of the unknown and unseen.
Leah Stoddard
Leah Stoddard is Adjunct Curator of Contemporary Art at the
Taubman Museum of Art in Roanoke, Virginia
*Lisa Parker Hyatt quotes from interviews between the artist and
the author, March 1 and April 6, 2012.
Three Things, 2012
35.56 µ 47.62 cm / 14” µ 18.75”
Ultra, 2012
83.18 µ 111.76 cm / 32.75" µ 44"
Untitled Clouds, 2012
30.48 µ 30.48 cm / 12" µ 12"
Three Planes, 2012
30.48 µ 30.48 cm / 12" µ 12"
Six Planes, Seven Apertures, 2008–2012
59.69 µ 189.23 cm / 23.5" µ 74.5"
LISA PARKER HYATT
Œuvres de l’exposition/Works on exhibit
Clouds in a Room, 2012
106.18 µ 182.88 cm / 42" µ 72"
0586, 2010
fusain sur mylar / charcoal on mylar
45.72 µ 60.96 cm / 18" µ 24"
Fifteen Planes, Six Apertures, 2012
91.44 µ 182.88 cm / 36" µ 72"
Nine Ten, 2011
graphite sur papier / graphite on paper
21.59 µ 27.94 cm / 8.5" µ 11"
Six Planes, Seven Apertures, 2008–2012
59.69 µ 189.23 cm / 23.5" µ 74.5"
Three Planes, Six Louvers, 2012
58.42 µ 73.66 cm / 23" µ 29"
Six Planes, Two Apertures, 2012
30.48 µ 30.48 cm / 12" µ 12"
One Plane, One Moon, 2012
graphite sur mylar / graphite on mylar
45.72 µ 60.96 cm / 18" µ 24"
Three Planes Candy, 2012
74.93 µ 78.10 cm / 29.5" µ 30.75"
Three Planes, Three Apertures, 2010–2012
132.08 µ 241.3 cm / 52" µ 95"
Three Planes, 2012
30.48 µ 30.48 cm / 12" µ 12"
Three Things, 2012
35.56 µ 47.62 cm / 14" µ 18.75"
Ultra, 2012
83.18 µ 111.76 cm / 32.75" µ 44"
Untitled Clouds, 2012
30.48 µ 30.48 cm / 12" µ 12"
Five Planes, Four Apertures, 2010
101.6 µ 152.4 cm / 40" µ 60"
One Plane, 2008
58.42 µ 66.04 cm / 23" µ 26"
0585, 2010
45.72 µ 60.96 cm / 18" µ 24"
en face/opposite
0585, 2010
45.72 µ 60.96 cm / 18" µ 24"
0586, 2010
45.72 µ 60.96 cm / 18" µ 24"
One Plane, One Moon, 2012
graphite sur mylar / graphite on mylar
45.72 µ 60.96 cm / 18" µ 24"
LISA PARKER HYATT
Née / Born Miami, Florida, 1949
FORMATION / EDUCATION
M.F.A., University of Miami, Coral Gables, FL
B.A., University of South Florida, Tampa, FL
EXPOSITIONS INDIVIDUELLES /
SOLO EXHIBITIONS
2012
Œuvre ouverte : Œuvres récentes de Lisa Parker Hyatt /
Open Text : New Work by Lisa Parker Hyatt, Beauxarts des Amériques, Montréal, QC (catalogue)
2007 Beaux-arts des Amériques, Montréal, QC
(catalogue)
2006 Piedmont Community College, Charlottesville, VA
1999
Lisa Parker Hyatt Ehrlich: Light, Recent Drawings,
Barry University, Miami Shores, FL
1985
Lisa Hyatt, Allan Stone Gallery, New York, NY
Lisa Hyatt, Gloria Luria Galler, Bay Harbor Island, FL
1984
Lisa Hyatt: Paintings, Miami Dade Community
College, Miami, FL
1983
Lisa Hyatt: Paintings, Museum of Art, Fort
Lauderdale, FL
Recent Paintings, Gloria Luria Gallery, Kane
Concourse, Bay Harbor Island, FL
Lisa Hyatt: Paintings, Allan Stone Gallery, New
York, NY
1980 Recent Paintings, Allan Stone Gallery, New York, NY
1979
Recent Paintings, Barry University, Miami Shores, FL
1978
Recent Paintings, Allan Stone Gallery, New York, NY
1975
Paintings and Drawings, Medici II Gallery, Bay
Harbor Islands, FL
Three Planes Candy, 2012
74.93 µ 78.10 cm / 29.5” µ 30.75”
EXPOSITIONS COLLECTIVES (sélectionées) /
GROUP EXHIBITIONS (selected)
2012
PAPIER 2012, with Beaux-arts des Amériques,
Quartier des Spéctacles, Montréal, QC
KING ME, The Fridge, Washington, DC (Curator:
Adam Dwight)
2011
PAPIER 2011, with Beaux-arts des Amériques,
Quartier des Spéctacles, Montréal, QC
ArtNaples Contemporary Art Fair, Naples, Fl with
2010 TIAF (Toronto International Art Fair) with Beauxarts des Amériques
PAPIER 2010, Black Watch Armoury, Montréal,
QC, with Beaux-arts des Amériques
Group Exhibition, Beaux-arts des Amériques,
Montréal, QC
Holiday Show, Beaux-arts des Amériques,
Montréal, QC
Cut and Paste, Dickenson Gallery, Piedmont
Virginia Community College, Charlottesville, VA
2009 PAPIER 2009, Westmount Square, with Beauxarts des Amériques, Montréal, QC
At First Glance, Beaux-arts des Amériques,
Montréal, QC
2008 PAPIER 2008, Westmount Square, with Beauxarts des Amériques, Montréal, QC
Petites choses / Small Things, Beaux-arts des
Amériques, Montréal, QC
Andy Gato Gallery Premiere Exhibition, Andy Gato
Gallery, Barry University, Miami Shores, FL
2007 The Computer Arts and Technology Gallery,
Montgomery College, Rockville, MD
PAPIER 2007, Westmount Square, with Beaux-arts
des Amériques, Montréal, QC
Group Exhibition, Beaux-arts des Amériques,
Montréal, QC
2006 Truth, Justice and the American Way, Dickenson
Gallery, Piedmont, VA
2000 Urban Art, Starwood Exhibit, Modern Mona,
Washington, DC
1990–1 Miami Thriving in Change (1940-1990): Miami
Artists, Fifty Years of Collecting, Main Library, Metro
Dade Cultural Center, Miami, FL (catalogue)
1989
Floridart, Gallery Contemporanea, Jacksonville, FL
1986
The Interior as Metaphor, East Campus Gallery,
Performing Arts Center, Valencia Community
College, Orlando, FL
The Art of Miami, Southeastern Center for
Contemporary Art, Winston Salem, NC (touring
exhibition)
1985
John Beardman / Lisa Hyatt / Richard Rosenbloom,
Allan Stone Gallery, New York, NY
1984
Working Mothers, Barry University, Miami Shores, FL
Florida Fellows, Valencia Community College,
Orlando, FL
1983
25th M. Allen Hortt Memorial Acquisitions
Exhibition, Museum of Art, Fort Lauderdale, FL
Roadworks Artists Detour, Gallery Contemporanea,
Jacksonville, FL (three-person show)
Four in Florida, North Miami Museum and Art
Center, Miami, FL
The Alumni Show, The New Gallery, University of
Miami, Coral Gables, FL
1982
Florida Painting, Jacksonville Museum, Jacksonville, FL
1980 Christmas Bells, Allan Stone Gallery, New York, NY
Made in Dade, Dade County Public Library, Miami,
FL
1980 North Miami Artists, Bay Vista Campus, Florida
International University, Mimai, FL
Painting Faculty of Florida’s Colleges and Universities
Group Show, Florida International University,
Miami, FL
1979
North Campus 20, Miami Dade Community
College, Miami, FL
2009
1979
1978
1977
1976
1975
1974
1973
1972
Faculty Exhibition, Barry University, Miami Shores, FL
Lisa Hyatt / Duchmanh / Ron Williams, Alan Stone
Gallery, New York, NY
Food in Art, Artmobile, Miami, FL
Recent Acquisitions, Artmobile, Miami, FL
National Women Artists, Soho 20 Gallery, New
York City, NY
Museum of Science Invitational, Miami, FL
Professional Women Artists of Florida, Lowe
Museum, Coral Gables, FL
Farrell, Hyatt, Kinggard, and Kreloff, Medici II
Gallery, Miami, FL
A New Reality: From Picasso to “Pop” and on . . . ,
Main Library, Miami-Dade Public Library, Miami, FL
Important Works from the Art Dealers Association
of South Florida, The Metropolitan Museum of Art
Center, Coral Gables, FL
Women Artists, Barry University, Miami Shores, FL
Women Artists, Medici II Gallery, Miami, FL
Graphic Exhibition, Grove House, Miami, FL
Miami Women Artists, Peachtree Gallery, Atlanta, GA
Lowe Museum, University of Miami, Coral
Gables, FL
Masters Exhibition, Lowe Museum, University of
EXPOSITIONS PAR JURY (selectionnées) /
JURIED EXHIBITIONS (selected)
2007 Lancaster County Art Association, Strasburg, PA.
Juror: William Zimmer, art critic, New York Times
(Second Place)
2006 Making the Cut, Firehouse Plaza Art Gallery,
Nassau Community College, Garden City, NY.
Juror: Apsara DiQuinzio Curator Whitney
Museum, New York, NY (Best in Show)
2005 7th Annual All-Media Exhibition. Juror: Britta
Konau, Associate Curator of Modern and
Contemporary Art, National Museum of Women
in the Arts, Touchstone Gallery, Washington, DC
(Honorable Mention)
2003 28th Annual Juried Fine Arts Exhibition, Mills
Pond House Gallery, STACARTS, St. James,
NY. Juror: Carrie Springer, Whitney Museum of
American Art, New York, NY
1979
21st M. Allen Hortt Memorial Competition and
Exhibition. Juror: William S. Lieberman, Museum
of Art, Fort Lauderdale, FL (Best in Show)
40th Annual Exhibition of Contemporary American
Painting. Juror: Thomas N. Armstrong III, Director,
Whitney Museum of American Art. The Society
of Four Arts, Palm Beach, FL
1973
1972
35th Annual Exhibition of Contemporary American
Painting, The Society of Four Arts, Palm Beach, FL
National Drawing Exhibition, State University
College, Potsdam, NY. Juror: James Harithas,
Director, Everson Museum
Davidson National Print and Drawings Competition.
Juror: Clement Greenberg. Stowe Gallery,
Davidson College, Davidson, NC
First Miami Biennial Graphics Exhibition, Miami Art
Center, Miami, FL
5th Annual Membership Show. Jurors: Charles
Cowles and Dr. Donald Saff. Miami Art Center,
Miami, FL
CATALOGUES (SÉLECTIONÉS) /
CATALOGUES (SELECTED)
Œuvre ouverte: Œuvres récentes de Lisa Parker Hyatt / Open
Text: New Work by Lisa Parker Hyatt. Montréal, QC:
Beaux-arts des Amériques, 2012.
Art Naples Contemporary Art Fair. Naples, FL: International
Fine Arts Expositions, 2011.
Lisa Parker Hyatt Ehrlich. Montréal, QC: Beaux-arts des
Amériques, 2007.
Manifest National Drawing Annual 2006 Exhibition-in-Print.
Cincinnati: Manifest Creative Research and Drawing
Center, Manifest Press, 2006.
Miami Thriving in Change (1940-1990): Miami Artists, Fifty
Years of Collecting. Miami, FL: Main Library, Metro
Dade Cultural Center, 1990.
The Art of Miami. Foreword by Vicki Kopf, Curator SECCA,
and introduction by Helen L. Kohen, Art Critic, The
Miami Herald. Winston-Salem, NC: Southeastern
Center for Contemporary Art, 1986.
Lisa Hyatt: Recent Work. Acknowledgements and catalogue
commentary by George S. Bolge, Executive Director.
Fort Lauderdale, FL: The Museum of Art, 1983.
Roadworks. Jacksonville, FL: Barnett Banks, 1983. Project
catalogue.
Florida Painting. Introduction by Marsha Orr, Visual Arts
Coordinator for the State of Florida. Jacksonville, FL:
Jacksonville Museum, 1982.
Made in Dade. Introduction by Barbara N. Young and
Margarita Cano. Miami, FL: Dade County Public
Library, 1981.
Florida Visual Artists: Fellowship Catalogue, 1980-81.
Introduction by Robert W. Fichter, Art Editor. FL:
Division of Library Services/Division of Cultural
Affairs, Florida Department of State, 1981.
Dade County Art Tour: The Art in Public Places Program. Miami,
FL: Office of County Manager/Communications,
Metropolitan Dade County, 1980.
Guidebook. 1980 Florida Faculty Painting Exhibition.
Foreword by Dahlia Morgan, Gallery Director and
Lecturer, with acknowledgement by James M. Couper
Associate Professor Department of Visual Art.
Miami, FL: Visual Arts Gallery, Florida International
University, 1980.
North Campus 20. Introduction and acknowledgements
by Renée Landes, Director. Miami, FL: Miami-Dade
Community College, 1979.
Twenty-First Annual M. Allen Hortt Memorial Competition and
Exhibition. Juror’s statement by William S. Lieberman,
Director of Drawings, The Museum of Modern Art, NY.
Fort Lauderdale, FL: The Museum of Art, 1979.
Fortieth Annual Exhibition of Contemporary American Paintings.
Acknowledgement by James M. Brown, Director. Palm
Beach, FL: The Society of the Four Arts, 1978.
Professional Women Artists of Florida. Essay by Nancy Hanks,
Chairman, National Endowment for the Arts. Coral
Gables, FL: Lowe Art Museum, University of Miami,
1976.
35th Annual Exhibition of Contemporary American Paintings.
Acknowledgement by John Gordon, Director. Palm
Beach, FL: The Society of the Four Arts, 1973.
Davidson National Print and Drawings Competition.
Introduction by Herb Jackson, Director, and Juror’s
Statement by Clement Greenberg. Davidson, NC:
Stowe Gallery, Davidson College, 1973.
The National Drawing Exhibition. Introduction by Benedict
Goldsmith, Gallery Director, and Juror’s statement by
James Harithas, Director, Everson Museum. Potsdam,
NY: State University College, 1973.
FILMES & LECTURES / FILMS AND LECTURES
Lisa Parker Hyatt Ehrlich, Piedmont Virginia Community
College, Charlottesville, VA (filmed lecture), 2006.
Roadworks. Dan Kossoff, Director of Program Development,
WJCT Channel Seven, Jacksonville, FL: PBS, 1983.
Much More than Meets the Eye: Lisa Parker Hyatt Ehrlich.
Tom Snyder, Director, and Betty Lou Curry, Producer.
Exhibition documentary of Lisa Parker Hyatt: Retrospective at the Museum of Art, Fort Lauderdale, FL. Fort
Lauderdale, FL: Selkirk Productions, PBS, 1983.
Parker Hyatt: Retrospective at the Museum of Art,
Fort Lauderdale, FL. Fort Lauderdale, FL: Selkirk
Productions, PBS, 1983.
PUBLICATIONS SÉLECTIONÉES /
SELECTED PUBLICATIONS
Stoddard, Leah. “Œuvre ouverte: Œuvres récentes de
Lisa Parker Hyatt / Open Text: New Work by Lisa
Parker Hyatt” (exhibition catalogue). Beaux-arts des
Amériques, Montréal, QC: May 2012
Dick, Jason. “D.C. Art Venue has Cool Vibe.” Roll Call,
March 10, 2012. http://www.rollcall.com/issues/57
107/DC-Art-Venue-Has-Cool-Vibe-213024-1.
html?zkMobileView=true
Wilson, Amanda. “The Fridge Gallery, Going Strong after
Hilly Win.” The Hill Rag, March 2012, 128-129.
“‘KING ME: Studies in the Uncivilized World‘ Shows Two
First Ladies Smooching.” The Huffington Post, March 1,
2012. http://www. huffingtonpost.com/2012/03/01/
king-me-studies-in-theuncivilized-world_n_1311586.
html#s742135&title+Lisa_Parker_Hyatt
Pelletier, Caroline. “The Value of Art.” La Scena, Fall 2007, 15.
Lehmann, Henry. “Factory Smoke and Emblematic Mirrors.”
The Gazette (Montreal), August 18, 2007, E10.
Black, Heather. “Lisa Parker Hyatt Ehrlich: Every Image
Tells a Story.” Westmount Independent (Montreal),
August 19, 2007, 7.
Latter, Ruth. “Art and Politics do Mix at PVCC.” The Daily
Progress, October 19, 2006, B1.
Parsons, Laura. “America the Beautiful?” The Hook, 2006.
Latter, Ruth. “Ins and Outs of One-Woman Show.” The
Daily Progress, 2006, DI.
Kohen, Helen L. “State of the Art: 5 South Florida Artists
Exhibit Some Big Talent.” The Miami Herald, June 9,
1985, front page, section K.
Barth Firestein, Cecily. “Billy Baldwin, Where are you Now?/
Art Deco” Review. Artspeak (New York), 1985, 6.
Stern, Laura. “College Show Crackles with Powerful Works.”
The Orlando Sentinel, September 1984, E1, E8.
Kohen, Helen L. “Hortt Perks up on Anniversary.” The
Miami Herald, May 22, 1983, 2L.
Kohen, Helen L. “Fort Lauderdale Museum Reveals Varied
Riches.” The Miami Herald, October 9, 1983, 3L.
Kohen, Helen L. “Billboard Art.” The Miami Herald, July 3,
1983, front page, section L.
Speed, Marie. “Road Works: The Best Thing for Drivers
Since Burma-Shave.” Jacksonville Monthly, May 1983,
56-58.
Smith, Esther. “Road Works.” Art Papers, 1983, 20-23.
Campbell, Mary. “Road Works Florida Artists Involved in a
Big Blowup.” Jacksonville Journal, April 19, 1983, front
page, section D.
Campbell, Mary. “Exhibit of Road Works Paintings Offers
More Leisurely Look.”Jacksonville Journal, July 21, 1983,
6D.
Chase Morrow, Elizabeth. “There’s Life After ‘Road Works’
for Three Artists.” Detour, 1983.
Hughes, Stephen. “Homegrown Talent Flowers in North
Miami Show.” The Miami Herald, January 30, 1983, 32.
Hurlburt, Roger. “Collections Offer Mixed Bag of Visual
Sensations.” Fort Lauderdale News/Sun Sentinel,
October 9, 1983, 4E.
“Cultivating Corporate Sales.” Décor, October 1983, 150-154.
Kohen, Helen L. “Jacksonville Museums Deserve Places in
the Sun.” The Miami Herald, October 3, 1982, 3L.
Kohen, Helen L. “Forecast: Bright Days for Art in South
Florida.” Art News, December 1980, 98.
Poroner, Palmer. “Individuals: Hyatt, Willis, Krim.” Artspeak,
May 8, 1980.
Kohen, Helen L. “She’s an Artist Who Performs Feats of
Clay/Faculty Shows.” The Miami Herald, January 11,
1980, 10D.
Edwards, Ellen. “South Florida: No Longer a Last Resort for
Art.” Art News, December 1979, 80-84.
Edwards, Ellen. “An Explorer Puts Vision into Spaces.” The
Miami Herald, March 30, 1979, 2D.
Edwards, Ellen. “Hortt Corpus Shows Signs of Life.” The
Miami Herald, front page.
Jonas, Schubert. “The Hortt Show is Quite Strong.” The
Fort Lauderdale News, April 22, 1979, front page.
Mark, Barry. Best in Show. Sister M. Trinita Flood Publisher
(Summer 1979), VII.
Edwards, Ellen. “Women in Art: Six Portraits.” The Miami
Herald, September 3, 1978, front page.
Edwards, Ellen. “Wait Till Next Year - That May Be the
Case.” The Miami Herald, October 22, 1978, 2M.
“Lisa Hyatt/Duchmanh/Ron Williams.” Arts Magazine,
June 1978. “People in the Arts.” Art Digest South
Newsletter, May 1, 1978, 5.
Smith, Griffin. “YWCA Show: Why Link Art to Sex?” The
Miami Herald, March 24, 1974, 10L.
Fine, Mary Jane. “A Good Art Sense is No Elite Thing.” The
Miami News, March 7, 1974, B.
BOURSES, COMMISSIONS /
FELLOWSHIPS, GRANTS, COMMISSIONS
1983–84 Florida Council for the Arts, Fellowship
(Painting)
1982–83 Barnett Bank of Jacksonville, Roadworks,
(Commission for Billboard)
1980–81 Florida Council for the Arts Artist, Fellowship
(Painting)
1978
Art in Public Places, Painting Commission,
Miami Springs Public Library, Miami Lakes, FL
1974
Florida Council on the Arts Grant (Photography
and Offset Lithography), University of Miami,
Coral Gables, FL
1973
Charles Cowles Fellowship, University of
1971–73 Graduate Assistantship, University of Miami,
Coral Gables, FL
COLLECTIONS PUBLIQUES / PUBLIC COLLECTIONS
Barry University, Miami Shores, FL
Dade County Art in Public Places, Miami, FL
Davidson College, Davidson, NC
Frost Art Museum, Miami, FL
Metropolitan Museum and Art Center, Coral Gables, FL
Miami Dade Public Library, Miami, FL
Museum of Art, Fort Lauderdale, FL
Museum of Modern Art, New York, NY
Norton Museum of Art, West Palm Beach, FL
Piedmont Virginia Community College, Charlottesville, VA
University of South Florida, Tampa, FL
COLLECTIONS PRIVÉES / PRIVATE COLLECTIONS
American Telephone & Telegraph, Atlanta, GA
Barnett Bank, Jacksonville, FL
The Estate of Leigh Block, IL (past president, The Art
Institute of Chicago)
City National Bank, FL
Cypress Bank, FL
Krauthamer & Stahl, Chevy Chase, MD
Jody Zall Kusek, Bethesda, MD
The Estate of Eugene Massin, Coconut Grove, FL
Ricardo Pau-Llosa, Miami, FL
Dr. and Mrs. Craig Eric Schneier
Ruth and Richard Shack Collection, Miami, FL
Mark and Harriet Silver, Baltimore, MD
Robert Sinclair, Advertising, FL
Southern Bell, Jacksonville, FL
The Estate of Allan Stone, New York, NY
ARCHIVES / ARCHIVES
2007 The Vasari Project Archive, Miami-Dade Public
Library System, Miami, FL
2006 National Museum of Women in the Arts,
Washington, DC
Nine Ten, 2011
21.59 µ 27.94 cm / 8.5" µ 11"
Ce catalogue est publié à l’occasion de l’exposition
Œuvre ouverte : Œuvres récentes de Lisa Parker Hyatt
Open Text : New Work by Lisa Parker Hyatt
tableaux par Lisa Parker Hyatt
chez Beaux-arts des Amériques
du 17 mai au 16 juin 2012
Catalogue © Beaux-arts des Amériques, 2012
Œuvres d’art/artwork © Lisa Parker Hyatt, 2012
Tous droits réservés
Publié par/published by
3944, rue St-Denis
Montréal, Québec H2W 2M2
T 514.481. 2111 F 514.481.7113
[email protected]
www.beauxartsdesameriques.com
sur la couverture/cover
Three Planes, Three Apertures, 2010–2012
132.08 µ 241.3 cm / 52" µ 95"
en face/opposite
Six Planes, Two Apertures, 2012
30.48 µ 30.48 cm / 12" µ 12"
Texte : Leah Stoddard
Traduction: François Côté
Conception graphique : Jeremy Eberts
Correction des couleurs : Yanik Jutras
Impression : Quadriscan (Montréal)
ISBN 978-2-923976-08-2
Bibliothèque nationale du Québec, 2012
Bibliothèque nationale du Canada, 2012

LISA PARKER HYATT

Transcription

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