Artist /critic Marjorie Welish received her first solo show thanks to Laurie Anderson, then curator of the Whitney Museum Art Resources Center; she has exhibited most recently in New York, Paris, Vienna, and Cambridge, England. She received many grants and fellowships, including Adolph and Esther Gottlieb Foundation, Elizabeth Foundation for the Arts, The Fifth Floor Foundation, John Simon Guggenheim Memorial Foundation Fellowship, Pollock-Krasner Foundation, and Trust for Mutual Understanding (supporting an exchange between the International Studio Program, New York and the Artists’ Museum, Łódź, Poland). In 2006, she received a Fulbright Senior Specialist Fellowship to teach at the University of Frankfurt, where she also worked on a limited-edition constructed art book, Oaths? Questions? in collaboration with James Siena, published by Granary Books in 2009 (in the collections of the Beinecke Library at Yale, British Museum, Colby College, Columbia University, David Museum (Wellesley College), Denison Museum, the Getty Center, The Metropolitan Museum of Art), and The Philadelphia Museum of Art, and Smith College Museum of Art; in 2010 with a Fulbright, she was at Edinburgh College of Art. In 2015 she was nominated for the award Anonymous Was a Woman. Writing on her work may be found in Of the Diagram: The Work of Marjorie Welish (Slought Foundation, 2003) compiles papers given at a conference on April 5, 2002, at University of Pennsylvania: https://slought.org/resources/store#of_the_diagram_the_work_of_marjorie_welish Welish’s book of art criticism is Signifying Art: Essays on Art after 1960 (Cambridge University Press, 1999). More information on Welish may be found at http://marjoriewelish.com/Home.html Marjorie Welish is now on the Board of the International Studio and Curatorial Program. She writes art criticism for Art Monthly [U.K.]
SELECTED EXHIBITIONS
Ongoing- https://www.evbaeyer-cabinet.com/artist-329/
2024 Launch of Subject to Change, a collaborative artists’ books, by Michael Corris, Stéphane Mroczkowski, Alexandra Pignol,
and Marjorie Welish, Mare et Martin, 2023. January 27, 2024. RSVP
2023 “De/Cipher,” gkg - Gesellschaft für Kunst und Gestaltung [Society for Art and Design],
January 22-April 16, 2023; arti et Amicitiae [For Art and Friendship], Amsterdam, April 21-May 22, 2023.
Solo version,“Of the Sign,” Flow Chart Foundation, Hudson, New York, November 2023-January 2024; New version
to travel to Jesus College, Cambridge. Click for Announcement and Catalogue
Exhibition link
2022 Simon Morris and the editors of Inscription #3] are having three exhibitions, entitled ‘Folding the Page’
simultaneously at Tate Britain (hosted by Gustavo Grandal Montero), Chelsea College of Arts (hosted by Siobhan Britton)
and Shandy Hall (hosted by Patrick Wildgust) that will further contextualise and amplify the theme of this issue: folds.
The exhibitions will run from: 21 November 2022 – 15 January 2023. On the 25th November 2022, there will be a conference
in Tate Reading Rooms from 10 am-5.30 pm and at 6 pm we will officially launch the new issue of our journal, across the road
at Chelsea College of Arts.
2022 “Woodland Pattern,” Milwaukee Institute of Art and Design, October 21-December 3, 2022
2022 “11 Women of Spirit,” part 5, Galerie Zurcher, May 15-22, 2022
2021 Phase 4 Intersections – Art/Architecture edited by Benet Spencer and David Ryan (catalogue image),
University of Greenwich, London
2018 American Academy of Arts and Letters Invitational: purchase / The Philadelphia Museum of Art
2017 “Paper Architecture: Urbanism” [with Olivier Gourvil and urbanist Muriel Pagès], La Terrasse, Nanterre.
2016 “Some Differences,” Art-3, New York.
“Phase 1,” Ruskin Gallery, Angelia Ruskin University, Cambridge, England.
“Break Ground,” (with Joe Amrhein), Art-3, New York.
2015-16 Cabinet, Emanuel von Baeyer, London.
“The Book Undone: Thirty Years of Granary Books,” an exhibition to acknowledge the acquisition by
Columbia University of Granary Books archive.
“Based on Drawing,” Satellite Berlin, Berlin.
2014 Radio 22, La Kunsthalle, Mulhouse, FRANCE
Oaths? Questions? contributed to Believe Half of What You See And None of What You
Hear project was conceived by Georgia Kotretsos, as part of the exhibition Sous nos
yeux (part 1) curated by Abdellah Karroumat La Kunsthalle of Mulhouse, in collaboration
with the University Haute-Alsace (SUAC) and Radio Campus Mulhouse.
“Source Materials,” Lehman College Art Gallery, New York.
2013 “BILD TEXT / Arrangement and Attitude,” Galerie Peithner-Lichenfels, Vienna
2011 “Before, During and After: The Story of a Work,” Denison University Museum, Granville, Ohio.
2009 “Book a Table,” Rocket Gallery, London.
New York New Drawings 1946-2007 [Werner Kramarsky], Museo Arte de Contemporaneo
Esteban Vicente, Segovia, Spain.
2008 Bjorn Ressle, New York.
[conceptual and concrete works], Gesellschaft fur Kunst und Gestaltung, Bonn.
2007 Aaron Galleries, Chicago.
[art by writers], Anita Shapolsky, New York.
“Image Works, Word Works,” (with Norma Cole and Tom Raworth; also, TNWK), Miami University, Oxford, Ohio.
2006-7 Works on Paper, Weatherspoon Art Museum, University of North Carolina, Greensboro.
Curated by Nancy Doll and Xandra Eden.
2006 Baumgartner Gallery, New York [with Helmut Federle].
2005 “Paper Architecture / Architecture de Papier” [with Olivier Gourvil] Slought Projects,
Philadelphia, Pennsylvania. Brochure essay by Joseph Masheck.
2002 “Transcendent & Unrepentant,” Rosenwald-Wolf Gallery, the University of the Arts
Philadelphia, Pennsylvania. Organized and with essay by Sid Sachs.
2001 Baumgartner Galley, New York [with Peter Downsbrough].
1999 “Marking,” Center Arts, Tucson, Arizona.
1997 Donahue /Sosinski Gallery, New York.
"After the Fall: Aspects of Abstract Painting," Snug Harbor Cultural Center, Staten Island,
New York. Curated by Lilly Wei.
University of Massachusetts, Amherst.
1995 E.M. Donahue, New York. Brochure essay by Elaine King.
1993 E.M. Donahue, New York. Brochure essay by William S. Wilson.
GRANTS AND FELLOWSHIPS
2021; 1997, Pollock-Krasner Foundation Grantee IPS
2010 Artist-in-residence, School of the Art Institute of Chicago, July 12-30, 2010
200-11 Fulbright Senior Specialist Roster, 2006-11;
Spring 2010 (Edinburgh College of Art, Scotland); grantee
Spring 2007(University of Frankfurt, Germany);
2004 The Fifth Floor Foundation (to support cooperative project with O. Gourvil), 2004
2003 Adolph and Esther Gottlieb Foundation Grant, 2003
1997 Trust for Mutual Understanding: International Studio Program and The Artists' Museum, Lodz, Poland, July
1997 Pollock-Krasner Foundation
1995 International Studio Program, New York
1993 Elizabeth Foundation for the Arts
1990 Triangle Artists Workshop, Pine Plains, N. Y July
LIMITED-EDITION BOOKS/ARTIST MULTIPLE/ SPECIAL PROJECTS
[Subject to Change, collaborative image-text book, with Michael Corris and Stephane Mroczkowski, to be
published by Mare et Martin; in 2023]
Inscription #3 journal publishing limited edition art prints in conjunction, edited by Simon Morris, launch
and conferences in November 2022
Project X (limited-edition collaborative construction, with Gracia Khouw), 2021
Between Sincerity and Irony (limited edition collaborative construction, with Dan Walsh),
2019: https://www.evbaeyer-cabinet.com/exhibitions/between-sincerity-and-irony/
Holiday Pop-Up Show, Paula Cooper Gallery, December 8-31, 2020
PUSH BAR TO OPEN (video of art and text interpreting functional transformations in the
Inverleith House, Scotland, from an 18th Century residence to a 20th-Century project
space for art):
Michela Bondardo Presents [with Buzz Spector], New York, April 2, 2015;
University of Paris, 8, host Vincent Broqua, March 6, 2015;
Double Change et la Fondation des Etats-Unis [with Nicole Brossard and Jean
Frémon], March 6, 2015.
A Guide to Poetics Journal: Writing in the Expanded Field, 1982–1998 [cover]
eds., Lyn Hejinian and Barrett Watten, Wesleyan University Press, 2013
Oxford Companion to Modern Poetry in English, eds. Jeremy Noel-Tod and Ian Hamilton,
Oxford University Press, 2013. [cover]
Oaths? Questions? (with James Siena), Granary Books. 2009
http://www.twocoatsofpaint.com/2009/12/marjorie-welish-and-james-siena-doing.html
Art on Paper: “Tactical Antagonisms” [feature], November-December 2009,
Frances Richard http://www.artonpaper.com/bi/v14n02/speaking_volumes.php
“Fine and Dirty,” curated by Betty Bright, traveling exhibition of artists’
books:
Minneapolis, San Francisco, Chicago, New York, 2011-2013
“Les Espaces du Livre /Spaces of the Book,” Trinity College, Cambridge University,
England, September 6-7, 2013
“The Napkin and its Double,” [with Buzz Spector], Granary Books, 2007
Of the Diagram: The Work of Marjorie Welish, edited by Aaron Levy, from conference and
website on Welish’s art and writing [Philadelphia: Slought Books, 2003]
(day-long conference), “Marjorie Welish,” University of Pennsylvania, April 5, 2002
Organized by Slought Network. Papers: Jean-Michel Rabaté, Joseph Masheck,
Osvaldo Romberg, Norma Cole, Bob Perelman, Keith Tuma, Thomas Zummer,
and Aaron D. Levy. Responses: Kenneth Baker, Deborah Gans, Matthew Jelacic,
Frances Richards, Olivier Gourvil, Carla Harryman, Chris Tysh, and Ronald
Janssen. Web retrospective of art.
“Juste_une_Image” [website], as of November 1999
Tableau: territoires actuels (Ecole des Beaux-Arts de Valence and Le Quartier [art center],
Quimper), 1997.
ON THE ARTIST: FEATURED
Profile by Barbara MacAdam, Art & Object [online] December 2022
Selected by Raphael Rubinstein for a feature in Art in America, July-August, 2013, is a
painting from the series “Indecidability of the Sign: Frame,” to be seen in
conjunction with a poem “In the Name of Studio.”
ON THE ARTIST: REVIEWS AND NOTICES
Art News, February 1, 2017, Barbara MacAdam
Two Coats of Paint, December 7, 2016
Art Critical Review Panel, February 7, 2017, with David Cohen, Jessica Bell Brown,
Jennifer Samet, John Yau
Art News, July 2008, by Lilly Wei
Bomb Magazine (First Proof), Summer 2008
www.haberarts.com/myintro.htm “Diagrams of Disorder,” May 22, 2008
New York Sun, May 15, 2008, by Jennifer Riley
Art in America, June-July, 2006, by Joe Fyfe
New York Sun, April 6, 2006, by David Cohen
Village Voice, April 5-11, 2006, by Jerry Saltz
Art in America, May 2002, by Edward Leffingwell
Art News, April 2002, by Lilly Wei
New York Observer, January 7, 2002, by Mario Naves
Village Voice (listing), January 1, 2002
The New York Times, December 28, 2002, by Ken Johnson
The New York Times, August 3, 2001, by Ken Johnson
Cover, June 1998, by Robert Mahoney
The New York Times, December 19, 1997, by Grace Glueck
Review, December 1, 1997, by J. Bowyer Bell
The New York Times (New Jersey edition), April 13, 1997, by Barry Schwabsky
Amherst (Mass.) Sunday Republican, February 9. 1997, by Gloria Russell
Milwaukee Journal Sentinel, April 7, 1996, by James Auer
Bomb (illustration), winter 1995
The Art Bulletin, August 1995, by David Carrier
Village Voice, May 2, 1995, by Peter Schjeldahl
New York Newsday, April 7, 1995, by Amei Wallach
Art in America, November 1993, by Lilly Wei
Art News, October 1993, by Meyer Raphael Rubenstein
The New York Times, July 2, 1993, by Holland Cotter
Art Initiatives, September 1992, by Meredith Bergmann
Artspace, May-June 1992, by William S. Wilson
Tema Celeste, January 1992, by Robert C. Morgan
reprinted in his Art of the Nineties (New York: Red Bass, 1993)
Art in America, June 1989, by Gerrit Henry
Arts Magazine, February 1989, by Robert C. Morgan
Cover, January 1989, by Jeff Wright
Print Collector's Newsletter, January 1989
SELECTED WRITING ON ART BY THE ARTIST
Fergus McCaffrey: “Leiko Ikemura,” Two Coats of Paint [blog] November 2022
Bortolami: “Morgan Fisher,” Two Coats of Paint, October 2022
“Charles Haxthausen: A Mythology of Forms, Selected Writings on Art, Carl
Einstein” ArtMonthly May 2022
“Galerie Zurcher: Tom Doyle,” Art Critical online, March 2022
Brooklyn Rail hosts Art Critical trio of panels, November 19, 2021
“Luhring Augustine: Richard Rezac,” Art Critical online
David Diao: Painting and Document, [anthology] edited by Stéphane Mroczkowski and
Alexandra Pignol,
“Abstraction, Advocacy of,” Tema Celeste, January-March 1992 reprinted in
David Diao: Peunture et document /Painting and Document (edited by Stephane
Mroczkowski, Alexandra Pignol) Mare et Martin, 2020
‘MoMA Redux,’ [feature] Art Monthly
“On the Way to Encountering O’Hara on Art”, Frank O’Hara, ed. Olivier Brossard, Presses
Universitaires de la Méditerranée, 2017
“Aleatory Wars,” Journal of Cotemporary Painting: Simon Hantäi Issue, edited by Laura Lisbon,
2015
”The Case of the Black Quadrilateral,” Mostly Modern: Essays on art and architecture,
ed. Joseph Masheck, Hudson Hills, 2015
The Studio Reader (eds. Mary Jane Jacob and Michelle Grabner) University of Chicago, 2010.
Art, artist’s statement, and reprinted essays by Welish.
“Montage, Encore: Une cible mouvante,” Le Montage Dans Les Arts Aux XX et XXI Siecles (sous
la direction de Sylvie Coellier),Publications de L’Universie de Provence, 2008.
“Big Julie Stepping Out,” Fernand Léger, Skira, 2009. Papers given at an international
conference on Léger, Dijon 2004, compiled and translated. Other authors: Adami,
Affron, Criqui, Lanchner, Lucie-Smith.
“How to Undo/Redo the Object by Osvaldo Romberg,” (ed., Aaron Levy) Searching for Romberg,
Slought Books, Philadelphia, 2001
Signifying Art, Cambridge University Press, 1999. A Book Selection of artnet.com
Reviews: New Art Examiner (July-August 2000; CAA.reviews [e-zine], Craig Adcock,
February 19, 2001; The Burlington Magazine, Merlin James, May 2001; Cahiers 71, NANM, Sylvie Coellier, 2001
“Donald Judd,” “Ad Reinhardt,” Encyclopedia of Aesthetics (Oxford University Press, 1998)
“Contratemplates,” Uncontrollable Beauty (Allworth Press, 1998)
“Lawrence Weiner,” Speak Art!: The Best of Bomb (Gordon and Breach, 1997)
“The Art of Being Sparse, Porous, Scattered,” Writing the Image After Roland
Barthes, ed. Jean-Michel Rabaté (The University of Pennsylvania Press, 1997)
“Narrating the Hand: Cy Twombly, Mary Kelly, and the Story of Writing,” Annals of Scholarship
Vol. 13 Nos. 1-2, ed., Marie-Rose Logan, Fall 1999.
"Jasper Johns," Bomb , ed., Betsy Sussler, Fall 1996
"The Critic in the Studio" Annals of Scholarship Vol. 10 Nos. 3 4 , eds.,Marie-Rose Logan and
Robert C. Morgan, 1993 [published 1995]
"Word into Image" [interviews with Robert Barry, Martha Rosler, and Nancy Spero] Bomb, ed.,
Betsy Sussler, Spring 1994
SELECTED CATALOGUE ESSAYS
“Decisions, Decisions, Decisions,” [James Siena], Pace Gallery 2019
“Lighting the Site,” What is Salty Water? [Olowska, Camplin], Portikus, Frankfurt-am-Main,
October 2007
“Zig-Zag: The art of Olivier Gourvil.” Le Quartier, France, June 2003
“Marked Site: Then...Now,” Peter Downsbrough retrospective, Palais des Beaux Arts, Bruxelles
June 2003; traveling to France, Poland, Switzerland
6 + 1, Petra Bungert Projects, July 1997.
[Drawings by Russell Maltz], Werner Kramarsky, May 1997.
Indicating Surface [Merrill Wagner], William Paterson College, Wayne, New Jersey, October
1996.
Boulders from Flatland [drawings by Jene Highstein], SECCA, February 1996.
Pail For Ganymede [Robert Rauschenberg], Modern Art Museum of Fort Worth, October 1995.
Word into Image [Martha Rosler], Contemporary Arts Center, Cincinnati, Ohio, September
1993 [reprint of interview published in Bomb].
Maquettes and Models [Siah Armajani and Hannes Brunner], The Swiss Institute, New York,
April 1994.
"is stuff that was once rock" [Frances Barth], Herter Art Gallery, University of Massachusetts,
Amherst, March 1994.
"Jonathan Lasker," Sammlung Goetz, Munich, December 1993.
Imagination without Strings [Rauschenberg retrospective], Contemporary Art Museum,
Hiroshima, November 1993.
A Literature of Silence [Nancy Haynes], John Good, New York, September 1993
An art critic for Art Monthly [U.K], Marjorie Welish has also written for: Art Criticism, Art in
America, Art News, Bomb , Bookforum, Partisan Review, Salmagundi, Sulfur, and Textual Practice.
.