renouf

Edda Renouf

4 April - 3 May 2013

Annely Juda Fine Art23 Dering Street (off New Bond Street)

London W1S 1AW

[email protected]

www.annelyjudafineart.co.uk

Tel 020 7629 7578 Fax 020 7491 2139

Monday - Friday 10 - 6 Saturday 11 - 5

1 Thames-VII, River-Sky Encounter #2 2012

acrylic on linen, removed threads

180 x 180 cm

ARTIST STATEMENT

“Materials speak to me and unexpected things happen. It is from a silent conversation between materials and imagination, from intuitive listening that the paintings and drawingsare born.”*

Essential to my paintings and drawings is the revealing of an abstract structure and energy inherent to my materials, the linen canvas and cotton paper. In my paintings, afterholding a stretched canvas up to the light, which allows me to see the movement of theweave, I am inspired to remove certain threads which in some works I also then reapply. Icontinue by priming the canvas and then apply several thin coats of acrylic paint. This isfollowed by a careful sanding of the surface that again makes visible the life within thelinen material. In my drawings I incise lines with an etching point to remove particles ofpaper before applying sometimes several layers of chalk or oil pastel. Breaking away fromthe traditional approach to linen and paper, which are usually used as grounds on which topaint an image, my working process reveals and uncovers the life and abstract energywithin the materials.

Important to my technique of thread removal and incised paper, which reveals the energy and structure of my materials is that this process brings about various juxtapositions basic to the life of the art works: as for example the positive versus the negative spaces in my paintings and drawings; the contrast between the geometry of theframes I use for my paintings and the organic flexibility of the linen fiber of the canvas; thedifference between the crisp scraped lines in my drawings versus the uneven more organic incised lines; or the contrast between the well defined lines created by removedand applied threads in my paintings versus the aleatory, cloud-like areas of color that havebeen sanded. I have often defined the coming together of these juxtaposed contrastingqualities as analogous to the rational and irrational, that is, the Apollonian and Dionysianforces of life and existence.

Used in the titles of my works are several themes: the four natural elements; time; andthat of sound and music. The linen canvas and paper originate from the flax and cottonplants, which depend on the four natural elements; also the acrylic paint and pastels originate from earth: the four elements thus are directly related to my material’s structureand thus became a recurrent theme in my work. For example, the abstract structures revealed to me are metaphors, signs that relate to air, water, earth and fire; the signs appear with the removing and reapplying of threads, which I often also symbolize with corresponding colors: grays in varying tones; cobalt and ultramarine blues; siennas; oxidered; oranges and ochres etc. The other important and recurrent themes are that of timeand music or sound: my art works are a record of the days, weeks, months and seasonswhen they were created, and thus act as a journal of my working process; and the themeof music or sound, points to the idea of ‘making the invisible visible’, and of the hiddenpresence of wave structures in our universe.

Edda Renouf, Paris, March 2010

*Quoted by Edda Renouf in Judy K. Collischan Van Wagner. Lines of Vision: Drawings byContemporary Women (New York; Hudson Hills Press, 1989), p.116.

2 Twilight 1974


90 x 90 cm

An Interview with Edda Renouf

Ian Hunt: This exhibition brings together a group of paintings named for the Thames. What werethe rst impulses for this group?

Edda Renouf: When David Juda asked me to do this show, at first I was thinking that Londoners will be seeing my work in the context of a one-person show for the first time. SoI really wanted to clearly focus on the fact that I reveal the energy of my linen material. AndI proceeded to do my first paintings, looking at the linen against the light and being inspired by which threads I would remove. When I remove threads, it's a very lengthyprocess, it takes time, and it becomes meditative. I don't impose an image on top of thelinen, the image comes out of the structure by my removing the threads, and by my applying paint and then sanding it. But as I was making the first painting, it made me thinkof the river. The Thames is a river that I am very inspired by. The scale relates to the sky,but relates to the city too, in a very subtle way. Then this developed into a series, where different moments of my walking by the Thames seemed to relate to specific paintings.There's one that I call Noon Passage (cat.no.8). It's the one most full of light and it has acentral composition of the removed threads. I suddenly remembered crossing the bridgethat's specifically for pedestrians around noon and I thought that painting had that elementof my experience of the Thames.

So there's a double origin: most importantly in the material, then at a later stage in the process yourecognize associations and memories. That painting is the one with many white glazes, isn't it?

Yes, that started as a very dark blue painting and then I went over it with many coats ofwhite, to come to an almost translucent grey-white colour. The interesting part of it is thatwhen I remove the threads it obviously changes the structure of the linen. The placeswhere I have removed the threads automatically make the paint behave in certain ways. Ifthere was no structure change the paint would probably cover the surface in a much moreopaque, even way. Whereas in this case the removed threads mean the paint develops avery subtle variation of dark-light, which made me think of that incredible liveliness of thesurface of water that's constantly in movement. In revealing the energy of the linen I wantthe spectator to sense its organic origin. It comes from a plant, so it has this very aleatoryand unpredictable quality. In that same painting I like the way the removed threads arecurved, against the geometry of the weave.

In Noon Passage the brushstrokes are visible, rather unusually. In most of your paintings theground is built up differently.

It is an unusual painting in terms of the whole series because I didn't sand it. All the othersare sanded. I realised that it wasn't necessary because if you look at it closely the verycomplex variety of dark-light areas actually comes from the structure of the weave. Theweave itself is not a flat surface as you would have with metal or glass. It has its little mountain tops and its little valleys. The paint reacted very well with that. If you look closelyyou can see darker dots and much whiter ones where the white has settled into the concave aspects of the linen. This is because I apply the paint in very thin glazes. I've always felt that I don't cover the material but I uncover it, and I remove rather than add. But

it's very subtle, because in order to make the linen speak, to make its life really visible forthe spectator, it has to have the paint. So I've always talked about the marriage betweenthe paint and the linen: that they need each other in order to become alive, that the paint initself needs that liveliness of the structure of the linen and the linen needs the paint.

Let me ask about the actual process. How do you begin?

I start by preparing my stretcher bars, which I build up with slats on the sides to makethem slightly wider, so when the painting is hanging on the wall it projects slightly more towards the viewer. I've always liked square formats: the focus is very concentrated. So itbrings the viewer, in a very immediate way, to see it clearly as an object in our space.So I start with the square format and then I stretch the canvas. Most of them are stretchedfollowing the line of the horizontal and vertical weave. In this show there will be somestretched on the diagonal as with Autumn Sound Piece I (cat.no.24) and Visible SoundPiece V (cat.no.25). But the Thames series is all stretched following the horizontal-verticallines of the weave. Once it's all stretched I sponge it with water, which tightens it aroundthe stretcher bars and takes away all the creases. And then I hold it up to the window and Isee what the light shows in the linen structure. It often then immediately tells me: thisthread is where you should start removing. So it's just one thread that leads me to the next.In this series I had progressions of vertical and horizontal lines and they are intentionallyvaried. I wanted there to be a play in the variety of measurements. I think it makes it verydynamic that way.

Absolutely. As in River-Sky Encounter #1 (cat.no.3). The vertical lines convey an idea of order andregularity, but it's made by hand and by eye. It's like a hand drawn line as opposed to a ruled line.

What's interesting is that when I remove the threads, even though the weave is a grid ofhorizontal and vertical threads, there's just something about the linen threads that is notperfect. When I put the paint on, it will start to do what it wants to do, so there will be someareas that are darker and some that are lighter. The lines are straight but not completelystraight. Then also the weave has this wonderful flexibility, so there's always some subtlecurve, which here is in the horizontal lines.

These subtle curves bring in a different phenomenological quality to the painting as you stand before it. They suggest space extending beyond the object that we see.

Yes. It relates it to the way with a globe or an atlas you have the hemispheric lines that arecurved.

In River-Sky Encounter #1 the changed structure of the canvas itself is made in a different way.Could you describe the layers you use?

After I remove the threads I size and prime the canvas in the traditional way using anacrylic glue, and after it’s dry I apply the gesso. I sand it down, and the sanding brings upthe structure of the linen more vividly, so when I apply the paint the structure is more present. I wanted to do a blue work, that would relate to water and sky elements, and I tookan ultramarine blue but put some black with it. I was fascinated because the black didn't

completely fuse with the blue, so when I brushed it on and later sanded it, it created thiswonderfully uneven, aleatory areas of light. Those I can control partly, but not completely,and that is what I find so exciting: you think that you have a process and that you've donethis for so many years, but the materials always have their own life and their own character,and they always show you something else.

Whether or not we can exactly see it, we become aware of the paint as an ultimately granularmaterial, suspensions of particles in a medium. You use paint with a sense of what it is as a stuff.

I like the fact that you point out that initially paint is something that is made up from particles. Pastel chalk and pigment is often made out of earth, out of dust; it’s the accumulation of all these little particles of earth that create the colour. I've always been fascinated by the idea of a work of art giving the viewer an experience of wholeness in existence. My fascination with the linen really goes together with the way the paint is revealed as symbolic of the molecular, the very small-particle aspect of our existence, andalso the universal, cosmic dimension. When I do my paintings I feel they almost have astellar quality: this particular painting, when you look at it close, almost looks like stars inthe night sky. That sense of the unity of both what is very small, invisible and microscopicwith the very large or macroscopic. As a child I was fascinated by the idea that everythingthat we see around us isn't all visible, and the idea of making the invisible visible.

There's another painting in this group, Night Bridge (cat.no.4). Could you talk about how that composition came about? This is the one with the curves of the two horizontals and vertical linescoming down all the way across.

I think that it started with the two horizontals which, in that particular painting, are going ina slightly concave line upwards. That painting was the fifth. I had made four 150 x 150 cmpaintings first, then went to a larger 180 x 180 cm format. Curiously enough it was TowerBridge that came to mind. There's something about the way that the bridge is made: I feltthe tension between the line going across and the curved lines on the sides of the two towers. In this painting I felt that it creates a fascinating tension to have an implied curvethat's going in the opposite direction. Where the vertical lines are stopped makes a verysubtle implied curve, which gives it a kind of scale. It's one of the only paintings where theremoved threads go quite close up to the top. It gives it an architectural quality.

It's fascinating that you refer to Tower Bridge because it’s a bridge that moves. Listening to you talk Iwas remembering a description of the experience of Venice, when a barge stacked with goods isgoing along – the sense of commerce between that which is mobile and that which is static.

The fact that you use the word commerce is interesting, because to me, although the Seinein Paris is used for transport, the péniches are constantly going up and down with loads ofgravel or sand, I feel that the intimacy of the Seine gives it a human quality, where you forget that aspect of trade. Whereas to me with the Thames, you sense very much that bigships come in and that it was a port. Then recently there has been so much building in thecity. I sense very much that contrast of the organic flow of the water with the architecture,the big cranes against the sky. The skyline has changed quite radically in the last ten or

3 Thames-VI, River-Sky Encounter #1 2012


180 x 180 cm

fifteen years. So again it was the contrast of the architecture with its geometry and thenthat flow of the river. I always find a river very mysterious, because it's continually flowingand moving. It will be eternally in movement and alive, just as the sky is too.

Is Open Terrain (cat.no.5) one of this group relating to the Thames? This is the one in red.

Yes it is. It's oxide red.

Because that has a different dynamic as a work. Could you speak about your colour choices? You'requite consistent in these.

What I like in colours is that I see them in relation to my devotion to linen, and to the factthat the linen comes from something natural, the flax plant. Being a plant means it relatesto the earth and the sky and nature. I'm very attracted to these more natural colours because they relate more immediately to the linen. If I was to take the linen and put somefluorescent pink on it I would feel that I was doing something contrary to its nature. I bringin colours that relate to the earth, and relate to water and to air. In this series, Noon Passage is very much an aerial painting, full of air and the bright light that you might feel atnoon. Twilight - Open Gate (cat.no.7) is a very dark blue. But the red oxide painting is inspired by something else. When I go to London I take the Eurostar, and recently as youcome in to London there were these vast spaces of earth, the rebuilding of everythingaround the train station. I was thinking that the river has really in a sense drawn its pathright into the earth. You can't separate a river from the earth. I wanted to have one paintingthat was definitely the earth. What's interesting with that painting is that it's the only onewhere the centre is open, and I stopped the threads so that it creates a kind of diagonal. Itgives it a dynamism that made me think of the furrow, the enormous gouge of water in theearth that creates a pathway. I called it Open Terrain because it's opening the earth to letthe river exist.

The starting point for all of these works is the material, but the associations that you bring are verymuch to do with the experience of a modern city and a city that is being transformed. The paint-ings, as a group, have a sense of the city almost as a part of nature, or as experienced as like nature.

Yes, there is the fascination of a river through a city. It so fully itself is nature, and the madeaspect – which is built, which is architecture – is in its necessity very geometrical, and withall the involvement of engineering and mathematics. Whereas what I find interesting in thework of art is that you have a coming together of both the organic and the rational. In NewYork I did a whole series called New York Sounds, because I found that the sounds of thecity reflected the organic quality of the city. You don't sense the Hudson and East Rivers somuch as they are framing the island. You sense the sky. I've done a lot of works that relate to sound because I've found that sound brings in this unity between the rational andthe irrational or, as you say, the city and nature. For example with River-Sky Encounter #1,important to me are the rhythms, built up in the repetition of the verticals. Your eye sensesthem and then they are juxtaposed with the aleatory, completely non-geometrical dark-lightground of the painting, which is reminiscent of sound in its complexity. So you have thiscoming together of the geometry which has its rhythm, but which is then unified by the

cloud-like shapes, which are also rhythmic in a very different way.

What you're saying very clearly is that there is a dynamic relationship between the apparentlystructural elements of the lines, and the paint-material that is revealing the surface. This is very farfrom the idea of line as outline that simply stops or denes an object.

I've often been told that I work like a sculptor in that I remove parts of the material in orderto reveal the life inherent to its structure. Because the material is the weave and what I remove is linear, it has that quality but it's not the same as in a life drawing where the line isdefining something. The line is inherently part of the total structure, the structure of theweave. What I find interesting too is that there's a kind of tension between their flatnessand their spatiality. Mondrian used completely opaque paint that created very geometricalcompositions. The paintings are very present in the space because the paint is opaque. Inmy approach, the painting is very present in our space as an object, but there's a tensionbetween the geometry and the removed threads and then the aleatory quality of the organic life of the linen. So it's an interesting tension, or moment of vibration, or life, that ischaracteristic of my work. I think it's very different from paintings that use colour in anopaque layer.

You create an attention to the making of a surface as a physical, tangible thing, to be perceivedwith the eye but also understood as material. In each of the works that you make it's as thoughyou're trying to make the surface speak.

For me, what is very important is working with my hands. The sanding is something that Icould almost do blindly. What I like about working with my hands is that it puts rationaljudgment to the side, and it's like an intuitive revealing of the life of the material. I like tothink of myself as a kind of medium of the linen, which has a spirit hidden within it, revealedin the process of my working with it. And I think that's only possible in working with one'shands, as a potter makes a pot, or in paintings through the ages: Rembrandt, or VanGogh's brushstroke, or Cézanne's, you sense so much the devotion. When I sand andwork on the paintings with a brush, it's the devotion of wanting each square inch to bealive, really intense and alive.

Let's think of how the hand operates in the drawings, perhaps especially in the group that you'reshowing in London, Structure Change of Incised Lines (cat.nos.12-15, 36-43).

I think that it's a very clear example of my wanting to reveal the energy of the paper by removing. In this particular series I felt that I wanted it to be very clear what I'm doing.When starting out I looked at one of the incised drawings with no colour, and I thought itcomplete and vivid, just as it was, I got excited and decided to do twelve of them. Peoplewill really see that I'm actually removing parts of the paper, and the intervention transformsits structure. Sometimes I cover some of the drawings with pastel, and some with ink. And Ithink that they're very successful drawings, but maybe for a newcomer to my work theymight not see that the line is actually incised into the paper where I removed part of it.They're like little furrows, ploughed into the paper, and they collect the pastel so they become darker. Some viewers have often thought that instead of something being

removed from the paper, that I had added something, like a thread. I wanted at least forone series of drawings as in Structure Change of Incised Lines to be absolutely clear.

That group of works also shows that there's always another set of thought processes going on. Andother interventions into the paper, the dots of ink that you set out as guide points, lines in pencil orink, sometimes worked over the incised line. You don't blindly set up an instruction for yourself andcarry it out. There's a process of looking at and interacting with the work.

Very much so. To the point where I go over again with pencil or I turn the whole drawingaround because I notice that the way the metal point incised the line is more intriguingwhen it's seen upside down. It's all very subtle and I work on this very intuitively.

The drawings have a liveliness in the variety of ways in which the incised lines are used: close together, wider apart, sometimes so close together there's almost a visual interference betweenthem. You sense an overall eld with a structured regularity within it, including diagonals. Do theyalso suggest a variety of positions for the viewer in front of the work?

Well I think so because, as with the paintings, they're an incredibly delicate bas-relief. Usually I start with the paper on my drawing board and it's flat on my table and the light iscoming from above. As I'm working and incising the lines, I like to take the board and set itup the way it would be on the wall, perpendicular. Then it catches the light in a completelydifferent way. It's fascinating because there's so much going on. When you look carefully atthe surface of the paper, you see it has an infinitely complex structure. And then accordingto where, for example, you stop your incised lines, a whole progression of verticals will create a horizontal. And this then relates to the raw paper; it will change the colour of thepaper. There are all of these delicate and subtle things that you see, often by holding it updifferently. It's very complex, and as you were saying it has its own kind of energy. And theidea is to let that energy free and not cover it up or imprison it into something else.

One of the things that comes out here is that there is discipline and order in your working practicesas well as the encounter with what's outside you.

There's a kind of a continuation and repetition, but I like to always be inspired. Being anartist, the repetitiveness is not boring, it's always different. You're learning. For example thispainting, River-Sky Encounter #1, I feel it's taught me a lot, opened up a lot. I feel that it'sas if I'm just beginning. I don't feel that I'm repeating a technique that I've perfected. Younever can tell, there's always so much you can do. With this series, what is the most essential thing is what the paintings want to become. From my interest in phenomenologyat Columbia University, when I was taking a course in philosophy, I found that you getdown to rock bottom and the skeleton of what most interests you by going through different understandings and different kinds of approaches, through the layers of ‘that's not it', untilfinally you come to ‘what it is’. I remember thinking that you can't have freedom withoutrules, or a structure. To my mind that structure is inherent to the material. As an artist, thebasis is my devotion for linen and full respect of its own structure, and of its own quality.The excitement is to really focus on this structure in the most immediate way.

Paris, October 2012

4 Thames-V, Night Bridge 2012


180 x 180 cm

5 Thames-IV, Open Terrain 2012


150 x 150 cm

6 Traces-2 2012


51 x 51 cm

7 Thames-II, Twilight - Open Gate 2012


150 x 150 cm

8 Thames-III, Noon Passage 2012


150 x 150 cm

9 Thames-I, Dawn Bridge 2012


150 x 150 cm

10 Sky Entry, (Summer Series I) 2012

incised lines, pastel and ink on Arches paper

35.5 x 38 cm

11 First Light, (Summer Series I) 2012

incised lines, pastel and ink on Arches paper

38 x 35.5 cm

12 - 15 Structure Change of Incised Lines - I, II, V, VI (White Series I) 2011

all incised lines and graphite on Arches paper

40 x 38 cm each

16 Dawn Bridge, Paris-La Seine #7 2010

incised and scraped lines and oil pastel on Arches paper

77.5 x 63.5 cm

17 Night Bridge, Paris-La Seine #9 2010


84.5 x 73 cm

18 Stormy River, Paris-La Seine #13 2010


84 x 73 cm

19 Paris-La Seine #5 (Noon River) 2000


77 x 66 cm

20 Constellation Series - 1 (Ways Crossing) 1998

incised lines, ink and watercolour on Rives paper

28 x 29 cm

21 Constellation Series - 2 (Milky Way) 1998

incised lines, ink and watercolour on Rives paper

28 x 29 cm

22 Sign of the Elements-November (Earth) 1994


150 x 150 cm

23 Sign of the Elements-April (Water) 1992


150 x 150 cm

24 Autumn Sound Piece I 1978

acrylic on linen stretched on diagonal, removed threads

70 x 70 cm

25 Visible Sound Piece V 1978

acrylic on linen stretched on diagonal, removed threads

70 x 70 cm

26 Incised Lines in Three Columns 1974-77

incised lines and pastel on Arches paper

33 x 32 cm

27 One-One 1974


90 x 90 cm

28 Thirty Three-Three 1974


90 x 90 cm

LIST OF WORKS NOT ILLUSTRATED

30 Traces-1 2012acrylic on linen, removed threads51 x 51 cm

31 Traces-3 2012acrylic on linen, removed threads51 x 51 cm

32 Night Rhythms of five times eight, (Summer Series I) 2012incised lines before and after pastel onArches paper35.5 x 38 cm

33 Dawn Ladder, (Summer Series I) 2012incised lines, pastel and ink on Arches paper38 x 35.5 cm

34 First Sounds, Dawn - (Summer Series I)2011incised lines, pastel and ink on Archespaper38 x 35.5 cm

35 Dawn Rhythms - (Summer Series I)2011incised lines, pastel and ink on Arches paper35.5 x 38 cm

36 Structure Change of Incised Lines - III, (White Series I) 2011incised lines and graphite on Arches paper38 x 40 cm

37 Structure Change of Incised Lines - IV, (White Series I) 2011incised lines and graphite on Arches paper38 x 40 cm

38 Structure Change of Incised Lines - VII,(White Series I) 2011incised lines and graphite on Arches paper40 x 38 cm

39 Structure Change of Incised Lines - VIII, (White Series I) 2011incised lines and graphite on Arches paper40 x 38 cm

40 Structure Change of Incised Lines - IX (White Series I) 2011incised lines and graphite on Arches paper40 x 38 cm

41 Structure Change of Incised Lines - X (White Series I) 2011incised lines and graphite on Arches paper40 x 38 cm

42 Structure Change of Incised Lines - XI (White Series I) 2011incised lines and graphite on Arches paper40 x 38 cm

43 Structure Change of Incised Lines - XII (White Series I) 2011incised lines and graphite on Arches paper40 x 38 cm

44 Letter-3 January 1975incised lines and pastel on Arches paper33 x 33 cm

45 Incised Lines in Three Columns 1974-77incised lines and pastel on Arches paper33 x 32 cm

BIOGRAPHY

American, born in Mexico 1943

1963-64 Académie Julian, Paris1967-68 Art Students League, New York1968-71 M.F.A. School of Art, Columbia

University, New York1969-70 Akademie der Bildenden

Künste, Munich1971-72 Painting fellowship, Columbia

University, Paris

SELECTED ONE-PERSON EXHIBITIONS

1972 Yvon Lambert, Paris1973 Françoise Lambert, Milan1974 Yvon Lambert, Paris

Konrad Fischer, DüsseldorfMTL Gallery, Brussels

1975 Françoise Lambert, MilanMarilena Bonomo, BariYvon Lambert, Paris

1976 Rolf Preisig, BaselD’Alessandro Ferranti, RomeJulian Pretto, New YorkFrançoise Lambert, Milan

1977 Daniel Weinberg Gallery, San FranciscoKathryn Markel Gallery, New YorkMTL Gallery, Brussels

1978 Wadsworth Atheneum, HartfordBlum Helman Gallery, New YorkUgo Ferranti, RomeYvon Lambert, ParisGraeme Murray, EdinburghMargo Leavin Gallery, Los AngelesYoung Hoffman Gallery, Chicago

1979 Françoise Lambert, MilanKonrad Fischer, DüsseldorfDaniel Weinberg Gallery, San FranciscoBlum Helman Gallery, New York

1980 Greenberg Gallery, St. LouisYvon Lambert, Paris

Margo Leavin Gallery, Los AngelesThomas Segal Gallery, Boston

1981 Graeme Murray Gallery, Edinburgh1982 Carol Taylor Gallery, Dallas

Blum Helman Gallery, New York1983 Françoise Lambert, Milan1984 Yvon Lambert, Paris1985 Blum Helman Gallery, New York1986 Martina Hamilton Gallery, New York1987 Galerie Liesbeth Lips, Amsterdam

Blum Helman Gallery, New York1989 Blum Helman Gallery, New York

Greene Gallery, Coral Gables1990 Cairn Gallery, Nailsworth1991 Galerij S65, Aalst1993 Cairn Gallery, Nailsworth

Yvon Lambert, Paris1994 Galerij S 65, Aalst

Galerie Sollertis, ToulouseElisabeth Kaufmann, Basel

1995 Artothèque Médiathèque, ValenceThe University of Michigan Museum of Art, Ann Arbor

1996 Galerie Sollertis, ToulouseElisabeth Kaufmann, Basel

1997 Staatliche Kunsthalle Karlsruhe, KarlsruheNumark Gallery, Washington

1998 Galerie Liesbeth Lips, RotterdamGalerie Sollertis, ToulouseGalerie Hubert Winter, Vienna

2001 Galerie Liesbeth Lips, Rotterdam2002 Joseph Helman Gallery, New York2004 National Museum of Women in the

Arts, WashingtonBrenau University Galleries, Gainesville

2006 Galerie Arnaud Lefebvre, ParisNew Arts Gallery, Litchfield

2007 Galeria Charpa, ValenciaGalerie Sollertis, Toulouse

2010 Galerie 1900 - 2000, Paris2013 Annely Juda Fine Art, London

SELECTED GROUP EXHIBITIONS

1972 Actualité d’un Bilan, Yvon Lambert, Paris

1973 Eighth Paris Biennale, Musée d’Art Moderne de la Ville de ParisRecent Acquisitions, The Museum of Modern Art, New YorkProspect 73 - Painters, Städtische Kunsthalle, DüsseldorfDrawings, Museum of Modern Art, Oxford

1974 Geplante Malerei, Westfälischer Kunstverein, MünsterPrint Show - Parasol Press, Palais des Beaux Arts, Brussels

1975 Tendances Actuelles de la Nouvelle Peinture Américaine, Arc II, Musée d’Art Moderne de la Ville de Paris Fundamental Painting, Stedelijk Museum, AmsterdamPrints Show - Parasol Press, Arts Council of Great Britain, LondonSelections from the Collection of Dorothy and Herb Vogel, The Clocktower, Institute for Art and Urban Resources, New YorkPrints Show - Parasol Press,Mönchengladbach MuseumPeintures, MTL Gallery, BrusselsInternational Prints, XX Jyvaskyla Arts Festival, Finland

1975- Painting, Drawing and Sculpture of1976 the 60’s and the 70’s from the

Dorothy and Herbert Vogel Collection, Institute of Contemporary Art, Philadelphia; Contemporary Arts Center, Cincinnati

1976 Prints Show - Parasol Press, Art Gallery of TorontoGroup Show, Daniel Weinberg Gallery, San Francisco

1977 Extraordinary Women, The Museum of Modern Art, New YorkWorks from the collection of Dorothy and Herbert Vogel, The University of Michigan Museum of Art, Ann Arbor

Sculpture, Paintings, Drawings, Young Hoffman Gallery, ChicagoPaintings ‘75, ‘76, ‘77, The Institute of Art and Urban Resources, P.S.1, Long Island CityEtchings of the Twentieth Century, Margo Leavin Gallery, Los AngelesCritics Choice: A Loan Exhibition of Contemporary Painting, Joe and Emily Lowe Gallery, College of Visual and Performing Arts, SyracuseUniversityTrois Villes, Trois Collections, Centre Georges Pompidou, ParisAmerican Drawn and Matched, The Museum of Modern Art, New York

1978 Drawings of the 70s, The Art Instituteof Chicago, Society for Contemporary ArtGRIDS, Format and Image in 20th Century Art, Pace Gallery, New YorkContemporary Drawing, New York,UCSB Art Museum, University of California at Santa BarbaraGroup Show, Lisson Gallery, LondonRecent Acquisitions, The Whitney Museum of American Art, New YorkA Decade in Review: Selections fromthe 1970s, The Whitney Museum of American Art, New York

1979 Oeuvres Contemporaines des Collections Nationales: Accrochage #2, Centre Georges Pompidou, ParisRecent Acquisitions, H.H.K. Foundation for Contemporary Art, Milwaukee Art CenterDrawing about Drawing Today, Museum of Art, University of North Carolina Chapel Hill1979 Biennale Exhibition: Contempo-rary American Art, The Whitney Museum of American Art, New York

1980 Works on Paper, Associazione Italiana Gallerie Arte Contemporanea,Genoa

29 Five Lines Incised before chalk - September 25 1976

incised lines and pastel on Arches paper

46 x 45.5 cm

Drawings, Leo Castelli Gallery, NewYorkSmall Works, Drawings, Prints, YoungHoffman Gallery, ChicagoA Drawing Show, Margo Leavin Gallery, Los AngelesFoire Internationale d’Art Actuel,Palais des Beaux Arts, Brussels

1981 Recent Paintings: Edda Renouf, Bruce Robbins, Hap Tivey, Craig Kauffman, Blum Helman Gallery, New YorkInternational Exhibition: Artists Books, Centre de Documentacio Actual, Metronoma, BarcelonaNew Works of Contemporary Art and Music, Fruit Market Gallery, EdinburghGeorgia Collects, The High Museum of Art, AtlantaFour by Seven from the Vogel Collection, Ben Shahn Gallery, William Patterson College, New Jersey

1982 Given & Promised (Recent Acquisi-tions), The Metropolitan Museum of Art, New YorkThe 20th Anniversary Exhibition of the Vogel Collection, Brainert Art Gallery, State University College of Arts and Science, Postdam; The Gallery of Art, University of Northern Iowa, Cedar FallsYvon Lambert Présente 24 Artistes de sa Galerie, Jeanne Laffitte, Marseille

1983 Twentieth Century Art from The Metropolitan Museum of Art: Selected Recent Acquisitions, Queens Museum, New YorkArt Works in the Collection of; On Loan; New Works, Graeme Murray, Edinburgh

1984 At the Serpentine, Serpentine Gallery, LondonFrom the Serpentine, Graeme Murray, Edinburgh

1985 Livres d’Artistes, Centre Georges Pompidou, ParisCreative Time Benefit Art Show, Christie’s, New YorkGroup Show, Ronald Greenberg Gallery, St. LouisAbstract/Issues, Oscarsson Hood Gallery, New YorkGroup Show of Parasol Press,Parasol Press, Sag HarborLes Femmes et l’Abstraction Constructive, Galerie Denise René, ParisDrawing Acquisitions 1981-1985,The Whitney Museum of American Art, New York

1986 Trends in Geometric Abstract Art, The Tel Aviv MuseumDrawings From the Collection of Dorothy and Herb Vogel, University of Arkansas at Little Rock, Department Art Galleries; The University of Alabama Mood Gallery of Art; The Pennsylvania State University Museum of ArtSelected Recent Acquisitions, Museum of Contemporary Art, Chicago

1987 New York Scene, Galerie Liesbeth Lips, AmsterdamLila Acheson Wallace Wing: 20th Century Art, The Metropolitan Museum of Art, New York

1988 Merce Cunningham Dance Foundation Benefit Art Sale - 35th Anniversary of the Merce Cunning-ham Dance Company, Blum Helman Gallery, New YorkSchlaf der Vernunft, Museum Fridericianum, KasselWorks on Paper 1988, Martina Hamilton Gallery, New YorkL’Art Moderne à Marseille, La Collection du Musée Cantini, Musée Cantini, Marseille

1988 From The Collection of Dorothy and Herbert Vogel, Arnot Art Museum,

Elmira; Terra Museum of American Art, Chicago; Art Museum at Florida State University, Miami

1989 Summer Group Show, Blum Helman Gallery, New YorkThe Rigorous Imagination, Graeme Murray, EdinburghLines of Vision: Drawings by Contemporary Women, Hillwood Art Gallery, Long Island University Brookville, New YorkGroup Show, Françoise Lambert Gallery, MilanGroup Show, Galerie Mühlenbusch, Düsseldorf

1990 Works on Paper, Martina Hamilton Gallery, New YorkSummer Group Show, The Museum of Modern Art, New York

1991 Auf Papier, Galerie Gisele Linder, Basel

1992 Yvon Lambert Collectionne, Musée d’Art Moderne de la Communauté Urbaine de Lille, Villeneuve d’AscqDe Bonnard à Baselitz - Dix ans d’enrichissement au Cabinet des Estampes 1978/88, BibliothèqueNationale, ParisConceptualism and Postconceptual-ism, Museum of Contemporary Art, Chicago

1993 Series and Sequences: Contempo-rary Drawings and Prints the Perma-nent Collection, National Gallery of Art, Washington DCProfil d’une Galerie, L.A.C., Sigean, (Artistes de Galerie Yvon Lambert)

1994 From Minimal to Conceptual Art: Works from the Dorothy and Herbert Vogel Collection, National Gallery of Art, Washington, D.C.

1995 Touch, Gilmour Gallery, LondonUne Constellation, Galerie Arnaud Lefebvre, Paris

1996 Prints, Galerie Gisèle Linder, Basel1997 Heureux le Visionnaire, Maison

Levanneur, Centre National de

l’Estampe de l’Art Imprimé, ChatouThirty-five Years at Crown Point Press, National Gallery of Art, Washington, D.C.; Fine Arts Museums of San Francisco

1998 Women Artists in the Vogel Collec-tion, Brenau University Galleries, GainesvilleLa Collection Yvon Lambert,Yokohama Museum of ArtFrom Minimal to Conceptual Art: Works from the Dorothy and Herbert Vogel Collection, The Tel Aviv Museum of ArtDrawings from the PermanentCollection, The Museum of Modern Art, New YorkGroup Exhibition, The Rocket Press, OxfordAmerican Art at Yale: Twenty-five Years of Collecting Drawing, Yale University Art Gallery, New Haven

1999 Femmes-Graveurs du XXe Siècle,Cabinet des Estampes et des Dessins, Liège

2000 I Biennale dell’Incisione Italiana Contemporanea ‘Città di Campobasso’ (Invited country: France), Palazzo d’Ovidio, CampobassoPrints and Drawings: Recent Aquisitions”, Corcoran Gallery, Washington, D.C.Decembre - Debre; Degottex; Gramatzki; Michaux; Molnar; Nemours; Pane; Renouf; Viallat; Wou Ki, Galerie Florence Arnaud, Paris

2001 Paper Assets, Collecting Prints and Drawings 1996-2001, British Museum, LondonDie Cabinette des Dr. Czerny Der Kosmos der Kunst im Spiegel der Sammlung Norli und Hellmut Czerny,Neue Galerie Graz am Landes-museum Joanneum, GrazSummer, Joseph Helman Gallery, New York

Pushing Paint Anne Appleby, Dorota Kolodziejczyk, Medrie McPhee, Edda Renouf, Susanna Starr, JosephHelman Gallery, New York

2002 La Culture Pour Vivre, De Georges Braque à Aurélie Nemours, Centre Pompidou, Paris

2003 Exposition: Rendez-vous #4, Collection Lambert, Avignon

2004 Matisse to Freud; A Critic’s Choice The Bequest of Alexander Walker, British Museum, LondonVingt Ans de Ma Galerie, Galerie Gisèle Linder, BaselNew Acquisitions of Contemporary Art 1995-2004, Staatliche Kunsthalle Karlsruhe, KarlsruheContemporary American Prints, Addison Gallery of American Art, AndoverGroup Show, Riva Yares Gallery, Scottsdale

2005 Drawing Today – 2005, New Arts Gallery, LitchfieldRésonnances – Un choix dans les collections du Centre de la gravure et de l’image imprimée, Centre Wallonie-Bruxelles, Paris

2006 Message Personnel – Les 40 Ans de la Galerie Yvon Lambert, Galerie Yvon Lambert, ParisFocus: Artist Collections, TheMuseum of Contemporary Art of Georgia, AtlantaSummertime, Galerie Gisèle Linder, Basel

2007 Matisse to Freud, A Critic’s Choice, The Bequest of Alexander Walker, Hayward Gallery and British Museum, London; Touring ExhibitionMuseum Partnership UK ExhibitionSmall Works – Petits Formats, GalerieArnaud Lefebvre, Paris

2008 Gifted: Recent Additions to the Permanent Collection, Delaware Art Museum, WilmingtonUne Boite en Valise, Galeria Charpa, Espai d’Art, Gandia

30 Años de Arte y Artistas, GaleriaCharpa, Universidad Politécnica de Valencia, ValenciaCollected Thoughts: Works from the Dorothy and Herbert Vogel Collection, Indianapolis Museum of Art

2009 New York/New Drawings, 1946 – 2007, Museo de Arte Contempora-neo Esteban Vicente, SegoviaJEFFMUTE, Mamco, Genevaelles@centrepompidou - artistes femmes dans les collections du Centre Pompidou, Centre Georges Pompidou, ParisLearn to Read Art: A History of Printed Matter, Badischer Kunstverein, KarlsruheArt Protects, Yvon Lambert, ParisTo Have it About You: The Dorothy & Herbert Vogel Collection, Frederick R. Weisman Art Museum, MinneapolisLearn to Read Art: A History of Printed Matter, P.S.1, Contemporary Arts Center, Long Island

2009- The Dorothy & Herbert Vogel 2012 Collection: Fifty Works for Fifty

States, Oklahoma City Museum of Art, Oklahoma City; Columbia Museum of Art, Columbia; Albright-Knox Gallery, Buffalo; Pennsylvania Academy of the Fine Arts, Philadel-phia; Delaware Art Museum, Wilmington; Portland Art Museum, Portland; Boise Art Museum, Boise, Idaho; The High Museum of Art, Atlanta; University of Wyoming Art Museum, Laramie, Wyoming; Hood Museum of Art, Hanover, New Hampshire; Museum of Art Rhode Island School of Design, Providence,Rhode Island

2010 An Economy of Means: The Dorothy & Herbert Vogel Collection, University of Michigan Museum of Art, Ann Arbor

The Primacy of Paper: Recent Works from the Collection, Museum of Art/Rhode Island School of Design, ProvidenceL’Emotion et la Règle, Musée des Beaux-Arts de LyonHerb and Dorothy: A Glimpse into their Extraordinary Collection, Mississippi Museum of Art, JacksonForms of Color, Galerie 1900 – 2000, ParisLiving for Art: The Dorothy and Herbert Vogel Collection, Montclair Art Museum, MontclairAmerican Painting: 1959 – 2009, TheNational Gallery of Art, Washington, D.C.Less is More: The Vogel Gift of Minimal and Conceptual Art, Cedar Rapids Museum of Art, Cedar Rapids, Iowa

2011 Berlin – Paris, Mehdi Chouakri, BerlinPicasso to Julie Mehretu – Modern Drawings from the British Museum Collection, The British Museum, LondonLa Peinture Comme Territoire, Lille Métropole Musée d'art moderne, d'art contemporain et d'art brut, Villeneuve d'Ascq

Drawn / Taped / Burned: Abstraction on Paper, Katonah Museum of Art, Westchester CountyExquisitely Modern: 50 Works from Herbert & Dorothy Vogel, Honolulu Academy of Arts, HonoluluContemporary Collecting: Selections from the Judith Neisser Collection, The Art Institute of ChicagoContemporary Drawings from the Irving Stenn Jr. Collection, The Art Institute of ChicagoNetworks: Art and Artists from the Dorothy & Herbert Collection at the Spencer Museum of Art, Spencer Museum of Art, Lawrence, KansasAlfabeti della mente, P420 – Arte Contemporanea e Libri, BolognaLiving for Art: Gifts from the Dorothy & Herbert Vogel Collection, Phoenix Art Museum, Phoenix, Arizona

2012 Making a Mark: The Dorothy & Herbert Vogel Collection, New Orleans Museum of Art, New OrleansThe Collecting Impulse: Fifty Works from Dorothy and Herbert Vogel, Blanton Museum of Art, Austin, TexasWomen Artists / elles@centrepompi-dou, Paris, Seattle Art Museum, Seattle, Washington

2013 Ostinato, Maison de la Culture, Namur, Belgium

PUBLIC COLLECTIONS

Akron Art Museum, Akron OH, USAAlbright-Knox Art gallery, Buffalo, NY, USAArt Institute of Chicago, Chicago, IL, USAAustralian National Gallery, Canberra, AustraliaBibliothèque Nationale, Paris, FranceBoise Art Museum, Boise, ID, USABritish Museum, London, United KingdomBrooklyn Museum of American Art, Brooklyn,NY, USACedar Rapids Museum of Art, Cedar Rapids,IA, USACentre Georges Pompidou, Musée Nationald’Art Moderne, Paris, FranceCentre de la Gravure et de l’Image imprimée,La Louvière, BelgiumCincinnati Museum of Art, Cincinnati, OH,USACollection Lambert, Avignon, FranceCorcoran Gallery, Washington, DC, USADallas Museum of Fine Art, Dallas, TX, USADetroit Museum of Art, Detroit, MI, USAFRAC Pays de la Loire, Carquefou, FranceGroupe Lhoist, Limelette, BelgiqueHarvard Universty Art Museums, Cambridge,MA, USA Hood Museum of Art, Dartmouth College,Hanover, NH, USAHonolulu Academy of Arts, Honolulu HI, USAHigh Museum, Atlanta, GA, USAHuntington Museum of Art, Huntington, WV,USAIndianapolis Museum of Art, Indianapolis, IN,USAKemper Art Museum, Washington University,Saint Louis, MO, USAKunstmuseum Winterthur, SwitzerlandKiasma Museum of Contemporary Art,Helsinki, FinlandLaM Lille Métropole, musée d’art moderne,d’art contemporain et d’art brut, Villeneuved’Ascq, FranceLas Vegas Art Museum, Las Vegas, NV, USALouisiana Museum, Humlebaek, DenmarkMetropolitan Museum of Art, New York, NY,USA

Miami Art Museum, Miami, FL, USAMilwaukee HHK Foundation for Contemporary Art, Milwaukee, WI, USAMilwaukee Art Museum, Milwaukee, WI, USAMIT List Visual Arts Center, Cambridge, MA,USAMontclair Art Museum, Montclair, NJ, USAMuseum of Contemporary Art, Chicago, IL,USAMuseum of Contemporary Art, Los Angeles,CA, USAMusée Cantini, Marseille, FranceMusée de Grenoble, Grenoble, FranceMuseum of Modern Art, New York, NY, USANational Gallery of Art, Washington, DC, USANeuberger Museum, Purchase, NY, USANeue Galerie Graz am Landesmuseum Joanneum, Graz , AustriaNew Orleans Museum of Art, New Orleans,LA, USAPhiladelphia Museum of Art, Philadelphia,PA, USAPhoenix Art Museum, Phoenix, AZ, USAPower Art Institute of Australia, Sydney, Aus-traliaNew York Public Library, New York, NY, USASeattle Art Museum, Seattle, WA, USASpeed Art Museum, Louisville, KY, USASpencer Museum of Art, Lawrence, KS, USAStaatliche Graphische Sammlung, München,GermanyStaatliche Kunsthalle Karlsruhe, Karlsruhe,GermanySt. Louis Art Museum, St. Louis, MO, USATel Aviv Museum of Art, Tel Aviv, IsraelUniversity Art Museum at Berkeley, CA, USAUniversity of Michigan Museum of Art, AnnArbor, MI, USAUniversity Museum, Southern Illinois University, Carbondale, IL, USAUniversity of Wyoming Art Museum, Laramie,WY, USAWalker Art Center, Minneapolis, MN, USAWhitney Museum of American Art, New York,NY, USAYale University Art Gallery, New Haven, CT,USA

ISBN 1-904621-49-X

Catalogue © Annely Juda Fine Art / Edda Renouf 2013

Works © Edda Renouf

Artist Statement © Edda Renouf 2010

Interview © Ian Hunt 2013

Printed by Advent, England

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