Spanning the boundaries between portrait, landscape, and object of projected desire, Emily Eveleth’s paintings form
a genre unto themselves. Her ongoing series of paintings of doughnuts invests this unlikely subject with unexpected
presence and identity. "Eveleth's paintings restlessly shift across a spectrum of meanings, covering along the way
all the distances between opposing significances; prosaic and profound, profane and sacred, banal and intriguing, to
say nothing of the axis between cool asexuality and gushing, if veiled, sexuality." *
In her concurrent series of figurative images lone figures stand in enigmatic isolation. Lost in private worlds the figures "seem to invite the viewer's gaze, acknowledge it, and then absorb it, folding it into their own particular
dramas." ** These figurative projections of doubt and uncertainty appear paradoxical to their central declarative
placement and openness. The dramatic lighting's interdependence on the rich enveloping darkness allows the figures
to simultaneously emerge from and be enveloped by the inky space, projecting a quiet vulnerability.
Since the late 1980s, Eveleth has exhibited her paintings extensively in the United States, and her work is included in many permanent museum collections, including the Museum of Fine Arts, Boston, MA, The Sheldon Museum of Art, Lincoln, NE, the Fairfield University Museum of Art, Fairfield CT, Smith College Museum of Art, Pennsylvania Academy of the Fine Arts, Philadelphia, PA, Grinnell College, Grinnell, IA, and the Boston Public Library, Boston, MA. In 2010 the Smith College Museum of Art presented a twelve-year survey of her paintings. Her paintings have been featured in shows at the Tang Teaching Museum at Skidmore, The Neuberger Museum of Art, at SUNY Purchase, NY, AEIVA at the University of Alabama, in Birmingham, AL, Weatherspoon Art Museum, University of North Carolina, Greensboro, NC, the Katonah Museum of Art, Katonah, NY, in "All the More Real"at the Parrish Art Museum, Southampton, NY, and the survey show "Painting in Boston 1950-2000" at the DeCordova Museum in Lincoln MA. Her work has been written about in Bomb Magazine, Art in America, the New Yorker and the New York Times. Awards include grants from the Art Matters Foundation, the New England Foundation for the Arts, and the French Government for the Artist-in-Residency Program in Rochefort-en-Terre. In 2002, she was a Visiting Artist at the American Academy in Rome.
*John Stomberg, Director of the Hood Museum, Dartmouth College
**Nico Israel, independent critic
Emily Eveleth
Selected Solo Exhibitions
2021 Emily Eveleth, Miles McEnery Gallery, New York, NY
accompanied by a catalog with an essay written by Jackson Arn Emily Eveleth: Future Possessive, The Zillman Museum of Art, Bangor, ME
2018 Emily Eveleth: Past Imperfect, Howard Yezerski Gallery, Boston, MA
2016 Emily Eveleth, New Paintings - Degrees of Artifice, Danese/Corey, New York, NY Art on the Marquee, digital video projection presented on the marquee at the Boston Convention Center, Boston, MA, in collaboration with Amy Baxter MacDonald
2014 Future Tense, Miller/Yezerski Gallery, Boston, MA Perspective, Carroll House Gallery, Keene State College, Keene, NH
2012
Emily Eveleth: New Paintings - Golden Age, Danese, New York, NY
2010 Luscious: Paintings by Emily Eveleth, Smith College Museum of Art, Northampton, MA Better Not Tell You Now, Howard Yezerski Gallery, Boston, MA
2008 Emily Eveleth: New Paintings - Full Circle, Danese, New York NY
2006 Emily Eveleth - It's All True, Danese, New York, NY
2004 Emily Eveleth: Recent Paintings, Howard Yezerski Gallery, Boston, MA
2003 Emily Eveleth: Paintings and Drawings, Danese, New York, NY
2002 Emily Eveleth: Paintings, Reynolds Gallery, Richmond, VA So Long Ago I Can't Remember; Works on Mylar, Howard Yezerski Gallery, Boston, MA
2001 Emily Eveleth: New Paintings, Danese, New York, NY
2000 Emily Eveleth: Small Paintings, Hidell Brooks Gallery, Charlotte, NC
1999 Emily Eveleth New Paintings, Howard Yezerski Gallery, Boston, MA Emily Eveleth New Paintings and Drawings, Danese, New York, NY
1998
Howard Yezerski Gallery, Boston, MA
1997 Emily Eveleth, A Painter Selects, The Danforth Museum of Art, Framingham, MA
1996
Howard Yezerski Gallery, Boston, MA
Allan Stone Gallery, New York, NY
2016 Success in Boston, panel discussion presented by the Boston Art Dealers Association, at the School of the Museum of Fine Arts Boston, Boston, MA Invited Alumni Speaker, Academic Awards Ceremony for Graduating Seniors, at the Massachusetts College of Art and Design, Boston, MA Objects of Projected Desire, Lecture at the Farnsworth Museum of Art, Rockland, ME
2015 On Beauty, Emily Eveleth and David Tester. A Catalyst Conversation lecture at the Broad Institute, Cambridge MA, part of the Catalyst Conversation Series and Boston HUB week
Visiting Critic, Suffolk University, Boston, MA
2013
Visiting Lecturer, Lesley University, Masters of Fine Arts program, Boston, MA
Visiting artist and critic, Savannah College of Art and Design, Atlanta, GA
2010
Visiting artist, Beloit College, Beloit, WI
Awards:
2002 Visiting Artist, American Academy in Rome
1996 French Government Grant, Artist Residency Program, Rochefort-en-Terre, France
1995 Art Matters Inc. Fellowship
1994 NEA/New England Foundation for the Arts Fellowship Award in Painting
1992 Show Award, New Art ‘92, Kingston Gallery, Boston, MA
Merit Award, Women in the Visual Arts, Erector Square Gallery, New Haven, CT
1989 Massachusetts Artists Fellowship Program, Finalist in Painting
1986 Massachusetts College of Art, Painting and Printmaking Department Achievement Awards
Selected Group Exhibitions:
2021 Birds of the NorthEast: Gulls to Great Auks, Fairfield University Art Museum, Fairfield, CT Beginning: the Inaugural Exhibition, Carol Corey Fine Art, Kent, CT
2020 A La Carte: A Visual Exploration of our Relationship with Food, Abroms-Engel Institute for the Visual Arts, The University of Alabama, Birmingham, AL
2019 Kith and Kin, Lesley University, Cambridge, MA Off the Menu, Bedford Gallery, Walnut Creek, CA
2018 Like Sugar, Tang Teaching Museum, Skidmore College, Saratoga Springs, NY
catalog forthcoming, featuring an interview with Emily Eveleth and Prof. Patricia Lyell
2017 We Dream, Beauty Beyond and Beneath, Suffolk University, Boston, MA
2016 Drawing Conclusions, Danese/Corey, New York, NY Fertile Solitude, Mills Gallery, Boston Center for the Arts, Boston, MA
curated by Elizabeth Devlin Feast, Nassau County Museum of Art, Roslyn Harbor, New York Luscious, Brattleboro Museum of Art, Brattleboro, VT
2015 Dynamic Conversations, curated by Chris Rifkin, South Shore Art Center, Cohasset, MA Confections, Allan Stone Projects, New York, NY Gaining Perspective: A Visual History of MassART, Massachusetts College of Art and Design, Boston, MA
2014 Food For Thought, Weatherspoon Art Museum, University of North Carolina, Greensboro, NC Painting Intricacies, Nave Gallery Annex, Somerville, MA
2013 Still Life Lives, Fitchburg Art Museum, Fitchburg, MA The Linda Lee Alter Collection of Art by Women, Pennsylvania Academy of the Fine Arts, Philadelphia, PA (traveling exhibition)
2011 Works On Paper II, Danese, New York, NY Feast, Lemberg Gallery. Ferndale, MI In the Presence of Light, Danese, New York, NY Naked, Howard Yezerski Gallery, Boston, MA Poetical Fire, Sheldon Museum of Art, Lincoln, NE (catalog)
2010 Sweetness and Light, Hampden Gallery, University of Massachusetts, Amherst, MA Works on Paper, Danese, New York, NY
2009 I Want Candy: The Sweet Stuff in American Art, Fresno Metropolitan Musuem, Fresno, CA (travels to Nicolaysen Art Museum and Discovery Center, Casper, WY) Drawing Itself, Brattleboro Museum, Brattleboro, VT
2008 Here's the Thing: The Single Object Still Life, curated by Robert Cottingham, Katonah Museum of Art, Katonah, NY
2007 All the More Real: Portrayals of Intimacy and Empathy, curated by Eric Fischl and Merrill Falkenberg, The Parrish Art Museum, Southampton, NY The Sweet Stuff in American Art, The Hudson River Museum, Yonkers, NY Sugar Buzz, Lehman College Art Gallery, Bronx, NY Loneliness and Melancholy, curated by Pawel Wojtasik and Susan Classen-Sullivan, Hans Weiss Newspace Gallery, Manchester Community College, Manchester, NY
2006 Transitional Objects: Contemporary Still Life, Neuberger Museum of Art, Purchase College, State University of New York, Purchase, NY The Hungry Eye, Neuberger Museum of Art, Purchase, New York Emily Eveleth and Jonathan Shahn: Paintings and Sculpture, Saint-Gaudens, Cornish, NH
2005 Unrehearsed Acts, curated by Christine Darnell, Artspace, New Haven, CT Works on Paper, Danese, New York, NY Head Count, Howard Yezerski Gallery, Boston, MA
2004 Disturbing the Peace, Danese, New York, NY Full Disclosure, Geoffrey Young Gallery, Great Barrington, MA Sexy Sustenance, Lillian Imming Gallery, Emmanuel College, Boston, MA Some of Their Parts, Howard Yezerski Gallery, Boston, MA Summer Show, Danese, New York, NY
2003 One Hundred Years of American Artists, 40 Contemporary Artists, Rochefort-en-terre, France American Art, Residence of the US Ambassador, Copenhagen, Denmark Sweet Tooth, COPIA, Napa, CA
2002 Painting in Boston: 1950 - 2000, The DeCordova Museum, Lincoln, MA Drawings from the Grinnell College Collection, The Faulconer Gallery, Grinnell College, Grinnell, IA 177th Annual: Invitational Exhibition, National Academy of Design Museum, New York, NY
2001 Group Exhibition, Lemberg Gallery, Ferndale, MI Private Thoughts: Personal Demons, The Klemm Gallery at Siena Heights University, Adrian, MI
2000 DeCordova Downtown, The Federal Reserve Gallery, Boston, Massachusetts Face Off, Fuller Museum of Art, Brockton, Massachusetts Eloquent Objects: The Sense and Sensibilities of Still-Life Painting, Bates College Museum of Art, Lewiston, ME Landscape at the Millennium, Chapel Art Center, Saint Anselm College, Manchester, NH Figure, Fantasy & Illusion, Danforth Museum of Art, Framingham, MA New Realism for a New Millennium, The Memorial Art Gallery, University of Rochester, Rochester, NY
1999 Best of the Season: Selected Work from the 1998 - 1999 Gallery Season, The Aldrich Museum of Contemporary Art, Ridgefield, CT Food for Thought, New Jersey Center for Contemporary Art, Summit, NJ Food for Thought, Hidell Brooks Gallery, Charlotte, NC
1998 Talent, Allan Stone Gallery, New York, NY Notions of Color: Oil Sketching in Maine, Bates College Museum of Art, Lewiston, ME Cornucopia, Winston Wachter Fine Art, New York, NY Food For Thought, DC Moore Gallery, New York, NY Gallery Group, Allan Stone Gallery, New York, NY
1997 Making a Still-Life: Ten Variations, The South Shore Art Center, Cohasset, MA
1996 Posing Reality, University Gallery, Fine Arts Center, University of Massachusetts, Amherst, MA Contemporary Still Life, Chapel Art Center, St. Anselm's College, Manchester, NH Contemporary Landscapes, Virginia Lynch Gallery, Tiverton, RI Northern Voices: The No-Brow Traveling Medicine Show, Christine Price Gallery, Castleton State College, Castleton, VT Four American Painters, Musee du Chateau de Rochefort-en-Terre, Rochefort-en-Terre, France
1995 Talent, Allan Stone Gallery, New York, NY Still Life, Virginia Lynch Gallery, Tiverton, RI Northern Voices: The No-Brow Traveling Medicine Show, AS220, Providence, RI Art for All Seasons, Massachusetts Audubon's Broadmore Wildlife Sanctuary, South Natick, MA
1994 1994 Exhibition of Painting and Sculpture, curated by Klaus Kertess, The Berkshire Museum, Pittsfield, MA Gallery Group, Allan Stone Gallery, New York, NY Palate/Palette, Starr Gallery, Newton, MA Art for All Seasons, Massachusetts Audubon's Broadmore Wildlife Sanctuary, South Natick, MA Group Show, Gleason Fine Art, Boothbay Harbor, ME
1993 Altered Reality, Howard Yezerski Gallery, Boston, MA Seventh Triennial Exhibition, Fuller Museum of Art, Brockton, MA Group Show, Barbara Scott Gallery, Miami, FL Seeing the Object, Massachusetts College of Art, Boston, MA
1992 Reality as Metaphor, Danforth Museum, Framingham, MA Gallery Group, Allan Stone Gallery, New York, NY New England/New Talent, Fitchburg Museum of Art, Fitchburg, MA Woman in the Visual Arts, Erector Square Gallery, New Haven, CT New Art ‘92, Kingston Gallery, Boston, MA
1991 Boston Through the Years, Harcus Gallery, Boston, MA
1990 New at the Art Guild, Farmington, CT
1988 The Factory, A Reconsideration, Laura Knott Gallery, Bradford College, Bradford, MA
1987 Enduring Visions, The Copley Society, Boston, MA Interior Spaces, The Danforth Museum of Art, Framingham, MA Working Women, The Harcus Gallery, Boston, MA
1986 Nature Observed, The Danforth Museum of Art, Framingham, MA
1985 Small Works U.S.A., Gallery 401, Providence, RI Games People Play, Faneuil Gallery, Massachusetts General Hospital, Boston, MA
1984 Summer Show, The Red Barn Gallery, Fisher's Island, NY
1983 Two Woman Show, Smith College, Northampton, MA
Bibliography:
2016
Kiers, Olivia J., Exploring a Labyrinth: Fertile Solitude at the Mills Gallery, Art New England online Oct. 28
Michelman, Elizabeth, Seeking Fertile Solitude at Mills, Artscope, Oct. 31st 2016
Yates, Sabrina, Fertile Solitude, the Harvard Crimson, Nov. 1 2016
2014
McCaid, Cate, Holding Patterns, Emily Eveleth Future Tense, The Boston Globe, Dec. 10 2016
2013
Adamson, Glenn, Anna C. Chave and others. The Linda Lee Alter Collection of Art by Women, (exhibition catalogue). Philadelphia: Pennsylvania Academy of the Fine Arts, 2013
2011
McQuaid, Cate. "In the Flesh," Boston Globe, 20 July 2011, G section.
2010
Smee, Sebastian. “It's time to paint the doughnuts,” The Boston Globe, July 18, 2010.
McQuaid, Cate. "Gallery reviews," The Boston Globe, 12 May 2010, G section, ill.
Weld, Eric, "Doughnuts, Yes, But So Much More", Grecourt Gate News
2009
Interview with Jessica Lee. “Spotlight: Emily Eveleth,” New American Paintings no. 81, April/May 2009.
2008 Mullarkey, Maureen. “Simple Beauty,” The New York Sun, April 17, 2008.
“Goings on About Town: Emily Eveleth,” The New Yorker, October 2, 2008.
Johnson, Ken. “Unwrapping the Secrets of Ordinary Objects,” The New York Times, May 14, 2008.
2007
Gouveia, Georgette. "Katonah Exhibit Unwraps the Beauty of Mundane, Everyday Items." The Journal News, April 18, 2008.
2006 Papercity [Houston], March 2006.
"Goings on About Town: Emily Eveleth," The New Yorker, 29 May 2006, p. 14.
2005
Feintuch, Burt and David H. Walters, eds. The Encyclopedia of New England. Forward by Donald Hall, London: Yale University Press, 2005.
McQuaid, Cate. "Exhibit Tracks the Trend of Map Making out of Truth and Beauty." The Boston Globe, January 21, 2005. Harper's Magazine, December 2004, p. 29, illus.
McQuaid, Cate. "Galleries." The Boston Globe, 23 July 2004, p. C20, illus.
McQuaid, Cate. “Immigrant Exhibit is Clearly Meant for Public Consumption.” The Boston Globe, July 23, 2004, p. C20, illus.
McQuaid, Cate. “Painting Art is Mysterious.” The Boston Globe, October 1, 2004, p.C20, illus.
Steinberg, Sally Levitt, The Donut Book, North Adams, MA: Storey Publishing, 2004, pp. 98-99, illus.
2003 Gastronomica: The Journal of Food and Culture, Winter 2003, cover illustration.
Goldstein, Darra, “From the Editor: Judging by the Covers.” Gastronomica: The Journal of Food and Culture, Spring 2003.
Johnson, Ken. “Emily Eveleth.” The New York Times, Friday, April 25, 2003, p. E34, illus.
Kopolos, Janet. “Emily Eveleth at Danese.” Art in America, July 2003, pp. 88-89, illus.
McQuaid, Cate. “Fusing Fun and Tension.” The Boston Globe, August 1, 2003, p. C21.
Schickler, David. “Wes Amerigo's Giant Fear.” The New Yorker, March 17, 2003, p. 130, illus.
2002
Capasso, Nicholas, Rachel Rosenfield Lafo, and Jennifer Uhrhane. Painting in Boston: 1950 - 2000. Amherst: University of Massachusetts Press, 2002.
Dobb, Edwin. “Should John Walker Lindh Go Free?” Harper's Magazine, May 2002, pp. 33, 36 & 41, illus.
LaPlante, Eve. “Still Life With Jelly.” Gourmet, January 2002, p. 24, illus.
Sussler, Betsy. “Emily Eveleth.” BOMB, No. 81, Fall 2002, pp. 36-7, illus.
Tanguy, Sarah. Sweet Tooth [exhibition catalogue]. Napa, CA: COPIA (The American Center for Wine, Food and the Arts), 2002, pp. 18-9, illus.
2001
“Emily Eveleth.” The New Yorker, January 29, 2001, p. 17.
Hrbacek, Mary. “Emily Eveleth.” The New York Art World, February, 2001, pp. 14, 17, illus.
2000
Grau, Jane. “Delectable Doughnuts Offer A Guilt -Free Feast for Eyes.” The Charlotte Observer, February 6, 2000, p. 3F, illus.
Kooker, Naomi R. “Light and Magic.” Metrowest Daily News, April 23, 2000.
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1999
“Emily Eveleth.” The New Yorker, April 19, 1999, pp. 13, 16, illus.
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Grau, Jane. “So Ripe, So Sweet, So Glorious: Show Looks Good Enough To Eat.” The Charlotte Observer, Sunday, August 8, 1999, F.
Griffith, Bill. “Church.” The Boston Globe, June 3, 1999.
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1998
Long, Andrew. “Go Figure.” Art and Antiques, March 1998, p. 30.
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1997
Day, Meredith Fife. “Eveleth Selects for Danforth Exhibit.” The Middlesex News, May 20, 1997, sec. C, p. 1.
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1996
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1995
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1994
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1993
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1992
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1990
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1988
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1986
Donker, Peter P. “Nature Speaks for Itself.” The Worcester Sunday Telegram, November 23, 1986.
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PUBLIC COLLECTIONS:
The Boston Globe, Boston, MA
Donaldson, Lufkin & Jenrette, Boston, MA
The Boston Public Library, Boston, MA
Eastern Connecticut State University, Willimantic, CT
Faulconer Gallery, Grinnell College, Grinnell, IA
Fidelity Investments, Boston, MA
Fleet Bank, Boston, MA
Morgan Stanley International Headquarters, NY
Museum of Fine Arts, Boston, MA
The New England, Boston, MA
Pennsylvania Academy of the Fine Arts, Philadelphia, PA
Wellington Management, Boston, MA
Smith College Museum of Art, Northampton, MA
EMILY EVELETH
Born in Hartford, CT.
lives and works in Sherborn MA
1984-87
Massachusetts College of Art, Boston, MA
1983
Smith College, B.A. cum laude, Northampton, MA