Julie Evans

Return to Artist Gallery

EDUCATION
1992 MFA, Brooklyn College, Bklyn., NY
BFA, Syracuse University, Syracuse, NY

SOLO EXHIBITIONS
2007 JULIE EVANS - Julie Saul Gallery, NYC (forthcoming)
2007 Julie Evans-Irvine Contemporary, DC (forthcoming)
2005 “COLLABORATION OF PLEASURES: THE PAINTINGS OF JULIE EVANS & BARBARA TAKENAGA – Halsey Institute of Contemporary Art, College of Charlotte, School of Art, South Carolina, curated by Brian Rutenberg (two person)
2004 JULIE EVANS, “SWISH OF THE YAK TAIL FLY-WHISK” - Metaphor Contemporary Art,
Brooklyn, NY
JULIE EVANS, curated by Peter Nagy, Rambagh Palace, Jaipur, India
2002 JULIE EVANS, “FESTOON” - Cheryl Pelavin Fine Art, NYC
2000 JULIE EVANS, “TEST SITES” - Artis Gallery, Auckland, New Zealand
1999 JULIE EVANS, “NEW PAINTINGS”- Cheryl Pelavin Fine Art, NYC
1996 JULIE EVANS, “RECENT PAINTINGS” - K&E Gallery, NYC
1994 JULIE EVANS - Cynthia McMallister Gallery, NYC

SELECTED GROUP EXHIBITIONS
2006 “TWIST IT TWICE” - Moti Hasson Gallery, NYC, curated by Franklin Evans
“GARDEN PARADISE” – The Arsenal Gallery in Central Park, curated by Clare Weiss
and Lacy Doyle, NYC
“FLAT, FUNK + PHYSICAL” – Cazenovia College Art Gallery, Cazenovia, NY
“CONVERSATIONS”– Ambrosino Gallery, curated by Sharon Louden, Miami, Fla.
2005 SCOPE-HAMPTONS” – Metaphor Contemporary Art, South Hampton, L.I. NY
“THE FLAG PROJECT” – on-line exhibition, The Rubin Museum of Art, NYC
“ASIAN AESTHETIC?” – LMan Gallery, Los Angeles, CA
“MOMENTA BENEFIT” – Momenta Art/White Columns, New York City
2004 SEID SHOW – Curated by Leslie Gerber Seid, Gerber-Seid Fine Art, NYC
SUMMER GROUP SHOW – curated by Peter Nagy, Bose Pacia Gallery, NYC
“200 DRAWINGS” – ANNIE HERRON AND BARRY BLINDERMAN SELECT FROM THE PIEROGI FLATFILES – University Galleries, Illinois State University, Normal, Il
"MASALA: DIVERSITY AND DEMOCRACY IN SOUTH ASIAN ART" - William Benton Museum of Art, Univ. of Conn., Storrs, Conn.
2003 "BEFORE AND AFTER SCIENCE" - Marella Arte Contemporanea, Milan, Italy
"TRAVELERS" - curated by Karen Shaw, Islip Art Museum, West Islip, NY
MOMENTA INVITATIONAL BENEFIT - Momenta Gallery, Williamsburg, NY
2002 PLUS ULTRA INVITATIONAL BENEFIT - Plus Ultra, Williamsburg, NY
"PLAYGROUND" - curated by Lisa Hatchadoorian, Sears-Peyton Gallery
"2 - D" - Parker Gallery, Fort Lee, NJ
2001 “SHE LIVES ON LOVE STREET”– curated by Tamara Gonzales,Cheryl Pelavin Fine Art, NYC
SUMMER GROUP SHOW – Sears Peyton Works on Paper, NYC
MOMENTA INVITATIONAL BENEFIT – Momenta Gallery, Williamsburg, Bklyn
“WINTER PAPER” – Catherine Moore Fine Art, NYC
2000 “SUBSTANCE” – NeoImages, NYC
“Y2K” – Im N Il Gallery, Williamsburg, Bklyn, NY
“GENERATIONS” – Haverford College, Haverford, Conn.
“SUMMER GROUP SHOW” – Sears-Peyton Works on Paper, NYC
1999 "SKIN TIGHT" - The Workspace, NYC
"SIZE MATTERS" - curated by Mike Weiss, Gale Gates, Brooklyn, NY
"NEW ISLAND VIEWS" - Newhouse Gallery for Contemporary Art,
Snug Harbor Cultural Center, Staten Island, NY
1998 "little" - Jeffrey Coploff Gallery, NYC
"A SLICE OF APPLE - NEW YORK PAINTERS IN L.A.” -Ruth Bachofner Gallery, LA, CA
“MOMENTA INVITATIONAL BENEFIT” - White Columns, NYC
"SPRING GROUP SHOW" - Cheryl Pelavin Fine Art, NYC
"BRITE MAGIC" - Islip Art Museum, West Islip, NYC
“CURRENT UNDERCURRENT” – Pierogi 2000 at The Brooklyn Museum
1997 "DRAWINGS AND PAINTINGS" – Brent Sikkema (Wooster Gardens), NYC
"GIRLS, GIRLS, GIRLS" - Tricia Collins Grand Salon, NY
"SUMMER GROUP" - Radix Gallery, NYC
"SIZZLE" - Jeffrey Coploff Fine Art, NYC
GROUP SHOW - Federal Reserve Bank, NYC, The Lower Manhattan Arts Council
"APHRODISIA" - Invitational Benefit, The Alternative Museum, NYC
1996 "ESSENCE" - Radix Gallery, NYC
"UNCURATED" -Curated by Paul Bloodgood, Basilico Fine Art, NYC
"FOURTEEN DAYS" - Room, NYC
"LIVING ROOM" - Curated By Julia Fishkin , Michelle DaSilva, 558 Broadway, NYC
1995 “THE LANGUAGE OF ART: RESIPSA LOQUITOR” – Curated by Stephen Rosenberg,
New York Lawyers Association, NYC
"EMERGING FROM NEW YORK" - Klienert James Art Center, Woodstock, NY
"A GRAND AFFAIR" - Curated by Michael Walls, 420 Broadway, NYC
“INCONTRO/ENCOUNTER” – TriBeCa 148 Gallery, NYC
"SELECTIONS" - K&E Gallery, NYC
1994 "THE BOX SHOW" - K&E Gallery, curated by Emily Sorkin, NYC
"AMERICAN/ITALIAN ART" - Palazzo Ducale, Crecchio, Italy
1993 "WALL TO WALL" - Tribeca 148 Gallery, NYC
"THE DREAM SCREEN" - Curated by Stephen Romano, Tribeca 148, NYC
"THE MATCHBOOK SHOW" - CBGB's 313 Gallery, NYC
1992 “HIGH” – Blondies Contemporary Art, NYC
"SCENE AND UNSEEN" - Curated by Grace Hartigan, Eastern New Mexico Univ.
"SALON OF THE MATING SPIDERS" - Herron Test-Site, Brooklyn, NY
"NEW ART" - Curated by Sarah Greenberg, Kool Fine Art, NYC
"MFA THESIS EXHIBITION" - Westbeth Gallery, NYC

AWARDS
-FULBRIGHT SENIOR RESEARCH SCHOLARSHIP - Fulbright Scholar Program/Council for the International Exchange of Scholars. 8 month research grant
-ARTIST’S RESIDENCY FELLOWSHIP – Mac Dowell Colony, NH
-ARTIST’S RESIDENCY FELLOWSHIP - Sanskriti Kendra , New Delhi, India
-ARTIST’S RESIDENCY FELLOWSHIP - Yaddo, Saratoga Springs, NY
-ARTIST’S RESIDENCY FELLOWSHIP - Millay Colony, Austerlitz, NY,
Designated McClellen Fellow
-ARTIST’S RESIDENCY FELLOWSHIP - Kiltimagh, Co. Mayo, Ireland
-CRITIC’S GRANT SCHOLARSHIP– Vermont Sudio Center
-CHARLES SHAW AWARD FOR EXCELLENCE IN PAINTING (Two years) – Brooklyn College

TEACHING/WORK EXPERIENCE
-ADJUNCT FACULTY – Rutgers University, Drawing 2004-
-DIRECTOR - Visual Arts Program, The New School, New School University,
NYC (1994-to2003)
-ADJUNCT FACULTY - Rutgers University, Drawing, Painting and 2-D Design 1992-1995
-ADJUNCT ASSOCIATE PROFESSOR - Long Island University, Bklyn., NY 1994
-INSTRUCTOR – The New School 1994
-VISITING LECTURER/ARTIST – University of South Florida, College of Charlotte - School of Art, Hartford Art School, Kanoria Art Center (Ahmedabhad, India), B.S.University of Baroda, Faculty of

Fine Arts ( Baroda India), University of Connecticut, New Jersey Institute for Technology, University of Michigan, Kiltimagh Art Center, (Co. Mayo, Ireland)
-ADVISOR – Civitella Rainieri Foundation, Umbria Italy

BIBLIOGRAPHY
-Wilder, Matthew, “Critic’s picks – Asian Aesthetic”, artforum.com, July 2005
-Timberg, Scott, “Affordable Art?, Right this Way”, L.A. Times, Aug.2005
-Staff, “Where to Find Affordable Art in L.A.”, artinfo.com, Aug. 2005
-Naves, Mario, “Julie Evans’ Infinite Vistas Inspired by Indian Miniature Art”, The New York Observer, October 4, 2004
-Westfall. Stephen, “Julie Evans, Swish of the Yak Tail Fly-Wisk”, Exhibition Essay, Sept. 2004
- Grawood, Deborah, “Adorned With Bindi” OffOffOff, Sept.2004
-Harrison, Helen, “Travelers”, The New York Times, Dec. 2003
-Sahu, Deepika, “On a Miniature Tour”, Times of India, Dec. 2003 (India)
-Gomez, Edward, "4 Artists Worth Watching - Art's Innovative Messengers", Art and Antiques Magazine, Dec.2002
-Schmerler, Sarah, "Festoon", Art on Paper Magazine, July/August, 2002
-Johnson, Ken "Playground", The New York Times, June 2002
-Naves, Mario, "Pouring and Dripping her way into our Favor", The NY Observer, April 2002
-Wei, Lilly, "Festoon", Exhibition Essay, March 2002
-Staff writer, "Festoon", Gallery Watch, Art and Antiques, March 2002
-Church, Amanda, “She Lives on Love Street”, FlashArt Magazine, Oct., 2001
-Conly, Kevin, “She Lives on Love Street”, The New Yorker, Aug., 2001
-Daly-Peoples, John, Arts: The National Business Review, July 2000, (New Zealand)
-Fressola, Michael, “New Island Views”, Staten Island Advance, Jan, 1999
-Cotter, Holland, “Drawing and Painting”, The New York Times, Sept. 1998
-Kino, Carol, “Drawing and Painting”, Time-Out Magazine, Oct. 1998
-Harrison, Helen, “Brite Magic”, The New York Times, May 1998
-Bowery Bell, Jay, “Spring Group Show”, Review, June, 1998
-Frank, Peter, “A Slice of Apple”, L.A.Times, October, 1998
-Kino, Carol, “Girls, Girls, Girls”, Time-Out Magazine, 1997
-Robinson, Walter, Featured Artist, Art Beat, September 1995
-Vaccaro, Stefano, “Abruzzesi a New York”, America Oggi, June 1995
-Lane, Dakota, “Emerging from New York”, The Woodstock Times, Aug 1995
-Wright, Jeff, “Group Show”, Cover Magazine, Summer, 1995
-Ferrara, Jolanda, “Arte Contemporaranea - Americana A Crecchio”, Il Centro,
Italy, Sept. 1994

PUBLIC COLLECTIONS
Rubin Museum of Art
Progressive Corporation
JP Morgan
Pfizer Inc.
US Trust Corporation
Art Bank Program
The Four Seasons Hotel
Thayer Lodging Group
Fed. Reserve Bank
The Chambers Hotel

RECENT PROJECTS
-51st VENICE BIENNALE – co-curator of “iCon – India Contemporary”, an exhibition of Contemporary Indian Art. Venice, Italy 2005
- THE FLAG PROECT – The Rubin Museum of Art, NYC. Initiated by Kiki Smith, this project invites Contemporary Artists to design a prayer flag which is printed and exhibited by the Museum
(catalog and on-line exhibition) 2005
-FRIENDS OF FULBRIGHT, INDIA – co-chair, FFI Benefit Art Auction, NY NY 2005



Artist's Statement

My work over the past several years has been strongly influenced by my travels through India and my research into Indian miniature painting. There I was struck by the incredibly fluid convergence of visuality, spirituality and the rituals of daily life that saturate Indian culture, and recognized the important and dynamic role ornamentation plays within it. Profusions of floral garlands, bright colors, and displays of ritualized festooning adorn every other building, tree, rock, temple as manifestations of devotion (rather than mere decoration), making faith palpably visible.

No less visible than these expressions of devotion, are the explosive scenes of popular culture that exist alongside them, as Brahma meets Bollywood and roadside shrines meet MacDonald’s. These simultaneous extremes of sacred and pop are among the many conspicuous, opposing energies of a typical Indian city street, where amidst the crowded cacophony of whirling noise, color, and motion, an impromptu shrine creates a momentary pause - a quiet gap in the surrounding sound and energy - a visual, physical, psychological and emotional break.

I’m interested in translating/painting these oppositions, and arousing the kind of heightened sense of perception I experience when they collide. I see the careful, intricate mandala forms and other ornamental, devotional aspects in my work (including processes that involve the expenditure of time) as a foil for the bright, popish elements - just as their slower pace and sound are for the faster, louder moments in the paintings. Surface layers - both opaque and transparent, create spaces within spaces, and open up in places to reveal a lower other, or underbelly of activity.

Of equal interest to me are the amazing, devotional miniature paintings of the Punjab Hills – specifically Pahari paintings, mostly from the late 17th century. They are small in scale, very detailed, and demand (and greatly reward) close attention. They carry an extremely powerful intimacy that interests me, which has influenced the scale and detail of my own work. I have also been using many of the materials, tools, and palettes of these traditional paintings, along with some of their formal conventions. This has set up a framework within which I can explore a multitude of sensibilities and phenomenon, both familiar and foreign to me.