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David Row

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David Row
Row in 2018
Born1949 (age 74–75)
Portland, Maine, U.S.
EducationYale University, Yale School of Art
Known forPainting
MovementContemporary Art, Abstract Art
SpouseKathleen Schenck Row

David Row (born 1949) is a contemporary abstract painter associated with the movements of Postmodern Painting and Conceptual Abstraction.[1][2] His primary aesthetic has evolved around a language of painterly fragmented geometric abstraction that is usually formed on shaped canvases and installations.[3][4][5] Row lives and works in both New York City and Cushings Island, Maine.[6] He is married to former AIGA NY Board president Kathleen Schenck Row.[7]

Early life and education

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Row was born in Portland but grew up in Kolkata, India.[8][9] Row went on to study art receiving both his BA and MFA degrees at Yale. During his time there he studied under Joseph Albers,[10] Al Held,[11][12] Lester Johnson,[13] William Bailey,[14] David von Schlegell,[15] and Brice Marden.[16]

Row has exhibited extensively since the late seventies starting out at alternative and nonprofit spaces such as the Drawing Center[17] and PS122. He has been represented at various points in his career by John Good Gallery (New York),[18] André Emmerich (New York),[19] von Lintel Gallery (New York),[20] Galerie Thaddaeus Ropac (Paris/Salzburg), Ascan Crone (Hamburg),[21] Galerie Brandstetter & Wyss (Zürich) and currently with Loretta Howard Gallery (New York), Locks Gallery (Philadelphia) and McClain Gallery (Houston).[22]

Row is also an established printmaker working with fine art edition presses such as Pace Prints,[23] Two Palms Press[24] and the Tamarind Institute.[25]

He has also received grants and awards such as Yale Scholar of the House (1971-71), National Endowment for the Arts (1987),[26] Issac N. Maynard Prize from the National Academy Museum and School (2008).[27]

Row has taught and lectured at The Cooper Union, Rhode Island School of Design, Pratt Institute, Fordham University and currently teaches in the School of Visual Arts MFA Program.[28][29][30]

Career

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Row's practice has evolved into a series of inquires into the nature of perception using geometry and the physicality of paint. His paintings use cropped and fragmented overlapping ovals and polygons that create visual and illusionistic tension. Charles Hagen goes on to describes the work in an Artforum review, "Row's paintings have a sense of dynamism about them as if they were constantly on the verge of becoming something else - and then, perhaps becoming themselves again, By combining off geometric forms with richly expressive color, Row attempts to bridge the gap between systems and intuition, concept and action."[31]

Peter Plagens wrote about Row's work, "Row is a master of his mode, and his astute cramming of geometric shapes (ovals are a favorite) into dynamically constricting formats makes his compositions seem all the more muscular. Recently, he's been working on polygons, and his color, while measured and considerably muted by his relentless attention to the surface, is nevertheless expert and crisp."[32]

Ken Johnson referred to the Row's imagery as, "abstract paintings in which wide, arcing bands are played off rectangular division. Broad loopy lines and straight lines are squeegeed into richly layered fields, some in bright, synthetic hues, others in black and white."[33]

The paint application has the texture not unlike screen printed ink or stenciled wiped surface which causes the image to appear blurred or obscured. Often marks remain from the use of such tools and other masking techniques as evidence of the process as well as aesthetic gesture. In reference to this painting critic Barry Schwabsky says, "The layering if the surface is in fact rather complex, and because Row uses the removal of the masking tape holding down the stencils as a marked steps in the painting process, the image is traversed, both at and under the surface but the grid formed 'ghosts' of the tape."[34]

Times art critic Roberta Smith describes Row's work as, "layer together complex processes (including templates, screen printing and Richter-like blurs) with an imagery that centers on repeating open ellipses. Across separate panels and multicolored grids, and in lively contrasting colors, these ellipses disintegrate into coiled lines and then big flamelike strokes, with a centrifugal energy that can seem cinematic."[35]

Selected solo exhibitions

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Selected group exhibitions

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Public collections

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References

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  1. ^ a b Maine, Stephen (March 6, 2016). "Calisthenic Abstraction: Four Decades of David Row". artcritical.com. Art Critical. Retrieved April 17, 2019. The work of New York painter David Row has been labeled 'conceptual abstraction' but the unabashed physicality of his work—of which 15 choice examples are on view at Loretta Howard Gallery—suggests 'calisthenic abstraction' as an equally apt designation. This exhibition's checklist spans the promised 40 years, from 1976 to the present, and every painting is as much a material presence as it is a pictorial conundrum.
  2. ^ a b Karmel, Pepe; Pissaro, Joachim (2012). "Conceptual Abstraction: October 5-November 10, 2012, Hunter College". Conceptual Abstraction. New York: Hunter College of the City of New York. p. 60. ISBN 978-0-9839261-6-0. In November of 1991, the Sidney Janis Gallery opened the groundbreaking Conceptual Abstraction exhibition under the auspices of Carroll Janis, with the collaboration of the painter Valerie Jaudon who coined its title. This was, in effect, one of the last shows at a gallery long associated with the rise of post war art in New York. Founded in 1948 by the intrepid dealer Sidney Janis, the gallery played a major role in the development of Abstract Expressionism; in 1962, it showcased the first major Pop Art show, and by the nineties it had become synonymous with blue chip Modernism. Conceptual Abstraction, however, was a radical departure for a gallery better known for representing a roster of established artists that included such luminaries as Fernand Léger, Piet Mondrian, Jackson Pollock, and Claes Oldenburg. Organized at a time when abstraction had fallen into disfavor, the original exhibition included a new generation of painters who strayed from modernist notions of non-figurative painting and instead built their abstracted visions on fresh aspects of a newly surfaced reality—be it decorative patterning, direct appropriation, geometric constructions, or language. This initiative by the Janis Gallery spurred a plethora of similar group exhibitions around the New York art world, serving as a lively platform for debate on the state of painting at the end of the twentieth century. Moreover, Conceptual Abstraction demonstrated that abstract painting remained a vital and progressive option for contemporary art, and it could be argued that the current renaissance of abstract painting began with this 1991 exhibition.
  3. ^ Corwin, William (October 2018). "David Row: Counter Clockwise". brooklynrail.org. The Brooklyn Rail. Retrieved April 17, 2019. His fractured canvases, plywood assemblages, and faux-assemblages, are puzzles that question the act of puzzling—in this case the act of constructing an image from odd parts. What is wonderful about these works is how they don't need to follow through with what we've come to expect from a puzzle. While all the segments fit snugly together to form a variety of many-faceted irregular polygons, the surface imagery—loosely a thematic series of Xs and Os—does not usually add up to a contiguous whole. There are mismatched angular chunks interjecting into the curves of the Os and there are truncated and dismembered Xs.
  4. ^ Zinsser, John (October 1991), "Geometry and it's Discontents", Teme Celeste Art Magazine (32–33): 72–76, Row's work plays off a viewer's pre-establishes expectations of what geometric painting should 'look like.' His recent show at John Good Gallery in New York was ambitiously conceived and executed, comprised of large scale works made up of multiple intersecting rectangular panels. Here Row's work shared an attitude with his antecedents Ellsworth Kelly and Frank Stella: the Abstract paintings can operate at a scale and with visual impact that relates them directly to the popular culture experience.
  5. ^ Brenson, Michael (March 15, 1991). "Reviews Art American Beauties, Images of Softness Rendered in Concrete". The New York Times. Retrieved April 17, 2019. David Row John Good Gallery 532 Broadway (near Spring Street) Through March 23. David Row is trying to make abstract paintings that will have the sensuousness of, let's say, David Reed's work but also an even greater degree of self consciousness. In his new paintings the smallest is 77 by 76 inches, the largest, 91 by 164 inches Mr. Row works with matte surfaces and both muted and high-pitched colors. All the paintings consist of several canvases, each one a different size. In each, there are lines suggesting huge parabolas. Sometimes the sweeping curves continue from one canvas into the next. More often the effect is one of discontinuity and incompleteness. A fluid, even cosmic, movement seems well under way within a canvas yet already broken by the edge or by the different movement in an adjacent canvas. The discontinuity is reinforced by the textures, which seem like old walls whose paint has been scratched or has begun to peel away. The problem here is that the emotional needs and intellectual demands within these paintings work against each other, almost canceling each other out. These paintings will not discourage any one who believes Mr. Row is a painter to watch, but the conceptual, self-conscious side of the work clearly wins the day.
  6. ^ Beem, Edgar Allen (July 23, 2008). "Maine in the Abstract". newengland.com. New England Today Living. Retrieved April 15, 2019. One of the artists I had in mind was David Row, a Portland native now working in New York. Row, who returns summers to Cushings Island in Portland Harbor, was a student of the geometric abstract painter Al Held at Yale and his own complex and elegant abstract paintings and prints speak a similar universal language of form with Row's own accent.
  7. ^ "Past AIGA NY Boards". aigany.org. AIGA NY. Retrieved April 14, 2022. Kathleen Schenck Row, president
  8. ^ MacAdam, Barbara (November 2, 2017). "David Row with Barbara MacAdam". brooklynrail.org. The Brooklyn Rail. Retrieved April 15, 2019. Well my family was living in India at the time. That was a big influence of course. You know, color in India is really something, and it had a huge influence on me. But I have one experience that has just stayed with me for a long time. They used to have these tanks filled with water, and outside of one of them, close to where we lived in Kolkata—there were people who would dye things. They would dye something in a pattern and then leave it in the sun.
  9. ^ "David Row". locksgallery.com. Locks Gallery. Retrieved April 17, 2019. Row grew up outside New Haven, CT. He received his BFA from Yale in 1972 and, after a year studying Indian music in Calcutta, returned there to complete his MFA.
  10. ^ MacAdam, Barbara (November 2, 2017). "David Row with Barbara MacAdam". brooklynrail.org. The Brooklyn Rail. Retrieved April 15, 2019. Yes, yes, he was still at Yale when I was there; he wasn't teaching. He had a studio in the basement of the Art and Architecture building, and the story was that he changed the fluorescent light bulbs like once a month—you know these light bulbs last like 20 years, but he changed them like once a month, and he worked under fluorescent light.
  11. ^ "David Row". artsy.net. Artsy. Retrieved April 17, 2019. David Row's gestural oil paintings feature rhythmic, flowing lines interrupted by periodic fractures and breaks. These ruptures have been a preeminent interest of Row's since studying with Al Held in the 1980s.
  12. ^ MacAdam, Barbara (November 2, 2017). "David Row with Barbara MacAdam". brooklynrail.org. The Brooklyn Rail. Retrieved April 15, 2019. Al Held was really huge for me. Al was my adviser when I first got to graduate school.
  13. ^ MacAdam, Barbara (November 2, 2017). "David Row with Barbara MacAdam". brooklynrail.org. The Brooklyn Rail. Retrieved April 15, 2019. When I was in school, Lester Johnson was the first teacher that I was kind of magically impressed by. I was in a drawing class; it was his drawing class, a graduate class, and I asked if it would be okay if I came in to draw. He said, sure.
  14. ^ MacAdam, Barbara (November 2, 2017). "David Row with Barbara MacAdam". brooklynrail.org. The Brooklyn Rail. Retrieved April 15, 2019. And so, that was part of that early figurative education, and I learned a lot from that. Even from William Bailey. We ended up not getting along at all, but I learned about looking at classical painting. But I always knew that it wasn't where I wanted to be.
  15. ^ MacAdam, Barbara (November 2, 2017). "David Row with Barbara MacAdam". brooklynrail.org. The Brooklyn Rail. Retrieved April 15, 2019. As far as school was concerned I would say Lester Johnson and David von Schlegell most interested me. I didn't have too much interaction with David but when I did, it seemed he left me with a lot to think about.
  16. ^ MacAdam, Barbara (November 2, 2017). "David Row with Barbara MacAdam". brooklynrail.org. The Brooklyn Rail. Retrieved April 15, 2019. I spent those years in a very high-profile grad school situation with people like Brice Marden and Larry Poons coming to the graduate school and kind of being in the studios, and it was very intimidating.
  17. ^ "Group Exhibition of New Talent". drawingcenter.org. The Drawing Center. September 1, 1978. Retrieved April 17, 2019. Group Exhibition of New Talent: Paul Caranicas, Timothy Conway, Carroll Dunham, Roger Ferri, Micahel Falcone, Milo Reice, David Row, Ann Turnley
  18. ^ Severin, James (January 20, 1991). "SoHo Stares at Hard Times". The New York Times. Retrieved April 17, 2019. David Row, an abstract artist with the John Good gallery, built his consensus like this: in 1986 he met Good, a young dealer who had made many contacts while working with Leo Castelli for five years. Good took Row to a party thrown by Mera and Donald Rubell, who days later purchased a Row canvas for $2,800. For Row's first show, Good made sure each painting was sold before the show opened, with the customary 10 percent discount offered to prominent and influential collectors going to the Rubells. Press was also a crucial factor. Row received a positive review in The New York Times. Four years, two solo and seven group shows later, Row's prices have climbed from $2,800 to $15,000.
  19. ^ "Galleries", New York Magazine, p. 66, July 24, 1995, retrieved April 17, 2019, David Row: The Artist's first exhibition at this gallery consists of new geometric paintings whose faces are built up with layers of pigment or scraped down bare canvas. thru 7/30, Emmerich, 41 E. 57th Street (752-0124)
  20. ^ a b Wei, Lily (January 2007), "David Row at Von Lintel", Art in America: 148, The nine luminous new paintings (all from 2006) in this show by David Row, a much respected New York-based abstract painter have shifted from the analytical approach he previously favored to a more immediate engagement with expressive, even lyrical qualities of paint and process.
  21. ^ MacAdam, Barbara (November 2, 2017). "David Row with Barbara MacAdam". brooklynrail.org. The Brooklyn Rail. Retrieved April 15, 2019. I had an experience earlier on with Ascan Crone Gallery in Hamburg, it was the first show I did there, and Ascan was always really amazingly nice to me…I got there and he had hung the entire show.
  22. ^ "Loretta Howard Gallery, David Row". lorettahoward.com. Loretta Howard Gallery. Retrieved April 17, 2019. David row was born in 1949 in Portland Maine. He studied at Yale University from 1968-1974 where he met fellow painter Al Held who would become a lifelong friend and mentor. Immediately following his studies he moved to New York City where he became a prominent member of a new young generation of abstract painters including Ross Bleckner, Peter Halley and Mary Heilmann. The artist is best known for his abstractions wrought with stark, architectonic precision in heavily worked surfaces of oil paint. His sumptuous, often delicate colors reflect a sensibility inherited from viewing the rich died fabrics he saw in markets while living with his parents as a young adult in India where his father moved to work as a city planner. He is known for his use of diptychs and more recently for his shaped polygonal canvases. His works are in the permanent collections of museums worldwide including The Brooklyn Museum, The Carnegie Museum of Art, The Cleveland Museum of Art, and the Museum of Contemporary Art, San Diego. He has exhibited internationally including with Von Lintel Gallery in New York, with Brandstetter & Wyss , Zurich, Von Lintel and Nusser, Munich, Marella Arte, Milan, Thaddaeus Ropac, Salzburg and Paris and Andre Emmerich in New York. He is the recipient of a National Endowment for the Arts Grant in Painting (1987) and the Isaac N. Maynard Prize for Painting from the National Academy Museum, in New York, in May 2008.
  23. ^ "Pace Prints, David Row". paceprints.com. Pace Prints. Retrieved April 17, 2019.
  24. ^ "Two Palms Press, David Row". twopalms.us. Two Palms Press. Retrieved April 17, 2019.
  25. ^ "Tamarind Institute, David Row". tamarind.unm.edu. University of New Mexico, Tamarind Institute. Retrieved April 17, 2019.
  26. ^ "National Endowment Annual Report 1987" (PDF). arts.gov. National Endowment for the Arts. Retrieved April 17, 2019. Visual Arts, David Row, New York, NY, $15,000
  27. ^ Hamilton, Judy (May 24, 2014). "Special prints celebrate Clay Center's 10 years". wvgazettemail.com. Charleston Gazette Mail. Retrieved April 17, 2019. The celebrated artist graduated cum laude with a bachelor of arts from Yale in 1972 and received his master's in fine art from Yale in 1975. He received a National Endowment for the Arts grant in painting in 1987 and the Isaac N. Maynard Prize for Painting from the National Academy Museum in 2008.
  28. ^ Robinson, Walter (March 3, 2006). "Artnet News". artnet.com. Artnet. Retrieved April 17, 2019. Art instruction at Yale has always covered a broad spectrum. "When Josef Albers ran it, he hired de Kooning," said David Row, a painter who now teaches at Fordham University. "When I was at Yale, the faculty ranged from Al Held to Mel Bochner to William Bailey. There were lots of arguments -- which is the way it should be." Other observers also suggest that some fireworks might be expected. Yale's art history department has long been a redoubt for critical theory, and Storr -- a painter himself -- has had more than one dispute with critics who favor what might be called "theoretical machinations."
  29. ^ "Faculty, David Row". sva.edu. School of Visual Arts. Retrieved April 17, 2019.
  30. ^ "School of Visual Arts, MFA Fine Arts Faculty". mfafineart.sva.edu. School of Visual Arts, MFA Department. Retrieved April 17, 2019.
  31. ^ Hagen, Charles (July 1989). "David Row at John Good Gallery". Artforum. 27 (10). New York: 143. Row's paintings have a sense of dynamism about them as if they were constantly on the verge of becoming something else - and then, perhaps becoming themselves again, By combining off geometric forms with richly expressive color, Row attempts to bridge the gap between systems and intuition, concept and action.
  32. ^ Plagens, Peter (March 14, 2016). "A Minimalist Heaven, Electrified Romanticism and Handsome Ovals". wsj.com. The Wall Street Journal. Retrieved April 17, 2019. Mr. Row is a master of his mode, and his astute cramming of geometric shapes (ovals are a favorite) into dynamically constricting formats makes his compositions seem all the more muscular. Recently, he's been working on polygons, and his color, while measured and considerably muted by his relentless attention to the surface, is nevertheless expert and crisp.
  33. ^ Johnson, Ken (November 12, 1999). "Art Guide". The New York Times. Retrieved April 17, 2019. DAVID ROW, Von Lintel & Nusser, 555 West 25th Street, (212) 242-0599 (through Nov. 26). Mr. Row continues to make strong but predictable abstract paintings in which wide, arcing bands are played off rectangular division. Broad loopy lines and straight lines are squeegeed into richly layered fields, some in bright, synthetic hues, others in black and white; imagine a marriage of David Reed and Gerhard Richter (Johnson).
  34. ^ Schwabsky, Barry (February 1994), "David Row at John Good Gallery", Artforum, 32 (6): 88, retrieved April 17, 2019, The layering if the surface is in fact rather complex, and because Row uses the removal of the masking tape holding down the stencils as a marked steps in the painting process, the image is traversed, both at and under the surface but the grid formed 'ghosts' of the tape.
  35. ^ Smith, Roberta (November 1, 1996). "Palettes Full of Ideas About What Painting Should Be". The New York Times. Retrieved April 17, 2019. layer together complex processes (including templates, screen printing and Richter-like blurs) with an imagery that centers on repeating open ellipses. Across separate panels and multicolored grids, and in lively contrasting colors, these ellipses disintegrate into coiled lines and then big flamelike strokes, with a centrifugal energy that can seem cinematic.
  36. ^ Malone, Peter (October 2, 2018). "Noughts and Crosses: David Row at Loretta Howard". artcritical.com. Art Critical. Retrieved April 17, 2019.
  37. ^ "Exhibitions, David Row, Zen Road Signs". locksgallery.com. Locks Gallery. Retrieved April 17, 2019.
  38. ^ "Press Release: David Row, Elements". mcclaingallery.com. McClain Gallery. November 21, 2013. Retrieved April 17, 2019. McClain Gallery is pleased to announce its second solo show of David Row's work in Houston with an exhibition featuring new paintings, works on paper, and sculptures in cast glass. A major figure in the New York art scene of the 1980s and 1990s, David Row is well known for his distinct approach to non-representational geometric abstraction. For Row, abstraction allows the work to exist and evolve on its own terms, while permitting the work to be interpreted in a plethora of ways.
  39. ^ Fyfe, Joe (December 2004), "David Row at Von Lintel", Art in America: 131, David Row has spent over 20 years devising abstract paintings that seek to capture the tenor and grit of contemporary experience.
  40. ^ "Past Exhibitions". wichita.edu. Wichita State University. Retrieved April 17, 2019. Ennead: Works by David Row April 20 to August 12, 2001 New York based, abstract artist David Row will be on campus to assist with the installation of his traveling exhibition, Ennead, which in Greek means "nine" and, as a proper name, refers to the nine muses who preside over the arts and sciences. The exhibition is composed of three elements: a suite of six monotypes, two large paintings on canvas, and the third (and most exciting) is the wall drawing Mr. Row will produce at the museum April 17 to 20, 2001.
  41. ^ Smith, Roberta (November 1, 1996). "Palettes Full of Ideas About What Painting Should Be". The New York Times. Retrieved April 17, 2019. David Row operates on the assumption that the future of painting is formalist. His big, handsome works at Andre Emmerich/Sotheby's, as the gallery is now called, layer together complex processes
  42. ^ "Exhibitions, David Row, Recent Paintings". locksgallery.com. Locks Gallery. Retrieved April 17, 2019.
  43. ^ Rollman, Barbara (June 1, 1995), "Aktuell im Munchner Galerien", Suddeutsche Zeitung, pp. NR 125
  44. ^ a b c Leigh, Christian (1991). Like Duchamp, Squared, The Double Edged Sword, David Row's Ambiguous Abstraction. Paris, France: Galerie Thaddaeus Ropac, Richard Feigen Gallery, John Good Gallery. p. 38. OCLC 878091708.
  45. ^ Wei, Lilly (February 2, 2012). "Reviews, Conceptual Abstraction at Hunter College/Times Square". artinamericamagazine.com. Art in America. Retrieved April 17, 2019. David Row's gorgeous gold and black Split Infinitive (1990) is a kind of postmodernist altarpiece, a vision of the empyrean. Its fractured form returns in the shaped canvas Ellipsis (2012), executed in Row's current palette of night sky blue. Space, as well as time, appears to fold in on itself. It may be taken as emblematic of this triumphant back to the future show.
  46. ^ "Splendor of Dynamic Structure: Celebrating 75 Years of The American Abstract Artists". museum.cornell.edu. Cornell University. Retrieved April 17, 2019.
  47. ^ Fiore, Kristin (February 4, 1996). "The Armand Hammer's 'Critiques of Pure Abstraction' offers the unique chance for modern-day abstract artists to judge their predecessors". dailybruin.com. Daily Bruin. Retrieved April 17, 2019. The exhibit greets you with two equally striking paintings, simultaneously similar and opposite. David Row's 'Split Infinitive' and 'Untitled 99' embody the main thrust of the artwork of next three rooms. In defiance of abstract expressionism's reverence for unity and geometric perfection, symbols of idealism and utopia, Row splits his canvasses into three uneven rectangles. What struggles to become a circle that would connect them is disrupted and fragmented. When thrown down in black and yellow, the gaping spiral suggest chaos and irresolution. When stenciled in stale shades of white and gray, however, the missing pieces and edges of the ovals create an emptiness and dissolution. By the corruption of its most prized form, Row has revealed the imperfections and hollowness of the old abstract pretensions and the dreamworld they espouse. These two artists use the most common technique for getting their messages across, taking a traditional element or style and injecting an opposing, new element to destroy its significance or validity.
  48. ^ McCracken, David (March 8, 1991). "Four Artists Let Materials, With Help, Speak for Themselves". chicagotribune.com. Chicago Tribune. Retrieved April 17, 2019. Others in this impressive show, which continues through March 30, include On Kawara, Harriet Korman, Jonathan Lasker, Brice Marden, Carl Ostendarp and David Row.
  49. ^ "New Drawing in America". drawingcenter.org. The Drawing Center. January 13, 1982. Retrieved April 17, 2019.
  50. ^ "Allentown Art Museum Collections, David Row". collections.allentownartmuseum.org. Allentown Art Museum. Retrieved April 17, 2019.
  51. ^ "David Row, Untitled". brooklynmuseum.org. Brooklyn Museum. Retrieved April 17, 2019.
  52. ^ "Collection Search, David Row". blockmobius.northwestern.edu. Block Museum, Northwestern University. Retrieved April 17, 2019.
  53. ^ "David Row, Cypher". collection.cmoa.org. Carnegie Museum of Art. Retrieved April 17, 2019.
  54. ^ "Search the Collection, David Row". clevelandart.org. The Cleveland Museum of Art. Retrieved April 17, 2019.
  55. ^ "Unmoored Geographies: Works from the Permanent Collection". wichita.edu. Wichita State University. Retrieved April 17, 2019. Exhibiting artists, Laura Berman, Claudia Bernardi, Sonia Boyce, Ain Bailey, Julia Brown, Judy Chicago, Christo, Nathaniel Donnett, Gary Jo Gardenhire, Graciela Iturbide, Mokha Laget, Hew Locke, Vik Muniz, Lorraine O'Grady, Otabenga Jones and Associates, Nusra Qureshi, Faith Ringgold, David Row, Humberto Saenz, Hans Schabus, Tanja Softic, Daryl Vocat, Carrie Mae Weems, Emmi Whitehorse, Matika Wilbur, Zarina
  56. ^ "Circa 1986 Catalogue". hudsonvalleymoca.org. Hudson Valley MOCA. Retrieved April 17, 2019. Circa 1986 includes works of art made and collected in the exciting period between 1981 and 1991. Participating Artists are Gregory Amenoff, Richard Artschwager, Ashley Bickerton, Ross Bleckner, Christian Boltanski, Jonathan Borofsky, James Brown, Sarah Charlesworth, Clegg & Guttmann, Walter Dahn, Jiri Georg Dokoupil, Moira Dwyer, Barbara Ess, R.M.Fischer, Gilbert & George, Robert Gober, Antony Gormley, Dieter Hacker, Damien Hirst, Jenny Holzer, Roni Horn, Mike Kelley, Anselm Kiefer, Win Knowlton, Jeff Koons, Paul Laster, Sherrie Levine, Robert Mapplethorpe, Allan McCollum, Mark Morrisroe, Elizabeth Murray, Bruce Nauman, Joel Otterson, Rona Pondick, Richard Prince, Rick Prol, David Robbins, Tim Rollins K.O.S., David Row, Julian Schnabel, Peter Schuyff, Mike and Doug Starn, Jessica Stockholder, John Walker, David Wojnarowicz
  57. ^ "Collections, David Row, Quanta". metmuseum.org. Met Museum. Retrieved April 17, 2019.
  58. ^ "David Row, Wave". mfah.org. Museum of Fine Arts, Houston. Retrieved April 17, 2019.
  59. ^ "David Row, Untitled 185". collections.portlandmuseum.org. Portland Museum of Art. Retrieved April 17, 2019.
  60. ^ "Artists, David Row". collection.spencerart.ku.edu. Spencer Museum of Art, University of Kansas. Retrieved April 17, 2019.
  61. ^ "David Row, Untitled, Theta". museums.fivecolleges.edu. University of Massachusetts. Retrieved April 17, 2019.
  62. ^ Reid, Alice (August 1, 1996). "Art to Take Airport to New Heights". The Washington Post. Retrieved April 17, 2019. Paint on aluminum panels, David Row, New York
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