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Katharine Kuharic

May 04, 2024

Katharine Kuharic is an American artist known for multi-layered representational paintings that combine allegory, humor, social critique, and aspects of Pop and pastoral art.[1][2][3] Her art typically employs painstaking brushwork, high-keyed, almost hallucinogenic color, discontinuities of scale, and compositions packed with a profusion of hyper-real detail, figures and associations.[4][5][6] She has investigated themes including queer sexual and political identity, American excess and suburban culture, social mores, the body and death.[7][3][8] Artist-critic David Humphrey called Kuharic "a visionary misuser" who reconfigures disparate elements into a "Queer Populist Hallucinatory Realism" of socially charged image-sentences that shake out ideologies from "the congealed facts of contemporary culture" and celebrate the possibility of an alternative order.[6]

Katharine Kuharic
Born1962
South Bend, Indiana, United States
NationalityAmerican
EducationCarnegie Mellon University, School of Visual Arts
Known forPainting, drawing
StyleFigurative
AwardsRockefeller Foundation, New York Foundation for the Arts, Art Matters
WebsiteKatharine Kuharic
Katharine Kuharic, Super Bowl Sunday, oil on linen, 36" x 24", 2003; St. Louis Art Museum collection.

Kuharic has been recognized with awards from the Rockefeller Foundation, Contemporary Art Museum St. Louis, New York Foundation for the Arts, and San Francisco Art Institute, among others.[9][8][10][11] She has shown internationally, and her work belongs to the public collections of the St. Louis Art Museum[12] and Pennsylvania Academy of the Fine Arts.[13][14][15] She lives in New York and is a professor of art at Hamilton College.[16]

Education and career edit

Kuharic was born in South Bend, Indiana in 1962.[9] She completed a BFA in painting and drawing at Carnegie Mellon University in 1984 and then moved to New York City, where she studied at the School of Visual Arts with Louise Bourgeois and Robert Storr.[9][16] In the decade that followed, she exhibited at New York venues including Hallwalls, White Columns, The Drawing Center, Four Walls, and P.P.O.W., where she had a solo show in 1994.[17][18][2][19] She has continued to show at P.P.O.W., with six subsequent solo exhibitions between 1997 and 2016.[20][1][4]

In the early 2000s, Kuharic returned to the Midwest, relocating to St. Louis for a teaching position at Washington University in St. Louis.[8][21] Since then, she has had solo exhibitions at the Contemporary Art Museum St. Louis, The Delaware Contemporary, and South Bend Regional Museum of Art, and appeared in group shows at the Pennsylvania Academy of Fine Arts, Contemporary Arts Museum Houston, and Portsmouth Museum of Fine Art, among others.[22][23][19]

Kuharic has taught art since the mid-1990s, at institutions including Yale School of Art, The New School, the School of Visual Arts, and Washington University (2002–6), where she served as a lecturer, associate professor and coordinator of painting.[21][20][24] She has been a professor at Hamilton College in Clinton, New York since 2007.[16][21]

Work edit

Kuharic’s paintings been described variously as surreal,[25][12] magic realist,[1] and "hyperbolic realist."[6] She employs complex, labor-intensive techniques; these include the collaging, drawing, re-collaging and re-drawing of appropriated imagery (before hand-transferring compositions onto canvas) and an old-master-like painting process in which she renders images tonally before applying discrete layers of color.[26][27][3][19] Writer Terry R. Myers suggested that Kuharic shares with painter Lari Pittman an interest in the power of popular culture and its complex relationship to queer sexual and political identity.[26] Her tableaux of juxtaposed, loaded imagery yield proliferating strings of ideas, jokes and interpretations—often in a picture-puzzle or rebus-like manner—that viewers must complete;[6][12][1] writer Keith Recker wrote that Kuharic's webs of images and paint handling engender a "frightening, essential tug of war" teetering "between happiness and despair, love and death, safety and risk."[28]

 
Katharine Kuharic, Mister Rogers, oil on linen, 40" x 60", 1996.

Earlier painting (1986–99) edit

Kuharic's early work explored the body and sexual desire, social mores and grief through imagery of animals, anatomy and nature, death heads and female figures.[29][30][7] Reviews described this work as built-up layers of visual information "rendered with a kind of Pre-Raphaelite hyper-clarity,"[5] which pushed the limits of perception to create a kind of "a hallucinatory, multicolored static."[1] Her early paintings often depicted predatory domestic animals—cats and dogs, frequently bulldogs—as in Food Chain (1989) or Long Wait (1990), in which a staring cat hunched over a bird's nest full of eggs. New York Times critic Holland Cotter characterized them as strange, small works "painted in tight colored lines that look like a kind of jittery embroidery," suggesting a "cross between children's-book illustrations and bad-trip psychedelia."[29]

In the 1990s, Kuharic turned to more personal, sometimes macabre, imagery of the body, symbolic objects and female figures occasionally configured in timelines representing sexual partners.[5][1][31] In a 1992 Los Angeles Times review, critic Susan Kandel described one such set of watercolors as a Utopian, "jewel-like vision of a world of women, free not just of men, but of the gaze of men" and charged with energy and empowerment.[5] Later, minutely detailed works depicted women with flayed or heavily tattooed flesh, featured in fraught scenarios or guises and placed alongside iconic figures of femininity (e.g., Priestess, 1996; Backwards Flags, 1998).[32][1] The surreal work, Mister Rogers (1996), was dominated by a central young woman covered with tattoos, who is encircled by a second figure rendered in cutaways of tissue, bones and entrails and surrounded by small female figures: a debutante, a dominatrix, nuns and Eastern religious devotees, and a trapeze artist among them; another painting depicted a bare-breasted woman decked in pearls with red and blue worms teeming from the sockets of her skull.[25][28][32]

Time Out critic Bill Arning described the paintings in Kuharic's exhibition, "Show Quality Bitches" (P.P.O.W., 1997), as "bizarre, theatrical tableaux" and "lesbian theme parks" with the heightened quality of opera, which juxtaposed sometimes-frightening female figures and caricatures of social constructions of the feminine against luscious monochromatic backgrounds. Mind's Eye depicted a disembodied eye set against a blood-red background that looms over barely postpubescent girl in a cowgirl hat; she was surrounded by a fashion model, a Bettie Page-type dominatrix, a jester, and a doll of an infant among others.[1]

Later painting (2000– ) edit

 
Katharine Kuharic, Pound of Flesh, oil on linen, 6' x 4', 2011.

In the 2000s, Kuharic shifted toward more socio-politically focused work using found (or what she termed "unsolicited") imagery appropriated from local newspapers and magazines, slick-printed flyers, and junk mail.[22][8][4] She reconfigured the imagery into packed paintings examining American overabundance, consumerism, and boom-and-bust real estate and financial markets, taking a tone that was simultaneously critical, celebratory and surreal.[3][33][12][6] For example, Super Bowl Sunday (2003) consisted of seven mandala- or flower-forms composed of sparkling, fanned-out products (Gatorade and beer bottles, shoes, cans of produce, meat) that hovered like spacecraft in a blue sky over a devastated, rubble-strewn landscape depicting a bombed out, tiled bathroom and tangle of twisted pipes.[12][6] It drew on Kuharic's memories of the chaos of leaving her downtown New York studio following 9/11 and relocating to St. Louis.[12] Village Voice critic Kim Levin described that work and others in Kuharic's show "Throb" (P.P.O.W., 2004) as "zonked heartland imagery of burgers, fries, flags, Super Bowl stuff, and corn as high as an elephant’s eye" relating to "our country’s current bad trip."[2]

Kuharic targeted middle-class suburban culture, McMansions and Midwestern stereotypes in subsequent exhibitions at the Contemporary Art Museum St. Louis ("The World Brought Low,", 2005) and Bruno David Gallery ("Working in the Lou," 2012).[34][33][19] The former show included Jack's Originals (2004), a restaging of the expulsion from the Garden of Eden that portrays a casually dressed, middle-aged group atop jerry-built scaffolding made of potato chip bags, cheeseburgers, plates of club sandwiches, hams and other goods; a giant sun composed of a central frozen pizza package and plastic detergent bottles hovers above them.[3][8] Critic Jessica Baran described works in the latter show, such as Ladue News (2010), as "big-box surrealist nightmares-as-paintings."[35] That painting depicted affluent groupings (culled from society magazines) ascending towards an expanding, sphincter-like mandala of product containers that seems to threaten the ramshackle building in which they are placed.[33][35][36]

In the 2010s, Kuharic returned to more personal concerns involving appearance, ambition, comfort, love, middle age and death.[7][37][27] Her show "Pound of Flesh" (P.P.O.W., 2012) combined earlier themes of consumer excess with symbols and motifs representing weight loss and gain, nourishment, fertility, and self-reproach.[7][4][26] The show's title work juxtaposed motifs of eggs, hollyhocks, songbirds and Weight Watchers frozen dinner packages, text repeated and configured into a sunrise or sunset, and graphic elements charting Kuharic's annual weight.[26] In the show, "A Masque of Mercy" (Philip Slein, 2015), she presented intricate, allegorical paintings populated by psychedelic skeletons, bulldogs, cats, birds and flora that evoked both grief and the consolations of nature (e.g., The Nipple I Never Knew, 2015).[37][38] During this period, she also produced the monumental, long-term project, "What Women Lost", which began with Hillary Clinton’s first failed presidential bid; its title references Betty Friedan’s assertion that while men accumulate power and money, women are busy losing weight in order to appear more attractive.[27][39] The project involved a large-scale painting, forty-five individual portraits of the U.S. presidents, live performance painting, and video.[39]

Awards and public collections edit

Kuharic has been recognized with a Rockefeller Fellowship (2005, Bellagio, Italy residency), a FIAR International Prize (1991), and awards and grants from the Contemporary Museum St. Louis (2005), Milton and Sally Avery Arts Foundation (2003–4), Kranzberg Arts Foundation (2004), New York Foundation for the Arts (2002), Penny McCall Foundation (1999), and Art Matters (1990), among others.[9][40][8][10][41] In 2018, she was named the San Francisco Art Institute’s Richard Diebenkorn Teaching Fellow for that year.[11][42] She has also received artist residencies from MacDowell (2003–4),[9] Gyeonggi Creation Center (2015, South Korea),[43] and the Headlands Center for the Arts (2018).[27] Her work belongs to the public collections of the St. Louis Art Museum[12] and Pennsylvania Academy of the Fine Arts.[13]

References edit

  1. ^ a b c d e f g h Arning, Bill. "Katharine Kuharic, 'Show Quality Bitches,'" Time Out (New York), May 15–22, 1997. p. 46.
  2. ^ a b c Levin, Kim. "Katharine Kuharic," The Village Voice, June 9–15, 2004. p. 85.
  3. ^ a b c d e Bonetti, David. "The World Brought Low," St. Louis Post-Dispatch, April 3, 2005.
  4. ^ a b c d Katharine Kuharic, 'Pound of Flesh,'" Time Out (New York), March 15 2012.
  5. ^ a b c d Kandel, Susan. "30 Artists Take Aim at Masculinity," Los Angeles Times, December 17, 1992. Retrieved April 7, 2022.
  6. ^ a b c d e f Humphrey, David. "Hyperbolic Realism," Katharine Kuharic: Throb, New York, NY: PPOW, 2004. Retrieved April 6, 2022.
  7. ^ a b c d Russell, Christopher. "Studio Visits – New York: Katharine Kuharic," Artillery, May/June 2011. Retrieved April 6, 2022.
  8. ^ a b c d e f Green, Andrea. "Katharine Kuharic: The World Brought Low," Contemporary Art Museum St. Louis, Retrieved April 7, 2022.
  9. ^ a b c d e MacDowell. Katharine Kuharic, Artists. Retrieved April 6, 2022.
  10. ^ a b Carnegie Mellon University. "Notable Alumni." Retrieved April 8, 2022.
  11. ^ a b San Francisco Art Institute. "Richard Diebenkorn Teaching Fellow," Programs. Retrieved April 6, 2022.
  12. ^ a b c d e f g St. Louis Art Museum. Super Bowl Sunday, Collection. Retrieved April 7, 2022.
  13. ^ a b Pennsylvania Academy of the Fine Arts. Priestess, Katharine Kuharic, Collection. Retrieved April 6, 2022.
  14. ^ Hellberg, Susanna. "Stockholms Tip Set," Dag DN (Sweden), 1998.
  15. ^ Frackiewicz, Dorota. "Dzikie Wisne Kultura Popularna W Tworczosci Katharine Kuharic," Sztukaifilozofia, 2007.
  16. ^ a b c Hamilton College. Katharine Kuharic, Faculty. Retrieved April 6, 2022.
  17. ^ Sax, George. A Realistic Look at American Culture," The Buffalo News, February 10, 1989.
  18. ^ Hallwalls. Katharine Kuharic, Artists. Retrieved April 7, 2022.
  19. ^ a b c d Gordon, Kate. Katharine Kuharic: Working in the Lou, St. Louis, MO: Bruno David Gallery, 2012.
  20. ^ a b Cascone, Sarah. "7 Extraordinary Artworks to Seek Out at the Newly Returned ADAA Art Show in New York," Artnet, November 4, 2021. Retrieved April 6, 2022.
  21. ^ a b c Foster, Holly. "Eight Hamilton Faculty Members Awarded Tenure," Hamilton College, News, March 10, 2009. Retrieved April 6, 2022.
  22. ^ a b Dischinger, Mark. "Superfantastic Four," Riverfront Times, March 16–22, 2005. p. 29.
  23. ^ Gillespie, Evan. "Harsh and Amiable," South Bend Tribune, April 1, 2007.
  24. ^ Washington University. "Faculty promotions, appointments, tenure granted," News. Faculty. April 4, 2007. Retrieved April 8, 2022.
  25. ^ a b Cotter, Holland. "Peep Show," The New York Times, July 10, 1998, p. E37. Retrieved April 6, 2022.
  26. ^ a b c d Myers, Terry R. "The Payback of Painting Can Be a Beautiful Thing," Katharine Kuharic: Pound of Flesh New York, NY: PPOW, 2011. Retrieved April 6, 2022.
  27. ^ a b c d Headlands Center for the Arts. Katharine Kuharic, Artists. Retrieved April 6, 2022.
  28. ^ a b Recker, Keith. Katharine Kuharic: Throb, New York, NY: PPOW, 2004. Retrieved April 6, 2022.
  29. ^ a b Cotter, Holland. "Nature Fabrilis," The New York Times, July 3, 1992, p. C26. Retrieved April 6, 2022.
  30. ^ New York Magazine. "Dottie Attie/Katharine Kuharic," April 18, 1994.
  31. ^ New York Magazine. "Katharine Kuharic," May 5, 1997.
  32. ^ a b Goldberg, Vicki. "1890s or 1900s, the Visions Are of an Apocalypse Soon," The New York Times, May 14, 1995, Sect, 2, p. 33. Retrieved April 6, 2022.
  33. ^ a b c Miller, Sarah Bryan. "Bruno David unveils new exhibits at his gallery," St. Louis Post-Dispatch, April 20, 2012. Retrieved April 6, 2022.
  34. ^ ArtDaily. "Contemporary Art Museum St. Louis Extends Exhibitions," June 23, 2005. Retrieved April 6, 2022.
  35. ^ a b Baran, Jessica. "At the Galleries," Riverfront Times, April 19, 2012.
  36. ^ Ladue News. " Ladue Lips," April 26, 2012. Retrieved April 7, 2022.
  37. ^ a b Brooks, Katherine. "13 Artists You Should Fall In Love With This Spring," The Huffington Post, March 12, 2015.
  38. ^ Friswold, Paul. "5 Artsy Things to Do for Free This Weekend," Riverfront Times, October 2, 2015. Retrieved April 7, 2022.
  39. ^ a b Greenberger, Alex. "P.P.O.W. Will Expand in September, Adding Sixth-Floor Project Space," ARTnews, July 21, 2016. Retrieved April 6, 2022.
  40. ^ Cameron, Dan and Donald O Odita. Art Under 30: FIAR International Prize, Milan, Italy: FIAR, 1991. Retrieved April 6, 2022.
  41. ^ Art Matters. Grantees. Retrieved April 8, 2022.
  42. ^ Hamilton College. "Kuharic Named Diebenkorn Teaching Fellow," News, February 6, 2018. Retrieved April 6, 2022.
  43. ^ Gyeonggi Creation Center. Katharine Kuharic, Artists. Retrieved April 6, 2022.

External links edit

  • Katharine Kuharic website
  • Katharine Kuharic artist page, P.P.O.W.

May 04, 2024
katharine, kuharic, american, artist, known, multi, layered, representational, paintings, that, combine, allegory, humor, social, critique, aspects, pastoral, typically, employs, painstaking, brushwork, high, keyed, almost, hallucinogenic, color, discontinuiti. Katharine Kuharic is an American artist known for multi layered representational paintings that combine allegory humor social critique and aspects of Pop and pastoral art 1 2 3 Her art typically employs painstaking brushwork high keyed almost hallucinogenic color discontinuities of scale and compositions packed with a profusion of hyper real detail figures and associations 4 5 6 She has investigated themes including queer sexual and political identity American excess and suburban culture social mores the body and death 7 3 8 Artist critic David Humphrey called Kuharic a visionary misuser who reconfigures disparate elements into a Queer Populist Hallucinatory Realism of socially charged image sentences that shake out ideologies from the congealed facts of contemporary culture and celebrate the possibility of an alternative order 6 Katharine KuharicBorn1962South Bend Indiana United StatesNationalityAmericanEducationCarnegie Mellon University School of Visual ArtsKnown forPainting drawingStyleFigurativeAwardsRockefeller Foundation New York Foundation for the Arts Art MattersWebsiteKatharine Kuharic Katharine Kuharic Super Bowl Sunday oil on linen 36 x 24 2003 St Louis Art Museum collection Kuharic has been recognized with awards from the Rockefeller Foundation Contemporary Art Museum St Louis New York Foundation for the Arts and San Francisco Art Institute among others 9 8 10 11 She has shown internationally and her work belongs to the public collections of the St Louis Art Museum 12 and Pennsylvania Academy of the Fine Arts 13 14 15 She lives in New York and is a professor of art at Hamilton College 16 Contents 1 Education and career 2 Work 2 1 Earlier painting 1986 99 2 2 Later painting 2000 3 Awards and public collections 4 References 5 External linksEducation and career editKuharic was born in South Bend Indiana in 1962 9 She completed a BFA in painting and drawing at Carnegie Mellon University in 1984 and then moved to New York City where she studied at the School of Visual Arts with Louise Bourgeois and Robert Storr 9 16 In the decade that followed she exhibited at New York venues including Hallwalls White Columns The Drawing Center Four Walls and P P O W where she had a solo show in 1994 17 18 2 19 She has continued to show at P P O W with six subsequent solo exhibitions between 1997 and 2016 20 1 4 In the early 2000s Kuharic returned to the Midwest relocating to St Louis for a teaching position at Washington University in St Louis 8 21 Since then she has had solo exhibitions at the Contemporary Art Museum St Louis The Delaware Contemporary and South Bend Regional Museum of Art and appeared in group shows at the Pennsylvania Academy of Fine Arts Contemporary Arts Museum Houston and Portsmouth Museum of Fine Art among others 22 23 19 Kuharic has taught art since the mid 1990s at institutions including Yale School of Art The New School the School of Visual Arts and Washington University 2002 6 where she served as a lecturer associate professor and coordinator of painting 21 20 24 She has been a professor at Hamilton College in Clinton New York since 2007 16 21 Work editKuharic s paintings been described variously as surreal 25 12 magic realist 1 and hyperbolic realist 6 She employs complex labor intensive techniques these include the collaging drawing re collaging and re drawing of appropriated imagery before hand transferring compositions onto canvas and an old master like painting process in which she renders images tonally before applying discrete layers of color 26 27 3 19 Writer Terry R Myers suggested that Kuharic shares with painter Lari Pittman an interest in the power of popular culture and its complex relationship to queer sexual and political identity 26 Her tableaux of juxtaposed loaded imagery yield proliferating strings of ideas jokes and interpretations often in a picture puzzle or rebus like manner that viewers must complete 6 12 1 writer Keith Recker wrote that Kuharic s webs of images and paint handling engender a frightening essential tug of war teetering between happiness and despair love and death safety and risk 28 nbsp Katharine Kuharic Mister Rogers oil on linen 40 x 60 1996 Earlier painting 1986 99 edit Kuharic s early work explored the body and sexual desire social mores and grief through imagery of animals anatomy and nature death heads and female figures 29 30 7 Reviews described this work as built up layers of visual information rendered with a kind of Pre Raphaelite hyper clarity 5 which pushed the limits of perception to create a kind of a hallucinatory multicolored static 1 Her early paintings often depicted predatory domestic animals cats and dogs frequently bulldogs as in Food Chain 1989 or Long Wait 1990 in which a staring cat hunched over a bird s nest full of eggs New York Times critic Holland Cotter characterized them as strange small works painted in tight colored lines that look like a kind of jittery embroidery suggesting a cross between children s book illustrations and bad trip psychedelia 29 In the 1990s Kuharic turned to more personal sometimes macabre imagery of the body symbolic objects and female figures occasionally configured in timelines representing sexual partners 5 1 31 In a 1992 Los Angeles Times review critic Susan Kandel described one such set of watercolors as a Utopian jewel like vision of a world of women free not just of men but of the gaze of men and charged with energy and empowerment 5 Later minutely detailed works depicted women with flayed or heavily tattooed flesh featured in fraught scenarios or guises and placed alongside iconic figures of femininity e g Priestess 1996 Backwards Flags 1998 32 1 The surreal work Mister Rogers 1996 was dominated by a central young woman covered with tattoos who is encircled by a second figure rendered in cutaways of tissue bones and entrails and surrounded by small female figures a debutante a dominatrix nuns and Eastern religious devotees and a trapeze artist among them another painting depicted a bare breasted woman decked in pearls with red and blue worms teeming from the sockets of her skull 25 28 32 Time Out critic Bill Arning described the paintings in Kuharic s exhibition Show Quality Bitches P P O W 1997 as bizarre theatrical tableaux and lesbian theme parks with the heightened quality of opera which juxtaposed sometimes frightening female figures and caricatures of social constructions of the feminine against luscious monochromatic backgrounds Mind s Eye depicted a disembodied eye set against a blood red background that looms over barely postpubescent girl in a cowgirl hat she was surrounded by a fashion model a Bettie Page type dominatrix a jester and a doll of an infant among others 1 Later painting 2000 edit nbsp Katharine Kuharic Pound of Flesh oil on linen 6 x 4 2011 In the 2000s Kuharic shifted toward more socio politically focused work using found or what she termed unsolicited imagery appropriated from local newspapers and magazines slick printed flyers and junk mail 22 8 4 She reconfigured the imagery into packed paintings examining American overabundance consumerism and boom and bust real estate and financial markets taking a tone that was simultaneously critical celebratory and surreal 3 33 12 6 For example Super Bowl Sunday 2003 consisted of seven mandala or flower forms composed of sparkling fanned out products Gatorade and beer bottles shoes cans of produce meat that hovered like spacecraft in a blue sky over a devastated rubble strewn landscape depicting a bombed out tiled bathroom and tangle of twisted pipes 12 6 It drew on Kuharic s memories of the chaos of leaving her downtown New York studio following 9 11 and relocating to St Louis 12 Village Voice critic Kim Levin described that work and others in Kuharic s show Throb P P O W 2004 as zonked heartland imagery of burgers fries flags Super Bowl stuff and corn as high as an elephant s eye relating to our country s current bad trip 2 Kuharic targeted middle class suburban culture McMansions and Midwestern stereotypes in subsequent exhibitions at the Contemporary Art Museum St Louis The World Brought Low 2005 and Bruno David Gallery Working in the Lou 2012 34 33 19 The former show included Jack s Originals 2004 a restaging of the expulsion from the Garden of Eden that portrays a casually dressed middle aged group atop jerry built scaffolding made of potato chip bags cheeseburgers plates of club sandwiches hams and other goods a giant sun composed of a central frozen pizza package and plastic detergent bottles hovers above them 3 8 Critic Jessica Baran described works in the latter show such as Ladue News 2010 as big box surrealist nightmares as paintings 35 That painting depicted affluent groupings culled from society magazines ascending towards an expanding sphincter like mandala of product containers that seems to threaten the ramshackle building in which they are placed 33 35 36 In the 2010s Kuharic returned to more personal concerns involving appearance ambition comfort love middle age and death 7 37 27 Her show Pound of Flesh P P O W 2012 combined earlier themes of consumer excess with symbols and motifs representing weight loss and gain nourishment fertility and self reproach 7 4 26 The show s title work juxtaposed motifs of eggs hollyhocks songbirds and Weight Watchers frozen dinner packages text repeated and configured into a sunrise or sunset and graphic elements charting Kuharic s annual weight 26 In the show A Masque of Mercy Philip Slein 2015 she presented intricate allegorical paintings populated by psychedelic skeletons bulldogs cats birds and flora that evoked both grief and the consolations of nature e g The Nipple I Never Knew 2015 37 38 During this period she also produced the monumental long term project What Women Lost which began with Hillary Clinton s first failed presidential bid its title references Betty Friedan s assertion that while men accumulate power and money women are busy losing weight in order to appear more attractive 27 39 The project involved a large scale painting forty five individual portraits of the U S presidents live performance painting and video 39 Awards and public collections editKuharic has been recognized with a Rockefeller Fellowship 2005 Bellagio Italy residency a FIAR International Prize 1991 and awards and grants from the Contemporary Museum St Louis 2005 Milton and Sally Avery Arts Foundation 2003 4 Kranzberg Arts Foundation 2004 New York Foundation for the Arts 2002 Penny McCall Foundation 1999 and Art Matters 1990 among others 9 40 8 10 41 In 2018 she was named the San Francisco Art Institute s Richard Diebenkorn Teaching Fellow for that year 11 42 She has also received artist residencies from MacDowell 2003 4 9 Gyeonggi Creation Center 2015 South Korea 43 and the Headlands Center for the Arts 2018 27 Her work belongs to the public collections of the St Louis Art Museum 12 and Pennsylvania Academy of the Fine Arts 13 References edit a b c d e f g h Arning Bill Katharine Kuharic Show Quality Bitches Time Out New York May 15 22 1997 p 46 a b c Levin Kim Katharine Kuharic The Village Voice June 9 15 2004 p 85 a b c d e Bonetti David The World Brought Low St Louis Post Dispatch April 3 2005 a b c d Katharine Kuharic Pound of Flesh Time Out New York March 15 2012 a b c d Kandel Susan 30 Artists Take Aim at Masculinity Los Angeles Times December 17 1992 Retrieved April 7 2022 a b c d e f Humphrey David Hyperbolic Realism Katharine Kuharic Throb New York NY PPOW 2004 Retrieved April 6 2022 a b c d Russell Christopher Studio Visits New York Katharine Kuharic Artillery May June 2011 Retrieved April 6 2022 a b c d e f Green Andrea Katharine Kuharic The World Brought Low Contemporary Art Museum St Louis Retrieved April 7 2022 a b c d e MacDowell Katharine Kuharic Artists Retrieved April 6 2022 a b Carnegie Mellon University Notable Alumni Retrieved April 8 2022 a b San Francisco Art Institute Richard Diebenkorn Teaching Fellow Programs Retrieved April 6 2022 a b c d e f g St Louis Art Museum Super Bowl Sunday Collection Retrieved April 7 2022 a b Pennsylvania Academy of the Fine Arts Priestess Katharine Kuharic Collection Retrieved April 6 2022 Hellberg Susanna Stockholms Tip Set Dag DN Sweden 1998 Frackiewicz Dorota Dzikie Wisne Kultura Popularna W Tworczosci Katharine Kuharic Sztukaifilozofia 2007 a b c Hamilton College Katharine Kuharic Faculty Retrieved April 6 2022 Sax George A Realistic Look at American Culture The Buffalo News February 10 1989 Hallwalls Katharine Kuharic Artists Retrieved April 7 2022 a b c d Gordon Kate Katharine Kuharic Working in the Lou St Louis MO Bruno David Gallery 2012 a b Cascone Sarah 7 Extraordinary Artworks to Seek Out at the Newly Returned ADAA Art Show in New York Artnet November 4 2021 Retrieved April 6 2022 a b c Foster Holly Eight Hamilton Faculty Members Awarded Tenure Hamilton College News March 10 2009 Retrieved April 6 2022 a b Dischinger Mark Superfantastic Four Riverfront Times March 16 22 2005 p 29 Gillespie Evan Harsh and Amiable South Bend Tribune April 1 2007 Washington University Faculty promotions appointments tenure granted News Faculty April 4 2007 Retrieved April 8 2022 a b Cotter Holland Peep Show The New York Times July 10 1998 p E37 Retrieved April 6 2022 a b c d Myers Terry R The Payback of Painting Can Be a Beautiful Thing Katharine Kuharic Pound of Flesh New York NY PPOW 2011 Retrieved April 6 2022 a b c d Headlands Center for the Arts Katharine Kuharic Artists Retrieved April 6 2022 a b Recker Keith Katharine Kuharic Throb New York NY PPOW 2004 Retrieved April 6 2022 a b Cotter Holland Nature Fabrilis The New York Times July 3 1992 p C26 Retrieved April 6 2022 New York Magazine Dottie Attie Katharine Kuharic April 18 1994 New York Magazine Katharine Kuharic May 5 1997 a b Goldberg Vicki 1890s or 1900s the Visions Are of an Apocalypse Soon The New York Times May 14 1995 Sect 2 p 33 Retrieved April 6 2022 a b c Miller Sarah Bryan Bruno David unveils new exhibits at his gallery St Louis Post Dispatch April 20 2012 Retrieved April 6 2022 ArtDaily Contemporary Art Museum St Louis Extends Exhibitions June 23 2005 Retrieved April 6 2022 a b Baran Jessica At the Galleries Riverfront Times April 19 2012 Ladue News Ladue Lips April 26 2012 Retrieved April 7 2022 a b Brooks Katherine 13 Artists You Should Fall In Love With This Spring The Huffington Post March 12 2015 Friswold Paul 5 Artsy Things to Do for Free This Weekend Riverfront Times October 2 2015 Retrieved April 7 2022 a b Greenberger Alex P P O W Will Expand in September Adding Sixth Floor Project Space ARTnews July 21 2016 Retrieved April 6 2022 Cameron Dan and Donald O Odita Art Under 30 FIAR International Prize Milan Italy FIAR 1991 Retrieved April 6 2022 Art Matters Grantees Retrieved April 8 2022 Hamilton College Kuharic Named Diebenkorn Teaching Fellow News February 6 2018 Retrieved April 6 2022 Gyeonggi Creation Center Katharine Kuharic Artists Retrieved April 6 2022 External links editKatharine Kuharic website Katharine Kuharic artist page P P O W Retrieved from https en wikipedia org w index php title Katharine Kuharic amp oldid 1195434763, wikipedia, wiki, book, books, library,

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