Mark Sheinkman
b. 1963



1963
New York, New York
EDUCATION
1985        
B.A. Princeton University
SOLO EXHIBITIONS
2011
Gallery Joe, Philadelphia, Pennsylvania
Von Lintel Gallery, New York, New York
2010
Holly Johnson Gallery, Dallas
Steven Zevitas Gallery, Boston
2009
Museum Gegenstandsfreier Kunst, Otterndorf, Germany (catalogue)
Von Lintel Gallery, New York, New York
2008
Grand Rapids Art Museum, Grand Rapids, Michigan
Some other streets in the Bronx, Fruehsorge Contemporary Drawings, Berlin, Germany
Drawings from the Permanent Collection Figge Art Museum, Davenport, Iowa
2007
Von Lintel Gallery, New York (catalogue)
Gallery Joe, Philadelphia
2006
Von Lintel Gallery, New York
2005
Gallery Sora, Naha, Japan
OSP Gallery, Boston
Kemper Museum of Contemporary Art, Kansas City, Missouri (catalogue)
Fruehsorge Gallery, Berlin
2004
Von Lintel Gallery, New York
2003
Gallery Sora, Naha, Japan
2002
Von Lintel Gallery, New York
2001
Von Lintel & Nusser, New York
2000
Lannan Foundation, Santa Fe, NM
1999
Galerie von Lintel & Nusser, Munich
1998
Thomas Healy Gallery, New York
S65 Gallery, Aalst, Belgium
1997
Galerie Thomas von Lintel, Munich
Berggruen and Zevi , London
Studio Trisorio, Naples
Lawing Gallery, Houston
1996
Morris-Healy Gallery, New York
1995
Gina Fiore Salon, New York
1993
Information Gallery, New York
1989
Paula Allen Gallery, New York
GROUP EXHIBITIONS
2013
“Approaching Infinity: The Richard N. Green Collection of Contemporary Abstraction”, Crocker Art Museum, Sacramento California (catalogue)
“All Black”, Gallery Joe, Philadelphia
“On Drawing: Line”, Holly Johnson Gallery, Dallas, Texas. Show travelled to Devin Borden Gallery, Houston, Texas
“Group Exhibition”, McKenzie Fine Art, New York.
“All Black” Gallery Joe, Philadelphia, PA.
2012
“Papier/ Paper II”, Kunstgaleriebonn, Bonn, Germany (catalogue)
“Paper Band” Jason McCoy Gallery, New York, NY
“Suspended Disbelief” Von Lintel Gallery, New York, NY
Papier/Paper II, Kunstgaleriebonn, Bonn, Germany
2011
Drawn/Taped/Burned: Abstraction on Paper, Katonah Museum of Art, Katonah, New York
2010
100 Years/100 Works of Art, Grand Rapids Art Museum, Grand Rapids, Michigan (catalogue)
The Esprit of Gestures: Hans Hartung, Informel and Its Impact at Kupferstchkabinett (Collection of Drawings & Prints), Berlin, Germany
Back and Forth, Holly Johnson Gallery, Dallas
Prints by Gallery Artists, Gallery Joe, Philadelphia
2009
Leaded: The Materiality and Metamorphosis of Graphite, Yellowstone Art Museum, Billings, Montana
New York/New Drawings, 1946 – 2007, Museo de Arte Contemporaneo Esteban Vicente, Segovia, Spain (catalogue)
Curvilinear, Gallery Joe, Philadelphia
On, Of or About: 50 paper works, Texas State University Gallery, San Marcos, Texas
2008
Drawings from the Permanent Collection, Figge Art Museum, Davenport, Iowa
2008 Modern and Contemporary Art from the AMAM Collection, Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio
Delineation, Holly Johnson Gallery, Dallas, Texas
2007
Leaded: The Materiality and Metamorphosis of Graphite, Joel and Lila Harnett Museum of Art, University of Richmond, Virginia. Traveling to Bedford Gallery at the Dean Lesher Regional Center for the Arts, Walnut Creek, CA; Western Gallery, Western Washington University, Bellingham, WA; Baum Gallery of Fine Art, University of Central Arkansas, Conway, AR; Memorial Art Gallery, University of Rochester, NY; Yellowstone Art Museum, Billings, MT,
New Prints 2007/Spring, International Print Center, New York
Monotypes, Pace Prints, New York
2006
Conversations, Ambrosino Gallery, Miami
Action Precision, Lennon-Weinberg, New York
On Line: Contemporary Drawing, Sonoma State University, California
Exquisite Abstraction, Whitespace Gallery, Atlanta, Georgia
Gridlock, Gallery Joe, Phildelphia, Pennsylvania
2005
Patterns and Grids, Pace Prints, New York
New Editions, Pace Prints, New York
2004
Minimal Forms, Galerie Dionisi, West Hollywood, California
Moving Outlines, Contemporary Museum, Baltimore
Transit: Abstracting the System, City Gallery of Chastain, Atlanta
2003
Recent Acquisitions: Works on Paper, The Metropolitan Museum of Art, New York
No Chaser, Post, Los Angeles
Paper, Hosfelt Gallery, San Francisco
Graphite and Paper, Gallery Joe, Philadelphia
Comme ça, Houldsworth, London
2002
ZENROXY, curated by Ivan Vera, Von Lintel Gallery, New York
The Fall Line, curated by Steven Zevitas, OSP Gallery, Boston
Color, Sandroni/Rey, Venice, California
Zebedee Jones and Mark Sheinkman, Houldsworth Gallery, London
Eye in the Sky: Visions of Contemporary Art from the Ackland Collection, Ackland Art Museum, Chapel Hill, North Carolina
2001
It’s a wild party and we are having a great time, Paul Morris Gallery, New York
I Love NY Art Benefit, Von Lintel Gallery, New York
Hot, Von Lintel & Nusser, New York
Affinities, Anita Friedman Gallery, New York
Layered, Anita Friedman Gallery, New York
Concentrations IV: Drawings from the Collection of the Old Jail Art Center, The Old Jail Art Center, Albany, Texas
2000
A Decade of Collecting: Recent Acquisitions of Prints and Drawings. 1940-2000.
Fogg Art Museum, Harvard University, Cambridge, MA
Black and White, Anita Friedman Gallery, New York
1999
Die Kunst der Linie-Möglichkeiten des Graphischen, Landesgalerie Oberösterreich, Linz, Austria
Mark Sheinkman, John Zinsser, Art Resources Transfer, New York
One by One: Painting versus Drawing, Galerie von Lintel & Nusser, Munich
Group Exhibition, Art Resources Transfer, New York
1998
Einblick, Galerie Thomas von Lintel, Munich
Identity Revealed: Meaning and Message in Contemporary Art, Ackland Art Museum, Chapel Hill, North Carolina
Large-scale Drawings from the Collection of Wynn Kramarsky, The Aldrich Museum of Contemporary Art, Ridgefield, CT
Skin Deep, 123 Watts Street Gallery, New York
Drawings, Graham Gallery, New York
Art on Paper, Weatherspoon Art Gallery, Greensboro, NC
1997
Four Americans, Figure Gallery, Turin
Sommer, Galerie Thomas von Lintel, Munich
Drawing is Another Kind of Language: Recent American Drawings from a New York Private Collection, Fogg Art Museum, Harvard University, Cambridge, MA. Traveled to Fonds Regional d’Art Contemporain, Museé de Picardie, Amiens, France; Parrish Art Museum, East Hampton, NY; Lyman Allyn Art Museum, New London, CT, Block Art Museum, Northwestern University, Evanston, IL; Contemporary Art Museum, Honolulu; Kunstmuseum, Winterthur; Kunst-Museum Ahlen, Ahlen, Germany; Akademie der Künst, Berlin
Emerging, Radix Gallery, New York
Recurrence and the Work of Art, Gallery Korea, New York
Graphite on Paper, Galerie Thomas von Lintel, Munich
1996
An American Eye, Gallerie le Carré, Lille, France
Four Collectors, Century Club, New York
Size Matters, Special K Exhibitions, West Hollywood, California
On / In / Through, Morris-Healy Gallery, New York
On Paper II, Schmidt Contemporary Art, St. Louis
Works on Paper, Curt Marcus Gallery, New York
The Rational World, Kohn Turner Gallery, Los Angeles
Works On Paper, Baldwin Gallery, Aspen, Colorado
1995
Works on Paper, The Berkshire Museum, Pittsfield, Massachusetts
Fact, Artrax Gallery, New York
1994
The New York Collection, The Albright-Knox Museum, Buffalo, NY
modus operandi, Leonora Vega Gallery, New York
1993
Big Art, Billboard installation in downtown Atlanta, Georgia.
1992
More Than a Group Show, Art in General, New York
XXXIII Exhibition, The Parrish Art Museum, Southampton, New York
PUBLIC COLLECTIONS
Museum of Modern Art, New York
Whitney Museum of American Art, New York
Metropolitan Museum of Art, New York
National Gallery of Art, Washington, DC
Museum of Fine Arts, Houston
Cleveland Museum of Art, Cleveland, Ohio
Grand Rapids Art Museum, Grand Rapids, Michigan
Fogg Art Museum, Harvard University, Cambridge, Massachusetts
Yale University Art Gallery, New Haven, Connecticut
Hood Museum of Art, Dartmouth College, Hanover, New Hampshire
Weatherspoon Art Gallery, Greensboro, North Carolina
Ackland Art Museum, Chapel Hill, North Carolina
Davison Art Center, Wesleyan University, Middletown, Connecticut
Allen Memorial Art Museum, Oberlin College, Oberlin, Ohio
Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, Nebraska
Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco
The Old Jail Art Center, Albany, Texas
Bibliothèque Nationale, Paris
Figge Art Museum, Davenport, Iowa
St. Louis University Museum of Art, St. Louis, Missouri
Museum Gegenstandsfreier Kunst, Otterndorf, Germany
SELECTED BIBLIOGRAPHY
Daniels, Diana, “Approaching Infinity” The Richard N. Green Collection of Contemporary Abstraction, Crocker Art Museum, Sacramento, California (catalogue), 2013.
Greenberg, Alyssa, “Explorations of monochrome – All Black at Gallery Joe”, Theartblog.org, 2013.
Marks, Rob, “#Hashtags: No Wrong Way In, No Wrong Way Out”, Daily Serving, 2013.
Lodermeyer, Peter, “Papier/ Paper II”, Kunstgaleriebonn, Bonn, Germany, exhibition catalogue, 2012.
Von Schoenebeck, Gudrun, “Zeichnungen und mehr” Acht Kunstler in der Kunstgaleriebonn, General Anzeiger, June 21, 2012.
Goodman, Wendy, “Great Room”, New York Magazine, November 28, 2011.
Grossman, Dan, “Review: Subtle Complexities”, Nuvo News, June 14, 2011.
Pagliasso, Giancarlo, “Arte dal ‘Come se’, al ‘Como e’”. Zeta, Summer, 2011 .
“Spotlight: Mark Sheinkman and Dean Smith Take on Graphite.” HuffPost Arts, HuffPost Social News, Huffington Post. May 11, 2011.
Newhall, Edith. “Infusing useful objects with unexpected identities.” Galleries, The Philadelphia Inquirer. April 17, 2011.
Park, Megan. “Mark Sheinkman & Dean Smith.” Philadelphia Weekly. March 17, 2011.
“100 Years, 100 Works of Art: An Introduction to the Collection of the Grand Rapids Art Museum”, Marquand Books, November 2010.
Schick, Dr. Ulrike, “When Drawing Becomes Painting While Representing the Ephemeral”, Museum Gegendstandfreier Kunst catalogue, 2009.
Isham, Michelle, “‘Leaded’ makes its mark”, Centre Daily Times, September 18, 2009.
Finch, Elizabeth, “New York/New Drawings, 1946-2007,” Exhibition catalogue, Museo d’arte contemporaneo Esteban Vicente, 2009
Lafont, Isabel, “Una privilegiada ventana con vistas a las vanguardias,” El Pais, January 28, 2009
Rafferty, Rebecca, “Making Marks,” City Newspaper, January 28, 2009
Bauer-Vonderwarft, Zacharias, “Bei Frühsorge: Mark Sheinkman hämmert im Hirn,” Die Welt, January 24, 2009
Reese, Dr. Elizabeth B., “Getting creative with the common,” Corpus Christi Caller-Times, December 4, 2008
Cash, Stephanie, “Mark Sheinkman at Von Lintel,” Art in America, March 2008
Demuth, Gary, “More than just drawing,” Salina Journal, March 28, 2008
Kozlowski, Andy, “Leaded,” Art Papers, January/February 2008
Giovannini, Joseph, Bold Gesture in New York, Architectural Digest, April 2007 p. 178 ill.
Art at Progressive, Progressive (catalogue for art collection), 2007, illustrated cover
Fallon, Roberta, Editor’s Pick: Mark Sheinkman: “Drawings” and Annabel Daou: “A Book of Hours”, Philadelphia Weekly Review, January 17, 2007
Newhall, Edith, Extending boundaries of drawing, Mark Sheinkman and Annabel Daou exhibit at Gallery Joe, The Philadelphia Inquirer, January 12, 2007
Fox, Catherine, Exquisite Abstraction show at Whitespace is Smart and Satisfying, The Atlanta Journal-Constitution, December 31, 2006
Newhall, Edith, Gridlock minus Roadrage, The Philadelphia Inquirer, July 7, 2006
Grayson Trulove, James, 25 Houses Under 3000 Square Feet, illustrations on p. 141,143
Keller, Maximilian, Aus den Galerien- Galerie Fruehsorge, CONTACT _Con-4210C6BE1 \c \s \l Mark Sheinkman, Die Welt, May 23, 2005
Kaufman, Gina, On Your Mark, The Kemper gets physical, The Pitch, March 16, 2005
Edelman, Robert, CONTACT _Con-4210C6BE1 \c \s \l Mark Sheinkman: Between Gesture and Void, Kemper Museum Catalog, January, 2005
Miller, Andrew, Line ‘Em Up, CONTACT _Con-4210C6BE1 \c \s \l Mark Sheinkman works to the point of abstraction, The Pitch, January 14, 2005
Thorson, Alice, “Sheinkman’s abstracts embrace both logic and enigma”, Kansas City Star, February 13, 2005
Sweet, Kimberly, Black & White”, The Kansas City Star, January 12, 2005
Cullum, Jerry, “Intriguing interjections in a century-long dialogue”, Atlanta Journal-Constitution, May 30, 2005
Renzi, Jen, “Blue Chip,” Interior Design, August 2003
Sherman, Mary, "Open Studio Press tries new `Line' of work," Boston Herald, January 12, 2003
McQuaide, Cate, "Meticulous Meditations on the Abstract," The Boston Globe, January 3, 2003
Johnson, Ken, "Art Guide, Zenroxy," The New York Times, December 20, 2002
Gonzales, Manuel and Forde, J.A., Unframed: Artists Respond to AIDS, 2002
Johnson, Ken, “Mark Sheinkman,” The New York Times, March 23, 2001
Landi, Ann, "Drawing Is Another Kind of Language," Artnews, December 1999
Sheets, Hillarie, "The Syntax of Drawing, From Old and New Alike," Newsday, October 1, 1999
1998
Amy, Michael, " Mark Sheinkman at Thomas Healy", Art in America, December 1998
Glueck, Grace, "Art Guide, Mark Sheinkman," The New York Times, March 27, 1998
Turner, Grady T., "Up Now, Mark Sheinkman," Artnews, April 1998
Nahas, Dominique, "Mark Sheinkman," Review, March 15, Volume 3, Number 12. 1998
Zimmer, William, "Matters of Scale, and of Nostalgia Too," New York Times, March 8, 1998
Glueck, Grace, "Large Scale Drawings from the Collection of Wynn Kramarsky," The New York Times, April 24, 1998
Landi, Ann, "On the Edge, Mark Sheinkman, The Eraser," Art News, September 1997, p. 97.
Trione, Vincenzo, "Sheinkman, poetic obsession," Il Mattino, July 26, 1997
Landi, Ann, "Site Specifics," Art News, April 1997, p.118.
Paparoni, Demetrio, "Redefined Abstraction," Tema Celeste, Autumn 1997, p. 61.
Athineos, Doris, "When Kramarsky Talks Collectors Listen: What kind of Art Does the Man Who Sold the World’s Most Expensive Painting Collect?" Forbes, November 18, 1997
Brennan, Michael, “Mark Sheinkman at Morris Healy” Artnet 1996.
Melrod, George, "Special Report: Contemporary Art-New York," Art & Antiques, Summer 1996.
Schmerler, Sarah, " Mark Sheinkman," Time Out New York, June 26, 1996.
Shimony, Jonathan, "New York Art Scene II," art vision, Winter 1995.




      




 
     
 
   
 
 
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