Polly Apfelbaum, b.1955, Philadelphia, PA
New York based artist Polly Apfelbaum has been showing consistently in the US and abroad since 1986. Recent solo exhibitions include Mumbai Art Room, Mumbai, (2013); T-Space, Milan, NY, (2012); Galerie Nächst St. Stephan, Vienna, (2012); D’Amelio Gallery, New York, (2012); Carlow Visual Center for Contemporary Art, Carlow, Ireland, (2009); and Milton Keynes Gallery, Milton Keynes, UK, (2009); Frith Street Gallery, London, (2007); and a mid-career survey at the Institute for Contemporary Art in Philadelphia (2003). Her work has been featured in important group exhibitions including: “Petroleum Jelly,” Clifton Benevento Gallery, New York, (2014); “Regarding Warhol: Sixty Artists, Fifty Years,” Metropolitan Museum of Art, New York, (2012); “Comic Abstraction and Lines, Grids, Stains, and Words,” both at the Museum of Modern Art, New York, (2007); “Pink,” Galerie Mirchandani + Steinruecke, Mumbai, (2007); “Extreme Abstraction,” Albright-Knox Art Gallery, Buffalo, (2005); “The Shape of Colour,” Art Gallery of Ontario, Toronto, (2005); “A Kind of Bliss,” The Drawing Room, London (2004).
Her work is in the collections of The Perez Art Museum, Miami; Museum of Modern of Art, New York; The Whitney Museum of Art of American Art, New York; Brooklyn Museum of Art, New York, The Los Angeles County Museum of Art, Los Angeles, Albright-Knox Art Gallery, Buffalo, NY; The Henry Art Gallery, Seattle; The Dallas Museum of Art, Dallas, Philadelphia Museum of Art, Philadelphia; Musée D’Arte Moderne, Ville de Paris; and the National Academy Museum, New York. Polly recently won the Rome Prize, is the recipient of a Guggenheim Fellowship, an Academy Award from the American Academy of Arts and Letters, a Richard Diebenkorn Fellowship, a Joan Mitchell Fellowship, an Artist’s Fellowship from the New York Foundation for the Arts, an Anonymous Was a Women Award and a Pollack-Krasner Foundation grant.
Apfelbaum is represented by Clifton Benevento in New York and Frith Street Gallery in London.
Photo by Susan Wides, 2012