Represented by Quintus Gallery, Watkins Glen, NY

Solo Exhibitions

Abstract Meditations, CAP ArtSpace Gallery, Ithaca, NY 2016

New Abstract Expressionist Paintings, The Frame Shop Gallery, Ithaca, NY 2013

Improvisation on Canvas, The Kitchen Theater, Ithaca, NY 2012

Abstract Paintings, Salati Gallery, Binghamton, NY 2011

New Abstract Paintings, CAP ArtSpace, Ithaca, NY 2010

Patterns in Abstract Art, Cayuga Museum of History & Art, Auburn, NY 2009

Abstract Refractions, Upstairs Gallery, Ithaca, NY 2007

Black & White & Color, Tompkins County Airport, Ithaca, NY 2006

Featured Artist, Arts Crawl, The Gallery at Hawthorne Plaza, Overland Park, KS 2004

Fundamental Energy, Shangri-La Gallery, Ithaca, NY 2004

New Work by Lynne Taetzsch, Clinton House ArtSpace, Ithaca, NY 2001

Improvisation in Color, Community School of Music & Art, Ithaca, NY 2000

Recent Paintings, Tompkins Cortland Community College, Dryden, NY 2000

New Acrylic Paintings, Gallery for the Arts, Mt. Sterling, KY 1998

Recent Works, Astrea Gallery, Washington, DC 1991

Acrylic Paintings, Division of Cultural Affairs Gallery, Tallahassee, FL 1990

Selected Paintings, President's Gallery, Florida State University, Tallahassee, FL 1990

Recent Acrylic Paintings, Hartley Gallery, Winter Park, FL 1990

Paintings by Lynne Taetzsch, Friends of Jung, San Diego, CA 1988

Oil Paintings, The Revelation, New York, NY 1971

Recent Oil Paintings, Paula Insel Gallery, New York, NY 1964

Group Exhibitions  

Spring Floral Exhibit, Quintus Gallery, Watkins Glen, NY 2016

Homegrown: The Harriott Collection, Herbert F. Johnson Museum of Art, Ithaca, 2011

Juried Exhibition, State of the Art Gallery, Ithaca, NY, 2011

Art Trail Exhibiton, CAP ArtSpace, Ithaca, NY 2010

Past, Present, Gateway Regional Center for the Arts, Mt. Sterling, KY 2009

Mainly Blue, Community School of Music & Art, Ithaca, NY 2009

Landmark Gallery, New York, NY, 2009

Sola Gallery, Ithaca, NY, 2009

Ithaca Artists, Upstairs Gallery, Ithaca, NY 2008

2008 Invitational, State of the Art Gallery, Ithaca, NY 2008

Group Exhibition, Syracuse Technology Garden, Syracuse, NY 2007

Global Tribe, 6-person show, Monkdogz Urban Art, New York, NY 2007

The New Abstractions, 3-person show, Hopper House Art Center, Nyack, NY 2007

Maj'Beldd, 8-person show, Monkdogz Urban Art, New York, NY 2006

ALTERnatives, four-person show, Wired Gallery, Bethlehem, PA 2005

Group Show, Bellaza Dentro, Nevis, West Indies 2005

Alchemy of Color, eight-person show, State of the Art Gallery, Ithaca, NY 2005

Fifteenth Anniversary Group Show, State of the Art Gallery, Ithaca, NY 2003

Women's Issues-A Commentary, Avenue Art Gallery, Endicott, NY 2003

Past Tense-Present Perfect, Autumn Leaves, Ithaca, NY 2003

Redefining Art, Avenue Art Gallery, Endicott , NY 2002

Summer Invitational, Period Gallery, Omaha, NE 2002

2002 Invitational, State of the Art Gallery, Ithaca, NY 2002

Greater Ithaca Art Trail at Red Newt Cellars, Hector, NY 2001

A Woman's Work Is Never Finished, International Museum Gallery, Baltimore, MD 2001

Greater Ithaca Art Trail at Red Newt Cellars, Hector, NY 2000

Recent Works by Lynne Taetzsch & Wyman Rice, Kentucky Gallery, Lexington, KY 1999

Six-person Show, Soho South, West Palm Beach, FL 1999

Juried Show, 33rd Annual Central South Art Exhibition, Nashville, TN 1998

Juried Show, Masterpieces of Maturity, Loudon House, Lexington, KY 1998

Juried Show, Art on the Lake, Reston Art Gallery, Reston, VA 1992

Cultural Resources Juried Exhibition, LeMoyne Art Foundation, Tallahassee, FL 1992

Three-person Show, Artforms Gallery, Sarasota, FL 1991

Tenth Annual September Competition, Alexandria Museum of Art, Alexandria, LA 1991

Juried Show, Hoyt National Art Show, New Castle, PA 1991

Juried Show, Aesthetics 91 Exhibition, McPherson, KS 1991

Juried Show, Westmoreland Arts National, Greensburg, PA 1990

Juried Show, Thirteenth National Art Exhibition, World Trade Center, New Orleans, LA 1990

First Place Prize, Juried Show, Foothills Festival of the Arts, La Mesa, CA 1989

Exhib.of Korean and American Women Artists, Modern Art Gallery, Los Angeles, CA 1989

Group Show, Cosmopolitan Art Association, Seoul, So. Korea 1988

Three-person Show, Robin Hutchinson Gallery, Maplewood, NJ 1987

National Juried Color Show, Castle Gallery, Billings, MT 1985

Group Show, Art in Architecture, Windermere, FL 1985

Group Show, Goff Galleries, Winter Park, FL 1985

Group Show, Ithaca House Gallery, Ithaca, NY 1972

Juried Show, Donnell Library, New York, NY 1964

Juried Show, Dollar Savings Bank, New York, NY 1964

Group Show, Design Center-Mason Art, New York, NY 1964

Emily Lowe Competition, New York, NY 1964

Bibliography

Selected as New York State artist of the year by TOSCA, Fall, 2011

Exhibition Catalog, Homegrown: The Harriott Collection, Johnson Museum of Art, June 2011

Deeana Franklin, "Visionary Art," Clinical Psychiatry News, March 2007

Arthur Whitman, "Highlights In Winter," The Ithaca Times, 1/31/07

The Artful Home 2005, The Guild

Nancy Geyer, "Color Play," The Ithaca Times, 2/9/05

Katherine Klein, "Color Chemistry," The Ithaca Times, 2/1/05

Sarah Cotrupe, "Cyber Art," The Ithaca Times, 7/28/04

"Trendsetters: Emerging Artists," Art Business News, February, 2002

Stan Bowman , "Color Contrast," The Ithaca Times, 12/12/01

David Minton, "Poet's Art About 'Play, Ambiguity," Lexington Herald, Lexington, KY: 1/11/98

Ex. Catalog, Tenth Annual Competition, Alexandria Museum of Art, Alexandria, LA: 1991

"Three Worlds at Artforms Gallery," Pelican Press, Siesta Key, FL: 12/27/00

P. Foster, "Artist Evokes Colorful Mindscapes," Florida Flambeau, Tallahassee, FL: 7/5/90

Rebecca Stephens, "Taetzsch's Paintings Erupt with Riot of Color and Motion," Florida Flambeau, Tallahassee, FL : 12/27/90

"The Prez's Place," Tallahassee Democrat : 6/15/90

"One-Woman Show," Tallahassee Democrat : 11/9/90

Ex. Catalog, Korean and American Women Artists, Modern Art Gallery, Los Angeles, CA

"Lynne Taetzsch chez Paula Insel," France-Amerique : 3/1/64

"Paula Insel," Park East, New York, NY : 2/20/64

Art Publications

Color reproductions of six paintings in The Art of Raw Living Food, Hay House, 2009

Color reproduction of acrylic painting on cover of The National Poetry Review, Winter, 2008

Color reproduction of acrylic painting on cover of Hot Flashes: Women Writers on the Change of Life, Faber & Faber, 1995

Color reproduction of acrylic painting on cover of Sundog, Spring, 1990

Reproduction of acrylic painting on cover of Pacific Review, Spring, 1989.

Line drawing in Pacific Review, Fall, 1988

Reproduction of acrylic painting and line drawings in multi-genre, multi-media essay "Hang the Critic 'and/both' Resurrect the Author," in Central Park, Fall, 1989

Art Talks and Literary Readings  

Cayuga Museum of History and Art, Auburn, NY 2009: art talk

Hopper House Art Center, Nyack, NY 2007: art talk

Upstairs Gallery, Ithaca, NY 2007: art talk

Avenue Art Gallery, Endicott, NY, 2003: art talk

Community School of Music and Art, Ithaca, NY, 2000: art talk

Gallery for the Arts, Mt. Sterling, KY, 1998: art talk to board of directors

Bison Books, Mt. Sterling, KY, 1998: reading of poetry and prose to celebrate art opening

The Carnegie Center, Lex., KY, 1998: reading of short story at A Midsummer Night's Reading

Twentieth Century Literature Conference, Louisville, KY, 1998: reading of short story

The Carnegie Center, Lex., KY, 1996: reading, Hot Flashes, sponsored by The Writer's Voice

Adron Doran University Center, Morehead State University, 1996: reading of essay from Minding the Body in celebration of Women's History Month

Joseph Beth Bookstore, Lexington, KY, 1996: reading of essay, "Fighting Natural"

Prairie Lights Bookstore, Iowa City, IA, 1996: reading from Hot Flashes with discussion following, aired live on public radio

Border's Books, Des Moines, IA , 1996: reading from Hot Flashes

Astrea Gallery, Washington, DC, 1991: reading of poetry and prose at solo show opening

Education

University of Southern California, Los Angeles, CA : Fine Arts major, 1959-60

Cooper Union for the Advancement of Science And Art, New York, NY : Fine Arts major, 1961-63

University of California, Los Angeles, CA : Fine Arts major, 1965-66

Florida State University, Tallahassee, FL : PhD in Creative Writing, 1992

 

Monkdogz Urban Art, Chelsea, NY

Monkdogz Urban Art, Chelsea, NY

Hartley Gallery, Winter Park, FL  

Hartley Gallery, Winter Park, FL

 

Soho South, West Palm Beach, Florida  

Soho South, West Palm Beach, Florida

 

Orazio Salati Gallery, Binghamton, NY  

Orazio Salati Gallery, Binghamton, NY

 

Cayuga Museum, Auburn, NY  

Cayuga Museum, Auburn, NY

 

Division of cultural Affairs Gallery, Tallahassee, FL  

Division of cultural Affairs Gallery, Tallahassee, FL

 

The Kentucky Gallery, Lexington, KY   Corporate and Institutional Collectors Holiday Inn restaurant, Knoxville, TN Let's Gel, Inc., Austin, TX Educational Testing Service, Princeton, NJ Dana-Farber Cancer Institute, Boston, MA Real Capital Analytics, New York, NY Stratum Developments, Inc., Alberta, Canada Advanced Liquid Logic, Cary, NC Matrix Public Health Cons., Inc., New Haven, CT DG Groep, The Netherlands T-System, Inc., Dallas, TX Kaiser Permanente, CA Cubist Media Group, LLC, Philadelphia, PA Parkside Partners, Atlanta, GA Sheridan In Home Care, Inc., Los Angeles, CA Clear Perspective Group, Medina, OH Spark LP, New York, NY Star Promotions, LLC, Indianapolis, IN Samwoo Chemicals Ltd., North Point, Hong Kong Logansport State Hospital, Logansport, IN Scholar Corporation, Lafayette, IN Pine Restaurant, Salt Lake City, UT Full Sail, Winter Park, FL Georgia State University, Alpharetta, GA Dental Crafters, Marshfield, WI American Tennis Court Contractors, Fort Worth, TX         Color Contrast Review of Lynne's solo exhibit at the Clinton House Gallery by Stan Bowman (Reprinted from the Ithaca Times, December 12, 2001, p. 14) Red is the color of fire, hot, moving, sometimes dangerous. It is also the color of blood, that vital substance necessary for all human life. Red is demanding, attracting, arresting. Red is also associated with many different objects in our culture from fire hydrants to stop signs, all meant to get and hold our attention. What I find intriguing in the acrylic paintings of Lynne Taetzsch, currently at the Artspace at the Clinton House Gallery, is that every work on display has some red in it. Some paintings are even dominated by this color, calling us to stop and look at them. It is as if energy is emanating from the works, bouncing off the walls in this room of modest size that can accommodate perhaps only 10 to 20 works. Standing in the middle I could feel an energy to this space created by the art, and myself attracted to examine each work carefully to find the sources of this power. But the color red is only one part of the story. Taetzsch is a painter very much in the tradition of the best of 20th century abstraction. She understands how to organize a canvas, how to arrange elements with extraordinary control over their placement. One of the most interesting aspects of this show is that I found both works that have a clear visible sense of structure around some particular object while others have a looser balance of shapes and brush strokes. Both approaches work equally well. "Red City" has a sharp-edged horizontal band of red color in the middle, bursting upwards and downward creating what can be seen as profiles of a city skyline, one right side up and the other upside down. In the background both above and below is what one might identify as a green sky. The red against the green creates a vibration of energy that grabs and holds our interest. "Seeds of Inquiry" is another painting with more clearly defined hard-edged shapes. Two circles of different size in the center of the canvas almost suggest a bullseye target, and play against outer squares of greens and browns. Layered on the circles are sweeping wave like shapes of red that move from the four outside edges toward the center, almost meeting, setting up a tension because they do not meet. A narrow horizontal strip of red almost bisects the painting and stabilizes it by suggesting a ground horizon line. On the other hand, "Wizened" is one of those paintings that works with a looser sense of organization, with patches of overlaying colors and brushstrokes. The top two thirds has wide bands of browns and whites that almost make a circle, but the edges are soft and spread out almost disappearing into other soft strokes of similar colors. A soft-edged "X" of red is in the lower part of the painting but also melts into surrounding colors. What gives this piece its force is the sure sense of structure and movement. There is a rich exciting mix and intermingling of colors, yet there remains clarity of arrangement. Two large "X's" dominate the painting "Hidden Grace." In the background are highly gestural strokes and shapes of blues, pinks, whites, and dark reds. Perhaps more than most this is a painting about gesture and movement. It is also about layers wherein darker patches of color are overlaid with increasingly brighter and more vigorous patches of reds and whites. Moreover, there is a balance to the whole, creating a sense of a careful organizational plan. Taetzsch has spoken about her work almost like a piece of music, as if she were constructing an orchestral movement. She says, "I struggle with the canvas, building it up and breaking it down. Space is there to be enclosed and disclosed; defined and defiled by line; shaped and misshaped by form; made subtle, empty or blatant through color. Form. Line. Color. Some days we dance together, some days we engage in a bloody fistfight." What is of great interest to me is that, as a viewer, I do not really see this struggle she speaks of so eloquently. I see an artist who has a very masterful control over her works, creating a coherent and forceful expression on canvas. But then perhaps this is the role of the artist, to create order and expression out of a chaotic mixture of color and shape. This is surely the role of the abstract painter, and a role that Taetzsch takes on and handles superbly.  

The Kentucky Gallery, Lexington, KY

 

Corporate and Institutional Collectors

Holiday Inn restaurant, Knoxville, TN
Let's Gel, Inc., Austin, TX
Educational Testing Service, Princeton, NJ
Dana-Farber Cancer Institute, Boston, MA
Real Capital Analytics, New York, NY
Stratum Developments, Inc., Alberta, Canada
Advanced Liquid Logic, Cary, NC
Matrix Public Health Cons., Inc., New Haven, CT
DG Groep, The Netherlands
T-System, Inc., Dallas, TX
Kaiser Permanente, CA
Cubist Media Group, LLC, Philadelphia, PA
Parkside Partners, Atlanta, GA
Sheridan In Home Care, Inc., Los Angeles, CA
Clear Perspective Group, Medina, OH
Spark LP, New York, NY
Star Promotions, LLC, Indianapolis, IN
Samwoo Chemicals Ltd., North Point, Hong Kong
Logansport State Hospital, Logansport, IN
Scholar Corporation, Lafayette, IN
Pine Restaurant, Salt Lake City, UT
Full Sail, Winter Park, FL
Georgia State University, Alpharetta, GA
Dental Crafters, Marshfield, WI
American Tennis Court Contractors, Fort Worth, TX

 

 

 

 

Color Contrast

Review of Lynne's solo exhibit at the Clinton House Gallery by Stan Bowman

(Reprinted from the Ithaca Times, December 12, 2001, p. 14)

Red is the color of fire, hot, moving, sometimes dangerous. It is also the color of blood, that vital substance necessary for all human life. Red is demanding, attracting, arresting. Red is also associated with many different objects in our culture from fire hydrants to stop signs, all meant to get and hold our attention.

What I find intriguing in the acrylic paintings of Lynne Taetzsch, currently at the Artspace at the Clinton House Gallery, is that every work on display has some red in it. Some paintings are even dominated by this color, calling us to stop and look at them. It is as if energy is emanating from the works, bouncing off the walls in this room of modest size that can accommodate perhaps only 10 to 20 works. Standing in the middle I could feel an energy to this space created by the art, and myself attracted to examine each work carefully to find the sources of this power.

But the color red is only one part of the story. Taetzsch is a painter very much in the tradition of the best of 20th century abstraction. She understands how to organize a canvas, how to arrange elements with extraordinary control over their placement. One of the most interesting aspects of this show is that I found both works that have a clear visible sense of structure around some particular object while others have a looser balance of shapes and brush strokes. Both approaches work equally well.

"Red City" has a sharp-edged horizontal band of red color in the middle, bursting upwards and downward creating what can be seen as profiles of a city skyline, one right side up and the other upside down. In the background both above and below is what one might identify as a green sky. The red against the green creates a vibration of energy that grabs and holds our interest. "Seeds of Inquiry" is another painting with more clearly defined hard-edged shapes. Two circles of different size in the center of the canvas almost suggest a bullseye target, and play against outer squares of greens and browns. Layered on the circles are sweeping wave like shapes of red that move from the four outside edges toward the center, almost meeting, setting up a tension because they do not meet. A narrow horizontal strip of red almost bisects the painting and stabilizes it by suggesting a ground horizon line.

On the other hand, "Wizened" is one of those paintings that works with a looser sense of organization, with patches of overlaying colors and brushstrokes. The top two thirds has wide bands of browns and whites that almost make a circle, but the edges are soft and spread out almost disappearing into other soft strokes of similar colors. A soft-edged "X" of red is in the lower part of the painting but also melts into surrounding colors. What gives this piece its force is the sure sense of structure and movement. There is a rich exciting mix and intermingling of colors, yet there remains clarity of arrangement. Two large "X's" dominate the painting "Hidden Grace." In the background are highly gestural strokes and shapes of blues, pinks, whites, and dark reds. Perhaps more than most this is a painting about gesture and movement. It is also about layers wherein darker patches of color are overlaid with increasingly brighter and more vigorous patches of reds and whites. Moreover, there is a balance to the whole, creating a sense of a careful organizational plan.

Taetzsch has spoken about her work almost like a piece of music, as if she were constructing an orchestral movement. She says, "I struggle with the canvas, building it up and breaking it down. Space is there to be enclosed and disclosed; defined and defiled by line; shaped and misshaped by form; made subtle, empty or blatant through color. Form. Line. Color. Some days we dance together, some days we engage in a bloody fistfight."

What is of great interest to me is that, as a viewer, I do not really see this struggle she speaks of so eloquently. I see an artist who has a very masterful control over her works, creating a coherent and forceful expression on canvas. But then perhaps this is the role of the artist, to create order and expression out of a chaotic mixture of color and shape. This is surely the role of the abstract painter, and a role that Taetzsch takes on and handles superbly.

 

Red City

Red City

Wizened  

Wizened