RESUME
SOLO EXHIBITIONS (Selected)
2020 – “Who is She? Terry Braunstein,” Katzen Museum, Washington, DC. Virtual Exhibition and interview with Jack Rasmussen, Curator.
2019 – “Places Without Walls” Michael Stearns Gallery, San Pedro, California
2018 – “Chutes and Ladders” SPARC Gallery, So. Pasadena, California
2018 – “Scent” Art and Olfaction Gallery, Los Angeles, CA
2015-16 – Long Beach Museum of Art “Who is She? Terry Braunstein,” Long Beach, CA
2009, 1997, 1995, 1994, 1992 – Craig Krull Gallery, Santa Monica, CA
2009 – El Camino Art Gallery (25-year Retrospective), Torrance, CA
2006-07 – “Seeing with Other Eyes” Series, Cerritos, Library (in conjunction with installation of Illuminations)
2005-06 – Museo Civico Villa Colloredo Mels, Recanati, Italy
2005 – Piazza delle Erbe, Montecassiano, Italy
2002 – Centro Andaluz de la Fotografia, Almeria, Spain
1998 – Centro de Exposiciones de Rodalquilar, Almeria, Spain “Tiempos modernos”
1997 – Craig Krull Gallery, Santa Monica, California, “Boundless”
Feria Internacional de Arte – ARCO ’97, El Pais booth, assembled by the Centro Andaluz de la Fotografia, Madrid, Spain.
1996 – Universidad de Salamanca, Salamanca, Spain
1995 – Craig Krull Gallery, Santa Monica, California, “A Tale from the Fire”
Troyer Fitzpatrick Lassman Gallery, Washington, D.C.
1994 – Craig Krull Gallery, Santa Monica, California, “Flying Dreams”
1992 – Turner/Krull Gallery, Los Angeles, California, “Discoveries
1991 – Long Beach Museum of Art, Long Beach, California, “Stations”
1990 – Imagina, Almediterranea ’92, Almeria, Spain, “Voyages” (catalog)
Hampshire College, Amherst, Massachusetts
1989 – University of Michigan, Ann Arbor, Michigan
California State University, Long Beach, California
1988 – Tartt Gallery, Washington, D.C.
1987 – Marcuse Pfeifer, New York City
1986 – Tartt Gallery, Washington, D.C.
1982 – Washington Project for the Arts, Washington, D.C.
Artworks, Los Angeles, California
1980 – Fendrick Gallery, Washington, D.C.
1979 – Franklin Furnace, New York City
Artworks, Los Angeles, California
1977 – Franklin Furnace, New York City
1976 – Washington Project for the Arts, Washington, D.C.
GROUP EXHIBITIONS (Selected)
2020 – “International Collage Art Exhibition 2020” Galeria Retroavangarda, Warsaw, Poland, Cur. Anna Klos
2020 – “Decade by Decade: Women Artists of California” Long Beach Museum of Art, CA
2019 – “Celebrating Local Donors” Los Angeles County Museum of Art, Cur. Eve Schillo
2019 – “Soundpedro” Multi-sensory exhibition at Angel’s Gate, Los Angeles, CA
2018 – “Latitude” Katzen Gallery, American University Art Museum, Washington, DC
2018 – “Terra InFirma” Dr. Bernard Heller Museum, Hebrew Union College, New York City
2018 – “Hope is Maybe” traveling exhibition, Germany. (Collaboration with Victor Raphael) Cur. M. Haertis
2018 – COLA Artist Fellowship Recipients Exhibition, Municipal Art Gallery, Los Angeles, CA
2017 – PUMP (Public Urban Multisensory Presentation) 1st Biennial, Long Beach, CA
2017 – “Soundpedro” Multi-sensory exhibition at Angel’s Gate, Los Angeles, CA
2016 – “Chapters: Book Art in Southern California” Craft and Folk Art Museum, Los Angeles, CA
2012 – Fischer Museum of Art, USC, Pacific Standard Time, “Sight Specific: LACPS and the Politics of Community”
2010 – Long Beach Museum of Art, “A Light in the Shadow” June 25 — January 2, 2011
2008 – First Int’l Meeting of Photography Centers, Almeria, Spain, Braunstein image cover announcement, brochure, poster
2007 – University of San Francisco, Thacher Gallery, Two-person show with Pia Pizzo
2005 – “California Landscapes” Long Beach Museum of Art, California, June-December
2003 – “Insomnia” National Museum of Women in the Arts, Washington, D.C. March-October
2000-02 – Long Beach Museum of Art, California, “Rooms With a View–Enter Laughing”, September-April
2000 – Centro Andaluz de la Fotografia, Almeria, Spain, “Imagina” 10-year Exhibition
1998 – Palazzo dei Consoli, Gubbio, Italy and Los Angeles, California, “Viaggiatori – Travelers”, January & June
1997 – Salas de Arenal, Universal Exposition, Seville, Spain and on-going traveling exhibition: “Imagina” which opened in 1992 (catalog)
1996 – Armand Hammer Museum of Art, Los Angeles, California, “L. A. Current: A Female Perspective”
Hunsaker/Schlesinger Gallery, Los Angeles, California, “Still Life . . .Still Here”(curator: Josine Ianco Starrels)
1995 – Los Angeles County Museum of Art, Los Angeles, California, “Photography Los Angeles Now”
Louis B. Stern Gallery, Los Angeles, “Pasted Papers” Collage Exhibition (curator: Peter Frank)
Nexus Gallery, artists book traveling exhibition, Near East (Tunisia, Saudi Arabia, Pakistan) & S. America (Brazil, Argentina, Chile, Equador, Peru) “One of a Kind” (catalog & poster)
1994 – Centro Esposito della Rocca Paolina in Perugia, Italy and Centro San Fedele in Milan, Italy, “Oltre la grande soglia” (catalog)
Braunstein/Quay Gallery, San Francisco, California, “Redefining the Book: Eight Invited Artists”
University Art Museum, Calif. State University, Long Beach, California, “Magic Realism: Violating Expectations”
Julie Saul Gallery, New York City, New York, “Fractured Identity: Cut and Paste”
1992 – Long Beach Museum of Art, Long Beach, California, “Virgin Territories”
John Michael Kohler Arts Center, Sheboygan,Wisc., “Notes from the Material World-Contemporary Collage”
1991 – Centro Andaluz de la Fotografia, Almeria, Spain, “La fotografia inventada” (catalog)
Turner/Krull Gallery, Los Angeles, California, “Une saison en enfer”
1990 – California Museum of Photography, Riverside, California, “Biennial I ” (catalog)
Sala Arcs Gallery, Barcelona, Spain and on-going traveling exhibition, “With the Media, Against the Media”, 4-person show: with Heinecken, Neimanas, Butler, opened in 1990 (catalog)
1989 – Jan Turner Gallery, Los Angeles, California, “Photomontage/Photo collage: The Changing Picture 1920-1989”
Security Pacific Gallery, Costa Mesa, California, “Media Talk” (catalog)
1987 – California State University, Long Beach, California, “Centric 28”
1986 – L.A. Center for Photographic Studies, Los Angeles, “Neglected Reality of America”
1985 – Centre Georges Pompidou, Paris, France, “Livres d’Artistes: Collection Semaphore “, international artists book exhibition (catalog)
Hand-in-Hand Galleries, New York City, New York, “Book Arts”
Bertha Urdang Gallery, New York City, New York, “Visual Thought, Image Formation”
Corcoran Gallery of Art, Washington, D.C., “The Washington Show” (catalog)
1984 – Cameraworks, San Francisco, California, “Reproductions”
1983 – Gallery Miyazaki, Osaka, Japan, “Books by Artists” (catalog)
Long Beach Museum of Art, Long Beach, California, “At Home” (catalog)
1982 – Los Angeles Center for Photographic Studies, Los Angeles, California, “Evocations” William Rockhill Nelson Gallery of Art, Kansas City, Missouri, “Repeated Exposure: Photographic Imagery in the Print Media” (catalog)
1979 – Fendrick Gallery, Washington, D.C., “The Book as Art” (catalog)
1978-80 – Contemporary Arts Museum, Houston, Tex.; & traveling exhibition including Contemporary Arts Center, New Orleans, LA; University Art Museum, Berkeley, Ca.; U.C.L.A. Gallery, Santa Monica, “American Narrative/Story Art” curated by Peter Schimmel (catalog). Franklin Furnace, New York City, New York, “Artists Books U.S.A.” (curated by Peter Frank , Martha Wilson), traveling exhibition, organized by Independent Curators Incorporated (catalog)
1977 – Art Center, Waco, Texas; Mint Museum, Charlotte, N.C. “Artists’ Company” (catalog)
Fendrick Gallery, Washington, D.C., “The Book as Art” (catalog)
1976 – Bronx Museum, New York City, New York, invitational exhibition (catalog)
1974 – Washington Gallery of Art, Washington, D.C., “Paperworks” (catalog)
1973 – Corcoran Gallery of Art, Washington, D.C. (catalog)
A.I.R. Gallery, New York City, New York, “Five from D.C.”
VIDEO SCREENINGS
1996 – Contemporary Art Centre & Art Media Center/TV Gallery, Moscow, Russia
1994 – Corcoran School of Art, Washington, D.C.
1993 – Brasilia de Artes Plasticas, Brasil
Mills College, Oakland, California
Long Beach Museum of Art, Long Beach, California
American Film Institute National Video Festival, Hollywood, California
Arts Festival of Atlanta, Georgia
Athens International Film and Video Festival, Athens, Ohio
COLLECTIONS (Selected)
Getty Center for the Arts and Humanities
Museum of Modern Art, New York City
Victoria and Albert Museum, London, England
Contemporary Art Centre & Art Media Center/TV Gallery, Moscow
Yale University, Hartford, Connecticut
Corcoran Gallery of Art, Washington, D.C.
Long Beach Museum of Art, Long Beach, California
Museum of Contemporary Art, Chicago
Bibliotheque Nationale, Paris, France
Marvin and Ruth Sackner Archive of Concrete Poetry and Visual Poetry
Library of Congress, Washington, D.C.
National Museum of Women in the Arts, Washington, D.C.
Bruce Peel Special Collections Library, University of Alberta, Canada
Mills College Special Collections Library, Oakland, California
University Art Museum, California State University, Long Beach
The Athenaeum, San Diego, California
University of California San Diego Special Collections Library, San Diego
Los Angeles County Museum of Art, Los Angeles, CA
PUBLIC ART COMMISSIONS
2012-2013 – Rosie the Riveter Park artist designer & artist consultant.to Gerrie Schipske, Councilwoman, Long Beach
2010 – Paramount, North Long Beach RDA, mosaic and stainless steel
2010 – Directions, Six bus stations, Long Beach Transit projects. 150 Porcelain ceramic tiles
2007 – Sun Salutations, LA County Healthcare Facility for Sun Valley, CA, (LA County Arts Commission) Byzantine mosaic, ceramic tile, painted-tiles, interior & exterior of building
2006 – Illuminations, 50th Anniversary Sculpture, City of Cerritos, Mosaic, Glass, Stainless Steel, Cerritos, CA
2004 – Navysphere, Long Beach Navy Memorial, stainless, brass and bronze sculpture/porcelain enamel panels Queensway Bay, Long Beach (Dedication: July 10, 2004)
2004 & ongoing – Bluff Erosion & Enhancement Project, with Craig Cree Stone, City of Long Beach
2004 – Elevator Cabinet Improvement Project, City Hall, commission for porcelain enamel artwork, Long Beach
2001 – Smithsonian, Commissioned Temporary Public Artwork in conjunction with Smithsonian Series, AMC properties.
2000 – Art Enhancement Project, Los Angeles International Airports (LAX), street paver medallions & bronze sculpture, (Commission for conceptual design — on hold as of Summer 2000)
1998-99 – First Street Facade Improvement Project, East Village Arts District, Long Beach, artist on design team.
1997-98 – In Vogue, Los Angeles County Museum of Art, “Windows on Wilshire”, commission to create two windows (96″ x 138″ each) August to January.
1998 – Finalist: Pedestrian Bridge over 101 Freeway, Metropolitan Transportation Authority
1997 – Finalist: Santa Monica Boulevard Transit Parkway Project, Metropolitan Transportation Authority
Finalist: Long Beach Redevelopment Agency commission to create porcelain enamel wall work for Westside Police Sub-station
1996 – Finalist: Glendale Blvd. H.O.V. & Streetscape Project, Metropolitan Transportation Authority
Commission to produce public art for “Dirty Windows” subway project, Berlin, Germany Westside Area Monuments, Redevelopment Project Area, Long Beach (slated for completion when city bond is passed)
1995 – Finalist: Cultural Affairs commission for Department of Transportation facility in West Los Angeles, California Finalist: Cultural Affairs commission for Youth Opportunities Unlimited alternative high school, South Central, Los Angeles, California
1994 – MetroRail commission for the Blue Line (Anaheim Station), Los Angeles County Metropolitan Transportation Authority, “Local Odysseys”, (installed October 1994)
1987 – Press Telegram “Press Art” commission to produce art for double-page newspaper spread, Long Beach, (Adolfo Nodal, Juror)
HONORS AND AWARDS
2017 – COLA (City of Los Angeles) Master Arts Fellowship
2013 – A Lot Grant, National Endowment for the Arts
2012 – Long Beach Artists Fellowship
2011 – Invited Speaker, Tsinghua University, Beijing, China
2011 – Invited Speaker, Shanghai University, Shanghai, China
2008 – Durfee ARC Grant
2005 – Yaddo Artist’s Residency, Saratoga Springs, New York
2004 – Yaddo Artist’s Residency, Saratoga Springs, New York
1999 – Yaddo Artist’s Residency, Saratoga Springs, New York
1999 – Long Beach Artist’s Fellowship, Long Beach, California
1997 – Yaddo Artist’s Residency, Saratoga Springs, New York
1994 – National Museum of Women in the Arts, National Book Award
1992 – Distinguished Arts Award, Visual Artist, City of Long Beach
1986 – Professor Emeritus, Corcoran School of Art, Washington, D.C.
1985 – National Endowment for the Arts, Visual Artist’s Fellowship
PUBLICATIONS ABOUT THE ARTIST (Selected)
Reed, Marcia & Glenn Phillilps, “Artists and Their Books, Books and Their Artists” Getty Center Publication, 2018 (double-page spread)
Nys Dambrot, Shana “Join the New COLA Fellowhip of Artists” L.A. Weekly, April 30, 2018
Easter, Makeda, “Visions of LA” Los Angeles Times, May 2, 2018
Wong, Steven, Curator “Cola: 2018” catalog for City of Los Angeles Department of Cultural Affairs Individual Artist Fellowships, 2018
Bohn-Spector, Claudia (Tosh Berman & Ron Nelson) “Who is She? Terry Braunstein” catalog for Long Beach Museum of Art exhibition, 97 pages, illustrated. January, 2016
Wolff, Sandor, “Art Council Fellows Exhibit at Collaborative”, January 29, 2013
Emenegger, Ashley, “Terry Braunstein: Station Identification; Terry Braunstein: Time Bound”, THE Magazine, (photos), April 2009
Gottleib, Shirle, “Terry Braunstein” Art Scene, March, 2009 (photos)
Covarrubias, Amanda, “Campus Clinic Fills Need” Los Angeles Times, April 8, 2008 (photo)
Anderson, Troy, “Cultural Side to Public Projects,” LA Daily News, March, 2008 (photos)
Hennessey, Tom, “Cerritos Artist Has it Covered,” Long Beach Press Telegram, February 18, 2007
Gottleib, Shirle, “Book Mark,” Long Beach Press Telegram, December 15, 2006 (photos)
Molina, Genaro, “Navy Memorial,” Los Angeles Times, July 11, 2004 (photo)
Greene, Chad, “Navy Memorial in Place,” Long Beach Press Telegram July 11, 2004 (photo)
Segura, Joe, “The Sphere is Here,” Long Beach Press Telegram May 20, 2004 (photos)
Crane, Barbara, “Three Women of Influence in L.B. Tell Different Stories,” L.B. Business Journal, Jan. 2004 (photos)
Hennessy, Tom, “Navy Memorial Will Offer Portal to City’s Past” Long Beach Press Telegram Dec. 12,1999 (photo)
Hunt, Tamara, “Window Into Art,” Los Angeles Times (Westside Weekly), Nov. 16, 1997 (photo)
Harvey, Steve, “Drive-by Art” (Only in L.A.),Los Angeles Times Oct. 1, 1997 (photo)
Gottleib, Shirle, “Windows Turning Heads on Wilshire, “Press-Telegram Oct. 6, 1997 (photo)
Falces, Manuel, “La Magia del Fotomontaje, “El Pais (Babelia), Madrid, Spain, Feb. 15, 1997 (cover photo & 7 photos)
Merino, Jose F., “Colvin, Braunstein y America Sanchez exponen desde hoy en la Universidad”, El Adelanto January 18, 1996 (photo)
Falces, Manuel, “Instantaneas de lo disperso”El Pais (Babelia), Madrid, Spain, September 9, 1995 (photo)
U.S. Department of Transportation, Art in Transit publication citing outstanding public art works in transit systems across the United States, 1995 (photo)
McCoy, Mary, “Books Revised with Vision” Washington Post Jan. 28, 1995
Bush, G.M., “Blue Line Platforms Get Touch of Artistry” Press Telegram, Oct. 24,1994 (photo)
Davids, Betsy, “Book Arts from the Southland” Visions Summer, 1994
Gottleib, Shirle, “South Bay Smorgasbord” Visions, Winter, 1993
Hassan, Michael, “Reading Journeys Through Bookland by Terry Braunstein”, Word & Image, The Ampersand Quarterly Journal of the Pacific Center for the Book Arts, Volume 12, Numbers 3 & 4 (photo).
Curtis, Cathy, “Galleries”, L.A.Times, Oct.2, 1992 (photo)
Hoffberg, Judith, “Collage Logic”, Visions Fall, 1991 (photo)
Gamblin, Noriko, Curator, Terry Braunstein: Stations Long Beach Museum of Art publication to accompany exhibition (April 4 – June 2, 1991) photos
Schneider, “Life in the Media World”, Artweek, May 2, 1991
Littlefield, Kinney, “Image is Everything…or is It?” Press Telegram, April 5, 1991 (color cover photograph)
Falces, Manuel, “La Primavera Fotografica se abre con imagenes historicas y las ultimas tendencias del fotomontaje”, El Pais, April 25, 1990 (photo)
Guillamon, Julia, “Un nuevo reparto de atribuciones”, La Vanguardia, April 24, 1990 (photo)
Fontcuberta, Joan, “Sempre ens que da la ironia”, l’Avui, April 25, 1990 (photo)
Falces, Manuel, “Entornos reciclados,”El Pais, May 19 (photo)
Fox, Howard, Voyages, Centro Andaluz de la Fotografia publication to accompany exhibition (October, 1990)
Cara, Diego, “Terry Braunstein, ensonadora de fantasias proximas,” La Cronica, Oct. 30, 1990 (photos)
Creamer, Colleen, “Terry Braunstein, the Cutting Edge of Collage,” Darkroom Photography interview, March, 1990 Vol. 12, Number 3, pp. 22-25, 58 (color photographs).
Mohr, Bill, “Braunstein’s Collages Spotlight Struggles of Women”, Press Telegram, April 23, 1989 (photo).
Lewis, JoAnn, “Things They Don’t Teach You in Collage”, Washington Post, April 8, 1988 (photo).
Joselow, Beth, “H. Terry Braunstein”, Washington Review, interview, Jan, ’87 pp.3-6 (photos)
Lewis, JoAnn, “Braunstein’s Fantasy Montages”, Washington Post, Oct. 18, 1986
Myers, Jr., George, “Terry Braunstein: Perceptive Bookmaker,” Umbrella, interview fall, 1983 (photo)
Berland, Dinah, “Seven Photographers Evoke the Symbolists”, L.A. Reader, November 12, 1982
Lewis, JoAnn”, Art Through the Pages”, Washington Post, Oct. 7, 1982 (photos)
Berland, Dinah, “Her Work is an Open Book,”Los Angeles Times, Aug. 15, 1982 (photos)
Lewis, JoAnn “Sculpted Books”, Washington Post, March 15, 1980
Forgey, Benjamin, “Book as Art”, Washington Star, March 13, 1980
Cohen DePietro, Anne, Ed., The List, Independent Curators Incorporated, 1980
EDUCATION
M.F.A. Maryland Institute of Art, Baltimore (Graduate Assistantship)
B.F.A. University of Michigan, Ann Arbor (Alumni Scholarship)
l’Ecole des Beaux Arts, Aix-en-Provence, France (Carnegie Grant)
“Though her art uses the techniques of collage and the aesthetics of photography, Braunstein considers herself neither a collagist nor a photographer. But while Braunstein always uses found images, never using the camera to create images, her art is in fact more closely related to photography than to collage, particularly to aspects of darkroom photography in her manipulating, clarifying, extracting, combining, and reproducing existing images. Her sole use of the camera is mechanical, to reproduce her collaged images so that in their final material form her words may appear to be authentic photo documentation rather than pieced paper constructions. She exploits the appearance of photography to deny the fact of her paper collages and in order to simulate documentary “reality.” Braunstein thus uses the camera for one of its oldest and original purposes: to fictionalize, much as such pioneering photographers as Oscar G Rejlander (1813-1875), Henry Peach Robinson (1830-1901 or the cinematographer Georges Méliès (1861-1938) created images that never existed except in their art.”
“In addition to the photo collages or montages, Braunstein also creates books. The books have a far more hand-wrought quality, and are put into the world more as objects — as things — than as images of other things. But there are close similarities of concept and techniques with the photographs. As always, Braunstein utilizes existing sources — other books — to create her own books. She combines images extracted from her usual sources of magazines, books and printed matter, with illustrations or text pages from bound volumes such as children’s storybooks or scientific manuals. Some of her books “read” like normal books — that is, from one page to the next, in a sequence from first to last, and often there is a visual, if not always logical, narrative. But other of her books are sculptural with holes, windows and other contours cut through the pages, so that in turning from page to page, new information accumulates layer upon layer; these books are read not only from one page to another, but from one page through another. In the hands of the reader, one of Braunstein’s sculptural books becomes a kinetic sculpture whose visual and intelligible content changes with each turn of the page.”
“The magic of Terry’s work is that she has given new meaning and unexpected context to a common symbol we all recognize. The combination of the grand scale and the intimate, often nostalgic images act to draw visitors to the site and invite interaction. Rarely, in public art projects, is the resolution of formal issues so beautifully married with the subject matter, which, for so many, is the heart of the memorial. Happily, Terry’s sculpture is an object of extraordinary beauty that succeeds on all levels and for all ages.”
“There are as many definitions of “art” as there are expressions of it. If art is defined as a visual philosophy of life or a search for meaning, Terry Braunstein creates it. Whether expressed as a poignant view of human behavior, a nostalgic perception of things past, an honest look at life and loss, the wisdom learned from collective experience, desperate longing for love and desire, or anxious hope for the future, Braunstein’s art explores it all. Working in a variety of media that includes . . . . installations. . . she creates work that stimulates the mind and the heart on myriad levels.
“To create a picture in the way that Terry Braunstein does is, in essence, to reassemble pieces of our familiar world into a surprising, yet convincing, new world. . . . There are no ready answers to the questions Braunstein poses, and no promise of a resolution forthcoming. In fact, there seem only to be more questions, and more cross-references. By importing the loaded content of mass media imagery into her artistic landscape, she not only challenges the assumptions implicit in contemporary culture but also addresses one of the basic aesthetic dilemmas: the interpretive gap between appearance and truth.”