Carolyn Prescott
selected works
Overthrow
Carolyn Prescott, Afghanistan, 2006 - 2007, oil on birch plywood, 25 x 33 cm
Carolyn Prescott, Honduras, 2006-2007, oil on birch plywood, 25 x 30,5 cm
Plurality
For many years I have made drawings of people in the city – in subways and buses, on platforms and along the street.
Some time ago, I began to work these images into long-format paintings. I have called these works the plurality paintings, thinking of how Hannah Arendt described the human condition of plurality as “the fact that men, not Man, live on the earth and inhabit the world.” She states further, “Plurality is the condition of human action because we are all the same, that is, human, in such a way that nobody is ever the same as anyone else who ever lived, lives, or will live.” [p.8]
This seems such a basic and yet hard-to-grasp fact of our existence, and it’s appropriate to the impulses and imagining of these works. But of course when ideas become paintings, it is about color and light, composition, the pleasure of putting down paint.
Carolyn Prescott
CITY
Grimm's Fairy Tales
CV
Solo Exhibitions/Einzelausstellungen
2011 November 27: Overthrow Paintings/Umsturz Serie , Arsenal Kino, Berlin
2008 July: Carolyn Prescott, Nebeneinander/Side by Side, Galerie 23, Cottbus, Germany
2005 January: Gemälde/Paintings, Finanzgericht des Landes Brandenburg, Germany
2003 April: Familienbande/Family Ties, Buhne 8, Brandenburg Techn. University, Cottbus
1997 September: Carolyn Prescott—Paintings, James Gallery, Houston, Texas
1993 November: New Paintings/Neue Gemälde, Galeria sin Fronteras, Austin, Texas
1990 April: Paintings/Gemälde, Carolyn Prescott, Women & Their Work Gallery, Austin, Texas
Group Exhibitions/Gruppenausstellungen
2020 January 17 - February 9, Spaltung, Vorurteile, Zwietracht, GEDOK Galerie Berlin (six person thematic exhibit)
2016 July 7: De Femmes Et De Mains Sales, interaudio Tonstudio, Neukölln
2012 November: Das ganze Spectrum der Radierkunst/The Whole Spectrum of Etching, VHS Friedrichshain-Kreuzberg, Berlin
2012, June 19-July 15: Central Booking in Berlin, K-Salon, Berlin Kreuzberg
2010 November 4- 2011 January: Attract/Repel (anziehen/abstoßen) Central Booking NYC Gallery, Brooklyn
2007 May-September: Kottbuskunst akut, Installation und Kollaboration (public installation/transnational collaboration) in Oberkirche (Town Church) with M. Körner of Germany and Abushariaa of Uganda
2006 May: Actuelle Künstpositionen 1990-2006/Current Viewpoints 1990-2006, Dieselkraftwerk Museum, Cottbus
1998 January: Reunion/Wiedersehen, James Gallery, Houston, Texas
1994 Profiles IV: Paint, work by Texas recipients of the Visual Arts Fellowship Award, Mid-America Arts Alliance, National Endowment for the Arts; Arlington Museum of Art, Texas (Arbeit von Texas Preisträger von National Endowment for the Arts)
1993 Small Works, Inman Gallery, Houston
1992 New Works, Six Austin and Central Texas Artists, Austin Museum of Art (AMOA), Austin, Texas
1992 Slouching Toward 2000—Politics of Gender, juror Lucy Lippard, Women & Their Work Gallery, Austin
1992 New World Order, Centro Colombo Americano, Medellin, Colombia
1990 Monoprints, Museo de la Estampa, Mexico City, Mexico
1989 Common Ground—Beyond Boundaries, Dallas Women’s Caucus for Art, Dallas, Texas
1988 Sixty-Four Beds, Mexic-Arte Museum, Austin, Texas
Awards/Auszeichnungen
NEA Visual Arts Fellowship of the Mid-America Arts Alliance, National Endowment of the Arts, 1992/Stipendium in Bildende Kunst
Daniel Smith Materials Grant, Fresco Painting, 1987/Stipendium
Press/Presse
“Erinnerung, Vorstellung, Empfindung zu den Bildern der Malerin Carolyn Prescott,” by Suzanne Lambrecht, Hermann, Feb 2005 (Memory, Imagination, Feeling: on the Work of Painter Carolyn Prescott)
Carolyn Prescott, eine amerikanische Malerin in Cottbus, by Suzanne Lambrecht, Pro Libris, Prezentacje, (German-Polish Art Magazine) 2005 (Carolyn Prescott, an American Painter in Cottbus)
Public News, “A Cohesive Reunion,” by Catherine D. Anspon, January 29, 1997 (Eine cohäsiv Zusammenkunft)
The Dallas Morning News, “Arlington Museum offers fresh ‘paint’,” Janet Kutner, March 6, 1994
Austin Chronicle, “Close to the Heart,” by Rebecca Levy, June 4, 1993 (Nah zum Herz)
Austin American-Statesman, “Human figure key to body of work,” Saundra Goldman, Nov 20, 1993 (Die menschliche Figur ist den Schlüssel zum Oeuvre der Künstlerin)
El Mundo, “Experiencias en el nuevo orden,” April, 1992 (Experiences in the New World Order; Erfahrungen in der neuen Weltordnung)
Austin American-Statesman, “New strokes are brilliant,” by Pete Szilagyi, September 19, 1992 (Neue Arbeit ist genial)
Collections/Sammlungen
Staatsbibliothek Berlin–Preußischer Kulturbesitz, Unter den Linden, Berlin (Berlin State Library, Berlin-Prussian Cultural Holdings)
Rubenstein Rare Book and Manuscript Library, Duke University
Gilbert Cardenas, Galeria sin Fronteras
Kathleen James and Gary Retherford, Tuscon, Arizona
Laurence Miller, Austin, Texas
Cynthia Noe, New York City
Chris and James Cowan, Austin, Texas
Peter Mears and Catherine Goddard, Austin, Texas
Felicia Bond, Santa Fe, New Mexicol
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