Born in 1949, Portland, Maine
Studied at Yale University, New Haven, Connecticut (B.A., 1972; M.F.A., 1974)
Lives and works in New York City
Teaches at the School of Visual Arts, New York

2003 Statement

Over the years printmaking had become and important part of my artmaking life. It was not something I had originally intended to pursue but, once I started, I loved everything about it: the process, the quality of the image, the excuse to use great paper, the chance to make my work in a social environment, having expert advice, and most important of all, not having to clean up!

I have always loved the look and feel of the litho stones themselves, so I came with the idea of looking for the broken and eccentric ones, then pushing them into a bunch and letting the decisions about drawing, structure and color some from the configuration. That is pretty much what happened. Most of these stones were initially occupied by some very beautiful Jim Dine drawings. I thnk Jim for relinquishing them even if he wasn't present for the decision.

Although I had the idea of how I would proceed before I got to the shop, what the image actually became was, as always, a surprise. I am reminded of performers who say that no matter how many times they go on stage they are always nervous beforehand. I never bring a pre-made image to the printshop with me. I approach the process of making prints the same way I do making paintings, so the improvisation and nervousness is always there. But this is the risk and the magic of making art. I wouldn't have it any other way.

1999 Statement

For some time my work has involved the tension between fragments and wholes. I'm not exactly sure why I'm drawn to this quality except that it seems to reflect the disparity between what we desire (wholeness) and what we experience (fragment). The charm of lithography stones is precisely in those aspects-the rough edges and imperfect shapes that remind you they are fragments of some vast geological event. In any case, for my purposes, they make perfect fragments, individually or in groups.

For this project, I chose two grouping of litho stones. Each grouping is made up of three stones pushed together making a shaped configuration. I drew on the stones with tusche and shop black. The imagery is new but is combined with two notions that have dogged my work for years; namely, endless imagery (inspired by Brancusi's columns) and the provisional shape of the support.

The drawing and the stone have an interesting relationship. The drawing knits the parts together but by the same token exists above and separately from them as well as beyond their natural edges. Likewise the individual fragmentary quality of each stone is enhanced by the conditional nature of its place in the configuration.

As anyone who has worked with them knows, it is hard to compete with the beauty and dignity of the stones themselves. So it is fitting that these six stones, having completed their temporary tasks as receivers of fragmentary imagery, will be ground to that original dignity again.
-David Row

Selected public collections:
Ackland Art Museum
Brooklyn Museum, New York
Carnegie Museum of Art, Pittsburgh
Cleveland Museum of Art, Ohio
Galleria Nazionale D'Arte Moderna, San Marino, Republica di San Marino
Hood Museum of Art, Dartmouth College, Hanover, New Hampshire
Museum of Contemporary Art, San Diego, California
University of Massachusetts, University Gallery, Amherst, Massachusetts
University of Miami Art Gallery, Miami, Ohio
University of New Mexico Art Museum, Albuquerque, New Mexico
University of North Carolina, Chapel Hill
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SOLO EXHIBITIONS
2003 Under Pressure: Prints from Two Palms Press, Arthur A. Houghton Jr. Gallery, The Cooper Union, New York, traveled.
Science and Abstraction, Marella Arte Contemporanea, Milan, Italy
In Black and White, Scott Forrest Gallery, Millburn, New Jersey

2002 Galerie von Bartha, Basel, Switzerland
Von Lintel Gallery, New York
Invitational Exhibition of Painting and Sculpture, American Academy and Institute of Arts and Letters, New York
Summarize/Summer Eyes, Jan Weiner Gallery, Kansas City, Missouri
Choose Your Partner...An International Drawing Show, Nusser & Baumgart Contemporary, Munich, Germany

2001 Kinds of Drawing, Herter Art Gallery, University of Massachusetts, Amherst
Painting Abstraction II, New York Studio School, New York
New Prints, Pace Gallery, New York
The MAC (McKinney Avenue Contemporary) Dallas, Texas
Numark Gallery, Washington, D.C.
Edwin A. Ulrich Museum of Art, Wichita, Kansas
2001 /02 Von Lintel Gallery, New York, NY
2001 Numark Gallery, Washington, D.C.
Edwin A. Ulrich Museum of Art. Wichita, KS The McKinney Avenue Contemporary, Dallas
2000 Galerie Brandstetter & Wyss, Zurich Galerie Von Lintel & Nusser, Munich
Jan Weiner Gallery, Kansas City
Galeria Marella Arte Contemporanea, Milan
1999 Von Lintel & Nusser, New York
Galerie Brandstetter & Wyss, Zurich
Betsy Senior Gallery, New York
Numark Gallery, Washington, D.C.
1998 Turner & Runyon Gallery, Dallas
1997 Galerie Thomas von Lintel. Munich
1996 Andre Emmerich, New York
1995 Andre Emmerich, New York
Galerie Thomas von Lintel. Munich
Locks Gallery, Philadelphia
1994 Pamela Auchincloss Gallery, New York 1993 John Good Gallery, New York
1992 Ascan Crone Gallery, Hamburg
Katy Block Fine Art. Boston
1991 Galerie Thaddaeus Ropac, Paris
Richard Feigen Gallery, Chicago
John Good Gallery, New York
Fujii Gallery, Tokyo 1990 Galerie Thaddaeus Ropac, Salzburg 1989 John Good Gallery, New York
Cava Gallery. Philadelphia
1988 Ascan Crone Gallery, Hamburg
1987 John Good Gallery, New York
1984 55 Mercer Street Gallery, New York
1982 State University of New York, Purchase
Art Galaxy, New York
1977 Rutgers University, Newark
1974 Yale University School of Art. New Haven

GROUP EXHIBITIONS (SELECTION)
2002 ZENROXY Von Lintel Gallery, New York, NY
2001 Under Pressure, Lyman Allyn Art Museum, New London, CT
2000 Inner Eye: Contemporary Art from the Mark & Livia Straus Collection, Neuberger Museum of Art Purchase, NY 1999 Abstract American Painting. Bernier/Tanit. Brussells, Belgium.
Group Show. Barbara Davis Gallery. Houston, TX.
One by One, Painting versus Drawing. Galerie von Lintel & Nusser. Munich, Germany.
International Biennial of Graphic Arts 23. Mednarodni Graficni Likovni Center. LjubUana,Slovenia.
1998 Flexing the Abs. RareArt Properties, Inc. New York
Masters ofthe Masters. Butler Institute of American Art. Youngstown, OH.
The Inner Eye. Samuel P. Harn Museum of Art. University of Florida, Gainesville.
1997 Divergent Models. Nassauischer Kunstverein. Wiesbaden, Germany.
New Abstraction. Betsy Senior Gallery. New York.
Small Paintings. Green on Red Galleries. Dublin, Ireland.
Fractures/Constructs. Claremont Graduate University. Claremont CA.
Drawing from Life. Invitational Drawing Exhibition. Stark Gallery, New York.
National Airport Artists on Paper. Numark Gallery, Washington, DC.
1996 Trois Collections d' Artistes. Musee des Beaux Arts. La Chaux de Fonds, Switzerland.
Acquiring Minds: Contemporary Art in Santa Barbara Collections. Contemporary Arts Forum. Santa Barbara, CA. Abstraction. Turner, Byrne & Runyon. Dallas.
1995 Critiques of Pure Abstraction. Armand Hammer Museum of Art UCLA. Los Angeles.
Mark Rosenthal, Guest Curator, Independant Curators Inc., New York.
Repicturing Abstraction. The Abducted Image. Marsh Art Gallery, University of Richmond. Richmond, Virginia. New York Paper Now. Galerie Thomas von Lintel. Munich.
Faculty Painting. Houghton Gallery, The Cooper Union. New York.
Embraceable You. Ringling School of Art and Design. Sarasota, Florida.
Tamarind: Into the Nineties. Weatherspoon Art Gallery, University of North Carolina. Greensboro, North Carolina. Una Nouva Tradizione Americana. Galleria Oddi Baglioni. Rome.
Paper View Cohen Berkowitz Gallery. Kansas City
1994 Just a Story from America. Galleria In Arco. Turin, Italy.
Praticamente Argento. Studio La Citt . Verona, Italy.
Critiques of Pure Abstraction. Blaffer Gallery, University of Houston.
Mark Rosenthal, Guest Curator, Independant Curators Inc., New York.
New York Abstract Painting Salvatore Ala Gallery New York.
Pittura Americana. Galleria Oddi Baglioni. Rome.
Color. Pamela Auchincloss Gallery. New York.
Cross Cultural Influences in Painting. E.S. Vandam. New York. Curated by Saul Ostrow.
1993 New American Abstraction: The Conscious Gesture. Locks Gallery, Philadelphia.
New Abstraction. Betsy Senior Contemporary Prints. New York.
David. Horodner/Romley Gallery. New York. Curated by Saul Ostrow.
Modernities. Baumgartner Galleries, Inc. Washington DC. Curated by Joseph Masheck and ManfredBaumgartner. Tom Lieber/David Row Maine Coast Artists. Rockport Maine.
Sailing to Byzantium with Disenchantment. Sergio Tossi. Prato, Italy. Curated by Elio Cappuccio.
Jours Tranquilles a Clichy. Rue Rochechouart. Paris. Curated by Alain Kirili.
Abstract Painting. Evelyn Aimis Gallery. Boca Raton, Florida.
Yale Collects Yale: 1950-1993. Yale University Museum of Art. New Haven, Connecticut.
Italia/America l'Astrazione Redefinita. State Museum of San Marino. San Marino, Italy.
Curated by Demetrio Paparoni.
1992 Invitational Exhibition of Painting and Sculpture. Academy and Institute of Arts and Letters. New York.
Baziotes to Basquiat...and Beyond. Bellas Artes. Santa Fe.
Emerging New York Artists. University of Nebraska. Omaha.

Summer Becomes Eclectic. Mars Gallery. Tokyo.
New York Selections: Contemporary Works on Paper. Sunrise Art Museum. Charleston, Virginia.
Prints. Betsy Senior Contemporary Prints. New York.
1991 Thaddaeus Ropac Gallery. Paris, France.
Senza Tempo. Studio La Citt . Verona, Italy.
Conceptual Abstraction. Sidney Janis Gallery. New York.
Architectures. Galleria In Arco. Turin, Italy.
La Metafisica delia Luce. John Good Gallery. New York. Curated by Demetrio Paparoni.
Figuring Abstraction. Vrej Baghoomian Gallery. New York.
Invitational Tony Shafrazi Gallery. New York,
Strategies for the Next Painting Wolff Gallery. New York, Feigen Gallery, Chicago.
Synthesis. John Good Gallery. New York.
Painting. Galerie Lelong. New York.
Drawings. Pamela Auchincloss Gallery. New York.
Works on Paper. John Good Gallery. New York.
Monotypes from the Garner Tullis Workshop. Thomas Segal Gallery. Boston.
1990 Rope. Fernando Alcolea Barcelona Curated by Christian Leigh.
Working on Paper. High Museum of Art. Atlanta.
Geometric Abstraction. Marc Richards Gallery. Los Angeles.
10 Abstract Painters. Baumgartner Galleries, Inc. Washington DC.
Untitled John Good Gallery. New York.
Provocative Abstraction: New Painting, New York. Karl Bornstein Gallery. Los Angeles.
1989 Contemporary Works on Paper. John Good Gallery. New York.
Geometric Abstraction. Persons Lindell Gallery. Helsinki.
Post-Modern Painters. John Good Gallery. New York.
Simple in Appearances. Marc Richards Gallery. Los Angeles.
Painting Between the Sacred and the Profane. Galerie Rahmel. Cologne, Germany.
Neo Geo/New Abstraction. The J.B. Speed Art Museum Louisville, Kentucky.
Methods of Abstraction. Gallery Urban. New York.
Fundamental Abstraction. Haines Gallery. San Francisco.
Sightings. Institute of North American Studies. Barcelona.
Works on Paper. Shea & Beker Gallery. New York.
1988 Real Abstract John Good Gallery. New York.
Four Corners of Abstraction. Jacob Javits Center. International Gallery Invitational. New York. Curated by Bill Arning. Drawings. Cava Gallery. Philadelphia.
David RoW" Paintings / Tom Bills.' Sculpture. John Good Gallery. New York.
1987 Group Invitational. M-13 Gallery. New York.
Solid Abstraction. Saxon Lee Gallery. Los Angeles.
Stimulation. John Good Gallery. New York.
Romantic Science. One Penn Plaza. New York. Curated by Carol a Van den Houten and Stephen Westfall.
1986 William Baziotes, George Negroponte, David Row John Good Gallery, New York.
Invitational. Condeso Lawler Gallery. New York.
Twelve from New York. Yale University School of Art. New Haven, Connecticut.
Not Flat. The Pyramid Club. New York.
1985 General Electric Winter Drawing Show General Electric Corporate Headquarters. Stamford, Connecticut. 1982 New Drawing in America. The Drawing Center. New York.
Regular Artists. Painting Space 122. New York. 1981 The Chelsea Saloon Show. The Chelsea Saloon New York. 1978 Line-up. The Drawing Center. New York.

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