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2.

In 1959 my work was in an exhibit at the National Arts Club, the choice of Milton Avery. This, together with a one person show at The Delancey Street Museum (Red Grooms) led to my inclusion in "Young American Artists:1960' at the Whitney.

My work at the Whitney Museum received a great deal of attention and led to an exhibit at the Alan Gallery in 1961 and my first trip to Europe. I travelled in Italy and stayed in Florence to paint for five months. Two of the paintings I did there entered the Neyberger and Hirshhorn collections during the following year. In 1962-3 a Fullbright Award to France resulted in extensive travel in Greece before the grant period and short trips to Spain, Holland, Belgium and again to Italy and Greece. Paintings I did during this time were shown the following year at the Alan Gallery.

While Charles Alan was impeccably honest he didn't believe in publicity and I was too stupid to know it was my respnsibilty, too, so the neat package of acclaim I came to him with was dissipated within a very few years. Although I went to other galleries and tried to do what I could for myself my ability to be self sustaining was always borderline. From 1964 to the present I was visiting artist at many colleges and universities throughout the country. With cutbacks, however, jobs have been scarce.

In 1975 I had a one person exhibit at the Everson Museum. About five years' work was included and very favorably received. In 1984 The Canton, Ohio Art Institute showed a twenty five year plus retrospective of paintings. There have also been inclusions in many group shows up to the present.

In 1988 I became a substitute teacher out of financial desperation. It is hard physically and emotionally and makes sustained painting extremely difficult though so far I have managed if minimally. What is difficult is finding the time to devote to seeking representation. Given a choice I paint. Sporadic attempts to make contacts have not succeeded so far.

Aside from awards listed in the attached resume I would mention the Gottlieb Award of 1983 which helped me greatly. An NEA in painting in 1990 was valuable in my attempt to find time to gallery seek but no long term results though my work at that time, and the preceding year reflected a return to the sustained concentration I have always been used to.

A Krasner Pollock last year enabled me to get out of debt but was not enough to provide the extra time necessary to either work and promote painting and cut down on substituting since my expenses are fairly high.