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TED KATZ
Ted Katz was born in Philadelphia in 1937.
He holds the bachelor's degree from Franklin and Marshall College, and the master's and doctoral degrees from Harvard University.
While a Fellow of Harvard University, Katz studied with Mirko Basaldella at the Carpenter Center for the Visual Arts, and with George Dergalis and Jason Berger at the Boston Museum School of Fine Arts.
From 1961-1965, Katz studied, on scholarship, with John Groth, Harry Sternberg, Mario Cooper and Robert Brackman at The Art Students' League in New York. At the Academie de la Grande Chaumiere in Paris, he concentrated on drawing from the human figure.
Under grants from such institutions as the Ford Foundation, the Carnage Corporation, the Smithsonian Institution, and the National Endowments for the Arts and the Humanities, Ted Katz has created model programs in the visual arts throughout the United States.
His publications include the textbook series, Understanding and Creating Art, and the highly regarded Museums and Schools.
The paintings of Ted Katz have been shown at university and commercial galleries throughout the United States and Europe, frequently by invitation.
Recent solo exhibitions of his work have been held at Villanova University; Pacific University; Moore College of Art; Philadelphia College of Art; Salem College; Millersville University and Harvard University; and at Galerie P.B. van Voorst van Beest, The Netherlands; A.M. Adler Fine Arts, New York City; Judi Rotenberg Gallery, Boston; Denenberg Fine Arts, Inc., San Francisco; Rosenfeld Gallery, Philadelphia; Butters Gallery, Ltd., Portland; and David Yarborough, Los Angeles.
Ted Katz is represented in university, corporate and private collections in the United States and Europe.
PERSONAL STATEMENT
I search in my paintings for questions rather than answers. Although I always begin to work from live models, there occurs a turning point during the development of the painting when the painting begins to exert pressure to form a life of its own.
The challenge is to let go of preconceived constructs for the work and form an alliance with the painting struggling to emerge. The process is a slow one; many paintings are stillborn, some succeed.
The finality, or closed-endedness, generally associated with answers has long intrigued me. People see, of course, in different ways in accordance with their particular viewpoint, experience and needs.
Interpretation and understanding follow. It is the Gestalt of experience and interpretation that guides my approach to painting; the constantly shifting shapes of things as they form changing relationships with their surroundings. A changing of partners during the waltz, with as many implications. That is , forms and colors changing partners visually creating potentially infinite movements and interpretations within the structure of the "tune". I search to discover through line, form and color and evocation of the transient in tense interaction with the stable, trapping from a moment one combination of solid and space, then another.
Unlocking one mystery to confront yet another, and another. On those occasions when observation, knowledge and courage take hold in the studio, insight and technique forge intriguing images.
I think of some of the paintings as I think of Haiku poems, simultaneously selective and suggestive.
My imagery and surfaces vary considerably in response to my effort to keep the channel open and forget the "names" of whatever I see. The most satisfying paintings for me are those which continue to hold my interest over time through their continually evolving patterns and meanings, return my questions, and reward my watching them with interesting discoveries.
I seek to suggest in my paintings drama and energy that lie behind the readily apparent and contribute potently to our sense of things. Forming an alliance with these paintings may require a willingness on the part of the viewer to invest some time and patience. Hopefully that investment will be rewarded.
A good bit of risk-taking may accompany a painting when it leaves the studio to assert itself in the gallery. Perhaps paintings, like most of us, tend to reward attention with attention, disclosure with disclosure, interest with interest.
ACADEMIC/STUDIO ART TRAINING
Harvard University, Ed. D., 1972
Harvard University, Ed. M., 1969
Franklin & Marshall College, A.B., 1959
Carpenter Center for the Fine Arts, Harvard, Cambridge, MA
Boston Museum School of Fine Arts, Boston, MA
Academie de la Grande Chaumiere, Paris
Art Students League, New York, NY
Philadelphia College of Art, Philadelphia, PA
SOLO EXHIBITIONS
Butters Gallery, Portland, OR
A.M. Adler Fine Arts Inc., New York, NY
Foster White Gallery, Seattle, WA
Goldtree Collection, Pasadena, CA
Harvard University, Cambridge, MA
Judy Rotenberg Gallery, Boston, MA
Kip Gallery, Indiana University, Pennsylvania, PA
Kunsthandel P.B. van Voorst van Beest, The Hague, The Netherlands
Lidtke Fine Art Gallery, Seattle, WA
Pacific University, Forest Grove, OR
Rosenfeld Gallery, Philadelphia, PA
Salem College, Winston-Salem, NC
Swetzoff Gallery, Cambridge, MA
Tufts University, Medford, MA
Villanova University, Villanova, PA
GRANTS
Carnegie Corporation Ford Foundation National Endowment for the Arts National Endowment for the Humanities National Institute of Education Smithsonian Institution Third Century Artists HONORS:,BR> The New York Art Review Who's Who in American Art Fellowship, Harvard University Scholarship, Arts Student's League
INVITATIONAL EXHIBITIONS
Art Fair Vancouver, Vancouver BC, Butters Gallery, Portland, OR
New Paintings, Butters Gallery, Portland, OR
totallybuttersoregon, Butters Gallery, Portland, OR
Pocketsize, Butters Gallery, Portland, OR
US Art: American Art of the 18th-20th Centuries, Denenberg Fine Arts Inc., San Francisco, CA
The Expressive Line: An Exhibition of Drawings, Judy Rotenberg Gallery, Boston,MA
Art of the 90's, Judy Rotenberg Gallery, Boston, MA
Demuth Foundation, Lancaster, PA, solo exhibition
Vision of Eros, Judy Rotenberg Gallery, Boston, MA
Water Cooler, Blackfish Gallery, Portland, OR
National Painting Invitational, Millersville University, Millersville, PA,
solo exhibition John F. Kennedy Center, Washington DC (Purchase Award, US Department of the interior)
William Penn Memorial Museum, Harrisburg, PA
The Reading Room: An Exhibition of Artists' Books, sponsored by the Pennsylvania Council for the Arts Re: Pages, sponsored by the New England Foundation for the Arts, Visual Arts Touring Program Words and Images: A Contemporary Survey of Artists' Books, sponsored by the Pittsburgh Center for the Arts, The Philadelphia Art Alliance, and theSo uthern Allegheniwe Museum of Art Philadelphia Books
1982, Moore College of Art, Philadelphia, PA
Affects/Effects 2: Work by the Faculty of the Philadelphia College of Art, Philadelphia, PA
Jamison Gallery, Santa Fe, NM
Institute of American Indian Arts, Santa Fe, NM
Fleisher Art Memorial, Philadelphia, PA (Croquis Prize)
POSITIONS HELD
Deputy Director, Oregon Art Institute, Portland, OR
Chief, Division of Education, Philadelphia Museum of Art
Adjunct Professor, Philadelphia
College of Art Director, Appalachian Regional Arts Program, North Carolina Arts Council, Raleigh, NC
Director, Aesthetic Aspects of Learning, Northwest Regional Educational Laboratory, Portland, OR
Director, Ford Foundation Program, Institute of American Indian Arts, Santa Fe, NM
Master Teacher, Skidmore College, Saratoga Springs, NY
RELATED ACTIVITIES
Master Teacher, watercolor painting, University of Montana, Billings, MT
Symposium Director, Watercolor Painting: The History, Technique, and
Contemporary Uses of a Medium, Portland, OR
Steering Committee Member, Pennsylvania Artist/Educator, William Penn Memorial Museum, Harrisburg, PA
Speaker, Teaching With Art v. Teaching About Art, Annual Meeting of the American Educational Research Association, New Orleans, LA
Advisor, Faculty of Education, McGill University, Montreal, Canada
Thesis Reader, John F. Kennedy University Center for Museum Studies, San Francisco, CA
Planning Group Member, Bookworks: 1982, An International Conference of Artists, Writers, and Independent Publishers, Moore College of Art, Philadelphia, PA
Chairman, Panel of Judges, National Exhibits by Blind Artists, The Metropolitan Museum of Art, New York, NY
Producer, What is a Painting?: First Interdisciplinary Symposium on Pictorial Processing, Philadelphia Museum of Art (Published as Perception and Pictorial Representation Praeger Publishers: New York) Speaker, Serving the Entire Community, Department of Cultural Resources, State of North Carolina, Winston-Salem
Supervisor, M.A.T. Candidates in Visual Studies, Harvard University, Cambridge, MA
Panelist, The Futures Conference: New Directions in American Education, Washington, DC
Field Reader, Arts and Humanities, Office of Education, US Department of Health, Education, and Welfare (HEW), Washington, DC
Speaker, Office of Education, HEW, A Seminar on the Role of the Arts in Meeting the Social and Educational Needs of the Disadvantaged, Gaithersburg, MD
SELECTED PUBLICATIONS
Understanding and Creating Art, textbook series, West Publishing Co., St. Paul, MN
Variations on a Theme: The Philadelphia Museum of Art Institute, Art Education, The Journal of the National Art Education Association, Volume 38, No. 3
The Philadelphia Museum of Art Institute as Research and Development, Museums, Adults, and the Humanities: A Guide for Educational Programming, Washington DC, American Association of Museums Art as a Reflection of Human Concerns and Other Common Denominators, Museums, Adults and the Humanities: A Guide for Educational Programming, Washington DC , American Association of Museums Children, Teenagers and Adults in Museums -- A Developmental Perspective Museum News Final Report to the Ford Foundation on Grand #720-0162 and Grand #720- 0162A
The Arts as a Vehicle for the Exploration of Personal Concerns, unpublished doctoral dissertation, Harvard University
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