2019 individual support grant recipients
The Adolph and Esther Gottlieb Foundation has been awarding grants to mature, creative visual artists since 1976. These awards are intended to recognize the talents of many individuals around the world who have dedicated long careers to making art and hopes to alleviate some of the financial burden on those artists so they can devote more of their time and energies to their creative endeavors.
Each one of the 12 artists whose names and work appear below was awarded a cash grant of $25,000 this year. These individuals were selected from a group of 423 applications by a panel of 4 advisors who are themselves professionals and who have no affiliation with the Gottlieb Foundation.
Complete information about our grant programs is available here. Applications for the next cycle of this program are available through a link on this website beginning in September 2019.
Examples of the 2019 grantees’ art will be posted on this website shortly and each artist will be featured in one of our newsletters in the coming year. You may sign up for our newsletter here.
The recipients of the 2019 Adolph and Esther Gottlieb Individual Support Grant are:
Urban Panorama #4
2-block reduction woodcut
16" x 20"
Cynthia Back was born in St. Louis, Missouri and currently lives outside Philadelphia, Pennsylvania. She earned a BFA at Minneapolis College of Art and Design and a post-graduate certificate at St. Martin’s School of Art in London, England. Cynthia has exhibited widely both in the U.S. and internationally. She is the recipient of numerous awards and honors including grants from the Ludwig Vogelstein Foundation, Puffin Foundation, Pollock-Krasner Foundation; residencies and fellowships to The Studios at Key West; The Artists Centre Dale, Norway; The Women’s Studio Workshop, Blue Mountain Center, Acadia National Park; The Ballinglen Arts Foundation Ltd., Ireland, Fundacion Valparaiso, Spain, Helene Wurlitzer Foundation, The Cill Rialaig Project, Ireland, and The MacDowell Colony. Her work is included in private and corporate collections including The Library of Congress, the New York Public Library, the Newark Public Library, the Free Library of Philadelphia, The New-York Historical Society, and The Memorial Sloan-Kettering Cancer Center.
Cynthia’s artwork celebrates landscape, using the media of prints, painting, and collage. She is immersed in nature: from a window, walking in it, standing and listening to its sounds, watching shadows and colors dance across water and foliage. Her sense of the natural world is life-affirming, healing, immersive, and contemplative. Recently she has been concentrating on reduction relief prints, endlessly fascinated by the surprises that come with each layering of ink.
Oil on Canvas
10inches x 10inches
Helen Booth was born in England, United Kingdom in 1967 and currently lives and works in south west Wales. She studied at Wimbledon School of Art, graduating in Fine Art Painting in 1989. “I strive to capture Beauty; working with oil allows me to respond intuitively to the marks that I make. I often use a very restricted palette, relying on slight differences in tone and paint application to create depth and layers in my work. I am fascinated by the fragility of the human condition. The notion of Memory and the way it changes over time and how it fades and resurfaces is key. My ideas are firmly rooted in this concept, evidenced in the layering and reworking of my paintings. My intuitive response and the application and destruction of the surface mimics the concept of memory”.
She exhibits frequently and her work is held in a number of private collections in the UK, New York, Boston, South Africa, Ireland and France.
THE TRANSFERENCE OF DISTANT INVENTIONS
Acrylic on earthenware
21” x 13” x 10½”
Danville Chadbourne (b.1949 Bryan, Texas) received a BFA in 1971 from Sam Houston State University and an MFA in 1973 from Texas Tech University. After teaching studio art and art history at the college level for 17 years, Chadbourne quit teaching in 1989 to devote himself full-time to his art. He has exhibited extensively at both state and national levels, including more than 100 one-person exhibitions. His work is included in numerous private and public collections, and in publications such as Sculpture Magazine, Ceramics Monthly, and The Art of Found Objects: Interviews with Texas Artists (Texas A&M Univ. Press, 2016). He has participated in international residencies and exhibitions in India and Germany. Chadbourne has lived in San Antonio, Texas since 1979.
Primarily a sculptor in clay and wood, Chadbourne works in a range of materials, scale, and in both two- and three-dimensional formats. Over the years he has created a complex body of work unified by a primal iconography. “My work is concerned with the evocation of spiritual or primal states. I use relatively simple sculptural images, sometimes static, like monuments, other times active, dynamic forms that suggest ritual usage. I use materials and processes that imply cultural attitudes that are harmonious with nature and the passage of time.” The overall effect is that of discovering an artifact that is evidently outside of our culture at one level, but reflects a kind of universal human consciousness, and the perception of our own personal existence. This anthropological quality emerges from a very personal and consistent formal, aesthetic and philosophical sense.
ceramic, steel, bone, copper
72 x 60 x 20”
Celia Eberle grew up in the Piney Woods of deep East Texas. She received her BFA with Honors from Stephen F. Austin State University in 1974, and dates her professional career from her inclusion in Women of the Big State, juried by Lisa Phillips in 1986. Eberle began developing her theories regarding the interrelationship of behavior patterns, myth, and the persistence of images while a member of the historic co-op 500X Gallery from 1987-1992. She has had seventeen solo exhibits, and her work has been included in shows in Buffalo, New York; Portland, Oregon; and Chicago. She has garnered awards that include the Joan Mitchell Foundation Painters and Sculptors Grant, the Nasher Sculpture Center Microgrant, the Dozier Travel Grant from the Dallas Museum of Art, and an M-AAA/NEA Fellowship. In 2014, she held a one person exhibit at the Art Museum of Southeast Texas, Beaumont. In 2017 she was included in Commanding Space: Women Sculptors of Texas at the Amon Carter Museum of Art, Fort Worth, and To See is to Have at the McNay Art Museum, San Antonio. Public collections include the Dallas Museum of Art (Texas Artist Fund), the J. Wayne Stark Gallery at Texas A&M, and Longview Museum of Fine Arts (Purchase Award.) She believes that, in spite of our love of technology and progress, the basic character of the human experience remains essentially unchanged.
Plexiglas, birch, beeswax, pigment, tape
8 1/2 x 27 3/4 x 3 3/4”
Heather Hutchison, born (1964) in Philomath, OR, was raised between the high desert of Bisbee, AZ and the atmospheric fog of the San Francisco Bay Area. She currently works and resides in upstate New York. Hutchison is self taught, and has developed and innovated methods and mediums including hand- building and bending Plexiglas forms to facilitate her artistic process. Notably Hutchison's works incorporate ambient light as a primary material. She shares similar concerns with the Light and Space artists and has spent decades observing and contemplating nature. Hutchison's works capture the essence of the phenomena of light in natural environments. Each piece is a direct inquiry into the perceptual experience of color, light, and shadow particular to a time of day and place. Hutchison emphasizes the horizontal world that surrounds us and finds solace in the ever-present rhythms and syncopations of nature.
Hutchison has been included in numerous museum exhibitions including the Brooklyn Museum, Montclair Art Museum, the Smithsonian, the Knoxville Museum of Art as well as being included in the 44th Biennial Exhibition of American Painting at the Corcoran Gallery of Art, Washington, DC. She has exhibited in dozens of solo exhibitions over three decades. Several public collections hold her work including the Brooklyn Museum, the Hammer Museum, and the Smithsonian Institution in Washington, D.C. Hutchison has received grants from the Gottlieb Foundation, the Pollock-Krasner Foundation, and NYFA.
Acrylic on panel
Barbara Kemp Cowlin has spent most of her adult life in the Southwestern United States. She lives and works in rural Arizona.
Barbara’s work has been exhibited in solo, two-person and group exhibitions throughout the United States. Her work has been included in the City of Phoenix Arts Collection in Phoenix, Arizona; the University of Arizona Special Collections in Tucson, Arizona; Providence Medical Center in Everett, Washington; Kenyon College in Gambier, Ohio; First Bancorp Headquarters in Troy, North Carolina; Baylor University Medical Center in Houston, Texas; Edison & Sprinkles Architecture & Design in Vancouver, British Columbia; and Grafix Company in Maple Heights, Ohio.
Barbara received a BFA in Printmaking and MA in Community College Education with a focus on printmaking from Northern Arizona University. She completed additional graduate-level work in Bookmaking and Letterpress Printing at Arizona State University and is a Certified Golden Artist Educator.
“My recent series of abstract acrylic paintings are inspired by architectural details reduced to essential shapes. These works emphasize ambiguous perspective, shifting pattern, and simultaneous contrast in colors. The relationship between abstraction and representation creates tension between the actual and pictorial spaces for the viewer.
Working on several paintings simultaneously in my studio, I relish happy accidents and the ways in which problem solving enhances the unexpected nature of each piece. Loss of control is where the magic can happen.”
Oil on canvas
16 x 20"
Born in 1973 in the north east of England. George Lowes is a self taught artist. Working full time from his home studio in Yorkshire. His work is held in private collections around the world. Working mainly in oils his work is largely abstract with reference to the landscape which is a major influence on his work. "I taught myself to draw using charcoal and graphite. Drawing was my first love but oil paint is my medium of choice. It allows me to play with colour and texture and provides the freedom to explore my feelings on the canvas. The act of painting imbues my life with meaning and purpose. It is my passion and the most sincere expression of my inner world." "I want my viewer to be intrigued by the references to nature, by the texture and play of light across the surface of the canvas. I want to challenge you, to look and look again, take the eye past the obvious to spark and inspire your imagination. I believe, art is at its best when the viewer is forced to stop and scrutinize, filter it through the eyes of their own experiences. Through my creativity, I invite you to do so. I want to turn the mundane into magic, the ordinary into the extraordinary. Ultimately to find new ways for my art to revolve around the question what you, the viewer, will see."
aluminum sheet, molding paste and paint
23” x 20” x 8”
Scott Reeds, born in Sioux City, Iowa, grew up mostly in California. Reeds is a painter, printmaker and sculptor working in Manhattan and Brooklyn for over 30 years. His education includes a BFA from UC Berkeley in the Honors Program in Sculpture and an MFA from the Yale School of Art in Printmaking. In the past Scott received fellowships from the National Endowment for the Arts and the New York Foundation for the Arts in printmaking. More recently he was a 2018 Artist in Residence at the Sam and Adele Golden Foundation. His work has been included in several solo exhibitions in Los Angeles and New York City and numerous group shows in the U.S. and abroad. Reeds’s work is part of many public and private collections including the Brooklyn Museum the Library of Congress, Yale University, and the New York Public Library.
Scott currently resides in Brooklyn and is teaching at Felician University in Rutherford, NJ and Trinity College in Hartford, Ct. His curatorial work includes venues at Hampshire College, Felician University, Melville House, and the East 4th Street Community Garden in Brooklyn.
Wisteria, vines and other natural elements, river glass, rope
12’ x 60’ around
A public and gallery artist, educator, therapeutic facilitator and curator, Susan Togut works from a deeply personal perspective and a community-based, worldly consciousness. For thirty-five years she’s balanced her artistic evolution while facilitating individual and communal revitalization in community, educational and healthcare settings with intergenerational people of all backgrounds, abilities and disabilities/illnesses. She earned a BFA from Washington University, St Louis; an MFA from Pratt Insititute, Brooklyn, NY.
Susan’s public and gallery art focuses on cycles of life, living with uncertainty, death, metamorphosis, regeneration and ascension. She creates dimensional wallpieces, sculptures, installations and contemplative public places, interweaving natural and ephemeral materials, including simulated stained glass. Her art is seen in solo and group exhibitions, sculpture gardens, galleries, museums, hospitals and private collections. Additionally, she orchestrates collaborative, community based public art, is writing a book and lecturing about community and individual renewal through the arts. Numerous grants include Pollack Krasner, Ford Foundation and NYFA Fellowships.
Since 1996 Susan created Lifeforce environments along regional waterways and related gallery installations, exemplified at the Dorsky Museum, New Paltz, 2017. For twenty years she created contemplative places, leading to a long term one evolving on her property in Upstate, NY. In 2019 she’s also creating contemplative environments for Psych Out, celebrating the Woodstock Festival’s 50th anniversary and a floating ecological environment for What’s Next? at Unison; New Paltz, NY. In 2019 her gallery works are featured in Upstate Medical Cancer Center, Syracuse, NY; the Kleinart James Gallery and WAAM Museum in Woodstock, NY.
Wall Composition with Shelf II
Wood, Paper, Dry Pigment, Clay, Found Elements
15 x 12 x 3”
Joan Weber’s drawings and sculpture have been in many group shows in the New York City area, including exhibitions at The Drawing Center, the Sculpture Center, and P.S. 1. A solo exhibition of her work took place in 2002 at A.I.R. Gallery II. In 2013, her work was exhibited at the Diana Center at Barnard College and in 2018, she created an installation piece at the Hampden Gallery, University of Massachusetts Amherst.
She was awarded an Artists Fellowship by the New York Foundation for the Arts as well as residencies at the Millay Colony, Austerlitz, New York, and the Virginia Center for the Creative Arts, Amherst, Virginia. Weber’s art is included in Lines of Vision: Drawings by Contemporary Women, Hudson Hills Press, New York, and is represented in the collection of the Brooklyn Museum and many private collections.
Her recent art includes small sculpture, works on paper and wood reliefs. They are often placed in compositions together creating a dynamic relationship between the 2 and 3 dimensional pieces. Her materials are terracotta, dry pigment, wood, wire, paper and found elements. Working with this variety of materials, she closely follows an intuitive impulse. Her art is direct and technically simple, offering a respite from our increasingly high tech and troubled world.
Joan Weber was born in Miami, Florida in 1944. She studied art at Vassar College and received her MFA in Sculpture at Columbia University in 1975. She lives and works in New York City.
12” x 12” x 12
Susan York is primarily known for reductive work in graphite, her primary medium since 2004. Her cast and drawn forms are often installed to engage with the architecture of a particular space, combining precise geometry with unexpected elements, such as asymmetry and tension.
Her site-sensitive installations engage the existing architecture of a chosen site: a room, a wall, or the borders within a sheet of paper. York’s studies in graphite are a homage to subtlety, with irregularities interrupting otherwise austere geometric forms that produce results oftentimes more felt than seen. In the exhibition catalogue, Susan York: 3 Columns, Lucy Lippard wrote, “This nuanced fusion of the intellect and sensual experience is precisely what York achieves. In doing so, she takes Minimalism past the post, and into a realm of her own”.
York’s influences include her friendship with mentor Agnes Martin, the De Stijl and Constructivist movements and Buddhist practice. The work is intended to provide an immersive experience, allowing the object to de-materialize into the space that surrounds it, and thereby challenging unconscious perceptions of form and space.
Susan York earned her Master of Fine Arts degree from Cranbrook Academy of Art in Bloomfield Hills, MI. Her work is placed in numerous collections in the US and abroad, including: Brooklyn Museum, NY; Bronx Museum of Arts, NY; Lannan Foundation, TX and NM; Maxine & Stuart Frankel Foundation for Art, MI; Morgan Library & Museum, NY; Museum für Konkrete Kunst, Germany; The Panza Collection, Switzerland and Wynn Kramarsky, NY.