Merrill Wagner (American, born )

Merrill Wagner (American, b.1935) is an artist known for her geometric wall reliefs made of salvaged steel and linen. Originally from the Pacific Northwest, Wagner received a BA from Sarah Lawrence College in 1957. In the early 1960s, she experimented with geometric abstraction, before turning her focus to different materials, inspired by the work of Eva Hesse.

By the 1980s, Wagner was applying paint to stone, steel, and slate, focusing on the surface of the material and the geometric patterns of that material, incorporating its unique characteristics and flaws into the work.

Inspired by the negative spaces in found pieces of metal, Wegner evokes natural forms from the patterns that are created, from cooling hot sheets of steel with water to sealing irregularities with paint. Known for her interest in the romanticism of the American landscape, Wagner plays with contrasts in colors and geometric shapes to strike a balance between the representation of man and nature.

In 1976, Wagner became a member of American Abstract Artists, and served as its president from 1982 to 1985. Her work is part of the permanent collections of the Bellevue Arts Museum and the Tacoma Art Museum, Tacoma, WA; the Rose Art Museum, Brandeis University, Waltham, MA; Chase Manhattan Bank and Goldman Sachs, New York, NY; and the Microsoft Corporation, Redmond, WA.

Timeline

1935
Born in Seattle, WA
1957
BA, Sarah Lawrence College, Bronxville, NY
1959–1963
Art Students League
1983–1984
Instructor, Princeton University, Princeton, NJ
1985–1986
Instructor, summer session, University of Puget Sound, Tacoma, WA
1989
National Endowment for the Arts Visual Artists Fellowship Grant
1990
AIGA Book Show
1991
Certificate of Excellence, ,“Notes On Paint”
1992
Northwest Design Award, “Notes On Paint”, in collaboration with The Traver Company
1986–1993
Instructor, Princeton University, Princeton, NJ
1993–1998
Instructor, Parsons School of Design, New York, NY
2002
Hassam Purchase Award. American Academy of Arts & Letters

Exhibitions

2007
Larry Becker Contemporary Art, Philadelphia, PA (solo)
2007
Sundaram Tagore Galllery, New York, NY Flowers (solo)
2005
Larry Becker Contemporary Art, Philadelphia, PA (solo)
William Traver Gallery, Seattle, WA (solo)
2004
Sundaram Tagore Gallery, New York, NY (solo)
"Time and Materials", Sundaram Tagore Gallery, New York, NY (group)
“Beyond the Surface”, Sundaram Tagore Gallery, NYC
Group Exhibition, Kiyo Higashi Gallery, Los Angeles, CA
“Drift”, Valentino Pier Park, Redhook, Brooklyn, NY
“Dialogue Abstract”, Space, NYC
2003
William Traver Gallery, Seattle, WA (solo)
Kiyo Higasni Gallery, Los Angeles, CA (solo)
Theories: Abstract New York Recent Paintings; LICK Ltd. Fine Art, Long Island City, NY (group)
2002
University of Puget Sound, Kitteridge Gallery, Tacoma, WA (solo)
Stark Gallery, NYC (solo)
Art Resources Transfer, NYC (solo)
Larry Becker Contemporary Art, Philadelphia, PA (solo)
William Traver Gallery, Seattle, WA (solo)
25th Anniversary Exhibition, William Traver Gallery, Seattle, WA (group)
Invitational Exhibition of Painting & Sculpture; American Academy of Arts and Letters, NYC (group)
25 Years of Painting; Stark Gallery, NYC (group)
331 Steps, collaboration with Molissa Fenley; Joyce Theatre, NYC (group)
2001
University of Wyoming, Art Museum, Laramie, WY (solo)
William Traver Gallery, Seattle, WA (solo)
Ann Messner & Merrill Wagner, Lenore Gray Gallery, Providence, RI (group)
2000
Freedman Gallery, Albright College Center for the Arts, Reading, PA (solo)
The Nicolaysen Art Museum, Casper, WY (solo)
Punk and Bloat, Molloy College Art Gallery, Rockville Center, L.I., NY (group)
Abstract Painting, The Studio School, New York, NY (group)
“(Un)resolved”, Rosenberg and Kaufman Gallery, NYC
"Weathering, a collaboration with Molissa Fenley”, The Kitchen, NYC
“Summer Invitational”, Spencer Brownstone Gallery, NYC
1999
William Traver Gallery, Seattle, WA (solo)
“Selections”, Larry Becker Contemporary Art, Philadelphia, PA (solo)
Footfalls 1999, Site Specific Sculpture, Greenport, Long Island, NY (group)
Women and Geometric Abstraction, Pratt Institute, NY (group)
Selections, Larry Becker Contemporary Art at Cherrystone Gallery, Wellfleet, Cape Cod, MA (group)
Planes of Color, Greg Kucera Gallery, Seattle, WA (group)
Judith Murray and Merrill Wagner, Simon Gallery, Morristown, NJ (group)
1998
Copper Drawings, Garner Tullis Workshop, NYC (solo)
PS1 Institute for Art and Urban Resources, LIC, NY: ‘Green Landing Renovation’ (solo)
Merrill Wagner & Scott Reynolds, Workspace Gallery, NYC (group)
The Tip of the Iceberg, Part III, Dorfman Projects/Art Resources Transfer (group)
Substance, Tricia Collins Contemporary Art, NYC (group)
Painting with an Edge: Four Contemporary Artists, Hunterdon Museum of Art, Clinton, NJ. Kristen Accola, curator (group)
Paper +-, Dieu Donne Papermill, NYC, organized by Jackie Brody (group)
Hands on Color, Bellevue Art Museum, Bellevue, WA (group)
1997
Rose Art Museum, Brandeis University, Waltham, MA (cat./traveling)(solo)
Tacoma Art Museum, Tacoma, WA (cat./traveling) (solo)
William Traver Gallery, Seattle, WA (solo)
After the Fall, Snug Harbor Cultural Center, Staten Island, NY. Lily Wei, curator (cat.) (group)
Drawing from Life, Stark Gallery, NYC (group)
Better Color through Chemistry, The Islip Museum, Islip, NY (group)
1996
William Traver Gallery, Seattle, WA (solo)
Ben Shahn Gallery, William Paterson College, Wayne, NJ (cat./traveling)(solo)
1995
Stark Gallery, NYC (solo)
All about Edges, University of Rhode Island, Kingston, RI. J. Tolnick, curator (group)
Geometric Abstraction, C. Grimaldis Gallery, Baltimore, MD (group)
10 x 10: Artists Select a Painter of their Choice, New York Studio School, NYC (group)
The Corcoran Gallery of Art 44th Biennial Exhibition of Contemporary American Painting: Painting Outside Painting (cat.) (group)
Julian’s Show II, Littlejohn Contemporary Gallery, NY. Julian Pretto, curator. (group)
Alchemy, Proctor Art Center, Bard College, Annandale-on-Hudson, NY.Harvey Quaytman, curator (group)
1994
William Traver Gallery, Seattle, WA (solo)
Outdoor Installation: Painted Sun Trails: Recorded Cast Shadows, William Paterson College, Wayne, NJ (solo)
The Sandpiper Gallery, Tacoma WA (solo)
Fashion in Metal; Metal in Art, Bergdorf Goodman, NYC (group)
Red, White Walls, and Blue, The Woodstock Guild’s Kleinert Art Center, Woodstock, NY (group)
Tacoma Art Museum: Selections from the Northwest Collection, Seafirst Gallery, Seattle, WA (group)
Abstract Art in the Seattle Arts Commission Portable Works Collection, Seattle Center Pavilion, Seattle, WA (group)
Fallen Timber, Tacoma Art Museum, Tacoma, WA. Greg Bell, curator (group)
1993
Outdoor Painting: Runaway Red Yellow Blue, C.W. Post Campus, L.I.University,Brookville, NY (solo)
Fulcrum Gallery, NY (solo)
Larry Becker Contemporary Art, Philadelphia, PA(solo)
Impermanence. Andy Goldsworthy and Merrill Wagner, Aldrich Museum, Ridgefield, CT (group)
Silent Echoes, Tennisport Arts, L.I.C. Organized by Chris Haub. (group)
Artists Select, Artists’ Space, NYC (group)
Artists of the Aughts, Fulcrum Gallery, NYC
1992
Stark Gallery, NYC (solo)
Breakdown!, Rose Art Museum, Brandeis University, Waltham, MA (cat.) (group)
Inaugural Show: Tennisport Arts, Long Island City; organized by Chris Haub
1991
Lenore Gray Gallery, Providence, RI (solo)
Traver Gallery, Seattle, WA (solo)
Gemeentmuseum, The Hague, Holland (solo)
Galerie L’A, Liege, Belgium (solo)
1990
Larry Becker Contemporary Art, Philadelphia, PA (solo)
1989
Julian Pretto Gallery, NYC (solo)
Fawbush Gallery, NYC (solo)
Traver Sutton Gallery, Seattle, WA (solo)
1988
Julian Pretto Gallery, NYC (solo)
1987
Traver Sutton Gallery, Seattle, WA (solo)
1986
John Gibson Gallery, NYC (solo)
1985
The Costa Rican-North American Cultural Center, San Jose (solo)
Harris Samuel & Co., Miami, FL (solo)
The Sandpaper Gallery, Tacoma, WA (solo)
1984
Tacoma Art Museum, Tacoma, WA (solo)
Ben Shahn Gallery, William Paterson College, Wayne, NJ (solo)
1982
Watson/de Nagy Gallery, Houston, TX (solo)
Harm Bouckaert Gallery, NYC (solo)
Charles Wright Academy, Tacoma, WA
Annie Wright School, Tacoma, WA
1981
David Bellman Gallery, Toronto, Ontario (solo)
Foster/White Gallery, Seattle, WA (solo)
Hal Bromm Gallery, NYC
1980
Outdoor Installation, 26 Bond Street, NYC (solo)
Tacoma Actor’s Guild, Tacoma, WA (solo)
1979
The Clocktower, Institute for Art and Urban Resources, Long Island City, NY (solo)
Hal Bromm Gallery, NYC (solo)
1978
PS1 Institute for Art and Urban Resources, LIC, NY (solo)
Droll/Kolbert Gallery, NYC (solo)
Julian Pretto Gallery, NYC (solo)
1977
55 Mercer Gallery, NYC (solo)
Truman Gallery, NYC (solo)
1976
55 Mercer Gallery, NYC (solo)
55 Mercer Gallery, NYC (solo)
1974
55 Mercer Gallery, NYC (solo)
1971
55 Mercer Gallery, NYC (solo)
55 Mercer Gallery, NYC (solo)
1970
55 Mercer Gallery, NYC (solo)
55 Mercer Gallery, NYC

Literature

2003
LA Weekly, “Merrill Wagner”, June
2002
Art In America, “Merrill Wagner at Stark”, October
The Stranger, “Visual Art: Visual Silence”, April
The New York Times, “Dance Review; A Solo Influence in Group Works”, January
2001
Seattle Post Intelligencer, “What’s on Display”, February
Art on Paper, “Artist’s Book Beat”, February
Seattlecitysearch.com, “New Paintings on Steel”, January
2000
Oil and Water, Self published, Hong Kong and Seattle, WA
New York Times, “Punk and Bloat”, December
Art in America, “Merrill Wagner at Larry Becker Contemporary Art”, April
New York Times, “With Movements Stepping to Flute, Cello, and Silence”, February
Casper Star Tribune, “Wagner Steels the Show”, February
The Village Voice, “Unchartered Terrain”, February
1999
Sculpture Magazine
The New York Times, “Abstract Introspection in 2 Distinct Styles”, October
The Philadelphia Enquirer, “Rustoleum Never Sleeps”, November
1998
Review Magazine, “Scott Reynolds and Merrill Wagner”, April
1996
Painted Sun Trails, Self Published, Hong Kong and Seattle, WA
The Sun, “Too Much ‘Different’ Makes Show Uneven”, January
Art in America, “Merrill Wagner at Stark”, April
The Seattle Post Intelligencer, “What’s Happening”, May
The New York Times “Three Painters Add a Human Touch to Abstraction”, September
Newark Sunday Star Ledger, “Artistic Trio’s Exhibition Targets the Natures of Time and Space”.
1995
Time and Materials, Self Published, Hong Kong and Seattle, WA
The Providence Journal Bulletin, “Geometric Art Crosses Line of Convention”, February
The News Tribune, “Art Walk Includes Look at Recent Museum Acquisitions”, February
Time and Materials, Print Collectors’ Newsletter, “Artists’ Book Beat”, May
The Sun, “Grimaldis Abstract Show in Beautiful Shape”, May
1994
The New York Times, “Artists’ Select, Part 1”, January
The Seattle Times, “Wagner, Flavin Make Most out of Minimal Art,” March
The Seattle Post Intelligence, “Painter Puts Her Signature on Lyrical Abstraction”, March
1993
Modernism and Beyond: Women Artists of the Pacific Northwest
1992
Artstudio, “Looking at Kelly’s Paintings Now”, Spring
Arte Factum. “Merrill Wagner: Galerie l’A, Liege”,. February
Art in America, “Merrill Wagner at Stark”, October
1991
Notes on Paint, Print Collector’s Newsletter, “Artists’ Book Beat”, January
NRC Handelsblad, July
Art Press, “Merrill Wagner, Gemeentemuseum”, November
1990
Notes on Paint, Self published with funds from NEA Artists' Fellowship Grant, Seattle, WA
Philadelphia City Paper, “Cool Slate and Weathered Wood”, March
Umbrella, “Notes on Paint”, December
1989
The New York Times, April
The Arts – Newsletter of the Kings County Arts Commission, “Decade of Abstraction: Expressionism” Arts Magazine, September
Artforum, “Merrill Wagner: Fawbush Gallery”, OctoberThe Seattle Times, “Artists Speak Vibrant Visual Language”, November
1988
The New York Times, “At The Ben Shann, Surrealism’s Legacy”, February
Idea, “Merrill Wagner, Swimmer in the Stream of Time”, September
The Seattle Weekly, “Banned in Puyallup”, November
1987
The Seattle Post Intelligencer, “Lenore Gray Gallery Shows Abstracts by New York Artists”, November
Antiques and the Arts Weekly, December
The Seattle Weekly, “Time Travelers”, November
1986
Arts Magazine, “Merrill Wagner”, May
The New York Times, “The Landscape Maintains its Hold on American Artists”, March
Art In America, “Merrill Wagner at John Gibson”, September
1985
The Trentonian, “Actual Exhibit at Squibb”, June
Star-Ledger “Art”, June
Chicago Tribune, “Color Field Painting Returns in an Impressive Exhibition”, January
Art News, “Abstract Painting, John Gibson”, September
The New York Times, “Treating the Canvas as an Object in Its Own Right”, March
The Chicago Sun Times, January
The Tico Times, “The Arts”, November
Newsday, “Abstract Power”, February
The New York Times, “At Squibb: A Display of How Little Change There Really Is”, July
1984
Philadelphia Inquirer, “Is Abstract Painting Regaining Its Popularity?” September
The Tacoma New Tribune, January
1983
A Calender, Self Published, Seattle, WA
The New York Times, July
Arts Magazine, March
1982
The Tacoma News Tribune, August
Venture Magazine, “Picking Up the Pieces in a Tight Art Market”, December
The New York Times, “Group Show Celebrates Pollack Legacy in Art”, September
The Tacoma News Tribune, September
Arts Magazine, December
1981
Art in America, “Getting On With Painting”, April
The New York Times, February
Art in America, “Merrill Wagner at Hal Bromm”, May
The Star Ledger, January
La Peinture Americanine
1979
The New York Times, “Painting”, December
The Village Voice, “Art”,. December
The New York Times, “Art”, December
Soho Weekly News, “Installations”, December