Artist Registry

The White Columns Curated Artist Registry is an online platform for emerging and under-recognized artists to share images and information about their respective practices. The Registry seeks to create a context for artists who have yet to benefit from wider critical, curatorial or commercial support. To be eligible, artists cannot be affiliated with a commercial gallery in New York City.

To apply to the Registry, click here. Join our mailing list here to receive our open call announcement and other programming updates. For any further questions about the Registry, please contact us at

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Stephanie Bernheim
New York NY US
Updated: 2023-07-19 15:23:44


Stephanie Bernheim was born in New York, studied at Sarah Lawrence College (BA) and NYU (MA) with Milton Resnick and Ad Reinhardt.

Bernheim's early work was in synch with the Post-minimalist generation of Robert Smithson, Eva Hesse and Lynda Benglis. She explored the limits of common materials and simple mechanical devices – glass windows, old awnings, oilcloth, rudimentary printers and camera phones.
In 2008, her PalmPilot camera phone has been her sketchbook for "Palm Pics", a series of “drawn on” photographs that wrestle with today’s accelerated frenzy of seeing and responding to images. 

In 2018, Bernheim circled from paint to pixels to paint again - this time using Lutradur garden cloth which refers to the natural world as in her earliest process work.

She has shown in numerous venues: The Arts Club of Chicago, MoMA P.S. 1, Art Resources Transfer, Inc., The Delaware Center for Contemporary Art, The Milwaukee Art Museum, A.I.R. Gallery (she founded the A.I.R. Gallery Fellowship Program for Underrepresented and Emerging Artists), and Tricia Collins-Grand Salon. "Blue Meanie and Rose Culture" (2001) "Recent Work" (2013) and "Dislocations/New Work" (2014) were at The Andre Zarre Gallery. Her last solo exhibition "Pixels and Particulates" was at Hudson Hall, Hudson, NY (2018).

"Stephanie Bernheim: From Paint to Pixels", Published by FoliArt, London, New York, Brussels, 2017, Essay by Kara L. Rooney.