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.
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RESUME
ELISSA FREEMON GREISZ
87 Martin Road
Port Townsend, WA 98368
https://elissagreiszstudio.tumblr.com
Education:
1959 University of California, Santa Barbara
1964 University of California, Los Angeles: Bachelor of Arts, awarded Highest Honors
Solo Exhibitions:
“Material Witness”, Peninsula College PUB Gallery, Port Angeles, WA, February – April 2019
Commencement Art Gallery, Tacoma, WA, December 1994 - January 1995
Kittredge Gallery, University of Puget Sound, Tacoma, WA, December 1992 - January 1993
Inkfish Gallery, Denver, CO, October 1991
Inkfish Gallery, Denver, CO, May 1989
Traver/Sutton Gallery, Seattle, WA, January 1988
Virginia Inn, Seattle, WA, August 1987
Nicolaysen Art Museum, Casper, WY, June 1985
Inkfish Gallery, Denver, CO, April 1982
University of Wyoming, Laramie, WY, September 1979
Orlando Gallery, Los Angeles, CA, April 1977
Downey Museum of Art, Downey, CA, January 1977
Orlando Gallery, Los Angeles, CA, January 1976
Selected Group Exhibitions:
“Museum of Unnatural History”, Shoreline City Hall, Shoreline, WA 2019 Curator Anne Grgich
“Big,” juror Michael Paul Miller, Northwind Arts Center, Port Townsend, WA 2018
“Archaeologies of the Extraordinary Everyday III,” Curator Anne Grgich, Black Lab Gallery, Everett, WA, July-August 2016
“Small Expressions 11,” juror Jake Seniuk, Northwind Arts Center, Port Townsend, WA, December 2012, awarded Best of Show and People’s Choice
“Dream Sequence,” Curator Anna Nassat, Artisans on Taylor, Port Townsend, WA, April-May 2012
“ Strait Art,” jurors, Jake Seniuk, Michael Paul Miller, Port Angeles Fine Art Center, Peninsula College, March-April 2012
“Chain Letter,” Shoshana Wayne Gallery, Santa Monica, CA, July-August 2011
“The Biology, Chemistry, Physics Invitational Show,” Curator Otto Youngers, Sea-Tac International Airport, WA September 2005- October 2006
“Biology 202-203,” Curator Otto Youngers, Sea-Tac International Airport, WA, November 2003- March 2004
“Connect the Dots,” invitational Tacoma Arts Commission installation,Woolworth Windows, Tacoma, WA, July-September 2002
“WOMEN beyond borders,” UCLA Fowler Museum of Cultural Art, Westwood, CA 2002
“South Sounds,” juror Rhonda Howard, Curator, Henry Gallery; Commencement Art Gallery, Tacoma, WA; July-August 2000
“Phresh,” juror Trevor Fairbrother, curator, Seattle Art Museum; video installation collaboration with Jennifer Greisz West, Bumbershoot, Seattle, September 1999, awarded Best of Show
“More,” Curators Christian French and Leslie Clague, video installation with Jennifer Greisz West, Bumbershoot, Seattle, September 1999
“Synapse,” Curators Jennifer West and Brian Alves, ART space, Seattle, September 1999
“Residual Traces/Resident Shadows,” SOIL, Seattle, WA May, 1998
“Memory and Mourning,” video installation collaboration with Jennifer Greisz West, Washington State History Museum, Tacoma, WA April-June, 1997
“L. A. Slide,” Curator Elena Erenberg, The Living Room, Santa Monica, CA, February-March 1997
“Seattle Art Museum Rental Gallery, October-November, 1996
“1996 Northwest Annual,” Center on Contemporary Art(COCA), Seattle, March-April 1996
“Salon Show,” William Traver Gallery, Seattle, March 1991
“Art Works for Aids,” Seattle Center Pavilion, Jurors: Patterson Sims, Chris Bruce, Margery Aronson, November 1991
“Recent Acquisitions,” Denver Art Museum, May-August 1989
“1989 Northwest Annual,” Center on Contemporary Art (COCA), Seattle, jurors Nancy Spero and Leon Golub, March 1-May 6, 1989
“Celebration,” Bellevue Art Museum, December 1988
“Light,” curator Margery Aronson, Norton Building, Seattle, July-September 1988
“Art with Textures,” Norton Building, Seattle, June 1988
“Mythmakers,” Downtown Gallery, Tacoma, August 1984
“The Denver/Boulder Show,” Galleries of the Claremont Colleges, California, Jan-Feb 1984
Colorado Biennial 1983 - jurors Lucas Samaras, Richard Koshalek and Martin Z. Margulies, Denver Art Museum, December 10, 1983 - February 5, 1984
“Four Installations,” University of Denver, September 1981
All Colorado Invitational, Denver Art Museum, May 1981
University of Redlands, California, October 1976
“Bicentennial,” Orlando Gallery, Los Angeles, July 1976
Re: Vision Gallery, Santa Monica CA, April - June 1976
Northwest Printmakers 36th International Exhibition
Seattle Art Museum, March 1965
Portland Art Museum, April 1965
Museum and Public Collections:
UCLA Medical Center, Westwood, California
Denver Art Museum, Denver, Colorado
The Evergreen State College, Olympia, Washington
Mariner High School, Mulkiteo, Washington
Burlington-Edison High School, Burlington, Washington
McClure Elementary, Yakima, Washington
Terrace Park School, Edmonds, Washington
Emerson Elementary, Pasco, Washington
Kaiser Permanente, Regional Headquarters, Denver, Colorado
Arnold and Porter, Law Offices, Denver, Colorado
Great-West Life Assurance Co., Denver, Colorado
Rocky Mountain Energy (Union Pacific Corporation), Broomfield, Colorado
Colorado Housing Finance Authority, Denver, Colorado
Amoco Production Company, Denver, Colorado
Yale & Seffinger, Denver, Colorado
Selected Bibliography:
Staff Writer, ““Material Witness” on display at Peninsula College”, March 1, 2019
Rose, Cynthia, “More,” review: Bumbershoot, The Seattle Times, September 2, 1999, p. 28
Graves, Jen, “More,” Bumbershoot, The News Tribune, September 4, 1999, p. A8
Smith, Cary, “Memory and Mourning,:” review: Washington State History Museum, The News Tribune, April 17, 1997, pgs. 1,3, color illus.
Glowen, Ron, “A Cosmos of Nature’s Forms,” review: Kittredge Gallery, ARTWEEK, January 21, 1993, Vol. 24, No. 2
Dickinson, Carol, review: Inkfish Gallery, Rocky Mountain News, October 25, 1991, p. 8, illus.
“Art Works for Aids,” Exhibition catalogue, 1990, p. 80, color illus.
Clegg, Nancy, “Batteries Not Included,” review: Inkfish Gallery, Westword, May 24, 1989, p. 32, illus.
Galleries of the Claremont Colleges. Exhibition catalogue for “The Denver/Boulder Show,” 1984, illus. Includes text by Melinda Lorenz; statement by Elissa Greisz; article on Elissa Greisz by Melinda Lorenz.
Zoeckler, Lyndy Kay, “The Colorado Influence,” review “The Denver/Boulder Show”, ARTWEEK, February 11, 1984, Vol. 15, No. 6
Muchnic Suzanne, “Colorado Artists at Claremont: Expansive,” review “The Denver/Boulder Show,” Los Angeles Times, Calendar, February 9, 1984, pp. 1-2
Denver Art Museum. Exhibition catalogue for Colorado Biennial, 1983, pp. 20-21, illus. Includes foreword by Dianne Vanderlip; introduction by Deborah Jordy: statement by Elissa Greisz
Clurman, Irene, “Museum Biennial puts Bite in Art,” review: Colorado Biennial, 1983, Rocky Mountain News, December 9, 1983. p. 7, illus.
Hazelhurst, John, “Strange and Marvelous Things,” review: Colorado Biennial, 1983, Artlines, January 1984, p.14
Lyman, Lindy, “Elissa Freemon Greisz,” review: Inkfish Gallery, ARTSPACE, Summer 1982, p. 83, illus.
Clurman, Irene, “Quiet Artist Shines in Weavings,” review: Inkfish Gallery, Rocky Mountain News, April 13, 1982, p. 49, illus.
Wilson, William, review: Orlando Gallery, Los Angeles Times, April 8, 1977, p. 8
KCOP-TV, Los Angeles, “The Morning Show,” Linda Nochlin (historical), Karen Wolff, Elissa Greisz, Jeanne Manseur (contemporary visual artists)
Brennan, Barry, review: Re: Vision Gallery, Santa Monica, Evening Outlook, May 8, 1976, p. 6
Hazlitt, Gordon, review: Orlando Gallery, ARTNEWS, vol. 75, no. 3, March 1976, p. 87
Wilson, William, review: Orlando Gallery, Los Angeles Times, January 9, 1976, p. 8
Chase, June, review: Re: Vision Gallery, ARTWEEK, August 23, 1975