Dedication and Purpose:
65 Artists Over 65

Originally posted January 1, 2020

All art (c) the individual artists

Lisa Hoke

Zip it, 2018; packaging, felt, wire, fabric, glue; 156 x 84 x 10 inches

Detail below

Forget that business about 65 being the new 50. It’s not (some recalcitrant body part will surely confirm that), but neither is it the 65 of our parents, who were constrained by the expectations of age, gender, culture, and ethnicity. As Boomers we broadened those parameters, and as artists we revel in the range of possibilities. We have no intention of retiring. We may have left the day job, but our studio life is as active as it has always been, perhaps more so. The fire still burns, notes Len Bellinger, "for those of us who have been at this for 40+ years and can still stand in front of a canvas with the same enthusiasm and awe." 

Nancy Azara

Jacket from the Silk Road, carved and painted wood with aluminum leaf, 120 x 108 x 18 inches

Suzan Shutan

Drift, 2019, tar paper and hand-dyed paper, 214 x 144 inches x 1 inch; installation at Flinn Gallery, Greenwich, Connecticut

Elizabeth Riley

Structure from Light, 2019, video stills inkjet-printed on paper, 105 x 136 x 9 inches

Leslie Wayne

Planetary, 2019, oil and acrylic on wood, 94 x 41.75 x 5 inches

Detail below

Jeffrey Bishop

Quiver #18, 2019, acrylic and collage on canvas, 48 x 42 inches

Brenda Goodman

Safe Space, 2019, oil on panel, 50 x 72 inches

Gabriele Evertz

Zig Zag Series, From Violet to Yellow Over Red, 2019, acrylic on canvas, 24 x 24 inches

Annell Livingston

P&D #104, 2019, flashe and colored pencil on paper, 22 x 22 inches

Don Voisine

Blues for Popova, 2018, oil on panel, 26 x 24 inches

Louise P. Sloane

Venus Rising, 2019, acrylic paint and pastes on linen, 50 x 44 inches

Steven Alexander

Nomad I, 2019, oil and acrylic on linen, 72 x 60 inches

Lynda Ray

Pulse Field, 2019, encaustic on panel, 30 x 60 inches

Susan Paladino

Rebound, 2019, encaustic on panel, 20 x 20 inches

Brooke Nixon

November Blue, 2019, acrylic on panel, 12 x 12 inches

Nancy Natale

Hit Parade, 2019, mixed media on panel, 36 x 36 inches

Gary Golkin

Study Blue, 2019, colored pencil on paper, 13 x 15 inches

Diana Gonzalez Gandolfi

Only a Shadow Remained, 2019, monotype with graphite and wax on panel, 14 x 14 inches

Shelley Gilchrist

Artist Statement, 2019, acrylic on PVC, 16 x 12 inches

William Conger

Victor, 2019, oil on linen, 40 x 30 inches

Richard Bottwin

Lift, 2019; ash and maple veneers on birch plywood, acrylic paint; 26 x 9 x 14 inches

Hugo Rizzoli

High Chair, 2019, assembled wood, 20.5 x 14 x 2.5 inches

Darla Bjork

Intersections, 2019, oil stick on panel, 36 x 24 inches

Lia Rothstein

Lightwave, 2018, pigment prints on fabric with encaustic, 15 x 22 x 5 inches

Joanne Mattera

Installation view of Silk Road paintings at ODETTA, New York City, 2019, 

each encaustic on panel, 18 x 18 inches

Joan Stuart Ross

Installation view of solo at Ryan James Fine Arts, Seattle; left: Pyramid Steppes, 25 x 59; right: Square Not a Square, 35 x 35 inches; both 2019, encaustic on panel

Joan Mellon

Close in Value, 2018; wood, clay, paint; 4.75 x 6.25 x 3.25 inches

Don Porcaro

All of Us, 2017-19; limestone, granite, marble, sandstone; 94 x 3 x 42 inches

Commissioned by NJ Transit for Jersey Avenue Light Rail station, Jersey City

Jeff Juhlin

Ticaboo, 2019, encaustic and mixed media, 30 x 50 inches

Timothy McDowell

Bygone, 2019, oil on panel, 31 x 34 inches

Ian MacLeod

Untitled, mixed media on styrofoam, 14 x 14 inches

Rosaire Appel

Blackbook, 2019, ink on polyester film, 12 x 18 inches

Sas Colby

Tantra III, 2018,acrylic on canvas, 8 x 16 inches

Susan Schwalb

Poetry of the Square, 2017, metalpoint (silver, copper, gold) on black-gessoed panel, 24 x 24 x 2 inches

Howard Hersh

Migration, 2019, acrylic on birch with basswood framework, 30 x 30 x 8 inches

Steven Baris

Chunk Chain A5, 2019, oil on Mylar, 14 x 14 inches

Lynda Fay Braun

Delicate Crossroad, 2019; image transfer, pastel, encaustic on panel, 12 x 12 inches

Connie Saddlemire

Prayer, 2019, assembled solarplate monoprint, 21 x 21 inches

Barry Katz

Untitled, 2019, encaustic over plaster, 20 x 15 x 5 inches

Yvette Cohen

Rock Stack Series II #4, 2019; acrylic, graphite, and wooden dowels on shaped canvas; 26.5 x 29 inches

Rebecca Crowell

Overlays, 2019, oil and cold wax on panel, 48 x 36 inches

Emily Berger

Fugue, 2019, oil on panel, 40 x 30 inches

Len Bellinger

ttm.marga,  2016-2019; oil, acrylic, staples, glue, and fabric on canvas mounted on wood; 81 x 63 inches

Barbara Laube

Window II, 2019, oil and mixed media on panel, 24 x 18 inches

JoAnne Lobotsky

First Thaw, 2019, acrylic and mixed media on panel, 16 x 12

Tamar Zinn

Behind Closed Eyes 20, 2019, oil on panel, 42 x 28 inches

Robin Feld

Yellow Triangles, 2019, oil on canvas, 36 x 48 inches

Claire Seidl

Far Flung, 2019, oil on linen, 38 x 54 inches

Jodie Manasevit

G, 2018, oil on canvas, 14 x 7 inches

Mary Judge

Garden of Eden, 2019, oil on linen, 48 x 36 inches

Stephanie Brody-Lederman

Dancing Girl with Big Crown, 2019; acrylic, oil, graphite on Arches; 21 x 10 inches

Deborah Dancy

Untitled, 2019, acrylic and black stone on paper, 50 x 38 inches

Nancy Youdelman

Pearl Tree (Yesterday, Today and Tomorrow), 2019; mixed media wall sculpture with plant material, pearl necklaces, waxed cord, and encaustic; 47 x 42.5 x 9 inches

Sandi Miot

Colorado 1, 2019; oil, cold wax, found objects; 12 x 12 inches

Elisa D'Arrigo

Dothead 1, 2019, glazed ceramics, 9 x 4 x 5 inches

Anna Wagner-Ott 

Unravelling, 2019, mixed media, 84 inches high

Marc Salz

Songs from a Tree, 2018, pencil and watercolor on paper, 12 x 13 inches

Bascha Mon

Installation view of New Land series, 2015-2017, gouache and mixed media on paper, each 8.5 x 12 inches. The series, which considers the challenges of dislocation and immigration, was shown at the Center for Contemporary Art in Bedminster, New Jersey, 2019. Some 288 pictures were gridded on six walls

Closeup of one work below: Something Strange Happened in the New Land

Susan Bee

Demonology, 2018, oil on linen, 30 x 24 inches

Wayne Montecalvo

The Title, 2019, mixed media, 25 x 45 inches

Petey Brown

Jumper Series, 2019, oil on paper, 12 x 15

Leila Daw

Essential Survivor, 2019, tapestry and mixed media, 36 x 48 inches

Heather Wilcoxon

Adrift, solo exhibition at Jack Fischer Gallery, San Francisco, 2017

Jeri Eisenberg

Seeking Solace, No. 1, 2019, pigment ink on kozo with encaustic, 36 x 34 inches

Debra Claffey

Time and Light and Sounds, 2019; oil, wax, charcoal, graphite on canvas, 77 x 141 inches

Fran Forman

Rain in the City, after Hopper, 2019, photo-montage archival pigment print, 22 x 30 inches

Frank Hyder

Janis, inflatable sewn and painted nylon with internal LED lighting, 120 x 60 inches; here staged in front of the Sagrada Familia cathedral in Barcelona, one of a series of unauthorized placements by the artist; 2019


You may be wondering how these artists were selected out of the (tens of) thousands of working artists over 65. I posted a call on Facebook, which means it was seen only by my friends on that social media platform. I limited the call in this way so as not to be inundated with submissions. I derive great satisfaction from maintaining a blog—and particularly by featuring my contemporaries who have worked so hard for so many years—but I needed to keep the submissions at a manageable number (about 150), well aware that I would be unable to include some very good work by some very good friends.

Once the deadline passed I began the difficult process of selection. Of course it was subjective—if you follow this blog, you know I’m partial to the color and geometry of abstraction—but I made every effort to be aesthetically inclusive. As I began to curate the selections I decided to go with the flow, which is to say allowing a painting, work on paper, sculpture, or photograph to assume its place in the queue based on its visual or conceptual relationship to the works before and after it. Crafting the flow is my favorite part of the process; it's also the most difficult, because it's the point at which work that had survived all the preliminary cuts may get eliminated. Apologies in advance to the many wonderful artists whose work you won't see here.

For those artists whose work is shown, click onto their names for a link to their websites.

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