Artist Maude Boltz, Co-Founder of A.I.R. Gallery, creates paintings, sculptures, installations, drawings and watercolors, known since the 70s for their unique esthetic and their inventiveness in the use, combination and transformation of materials. Her work is included in the A.I.R. Gallery Portfolio and in the Smithsonian Museum collection.

MAUDE BOLTZ
178 Union St #3L
Brooklyn NY 11231
718-596-7558

Following is a list of solo exhibitions, collections and commissions, group shows and other biographical data, as well as reproductions, bibliography and press quotes.

SOLO EXHIBITIONS
2006 Franklin 54 Gallery, New York, NY, Watercolors and Photographs
1978 CUNY Graduate Center, New York: Starfield, 11 banners 4'x12' each
1977 A.I.R. Gallery, New York, NY, drawing exhibit
1976 A.I.R. Gallery, sculpture exhibit

COLLECTIONS & COMMISSIONS
Smithsonian Museum, Washington, DC
Museum Towers, New York City, collection
A.I.R. Gallery Portfolio

AWARDS
Virginia Center for the Arts Fellowship (1989)
C.A.P.S. grant, graphics (1975)
Sculpture commission for Tartufo Restaurant, New York, NY GROUP

GROUP EXHIBITIONS
2009 A.I.R. Gallery Artist Postcard Show
2008 A.I.R. Gallery: The History Show: work by AIR artists from 1972 to the present, Dumbo, Brooklyn
2008 A.I.R. Gallery Artist Postcard Show
2008 A.I.R. Gallery Retrospective, Werkstatte Gallery
2008 Women's Art, Women's Vison,Puck Building, Soho, presented by the National Women's Assoc.
2005 A.I.R. Gallery group exhibition, Chelsea
2003 CyberGallery 66 - Internet group exhibition curated by Milton Fletcher
1999 Cork Gallery at Avery Fisher Hall, Lincoln Center, Artistas de Loisaida
1998 Kingsborough Community College
1998 The Kendall Gallery, New York, NY
1998 New Wilderness Music Festival, Sullivan NY: Balloonscape installation
1993 Parsons School of the Arts
1992 A.I.R Gallery Invitational
1982 Barbara Gladstone Gallery, NYC: Prints
1982 Bologna & Landi Gallery, East Hampton, NY
1982 The Artist's Proof, East Hampton, NY
1982 Studio 99 Gallery, Westhampton Beach, NY
1978 P.S. 1, Queens, NY: overview: An Exhibition in Two Parts by A.I.R.
1978 Ginza Kaigakan, Tokyo, Japan
1978 Commission on the Status of Women in New York, NYC
1977 Nobe Gallery, New York, NY
1977 Women's Interart Center, New York, NY: Space/Matter
1972-76 A.I.R. Gallery, New York, NY
1976 Buecker & Harpsichords, 40 Years of American Collage
1975 Windham College, VT
1975 Jersey City State College: Six New York Women
1975 112 Greene St: Group Indiscriminate
1975 St Lawrence College, NY
1974 Gallery 43, New York: Center City Artists Smith College, CT
1973 Zabriskie Gallery, New York: New Talent Festival New York
1973 Cultural Center: Women Choose Women
1973 Tenth Annual Avant Garde Festival, New York
1972 Massachusetts College of Art: Second Annual Materials Exhibition
1972 Gedok, Der Kusthaus, Hamburg, Germany

TEACHING POSITIONS
Parsons School of Design, 1988-90: Drawing, Three-dimensional Design,
Color and Design, Portfolio Preparation
Cooper Union: Sculpture (1970-71)
Pennsylvania State College, Schuylkill Haven, PA: Adult Education, Painting
Coney Island Senior Citizens Center, Brooklyn, NY: Painting
Mount St Michael Academy, Bronx, NY: Crafts, Brain Damaged Children

GUEST LECTURES
University of Hartford, CT
Rockland Community College, NY
Ulster Community College, NY
A.I.R. Gallery: Artists, Dealers and Economics
New York Institute of Technology, NY

EDUCATION
Yale University School of Art and Architecture, New haven, CT :
MFA, Painting, 1964
Philadelphia College of Art, Philadelphia, PA:
BFA Fine Arts, 1962

REVIEWS
Art Forum
Art International
Art News
Arts Magazine
Domus
New Yorker Magazine
The New York Times (Milton Kramer)
The Village Voice

BIBLIOGRAPHY
Womanart, Spring 1978, review of Peter Frank
Arts Magazine, February 1978, review by Ellen Lubell
Arts Magazine, September 1976, review by Ellen Lubell
Art News, September 1976, review by Ann-Sargent Wooster
Soho Weekly News, June 17, 1976: New art for young collectors,
by Judith Von Baron
Village Voice, May 3, 1976: Openings
Information and Documents, Paris, September 1975: Current Trends in Contemporary Art, Painting and Sculpture
Aphra, Fall 1974: Women have always made art
Art Forum, May 1974, review by Lawrence Alloway
Opus 50 Magazine, Paris, September 1974, le 'Feminist Art 'aux USA
by Aline Dallier
Art News, September 1973, New Talent Festival review
Art international, summer 1973, review by Sanford Swartz
New York Times, June 1973, New Talent Festival, review by Hilton Kramer
Village Voice, June 21, 1973, review by John Perrault
Domus, March 1973, Minus time minus equals plus, article
about A.I.R. Gallery by Daniella Palazzoli
Art Forum, April 1973, Women Choose Women, by April Kingsley
Arts Magazine, Bypassing the Gallery System, February 1973,
group show review

PRESS QUOTES

Village Voice Choice, May 3, 1975
Maude Boltz: Wall pieces which build twine, wood, canvas strips, and wax drippings into elegantly made, totemic shapes with overtones of the loom's warm and weft. Boltz's watercolors on folded paper, which accompany the larger works, are quiet experiments with bleeding pastels that have a muted beauty. AIR Gallery, 97 Wooster St, through May 19.

Art international, 1973 - Review by Sanford Swartz
At A.I.R. Maude Boltz showed ceiling and wall hangings made from wood, canvas, odd pieces of cloth, string, hemp, and chains. One was in the form of a ladder, each rung wrapped around in dyed and bleached cloths; another, with its wooden armature also wrapped, looked like an empty picture frame, one machine-like affair, involving a complicated system of ropes and wooden bars, came down from the ceiling and spread itself out on the floor. A fourth, suspended from one part of the ceiling to another, had neat bunches of dyed cloth strips attached to wood beams.

These formally very different pieces were held together, and were able to make a distinct impression, by this painter-constructor-sculptor's almost Shaker feeling for the beauty of natural dyes, for the well-constructed object, and for a high standard of craft. Practically none of the materials Boltz uses are incorporated into any piece without first being reworked: the ropes are tied and knotted, the cloths colored and cut, the wood carved and stained. Each part is considered in relation to the color values and formal idea of the whole. The adjustments are sometimes minuscule; many go unnoticed at first (like, for example, the carving on the wood). The atmosphere of all the pieces together suggests a barn with items carefully laid away for ripening and storage.

In Dynel Loft, the carved beams, which had small tin labels affixed to them, recalled animals' yokes, and the hanging cloth strips resembled shafts of drying hay. Although there's a lot of wrapping going on here, the connotation is not with forms being made hidden from our view.

The 1969 box piece Boltz showed at the recent Women Choose Women show at the New York cultural Center, Glass-Echo, had a Minimalist directness and an emotionally mysterious, distant tone (three sponge rectangles sitting on gravel, inside a Cornell-size box). Seen now in the light of the A.I.R. piece, Glass-Echo looks line another, more dry, demonstration of neat object-packaging.

ARTS MAGAZINE, September 1976, review by Ellen Lubell
Both drawings and sculpture comprised Boltz' latest exhibition. Rather old and fragile looking drawings were of an irregular kind of paper folded into sections and stained with subtle colors that revealed their liquid origins. Each drawing was pressed between two pieces of plexiglas. Boltz' sculptures were structures from which different kinds of materials dangled. String, string with wax dripped around it, and strips of cotton webbing dyed various colors were among the hanging component. The structures, hung on the wall, were mots often triangular in nature. Slots had been cut or built into the triangles, so that the nanging strips were compressed in the wood, and then were free to wiggle and twist loosely. One work had its own large triangular frame, so that the wax-coated string was taut within it, then hung free outside of it. White wax covered the string in the frame, black wax outside of the frame, in an enigmatic symbolism. Another work, employing multi-colored webbing, looked like a woman spreading a pleated skit.

Boltz' works, particularly her sculptures, are not easily categorized. They are crisp and sure, however, and form a genre of their own.
(A.I.R. April 24-May19, 1976)