Idelle Weber Catalogue
Idelle Weber
Chronology
1932
Born Chicago, IL.
 
1937-1940
Attends Central Grammar School, Wilmette, Illinois.
Visits Art Institute and Field Museum every week.
 
1941-1946
Attends Swift School, Chicago. Father purchases first set of oil paints.
Attends Hawthorne Grammar School, Beverly Hills. Enters a program for young students under Ms. Frances Nugent, director of education at the Los Angeles County Museum. Takes private lessons with artist Elsye Palmer Payne.
 
1946-1950
Private art lessons with artist Theodore Lukits.
Attends and graduates Beverly Hills High School. Art instructors of influence: Mrs. Lucille Roberts and Mrs. Marjorie View. Writes high school thesis on Edward Hopper and Jackson Pollock. Introduced by gallery owner Frank Perls to Edward G. Robinson. Views first Cezanne painting at his home.
Studies with Millard Sheets at Oatis School and takes figurative classes at Chinouard Art Institute.
Writes letter to Isabel Bishop (featured on a cover of American Artist Magazine and first contemporary woman artist known to Idelle) stating her admiration for her work.
Enters Scholastic Art Awards; awarded regional and national Gold Keys; enters many juried shows: Carmel Art Association, 1st prize, Carmel, California; the Marquis Gallery, Beverly Hills, California (juried show): 3rd prize.
Attends Scripps College, Claremont, California; studies with Henry Lee McFee and (informally) Millard Sheets.
 
1950-1951
Exhibits figurative imagery in group show at Scripps.
Visits the Metropolitan Museum, the Frick Collection, and others, on first trip to New York City, is astounded by the art works.
Attends UCLA, studies with: William Brice, Jan Stussy, Fredrick Wright, S. McDonald Wright, Gibson Danes, Karl Vith, Laura Anderson, and Tony Rosenthal; occasional private critiques from Rico Lebrun. Shares studio off San Vicente Blvd, Brentwood, California, with Craig Kaufman, with Walter Hopps sleeping in the back of studio.
Takes a drawing class at Center for the Arts with Mary Vartikian. Enters college traveling exchange of student exhibitions. Awarded student teaching assistantship.
 
1953-1955
Attends Aspen Design Conference Aspen, Colorado. Participants include Herbert Bayer, Harry Bertoia, S. I. Hayakawa, Victor Gruen, and Arthur Drexler.
 
1956
Receives MA degree from UCLA. Solo show, thesis on Odilon Redon, and oral exams completed. Receives California teaching certificate. Student teaches at Los Angeles High School and Emerson Junior High School.
 
1957
Drawing, Observation of Sound, included in show Recent Drawings U.S.A. at the Museum of Modern Art, a competition juried by Bill Lieberman and Elaine Johnson. Gertrude Mellon purchases drawing.
Second visit to New York City to view drawing at the MoMA accompanied by portfolio of drawings to try to secure gallery affiliation. First night in New York City baby-sat Mark Rothko's daughter Kate. Mark Rothko suggests galleries to contact.
Remains in New York City, paints and takes temporary office jobs in New York.
The art historian, Frederick Wight, writes a letter about her work to Alfred Barr. Sam Hunter arranges for Weber to meet Horst Janson, who likes the work but says he doesn't include women painters in his books. Shows portfolio of drawings to Charles Allen, owner of the Allen Gallery. He indicates that he has a policy of not showing women.
Awarded 3rd prize in Bodley Gallery juried show; Warhol also wins a prize.
Included in "New Talent U.S.A." issue of Art in America.
Included in 152 Annual Exhibition of Watercolors, Prints, Drawings at the Pennsylvania Academy of the Fine Arts (juried show), the 38th Annual Jury Exhibition at the Springfield Museum of Fine Arts; awarded "Century Foundation Award." Charcoal drawing in American Federation of Arts traveling exhibit. Illustrations commissioned by Scholastic and Esquire magazines. Attends an illustration and design class taught by Alexander Lieberman at School of Visual Arts. Requests to audit Robert Motherwell's class at Hunter College, denied by the artist, who stated he believed that married women with children should not audit classes because they would not continue painting.
 
1958
Attends classes at Brooklyn Museum of Art. Exhibits early paintings in Brooklyn Museum Show. Jurors: Ruben Tam and G. Peck . Attends Art Students League. Works with Theodore Stamos, whose assistant was Ralph Humphries. Takes classes with the noted artist, Robert Beverly Hale. Investigated color, by making gray thickly painted impasto abstract expressionist paintings. Created silhouette drawings and sketches of nudes and business men. Spends part of summer, and subsequent summers, in Santa Monica, California. Rents a studio at Ovington Building in Brooklyn Heights.
 
1959
Steven Raditch, director of Widdifield Gallery, visits studio; exhibits work in group drawing show. Tibor de Nagy visits studio and suggests contacting J. Meyers the following fall. Included in juried shows in New York City: City Center Group Show; Art Directions Gallery group show; and Art Students' League, New York.
 
1962
Danny Robbins, assistant curator at the Guggenheim, buys Cherubs/silhouettes and What's Big, Black, and Blue? Shows work to Martha Jackson and John Weber, (no relation) who suggests showing silhouettes to Ivan Karp at Castelli, and Robert Elkon. John Weber sends John Gruen to review the work. John Weber becomes director of Dwan Gallery, Los Angeles and includes her work in exhibitions.
Ivan Karp views work and returns a second time with Alan Soloman for a studio visit. Soloman responds favorably to the work.
Danny Robbins shows black and white photos to Dick Bellamy in June, who suggests that he might show her work the next season.
Ivan Karp suggests starting an artists’ co-op gallery. Some artists included on the original list were Dan Flavin, Cora Ward, Ralph Ortiz, and Don Judd. Has discussions with Judd on Arps’ "happenstance" works. He was for them, she was against them. Karp suggests that the group visit other artists for possible inclusion in the co-op. Shown Roy Lichtenstein and Andy Warhol's first paintings by Karps who also introduces Weber to Lichtenstein, Warhol, Jasper Johns, and Jim Rosenquist. Most artists meet at Castelli Gallery for various show openings.
Beginning of friendship with Yayoi Kusuma, Lucas Samaras, Oldendberg, and Steve Antonakos. Art historian Peter Seltz visits Ovington Studio.
Bertha Schaefer visits Ovington Studio and takes three silhouette paintings with her. Signs with Bertha Schaefer Gallery in July.
 
1963
Solo show at Bertha Schaefer Gallery of silhouette paintings in early January: Albright-Knox purchases Reflection.
Danny Robins introduces artist to art historian, Lawrence Alloway.
Rents studio on Atlantic Avenue, Brooklyn.
Discusses acrylic paint surfaces and grounds with Leonard Bocour.
Orin Riley, conservation curator at the Guggenheim, seeks consultation on the use of acrylic on linen and protective varnishes.
Visits Ivan Karp in Provincetown, Massachusetts. Shows a piece in Ivan's first OK Harris Gallery, Provincetown.
Visits Agnes Martin at her cold water walkup flat at Coentis Slip. Purchases one of Martin's small watercolors. Martin gives Weber a 5" ruler for the background squares for the silhouette-figures painting in progress.
Trades art work with Dick Artschwager. Meets Paul Cummings.
 
1964
Begins to keep a journal of studio time.
Invitation from Ivan Karp to the George Sugarman party at Al Held's loft celebrating Sugarman's Guggenheim award, which he used to throw the party. Meets Barnett Newman.
Second solo show at Bertha Schaefer of business men silhouettes.
Continues to work without a solo show for the next eight years. Work in sketches for large plastic dimensional wall mounted silhouette figures.
Moves residence to Livingston Street in Brooklyn Heights.
Kiss Box (a plastic box filled with Hershey Kisses) exhibited at Dwan Gallery in Los Angeles. This piece was later exhibited at the Rhode Island School of Design Galleries.
Halloween party at Livingson Street apartment. Roy and Dorothy Lichtenstein dressed as Andy Warhol and Edie Sedgwick, Julian Weber dresses as Samaras, and Patty Oldenburg arrives in a baseball suit with a long, enormous bat made of stuffed material by Oldenburg.
 
1965
Meets the Karps in Paris. Increases use of photographs and drawings to develop source material for future work after this trip.
Rents studio in office building on Fulton Street, Brooklyn.
Joins EAT (Engineers, Artists, and Technology) and attends all of their lectures. Meets Billy Klüver.
Continue on ideas and models for large scale Plexiglas silhouettes. Discusses use of neon with Steve Antonakos. Jumprope Lady constructed.
 
1966-1972
Trades work time with the model maker, Ed Geiger, who assists with Weber’s 3-D Plexiglas silhouette wall sculptures. Returns to easel painting, starting with a series of small paintings of New York storefronts from slides taken from first days in New York City. Works on both silhouettes and realist paintings of various fruit stands.
 
1969
Purchases and moves to brownstone townhouse at 35 Sidney Place in Brooklyn Heights with studio on top floor.
Trades silhouette fan with Roy Lichtenstein for his Sunrise metal multiple, which was placed in the back yard.
 
1973-1977
Joins Hundred Acres Gallery: Barbara Toll is director.
Solo show at Hundred Acres of fruit-stand paintings. Doris and Charles Saatchi purchase a painting from this show.
Work on fruit-stand paintings as well as some trash and litter.
Forms friendships with Ralph and Shana Goings, Richard and Darlene McLean, John and Jean Salt, John Baeder, Richard Estes, John and Jane Clarke, Bob and Jane Cottingham, Duane and Liz Hanson, and John DeAndrea.
 
1977
Hundred Acres exhibits trash and litter works in solo show for the artist.
 
1978
Hundred Acres Gallery closes. Joins OK Harris Gallery.
Works on edition of etchings of trash as subject matter.
 
1979
Moves residence and studio to a loft on West Broadway, New York City.
OK Harris exhibits trash paintings in solo show.
Travels to St. Martin in the Caribbean; watercolors of typical resort area scenes.
 
1982
Travels to Bermuda and Tortola, British Virgin Islands, to visit John and Jane Clem Clarke. OK Harris exhibits resort pieces in solo show.
 
1983
Joins Ruth Siegel Gallery. Foliage, flower work, mirror images, and architectural elements are shown.
 
1984
Trip to France forms the basis for solo show at Ruth Siegel Gallery: Paintings and Works on Paper, 1982-1983, French gardens.
 
1985
Ruth Siegel Gallery exhibits Paintings and Works on Paper, 1984-1985, a solo show of grass, pebbles, water paintings.
 
1986
Arts Club of Chicago presents Painting and Works on Paper, 1982-1985, garden and flower pictures in solo show.
 
1989
Anthony Ralph Gallery exhibits Botanical References, flower watercolors and drawings in solo show.
 
1989-1992
Leaves Ruth Siegel Gallery and joins Anthony Ralph Gallery.
 
1990
Australian artist, Jan Senbergs introduces Weber to Garner Tulis. Completes landscape series with Tullis.
Anthony Ralph Gallery exhibits East End Paintings, grass paintings and trash paintings in solo show for Weber.
 
1992
Sketches and takes photographs during travels to Egypt. Takes Garner Tullis' workshop. Does forty landscapes, 41" x 41" monotypes in black with one-color backgrounds. Anthony Ralph Gallery exhibits "The Golden Bough Series," including tree drawings and monotypes based on words from "Golden Bough" in Seamus Heaney's Seeing Things in solo show for Weber.
Paints landscapes using monotype techniques.
 
1994
Joins Schmidt-Bingham Gallery.
Solo shows include: Schmidt-Bingham, New York City; Jean Albano Gallery, Chicago; Gerald Peters Gallery, Santa Fe; and Colorado State College.
 
1995
Workshop with Richard Tullis in Santa Barbara, California.
Solo show takes place at Contemporary Arts Forum, Santa Barbara, California.
Becomes artist-in-residence and teaches at Melbourne University, Victorian School of the Arts (VSA), Australia. Sketches and photographs New Zealand, Australian outback, Great Barrier Reef, and treks to Ayers Rock.
Solo show at VSA: First Shots: Idelle Weber, includes landscape monotypes.
Develops serious allergy to almost all solvents. Stops working in oils.
 
1996
Exhibits Shells in solo show at Schmidt Bingham, New York City.
 
1998
Exhibits Trees in solo show at Schmidt Bingham, New York City.
 
2000
Takes a trip around the world photographing and drawing frequently.
Selects paintings, drawings, watercolor, and prints of heads done between 1947 and 2001 for an installation project.
 
2001-2002
Witnesses September 11th from West Broadway. Halts work for several months, but collects and fills a wall with newspaper clippings and images.
Works on first installation of over 500 paintings, drawings, watercolors, and prints of heads done between 1947 and 2002. Elected for membership in the National Academy of Design. Receives Elin P. Speyer Award in membership exhibition.
 
2003-2004
The Nassau County Museum of Art in Roslyn, New York installs Head Room, an exhibition of over 500 heads in the Contemporary Gallery. Serves as member of the National Academy Museum Council.
 
2010
One month's summer residency, Acadia Art's Foundation, Mount Desert Island, Maine.
Sid Sachs, curator, installs "Beyond the Surface: Women and Pop Art 1958-1968," Rosenwald-Wolf Gallery, The University of the Arts. Philadelphia, Pennsylvania. January 2010.
Catherine Morris, curator, installs "Seductive Subversion: Women Pop Artists, 1958–1968," Elizabeth A. Sackler Center for Feminist Art and Morris A. and Meyer Schapiro Wing, Brooklyn Museum. Brookyln, New York. October 15, 2010–January 9, 2011.
 
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