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1932
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1937-1940
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Moves to Wilmette, IL. Attends Central Grammar School.
Visits Art Institute and Field Museum every week.
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1941-1946
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Moves back to Chicago and attends Swift School. Father purchases first set
of oil paints.
Moves to Los Angeles.
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
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1946-1950
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Private 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.
Views first Cezanne painting at the home of Edward G. Robinson, introduced
by gallery owner Frank Perls.
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 Idelle heard of) 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,
CA; the Marquis Gallery, Beverly Hills, CA (juried show): 3rd prize.
Attends Scripps College, Claremont, CA; studies with Henry Lee McFee
and (informally) Millard Sheets.
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1950-1951
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Exhibits in group show at Scripps, showing figurative imagery.
First trip to NYC, visits the Metropolitan Museum, the Frick Collection, and
others, and is delighted and astounded.
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, CA, 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.
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1953-1955
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Student teacher at Los Angeles High School and Emerson Junior High School.
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1955
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Receives BA from UCLA in 1955.
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Attends Aspen Design Conference Aspen, Colorado. Participants
include Herbert Bayer, Harry Bertoia, S. I. Hayakaw, Victor Gruen,
and Arthur Drexler.
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1956
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Receives MA degree from UCLA. Solo show, thesis on Odelon Redon, and oral exams completed. Receives California teaching certificate.
Takes a position teaching art at Hollywood High School.
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1957
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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 NYC to view drawing at the MoMA accompanied by portfolio of
drawings to try to secure gallery affiliation. First night in NYC baby-sat
Mark Rothko's daughter Kate. Mark Rothko suggests galleries to contact.
Remains in NYC, paints and takes temporary office jobs in New York.
The art historian, Frederick Wight, writes a letter about my work to Alfred Barr.
Sam Hunter arranges for me 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.
Marries Julian L. Weber. Lives in Brooklyn Heights and uses living room as studio.
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 by Alexander Lieberman at
School of Visual Arts.
Asks Robert Motherwell who was teaching at Hunter College if she might audit
his class. He answers request by saying that married women with children
could not audit classes because they would not continue painting.
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1958
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Son, Jonathan Todd Weber, born.
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, and took classes with Robert Beverly Hale.
Investigated color, by making gray thickly painted impasto abstract expressionist paintings. Made silhouette drawings and sketches of nudes and business men.
Spends part of summer, and subsequent summers, in Santa Monica, CA.
Rents a studio at Ovington Building in Brooklyn Heights.
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1959
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May 4: Steven Raditch, director of Widdifield Gallery, visits studio; exhibits Idelle in group drawing show.
Tibor de Nagy visits studio and suggests contacting J. Meyers the following fall.
Included in juried shows in NYC: City Center Group Show; Art Directions
Gallery group show; and NY Art Students' League.
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1962
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Danny Robbins, assistant curator at the Guggenheim, buys
Cherubs/silhouettes and What's Big, Black, and Blue?
Takes work to Martha Jackson and John Weber. He suggests showing
new work (silhouettes) to Ivan Karp at Castelli, and Robert Elkon. John Weber
sent John Gruen down the following week. Weber eventually became director
of Dwan Gallery in Los Angeles and included her work in a couple of exhibitions.
Ivan Karp views work and returns a second time with Alan Soloman for
a studio visit. Good response from Soloman.
June: Danny Robbins shows black and white photos to Dick Bellamy,
who suggests that he might show her work next season. Danny Robbins
insists that such a delay could cost her a place in art history!
Ivan Karp suggests starting an artists’ coop gallery. Some artists 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. Views some of Judd's early constructions, a heavy,
impasto Kleenex-box shaped piece. Ivan suggests that the group visit
other artists for possible inclusion in the coop.
Shown Roy Lichtenstein and Andy Warhol's first paintings by Karps who
also introduces Idelle 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.
July 19: Signs with Bertha Schaefer Gallery
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1963
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Early January: Solo show at Bertha Schaefer Gallery of silhouette
paintings. Albright-Knox purchases Reflection .
Introduced to Lawrence Alloway by Danny Robins.
Rents studio on Atlantic Avenue, Brooklyn.
Has discussions with Leonard Bocour on acrylic paint surfaces and grounds.
Orin Riley, conservation curator at the Guggenheim, seeks consultation on
the use of acrylic on linen and protective varnishes.
Visits Ivan Karp in Provincetown, MA. 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. They talk shop and Martin gives Idelle
a5” ruler for the background squares for the silhouette-figures painting in progress.
Trades work with Dick Artschwager.
Meets Paul Cummings.
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1964
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Daughter, Suzanne Weber, born.
Starts 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. Sugarman has used all
his grant money to throw the party.
Meets Barnet Newman.
Second solo show at Bertha Schaefer of business men silhouettes.
Idelle 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 dress as Andy Warhol and Edie Sedgwick, Julian
dresses as Samarus, and Patty Oldenberg is in a baseball suit
with a long, enormous bat made of stuffed material by Claes.
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1965
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Travels to England and Paris. Meets the Karps in Paris. After this trip,
increases use of photographs and drawings to develop source material
for future work.
Rents studio in office building on Fulton Street, Brooklyn.
Joins EAT (Engineers, Artists, and Technology) and attends all of their lectures.
Meets Billy Kluver.
Continue on ideas and models for large scale Plexiglas silhouettes.
Has conversation with Steve Antonakos about neon. Finally gets
Jumprope Lady constructed.
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1966
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Travels to Italy, driving south from Milan to Rome.
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1966-1972
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Trades some work time with the model maker, Ed Geiger. He assists
with 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 NYC. Works on both silhouettes and realists paintings
of various fruit stands.
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1967
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1968
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1969
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Purchases and moves to brownstone townhouse at 35 Sidney Place in
Brooklyn Heights. Studio is on top floor.
Trades silhouette fan with Roy Lichtenstein for his Sunrise metal multiple,
which was placed in the back yard.
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1972
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Travels to Israel, Istanbul, and Prague.
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1973-1977
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Joins Hundred Acres Gallery when Barbara Toll is director.
Solo show at Hundred Acres of fruit-stand paintings. Doris and Charles
Saatchi purchases a painting from this show.
Work on fruit-stand paintings as well as some trash and litter.
Accepts position teaching graduate drawing and painting at NYU.
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
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1977
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Travels to Greece and Crete.
Solo show at Hundred Acres of trash and litter.
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1978
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Joins OK Harris Gallery after Hundred Acres Gallery closes.
Works on edition of etchings of trash as subject matter.
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1979
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Moves residence and studio to a loft on West Broadway, NYC.
Solo show at OK Harris of trash paintings.
Travels to St. Martin in the Caribbean. Watercolors of typical resort
area scenes.
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1982
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Travels to Bermuda and Tortola, British Virgin Islands, to visit John and
Jane Clem Clarke.
Solo show at OK Harris of resort pieces.
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1983
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Leaves OK Harris and joins Ruth Siegel Gallery. Foliage, flower work,
mirror images, and architectural elements.
Trip to Japan: Kyoto, Tokyo, Okayama, Kirishiki. Travels to Hong Kong
and Bali, Indonesia
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1984
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Trip to France—Giverney, Versailles, Vaux-le-Vicomt, Villandry,
Fontainebleu, Barbizon, and the Bagatelle in Paris—forms the basis for
solo show at Ruth Siegel Gallery: Paintings and Works on Paper,
1982-1983, French gardens.
Summers in Quogue, NY
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1985
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Solo show at Ruth Siegel Gallery: Paintings and Works on Paper,
1984-1985, grass, pebbles, water paintings.
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1986
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Solo show at Arts Club of Chicago: Painting and Works on
Paper,1982-1985, garden and flower pictures.
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1989
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Solo show at Anthony Ralph Gallery, Botanical References,
Flower watercolors and drawings.
Appointed assistant professor of art at Harvard University.
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1989-1992
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Travels to England.
Summers in Watermill, NY. Taught classes at Art Barge in Amagansett, NY.
Leaves Ruth Siegel Gallery and joins Anthony Ralph Gallery.
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1990
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Instructs print class at Harvard and worked on monotypes. Interest in
poetry is renewed.
Completes last monotypes at Harvard. Introduced to Garner Tulis by
Australian artist, Jan Senbergs. Landscape series with Tullis.
Summers in Watermill, NY.
Solo show at Anthony Ralph Gallery: East End Paintings, grass paintings
and trash paintings
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1992
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Travels to Egypt: Sketches and takes photographs.
Takes Garner Tullis’ workshop. Does forty landscapes, 41" x 41" monotypes
in black with one-color backgrounds.
Solo show at Anthony Ralph Gallery: "The Golden Bough Series,"
including tree drawings and monotypes based on words from "Golden
Bough" in Seamus Heaney's Seeing Things.
Paintings of landscapes using monotype techniques.
Travels to Italy. Visits Milan. Revisits Florence, Assisi, Sienna,
Arrezo, and Castiglioni Fiorentino.
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1994
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Joins Schmidt-Bingham Gallery.
Solo shows at Schmidt-Bingham in NYC; Jean Albano Gallery, Chicago;
Gerald Peters Gallery, Santa Fe; and Colorado State College
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1995
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Workshop with Richard Tullis in Santa Barbara, CA.
Solo show: Contemporary Arts Forum, Santa Barbara, CA
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, landscape monotypes.
Develops serious allergy to almost all solvents. Stops working in oils.
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1996
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Solo show at Schmidt-Bingham, NYC: Shells.
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1997
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Travels to Paris and Amsterdam.
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1998
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Summer in Rhinebeck, NY.
Solo show at Schmidt-Binghmam: Trees.
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2000
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World trip, photographing and drawing frequently.
Selects paintings, drawings, watercolor, and prints of heads done
between 1947 and 2001 for an installation project.
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2001-2002
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Witnesses September 11th from West Broadway. Halted work for
several months, but collected and filled 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.
September 28, 2002: Grandchild Bianca Maria Weber born.
Elected for membership in the National Academy of Design.
Receives Elin P. Speyer Award in membership exhibition.
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2003-2004
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Head Room installation of over 500 heads installed at the
Contemporary Gallery at the Nassau County Museum of Art in
Roslyn, NY.
Serves as member of the National Academy Council.
October 4, 2004: Grandchild Carlo Weber born.
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