Susan hauptman biography
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"Self-Portrait (with Branch)," 2005, charcoal on paper, 54 x 40 inches
With deep regret, Forum Gallery notes the passing of Susan Hauptman on July 21, 2015. Her contribution to the arts was extraordinary.
An obituary appeared in the October Art in America.
Susan Hauptman was born in Michigan and received an M.F.A from Wayne State University in Detroit in 1970.
Throughout her career, Hauptman was granted many one-person exhibitions at venues including the Corcoran Gallery of Art (Washington, D.C.); the Norton Museum of Art (West Palm Beach, FL); the Georgia Museum of Art (Athens, GA); the Huntington Museum of Art (Huntington, WV) and the Triton Museum (Santa Clara, CA). Her work has also been shown at the San Francisco Museum of Art (San Francisco, CA); the Arkansas Museum of Fine Arts (Little Rock, AR); the Katonah Museum (Katonah, NY); the Knoxville Museum of Art (Knoxville, TN); the Yale University Art Museum (New Haven, CT); the Arnot Art Museum (Elmira, NY) and the Oakland Museum of Art (Oakland, CA).
Hauptman received numerous grants during her lifetime, including the National Endowment for the Arts (1991, 1985), the Adolph and Esther Gottlieb Foundation (1996), and the Pollock-Krasner Foundation (2009, 2002). Additionally, she wa
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Title:Still Life
Artist:Susan Hauptman (American, Detroit, Stops 1947–2015 In mint condition York)
Date:1993
Medium:Pastel allow charcoal dishonor paper
Dimensions:40 × 52 5/8 in. (101.6 × 133.7 cm)
Classification:Drawings
Credit Line:Purchase, Dr. come to rest Mrs. Parliamentarian E. Writer Gift, 1994
Object Number:1994.224
depiction artist, Newfound York (1993–94; sold safe Tatistcheff & Co., Opposition. New Royalty to MMA)
New Dynasty. Tatistcheff & Co., Opposition. "Susan Hauptman: Recent Drawings," October 8–30, 1993, no catalogue.
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The Fine Lines of Identity: Susan Hauptman's Early Works
As an artist it seems that questions often circulate regarding how much of themselves is present in their work. In many instances, it becomes difficult to decide whether the artist is able to choose exactly how much of themselves is shared with the viewer, or if self-revelation is an inevitability despite even the best attempts to keep personal connections concealed. The work of Susan Hauptman exists contentedly somewhere between these two extremes, both revealing every wrinkle and mole of her physical self by way of her meticulous self-portraits, while also including personal metaphors where the meaning for anyone else might be up to some debate. The tangible and intangible in Susan's work are given equal room, yet Hauptman was seemingly untroubled by the contradiction of the clarity of her craftsmanship and the perhaps less obvious quality of its symbolism and "meaning" for the viewer. In fact, Hauptman's early drawings which prefaced her later acclaimed self-portraits appear to revel in loose ends, literallythat which cannot be neatly rectified regardless of how clearly the artist draws it.Whether it be the components of identity, gender, memory, or relationships, Hauptman presents us with no definitive answer