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Painting and Drawing in Public Collections

 

San Francisco Museum of Modern Art, San Francisco

Oakland Museum, Oakland, CA

Hammer Museum, Los Angeles

Harvard Art Museums, Fogg Art Museum, Cambridge, MA

Yale University Art Gallery, New Haven CT

Weatherspoon Art Museum, UNC, Greensboro, NC

Israel Museum, Jerusalem, Israel

Bielefeld Kunsthalle, Bielefeld, Germany

Malmo Kunsthalle, Malmo, Sweden

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Exhibitions, Projects

 

2023          

Snowman (Solo)

Private Public Gallery, Hudson NY

 

2022          

Wappinger Creek (Solo)

Fourth Wall Gallery, Oakland, CA

 

2008-09     

Founder/Director, Room For Painting, Room For Paper

San Francisco

 

2009-20     

Founder/Director, George Lawson Gallery

San Francisco, Los Angeles, Oakland, Mill Valley

 

2006          

A New York Drawing Collection at Work: The Wynn Kramarsky Collection

The Fifth Floor Foundation, New York

 

Out of a Suitcase (with Christopher Brown, John Zurier, Chris Ashley, others)

Hallard Studio, Tokyo, Japan

 

2003          

George Lawson, Selected Paintings 1987—2004 (Solo)

Elins Eagles-Smith Gallery, San Francisco

 

Handpicked (with Ed Moses, David Simpson, Gregg Renfrow, others)

Michelle Bello Fine Arts, San Francisco

 

Abstract Painting Group Show (with Joseph Marioni, Peter Tollens, Michael Toenges, others)

Patricia Sweetow Gallery, San Francisco

 

2002          

George Lawson, Jizo Paintings (Solo)

Patricia Sweetow Gallery, San Francisco

 

1993          

Farbe und Form (with Alan Ebnother, Ulrich Erben, and Rainer Jochims)

Kunst im Glashaus, Taunusstein, Germany, curated by Hannes Hake

 

George Lawson, Paintings, 1986–Present (Solo)

Haines Gallery, San Francisco

 

1991          

George Lawson, Malerei  (Solo)

Galerie Hake, Wiesbaden, Germany

 

George Lawson, Recent Paintings  (Solo)

Haines Gallery, San Francisco

 

George Lawson and Friends (with Lita Albuquerque, Max Gimblett, others)

Haines Gallery, San Francisco

 

George Lawson und Alan Ebnother, Malerei

Galerie Klaus Braun, Stuttgart, Germany

 

1990          

George Lawson, Malerei (Solo)

Galerie Hake, Wiesbaden, Germany

 

1989          

George Lawson, Recent Paintings (Solo)

Mincher/Wilcox Gallery , San Francisco

 

Quiet (with Yoshitomo Saito, Roy Thurston, others,)

Oakland Museum, Oakland CA, curated by Paul Tomidy

 

Gypsy (dance set, lighting and costume design)

Oakland Ballet, Oakland, CA, choreography by David McNaughton

 

Paintings Without Pictures (with John Meyer, David Simpson, Joseph Hughes, others)

165 Eighth Street, San Francisco

 

Have Steps Will Travel (dance set, lighting and costume design)

National Ballet of Canada, Toronto, Canada, choreography by John Alleyne

 

Blood Wedding (dance set, lighting and costume design)

Ballet British Columbia, Vancouver, Canada, choreography by Pierre Wyss

 

1987          

George Lawson, Recent Paintings (Solo)

Khiva Gallery, San Francisco

 

George Lawson und Alan Ebnother, Malerei

Gaisenberg Strasse 37, Ulm, Germany

 

Salome (dance set, lighting and costume design)

Stuttgart Ballet, Stuttgart, Germany, choreography by Pierre Wyss

 

Back to Bach (dance set, lighting and costume design)

Ulmer Ballet, Ulm, Germany, choreography by John Alleyne

 

The Open Image, Recent Abstract Painting from Germany

(with, Ulrich Erben, Raimund Girke, Günther Umberg, others)

Goethe Institute, San Francisco Art Institute, Khiva Gallery, San Francisco

co-curated with Dr. Bernd Growe

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1986          

Good and Bad Government, and Other Recent Paintings (Solo)

Khiva Gallery, San Francisco

 

Die Gegenwart Der Farbe (with Phil Sims, Ulrich Erben, others)

Bielefeld Kunsthalle, Bielefeld, Germany

curated by Dr. Bernd Growe and Erich Franz

 

1985           

George Lawson and John Meyer, Collaborative Painting

Acme Arts, San Francisco

 

George Lawson and John Meyer, Paintings

Khiva Gallery, San Francisco

 

Quatroporte (with John Meyer)

International Building, San Francisco

 

Wiederkehr, (dance set, lighting and costume design)

Stuttgart Ballet, Stuttgart, Germany, choreography by John Alleyne

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1983           

Recent Color—Five Painters (with Joseph Hughes, Thornton Willis, Kim Anno, others)

Foster-Goldstrom Fine Arts, San Francisco

 

Bay Area Collects

San Francisco Museum of Modern Art, San Francisco

 

1982             

New Abstraction (with Joseph Marioni, Phil Sims, Joseph Hughes, others)

Bluxome Gallery, San Francisco

 

Tribute to Bertha Urdang

Israel Museum, Jerusalem, Israel

 

George Lawson, New Paintings (Solo)

Bertha Urdang Gallery, New York

 

1981            

1981 SECA  Art Award Exhibition (Solo)

 San Francisco Museum of Modern Art, San Francisco

 

1981 California Artists Exhibition

Oakland Museum, Oakland, CA

 

George Lawson, Paintings 1976—1981 (Solo)

Shasta College Gallery, Redding, CA

 

1980            

Color Painting (with Max Gimblett, Marcia Hafif, Joseph Marioni, Phil Sims)

Shirley Cerf Gallery, San Francisco

 

Cold Mountain Paintings (Solo)

Shirley Cerf Gallery, San Francisco

 

In the Spirit of Constructivism

Janus Gallery, Los Angeles

 

1979            

George Lawson, Les Tres Riches Heures and Other Works on Paper (Solo)

Shirley Cerf Gallery, San Francisco

 

1978            

Gallery Group (with Tom Holland, Ed Moses, Phil Sims, others)

Casat Gallery, La Jolla, CA

 

1977            

George Lawson, Recent Paintings (Solo)

Casat Gallery, La Jolla, CA

 

1976              

George Lawson, Paintings (Solo)

Triangle Gallery, San Francisco

 

1974              

George Lawson, Selected Etchings and Woodcuts from the I Ching Series (Solo)

John Wathem Gallery, San Francisco

Tressider Union, Stanford University, Palo Alto, CA

PAMC Exhibitions, Palo Alto, CA

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Articles, Reviews and Catalog Essays

 

Albright, Thomas                 

Art in the San Francisco Bay Area: 1945—1980: An Illustrated History

pub. University of California Press, 1985, pp. 237—296

 

Personal Fresh Approaches to a Recycled Painting Style

SAN FRANCISCO CHRONICLE, Jan 13, 1983, p. 60

 

Exhibition Review

ARTNEWS, January 1982, p. 90

 

Abstract Mountains

SAN FRANCISCO CHRONICLE, Nov 18, 1980, p. 53

                                                     

Ashley, Chris                                   

Painting Conveys So Much Spirit—George Lawson’s Sancai Paintings

Catalog Essay pub. Elins Eagles-Smith Gallery, 2003

 

Ballatore, Sandy                                   

Exhibition Review

IMAGES AND ISSUES, Winter 1980, p. 52

 

Baker, Kenneth                                   

Exhibition Review

SAN FRANCISCO CHRONICLE DATEBOOK, April 18, 1993

 

An Uncompromising Path to the Abstract—George Lawson at Haines

SAN FRANCISCO CHRONICLE, Jan 21, 1991, p. 60

 

Exhibition Review

ARTFORUM, Sept 1989, p. 136

 

Quiet Art That Sounds Off in Talent

SAN FRANCISCO CHRONICLE, June 8, 1988, p. E4

 

Exhibition Review

ARTCOAST, March 1989, p. 59

 

Display of Paintings, Not Pictures in SF

SAN FRANCISCO CHRONICLE, Sep 19, 1988

 

The Hot and Cool of German Art

SAN FRANCISCO CHRONICLE, Mar 21, 1987, p. 40

 

Galleries—George Lawson at Khiva

SAN FRANCISCO CHRONICLE, May 14, 1987, p. 66

                                                     

Beauty is Upfront in Lawson’s Paintings                 

SAN FRANCISCO CHRONICLE, Apr 14, 1986, p. 80

 

Two Painters in Tandem Shows

SAN FRANCISCO CHRONICLE, Sep 24, 1985, p. 40

 

Berkson, Bill                                   

George Lawson at Khiva Gallery

ARTFORUM, Sep 1987, p. 134

 

Boettger, Susan                                   

Exhibition Review

ARTWEEK, Aug 29, 1981, p. 1

 

Bonetti, David                                   

Gallery Watch—George Lawson

SAN FRANCISCO EXAMINER, Apr 16, 1993

 

Geometric Art Comes Full Circle

SAN FRANCISCO EXAMINER, Jan 18, 1991, p. C-15

 

Exhibition Review

ARTWEEK, April 5, 1980, p. 7

 

Brunson, Jamie                                   

Defying the Postmodern: A Report on Non-Representational Painting in Northern California

VISIONS ART QUARTERLY, Spring 1989, p. 18

                                                     

Turning Down the Volume

ARTWEEK, July 15, 1989, p.3

                                                     

Burkamp, Gisela                                   

Ein She-Erlebnis: Farbe, nicht als Farbe

DIE NEUE ARTLICH, July 7, 1986                 

 

Burkhart, Dorothy                 

Critics’ Choice

SAN JOSE MERCURY NEWS, June 25, 1989, p. 20

 

Cebulski, Frank                                   

Color as Perception

ARTWEEK, January 22, 1983, p. 6

 

Duechting, Hajo                                   

Die Gegenwart der Farbe, Sinnliche Abstraktion

NIKE NEW ART IN EUROPE No. 74, July 1986, p.43

 

Dunham, Judith L.                 

Exhibition Review

ARTWEEK, November 6, 1976, p.20

 

Eshoo, Amy, ed.                                   

560 Broadway: A New York Drawing Collection At Work, pp. 146, 153, 182, 187

Pub. Yale University Press, New Haven & London, 2008

 

Fried, Alexander                                   

Abstracts Survive a Realist Trend

SAN FRANCISCO EXAMINER, November 1, 1976, p.33

 

Frankenstein, Alfred                 

Bold, Colorful Abstracts

SAN FRANCISCO CHRONICLE, October 23, 1976, p. 35

 

Goodman, Linda                                   

Abstractionists George Lawson at Haines and Rick Arnitz at Wirtz

ARTWEEK, May 6, 1993

 

Growe, Bernd                                   

George Lawson’s Farben

Catalog essay, Die Gegenwart  Der Farbe

KUNSTHALLE BIELEFELD , July 6—August 31, 1986

 

The Gamut of Possibilities: George Lawson’ Drawings

Catalog essay, DIVER pub. Room For Painting Press, 1992

 

Gruhne, Peter                                   

Schwartz—Schwartz? Bilder von George Lawson                 

WIESBADENER KURIER, November 30, 1990, p. 14

 

Hueck-Ehmer, Britta                 

Die Gegenwart Der Farbe

DAS KUNSTWERK, September 1986, Heft 4-5, p. 177

 

Hughes, Joseph                                   

The Rhythm of Color—George Lawson’s Marimba Paintings

Catalog essay, pub. Elins-EagleSmith Gallery, SF, 2003

 

Jan, Alfred                                   

Sustained Perception (Exhibition Review)

ARTIST WRITER, May 1993, Vol. 2, #6, pp. 1-2

 

Jeitschko, Marielsiuse                 

Ein endgueltig emanzipiertes Element

DAS KULTURMAGAZIN, Spetember 1986, p. 131

 

Levy, Mark                                   

Germany’s Cooler Side

ARTWEEK, March 21, 1987, p. 1

 

Loughlin, R. Lance                 

Interview, DIVER pub. Room For Painting Press, 1992                 

 

Mauch, Tomas                                   

Monochrome Bilder in individuellem Ambiente

ULMER KULTURLEBEN, April 18, 1987

 

Maves, C. E.                                   

Art in Unexpected Places

PALO ALTO TIMES, September 9, 1974, p. 19

 

Morch, Al                                   

Exhibit of Abstract Art by West Germans is a Bland Serving

SAN FRANCISCO EXAMINER, March 3, 1987

 

Neubert, George                                   

Gesture/Perception/Process

Catalog essay, SECA ART AWARD EXHIBITION

San Francisco Museum of Modern Art, August 6—September 20, 1981

 

Parks, Christa L.                                   

Exhibition Review

ARTS, September 1982, p. 7

 

Raynor, Vivien                                   

Exhibition Review

THE NEW YORK TIMES, April 10, 1981

 

Reinke, Klaus U.                                   

Befreiung vom Gegenstand

BIELEFELD HANDELSBLATT, July 12, 1986, Nr. 130

 

Stecker, Raimund                 

Die Gegenwart der Farbe

KUNSTFORUM INTERNATIONAL #85, September 1986, p. 290

 

Strecker, Manfred                 

Nichts mer als Farbe

NEUE WESTFAELISCHE BIELEFELD, July 7, 1986

 

Tomidy, Paul                                   

Quiet

Catalog essay, Oakland Museum, May 6—July 23, 1989

 

Van Proyen, Mark                 

Allegories of Surface and Substance

ARTWEEK, May 23, 1987

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