Florence Putterman's most recent museum exhibits were at the Albany (Ga.) Art Museum, the Lancaster (Pa.) Museum of Art, the Maitland (Fl.) Art Center and the Spartanburg (SC) Museum of Art. Within the last few years, she was featured at galleries at Texas A&M, Northern Michigan University, the Robeson Gallery at Penn State and in 2003 in a ten year retrospective at the Lore Degenstein gallery at Susquehana University. Additional solo exhibitions at public venues in a long and distinguished career include those at the Ellen Noel Museum in Odessa, Texas, the Burroughs Chapin Museum in Myrtle Beach (SC) the Everson Museum in Syracuse, the Polk Museum in Lakeland, the Canton Art Institute and college and university galleries at Bucknell, Arizona, Moravian, Muhlenburg, Allegheny and Franklin & Marshall. Among the many public collections in which Putterman's work can be found are those of the Metropolitan and Brooklyn Museums of Art in New York, the Philadelphia Museum, the Chicago Art Institute, The New Jersey State Museum and the Portland (OR) Museum of Art. In Florida her paintings are included in the collections of the Polk Museum, the Gulf Coast Museum of Art, the Jacksonville Museum of Art and the John and Mable Ringling Museum of Art, which acquired her entry in the 2000 Sarasota Biennial.
recieved a Grant from the National Endowment for the Arts
in 1979 and a Fellowship at the Virginia Center for the Creative
Arts in 1983. She attended New York University from which
she recieved a B.S. and Penn State University where she earned
and Saul, her husband of more than 50 years, divide their
time between Sarasota and Selinsgrove, Pennsylvannia.
Artist Web site: http://www.putterman.com
is perhaps most remarkable about Putterman's work in any medium
is its high and fine formalism, its ability to visually clarify
in limited space the boundless space of a human psyche, much
as Jackson Pollock pictured cosmic space right from where
he stood. And, where we tend to think of the human subconscious
as a region of darkness, from the Lascaux Caves to the ancient
Egyptians and Greeks and on, Putterman leaves us to form our
own conclusions about the matter with, at least, a little
light thrown on the subject. Language is not the last word
on the comprehension of things, Putterman seems to be saying;
and vision can consummately transcend the merely optical.
Either way, it's one hell of a high-art show, with relevances
and resonances to last for our days."
Garrit Henry, Contributing Editor
ARTnews and Art in America