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.

Putterman 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 an M.F.A.

Florence and Saul, her husband of more than 50 years, divide their time between Sarasota and Selinsgrove, Pennsylvannia.
Artist Web site: http://www.putterman.com

"What 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