In recent fabric sculptures, Driscoll combines cloth that typically covers the body as clothing or blanket with larger abstractions of maps and diagrams, or a repeated photograph of a tangled thicket . The scale of the singular and intimate body is set against the much larger scale of cities, forests, wind currents and continents.
In her drawings, exquisite plants and birds inhabit dystopian wildernesses–freshly minted worlds emerging from post-industrial landscapes. The artist removes the ink with water to reveal the silhouettes of both plants and birds. These ghost images within the drawings are palimpsests of what survives and adapts in spite of environmental adversity.
In the sculptures, the single body is situated within a much larger sense of drift, migration, and realignment. In the drawings, the plants and birds are caught in webs of rapidly evolving ecological shift where what is indoors and what is outdoors are in visual flux.
In both media, the artist shifts our perception and destabilizes our vantage point, creating openings for new perspectives to emerge.
SOLO EXHIBITIONS
2013 “Alluvial; Recent Books and Drawings” Eli Marsh Gallery, Amherst College
2012 “Core Sample”, College of St. Rose, Albany, NY
2011 “Distant Mirrors” Providence tidal river, RI, co-produced with Waterfire, September-October
2011 “Spill” an exhibition of accordian books and drawings, Brooklyn Public Library, Brooklyn, NY
2010 Fastforwardfossil part 3, West Cork Arts Centre, Skibbereen, Ireland
2009 Fastforwardfossil Part 1, Frederieke Taylor Gallery, New York, NY
2009 Fastforwardfossil Part 2, SmackMellon, Brooklyn, NY
2007 Hunter Gatherer, Long Island University Humanities Gallery, Brooklyn campus
2005 The Loophole of Retreat – Tremaine Gallery, The Hotchkiss School, Lakeville, CT
2005 Filament / Firmament – Cambridge Arts Council, Cambridge, MA
2002 New Drawings – Roger Williams University, School of Architecture, Art and Historic Preservation, Bristol, RI
2001 From Ear to There: Sculptures, Drawings, Books – University of Massachusetts, South Dartmouth, MA
2005 TurnScope – collaboration with Nick Tobier, Green Street Gallery, Boston, MA
2000 The Loophole of Retreat – African American Museum, Fresno, CA
1999 The Loophole of Retreat – The Hyde Collection, Glens Falls, NY
1998 Ahab’s Wife: Drawings, Models, Sculptures – Snug Harbor Cultural Center, Staten Island, NY
1997 As Above, So Below, selections – Glyptotek, Munich, Germany
1997 Ahab’s Wife: Models and Drawings – University of Michigan Museum of Art, Ann Arbor, MI
1996 Passionate Attitudes – New Langton Arts, San Francisco, CA
1995 Passionate Attitudes, Migration, The Loophole of Retreat, and collaborative work From There On Up to Here and
1995 Now with Mamie Hughley, Annie Parks, Annie Heard, Pearl Walker – multiple locations at University of Virginia, Charlottesville, VA
1995 Passionate Attitudes – Threadwaxing Space, New York, NY
1994-5 Passionate Attitudes, Part 1 – installation in abandoned windows of G. Fox dept. store and Real Art Ways, Hartford, CT
1993 Magnetic Works and Migration – Huntington Gallery, Massachusetts College of Art, Boston, MA
1992 Migration and The Loophole of Retreat – Contemporary Arts Center, Cincinnati, OH
1991-2 The Loophole of Retreat, installation – Whitney Museum of American Art at Philip Morris, New York, NY
1990 Damon Brandt Gallery, New York, NY
1989 Tim Hill Gallery, Birmingham, MI
1988 Damon Brandt Gallery, New York, NY
1987 Stavaridis Gallery, Boston, MA
1986 Damon Brandt Gallery, New York, NY
1986 Paulo Salvador Gallery, New York, NY
1985 Hudson D. Walker Gallery, Provincetown, MA
CURATORIAL PROJECTS
2009 NearEverywhere, for GASP Studio Projects Gallery, Boston, Mass. with Vivan Sundaram, Jane Marsching, Deb Todd Wheeler, Troy Oullette, Marguerite Kahrl, and Ellen Driscoll
COMMISSIONS
2016 CartOURgraphy, International High School and Middle College High School, Long Island City, NY Commissioned by Public Art for Public Schools
2016 Bower collaboration with Joyce Hwang, commissioned by Mary Miss’s City as Living Laboratory for ArtPark
2014 Night to Day, Here and Away Sarasota National Cemetery, Sarasota, Florida, a 50′ x 3′ mosaic and two 20′ x 3′ mosaic spires, commissioned by the Patterson Foundation for the Veterans Administration
2009 Filament / Firmament – for the Cambridge Public Library in collaboration with the Women’s Commission
2008 Wingspun International Arrivals, Raleigh-Durham International Airport, Raleigh, NC
2008 Lumina – LED animation sign, outdoor façade, MassArt, Boston, MA
2006 Pro Patria Mori—84′ gates for the Liberty Memorial World War 1 Museum, Kansas City, MO The View From Here 240′ sandblasted glass wall for Forest Park Metro, St. Louis, MO
2004 Aqueous Humour – kinetic sculpture for South Boston Maritime Park, South Boston, MA, collaboration with Halvorson Design Partnership (landscape architects) and Machado and Silvetti Associates (architects)
2003 Catching the Drift – women’s restroom renovation, Brown Fine Arts Center, Smith College, Northampton, MA, collaboration with James Polshek/Polshek Partnership Architects
2000 Meanderlink – airborne project over Frederick Law Olmsted’s Emerald Necklace Park, Boston, MA, Vita Brevis Program, Institute of Contemporary Art
2000 Circuitstream – Bank of America, Technology Headquarters, Charlotte, NC
1999 Longfellow Elementary School, Cambridge Arts Council, Percent for Public Art Program
1997-8 Mum’s the Word – temporary public work for City of Boston, collaboration with Spaulding Rehabilitation Hospital Aphasia Community Group, Boston, MA, Fund for the Arts commission
1995 Project FREE, Dorchester, MA – collaborative design of park benches with adolescents, Urban Arts
1993-9 As Above, So Below – design and execution of artwork for new tunnel entrances at 45th, 47th, and 48th streets, Grand Central Terminal North, MTA, Percent for Public Art Program, collaboration with Beyer, Blinder, Belle (architects)
1991 Robert Orton, La Jolla, CA
1990 Saul and Ellyn Dennison, Bernardsville, NJ
1988 Steven and Nancy Oliver, Oliver Ranch, Geyserville, CA
1986 Mid-Atlantic States Arts Consortium, Virginia Center for the Creative Arts, Sweet Briar, VA
1985 Operation GreenThumb – for 6th Street and Avenue B, Community Garden Division of NY Parks and Recreation
PUBLIC AND PRIVATE COLLECTIONS
Addison Gallery of American Art, Phillips Academy
Bayly Art Museum, University of Virginia
The Boston Public Library
The Detroit Institute of Art
Hood Museum of Art, Dartmouth College
Massachusetts Institute of Technology
Metropolitan Museum of Art
The New School for Social Research, New York
The Rose Art Museum of Brandeis University
University of Michigan Museum of Art
Whitney Museum of American Art
The Worcester Art Museum
Saul and Ellyn Dennison
Martin Margolis
Steven and Nancy Oliver
Smith College Museum of Art
The Worcester Art Museum
HONORS AND AWARDS
2015 Siena Art Institute Residency, Fall Project Fellowship to create “Alveare/ (Hive)”
2014 MacDowell Colony Visual Arts residency, Josephine Mercy Heathcoate Fellowship
2014 American Academy of Arts and Letters Fine Arts award and Purchase Award
2012 St. Botolph Foundation Distinguished Artist Award for Sculpture
2012 Artist’s Resource Trust grant from the Berkshire Taconic Community Foundation
2011 Robert and Margaret McColl Johnson grant from the Rhode Island Foundation
2011Artists in Context grant for “Distant Mirrors” website construction
2009 Sirius Art Centre Residency, Cork, Ireland
2009 LEF Foundation grant for FastForwardFossil
2009 Professional Development grant for FastForwardFossil, Rhode Island School of Design
2008 MacDowell Colony Residency, Kate and George Kendall Fellowship
2008 New England Foundation for the Arts grant for Filament/Firmament
2008 Blue Mountain Center residency
2007 International Association of Art Critics, New England Chapter, Best Public Project in a Public Space, Second Place, for Filament/ Firmament
2007 Pro Patria Mori chosen as one of the top public projects of 2006 by Public Art Network Year in Review
2007 MacDowell Colony Residency, Henry Eastwood fellowship
2007 Bogliasco Foundation Residency
2007 Professional Development grant for Revenant, Rhode Island School of Design
2005 LEF Grant – for Lumina
2004 American Association of University Women – Senior Scholar Special Commendation of Honor
2004 New England Foundation for the Arts – for Lumina
2004 Browne Fund – for Lumina
2002 Artists Resources Trust, Berkshire Community Foundation
2001 Rockefeller Foundation, Bellagio, Italy – Residency
2001 Banff Centre for the Arts, Banff, Canada – Residency
1999 Pilchuk Glass School, Stanwood, WA – Artist in Residence
1999 Massachusetts Cultural Council – Sculpture Fellowship
1998-9 Anonymous Was a Woman Foundation – Fellowship
1997 Institute for the Humanities, University of Michigan – Visiting Fellow
1997 Pilchuk Glass School, Stanwood, WA – Artist in Residence
1997 Henson Foundation – Development Grant for Ahab’s Wife
1995 Dancing in the Streets – Research and Development Grant for Ahab’s Wife
1994 EEC – six-week Project Residency, Les Arques, France
1994 Wesleyan University – Distinguished Alumnae Award
1992 LEF Grant – for development of Memorial Grove Project at Jacob’s Pillow Dance Festival, Becket, MA, collaboration with Gary Hildebrand (landscape architect)
1991-2 European Ceramics Work Center Opening Project – Residency, The Netherlands
1990-1 Radcliffe College – Bunting Fellowship
1990-1 Kittredge Education Fund, Portland, Maine
1989 New York Foundation for the Arts – Sculpture Fellowship
1987 John Simon Guggenheim Memorial Foundation – Guggenheim Fellowship
1987-1986 National Endowment for the Arts – Sculpture Fellowship
1986-8 P.S.1 Institute for Art and Urban Resources – Studio Residency
1985 New York Foundation for the Arts – Sculpture Fellowship
1985 Institute for Contemporary Art, Boston, MA – Engelhard Award
1984 National Endowment for the Arts – Sculpture Fellowship
1983-5 Fine Arts Work Center, Provincetown, MA – Visual Arts Fellowship, fourteen-month Studio Residency
1983 The MacDowell Colony, Peterborough, NH – seven-week Residency
GROUP and TWO PERSON EXHIBITIONS
2016 “Exquisite Corpse” at Planthouse, with essay by David Guion
2016 “In/Side/Out” curated by Susan Hambleton at Art 101, Brooklyn, NY
2016 “Emergent Ecologies” curated by Eban Kirksey for Kilroy Metal Ceiling, Brooklyn, NY
2015 “Soundings” Ellen Driscoll and Margaret Cogswell, Kentler International Drawing Space, Brooklyn, NY
2015 “Ellen Driscoll and Kathy Goodell” KMOCA, Kingston, NY
2015 “Working Women” curated by Bert Yarborough, Marian Graves Mugar Art Gallery, Colby-Sawyer College
2014 “Invitational” American Academy of Arts and Letters, New York, NY
2014 “Ceremonial Exhibition” American Academy of Arts and Letters, New York, NY
2014 “Groundswell” Olana estate of Frederic Church, Hudson, NY
2014 “Arc Across the Vortex” curated by Jenny Lynn McNutt for Art 101, Brooklyn, NY
2014 “Miniatures: It’s Not All Small After All”, University of Idaho Prichard Art Gallery
2014 “Paper Reveries”, curated by Kathleen Kucka, Borough Manhattan Community College
2014 “Large and Small”, Kentler International Drawing Space
2014 “Common Ground Gowanus” curated by Abby Subak, Old Stone House, Brooklyn, NY
2014 “Art Show Today” Plantworks, New York, NY
2013 “Break/Remake” at Proteus Gowanus Gallery, Brooklyn, NY
2012 “Sitelines” curated by Michelle L’Heureux, Wheaton College, Norton, Mass.
2011 “Washed Up”, Robert Oxnam and Ellen Driscoll, Brooklyn Zen Center, curated by Noah Fischer
2011 “Art Encounters Preservation”, curated by Allison Newsome, Wentworth-Coolidge Mansion, NH
2011 “Democratic Promenade”, curated by Brigitte Jurack, the Bluecoat Gallery, Liverpool, England
2011 “Marked Differences” curated by Roberta Waddell, Kentler International Drawing Space, Brooklyn,NY
2010 Agriculture encounters Sculpture, curated by Allison Newsome, at Allendale Farm, Brookline, Mass.
2009 Near Everywhere, curated by Ellen Driscoll, at GASP, Boston, Mass.
2009“browser, inter-actor, co-author, producer, nomad” curated by Lauren Ewing, Fine Arts Work Center, Provincetown, MA.
2009Yoshitomikura, Hiroshima, Japan, curated by Rene Grayre
2008 Mercurial and Capricious Systems curated by Joan Giroux at Columbia College, Chicago
2008 Its Getting Hot in Here, curated by Shana Dumont and Leonie Bradbury for Monserrat College
2008 Mend, Proteus Gowanus Gallery, Brooklyn, NY
2008 Thoreau Reconsidered, Concord Art Association, curated by Jennifer McGregor
2008 The Persistence of Line Kentler International Drawing Space, Brooklyn, NY, curated by Charlotta Kotik
2007 Revenant,curated by Zero Higashida for Nippon Ginko,Hiroshima, Japan
2007 Phantom Limb, Wave Hill, exhibition of a work based on “Civil Disobedience” by Thoreau
2006 Legacies with The Loophole of Retreat – New York Historical Society, as part of a three-part exhibition on slavery, New York, NY
2005 Camp with The Loophole of Retreat – Museum London, London, Ontario, Canada
2005 Veil,Tashkent Biennale, Uzbekistan
2005 Trunk Show – The Women’s Library, London, England
2004 Trunk Show – King House, Boyle Co Roscommon, Ireland and Sirius Arts Centre, Cork, Ireland
2004 A Void – part of The Big Nothing, Institute of Contemporary Art, Philadelphia, PA, curator Gerard Brown, collaborative net video Parallax with Jane Marsching at InLiquid.com
2004 “Betwixt”, Motoazabu Gallery, Tokyo, Japan
2004 Virginia Lynch Gallery, Tiverton, RI
2003 CustomFit – Smack Mellon Studios, Brooklyn, NY
2003 American Academy of Arts and Letters Invitational Exhibition, New York, NY
2002 Archipelago – Museum of Contemporary Art, Denver, CO
2002 Virginia Lynch Gallery, Tiverton, RI
2001 Annual Drawing Exhibition – Boston Center for the Arts, Boston, MA, curator Bill Arning
2001 The Drawing Project – Bernard Toale Gallery, Boston, MA
2000 Forms in Motion – Henson International Festival of Puppet Theater, The Cooper Union, New York, NY
1999 Ellen Driscoll, Lesley Dill, Ambreen Butt – DNA Gallery, Provincetown, MA
1999 Marilyn Monroe X Times – Emily Peterson Gallery, New York, NY
1999 Private Eye – Douglass College Library, Rutgers University, NJ, curator Amy Sillman
1999 Recent Projects: Ellen Driscoll and Lesley Dill – Bernard Toale Gallery, Boston, MA
1998 Paraphotography – Maier Museum of Art, Lynchburg, VA, curator Charles Hagen
1997 Spaces and Forms – Maryland Institute College of Art, Rhinehart School of Sculpture, Baltimore, MD
1997 Lifelines – Long Island University, C.W. Post Campus, Brookville, NY, curator Margie Neuhaus
1996 Infernal Inception: Artists Work in Glass – Boston Center for the Arts, Boston, MA
1996 Home – Lehman College Art Gallery, Bronx, NY
1996 Chesterwood Anniversary Exhibition – Chesterwood Museum, Stockbridge, MA, curator Lisa Dennison
1995 From There On Up to Here and Now – with “Equal Rights and Justice,” National African American Museum project, Smithsonian Institution, Washington, DC
1995 In Three Dimensions: Women Sculptors of the 90s – Snug Harbor Cultural Center, Staten Island, NY, curator, Charlotte Streifer Rubinstein
1995 New Forms; Fine Arts Work Center, Cape Museum of Fine Art, Dennis, MA, curator Ann Wilson Lloyd
1994 From There On Up to Here and Now, collaborative installation with Mamie Hughley, Pearl Walker, Annie
1994 Raft – Threadwaxing Space, New York, NY, project room installation with Nene Humphrey
1994 Art en Route: MTA/Arts for Transit – Paine Webber Gallery, New York, and Museums at Stony Brook, NY
1994 Four Women Sculptors – Cherrystone Gallery, Wellfleet, MA, curator Paul Bowen
1993 Drawings from 55 Ferris Street – Jessica Berwind Gallery, Philadelphia, PA and Wynn Kramarsky Gallery, New York, NY
199355 Ferris Street, Brooklyn, NY, curator Fredereicke Taylor
1993 Grounds for Sculpture – Johnson Atelier Sculpture Park, Mercerville, NJ
1993 Five Sculptors – Rosa Esman Gallery, New York, NY
1992 Opening Project Exhibition, European Ceramics Work Center, s’-Hertogenbosch, The Netherlands
1992 Suzanne Biederberg Gallery, Amsterdam, The Netherlands
1992 Ellen Driscoll / Donna Byars – University of Southern Maine, Gorham, ME
1991 Alchemy: Ellen Driscoll, Donald Lipski, Suzanne Bocanegra – Fayerweather Gallery, University of Virginia, Charlottesville, VA
1991 Two Objects – Rosa Esman Gallery, NY
1991 Insight on Site and The Loophole of Retreat – installation at The Rose Art Museum, Brandeis University, Waltham, MA
1991 Collection Notes – The Rose Art Museum, Brandeis University, Waltham, MA
1991 American Abstraction at the Addison – Addison Gallery of American Art, Phillips Academy, Andover, MA
1990 Means to Ends: Process and its Traces in Recent Sculpture – Rockland Center for the Arts, West Nyack, NY, curator Cynthia Nadleman
1990 The New School Collects: Recent Acquisitions – The New School for Social Research, New York, NY
1990 Group Show – Eve Mannes Gallery, Atlanta, GA
1990 Wood Transformed – McMullen Museum of Art, Boston College, Boston, MA
1990 Pour une Foundation Européene de Recherche sur le Sida, Drouot – Richelieu, Paris – catalog
1990 Grounded: Sculpture on the Floor – University of Michigan Museum of Art, Ann Arbor, MI
1989 Butterfield and Butterfield Warehouse, San Francisco, CA
1989 Art Against AIDS – American Foundation for AIDS Research, San Francisco, CA
1989 Totem – Addison Gallery of American Art, Philips Academy, Andover, MA
1989 Sculpture on the Edge – DeCordova Museum and Sculpture Park, Lincoln, MA
1988 Sculpture ’89 – University Art Gallery, State University of New York, Albany, NY
1988 Ellen Driscoll, Robert Lobe, Ursula Von Rydingsvard – Damon Brandt Gallery, New York, NY
1988 Ancient Explorations – Met Life Gallery, New York, NY
1988 Kindred Spirits: Metaphysical Insights of Seven Sculptors – George Ciscle Gallery, Baltimore, MD and Trabia-
1988 MacAfee Gallery, New York, NY
1988 Elements – Stavaridis Gallery, Boston, MA
1988 The Nature of Things – Cydney Payton Gallery, Denver, CO
1988 In the Making – The Sculpture Center, New York, NY
1988 Nomadic Visions – Southeastern Massachusetts University, North Dartmouth, MA
1988 Innovations in Sculpture – Aldrich Museum of Contemporary Art, Ridgefield, CT
1988 Strike; Nature, Abstraction, Aggression – Valencia Community College, Orlando, FL
1988 The 1980s: A New Generation, American Painters and Sculptors – Metropolitan Museum of Art, New York, NY
1987 PS1 Fifth Annual National and International Studio Artists Program – Clocktower Gallery, New York, NY
1987 Natural Reflections: Inside/Outside – The Sculpture Center, New York, NY
1987 Moody Gallery, Houston, TX
1987 The Prevalence of Myth – Organization of Independent Artists, Bronx Council on the Arts, Bronx, NY
1987 Hill Gallery, Birmingham, MI
1987 Pursuing Shape and Form – Thomas Barry Arts, Minneapolis, MN
1987 Alternative Supports: Contemporary Sculpture on The Wall – Brown University, Providence, RI
1987 The Tree Show – Massachusetts College of Art, Boston, MA
1986 A Contemporary View of Nature – Aldrich Museum of Contemporary Art, Ridgefield, CT
1986 Stavaridis Gallery, Boston, MA
1986 Paulo Salvador Gallery, New York, NY
1986 Ten-Year Survey, Arts Apprenticeship Program – Mayor’s Office of Cultural Affairs, City Gallery, New York, NY
1985 Paulo Salvador Gallery, New York, NY
1985 Invitational – Stux Gallery, Boston, MA
1985 Southern Exposure – Brockton Art Museum, Brockton, MA
1985 Natural History – Art in General, New York, NY
1984 Fusion – Paulo Salvador, New York, NY
1984 The Ways of Wood – The Sculpture Center, New York, NY
1984 Ten Downtown – La Galerie Seconde Classe, New York, NY
1983 Parsons School of Design, New York, NY
1981 5+5 – Mayor’s Office of Cultural Affairs, City Gallery, New York, NY
1980 Second Annual Exhibition – Painting Space 122, New York, NY
1976 Invitational – Boston Visual Artists Union, Boston, MA
1975 Jorgensen Gallery, University of Connecticut, Storrs, CT
1975 Fifth Annual Boston City Hall Exhibition, Boston, MA
EDUCATION
1980 MFA Sculpture – Columbia University, New York, NY
1974 BA Fine Arts – Wesleyan University, Middletown, CT
ACADEMIC EXPERIENCE
2013- Chair of Studio Arts and Visiting Professor of Sculpture at Bard College
1998 –2013 Professor, Sculpture Rhode Island School of Design, Providence, RI
1992-8 Associate Professor, Sculpture Rhode Island School of Design, Providence, RI
1992 Faculty, Sculpture Rhode Island School of Design, Providence, RI
1992 Adjunct Faculty, Sculpture School of the Museum of Fine Arts, Boston, MA
1991-2 Adjunct Faculty, Sculpture Art New England Summer Workshops, Bennington, VT
1991-2 Visiting Lecturer, Sculpture Princeton University, Princeton, NJ
1990 Adjunct Faculty, Sculpture Anderson Ranch, Snowmass, CO
1989 Adjunct Faculty, Sculpture Rhode Island School of Design, Providence, RI
1989 Visiting Artist, Sculpture School of the Museum of Fine Arts, Boston, MA
1988 Visiting Artist University of North Carolina, Chapel Hill, NC
1985-9 Director, France Pre-College Summer Program Parsons School of Design, Paris, France
1987 Visiting Lecturer, Sculpture State University of New York at Purchase, Purchase, NY
1980-3 Assistant Director of Admissions Parsons School of Design, New York, NY
VISITING ARTIST: CRITIQUES, PANELS, AND LECTURES
1986 –
Academy of Fine Art and Design, Bratislava, Slovakia
Bard College, Annandale-on-Hudson, NY
Bennington College, Bennington, VT
Boston College, Chestnut Hill, MA
Boston Public Library, Boston, MA
Brandeis University, Waltham, MA
Brigham Young University, Provo, UT
Bronx Museum of the Arts, Bronx, NY – Artists in the Marketplace Program
Brown University, Providence, RI
Colab Gallery, artist’s talk, Bangalore, India
College Art Association (CAA), New York, NY,
Cranbrook Academy, Bloomfield Hills, MI
C.W. Post Campus, Long Island University, Brookville, NY
The Detroit Institute of Arts, Detroit, MI
Drew University, Madison, NJ
Fine Arts Work Center, Provincetown, MA
Hartford Art School, West Hartford, CT
Harvard University, Cambridge, MA – Memorialization in Public Art
Historic Preservation Panel, Cambridge, MA
International Sculpture Conference,
Jawaharlal Nehru University, artist’s talk, Delhi, India
Lesley University, Cambridge, MA – Narrative Forms in Sculpture
Maine College of Art, Portland, ME
Massachusetts College of Art, Boston, MA
Middlebury College, Middlebury, VT
Minneapolis College of Art and Design
Montclair State University, Montclair, NJ
Mount Allison University, Sackville, New Brunswick, Canada
Museum of Contemporary Art/Denver, Denver, CO
Parsons School of Design, New York, NY
Pennsylvania Academy of Fine Arts, Philadelphia, PA
Pennsylvania State University, Lewistown, PA
Princeton University, Princeton, NJ
Public Art Network, Washington, DC – Year in Review: The Best of 2004, with Glenn Harper,
Sculpture magazine
Rhode Island School of Design, Providence, RI
Rhode Island School of Design, European Honors Program, Rome, Italy
RISD Art Museum, Providence, RI – Provocation from the series But Is It Art?
School of the Museum of Fine Arts, Boston, MA
School of Visual Arts, New York, NY
Skidmore College, Saratoga Springs, NY
Smith College, Northampton, MA
State University of New York at Albany, Albany, NY
State University of New York at New Paltz, New Paltz, NY
State University of New York at Purchase, Purchase, NY
Syracuse University, Syracuse, NY
University of California at Davis, Davis, CA
University of Massachusetts Amherst, Amherst, MA
University of North Carolina at Greensboro, Greensboro, NC
University of Southern Maine, Portland, ME
University of Utah, Salt Lake City, UT
University of Virginia, Charlottesville, VA
Vermont Studio Center, Johnson, VT
Virginia Commonwealth University, Richmond, VA
Visual Arts Leitrim, Leitrim, Ireland
Wellesley College, Wellesley, MA
The Wheeler School, Providence, RI – Memorials for fifth-grade class
Whitney Museum of American Art, New York, NY
Worcester Cultural Commission juror for Art in the Park, winner of the Massachusetts Cultural Commission GOLD STAR award in 2009
2014 New Criterion review of American Academy of Arts and Letters Invitational Exhibition New York’s Underground Art Museum: MTA Art and Design, by Sandra Bloodworth and William Ayres, Published by Monicelli Press
2013 Bound to Appear; Art, Slavery, and the Site of Blackness in Multicultural America by Huey Copeland, published by the University of Chicago Press
2012 Distant Mirrors catalogue with essay by Jenn Joy Sculpture Magazine, July-August, review of “Distant Mirrors”
2011 Finding Resonant Details in a Big Picture, A conversation with Ellen Driscoll by Jan Riley, Sculpture Magazine January/February 2011
2010 Art in America, January issue, review of FASTFORWARDFOSSIL #2 by Jean Dykstra AGNI Magazine, “From the Ground Up”, Spring Issue, by Ellen Driscoll
2010 FastForwardFossil catalogue with essay by Patricia Phillips, Point la Vue press.
2010 Boston Globe review of “Still Life” by Cate McQuaid, September 6
2010 Irish Examiner, image of Fastforwardfossil, part 3, October 10
2010 False Assumptions: How We’re Holding Public Art Back, by Ellen Driscoll, Public Art Review, fall/winter 2010
2009 On the Waterfront, Spokes Press, An Interview with Ellen Driscoll by Cheryl Kaplan
2008 Capricious and Mercurial Systems, catalogue by Joan Giroux and Whitney Huber Lazar
2008 It’s Getting Hot in Here, catalogue by Leonie Bradbury and Shana Dumont
2007 Karen Frostig, “Blaze,” a compilation of texts from the Women’s Caucus for art
2006 Karen Frostig, “Ellen Driscoll: Transforming Transitory Space,” Art New England, February/March
2006 Holland Cotter, “Emancipation Remains a Work in Progress,” review, The New York Times, June 20
2006 “On the Way” edited by Sandra Bloodworth, William Ayres for the MTA Arts for Transit program
2006 “Artist’s Resource Trust: The First Ten Years”, catalogue
2006 Laurel Graeber, “Family Fare,” The New York Times, September 8
2006 Erica Adams, “Thinking Through Glass,” This Side Up! winter 2006
2005 Archis, January issue
2005 Marty Carlock, “Aqueous Humour” review, Sculpture, February
2005 Trunk Show at King House review, Circa Art Magazine, spring, issue 111
2004 Monica Geran, “Awash in Artistry,” Interior Design, January
2004 Marty Carlock, South Boston Maritime Park article, Landscape Architecture, October
2004 Trunk Show review, Irish Times, December 11
2003 Jill Conner, “CustomFit” review, Contemporary, issue 52
2003 Harvard Review, spring
2003 John MacMillan, “Flush with Art,” Smith College Alumni Magazine, spring
2003 Linda Muehlig, Undomesticated Interiors, catalog, Smith College Museum of Art
2003 Megan Rooney, “Taking Art Sitting Down,” The Chronicle of Higher Education, April 18
2003 Christina Tree, “Culture Corner,” The Boston Globe, April 20
2003 Katherine Bowers, “The Art of Toiletry,” Women’s Wear Daily, April 22
2003 Grace Gleck, “In New Museum, Smith Puts its Best Forward,” The New York Times, May 16
2003 Robert Campbell, “Catching the Drift” review, The Boston Globe, August 24
2003 Carole Calo, Public Art Review, fall
2003 Joni Hullinghorst, “Smith’s Museum is Reborn,” The Keene Sentinel, October 3
2002 “Collecting Experience,” Sculpture, October
2002Hafthor Yngvason, Conservation and Maintenance of Contemporary Public Art
2002 Nancy Princenthal, “A Creative Legacy: A History of the NEA Visual Artists’ Fellowship Program”
2001 Ewa Lajer-Burcharth, “Becoming” publication for From Ear to There
2000 Janet Koplos, “Ellen Driscoll’s Passages” review for As Above, So Below, Art in America, June
2000 “Hub’s Necklace, Olmstead’s Oz” editorial, The Boston Globe, July 3
2000 Christine Temin, “Art on the Emerald Necklace” review of Vita Brevis, The Boston Globe, July 7
2000 Ann Wilson Lloyd, “Art on the Emerald Necklace” review, The New York Times, August 6
2000 Nancy Silverman, “Fantastic Journey” review for As Above, So Below, Public Art Review, fall
2000 Patricia Phillips, “The Proportions of Paradox,” Sculpture, November
1999 Christine Temin, review, The Boston Globe, January 20
1999 “The Loophole of Retreat” review, The Post-Star, February 4
1999 Kathleen Monaghan, Fugitive, catalog for The Loophole of Retreat
1999Barbara Rodriguez, Autobiographical Inscription, Form, Personhood and the American Woman Writer of
1999 Color, Oxford University Press, The Loophole of Retreat chapter
1999 Barbara Rodriguez, The American Slave Narrative: Slavery and the Persistence of Form, University of
1999 Wisconsin Press, The Loophole of Retreat chapter
1999 Joyce Wadler, “An Artist Lights a Little Known Tunnel,” The New York Times, December 3
1998 Charles Hagen, Paraphotography, catalog
1998 Jane Ingram Allen, “Inspiration and Renewal: Residencies for Sculptors,” Sculpture, February
1998 Laura Yuen, “Ahab’s Wife,” The Boston Globe, July 29
1998 “Bridging the Divided Mind” review of Mum’s the Word, The Boston Globe, August 26
1998 Ken Johnson, “Ahab’s Wife” review, The New York Times, August 28
1998 Mike Fressole, “Ahab’s Wife,” Staten Island Advance, September 13
1998 Richard Ryan, “Ahab’s Wife, or the Whale” review, Staten Island Advance, September 18
1998 Jennifer Dunning, “Ahab’s Wife, or the Whale” review, The New York Times, September 22
1998 Deborah Jowitt, “Ahab’s Wife, or the Whale” review, The Village Voice, September 23
1998 “Ahab’s Wife,” Puppetry International, fall, cover and review
1997 “Spaces and Forms” review, The Baltimore Sun, January 29
1997 “Ahab’s Wife: Drawings and Models” review, Ann Arbor News, February 15
1997 “Spaces and Forms” review, City Paper, February 26
1997 New Digital Media conference, Wesleyan University Alumni Magazine, spring, article and cover
1997 “Surreal ‘Ahab’s Wife’ Plays Whaling Museum,” Providence Journal, July 23
1997 “LifeLines” review, The New York Times, December 7
1996 Eleanor Heartney, essay in Passionate Attitudes brochure, Real Art Ways, Hartford, CT
1996“Close to Home” review, The New York Times, October 20
1996 Equal Rights and Justice catalog, Center for African American History and Culture, Smithsonian Institute,Washington, DC
1995 William Zimmer, “Parsing the Feminine with a Hank of Hair and a Poet’s Touch” review of Passionate Attitudes, The New York Times, January 1
1995 Charlotte Rubinstein, In Three Dimensions: Women Sculptors in the 90s, catalog
1995 Louinn Lota, “Equal Rights and Justice,” High Performance, winter
1995 Ruth Latter, “Installing a Medium to Deeper Appreciation” review of University of Virginia exhibition, The Daily Progress, April 20
1995 Nancy Princenthal, “Passionate Attitudes” review, Art in America, June
1995 Review of Fine Arts Work Center exhibition curated by Ann Wilson Lloyd, Cape Cod Times, October 27
1994 Cathy Fox, “Equal Rights and Justice” review, The Atlanta Journal-Constitution, May 24
1994 William Grimes, “Public Art for Public Places is Raising the Sights of Commuters,” The New York Times, August 22
1994 Jude Schwendenwien, “Passionate Attitudes,” The Hartford Courant, December 18
1994 Patricia Rosoff, “Passionate Attitudes” review, The Hartford Advocate, December 22
1993 Fredereike Taylor, 55 Ferris Street, catalog
1993 Wade Saunders, “Making Art, Making Artists,” Art in America, January
1993 Christine Temin, review of exhibition at Massachusetts College of Art, The Boston Globe, February
1993 Joanne Silver, review of Massachusetts College of Art exhibition, Boston Herald, February 4
1993 Cate McQuaid, review of exhibition at Massachusetts College of Art, The Boston Phoenix, February 19
1993 Carol Calo, review of exhibition at Massachusetts College of Art, Art New England, June/July
1992 Kay Larson, “Loophole” review, New York Magazine, January 13
1992 Voice Choices, The Village Voice, January 14
1992 “Goings on About Town/Art,” The New Yorker, February 10
1992 Black Arts New York, Visual Arts, February
1992 Ann Berk, “European Ceramics Work Center Project Exhibition” review, Kunstbeeld, March
1992 George Melrod, “Loophole of Retreat” review, Art in America, June
1992 Owen Findsen “Migration” and “Loophole” reviews, The Cincinnati Enquirer, June 7
1992 Susan Stoops, Insight on Site, catalog of “The Loophole of Retreat” installation at The Rose Art Museum, Brandeis University, Waltham, MA
1991 Nancy Stapen, “Brandeis Exhibit Shows Installation’s Vitality” review of Loophole, The Boston Globe, Oct. 6
1991 C. Hagen, “When the Outside World is Danger” review of Loophole installation The New York Times, December 27
1991 Thelma Golden, The Loophole of Retreat, catalog, Whitney Museum of American Art at Phillip Morris, New York, NY
1991 Eleanor Heartney, “Means to Ends” review, ArtNews, January
1990 Robert Taylor, “Sculpture at DeCordova Explores Edge of the 90’s,” The Boston Sunday Globe, January 7
1990 Nancy Stapen, “What Do You Do After Minimalism?,” Boston Herald, January 12
1990 Marc Mannheimer, review, Art New England, February
1990 Ann Bertelson, “Site Specific,” Northern California Home and Garden, March
1990 Michael Brenson, The New York Times, May 5
1990 Sally Heller, Contemporanea, September
1990 George Melrod, Sculpture, September/October
1990 Nancy Stapen, “Brandeis Exhibit Shows Installation’s Vitality” review of Loophole, The Boston Globe, Oct. 6
1990 Boston Globe, review, October 27
1990 Eleanor Heartney, ArtNews, October
1989 Marsha Miro, “Eye on Art,” Detroit Free Press
1989 “Ancient Explorations” review at Met Life Gallery, Daily News, June
1989 Elizabeth Wilcox, “Commissions,” Sculpture, September/October
1989 Joy Hakanson Colby, review, Detroit New, November 24
1989 Christine Temin, “Totem Exhibit Digs Deep Into Culture,” The Boston Globe, December 4
1988 John Dorsey, “Pessimism Pervades Exhibit,” The Baltimore Sun, January 8
1988 Kenneth Baker, San Francisco Chronicle, May 7
1988 Andy Grundberg, “The Artists of Summer,” The New York Times, Arts and Leisure section, July 3
1988 J.W. Cullum, “Strike; Coyne, Fasnacht, Driscoll, Hepper,” ArtPapers, July/August
1988 John Sturman, review, ArtNews, September
1988 Vivien Rayner, “Photos and Sculpture at the Aldrich,” The New York Times, November 27
1988 Jennifer Heath, review, Rocky Mountain News, December 2
1988 Martha B. Scott, Innovations In Sculpture, brochure/catalog, Aldrich Museum of Contemporary Art, Ridgefield, CT
1988 Judith Page, Strike, catalog, Valencia College, Orlando, FL
1988 Lasse Antonsen, Nomadic Visions, catalog, Southeastern Massachusetts University, North Dartmouth, MA
1988 Theresa Bramlin, P.S.1 National and International Studio Program, catalog
1987 Stephan Westfall, “New York Reviews,” Art in America, March
1987 John Sturman, “Studio,” ArtNews, May
1987 “New Faces for the New Season,” The New York Times Magazine, August
1987 Sven Birkerts, review, Art New England, summer
1987 Karen Ott, P.S.1 National and International Studio Program, catalog
1986 John Yau, A Contemporary View of Nature, catalog, Aldrich Museum of Contemporary Art, Ridgefield, CT
1985 Lois Tarlow, “Alternative Space,” Art New England, May
1984 April Kingsley, The Ways of Wood, catalog, The Sculpture Center, New York