Koenig and Clinton, New York, NY (solo- forthcoming)
Secession, Vienna, Austria (solo- forthcoming)
‘Substance and Accident,’ Hosfelt Gallery, San Francisco, (solo) CA
‘The Sum is Greater Than its Parts’, Hosfelt Gallery, New York, NY (solo)
‘The Longest Day of the Year’, Hosfelt Gallery, San Francisco, CA (solo)
with Linda Besemer, June Lee Contemporary Art, Seoul, Korea
‘CMY RGB XYZ’, Hosfelt Gallery, New York, NY (solo)
‘as far as the eye can see’, Hosfelt Gallery, San Francisco, CA (solo)
‘inherent order’, with David Driscoll, Zolla/Lieberman Gallery, Chicago, IL
‘starry-eyed’, Zolla/Lieberman Gallery, Chicago, IL (solo)
‘Disco Tree 2000!’, Parlour Projects, Brooklyn, NY (solo)
‘Anoka Faruqee and Rebecca Shore’, College of Dupage, Glen Ellyn, IL
‘Iterate Reiterate’, Barat College, Lake Forest, IL (solo)
‘Interiors’, Gallery 21, Dhaka, Bangladesh (solo)
‘Chaos and Awe: Painting in the 21st Century,’ Frist Visual Arts Center, Nashville, TN (forthcoming)
‘Optical Self Conscious,’ RISD Memorial Hall Gallery, Providence, RI
‘Spectators, Rendered and Regulated’, Koenig and Clinton, New York, NY
‘On the Grid,’ Lu Magnus Gallery, New York, NY
‘Xstraction,’ The Hole, New York, NY
‘Abstract Possibilites’, Bjorkholmen Gallery, Stockholm, Sweden
‘3 & 6’, Leo Koenig Gallery, New York, NY
‘Streamlines: Ephemeral Presence in Contemporary Art’, Mahaprajapati Vihar, Vaishali, India
‘Color!’, Tory Folliard Gallery, Milwaukee, WI
‘City Wide Exhibition’, Artspace, New Haven, CT
‘Look Both Ways’, Hosfelt Gallery, San Francisco, CA
‘Narcissism, the Real, the Fake, and the Anti-Digital Impulse’, Cirrus Gallery, Los Angeles, CA
‘Selections: South Asia’, Thomas Erben Gallery, New York, NY
‘Gifting Abstraction’, Soho 20 Gallery, New York, NY
‘Lifestyle Appropriate’, Merchandise Mart (via New Capital), Chicago, IL
‘Time Flies’, Hosfelt Gallery, San Francisco, CA
‘Repertoire’, Zolla/Lieberman Gallery, Chicago,IL
‘Battle of The Brush’, Bryant Park, New York, NY
‘Curatorial Research Lab’, Winkleman Gallery, New York, NY
‘Dis[Locating] Culture’, Michael Berger Gallery, Pittsburgh, PA
‘On PTG’, Western Exhibitions, Chicago, IL
Carl Berg Projects, Los Angeles, CA
‘Gravity and Transformation’, Kristi Engle Gallery, Los Angeles, CA
‘The Fluid Field: Abstraction and Reference’, Tyler Gallery, Tyler School of Art, Elkins Park, PA
‘Pattern Vs. Decoration’, Hosfelt Gallery, New York, NY and San Francisco, CA
‘Exquisite Acts and Everyday Rebellions’, Cal Arts, Valencia, CA
‘Another February Skies’, Glendale College Art Gallery, Glendale, CA
‘Hysteria Deluxe’, Angles Gallery Project Space, Santa Monica, CA
‘Available (A Still Life Show)’, Monya Rowe Gallery, New York, NY
Hosfelt Gallery, New York, NY
‘Hotel California’, Glendale College Art Gallery, Glendale, CA
‘Triumvirate 3’, Raid Projects, Los Angeles, CA
‘Extreme Abstraction’, Albright Knox Art Gallery, Buffalo, NY
‘Magic Show: Returning to the Organic’, Polvo, Chicago, IL
‘Perfect’, Chicago Cultural Center and Illinois Art Museum, Chicago, IL, traveled to Urban Institute of Contemporary Art (MI), Contemporary Arts Center New Orleans (LA), Art Museum of University of Memphis (TN), and Fermilab Art Gallery (IL).
‘Toxic’, Max Protetch Gallery, New York, NY
‘Art After the Age of Mechanical Reproduction’, Apexart, New York, NY
‘Structure’, Patricia Faure Gallery, Los Angeles, CA
‘Listening to New Voices’, PS1 Contemporary Art Center, Long Island City, NY
‘Forever Infinite’, Black Dragon Society, Los Angeles, CA
‘Song Poems’, Cohan, Leslie and Browne, New York and Rosamund Felson, Los Angeles, CA
‘Painting/Not Painting’, White Columns, New York, NY
‘ArtCouncil,’ Gallery 312, Chicago, IL
‘To be Continued…’, Art in General, New York, NY and Parlour Projects, Brooklyn, NY
‘Winter Paper’, Catherine Moore Fine Art, New York, NY
‘Selections’, LFL Gallery, New York, NY
‘Telesthesia and Amnescopia’, Betty Rymer Gallery, Chicago, IL
‘Under the Influence’, Zolla /Lieberman Gallery, Chicago, IL
Trippy World, Baron Boisanté Gallery, New York, NY
Spastic Ecstatic Abstract, The Common Wealth Gallery, Madison, WI
Derek Eller Gallery, New York, NY
M.F.A. Painting, Tyler School of Art, Temple University, Elkins Park, PA
B.A. Art (Painting), Yale University, New Haven, CT, Magna Cum Laude
PS1 National Studio Program, New York, NY
Whitney Museum Independent Study Program, New York, NY
The Fabric Workshop and Museum, Apprentice
Skowhegan School of Painting and Sculpture, Skowhegan, ME
Visva Bharati University, Santiniketan, India (Foreign Casual Course)
Award from the Edward J. and Dorothy Clarke Memorial Fund and the MacMillan Center for International and Area Studies at Yale for Albers symposium at Yale School of Art
Pollock Krasner Foundation Grant. Artadia, Individual Artist Grant Artadia, Individual Artist Grant
Temple University Fellowship
Mortimer Hays – Brandeis Traveling Fellowship
Ellen Battell Stoeckel Fellowship
“Homages to the Square,’ Living, 5 November, 2015.
Mendelsohn, John. ‘The Ghost in the Machine: Dipthong at Fiterman‘, artcritical, 5 October 2015.
Sheen, Claire. ‘Seeing Albers’, Yale Herald, 18 September 2015.
Mims, Dan. ‘Seeing is Believing‘, The Daily Nutmeg, Dan Mims, 16 September 2015.
Lopez, Natalina. ‘Exhibition Celebrates Albers’ Legacy‘, Yale Daily News, 9 September 2015.
Michelli, Thomas. ‘Confounding the Eye: Breaking Pattern at Minus Space‘, Hyperallergic, 28 March 2015.
Donovan, Bill. ‘Artist Interview: Anoka Faruqee’s Optical Paintings Will Twist and Bend Your Perception,’ Beautiful/Decay, 28 August 2014.
Curio, Paul. ‘Seen in New York, January 2014,’ abstract critical, 3 February 2014.
Rapp, Karen. ‘Anoka Faruqee at Hosfelt San Francisco,’ Art in America, January 2014.
Blandford, Richard. ‘Remote Staring the Age of Distraction,’ Elephant, Winter 2013-2014.
Marks, Rob. ‘Anoka Faruqee: Substance and Accident,’ Art Practical, 2 December 2013.
Johnson, Ken. ‘Xstraction‘, New York Times, 6 June 2013.
Karmel, Pepe. ‘The Golden Age of Abstraction: Right Now‘, Artnews, 24 April, 2013.
Levi Strauss, David. ‘When Formalist Art Criticism Fails,’ Art in America, March 2013.
‘I’d Rather be Here and Now: The Performative Verb of Painting’ Interview with Liena Vayzman, XTRA, Volume 15, No.3, Spring 2013.
Humphrey, David. ‘Anoka Faruqee’, Bomblog (bombsite.com), 31 January, 2013.
Grachos, Louis, ‘Extreme Abstraction Revisited’, Albright-Knox Gallery.
De La Hoz, Ryan. “Anoka Faruqee’s Infinite Space Paintings”, Beautifuldecay.com, 21 December 2012.
Walker, Ellspeth, ‘The Truth is Out There: Anoka Faruqee at Hosfelt Gallery’, Daily Serving.com, 24 November 2012.
‘Won’t you allow me to toy with time the way it toyed with me?’ But Does it Float?, 13 November 2012.
‘City-Wide Open Studios Celebrates its 15 year love affair with artists’ New Haven Register, 30 September 2012.
‘Dis[Locating] Culture: Contemporary Islamic Art In America (PHOTOS)’, Huffington Post, 12 March 2011.
Greenberger Rafferty, Sara, ‘College Try’ Scene and Herd, Artforum.com, 23 February 2010.
Woodard, Josef. ‘Gravity and Transformation at Kristi Engle Gallery’, Art Week, September 2008.
Baker, Kenneth. ‘Search for meaning within a forest of asterisks’, San Francisco Chronicle, 12 May 2007.
Nelson, Dona. ‘The Fluid Field: Abstraction and Reference,’ Exhibition Catalog, Tyler School of Art, Temple University, 2007.
Pepe, Sheila. ‘Available (A Still Life Show)’, Gay City News, 30 March 30 – 5 April 2006.
Zaidi, Schezee. ‘Rich optical intrigues of art,’ The News International (Islamabad, Pakistan), 31 December 2005
iIqbal, Jonid, ‘Faruqee pairs opposites in painting Islamic patterns,’ Dawn (Islmabad, Pakistan) 31 December 2005.
Snodgras, Susan. ‘Anoka Faruqee and David Driscoll, Zolla/Lieberman Gallery’, Art in America, October 2005.
Hawkins, Margaret. ‘Wow!’ follows ‘Huh?’ where art imitates art’, The Chicago Sun Times, 25 February 2005.
Brunetti, John. ‘Perfect: A Group Exhibition’, Rearview Mirror, May/June.
Workman, Michael, ‘The Perfect Essay’, Perfect, exhibition brochure, Chicago Cultural Center.
Tsai, Eugenie, ‘Art After the Age of Mechanical Reproduction’, exhibition brochure, Apex Art, New York, NY)
Johnson, Ken. ‘Art Guide: Art After the Age of Mechanical Reproduction’, New York Times, 20 June 2003.
Levin, Kim. ‘Listening to New Voices’, exhibition catalogue, P.S.1 Museum. (Queens, NY).
Cotter, Holland, ‘Art Guide: To Be Continued’, New York Times, 22 December 2000.
Cotter, Holland, ‘For Hikers Seeking Art, Brooklyn Is a Left Bank’, New York Times, 15 December 2000.
Brunetti, John, ‘Anoka Faruqee and Rebecca Shore’, The New Art Examiner, October 2000.
Girson, Matthew, “An Argument for Abstract Painting,” Anoka Faruqee and Rebecca Shore (Exhibition brochure), Gahlberg Gallery, College of Dupage (Glen Ellyn, IL).
‘Anoka Faruqee’s First Solo Painting Show begins’, The Daily Star (Dhaka), 3 January 1999.
Haq, Faiza. ‘Motifs: More than Mere Decorations’, The Daily Star (Dhaka), 15 January 1999.
Khan, Sadeq, ‘Decorative Equilibrium in Anoka Faruqee’s Paintings’, Independent Weekend (Dhaka), 8 January 1999.
Khan, Sadeq, ‘Anoka at Gallery 21,’ Independent (Dhaka), 6 January 1999.
‘Anoka Faruqee on Bridget Riley,’ Painters on Paintings.com, 5 January 2015.
‘The Labor of Looking: From Intention to Interpretation’, Publication forthcoming in The ART of Critique/ Re-imaginging Professional Art Criticism and the Art School Critique, Edited by Stephen Knudsen, University of Chicago Press.
‘Moiré Paintings 2012’, published in Moiré Paintings 2012, Artist’s Book, 2013.
‘Postscript’, published in ON PTG, Poor Farm Press, 2012, and Field Notes, Artist’s Book, 2010.
‘The Kantian Sublime: Why Care?’ Why Theory (Exhibition catalogue) Cal Arts
‘Byron Kim: Color as the Anti-Essence’, Byron Kim: Threshold, (Exhibition catalogue) UC Berkeley Art Museum
‘Enumerating Infinity: Cloning Color’, Visual Resources, September, 2003.
Curator, ‘Search Versus Re-Search: Josef Albers, Artist and Educator,’ Yale School of Art 32 Edgewood Gallery, New Haven, CT
Director and Producer, ‘Search Versus Re-Search: Recollections of Josef Albers at Yale,’ 33 minute documentary film
“CMYK,” XTRA, Vol. 15, No. 3, Spring 2013.
‘Never Underestimate a Monochrome,’ University of Iowa Museum of Art website, organized by Mariangeles Soto-Diaz
‘The Performing Archive: Restricted Access,’ participant in project by Suzanne Lacy and Leslie Labowitz, 18th Street Art Center and LAXART, Los Angeles, CA
Yale School of Art, Associate Professor, Director of Graduate Studies, Painting/Printmaking Department
Yale School of Art, Associate Professor
Cal Arts, Co-Program Director, Art Program Faculty
Skowhegan School of Painting and Sculpture, Resident Artist
Cooper Union, Visiting Artist (Taught Advanced Painting)
Vermont College, Adjunct Faculty, MFA in Visual Art
School of the Art Institute of Chicago, Assistant Professor, Painting and Drawing
Editorial Board, XTRA
Vice Chair, Board of Governors, Skowhegan School of Painting and Sculpture
opening address and organizer, ‘Search Versus Re-Search: Josef Albers, Artist and Educator,’ symposium
RISD, Providence, RI
Cornell University, Ithaca, NY
State University of New York, Purchase NY
Virginia Commonwealth University, Richmond, VA
‘Abstract Possibilities: The Moiré Paintings,’ (video) interview with C-Print, Stockholm, Sweden
‘Painting Politics,’ NYU, New York, NY (Panel)
Josef Albers and Interaction or Color: From Gallery to Ipad,’ Gallery Talk with Sara Sapire, Yale Art Gallery, New Haven, CT
Anoka Faruqee in conversation with David Cohen, Koenig and Clinton Gallery, New York, NY
School of the Art Institute of Chicago, Chicago, IL
‘Fifty years of Interaction of Color,’ Annual CAA Conference, Chicago, IL (Panel)
San Francisco Art Institute, San Francisco, CA
‘Color in Context: Revisiting Albers,’ (video) Yale Presidential Inauguration Symposium, New Haven, CT
‘Interaction of Color’ IPad App,’ Yale School of Art, New Haven, CT (Panel)
‘Interaction of Color’ IPad App, Video Commentary by Anoka Faruqee and others, Yale Press, New Haven, CT
‘Process, Practice, Porfolio 2.0‘, SAWCC, New York, NY (Panel)
Yale Summer School of Music and Art, Norfolk, CT
University of Iowa, Iowa City, IA
‘Sunday at the Met for ‘Matisse: In Search of True Painting’, Metropolitan Museum of Art, New York, NY
‘Critical Inversions: Artist to Critic’, This Red Door @ Kunstalle Galagos, Brooklyn, NY (Panel)
– view video: 1 : 2 : 3
Parsons, the New School for Design, New York, NY
‘Artist, Woman, Human’ (video), The Feminist Art Panel, MOCA, Los Angeles, CA. (Panel Chair)
Occidental College, Los Angeles, CA
Museum of Fine Arts, Boston, MA
Interview with Zachary Keeting and Christopher Joy (video)
NYU, New York, NY
Skowhegan School of Painting and Sculpture, Skowhegan, ME
University of Southern California, Los Angeles
University of Oregon, Eugene
Otis College of Art and Design, Los Angeles, CA
Parsons the New School for Design, New York, NY
University of California, Riverside
Cooper Union, New York, NY
Tyler School of Art, Elkins Park, PA
‘Unintended Consequences: Diversity and Studio Art Critique’, Annual CAA conference, New York, NY (Panel)
Idyllwild Arts, Painting’s Edge, Idyllwild, CA
National Art Gallery, Islamabad, Pakistan
‘The Work of Byron Kim: Color and Content,’ Panel Discussion, UC Berkeley Art Museum, Berkeley, CA
Pasadena City College, Pasadena, CA
‘The Kantian Sublime: Why Care?’ Parlour Projects, Brooklyn, NY and Vermont College, Montpelier
Carnegie Mellon University, Pittsburgh, PA
‘Enumerating Infinity: Cloning Color,’ Annual CAA Conference, Chicago, IL
Northwestern University, Evanston, IL
University of Chicago, Chicago, IL
“Telesthesia and Amnescopia,’ School of the Art Institute of Chicago, IL (Panel)