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15 JAN - 19 FEB 12

"Art to the Point"
Katonah Museum of Art
Katonah, NY
"The Sovereign"
pastel 58" x 38"
"Blue Misterioso"
pastel 58" x 38"



3 Dec 10 - 29 Jan 11

"Pulp Friction"
James Gallery, Pittsburgh, PA
"Alpha" pastel 22" x 26"
"Paranoia" pastel 22" x 26"
"Stasis" pastel 26" x 22"
2 framed 24" x 24" c-prints



27 Feb - 28 Mar 11

"Past Forward"
Target Gallery, Torpedo Factory Art Center, Alexandria, VA
"Alpha" pastel 22" x 26"
"Paranoia" pastel 22" x 26"
"Stasis" pastel 26" x 22"
"Stigmata" pastel 28" x 48"
"Heightened" pastel 22" x 26"



4 Mar - 14 Mar 11

"Pandemonium: Inaugural Preview Exhibition"
New York Center of Photography and the Moving Image (NYCPMI),
580 Eighth Ave., 7th Floor, New York, NY



22 Mar - 22 Jun 11

"Bazar"
Betty Dare Art Gallery, Chicago, IL
1 framed 24" x 24" c-print
1 framed 16" x 20" c-print



3 Dec 2010 - 29 Jan 2011

"Pulp Friction"
James Gallery, Pittsburgh, PA
"Alpha" pastel 22" x 26"
"Paranoia" pastel 22" x 26"
"Stasis" pastel 26" x 22"



27 Feb - 28 Mar 11

"Past Forward"
Target Gallery, Torpedo Factory Art Center, Alexandria, VA
"Alpha" pastel 22" x 26"
"Paranoia" pastel 22" x 26"
"Stasis" pastel 26" x 22"
"Stigmata" pastel 28" x 48"
"Heightened" pastel 22" x 26"



July 2010

Huffington Post
Article in the Huffington Post
"Should Artists Publish Their Own Catalogues?"







27 Feb - 28 Mar 2010

"Target Gallery" Torpedo Factory Art Center, Alexandria, VA
"Alpha"
"Paranoia"
"Stasis"
"Stigmata"
"Stasis"
"Heightened"



26 Feb 09 - 2 Mar 09

Exhibiting photographs at ArtExpo, Booth # 2415,
Artisan Direct, Pittsford, NY
Jacob Javits Convention Center, New York, NY.



7 Jun 09

Award Winner, Lenore Sagan Visual Arts Awards,
Joyce Dutka Arts Foundation, New York, NY
Hollis Taggart Galleries, 958 Madison Avenue, New York, NY.
"Honorable Mention Artist" by the Joyce Dutka Foundation
for the 2008 -2009 competition. A reception and awards presentation
will take place on June 7, 2009 from 5 - 8 p.m. at Hollis Taggart
Galleries, 958 Madison Avenue, New York, NY.



29 Sep - 24 Oct 09

Barbara Rachko: Gods and Monsters
H.P. Garcia Gallery - 580 Eighth Avenue,
7th Fl., New York, NY
Photographs
There will be an artist's reception on 7 Oct 09, from 6 - 8 p.m.
A catalog is available:
Twelve framed 24" x 24" c-prints
Two framed 16" x 20" c-prints



13 Nov 08 - 10 Jan 08

Red, group exhibition
Located on the third floor of Bergdorf Goodman, Fifth Avenue at West 57th Street, NYC
"Scene Eighteen: Living Room,"
pastel 26" x 20"

"Scene Twelve: Living Room,"
pastel, 26" x 20"

One framed 24" x 24" c-print


3 Jun 08 - 28 Jun 08

A solo exhibition - "Out of the Black: Pastel Paintings
And Photographs by Barbara Rachko"
New Art Center, New York, NY
"The Sovereign"
pastel 58" x 38"

"Who Can Be Sure of Anything?"
pastel 38" x 58"

"Heightened"
pastel 22" x 26"

"Between"
pastel 22" x 26"

Three framed 24" x 24" c-prints


1 Jun 08 - 18 Oct 08

Modes of Expression, group exhibition
Deloitte, New York, NY
"Scene Twenty: Living Room"
pastel 26" x 22"

"Scene Eighteen: Living Room"
pastel 26" x 22"

"Scene Seventeen: Living Room"
pastel 26" x 22"

"Scene Fifteen: Living Room"
pastel 26" x 22"

one framed 16" x 20" c-print


30 Sep - 25 Nov 08

Solo Exhibition
1st Presbyterian Church, New York, NY
"Scene Twenty-One: Living Room," pastel 22" x 26"
2 framed 24" x 24" c-prints
1 framed 18" x 18" c-print
7 framed 16" x 20" c-prints



30 Sep 08 - 21 Dec 08

Timeless: The Art of Drawing, group exhibition
Morris Museum, Morristown, NJ
"Between" pastel 22" x 26"


7 Aug 07 - 31 Oct 07

Gods and Monsters
Capital One Headquarters McLean VA
12 framed 16" x 20" c-prints
4 framed 24" x 24" c-prints
Scene Twenty-One: Living Room


4 Apr 06 - 30 Jun 06

About Face
A group exhibition at ArtHaus in San Francisco
Artwork on display:
"His Mortal Enemy Was Poised, Ready to Strike,"

"Scene Three: Living Room"

2 framed 16" x 20" c-prints.


26 Feb 06 - 2 Apr 06

Azarian McCullough Art Gallery
Azarian McCullough Art Gallery, St. Thomas Aquinas College, Sparkill, NY
Artwork on display:
"He Still Tried to Protect Her"

"Scene Eighteen: Living Room"

"Scene Seventeen: Living Room"

"Scene Fifteen: Living Room"

"Truth Betrayed By Innocence"

"Scene Twelve: Living Room"

"Answering the Call"

"Practical Advice on waiting"

"No Cure for Insomnia"

4 framed 16" x 20" c-prints


29 Jan 06 - 9 Mar 06

Anthony Giordano Gallery
Dowling College, Oakdale, NY
Artwork on display:
"At First He Vehemently Denied the Accusation"

"He Didn't Take Seriously the Threat from Below"

"His Sudden Return was not Entirely Welcome"

"The Magical Other"

4 framed 24" x 24" c-prints


14 Mar 05 - 30 Apr 05

Scenes: Pastels by Barbara Rachko
Crown Center Gallery presents drawings by
New York artist Barbara Rachko

Chicago, March 7, 2005: Loyola University Chicago's Crown Center Gallery and the Fine Arts Department are pleased to present a group of recent pastel drawings by New York artist Barbara Rachko. The exhibit, entitled "Scenes", will run March 14 through April 30. The exhibit will feature several large scale pastel paintings that describe a "scene" or set-up environment. Each painting represents a movie still, animating her doll and papier-mache figures with brilliant color, dramatic lighting and placement. The surface of the pastel paintings is rich and sumptuous, yet the overall effect of Rachko's is one of impending gloom or dread. The spaces are tight and confined, the angles of her compositions are tilted and off-setting. They are curious pieces that engage the viewer on many levels.


Ms. Rachko received her B.A. from the University of Vermont, Burlington, and has gone on to exhibit her work in numerous exhibitions and competition throughout the United States and abroad. She has won many awards for her multi-layered pastel paintings and has been invited to exhibit her work in two Whitney Biennials. New York critic Peter Dellolio has proclaimed her "the most original artist to emerge in the last decade", while ArtistsOwnRegistry.com.au has selected her as one of the "Top Ten World Artists."


An opening reception is scheduled for Friday, March 18, from 5 to 8pm.

Gallery Hours: Monday - Friday 10 am - 3 pm, and by appointment.

The gallery is located on the lakeshore campus at 1001 W. Loyola Ave., 2nd floor, of the Robert Crown Center for the Humanities Building.

Admission is Free.

and by appointment;
P: 773.508.3811
F: 773.508.2282

Artwork in the show:
"She Embraced It and Grew Stronger"
"Truth Betrayed By Innocence"
"Practical Advice on Waiting"
"No Cure for Insomnia"
"He Was So in Need of Botany"
"Scene Eighteen: Living Room"
"Scene Sixteen: Living Room"
"Scene Fifteen: Living Room"
"Scene Thirteen: Bathroom"


Postponed

Definition of Moments, two-person exhibition
Yajnavalka, Houston, TX
"A Promise Meant to be Broken"
pastel 58" x 38"

"Sometimes He Still Tried to Restrain Her"
pastel 58" x 38"

"She Embraced It and Grew Stronger"
pastel 58" x 38"

"Truth Betrayed by Innocence"
58" x 38"

"Practical Advice on Waiting"
58" x 38"

5 framed 24" x 24" c-prints

 

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You are on Page 2 of Archives.

Go to Page 1

15 JAN - 19 FEB 12

"Art to the Point"
Katonah Museum of Art
Katonah, NY
"The Sovereign"
pastel 58" x 38"
"Blue Misterioso"
pastel 58" x 38"



3 Dec 10 - 29 Jan 11

"Pulp Friction"
James Gallery, Pittsburgh, PA
"Alpha" pastel 22" x 26"
"Paranoia" pastel 22" x 26"
"Stasis" pastel 26" x 22"
2 framed 24" x 24" c-prints



27 Feb - 28 Mar 11

"Past Forward"
Target Gallery, Torpedo Factory Art Center, Alexandria, VA
"Alpha" pastel 22" x 26"
"Paranoia" pastel 22" x 26"
"Stasis" pastel 26" x 22"
"Stigmata" pastel 28" x 48"
"Heightened" pastel 22" x 26"



4 Mar - 14 Mar 11

"Pandemonium: Inaugural Preview Exhibition"
New York Center of Photography and the Moving Image (NYCPMI),
580 Eighth Ave., 7th Floor, New York, NY



22 Mar - 22 Jun 11

"Bazar"
Betty Dare Art Gallery, Chicago, IL
1 framed 24" x 24" c-print
1 framed 16" x 20" c-print



3 Dec 2010 - 29 Jan 2011

"Pulp Friction"
James Gallery, Pittsburgh, PA
"Alpha" pastel 22" x 26"
"Paranoia" pastel 22" x 26"
"Stasis" pastel 26" x 22"



27 Feb - 28 Mar 11

"Past Forward"
Target Gallery, Torpedo Factory Art Center, Alexandria, VA
"Alpha" pastel 22" x 26"
"Paranoia" pastel 22" x 26"
"Stasis" pastel 26" x 22"
"Stigmata" pastel 28" x 48"
"Heightened" pastel 22" x 26"



July 2010

Huffington Post
Article in the Huffington Post
"Should Artists Publish Their Own Catalogues?"







27 Feb - 28 Mar 2010

"Target Gallery" Torpedo Factory Art Center, Alexandria, VA
"Alpha"
"Paranoia"
"Stasis"
"Stigmata"
"Stasis"
"Heightened"



26 Feb 09 - 2 Mar 09

Exhibiting photographs at ArtExpo, Booth # 2415,
Artisan Direct, Pittsford, NY
Jacob Javits Convention Center, New York, NY.



7 Jun 09

Award Winner, Lenore Sagan Visual Arts Awards,
Joyce Dutka Arts Foundation, New York, NY
Hollis Taggart Galleries, 958 Madison Avenue, New York, NY.
"Honorable Mention Artist" by the Joyce Dutka Foundation
for the 2008 -2009 competition. A reception and awards presentation
will take place on June 7, 2009 from 5 - 8 p.m. at Hollis Taggart
Galleries, 958 Madison Avenue, New York, NY.



29 Sep - 24 Oct 09

Barbara Rachko: Gods and Monsters
H.P. Garcia Gallery - 580 Eighth Avenue,
7th Fl., New York, NY
Photographs
There will be an artist's reception on 7 Oct 09, from 6 - 8 p.m.
A catalog is available:
Twelve framed 24" x 24" c-prints
Two framed 16" x 20" c-prints



13 Nov 08 - 10 Jan 08

Red, group exhibition
Located on the third floor of Bergdorf Goodman, Fifth Avenue at West 57th Street, NYC
"Scene Eighteen: Living Room,"
pastel 26" x 20"

"Scene Twelve: Living Room,"
pastel, 26" x 20"

One framed 24" x 24" c-print


3 Jun 08 - 28 Jun 08

A solo exhibition - "Out of the Black: Pastel Paintings
And Photographs by Barbara Rachko"
New Art Center, New York, NY
"The Sovereign"
pastel 58" x 38"

"Who Can Be Sure of Anything?"
pastel 38" x 58"

"Heightened"
pastel 22" x 26"

"Between"
pastel 22" x 26"

Three framed 24" x 24" c-prints


1 Jun 08 - 18 Oct 08

Modes of Expression, group exhibition
Deloitte, New York, NY
"Scene Twenty: Living Room"
pastel 26" x 22"

"Scene Eighteen: Living Room"
pastel 26" x 22"

"Scene Seventeen: Living Room"
pastel 26" x 22"

"Scene Fifteen: Living Room"
pastel 26" x 22"

one framed 16" x 20" c-print


30 Sep - 25 Nov 08

Solo Exhibition
1st Presbyterian Church, New York, NY
"Scene Twenty-One: Living Room," pastel 22" x 26"
2 framed 24" x 24" c-prints
1 framed 18" x 18" c-print
7 framed 16" x 20" c-prints



30 Sep 08 - 21 Dec 08

Timeless: The Art of Drawing, group exhibition
Morris Museum, Morristown, NJ
"Between" pastel 22" x 26"


7 Aug 07 - 31 Oct 07

Gods and Monsters
Capital One Headquarters McLean VA
12 framed 16" x 20" c-prints
4 framed 24" x 24" c-prints
Scene Twenty-One: Living Room


4 Apr 06 - 30 Jun 06

About Face
A group exhibition at ArtHaus in San Francisco
Artwork on display:
"His Mortal Enemy Was Poised, Ready to Strike,"

"Scene Three: Living Room"

2 framed 16" x 20" c-prints.


26 Feb 06 - 2 Apr 06

Azarian McCullough Art Gallery
Azarian McCullough Art Gallery, St. Thomas Aquinas College, Sparkill, NY
Artwork on display:
"He Still Tried to Protect Her"

"Scene Eighteen: Living Room"

"Scene Seventeen: Living Room"

"Scene Fifteen: Living Room"

"Truth Betrayed By Innocence"

"Scene Twelve: Living Room"

"Answering the Call"

"Practical Advice on waiting"

"No Cure for Insomnia"

4 framed 16" x 20" c-prints


29 Jan 06 - 9 Mar 06

Anthony Giordano Gallery
Dowling College, Oakdale, NY
Artwork on display:
"At First He Vehemently Denied the Accusation"

"He Didn't Take Seriously the Threat from Below"

"His Sudden Return was not Entirely Welcome"

"The Magical Other"

4 framed 24" x 24" c-prints


14 Mar 05 - 30 Apr 05

Scenes: Pastels by Barbara Rachko
Crown Center Gallery presents drawings by
New York artist Barbara Rachko

Chicago, March 7, 2005: Loyola University Chicago's Crown Center Gallery and the Fine Arts Department are pleased to present a group of recent pastel drawings by New York artist Barbara Rachko. The exhibit, entitled "Scenes", will run March 14 through April 30. The exhibit will feature several large scale pastel paintings that describe a "scene" or set-up environment. Each painting represents a movie still, animating her doll and papier-mache figures with brilliant color, dramatic lighting and placement. The surface of the pastel paintings is rich and sumptuous, yet the overall effect of Rachko's is one of impending gloom or dread. The spaces are tight and confined, the angles of her compositions are tilted and off-setting. They are curious pieces that engage the viewer on many levels.


Ms. Rachko received her B.A. from the University of Vermont, Burlington, and has gone on to exhibit her work in numerous exhibitions and competition throughout the United States and abroad. She has won many awards for her multi-layered pastel paintings and has been invited to exhibit her work in two Whitney Biennials. New York critic Peter Dellolio has proclaimed her "the most original artist to emerge in the last decade", while ArtistsOwnRegistry.com.au has selected her as one of the "Top Ten World Artists."


An opening reception is scheduled for Friday, March 18, from 5 to 8pm.

Gallery Hours: Monday - Friday 10 am - 3 pm, and by appointment.

The gallery is located on the lakeshore campus at 1001 W. Loyola Ave., 2nd floor, of the Robert Crown Center for the Humanities Building.

Admission is Free.

and by appointment;
P: 773.508.3811
F: 773.508.2282

Artwork in the show:
"She Embraced It and Grew Stronger"
"Truth Betrayed By Innocence"
"Practical Advice on Waiting"
"No Cure for Insomnia"
"He Was So in Need of Botany"
"Scene Eighteen: Living Room"
"Scene Sixteen: Living Room"
"Scene Fifteen: Living Room"
"Scene Thirteen: Bathroom"


Postponed

Definition of Moments, two-person exhibition
Yajnavalka, Houston, TX
"A Promise Meant to be Broken"
pastel 58" x 38"

"Sometimes He Still Tried to Restrain Her"
pastel 58" x 38"

"She Embraced It and Grew Stronger"
pastel 58" x 38"

"Truth Betrayed by Innocence"
58" x 38"

"Practical Advice on Waiting"
58" x 38"

5 framed 24" x 24" c-prints

 

SOLD WORKS

If you own Barbara's pastel paintings or photographs and they're not pictured here, please contact her.




Barbara Rachko es una artista y autora contemporánea estadounidense que divide su tiempo de residencia entre la ciudad de Nueva York y Alexandria, Virginia. Ella es más conocida por sus pinturas sobre papel de lija en colores pastel, su libro electrónico "De piloto a pintor" (From Pilot to Painter) y su blog, "Polvo de color de Barbara Rachko" (Barbara Rachko’s Colored Dust).

Barbara ha llevado una vida extraordinaria e inspiradora. Ella aprendió a volar a la edad de 25 años y se convirtió en piloto comercial e ingeniera de vuelo del Boeing-727 antes de unirse a la Marina.

Como oficial naval, pasó muchos años trabajando en el Pentágono y se retiró como Comandante.

El 11 de septiembre del 2001, su esposo, el Dr. Bryan C. Jack, fue trágicamente asesinado en el avión que impactó contra el Pentágono.

Bárbara usa su gran colección de arte popular mexicano y guatemalteco: máscaras, animales de madera tallada, figuras de papel maché y juguetes, para crear pinturas únicas en tonos pastel sobre papel de lija que combinan la realidad y la fantasía y representan narrativas personales. Sus pinturas son audaces, vibrantes y extremadamente inusuales.

El crítico de Nueva York Peter Dellolio comenta: "Es innegable que, al igual que de Chirico, Barbara Rachko ha creado un paisaje único, original y muy privado".

La escritora de arte Ann Landi escribe: "Los antecedentes de Barbara Rachko no están en las tradiciones del arte popular de las culturas que estudia y abraza, sino en las sofisticadas estrategias de Henry Matisse (que era un maestro en la mezcla de patrones) y Edgar Degas (que explotó el poder de ángulos oblicuos y figuras recortadas)".

Barbara exhibe a nivel nacional e internacional y ha ganado muchos premios durante sus más de 30 años como artista profesional.

2018 Invitational Exhibition, NYC Phoenix Art, New York, NY

Fusion Art, Palm Springs, CA (online)

2011 “Barbara Rachko: The Black Paintings,” Gallery Gray, Minneapolis, MN

2009 “Barbara Rachko: Gods and Monsters,” HP Garcia Gallery, New York, NY

2008 “Out of the Black: Pastel Paintings and Photographs,” New Art Center, New York, NY; curated by Barbara MacAdam, deputy editor, ARTnews

Art at First, New York, NY

2007 “Gods and Monsters,” Capital One Art Gallery, McLean, VA

2006 Azarian McCullough Art Gallery, St. Thomas Aquinas College, Sparkill, NY

2005 Blackstone River Gallery, Woonsocket, RI

Artspace, Richmond, VA

“Scenes,” Crown Center Gallery, Loyola University, Chicago, IL

“Domestic Threats,” Joy Pratt Markham Gallery, The Walton Arts Center, Fayetteville, AR

2004 Edward Williams Gallery, Fairleigh Dickinson University, Hackensack, NJ

Cambridge Multicultural Arts Center, Cambridge, MA

“Domestic Threats,” Louise Jones Brown Gallery, Duke University, Durham, NC

2001 Olin Gallery, Roanoke College, Salem, VA

2000 La MaMa La Galleria, New York, NY

1999 “There is No Place Like Home,” Park Avenue Atrium, New York, NY; curated by Leah Poller, director, Art Alliance, New York, NY

1998 Broadway Windows, New York, NY

“There is No Place like Home,” Mercedes-Benz Manhattan ArtSpace, NYC; curated by Leah Poller

“Through the Window,” Doll-Anstadt Gallery, Burlington, VT

1996 “Monkey Business,” Brewster Arts Ltd., New York, NY (two-person show)

479 Gallery, New York, NY

Watchung Art Center, Watchung, NJ

School 33 Art Center, Baltimore, MD

1995 Manhattanville College, Purchase, NY

Howard County Community College, Columbia, MD

1993 Cunneen-Hackett Art Gallery, Poughkeepsie, NY

Torpedo Factory Art Center, Alexandria, VA

1992 Capitol Hill Art League, Washington, DC

2022 “The In-Between Space,” Riverfront Art Gallery, Yonkers, NY

2021 “An Imaginal Affair,” artamour, New Delhi, India (online) Västerås International Art Fair, Galleri SoHo, Västerås, Sweden NYC Art Movement, Triangle Loft, New York, NY

2020 Winter Salon Online Exhibition, Galleri SoHo, Vasteras, Sweden

“Lucid Dreaming,” Outlander Gallery, Jersey City, NJ

First International Online Exhibition, Galleri SoHo, Vasteras, Sweden

“September 2020: Peacock,” Sacrosanct Gallery, Naples, FL (online)

“23rd Annual Community Art Jam,” Hudson Guild, New York, NY (online)

2019 “Worlds Seen & Unseen,” Westbeth Gallery, New York, NY

2018 “Art Without Borders,” Madison, NH

“Mystical Forces,” Salomon Arts, New York, NY Emillions, Naples, FL

2017 “Blk Clok,” Art Basel, Reach Brickell City Centre, Miami, FL; represented by Emillions, Naples, FL

Miami River Art Fair, Miami, FL; represented by Dr. Barbara Aust-Wegemund, Art Historian

Art Below Regent’s Park, London, England

Le Dame Gallery, London, England

ARTROOMS, Melia White House Hotel, Regent’s Park, London, England

2016 Old Truman Brewery, London, England

Art Below and Gallery Orange, New Orleans, LA

2015 Art Busan, Korea, represented by Space 776, Brooklyn, NY

Affordable Art fair, Hong Kong; represented by Space 776, Brooklyn, NY

James Gallery, Pittsburgh, PA

Betty Dare Art Gallery, Chicago, IL

2014 Aqua Art Miami, The Aqua Hotel, Miami Beach, FL; represented by Space 776, Brooklyn, NY

Perkins Center for the Arts, Collingswood, NJ (three person exhibition)

“Age of Innocence,” Studio 5404, Massapequa, NY

James Gallery, Pittsburgh, PA

Betty Dare Art Gallery, Chicago, IL

2013 James Gallery, Pittsburgh, PA

Betty Dare Art Gallery, Chicago, IL,

2012 “Art to the Point,” Katonah Museum of Art, Katonah, NY; selected by Donald Sultan

MUSECPMI, New York, NY

James Gallery, Pittsburgh, PA

Betty Dare Art Gallery, Chicago, IL

Longstreth Goldberg, Naples, FL

2011 “Pandemonium: Inaugural Preview Exhibition,” The New York Center of Photography and the Moving Image, New York, NY

James Gallery, Pittsburgh, PA

Longstreth Goldberg, Naples, FL

“Bazar,” Betty Dare Art Gallery, Chicago, IL

2010 HP Garcia Gallery, New York, NY

“Artists for Haiti,” Contemporary Art Network, auction in support of Doctors Without Borders for Haitian earthquake relief

“Pulp Friction,” James Gallery, Pittsburgh, PA

“Past Forward,” Target Gallery, Torpedo Factory Art Center, Alexandria, VA (four-person show)

“Define: Art,” Betty Dare Art Gallery, Chicago, IL

Longstreth Goldberg, Naples, FL

2009 Joyce Dutka Arts Foundation award winners, Hollis Taggart Galleries, New York, NY

Rogue Space, New York, NY

Artexpo, Jacob Javits Convention Center, New York, NY; Artisan Direct, Pittsford,NY

Longstreth Goldberg, Naples, FL

Hudson Gallery, Sylvania, OH

ArtHaus, San Francisco, CA

1212 Gallery, Burlingame, CA

2008 “Timeless: The Art of Drawing,” Morris Museum, Morristown, NJ

CANcer, New Art Center, New York, NY

“Modes of Expression,” Deloitte and Touche, New York, NY

ReynoldsWolfe, Center 44, New York, NY

“Animals in Your Kingdom,” Micro Museum, Brooklyn, NY

Visual Arts Center of New Jersey, Summit, NJ; curated by Carter Foster, curator, department of drawings, Whitney Museum of American Art, New York, NY

Artwell Gallery, Torrington, CT

Hudson Gallery, Sylvania, OH

Hefton-Page Fine Art, Blue Ridge, GA

Longstreth Goldberg, Naples, FL

“Figurative Works by Gallery and Guest Artists,” “Outward Appearances,” and “About Face,” ArtHaus, San Francisco, CA

1212 Gallery, Burlingame, CA

2007 "Zen of the Artist," Broome Street Gallery, New York, NY

“Red,” Bergdorf Goodman, New York, NY; curated by Serge Gregorian, director, Contemporary Artists Network, New York, NY

“SCAN,” New Art Center, New York, NY

“Clear Blue Tuesday,” movie directed by Elizabeth Lucas; the artist and her work appeared in a gallery opening scene

“Free Play,” Islip Art Museum, East Islip, NY

Hudson Gallery, Sylvania, OH

Hefton-Page Fine Art, Blue Ridge, GA

Longstreth Goldberg, Naples, FL

“Masters’ Mystery Art Show,” Ritz Carlton, Art Basel Miami Beach, FL

“five x seven,” Arthouse at the Jones Center, Austin, TX and “five x seven – on the road: Houston,” Gallery Sonja Roesch, Houston, TX

ArtHaus, San Francisco, CA

1212 Gallery, Burlingame, CA

2006 “Between Body and Object,” Anthony Giordano Gallery, Dowling College, Oakdale, NY; curated by Pam Brown, gallery director

“Postcards from the Edge,” Sikkema, Jenkins, New York, NY

Visual Arts Center of New Jersey, Summit, NJ

Hudson Gallery, Sylvania, OH

Hefton-Page Fine Art, Blue Ridge, GA

Longstreth Goldberg, Naples, FL

“Masters’ Mystery Art Show,” Ritz Carlton, Art Basel Miami Beach, FL

“Big Fun,” “About Face,” ArtHaus, San Francisco, CA

1212 Gallery, Burlingame, CA

2005 Room With a View Gallery, Shangai, China

“Night of a Thousand Drawings,” Artists Space, New York, NY

“Multiple Oneness,” Park-Art Gallery, New York, NY

“Au Courant,” A Space Gallery, Brooklyn, NY (three-person show)

Gallery Z, Providence, RI

Hudson Gallery, Sylvania, OH

Art Struck Gallery, Blue Ridge, GA

Longstreth and Goldberg, Naples, FL

Margeaux Kurtie Modern Art, Madrid, NM

“House Party - Celebrating 15 Years of Breast Cancer Action,” ArtHaus, San Francisco, CA

1212 Gallery, Burlingame, CA

Permanent Collection Loan, Main Library, Santa Fe Community College, Santa Fe, NM

2004 “What an Art Gallery Should Actually Look Like (Large Glass),” Exit Art, New York, NY; curated by Michele Thursz and Anne Ellegood

“Night of a Thousand Drawings,” Artists Space, New York, NY

“Play Things,” Kirkland Art Center, Clinton, NY; curated by John Rossis

“The Drawing Show,” Old Church Cultural Center School of Art, Demarest, NJ; curated by Mary Murray, gallery director

“National Drawing 2004,” The College of New Jersey, Ewing, NJ

“Art of Survival,” Herspace, West Long Branch, NJ; curated by Nanci Hersh, artist

“Looking In/Looking Out,” Paul Mellon Arts Center at Choate Rosemary Hall, Wallingford, CT; curated by Ellen Pliskin, artist

“Embodiment: Myths in Animal Form,” PostPicasso.com, Richmond, VA; curated by Ursula Ilse-Neuman, curator, Museum of Arts and Design, New York, NY

“Critical Mass,” 1708 Gallery, Richmond, VA; curated by Peter Schjeldahl, critic, The New Yorker

Artway Gallery, Brampton, Ontario

“Masters’ Mystery Art Show,” Ritz Carlton, Art Basel Miami Beach, FL

Padulo Longstreth and Goldberg, Naples, FL

Hudson Gallery, Sylvania, OH

Margeaux Kurtie Modern Art, Madrid, NM

“Integrate/Disintegrate,” Visual Arts Gallery, Santa Fe Community College, Santa Fe, NM

Permanent Collection Loan, Main Library, Santa Fe Community College, Santa Fe, NM

1212 Gallery, Burlingame, CA

2003 “Fighting Back: An Exhibition in Support of the Campaign to Stop Violence Against Women,” Kyoritsu Women’s College, Tokyo, Japan

Phyllis Weil & Company, New York, NY

Monique Goldstrom, New York, NY

“Suspended Narratives,” Fine Arts Center Galleries, University of Rhode Island, Kingston, RI; curated by Judith Tolnick, gallery director

Boston Corporate Art, Boston, MA

“Fetish and Ritual,” Bruce Gallery of Art, Edinboro University of Pennsylvania, Edinboro, PA; curated by William Mathie, gallery director

Hudson Gallery, Sylvania, OH

“Little Gems,” Padulo Longstreth and Goldberg, Naples, FL

“International Works on Paper,” William Whipple Art Gallery, Southwest State U., Marshall, MN

Margeaux Kurtie Modern Art, Madrid, NM

Permanent Collection Loan, Main Library, Santa Fe Community College, Santa Fe, NM

Gallery Bergelli, Larkspur, CA

1212 Gallery, Burlingame, CA

2002 Art Alliance, New York, NY

“Continuity,” La Mama La Galleria, New York, NY

“Chromatic Intrigues,” Seton Hall University, Newark, NJ; curated by Stephen Sennott, director, City With-out Walls, Newark, NJ

“The Insomnia Show,” City With-out Walls, Newark, NJ; curated by Lori Field and Elizabeth Seaton, artists

Boston Corporate Art, Boston, MA

“All Dolled Up,” Suffolk Museum, Suffolk, VA, and Ellipse Art Center, Arlington, VA; curated by Trudi Van Dyke, director, Ellipse Art Center and Nancy Kinzinger, director, Suffolk Museum, Suffolk, VA

“Extraordinary Things: A Study of Contemporary Art Through Material Culture,” University Art Gallery, Indiana State University, Terre Haute, IN; curated by Kaz McCue, gallery director Padulo Longstreth and Goldberg, Naples, FL

Margeaux Kurtie Modern Art, Madrid, NM

Gallery Bergelli, Larkspur, CA

2001 Art Alliance, New York, NY

Boston Corporate Art, Boston, MA

KLFine Arts, Highland Park, IL

Doll-Anstadt Gallery, Burlington, VT

“Go Figure,” Gallery Bergelli, Larkspur, CA

Steve Stein Gallery, Sherman Oaks, CA

2000 Brewster Arts Ltd., New York, NY

Art Alliance, New York, NY

“Emerge2000,” Aljira, Newark, NJ; curated by Richard Klein, assistant director, Aldrich

Museum of Contemporary Art, Ridgefield, CT

“Extraordinary Things: A Study of Contemporary Art through Material Culture,” University Gallery,

University of Bridgeport, Bridgeport, CT; curated by Kaz McCue, gallery director Hiram Blauvelt Art Museum, Oradell, NJ

Doll-Anstadt Gallery, Burlington, VT

James Gallery, Pittsburgh, PA

KL Fine Arts, Highland Park, IL

“Latin Influences,” Gallery Bergelli, Larkspur, CA

Steve Stein Gallery, Sherman Oaks, CA

1999 Brewster Arts Ltd., New York, NY

Art Alliance, New York, NY

KL Fine Arts, Highland Park, IL

1998 Brewster Arts Ltd., New York, NY

Art Alliance, New York, NY

“The Biennial at Ben Shahn Galleries: Lines of Direction,” William Paterson University, Wayne, NJ

New Jersey Center for Visual Arts, Summit, NJ

1997 Brewster Arts Ltd., New York, NY

"Realities III," “Realities IV,” Art Alliance, NYC; traveled to Fenton Moore Gallery, Buffalo, NY

New Jersey Center for Visual Arts, Summit NJ

1996 Brewster Arts Ltd., New York, NY

"Realities: International Contemporary Realism," and "Realities II," Art Alliance, New York, NY

New Jersey Center for Visual Arts, Summit, NJ

1995 “National Midyear Exhibition,” Butler Institute of American Art, Youngstown, OH

New Jersey Center for Visual Arts, Summit, NJ

1994 Gallery Juno, New York, NY

“Irene Leach Memorial Exhibition,” Chrysler Museum, Norfolk, VA

“American Drawing Biennial,” Muscarelle Museum of Art, Williamsburg, VA

1993 Andre Zarre Gallery, New York, NY

Hoyt Institute of Fine Arts, New Castle, PA

1992 “American Drawing Biennial,” Muscarelle Museum of Art, Williamsburg, VA

Harmon-Meek Gallery, Naples, FL

1991 Sumner Museum, Washington, DC

Hoyt Institute of Fine Arts, New Castle, PA

2021 Exclusive representation in India with Interstellar Art Gallery, New Delhi, India Collaboration with Galleria Balmain, London, England on new product design BarbaraRachkosColoredDust blog reached 79,000 subscribers

2020 Making a documentary on Barbara’s life and work

Exclusive representation in Sweden with Galerie SoHo, Vasteras, Sweden 

Listed with Galleria Balmain, London

Listed on 1stDibs with Emillions, Naples, FL

Interview “The Heroine’s Journey of Barbara Rachko” (See Bibliography)

Updated Studio slide show at barbararachko.art 

BarbaraRachkosColoredDust blog reached 69K subscribers

2019 “Exclusive Interview with Barbara Rachko by Paula Soito,” 18 pages, July 2019 # 44 “Art Market” (See Bibliography)

2018 “Barbara Rachko – USA,” Galleria Banditto blog, Montefollonico, SI, Italy.

Interview in Los Tiempos, Cochabamba, Bolivia. (See bibliography)

“Barbara Rachko – From Pentagon to Painter,” interview with Elisa Pritzker for ABC latino Magazine. (See bibliography)

“Meet Trailblazer Barbara Rachko,” interview with VoyageMIA, Miami, FL.

Invitational Exhibition, NYC Phoenix Art, New York, NY

Artist’s Talk with Barnaby Ruhe at Salomon Arts Gallery, New York, NY

Listed on Artsy with Fusion Art, Palm Springs, CA

2017 “From Pilot to Painter” (eBook) available on iTunes

Listed on Artsy with Emillions Art, Naples, FL

2016 Represented by Gallerique, Chicago, IL

2015 Website redesigned and translated into Spanish and Portuguese for the South American audience

Listed on Artsy with Space 776, Brooklyn, NY

Winner, AIR Gallery Studio Visit Lottery, Brooklyn, NY

2014 Published first eBook, “From Pilot to Painter,” on Amazon

Interviewed by Brainard Carey for Yale Radio WYBC

Wikipedia bio published

First listing on Artsy, Tabla Rasa, Brooklyn, NY

2013 Selected for a fellowship to the New York School of Art Independent Study Program

2012 A Grant from the Templar Trust, Liechtenstein for a monograph, published by MUSECPMI, New York, NY

2011 Nominated for the Freedom to Create Prize, Singapore

2010 Grants from The Templar Trust, Liechtenstein, and the Midtown West Arts Association, New York, for a solo exhibition at H P Garcia Gallery, New York, NY

2009 Award Winner, Lenore Sagan Visual Arts Awards, Joyce Dutka Arts Foundation, New York, NY Grants from The Templar Trust, Liechtenstein, and the Midtown West Arts Association, New York, NY, for a solo exhibition at H P Garcia Gallery, New York, NY

2007 CAN Fellowship Recipient, Contemporary Art Network, New York, NY; selected by Barbara MacAdam, deputy editor, ARTnews

2000 Chosen for the inaugural class, “Emerge2000,” Aljira, Newark, NJ; selected by Richard Klein, assistant director, Aldrich Museum of Contemporary Art, Ridgefield, CT

(See http://barbararachko.com/en/about-barbara-rachko/press and http://barbararachko.com/en/about-barbara2 for links to online press)

Adelson, Fred B. “Fall arts season offers invigorating sense of renewal,” (Review), Courier-Post, Cherry Hill, NJ, September 27, 2014. (Reproduction)

Aptaker, Ann, and Miller, Stephen. Timeless: The Art of Drawing, (Catalogue), Morris Museum, Morristown, NJ, 2008. (Reproduction)

Awodey, Mark. “Southern Culture,” (Exhibition Review), Seven Days (Burlington, VT), Oct. 28, 1998. (Reproduction)

Birke, Judy. “Exploring Art-Making’s Internal and External Worlds,” (Review), New Haven (CT) Register,

Sept. 26, 2004.

Bischoff, Dan. “Art by Hand: Regional Drawing Throughout the Century,” (Review), Star Ledger, (Newark, NJ), October 4, 2008.

Bischoff, Dan. “A World of Art,” (Review), Star Ledger, (Newark, NJ), February 17, 2006.

Bischoff, Dan. “Insomnia Exhibit is a Real Eye-Opener,” (Review), Star Ledger, (Newark, NJ),

March 24, 2002. (Reproduction)

Bischoff, Dan. “Gallery Celebrates 25 Years in the Vanguard,” (Review), Star-Ledger, Sept. 17, 2000. (Reproduction)

Bischoff, Dan. “Farewell Heralds New Beginnings,” (Review), Star-Ledger, March 23, 2000. (Reproduction)

Braff, Phyllis. "Works that Create and Hold Energy," (Review), The New York Times, Nov. 17, 1996. (Reproduction)

CALYX, A Journal of Art and Literature by Women, Corvallis, OR, Vol. 22:1, Summer 2004. (Reproductions)

Candia, Elizabeth Leyva. “Barbara Rachko habla de su obsession por el mundo andino,” Los Tiempos, Cochabamba, Bolivia, July 29, 2018. (Reproductions)

Carey, Brainard. “Barbara Rachko: Interviews by Brainard Carey from Yale radio WYBC,” (Podcast), Feb. 10, 2014.

Coates, Jason. “All Mixed Up: Artspace’s New Show includes Artists Whose Work Contrasts Sharply with Each Other,” (Exhibition Review), Style Weekly, Richmond, VA, Oct. 5, 2005. (Reproduction)

Collins, Erica. "Suspended Narratives: Provocative Works on Display in Kingston," (Review), The North Kingston Standard-Times (RI), Oct. 23 – 24, 2003.

Collins, Tom. "SFCC’s Exhibition Space One of City’s Best-Kept Secrets," (Review), Albuquerque (NM) Journal, Feb. 24, 2004.

Dellafiora, James. "From the Navy to Artist's Life," (Feature Article), The Villager (New York),

Aug. 28, 1996. (Reproduction)

Dellolio, Peter. “On Barbara Rachko,” (Critical Essay), March 18, 2016. (Reproductions)

ElGenaidi, Deena. “A View from the Easel,” Hyperallergic, October 22, 2018. (Reproduction)

Fighting Back: An Exhibition in Support of the Campaign to Stop Violence Against Women, (Exhibition Catalogue), Amnesty International, Tokyo, Japan, March 2004. (Reproduction)

Fortwengler, Erica. “Juror’s Remarks,” (Article), Alexandria, VA, March 2010.

Fortwengler, Erica. “Barbara Rachko: Journey to Finding Success as an Artist,” (Feature Article), Developments, Alexandria, VA, Spring 2008. (Reproductions)

Gascot, John. “Domestic Threats,” (Article), Huffington Post, June 30, 2010. (Reproductions)

Grant, Daniel. “Self-Publishing a Catalogue,” (Feature Article), American Artist, February 2004. (Reproduction)

Haas, Cherie. “32 Insider Tips: Learn Secrets of Success From Past Finalists in the Artist’s Magazine’s Annual Art Competition,” (Feature Article), The Artist’s Magazine, December 2010.

Harrison, Helen. "With Luck, Iconoclasts Find Their Mediums," (Review), New York Times,

Feb. 18, 2006. (Reproduction)

Henry, Gerrit. “Barbara Rachko: Gods and Monsters,” Domestic Threats, (Catalogue), New York, NY, 2001, reprinted 2004. (Reproductions)

Konau, Britta. “He Urged Her to Abdicate and Film Noir,” Domestic Threats, (Catalogue), New York, NY, 2001, reprinted 2004. (Reproductions)

Kovalsky, Serena. “A Second Life for Mexican Folk Art,” Artful Vagabond, August 20, 2012. (Reproductions)

Klein, Richard. “Curator’s Remarks,” Aljira Emerge 2000 (Exhibition Catalogue), Aljira: A Center for Contemporary Art, Newark, NJ, March 9 - April 21, 2000. (Reproduction)

Landi, Ann. “What is a Drawing?” (Feature Article), Vasari21, October 10, 2016. (Reproduction)

Landi, Ann. “Show and Tell: The Dos and Don’ts of Studio Visits,” (Feature Article), ARTnews, September 2013. (Reproductions)

Langsam, Janet. “Curator’s Choice,” (Review), This and That, Westchester, NY, February 9, 2012.

Liburt, Ellen. "Violence, Sex, Greed, & Domination Pervade Brewster Arts Opening," (Review), Open Air New York, NY, Oct. 23, 1996. (Reproductions)

March, Nathan. "Miles Davis Destroys Creative Block" (Feature Article), Follow Magazine, (Adelaide, Australia), Jan. 31, 2017. (Reproductions)

March, Nathan. "Follow Magazine – Featured Interview!" (Feature Article),Follow Magazine, (Adelaide, Australia), Issue 05 , June 2016. (Reproductions)

Maya, Carey. "Art Between Structure and Being" (Review), The Suffolk County News, (Oakdale, NY), Feb.23, 2006. (Reproduction)

McCormack, Jeannie. “Barbara Rachko’s Surrogates for Our Inner Demons,” Gallery & Studio, (New York, NY), Nov.– Dec. 2006/Jan. 2007. (Reproduction)

McCue, Kaz. “Curator’s Statement,” Extraordinary Things: A Study of Contemporary Art Through Material Culture , (Exhibition Brochure), Indiana State University,Terra Haute, IN; Oct. 30 – Nov. 22, 2003. (Reproductions)

Mercado, Ashley and McGurk, John J. “The Erotic Art Show at the Blackstone River Gallery,” (Review), Agenda (Woonsocket, RI), April 14 – 28, 2005.

New American Paintings, Open Studio Press, Wellesley, MA; April 1998. (Reproductions)

Norris, Doug. "URI Show Ranges From the Surreal to the Sublime," (Review), South County Independent (Providence, RI), Oct. 23, 2003.

On the Issues Magazine, Winter 2009, Long Island City, NY. (Reproductions)

O’Shaughnessy, Tracey. “Pliskin, Curator and Artist, ‘Looking In/Looking Out,” (Review), The Sunday Republican, Chesire, CT, October 3, 2004.

The Pedestal Magazine.com, Charlotte, NC, June/July 2003. (Reproductions)

Phillips, Renee. "Art Entrepreneur: Are Juried Competitions Worth the Gamble," (Feature Article), Art Calendar, Dec. 2008. (Reproduction)

Poet Lore, Volume 91, Number 2, Ann Arbor, MI. (Reproductions, Front and Back Cover).

Pritzker, Elisa. “Barbara Rachko – From Pentagon to Painter,” (Feature Article), ABC latino Magazine, Poughkeepsie, NY, October 2018. (Cover, Reproductions)

Pritzker, Elisa. "Elisa Pritzker Talks Art: Artists Open Studios," (Feature Article), Delaware & Hudson Canvas, Nov. 2008.

Proskow, Christine. "The Year’s Best Art: Experimental," (Feature Article), The Artist's Magazine, Dec. 2007. (Reproduction)

Rachko, Barbara, and Drizin, Barbra, editor. “From Pilot to Painter,” (eBook), Amazon.com, Jan. 3, 2014. (Reproductions)

Rachko, Barbara. “Artist’s Remarks,” Fetish and Ritual, (Exhibition Brochure), Edinboro University of Pennsylvania, Edinboro, PA; Sept. 3 – 25, 2003. (Reproductions)

Rodriguez, Bill. “Dream Weavers: Suspended Narratives Explores Extra Dimensions,” (Review), The Providence (RI) Phoenix, Oct. 31 – Nov. 6, 2003.

Rothbart, Daniel. "A Conversation with Barbara Rachko," (Feature Article), ArteryNYC.com, Jan. 2012. (Reproductions)

Rothbart, Daniel. "Gods and Monsters," (Exhibition Review), NYArts , Spring 2010. (Reproductions)

Rutigliano, Dario. “An Interview with Barbara Rachko,” (Feature Article), ARTiculAcion Art Review, July 2014. (Reproductions)

Schaber, Greg. “Paint What’s Important,” (Feature Article), The Artist’s Sketchbook, Jan. 2003. (Reproductions)

Schaber, Greg. "Shifting Your Viewpoint," (Feature Article), The Artist's Magazine, Oct. 1997. (Reproductions)

Shaw, Kurt. "Exhibit Shows Paper to Be Anything But Plain," (Exhibition Review), Pittsburgh Tribune-Review, January 10, 2011.

Smith, Hannah. “Barbara Rachko has led an incredible life and suffered devastating loss, but through all this, creates wonderfully surrealist works,” (Feature Interview), ArtWeek, January 2017. (Reproductions)

Streitfield, Lisa Paul. “A Vision of Absence: How a Non-Commercial Contemporary Art Practice Bridges Colonial and Folk Art in Mexico,’” (Crtical Essay), Hermeneutics of New Moderism, October 30, 2018. (Reproductions)

Streitfield, Lisa Paul. “(R)evolution in Berlin: Golem Ushers in the Shadow Dialetic ,” (Exhibition Review), Huffington Post, December 2. 2016. (Reproduction)

Streitfield, Lisa Paul. “Reviving Pop: Barbara Rachko’s ‘Black Paintings,’” (Crtical Essay), Hermeneutics of New Moderism, November 4, 2016. (Reproductions)

Streitfield, Lisa Paul. “The Shadow Dialetic ,” (Critical Essay), Hermeneutics of New Moderism, November 4, 2016. (Reproduction)

Streitfield, Lisa Paul. “Barbara Rachko,” (Exhibition Catalogue). H.P. Garcia Gallery, New York, NY, Oct. 2009. (Reproductions)

Tolnick, Judith. “Curator’s Remarks,” Suspended Narratives, (Exhibition Brochure), University of Rhode Island, Kingston, RI, Oct. 9 – Dec. 8, 2003. (Reproductions)

Van Siclen, Bill. "At URI Gallery, Works That Will Give You Pause," (Review), Providence (RI) Journal, Nov. 6 – 9, 2003. (Reproduction)

 

Bolivianos

En la vida real, las máscara festivas hechas de estuco o de tela que los bailarines usan para cubrir sus mascaras sicológicas de sumisión, indiferencia y auto-censura, les permite mostrar sus rostros reales. Gracias a esta paradoja de cubrir para descubrir, todos los deseos ocultos, las energías reprimidas y los resentimientos reprimidos se desbordan en un torrente de color, movimiento y melodía: Un despertar glorioso de una cultura dormida.

Máscaras de los Andes Bolivianos, Editorial Equipus y Banco Mercantil



Mi longeva fascinación por las máscaras tradicionales se hizo más fuerte en la primavera del 2017 cuando visité el Museo Nacional de Etnografía y Folclor en La Paz, Bolivia. Hubo una exhibición en particular, con más de cincuenta máscaras de festival, que fue absolutamente fascinante.

Las máscaras eran viejas y fabricadas en Oruro, Un antiguo centro de minería de estaño alrededor de 140 millas al sur de La Paz, en el frío Altiplano (con una elevación de 12,000’). Las máscaras representan figuras importantes de las tradiciones folclóricas bolivianas y fueron creadas para ser usadas en las celebraciones del Carnaval, que acontecen anualmente a finales de febrero o principios de marzo.

El Carnaval de Oruro gira alrededor de tres grandes danzas. La danza de "Los Incas" representa la conquista y muerte de Atahualpa, el emperador Inca que regía cuando llegaron los españoles en el año 1532. De la danza "La Morenada", inicialmente se tenía la creencia de que representaba a los esclavos negros que trabajaban en las minas, pero la verdad es más complicada (e incierta) ya que este tipo de trabajo sólo se le permitía a los indígenas mitayo. La danza de "La Diablada" representa a San Miguel luchando contra Lucifer y los siete pecados capitales. Estos últimos fueron inicialmente simulados en siete máscaras distintas derivadas de símbolos cristianos medievales y mayormente desprovistas de elementos pre-colombinos (con excepción de algunos animales totémicos que se convirtieron en parte de la cristianidad después de la conquista). Popularmente, en estas danzas el gallo representa a El Orgullo, el perro a La Envidia, el cerdo a La Codicia, el demonio femenino a la Lujuria, etc.

La exhibición en La Paz fue maravillosa y dramática. Cada máscara estaba meticulosamente puesta contra una pared oscura y estratégicamente iluminada de manera tal que cobraba vida. Este efecto fue misterioso. Las máscaras parecían como versiones en tercera dimensión de mis "Pinturas Negras", una serie de pinturas al pastel que he estado creando por 10 años. Esta experiencia fue un regalo... Casi ni puedo creer mi buena suerte!

Tuve claro que estaba presenciando el nacimiento de una nueva serie -Lo dije a mis acompañantes mientras me quedaba atrás en tanto que ellos exploraban otras partes del museo- Me gasté bastante tiempo componiendo fotografías. A raíz de esto, tengo suficiente material de referencia para crear nuevas pinturas al pastel en mi taller por bastantes años.

La serie titulada "Bolivianos", es sin lugar a dudas mi trabajo más fuerte e impactante hasta la fecha.

Barbara's Bio

Barbara Rachko was born in Paterson, New Jersey and grew up in a New York City suburb. She graduated from the University of Vermont with a B.A. in psychology. After college, Barbara earned a commercial pilot's license and Boeing 727 flight engineer's certificate, then spent seven years on active duty as a Naval officer.

In 1986 while working at the Pentagon, she began to study figure drawing and medical anatomy, and began many long years of developing her craft. Barbara subsequently resigned from active duty (but remained in the Navy Reserve and retired as a Commander) to devote herself to making art. On 9/11 Barbara's life was changed forever when her husband, Dr. Bryan C. Jack, was killed on the plane that hit the Pentagon.

Dividing her time between residences in New York and Alexandria, Virginia, Barbara enjoys a busy career as a professional artist. She is represented by six galleries throughout the United States, exhibits nationally and internationally, and continues to win accolades, including completion of Ajira's Emerge 2000 business program for artists, a 2008 – 2009 Joyce Dutka Arts Foundation award, and grants from the Templar Trust in Lichtenstein.

Visit her Facebook page, and her blog barbararachkoscoloreddust.com for the latest updates. A Yale radio podcast is at museumofnonvisibleart.com and Barbara's first eBook, "From Pilot to Painter," is available on Amazon. View Barbara's new bio on Wikipedia here.

Barbara Rachko nació en Paterson, Nueva Jersey, y creció en un suburbio de la ciudad de Nueva York. Se graduó de la Universidad de Vermont con un título de licenciada en psicología. Al terminar sus estudios, obtuvo una licencia de piloto comercial y un certificado de ingeniero de vuelo para aviones Boeing 727. Más tarde estuvo siete años de servicio como oficial de la Marina.

En 1986, mientras trabajaba en el Pentágono, empezó a estudiar dibujo anatómico y anatomía médica, dando así comienzo a su larga trayectoria artística. Barbara renunció entonces al servicio activo (aunque siguió en la Reserva Naval y se retiró con el grado de comandante) para dedicarse al arte. El 11 de septiembre de 2001 su vida cambió para siempre cuando su marido, el Dr. Bryan C. Jack, murió en el avión que se estrelló contra el Pentágono.

Actualmente divide su tiempo entre sus dos casas en Nueva York y en Alexandria, Virginia, y disfruta de una activa carrera como artista profesional. Sus obras se exponen en seis galerías en todo Estados Unidos, con muestra nacionales e internacionales, y sigue acumulando premios y galardones, como el programa de negocios para artistas Emerge 2000 de Ajira, una beca de la fundación Joyce Dutka Arts Foundation para los años 2008-2009 y becas de Templar Trust en Lichtenstein.

Barbara Rachko is an American contemporary artist and author who divides her time between residences in New York City and Alexandria, VA. She is best known for her pastel-on-sandpaper paintings, her eBook, “From Pilot to Painter,” and her blog, “Barbara Rachko’s Colored Dust.”

Barbara has led an extraordinary, inspiring life. She learned to fly at the age of 25 and became a commercial pilot and Boeing-727 flight engineer before joining the Navy.

As a Naval officer she spent many years working at the Pentagon and retired as a Commander.

On 9/11 her husband, Dr. Bryan C. Jack, was tragically killed on the plane that hit the Pentagon.

Barbara uses her large collection of Mexican and Guatemalan folk art – masks, carved wooden animals, papier mâché figures, and toys – to create one-of-a-kind pastel-on-sandpaper paintings that combine reality and fantasy and depict personal narratives. Her paintings are bold, vibrant, and extremely unusual.

New York critic Peter Dellolio remarks, “It is undeniable that, like de Chirico, Barbara Rachko has created a unique, original, and very private landscape.”

Arts writer Ann Landi writes, “Barbara Rachko’s antecedents are not in the folk art traditions of the cultures she studies and embraces, but rather in the sophisticated strategies of Henry Matisse (who was a master at mixing patterns) and Edgar Degas (who exploited the power of oblique angles and cropped figures).”

Barbara exhibits nationally and internationally and has won many awards during her 30+ years as a professional artist.

Click to view Barbara's e-book on Amazon!




 

Dioses Y Monstruos

"[Man Ray liberó] la fotografía de su función documental para convertirla en un objeto en sí misma; un objeto que se podía usar tanto para evocar un mundo de sueños como para su tarea más usual, capturar el mundo que vemos todos los días" - Anthony Shelton en 'Man Ray, El Arte Africano Y La Lente Modernista'
(continúa debajo)



Las razones por las que me atraen los objetos culturales mexicanos y guatemaltecos —máscaras, animales tallados en madera, figuras de papel maché y juguetes—son similares a las que atraían a Man Ray y a los modernistas al arte africano, en su caso. Durante mis viajes al sur de México y Guatemala frecuento tiendas de máscaras, mercados y bazares en búsqueda de las figuras que luego poblarán mis fotografías. Cómo, por qué, cuándo y dónde esos objetos pasen a ser parte de mi vida es una parte importante del proceso. Tomo objetos muy antiguos con un pasado mexicano o guatemalteco único —muchos han sido usados en celebraciones religiosas— y les doy una segunda vida, por decirlo de alguna manera, en el Nueva York del presente. Cuando vuelvo a casa, leo muchísimo y averiguo todo lo que puedo sobre ellos.

Las impresiones cromogénicas de la serie Dioses Y Monstruos son experimentos en los que renuncio al control. Abandono técnicas básicas de fotografía, como el enfoque y la composición de la imagen en el telémetro. Uso películas y evito la manipulación digital tanto al tomar la foto como al imprimir las imágenes. Tomo las fotografías a través de geles plásticos con color para añadir sombras y colores, para abstraer y dar una nueva forma irreconocible a los detalles, creando así escenarios que parecen salidos de los sueños. Cada imagen es una sorpresa irrepetible. Mi actitud constante es dejar ir, romper los hábitos aprendidos como pintora y como fotógrafa, explorar y ver qué pasará luego. En esta serie "pinto con la cámara", creo variaciones que liberan mi cámara de ser un mero equipo que solo registra lo que tiene delante.

 

BLACK PAINTINGS

“The assimilation of styles and motifs from African cultural artifacts into the work of avant-garde artists was a means of challenging conventional western aesthetic values and hierarchies that reflected what those artists perceived as a vacuous and moribund society. In looking to these sources to invigorate their own creative visions, what these artists actually discovered were new ways of seeing and making art.” - Wendy Grossman in “Man Ray, African Art, and the Modernist Lens”




I am drawn to Mexican and Guatemalan cultural objects—masks, carved wooden animals, papier mâché figures, and toys—for reasons similar to those of Man Ray and the modernists, who in their case were drawn to African art. On trips to southern Mexico and Guatemala I frequent local mask shops, markets, and bazaars searching for the figures that will later populate my pastel paintings and photographs. How, why, when, and where these objects come into my life is an important part of the process. I take very old objects with a unique Mexican or Guatemalan past—most have been used in religious festivals—and give them a second life, so to speak, in New York in the present. When I return home I read prodigiously and find out as much about them as I can.

The Black Paintings series of pastel-on-sandpaper paintings grew directly from the earlier Domestic Threats. Both series use cultural objects as surrogates for human beings acting in mysterious, highly-charged narratives. In the Black Paintings the figures (actors) now take central stage. All background details, furniture, rugs, etc. are eliminated and are replaced by intense dark black pastel. Each painting takes months to complete as I slowly build up as many as 30 layers of soft pastel.

The idea for the Black Paintings began when I attended a jazz history course and learned how Miles Davis developed cool jazz from bebop. In bebop the notes were played hard and fast as musicians showcased their technical virtuosity. Cool jazz was a much more relaxed style with fewer notes, i.e., the music was pared down to its essentials. Similarly my current series evolved from dense, complex visual compositions into paintings that depict only the essential elements—the actors.

Begun in 2007 this is my most personal body of work to date. The black background symbolizes death and emptiness as the actors are emerging from a deeply painful state. Although the Black Paintings series was created out of profound pain, each image manifests irrepressible optimism.

 

Pinturas Negras

“La inclusión de los estilos y motivos presentes en los artefactos de la cultura africana en el trabajo de artistas vanguardistas fue una manera de desafiar los valores estéticos occidentales convencionales así como las jerarquías que estos artistas percibían como parte de una sociedad vacua y moribunda. Al buscar inspiración en estas fuentes para revitalizar sus propias visiones creativas, lo que estos artistas finalmente descubrieron fueron nuevas maneras de ver y de hacer arte.” - Wendy Grossman en “Man Ray, El Arte Africano Y El Lente Modernista”
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Las razones por las que me atraen los objetos culturales mexicanos y guatemaltecos —máscaras, animales tallados en madera, figuras de papel maché y juguetes—son similares a las que atraían a Man Ray y a los modernistas al arte africano, en su caso. Durante mis viajes al sur de México y Guatemala frecuento tiendas de máscaras, mercados y bazares en búsqueda de las figuras que luego poblarán mis pasteles y fotografías. Cómo, por qué, cuándo y dónde esos objetos pasen a ser parte de mi vida es una parte importante del proceso. Tomo objetos muy antiguos con un pasado mexicano o guatemalteco único —muchos han sido usados en celebraciones religiosas— y les doy una segunda vida, por decirlo de alguna manera, en el Nueva York del presente. Cuando vuelvo a casa, leo muchísimo y averiguo todo lo que puedo sobre ellos.

La serie de pasteles sobre papel de lija Pinturas Negras nació directamente de la serie anterior, Amenazas Domésticas. En ambas uso objetos culturales para reemplazar figuras humanas que actúan en intensas y misteriosas narrativas. Las figuras ahora son el centro de atención en Pinturas Negras. Todos los detalles del fondo, los muebles, las alfombras, etc., se eliminaron y las reemplacé con un pastel negro oscuro e intenso. Cada pintura me toma meses ya que lentamente voy acumulando hasta 30 capas de pastel.

La idea para Pinturas Negras me llegó durante un curso de historia del Jazz, cuando explicaron cómo Miles Davis desarrolló el Jazz a partir del Bepop. En el Bepop, las notas se reproducen con fuerza y rápidamente, lo que les permite a los músicos demostrar su virtuosismo técnico. El Cool Jazz es un estilo mucho más relajado, con menos notas, es decir, la música se reduce a su mínima expresión. De una manera similar, mi serie actual evoluciona de composiciones densas, visualmente complejas, para dar como resultado pinturas que solo representan los elementos esenciales: los actores.

Desde que comencé a trabajar en ella en 2007, esta es la serie más personal que hecho hasta la fecha. El fondo negro simboliza la muerte y el vacío, ya que los actores emergen de un estado profundamente doloroso. Aunque la serie Pinturas Negras fue creada a partir de un profundo dolor, cada imagen representa un optimismo innegable.

 

Amenazas Domésticas

La serie de pasteles sobre papel de lija Amenazas Domésticas, toma elementos del arte folclórico mexicano —máscaras, animales tallados en madera, figuras de papel maché y juguetes— para formar vívidas representaciones que combinan realidad y fantasía. Durante mis viajes al centro de México dedico mucho tiempo a visitar las tiendas locales de máscaras, mercados y bazares en búsqueda de las figuras que luego poblarán mis pinturas. Me gusta tomar objetos muy antiguos con un pasado mexicano único —muchos han sido usados en diversas celebraciones religiosas— y les doy una segunda vida, por decirlo de alguna manera, en el Nueva York del presente. Cuando vuelvo a casa, leo muchísimo y averiguo todo lo que puedo sobre ellos. Uso estos objetos no solo para reemplazar a los actores humanos sino como potentes símbolos: una amalgama de recuerdos de mi infancia, sueños medio olvidados e imágenes que vienen de la literatura, del arte precolombino y del cine (sobre todo de las películas mudas alemanas y las obras de Alfred Hitchcock y Orson Welles). Este trabajo sigue evolucionando desde hace más de una década. La imaginería es autobiográfica y muy personal, pero muestra asociaciones universales.
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En todos mis pasteles utilizo mi apartamento de West Village o una casa Sears de 72 años de antigüedad en Virginia como fondo. Estos son lugares en los que he vivido, por lo que la realidad de mi entorno es una parte fundamental de mi trabajo. Como si fuera un director de cine, selecciono y organizo un grupo de figuras artísticas folclóricas en una habitación en mi apartamento. Ilumino la escena con dos o más focos de tungsteno para crear sombras dramáticas, misteriosas e inexplicables. Generalmente dejo toda la escena armada por varias semanas y durante ese tiempo trabajo en las ubicaciones, la iluminación, el diseño, pero sobre todo, trabajo para crear una narrativa acerca de la interacción que está teniendo lugar entre los "actores". (A menudo la narrativa se insinúa en el título de la obra).

Cuando todo está listo, tomo dos negativos a color con la cámara de fuelle de 4" × 5". Con una fotografía de 24” x 20” como referencia, creo un pastel de 58" × 38" (generalmente un proceso de entre tres y cuatro meses). También realizo obras más pequeñas (que también me insumen varios meses), pero me gusta más el desafío más difícil de trabajar en un formato grande. Hago las mezclas con mis dedos y meticulosamente aplico docenas de capas de pastel sobre papel de lija libre de ácidos. Con esta técnica, inventada por mí, puedo conseguir texturas ricas y colores vibrantes. Creo que estoy forzando la técnica del pastel al límite, ya que lo uso de maneras en que nadie más lo había usado antes.

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