BFA, 1963, University of Illinois; MA, 1964, University of Wisconsin; MFA, 1974, School of the Art Institute of Chicago. Exhibitions: Carrie Secrist Gallery, Chicago; Zolla Lieberman Gallery, Chicago; Claire Oliver Gallery, NY; Museum of Contemporary Art, Chicago; The New Museum of Contemporary Art, NY; The Corcoran 43rd Biennial, DC. Books: Picturing the Modern Amazon; Painting as a Language; Exposures/ Women and their Art; Lines of Vision; Drawings by Contemporary Women. Bibliography: Frieze; Artforum; Art in America. Collections: Hirshorn Museum, DC; Museum of Contemporary Art, Chicago; Art Institute of Chicago; Musee de Toulon, France.
Experience at SAIC
Working with grad students has kept me involved in teaching, which I have no intention of giving up. The atmosphere, the dedication and excitement at SAIC is invigorating and channels back to my studio practice.
I use images that are infused with lighthearted arbitrariness and amusing anecdotes about love and affection, in an often cold and hostile world. Mostly, I am making work that percolates forth life's imperfections: that doesn't take decorum all that seriously, refusing to separate manners of taste from larger questions about "good behavior". The paintings are reactions to all sorts of sensuous events, from the casual encounter to highly formalized exchanges of lovemaking (and everything in between). Miniaturized schemes, which meander between love, desire, pleasure and tragedy; all channeled through seasonal changes. Burlesque-like and usually theatrical incidents, that allow for both empathy and "addled" folly, while projecting capricious irritability with comic bumps along the way.
The art writer Miranda McClintoc wrote: "Phyllis Bramson's imaginative portrayals of stereotypical sexual relationships incorporate the passionate complexity of eastern mythology, the sexual innuendos of soap operas and sometimes the happy endings of cartoons."
The independent thinking of Chicago artist that I admire. The love of a studio practice, can't give it up now after so many years. A total and complete interest in painting and the "artists life". Philip Guston, because he wasn't afraid to change, as he moved away from abstraction to narrative figuration that still emphasized a painterly nature and an enigmatic narrative.
Disclaimer: All work represents the views of the INDIVIDUAL ARTISTS & AUTHORS who created them, and are not those of the school or museum of the Art Institute.