Opening: October 1, 2018 / The Drawing Center, New York / 2018 Benefit Auction

Dear friends,

I have contributed a work to The Drawing Center for their 2018 Benefit Auction. Please join us Monday night, October 1, 2018, in support of one of New York’s most groundbreaking museums and their future programming! View the list of participating artists and works here: CATALOG

The Drawing Center's
Date: Monday, October 1, 2018
Time: 6:30-8:00PM
Location: The Drawing Center | 35 Wooster Street

The Drawing Center, a museum in Manhattan's SoHo district, explores the medium of drawing as primary, dynamic, and relevant to contemporary culture, the future of art, and creative thought. Its activities, which are both multidisciplinary and broadly historical, include exhibitions; Open Sessions, a curated artist program encouraging community and collaboration; the Drawing Papers publication series; and education and public programs. It was founded in 1977 by curator Martha Beck (1938–2014).

Opening: July 10, 2018: Social Photography VI / Carriage Trade, NYC

Social Photography VI is now open!

I have contributed a photograph to Carriage Trade's sixth benefit exhibition which meditates on the ubiquitous use of cell phone photography and its connection to the art community. Come view this immersive exhibition in situ, a precise grid of images installed on two facing walls in the gallery.

"While Instagram tends to emphasize the medium's social utility, carriage trade's Social Photography exhibitions have tracked an alternate course, inviting participants and viewers to encounter these images in a format free of peer-generated tallies, while offering the option of a sustained look afforded by a gallery setting."

All photographs can be viewed and purchased online:

carriage trade, 277 Grand St, 2nd Fl. , New York, NY 10002

Lisa Blas, Table(au), detail, 2018

April 7, 2018: Monumental Troubles: Rethinking What Monuments Mean Today

Greetings from Indianapolis!

I am giving a paper at the Midwest Art History Society annual conference this week on the two-day panel, "Monumental Troubles: Rethinking What Monuments Mean Today", chaired by art historian, Erika Doss.

Please join us at the Indianapolis Museum of Art and Eiteljorg Museum of American Indians and Western Art on Friday, April 6, 8:30 - 10:30 a.m., and Saturday, April 7, 9:00 a.m. - 12:30 p.m., for two days of presentations, concluding with a discussion by all panelists. Conference schedule.

Lisa Blas
Engagements, monumental or otherwise, Detail.
Plinths and horseshoes cast from shredded documents (military, financial, personal), Celluclay, plaster, clove oil, glue, RIT dye, ceramic powder, acrylic paint and gold dust. 2006 - 2008


Lisa Blas, Eiteljorg Museum of American Indians and Western Art, Indianapolis, Indiana, April 7, 2018.

Opening March 24, 2018: Valediction / Ejecta Projects, Carlisle, Pennsylvania

I am pleased to be participating in the inaugural group exhibition "Valediction" at Ejecta Projects, curated by artist Anthony Cervino and art historian Shannon Egan, in Carlisle, Pennsylvania. The gallery was founded after a book project the couple produced entitled "Ejecta", addressing their collaboration as artists, professors, writers, parents, and participants in the academic workplace and community life of Carlisle and Gettysburg, Pennsylvania.

In a beautifully written letter last January, Shannon and Anthony asked to include my work in an exhibition that would coincide with the opening of the gallery. Their venture seemed quite timely and a necessary antidote to these times of polarization and widespread discontent. Communities are in great need of new venues that arise from the spirit of collaboration and dialogue, where artists and exhibitions can be introduced to the public in a welcoming space for visitors, neighbors, colleagues and friends.

Please join us in support of this celebratory occasion of "Valediction" at Ejecta Projects from March 24 - May 5, 2018.

See you in Carlisle!

Ejecta Projects
136 West High Street
Carlisle, PA 17013


LISA BLAS, Horizons, v. 2, Acrylic and interference color on watercolor paper on Opalux vellum, 19.5 x 25.5 inches, 2018
(Note: There are two sheets of Opalux, A over B, presented as one version of display)
Framed: 22 x 28 x 1.75 inches

November 10, 2017: Artist talk & tutorials | University of Bergen, Norway

This week I am in Bergen, Norway to give individual and group tutorials with students in Fine Art at the University of Bergen.

I will give a public talk on Friday, November 10, 2017, at 10:00 am in the auditorium, Knut Knaus, Department of Fine Art. Please join us for a discussion on my work, "Monday's image" and the genesis of both.

KMD Møllendalsveien 61, 5009 Bergen, Norway. Department of Fine Art.
Tel: 47-55-58-73-00 | Email:

September 24, 2017: Handwriting The Constitution @ New York Public Library

On Sunday, September 24th, I will be conducting a handwriting session from 12 - 4 pm in the Rose Room of the New York Public Library. Please join friends, neighbors and colleagues in this collective activity of reading and handwriting the Constitution of the United States. To learn more about this initiative begun by artist Morgan O'Hara, please visit the website.

New York Public Library: Bryant Park
476 Fifth Avenue (42nd St. and Fifth Ave.), New York, NY, 10018

Related Press: NY Times

Time eclipsed, Charlottesville: August 18, 2017

Flashback Friday, or, into the future.

After the recent events in Charlottesville, I am posting a partial image from Meet Me at the Mason Dixon: A project in painting, photography and installation that I realized during the years 2003-2009, while living and teaching in Washington, D.C.

The project in its entirety was exhibited at Schmucker Art Gallery at Gettysburg College in 2011, with a catalog and accompanying texts by Shannon Egan and Miguel de Baca. In brief, this project examines the contested legacy of race and identity from the American Civil War onward, and the sign systems that point to those fraught subjectivities and histories. It is uncanny that my initial intuition about the repressed issue of race relations before and after 9/11 was confirmed by the growing civil unrest in American cities throughout these past years. 9/11 turned the collective consciousness elsewhere, namely to a foreign invader, becoming the country’s addressee in a long, protracted war while the social fabric of American society was itself coming undone. The ongoing dispute over heritage and removal of Confederate monuments from public space highlights that the familial and cultural attachments to history are ephemeral, and subject to change with each new generation. This is the space that Meet Me at the Mason Dixon occupies. As Erika Doss wrote in a special issue of Public Art Dialogue, The Dilemma of Public Art’s Permanence, 2016, “Public art is processual, dependent on various cultural and social relationships and subject to the volatile intangibles of multiple publics and their fluctuating interests and feelings”…“Public art is not, in other words, forever.”

Lisa Blas
Meet Me at the Mason Dixon
Installation view, Schmucker Art Gallery, Gettysburg College
Gettysburg, PA, 2011

Lisa Blas
Meet Me at the Mason Dixon
Installation view, Mixed-media, 9.5 x 15 feet approximately
Schmucker Art Gallery, Gettysburg College
Gettysburg, PA, 2011

Lisa Blas
(Day for night) Battle Scene, v. 11
Gettysburg Cyclorama, Gettysburg National Military Park, Pennsylvania
Archival pigment print, 2011

Opening July 11, 2017: Social Photography V / Carriage Trade, NYC

Join us tonight for the opening of "Social Photography V" at Carriage Trade, a non-profit art organization in the Lower East Side. The exhibition will be on view July 11 - August 12, 2017.

I have contributed a photograph along with many others in the art community to support future programming at the gallery. My work, and all other works in the exhibition can be viewed and purchased online:

Hope to see you there!
Carriage Trade
Opening: 6 - 9 pm
277 Grand St, 2nd FL
New York, NY 10002

Opening June 10, 2017: "Drawing Practice" Whatcom Museum, Bellingham

Opening today! A national survey on contemporary drawing practices.

Drawing Practice/Bellingham National 2017
June 11 - September 10, 2017 / Whatcom Museum, Bellingham, WA

Juried by Catharina Manchanda (Jon and Mary Shirley Curator of Modern and Contemporary Art, Seattle Art Museum)

Juror tour of the exhibition: Sunday, June 11, 2017, 1:00 pm
Whatcom Museum, Lightcatcher Building, 250 Flora Street, Bellingham, WA: 360.778.8930

Please join us!

Lisa Blas, Four Corners, Acrylic, watercolor pencil, interference color, gesso and watercolor paper on Arches paper, 102 x 102 inches, 2017

Opening March 23, 2017: Lisa Blas "Monday's image" / Emily Harvey Foundation, New York

Lisa Blas / "Monday's image" at Emily Harvey Foundation, New York, on March 23, 2017. Many thanks to all who attended this one night special event!

Lisa Blas
Monday's Image

March 23, 2017
1:00 - 9:00pm
Opening March 23 - 7:00pm

Monday's image is a weekly web-based project begun in 2015 by Lisa Blas in the News section of her website, presented as a video work for a special one night-event at the EHF.

LISA BLAS, "So what? We must act", Digital C-print, 2017

LISA BLAS, Monday's image, installation view, Emily Harvey Foundation, New York, 2017

Opening: SPRING/BREAK Art Show: February 28 - March 6, 2017

Excited to be showing early work along with recent work in the group exhibition "AMERICANAH" curated by Natasha Becker. Please join us at SPRING/BREAK Art Show during Armory Week 2017 in New York!

PRESS: 16 Curators to Watch at SPRING/BREAK
Artsy Editorial: Casey Lesser

Natasha Becker presents three New York City artists, LISA BLAS, BRADLEY McCALLUM and DAAPO REO, at this year’s SPRING/BREAK Art Show.

The title of the exhibition is inspired by Chimamanda Ngozi Adichie’s 2013 novel about identity and belonging in a global landscape.

Contained within Adichie’s neologism, Americanah, is the word Americana which describes the many different kinds of artifacts that make up the history, geography, folklore and cultural heritage of the United States. The American flag is an iconic symbol within this collection of artefacts, representing a national identity that is based on the principles of liberty, justice, and humanity. It is an inspiring image but one that can also highlight moments where the nation falls short.

By adding an ‘h’ at the end of the existing word, Adichie extends its meaning to describe, defend, and criticize a complex process of becoming in which identity is not predicated on the seeds of nationality or the ground of place but rather on experience (relations of identity, nationality, race, difference, loneliness, aspiration, love) and trajectory (the path one follows through place and time).

The exhibition explores the delicate balance between expressions of American idealism and the freedom of artists to comment on times where nations falls short of their ideals.

Lisa Blas investigates how a single representation is mediated in its time of origin and redeployed in changing economies of signs and significations. Her poetic flag portraits representing Emily Perez (the highest decorated African-American and Hispanic woman to have died in the recent Iraq War) are potent symbols of vulnerability and in her newest series of vibrant collages, entitled “The Instability of Nature Morte (reconsidering monument[ality] under the throwaway evidence of work”, she explores personal and activist responses to contemporary political culture.

Bradley McCallum transforms news media images of burnings of the American flag into shimmering abstractions of flames, figures and fragments. Flag burning is a practice long associated with protest against the policies of a government or nation. His series of protest paintings (2015/2016) link the power and beauty of national icons with intense longing and demands for fairness and justice.

Daapo Reo reinvents the popular red, white and blue as a symbol of African aspirations, “ALCOHOLOTOPIA (A GEOPOLITICAL DREAM UNDER THE INFLUENCE,” and belonging, “AFRIKAN HISTORY X: GAY IS THE OLD BLACK, BITCHES!”. Reo’s flags are made from different African textiles representing layers of personal history, cultural memory, and conflicting experiences to comment on utopian aspirations and past and current realities, poking fun at privileged elites and anonymous masses along the way.

“Americanah” at SPRING/BREAK Art Show, 1 - 6 MARCH 2017, NEW YORK Times Square, NYC (entrance on 43rd Street)

For queries please CONTACT | NATASHA BECKER | curator | T: 917.601.6625 | E: n

Opening January 12, 2017: Emergency Eyewash / Tanja Grunert Gallery

Emergency Eyewash (Carol Szymanski and Barry Schwabsky) with Lisa Blas, Judith Goldman, Siv Støldal, Tyrone Williams, and John Yau

January 12 – February 18, 2017
Tanja Grunert
524 West 19th Street
New York, NY 10011

Tanja Grunert is pleased to present the exhibition debut of Emergency Eyewash, a conceptual “label” conceived by Carol Szymanski and Barry Schwabsky as a vehicle for collaborations using texts, imagery, and objects. In particular, Emergency Eyewash aims to open up space for language arts outside the medium of the book and the computer screen.

Full press release and installation images here:
Artpress: "Emergency Eyewash"

Emergency Eyewash With Siv Støldal, Untitled (Bee Ranger), text by John Yau, fabric unique, 2017

Lisa Blas / Tanja Grunert gallery / January 2017 / New York
Photography: Stan Narten

Lisa Blas / Tanja Grunert gallery / January 2017 / New York
Photography: Stan Narten

Lisa Blas / Tanja Grunert gallery / January 2017 / New York
Photography: Stan Narten

Opening: Lisa Blas / After lost space(s) / Kai Matsumiya gallery / Reception: Saturday, March 12, 2016

Dear friends,

My exhibition "After lost space(s)" is now on view! Please join us for the closing reception on Saturday, March 12, 2016 at Kai Matsumiya gallery.

The show is up for one week only, Tuesday, March 8 - Sunday, March 13, 2016, as part of special programming entitled "Don't Make A Scene". Further information on "Don't Make A Scene" via Interview Magazine.

I look forward to greeting you!

 Installation image: Lisa Blas "After lost space(s)" / March 8, 2016 Photography: Brett Moen Courtesy: Kai Matsumiya / New York

Installation image: Lisa Blas "After lost space(s)" / March 8, 2016
Photography: Brett Moen
Courtesy: Kai Matsumiya / New York

After lost space(s) is a project in collage and an installation of painted baseboards and door frames within the three gallery spaces at Kai Matsumiya Gallery. The work takes its inspiration from Guy Mees, Corita Kent, and nineteenth century photographers such as Adolphe Braun, Anna Atkins and William Henry Fox Talbot, and sets the stage where color, activism and the study of botanical specimens meet one another in collage and painting. Constructed on the axis of Guy Mees’s ephemeral works on paper and painting of architectural borders, Verloren ruimte (lost space), the gallery spaces at Kai Matsumiya and their “framing” are activated, along with references to geographical spaces that have disappeared. Typographical fields and images on vellum are united via horizontal and vertical architectural fragments of color, visible from room to room. The highlighting of painted baseboards and door frames functions like a pause, a comma, where the jagged and abrupt changes in the gallery floor plan are pronounced and echoed throughout the content of the collages themselves.
— Lisa Blas 2016

Opening: Foundation Barbin Presents Redeux (sort of) / Kai Matsumiya Gallery / January 5, 2016

Excited to participate in Foundation Barbin Presents: Redeux (sort of), opening tonight. Join us! 7 - 10 pm @ Kai Matsumiya Gallery
153 1/2 Stanton Street, New York, NY 10002.

January 5 - February 5, 2016
Organized by: Lucky DeBellevue


Image credit: Devon Dikeou "WHAT'S LOVE GOT TO DO WITH IT?" Foundation Barbin Presents Redeux (sort of), 1991: Ongoing. Lobby Directory Listing Artists, Gallery, Curators, Exhibition Titles, 18 x 24 inches.