Opening: March 5, 2019 | Double Negative | ChaShaMa | New York, NY

Please join us tonight for the opening of Double Negative !
   DOUBLE NEGATIVE | March 5 - 31, 2019  
   Curated by Darling Green
   Opening: Tuesday, March 5, 2019 | 6:00 - 8:00 pm
   Gallery hours: Thursday - Sunday | 10:00 am - 5:00 pm

   320 West 23rd Street
   New York, NY 10011

   Readings, performances and screenings: Thursdays | 7:00 - 9:00 pm
   March 7, 2019 | March 14, 2019 | March 21, 2019 | March 28, 2019


Opening: November 30, 2018 | Flag Me Down, Pick Me Up | Marquee Projects, Bellport, NY

Many thanks to everyone who came out to support the exhibition Flag Me Down, Pick Me Up at Marquee Projects, what a celebratory night with like minds and hearts! At the end of the opening, Bob Morris read his poignant New York Times op-ed from 2016, entitled “From the Mountains, to the Prairies, to the Ocean to Vanuatu”, where the flag enters the frame at the other side of the world.




Flag Me Down, Pick Me Up

Opening Reception: Friday, November 30, 2018

6pm - 8pm

On View: November 30 - December 31, 2018

MARQUEE PROJECTS is pleased to present Flag Me Down, Pick Me Up, a group exhibition featuring recent artworks by Lisa Blas, Tyler Healy and Paul Weiner. A reception for the artists will be held on Friday, November 30th from 6pm to 8pm. 

The artists brought together in this show will exhibit work that shares a common interest in the use of the American flag. Flags, in general, have much to do with traditional tribal tendencies and notions of identity: the idea of “us versus them.” But in today’s heated political climate it’s “us versus us,” with divided factions claiming that their allegiance to America is stronger than that of others. This exhibition hopes to bring about greater dialogue on what role the American flag, and what it signifies, now play. Can we pick up the pieces, strive to reduce conflict, and promote a greater sense of unity, peace and equality? 

Contact: Mark Van Wagner and Tonja Pulfer:
14 Bellport Lane, Bellport NY 11713
(631) 803-2511


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 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

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 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: 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