Varujan Boghosian online


Varujan Boghosian, Orpheus Icon

Orpheus Icon, 1975

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Varujan Boghosian Books

1926   Born in New Britain, Connecticut
1946 - 1948   Central Connecticut Teachers College, New Britain, CT
1948 - 1950   Vesper George School of Art, Boston, MA
1956 - 1959   Yale University School of Art and Architecture, New Haven, CT; (B.F.A. 1957, M.F.A. 1959)
1958 - 1959   University of Florida, Gainesville, FL; Instructor in Drawing and Painting, School of Architecture
1961   Pratt Institute, Brooklyn, NY; Instructor in Foundation Courses
1959 - 1964   Cooper Union, New York; Assistant Professor, Advanced Drawing, Two- and Three-Dimensional Design
1962 - 1964   Yale University, New Haven, CT; Instructor in Drawing, School of Art and Architecture
1964 - 1968   Brown University, Providence, RI; Associate Professor, Department of Art History
1968   Dartmouth College, Hanover, NH; Professor of Art (appointed George Frederick Jewitt Professor of Art, 1982)
2007   Anniversary: Ten Years of Gallery Art and Artists, Lori Bookstein Fine Art, New York
2006   Works on Paper, Lori Bookstein Fine Art, New York (with Paul Resika) (solo)
2002   Anniversary: Ten Years of Gallery Art and Artists, Lori Bookstein Fine Art, New York
2002   Five in Collage, Lori Bookstein Fine Art, New York
1997 - 1999   Berry Hill Galleries, New York (solo)
1992   David Winton Bell Gallery, Brown University, Providence, RI (solo)
1992   Norton Gallery of Art, Palm Beach, FL (solo)
1991   Claude Bernard Gallery, New York (solo)
1988   Hopkins Center 25th Anniversary Exhibition: Artists-in-Residence at Dartmouth, Hopkins Center, Dartmouth College, Hanover, NH

1986   Exhibition of Work by Newly elected Members and Recipients of Awards, American Academy and Institute of Arts and Letters, New York
1976 - 1977   Boites, Musee d’Art Moderne de la ville de Paris and Maison de la Culture de Rennes, France
1975   21 American Fulbright Artists, The Institute of International Education, New York
1968   The Door Show, Cordier & Ekstrom Gallery, New York
1966   The Box Show, Byron Gallery, New York
1966   The Poetic Image, Hanover Gallery, London, England
1964   The Artist’s Reality: An International Sculpture Exhibition, The New School Art Gallery, New York
1956   Painters and Sculptors of Promise, Alan Gallery, New York
1953   Group Show, Obelisco Gallery, Rome, Italy
  Selected Collections

Addison Gallery of American Art, Phillips Academy, Andover, MA
Albright – Knox Art Gallery, Buffalo, NY
The Boston Museum of Fine Arts, Boston, MA
The Brooklyn Museum, Brooklyn, NY
Detroit Institute of Arts, Detroit, MI
The Metropolitan Museum of Art, New York, NY
Museum of Art, Rhode Island School of Design, Providence, RI
The Museum of Modern Art, New York, NY
Norton Gallery of Art, West Palm Beach, FL
Whitney Museum of American Art, New York, NY
Whitney Museum of American Art, New York, NY
Yale University Art Gallery, New Haven, CT

  Awards and Prizes
1991 Saint Botolph Club Foundation Award
1986 Elected member, American Academy & Institute of Arts/Letters
1985 John Simon Guggenheim Memorial Foundation Fellowship
1975 Sculptor in Residence, American Academy in Rome
1972 National Institute of Arts and Letters Award
1968 Artist in Residence, Dartmouth College, Hanover, NH
1966-67 Sculptor in Residence, American Academy in Rome
1967 First Prize, Drawing Category, Providence Art Club
1966 Howard Foundation Fellowship
1961 United States Department Specialists Grant
1961 Watercolor Prize, Boston Arts Festival
1958 Watercolor Prize, Portland Arts Festival
1958 First Prize, Drawing Category, New Haven, CT
1953 Fulbright Grant for Painting, Italy


1968 Orpheus, A Collection of Ten Woodcuts
1951 Orpheus, A Portfolio of Woodcuts, Reprinted with Additional Blocks and Poems in 1959


Varujan Boghosian at Washburn

Varujan Boghosian takes surreal trips though the imagination in his mixed-medium constructions and low reliefs. Boghosian, active in the art world since the 1950s, is a former professor of art at Dartmouth College who continues to live and work in New Hampshire. He showed nine mixed-medium works and seven still-life constructions dating from the last four years in a show notable for its complicated, sometimes psychically dark, creativity. The artist seems to be most concerned with the exploration of psychological states of mind. His work, not unlike the boxes of Joseph Cornell, develops an intricate realization of a romantic sensibility in which a powerful, if often truncated and bleak, narrative is related through objects and forms.

One of the most intriguing recent pieces is the construction Titan's Goblet (2004), in which a small painter's mannequin balances on the steel struts of an open cube. Beneath the figure, which wears a dunce's hat, is an antique checkerboard, on top of which stand five small metal sculptures of evergreen trees and the eponymous goblet, which hoists a sphere much too large to fit into the cup. The mannequin, titanic within the relatively small world of the 33-inch-tall sculpture, looks down at the sphere, as if to express an interest in the world on the checkerboard floor. The idea seems to be that there are forces and personages beyond our control. Like much of Boghosian's art, there is something macabre about the sculpture.

In End of the Day (2004), a relief with a depth of nearly 2 inches, a farming figure in the left center wears a broad hat and carries a scythe and a rake. Next to him, and dominating the area above the horizon, is a spiky tree. The lower half of the artwork consists of dark splotches and torn-paper abstract effects. The combination makes for a complex experience in viewing; one senses that the texture is at least as important to the artist as the scene. Here Boghosian gets to have it both ways. In Tightrope Walker (2004), a simple but effective work, a whirligig figure on roller skates in the upper right balances on a diagonal line, its arms extended in an attempt to walk across the string. The work seems nearly as naive as a piece of folk art; however, the image of walking a tightrope carries metaphorical awareness of life's exigencies. In this work and others, Boghosian deftly enacts a precarious balance between figure and abstraction, and between calm and suggestive menace.

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