SUE FULLER (1914-2006)
Whether as draughtsman, printmaker and master printer, sculptor, teacher, or, author, the career of Sue Fuller was marked by continuing innovation and growth. A native of Pittsburg, Pennsylvania, she received a BA from Carnegie Institute of Technology, 1936, and a MA from Columbia University Teachers" College, 1939. She worked with the modernists Hans Hoffman, in 1934, and Josef Albers, and with the printmaker Stanley William Hayter at the New York Atelier 17, 1943/44. While at Atelier 17 Fuller became a master printer and developed intaglio techniques of her own. She also studied glass blowing in England in 1951, calligraphy in Japan in 1953, and lace making in 1962.
Fuller taught at the Museum of Modern Art"s Children"s Classes, the University of Georgia, the University of Minnesota, and Columbia Teachers" College and Pratt Institute, NY. Her research into the color prints of Mary Cassatt resulted in an article for the Magazine of Art, 1950, and the film, with curator Adelyn D. Breeskin, The Graphic Techniques of Mary Cassatt. Further, Fuller was an authority on the work of the constructivist artists Naum Gabo and Antoine Pevsner.
The recipient of a Tiffany Fellowship, 1948, a Guggenheim Fellowship, 1949, a National Institute of Arts and Letters Grant, 1950, and the Carnegie Mellon University Alumni Award of Merit, 1974, Fuller was awarded the Women"s Caucus for Art Honor, 1986.
Among her numerous one-woman shows are those at the Bertha Schaefer Gallery, NY, from 1949 to 1969, the Smithsonian Institution, 1947, and the Corcoran Gallery of Art, 1951, Washington, DC, the Nishi Machi School, Tokyo, 1954, the Marion Koogler McNay Art Institute, San Antonio, Texas, 1956 (followed by an extensive retrospective in 1966/67, and the commission of a hanging string sculpture in 1984), the Norfolk Museum of Arts and Science, Virginia, 1967, and the Port Washington Library, NY, 1978.
Here, at the Susan Teller Gallery, her most recent show was Sue Fuller : String Theory, Constructions and Works on Paper, 1944-1984, April 2--24, 2010. Earlier shows include Sue Fuller, Works on Paper, 1935 to 1963, A Memorial Exhibition, 2006, Sue Fuller and the New York Atelier 17, 2004, and Sue Fuller, Prints and Constructions, 1944 to 1965, 2002.
Fuller participated in shows around the world. Among them, Hayter and Studio 17, 1944, New Directions in Gravure (circulating exhibition), 1944, Abstract Art in America, 1951, and The Responsive Eye, all at the Museum of Modern Art, NY, and American Sculpture, at the Solomon R. Guggenheim Museum, NY, 1978. Her work was included in A Spectrum of Innovation, Color in American Printmaking, 1890-1960, that traveled to the Amon Carter Museum Fort Worth, 1990, the Nelson-Atkins Museum of Art, Kansas City, 1990, and the Worcester Art Museum, 1991, and in Atelier 17 and the New York Avant-Garde, 1940-55, at the Pollock-Krasner House, East Hampton, NY, 1993, as well as exhibitions in France, Spain, Brazil, England, and Russia.
Work by Fuller was shown in Paths to the Press: Printmaking and American Women Artists, 1910-1960, the Block Museum, Northwestern University, Evanston, fall, 2005, the McNay Art Museum, San Antonio, spring, 2006, and the Beach Museum of Art, Kansas State University, Manhattan, summer/fall, 2006. Most recently her work was featured in See Through, Islip Art Museum, East Islip, NY, November 25, 2009, through January 24, 2010, and The Pull of Experiment: Postwar American Printmaking, Yale University Art Gallery, New Haven, Connecticut, September 25, 2009, through January 3, 2010.
Among the institutional collections with work by Sue Fuller are the Metropolitan Museum of Art, the Whitney Museum of American Art, the Museum of Modern Art, the Guggenheim Museum, the New York Public Library, the Brooklyn Museum of Art, and the Storm King Art Center; the Wadsworth Atheneum Museum of Art, Hartford; the Philadelphia Museum of Art; the Baltimore Museum of Art; Boston Museum of Fine Arts, Worcester Art Museum, and the Smith College Museum of Art; the Art Institute of Chicago; the Detroit Institute of Arts; the McNay Art Museum, San Antonio; the St. Louis Art Museum; the Huntington Art Collections, San Marino, California; the Honolulu Academy of Art; the Library of Congress, Washington, DC; and the Tate Gallery, London.
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