I am so thrilled and honored to announce that the ICA Boston has acquired Attempts at Self-Organization: Prevailing Bonds for their permanent collection. I have so much gratitude for Ruth Erickson, the Barbara Lee Chief Curator, for all her efforts and support, and for the generosity of Fotene Demoulas and Tom Coté. Thanks too to ICA curators Erika Umali, Jeffrey De Blois, and Max Gruber and to Kai Matsumiya for all the support through the process. The work is installed and on view now in the 3rd Floor Lobby.

https://www.icaboston.org/exhibitions/zoe-pettijohn-schade/

So happy to be included with this great group of artists in this very thoughtful show.

https://www.carriagetrade.org/the-madness-of-crowds

14th Shanghai Biennale
Cosmos Cinema
November 9, 2023–March 31, 2024

Power Station of Art, Shanghai, China

So pleased to be included in the Shanghai Biennale!

https://www.e-flux.com/announcements/569982/participating-artists-in-14th-edition/

So thrilled to be included in this show full of my heroes!

Thanks so much for this wonderful interview with Alec Dartley!

So thrilled to be a part of the New England Biennial at the deCordova Museum, open from April 5- September 15, 2019. Thanks so much to curator Sarah Montross!

I am grateful for Barry Schwabsky's thoughtful and insightful review in Art Forum!

So thrilled about this beautifully written and very insightful essay by John Yau!

So thrilled to have my show "Shifting Sets" at Kai Matsumiya reviewed by Will Heinrich in the New York Times:

It took Zoe Pettijohn Schade as long as a year and a half to make each of the intricate large gouaches in “Shifting Sets,” a show lining the walls of Kai Matsumiya’s tidy Stanton Street gallery. Weirdly timeless meditations on death, they simultaneously evoke cutting-edge Photoshop effects and rococo wallpaper, with tiled and overlapping imagery that includes skulls from the Parisian catacombs; toy army men in marbleized silhouette; and delicate, color-graded pigeon feathers modeled on one blackening example the artist found in her garden.
What’s most fascinating, though, isn’t the pieces’ nominal content so much as the seeming evanescence of the labor that went into them: If you lean in close, you can see every semi-opaque brush stroke in every pale gray feather, but from any greater distance, such small evidences of the artist’s time and attention disappear in the overall dazzle.
The same kind of visual dynamic flickers across the whole of “Crowd of Crowds: 100th Monkey” (2017), which is covered in diagonal rows of grimacing, long-tailed primates. Because some of them are ghostly gray, and others mere silhouettes filled in with more feathers, skulls, or tombstones, it can take minutes of staring to notice just how simple the pattern is. WILL HEINRICH

I am to be presenting my second solo show at Kai Matsumiya Gallery!

SHIFTING SETS
Opening: March 30th, 6-8PM
March 30th - May 6th

I am so thrilled and honored that Matthew Higgs inlcuded my show "Crowds" at Kai Matsumiya Gallery in his "Best of 2015" in December's issue of Artforum.

So honored to have been selected for this great show!
 

So thrilled and honored to announce that I am a 2015 Fellow in Painting from the New York Foundation for the Arts!

A fabulous review by Patrick Neal on Hyperallgeric!

CROWDS (Thursday, March 26th - Saturday, May 9th)
 
Kai Matsumiya presents Zoe Pettijohn Schade’s solo exhibition “Crowds” at the space and will represent its first pure painting presentation. The verb “crowd” overwhelms and preoccupies, and as a noun, it refers to a large number of things collectively. These works uncover the complex relationships among structural patterning and its disruptions.

The weaving of images that are loaded with associations (monkeys, cotton-candy colored tombstones, feathers, decapitated kings, etc.) creates a dense field of relationships and meanings that are conceptually/historically rich. The images and the structures that organize them explore both the aspirations and the pitfalls of order. Her work is extremely labor intensive, as a painting (16”x22”) requires nearly two months for completion, and is composed of layers of images each of which is invented and executed by hand.

For the past decade the artist has been researching the obscure tradition of French gouache pattern painting for textiles from the 18th and 19th centuries.  This work led to a Fulbright Research Scholars Grant to Paris in 2013, during which she strove to absorb the wild visual invention and genre disrupting approach of these anonymous painters and trained her hand in their language of intricate mark making. As an acknowledgement to her inspiration from this tradition, the show will include nine paintings from the early 1800s, courtesy of the Design Library in Wappingers Falls, NY, the world’s largest collection of design patterns. The exhibition will also present her meticulous studies in the form of drawings.

Reflecting on her work, Pettijohn Schade writes: “I try to achieve maximal density of layers in my paintings, both as a reflection of our experience in an image saturated world, and as a model of the structure of the unconscious. The unconscious is a potent reference for me in that it is a space where images and associations accrete and exert a kind of furtive power, like an elemental force that colors meaning.”

Crowds is scheduled to open on March 26th. (7:00-9:30). Please email info@kaimatsumiya.com or call (617) 678 4440 for more details

Very excited about this great article!

Solo Show at the Mona Bismarck Center for American Art and Culture in Paris, runs through May 19th

I am excited to announce that I have been awarded the 2012-13 Fulbright U.S. Scholars Grant to Paris. It is to continue my drawings of a rare collection of gouache pattern paintings from the 1700s at the Bibliothèque Forney, and make full scale paintings in response. The grant is for six months beginning in February, 2013. I am so thrilled and honored!