Linn Meyers

Last updated
Linn Meyers
Linn Meyers at work at the Hirshhorn, April, 2016.jpg
Linn Meyers at the Hirshhorn, April 2016
Born1968
Washington, D.C., United States
Education California College of the Arts
The Cooper Union
Known forDrawing, painting, site-specific art, printmaking
Awards Anonymous Was a Woman Award, Smithsonian Institution, Pollock-Krasner Foundation
Website linn meyers website
Linn Meyers, Every now. And again, ink on wall, 2011. Hammer Museum. Linn Meyers every now and again 2011.tif
Linn Meyers, Every now. And again, ink on wall, 2011. Hammer Museum.

Linn Meyers (born 1968), known professionally as linn meyers, is a visual artist based in Washington, DC and Los Angeles. [1] [2] She is known for dense, intricate drawings, paintings, installations and prints that range in scale from page-sized images to large pieces on Mylar and panel to monumental, site-specific wall works. [3] [4] Her art is rooted in a process of repetitive drawing—thousands of hand-drawn marks that come together to form rhythmic, patterned wholes and serve as records of their own making. [5] [6] [7] While ostensibly abstract, her works are also widely suggestive of natural phenomena and fundamental aspects of the universe, from fingerprints to galaxies, and cellular patterns to tidal waves. [7] [8] Curator Anne Ellegood observed, "She is after a purity of making—a physical process that does not hide behind illusionism—a directness wherein the materiality of the work is evident and … all the mystery is removed so that it is what it is." [8]

Contents

Meyers has created site-specific wall drawings at cultural institutions including the Hammer Museum, [9] The Phillips Collection, [10] Hirshhorn Museum and Sculpture Garden [5] and Columbus Museum (Georgia). She has also exhibited at the Baltimore Museum of Art, Corcoran Gallery of Art, Kreeger Museum and Tokyo Metropolitan Teien Art Museum. [11] [12] Her work belongs to the public collections of the Smithsonian American Art Museum, British Museum, Los Angeles County Museum of Art, National Gallery of Art and The Phillips Collection, among others. [13] [14] [15] [16] In 2023, Meyers received the Anonymous Was a Woman Award. [17] [18]

Early life and career

Meyers was born in 1968 in Washington, DC and grew up in the DC area. [19] After graduating high school, she lived for a year in Paris, France before moving to New York City to enroll at The Cooper Union. [20] She completed a BFA in 1990, then moved to Oakland, California to attend the California College of the Arts where she earned an MFA in 1993. [21] During her first professional decade, Meyers lived in New York City, New Haven, CT, North Carolina and Pittsburgh before returning to her native Washington in 2002. [20] [22] [23]

In her early career, Meyers largely focused on landscape-based paintings that moved from ambiguously referential studies in tone and atmosphere to more abstract pieces in which loosely gridded brushstrokes created elusive, pulsing spaces. [24] [25] [8] After turning to more drawing-based work in the early 2000s, she began receiving recognition for solo exhibitions at Gallery Joe (Philadelphia), [26] The Frick Pittsburgh, [27] the New Britain Museum of American Art [28] and G Fine Art (Washington). [29]

Work and reception

Meyers's creative process relies equally on a meticulous, rigorous focus and an intuitive approach open to tiny slippages and imperfections of the human hand that take her compositions in unforeseen directions. [9] [3] [6] Much of her work began with single flowing lines tracing predetermined frameworks of circles or simple gestures, which defined the direction in which each image evolved. Working without templates or tape, she then laid down successive strokes of acrylic ink, paint, pen or marker following the contours of the prior mark as if drafting a topographical chart. [5] [21] [3] Each mark was a direct response building on the last, forming densely packed patterns in which inadvertent skips, bends and variations accumulate like the ripples of pebbles in a pond or ancient tree cross-sections. [30] [29] [31] Describing the process, Artforum critic Annie Buckley wrote, "Meyers's drawing magnifies the scope and intensity of singular marks through expansive patternmaking; taken together, the lines appear to pulsate, embodying both the physicality of her process and that of the space." [9]

Some observers link Meyers's approach to Agnes Martin and Anne Truitt in its attention to systematic structure and formal considerations, or to Vija Celmins due to its suggestions of natural phenomena. [8] [9] [32] At a deeper level, however, critics contend that her works function like maps of time and space, evoking processes rather than things, and most concretely, serve as records of physical movement and their own becoming. [8] [32] [4] [3] In this sense, her work has an affinity to Jackson Pollock's form of mark-making as a trace or index of an event—a mode that shifts it from the purely abstract toward something approaching narrative or even realism. [8]

Meyers's site-specific wall drawings enhance and magnify certain aspects of her overall work: its physicality, directness of materials, use of entropy, and themes of endurance, contemplation and impermanence. [8] [4] [32] [33] She creates them line by line in on-site over the course of days, weeks or months, often with spectators witnessing the effort and unfolding of the work. [20] [34] [5] Her unrushed, methodical approach encourages a sense of reflection that runs counter to the increasing speed of contemporary life. Due to the large scale, viewers experience the drawings not just visually but also bodily, as immersive spaces in which they are situated. [8] When an exhibition ends, these works are painted over, the impermanence putting a premium on the experience. [20] [4]

Early drawings, 2001–07

Meyer first produced drawings based on simple, pre-determined systems in the early 2000s. [7] [29] In these works on Mylar, vellum and graph paper, she explored the consequences of a single drawn line that dictated the next. [30] [29] [31] Reviewers likened them to a looser, organic form of minimalism or postminimalism. [29] [32] Artforum's Nord Wennerstrom wrote, "time is suspended, and the effect is meditative, blissful, and refreshing"; [29] the Baltimore Sun deemed them "labor-intensive abstract mandalas … [with] a heroic ambition to limn the infinite through mark-making at the limits of perception." [32]

Wall drawings

In the latter 2000s, Meyers extended her drawings to large-scale, non-permanent, wall works. She first created them in her studio, then at the University of Maryland Art Gallery (2009), San Jose Institute of Contemporary Art (2009) and Katzen Arts Center (2011), among others venues. [35] [36] [37] [38] The Phillips Collection commissioned a wall drawing in response to one of its van Gogh paintings: at the time being (2010), whose dense web of lines suggested immersion in the brushstrokes of the Dutch artist. [10] This body of work is characterized by its undulating lines, limited color palettes, geometrically delineated areas, and responsiveness to the architecture, color and light of its sites. [7]

Linn Meyers, Untitled, acrylic ink on panel, 78" x 66", 2019. Collection of Los Angeles County Museum of Art. Linn Meyers Untitled 2019.jpg
Linn Meyers, Untitled, acrylic ink on panel, 78" x 66", 2019. Collection of Los Angeles County Museum of Art.

In 2011, Meyers created Every Now. And Again at the Hammer Museum over the course of 180 hours in twelve days. [2] Inspired by the color and light of Los Angeles, the deep-violet and pale-yellow, roughly 100-foot-long work featured rolling swirls, curves and teardrop shapes made of multiple strokes, which appeared to tumble toward the bottom of the museum's lobby staircase. [9] [8] Critics described the forms as evocative of "ancient mysteries": undersea creatures, cyclical patterns of nature and life, and prehistoric cave drawings. [9] [39] In 2016, Meyers created Our View From Here (2016), a 400-foot-long drawing executed over 11 weeks that snaked through the Hirshhorn Museum's curving, circular second floor gallery; the title referenced the inability to see the work in its entirety. [5] [2] [20] It consisted of eight segments (dictated by architectural elements)—each beginning with a circle or partial circle defined as an absence by thousands of sinuous lines flowing past and around it. The segments were unified by two bands of pale yellow and gray pigment that ran the length of the hallway on the upper and lower halves of the wall. [4] [2] [34] Hyperallergic described the work as "lyrical, linear poetry," while Washington Post critic Mark Jenkins called it "a minimalist yet sweeping riff on the circle." [40] [4]

Let's Get Lost (Bowdoin College Museum of Art, 2018) was a wall drawing whose physical parameters determined the content of an invisible, participatory sound work, Listening Glass (created by Rebecca Bray, James Bigbee Garver and Josh Knowles). [5] [33] The sound piece enabled visitors to play the Meyers drawing like an instrument with their cell phones, uncovering audible music notes in the work that were heard in concert with sounds coming from speakers in the gallery. [5]

Later drawings and paintings

Linn Meyers, Untitled, ink and acrylic gouache on vintage graph paper, 10.5" x 8", 2023. Linn Meyers Untitled 2023.jpg
Linn Meyers, Untitled, ink and acrylic gouache on vintage graph paper, 10.5" x 8", 2023.

Meyers's approach since 2013 has been characterized as a more intuitive one less structured by geometric constraints that straddles painting and drawing. [7] Her works on paper and paintings on panel often employ a palette of deepened tonality with flat areas of color (often pale or deep blues) applied before drawing. [7] During this period, she expanded her characteristic linear mark-making to include lines of dots whose patterns have been described as "resonant of cosmological terrains, geometric landscapes and geological maps." [3] [41] [11]

In her early career, Meyers often worked out ideas and compositional elements for large works in small pieces on graph paper. Later, this work became a body of work in its own right. [7] Her notebook-sized "Graph Paper Drawings" (2005–present) use the imposed grid of their surfaces as a platform for experimentation, shifting between organization and disorder to explore crease- and wrinkle-like images and oscillations between lines, voids and grid. [3] [11] They often include numbers and hole punches in the original paper, suggesting numerical dimensions and limits to the work's intimate, imagined spaces. [11] Her "Text Reductions" (2020) used pages cut from a 1900 book of John Ruskin's writings on landscape painter J.M.W. Turner, from which she excised all but a few words, leaving behind geometric voids and spare, poetic messages evoking sublime emotions. [11] [42]

Awards and collections

Meyers has received grants from the Pollock-Krasner Foundation (2001) and Fifth Floor Foundation (2004, 2007), a Smithsonian Artist Research fellowship (2009), a Santo Foundation award (2016), an Anonymous Was A Woman Award (2023), and nine DC Commission on the Arts and Humanities fellowships between 2008 and 2023. [17] [43] [44] [18] [19] She has been awarded artist residencies at Ballinglen, the Bemis Center for Contemporary Arts, Bowdoin College, the Hirshhorn Museum, Hayama Residency (Japan), Iris Project, Millay Arts, San Jose Institute of Contemporary Art and Tamarind Institute. [20] [19] [45] [46]

Meyers's work belongs to the public collections of the Allentown Art Museum, [46] AmorePacific Museum of Art (Korea), Ballinglen Museum of Art (Ireland), [47] British Museum, [14] Baltimore Museum of Art, [48] Hammer Museum, Hirshhorn Museum, [49] Kreeger Museum, [12] Los Angeles County Museum of Art, National Gallery of Art, [15] National Museum of Women in the Arts, [21] New Britain Museum of American Art, [50] Pennsylvania Academy of Fine Art, [51] The Phillips Collection, [16] Sheldon Museum of Art [52] and Smithsonian American Art Museum, [13] among others. [18]

Related Research Articles

<span class="mw-page-title-main">Yayoi Kusama</span> Japanese artist and writer (born 1929)

Yayoi Kusama is a Japanese contemporary artist who works primarily in sculpture and installation, and she is also active in painting, performance, video art, fashion, poetry, fiction, and other arts. Her work is based in conceptual art and shows some attributes of feminism, minimalism, surrealism, art brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. She has been acknowledged as one of the most important living artists to come out of Japan, the world's top-selling female artist, and the world's most successful living artist. Her work influenced that of her contemporaries, including Andy Warhol and Claes Oldenburg.

<span class="mw-page-title-main">Hirshhorn Museum and Sculpture Garden</span> Art museum in Washington, D.C., U.S.

The Hirshhorn Museum and Sculpture Garden is an art museum beside the National Mall in Washington, D.C., United States. The museum was initially endowed during the 1960s with the permanent art collection of Joseph H. Hirshhorn. It was designed by architect Gordon Bunshaft and is part of the Smithsonian Institution. It was conceived as the United States' museum of contemporary and modern art and currently focuses its collection-building and exhibition-planning mainly on the post–World War II period, with particular emphasis on art made during the last 50 years.

<span class="mw-page-title-main">Vija Celmins</span> Latvian-American visual artist (born 1938)

Vija Celmins is a Latvian American visual artist best known for photo-realistic paintings and drawings of natural environments and phenomena such as the ocean, spider webs, star fields, and rocks. Her earlier work included pop sculptures and monochromatic representational paintings. Based in New York City, she has been the subject of over forty solo exhibitions since 1965, and major retrospectives at the Museum of Modern Art, Whitney Museum of American Art, Los Angeles County Museum of Art, San Francisco Museum of Modern Art, Institute of Contemporary Arts, London and the Centre Pompidou, Paris.

<span class="mw-page-title-main">Anne Truitt</span> American sculptor (1921–2004)

Anne Truitt, born Anne Dean, was an American sculptor of the mid-20th century.

<span class="mw-page-title-main">Arthur Bowen Davies</span> American painter

Arthur Bowen Davies was an avant-garde American artist and influential advocate of modern art in the United States c. 1910–1928.

Tara Donovan is an American sculptor who lives and works in Brooklyn, New York. Her large-scale installations, sculptures, drawings, and prints utilize everyday objects to explore the transformative effects of accumulation and aggregation. Known for her commitment to process, she has earned acclaim for her ability to exploit the inherent physical characteristics of an object in order to transform it into works that generate unique perceptual phenomena and atmospheric effects. Her work has been conceptually linked to an art historical lineage that includes Postminimalism and Process artists such as Eva Hesse, Jackie Winsor, Richard Serra, and Robert Morris, along with Light and Space artists such as Mary Corse, Helen Pashgian, Robert Irwin, and James Turrell.

<span class="mw-page-title-main">Amy Sillman</span> American painter

Amy Sillman is a New York-based visual artist, known for process-based paintings that move between abstraction and figuration, and engage nontraditional media including animation, zines and installation. Her work draws upon art historical tropes, particularly postwar American gestural painting, as both influences and foils; she engages feminist critiques of the discourses of mastery, genius and power in order to introduce qualities such as humor, awkwardness, self-deprecation, affect and doubt into her practice. Profiles in The New York Times, ARTnews, Frieze, and Interview, characterize Sillman as championing "the relevance of painting" and "a reinvigorated mode of abstraction reclaiming the potency of active brushwork and visible gestures." Critic Phyllis Tuchman described Sillman as "an inventive abstractionist" whose "messy, multivalent, lively" art "reframes long-held notions regarding the look and emotional character of abstraction."

<span class="mw-page-title-main">Alma Thomas</span> American painter (1891–1978)

Alma Woodsey Thomas was an African-American artist and teacher who lived and worked in Washington, D.C., and is now recognized as a major American painter of the 20th century. Thomas is best known for the "exuberant", colorful, abstract paintings that she created after her retirement from a 35-year career teaching art at Washington's Shaw Junior High School.

Andrea Way is an American artist currently based in Washington, D.C.

Renée Stout is an American sculptor and contemporary artist known for assemblage artworks dealing with her personal history and African-American heritage. Born in Kansas, raised in Pittsburgh, living in Washington, D.C., and connected through her art to New Orleans, her art reflects this interest in African diasporic culture throughout the United States. Stout was the first American artist to exhibit in the Smithsonian's National Museum of African Art.

<span class="mw-page-title-main">I. Rice Pereira</span> American abstract artist, poet and philosopher (1902–1971)

Irene Rice Pereira was an American abstract artist, poet and philosopher who played a major role in the development of modernism in the United States. She is known for her work in the genres of geometric abstraction, abstract expressionism and lyrical abstraction, as well as her use of the principles of the Bauhaus school. Her paintings and writings were significantly influenced by the complex intellectual currents of the 20th century.

Anne Neely is a painter based in Boston, Massachusetts, and Maine. She paints abstract paintings with an emphasis on landscapes and nature. She uses paint to explore imagined landscapes.

<span class="mw-page-title-main">Pat Steir</span> American painter and printmaker (born 1938)

Pat Steir is an American painter and printmaker. Her early work was loosely associated with conceptual art and minimalism, however, she is best known for her abstract dripped, splashed and poured "Waterfall" paintings, which she started in the 1980s, and for her later site-specific wall drawings.

Michelle Stuart is an American multidisciplinary artist known for her sculpture, painting and environmental art. She is based in New York City.

<span class="mw-page-title-main">Judith Shea</span> American sculptor and artist (born 1948)

Judith Shea is an American sculptor and artist, born in Philadelphia, Pennsylvania, in 1948. She was awarded a degree in fashion design from the Parsons School of Design in 1969 and earned her Bachelor of Fine Arts degree there in 1975. This dual education formed the basis for her figure based works.

Melissa Chiu is an Australian museum director, curator and author, and the director of the Hirshhorn Museum and Sculpture Garden in Washington, DC.

Jody Mussoff is an American ceramist and artist, living in Virginia.

<span class="mw-page-title-main">Suzanne Jackson (artist)</span> American visual artist

Suzanne Jackson is an American visual artist, gallery owner, poet, dancer, educator, and set designer; with a career spanning five decades. Her work has been exhibited in museums and galleries around the world. Since the late 1960s, Jackson has dedicated her life to studio art with additional participation in theatre, teaching, arts administration, community life, and social activism. Jackson's oeuvre includes poetry, dance, theater, costume design, paintings, prints, and drawings.

<span class="mw-page-title-main">Alice Acheson</span> American painter (1895–1996)

Alice Acheson was an American painter and printmaker.

Maggie Michael is an American painter. Born in Milwaukee, Michael has spent much of her career in Washington, D.C. A 1996 graduate of the University of Wisconsin-Milwaukee, from which she received a BFA, with honors, she received her MA from San Francisco State University in 2000 and her MFA from American University in 2002. She has received numerous awards during her career, including a grant from the Joan Mitchell Foundation in 2004, the same year in which she was given a Young Artist Grant by the D.C. Commission on the Arts and Humanities; she has also worked with the Hirshhorn Museum and Sculpture Garden. Michael is married to the sculptor Dan Steinhilber. She has served on the faculty of the Corcoran College of Art and Design.

References

  1. ↑ Campello, F. Lennox. 100 Artists of Washington, D.C., Schiffer Publishing, 2011. Retrieved August 5, 2024.
  2. 1 2 3 4 Anderson, John. "Hirshhorn unveils a wall of Meyers artwork," The Washington Times', May 15, 2016. Retrieved August 2, 2024.
  3. 1 2 3 4 5 6 Amirkhani, Jordan. "As Nature and Bodies Do: linn meyers's Graph Paper Drawings," The Art Journal, March 2020.
  4. 1 2 3 4 5 6 Jenkins, Mark. "A sweeping riff on the circle at the Hirshhorn," The Washington Post, September 3, 2016. Retrieved August 2, 2024.
  5. 1 2 3 4 5 6 7 Mansky, Jackie. "Museum Visitors Can Play This Wall Art Like an Instrument," Smithsonian Magazine, December 19, 2018. Retrieved August 2, 2024.
  6. 1 2 Capps, Kriston. "360-Degree Wall Drawing by D.C. Artist Linn Meyers," Washington City Paper, February 11, 2016. Retrieved August 2, 2024.
  7. 1 2 3 4 5 6 7 Freestone, Jenny. linn meyers: Drawing Lines, Painting Dots," On Paper, Spring 2019.
  8. 1 2 3 4 5 6 7 8 9 Ellegood, Anne. "Hammer Projects: Linn Meyers," Hammer Museum, 2011. Retrieved August 2, 2024.
  9. 1 2 3 4 5 6 Buckley, Annie. "Linn Meyers," Artforum, October 2011. Retrieved August 2, 2024.
  10. 1 2 Padua, Pat. "Linn Meyers @ The Phillips Collection," DCist, July 30, 2010. Retrieved August 5, 2024.
  11. 1 2 3 4 5 Hartley, Katie. "Sitting in Uncertainty," Bmore Art, May 19, 2022. Retrieved August 2, 2024.
  12. 1 2 Capps, Kriston. "At the Kreeger, even a modest museum can contain great depths," The Washington Post, July 3, 2024. Retrieved August 2, 2024.
  13. 1 2 Smithsonian American Art Museum. Untitled, Linn Meyers, Collection. Retrieved August 2, 2024.
  14. 1 2 The British Museum. Linn Meyers, Collection. Retrieved August 2, 2024.
  15. 1 2 National Gallery of Art. Linn Meyers, Collection. Retrieved August 2, 2024.
  16. 1 2 The Phillips Collection. Linn Meyers, Collection. Retrieved August 2, 2024.
  17. 1 2 Duron, Maximiiano. "Anonymous Was A Woman Names 2023 Winners," ARTnews December 14, 2023. Retrieved August 5, 2024.
  18. 1 2 3 Anonymous Was A Woman. Recipients 2023. Retrieved August 2, 2024.
  19. 1 2 3 Hammer Museum. "Hammer Projects: Linn Meyers," Exhibitions. Retrieved August 2, 2024.
  20. 1 2 3 4 5 6 Smith, Brendan. "A Circle of Lines Fills the Hirshhorn," Bmore Art, June 5, 2016. Retrieved August 2, 2024.
  21. 1 2 3 Academy Art Museum. "Abstraction: Landscapes and Otherscapes," Exhibitions. Retrieved August 2, 2024.
  22. ↑ Genocchio, Benjamin. "For a Few Days, New Haven Artists Give Up the Hermit's Life," The New York Times, October 12, 2003. Retrieved August 5, 2024.
  23. ↑ Battista, Carolyn. "The View From/New Haven; Opening the Doors On Art Workspaces," The New York Times, May 10, 1998. Retrieved August 5, 2024.
  24. ↑ Harrison, Helen A. "Landscapes of Mind and Nature," The New York Times, February 2, 1997. Retrieved August 5, 2024.
  25. ↑ Dawson, Jessica. "Objects in Mirror Are Closer Than They Appear," Washington City Paper, February 25, 2000. Retrieved August 5, 2024.
  26. ↑ Sozanski, Edward J. "Linn Meyers at Gallery Joe," The Philadelphia Inquirer, November 29, 2002.
  27. ↑ Thomas, Mary. "Meditative Markings," Pittsburgh Post-Gazette, March 15, 2003.
  28. ↑ Thomas, B. "Portrait of an Artist: Linn Meyers," Provincetown Magazine, July 24, 2003.
  29. 1 2 3 4 5 6 Wennerstrom, Nord. "Linn Meyers," Artrorum, November 7, 2005. Retrieved August 2, 2024.
  30. 1 2 Washington City Paper. "Linn Meyers: No Time Like the Present," September 13, 2007. Retrieved August 5, 2024.
  31. 1 2 The Washington Post. "A Persuasive Thought of Line," December 9, 2007.
  32. 1 2 3 4 5 McNatt, Glenn. "Contemporary drawing values meticulous mark-making," The Baltimore Sun, January 24, 2007. Retrieved August 5, 2024.
  33. 1 2 Cohen, Alina. "These Women Artists Are Transforming Gallery Walls With Incredible Murals," Artsy, February 19, 2019. Retrieved August 5, 2024.
  34. 1 2 Glusker, Anne. "The Mesmerizing Results When a Museum Asks an Artist to Draw All Over Its Walls," Smithsonian Magazine, May 24, 2016. Retrieved August 2, 2024.
  35. ↑ O'Sullivan, Michael. "Artist Goes Flat-Out to Draw the Viewer In," The Washington Post, February 20, 2009. Retrieved August 5, 2024.
  36. ↑ Richman, Johnathan. "Temporary Pleasures: Artist Linn Meyers," The Washington Post, February 18, 2009. Retrieved August 5, 2024.
  37. ↑ Cebulski, Frank. "The Space Between at SJICA," Artweek, June 1, 2008.
  38. ↑ Capps, Kriston. "Art review: Taking the Katzen roundabout," The Washington Post, February 13, 2011. Retrieved August 2, 2024.
  39. ↑ Cunard, Corinne. "'Every now. And again.' at the Hammer Museum," Daily Bruin, May 8, 2011. Retrieved August 2, 2024.
  40. ↑ Rodney, Seph. "A Visual Artist Creates Lyrical, Linear Poetry," Hyperallergic, October 21, 2016. Retrieved August 2, 2024.
  41. ↑ Jenkins, Mark. "From the Everyday to the Fantastical," The Washington Post, May 29, 2015. Retrieved August 5, 2024.
  42. ↑ Jenkins, Mark. "Women take the spotlight in a pair of art shows at the A.U. Museum," The Washington Post, March 2, 2022. Retrieved August 2, 2024.
  43. ↑ "News | The Santo Foundation Blog" . Retrieved 2019-01-16.
  44. ↑ Smithsonian Institution. "Smithsonian Awards Fellowships to 10 Artists to Conduct Research at Museums and Research Facilities,". Retrieved August 5, 2024.
  45. ↑ Duron, Maximiiano. "Artist Award Roundup," ARTnews July 14, 2022. Retrieved August 5, 2024.
  46. 1 2 Tamarind Institute. Linn Meyers, Artists. Retrieved August 2, 2024.
  47. ↑ Ballinglen Arts Foundation. "Abstraction: Landscapes and Otherscapes," Exhibitions. Retrieved August 2, 2024.
  48. ↑ Baltimore Museum of Art. Linn Meyers, Collections. Retrieved August 2, 2024.
  49. ↑ Hirshhorn Museum and Sculpture Garden. Untitled, Linn Meyers, Collection. Retrieved August 2, 2024.
  50. ↑ New Britain Museum of American Art. Untitled, Linn Meyers, Collections. Retrieved August 2, 2024.
  51. ↑ Pennsylvania Academy of Fine Art. Linn Meyers, Collection. Retrieved August 2, 2024.
  52. ↑ Andrews, Lindsay N. Works on Paper from the Collection of the Sheldon Museum of Art, University of Nebraska Press, 2016. Retrieved August 5, 2024.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.