Holding UPJ u l i e H e f f e r n a n |

University Art Gallery | Department of Art | College of the Arts | California State University, Stanislaus

University Art Gallery | Department of Art | College of the Arts | California State University, Stanislaus

Holding UPJ u l i e H e f f e r n a n |

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500 copies printed

Julie Heffernan - Holding Up

University Art GalleryDepartment of ArtCollege of the ArtsCalifornia State University, StanislausOne University CircleTurlock, CA 95382

April 4 - 29, 2011

Catharine Clark Gallery150 Minna StreetSan Francisco, CA 94105

September 3 - October 29, 2011

This exhibition and catalog have been funded by:Associated Students Instructionally Related Activities, California State University, Stanislaus

Copyright © 2011 California State University, StanislausAll Rights reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of the publisher.

Catalog Design: Kristina Stamper, College of the Arts, California State University, StanislausCatalog Printing: Claremont Print and Copy, Claremont, CACatalog Photography: Courtesy of the Catharine Clark Gallery, PPOW Gallery, and Susan Alzner

ISBN: 978-0-9830998-2-6

Cover Image: Self Portrait as Budding Boy, 2010, oil on canvas, 78” x 56”

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CONTeNTS

Director’s Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

essay: Personas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Julie Heffernan: Holding Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Curriculum Vita . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

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DIReCTOR’S FOReWORD

Julie Heffernan – Holding Up, represents Julie Heffernan’s most recent works. “Amazing” is the

first word that comes to mind for most people who view Heffernan’s work. Her art exhibits a deep

understanding of art history and has a quality rarely matched by others. I am very excited to be able

to exhibit her work for others to enjoy.

I would like to thank the many colleagues who have been instrumental in presenting this exhibition;

Julie Heffernan for the opportunity of exhibiting her astonishing work; Dean Daryl Moore, College

of the Arts, California State University, Stanislaus, for his wonderful essay and the curation of the

exhibition; The College of the Arts, California State University, Stanislaus for the wonderful catalog

design; Claremont Print and Copy for their expertise in printing this catalog. Special thanks also to

PPOW Gallery and the Catharine Clark Gallery for their cooperation and support in making this

exhibition and catalog possible.

A great thank you is also extended to the Instructionally Related Activities Program of California State

University, Stanislaus as well as anonymous donors for the funding of the exhibition and catalog.

Their support is greatly appreciated.

Dean De Cocker, Director

University Art Gallery

California State University, Stanislaus

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In the spirit of full disclosure I will tell you that I had the good fortune of working with Julie Heffernan

at Montclair State University for the better part of a decade, where, in my capacity as department

Chair and colleague I was able to admire her as one of the true working contemporary artists on that

very talented faculty.

Prior to entering the academy full-time as a teacher, and now dean, I worked as a designer in the area

of applied arts. I had never been quite so close to excellence in the world of exhibiting contemporary

artists as I came to be while Chair at Montclair State University. Since that time I have had the

opportunity to experience (and on a modest level facilitate) the slow explosion that remains at the

heart of today’s contemporary art scene. In that world, I proudly embrace and revel in my position

as the world of contemporary art continues to move us to new ways of seeing — from New York to

Beijing and many locations in between. As I traverse that world I find that writing about contemporary

art is as challenging as talking about it. It is for me [both] a decidedly paradoxical endeavor as well

as one that admittedly leaves me wanting. This “wanting” is a direct result of the impossibility to

adequately represent/describe/infuse/enliven a visual medium with words that are truthful.

As much as I love and subscribe to the power of words to move us all, when looking at art, I often find

I cannot get to its truth [the art] with words. No matter how expansive one’s vocabulary or art historical

context may be. The work on the wall defies all dialogue… save that which lives in the eye of the

viewer, and on the canvas where the artist speaks in another tongue.

This state of wanting is an experience I have never had upon viewing the lush and intellectually

sensual canvases of Julie Heffernan. Oh yes, much has been said and written heretofore regarding the

Baroque parallels one might find glimmering just below the surface of Heffernan’s ongoing dialogue

with herself and the world. I however am not equipped to go there, nor do I have the capacity of such

recall. I only know that the images are amazingly beautiful and disturbing — at once something to

long for and something to fear — like the world we occupy.

The work is indeed (and remains) ripe as noted over a decade ago in an Art Forum review, where Ms.

Heffernan began to unleash her densely realized fantastical world of her “other self” in portraiture that

continues to draw us close seductively as only the ripest of fruits can do. While we stare, suspended

and perhaps lost in the exotic world dreamt only by Heffernan, we marvel at her generosity and

PeRSONAS

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capacity for picture making, lost perhaps in the gaze of her many personas. Personas slightly distant,

a-drip with life’s pain and desires, faces in full bloom that inhabit the duality of the worlds she has

created on these most current canvases. Perhaps they are a direct connection to all that is maternal —

her cry for Mother earth as it continues to convulse with the birthing pains of offspring killing her softly

— a mother’s love and fear for the earth she has carried to full term.

I am both delighted and privileged to be able to bring her work to our Gallery for the first time. enjoy

these fertile and beguiling canvases — and if you are so inclined…talk about them.

— Daryl Joseph Moore, frsa

Founding Dean, College of the Arts

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JULIe HeFFeRNAN: HOLDING UP

We are in a pickle. The best minds in science are piling new information on us every day, attesting to

impending crises—climate change, oceans rising, famines, droughts, mayhem—and I, alone in my

basement studio with NPR as my droning companion, am in a low-decibel frenzy.

I am a mother. These paintings are both my cries in the wilderness and my attempts to do something.

With my compact fluorescent light bulbs glowing wanly overhead and my laundry drying on the rope-

line in my bedroom so I don’t have to waste gas using the dryer, I know my tiny efforts are ridiculous in

the face of the walloping megatonnage of carbon coming out of every gasoline engine in the world,

and I find myself thinking about what we need for this next chapter of life on earth. What kinds of

stories do we need to hear? What kinds of people are necessary for good change? Do we need sub-

prime mortgage lenders? Do we need more Cadillacs? What do we really need?

I’m imagining alternative worlds for when the one we are familiar with vanishes. “Self-Portrait Moving

Out” envisions a moment of metaphorical collapse, where the accumulation of everything we own

hits a crisis point, and where pathways lead to disaster or, conversely, miniature edens. “Self-Portrait

Setting Up Camp” is a proposition for how we might remake the world when it all falls apart. There

are the Inventors, the Storytellers, the Fishers, the Buriers, the Builders, the Mothers, the Lovers—

people to bury the old, invent the new, re-purpose the useless, retain history, build new structures and

nurture the young. There is also the possibility of missing the boat, not hitting the target, continuing

the mistakes of the past.

My two sons, like everyone else’s children, will inherit the brunt of their ancestor’s excesses. In the Boy

paintings I’m imagining a young man in transition, and I as the painter and puppeteer am supplying

this young man with some of what he might need as he moves into adult life. These works are my

attempt to pass on some of the wisdom I’ve accumulated in a life spent studying and making art, in a

fashion reminiscent of Hamlet’s Polonius passing on hoary wisdom to his son and being regarded as a

fool. I’m using the space of the canvas to meditate on life changes and how we might move into new

chapters of our lives both personally and as a planet.

In “Self-Portrait Picking Up the Pieces,” Boy is carrying his overly large backpack filled with broken

idols and golden creatures among other things, and he wears a tool belt that holds some of the items

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he might need on his passage into the world. But this world is not altogether sound: signs everywhere

speak of idols falling and institutions collapsing.

Other paintings such as “Budding Boy” and “Boy in Flight” describe the Boy high up in a tree,

travelling aloft. He is in charge of his space, creating a miniature ecosystem of his own, managing

the ropes that nurture the system as it begins to unravel on his watch. In “Boy Holding Up” he is not

only in charge of the baby in his arms but also of the miniature world, suspended precariously with

ropes and pulleys and holding within it paradise and hell. He is a juggler, a manager of small and

large things, and seems to be doing fine.

What we imagine we can manifest.

— Julie Heffernan

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I M A G e S

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(page 10) Self Portrait with Man and Boy 2011, oil on canvas, 68” x 54”

Self Portrait with Man and Boy (detail), 2011, oil on canvas

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Self Portrait Holding Up, 2010, oil on canvas, 68” x 66”

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Self Portrait Holding Up (detail), 2010, oil on canvas

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(page 15) Self Portait Picking Up the Pieces, 2010, oil on canvas, 72” x 54”

Self Portrait as Explosive, 2011, oil on canvas, 62” x 68”

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Self Portrait as Lovers, 2011, oil on canvas, 60” x 52”

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Self Portrait As Boy In Flight, 2010, oil on canvas, 52” x 68”

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Self Portrait As Tender Trapper, 2010, oil on canvas, 66” x 60”

(page 21) Self Portrait As Great Scout Leader III, 2010, oil on canvas, 72” x 54”

(pages 18-19) Self Portrait as Millenium Burial Mound, 2011, oil on canvas, 34” x 50”

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Self Portrait Moving Out, 2010, oil on canvas, 54” x 78”

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Self Portrait as Tree House, 2010, oil on canvas, 68” x 65”

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Self Portrait Setting Up Camp, 2010, oil on canvas, 63” x 60”

(page 25) Self Portrait as One Seeking Refuge, 2010, oil on canvas, 72” x 67”

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Self Portrait as Great Heap, 2009, oil on canvas, 68” x 56”

(page 27) Self Portrait as Sitting on a World, 2008, oil on canvas, 78” x 56”

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JULIe HeFFeRNAN

eDUCATION1985 MFA in Painting, Yale School of Art and Architecture, New Haven, CT1981 BFA in Painting and Printmaking, University of California at Santa Cruz, Santa Cruz, CA

1997- Associate Professor at Montclair State University

AWARDS, FeLLOWSHIPS AND ReCOGNITIONS2010 Commencement Speaker for Pennsylvania Academy of Fine Art, Philadelphia, PA Winifred Johnson Clive Foundation Distinguished Visiting Painting Fellow, San Francisco Art Institute, SF, CA2008 Thomas Bennett Clarke Prize, National Academy Museum, New York, NY 2004 Thomas R. Proctor Prize, National Academy Museum, New York, NY2003 National Honor Society of Phi Kappa Phi, Awarded by Montclair State University 2002 American Academy of Arts and Letters: Nominee1996 New York Foundation for the Arts: Individual Artists Grant1995 National endowment for the Arts: Individual Fellowship Grant1994 Hillwood Art Museum (NYSCA): Project Residency Grant 1990 Skowhegan School of Painting And Sculpture, Skowhegan, Me: Painting fellowship 1987 Institute for Art and Urban Resources, P.S.1, New York, NY: Artist-in-Residence and Studio Grant 1986 Fulbright-Hayes Grant to West Berlin/Annette Kade Grant for the Creative and Performing Arts 1985 ely Harwood Schless Memorial, Yale University, New Haven, CT: Prize for Highest Achievement in Painting

SOLO eXHIBITIONS FROM 2005 ON2013 PPOW Gallery, New York, NY2012 Mark Moore Gallery, Los Angeles, CA Palo Alto Center for the Arts, Palo Alto, CA. Travelling to: The Crocker Art Museum, Sacramento, CA2011 Catharine Clark Gallery, San Francisco, CA Catharine Clark Gallery, Sonoma, CA California State University, Stanislaus, University Art Gallery, Turlock, CA, “Holding Up” Megumi Ogita Gallery, Tokyo, Japan

Royal Caribbean Cruises, Celebrity Cruises: commission for vestibule installation and corridor installation with sound and sculpture

2010 PPOW Gallery, New York, NY2009 Brooklyn Academy of Music, Brooklyn, NY, Guest Artist for Spring Season Mark Moore Gallery, Los Angeles, CA (Catalogue)2008 Catharine Clark Gallery, San Francisco, CA (Catalogue) Luxe Art Institute, encinitas, CA Megumi Ogita Gallery, Tokyo, Japan2007 PPOW Gallery, New York, NY (Catalogue) Kendall Gallery, Michigan State University, Lansing, MI2006 Albany Art Museum, SUNY, Albany, NY, “everything that Rises,” curated by Janet Riker (Traveling exhibition with Catalogue) Catharine Clark Gallery, San Francisco, CA Columbia Museum of Art, Columbia, SC, “everything that Rises” Weatherspoon Museum, Greensboro, NC, “everything that Rises” PPOW Gallery, New York, NY2005 Lisa Sette Gallery, Scottsdale, AZ Robert Kidd Gallery, Birmingham, MI

SeLeCTeD GROUP eXHIBITIONS FROM 2000 ON2011 Bedford Gallery at Lesher Center for the Arts, Walnut Creek, CA The Porter Sesnon Gallery at UC Santa Cruz, “Feedback,” curated by Julie Baker, Santa Cruz, CA Palazzo Reale, “Arcimboldo-Artista Milanese tra Leonardo e Caravaggio,” Milan, Italy Montserrat College of Art, Beverly, MA: “A Debt to Pleasure: Allegory and Realism in Contemporary Art” eden Rock Gallery, St. Barths, French West Indies, “Uncovered” South Bend Museum of Art, South Bend, Indiana, “Surface Tension: Tradition And Innovation in Contemporary Art” Delaware Center for the Contemporary Arts, Wilmington, De, “In Canon,” curated by Margaret Winslow2010 Portsmouth Museum of Art, Portsmouth, Me, “Humanimal” Danese Gallery, New York City, “Other as Animal” Sloan Fine Art, New York City, “Nice to Meet You”

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Friesen Gallery, Seattle, WA, “Speak for the Trees” ADAA Art Fair/PPOW Gallery, New York City, “The Art Show” Triple Candie, New York, NY, “eye World,” curated by emily Cheng & Michelle Loh New York Academy, New York, NY, “private (dis)play,” curated by Jamie Adams & Katharine Kuharic Joseloff Gallery, Hartford Art School, University of Hartford, CT, “enchantment” (Catalogue)2009 emerson Gallery, Hamilton College, Clinton, NY, “private (dis)play: Contemporary Artists’ Sketchbooks” Robert Kidd Gallery, Birmingham, MI, “Bods: Rethinking the Figure” Samek Art Gallery, Bucknell University, Lewisburg, PA, “epic Painting,” curated by Dan Mills

Hyde Park Art Center, Chicago, IL, “Signs of the Apocalypse/Rapture”, curated by Doug Fogelson and Ryanne Baynham (Catalogue)

Tucson Museum of Art, Tucson, AZ, “Trouble in Paradise,” curated by Julie Sasse (Book) Memphis College of Art, Main Gallery, Memphis, TN, “A Dog’s Life”

Nicholas Robinson Gallery, New York, NY, “Giving Face: Portraits for a New Generation”, curated by Stephen Heighton Gana Art, New York, NY, “The Garden at 4 am,” curated by Rene Riccardo Palo Alto Art Center, Palo Alto, CA, “Tales from an Imaginary Menagerie”2008 Collette Blanchard Gallery, NY, NY “Girl Show”

National Academy Museum, New York, NY, “The 183rd Annual: An Invitational exhibition of Contemporary American Art” (Catalogue)

Center of Creative Arts, St. Louis, MO, “private (dis)play,” curated by Kate Kuharic2007 Hauser and Wirth Gallery, London, england, “Old School” Zwirner and Wirth Gallery, New York, NY, “Old School” Forum Gallery, New York, NY, “The Feminist Figure” Mark Moore Gallery, Los Angeles, CA Catharine Clark Gallery, San Francisco, CA Salmagundi Club, New York, NY “The Beholder’s eye” Neuberger Museum of Art, Purchase College, NY, “Transitional Objects: Contemporary Still Life”

Florida State University Museum of Fine Arts, Talahassee, FL “More is More; Maximalist Tendencies in Recent American Painting”

2006 National Museum, Gdansk, Poland, “New Old Masters,” curated by Donald Kuspit Lisa Sette Gallery, Scottsdale, AZ, “20th Anniversary Show”2005 Mike Weiss Gallery, New York, NY Trierenberg Art, Traun, Austria, “New Art, New York,” curated by Margaret Matthews Berenson Billy Shire Fine Arts, Culver City, CA, “Visitors from the east” Catharine Clark Gallery, San Francisco, CA, “Social Insecurity”

Georgia Museum of Art, Athens, GA; “High Drama: eugene Berman and the Theater of the Melancholic Sublime,” (Catalogue). Traveling to:

McNay Art Museum, San Antonio, TX Long Beach Museum of Art, Long Beach, CA Tucson Museum of Art, “Paint on Metal”, Tucson, AZ (Catalogue)2004 University Galleries, Florida Atlantic University, Boca Raton, FL, “Me, Myself and I,” curated by Paul Laster and Renee

Ricardo Wave Hill, “enchantment”, New York, NY

Tang Museum, Skidmore College, Saratoga Springs, NY (Catalogue) National Academy Museum, New York City, “179th Annual exhibition of Contemporary American Art” (Catalogue) Massachusetts College of Art, Boston, MA, “Garden of earthly Delights,” curated by Lisa Tung

Bowdoin College Museum of Art, Brunswick, Me, “exquisite Corpse: Rules for an Unruly Project,” Curated by Alison Ferris Van Brunt Gallery, NYC, “Trouble in Paradise,” curated by Amy Lipton 2003 Palmer Museum, Pennslyvania State University, PA

Virginia Museum of Fine Arts, Richmond, VA, “The New VMFA: Collecting for the Future” (Catalogue) 2002 Kohler Arts Center, “Masquerade,” Sheboygan, MI PPOW, “Social Landscape,” New York, NY

Ackland Art Museum, “Collecting Contemporary Art: A Community Dialogue,” Chapel Hill, NCThe American Academy of Arts and Letters, “American Academy Invitational exhibition of Painting and Sculpture,” New

York, NY Aldrich Museum of Contemporary Art, “Snapshot,” Ridgefield, CT

Wake Forest University Fine Arts Gallery, Winston-Salem, NC, “Pixerina WITCHeRINA,” curated by Bill Congers of Illinois State University, Normal (Catalogue)

2001 Holcombe T. Green, Jr. Hall, Yale University School of Art Alumni Show, New Haven, CT Carl Hammer Gallery, “Of Dreams and Dreamers,” Chicago, IL

University Galleries, University of Illinois, Normal, IL, “PixerinaWitcherina.”2000 Contemporary Museum, “Snapshot,” Baltimore, MD Samuel P. Harn Museum, Gainesville, FL, “The Swamp, On the edge of eden”

The Art Museum at Florida International University, Miami, FL, “American Art Today: Fantasies and Curiosities,” curated by Dahlia Morgan

PPOW, “Nude + Narrative,” New York, NY

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Newhouse Center for Contemporary Art, Snug Harbor Art Center, “The Figure: Another Side of Modernism,” curated by Lily Wei, Staten Island, NY (Catalogue)

Art in General, “Private Worlds,” curated by Joan Semmel, New York, NY Artemesia Gallery, “Re-configuring the Heroic,” Chicago, NY

Kwangju Biennale 2000, “Self-Portraiture,” curated by Tom Finkelpearl, Kwangju, South Korea (Catalogue)Bard College, Center for Curatorial Studies Museum, “Looking Back,” Annandale-on-Hudson, NYKatonah Museum, “What Goes Around Comes Around,” curated by Barbara Bloemink, Katonah, NY

Adam Baumgold Fine Art, “Quirky,” New York, NY Susquehana Art Museum, curated by Sean Mellyn, Harrisburg, PA The Hudson River Museum, “Animal Artifice,” Yonkers, NY

SeLeCTeD INVITATIONAL VISITING ARTIST LeCTUReS AND PANeLS 2000 - 20112010 Maryland Institute of Contemporary Art (MICA), Baltimore, MD Brandeis University, Boston, MA San Francisco Art Institute, San Francisco, CA2009 Lyme Academy, Lyme, CT Mount Holyoke University, Holyoke, MA Pennsylvania Academy of Fine Art, Philadelphia, PA2008 Florida State University, Talahassee, FL Kansas State University, Manhattan, KS2007 Maryland Institute of Contemporary Art, Baltimore, MD Michigan State University, Lansing, MI2006 Hampshire College, Amherst, MA Columbia Art Museum, Columbia, SC University of Virginia, Charlottesville, Charlottesville, VA Brooklyn College, Brooklyn, NY Weatherspoon Museum, Greensboro, NC Provincetown Fine Arts Works Center, Provincetown, MA Columbia University, School of Journalism, NYC2005 Carnegie Mellon, Pittsburgh, PA Massachusetts College of Art, Boston, MA Ball State University, Muncie, Indiana Corcoran College of Art, Washington D.C.2004 Virginia Commonwealth University, Richmond, VA Mint Museum, Charlotte, NC Bowdoin College, Brunswick, Me Queens College, Queens, NY University of Kansas, Lawrence, Lawrence, KS 2003 New York Academy of Fine Art, New York, NY

University of Ohio, “(In)forming Contemporary Art,” panel including artists Alison Saar, Kahn/Selesnick, Kathy Gilje), Akron, OH

Pennslyvania State University, “Reconsidering the Self-Portrait,”(Panel), University Park, PA Rhode Island College, Providence, RI 2002 University of Texas, Austin, TX Anderson Ranch, Snowmass Village, CO University of Florida, Gainesville, FL Parsons College of Art and Design, New York, NY2001 Moore College of Art and Design, Philadelphia, PA Cranbook Academy of Art, Slide lecture, Bloomfield Hills, MI New York Academy of Figuative Art, Slide lecture, New York, NY2000 New York Studio School, Slide lecture, New York, NY Cooper Union, Slide lecture, New York, NY Newhouse Center for Contemporary Art at Snug Harbor Cultural Center, Slide lecture, Staten Island, NY Art in General, Panel discussion for “The Figure: Another Side of Modernism,” moderated by Alexei Worth, New York, NY Katonah Museum of Art, Panel: “Appropriation Art,” Katonah, NY CAA Panel: “Repositioning the Nude,” moderated by Joan Semmel, New York, NY Pratt Institute, Slide lecture, New York, NY Massachusetts College of Art, Slide lecture, Boston, MA

SeLeCTeD BIBLIOGRAPHY FROM 1999ARTNeR, ALAN G.: “Julie Heffernan’s Dept Self-Fictions,” Chicago Tribune, Sept. 28, 2001CLARK, GARTH: “Neo-Palatial: A Curatorial Imagination,” Metalsmith, Vol. 30, #4, 2010; pp. 10 and 20CLINe, LYNN: “Not Perfect in Paradise,” The New Mexican–Pasatiempo, Aug. 2-8, 2002COHeN, DAVID: “Beauty in Flesh and Fur - Julie Heffernan: Booty,” The New York Sun, Thurs., Sept. 27, 2007, p. 15COHeN, DAVID: “Gallery Going,” The New York Sun, Thurs., Oct. 23, 2003, p.18

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CRAIG, GeRRY: “Mighty Real, Virtuosity makes a Comeback,” Metrotimes, May 25, 2005DAY, JeFFReY, “Fantastic Voyage”, The State, Columbia, SC, Fri., May 19, 2006, p. e18 ”Julie Heffernan at the Columbia Museum of Art”, artdaily.com, Dec. 10, 2006DRUMM, PeRRIN: “Studio Visit: Julie Heffernan”, Art in America, Apr. 16, 2010, http://www.artinamericamagazine.com/news-

opinion/finer-things/2010-04-16/studio-visit-julia-heffernan/eLKINS, JAMeS: exhibition essay: “Strange Stories and the Balm,” PPOW and Littlejohn Contemporary, Mar. 2001eNHOLM, MOLLY: “Beauty and the Apocalypse,” Art Ltd., Mar/Apr. 2009FINKeLPeARL, TOM: “Kwangju Biennial, The Curator’s Gossip: Julie Heffernan,” Flash Art, Summer 2000, p. 99FRIeSeN, ANDRIA: Speak for the Trees, 2009GLUeCK, GRACe: “Art in Review: Private Worlds,” The New York Times, Jun. 30, 2000, p. e37GLUeCK, GRACe: “A Rich Mix of Styles and Stimulations Under One Roof,” The New York Times, Feb. 25, 2000GOMeZ, eDWARD M.:”Artist Julie Heffernan’s New Paintings: Hallucinatory Worlds within Worlds,” Apr. 30, 2010, http://www.

edwardmgomez.com/GOMeZ, eDWARD M.: “Drawn to the Body,” Art and Antiques, Jan. 2004GOMeZ, eDWARD M: “Florida: Where exuberant Dreams Often Sink Out of Sight,” nytimes.com, Apr. 8, 2001HAKANSON COLBY, JOY, “Dreamlike Images Combine in a Magical exhibition in Birmingham,” Detroit News, May 20, 2005HeFFeRNAN, JULIe, Harper’s Magazine, Reproduction, Summer 2000, p. 31HeFFeRNAN, JULIe, Harper’s Magazine, Reproduction, June 2001, p. 15HeFFeRNAN, JULIe, The New Yorker, Reproduction accompanying an A.S.Byatt short story The Stone Woman, Oct. 13, 2003, p.90HeFFeRNAN, JULIe, The New Yorker, Reproduction accompanying an A.S. Byatt short story A Thing in the Forest, June 3, 2002, p. 81HUMPHReY, DAVID, Blind Handshake, Periscope Publishing Ltd. 2009, pp. 56- 57JAMeS, JAMIe: “Julie Heffernan,” The New Yorker, Apr. 12, 1999JOHNSON, KeN: “Art in Review: Julie Heffernan,” The New York Times, Apr. 1999JOHNSON, KeN: Art Guide: “Julie Heffernan,” The New York Times, Apr. 9, 16, 1999KAYLAN, MeLIK: “Quality? There’s the Rub,” The Wall Street Journal, Dec. 11, 2008KOROTKIN, JOYCe: “Julie Heffernan,” The New York Art World, Apr. 1999KRAUSS, NICOLe: “Julie Heffernan at Littlejohn Contemporary and PPOW,” Art in America, Jan. 2000DANIeL KUNITZ: “The Grab-Bag Anthology,” The New York Sun, Thursday, June 5, 2008KUSPIT, DONALD: The end of Art, Cambridge, UK: Cambridge University Press, 2004; p.183KUSPIT, DONALD: “Report from New York: Three Body Fantasists,” Art New england, Feb./Mar. 2004, p.8-9KUSPIT, DONALD: “Going, Going, Gone,” artnet.com, http://www.artnet.com/magazine/ features/kuspit/http://www.artnet.com/

magazine/features/kuspit/kuspit9-15-99.htmlLANDI, ANN: “The Real Thing? (Contemporary Realism Today),” ARTnews, June 2002, pp. 88-91; reproduction p. 89LASTeR, PAUL: “Julie Heffernan, ‘Boy, O Boy’,” Time Out New York, May 20-26, 2010, p.54LASTeR, PAUL: “Julie Heffernan’s Painted Worlds of Make-Believe,” The Daily Beast, June 30, 2009LeVIN, KIM: “Voice Choices; Short List: Julie Heffernan,” Village Voice, Apr. 13, 1999LeVIN, KIM: “Voice Choices–Art: Galleries,” Village Voice, July 11, 2000, p. 96LeVIN, KIM: “Galleries,” Village Voice, Apr. 3, 2001MCGee, CeLIA: “Art Smart,” Daily News, Mar. 3, 2001MANIACI, CARA: “Julie Heffernan,” NY Arts, Apr. 1999MeYeRS, HOLLY: “Julie Heffernan,” LA Times, May 28, 2004MORGAN, ROBeRT: “Billboards,” Littlejohn-Smith, Artscribe International, Nov./Dec. 1988NAVeS, MARIO: “Nothing Like the Old School,” The New York Observer, July 16, 2007PASULKA, NICOLe: “Boy, O Boy,” The Morning News, http://themorningnews.org/archives/galleries/boy_o_boy/PINCUS, ROBeRT L.: “The paintings in Lux’s ‘Julie Heffernan’ hint at hidden stories,” The San Diego Union Tribune, Sun. May 11, 2008POLANSKI, G. JUReK: “Reviews–Julie Heffernan: New Paintings,” artscope.net, artscope.net/VAReVIeWS/heffernan1099.htmRAVeN, ARLeNe: Catalogue, “Julie Heffernan,” Littlejohn Contemporary, Mar. 1996ReHAK, MeLANIe: “Horse’s Mouth,” Bookforum, Fall 1999ROSeNBeRG, KAReN: “Venerable, Small and Lots on Paper (Including Napkins),” The New York Times, Friday, Mar. 5, 2010ROSeNBeRG, KAReN: “Where Have All the Paintings Gone? To the National Academy,” The New York Times, Fri., May 30, 2008SCHAPPeLL, eLISSA: “About the Cover,” Tin House, Volume 12, #3 (Cover Image)SeeD, JOHN: “Julie Heffernan: ‘Boy, O Boy’ at PPOW Chelsea,” The Huffington Post, http://www.huffingtonpost.com/john-seed/

julie-heffernan-boy-o-boy_b_582573.html, May 21, 2010SILVeRSTeIN, JOeL: “Julie Heffernan,” Reviewny.com, www.reviewny.com, Apr. 12, 2001TeMIN, CHRISTINe: “Weird Science”, The Boston Globe, Feb. 27, 2004, p. C18 TURNeR, BROOK: “Kwangju Biennial, Korea: Calm after the Storm,” The Art Newspaper, No. 103, May 2000 (Reproduction)VINCeNT, STeVeN: “Julie Hefferna at P.P.O.W.,” Art in America, Feb., 2004, p.123WHITe, KIT: “Julie Heffernan at Littlejohn Contemporary and PPOW,” ARTnews magazine, Oct. 2001, pp. 172-3, reproduction“Critical eye,” W Magazine, Mar. 2001WORTH, ALeXI: “Julie Heffernan,” Artforum, May 2001YOOD, JAMeS: “Julie Heffernan,” Artforum, Jan. 2000http://tv.azpm.org/kuat/segments/2009/4/21/kuat-trouble-in-paradisehttp://www.follymag.com/files/FOLLY_May-10.pdfhttp://www.artdaily.org/index.asp?int_sec=2&int_new=45366 Artdaily.org, Thurs., Mar. 3, 2011

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ACKNOWLeDGeMeNTS

California State University, Stanislaus

Dr. Hamid Shirvani, President Dr. James Strong, Provost/Vice President of Academic Affairs Ms. Susana Gajic-Bruyea, Vice President for University Advancement

College of the Arts

Mr. Daryl Joseph Moore frsa, Founding Dean, College of the Arts Lauris Conrad, Administrative Analyst/Specialist Kristina Stamper, Desktop Publishing and Graphic Specialist

Department of Art

Dr. Roxanne Robbin, Chair, Professor Dean De Cocker, Associate Professor Jessica Gomula, Associate Professor Daryl J. Moore, Professor David Olivant, Professor Gordon Senior, Professor Richard Savini, Professor Dr. Hope Werness, Professor emeritus Meg Broderick, Administrative Support Assistant II Christian Hali, Instructional Support Technician II Jon Kithcart, equipment Technician II

University Art Gallery

Dean De Cocker, Director

Catharine Clark Gallery

Catharine Clark, Owner/Director Nathan Larramendy, Associate Director Rhiannon evans MacFadyen, Marketing Director Talia Roven, exhibitions Manager

PPOW Gallery

Wendy Olsoff, Co-Owner Penny Pilkington, Co-Owner Jamie Sterns, Director Vanessa Lopez, Registrar

I would like to thank Daryl Moore for his inspiring leadership over the years, and for his great efforts in bringing this show to life; Catharine Clark for her ongoing support of my artistic efforts and firm guiding hand; Dean De Cocker for his help in organizing the show; and Kristina Stamper for her good eye!

— Julie Heffernan