With Miriam Schapiro, Meyer authored the seminal and widely reprinted essay “Femmage,” first published in the 1978 issue of Heresies magazine. She is a frequent artist in residence at Yaddo in Saratoga Springs, New York and an artist member of the Yaddo board, as well as at the Vermont Studio Center. She was a resident at the MacDowell Colony in 2012 and the Bogliasco Foundation outside of Genoa, Italy 2005, and the BAU Institute in Cassis, France 2016. Meyer was awarded a Rome Prize from the American Academy in Rome and has received grants from the National Endowment for the Arts and two Pollock Krasner Foundation grants-20. Guggenheim Museum, the Jewish Museum and many other public and private collections across the United States. Her work is included in the collection of the Metropolitan Museum of Art, the Museum of Modern Art, the Brooklyn Museum, the Solomon R. She has completed public commissions in New York, Tokyo, and Shanghai, and an eight by fourteen-foot ceramic mural for the new U.S. Her works have been included recently in group exhibitions at the Jewish Museum, New York Texas Gallery, Houston Montclair Art Museum, New Jersey the Hyde Collection, Glens Falls, New York and the National Academy of Design in New York, an organization of which she is a member. Meyer’s development has been surveyed in two traveling exhibitions-one originated at the New York Studio School and the second at Swarthmore College in Pennsylvania.
Her lengthy exhibition history includes solo exhibitions at The Lennon Weinberg Gallery, New York Elizabeth Harris Gallery, New York Rebecca Ibel Gallery, Columbus, Ohio Holly Solomon Gallery, New York and Galerie Renee Ziegler, Zurich, Switzerland. Melissa Meyer received both a BS and an MA from New York University. And yet – and this is why Fitzgerald seems to me to be on the verge of becoming an important and singular artist – the work comes across as taut and fresh, brimming with an awareness that the act of seeing is a construction, at once fluid and disrupted.” He relies on coloured pencils, ink, and collage – nothing fancy. Fitzgerald’s vocabulary is Basic – there is nothing elaborate or stylish about his lines and circles, rough and ragged shapes. Fitzgerald’s works do not suffer by comparison.
Reviewing an exhibition of his drawings at Guest Room Contemporary Art in Brussels in 2010 for the Brooklyn Rail, the poet and writer John Yau wrote “By responding to his immediate environment, Fitzgerald shares something with two older abstract artists, Raoul De Keyser and Thomas Nozkowski. It is an accumulation of evidence which reflects the life of its own making and the daily life that has gone into it.” For me a painting is an entity that should not depend on a fixed one-dimensional face to the world. It is very often the case that the unresolved has a lot of truth in it. …a painting should be a lived thing, it is lived through in its making and in the viewing, as such it will often contain certain failures or inherent problems.
Combining organic and constructed elements, these intermediate, transitional domains are what give his paintings their tension and dynamics: Over the years, different, contrasting family groups of paintings have evolved which explore different qualities, procedures and images. Though his works have an economy of means and are usually modest in size, Fitzgerald seeks a certain kind of intensity and reflective experience which is built up slowly over time. A state of affairs exists in his paintings and drawings where it is not clear if everything is collapsing and falling apart or, on the contrary, forming and coming together. The material density of his works as painted objects, contrasts with different kinds of ambiguous images where the difference between abstraction and representation is blurred and unclear. He is also influenced by other art forms such as music, poetry, literature and cinema. For him, painting is not just a visual phenomenon but is also a bodily and haptic experience. Fitzgerald’s paintings are a response to things that surround him in his daily life while also being exploratory and a reflection on the history of the medium itself and its possibilities.
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