Michelle Stuart

She has had one-person exhibits at the Walker Art Center, Minneapolis; Massachusetts Institute of Technology, Cambridge, MA; The Rose Art Museum, Waltham, MA; the Gemeentemuseum Den Haag, Netherlands; the Institute of Contemporary Arts, London; Williams College Museum of Art, Williamstown, MA; Centre d’Arts Plastique Contemporaines de Bourdeaux, France; The Arts Club of Chicago; Everson Museum of Art, Syracuse, NY; Galerie Ueda and Ueda Warehouse Tokyo, Japan and individual galleries in both the United States and Europe. In 2013, Stuart was the subject of a retrospective that focused on her drawing. It was organized by the Djanogly Art Gallery, University of Nottingham, UK, and travelled to the Santa Barbara Museum of Art, Santa Barbara, CA and the Parrish Art Museum, Watermill, NY.

In 2008 Stuart was part of a group exhibition called "Decoys, Complexes and Triggers: Feminism and Land Art in the 1970s," at the SculptureCenter in Long Island City, New York other artists in this exhibit included Alice Adams, Alice Aycock, Lynda Benglis, Agnes Denes, Jackie Ferrara, Suzanne Harris, Nancy Holt, Mary Miss, and Jackie Winsor.

Her series titled Extinct (1993) was inspired by a Victorian-era album of leaves. For one work in the series, she revisited the grid formation, but this time placed a variety of dried plants within each compartment. During this time, Stuart also created the Seed Calendar drawings, which employ the grid to map the maturation stages of a seed.

Throughout her career, Stuart has also sought to manifest her love of literature and the writing process through a variety of strategies. In the early 70s, she began to create the Rock Book series, artworks that in their use of natural materials from specific sites might be considered alternative travel logs. These works take the form of tattered, bound journals made of earth rubbings. For example, in Homage to the Owl from Four Corners (1985), earth, owl feathers, string and beeswax are brought together to form a book.

In the 1980s, Stuart shifted her focus. She embarked on a series of gridded paintings that introduced beeswax, seashells, blossoms, leaves and sand embedded in an encaustic surface. Stuart also created complex multi-media installations involving light and sound elements.

Stuart has published artists' books, including The Fall (1976), a book-length prose poem about keeping historical records and Butterflies and Moths (2006).

In the early phase of her career, Stuart drew inspiration from recently released photographs of the surface of the moon and saw parallels between her early rubbings and these lunar landscapes. This body of luminous monochromatic drawings brought land art into the gallery. During this time, Stuart investigated other means of addressing specific sites through her landworks or, as she terms them, "drawings in the landscape". In Niagara Gorge Path Relocated (1975), the artist situated a 460-foot scroll of paper cascading down a large bank of the Niagara River Gorge at Art Park.

Stuart is a recipient of the CAPS Grant, New York State (1974); the Macdowell Colony Fellowship, Peterborough, New Hampshire (1974); National Endowment for the Arts Grant for Individual Artists (1974-1977; 1980), Tamarind Institute grant (1974); New York Creative Artists Public Service grant in painting (1974); Guggenheim fellowship (1975); Finnish Art Association Fellowship, Helsinki (1985); Artists' Fellowship, New York Foundation for the Arts (1987); New York City Art Commission Award, for excellence in design (1990); Purchase award, American Academy and Institute of Arts and Letters (1992); and the Anonymous Was A Woman award, from Philanthropy Advisors, LLC (2017).

Michelle Stuart (born 1933) is an American multidisciplinary artist known for her sculpture, painting and environmental art. She is based in New York City.

Stuart was born in 1933 and she grew up in Los Angeles, California. After attending Chouinard Art Institute (now the California Institute of the Arts), Stuart worked as a topological draftsperson. She worked in Mexico about 1951 as a studio assistant to Diego Rivera. She married Catalan artist José Bartoli in 1953. She lived for 3 year in Paris, then moved to New York, where she has resided since 1957.