Born in Queens 1972
lives and works in Brooklyn
Columbia University, MFA 1998
The Cooper Union, BFA 1994
Residencies and Grants
The Pollock Krasner Award, 2010
The George Hitchcock Prize, The National Academy Museum, 2008
The Lerman Trust, Artist residency grant, 2002, 2003, 2005
The Marie Walsh Sharpe Foundation, Studio Program, 1998-99
P.S. 1/MOMA, Studio Program 1997-98
Skowhegan School of Painting and Sculpture, 1996
2013 Galerie Schmidt Maczollek, Cologne, Germany
2009 Galerie Gisele Linder, Basel, Switzerland
2008 Thrust Projects, NY, NY
2008. Galerie Schmidt Maczollek, Cologne, Germany
2006 Thrust Projects, NY, NY
2005 Galerie Schmidt Maczollek, Cologne, Germany
2002 Galerie Rolf Ricke, Cologne, Germany
2000 Roger Smith Gallery, NY, NY
1998 Roger Smith Gallery, NY, NY
1996 Roger Smith Gallery, NY, NY
Two Person Exhibitions
2011 Elizabeth Cooper and Jasmine Justice, T-66 Kulturwerk, Frieberg, Germany
2015 New York Painting at The Kunstmuseum Bonn featuring Joe Bradley, Elizabeth Cooper, Matt Connors, Jeff Elrod, Amy Feldman, Ross Ianatti, Eddie Martinez, Ruth Root, Ryan Sullivan and Ned Vena
2014 The Last Brucennial, curated by Vito Schnabel, NYC
2013 Der Sammlung Kienzle at The Kunstmuseum Kloster Magdeburg
Six Memos For The Next, Magazin4 - Bregenzer Kunstverein, Bregenz
2012 Paintings From New York, Elizabeth Cooper, David Reed, Fabian Marcaccio and Alexandra Seeber, Hausler Contemporary, Zurich
Smile, American Art, The Kienbaum Collection, curated by Rolf Ricke, Galerie Thomas Zander, Koln
Sleepwalker, Vaudeville Park, Brooklyn, NY
2011 Itsy Bitsy Spider, Galerie Schmidt Maczollek, Koln, Germany
Art Station, pop up, Lukoil Chelsea, NY
The Incipient Image, curated by Stephen Maine, Lesley Heller Gallery, NY
Shrage Sache, Columbus Art Foundation, Kunsthalle Ravensberg, Austria
Bodily Functions, curated by Volker Saul, Koelnberg Kunstverein, Germany
2010 Acrochage, Galerie Jean Fournier, Paris, France
False Friends, Brandenburgischen Kunstvereins Potsdam, e.V, Potsdam
The Business of Aura, curated by Kelsey Harrington, Elga Wimmer Gallery, NY
Nice To Meet You, Sloan Fine Art, NY
Bushwick Schlact! curated by Guillermo Creus and Tom Sanford, Fortress To Solitude, Brooklyn, NY
Heed The Machine, Illustrious, St. Cecilia's, Brooklyn, NY
2009 Fur Das Abstrakte Gibt es Ersatz, obqo, Berlin, Germany
Slick Surfaces, Villa Goecke, Krefeld, Germany
Ma Couleur Preferee, Galerie Gisele Linder, Switzerland.
New Positions, solo presentation, The Cologne Art Fair.
All This Useless Beauty, Rensselaer Polytechnic Institute, New York.
Morsel Remains, Morsel, Long Island City, NY
Unlikely, Kunstverein Konstanz, Germany.
Fortress To Solitude, Brooklyn Fireproof, New York
2008 Miniaturization, Galerie Gisele Linder, Switzerland
The Invitational,The National Academy Museum, New York
Dream Tigers, curated by Brian Zegeer, Vaudeville Park, Williamsburg, NY
Freeze Frame, Thrust Projects, New York
The Collection of Rolf Ricke, Villa Merkel, Germany
Unlikely, Stadtische Gallery Waldkraiburg, Germany
traveling to Gallery W-139, Amsterdam
2007 On Every Wall, City Without Walls, Newark, NJ.
Unlikely, Galerie Kienzle and Gmeiner, Berlin, Germany.
In Technicolor, Queensborough Community College Gallery.
Smooth Surfaces, Galerie Frank Impact & Cie., Vienna.
2006 Cloudless Clear Cuts, Castle Raab, Austria.
2005 Pink, curated by Heather Harmon, Patricia Faure Gallery, Los Angeles.
Especial!, Galerie Schmidt Maczollek, Cologne, Germany.
Damenwahl, Galerie Karen Friebe, Mannheim, Germany.
Sweet Temptations,The Collection of Rolf Ricke,
St. Gallen, Switzerland.
Pas de Turbulences, Galerie Les Filles Du Calvaire,
Surface Tension, Savage Art Resources, Portland, Or.
Het Offer;An Intimate Eye, Museum de Beyard
2003 Greetings From New York, Thaddaeus Ropac,Salzberg.
Perpetuum Mobile, Galerie Rolf Ricke, Cologne, Germany.
Schokolade, Was Denn Sonst. Kunstraum Innsbruck,Germany.
Some Are Painting,Artist Alliance,NY
2002 Einfach Kunst, Neues Museum, Nuremberg, Germany.
In a Silent Way, Galerie Gisele Linder, Switzerland.
Peter Coe, Elizabeth Cooper,Jim Gaylord. Bucheon.
Artist to Artist: A Decade of The Sharpe Foundation, Ace
2001 Kunstlerrame/Sammlerrame, Kunstmuseum St. Gallen.
Delicious, (part 1), Galerie Rolf Ricke, Cologne.
Delicious,(part 2), The Roger Smith Gallery,NYC.
Some Are Painting, John Gibson Gallery, NYC.
2000 Collectors Choice, Exit Art, NYC.
Abstraction in Painting Today, Castle Gallery, College
Of New Rochelle, NY.
Yard Sale, Chelsea Lab School, NYC.
1999 Reconciliations; DC Moore Gallery, NYC.
Gesture and Contemporary Painting, University of
Size Matters, curated by Mike Weiss. Gale Gates,
The Stroke, selected by David Reed. Exit Art, NYC.
Elizabeth Cooper, Carl Ostendarp, James Hyde; Dinaburg
1998 Wish You Luck, P.S. 1 Museum, NYC.
Abstraction in Process 2, Artists Space, NYC.
Skowhegan Decade,David Beitzel Gallery, NYC.
The Marie Walsh Sharpe Foundation Annual Exhibition.
1997 The Wight Biennial, UCLA, Los Angeles, CA.
PS 1 International Studio Program Open Studios, PS 1
The Art Exchange Show, 67 Broad Street, NYC.
Wash Out the Heavy Days; Joan Prats, NY.
Carousel, MFA Exhibition, Leo Castelli Print
Peter Coe,Elizabeth Cooper,Jennifer Reeves.Roger Smith
College Art Association MFA Exhibition, Hunter College,
26 Positions, Wallach Gallery, Columbia University,NY.
1996 Far Out, ViewRoom Exhibitions, NYC.
Soho Annual, curated by Simon Watson,NYC.
24 Degrees, curated by Kenny Schacter, 480 Broome ST.,
Bright, curated by Jill Brienza, The Roger Smith Gallery
New York Painting, The Kunstmuseum Bonn. Catalog essay by Stephen Maine, 2015
Smile, American Art, The Kienbaum Collection, (catalogue) 2012
Reverend Jen, Art Station, The Gallery Comes To the Gas Station, Artnet Magazine, September 2011
Reindl, Uta, Bodily Functions, Kunstforum International, Band 209, 2011
Maine, Stephen, curator's essay for The Incipient Image, New York, 2011
Druhl, Sven, Elizabeth Cooper, (4 page profile) Kunstforum International, summer 2010
Kalm, James, Art Scene: The Bushwick Biennial, The Brooklyn Rail, July/August, 2009
Muldorf and Rosenheim, A Transatlantic Mix, Unlikely at The Waldkraiburg House of Culture, OVB Online, February 25,2009
Last Chance, Image Reproduction, July 2008, The New York Sun
Cohen, David, Elizabeth Cooper and Angela Freileigh. Masters Of Chance, The New York Sun, June 2008
Around Town, Time Out New York, Image Reproduction, June 2008.
The Collection Rolf Ricke, Catalog, The Villa Merkel, Esslingen, 2008.
Slick Surface, Catalog, Galerie Franck Impact & Cie., 2008
The 183rd Annual, Catalog, The National Academy Museum, New York, 2008
Connor, Jill, Freeze Frame, Art US, Spring 2008
Maine, Stephen, Report From the Lower East Side, Art In America, April 2008
Olsen, Craig, Freeze Frame at Thrust Projects, The Brooklyn Rail, March 2008
Critics Pick, Freeze Frame, Time Out New York, February 2008
Unlikely, catalog for the traveling exhibition, Jochim Kienzle, Berlin
Maine, Stephen, Freeze Frame, The New York Sun, January 24,2008 p. 20
The Collection of Rolf Ricke, Catalog, Frankfurt MMK, 2007
Maine, Stephen, Elizabeth Cooper at Thrust Projects, Art In America, January 2007
Kalm, James, Elizabeth Cooper at Thrust Projects, The Brooklyn Rail, July/August 2006
Baron, Reuben and Joyce, The Joy Of Painting, Elizabeth Cooper at Thrust Projects, ArtNotes, Revista Y Cultura, No.9, Spain,August,2006.
Holzney, Magdelena, Elizabeth Cooper, Kunst Bulliten, Summer 2005
Stahl, Enno, Elizabeth Cooper, Kolner Stadt-Anzeiger, July 22, 2005
Calame, Ingrid, also with writings from Konrad Bitterli and David Reed; catalog, Elizabeth Cooper, Galerie Schmidt Maczollek, 2005
Bitterli, Konrad, UBS catalog, Hong Kong, 2004
Artist To Artist, A Decade of The Space Program, catalog, 2002
Einfach Kunst, The Collection of Rolf Ricke, catalog, The Neue Museum, Nuremberg, 2002
Humphrey, David, New York e-mail; Delicious, Art Issues, Nov/Dec 2001, p. 38
Siegel, Katy, Making Waves, The Legacy of Lee Lozano, Katy Siegel in
conversation with David Reed, Artforum, October 2001, pp. 121-127
Johnson, Ken, Some are Painting, The New York Times, June 29, 2001, p.E35
Ebony, David, Elizabeth Cooper, solo show review, Art in America, February 2001, p.147
Johnson, Ken, Art in Review; Collectors Choice, The New York Times,
December 15, 2000, p. E41
Lombardi, D. Dominick, Abstracting the Meaning, The New York Times,
September 24, 2000, A&E (WE), p 14.
Huang, Wennie, Another Story Altogether, catalog essay, Castle Gallery,
College of New Rochelle, 2000
Worth, Alexi, Elizabeth Cooper, solo show review, The New Yorker, May 29, 2000, p. 25
Worth Alexi, Goings on About Town, The New Yorker, August 21 & 28, 2000,p. 28
Kostabi, Mark,Focus on Elizabeth Cooper, Shout magazine, April 2000
Kino, Carol, Reconciliations, Art and Auction, October 1999
Everett, Deborah, Reconciliations: Four Contemporary Painters, NY Arts,
vol. 4 no. 10, October 1999
Hoffeld, Jeffrey, Reconciliations, catalog essay for a show at D C Moore,1999
Brennan, Matthew, Painters Journal, ARTNET, October 1999
Hickey, Dave, slides used in lecture given at Harvard University, Fall 1999
Reed, David, slides used in lecture given at Yale University, Spring 1999
Ebony, David, Elizabeth Cooper, solo show review, ARTNET, March 1998.
Johnson, Ken, Art Guide; Elizabeth Cooper, solo show review, The New York Times, March 20, 1998, page E38.
Gibson, David Abstraction in Process 2 N.Y. Arts, March-April 1998, p. 17
Atamian, Christopher, Abstraction in Process 2 at Artists Space, Review,February 15, 1998, p. 31
Johnson, Ken, Art in Review; Abstraction in Process 2, The New York Times, Friday, February 6, 1998. p. E36
Sandler, Irving, The Artists Space Newsletter, winter 1998.
Cooper, Jacqueline, Elizabeth Cooper/Guillermo Atilano Creus catalog
essay, The Wight Biennial, 1997, UCLA, p. 16-17
Politi, Giancarlo, At The Galleries, Flash Art International, Summer 1997,p. 79
Kino, Carol, A Room with a View, Art News, April 1997, p.111.
Smith, Roberta, Art in Review, ViewRoom Exhibitions, The New York, Times,November 9, 1996, p. C32
Sutherland, Scott,Where High Art Shares the Fields with Sheep, The New
York Times, August 11, 1996, Arts & Leisure, p. 31
Karmel, Pepe, Critics Choice: Bright, The New York Times, Friday, April
19, 1996. p. C21