<p><li>Juried Exhibition in Print (Carl Belz) </li> <li>2007 New American Paintings, Boston, MA, Book #71, Juried Exhibition in Print </li> <li>2004 -2006 / MCA Auction Catalogue, Chicago</li> <li>2001 New American Paintings, Boston, MA, Book #35, Juried Exhibition in Print </li> <li>2001 Paiintings featured, (Peace of Work), Lisa Colangelo (writer/producer), Inde Film</li> <li>1999 Indiana Times (Features Section), 9/26/99 archival</li> <li>1999 Chicago Tribune, (Artists in Chicago), 7/4/99 archival </li></p> <p><strong>EDUCATION</strong></p> <p><li>1998 BFA, School of the Art Institute of Chicago</li> <li>1996 Studio Arts Center International (SACI), Florence, Italy</li> <li>1990-92 University of California at Los Angeles </li></p> <p><strong>EXHIBITIONS</strong></p> <p><li>2011 Union League Club, Chicago, IL - September</li> <li>2010 MCA Art Benefit Auction, Museum of Contemporary Art, Chicago</li> <li>2010 Beverly Art Center, Chicago, IL - Solo</li> <li>2010 MCA Art Benefit Auction, Chicago, IL</li> <li>1999 Artemisia Gallery, Chicago, IL - Solo </li> <li>1998 T. Heritage Gallery, Los Angeles, CA</li> <li>2007 Tres Joi Les, Inc. Gallery, Women in the Arts, Chicago, IL</li> <li>2006 Art LA (Linda Warren Gallery), Los Angeles, CA </li> <li>2006 MCA Arts Benefit Auction, Chicago, IL </li> <li>2006 Tres Joi Les, Inc. Gallery (Chicago Artists Month), Chicago, IL </li> <li>2006 Chicago Connection, Galleries Maurice Sternberg, John Hancock Center</li> <li>2004 MCA Arts Benefit Auction, Chicago, IL </li> <li>2003 Public Domain Exhibition, Linda Warren Gallery, Chicago</li> <li>2003 Knox College, Galesburg, IL - Solo </li> <li>2001 Art of the Central Coast, Morro Bay, CA - Solo</li> <li>2003 Central Michigan University, Mt. Pleasant, MI </li> <li>2002 Leonard Tachmes Gallery, Miami, FL</li> <li>2001 Oasis Gallery, Marquette, MI</li> <li>1998 Klein Art Works, Third Occasional Survey of Abstract Artists in Chicago</li> <li>1998 Gallery 312, Chicago, IL, Chicago Emerging Artists </li> <li>1996 Studio Arts Center International, Florence, Italy </li></p> <p><strong>VISITING ARTIST</strong></p> <p><li>2003 Knox College, Galesburg, IL </li> <li>2003 International School of Painting and Drawing, Umbria, Italy</li> <li>2001 Evanston Art Center, Evanston, IL </li> <li>1999 School of the Art Institute of Chicago </li></p> <p><strong>OTHER</strong></p> <p><li>Merit Scholarship, School of the Art Institute of Chicago</li> <li>Grace and Walter Smith Byron Foundation Scholarship, SAIC</li> <li>Fursman Scholarship, Oxbow Summer Program, Art Institute of Chicago</li> <li>Florence, Italy Summer Program (SACI) </li></p> <p><strong>BIBLIOGRAPHY</strong></p> <p><li>2010 MCA Auction Catalogue, Chicago </li> <li>2010 Studio Visit Catalog, Boston, MA, Juried Exhibition in Print </li> <li>2008 Studio Visit Magazine, Boston, MA,</li> <li>Mary McCarthy: www.marymccarthy.us</li></p> <li>Mary's latest show at the Union League Club of Chicago garnered this review:</li</p> <li>Mary McCarthy describes her new paintings as a metaphor for the “general conflict between order and chaos.” The same could be said for everything under and beyond the sun, but what distinguishes her work is that the conflicts she creates are thrilling and almost beautiful. In each painting there seems to be something that doesn’t quite fit, yet belongs there anyway. Like the chunk of one-by-six pine board that’s been defiantly nailed to the corner of “Beatrice (The Kiss Off),” holding together what otherwise seems to be an explosion of conflicting, overlapping polygons. Is this also a metaphor for the break-up of a relationship, as the title might suggest? The artist speaks of her work in strictly formal terms, but she seems to be presenting the active, challenging life of an ambitious young woman in the city. The heroic size of iconic American abstract painting, these pieces are about the size of a bathroom cabinet mirror, and they feel just as intimate. But the space has been attacked so vigorously, with so many sharp angles and strong colors, they still feel heroic—especially when compared with the series of quiet grid paintings that appeared in her last exhibition. And McCarthy seems committed to making every painting different, with more of a commitment to exploration than refinement. Like so much Chicago art, there seems to be a sense of inner beauty struggling to emerge from a rough, tough, modern world.</p> <p>"MARY McCARTHY…is an abstract painter very much of this time. But she also shows a deep understanding of the (AE) American Expressionist painters of the Ad Reinhardt, Rothko, Newman and Tomlin variety, as well as a feeling for the abstract paintings of Paul Klee and his contemporaries. Max Bill comes to mind, as well as some of the members of the Seccion D’or group. It is lovely, rich and active work." - Gabriel Laderman, 2004</p> <p>Exerpt from Gabriel Laderman review of Mary McCarthy’s work. Laderman was a prominent New York figurative painter who taught at Queens College and Yale University for many years. Laderman studied under Hans Hofmann and Ad Reinhardt. </p>