Resume
COLLECTIONS
Alexandria Real Estate Equities, Cambridge, MA
Bain Capitol, Boston, MA
Berkshire Partners, Boston, MA
Bessemer Trust, Stuart, FL
BioMed Realty, Cambridge, MA
Boston Partners, Boston. MA
Boston Public Library, Boston, MA
Charlesbank Capital Partners, Boston, MA
Columbus Lofts, Boston, MA
Cornerstone Research, Boston, MA
Cross Harbor Capital, Chicago, IL
Four Seasons Hotel, Boston, MA
Hilton Sandestin Beach Golf Resort and Spa, Destin, FL
Hyatt Place Hotels, nationwide
Massasoit Community College, Brockton, MA
Meditech Information Technology, Fall River, MA
MGM National Harbor Spa, Oxon Hill, MD
San Juan Intercontinental Hotel, San Juan, PR
The University Club, Boston, MA
Verenium Corporation, Cambridge, MA
Westin Sarasota Hotel, Sarasota, FL
Westport AC Hotel, Kansas City, MO
Private collections throughout the United States.
Bain Capitol, Boston, MA
Berkshire Partners, Boston, MA
Bessemer Trust, Stuart, FL
BioMed Realty, Cambridge, MA
Boston Partners, Boston. MA
Boston Public Library, Boston, MA
Charlesbank Capital Partners, Boston, MA
Columbus Lofts, Boston, MA
Cornerstone Research, Boston, MA
Cross Harbor Capital, Chicago, IL
Four Seasons Hotel, Boston, MA
Hilton Sandestin Beach Golf Resort and Spa, Destin, FL
Hyatt Place Hotels, nationwide
Massasoit Community College, Brockton, MA
Meditech Information Technology, Fall River, MA
MGM National Harbor Spa, Oxon Hill, MD
San Juan Intercontinental Hotel, San Juan, PR
The University Club, Boston, MA
Verenium Corporation, Cambridge, MA
Westin Sarasota Hotel, Sarasota, FL
Westport AC Hotel, Kansas City, MO
Private collections throughout the United States.
SOLO EXHIBITIONS
Filigree, Attleboro Art Museum, Attleboro, MA, 2019
Ornamental, The School of Fashion Design, Boston, MA, 2017
Loops/Links, Gallery 65 on William, New Bedford, MA, 2016
Sky, Stem, Stream, Danforth Museum of Art, Framingham, MA, 2005
Interlacings, Lesley University, Cambridge, MA, 2004
New Paintings, Genovese/Sullivan Gallery, Boston, MA, 2003
New Paintings, Genovese/Sullivan Gallery, Boston, MA, 2001
Ornamental, The School of Fashion Design, Boston, MA, 2017
Loops/Links, Gallery 65 on William, New Bedford, MA, 2016
Sky, Stem, Stream, Danforth Museum of Art, Framingham, MA, 2005
Interlacings, Lesley University, Cambridge, MA, 2004
New Paintings, Genovese/Sullivan Gallery, Boston, MA, 2003
New Paintings, Genovese/Sullivan Gallery, Boston, MA, 2001
THREE-PERSON EXHIBITIONS
Lines of Communication, Fountain Street Fine Art, Boston, MA, 2017
Actions/Reactions, Framingham State University, Framingham, MA, 2013
Natural Wonders, Pine Manor College, Chestnut Hill, MA, 2009
Walls and Webs, Narrows Center for the Arts, Fall River, MA, 2010
CON/TEXT, Bristol Community College, Fall River, MA, 2004
Drawings, Objects, Ceramics, Genovese/Sullivan Gallery, Boston, MA, 2002
Abstraction in the Year 2000, Genovese/Sullivan Gallery, Boston, MA, 2000
Actions/Reactions, Framingham State University, Framingham, MA, 2013
Natural Wonders, Pine Manor College, Chestnut Hill, MA, 2009
Walls and Webs, Narrows Center for the Arts, Fall River, MA, 2010
CON/TEXT, Bristol Community College, Fall River, MA, 2004
Drawings, Objects, Ceramics, Genovese/Sullivan Gallery, Boston, MA, 2002
Abstraction in the Year 2000, Genovese/Sullivan Gallery, Boston, MA, 2000
SELECTED GROUP EXHIBITIONS
Art Making Women: Fantasy & Realities, Narrows Center for the Arts, Fall River, MA, 2023
Otherworldly, Bristol Community College, Fall River, MA, 2018 (curator and participating artist)
Show of Hands: Gestural Works on Paper, Fort Point Arts Community Gallery, Boston, MA, 2017 (curator and participating artist)
Contemporary Women Artists, Bristol Art Museum, Bristol, RI, 2016
Exponential: Four Artists Explore Infinity, Mount Ida College, Newton, MA, 2013 (curator and participating artist)
Painting NOW, Bristol Community College, Fall River, MA, 2010
Art In Embassies Program, U.S. Embassy in Muscat, Oman, 2010-12
Art In Embassies Program, U.S. Embassy in Yaounde, Cameroon, 2008-10
Women of the Cloth, Bunker Hill Community College, Boston, MA, 2008
Inviting Response, New Bedford Art Museum, New Bedford, MA, 2006
Ninth Triennial, Fuller Craft Museum, Brockton, MA, 2000
New Art 2000, Michael Price Gallery, Boston, MA, 2000
Irene Leache Memorial Exhibition, Chrysler Museum of Art, Norfolk, VA, 1998
Otherworldly, Bristol Community College, Fall River, MA, 2018 (curator and participating artist)
Show of Hands: Gestural Works on Paper, Fort Point Arts Community Gallery, Boston, MA, 2017 (curator and participating artist)
Contemporary Women Artists, Bristol Art Museum, Bristol, RI, 2016
Exponential: Four Artists Explore Infinity, Mount Ida College, Newton, MA, 2013 (curator and participating artist)
Painting NOW, Bristol Community College, Fall River, MA, 2010
Art In Embassies Program, U.S. Embassy in Muscat, Oman, 2010-12
Art In Embassies Program, U.S. Embassy in Yaounde, Cameroon, 2008-10
Women of the Cloth, Bunker Hill Community College, Boston, MA, 2008
Inviting Response, New Bedford Art Museum, New Bedford, MA, 2006
Ninth Triennial, Fuller Craft Museum, Brockton, MA, 2000
New Art 2000, Michael Price Gallery, Boston, MA, 2000
Irene Leache Memorial Exhibition, Chrysler Museum of Art, Norfolk, VA, 1998
EDUCATION
Master of Fine Art in Painting, University of Massachusetts, Dartmouth, MA
Bachelor of Art in Liberal Arts, Lesley University, Cambridge, MA
Diploma, The School of Fashion Design, Boston, MA
Bachelor of Art in Liberal Arts, Lesley University, Cambridge, MA
Diploma, The School of Fashion Design, Boston, MA
AFFILIATIONS
Libby Silvia Artstyle, Wellesley, MA
Erdreich-White Fine Art, Boston, MA
Elise Moore Fine Art, Cambridge, MA
Art In Giving, Boston, MA
Erdreich-White Fine Art, Boston, MA
Elise Moore Fine Art, Cambridge, MA
Art In Giving, Boston, MA
PROFESSIONAL EXPERIENCE
Owner & Art Instructor - Catherine Carter Art School, New Bedford, MA - 2018 to present
Adjunct Professor of Fine Art - Community College of Rhode Island, 2020-2023; Lasell University, 2016-2021; Framingham State University, 2002 to 2018
Art Instructor - Attleboro Art Museum, Danforth Art Museum, New Bedford Art Museum, Newport Art Museum, Worcester Art Museum, 2003 to 2020
Arts Writer - New Bedford Standard-Times - "In The Studio," monthly column featuring Southcoast Massachusetts-based artists, 2005 to 2012
Independent Curator - Group shows at New Bedford Art Museum, Bristol Community College, Mount Ida College, Fort Point Arts Community Gallery, Narrows Center for the Arts, and Artworks New Bedford, 2008 to 2018
Guest Speaker - South Coast Artists, University of Massachusetts Dartmouth
Exhibition Juror - Hopkinton Art Center, Post Road Art Center, South Coast Artists, Wellesley Society of Artists, Westport Art Group
Adjunct Professor of Fine Art - Community College of Rhode Island, 2020-2023; Lasell University, 2016-2021; Framingham State University, 2002 to 2018
Art Instructor - Attleboro Art Museum, Danforth Art Museum, New Bedford Art Museum, Newport Art Museum, Worcester Art Museum, 2003 to 2020
Arts Writer - New Bedford Standard-Times - "In The Studio," monthly column featuring Southcoast Massachusetts-based artists, 2005 to 2012
Independent Curator - Group shows at New Bedford Art Museum, Bristol Community College, Mount Ida College, Fort Point Arts Community Gallery, Narrows Center for the Arts, and Artworks New Bedford, 2008 to 2018
Guest Speaker - South Coast Artists, University of Massachusetts Dartmouth
Exhibition Juror - Hopkinton Art Center, Post Road Art Center, South Coast Artists, Wellesley Society of Artists, Westport Art Group
GRANTS
New Bedford Economic Development Council, 2022
New Bedford Creative, 2021
Massachusetts Cultural Council, 2021
St. Botolph Club Foundation, 2002
Unitarian Universalist Foundation, 1996
New Bedford Creative, 2021
Massachusetts Cultural Council, 2021
St. Botolph Club Foundation, 2002
Unitarian Universalist Foundation, 1996
SELECTED REVIEWS
"Carter exhibits a six-piece series which reveals a certain playfulness in the way she makes a line or smears a section of the surface, eschewing any hard edge or abrupt stops. None rise to become anything truly discernible, which is likely her goal." -- Don Wilkinson, Fall River Herald News, 4/29/23
"Carter's contribution to the show is a series of paintings made from acrylic applied to sheer white fabric that's been cut up and reorganized in rows of small circles. The resulting forms, although from a single cloth, become their own unique compositions, existing next to one another like small globes exploded from the same star." -- Liz Lee, Art New England, March/April 2018
"Carter's circles are decorative in the best sense of the word, marked by delicate lines and bolder strokes. With 'Shadow Spheres,' a largely blue work, one can imagine the spheres themselves as portholes to another dimension, a strange otherplace behind the white wall." -- Don Wilkinson, New Bedford Standard-Times, 3/8/18
"Catherine Carter's rhythmic squiggles are well made, with a wonderful sense of line that Carter suggests blends calligraphic forms and gestural drawing. She squirts paint from squeeze bottles onto the paper, and in some cases blots it to soften the edges and create crinkled surfaces that look like they were made by a kiss." -- Channing Gray, Providence Journal, 8/17/16
"The essential images in Catherine Carter's paintings resemble a mix between loops of Silly String and hieroglyphs from an ancient language." -- Chris Bergeron, Metrowest Daily News, 9/22/13
"In the playful pair of works by Catherine Carter, the artist's lines follow infinite permutations within a finite space." -- Janet Garvey, U.S. Ambassador to Cameroon, Exhibition Catalog, 2008
"The paintings pop off the wall, thanks to the sheer tension of her gestures and thanks to the contrast: All the paintings are either black-on-white or white-on-black. The white-on-black pieces are sexier, provoking an Op Art kind of retinal buzz. ... 'Swirl' shows those aggressive black curlicues careening over the canvas as white hazes over their sharp edges and obscures occasional lines, imbuing the painting with spaciousness." -- Cate McQuaid, Boston Globe, 12/19/03
"Patterning and technique are consistent, but the paintings vary widely in tone, making a pleasing counterpoint between solidity and haze, reality and imagination. Carter's formula for making art generates work both pleasing and harrowing, and that's good." -- Cate McQuaid, Boston Globe, 12/22/01
"Carter's contribution to the show is a series of paintings made from acrylic applied to sheer white fabric that's been cut up and reorganized in rows of small circles. The resulting forms, although from a single cloth, become their own unique compositions, existing next to one another like small globes exploded from the same star." -- Liz Lee, Art New England, March/April 2018
"Carter's circles are decorative in the best sense of the word, marked by delicate lines and bolder strokes. With 'Shadow Spheres,' a largely blue work, one can imagine the spheres themselves as portholes to another dimension, a strange otherplace behind the white wall." -- Don Wilkinson, New Bedford Standard-Times, 3/8/18
"Catherine Carter's rhythmic squiggles are well made, with a wonderful sense of line that Carter suggests blends calligraphic forms and gestural drawing. She squirts paint from squeeze bottles onto the paper, and in some cases blots it to soften the edges and create crinkled surfaces that look like they were made by a kiss." -- Channing Gray, Providence Journal, 8/17/16
"The essential images in Catherine Carter's paintings resemble a mix between loops of Silly String and hieroglyphs from an ancient language." -- Chris Bergeron, Metrowest Daily News, 9/22/13
"In the playful pair of works by Catherine Carter, the artist's lines follow infinite permutations within a finite space." -- Janet Garvey, U.S. Ambassador to Cameroon, Exhibition Catalog, 2008
"The paintings pop off the wall, thanks to the sheer tension of her gestures and thanks to the contrast: All the paintings are either black-on-white or white-on-black. The white-on-black pieces are sexier, provoking an Op Art kind of retinal buzz. ... 'Swirl' shows those aggressive black curlicues careening over the canvas as white hazes over their sharp edges and obscures occasional lines, imbuing the painting with spaciousness." -- Cate McQuaid, Boston Globe, 12/19/03
"Patterning and technique are consistent, but the paintings vary widely in tone, making a pleasing counterpoint between solidity and haze, reality and imagination. Carter's formula for making art generates work both pleasing and harrowing, and that's good." -- Cate McQuaid, Boston Globe, 12/22/01