Miriam Bloom




Miriam Bloom creates asymmetric biomorphic objects situated at the boundary between representation and abstraction. The fluid mixed media sculptures evoke familiar matricial shapes, aggregated by using an algorithm which needs to be deciphered. The sculptures begin as small sketches and clay maquettes and then find their new life as papier-mâché, terracotta, or plaster forms which welcome tactile interaction.


Conceptually, one influence is the Japanese concept of wabi-sabi, a sense of fleeting beauty in irregularity and asymmetry, which brings the sculptures to life. Also determining is a personal concept of Beauty seen as the suspension of pre-conceptions and cultural prejudice, and the idea of equilibrium seen as a fleeting moment in a perpetual evolution. The witty, often metaphorical titles are condensed narratives which provide clues.


Bloom’s influences include visual art, history and philosophy. Constantin Brancusi and his synthetic portraits, Jean Arp, Louise Bourgeois are alluded to in the same time as Gaston Bachelard, Buddhism, Hinduism, Native American history, and prehistoric culture. The unique fusion of the rich cultural streams with a contemporary sensibility creates a language whose appearance of simplicity can be deceiving.  

Miriam Bloom is an artist who holds her BA from Brandeis University and her MFA from University of Iowa. Her work has been exhibited internationally, including in Hiroshima, Japan, Malmo, Sweden, Lippstadt, Germany, Istanbul and more. She has been the recipient of numerous grants including the Gottlieb Foundation grant, Athena Foundation, National Endowment for the Arts, The Marie Walsh Sharpe Art Foundation, and the Pollock-Krasner Foundation grant. Museum and private collections include Bass Museum, Miami, DePaul Art Museum, Chicago, Louise Nevelson estate and others.



"On a formal level, Bloom uses asymmetry to activate her forms. She has been interested in irregularity since the early 1970s when she constructed "environments" simulating Japanese rock gardens. The installations offered a sense of nature and reference to human use. Desiring to capture the quality of the installations into a single object, she created asymmetrical bowls. The vessels reflect her admiration of Native American blankets whose patterns include a deliberate discrepancy and Anasazi pots with slightly shattered bases. In these works, gaps--holes in vessels or inconsistencies in design--are intended by their creators to offer room for the spirit. By using paper, Bloom also created objects without a utilitarian use-reflecting her wish for the objects to be useful only as sources of inspiration and contemplation."
- Eileen Tabios, St. Helena, California 2000



2016 “Wherever You Roam,”John Davis Gallery, Hudson, NY
“Radical Corpus Cartographies,” Wheaton College, Norton, MA
“Keys to the Family Car,” Elizabeth Harris Gallery, New York 
2003 – “24-7-365," Grey Gallery, Detroit
2003 – “Almost Like That,” Germaine Keller Gallery, Garrison, NY
2000 – “Hope, Mistakes, and Hollywood," Elizabeth Harris Gallery, New York 
1999 – “Strange Attractors," DePaul Art Museum, Chicago,catalog, text by Joe Houston
1996 – “Talk Show," FAO Gallery, New York, catalog, text by Susan Canning 
1994 – “The Imp of the Perverse," (with Ron Morosan), SchloB Overhagen, Lippstadt, Germany
B4A Gallery, New York, catalog, text by Suzanne Anker
1992 – “Second Nature," Jane Hartsook Gallery, New York
B4A Gallery, New York
Therefore Art, New York
Galleri Ahlner, Stockholm (with Cy Twombly)
Marianne Deson Gallery, Chicago
Galleri Wallner, Malmo, Sweden
Picker Art Gallery, Colgate University, Hamilton, NY
Baltimore Museum of Art, curated by Brenda Richardson
School of Art, The Munson-Williams-Proctor Institute, Utica, NY
“Outdoor Pieces,” Frostburg State College, Frostburg, MD
Truman Gallery, New York
“Vessels,” Truman Gallery, New York
Frostburg State College, (With Dustin Davis) Frostburg, MD




2017 – Stranger Things,” DePaul Art Museum, Chicago
2015 – “Pop-Up,” Bemis Center for Contemporary Art, Omaha, NE
2014 – “Arts/Industry: Collaboration and Revelation,” John Michael Kohler Arts Center. Sheboygan, WI
2014 – “What Time is It? Photography! Photography!,” The Studio, Staten Island, NY
2013 – “Silhouette,” Blackburn 20/20 Gallery, Elizabeth Foundation for the Arts, New York
2012 – “Open Studios,” Marie Walsh Sharpe Art Foundation Space Program, Brooklyn, NY
2010 – “Fracking,” Exit Art, New York City
2008 – “Couples,” Islip Museum of Art, Islip, NY (catalog)
2007 – “Disasters of War,” Treadwell Museum of Fine Arts, Treadwell, NY
2006 – “Between Body and Object,” Dowling College, Oakdale, NY
2006 – “Art Faculty 2006,” Molloy College Gallery, Rockville Centre, LI, NY
2006 – Weir Farm Art Center, Wilton, CT
2005 – “Monochrome Image,” Elizabeth Harris Gallery, New York
2005 – “Statement in the Art,” ArtSumer Gallery, Istanbul 
2005 – Kentler International Drawing Space, Brooklyn
2005 – “Voice of the People,” Alley Culture, Detroit
2004 – “Six McKnight Artists,” Northern Clay Center, Minneapolis
2004 – “Gyrations,” Kentler International Drawing Space, Brooklyn
2003 – “According with Nadelman,” June Kelly Gallery, New York, curated by Cynthia Nadelman
2002 – “Women Artists: Past and Present,” Muhlenberg College, Allentown, PA
2002 – “Paper Redux,” Dieu Donne Gallery, New York, catalog, text by Edwin Ramoran
2002 – “911/Artists Respond,” Bronx River Art Center and Gallery, Bronx, NY
2002 – “Ground Zero Renegade Art Exhibit,” MONA, Museum of New Art, Detroit
2002 – “The 9/11 Show,” University Art Gallery, Fairleigh Dickinson University, Teaneck, NJ
2001 – “Honor the Earth Biennial, V,” Alley Culture, Detroit
2001 – “911,” Kentler International Drawing Space, Brooklyn
2001 – “Paper Remix,” Dieu Donne Gallery, New York (catalog)
2001 – “Local Color,” Martin Art Gallery, Muhlenberg College, Allentown, PA, catalog, text by Lori Verderame
2001 – “For Love or Money,” Dieu Donne Gallery, New York 
2000 – “Displacement,” Gallery: Gertrude Stein, New York
2000 – “Past Present,” DePaul University Art Gallery, Chicago
1999 – Grand Opening, John Michael Kohler Art Center, Sheboygan, WI
1999 – “The Suitcase Show,” DNA Gallery, Provincetown, MA
1999 – “Y2KAOS,” Dieu Donne Gallery, New York
1998 – “1998 New York State Biennial,” curated by Linda Weintraub, New York State Museum, Albany, NY (catalog)
1998 – “Have Suitcase; Will Travel,” Conductors Hallway Gallery, London
1998 – “New Island Views,” Snug Harbor Cultural Center, Staten Island, NY, (catalog)
1998 – “Whatever Floats Your Boat,” Art Omi International Arts Center, Ghent, NY
1998 – “Liquidation,” Gallery Onetwentyeight, New York
1997 – “The Power of Suggestion,” curated by Cynthia Nadelman and Jackie Shatz, Hopper House, Nyack, NY
1997 – “More and More,” The Islip Museum of Art, East Islip, NY (catalog)
1996 – The Art Exchange Show, Ziegler-Fogel Exhibition Space, New York
1996 – Faculty Show, Museum of the Fashion Institute of Technology, New York
1996 – “Visual Thinking,” Galleria de Arts Plastica Contemporanea,  Guatamala City
1996 – Wagner College Gallery, Staten Island, NY
1996 – “If The Shoe Fits,” FAO Gallery, New York
1996 – “Stand Up Straight,” 450 Broadway Gallery, New York
1996 – “A Festival of Paper,” Rockefeller Center, New York
1995 – “Introductions,” Kouros Gallery, New York
1995 – “Close Proximity,” Marymount Manhattan College, New York 
1995 – “Hiroshima: From Me to You,” Fukuya Gallery, Hiroshima
1994 – “A Drawing Survey,” St Marks Position, New York
1994 – “Women,” City University of New York, College of Staten Island
1993 – “The Sublime Banana Peel,” B4A Gallery, New York 
1993 – Sculpture Center, New York
1993 – “Artist-in-Residence Show,” Jane Hartsook Gallery, New York
1992 – “Seven Artists (Who Happen to be Women),” Bemis Foundation, Omaha
1992 – “Summer, 1992,” Kouros Sculpture Center, Ridgefield, CN 1991 
1992 – “To Wit,” Rosa Esman Gallery, New York
1992 – “Residency Artists,” John Michael Kohler Art Center, Sheboygan, WI 
1992 – “Exploit/Expose,” Kentler International Drawing Space, Brooklyn
1992 – “Without Walls,” Kouros Sculpture Center, Ridgefield, CN
1990 – “Proximity,” B4A Gallery, New York
1990 – “Three Sculptors,” Elsie Mott Ives Gallery, New York
1990 – Sculpture Space, Utica, NY
1990 – “Out of Doors,” Kouros Sculpture Center, Ridgefield, CN (catalog) 
1989 – “Bemis/Sculpture,” Kansas City Contemporary Art Center, Kansas City
1989 – Snug Harbor Sculpture Festival, Staten Island, NY (catalog)
1989 – “In Residency,” Sheldon Memorial Art Gallery, Lincoln, NB, curated by Daphne Deeds
1987 – “Director's Invitational,” Snug Harbor Cultural Center, Staten Island, NY, curated by John Perreault (catalog)
1987 – “Artists Choose Artists,” Socrates Sculpture Park, LIC, NY (catalog)
1985 – “Four Women Artists,” Kade Gallery, Wagner College, Staten Island 1984 
1985 – “Models for Outdoor Sculpture,” Snug Harbor Cultural Center, SI, NY
1985 – “Sticks and Stones,” Kenkeleba Gallery, New York (catalog)
1985 – “Invitational,” A.I.R.Gallery, New York
1983 – “Still-Life,” Zim-Lerner Gallery, New York, curated by Ronny Cohen
1983 – Benefit for Franklin Furnace, Ronald Feldman Gallery, New York 
1982 – “New Work, New York," Florida State University, Tallahassee, FL
1982 – Picker Art Gallery, Colgate University, Hamilton, NY
1982 – “Beauty,” ABC No Rio, New York
1981 – “Ceramic Forms in Art,” Zim-Lerner Gallery, curated by Ronny Cohen
1981 – “New Options in Sculpture,” Mattingly Baker Gallery, Dallas 
1980 – “U.S.A. Women Artists 1980,” Da Universidade de Sao Paolo
1980 – “The Language of Outdoor Sculpture,” Colgate University, Hamilton, NY
1980 – “Women in the Arts,” List Art Gallery, Hamilton College, Clinton, NY
1980 – “Artists at Sculpture Space,” Utica College, Utica, NY
1979 – “Small is Beautiful,” Albright College, Reading PA, curated by Marilyn Zeitlin, traveled to Bucknell University, Lewisburg, PA, Drew University, Madison, NJ
1979 – Benefit for the Museum of Contemporary Art, N.A.M.E., Chicago
1979 – “Gallery Artists,” Brooke Alexander Gallery, New York
1979 – Invitational, ARC Gallery, Chicago
1977 – “Room 33,” sponsored by Artists Space, New York
1977 – Smith College Museum of Art, Northampton, MA
1977 – New Reform Center, Aalst, Belgium 
1975 – 112 Greene Street Gallery, New York
1975 – 3 Mercer Street Store, New York
1975 – “Is This a Work of Art, II,” Truman Gallery, New York Charlottenborg Hall, Copenhagen
1975 – “Group Indiscriminate,” White Columns, New York
1974 – “A Generation of Brandeis Artists, Rose Art Museum, Brandeis, University, Waltham, MA, curated by Carl Belz (catalog)



> Deborah Garfinkle, “All Dressed Up and Everywhere to Go,” Arteidolia.com, November, 2016. 
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> Mike Sorgatz, Art in New York, April 15, 2012. 
> Adam Zucker, “Exhibitions at New Yorkʼs Exit Art,” Berkshire Fine Arts, February 9, 2011. 
> Benjamin Genocchio, “Married to Art and to Each Other,” The New York Times, April 27, 2008. 
> Helen A. Harrison, “With Luck, Iconoclasts Find Their Mediums,” The New York Times, February 26, 2006. 
> Stephen Mueller, “Personal Statements in Just One Color,” Gay City News, 23-29 June, 2005. 
> Ezgi Basaran, “Arnavutkoyʼ de bir New York sergisi,” KEFK, January 8, 2005. 
> Robert Sliverman, essay for “Six McKnight Artists” catalog, 2004. 
> Cynthia Nadelman, essay for “According with Nadelman: Contemporary Affinities” show, 2003. 
> Gerard McCarthy, review, American Ceramics 14/1 (2002). 
> Eileen Tabios, My Romance, (2002). Edwin Ramoran, catalog essay for "Paper Redux," (2002). 
> Holland Cotter, “Amid the Ashes; Creativity,” New York Times, Feb 1. 2002. 
> Stephen Luecking, "Biomorphs: Organic Abstraction and the Mechanics of Life," Sculpture Magazine, Jan/Feb, 2000. 
> George Tysh, "Grey Eminence," Detroit Metrotimes, June 13, 2001. 
> Herbert Reichert, "Sand in My Eye," Reviewny.com, December 1, 2000. 
> Alan Artner, "Bloom's Motifs Lead Viewer on Selective Journey," Chicago Tribune. 
> Jurek, Polanski, Artscope.net, 1999; September 30, 1999. 
> Herbert Reichert, "New Island Views", Review, February 1, 1999. 
> Michael Fressola, "Different Approaches to the Same End," Staten Island Advance, January 31, 1999. 
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> Cynthia Nadelman, American Ceramics, 1998, Volume 13, Number 1. 
> Michael Goldman, The New York Times, November 22, 1998. 
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> Vivien Raynor, “In Ridgefield, Works Familiar and New,” New York Times, September 4, 1994. 
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> Kim Levin, The Village Voice, January 26, 1993. 
> Vivien Raynor, New York Times, September 13, 1992. 
> Kyle MacMillian, Omaha World Herald, July 17, 1992. 
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> William Zimmer, New York Times, September 16, 1990. Robert Mahoney, Arts Magazine, November, 1989. 
> Vivien Raynor, New York Times, May 7, 1989 and August 6, 1989. 
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> Vogue, June, 1976. House and Garden, November, 1976. 
> John Russell, New York Times, November 26, 1976.



Bass Museum, Miami
Bemis Foundation, Omaha
Colgate University, Hamilton, NY
DePaul Art Museum, Chicago
John Michael Kohler Art Center, Sheboygan, WI
Kohler Company, Kohler, WI
University of Iowa, Iowa City
Henry Feiwel estate
Mr. and Mrs. Arthur Goldberg, New York
Mr. Joel Grey, New York
Hallmark Art Collection, Kansas City, MO
Elizabeth Harris, New York
Vera List estate
Guy Marbe, Malmo, Sweden
Muhlenberg College, Allentown, PA
Helmtrud Mystron, Malmo, Sweden
Louise Nevelson estate
Northern Clay Center, Minneapolis
Mr. and Mrs. Stanley Pearle, Dallas
Phyllis Ross, New York
Catherine and Sergio Sagnier, Barcelona
Estelle Schwartz, New York
Martin Sklar, New York

Lasse Theander, Malmo
Burton Tremaine estate
Petah Coyne, New York



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