 '6,428' 2009 67x65cm.jpg)
 14,301' 2008 122x117cm.jpg)
 '5,886' 2007 53x51cm.jpg)
 '17,109' 2009 122x117cm.jpg)
 '51,499' 76x64 2009 193x163cm.jpg)
 '6,882' 2009 67x65cm.jpg)
'14,301', 2008, oil on canvas, 122 x 117 cm
'5,886', 2007, oil on canvas, 53 x 51 cm
'17,109', 2009, oil on canvas, 122 x 117 cm
| Artistic and Academic Curriculum Vitae | |
| 1966 | born in Bayside, NY |
| 2008 | Ph.D., New York University, Dept. of Hebrew and Judaic Studies |
| 2000 | M.A., New York University, Dept. of Religious Studies |
| 1998 | M.A., Pratt Institute, Dept. of Art History |
| 1998 | M.A., Pratt Institute, Dept. of Fine Arts |
| 1990 | B.A., Pratt Institute, Dept. of Fine Arts |
| 1984-1986 | United States Military Academy |
| lives and works in New York City and Shamong, New Jersey | |
Museum Collections
Karl Ernst Osthaus-Museum Hagen
| Solo Exhibitions | |
| 2009 | On and On: Inquiries into Indeterminacy, Margaret Thatcher Projects, New York |
| Workings, Brian Gross Fine Art, San Francisco, CA | |
| Ermanno Tedeschi Gallery, Turin and Milan, Italy | |
| 2008 | Pathways to Presence, Galerie Renate Bender, Munich, Germany |
| 2008 | Never. Ever., Marcia Wood Gallery, Atlanta, GA |
| 2007 | dematerializations / interstices / permutations, Brian Gross Fine Art, San Francisco, CA |
| 2007 | Activity, Margaret Thatcher Projects, New York |
| 2006 | Recent Paintings, Galerie Renate Bender, Munich, Germany |
| 2006 | Innumerable Naught Nary, Marcia Wood Gallery, Atlanta, GA |
| 2005 | Amassing Color, Margaret Thatcher Projects, New York |
| Marking Time, Brian Gross Fine Art, San Francisco, CA | |
| 2004 | Marcia Wood Gallery, Atlanta, GA |
| 2003 | 435,546 Marks, Margaret Thatcher Projects, New York, NY |
| Group Exhibitions | |
| 2009 | Pure Paint, Henry Gregg Gallery, Brooklyn, NY Common Ground: Color, Charlotte Jackson Fine Art, Santa Fe, NM |
| 2008 | Material Color, Hunterdon County Art Museum, Clinton, NJ |
| This Just In, Marcia Wood Gallery, Atlanta, GA | |
| The Fascination of the Color Red, Galerie Renate Bender, Munich, Germany | |
| 2007 | Luxe, Marcia Wood Gallery, Atlanta, GA |
| …das viereckige rot?, Galerie Albert Baumgarten, Freiburg, Germany | |
| Farbe, Galerie Huebner, Hamburg, Germany | |
| Surface Impressions, Islip Art Museum, Islip, NY | |
| 2006 | Don’t Touch, Renate Bender Gallery, Munich |
| Blue!, Karl Ernst Osthaus-Museum Hagen, Germany | |
| 2005 | Summer Sensation, Margaret Thatcher Projects, New York, NY |
| About Paint, Westport Arts Center, Westport, CT | |
| Living Gray, Karl-Ernst Osthaus-Musuem, Hagen, Germany | |
| 2004 | Exhibition for World Peace, Gallery Bijitsu-Sekai, Tokyo, Japan |
| ArtHouse, Margaret Thatcher Projects, New York, NY | |
| Painting as Process: Re-evaluating Painting, La Salle SIA College of the Arts, Singapore | |
| Die Farbe hat Mich II, Karl Ernst Osthaus-Museum, Hagen, Germany | |
| Group Exhibtion, M% Gallery, Cleveland, OH | |
| Innovate, Marcia Wood Gallery, Atlanta, GA | |
| 2003 | Seeing Red: An International Exhibition of Non-Objective Painting, Part II, Hunter College/Times Square Gallery, New York, NY |
| Tickled Pink, Marcia Wood Gallery, Atlanta, GA | |
| 2002 | Breathing Room, Margaret Thatcher Projects, New York, NY |
| Blobs, Wiggles, Dots, Webs and Crustallations, The Work Space, New York, NY. Curated by Lucio Pozzi. | |
| Group Exhibition, Roy Boyd Gallery, Chicago, IL | |
| 2001 | Sharon Brant, Robert Sagerman, Don Voisine, Margaret Thatcher Projects, New York |
| Items from the Permanent Collection, Williamsburg Art and Historical Center, Brooklyn, New York | |
| 2000 | 01.15.00, GAle GAtes, et al, Brooklyn, New York |
| 1999 | Size Matters, GAle GAtes, et al, Brooklyn, New York |
| Group Exhibition, GAle GAtes, et al, Brooklyn, New York | |
| 1998 | The Calculus of Transfiguration, Williamsburg Art and Historical Center, Brooklyn, New York |
| Higher Worlds, Pelham Art Center, Pelham, New York | |
| 1997 | Downtowm Arts Annual Group Exhibition, New York. Juried by Fereshteh Daftari, Martin Eisenberg and Charlotta Kotik. |
| Symposium Finalist, New York. Work selected by Michael Brenson, critiqued by Janet Koplos, Donald Kuspit, Peter Schjeldahl and Simon Watson. | |
| 1993 | Group Exhibition of Drawings, Alexander Gallery, New York. Three Young Future Majors, Alexander Gallery, New York. |
| Bibliography |
| Material Color, Exhibition catalog, 2009. The Hunterdon County Art Museum, Clinton, NJ. Trelles, Emma. “What I Saw at Art Basel: Day 1,” South Florida Sun-Sentinel, December 5, 2007. Budick, Ariella. “Scratching the ‘Surface’ and teasing your senses,” Newsday, April 2007. “Indeterminable Painting: Thoughts on the Work of Robert Sagerman,” catalog essay by Michael Fehr, Munich, 2006. Kunstform International, No. 176, June 2005. Review of the exhibition “Living Gray” by Thomas W. Kuhn. Living Gray. Exhibition catalogue, 2005. The Karl Ernst Osthaus-Museum, Hagen, Germany. K-West, April, 2005. Review of the exhibition Living Gray, by Stefanie Stadel.SF Weekly, May 25, 2005. Review by Sharon Mizota. Abstract Painting: Concepts and Techniques, by Vicky Perry, 2005About Paint, Exhibition catalog, 2005. Art Festival for World Peace. Exhibition catalog, 2004. Gallery Bijitsu-Sekai, Tokyo, Japan. Byrd, Cathy. “Robert Sagerman at Marcia Wood Gallery,” Art in America, December 2004. Cullum, Jerry. "Review," The Atlanta Journal Constitution, February 1, 2004. Fox, Catherine. "Review," The Atlanta Journal Constitution, May 6, 2004 Cohen, Mark Daniel. "The Intricate Precision of the Field The Kabbalistic Mysticism of Robert Sagerman." NY Arts Magazine, September 2003 Seeing Red: An International Exhibition of Non-Objective Painting. Exhibition catalog, 2003. The Karl-Ernst Osthaus-Museum, Hagen, Germany. Wallach, Amei. "Driven to Abstraction." Art News, November 2003 Lindall, Terrence. "THE EPISTEMOLOGICAL MOVEMENT IN LATE 20TH CENTURY ART: The Williamsburg Circle" NY Arts Magazine, February 2002. Siciliano, Enzo. "Ultimo indirizzo Brooklyn." La Repubblica, June 14, 1999. |
 '51,499' 76x64 2009 193x163cm (detail).jpg) |
| '51,499', 2009, oil on cancas, 193 x 163 cm (detail) |
.jpg) |
| '6,428', 2009 67 x 65 cm (side view) |
| Publications Authored |
| “The Syncretic Esotericism of Egidio da Viterbo and the Development of the Sistine Chapel Ceiling Program.” Acta ad Archaeologiam et Artium Historiam Pertinentia 19 (2005): 37-76. “A Kabbalistic Reading of the Sistine Chapel Ceiling.” Acta ad Archaeologiam et Artium Historiam Pertinentia 16 (2002): 93-177. |
| Scholarly Papers Presented |
| 2009 “Jesus as the Teli: Jewish-Christian Antecedents for Abraham Abulafia’s Conception of the Astrological Serpent.” Association for Judaic Studies Annual Conference. 2008 “Abraham Abulafia and the Cruciform Covenant.” Association for Judaic Studies Annual Conference. 2006 “The Sistine Chapel Ceiling and Renaissance Christian Kabbalah.” Association for Judaic Studies Annual Conference, Poster Session 2006 “The Kabbalist Abraham Abulafia’s Conflicted Attitude towards Christianity.” International Congress on Medieval Studies, Western Michigan University, Kalamazoo 2003 “Cosmogonic Diminution and Messianic Reconstitution: The Kabbalistic Sistine Chapel Ceiling Program of Egidio da Viterbo.” Sacro e Profano, Conference of the Norwegian Institute in Rome. 2003 “A Kabbalistic Reading of the Sistine Chapel Ceiling.” Pictor in carmine: An Interdisciplinary Conference on Mural Paintings in Medieval Churches, 1100-1500, New York University 1999 “The Gospel of Thomas: Apocalypticism, the Temporal and Art.” The Future of Man Symposium. The Williamsburg Art and Historical Center, Brooklyn, New York1998 “The Calculus of Transfiguration: Postmodernism, Jewish Mysticism and Art.” The Williamsburg Symposium: Meaning, Form and Process in Late Twentieth Century Art. The Williamsburg Art and Historical Center, Brooklyn, New York |