Upcoming exhibition, May 10 - October 27, 2024, "Adjacent Spaces: Paintings by Karen Tashjian and Mark Lavatelli, at the Burchfield Penney Art Center, Buffalo, NY link
Exhibition March 2024 link
Mark Leo Lavatelli (American, 1949- ) is a Western New York painter, educator, and freelance critic. He earned an AB in art history from Cornell in 1970, an MA in art history from the University of Illinois in 1973, and an MFA in painting and drawing from the University of New Mexico in 1979. Lavatelli taught at a number of universities before relocating to Buffalo, N.Y., for a position as professor of humanities at Medaille College in 1988.
As a painter, Lavatelli’s primary subject matter is close-up views of trees and their branches, which he takes as representative of nature as a whole. His chosen medium is the ancient beeswax technique called encaustic. His work has won him numerous awards, grants, residencies, and commissions. He has also had solo and group exhibitions throughout the United States since the 1980s. In 2006, he was featured in Trees Interpreted: Charles Burchfield and Mark Lavatelli, the first exhibition at the Burchfield Penney Art Center to juxtapose work by its namesake painter with that of a contemporary artist.
Artist Statement:
In 1976, after studying and teaching art history, I decided to focus on the creation and study of paintings. In graduate school in New Mexico I encountered an area of deadfall timber in the Sandia Mountains that served as subject matter for drawings, photographs, and paintings and continues to inform many compositions. A series of works based on this landscape (i.e. logs) involved flattening and emphasizing diagonal dynamics (“constructs”). I worked “non-objectively” during the 1980’s and the first half of the 1990’s, incorporating more organic forms and often including a simplified head or mask shape (“encounters”).
In 1987 I discovered encaustic and have been using it ever since (I also use oil paint and other mediums). Close-up views of trees have been frequent subjects since the mid 1990’s (“trees”). Many involve syntheses of organic tree forms with geometric forms (“hybrids”), distantly echoing early experiences of prairie landscape configurations of farm buildings and trees.
In these “hybrids,” I apply multiple layers of hot-wax paint and use incising, scraping, collage, glazing and other manipulations unique to encaustic to activate the surface. By combining representational and non-representational form languages, I express the tension between opposing tendencies: the spontaneous, intuitive, and unrestrained (represented by nature) and the rational, ordered, and disciplined (represented by rectilinear geometry). This duality is also reflected in the tension between the painting’s surface and the illusion of depth, between thick and thin paint, between smooth and rough textures, and between naturalistic and non-naturalistic color. The interruptions of the natural world created by colored rectangles or stripes also suggest the incursions of mankind into the environment.
I am particularly captivated by the relationships of positive and negative spaces created by tree trunks and branches. The unique properties of the temperature-based encaustic medium are seen in paintings where lines are melted through layers of paint (“glyphs”). Many paintings include collaged fragments of encaustic monotypes, often including words that reference landscape elements and environmental threats (“hybrids” and “threatened environment”). Non-narrative and non-poetic, the words parallel formal elements in the way they trigger multiple associations, both individually and when assimilated in varying sequences.
I also create encaustic monotypes that echo the paintings. They often involve charcoal drawing transfers or using Duralar as an alternate printing surface. Reflecting on my love of nature led me to express concern for the future health of the environment. And a recent series of monotype prints, called Covid Trees, references the current pandemic.
NOTE: Encaustic painting is an ancient and highly permanent technique in which the vehicle or binder is beeswax. Unlike linseed oil or synthetic resin (e.g. acrylic) binders which dry to harden, the beeswax is heated until molten, mixed with dry pigments to make paint, and, when applied to the painting, cools and hardens instantly. When the painting is completed, the entire surface is reheated to fuse the layers and bond them to the support. This is called burning-in, which is the literal meaning of encaustic. Although the surface is not as tough as an oil film, encaustic paintings do not darken or yellow with age. Portraits made in the Fayoum district of Egypt as early as the 1st century A.D. are as fresh as if they were painted yesterday. The adhesive qualities of wax also make it an ideal medium for collage.
Education: University of New Mexico, M.F.A. (Painting and Drawing), 1979; University of Illinois, M.A. (Art History), 1973; Cornell University, A.B. (Art History), 1970; University of Massachusetts, Summer Session in Bologna, Italy, 1968.
Teaching/Employment Experience: Professor of Humanities/Art, Medaille University, Buffalo, 8/88 – 6/20; Director of Visual and Digital Arts, 9/01 – 6/08; Chairperson of Humanities, 1/1994 – 8/1999 & 8/2013 - 8/2015; Assistant Director, Moss/Chumley Gallery, Dallas, 5/87 – 7/88; Assistant Professor of Art, University of Dallas, Irving, TX, 8/80 – 5/87; Teaching Assistant, University of New Mexico, Albuquerque, 8/77 – 8/79; Instructor of Art, Missouri Western State College, St. Joseph, 10/72 – 8/76.
One-Person Exhibitions:
2022- “Eco-Peril,” CANO Community Arts Network of Oneonta, Oneonta, NY.
2020- “Wax Impressions,” Betty’s Restaurant, Buffalo, NY.
2019- “Trees & Bees,” Western New York Book Arts Center, Buffalo, NY.
2018- “Resource Art: Mark Lavatelli,” Hotel Henry, Buffalo, NY.
2017- “Verdant: Recent Work by Mark Lavatelli,” Indigo Art, Buffalo, NY.
2014- “TreeHistoric,” Big Orbit Gallery, Buffalo, NY.
2012- “Schoenberg/Lavatelli: Pierrot Lunaire,” Buffalo Seminary (collaboration with the Buffalo Chamber Players), Buffalo, NY.
2010- “Arboretum,” Indigo Art, Buffalo, NY.
2005- “Taos Paintings,” Nichols School, Buffalo, NY.
2004- “Treescapes,” Buffalo Arts Studio, Buffalo, NY.
2002- “Recent Encaustic Works,” Bryant Street Studio, Buffalo. NY.
2000- “Recent Paintings,” Olean Public Library Gallery, Olean, NY.
1999- “Ten-Year Mini-Retrospective,” Biac’s World Bistro, Buffalo. NY.
1996- “Glade: New Paintings by Mark Lavatelli,” Castellani Art Museum, Niagara University, NY.
1993- “Recent Work,” Monroe Community College, Rochester, NY.
1992- “Junctures,” Conduit Gallery, Dallas. NY.
1991- “True Gravity,” Calumet Gallery, Buffalo, NY.
1989- “Recent Paintings,” Conduit Gallery, Dallas, TX.1
1987- “Mark Lavatelli,” The Watson Gallery, Houston, TX.
1986- “Recent Paintings/Works on Paper,” Conduit Gallery, Dallas, TX.
1984- “Recent Work,” Eastfield College, Dallas, TX.
1982- “Mainstream Abstractions,” Mattingly Baker Gallery, Dallas, TX.
1980- “Psychic Landscapes,” White Oak Gallery, Albuquerque. NM.
Selected Invitational and Juried Group and Two-Person Exhibitions:
2022- “Kindred,” Raft of Sanity, Buffalo, NY.
2021- “Cadeaux,” Raft of Sanity, Buffalo, NY.
2016- “Mark of the Brush,” Castle Hill Art Center, Truro, MA. “Sequel,” Burchfield Penney Art Center, Buffalo, NY.
2015- “Amid/In Western New York Part 5,” Hallwalls Contemporary Arts Center, Buffalo, NY. “Singular Impressions,” Indigo Art, Buffalo, NY 2013 “echo Art Fair,” Central Library, Buffalo, NY.
2012- “116th Buffalo Society of Artists Catalogue Exhibition,” Niagara Arts and Cultural Center, Niagara Falls, NY.
2011- “Charged Brushes,” The Painting Center, New York, NY. “Buffalo Society of Artists 115th Catalogue Exhibition,” UB Anderson Gallery, Buffalo, NY.
2010- “Surface/ Substance,” (two-person show), 171 Cedar Arts Center, Corning, NY.
2009- “Encaustic Monotypes,” University at Buffalo Center for the Arts, Amherst, NY. “Working in Wax,” Bedford Gallery, Walnut Creek, CA. “Treescape: Works by Mark Lavatelli & Robert Schultz,” Burchfield Nature & Art Center, West Seneca, NY. “Embedded Light,” Grosse Pointe Art Center, Grosse Pointe, MI. “Word-Themed Art,” Merge, Buffalo, NY.
2008- “What Is Western New York Art?” (two-person show), Burchfield Penney Art Center, Buffalo, NY. “Into the Forest,” Insite Gallery, Buffalo, NY.
2007- “Yinyang,” Insite Gallery, Buffalo, NY.
2006- “Trees Interpreted: Charles Burchfield and Mark Lavatelli,” Burchfield-Penney Art Center, Buffalo, NY.
2005- “Trees – A Group Exhibition,” Neighborhood Collective, Buffalo, NY.
2003- “A Walk in the Wood,” January – March (three-person show), Adams Art Gallery, Dunkirk, NY.
2002- “Text and Texture: 6th Annual Saltonstall Show,” State of the Art Gallery, Ithaca, NY.
2001- “Rochester – Finger Lakes Exhibition,” Memorial Art Gallery, Rochester, NY.
2000- “Herd About Buffalo,” (permanent installation at Medaille College), Buffalo, NY.
1999- “Convergence ’99 Y2K,” Carnegie Art Center, North Tonawanda, NY. “Mark Lavatelli and Robert L. Wood,” Gallery 101 Bistro, Buffalo, NY. “El Museo Invitational,” El Museo Francisco Oller y Diego Rivera, Buffalo, NY. “Icons & Relics: The Hallwalls 1999 Members Show,” Hallwalls, Buffalo, NY.
1998- “Nature Interpreted,” Medaille College, Buffalo, NY.
1997- ¨In Western New York,¨ Albright-Knox Art Gallery, Buffalo, NY.
1996- “46th Western New York Exhibition,” Albright-Knox Art Gallery, Buffalo, NY. “1996 Rochester – Finger Lakes Exhibition,” Memorial Art Gallery, Rochester, NY. “1st Annual Digital Elements National Exhibition,” St. John’s University Gallery, Jamaica, NY.
1995- “Mark Lavatelli, Sherry Owens, Reinhard Ziegler,” Conduit Gallery, Dallas, TX. “Polly Little and Mark Lavatelli: Paintings, Drawings, Prints,” (two-person show), Missouri Western State College, St. Joseph, MO.
1994- “Exquisite Corpses, Recently Executed,” McKinney Avenue Contemporary, Dallas, TX. “Regional ’94,” Art Dialogue Gallery, Buffalo, NY. “Summer Repertoire, ” Conduit Gallery, Dallas, TX. “Annual Painting Show, ” Cheltenham Center for the Arts, Cheltenham, PA.
1993- “500X at 15,” 500X Gallery, Dallas, TX. “25th Niagara Frontier Exhibition,” Kenan Center, Lockport , NY. “X-Sightings ’93,” David Anderson Gallery, Buffalo, NY. “52nd Rochester-Finger Lakes Exhibition,” Memorial Art Gallery, Rochester, NY. 1992- “44th Western New York Exhibition,” Albright-Knox Art Gallery, Buffalo, NY. “Spring Kaleidoscope,” USX Tower Lobby, Pittsburgh, PA. “Expose Yourself,” Hallwalls Contemporary Art Center, Buffalo, NY.
1991- “Deck the Walls,” Barbara Schuller Gallery, Buffalo, NY. “Many Voices,” Calumet Gallery, Buffalo, NY. “The Decorative Impulse,” Pennsylvania School of Art & Design, Lancaster, NY. “Fire and Ice,” Hallwalls Contemporary Art Center, Buffalo, NY.
1990- “Festival of Lights 7th Annual Juried Show,” Niagara Power Project, Niagara Falls, NY. “Works on Paper,” Conduit Gallery, Dallas, TX. “43rd Western New York Exhibition,” Albright-Knox Art Gallery, Buffalo, NY. “Inaugural Exhibition,” Robischon Gallery, Denver, CO.
1989- “Festival of Lights 6th Annual Juried Exhibition,” Niagara Power Project, Niagara Falls, NY. “Dialogues,” Artist’s Gallery, (two-person show), Buffalo, NY.
1988- “All on Paper and Sculpture,” Clary-Miner Gallery, Buffalo, NY. “National Juried Exhibition,” Clary-Miner Gallery, Buffalo, NY. “The Self-Portrait Show,” Conduit Gallery, Dallas, TX.
1987- “Figurative Messages,” The Art Center. Waco, TX. “1987 Texas Fine Art Association Annual Spring Exhibition at ARCO Tower,” Dallas, TX. “Couples in Art,” Sheraton Gallery, Dallas, TX. “Presence: Twelve Artists,” Conduit Gallery, Dallas, TX.
1986- “New American Talent ’86,” Laguna Gloria Museum, Austin, TX. “Collage,” University of Texas at San Antonio, TX. “29th Annual Delta Art Exhibition,” Arkansas Art Center, Little Rock, AR. “Mark Lavatelli and Bob Stuth-Wade,” Longview Museum and Art Center, (two-person show), Longview, TX.
1985- “12 Texas Painters,” University of Texas at El Paso, TX. “45th Annual Juried Exhibition,” Woodmere Art Museum, Philadelphia, PA. “Texas Visions,” Museum of Art of the American West, Houston, TX.
1984- “The Gateway Gallery Exhibition,” Dallas Museum of Art, Dallas, TX. “About Abstraction,” Galveston Arts Center, Galveston, TX. “27th Annual Delta Art Exhibition,” Arkansas Art Center, Little Rock, AR. “Art in the Metroplex 1984,” Texas Christian University, Fort Worth, TX. “Visual Dialogues,” Texas Woman’s University, (two-person show), Denton, TX.
1983- “Actions and Reactions II,” Richland College, (two-person show), Dallas, TX. “Art in the Metroplex 1983,” Texas Christian University, Fort Worth, TX. “7th Biennial Five States Art Exhibition,” Port Arthur, TX.
1982- “Here and Now, 4th Annual Austin Contemporary Art,” Dougherty Cultural Arts Center, Austin, TX. “The Lawndale Competition,” University of Houston Art Annex, Houston, TX. “Southwest,” Gallery 500, Elkins Park, PA. “25th Annual Delta Art Exhibition,” Arkansas Art Center, Little Rock. AR.
1981- “Stable II,” 500 Exposition Gallery, Dallas, TX. “Selections,” Vertex Gallery, Taos, NM. “Actions and Reactions,” University of Dallas, (two-person show), Irving, TX.
1980- “36th Annual Painting Competition,” Abilene Fine Arts Museum, Abilene, TX. “Big Name Show,” 500 Exposition Gallery, Dallas, TX.
1979- “Exhibition – Albuquerque Contemporary Arts,” Albuquerque, Santa Fe, Taos
Selected Exhibitions Curated:
September – October 2001- “Pour: Paintings by Dana Hatchett,” Medaille College, Buffalo, NY.
November-December 1995- “Nuclear Legacy: Landscape Photographs by Paul Shambroom,” Medaille College, (co-curated with Bob Hirsch, CEPA Gallery), Buffalo, NY.
June-July 1993- “Leonel Lopez-Nussa,” Medaille College, (co-curated with Craig Centrie, El Museo Diego Rivera y Francisco Oller), Buffalo, NY.
November 1992- “AIDS: An Acquired Awareness,” Medaille College, (co-curated with Sara Kellner, Hallwalls Contemporary Art Center), Buffalo, NY.
October 1991- “Contemporary Iroquois Art,” Medaille College, Buffalo, NY.
February 1990- “Wilhemina Godfrey Retrospective,” Medaille College, Buffalo, NY.
May 1980- “Expressions,” Moss/Chumley Gallery, Dallas, TX.
1983- “Gary Komarin and Linda Emmerman,” University of Dallas, Irving, TX.
1981- “Susan Linnell,” University of Dallas, Irving, TX.
1974- “Tony Naponic and Thom Glabman,” Missouri Western State College, St. Joseph, MO.
Awards and Grants: Artist Residency, Vermont Studio School, March 2017; Top Award, Big Orbit Annual Member’s Show, Big Orbit Gallery, February 2013; Site-Specific Installation Award, echo Art Fair, Buffalo, July 2012; Gold Medal Award, 115th Catalogue Exhibition, Buffalo Society of Artists, UB Anderson Gallery, Buffalo, Nov. 2011; Brian R. Shero Teaching Excellence and Campus Leadership Award, Medaille College, 2011; Jentel Artist Residency Program, Banner, WY, Feb.-Mar. 2009; Artist Residency, Rocky Neck Art Colony, Gloucester, MA, July – August 2008; Artist Residency, Helene Wurlitzer Foundation of New Mexico, Taos, NM, May – August 2004; First Place, “11th Annual Member’s Show,” Big Orbit Gallery, Buffalo, February 2002; Artist Residency, Saltonstall Foundation for the Arts , Ithaca, NY, June – July 2001 & May – June 2008; Special Opportunity Stipend, New York Foundation for the Arts, May & November 1999 & April 2006; Sabbatical Leave, Medaille College, ’99-’00, ’08-’09, Sp. ’17; Faculty Development Award, Medaille College, 1999, 2016, 2017; 1st Prize, Juried Art Show, Lamplighter’s Auction, Dallas, March, 1990; 1st Prize (Painting), Festival of Lights 6th Annual Juried Show, Niagara Power Project, Niagara Falls, NY, December 1989; Top Award, “National Juried Exhibition,” Clary-Miner Gallery, Buffalo, October 1988; Merit Award, 14th Annual TFAA Spring Art Exhibition at ARCO Tower, Dallas, Spring 1987; King/Haggar Faculty Development Grant, University of Dallas, 1985-86.
Selected Collections: Roswell Park Cancer Institute, Buffalo, NY; Burchfield Penney Art Center, Buffalo, NY; Marshall Field; Nieman-Marcus; IBM; ARCO; Pepsico; USWest, Phoenix; Dupont; Texas Instruments; Green Collections, Tokyo; Trans World Corp.; Club Corporation of America; Frito-Lay; Societé Generale, Houston, TX Branch; Post Oak Bank, Houston, TX; Mountain Bell, Denver, CO; Southeast Banking, Miami, FL; Interfirst Bank, Dallas, TX; Southwestern Bell, Dallas, TX; Medaille College, Buffalo, NY; University of New Mexico Fine Arts Museum, Albuquerque, NM; First National Bank of Chicago, IL; Tam Brands; Western Savings Corp., Lewisville, TX; Illinois Bank and Trust, Houston, TX; and Numerous private collections.
Affiliations: Contributing Reviewer, The Buffalo News, Buffalo, NY; Contributor, Buffalo Spree, Artvoice & The Public, Buffalo, NY; Vice-President for Exhibitions, Buffalo Society of Artists, 2012-2014, Buffalo, NY; Correspondent, Artspace, 1980-84; Member At-Large, Board of Directors, Albuquerque United Artists, 1979-80; President, Graduate Students for the Advancement of Art, University of New Mexico, 1978-79.
Commissions: A 54″ X 42″ oil painting for a private collector in Massachusetts, 2005; A 43″ X 53″ encaustic painting for a private collector in Chicago, IL, 1996; Two 50″ X 60″ encaustic (hot-wax) paintings for the Penta Hotel, Atlanta, GA, 1990; A 72″ X 60″ oil painting for Mrs. Vernon Smith, Jr. , Dallas, TX.
Selected Public Lectures: “Diebenkorn’s Albuquerque Period,” Richard Diebenkorn Symposium, Taos Center for the Arts, August 24, 2007; “African Art and Cultural Difference,” Medaille College Faculty Forum, September 1994; “Aspects of Gothic and Renaissance Style in the Florence Baptistery Doors,” University of Dallas, October 1992; “On My Painting,” Calumet Gallery, Buffalo, November 1991; “Impressionists and Impressionism,” St. Thomas More Institute, Fort Worth, TX September 1987; “Changing Frames,” Albert Einstein Symposium, University of Dallas, October 1980; “Earth Art,” and “Minimal, Conceptual, and Performance Art,” Albrecht Art Museum, St. Joseph, Missouri, March 1974.
Selected Published Articles: “Blue Mythologies,” Buffalo Spree, October 2022; “Imagine Enigma,” Cornelia, September 2021; “On the Front Lines,” Buffalo Spree, June 2016; “Awkward Beauty,” catalogue essay for Richard Diebenkorn Works on Paper 1949-52 exhibition at VanDoren Waxter Gallery, New York, Jan.- Feb. 2016; “Moth Awareness,” The Public, (9/22/15); “Creative Freedom,” The Buffalo News, (4/17/14); Gusto, 11. “Surveyors, surveyed,” Buffalo Spree, May 2011, 22-24; “Diebenkorn in New Mexico,” Museum of New Mexico Press (book, co-author), 2009; “Humans, Nature,” The Buffalo News, (10/19/07); Gusto, 16. “Ray of Light,” The Buffalo News, (8/10/07); Gusto, 18. “An Artist Revealed,” The Buffalo News, (3/17/07); Gusto, 13. “Picture perfect,” The Buffalo News (2/24/06); Gusto, 15. “Painter’s painter,” The Buffalo News (12/23/05); Gusto, 20. “Holocaust Recast,” Artvoice (2/6 – 12/03), 23; “Cartoon Confrontations,” Artvoice (6/20-26/02), 20; “Bodies of Work,” The Buffalo News (10/27/00); Gusto, 21. “The Old is New Again,” The Buffalo News (4/21/00); Gusto, 18. “Jazz Immersion,” The Buffalo News (3/17/00); Gusto, 22. “Full Moon,” The Buffalo News (02/18/00); Gusto, 21. “Compare, Contrast,” The Buffalo News (1/7/00); Gusto, 19. “The Big Picture,” The Buffalo News (11/5/99); Gusto, 23. “The Cutting Edge,” The Buffalo News (10/15/99); Gusto, 21. “In the House,” The Buffalo News (10/8/99); Gusto, 18. “‘Watercolors’ by way of pixels and printers,” The Buffalo News (9/21/99), C-6; “Monet at Giverny: Impressionism becomes Expressionism,” Artvoice (Buffalo, 7/1- 7/99), 26-27; “Gestural Romanticism,” Artvoice (Vol. 10#13, 4/8-14/99), 35; “In tattoos and piercings, beauty on women’s terms,” The Buffalo News (9/9/98), D-5; “Shunning traditional style for collage,” The Buffalo News (6/27/98), C-10; “Bill Cooper: Signifying Abstractions,” Artvoice (Vol. 9 #21, 5/27/98), 14; “Form and Spirit: An Art of Balance,” Artvoice (Vol.9 #1, 1/7/98), 10; “Dale Chihuly: A Modernist Triumph,” Artvoice (Buffalo, Vol. 8 #43, 11/5-11/97), 4-5; “Building Blocks,” The Buffalo News (10/10/97, Gusto, p. 27); “A photographer’s eye mixes reality and illusion,” The Buffalo News (9/27/97); “A painter’s mix-and-match mishmash,” The Buffalo News (9/25/97); “Altered Iconography,” Artvoice (Vol. 8, #21, 5/28-6/3/97), 8; “Threshold Issues,” Artvoice (Vol. 8, #7, 2/25/97), 9; “Retinal Pleasures,” Artvoice (Vol. 7, #21, 10/16-22/1996), 6; “The Folksy Surrealist,” Dallas Art Revue (#23 Spring 1987), 7-8; “From Courbet to Cezanne: A New 19th Century / Preview of the Musee d’Orsay, Paris,” Artscene (Houston, Fall 1986), 34; “Contemporary Italians, Eugene Binder Gallery,” Artscene (Summer 1986), 82-83; “New Talent in Texas at TCU,” Artspace (Albuquerque, Summer 1984), 57; “David Bates at DW,” Artspace (Spring 1984), 61; “Vernon Fisher at Delahunty,” Artspace (Spring 1983), 74; “Richard Diebenkorn – The Albuquerque Years,” Artspace (June 1980), 20 – 25.
Reviews of Exhibitions: J. Tim Raymond, “The Art of Installation,” Artvoice, v10n50, December 15, 2011; Jack Foran, “Lavatelli, Parisi & Cocktails,” Artvoice, v9n37, September 15, 2010; Colin Dabkowski, “Taking a Bough,” The Buffalo News, March 21, 2008; Richard Huntington, “Bark and bite,” The Buffalo News, August 18, 2006; Gusto, 14. Gaasch, Cynnie, “Nature into Form at Buffalo Arts Studio,” Artvoice, V3n6, February 5-11, 2004, 28; Adams, Bruce, “Out on a Limb,” The Buffalo News, March 15, 2002; Richard Huntington, “Three artists in the modernist vein, one making myth from experience,” The Buffalo News, April 28, 1998, C6; Elizabeth Licata, “At Medaille: Four on Form,” Artvoice, V9n16, April 22-28, 1998, 12; Richard Huntington, “For Mark Lavatelli, a branch of abstraction,” The Buffalo News, December 28, 1996; Richard Huntington, “Lavatelli paintings find power in old-style abstractionism,” The Buffalo News, November 19, 1991, C-5; Richard Huntington, “Fire & Ice, exhibit by members of Hallwalls, runs hot and cold”, The Buffalo News, January 31, 1991, B-12; Richard Huntington, “Energetic Installation Lifts Western New York Show,” The Buffalo News, March 25, 1990, H1 H5; Janet Kutner, “Deep Ellum Expatriates,” Dallas Morning News, April 24, 1989, 5C, 10C; Manya Fabiniak, “National Juried Exhibition at Clary-Miner,” Arts in Buffalo, October26, 1988; Janet Kutner, “Small Art, Big Impact,” Dallas Morning News, December 22, 1987, 5C-7C; Wade Wilson, “Unsettling Mindscapes,” Dallas Art Revue (#23 Spring 1987), 3; Linda Brown, “Delta Show Deserves Long Look,” Arkansas Gazette, October 3, 1986, 1B, 6B; Alan and Jody Govenar, “Combination Images and Mainstream Abstractions,” Artspace, (Winter 1982-83), 57; Janet Kutner, “Acquisitions Are Only Part of the Action,” Art News, December 1982, 86; Peterson, William, “Mark Lavatelli at White Oak, Albuquerque,” Artspace, September, 1980, 58.
Mark Lavatelli is a Living Legacy Artist at the Burchfield Penney Art Center.
Artist’s Website link
Artist’s Instagram link
(Sources: Biographical information from the artist’s website & résumé at marklavatelli.com; burchfieldpenney.org, Burchfield Penney Art Center, “Mark Lavatelli (b. 1949)”.)
