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Born 1931, Erie PA
Alberta Cifolelli is a painter and printmaker, with a long career of exhibitions throughout the United States and Japan.
Cifolelli was invited by The National Museum of Women in the Arts to exhibit in the monumental Four Centuries of Women's Art in 1990, which toured major Japanese museums for a year. Her painting entitled Cleavage is part of that Museum's permanent collection.
She was invited to be part of exhibits including the Connecticut Biennial at the Bruce Museum, A State of Artists at the Aldrich Museum of Contemporary Art, Connecticut's Best at the Connecticut Gallery, The Natural Image at the Stamford Museum, and Exhibition Momentum at the Chicago Art Institute.
She has had over 50 one artist exhibitions including The Stamford Museum (a retrospective), the Housatonic Museum of Art, as well as numerous other venues in New York City and various U.S. galleries.
In 2007, she was named one of 18 Distinguished Alumni of the Cleveland Institute of Art in celebration of the Institute's 125th Anniversary. Her work is in more than 300 public collections including the National Museum of Women in the Arts, the Housatonic Museum of Art, the United Nations, The Butler Institute of American Art, Francis Lehman Loeb Art Center, Vassar College, PepsiCo, NYNEX, and the U.S. Courthouse in Stamford, Connecticut.
Other recognitions include being artist in residence at The Djerassi Foundation, Woodside, California in 1986.
Her archives and personal papers from her long career are listed in The Archives of American Art at The Smithsonian Institution, Washington, D.C.
My work is intensely personal and alludes to events in my life, sometimes specifically mine. This becomes apparent in works such as Parting Ways or The Way. The former is a metaphor for something that was once whole and broke or became fragmented. The Way is a seminal piece of my Ways series, referring to choices or paths in life. The image is metaphorical.
My process is to work directly on the support with no reference except memory or imagination. Unrealistic color is the force that moves the work to imagination and fantasy.
Changes in my work over more than six decades have been driven by an inner need for development rather than dictated by fashion. My work has never fit neatly into the mainstream, nor have I been identified as part of a school.
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