University Place, Syracuse University
Sharon Gold

School of Art
Associate Professor, Studio Arts (Painting and Drawing)

Sharon Gold, a native New Yorker, gained critical attention in the 1970s and 1980s for her reductive, abstract, and conceptual pieces. Her subsequent works de-emphasized the object-ness by means of metaphoric and metonymic devices, which help transform “shapes” into frameworks contextualizing narrative content, questioning the means and the meaning of representation.

Gold attended Hunter College, Columbia University, and graduated from Pratt Institute with a B.F.A. in painting. She has had numerous solo exhibitions both in the U.S. and abroad. Her bibliography includes essays and reviews by Arthur Danto, Donald Kuspit, Ken Johnson, and Stephen Westfall, to name a few. Gold has written for Re-View Magazine, M/E/A/N/I/N/G/S, and Artforum.

Gold has a long history in New York among artists, dealers, curators, collectors, and critics. She has exhibited her work at P.S. 1, DIA Art Foundation, Carnegie-Mellon University, Rose Art Museum at Brandeis University, Everson Museum of Art in Syracuse, and Princeton University Art Museum. She has received a National Endowment for the Arts fellowship (1988) and has lectured, performed, and taught at institutions across the country.

Personal Statement:

My work is located in the interstices of imagination and thought. The images combine thoughts, actions, and multiple voices in a single frame reflective of the abundance and complexity of contemporary life. Histories, projected or lived, are proposed for the discernment and selection of the viewer. My work hovers between the unnamable and the familiar.

I use traditional oil painting glazing techniques and drawing media, recollecting the beautiful surfaces of European masterworks. The framed paintings have nameplates that act not only as ironic devices, but also as a strategy to emphasize the discourse between images and text.

The following excerpt from the piece Chora and Agora offers another way of perceiving my sensibilities and process:

Seated on a moving train, seeing (is) a blur of images never to be beheld. Places seem   connected as if on a time-line, but not one lived. We desire the sights we cannot focus on. We keep looking at the views wanting to consume each and every one; lingering is our desire: to locate and possess ourselves in each image, each moment. Our desire to see, to flirt, to identify and become the one who controls the image: we are the bearers of sight, surveyors of all that can be located in time, space and movement. We design the spaces in which we walk, talk, see, be seen, interact or not, re-positioning ourselves as we consume and produce.

Painting is for me always in process. I constantly question the epistemological basis for my thinking and painting. It is my way of being part of the conversation, that is, to be in discourse with others.


What Is Contemporary Drawing?

What Is Contemporary Drawing?

Students in the School of Art's spring 2015 Drawing Research and Graduate Drawing class taught by Sharon Gold, associate professor...