Dale Emmart: born in NYC. She earned BFA from the Cooper Union and an MFA from RISD. Between degrees, Emmart lived and worked in San Francisco and Boston, was employed as a Printmaker, and taught Art at The Commonwealth School. She moved to New York in 1983 and began teaching at various private schools including the Brearley School where she was Head of the Art Department for eight years. Since 1984 she has been an instructor of drawing and painting as an Adjunct Professor at Fordham University, Parsons School of Design, Brooklyn College, and The New York Institute of Technology. She has taught landscape painting, plein air workshops in Scotland, The Pont Aven School of Contemporary Art in France, Art New England, and she founded and co-directs, Plein Air Portugal, a retreat for painters and photographers in Northern Portugal. Emmart has exhibited in New England, the midwest, up-state New York, New York City, Pennsylvania and her work is in public and private collections in the United States and Europe. She has been in residence at The Virginia Center for the Arts and The MacDowell Colony. Emmart was a recipient of a NYFA Grant in Painting and an Artist Workspace Grant from The Dieu Donne Papermill.
A resident of New York City and rural Pennsylvania my work is informed by common notions of city and country that emerge from dissimilar studio locations. The ideas at times mingle conversationally; at times are put in sharp contrast. Small-scale landscape oils develop within the rolling dairy region of eastern Pennsylvania. Compositions embrace an impression of underpopulated, unspoiled pastoral possibility. Larger paper pieces in black and white, or monochromatic ink, find reference in the urban exhaust, industrial fumes, and belching smoke of city environments, suggesting complications of industry and climate. I study sky behavior, am drawn to storms, broad horizons, man-made clouds and the like where distance becomes the subject and description loosens into abstraction. The edge between description and abstraction is my primary motivation. Neither sets of images include representations of people. Yet, the human element is implicit in every image in that one body of work represents an ideal environment, the other a traumatized one.