Pat Steir’s first museum exhibition, in 1973 at the Corcoran Gallery of Art, Washington, D.C., marks the beginning of a career dense with painting exhibitions. She has also made installation work (shown at Documenta IX, Kassel, Germany, in 1992) and is an important printmaker.
Crown Point Press began publishing her prints in 1977 and in 1983 the Spencer Museum of Art, University of Kansas, gave her a print and drawing exhibition. A print retrospective at the Cabinet des Estampes in Geneva traveled to the Tate Gallery in London. Steir has had one-person painting exhibitions at the Brooklyn Museum in 1984 and the New Museum of Contemporary Art in New York in 1987, both of which traveled to other museums, many in Europe.
In 1995, the monograph Pat Steir was published by the American art critic Thomas McEvilley, chronicling the artists' life work up to that point. In November 1999, Steir was the subject of an Art In America cover feature, "Watercourse Way," by critic G. Roger Denson, claiming that Steir's lyrical waterfall paintings attest to her long-standing interest in Asian art and thought, particularly the ancient Chinese philosophy of Daoism, with Steir's literal and figurative motif embodying the flow of water (or in her case paint) down a surface.
Describing Steir's 2010 installation at Sue Scott Gallery, The Nearly Endless Line, consisting of a while line snaking around the gallery's blue-black walls, lit with blue light, Sharon Butler writes in The Brooklyn Rail: "Walking through the darkened space, observers find themselves inside Steir’s painting, where they become part of the illusion she has created with paint and light."
Crown Point Press began publishing her prints in 1977 and in 1983 the Spencer Museum of Art, University of Kansas, gave her a print and drawing exhibition. A print retrospective at the Cabinet des Estampes in Geneva traveled to the Tate Gallery in London. Steir has had one-person painting exhibitions at the Brooklyn Museum in 1984 and the New Museum of Contemporary Art in New York in 1987, both of which traveled to other museums, many in Europe.
In 1995, the monograph Pat Steir was published by the American art critic Thomas McEvilley, chronicling the artists' life work up to that point. In November 1999, Steir was the subject of an Art In America cover feature, "Watercourse Way," by critic G. Roger Denson, claiming that Steir's lyrical waterfall paintings attest to her long-standing interest in Asian art and thought, particularly the ancient Chinese philosophy of Daoism, with Steir's literal and figurative motif embodying the flow of water (or in her case paint) down a surface.
Describing Steir's 2010 installation at Sue Scott Gallery, The Nearly Endless Line, consisting of a while line snaking around the gallery's blue-black walls, lit with blue light, Sharon Butler writes in The Brooklyn Rail: "Walking through the darkened space, observers find themselves inside Steir’s painting, where they become part of the illusion she has created with paint and light."