CAROLYN PLOCHMANN BIO
1926 - 2023
Carolyn Gasan Plochman was born in 1926 in Toledo, Ohio, the only child of Edward and Elizabeth Gassan. She describes her midwestern upbringing as a lyrical blend of aestheticism and the Protestant work ethic. [Matthew F. Daub]
Her storied career as an artist began at the age of 15 with a solo exhibition at the Toledo Museum of Art. She received her B.A. degree in 1947 from the University of Toledo, soon followed with an M.F.A. degree in 1949 from the University of Iowa, where she was a George W. Stevens fellow from the Toledo Museum of Art.
Plochmann's work has been exhibited and included in the collections of numerous museums, including Evansville Museum of Arts and Science, Evansville, IN; Tupperware Art Museum, Orlando, FL; Laura Musser Museum, Muscatine, IA; University of Chicago Libraries Collection, Chicago, IL; Hunter Museum of Art, Chattanooga, TN; Knoxville Museum of Art, Knoxville, TN; Springfield Museum of Art, Springfield, IL; Jersey City Museum, Jersey City, NJ; and more.
She exhibited for nearly thirty years with the famed Kennedy Galleries in New York, NY from the mid 1970s through the turn of the century. She has been exhibiting her paintings with B. Deemer Gallery/WheelHouse Art for the past 15 years.
Carolyn Plochmann in her own words.
“Quite often, a painter is asked for a favorite quotation to reveal something of himself and his work. If I were thus queried, my reply would be lines attributed to Rico Lebrun in a book written by a friend: "I made up a story once, of Dürer, Michelangelo, and Grünewald, painting from the same model. After a while Michelangelo says to Dürer, What's that scratching noise, Al? and where's Matthias?' And the model finally lets on: 'He's crawled right under my skin and inside me,' she says, 'and now he's scratching, trying to find his way out." Yes! to this - and to a three-by-five inch slip taped to my easel, carrying the words of Meister Eckhart: "Only the hand that erases can write the true thing." If I have once in a while been fortunate enough to paint a true thing, it was after scratching my way out and after countless erasures and fresh starts.
Speaking in painterly terms, my early work was markedly linear and perhaps rightly called expressionistic. When the line itself became one with color, the paintings took on a greater solidity, in which I hoped internal events as I lived and felt them could take shape in more nearly sculptural form. The use of shallow space, without consistent perspective, seems to be a constant by inner necessity, not theory, in my work. I believe that it must be that the sense of the real, though derived always from life, is less a visual real than an intellectual one; and it seems more natural to me to create distance and space by means of color itself, when I am able.
No doubt many of the themes and implications of the paintings owe much to the smaller world in which I grew up, where Bach's "God's Time is Best" was a given, and painting, a calling for which one gave thanks, all questionings and erasures notwithstanding. I still give thanks every time I paint.”
...
“There is a certain mystique that prevails; leaving a painting at the end of a day's work and a certain feeling that one requires so that it is right to begin work again the next morning.”
...
“A sense of living in both time and timelessness was implicit in the natures of my father and mother, and in our largely German Lutheran background. Inseparable from my responses to life as a whole was our house, ever changing as my mother's sensitivity to color and shape renewed itself each day. An urge to put a persimmon-colored cloth against freshly painted white woodwork, or to arrange the patterns of light through the leaves of a geranium in the sunlight falling upon a yellow floor. These were matters for my mother, of her special care. I still have my father's striping brushes, some of his carefully blended pigments, and the fine cupboards that he built. He could work small marvels with wood and tools, or with the broken wing of a bird. It was a peaceful, esthetic, industrious world in our home, in which my parents loved what was "good, worthy and honorable in life, and lived according to these things."”
—Carolyn Plochmann
Words on Carolyn Plochmann from admirers.
“In this advanced age of marketing in the fine arts, one important aspect of contemporary painting is being seriously overlooked... the calm world of poetry and reflection... Take the work of Carolyn Gassan Plochmann... Her subject matter is human beings or still lifes which she treats in a compellingly moody and poetic way. Plochmann adores paint, texture and the building up of complex surfaces of the painted material, layer after layer... sometimes dozens of them... illuminated with an occasional flash of gold leaf. Almost every square inch of her work is enhanced with fabulous harmonies of line and delicate nuances of color... the work has about it almost the aura of alchemy, seemingly rational and mysterious at the same time.”
--Thomas Hoving (1931 – 2009), former Director of the Metropolitan Museum of Art, New York 1967-1977
“Encountering the work of Carolyn Gassan Plochmann, we come to a window open for us by fresh wisdom. It is a window through which we glimpse something new, significant, and universal. We stop involuntarily, but in our fist momentary pause we realize that we are looking not merely at the new but at all the ages of man…
To say that Carolyn Plochmann shows an extraordinary co-ordination of dexterity and thought is only to recognize the obvious, so we can go on to consider what comes after this, which is the utter sublimating of that co-ordination. It has been almost inadvertently sublimated, however, following long and intelligent self-discipline, motivated by sensitivity and objective love.”
— R. Buckminster Fuller (1895 – 1983), American architect, systems theorist, writer, designer, inventor, philosopher, and futurist.
“Carolyn Plochmann has not followed current trends in art, nor has her style of painting radically changed over the years. Few artists have had the courage and vision to pursue a career in painting that has matured and deepened, while adhering consistently to the same underlying artistic standards. Plochmann's forms are clearly defined; at first sight, easily comprehended, as they have always been. But the meaning of these forms as composed and defined has become increasingly complex and varied. At first, the paintings may seem quiet, reserved, contemplative, subdued, their color subtle and their texture rich and varied. On closer study, however, these qualities yield to the deeper meaning of what is depicted. The paintings are, after all, enigmatic and suggestive rather than definitive; they are not at all what they initially seem to be. Although their subject matter seems centered on the artist's own family life and on her love of nature, the juxtaposition of seemingly easily understood forms reveals deeply felt personal intuitions about life's mysteries. Plochmann's art provides ample reward for the perceptive viewer, willing to allow time to discover the deeper meanings in these beautifully crafted and richly painted paintings.”
— Otto Wittman (1911 – 2001), Director Emeritus Toledo Museum of Art
EDUCATION
1943-47 Toledo Museum of Art School of Design, Toledo, OH
1943-47 University of Toledo, B.A.
1947-49 State University of Iowa, Iowa City, IA; as George W. Stevens Fellow from Toledo Museum of Art; M.F.A.
1950 Instruction from Alfeo Faggi, Woodstock, NY
1951 Dissection Anatomy Course, Southern Illinois University Graduate
School, Carbondale, IL
SELECTED SOLO EXHIBITIONS
2019 Sheer Poetry, Paintings by Carolyn Plochmann, B. Deemer Gallery, Louisville, KY
2017 Carolyn Plochmann recent works, B. Deemer Gallery, Louisville, KY
2002 Carolyn Plochmann’s Gifts, Rend Lake, IL- 4 Illinois Museums
Between Two Worlds, Illinois State Museum, Southern Illinois Art
Gallery, Rend Lake, IL
Intuitions, Woodstock Artists Association, Woodstock, NY
2001, 1998, 1995, Kennedy Galleries, New York, NY
1994, 1992, 1989, 1987, 1983,1981, 1973
1990-91 Carolyn Plochmann: A Charmed Vision, Evansville Museum of Arts and Sciences, Evansville, IN (Retrospective)
1991 Carolyn Plochmann: A Charmed Vision, (Retrospective)
The Mitchell Museum, Mt. Vernon, IL,
The Center for Contemporary Art, University City, MO,
Owensboro Museum of Fine Art, Owensboro, KY,
Knoxville Museum of Art, Knoxville, TN
1983 Southern Illinois University School of Medicine, Springfield, IL
1979, 1973, Evansville Museum of Arts and Science, Evansville, IN (Retrospective)
1962
1978 Paducah Art Guild, Paducah, KY
1973 Paine Art Center, Oshkosh, WI (Retrospective)
1970 Philadelphia Water Color Club Art Alliance, Philadelphia, PA
1968 The Witte Museum, San Antonio, TX
1967 Laura Musser Museum, Muscatine, IA
1967 Southern Illinois University Student Christian Foundation, Carbondale, IL
1966 Paducah Art Guild, Paducah, KY
St. Louis Gallery, St. Louis, MO
1965, 1955 Toledo Museum of Art, Toledo, OH
1963 Vanderbilt University, Nashville, TN
1959 Bergstrom Museum, Neenah-Menasha, WI
1958 The Bresler Galleries, Milwaukee, WI
1952 Southern Illinois University, Carbondale, IL
SELECTED GROUP EXHIBITIONS
2009 LEGACIES; recent gifts of the work of Carolyn Plochmann and
Stephen S. Pace. Evansville Museum, Evansville, IN
2007 Shining Spirit: Westheimer Family Collection, Catalogue Editor, Alison B. Amick, Oklahoma City Museum of Art, Oklahoma City, OK
2003 Carbondale Community Arts, Carbondale, IL
1999 Invitation to Biennale Internazionale dell’ Arte Contemporanea, Florence, Italy
1996 48th Annual Exhibition American Academy of Arts and Letters, New York, NY
American Academy of Arts and Letters, New York, NY
Kutztown University, Group show
1993 A Procession of Spirits, Louisville Visual Art Association, Louisville, KY
45th Annual American Academy Purchase Exhibition, American Academy of Arts and Letters, New York, NY
1991, 1989, 1988 Arts in Celebration, Carbondale, IL
1979-89, 1976-77, Kennedy Galleries, New York, NY
1973-74
1986 West ‘86/Art and the Law traveling exhibition: Association of the Bar of the City of New York, Great Hall; Loyola Law School, Los Angeles, CA; Blanden Memorial Art Museum, Fort Dodge, IA; Minnesota Museum of Art, St. Paul, MN; Sunrise Museum, Charleston, WV
1985 West ‘85/Art and the Law traveling show: Russell Senate Office Building, Washington, D.C.; Alexandria Courthouse, Alexandria, VA; Cedar Rapids
1983, 1957 State University of Iowa, Iowa City, IA
1980 West ‘80/Art and the Law traveling show: State Bar Association, Omaha, NB; Tulane University, New Orleans, LA; State Bar Association, Raleigh, NC; City Hall, Dallas, TX; State Bar Association, Austin, TX; Bar
Association, St. Louis, MO; Minnesota Museum of Art, St. Paul, MN; Kennedy Galleries, New York, NY
1970 26th Illinois Invitational, Illinois State Museum, Springfield, IL
1973 Illinois State Governor’s Mansion Invitational
1972 The Distaff Side, Mitchell Art Museum, Mt. Vernon, IL
1969 Brooks Memorial Art Gallery, Memphis, TN
1969 Sheldon Swope Art Gallery, Terre Haute, IN
Sneed Gallery, Rockford, IL
1969, 1962 Pennsylvania Academy of Fine Art, Philadelphia, PA
1968 Weyhe Gallery, New York, NY
1967-68, 1964-65, Toledo Federation of Art Societies, Toledo, OH1959, 1957, 1953-55, 1949-51, 1942-47
1967-65, 1958-55 Evansville Museum of Arts and Science, Evansville, IN
1966 Kutztown University, Group Show
1965 Arnold Finkel Gallery, Philadelphia, PA, Illinois State Museum, Springfield, IL
1965, 1957, 1955, Ohio University, Athens, OH
1954, 1952, 1951
1965, 1959-58 Temple Israel, St. Louis, MO
1964, 1961, 1959, Butler Institute of American Art, Youngstown, OH
1957, 1953-55, 1951
1964 Eleven Women Painters, Jewish Community Center, St. Louis, MO
American Society for Church Architecture, Philadelphia, PA
1962 Forum Gallery, New York, NY
1959 Chautauqua Art Association, Chautauqua, NY
1958 Cincinnati Art Museum, Cincinnati, OH
1958, 1957 Dayton Art Institute, Dayton, OH
1957, 1954, 1952 City Art Museum of St. Louis, St. Louis, MO
1954-55 American Federation of Arts Traveling Exhibition
1946 Bowling Green State University, Bowling Green, OH
Carnegie Institute, Pittsburgh, PA
SELECTED AWARDS
1985 West Collection, St. Paul, MN. Purchase Award
1969 Philadelphia Water Color Club, Philadelphia, PA. M.V. Zimmerman Memorial Prize
25th Annual Wabash Valley Exhibition, Sheldon Swope Gallery, Terre
Haute, IN. Kappa Kappa Kappa Merit Award
1968 Toledo Federation of Art Societies, Toledo, OH. First Award
1967 Evansville Museum of Arts and Science, Evansville, IN. Bronstein Award
Toledo Federation of Art Societies, Toledo, OH. First Prize in Drawing
1967-68, 1959, Toledo Federation of Art Societies, Toledo, OH. First Prize
1955, 1953,1950,
1949, 1946, 1942
1967, 1965, 1964, Evansville Museum of Arts and Science, Evansville, IN. 2nd Purchase Award
1955-58
1965 Evansville Museum of Arts and Science, Mid-States Exhibition, Evansville, IN. Junior League Award
Toledo Federation of Art Societies, Toledo, OH. First Prize in Drawing
1964 Evansville Museum of Arts and Science, Evansville, IN. Enlow Purchase Award
1959 Chautauqua Show, Chautauqua, NY. Ralph & Elizabeth C. Norton Memorial Award
Silvermine Guild, 10th Annual New England Exhibition, New Canaan, CT. New York Graphics Society Award
Temple Israel, 2nd Annual Old Testament Show, St. Louis, MO. 1st Prize Purchase Award
Toledo Federation of Art Societies, 41st Annual Show, Toledo, OH. Special Award
1958 Emily Lowe Tenth Annual Competition, New York, NY
Temple Israel, 1st Annual Old Testament Show, St. Louis, MO. 2nd Purchase Award
Evansville Museum of Arts and Science, Tri-State Exhibition, Evansville, IN. 1st Purchase Prize
Emily Lowe 10th Annual Competition, New York, NY
1957 Evansville Museum of Arts and Science, Evansville, IN. Annual Tri-State Museum Purchase Award
1955, 1953 Toledo Federation of Art Societies, Toledo, OH. Roulet Medal for Most Outstanding Group
1955, 1946, 1942 Toledo Federation of Art Societies, Toledo, OH. 1st Prize in Oils
1954 & 1951 Ohio Valley Oil and Watercolor Show, Athens, OH.
1951 Butler Institute of American Art, Youngstown, OH. 2nd Purchase Prize
1950 Toledo Federation of Art Societies, Toledo, OH. 1st Award, Federation Purchase and Toledo Blueprint Prize
1947-49 Toledo Museum of Art, Toledo, OH. George W. Stevens Fellowship
1947 Toledo Federation of Art Societies, Toledo, OH. Public Poll Prize
Outdoors Federated Artists, Toledo, OH. 1st Prize
1943, 1942 Scholastic National High School Exhibit, Carnegie Institute, Pittsburgh, PA. Certificate of Merit and Gold Key
REVIEWS
2003 Epinions, “Hidden Treasure,” anonymous, full review, 27 May
Chicago Tribune, “Time and Distance Co-exist in Plochmann Exhibition,” Alan Artner. 10 July
Northeast, Woodstock, NY, anonymous review. P. 43
1992 Steiner, Raymond J., Art Times, review of September-October show, Kennedy Galleries; November
Twine, Tinker, “Exquisite Enigmas,” review of September- October show at Kennedy Galleries, Woodstock Times; 22 October
1991 Schmitendorf, Karen, “Constant Theme Flows Through Four Decades,” St. Louis Post-Dispatch; March
Nordmeyer, Chanda, article on region, Southern Illinoisan; 18 March
“Two Lifetimes Devoted to Art,” Southern Illinoisan; 22 February
Steiner, Raymond, review of “A Charmed Vision: The Art of Carolyn Plochmann,” The Art Times, Woodstock, NY; January-February
1990 Knipe, Sandra, “Essay Inspired by a Friend’s Art,” The Evansville Press, 14 December
McBain, Roger, “A Special Tie”, The Evansville Courier; 9 December
Gelman, Ben, “Book, Exhibit Showcase Artist Carolyn Plochmann,” Southern Illinoisan, 4 November
1989 Bruner, Louise, “Carolyn Plochmann’s Artistic Career Has Been Built on Talent Not Hype,” Toledo Magazine; Week of July 16-22
1989 Twine, Olivia, “Gotham’s Got Woodstock,” Woodstock Times; 6 April
1985 Tanner, Maria, Southern Illinoisan; August
1983 Green, Robert, Daily Egyptian; March
Fort, Ilene Susan, Arts Magazine; May
Hoving, Thomas, Connoisseur; March
1981 Arts Magazine; May
1979 Wick, Nancy, Evansville Courier; 9 September
Kennedy, Ridge, “Mid-states in Retrospective,” Evansville Press
Koplowitz, H.B., feature article Southern Illinoisan; 7 October
1978 Evans, Bob, Sun-Democrat, Paducah, KY; 8 May
Anonymous, Utopics, University of Toledo, Toledo, OH; September
Rodman, Selden, Horizons; 4 December
1973 Rodman, Selden, Kennedy Catalogue, 17 January
Kol Shalom, Jewish Student Press; April
Bock, Cynthia, Evansville Press, Evansville, IN; 18 January
Bruner, Louise, Toledo Blade, 28 January
Shearer, Mike, Southern Illinoisan, 4 February
1973 Amato,Glenn, Daily Egyptian,Southern Illinois University,Carbondale, IL, January
Art News, February
1972 Bruner, Louise, feature article Toledo Blade; 18 June
1968 Nickell, Tom, San Antonio News, 13 February
Meeker, James, Fort Worth Star-Telegram; 4 February
1967 Key, Donald, The Milwaukee Journal; 18 June
1965 Bruner, Louise, Toledo Blade; 10 October
1958 Tager, Stephen N., Mrs., Evansville Courier, Evansville, IN; 19 November
Evansville Press; 25 May
Getlein, Frank, Milwaukee Standard; 2 November
Anonymous, Milwaukee Sentinel; 31 October
Fish, Margaret, Milwaukee Sentinel; 28 October
Alexander, Mary L., The Cincinnati Enquirer; Cincinnati, OH; 1 June
Derrickson, Howard, St. Louis Post Dispatch; St. Louis, MO; June
1957 McCue, George, St. Louis Post Dispatch, St. Louis, MO; 14 August
1956 Anonymous, Milwaukee Journal, Milwaukee, WI; 1 April
1955 Bruner, Louise, The Toledo Blade; 11 March
1951 Anonymous, Toledo Blade, 30 December
Anonymous, Southern Illinoisan, Carbondale, IL; 16 July
1950 Treanor, Aline, J., Toledo Blade, Toledo, OH; 5 May
1946 Anonymous, Toledo Times, Toledo, OH; 12 May
Klewer, Pauline, Toledo Times, Toledo, OH; 12 May
Elgutter, Ruth, Toledo Blade, Toledo, OH; 11 May
1943 Peterson, Arthur, Toledo Blade, Toledo, OH; 4 May
1942 Godwin, Blake-More, Toledo Blade, Toledo, OH; 24 December
Klewer, Pauline, Toledo Blade, Toledo, OH; 17 May
PUBLICATIONS
2008 “Carolyn Plochmann’s Lasting Legacy,” Copia, by John Streetman, Director of the Evansville Museum of Arts and Science, Evansville, IN. Fall pp. 7 & 8
2007 Shining Spirit: Westheimer Family Collection, Catalogue Editor, Alison B. Amick, Oklahoma City Museum of Art, Oklahoma City, OK
2003 “Enlightenment from Within,” essay by Kit Bernardi with reproductions, Chicago Home and Garden; Summer
2002 Between Two Worlds, catalogue essay for Illinois State Museum Show’s 4 venues, Introduction by Kent Smith and Curator’s notes by Debra Tayes
2000 American Masters Catalogue, 1999-2000, Kennedy Galleries, New York, NY
Messages from the Interior: American Artists, Kennedy Catalogue, New York, NY
1998 The Creative and Enigmatic Imagery of Carolyn Plochmann, by Michael Kammen, Cornell University, for Kennedy Catalogue of One-person Show
1997 Geniuses and Other Eccentrics: Photographing My Friends, by Selden Rodman, Green Tree Press, San Francisco, CA. page write-up and photo
Journal of American Medical Association, Interpretive essay by M. T. Southgate and reproduction of painting on cover. December
1996 Collector’s Choice Catalogue: Paintings & Sculpture,1845-1996, Kennedy Galleries, New York, NY, Who’s Who in American Art
1995 Specially Selected American Paintings, Kennedy Galleries, NY, NY. Spring
International Who’s Who of Professional and Business Women, 4th Edition, American Biographical Institute. Autumn
1993 Selected Highlights of American Art, Kennedy Galleries, New York, NY. Fall
Southern Illinoisan, review by Ben Gelman. 24 October
Illinois- Crossroads of a Continent, by Lois A. Carrier, Champaign-Urbana: University of Illinois Press. pg. 149, sole listing of Illinois painter
West/Art and the Law, 18th Annual Exhibition Catalogue, St. Paul, MN
International Who’s Who of Professional and Business Women
1992-93 Journal of the American Medical Association, interpretations by Therese Southgate, M.D., Cover paintings- Messages (16 December 1992), The Unanswered Question, (6 January 1993), (16 January 1991), (13 January 1993)
1992 Who’s Who in American Twentieth Century Art, R. R. Bowker
Open Air for Religion and Sexuality in American Literature by Ann-Janine Morey- jacket painting, New York: Cambridge University Press
1991 International Who’s Who of Professional and Business Women, 2nd Edition, Cambridge, England
Twentieth Century Watercolors: Realism and Modernism, Kennedy Galleries, New York, NY.
Specially Selected American Masters, 1751-1991, Kennedy Galleries, New York, NY. Commentary by Dr. William Innes Homer
Who’s Who of American Art, 19th Edition. R. R. Bowker
Ontario Review, eight black & white illustrations. Spring
1990 The American Artist, (magazine) feature article by Matthew Daub. November
Carolyn Plochmann: A Charmed Vision, essay by Matthew Daub, forward by Otto Wittmann, 95 pages, 32 color plates, 12 black & white, Evansville Museum of Arts and Science, Evansville, IN
1990 Shining Spirit: Westheimer Family Collection, curator and author, Alison Amick (Associate Curator Oklahoma City Museum of Art), catalogue Between Two Worlds, essay by Debra Loomistays (curator, Springfield Museum), introduction- Kent J. Smith, Director of Art
American Master Paintings, commentary by Dr. William Innes Homer, Chairman & H. Rodney Sharp, Professor of Art History, University of Delaware, Kennedy Galleries, New York, NY. November
1990 Richard McKeon: A Study, by George Kimball Plochmann, Chicago: University of Chicago Press, jacket illustration
Kennedy Galleries News brief, New York, NY; June
1988 Southern Illinoisan, Carbondale, IL
The New York Art Review, Chicago, IL- American References
Who’s Who in the Midwest, 22nd Edition (A.N. Marquis)
Who’s Who in American Art, 18th Edition (New York: R.R. Bowker)
International Who’s Who of Professional and Business Women, International Biographical Centre, Cambridge, England, 1978-88
1987 Who’s Who in the Midwest, A.N. Marquis
1986 The West Collection, St. Paul, MN: West Publishing Co. Pg. 13
World’s Who’s Who of Women, 9th Edition
1985 American Master Paintings 1753-1985, Kennedy Galleries, New York, NY. Pgs. 42, 47
Who’s Who in the Midwest, 20th Edition
Caduceus: A Museum Quarterly for the Health Sciences, Vol. I, No. 2. Summer
West ‘85/Art and Law, catalogue, West Publishing Co., St. Paul, MN
1984 The Spontaneous Eye: American Drawings of the Twentieth Century, Kennedy Galleries, New York, NY
Profiles of American Artists, 2nd Edition by Gloria-Gilda Deak, Kennedy Galleries, New York, NY
Continuity and Diversity in American Art in the Nineteenth and Twentieth Centuries, Kennedy Galleries, New York, NY
1983 Exhibition Catalogue of Recent Paintings, one-person show, Kennedy Galleries, New York, NY
The American Tradition of Realism, Part II, (Paintings and Sculpture of the 20th Century), catalogue, Kennedy Galleries, New York, NY
1982 Art of America: Selected Paintings and Sculpture: 1770-1981, Kennedy Galleries, New York, NY
1981-82 International Directory of Art, 15th Edition, Frankfurt-am-Main, Art Address Verlag, West Germany
1981 Profiles of American Artists Represented by Kennedy Galleries, 1st Edition, by Gloria-Gilda Deak, Kennedy Galleries, New York, NY
A Kennedy Galleries Selection of American Art for Public and Private Collectors, Kennedy Galleries, New York, NY
Catalogue for Exhibition of recent paintings, foreword by Martha Fleischman, Kennedy Galleries, New York, NY. One-person show
People Places and Things: American Paintings: 1750-1980, Kennedy Galleries, New York, NY
1980-81 Who’s Who in the Midwest, 17th Edition, Marquis Publications, Chicago, IL
1980 West ‘80/Art and the Law Catalogue, Minnesota Museum of Art, St. Paul, MN
Community Leaders and Noteworthy Americans, 11th Edition, American Biographical Institute, Raleigh, NC
Sixty American Paintings 1840-1980, Kennedy Galleries, New York, NY
1980, 1978, 1976,1973 Who’s Who in American Art, Cattell Press, Lancaster, PA
1979-80 International Directory of Arts, 14th Edition, Art Address-Verlag, Frankfurt-am-Main, West Germany
1979 Men and Women of Distinction, Int’l Biographical Centre, Cambridge, England
The Eyes of America: Art from 1792-1979, Kennedy Galleries, New York, NY
Dictionary of International Biography, 15th & 16th Editions, International Biographical Center, Cambridge, England
1979 & 1977 World Who’s Who of Women, 4th & 5th Editions, International Biographical Centre, Cambridge, England
1977 Who’s Who in the East, Marquis Publications, Chicago, IL
1976 World Who’s Who of Women, Melrose Press
Women Artists in America,10th & 11th Editions, J. L. Collins, University of Tennessee Press
1975-76 Who’s Who of American Women, 9th Edition, 11th Edition 1980, Marquis Publications, Chicago, IL
1975-76, 1969-1970 Dictionary of International Biography, London, England
1974 Unique Art Objects and Gifts, Kennedy Galleries, New York, NY
1973 World Who’s Who of Women, Melrose Press
Art in America, Art News, announcement by Kennedy Galleries, New York, NY. Jan / Feb
Catalogue, One-person Show, Kennedy Galleries, New York, NY
1969 Descriptive essay on “Manscape,” Seldon Rodman Collection, Fairlawn Library, New Jersey
1966 Cover article in Prize-Winning Graphics, Book Four, Allied Publications, Ft Lauderdale, FL
Article: Prize-Winning Paintings, Book Six, Allied Publications, Ft Lauderdale, FL
1963-64 International Directory of Art II, West Berlin, Germany
1963 Seldon Rodman Collection: The Insiders, Escuola National de Artes Plasticas, Mexico City
The Source of Human Good, paperback by Henry Nelson Wieman, Cover drawing, Southern Illinois University Press, Carbondale, IL
1962 La Revue Moderne des Arts et de la Vie, Paris, France. February
1959 University Portrait: Nine Paintings by Carolyn Gassan Plochmann, Biographical sketch by Blake-More Godwin, Foreword by Buckminster Fuller, Southern Illinois University Press, Carbondale, IL
SELECTED COLLECTIONS
Southern Illinois University, Morris Library, Carbondale, IL
Evansville Museum of Arts and Science, Evansville, IN
Temple Israel, St. Louis, MO
Toledo Federation of Art Societies, Toledo, OH
Fleishmann Collection, Cincinnati, OH
Tupperware Art Museum, Orlando, FL
State University of Iowa, Iowa City, IA
The University of Toledo, Toledo, OH
Southern Illinois University School of Medicine, Springfield, IL
Citizens National Bank of Evansville, Evansville, IN
North Side Old National Bank, Evansville, IN (mural)
Laura Musser Museum, Muscatine, IA
Joyce Carol Oates, Princeton, NJ
Curry Foundation, Charles E. Curry, Washington, D.C.
University of Chicago Libraries Collection, Chicago, IL
Hunter Museum of Art, Chattanooga, TN
Knoxville Museum of Art, Knoxville, TN
Woodstock Artists Association, Woodstock, NY. Woodstock: Quarry Woods 2000, Metamorphris 2002
Paine Art Center, Oshkosh, WI
Sangamo Club, Springfield, IL
State of Illinois Permanent Collection, Springfield Museum of Art, Springfield, IL
Jersey City Museum, Jersey City, NJ
REVIEWS & ESSAYS by Carolyn Gassan Plochmann
1963 Review of The Armory Show by Milton Brown, Daily Egyptian, Southern Illinois University
1972 Review of Gauguin by H. Perruchot, Daily Egyptian
1974 Essay on Picasso, Daily Egyptian, 28 January
1980 American Artist, “On Tour in the Midwest,” Summer. Quotation
JURY
1983 Juror, St. Louis Artists’ Guild Portrait Show, St. Louis, MO
1981 Juror, San Antonio Art League Annual, McNay Art Institute, San Antonio, TX
Juror, St. Louis Artists’ Guild Exhibition, St. Louis, MO
Juror, University of Evansville Art Show
ARCHIVES
The Woodstock Artists Association Archives, Woodstock, NY
Evansville Museum of Arts and Science, Evansville, IN
Archives of American Art, Smithsonian, Washington, D.C.
