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Distilling science as a platform for invention, Julie Rauer creates metaphysical paintings and drawings, chamber pieces which investigate the nature of organic transformations. Through the apparatus of the metaphor, she manifests the chimerical potentialities of myriad scientific disciplines–entomology, marine biology, botany, mycology, human anatomy and physiology, archaeology, and astrophysics–Julie’s watercolor paintings construct complex, progressive analogies of structure, function, and behavior.
Surreal meditations on the persistent cross-pollination of organic commonalities–the fascination of an elegant Frankenstein evolved far beyond the simply monstrous–Julie’s work hinges on osmotic craft, the ability to transcend linear representation and expectation, to create compound imagery, whose genesis reflects the relentless uncertainty and rigorous experimentation necessary to evoke ever shifting intellectual landscapes of scientific processes.
Julie has both lectured and exhibited her paintings and drawings at various esteemed institutions, including: The American Museum of Natural History, the New York Public Library, US Artists American Fine Art Show in Philadelphia, the New York Entomological Society, Berwald Oriental Art in New York City, and the National Gallery of Art in Washington, D.C.
Bridging art magazines and science journals, Julie Rauer’s work has been published by: American Artist Watercolor Magazine (in a twelve page feature article), Arts of Asia, Natural History Magazine, Art + Auction, and Art & Antiques. Recognized by The National Science Foundation and The Journal Science, Julie was awarded the National Science Foundation and the American Association for the Advancement of Science certificates for two consecutive years, for her paintings, Winter Worm, Summer Grass and Coleoptera Polis, a diptych, in both the 2007 and 2008 International Science & Engineering Visualization Challenge.
Compensated endorsements include: STAEDTLER, the German manufacturer of fine writing and drawing instruments, Strathmore Artist Papers, and Yarka Watercolors.
In addition to her body of work as a painter, Julie, a graduate of The Cooper Union, was a Senior Graphic Designer in the book publishing industry for seventeen years, and has won numerous national awards for her eccentric art and children’s book designs. Also a well published writer, Julie has authored dozens of articles and essays on the confluence of art and science, has written many works of short fiction, and a novel, Dog Years.
Co-Founder of our organization dedicated to visualizing interdisciplinary science through metaphor and analogy, via: painting, drawing, model making and writing
Invited by the national booksellers to be their premiere exhibitor, at their first ever Mini Maker Faire, at their flagship East 86th Street store, ART SCIENCE COMPLEX created and conducted our original “Pattern Recognition Drawing and Origami Workshop,”–as well as exhibited several dozen of ASC Co-Founder, Bruce Gemmell’s Morphogenetic Origami Tesselation models, a collection of my Speculative Science drawings, and selected plates from my “Barnacle Codex” book project.
Invited by the Maker Faire’s organizers, ART SCIENCE COMPLEX created and conducted our original “Math-Origami Workshops,”–as well as held ongoing book signings for my recently published book of Speculative Science fables, “BEZOAR THIRST”. We also exhibited photographs of my recently commissioned painting, “Excessive Synchronicity”, a collection of my Speculative Science drawings, and selected plates from my “Barnacle Codex” book project.
Commissioned by Andrew McIntyre, Founder of the R&D Neuroscience nonprofit Neurothesis, to create an original painting visualizing potential avenues to cure Parkinson’s disease; my watercolor painting, “Excessive Synchronicity: Combating the Synaptic Monoculture of the Parkinsonian Brain”, is the visual face of Neurothesis–for their future fundraising campaigns, publications and website.
Publication of online feature, “Julie Rauer: The Art and Spirit of Science and Process–an Original Vision”, analyzing the substance and underlying nature of my work–as well as our mission and projects at ART SCIENCE COMPLEX–by Mind Magazine’s Editor-in-Chief, Rich Lawrence Norman. Three of my paintings, “Bait Ball”, “Entropy”, and “Planet Builders”, were published as part of this analytical essay.
Publication of my book of ten Speculative Science fables, “BEZOAR THIRST”, which I wrote as a progressive collection–and also featured five of my paintings, published on the front and back covers, as well as in the interior of the volume.
Publication of extensive online feature article highlighting selections of both our recent and mid-period work at ART SCIENCE COMPLEX,–accompanied by Editor-in-Chief, Rich Lawrence Norman’s incisive analysis. Mind Magazine included fourteen of my paintings and drawings, accompanied by my pendant writing, as well as my ASC Co-Founder, Bruce Gemmell’s Origami videos and tesselation models.
Invited to create, and progressively design, a new science drawing curriculum for the college, which was titled, “Drawing Innovations: Visualizing Organic Structures”. Taught my original workshop and lecture based class as a year long studio, conducted almost entirely in myriad rotating galleries at The Metropolitan Museum of Art.
Publication of online feature/profile on my work,–chosen by Editor Kerry Grens, as part of the prestigious magazine’s “The Scientist’s 2013 Gift Guide”–specifically highlighting my painting, “Entropy”, embedded with a link to our ART SCIENCE COMPLEX Website.
Publication of simultaneous print and online feature article, profiling my career accomplishments, as well as our ongoing work at ART SCIENCE COMPLEX; six of my most recent paintings were also published within the body of this feature, accompanied by my biography and a studio portrait.
As featured in the Endpaper Department, the magazine published an original plate, the complemental male of Ibla Scalpellum, from my upcoming book, Barnacle Codex.
Awarded the National Science Foundation and the American Association for the Advancement of Science certificate for my painting, Winter Worm, Summer Grass, which won a Semifinalist Honor—for the second consecutive year—in the 2008 International Science & Engineering Visualization Challenge. This competition recognizes outstanding achievements by scientists, engineers, visualization specialists, and artists who are innovators in the use of visual media to promote understanding of research results and scientific phenomena
Profiled by the venerable German company, STAEDTLER, manufacturers of fine writing and drawing instruments, in its 48 page company Newsletter, Issue no. 173, July 2008. Accompanying their concise profile and portrait, STAEDTLER also published three pieces of my work—one painting and two drawings, utilizing Mars Lumograph pencils and watercolor.
A significant group of my most recent paintings was exhibited at the world’s largest show of American art, by private art dealer Richard Schillay, owner of Schillay Fine Art, Inc., the venerable New York City gallery. Organized and chaired by the Women’s Board of the Pennsylvania Academy of the Fine Arts to benefit the Academy’s mission, this is their sixteenth annual exhibition encompassing more than fifty vetted galleries dealing in 18th-21st century American art
Awarded the National Science Foundation and the American Association for the Advancement of Science certificate for my painting, Coleoptera Polis, a diptych, which won a Semifinalist Honor in the 2007 International Science & Engineering Visualization Challenge. This competition recognizes outstanding achievements by scientists, engineers, visualization specialists, and artists who are innovators in the use of visual media to promote understanding of research results and scientific phenomena.
Solo exhibition comprised of nineteen watercolor paintings and drawings at the esteemed Chinese antiquities gallery on 5 East 57th Street. Entitled Chimera, the twice extended exhibition was accompanied by a full color catalogue, and the gallery’s offering of limited edition fine art prints of my paintings. Four paintings from the exhibition were written up and published in: Arts of Asia Magazine, Art + Auction, The Asian Art Newspaper, and Art & Antiques Magazine. Concurrent on-line exhibitions of Chimera were published—and permanently archived—on Asianart.com, the on-line journal for Asian scholarship, and Scienceline.org, NYU’s graduate program site for science and environmental journalism
Return engagement one year after my original lecture and presentation of my work; asked to give a follow up lecture and exhibit new paintings and drawings—for a select group of Pratt Institute graduate students at the New York Public Library
Invited to give the Keynote Address at the National Gallery of Art, presenting twenty-two of my watercolor paintings, eight drawings, and twenty-nine photographs of my studio and working specimens during a one hour lecture, Nature as a Platform for Invention: The Art of Julie Rauer, for the Howard County Public School System on the underlying concepts, inspiration, techniques, and artistic process utilized in the development and creation of my paintings. Honored by the state of Maryland, which then based their next year’s art curriculum for seventy-five public schools on my work.
Selected by Strathmore Artist Papers to endorse their product, and honored with the publication of ten recent paintings—along with a five page feature article, Absence of Water, on the nature of my work and its Asian influences—on the company’s website in the Winter 2006 issue of the Strathmore Artist Newsletter
Profiled in the international art magazine, which published nine of my ontological still life watercolor paintings in a twelve page feature article chronicling my work and career. Published September 21, 2005
Asked to give lecture on both my art and writing careers—while presenting thirty paintings and drawings—to a select group of Pratt Institute graduate students at the New York Public Library
Invited to present all of my paintings, my complete body of work, to the Society, and gave a lecture on the nature and content of my paintings at the American Museum of Natural History
Working inside the Department of Earth and Planetary Sciences, and also the Department of Entomology on a series of watercolor paintings elucidating the internal structures, sculptural forms, myriad textures, and metaphysical properties of insect life, using the museum’s extensive collection of arthropodal specimens
Published May 2007 on Asianart.com, the on-line journal for Asian scholarship, for which I am the East Coast Correspondent. Accompanied by an on-line exhibition of images, Yixing teapots and Qing dynasty vessels from the China Institute, and Swedish masterworks in silver from Scandinavia House
Published October 2006 on Asianart.com, the on-line journal for Asian scholarship, accompanied by an on-line exhibition of Han dynasty images from The Minneapolis Institute of Arts, the China Institute, and Berwald Oriental Art
Published July 2006 on Asianart.com, the on-line journal for Asian scholarship, accompanied by an on-line exhibition of images from the Neue Galerie, the Dahesh Museum, and the Rubin Museum of Art
Published Summer 2006 as a feature article in Opportunity Journal, National Urban League’s flagship magazine
Published January 2006 on Asianart.com, the on-line journal for Asian scholarship, accompanied by an on-line exhibition of art and science images from the China Institute, Japan Society, Cooper-Hewitt Museum, and the American Museum of Natural History
Published September 2005 on Asianart.com, the on-line journal for Asian scholarship, accompanied by an on-line exhibition from the Dahesh Museum
Published in the August 2005 issue of Inc. Magazine
Architecture of Fear: Philosophy and Engineering of the Han Dynasty Afterlife • Published March 2005 on Asianart.com, the on-line journal for Asian scholarship, accompanied by an on-line exhibition from the China Institute
Published March 2005 on Asianart.com, the on-line journal for Asian scholarship, accompanied by an on-line exhibition in conjunction with the Japan Society
Published March 2005 as a feature article in GAMES Magazine—accompanied by images from the Asia Society
Published November 2004 on Asianart.com, the on-line journal for Asian scholarship
Published November 2004 on Asianart.com, the on-line journal for Asian scholarship
Published April 2004 on Asianart.com
Published August 2003 as a feature article in Opportunity Journal, National Urban League’s flagship magazine
New York, New York • BFA, Major in Graphic Design • 1984-1986
Providence, Rhode Island • Major in Graphic Design • 1982-1984