Linn Meyers

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Linn Meyers
Linn Meyers at work at the Hirshhorn, April, 2016.jpg
Linn Meyers at the Hirshhorn, April 2016
Born (1968-03-17) March 17, 1968 (age 49)
Washington, D.C., United States
Education BFA The Cooper Union, New York City
MFA The California College of the Arts, San Francisco, California
Known for Artist

Linn Meyers (born March 17, 1968) is an American, Washington, D.C.–based artist. Her work has been exhibited in the United States and abroad. She is known for her hand-drawn lines and tracings for site-specific installations.[1]

Early life and travels[edit]

Meyers was born in Washington, D.C., where she lived until she was 17, at which time she moved to Paris, France. In 1986 she moved back to the U.S. to attend The Cooper Union in New York City, where she graduated in 1990 with a BFA. In 1991 Meyers moved to Oakland, California, to pursue an MFA at The California College of the Arts in Oakland California (now located in San Francisco.) After completing her master's degree (1993), Meyers returned to New York City. In 1997 she spent several months living and working in New Haven, Connecticut, before relocating to Pittsburgh, Pennsylvania, where she lived for 4 years. Meyers returned to her native Washington, D.C in 2002.


Meyers uses repetitive applications of line and color to draw on a variety of surfaces including paper, vellum, mylar, and gallery walls. "Her drawings tend to grow from themselves, each successive line determining the next."[2] Each piece begins with a single mark – a line that traces a pre-determined framework of circles, or a simple singular gesture. This first stroke defines the direction in which the entire image will evolve – each line a direct response to the mark made just before. These marks amass to create an image, which is both still and moving, ordered and chaotic, both pointing toward perfection and also wholly imperfect.

Meyers' works "function like a map of sorts, charting time and space."[3] At the core of the work is the artist's own relationship to time: learning how to move back and forth between natural time, measured time, and subjective time. Meyers has said, “my works are records of a defined period of time, and in that particular way they are not abstract. They are a form of realism and narrative.” “Indeed Meyers’ work does not erase the artist’s hand; by contrast it is the most direct result of her body movements in a given time period and thereby is a trace of that very personal experience.”[4]


Meyers has been making large, site-specific wall drawings in museums and galleries since 2000. These projects require a great deal of endurance and involve drawing in the space over the course of days, sometimes weeks, accumulating lines into dense and intricate compositions. This scale allows Meyers to respond to architectural spaces and magnifies the wholly committed performativity of her process. On Meyers' exhibition for The Hammer Museum, Senior Curator Anne Ellegood wrote, “the sense of being present while viewing the work is also amplified at this larger scale, allowing viewers to experience the work not just visually but also physically. To see a wall drawing is to be surrounded by it and to feel oneself to be part of the work.”[5] Many of Meyers’ wall drawings are created with an awareness of their ultimate impermanence.


Meyers has exhibited in venues that include The Hammer Museum, Los Angeles; The Phillips Collection, Washington, D.C.; The Smithsonian American Art Museum, Washington D.C.; Thatcher Projects, New York City; The Frick Museum, Pittsburgh, Pennsylvania; Gallery Joe, Philadelphia, Pennsylvania; G Fine Art, Washington D.C.; The Tokyo Metropolitan Museum of Art, Japan; The Mattress Factory, Pittsburgh, Pennsylvania; The Corcoran Gallery of Art, Washington, D.C.; Morgan Lehman Gallery, New York City; The National Museum of Women in the Arts, Washington, D.C., The Weatherspoon Museum, Greensboro, North Carolina; Paris Concret, Paris, France; The Hirshhorn Museum and Sculpture Garden, Washington, D.C.; and Sandra Gering Inc., New York City.

Selected exhibitions[edit]

  • 2015

Here is what I know is true, Sandra Gering Inc., New York, NY (solo); Geometric: Line, Form, Subversion, Curator’s Office, Washington, DC; Intersections@5, The Phillips Collection, Washington, DC; Bye Bye Old City: The Last Picture Show, Gallery Joe, Philadelphia, PA; New Abstraction, Traywick Contemporary, Berkley CA;

  • 2014

Blue Study, Academy Art Museum, Easton, Maryland (solo); Huntington Museum, Huntington, West Virginia (solo); National Drawing Invitational, Arkansas Art Center, Little Rock, Arkansas; Dialogues: Recent Acquisitions of the Sheldon Museum of Art, The Sheldon Museum, Lincoln, NE; The Intuitionists, The Drawing Center, NYC, NY;

  • 2013

Rhapsody, Linn Meyers and Elena del Rivero, Gering + Lopez Gallery, New York City

  • 2012

We're Not All Here Because We're Not All There, Tecoah Bruce Gallery, CCA, Oakland, California; Art on Paper The 42nd Exhibition, Weatherspoon Art Museum, Greensboro, North Carolina

  • 2011

Linn Meyers: The Adjacent Possible, G Fine Art, Washington, D.C. (solo); Every now. And again. The Hammer Museum, Los Angeles (solo); a very particular moment, American University Museum at the Katzen Center, Washington, D.C. (solo); Pressing Ideas, The National Museum of Women in the Arts, Washington, D.C.; Multiplicity, Smithsonian American Art Museum, Washington, D.C.

  • 2010

at the time being, The Phillips Collection, Washington, D.C. (solo); Touch, Paris Concret, Paris France; Ink, Inc., Holly Johnson Gallery, Dallas, Texas; Prints By Gallery Artists, Gallery Joe, Philadelphia, Pennsylvania; On/Off The Grid, Irvine Contemporary, Washington, D.C.; Very Very Large Drawings, Gallery Joe, Philadelphia, Pennsylvania

  • 2009

Here Today, The University of Maryland, College Park, Maryland (solo); Fine Lines, Reyes + Davis, Washington, D.C.; Superfine, Morgan Lehman Gallery, New York City; Ink! Margaret Thatcher Projects, New York City; Curvalinear, Gallery Joe, Philadelphia, Pennsylvania

  • 2008

Marking Time, Works by Miriam Cabessa and Linn Meyers, Lyons Wier + Ortt, New York City; The Space Between, San Jose Institute of Contemporary Art, California; Touch, Bus-dori Project Space, Tokyo, Japan; International Print Exhibition, USA & Japan (traveling), Tokyo Metropolitan Museum of Art

  • 2007

G Fine Art, Washington, D.C. (solo); Currents:New Acquisitions, Hirshhorn Museum and Sculpture Garden, Washington D.C.; Ink!, Gallery Joe, Philadelphia, Pennsylvania; Etch-A-Sketch, The Drawing Show, Kenise Barnes Fine Art, Larchmont, New York; Between the Lines, Maryland Art Place, M.A.P, Baltimore, Maryland; New Prints/Winter, International Print Center, New York City; Walking the Line, Stamp Student Union Gallery, University of Maryland, Maryland

  • 2006

Re-Defined, The Corcoran Gallery Of Art, Washington, D.C.; Street Scenes: Art and Elements, Projects for D.C., Washington D.C.; DEM Contemporary, Los Angeles, Aligning with Abstract LA

  • 2005

Margaret Thatcher Projects New York City (solo); Full Circle, Gallery Joe, Philadelphia, Pennsylvania

  • 2004

Margaret Thatcher Projects New York City (solo); D.C. Now, Second Street Gallery, Charlottesville, Virginia

Selected collections[edit]

Meyers' work is in public and private collections including those of the Hirshhorn Museum and Sculpture Garden, Washington D.C.; The National Museum of Women in the Arts, Washington, D.C.; The San Jose Institute of Contemporary Art, San Jose, California; The Phillips Collection, Washington, D.C.; Wynn Kramarsky, New York City; The New Britain Museum of American Art, New Britain Connecticut; The Westmoreland Museum of American Art, Westmoreland Pennsylvania; The Tamarind Institute, Albuquerque, New Mexico; the Smithsonian American Art Museum, Washington, D.C.; the Academy Art Museum, Easton, MD; the Sheldon Museum of Art, Lincoln, NE; and the Huntington Museum of Art, Huntington WV.


Meyers has received numerous awards, including a Pollock Krasner Award, a Smithsonian Artist Research Fellowship, and four DC Commission on the Arts Fellowships. She has been Artist in Residence at The Hirshhorn Museum and Sculpture Garden, the San Jose Institute of Contemporary Art, The Millay Colony, The Tamarind Institute, The Bemis Institute, and the Virginia Center for the Creative Arts.



  • Crippen, "Interview with Linn Meyers, Artist" by Susie Crippen, 2013
  • NYC Culture / Style, "Rhapsody, Elena del Rivero and Linn Meyers Art Exhibition" by Miguel Dominguez, August 16, 2013
  • The Wall Street Journal, "Narrow, and Very Wide, Range" by Peter Plagens, August 31, 2013
  • Linn Meyers, Wall Drawings 2007–2011, "Every Now and Again" essay by Anne Ellegood, published by G Fine Art, 2012
  •, Linn Meyers, The Hammer Museum, by Annie Buckley, September 9, 2011
  • Yearbook 2011–2012, "The Hammer Yearbook" by Harrell Fletcher and Adam Moser, published by The Hammer Museum, Los Angeles, pgs 50, 180, 181, 2012
  • The Washington Post, "Linn Meyers at G Fine Art" by Kriston Capps, March 11, 2011
  •, "Linn Meyers @ The Phillips Collection" by Pat Padua, July 30, 2010
  • Art Babble, "Hammer Projects: Linn Meyers" 2010
  • The Washington Post, "Artist Goes Flat Out to Draw the Viewer In" by Michael O'Sullivan, February 20, 2009
  • Artweek, "The Space Between at SJICA" by Frank Cebulski, June 1, 2008
  • Art in America, "To A Different Drum" by J.W. Mahoney, May 1, 2008
  • The Washington Post, "A Pervasive Thought of Line" December 9, 2007
  • The Baltimore Sun, "Drawing Values Meticulous Mark-Making" by Glenn McNatt, January 27, 2007
  • Baltimore City Paper, "Interval Affairs" by Deborah McLead, January 24, 2007
  • Art on Paper, "New Prints Review" November 1, 2006
  •, "Capital Roundup" by Sydney Lawrence, November 29, 2005
  • The Washington Post, "A Bit of the Ocean..." by Jessica Dawson, November 19, 2005
  • ArtForum, "Linn Meyers at G Fine Art" by Nord Wennerstrom, November 7, 2005
  • Art on Paper, "Linn Meyers: Everything Matters" by Roberta Fallon, June 8, 2005
  •, "Linn Meyers: Embracing the Unplanned Imperfect" by Vicky Perry, 2005
  • Provincetown Magazine, "Portrait of an Artist: Linn Meyers" by B. Thomas, July 24, 2003
  •, "Dotty" by N.F. Karlins, June 1, 2003
  • Washington City Paper, "Linn Meyers" by Louis Jacobson, May 16, 2003
  • The Washington Post, "Compulsively Quirky" by Jessica Dawson, May 15, 2003
  • Pittsburgh Post-Gazette, "Meditative Markings" by Mary Thomas, March 15, 2003
  • Art In America, "Linn Meyers at George Billis – New York" by Matthew Guy Nichols, February 1, 2003
  • The Philadelphia Inquirer, "Linn Meyers at Gallery Joe" by Edward J. Sozanski, November 29, 2002
  • New York Arts, "Linn Meyers at George Billis Gallery" by Deborah Frizzell, June 1, 2002
  • Washington City Paper, "87,561 Strokes and Other Works" by Louis Jacobson, September 21, 2001
  • The New York Times, "Landscapes of Mind and Nature" by Helen A. Harrison, February 2, 1997


  1. ^ "Linn Meyers Creates Site-Specific Work for Inner Circle of the Hirshhorn". Smithsonian. February 11, 2016. Retrieved March 10, 2016. 
  2. ^ Binstock, 2013
  3. ^ Ellegood, Anne. "Hammer Projects: Linn Meyers". Hammer Museum. Retrieved 28 March 2017. 
  4. ^ Sretenovic, 2010
  5. ^ Ellegood, Anne. "Hammer Projects: Linn Meyers". Hammer Museum. Retrieved 28 March 2017. 

External links[edit]