the artist bio statement  resume  critics and curators comments 

bio Krause is a painter, collage artist and printmaker who incorporates digital mixed media into her art. Her work is exhibited regularly in galleries and museums and featured in numerous current periodicals and books.

Krause is Professor Emeritus at Massachusetts College of Art where she founded the Computer Arts Center and a member of Digital Atelier®, an artists collaborative, with Bonny Lhotka and Karin Schminke. She is a frequent speaker at conferences and symposia and a consultant for manufacturers and distributors of products which may be used by fine artists.

In July 1997, Krause organized “Digital Atelier: A printmaking studio for the 21st century" at the Smithsonian American Art Museum and was an artist-in-residence there for 21 days. For that work she and her colleagues received a Smithsonian/ Computerworld Technology in the Arts Award. That same year, she worked with a group of curators to help them envision the potential of digital printmaking in “Media for a New Millennium” a work-tank/ think-shop organized by the Vinalhaven Graphic Arts Foundation.

In 2000 Krause received a Kodak Innovator Award and in June 2001, with Digital Atelier, she demonstrated digital printmaking techniques at the opening of the Brooklyn Museum of Art 27th Print National, Digital: Printmaking Now. In 2004 she was a Visiting Artist at the American Academy in Rome, in 2007 she was Von Hess Visiting Artist at the University of the Arts in Philadelphia and in 2012 she was the first Helen M. Salzberg Artist in Residence at Jaffe Center for Book Arts at Florida Atlantic University in Boca Raton. In 2012- 2013 she was Artist in Residence on Oceania Cruise Lines.

Krause is the author of Book + Art: Handcrafting Artists' Books, (North Light, 2009), and co-author, with Lhotka and Schminke, of Digital Art Studio: Techniques for combining inkjet printing with traditional art materials, (Watson-Guptil, 2004).

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statement:  I am a painter by training and collage-maker by nature who began my experimental printmaking with reprographic machines. Since being introduced to computers in the late 1960’s when working on my doctorate at Penn State, I have combined traditional and digital media. My work includes large scale mixed media pieces, artist books and book-like objects that bridge between these two forms. It embeds archetypal symbols and fragments of image and text in multiple layers of texture and meaning. It combines the humblest of materials, plaster, tar, wax and pigment, with the latest in technology to evoke the past and herald the future. My art-making is an integrated mode of inquiry that links concept and media in an ongoing dialogue - a visible means of exploring meaning.

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resume:
selected solo, two person and Digital Atelier exhibitions
2016
Jaffe Center for Book Arts, Dorothy Simpson Krause: Book + Art, Florida Atlantic University, Boca Raton, FL
Landing Gallery, Reflections: Dorothy Simpson Krause and Merike van Zanten, Rockland, ME
2014
Fuller Craft Museum, Dorothy Simpson Krause: Book + Art, Chris Rifkin, curator, Brockton, MA
2012
571 Projects, Dorothy Simpson Krause: River of Grass, Chelsea, NY, NY
Jaffe Center for Book Arts,
Dorothy Simpson Krause: River of Grass, Florida Atlantic University, Boca Raton, FL
2011
571 Projects, Dorothy Simpson Krause:
Visions, Chelsea, NY, NY
Southern Light Gallery, Amarillo College, Dorothy Simpson Krause: inRetrospect, Amarillo, TX
Art Complex Museum, with the Boston Cyberarts Festival, Portals: The Dimensional Imagery of Digital Atelier, Duxbury, MA

Landing Gallery, Dorothy Simpson Krause: Portals, Rockland, ME
New England Biolabs,
Dorothy Simpson Krause: New Dimensions
, Ipswich, MA
2010
Monte Pearson Gallery, Pearson Lakes Art Center, Confluence: The Art of the Digital Atelier, Okoboji, IA
Thayer Academy Gallery, Thayer Academy, Mixed Media, Braintree, MA
2009
Rotary Ice House Gallery, Monmouth University, Work from the Digital Art Studio, Monmouth, NJ
South Shore Art Center, with the Boston Cyberarts Festival,
Dorothy Simpson Krause: Losing Ground, Cohasset, MA
Landing Gallery, Dorothy Simpson Krause: Losing Ground, Rockland, ME
2008
Center for the Arts, Explorations: Work from the Digital Atelier, Louise Noakes curator, Manassas, VA
NAMTA/ Golden Artist Colors, Work from the Digital Art Studio, Reno, NV
Rochester Institute of Technology, Work from the Digital Art Studio, Rochester, NY
2007
PARC (Palo Alto Research Center), Work from the Digital Art Studio, Palo Alto, CA
Cornish College of the Arts, Work from the Digital Art Studio, Seattle, WA
Edmonds Community College, Explorations: Work from the Digital Atelier, Seattle, WA
Judi Rotenberg Gallery, Dorothy Simpson Krause: Viewpoint, Boston, MA
Whistler House Museum of Art, in conjunction with Boston Cyberarts Festival, Dorothy Simpson Krause: Book + Art, Lowell, MA
Lower Columbia College, Work from the Digital Art Studio, Longview, WA

2006
Walker Fine Art, Selective Vision: The Art of Digital Atelier, Denver, CO
119 Gallery, Digital Atelier: New Horizons in Printmaking, Lowell, MA
The College of St. Catherine, Work from the Digital Art Studio, St. Paul, MN
Cape Cod Community College, Work from the Digital Art Studio, West Barnstable, MA
2005
Harvard Medical School Countway Library, Ars Longa -Vita Brevis, Artist-in-Residence Exhibit, Boston, MA
judi rotenberg gallery, Dorothy Simpson Krause: Passages, Boston, MA
Center for Contemporary Printmaking, New Tools/ New Techniques , Norwalk, CT
Danforth Museum of Art, in conjunction with the Boston Cyberarts Festival, Reflective Visions, Framingham, MA
New Bedford Art Museum, Work from the Digital Art Studio, New Bedford, MA
2004
judi rotenberg gallery, Dorothy Simpson Krause: Fragile Beauty, Boston, MA
Attleboro Museum of Art, Dorothy Simpson Krause: Focus, Dore Van Dyke curator, Attleboro, MA
Christopher Brodigan Gallery, Groton School, Promised Land, Beth van Gelder curator, Groton, MA
2003
New England School of Photography, Sacred Spaces, Boston, MA
Danforth Museum of Art, in conjunction with the Boston Cyberarts Festival, Dorothy Simpson Krause: body + soul, Framingham, MA
judi rotenberg gallery, Peace Prayers and Sacred Spaces: David Kupferman and Dorothy Simpson Krause, Boston, MA
2002
Evos Arts Institute, Dorothy Simpson Krause: Journeys, Mary Ann Kearns curator, Lowell, MA
Florida Gulf Coast University, Cuba: History Rewritten, Fort Myers, FL
2001

Art Complex Museum, Dorothy Simpson Krause: Sacred and Mundane, Duxbury, MA
The Trustman Art Gallery, Simmons College, Journey of The Spirit, Boston, MA
2000
Creiger-Dane Gallery, timeXposure:explorations in time, space and movement, Boston, MA
Danforth Museum of Art, in conjunction with the Boston Cyberarts Festival, heARTland:Prints From the Digital Atelier, Framingham, MA
1999
University of Massachusetts, Into the New Millennium, Lowell, MA
1998
Dimock Gallery, George Washington University, From the Digital Atelier, Washington, DC
1997
Louisiana State University, Exploring the Tarot, Shreveport, LA, 1997
Silicon Gallery, Lit From Within: Dorothy Simpson Krause and Bonny Lhotka, Philadelphia, PA
Creiger-Dane Gallery, Ennobling the Ordinary, Boston, MA
University of Massachusets, New Digital Imaging, Dartmouth, MA
1996
Digital Arts, Dorothy Simpson Krause and Bonny Lhotka, Frankfurt, Germany
The Williams Gallery, Dorothy Simpson Krause and Roman Verasko, Princeton, NJ
1995
Gallery 911, Transcending Reality: Wishes, Lies and Dreams, Indianapolis, IN
Jewett Art Center, Wellesley College, Retrospective, Wellesley, MA
1994
The Center for Creative Imaging, Creating Transitions, Camden, ME
The IRIS Gallery, IRIS Graphics Inc., Subverting the System, Bedford, MA
Gallery One, New England School of Photography, Confronting Realities, Boston, MA
1993
Gallery 410, University of Massachusetts, Exploring Alternatives, Lowell, MA
Winfisky Gallery, Salem State College, Pushing Boundaries, Salem, MA
University of Southern Maine, Herstory: Culture/ Politics, Portland, ME
Digital Equipment Corporation, New Work, Marlboro, MA
1992
Mt. Ida College, Common Heritage, Newton, MA
1991
Bridgewater State College, New Work, Bridgewater, MA
1990
Do While Studio, Work in Progress, Boston, MA
Tower Gallery, Massachusetts College of Art, Work in Progress, Boston, MA

selected group exhibition
2016
Art Complex Museum, Double Visions, Craig Bloodgood, curator, Invitational, Duxbury, MA

Lesley College of Art and Design, Reading with the Senses, Ruth Rogers, curator, Cambridge, MA
Art Complex Museum, Double Visions, Craig Bloodgood, curator, Invitational, Duxbury, MA
Birchfield Penney Art Center, A-Z an Historical Survey of Women Artists, Constance Minneci, curator, Buffalo, NY
Art Gallery 21, The Box Project, 6 Hands Collaborative, curators, Invitational, Wilton Manors, FL
The Center for Book Arts, SWEAT Broadsheet Collaboration, Invitational, NYC
2015
Guild of Book Workers,
Vessel, 2015 - 2017 Travelling
Miller, White Gallery, Land, Sea and Sky, Susan Miller, curator, Dennis, MA
Dadian Gallery, Votes, Violence, Victory, Cecilia Rossey, curator, Washington, DC
SIGGRAPH, Altered Books -- Digital Interventions, Copper Giloth and Hye Yeon Nam, curators
Jaffe Center for Book Art, Dialogue Revisited, John Cutrone, curator, Boca Raton, FL
The Empty Spaces Project, The Pulse Project, Seth Apter, curator, Putnam, CT
Meetinghouse Gallery, Page + Form, Molly McGreevy and Tom Virgin, curators, Miami, FL
Bienes Museum of the Modern Book, Florida Artists’ Book Prize Exhibition, Ft. Lauderdale, FL
Abecedarian Gallery, Photo Book Works, Alicia Bailey, curator, Denver, CO
Bind-O-Rama, Blooks: The Art of Books That Aren’t, related to Mindell Dubansky’s Grolier Club exhibit, NYC
Rossetti Fine Art, Basel Broward, Wilton Manors, FL

2014
23 Sandy Gallery, Sacred | Profane, Jim Carmin, curator, Portland, OR
Mary Davis Holt Gallery, Salem College, Votes, Violence, Victory, Cis Rossy, curator, Invitational, Winston-Salem, NC
Night Gallery, Current: Bridging Post Digital Technologies, Mary Hood, curator, Invitational, Tempe, AZ
Landing Gallery, Small Works, Rockland, ME
Art Complex Museum, Recently Acquired, Craig Bloodgood, curator, Invitational, Duxbury, MA
Southern Graphics Council, Current: Bridging Post Digital Technologies, Mary Hood, curator, Invitational, San Francisco, CA
Critical Mass, Nathaniel Stern, curator, Traveling Exhibition, Novi Sad, Serbia; GaleRica, Makarska, Croatia; Fundación CIEC, Galicia, Spain
2013
23 Sandy Gallery, EcoEditions, Cara List, curator, Portland, OR
Cotuit Center for the Arts, Interplay, Invitational, Cotuit, MA
Southern Graphics Council, Critical Mass, Nathaniel Stern, curator, Invitational, Milwaukee, WI
San Francisco Center for the Book, Al Mutanabbi Street, Invitational, Traveling
2012
MDC Centre Gallery, Sweat, Invitational, Miami, FL
Reynolds Ryan Art Gallery, Divergence -- 5 New England Artists, Kimberlee Alemian, curator, Invitational, New Orleans, LA
Woman Made Gallery, 20th Anniversary Exhibition: 20 Jurors, Beate Minkovski, curator, Invitational, Chicago, IL
South Shore Art Center, Artists Who Make Books, Dianne Dolan, curator, Invitational, Cohasset, MA
CORRESPONDENCE, 9th International Book Art Festival, Ania Gilmore, curator, Traveling Exhibition, Plocka Art Gallery in Plock, Poland

2011
Art Complex Museum, More Back Forty, Craig Bloodgood, curator, Invitational, Duxbury, MA
South Shore Art Center, Media Invention, Invitational, Cohasset, MA
Art@12, Hot Wax, Cold Metal, Zola Solamente, curator, Boston, MA
Heftler Gallery, Endicott College, Monday Editions, Kathleen Moore, curator, Beverly, MA
McGladney Gallery, Luminous Landscape, Christina Godfrey, curator, Charlestown, MA

2010
Attleboro Arts Museum, Carry On, Mim Fawcett, curator, Attleboro, MA
Kensington Stobart Gallery, Luminous Landscape, Invitational, Salem, MA
23 Sandy Gallery, Book Power, Laura Russell, curator, Portland, OR
2009
Thayer Academy Gallery, Thayer Academy, Women Who Travel, Invitational, Esther Maschio, curator, Braintree, MA
Art Museum Complex, Ancient Media N.E.W. Terrain, Craig Bloodgood, curator, Duxbury, MA
The Revolving Museum, Show and Tell: The Art of the Narrative, Elaina Bates, curator, Lowell, MA
Montserrat College of Art, Luminous Landscape, Beverly MA
2008
Malone Gallery, Troy University, Further: Printmaking on the Edge, Scott Betz curator, Traveling Exhibition, Troy, AL
Art Museum Complex, Artists and Books, Craig Bloodgood, curator, Duxbury, MA
Wedeman Gallery, Lasell College, Shelter, Janine Wong, curator, Boston Book Arts Traveling exhibition, , Pyramid Atlantic, Silver Spring, MD, Rhode Island School of Design, Providence, RI, Montserrat College of Art, Beverly, MA, Wells College, Aurora, NY.
Mohr Gallery, Community School of Music and Art, Conceptually Bound 3, Nanette Wylde, curator, Mountain View, CA
Amelie Gallery, 2nd International Printmaking Exhibition, Invitational Traveling Exhibition, Peter MacWhirter, curator, Bejing, China
Time Warner Gallery, Luminous Landscapes, LynnArts, Lynn, MA
Barrington Center for the Arts, Field Report, Boston Printmakers Traveling exhibition, Wenham, MA
2007
University Art Gallery, California State University, Conceptually Bound 3, Nanette Wylde, curator, Chico, CA.
Mariani Gallery, University of Northern Colorado, The Electronic Art Show, Anna Urslyn, curator, Greeley, CO.
SAC Gallery, Stony Brook University, 450 Women Have Been Murdered in Ciudad Juarez, Keith Miller, curator, Stony Brook, NY
John Curtain Gallery, ArCade V: Biennale of Electronic Arts, Invitational, Sue Gollifer, curator, Perth, Australia
Woman Made Gallery, 15th Anniversary Exhibition, Work by previous jurors, Beate Minkovski, curator, Chicago, IL
South Shore Art Center, Women Who Travel, Invitational, Esther Maschio, curator, Cohasset, MA
Art Museum Complex, Complex Women, Work from the museum’s permanent collection, Catherine Mayes curator, Duxbury, MA
Galletly Gallery, New Hampton School, Encaustic II, New Hampton, NH
North River Arts Center, DarkLIGHT, Invitational, Marshfield, MA
Dalarnas Museum, Falun Triennial - Contemporary Print Art, Anne Seppanen curator, Falun, Sweden
EVDS Gallery/ ART CITY, University of Calgary. En Rupture de ban, Catherine Hamel & Marjan Eggermont, curators, Calgary, Canada
2006
Louisville Visual Art Association, Passion & Process: Impressions from America's Master Printmakers, Invitational, Louisville, KY.
Fiber Arts Center, Small Works: Spirits and Shrines, Sharon McCarthy curator, Amherst, MA
Winston Salem State University, Further: Artists from the Book “Printmaking at the Edge”, Scott Betz curator, Traveling Exhibition
SIGGRAPH Art Gallery, Intersections, Boston, MA
119 Gallery, New Volumes: Contemporary Artist’s Books, Maxine Farkas curator, Lowell, MA
Susan Hensel Gallery, India in America: stories of new lives, Minneapolis, MN
Towne Gallery, Wheelock College, Abstraction Through the Lens, Erica Licea-Kane curator, Boston, MA
Women's Studies Research Center at Brandeis University, Vital Voices: Women's Visions, Waltham, MA
Danforth Museum of Art
, Boston Printmakers, New Landscape: Alternative Approaches, Catherine French curator, Framingham, MA
Mayyim Hayyim Living Waters, everything begins in the water, Abigail Ross and Judi Rotenberg curators, Newton, MA
2005
Attleboro Museum of Art, Merge [art & artist’s books], Dore Van Dyke curator, Attleboro, MA
Boston Graduate School for Psychoanalysis Gallery, Myth Dream Fantasy, Boston, MA
McKissick Museum, University of South Carolina, Book Arts, Invitational Traveling Exhibition
Galeria Okno, Reflections, (with Magdalena Charylo), Invitational, Slubice, Poland
Harvard University, Holyoke Gallery, WCA Small Works, Juried, Cambridge, MA
Boston University 808 Gallery, Boston Printmakers 2005 Print Bienniel, Juried, Boston, MA
2004

Wexford Art Center, 9th Wexford Artists Book Exhibit, Invitational; Traveling Exhibition, Wexford, England
Art Complex Museum, Time Remembered/ Time Past, Juried; Boston Printmakers, Duxbury, MA
Boston Arts Academy, Rise, Guy Michel Telemaque curator, Boston, MA
Artspace, Life by the Book, Stephanie Nace curator, University of Virginia, Charlottesville, VA
2003
Digital Art Gallery, D-Art 2003, Information & Visualizations IV, London, England
The St. Louis Artists’ Guild, Under Cover: A Book Arts Exhibit, Invitational, Saint Louis, MO
Siggraph 2003, Invitational, San Diego, CA
The Art Gallery at FGCU, Re-Vewing the Art: The First Five Years, Invitational, Ft. Myers, FL
Pajaro Valley Arts Council, Transitions to Digital 2003, Invitational, Watsonville, CA
Perkins Gallery, Striar Jewish Community Center, The Power of Words, Newton, MA
Rivier College Art Gallery, The Shape of Content: Artists’ Books, Juried, Nashua, NH
808 Gallery at Boston University, Boston Printmakers 2003 North American Print Biennial, Juried, Traveling Exhibition
2002
California Polytechnic, Digital Atelier/ Digitally Propelled Ideas, Invitational, Pomona, CA
Kemper Gallery, Kansas State University, International Collage Exhibit, Invitational, Manhattan, KS
Coyote Gallery, Butte College, Conceptually Bound, Juried, Oroville, CA
Washington Printmakers National Small Works 2002, Juried, Washington, D.C.
ArtBits, Digital FineArt Printmaking, Invitational, Vienna, Austria
Kniznick Gallery, Women’s Studies Research Center, Brandeis University, Claiming the Spirit, Juried, Waltham, MA
Governors State University, Beyond the Digital Print 2002, University Park, IL
Space Saint Martin, The 9th International Exhibition of Contemporary Collage, Invitational, Paris, France
University of Wyoming Art Museum, MAPC, Mixed Metaphors, Invitational, Cima Katz curator, Laramie, WY
University of Wyoming Art Museum, MAPC, The Liquid Language of Artist's Books, Invitational, Karen Kunc and Bob Ebendorf curators, Laramie, WY
University of Saint Francis, Midwest Computer Art Exhibition, Invitational, Fort Wayne, IN
American Print Alliance, September 11 Memorial Portfolio, Invitational, Traveling Exhibition
2001
bitforms, Inagural Show, Invitational, New York, NY
University of Brighton Gallery, Arcade III, Juried Traveling Exhibition, Brighton, England (Glasgow School of Art; Grays School of Art, Aberdeen; Surrey Institute of Art & Design; New Greenham Arts Centre, Berkshire, London Guildhall University, London)
Core Gallery, Paste and Pixels, New Paltz, NY
Somarts Gallery
, Impact of Ylem: 20 Years of Art, Science and Technology, San Francisco, CA
Anderson Gallery, Photo > Art, Bridgewater State College, Bridgewater, MA
Nan Mulford Gallery, Gallery Artists, Invitational, Rockport, ME
Attleboro Museum, Lenticular Prints, Invitational, Attleboro, MA
Brush Gallery, The 3rd Dimension in Print, Invitational, Lowell, MA
Horn Gallery, Sorenson Center for Art, Babson College, Computer Art, Invitational, Wellesley, MA
Blizzard Gallery, Springfield College, Opression: Contemporary Images of Intolerance, Invitational, Springfield, MA
Beecher Center Technology in the Arts, Butler Institute, First Digital Art Exhibit, Youngstown, OH
Boston University, Boston Printmakers, 2001 North American Print Exhibition, Boston, MA
2000
American Print Alliance, On/ Off/ Over the Edge, Juried, Traveling, University of Nebraska at Kearney, NB; Northwest Print Council Gallery, Portland, Oregon; Bookwalter Winery, Richland, WA; Cape Cod Com. College W.Barnstable, MA; University of Florida, Gainesville, FL; Lane Community College, Eugene, OR
Nan Mulford Gallery, Gallery Artists, Invitational, Rockport, ME
University of South Florida, HomeoStatic, An Exchange Portfolio of Contemporary Artists, Invitational, Tampa, FL, Traveling to University of Minnesota/ Morris; University of Wisconsin; University of Miami; Iowa State University; University of Louisiana; Boston University; DeCordova Museum, Celebrating Contemporary Art in New England: Recent Acquisitions, Lincoln, MA
Scarfone/Hartley Gallery University of Tampa, Electronics Alive, Invitational, Tampa FL
The Visual Arts Museum, Seventh New York Digital Salon, Juried, Traveling to Circulo de Bellas Artes, Madrid, Spain; Palacio de Santa Cruza, Valladolid, Spain; Malaga Centro de Cultura, Malaga, Spain
1999
Wellesley College, The Digital Muse, Invitational, Wellesley, MA
The Print Center, Digital Press: Artists Exploring New Technologies, Invitational, Philadelphia, PA
Colville Place Gallery, GAMUT, Invitational, London, England
The Photographic Resource Center, Celebrating New Technologies, Boston, MA
The Boston Printmakers 1999 North American Print Exhbition, Boston University, Boston, MA
Ben Shahn Galleries, The Digital Canvas, William Paterson University, Invitational, Wayne, NJ
1998
Newton Art Center, Icons + Altars, Invitational, Newton, MA
Randolph Associates Gallery, life, death, memory & existence, Invitational, Belmont, MA
Agart World Print Festival 1998, Ljublijana, Slovenia
DNA Gallery, Subtext, Invitational, Provincetown, MA
Pacific Lutheran University, Women in Media, Invitational, Tacoma, WA
Richard Stockton College, Art Gallery, Alternative Prints,The Computer As Artist’s Tool, Invitational, Pomona, NJ
New England College Gallery, Memesis, Digital Explorations in Painting/ Photography, Invitational, Henniker, NH
1997
Dimock Gallery, George Washington University, From the Digital Atelier, Invitational, Washington, D.C.
Harbor Gallery, University of Massachusetts, fusion, Juried, Boston, MA
Orlando Museum of Art, ART + Technology, Invitational, Orlando, FL
Huntsville Museum of Art, TABES. Invitational, Huntsville, AL
Silicon Gallery, Women’s Caucus for Art, Juried, Philadelphia, PA
Graphic Studio USF, (Southern Graphics Council) Think It/Ink It. Invitational, Tampa, FL
Bakalar Gallery, Massachusetts College of Art, North American Print Exhibition: Boston Printmakers 50th Anniversary, Juried, Boston, MA
The Williams Gallery, Surfing the International Print World, Invitational, Princeton, NJ
University of Brighton Gallery, Arcade II, Juried Traveling Exhibition, Brighton, England (University of Derby, Kensington & Chelsea College Art Gallery, Stoke City Museum and Gallery)
The Art Center in Hargate, St. Paul’s School, Altered States, Invitational, Concord, NH
1996
Springfield Museum of Fine Arts, Recreating Myth: Art in the Computer Age, Invitational, Springfield, MA
Belknap Gallery, Emerging Technologies/ Evolving Traditions, Mid America Print Council, Invitational,University of Louisville, KY
Zoller Gallery, Penn State University, Elastic Visions, Invitational Traveling Exhibit, University Park, PA (Erie Museum, Portsmouth Museum)
Palm Beach Photographic Museum, digital e-mage, Invitational, Palm Beach, FL
SoHo Photo Gallery, 1996 National Photography Exhibition, Juried, New York, NY
CeBIT, ReVision - das Anders-Sehen, Invitational, Hannover, Germany, Catalog
1995
Creiger-Dane Gallery, Digital Dialects, Invitational, Boston, MA
School of Visual Arts, Digital Salon, Juried, New York, NY
AS220 Center for the Arts, The Digital Show, Juried, Providence, RI
Walt Whitman Cultural Center, The Book of Icons, Invitational, Camden, NJ
Bitmovie ‘95, Juried, Riccione, Italy
Computing Commons Gallery, Arizona State University, The World’s Women On-Line, Invitational, Tempe, AZ
1994
Sandy Carson Gallery, Unique Editions™: Digital Watermedia, Invitational, Denver, CO
The Williams Gallery, Binary Visions, Invitational, Princeton, NJ
The DeCordova Museum and the Boston Computer Museum, The Computer in the Studio, Invitational, Boston, MA
SIGGRAPH 94, Art and Design Show, Juried, Orlando, FL, Catalog, Slideshow, CDRom
Bunting Institute, Radcliffe College, Converging Paths, WCA, Invitational, Cambridge, MA
Ansel Adams Center for Photography, Digital Masters, Invitational, San Francisco, CA
1993
Minneapolis College of Art, The Art Factor: International Exhibition of Electronic Art, In conjunction with FISEA 93, MN, Catalog
Ansel Adams Center for Photography, Breaking Down Walls, San Francisco, CA
Works on Paper, In conjunction with SIGGRAPH 93, Anaheim, CA
Mercer Gallery, Electronic/ Mail Art, MONTAGE 93 International Festival of the Image, Rochester, NY
58th Annual ANNUAL, Cooperstown, NY
Bromfield Gallery, Process and Product: Photographic Images 1993,Boston, MA
Orange Coast Photo Gallery, From Today Photography is Dead, Costa Mesa, CA
Tarleton State University, Issues of Color and Gender, Stephenville, TX
South Shore Art Center, Bits and Pieces: Artists Using Computers, (Curator and participant), Cohasset, MA
CyberSpace Gallery LANAF, New Art Exhibit, West Hollywood, CA
1992
pARTs, An Alternative Artspace, Columbus Quincentennial, Minneapolis, MN
South Bend Art Center, Her Art Works, South Bend, IN
Ceres Gallery, Fates of the Earth, NY, NY
The Computer Museum, Toys and Tools: The Amazing Personal Computer, Boston, MA
Emporia State University, Women’s Diverse Reflections, Emporia, KS
1991
A.I.R. Gallery, Choice, NY, NY
HERA Gallery, Grieving, Wakefield, RI
Maryland Art Place, DADA/DATA: Developing Media Since 1970, Baltimore, MD
Red Horse Gallery, Women on Women, 4 Person Exhibition, Taft, CA
Boston Visual Artists Union, Federal Reserve Bank, Prismatic, Boston, MA
Cornerstone Gallery, First National Open, Falls Village, CT
Womankraft, One Canvas/ One Planet, Tuscon, AZ
Visual Studies Workshop, Northeast Regional Electronic Arts, Rochester, N Y
Lubbock Fine Arts Center, Illuminance ‘91, Lubbock, TX
Women’s Caucus for Art/ Artists Foundation, Intimate Perspectives, Boston, MA

publications and presentations

2015
Krause,Dorothy. Presentation at reception, Dialogue Revisited, Jaffe Center for Book Art, Boca Raton, FL
Your World Your Way, “At Artist Loft: Creative Explorations with Dorothy Simpson Krause”, Oceania Newsletter, Miami, FL, online
2014

Bess, Joan. Gelli Plate Printing: Mixed-Media Monoprinting Without a Press, North Light, Cincinnati, OH, p 122
Rosen, Kim. "Marie Howe: Holding the Silence", Spirituality & Health, March/ April 2014, pp 66-69
Presentation at opening, Dorothy Simpson Krause: Book + Art, Fuller Craft Museum, Brockton, MA
2013
Cerruti, Courtney. Playing with Image Transfers, Quarry Books, Beverly, MA p 118 - 119
Chen, Julie. 500 Handmade Books, Volume 2, Lark, NY, NY p 203
Apter, Seth. The Mixed Media Artist, North Light, Cincinnati, OH, p 44
2012
Thomas, Peter and Donna. 1000 Artists' Books, Quarry Books, Minneapolis, MN pp 36, 120
Krause, Dorothy. "The making of River of Grass", Jaffe Center for Book Arts, Florida Atlantic University, Boca Raton, FL
Eismann, Katrin. Photoshop Masking & Compositing, New Riders, Berkeley, CA 2012 pp 16, 24
2011
Byrd, Joan Falconer. Harvey K. Littleton: A Life in Glass. SkiraRizzoli, NYC 2011, p 156, 173
Threinen-Pendarvis, Cher. The Painter WOW! Book: Tenth Edition. Peachpit Press, Berkeley, CA 2011 pp 372, 386
Boulanger, Susan. "Dorothy Simpson Krause: Visions", Art New England, Vol 23, Issue 4, July/ August 2011, p 63
Pulin, Carol. "Digital Printmaking: Place, Time, Vision", Contemporary Impressions: The Journal of the American Print Alliance. Vol 19, No 2, Winter 2011, pp 12 - 15
Dog Eared Magazine: A Journal of Book Arts, Issue 17, Paper, Kerrie Carbary, Editor, pp 3, 12
2010
Rooney, E. Ashley. 100 Artists of New England, Schiffer Books, 2011
Bloom, Susan. Digital Collage and Painting, Focal Press, Burlington, MA 2010, pp 30 - 37
Davenport, Tonia. Mixed-Media Paint Box, North Light, Cincinnati, OH, 2010, p 32 - 33
Kirby, Sarah. "Book + Art: Handcrafting Artists' Books" Printmaking Today, Cello Press, UK, Sprint 2010, p 42
Lhotka, Bonny, Karin Schminke and Dorothy Simpson Krause. "A Cross Country Digital Collaboration", The Boston Printmakers, Spring 2010, p 3
2009
Hanmer, Karen. “Marking Time”, Bound & Lettered, Fall, 2009, pp 22-25
Pulin, Carol. “Prints & Politics: One World”, Contemporary Impressions, Fall - Winter, 2009, pp 22 - 23
Miller, Alice B. "Pushing Boundaries: Dorothy Simpson Krause", AfterCapture, August/ September 2009, pp 18 - 21
Krause, Dorothy. "The Making of Losing Ground", Ampersand: Quarterly Journal of the Pacific Center for the Book Arts, Vol. 26, No. 4, Summer 2009, pp 10 - 13
Presentation, "Digital Atelier and the Digital Art Studio", Monmouth University, Monmouth, NJ
Krause, Dorothy. Book + Art: Handcrafting Artists' Books, North Light, Cincinnati, OH, June 2009
Cyr, Lisa. Art Revolution, North Light Books, Cincinnati, OH, June 2009, pp 11, 144 - 147
Lee, Alison. Interview, Talking with Dorothy Simpson Krause, CraftCast <http://www.craftcast.com/main/?p=441>
Baker, Claire. "Printing with Purpose", The Big Picture, June 2009, pp 18 - 23
Fagan, Sarah. "Dorothy Simpson Krause: Losing Ground", ArtScope, May/ June 2009, pp 22 - 23
Presentation, Hanmer, Karen. Minnesota Center for Book Arts, Guild of Book Workers, "Marking Time" exhibition
Presentation, “Inkjet and Beyond: Pushing the Boundaries of fine-Art Printing”, Photo Marketing Association, Las Vegas, NV
Schminke, Karin, Dorothy Krause and Bonny Lhotka. "Crossing Borders: Digital Atelier artists explore and combine new digital tools with traditional techniques and materials", SGIA Journal, First Quarter 2009, pp 12 -19.
2008
Miller, Steve, juror. 500 Handmade Books, "Signs and Symbols" and "Nag Hammadi", Lark Books, NY 2008, pp 186, 378
Krause, Dorothy Simpson, Karin Schminke and Bonny Lhotka. "Blazing a Laser Trail in the Art World", Digital Graphics, November 2008, pp 34 - 37
Booth, Mike, "Creating Black Gold at University of the Arts Borowsky Center", Boston Printmakers Newsletter, Spring 2008, p 6
Nemo, John. "A Visit to the Digital Art Studio", Paper Works, Tucson, AZ, Vol. 8.3, Spring 2008, pp 16-18
Sands, Sarah. "Reinventing the Future". Just Paint, Golden Artist Colors, New Berlin, NY, Issue 18, pp 1-5, 10
Lhotka, Bonny, “The Finer Side of Digital Printing”, Digital Graphics, Denver, CO, February 2008, pp 30 - 36
Bradshaw, Julia. "Artists' Books in Mountain View", ArtShift San Jose: Cultural Tectonics and View from the Fault Line, May, 2008

2007

Darlow, Andrew. 301 Inkjet Tips and Techniques. Thompson Course Technology, Boston, MA, 2007, pp 184, 408 - 415.
Busdraghi, Fabiano. Interview (in Italian) "Camera Obscura", December 2007.
Seyfert, Sheryl. “Intrusion Meets Infusion”, South Shore LIVING, Hyannis, MA, March 2007, pp 48 -53
“Multi-dimensional art”, Printmaking Today, London, Spring 2007, p 28
2006
Wands, Bruce. Art of the Digital Age, Thames & Hudson, NY, 2006, pp 58-59, 211
Flanders, April. “Experiprints & Printstallations”, Contemporary Impressions: Journal of the American Print Alliance. Vol. 14, No. 1, Spring 2006, pp 7-9
Noyce, Richard. Printmaking at the Edge, A and C Black, London, 2006, pp 117- 118
Presentation/ Panel Discussion, “The Convergence of Printmaking, Photography and Digital Media: An artist’s perspective”, College Art Association, Boston, MA
Taylor, John. “Powering Digital Artistry”, Image Reports, Vol. 13, London, England, February 2006, pp 35, 37, 39
Krause, Dorothy, Karin Schminke and Bonny Lhotka."Paint & Pixels", Just Paint, Golden Artist Colors, January 2006, Issue 14, pp 1-4
2005
Krause, Dorothy, Bonny Lhotka and Karin Schminke. “Fine Art and the Flatbed Printer” Digital Graphics, September 2005
Presentation, “Beyond the Digial Print”, Society of Printers, Club of Odd Volumes, Boston, MA
Panek-Kusz, Anna, “Not-Obvious” Fotografia, Issue 18, 2005, Poland, pp 78-81, 116
Schminke, Karin, Dorothy Krause and Bonny Lhotka. “Creative Printing Techniques for Combining Inkjet Printing with Unique Materials” Signs of The Times, ST Media Group International, June 2005, pp 104-108
Wilson, Dawn, “Artist Profile: Dorothy Simpson Krause”, Sprinkles, Issue 13, 2005, South Grafton, MA, 4 pages unnumbered
Airey, Theresa. Digital Photo Art, Lark Books, Asheville, NC, pp 194-195
Johnson, Harald. Digital Printing Start-Up Guide, The Thomson Course Technology, Boston, MA, pp 13-14, 257-259
Recrie: arte e ciéncia: Revista Crîtica Estundantil, Brasil, pp 32-33, 76-77,89, 200, 288-289
Presentation, Society of Printers Centennial Celebration, Boston Public Library, Boston, MA
Workshop, Bowling Green State University, Toledo, OH
Workshops (2), University of Massachusetts - Dartmoutn, New Bedford, MA
Workshop, Canson Masters Circle Summit, Santa Fe, NM
Presentation, Holy Cross College, Worcester, MA
2004

Millennium Tarot Card Deck and Booklet, Viewpoint Studio
Gentry, Lorna. “Digital Art Studio: Redefining The Print”, Photo Electronic Imaging, Vol. 47, No. 6, Nov/Dec 2004, pp 28 -31
Danzig, Steve. “George Cries for the Digital Atelier!”, NY Arts, September - October, 2004
Johnson, Harald. Mastering Digital Printing, Second Edition, The Thomson Course Technology, Boston, MA, pp 13, 25-26, 210, 287, 364, 366, 376
Schminke, Karin, Dorothy Krause and Bonny Lhotka. Digital Art Studio: Techniques for Combining Inkjet Printing with Traditional Art Materials, Watson- Guptill, NY, NY August 2004
Massachusetts Cultural Council Artist Grant Program Finalist in Drawing/ Printmaking/ Artist Books
Public Art Review Spring/ Summer 2004. Issue 30, Vol 15, No 2, p 51-52
Presentation, Monotype Guild of New England, South Shore Art Center, Cohasset, MA
“Witness, Interpret, Share”, Photoshop Fix, October 2004, pp 4-5
Schminke, Karin, Dorothy Krause and Bonny Lhotka. “The Carrier Method of Printing on Thin Paper”, Great Output, September 2004, pp 38-40
Arni, Christina. "Liberation from the Illusion of Liberty", Odoteiktes, Vol 2 Issue 21 July 2004, p 23
Juror, Small Works 2004, Attleboro Museum Center for the Arts, Attleboro, MA
2003
Reinert, Shannon. “Better by Design”, Signs of the Times December 2003 p 60
“The Boston Federal Reserve Mural Project”, FX Art and Design, Ed. 39, Autumn 2003, p 76
Scott, Nancy Bernhaut. “For the Love of Money”, PhotoDistrict News/PIX, December 2003, p 72
Gustavson, Denise M. “Boston Federal Reserve Mural Project”, Wide-Format Printing, October 2003, Cover, pp 56-58
Johnson, Harald. L’impression Numerique, Editions Syrolles, Paris, FR, 2003, Cover, pp 349-354
Threinen-Pendarvis, Cher. The Painter 8 WOW! Book. Peachpit Press, Berkeley, CA 2003, pp 362, 368, 382
Whale, George & Barfield, Naren. Digital Printmaking, Watson Guptill Publications, NY, NY 2003 p 13
Presentation, “Printmaking, Artists’ Books and the Digital Age”, BU Photographic Resource Center, April 30, 2003
Panel, Southern Graphics Council, “Revolution in Monoprint”, Making Histories: Revolution and Representation, Boston, MA
Juror, Manifest 2003, Copley Society, Boston, MA
Juror, TechArt, South Shore Art Center, Cohasset, MA
Juror, Digitally Speaking, Woman Made Gallery, Chicago, IL
2002
Johnson, Harald. Mastering Digital Printing, Muska & Lipman, Cincinnati, OH, pp 301 - 305
Neilson, Nina. “Art with a High Tech Edge”, Digital Graphics, November 2002, pp 34-40
Brill, Louis. “Digital Atelier: The Edge of Digital Media”, Ylem, November 2002, Cover, p 1
Sutton, Jeremy and Daryl Wise. “Primordial Fear”, Secrets of Award-Winning Digital Artists, Wiley Publishing, Inc., NY, NY, pp 321-328.
Stern, Marilyn, “Art and Technology Intertwine”, Professional Women Photographers, Fall 2002, Issue VII, pp 5, 20.
Fiedler, Stefan. artbits: Digital FineArt Printmaking, Epson, Düsseldorf, Germany, pp 59-60
Threinen-Pendarvis, Cher. The Painter 7 WOW! Book. Peachpit Press, Berkeley, CA pp 360, 366, 384
London, Sherry and Grossman, Rhoda. “Lenticular Printing”, Photoshop 7 Magic. New Riders Publishing, NY, NY 2002, pp 102 - 115
Presentation, "Integrating Lenticular into Digital Printmaking" in Sketches: Innovative Approaches, SIGGRAPH 2002, San Antonio, TX July 24, 2002
Workshop, Beyond the Digital Print 2002. Governors State University, University Park, IL, June 20 - 21, 2002
Berwick, Carly. “Inaugural Show” Bitforms, ARTnews, April 2002, Vol 101 No 4, p 139
Presentation, “Art & Technology Intertwine: An Evening with Katrin Eismann & Dorothy Simpson Krause”, International Center for Photography, NY, NY, May 3, 2002.
Hall, Karin Lowery. “Interview with Dorothy Krause: Beta Testing the Encad 880”, Modern Reprographics, Feb 2002, pp 26-27, 50
Burke, Ed. "Putting a Multitude of Materials to the Test", The Big Picture, March/ April 2002, p 68
2001
Sutton, Jeremy. “Painter View-Tales From The Road”, EFX Art & Design 33, Autumn 2001, pp 30-31
White, Paul R. “Fine Art Media & Printing”, Digital Output, December 2001, Vol VII, No 12, pp 14-17
Airey, Theresa. Creative Digital Printmaking, Watson-Guptill Publications, NY, NY 2001, pp 152-153
Brill, Louis M. “Comin’at Ya: A primer in lenticular signage”, Signs of the Times, November 2001, Cover, pp102-105
Maber, Marie. “blurring the line: The Brooklyn Museum’s 27th Print National, Digital Fine Arts, Summer 2001, pp 32-37
Krause, Dorothy. “Reflections on Learning with the Computer”, Arcade III, University of Brighton, Spring, 2001.
McDonald, Christine. “Portrait of a Pioneer: Dorothy Simpson Krause”, Art New England, April/ May 2001, pp 20-22
Howards, Ellen. “Making Art in a Digital Atelier’, ArtsMEDIA, `Vol 5, No 17, Aprill / May 2001, pp16- 18
McQuaid, Cate. “Cyberart a cause for Celebration”, The Boston Globe, Saturday, April 21, 2001, p F1, 7
Gollifer, Sue. “Artist Space 4 Tradigital Imaging”, Digital Creativity, Swets & Zetilinger, UK, 2000, Vol. 11, No. 4, pp. 234-248
Presentation, “Medium Crossings” Border Crossings:Southern Graphics Council, University of Texas, Austin, TX, March, 2000
2000
Threinen-Pendarvis, Cher. The Painter 6 WOW! Book. Peachpit Press, Berkeley, CA 2000, pp 322, 324, 329, 342
Hagan, Debbie. “Collective Visions”, Digital Fine Art, Summer 2000, p26-31.
Thompson, Jason. Making Journals by Hand, Rockport Publishers, Inc., Gloucester, MA, 2000, pp 29, 113
Presentation,”Photography with a Digital Spin” New England Women in Photography, Boston, MA, April 1, 2000
Presentation, “New Media/New Aesthetic” Ink Different:Southern Graphics Council, University of Miami, FL, March 4, 2000
Hagan, Debbie. “Digital Imprint”, Market Talk, Art New England, February/March 2000, p 15
Sancho, Victoria. “Museum & Gallery Reviews”, Art On Paper, January-February 2000, Vol 4 No 3, pp 83-84
McQuaid, Cate. “”TimeXposure Dazzles as Delicious Eye Candy”, The Boston Globe, Thursday, January 6, 2000 pp E7-E8
Beale, Stephen. “Lenticular Art Comes of Age, Digital Fine Artists Experiment with Old Printing Technique”, Macworld, Jan 2000, p 27
1999
Taylor, Jane. “Dorothy Krause Fragmented Meanings”, Rangefinder, November 1999 pp14-19
“The heARTland project”, Contemporary Impressions: Journal of the American Print Allicance, Vol 7, No 2, Fall 1999, p 22
Solberg, Kirsten. “Digital Salon”, Leonardo, Vol 32 No 5 1999 p 426
Krause, Dorothy S., “Exploring Lenticular Prints”, Digital Fine Art, Fall 1999 pp 44 - 48
Gollifer, Susan. “Artist Space”, Digital Creativity, Vol 10, No 1, pp 37- 51
Hadden, Jennifer. "Lenticular Images", Digital Graphics, June/July, 1999, p 2
Hagan, Debbie. “On the Edge:The Digital Atelier’s experimental works are broadening art horizons”, Digital Fine Art, Vol I, Issue II, Summer 1999, pp 26- 31.
Bielski, Lauren. “Dot Krause: Digital Collage in Print”, Digital Imaging, May 1999, pp 8 -11
Cyberfest Panel Discussion, Danforth Museum of Art,, Framingham, MA, May 14,
McQuaid, Cate. “Drawing on the Past”, The Boston Globe, April 22, 1999, pp F1- F5
Walsh, Peter. “Artists in Cyberland”, Museums Boston, Spring 1999 Vol 3, No 2, p 83
Foreshew,Jennifer. “Taking Technology to the heARTland”, The Australian, March 9, 1999 p 7
Hainer, Pattie. “Marshfield Home Is Where the Art Is”, The Patriot Ledger, Feb 6/7, 1999 p 12
1998
Hartley, Ann Bellinger, Bridging Time & Space, Markowitx Publishing, Maui, HI, 1998, p 92
Greenberg, Adele & Seth. Painter 5 Studio Secrets, IDG Books Worldwide Inc., Palo Alto, CA 1998, pp 75, 224
Threinen-Pendarvis, Cher. The Painter 5 WOW! Book. Peachpit Press, Berkeley, CA 1998, pp 252, 256, 259, 267, 271
McClelland, Deke. Photoshop 5.0 Bible, IDG Books Worldwide Inc., Palo Alto, CA 1998
O’Rourke, Judith. “Collaborative Printmaking at Littleton Studios”, Contemporary Impressions: The Journal of the American Print Alliance. Vol 6, No 2, Fall 1998, pp 27-29
“Exit Digital Urbanity” PC Photo, November 1998, p 118
Schipper, K., “On the Job: The Art of the Fence”, Digital Graphics, October 1998 pp 59-67
“Dorothy Krause and the Trinity Place Project, Design Graphics, October 1998, No 39, pp 14-19
"Portfolio: Vitreographs from the Littleton Studios", Glass, the Urban Glass Art Quarterly, No 72, Fall 1998, pp 18–25
Wood, Colin, “Dorothy Krause and the Trinity Place Project”, Design Graphics, No 39, September 1998, p 14-19
“Renaissance Woman”, IdNPro: discover 1994-1997, Wanchai, Hong Kong, 1998
Hansen, Trudy. “Shifting Grounds/ Common Grounds: Issues and Challenges in Contemporary Prints” Paper presented at Process and Collaboration: Contemporary Printmaking 1960 to the Present, New York University, NY, June 4, 1998
Steinberg, Norma S. “Dorothy Simpson Krause & Stars of Hope”, Contemporary Impressions: The Journal of the American Print Alliance, Vol 6, No 1, Spring 1998
Harper, Talitha, "Holding fast to the human touch", Step-By-Step Graphics, Vol 14, No 3, pp 94-101
Panel Member, Digital Art Revolution,The New Art Center in Newton, Newtonville, MA, February 27, 1998
King, Jennifer. “Linking Art with Computers”, The Artist’s Magazine, Vol 15 No 2, February 1998, p69
Krause, Dorothy Simpson. “In My Studio”, Digital Imaging, Jan/Feb 1998, pp 26-28
Hadden, Jennifer. “Fine Art and Digital Printing; Realizing A Vision”, Digital Graphics, Jan/Feb 1998, pp 46-52
Jones, Bill. “In the Beginning”, Hands on Paper, Vol 1, No 1, January 1998, pp 8-13
1997
Milburn, Ken. Photoshop f/x, Ventana Press, Chapel Hill, NC, 1997
Braverman, Carol. Fractal Design Painter 5 Complete. MIS Press, NY, NY, 1997
Nichoson, Mark. “Art for Art’s Sake”, Publish, Vol 12, No 12, December 1997, pp 72-73, 75-78
Landi, Ann. “Material Developments” ARTnews, Vol 96, No 10, November 1997, pp 204-205
“Smithsonian Showcases future of print”, Print & Graphics, Vol 18, No 10, October 1997, p 1
Joss, Molly W. “Computer Artist; Digital Art at the Smithsonian”, Electronic Publishing, Vol 21 No 10 October 1997, pp 42-43
Fifield, George. “Art & Technology The Digital Atelier”, Art New England, Vol 18 No 6 October/ November 1997, p 5
King, Sheri. “Does Tradigital Art Belong in Traditional Museums?” The Big Picture, Vol 2 No 4 October 1997, pp 98 - 104
“Digital Artists Set up Shop at the National Museum of American Art”, Digital Imaging, Sept/Oct 1997, p 20
Gentry, Lorna. "Mainstreaming Digital Art: Bringing Imaging to the Masses", Photo Electronic Imaging, Vol 40, No. 9, September 1997, cover, pp 8-12
“Exploring the New Terrain of Printmaking”, Perspectives, Fall 1997, No. 33, p 13
Eisenberg, Daniel, “Digital Arts and Media: Vision of Bytes”, TIME Digital, July/August 1997, p 13
McQuaid, Cate, “Getting Virtually Punchy on Pixels”, The Boston Globe,June 19, 1997, pp E5,E6
Krause, Dorothy. “Creating Lady of the Flowers”, Desktop Publishers, June 1997, pp 70-71
Getting the Work Out: Unique Editions™ on the WEB, Panel Participant, 5th National Conference of Women in Photography, Simmons College, Boston, MA, June 7, 1997
Steinberg, Norma S. “The Digital Print”, Contemporary Impressions: The Journal of the American Print Alliance. Vol. 5, No. 1, Spring 1997, cover, pp 6- 10
Capasso, Nick. “Dorothy Simpson Krause”, Unique Editions Catalog, F.A.C.T., Laguna, CA. 1997
“Digital Hall of Fame: Unique Editions”, Mac Art and Design, Stockholm, Sweden, Vol 4, No 18, Winter 1997, pp 30-35
Purcell, Janet. “At CNJ, adventures in the digital world”, The Times, Fri., January 31, 1997, p F17
Hamm, Christine. “In Altered States: When art and technology collide digitally”, Concord Monitor, January 30, 1997, p 1, D6
Fifield, George. “Art & Technology: The Iris Revolution”, Art New England, Feb- March 1997, p 8
1996
Sutton, Jeremy. Fractal Design Painter Creative Techniques. Hayden Books, Indianapolis, IN, sections 38, 63
Sperling, Karen. Fractal Design Painter 4 Complete. MIS Press, NY, NY, 1996, pp 307-312, CDRom
Threinen-Pendarvis, Cher and Jim Benson. The Painter WOW! Book. Peachpit Press, Berkeley, CA 1996, pp 142, 164, 190, 195
Threinen-Pendarvis, Cher and Jim Benson. The Painter 4 WOW! Book. Peachpit Press, Berkeley, CA 1996, pp 150, 178, 206, 210, 223
Erdos, Dawn. Fractal Design Painter 4. MIS Press, NY, NY, 1996, pp 195-202, CDRom
Chakkour, Mario. Painting with Computers, Rockport Publishers, Rockport, MA, 1996, pp 44, 82, 94,
Lurins, Sandra. “Common Dreams/ Unique Visions”. HOW, August, 1996, pp 94-99
Krause, Dorothy. “Renaissance Woman” IdN, Hong Kong, Vol 3, No 3, 1996 cover, pp 38-39
Krause, Dorothy. “Output Options”, Computer Artist, Nashua, NH, June/ July 1996, Vol 5, No. 4, 1996 pp 10-11
Schminke, Karen. “Paper and Beyond: Digital Printing Substrates for Artists”, IdN, Hong Kong, Vol 3, No 3, 1996, pp 82-90
1995
Siprut, Mark. Adobe Photoshop Handbook. Random House, NY, NY, 1995, pp 585-586, 625
Erdos, Dawn and Janey P. Brand. Fractal Design Painter. MIS Press, NY, NY, 1995, pp 169-175, CDRom
Sperling, Karen. Fractal Design Painter 3 Complete. MIS Press, NY, NY, 1995, pp 4, 342-348, CDRom
Clarke, Nick. Kai’s Power Tools, Addison-Wesley Publishers Ltd., Berkshire, UK, 1995, CDRom
Greenberg, Adele & Seth. The Ultimate Guide to Painter, Sybex, Alameda, CA, 1995, Chapter 9, Gallery
Gosney Michael and Linnea Dayton. The Desktop Color Book, MIS: Press, NY, NY, 1995, pp 82-83.
Cheng, Walter. "Digital Master: Dorothy S. Krause - Indeterminate Meanings", IdN, Vol 2, No 6, Nov/ Dec 1995, pp 20-28
Weibel, Bob. “Dorothy Krause: Photo Design Digital Annual”, Photo District News Pix, Vol XV, No XIV, December 1995, p 32
Calhoon, Sharon. “Transcendting Reality: Wishes, Lies and Dreams”, DIALOGUE, Columbus, OH, Sept/Oct 1995, p 23
Davies, Tristan. “Art Explores the Digital Frontier”, The London Daily Telegraph, September 23, 1995, p A5
Lee, Holly Ed., "Unique Editions™ Issue", DIGI, Hong Kong, Vol 2, No 3, August 1995, pp 1-16
Borzo, Jeanette & Jake Widman. "The Digital Gets Physical: Digital Artists go beyond simply printing their work to manipulating the print itself", Publish, San Francisco, CA, August 1995, pp 95-97
Abes, Cathy. “Expert Graphics”, MacWorld, San Francisco, CA, Vol 12, No 7, July 1995, pp 120-121
Hagopian, Ruth. “Five Part Harmony”, On Line Design, San Francisco, CA, Vol 3, No 13, May 1995, pp 26-29
Hitchcock, Nancy. “Computer Artist: Dorothy Simpson Krause”, Computer Artist, Nashua, NH, Feb/March 1995, Cover, pp 14 17
Hays, Nancy. “Layers of Meaning: Dorothy Krause”, IEEE Computer Graphics and Applications, Los Alamitos, CA, January 1995, Cover, Inside Back Cover, pp 3, 6-8
Lukitsh, Joanne. “Pixel Penance”, Afterimage, Rochester, NY, Vol 22, No 6, January 1995 pp 15-16
1994
Abes, Cathy. Photoshop f/x, Ventant Press, Chapel Hill, NC, 1994, pp 232-235, 296-297
Computer Graphics 2: The Best of Computer Art and Design, Rockport Publishers, Inc. Rockport, MA, 1994, pp 108-111
Meehan, Tim. Great Photoshop Techniques, MIS: Press, NY, NY, 1994, p 188, CDRom
Taylor, Robert. “Transforming High Tech into High Art”, Boston Globe, October 11, 1994
Threinen-Pendarvis, Cher. “Beyond the Digital Print”, Computer Artist, Vol 3, No 4, August/ September 1994, pp 7-8
Fishel, Cathy. “Evolving Art: Dorothy Krause”, Step by Step Graphics, Peoria, IL, July August 1994, pp 82-83
1993
“Pushing Boundaries: The Digital Collage of Dorothy Simpson Krause”, Art New England, Brighton, MA, Sept 1993, pp 13-14
Montminy, Judith. “Exhibits Explore How Artists Ply Computer Technology”, The Boston Sunday Globe, June 13, 1993
Shaughnessy, Michael. “Herstory: Computer Montages by Dorothy Simpson Krause”, Monograph, U. of Southern Maine, March 1993

education
Harvard Graduate School of Education, Certificate in Management of Lifelong Education, 1980
The Pennsylvania State University, Doctor of Education in Art Education, 1965-1968
University of Alabama, Master of Arts in Art Education, 1961-1962
Montevallo University, Alabama, Bachelor of Arts in Painting, with honors, 1957-1960

awards/ honors
Marquis Who’s Who in American Art 2000 - present
Marquis Who’s Who in America 2000 - present
Marquis Who’s Who in The World 2000 - present
Marquis Who’s Who of American Women 2000 - present
Xerox/ Tektronix Award, 2005
Digital Hall of Fame, FX Art and Design, Sweden
IDAA Award, 2003
Kodak Innovator Awards, Eastman Kodak Company, Rochester, NY 2000
2000 Outstanding Artists and Designers of The 20th Century, IBC, Melrose Press Ltd, Cambridge, England
Smithsonian/Computerworld Technology in the Arts Award, 1998
4th Annual Photo District News Digital Photography Award, 1998
SoHo Photo Gallery, 1996
1st Annual Photo District News Digital Photography Award, 1995

museum collections/ public art projects
Museum of Fine Arts, Boston, MA
Dalarnas Museum, Dalarma, Sweden
Smithsonian American Art Museum, Washington, D.C.
Yale University, New Haven, CT
Stanford University, Palo Alto, CA
Notre Dame University, Notre Dame, IN
Jaffe Center for Book Arts, Florida Atlantic University, Boca Raton, FL
Art Museum Complex, Duxbury, MA
State Museum, Novorsibirsk, Russia
Zimmerlie Museum, Rutgers University, New Brunswick, NJ
Spencer Museum of Art, University of Kansas, Lawrence, KS
The Decordova Museum and Sculpture Garden, Lincoln, MA
Danforth Museum of Art, Framingham, MA
Houghton Library, Harvard University, Cambridge, MA
The Fine Art Museum at Western Carolina University, Cullowhee, NC
The Boston Public Library, Boston, MA
Savannah College of Art & Design, Savannah, Georgia
Duke University, Durham, NC

University of Miami, Miami, Florida
Swarthmore College, Swarthmore, PA
University of Washington, Seattle, WA
Carleton College, Northfield, MN
Cornell University, Ithica, NY
University of Florida, Gainsville, FL
Wesleyan University, Middletown, CT
Wellesley College, Wellesley, MA
University of Alberta, Edmonton, Canada
University of Notre Dame, Notre Dame, IN
Federal Reserve Bank, Boston, MA, history murals
Avenue of the Arts/ Trinity Place, Boston, MA, temporary exterior murals


artist-in-residence/ visiting artist
Artist in Residence, Oceania Cruise Lines, 2012
Helen M. Salzberg Artist in Residence, Jaffe Center for Book Arts, Florida Atlantic University, Boca Raton, FL 2011
Von Hess Visiting Artist, University of the Arts, Borowsky Center, Philadelphia, PA, 2007
American Academy in Rome, December 2005
Harvard Medical School, Countway Library, Boston, MA, 2005
Herman Miller, Holland, MI, October 1998
Littleton Studios, heARTland, Spruce Pine, NC, May 1998
Massachusetts College of Art, Beyond the Digital Print, Boston, MA, April 1998
Thunderbird Graphics, Everybody’s Tabernacle, Clearwater, FL, January 1998
Vinalhaven Press & Foundation, Work/Tank Think/Shop: Media for the New Millennium, Vinalhaven, ME, August 1997
Smithsonian American Art Museum, Digital Atelier: printmaking for the 21st century, Washington, DC, July 1997
Kodak Center for Creative Imaging, Camden, ME, 1994, 1991-92 (sabbatical)

memberships
The Boston Printmakers, American Print Alliance, Photographic Resource Center, Boston Book Arts, Women’s Caucus for Art (WCA); College Art Association (CAA); American Computing Machinery Special Interest Group, Graphics (ACM-SIGGRAPH); YLEM

education
Harvard University, Graduate School of Education, Postdoctoral Studies, 1980
Pennsylvania State University, Doctor of Education in Art Education, 1965-1968
University of Alabama, Master of Arts in Art Education, 1961-1962
Montevallo University, Alabama, Bachelor of Arts in Painting, with honors, 1957-1960

appointments, academic and professional
Massachusetts College of Art 1974- 2000: Emeritus Professor, Computer Graphics, Tenured (1985- 2000), Vice President, Administration and Finance (1982-1985), Dean, Graduate and Continuing Education (1975-1982), Associate Professor and Director of Graduate Programs in Art Education (1974- 1975)
Virginia Commonwealth University 1969-1974: Associate Professor, Tenured, Director of Graduate Programs in Art Education
Herman Miller, Designer, Holland, MI
Iris Graphics Inc., Corporate Curator, Bedford, MA
Consultant to KODAK Concord Group, Burlington, MA,
Digital Equipment Corporation, Human Factors Group, Stowe, MA

top

critics and curators comments: 
Kendall Merriam, the Poet Laureat of Rockland, Maine wrote a poem, "The Tombs of History" about the work shown at the Landing Gallery in Rockland, Maine. In an excerpt from the poem he says:

Your mind a key
That lets you open doors
Copper colored and black
White distances
Down hallways, through doors

It makes the mind
Rocket back and forth
Hoping everyone in
A non-caring world
Begins to care
Letting old wars
Suffice for new ones
That, through you,
We will slip down the corridors of peace!
Kendall Merriam, Poet Laureat, Rockland, Maine, July, 2011

Reviewing the show at Landing Gallery in Rockland, Maine, Susan Boulanger says:
Krause, a longtime practitioner and innovator in digital printmaking, uses Coleridge's renowned poetic fragment "Kubla Kahn, or a Vision in a Dream" to lend thematic unity to her multilayered, luminous meditations on light shadow, transition and persistence. ... Such retreats into the other-worldly provide one of our few consolations when facing nature's encroachment on and inevitable conquest of human endeavor.
Susan Boulanger, Reviewer, Art New England, July, 2011

Of her exhibit "Visions" at 571 Projects, Director, Sophie Bréchu-West says:
"In this new body of work, Krause explores the surreal through images of abandoned and submerged worlds: thresholds combined with imagery of leaves and branches reflected on the surface of a pool of water.  Taking inspiration from Thomas Coleridge’s haunting poem, “Kubla Khan, or, A Vision in a Dream, A Fragment” (1797), written after an opium-laced dream of an exotic and opulent palace, Krause’s work highlights the mystery of architectural space and light: doorways, windows, and hallways from which light either shines or recedes into blackness.  Ethereal and menacing, her work conveys the poetry of space and light, alluding to spiritual transitions, and ultimately, life and death.  As in Coleridge’s poem, beauty is underscored with violence, potential and real.  These abandoned passages appear to be submerged below the reflective surface of water like the shifting memory of dreams, but also a statement about the impending disappearance of civilization as we know it, through the effects of global warming."
Sophie Bréchu-West, Director, 571 Projects, March, 2011

In "Three Must-See March Art Shows in Chelsea", Seth Apter says of Krause show"Visions", at 571 Projects:
"Krause combined digital technology with mixed media to create a series of haunting images of submerged architectural passageways, lit from within. Her use of Polaroid emulsion transfer, silver leaf, fresco, and brushed aluminum contributes to the dream-like feel of her paintings."
Seth Apter, NearSay, March, 2011

In her essay for the book Digital Atelier, (2009) reprinted in Contemporary Impressions in 2011, Carol Pulin said:
"Dot concentrates on vision. She explores the physical and metaphorical connections between light and vision–light needed for illumination, reflection for contemplation, perception for seeing. Many of Dot’s prints incorporate scans from her own journals and ephemera from her travels, old family photos and handwritten, printed or stamped text. Her journeys seem to question the recording of events between birth and death, while her emphasis is on the interpretation of what appears in those records. It is the response to experience that matters, the attempt to understand the past as well as foreign cultures and perspectives, more than the exotic sights. Dot frequently employs the format of a book, determining the narrative order of the images, forcing the viewer to follow the artist’s path, to share her viewpoint. Adding the intimacy of a book, touching pages that convey the feeling of rich, precious objects or worn and abraded surfaces, intensifies the experience. The details of the imagery become a language, an attempt to translate from visual to intellectual experience, to show the viewer what the artist’s mind sees."
Carol Pulin, Director of the American Print Alliance and Editor, Contemporary Impressions, 2011

In her article for AfterCapture, "Dorothy Simpson Krause Pushing Boundaries", Alice B. Miller said:
"By merging trail-blazing techniques and technologies with traditional processes, and dovetailing a passion for her craft with a willingness to impact issues of the day through her art, Dorothy Simpson Krause has elevated pushing boundaries and protecting our planet to a fine art."
Alice B. Miller, AfterCapture, August-September, 2009

Reviewing the exhibition Losing Ground at the South Shore Art Center in Cohasset, MA, Sarah E. Fagan said:
"Her large format works are made with laser printers, which help Krause print on materials like aluminum, an awkwardly elegant compliment to her natural scenes. Organic and mechanical combine fittingly in Krause’s bound pieces as well: lasers cut into wooden covers, copper plates are burnt and etched. The machine-made imprints offer an air of permanence; the words “LOSING GROUND” stamped in heavy-handed text across a glowing cover scene of the title book remind us of the irrevocable imprint humans make on the environment. This scene, like all of the chosen work, contains a metallic glow, both beautiful and apocalyptic. The show has been called a “plea” to make permanent the potentially ephemeral and ephemeral the potentially permanent, and the combined use of digital technologies and the handmade imparts a bewitching solemnity to the entreaty."
Sarah E. Fagan, artscope, May-June, 2009

Reviewing the exhibition "Conceptually Bound" at the Mohr Gallery, Mountain View, CA, Julia Bradshaw said of the book
Magdalene Laundries: "Dorothy Simpson Krause used a small news item and a film as the spark for her project. A small dense book bound using a black leather Coptic binding with red leather accents, hand-sewn headbands and papyrus pages treated with a variety of collage and drawing methods, Krause has created a precious item that at first sight appears to be a hymnal or a bible. Krause’s book ‘Magdalene Laundries’ was inspired by her learning that in 1993 when property held by the Sisters ofCharity in Dublin was to be sold, unmarked graves of 133 women were found. Each page of this thick, intense book is hand-inscribed or hand-printed with text or facts or makes use of found photographs to express the poignant histories of some of the girls who were imprisoned against their will. In its entirety, the book feels like a prayer to the God of Never-Again."
Julia Bradshaw, ArtShift San Jose: Cultural Tectonics and View from the Fault Line, 2008

Reviewing the exhibition Viewpoint at Judi Rotenberg Gallery on Newbury Street, Boston, Cate McQuaid said:
“Dorothy Simpson Krause is one of Boston's pioneers of digital art. She founded the Computer Arts Center at Massachusetts College of Art and cofounded the collaborative Digital Atelier . Her trademark is her willingness to experiment with technique and process; it seems she's always doing something new. At the same time, the content of her work grows satisfyingly sparer, leaving more and more room for a viewer's imagination.

"Viewpoint," her gorgeous new show at Judi Rotenberg Gallery, features images of the marshes and beaches near her home in Marshfield -- contemplative places for her, and fragile environments. She prints photographs on Plexiglas and mounts them over paintings, over panels coated with silver leaf, or over aluminum. There's often layering: "The Shed Out Back" sports a photo of a red shed printed on one side of the plexi; Krause has printed images from an abstract painting, looking like branches, on the reverse side. It is mounted over a white panel.

With translucent and reflective materials, it's as if the artist is layering light. Walk past "Gate to the Dunes," a photo mounted over silver leaf, and the experience of looking at it changes as shadow and light waffle over the surface. Krause imparts the idea that nothing -- the gate, the dunes, the shed -- is solid, and everything is a mere shimmer in the imagination of the universe."
Cate McQuaid, Art Critic, The Boston Globe, 2007

In the catalog for "Further - Artists from the book Printmaking at the Edge", Sabrina DeTurk, writes: "Dot Krause holds a respected place in the history of American printmaking as one of the first print artists to embrace the possibilities inherent in digital technology. It is fitting, therefore, that her contribution to this portfolio should bear the title Technology and link together several motifs that have surfaced at various points in her work and career. The use of collage is a hallmark of Krause's work and serves her well in its ability to simultaneously reveal and obscure multiple layers in a work of art. In this image, the dense bottom portion of the print includes images of a computer circuit board atop a dark background. This in turns gives way to red swath across the middle tier of the image and subsequently to a delicate anatomical drawing of the human nervous system and brain, highlighted against a pale background at the top.

What is the role that technology is meant to play in this image and, perhaps, in our world as a whole? Does the circuit board serve as the base from which human and structure (represented by an architectural drawing lying grid-like across two-thirds of the print) emerge? If so, should that base be seen as generative? Or is it problematic - pushed to the depths while human cognition rises into the light? I doubt that Krause's print is meant to answer those questions - rather, in keeping with the rest of her work, it encourages us to keep asking them."
Sabrina DeTurk, Curator, Winston-Salem, NC

"Her encaustic landscapes have an unusual surreal quality that captivates the viewer and deepens our appreciation for the grandeur of nature's pristine quality. Her ability to merge luminous light and color to evoke a panoramic 3-dimensional framework is truly extraordinary."
Susan Halter, Director, LynArts, Lynn, MA

Of the page turning flipbook "Palimpsest", Judith Hoffberg said: “You have now extended the definition of book to cyberspace with a vengeance! It is a delicious experience and I want to thank you for your beautiful effort. It works, it is dreamlike and real at the same time, and far from being virtual, it is quite real.”
Judith A. Hoffberg, Editor, Umbrella

About the exhibition Passages at Judi Rotenberg Gallery, Cate McQuaid said: “Dorothy Simpson Krause has always created lush and varied surfaces for her digital prints. … Krause pares the imagery and ramps up the rich variety of surface, to wonderful effect. The images are still full of symbolic content, but here Krause offers just one potent one: the door. She travels the world photographing doors and gates. Krause prints the photos on aluminum or Plexiglas, sometimes layered over metal, sometimes coated with ink on the reverse. She’ll print over nails, grating and old metal; she adds paint, pencil marks, and scratches. Even so, my favorites are the simplest works: photos printed on brushed aluminum, with little or nothing added. The aluminum reflects light out at the viewer. Each doorway becomes a tense drama of light and dark. “Downstairs” has us looking up a flight of dingy stairs to a door; the sheen of light creates a palpable presence. In “Amber”, shot at the Amber Palace in Jaipur, India, the amber color looks like gold leaf. A window casts light onto the dark floor. Whether in a palace or a basement, Krause creates mystical rhythms of shadow and light.”
Cate McQuaid, Art Critic, The Boston Globe, 2005

"So transportive are Dorothy Simpson Krause’s new digital collages, that the viewer is placed in the work, looking for their shadow in the richly patterned foreground, longing for something that cannot be put into words. Or perhaps it is in the artist’s shoes the viewer finds herself, walking sacred ground. Dorothy captures the fleeting essence of unadulterated nature, the rare patches of land where humans have only tiptoed and whispered, where the mass impact of our human existence has somehow been held at bay.

Sensitive to these fearfully brief passages, Dorothy has been working for two years to pay homage to the land and share the sadness that accompanies her appreciation. There is a tension between lush atmosphere and details as delicate as a butterfly wings. This feeling is captured by blending photography, paint, frescos, metal and graphite. The work is tinged with melancholy, knowing that we can hold these images only because they have been stopped in time. Dorothy’s newest project Fragile Beauty transforms landscapes into mindscapes. She has infused her most beautiful work with intense meaning."
Abigail Ross, Director/ Curator, judi rotenberg gallery LLC

“Few would associate computer graphics with opulence, but with regards to the art of Dorothy Simpson Krause, the adjective is hardly extravagant. Her richly layered works reveal not only successive strata of materials, but meaning as well.”
Mary Ann Kearns, Director, 119 Gallery, Lowell, MA

“Dorothy Simpson Krause’s work shares much with contemporary artists involved with the appropriated image such as Dottie Attie, Sherry Levine, and Richard Prince as well as Robert Raushenberg and Kurt Schwitters. Working in these traditions she adds a poetic formal sensibility and a strongly personal approach toward the process of social inquiry.”
Michael Shaughnessy, Director, Area Gallery, University of Southern Maine

“Krause has built up her surfaces to new levels of texture and density. While this aesthetic choice makes each artwork all the more material, the use of translucent wax also allows for the permeation of the solid substance with light. This literal illumination of matter has been a profound signifier of the spiritual throughout human history, understood and utilized by the makers of Byzantine mosaics and Gothic stained glass. By melding this near-alchemical formal tradition with her subtle collaged images, Dorothy Simpson Krause unifies not only this recent set of artworks, but also portrays a world of women bound together in light, in dignity, and in sanctity.”
Nick Capasso, Associate Curator
DeCordova Museum & Sculpture Park, Lincoln, MA

“Her imagery is derived from numerous sources, many gender-related--women, their work and endeavors, their faith and spirituality, their contemplation. … Krause’s work is baroque in its intense coloration and chiaroscuro.”
Norma S. Steinberg, “The Digital Print”, Contemporary Impressions: The Journal of the American Print Alliance

“In that complex weave of allegory and perception that forms human consciousness, many layers merge. That complexity is echoed in Dorothy Krause’s elaborate montages.”
Bob Weibel, Photo District News

“The work is dominated by soft, overwhelming beauty -- young angels and goddesses surrounded in pinks and gold. But the beauty is rescued by spiritualism and the unknown. Justice has a swath of post-computer, blood-red paint applied over her eyes. It is such hand-of-artist surface markings -- painting, drawing and applied gold leaf -- that transport these images from staid elegance to urgent intensity .

Krause’s work also raises complex contemporary issues such as image/ cultural possession and hybridization. .. These elements are ripped from their context and used to create another reality.”
Sharon L. Calhoon, DIALOGUE Arts in the Midwest

“With a wonderful sense of color which creates the atmosphere of calm and contemplation, she combines what is here and there ... transcendence - that which is indefinable, unrecognizable and does not have to be called in order to be.”
Anna Panek Kusz, Curator, Gallery Okno, Slubice, Poland

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Dorothy Simpson Krause • 3100 NE 48th St. #912 • 781 424 5271 •
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