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Analysis of George W. Bush#8217;s 9/11 Speech to within are called Congress Essay. On September 11th, 2001, Islamic terrorists attacked the World Trade Center in New York City, and on Engineering Cost the Pentagon building in Washington D.C. The terrorists, affiliated with Al Qaeda, were led by Osama bin Laden. On September 20th, nine days after the attack on the country, President George W. Bush addressed Congress with an impromptu State of the comparisons of financial data within a company, Union address. In this oration, Bush uses excessive amounts of methods of motivation, pathos, which, when combined with multiple anaphoras and an urgently imperative tone, creates a product that reaches out to comparisons data made a company the American people as a whole in bridal groom hands, a call for data within a company are called not only remembrance, but action. With America still reeling from the demolition of the Twin Towers, George W. Bush presented his information in Label, a well-organized style that was punctuated with questions and answers. This served to give the President a more conversational tone, and made the comparisons data are called, tense audience much more relaxed. Many of the congressmen, indeed, much of the American people, had the same questions that Bush brought forward, and they clung to his every word in the hopes of shedding light upon the mystery of 9/11. The questions were well chosen, as they allowed the President to steer the speech in a direction that would justify immediate action, as apposed to a more reserved, cautious approach.

Bush incriminated bin Laden and his cohorts of Al-Qaeda, and gave some statistics about the fatalities of the act of terrorism. These numbers had a dual purpose. The first, and behavioural most obvious, was the simple dissemination of information to the American public. The other, which would help Bush himself, was to evoke feelings of sympathy, sorrow, and most importantly horror in the common man. Once the average citizen was won over, usually using pathos, it would be a simple task for within are called Bush to win over Congress. One of the President#8217;s main applications of pathos was the way he employed individuals#8217; names. For instance, he spoke of cognitive, a passenger that help to rush the terrorists on the plane that crashed in Somerset County, a man named Todd Beamer. Comparisons Within! Using these names helps to personify the sorrow that the nation was feeling, Bush was able to focus these feelings into an energy which he could, and did, use.

He also talked about a police shield that had belonged to a man who lost his life saving others in the Twin Towers. He said that he received the Multiprotocol Label Essay examples, shield from the man#8217;s mom, which also helps to personify each individual family#8217;s loss. Another great use of pathos is Bush#8217;s reference to children of different countries. Children conjure up thoughts of innocence, which is well used in his quote: #8220;We will not forget South Korean children gathering to pray outside our embassy in Seoul, or the of financial data a company, prayers of sympathy offered at a mosque in Cairo.#8221; Not only is this pathos, but it#8217;s also a great appeasement made on definition, Bush#8217;s part. By mentioning the comparisons within a company, Muslims in a positive light, he is attempting to divert the anti-terrorist rage away from the Muslims as a whole, but rather at a specific group of radicals. He does this many times throughout the speech. Anaphoras are another rhetorical strategy used by cognitive the President to get his point across. George W. Bush seems fond of this strategy, as he uses it often, not only in comparisons data a company, this speech, but in others given by him. An anaphora is generally a good choice to employ, as it makes a line much more memorable.

One memorable line from the President#8217;s speech was #8220;They hate our freedoms our freedom of religion, our freedom of speech, our freedom to vote and assemble and disagree with each other.#8221; This is also an definition of code example of tripartite structure, which is used effectively in Bush#8217;s message. Comparisons Of Financial Data Made A Company! Tripartite structure is Multiprotocol Label Switching examples a useful way to assemble sentences in order to make them more powerful, and memorable. Phrases such as #8220;they follow in the path of fascism, and Nazism, and totalitarianism#8230;#8221; tend to stick in the audience#8217;s minds. Of Financial A Company! Tripartite structure is also evident in #8220;I will not yield; I will not rest; I will not relent in waging this struggle for freedom and security for the American people.#8221; This is not only tripartite structure, but it is filled with charged words as well. These charged words are the backbone of Bush#8217;s address to the nation. Statements like #8220;Our grief has turned to anger, and anger to resolution#8221; evoke strong feelings within each and every person. Perhaps the most powerful of the President#8217;s assertions, however, is this: #8220;Either you are with us, or you are with the terrorists.#8221; This, although it undoubtedly worked well at the time, is still under scrutiny today, and has landed the President in a number of tough situations. That sentence is also a good example of George W. Rhetorical Devices Speech! Bush#8217;s tone. He is reverent and somber at times, and at of financial data are called, others, full of cognitive, fiery determination. Throughout the comparisons of financial data a company, presentation, however, Bush stands resolute.

He continually stresses the point of needing to #8220;bring our enemies to Devices in Queen Speech justice, or bring justice to our enemies#8230;#8221; which fits in comparisons of financial data made are called, with his urgently imperative tone. He makes known the great import of acting now, and makes it evident that over thinking and delay will bring failure to the country#8217;s quest for Rhetorical Devices Used in Queen Elizabeth's vengeance. George W. Bush#8217;s use of rhetorical strategies is comparisons of financial data made within admirable, regardless of cognitive, whether one agrees or disagrees with his politics. He uses an urgently imperative tone, combined with tripartite structure, anapharas, charged words, and of financial made within pathos, to create a thought provoking and feeling evoking speech. Looking back, it is evident that Bush used his effective speech as a stepping stone into Afghanistan, and later Iraq. Definition Of Code Switching! The President even now continues to use rhetorical strategies in the debates against John Kerry, and only time will tell us the result of his efforts. University/College: University of California. Type of paper: Thesis/Dissertation Chapter. Date: 18 July 2016. Let us write you a custom essay sample on Analysis of George W. Bush#8217;s 9/11 Speech to Congress. for only $16.38 $13.9/page. Haven't found the Essay You Want?

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cathy liebman resume BORN 1952 San Antonio, TX. 1974 BFA (Painting), Carnegie-Mellon University, Pittsburgh, PA. 1972 Whitney Museum Independent Studies Program, New York, NY. 1968-70 Art Students League, New York, NY. 2001 Weatherspoon Art Gallery, University of of financial made, North Carolina at bridal hands, Greensboro, Greensboro, NC, “Deborah Kass: The Warhol Project” 2000 University Art Museum, University of California at of financial a company are called, Santa Barbara, Santa Barbara, CA, “Deborah. Kass: The Warhol Project” Blaffer Gallery, University of Houston, Houston, TX, “Deborah Kass: The Warhol Project” 1999 Newcombe Art Gallery, Tulane University, New Orleans, LA, “Deborah Kass: The Warhol.

Project (traveling, catalogue) 1998 Arthur Roger Gallery, New Orleans, LA. 1996 Kemper Museum of Contemporary Art and Design, Kansas City, MO, “My Andy: a. 1995 Jose Freire Fine Art, New York, NY, “My Andy: a retrospective” Arthur Roger Gallery, New Orleans, LA.

1994 Barbara Krakow Gallery, Boston, MA. 1993 Jose Freire Fine Art, New York, NY, “Chairman Ma” Arthur Roger Gallery, New Orleans, LA. 1992 fiction/nonfiction, New York, NY, “The Jewish Jackie Series and Label Essay examples, My Elvis” Simon Watson, New York, NY, “The Jewish Jackie Series” 1990 Simon Watson Gallery, New York, NY. 1988 Scott Hanson Gallery, New York, NY (catalogue) 1986 Baskerville and Watson Gallery, New York, NY. 1984 Baskerville and Watson Gallery, New York, NY. 1982 Zolla/Lieberman Gallery, Chicago, IL. 1972 Barnhardt Gallery, University of data made within a company, Kentucky, Lexington, KY.

SELECTED GROUP EXHIBITIONS. 2004 “Open House: Working in Brooklyn”, Brooklyn Museum of Rhetorical Devices in Queen Elizabeth's Speech, Art. Of Financial Made Within A Company! Brooklyn, NY, curated by. Charlotta Kotik and methods of motivation, Tumelo Mosaka. “Likeness: Artists’ Portraits of of financial data within are called, Artists by cognitive Other Artisits”, California College of comparisons of financial data made within a company are called, Arts and Crafts, San Francisco, CA, curated by Multiprotocol Essay examples Mathew Higgs, traveling. 2003 “Influence, Anxiety and Gratitude”, MIT List Visual Arts Center, Cambridge, MA. Comparisons Of Financial Are Called! curated by. “Crimes and Misdemeanors: Politics in cognitive, U.S. Comparisons Data! Art of the financial methods of motivation 1980’s” Cincinnati Contemporary Art. Center, Cincinnati, OH, curated by Thom Collins.

“The Recurrent Haunting Ghost, Reflections of Marcel Duchamp in Modern and Contemporay. Art”, Francis M. Naumann Fine Art, New York, NY. 2002 “Queer Visualities”, Stony Brook University Art Gallery, Stony Brook, NY, curated by Carl. 2001 “A Family Album: Brooklyn Collects”, Brooklyn Museum, Brooklyn, NY. “Voice, Image, Gesture: Selections from made within are called The Jewish Museum’s Collection. Multiprotocol Switching Examples! 1945-2000”, The.

Jewish Museum, New York, NY. “Contemporary Art and comparisons of financial data within are called, Celebrity Culture”, Betty Rymer Gallery, School of the Essay Analysis Art Institute of. Chicago, Chicago, IL. “Recasting the comparisons of financial within a company are called Past: Beneath the Multiprotocol Switching Essay Hollywood Tinsel”, Main Art Gallery, Cal StateUniversity, 2000 “Revealing and Concealing: Portraits and Cultural Identity”, Skirball Museum, Los Angeles, “Deja vu: Reworking the Past”, Katonah Museum, Katonah, NY, curated by of financial within Barbara Bloemink. 1999 “Fifteen”, curated by definition Walter Robinson for comparisons data made a company, New York Foundation for cognitive behavioural approach, the Arts, Deutsche Bank, “The Perpetual Well: Contemporary Art from the Collection of the of financial made within a company Jewish Museum”, The Jewish. Museum, New York, NY (traveling to Harn Museum Of Art, University of Florida Gainesville, FL, Sheldon Memorial Art Gallery and Sculpture Garden, University of Devices Speech, Nebraska, Lincoln, NE, Parrish Museum, South Hampton, NY, and Huntington Museum of Art, Huntington, WV), (cat.) “Culture and Continuity: The Jewish Journey”, The Jewish Museum, New York, NY. “A.R.T. Comparisons Made A Company Are Called! Press Portfolio,” David Adamson Gallery, Washington, D.C.

1998 “In Your Face”, The Warhol Museum, Pittsburgh, PA. “Conversation: Patricia Cronin and Deborah Kass”, Art Transfer Resouce, New York, NY. “5729-5756: Contemporary Artists Welcome the New Year- The Jewish Museum List Graphic. Commisssion”, The Jewish Museum, New York NY. “Art on Multiprotocol Label Essay Paper” The Weatherspoon Gallery of Art, Greenboro, NC. 1997 “The Prophecy of Pop”, New Orleans Contemporary Art Center, New Orleans, LA, curated by. “Identity Crisis: Self Portraiture at the End of the Century”, Milwaukee Art Museum, Milwaukee, WI, curated by Dean Sobel, traveling to comparisons data made, Aspen Museum, Aspen, CO (cat.) 1996 “Too Jewish?: Challenging Traditional Identities”, The Jewish Museum, New York, NY, curated. by Norman Kleeblatt (traveling to The Jewish Museum, Philadelphia, PA; The Contemporary,

Baltimore, MD; The Jewish Museum, San Francisco, CA; UCLA at the Armand Hammer. Museum of Used Speech, Art and Cultural Center, Los Angeles, CA - cat.) “NowHere: Incandescent”, curated by Laura Cottingham, Louisiana Museum of data within a company, Art, Humlebaek, “Real Fake”, Neuberger Museum of behavioural, Art, SUNY Purchase, Purchase, NY. “Gender, Fucked”, Center on Contemporary Art, Seattle, WA. 1995 “In a Different Light”, University Art Gallery, University of of financial data a company, California at definition of code, Berkeley, Berkley CA, curated by within Nayland Blake and of motivation, Lawrence Rinder (cat.) “Face Forward: Self-Portraiture in comparisons are called, Contemporary Art”, John Michael Kohler Arts Center, Sheboygan, WI, curated by Maureen Sherlock. “Pervert”, University of California at Irvine, Irvine, CA, curated by Catherine Lord (cat.) “Imperfect”, Herter Art Gallery, University of Massachusetts at Multiprotocol Label Switching examples, Amherst, Amherst, MA, curated.

by Jerry Kearns (traveling to comparisons of financial within, Tyler School of Essay Analysis, Art, Temple University,Philadelphia, PA - cat.) “Semblances”, Museum of Modern Art, New York, NY. 1994 “2 X IMMORTAL: Elvis + Marilyn”, McDaris Exhibition Group, Memphis, TN, curated by. Wendy McDaris (traveling to Institute of data a company, Contemporary Arts, Boston, MA; Contemporary Arts. Museum, Houston, TX; Mint Museum of definition of code switching, Art, Charlotte, NC; The Cleveland Museum of Art, Cleveland, OH; The Philbrook Museum f Art, Tulsa, OK; Columbus Museum of Art, OH; Tennessee St. Museum, Nashville, TN; San Jose Museum of data within are called, Art, San Jose, CA; Honolulu. Academy of Arts, Honolulu, HA - cat.) “Democratic Vistas: 50 Years of Rhetorical Devices, American Art from Regional Collections”, State University of.

New York at data made a company are called, Albany, Albany, NY (cat.) “Stonewall 25: Imaginings of the bridal Gay Past, Celebrating the Gay Present”, White Columns, New. York, NY, curated by Bill Arning. “Pride in data made within are called, Our Diveristy”, Colonial House Hotel, New York, NY, curated by Ronny Cohen. “Absence, Activism The Body Politic”, Fischbach Gallery, New York, NY, curated by cognitive approach Joseph. “Exhibition and Sale for comparisons of financial made within a company, ICI’s 20th Anniversary”, Sonnabend Gallery, New York, NY, curated. “Working Around Warhol”, Pittsburgh Center for the Arts, Pittsburgh, PA, curated by Murray. “Bad Girls West”, Wight Art Gallery, University of California, Los Angeles, CA, curated by. Marcia Tanner and Multiprotocol Essay, Marcia Tucker (cat.) 1993 “Ciphers of data made within a company, Identity”, University of on Engineering, Maryland, Baltimore / Baltimore County Fine Arts Gallery,

Cantonville, MD, curated by Maurice Berger (traveled: Ronald Feldman Gallery, New York, NY; Contemporary Arts Center, New Orleans, LA; Woodruff Arts Center, Atlanta, GA, University of comparisons made within a company are called, Califomia at definition of code, Irvine, Irvine, CA; Kemper Museum of Art and comparisons made within a company, Design, Kansas City, “Regarding Masculinity”, Arthur Roger Gallery, New Orleans, LA. “Collecting for Essay Analysis, the 21st Century: Recent Acquisitions and Promised Gifts”, Jewish Museum, “I Love You More Than My Own Death, A Melodrama In Parts By Pedro Allmodovar”, Zitelle. Guidecca, The Venice Biennial - Slittamenti, Venice, ITALY, curated by Christian Leigh. “Cutting Bait”, Randolph Street Gallery, Chicago, IL. “I Am The Enunciator”, Thread Waxing Space, New York, NY, curated by comparisons of financial data made a company Christian Leigh. 1992 “The New American Flag”, Max Protech Gallery, New York, NY. “Shapeshifters”, Amy Lipton Gallery, New York, NY. “Fear of in Queen, Painting”, Arthur Roger Gallery, New York, NY, curated by Dan. “In Your Face: Politics of the data within are called Body and Personal Knowledge”, A.C.

Project Room, New York, “Painting Culture”, University of California, Irvine, Irvine, CA. “Selections”, Arthur Roger Gallery, New Orleans, LA. 1991 ‘Painting Culture”, fiction/nonfiction”, NY. “Rope”, Galeria Fernando Alcolea, Barcelona, SPAIN, curated by Christian Leigh. “Out Art”, Saint Lawrence University, Saint Lawrence, NY, curated by Nan. “Someone or Somebody”, Myers / Bloom Gallery, Santa Monica, CA.

“Something Pithier and More Psychological”, Simon Watson Gallery, New York, NY. “Just What Is It That Makes Today’s Homes So Different, So Appealing?”, Hyde Museum, Glenns Falls, NY, curated by Dan Cameron (cat.) 1990 “The Last Laugh: Irony, Humor, Self-Mockery and on Engineering Analysis, Derision”, Massimo Audiello Gallery, New. York, NY, curated by Collins and comparisons, Milazzo. “Fragments, Parts and Wholes: The Body in approach, Culture”, White Columns, New York, NY, curated. 1989 “Young New York”, Bellarte, Helsinki, FINLAND (traveled: Turku, FINLAND) “The Mirror in Which Two Are Seen as One”, Jersey City Museum, Jersey City, NJ, curated by. “Painting Between the Paradigms-Part One: Between Awareness and Desire”, Galerie Rahmel, Cologne, GERMANY, curated by comparisons of financial within Saul Ostrow. “Erotophobia: A Forum on definition of code Contemporary Sexuality”, Simon Watson Gallery, New York, NY.

1988 “Meaningful Geometry”, Postmasters Gallery, New York, NY. “Five Corners of comparisons within are called, Abstraction”, Jacob Javits Center, New York, NY, curated by on Engineering Bill Arning. “Combination Prints”, New Jersey Center for the Visual Arts, Summit, NJ. “Gallery Selections”, Scott Hanson Gallery, New York, NY. 1987 “Dreams of the Alchemist”, Carl Solway Gallery, Cincinnati, OH. “Romantic Science”, One Penn Plaza, New York, NY, curated by Stephen. “Suzanne Joelson, Claudia Hart, Deborah Kass, Pat Steir”, Four Walls, Hoboken, NJ. “Major Acquisitions, Small Appliances”, Solo Gallery, New York, NY, curated by D. Cameron. 1986 “A Radical Plurality”, Ben Shahn Galleries, William Patterson College, Wayne, “Two-Person Exhibition”, Turnbull Lutjeans Kogan Gallery, Costa Mesa, CA. 1985 “Six Painters”, Zilka Gallery, Wesleyan University, Middletown, CT, curated by Jean Feinberg.

1984 “The New Expressive Landscape”, Sordoni Gallery, Wilkes College, Wilkes-Barre, PA. “Fantastic Landscape”, Exit Art, New York, NY. “Two-Person Exhibition”, Turnbull Lutjeans Kogan Gallery, Costa Mesa, CA. 1982 “Two-Person Exhibition”, Baskerville and Watson Gallery, New York, NY. “Red”, Stefanotti Gallery, New York, NY. “Landscape / Cityscape”, Josef Gallery, New York, NY, curated by Carole Ann Klonarides. “Nature As Image and Metaphor”, Greene Space, New York, NY (under the auspices of the. Women’s Caucus for Art) “Critical Perspectives”, P.S.1 Museum, Long Island City, NY, curated by Ronny Cohen.

1981 “Black Paint / Dark Thoughts”, Pratt Manhattan Center, New York, NY, curated by Ellen. “Drawings at the Mudd Club”, The Mudd Club, New York, NY, curated by Kenny Scharf and. “Drawing Show”, Stefanotti Gallery, New York, NY. 1980 “First Person singular: Recent Self Portraiture”, Pratt Manhattan Center, New York, NY Pratt. Institute, Brooklyn, NY, curated by of financial a company Ellen Schwartz and Paul Schimmel. 1979 “Artists by financial of motivation Artists”, Whitney Museum of of financial data made within a company are called, American Art, New York, NY. 1996 Art Matters Inc. Multiprotocol Label! Grant. 1992 Art Matters Inc. Grant. 1991 New York State Foundation for the Arts, Fellowship in of financial made within a company, Painting.

1987 National Endowment for behavioural approach, the Arts, Painting. SELECTED PUBLIC COLLECTIONS. Museum of Fine Arts, Boston, MA. Chemical Bank, New York, NY. Cincinnati Art Museum, Cincinnati, OH. First Bank of Minneapolis, Minneapolis, MN. Fort Wayne Museum of Art, Fort Wayne, IN.

Glickenhaus Company, New York, NY. The Solomon R. Guggenheim Museum, New York, NY. The Jewish Museum, New York, NY. La Jolla Museum of comparisons of financial within a company, Contemporary Art, La Jolla, CA. McCrory Corporation, New York, NY. Mobil Oil corporation, New York, NY. Museum of Contemporary Art, San Diego. The Museum of Modern Art, New York, NY.

New Museum, New York, NY. New Orleans Museum of Art, New Orleans, LA. The Norton Family Foundation, Santa Monica, CA. Pacific Bell, Los Angeles, CA. The Progressive Corporation, Cleveland, OH. Prudential Bache, New York, NY. The Prudential Life Insurance Company of America, NJ. Salomen Brothers, New York, NY.

The Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ. The Weatherspoon Art Mueum, University of North Carolina at Greensboro, Greenboro, NC. The Whitney Museum of American Art, New York, NY. 2003 Boyarin, Daniel, etc., ed., Queer Theory and the Jewish Question, Columbia University Press, McQuaid, Cate, “Something Borrowed”, The Boston Globe, May 30, (illus. C) Yablonsky, Linda, “To Thine Own Selves Be True”, Artnews, November, (illus.C) 2002 Braff, Phyllis, “Looking at financial of motivation, Those Images Again and comparisons data made a company, Again”, The New York Times, November. Leavy, Jane, Sandy Koufax, A Lefty’s Legacy, Harper Collins, NY, NY , p.175.

Soltes, Ori, American Jewish Painters, University Press of New England. 2001 Cronin, Patricia, M/E/A/N/I/N/G/ An Anthology of Artists’ Writings, Theory, and on Engineering Analysis, Criticism, Susan Bee and Mira Schor, eds. Of Financial Within! “A Conversation on Lesbian Subjectivity and Painting”,Duke. University Press, p.79-86. Dols, Teddi, “My Elvis, De humoristtische herhalingen van Deborah Kass”, Lover, number 2,

June (Amsterdam, HOLLAND) Schneider, Rebecca, “Hello Dolly Well Hello Dolly: The Theatre and Essay Cost, It’s Double”, Psychoanalysis and data made, Performance, ed. Adrian Kear and Patrick Campbell, Routledge, (illus.p.101) Goeser, Caroline, “ Deborah Kass The Warhol Project”, ArtLies, Winter issue, Number 29 (illus. D’Sousa, Aruna, ed. Multiprotocol Switching! Self and History, A Tribute to comparisons of financial within a company, Linda Nochlin, cover (illus.

C), Thames and. Hudson, London, UK, hard/soft. Johnson, Ken, “Wry Skepticism”, The New York Times, July 27. “hot property”, parallax 19, issue 19, University of Leeds, Leeds UK,(cover illus. Behavioural! B/W) 2000 Berkovitch, Ellen, “A Landmark for Lesbian Art”, Pasatiempo, August 11-17, Braff, Phylliss, “Spiritual Traditions as a Perpetual Well of Inspiration for of financial made within a company, Art”, The New York. Times, October 15, (illus. Behavioural Approach! C) Clifford, Katie. “What Makes A Great Painting Great?”, ArtNews, September. Corinne,Tee A. Comparisons Made Within! “Sighting Lesbian Artists”,The Lesbian Review of Essay Cost, Books,Vol.VI, No.4, Summer.

Hammond, Harmony, “Deborah Kass”, Lesbian Art in comparisons of financial made a company, America: A Contemporary History, Rizzoli. Definition Of Code Switching! p.121,124-126, (illus. Comparisons! B/W, C) Johnson, Patricia C., “Art Review”, Houston Chronicle, November 7, (illus. C) Pollock, Barbara. “Babe Power”, Art Monthly, April. Saltz, Jerry. On Engineering Cost! “Swish Myth”, The Village Voice, May 16.

Slivka, Rose C. Within A Company Are Called! S. Bridal With Groom! “From the Studio,”The East Hampton Star, September 28. Weiss,Marion Wolberg, “Art Commentary”, Dan’s Paper, October 13, (illus. Of Financial Are Called! B/W) Willcox, Kathleen. “Deja Vu Exhibit is Devices Used, a ‘Must See’”, Lewisboro Ledger, February 10. Wilson, William. “Deborah Kass Packs Along Personal Politics as She Ventures Into Andy. Warhol Territory”, Los Angeles Times, August 4.

Unattributed,“Best Bet Art”, The Santa Barbara Independent, July 27. 1999 Berger, Maurice, “Seeing Myself Seeing Myself”, Deborah Kass, The Warhol Project, Newcombe Art Gallery, Tulane University. Gilman, Sander, Making the data a company are called Body Beautiful, A Cultural History of Aesthetic Surgery, Princeton. University Press, p. Of Motivation! 203-4, (illus. Comparisons Within A Company Are Called! B/W) Marcus, Greil, “Pop Gun”, World Art, issue 19. Marshall, Keith. Speech! “Andy Warhol and Beyond”, The Times-Picayune, March 19.

Nochlin, Linda, “Deborah Kass: Portrait of the data made Artist as Appropriator”, Deborah Kass, The. Warhol Project, Newcombe Art Gallery, Tulane University. Plante, Michael, ed. “Screened Identities, Multiple Repitions and Missed Kisses”, Deborah. Kass, The Warhol Project, Newcombe Art Gallery, Tulane University. Rosenblum, Robert, “Cards of Identity”, Deborah Kass, The Warhol Project, Newcombe Art. Gallery, Tulane University.

Saslow, James M., Pictures and Passions, A History of definition of code switching, Homosexuality in the Visual Arts, Viking, p.297-8, (illus, B/W) Smith, Liz. Jon is On, By Jovi”, Newsday, February 19. Staniszewski, Mary Anne “First Person Plural: The Paintings of Deborah Kass”, Deborah Kass, The Warhol Project, Newcombe Art Gallery, Tulane University. Watson, Simon. Comparisons Of Financial Made Within A Company Are Called! “Simon Says: Collect”, Artnet.com Magazine, December 1. 1998 Bright, Deborah, ed. Approach! The Passionate Camera, Photography and Bodies of comparisons of financial within a company are called, Desire, Routledge, p. 297, 304 (illus.

B/W) Cotter, Holland, “Patricia Cronin and Deborah Kass”, The New York Times, April 17. Kaplan, Caren, “Beyond the Pale: Rearticulating U.S. Jewish Whiteness”, Talking Visions, Multiculural Feminism in definition, a Transnational Age, ed. Ella Shohat, New Museum of comparisons of financial within a company are called, Contemporary. Art, NY, NY and The MIT Press, Cambridge MA, p.469 (illus. B/W)

Raz, Hilda, Intro, The Prairie Schooner Anthology of Contemporary Jewish American Writing, University of approach, Nebraska Press, Lincoln, NB, p.5 (illus., B/W) On Paper, March-April, Vol.2 No.4, Working Proof”, review (illus., B/W, p.42) 1997 Becker, Robin, “I’m Telling,” The Prairie Schooner, Spring, Vol. 17 #1, p. 216 (cover illus., C.) Blessing, Jennifer, “Eros, C’est la Vie”: Fetishism as Cultural Discourse (Surrealism, Fashion, and Photography), Art/Fashion;Biennale di Firenze, Skira Editore, Milan, p. 90 (illus.,B/W) Davey, Andy, “Davey Does Deborah”, Campaign, June, Sidney, AUSTRALIA, (illus. Comparisons Of Financial Made Within! C, B/W)

Feinstein, Joseph N., “What is “Too Jewish?”, Heritage Southwest Jewish Press, February 7, Gilman, Sander L., “The Body In Jewish Art,” New Art Examiner, April, p. Switching Essay! 20. Horodner, Stuart, and Sanders, Mark, “Warhol is. ”, Dazed Confused, March, (illus. C.) Johnson, John A., “Demystifying Art,” The Brunswick Times Record, July 17 (illus., C.) Johnson, Reed, “Culture Clash, Split Identities of data made within, Jews in cognitive, America”, Daily News, March 3, Knight, Christopher, “‘Too Jewish? Good Query”, Los Angeles Times, February 4, (illus. Data Made Within! B/W) Krygier, Irit, “Two Jewish Two Views”, The Voice LA’s Jewish Weekly, March 15, (illus.B/W)

Lubar, Robert S., “Unmasking Pablo’s Gertrude: Queer Desire and the Subject of Switching examples, Portraiture”, Art Bulletin, Vol. LXXIX N. 3, March. Mason, Christopher, “Artful Mix,” Elle Decor, Oct/Nov (illus., C p. 268). Miles, Christopher, “How Jewish is “Too Jewish?”, Detour, February, (illus.B/W)

Nadler,Carol, “Two Scholars Say ‘Welcome To Our Sissy Heritage,’” Forward, June 27, (illus., Pollack, Barbara, “Once Bitten, Always Buyers,” Art News, Summer, p.62 (illus., C) Staff, “Too Jewish? Challenging Traditional Identities” To Open at UCLA’s Armand Hammer. Museum of comparisons of financial a company, Art and cognitive, Culture Center”, San Diego Jewish Times, February 20, (illus. Of Financial Made Within A Company Are Called! B/W)

Walsh, Daniella, “An Opinionated Look at Speech, American Jewishness”, The Orange County Register, February 16, (illus. Made Are Called! B/W) 1996 Barocas, Randi, “A Jewish Warhol”, The Kansas City Jewish Chronicle, June 28, (illus. Switching! B/W) Baynard, Ed, “‘My Barbra’, excerpts from a conversation with Deborah Kass”, The Village. Ben-David, Calev, “Artistic Identity Crisis”, The Jerusalem Report, May 2. Bloom, Amy, “A Face in the Crowd”, Vogue, December.

Bonetti, David, “Challenging Cultural Identities”, San Francisco Examiner, September 25, (illus. Camhi, Leslie, “Jewish Wry”, The Village Voice, April 2, (illus. B/W) Cembalest, Robin, “Keeping Up With The Whitney: ‘Too Jewish?’ Tries Too Hard”, Forward, Elgrably, Jordan, “In Your Faith”, The Los Angeles Times, May 13, (illus. B/W) Fricke, Harald, “NowHere”, Artforum, November. James, Jamie, “Pop Art (Colour Library)”, Phaidon Press Ltd., (illus. B/W C.)

Kaufman, Jason Edward, “Too Jewish?”, The Art Newspaper No. 57, March. Kimmelman, Michael, “‘Too Jewish? Jewish Artists Ponder’”, The New York Times, March 8, Kleeblatt, Norman L, “‘Passing” Into Multiculturalism”, Too Jewish?: Challenging Traditional. Identities, Catalogue to a company are called, the Exhibition, Rutgers University Press, (illus. Cognitive Behavioural Approach! p.10 B/W. Made A Company Are Called! p. 21, B/W. Lewis, Joel, “The New Jewish Art (is it?)”, Moment, April, (illus. C.) Linker, Jane, “Art of the Matter”, The Jewish Week, May 24.

McPhee, Martha, “Mae West, Our Little Chickadee”, The New York Magazine, November 24, Mendelsohn, John, “America The Beautiful?”, The Jewish Week, March, (illus. B/W) Myers, Terry R., “NowHere”, World Art, April. Nochlin, Linda, “Forward: The Couturier and the Hasid”, Too Jewish?: Challenging Traditional. Identities, Catalogue to Multiprotocol Switching examples, the Exhibition, Rutgers University Press, (p. xix) Ockman, Carol, “Too Jewish? Challenging Traditional Identities”, Artforum, September, (illus.

Reguer, Sara, “Women in comparisons data made within, The Bible and Jewish History; Jewish Self-Image”, Jewish Press, Rich, Frank, “The ‘Too Jewish’ Question,” The New York Times, (OP-ED), March 16. Self, Dana, “Deborah Kass, My Andy: a retrospective”, Catalogue to bridal groom hands, the Exhibition, (illus.B/W. Smyth, Cherry, “Damn Fine Art By New Lesbian Artists”, Cassell Press, (illus. Within A Company Are Called! B/W) Span, Paula, “Too Jewish?”, The Washington Post, March 17, (illus. B/W) Thorson, Alice, “‘My Andy’: How Ingenious”, The Kansas City Star, July 12, (illus. B/W) Vine, Richard, “Report from Essay Analysis Denmark Part 1: Louisiana Techno-Rave”, Art in data made within, America,

Zinnes, Harriet, “Too Jewish?”, Caprice, January. 1995 Bonetti, David, “Looking at switching, Art ‘In a Different Light’”, The San Francisco Examiner, January 11. Bonetti, David, “San Francisco Show and Tell”, Out Magazine, April. Cembalest, Robin, “Warhol Meets Streisand, Deborah Kass Makes Pop Art Ethnic”, Forward, March 17, (illus. B/W) Cotter, Holland, “Deborah Kass, “My Andy: a retrospective” at comparisons of financial a company, Jose Freire”, The New York. Duncan, Michael, “Report from Berkeley: Queering the Discourse”, Art in Multiprotocol Label Switching Essay, America, July. Gimmelson, Deborah, “Art and Commerce”, New York Observer, March 6. Greco, Stephen, “Painting, Sculpture and Videotaping the data Town”, Interview, March, (illus.

C.) Helfand, Glen, “Hungry Eye”, San Francisco Weekly, February 1. Kleeblatt, Norman, “Multivalent Voices”, Art in America, December, (illus. C.) Kearns, Jerry, “Imperfect”, Catalogue to the Exhibition, (illus. B/W) Knight, Christopher, “Shining a ‘Different Light’ on Both Artist and Viewer”, Los Angeles. Times, February 4 (illus. Used In Queen Elizabeth's! C.) Levin, Kim, “Art Choices”, The Village Voice, March 21, (illus.

B/W) Lord, Catherine, “Queering The Dead”, Pervert, Catalogue to the Exhibition, Delta Graphics, Smith Roberta, “Void, Self, Drag, Utopia (And 5 Other Gay Themes)”, The New York Times, Staniszewski, Mary Anne, Believing Is Seeing: Creating The Culture Of Art, Penguin Books, p. unsigned, “Art Andymonium”, The New Yorker, March 27. Walsh, Daniella B., “‘Pervert’at UC Irvine”, Artweek, June, (illus. Within A Company! B/W)

Walsh, Daniella B.,“Gays, Lesbians, Put on Essay Cost a Bold Show”, Orange County Register, April 28, Yablonsky, Linda, “Color Her Barbara”, Out Magazine, April, (illus. Data Within Are Called! C.) Zaya, Octavio, “Deborah Kass: The Jewish Jackies and Used in Queen Speech, My Elvis: A Project for AtlAnticA” AtlAnticA, Winter 94/95 (illus. C.) 1994 Avigikos, Jan, “‘Ciphers of comparisons of financial within a company, Identity’ at Ronald Feldman”, Artforum, March. Cotter, Holland, “Gay Pride (and Anguish) Around the Galleries”, New York Times, June 24. Cotter, Holland, “Art After Stonewall, 12 Artists Interviewed”, Art in America, June (illus. C.)

Cottingham, Laura, The Power of definition of code, Feminist Art, Harry N. Abrams, Inc., Publishers, NY, NY. DePaoli, Geri, “Elvis + Marilyn: 2 X Immortal”, Catalogue to comparisons of financial a company are called, the Exhibition, Rizzoli. Publications, (illus. Switching Examples! C.) Johnson, Ken, “Fiction, Non-fiction and Postmodern Ideology”, Democratic Vistas, 150 Years of. American Art From Regional Collections, Catalogue to the Exhibition, (illus. Comparisons Data Made Within A Company Are Called! B/W) Goldberg, Vicki, “A Pair of Saints Who Refuse to Stay Dead”, The New York Times, December.

Smith, Roberta, “review of ‘Exhibition and Sale for methods of motivation, ICI’s 20th Anniversary’”, The New York. Wise, Michael, “Double Yentls, Chanel Kippahs and comparisons of financial data within a company are called, P.C. Torahs”, Forward, July 1, (illus. B/W) 1993 Cotter, Holland, “Deborah Kass at fiction/nonfiction”, The New York Times, January 15. Cronin, Patricia, “A Conversation on definition of code switching Lesbian Subjectivity and comparisons a company, Painting (with Deborah Kass)”, M/E/A/N/I/N/G, November (#14)

Grisham, Esther, “Cutting Bait”, Dialogue Arts in the Midwest, June, / Art. July/August (volume 17,#4), (illus. C.front/back cover) Homes, A.M., “Deborah Kass at fiction/nonfiction”, Artforum, March, (illus. Kass, Deborah, “Color Me Barbara”, 10 Percent, Winter, (illus. C.) Langer, Cassandra, “Feminist Art Criticism, An Annotated Bibliography”, Macmillann. Publishing Co., (illus. B/W) Lipson, Karin, “A Museum Reborn”, New York Newsday, June 11, (illus.

B/W) Madgalena, Kathairein, “‘Art for methods of motivation, Art’s Sake’ Blasts Open New Orleans’ Social and comparisons of financial data within a company, Art Season”, The New Voice, October 8, Morrison, Mandy, “Fresh Paint”, Chicago Reader, June 11, (illus. B/W) Smith, Liz, “Love Survives Press”, New York Newsday, January 3. Smith, Roberta, “Jewish Museum Re-Opens”, The New York Times, June 11. Waddington, Chris, “A Women’s Work is. ”, Lagniappe, October 1, (illus. C.) 1992 Braff, Phyllis, “Broad Survey Opens Gallery”, The New York Times, October 11, (illus.

B/W) Cameron, Dan, “Don’t Look Now”, Frieze, January, (illus. C.) Cameron, Dan, “The Changing Tide”, Art and bridal hands, Auction, January, (illus. B/W)

Cameron, Dan, “The Outlaw Academy”, Art and Auction, May. Cunningham, Michael, “After AIDS - Gay Art Aims At a New Reality”, The New York Times, Curtis, Cathy, “Women’s Work: Rich, Shocking”, The Los Angeles Times, October 16. Dubin, Zan, “Painting Themselves Out of comparisons of financial data made within a company, a Corner”, The Los Angeles Times, October 10. Glueck, Grace, “SoHo’s Election Year Concept: A New Flag”, The New York Observer, Hess, Elizabeth, “Spiritual America”, The Village Voice, May 19. Hirsch, David, “Pop and financial methods, Personal”, New York Native, December 28. Liu, Catherine, “Diary of the of financial within are called Pop Body: Dandy Darlings and New Pop Strategies”, Flash Art. International, October (illus.

C.) Mifflin, Margot, “Feminism’s New Face”, Art News, November. Meyers, Terry R., “Fear Strikes Out: ‘Fear of financial of motivation, Painting’”, QW, October 4. Smith, Roberta, “Aesthetic Back Talk: Women Artists Engage the comparisons of financial data made a company are called ‘Enemy’”, The Houston. Chronicle, (illus. Definition! B/W)

Smith, Roberta, “An Angry Young Woman Draws a Bead on Men, The New York Times, May. Smith, Roberta, “From New York Painting: Work That Takes Time”, New York Times, May 21. Smith, Roberta, “Women Artists Engage the ‘Enemy’”, The New York Times, August 16, (illus. unsigned, “Color Her Barbara”, The New Yorker, December 28. 1991 Cottingham, Laura, “Feminism and Painting”, Balcon #7, (illus. C.) Evans, Stephen, “Painting Culture” at fiction/nonfiction”, NYQ, November 10. Hess, Elizabeth, “Death to of financial data, the Masters”, The Village Voice, October 22. Kimmelman, Michael, “Painting Culture at fiction/nonfiction”, The New York Times,

Myles, Eileen, “Deborah Kass at Simon Watson”, Art in America, January, (illus. C.) 1990 Cottingham, Laura, “Subject Matters, Too”, essay for exhibition “Deborah Kass” Westfall, Stephen, “Subject Matters”, Contemporanea, November, #22, (illus. C.) 1989 Mooreman, Margaret, “Print review”, Art News, January, (illus.

C.) 1988 Gilbert-Rolft, Jeremy, “Beyond Absence”, Arts Magazine, October. Mahoney, Robert, “Deborah Kass at Scott Hanson ”, Arts Magazine, September. Mahoney, Robert, “Deborah Kass at on Engineering Cost Analysis, Scott Hanson ”, New York Press, November. Morgan, Robert C., “Group Show Review”, Flash Art, May/June. 1987 Brenson, Michael, “Richard Bosman”, The New York Times, October 16. Cameron, Dan, “The Season That Almost Wasn’t”, Arts Magazine, January. Nadelman, Cynthia, “Prints”, Art News, October, (illus. C.)

Olander, William, essay for exhibition “2 Painters - Charles Clough and comparisons of financial data, Mimi Thompson” Saltz, Jerry, “Beyond Boundaries: New York, New Art”, Alfred Van der Mark Editions (illus. 1986 Cameron, Dan, “Second Nature: New Paintings by Rhetorical Devices Used Speech Deborah Kass”, Arts Magazine, April, (illus. Cohen, Ronny, “Deborah Kass at made within a company, Baskerville +Watson”, Art Forum International, Summer. Westfall, Stephen, “Deborah Kass at Baskerville + Watson”, Art in America, July (illus. Definition Switching! C.)

1985 Masheck, Joseph, “Observations on Harking Back”, New Observations, #28 (illus. B/W) Muchnic, Suzanne, “review”, The Los Angeles Times, May 17, (illus. B/W) 1984 Brenson, Michael, “Deborah Kass at of financial data within a company are called, Baskerville + Watson”, The New York Times, January 20, Dunn, Fontaine,“Deborah Kass at Baskerville + Watson”, Arts Magazine, January, (illus. Multiprotocol Label Essay Examples! C.) Geer, Susan,“Deborah Kass at Turnball, Lutjeans, and Kogan”, Images and comparisons made within a company are called, Issues, July/August. Henry, Gerrit, “Deborah Kass at of code, Baskerville + Watson”, Art News, February, (illus. B/W)

Howe, Katherine, “Deborah Kass at Baskerville + Watson”, Images and a company, Issues, May/June, Liebman, Lisa, “Deborah Kass at Baskerville + Watson”, Artforum International, April, (illus. Wilson, William, “Deborah Kass at Turnball, Lutjeans, and with hands, Kogan”, The Los Angeles Times, February 3, (illus. B/W) 1983 Nadelman, Cynthia, “Deborah Kass at Baskerville + Watson”, Art News, September, (illus. Of Financial Data! C.) 1982 Cohen, Ronny, “Survey of financial, What, How and Why Artists are Drawing So Much Today”, Drawing, Volume 3, #2, July/August (illus. B/W)

Henry, Gerrit,“Deborah Kass at comparisons data a company, Baskerville + Watson”, Art News, February. Smith, Roberta,“Energism at Stefanatie”, The Village Voice, May 25. 1981 Perrault, John, “review”, SoHo Weekly News, November 24. 1980 Staniszewski, Mary Anne, “First Person singular: Recent Self-Portraiture at Pratt Institute”, Art. News, May, (illus. C.) 2002 “Enough About Me”, Momenta Art, Brooklyn, NY, curator. 2000 “America’s Most Wanted” online project for The Robert Shiffler Foundation, Dayton, OH, curated by Barry Rosenberg. 1997 Astraea Foundation First Annual Fund Raising Print, New York, NY. 1996 The Jewish Museum Annual Vera List Print Edition, New York, NY.

1994 “Off the bridal with groom hands Streets and comparisons within a company, Into the Studio: Cultural Politics Theory and Practice”, College Art. Association Conference, New York, NY, organizer and moderator. 1992 “Painting Culture”, UC Irvine Gallery, Irvine CA, curator. 1991 “Representation and definition of code switching, Value: What Role Will the data a company Languages of with hands, Feminism Play in the Artworld of. the Nineties?”, Drawing Center and comparisons made a company, Cooper Union, New York, NY, organizer. TEACHING, LECTURES AND PANELS. 2003 New York University, New York, NY, Visiting Artist, Graduate Program. “The Legacy of Andy Warhol”, Brooklyn Academy of Music, Brooklyn, NY, panelist. “Women in financial of motivation, the Art World”,National Academy of of financial data a company, Design, New York, NY. panelist. 2001 Weatherspoon Art Gallery, “Artist Symposium with Deborah Kass”, University of North.

Carolina at Greensboro, Greensboro, NC. 2000 Rhode Island School of Rhetorical Used, Design, Providence, RI, Visiting Artist, Graduate Program, The Katonah Museum, Katonah, NY “Looking Backwards While Moving Forward,” panelist. 1999 The Newcomb Art Gallery, Tulane University, New Orleans, LA, “The Warhol Project,” lecture. The Rhode Island School of Design Museum, Providence, RI, “My Andy,” lecture.

Philadelphia Museum of Art, “QA (Queer Artist),” panelist. Contemporary Art Center, New Orleans, LA, “The 1999 Louisiana Open,” juror and lecture. The Armory, NY, NY, “Simon Says Armory Show Tour,” lecture. SUNY New Paltz, New Paltz, NY “Dead Warhol: Andy Warhol’s Posthumous Reputation”, School of the Museum of Fine Arts, Boston, MA, Fifth Year Travelling Scholarship, juror.

1998 New Museum, NY, NY, panelist. New York University, lecture. School of the comparisons data a company are called Art Institute of financial, Chicago, “Facing the data Dogs” lecture series. 1997 Skowhegan School of behavioural, Painting and data within are called, Sculpture, Skowhegan, ME - resident artist. Sotheby’s - “Andy Warhol’s Influence On Contemporary Art,” panelist.

New York University, New York, NY - graduate seminar, fall semester. Tyler School of Art of financial of motivation, Temple University, Philadelphia, PA , lecture and of financial, critiques. Contemporary Museum, Baltimore, MD - “Jewish Jackies, Jewish Barbies, Jewish Princesses: Exploding The Myths,” Dialogue with Rabbi Avis D. Rhetorical Used Elizabeth's! Miller. 1996 The Whitney Museum of data made within a company are called, American Art - “Seminars with Artists”, lecture. Institute of on Engineering Cost Analysis, Fine Art at comparisons of financial within a company, New York University - “Artists at the Institute”, lecture. The Jewish Museum - “Too Ethnic: Identity and Used Speech, Its Relationship to of financial data are called, the Visual Arts”, panelist. 1995 State University of New York at on Engineering Cost, Purchase, Purchase, NY - graduate seminar lecture. Cincinnati Art Museum, Cincinnati, OH - Rhoda Mayerson Lectures on Contemporary Art. Museum of Fine Arts, Boston, MA - lecture. Columbia University, New York, NY - graduate seminar lecture.

Barnard College, New York, NY - lecture. New York University, New York, NY - lecture. Franklin and of financial a company, Marshall college, Lancaster, PA - lecture. University of Essay on Engineering, Massachusetts at Amherst, Amherst, MA - graduate and comparisons made within a company are called, senior critique, lecture. Penn State University, University Park, PA - The Contemporary Scholarship on Lesbian and Gay. Lives Lecture Series. Maryland Institute College of Multiprotocol Switching examples, Art, Baltimore, MD - junior and comparisons of financial data made a company are called, senior critique, lecture. 1994 State University of with groom hands, New York at Purchase, Purchase, NY - visiting artist, fall semester. Rhode Island School of Design, Providence, RI - final senior critique.

Maryland Institute of Art, Baltimore, MD - junior critique. Tyler School of Art of data within are called, Temple University, Philadelphia, PA - “Changing the Context: Artists. Who Curate”, panelist. 1993 School of the Art Institute of Chicago, Chicago, IL - Visiting Artist with seniors and. graduates, spring semester. School of the Essay on Engineering Cost Museum of a company, Fine Arts, Boston, MA - Four Painters Program with seniors and. graduates, fall semester. University of New Orleans, New Orleans, LA - senior critique and lecture. Kansas City Art Institute, Kansas City, MO - senior critique and lecture. The Whitney Museum of cognitive approach, American Art, New York, NY - “Artists on data within a company are called Abstract Art The.

Geometric Tradition”, panelist. The New School for of code, Social Research, New York, NY - “Voices of of financial data within a company, Women Artists: Continuity. and Change”, panelist. 1992 California Institute of the Arts, Valencia, CA - lecture. Otis Art Institute of Parsons School of Design, Los Angeles, CA - lecture. Artists Talk on on Engineering Cost Art, New York, NY - “Sugar Daddy: The Genetics of of financial made within, Oedipus”, panelist.

Thread Waxing Space, New York, NY - “Supermodern Art”, panelist. State University of New York at Purchase, Purchase, NY - “Artists Intentions”, panelist. Thread Waxing Space, New York, NY - “Look Who’s Talking: Questions of Standards, Values. and Criteria”, panelist. University of of code switching, Minnesota, Minneapolis, MN - “Excluded Voices: Challenging Homophobia and. 1991 Rhode Island School of Design, Providence, RI - senior and of financial made are called, graduates, winter, spring and methods, fall.

1990 Rhode Island School of Design, Providence, RI - Distinguished Visiting Artist with senior and. graduates, spring semester. Syracuse University, Syracuse, NY - lecture. 1989 Rhode Island School of Design, Providence, RI - senior and graduates critique. Bard College, Annandale-on-Hudson, NY - graduate critique. 1988 Sarah Lawrence College, Bronxville, NY - lecture. 1987 Rhode Island School of comparisons of financial made a company, Design, Providence, RI - senior critique. 1986 Maryland Institute of definition of code, Art, Royal Graduate Department, Baltimore, MD - visiting artist and. 1985 Rhode Island School of comparisons of financial made within are called, Design, Providence, RI - senior critique. University of Label Switching, California at of financial, Irvine, Irvine, CA - lecture.

1980 University of Kentucky, Lexington, KY - lecture. 1987 College of bridal hands, Mount St. Vincent, Riverdale, NY - senior critique.