Adrienne C. Mim
69 Skimhampton Rd.
East Hampton, NY 11937
631 324 4043

A.C. Mim fabricating Fishnet Stocking, 1985, Fiberglass and fishnet, 22 x 41 x 11 inches
1999                Second Skin, Soho 20, New York, NY
1993 – 95        Ann Harper Gallery, Amagansett, New York, NY
1986 – 90        “5 Solo Ex”, Benton Gallery, Southampton, NY
1985 – 87        Soho20, New York, NY
1983                Gallery 66, East Hampton, NY
1982                Phoenix II, Washington DC
1980                ICL Galleries, East Hampton, NY
                        Gallery Odin, Port Washington, NY
1973 – 77        Benson Gallery, Bridgehampton, NY
1969                Guild Hall Museum, East Hampton, NY

1980               “Molecularmodmim III”, Battery Park, NY, NY
1981 – 82       “Sexodeumodmimi” Fordham University / Robert Moses Plaza at Lincoln Center, NY, NY
1981                Sculpture Sites, Amagansett, NY
1981                Sculpture in the Garden, NY Botanical Gardens, Bronx, NY
1981                Cheltenhem Art Center, Philadelphia, PA
1980                NAWA, Federal Building, New York, NY (Memorial Prize)
1977 – 79        OIA, Battery Park, New York, NY

2008                Contextual Texture, Kingsborough Art Gallery, City University of
                        New York, Brooklyn, NY

2008                Merry Go Round, Soho20 Chelsea, New York, NY
1999                Nabi Gallery, Sag Harbor, NY
1998                Entr'acte, Soho20, New York, NY
1990 – 95        6 Group Ex., Soho, NY
1994                Reality and Fantasy, Benson Gallery, Bridgehampton, NY
1993                Bologna-Landi Gallery, East Hampton, NY
1981 – 84        Brooklyn Museum, Brooklyn, NY
1981                Image: Self Image, Pace University, New York, NY
1980                Audubon Artists, National Arts Club, New York, NY
1978                New Directions in Sculpture, Heckscher Museum, Huntington, NY
1971,72,77      Artists of the Region, Guild Hall Museum, East Hampton, NY
1969                Out From the Wall, Parrish Art Museum, Southampton, NY

2009                Kelly Ann Smith, Edible East End
1995                Rose Slivka, East Hampton Star
1994                Sheridan Sansegundo, East Hampton Star
1994                Phyllis Braff, New York Times
1990                Phyllis Braff, New York Times
1983                Amei Wallach, Sculpture That Grows in the Woods, Newsday
1982                Nancy Linn, Views by Women Artists, Women’s Art Books
1981                Phyllis Braff, East Hampton Star
1981                Helen Harrison, New York Times
1981                Robert Witz, Appearances, New York, NY
1980                Grace Glueck, Guide to What’s New in Outdoor Sculpture, New York Times
1980                Malcolm Preston, Mim and Brodsky, Newsday
1980                Carrie Rickey, Stalking Wild Sculpture, Village Voice
1977                Malcolm Preston, Long Island Sculptors, Newsday
1977                David Shirley, A Suffolk Showcase, New York Times

1979               A.C. Mim, “Helicomodmim”, Distributed by Franklin Furnace

Guild Hall Museum, East Hampton, NY
Parrish Art Museum, Southampton, NY

1972 – 1977    MacDowell Fellowship, Peterborough, NH

Vivienne Thaul Wechter, “Outdoor Sculpture of A.C. Mim” VFUV, New York, NY, 1981
Glenn B. Opitz, “Dictionary of American Sculptors: 18th Century to Present, 1984
Alexander Russo, “Profiles of Women Artists”, University Publications of America, Inc. 1985, pp. 181-191


“Ms. Mim’s exhibition history has been based primarily on three-dimensional pieces. But in taking on the challenge of translating her previous experiments with fisherman’s netting to schemes of painting, she too had struck out in a new direction. Greatly enlarged, the netting’s crisscrossed webs become powerful diagonals to lead the eye. Ms. Mim’s interest in saving the sense of pliability contributes t the considerable visual potential here. Surfaces are infused with qualities of pushing, pulling and drooping. What should be firm seems soft. The natural diamond-shape spaces established by the netting grid are given various solid hue, making all of this especially complex as a perceptual issue. Among the most successful paintings are “Skylight,” organized as irregular waves; “Crossroads,” which pushes the forms into a chevron, and “Harlequin,” which breaks the surface into four squares.”
     - Phyllis Braff, “Athos Zacharias and Adrienne Mim”, The New York Times, June 5, 1994

“Ms. Mim has a fierce commitment to the musicality of forms and space – to express ideas as well as to invent them in a kind of translucent poetry of materials. Her mediating surfaces move in torrential turns within the embracing armature. Each sculpture becomes autonomous while still belonging to the natural progression of every piece. Her earlier environmental sculptures were giant hollow vessels of opaque fiberglass. The new work is concerned with the dynamics of the inside-outside structure in self-generating images and space. “
     - Rose Slivka, The East Hampton Star, November 28, 1995

“Adrienne Mim’s “Quadromodmim I”, made in 1976, is a quirky structure with three steel legs supporting a fiberglass and polyester resin form in bright, slick red-orange. In terms of its surface, at least, it resembles the work of other artists. Its overall form, however, is something else again, and the spindly tripod base confounds our expectations and give the sculpture a good deal of panache.”
     - John Caldwell, “Stimulating Show Inaugurates Site for Outdoor Sculpture” The New York Times, July 11, 1982

“In both materials and forms, her work speaks of contemporary technology, heralds the cool, impersonal shapes of science and appears to be designed to compliment the spaces found in urban architecture. Actually, several of the pieces in the Odin show are small scale maquettes of monumental  works for places like Battery Park and Ward’s Island. Mim works with polyester resin, reinforced with fiberglass. She molds her pieces carefully, often adding black, gray or brilliant orange coloring. Several of her pieces use a single, basic modular form, which, in different combinations, creates entirely different works. Fastened together with plainly visible screws and bolts, these works have a definite machine-like look.
But then, in what I take to be several earlier things, the polyester was molded over face-like forms which appear to struggle for recognition from under the taut layer of plastic. “Trilo Modmim” and “Black Mask” both have that humanist quality, but “Molecular Modmim” and “Red Circle” are more typical of Mim’s mechanistic sculpture."
     - Malcolm Preston, Newsday, June 24, 1980

Kelly Ann Smith, Edible East End, Fall, 2009

Photo by Lindsay Morris

For a full press kit in hard copy, please contact the artist.