1940: Kenosha (WI) Art Museum, Kenosha, Wisconsin [solo]
1941, 1943: National League of American Pen Women, Drake Hotel, Chicago, Illinois
December 1945: Austin, Oak Park and River Forest Art League, Oak Park, Illinois
All-Illinois Society of Fine Arts, Chicago, Illinois
Austin, Oak Park and River Forest Art League, Oak Park, Illinois
Newcomb-Macklin Galleries, Chicago
Chicago public schools: murals
Austin/Oak Park/River Forest Art League, Oak Park, Illinois
Art Institute of Chicago Alumni Association, Chicago, Illinois
National League of American Pen Women
Teacher, Art Institute of Chicago, Chicago, Illinois
Teacher, Austin, Oak Park, River Forest Art League, Oak Park, Illinois
Her grandfather, Cyrus Church, came west to Walworth in 1837.
Lectures on “Why I Like to Experiment in Art”, and “The New Vision.”
Is listed in Who’s Who in American Art and Leading Women of America.
her “relativity paintings”: working in pastels from a moving car… first she gets the “feel” of the landscape, soaking herself in the mood, whatever it happens to be…Then she beings to work tentatively so that the first are soft and have a tendency to vagueness. As she progresses so the unrolling story of the land progresses, growing in strength and power until she comes to a climax much as a dramatic performance, and the ever-changing landscape is a dramatic thing, comes to a climax from which it quickly rounds out to completion. Working very rapidly she does everything in single strokes, something after the manner of the Chinese, never mixing her colors, and the results is that she finds it a strenuous job which leaves her exhausted at the conclusion of a series. This is particularly true as she feels art needs to get back to the emotional feeling and it is her emotional reaction to what she sees that she tries to get down, and does, that others may experience it with her. When the car stops, she says, she loses all her feeling of rhythm.” -- "Village Artist's Works Compared to "Relativity"", Oak Leaves, March 17, 1938 p. 10