622 Warren Street
Hudson, NY. 12534

Tel.  518.828.1915

Open Daily
11 am to 5 pm

Linda Cross

click on image for an enlargement, price, size and medium.

Relief Paintings 2016-2017

Field Notes, 2017

Painted Desert, 2017

What's Left, 2017

Relief Paintings 2012- 2014

Canyon, 2012

Coastal Flats, 2014

Drift, 2012

Escarpment, 2014

River's Edge, 2013

Stony Creek, 2013

Relief Paintings

In these most recent works, I deliberately combine the physicality of sculptural forms with illusionistic realism and shifting viewpoints. Fabricated of paper and acrylic elements, these rocks and riverbeds are traces, or symbols of the earth’s slowly evolving process, and they create a visceral dialogue with the refuse of a material world. The relief paintings contrast an abstract wilderness with the pervasive intrusion of civilization. The riparian calm of rocky creek beds is broken by glutted heaps of rubble. Color, dimension and meaning are explored as the elements are assembled into interconnected layers of sections or strata. The observer becomes an excavator, discovering multiple readings in the collision of nature’s evolution and our ever-increasing encroachment.

-Linda Cross

Arroyo, 2006

Rift, 2008

Barranca, 2007

Fresh Kills, 2005

Taghkanic Creek, 2011

Rock Face, Buckley's Corners, 2010

Ledge, 2008

Natural Process, 2006

River Bed, 2005

Mud Flats, 2009

Spring Thaw, 2007

Gully, 2007


Although known for her large installations above, Cross frequently produces more intimately scaled pieces. These smaller relief works explore the concept of an environmental study sample with rocks and debris embedded in the earth's surface.

Cluster, 2014

Core Sample, March 2003

Core Sample 1, 2001

Field Study, 2012

Land Fill, 2013

Little Remains, 2016

Outcropping 2, 2012

Core Sample 2, January 2003

Core Sample 3, May, 2003

Fragment 8, 1999

Dig, 2010

Signs of Life, 2010

Installation: Riverline Series: Tivoli Bay, 2009


Linda Cross at the James W. Palmer Gallery, Vassar College and the Beacon Institute of Rivers and Estuaries
by Jonathan Goodman


Poised between categories, Linda Cross’s evocative paintings are not only paintings but relief sculptures as well.She shows us what the Hudson River is like at this moment in time. Unfortunately, according to her vision, the great river is choking on industrial debris, although the beauty inherent in the colors of its stones, banks, and water still comes through in these paintings. The pollution has psychological as well as material consequences: it may be true that efforts are being made to clean up the river, but this does not stop our feeling that perhaps we are too late to save it. Yet Cross makes it clear that while there is much to be done, there is much to celebrate as well. Her shows at Vassar College and Beacon demonstrated her ongoing connection with the Hudson Valley, a familiarity based on her long stay in the area, and were timed to pay homage to the quadricentennial discovery of the Hudson Valley.

Familiar with the coast of Maine, as well as the mesas of New Mexico, Cross has always been interested in nature. She doesn’t paint so much as build her pictures, using stand alone paper and acrylic—as she says, “Rocks, cans, tires, and such are all hand formed.” Her close attention to verisimilitude can fool the viewer, who at first might easily believe that the objects are real. That is part of the reliefs’ attraction; they seem to convey the reality of water stopped up with manmade detritus. In Shoreline (2009), at Vassar, the viewer sees a foaming blue-and-white sea on the left; in opposition are small rocks and larger patches of brown, most likely a presentation of the darker banks facing the shoreline. Cross is perfectly poised between painting and low relief in this work, whose surface is active with water and stones and shore. It is a good example of her decision to both follow and parody verisimilitude, in textures and imageries that finally leave nature to possess the beauty of an imagined riverscape. Rift (2008), a large relief painting in overlapping planes of paper, colored green and white and whitish pink, she shows remarkable subtlety. Here nature has occasioned unusual finesse.

But in Fresh Kills (2005), at Beacon, garbage is almost all we see. The work, thick with cans and rocks, operates on a sad principle of unstoppable decay. The work can hardly be called beautiful as the cans speak to the casual, ongoing contamination of the river. Yet Cross also finds ways to praise. Riverline Shallows (2009) consists of the kinds of greens and blues we associate with running water and the rocks don’t crowd or dominate the shallows. In Rift (2008), coppers and reddish-whites dominate the surface, which has cracks running from top to bottom; this close-up study of nature demonstrates Cross’s craft process and subtle feeling for color.

Given Cross’s ecological concerns, it might be expected that she would present a predominantly political reading of the river’s decline; however, she has chosen a more complex view, closer to the actual state of the Hudson River, whose beauty continues to resist contamination.




Clover Reach, 2009

Narrows, 2009

Riverline Installation 2

Riverline Series installation 1

Spring Ebb, 2010

Tappan Zee, 2009

Upper Hudson, 2009

Riverline Series: Tivoli Bay, 2009

Shoreline, 2009

Works on Paper

After the Rain, 2016

Falls, 2017

Kaasterskill Ledges, 2017

Storms End, 2017

Gorge, 2016

Morning on the Creek , 2016

Rocky Bank, 2008

Sandy Beach, 2015

Sea Wall, 2014

Spring Flood, 2009

Thicket, 2012

Rock Face 5, 2015

Quarry, 2015

Rockface 1, 2015

Rockface 2, 2015

Rockface 3, 2015

Ledges, 2013

Broken Branches, 2007


Mist on the Creek , 2016

Rocky Bank, 2015

Wetlands, 2016

Natural History installation

Once in a while I find works of art that defy my expectations of what art can be, even as the work follows a centuries-long trajectory. I am referring, of course, to painting. Even as the digital revolution has become increasingly relevant among painters, many of whom have chosen to work between the computer and the canvas, the historical presence of painting continues to persist. Werner Herzog’s recent film on early Paleolithic cave art from nearly 40,000 years ago asserts the need felt by these impassioned painters to inscribe images of animals on the surface of rock. It was their world, and it was what they knew, and their evocation of it in the course of painting these animals would transmit an aesthetic statement thousands of millennia later. This suggests that painting began essentially as a tactile sensation as much as a visual one.

Upon seeing “Natural History” (2011), a wall-size painting by Linda Cross at the Carrie Haddad Gallery in Hudson, New York, I became further convinced of this phenomenon. Cross began constructing and painting three-dimensional images of riverbeds in the late 1980s, replicating the look of detritus as well as the indigenous moss and rocks. Over the years, these riverbed segments have developed through numerous variations, some of them included in the current exhibition in Hudson.

Several months ago, after studying the monumental rock formations embedded in the landscape around her home, she decided to shift her angle of vision from the ground to an upright perspective. Her initial studies of these walls of stone suggest a parallel relationship between the rock faults naturally found on site and those that appear to have been constructed long ago. Taking the concept of these modulations between nature and culture into her studio, Cross began working with chunks of synthetic Styrofoam insulation, carving them in a way that simulated rocks, bricks, and stones. Finally, she decided to build “Natural History” in six parts and to give the scale of her rock wall a one-to-one appearance.

There were numerous technical problems along the way, as her pâpier-maché replicas, the weight of the paint, and occasional detritus, including old tin cans mixed in with the simulated ones, needed structural support. One may recall from the film document by Bruce Conner of the famous “Rose” painting by the San Francisco painter Jay DeFeo, that similar problems were encountered when DeFeo moved the painting from her studio in the late 1950s and early 1960s. Also, Cross wanted a site-specific reference to the facing wall of the Haddad Gallery, so that viewers upon entering the space would be immediately confronted by it. The results are phenomenal, striking, and paradoxical—a remarkable tour de force that expands and extends the history of painting in relation to the history of the earth itself.

Robert C. Morgan for the Brooklyn Rail

*This installation is currently exhibited at Traveler's Towers, Southfield MI, Time Equities Art in Buildings Program

Natural History: detail # 11

Natural History: detail #3

Natural History: detail #7

Natural History: Installation shot

Natural History (detail), 2011

Natural History (detail), 2011



1959-61            The University of New Mexico, M.F.A.

1957-58            Syracuse University, B.F.A.

1954-57            The School of The Art Institute of Chicago

Selected Recent Solo Exhibitions

2014                       " Sections,"  Carrie Haddad Gallery, Hudson, NY

2012                 "The Shape of the Earth," Hudson Valley Community College, Troy, NY

2011                 "Natural History," Carrie Haddad Gallery, Hudson, NY

2009                 “The River,” James W. Palmer Gallery, Vassar College, Poughkeepsie, NY

                        “Reflections on the River,” Beacon Institute for Rivers and Estuaries, Beacon, NY

2005                 John Davis Gallery, New York, NY

2002                 Lemmerman Gallery, New Jersey City University, Jersey City, NJ

2001                 Davis and Hall Gallery, Hudson, NY

2000                 Davis and Hall Gallery, Hudson, NY

1998                 “The River,” Hudson Opera House, Hudson, NY

                        “Shaping the Land,” Albany Center Galleries, Albany, NY

1997                 “Land Marks,” A Gathering of the Tribes Gallery, New York, NY

1996                 Spencertown Academy for the Arts, Spencertown, NY

1993                 Art Museum, State University of Plattsburg, NY  

                        “Retrospective, Work on Paper,” Five Points Gallery, East Chatham, NY

1992                 Five Points Gallery, East Chatham, NY

1988                 Five Points Gallery, East Chatham, NY

1985                 Durham-Ziff Gallery, New York, NY


Selected Group Exhibitions

2017                 “Figures and Landscapes,” Carrie Haddad Gallery, Hudson, NY


2015                 “Dancing with Dystopia,” Allan Stone Projects, New York, NY

2012                 “Invitational Exhibition,” American Academy of Arts and Letters, New York, NY

2011                 “Hudson River Contemporary: Works on Paper,” Boscobel, Garrison, NY

2010                 “Accumulation,” Allan Stone Gallery, New York, NY

2009                 “Contemporary Sculpture at Chesterwood,” Stockbridge, MA

                        “Illusions,” Schick Gallery, Skidmore College, Saratoga Springs, NY

2008                 “PAPER,” Carrie Haddad Gallery, Hudson, NY

2007                 “First Bloom: Dialogues in Exuberance,” Victoria Price Contemporary, Santa Fe, NM

2006                 “Elements,” Carrie Haddad Gallery, Hudson, NY

2005                 “50+” The Holland Tunnel, Brooklyn, NY

2004                “Obsession,” Haddad Lascano Gallery, Great Barrington, MA

                        “Art and Environmentalism,” The Coffey Gallery, Kingston, NY

                        “Gallery Artists,” John Davis Gallery, New York, NY

2003                 “Sticks and Stones 2,” Collaborative Concepts, Beacon, NY

                        “Monotypes,” Spencertown Academy, Spencertown, NY

2002                 “Linda Cross, Thomas Sarrantonio,” Watermark/Cargo Gallery, Kingston, NY

2001                 “Fishing,” Time & Space Limited, Hudson, NY

2000                 Columbia County Council on the Arts, Carrie Haddad Gallery, Hudson, NY

1999                 “Pondside Press Retrospective,” Lorraine Kessler Gallery, Poughkeepsie, NY

                        “Off the Wall,” Stamford Center for the Arts, Stamford, NY

                        “Location: A Survey of Hudson Valley Artists,” Kendall Gallery, Hudson, 1997       

                        "Second Nature,” Columbia Community Gallery, Hudson, NY

                        “Gift for India,” The Safdar Hashmi Memorial Trust, Bombay, India

1996-97            "Messages from the Interior,” Rathbone Gallery, Sage Jr. College, Albany, NY
(travel for 2 years)

1996                 "River Soundings" The Maritime Museum, Philadelphia, PA

                        "terra incognita,” RCCA: The Arts Center, Troy, NY

                        "Artists for the Environment," Gallery at Park West, Kingston, NY

                        “Ways of Seeing,” Coffin Creek, Mudgee, N.S.W. Australia

1995                 "Contemporary Sculpture at Chesterwood," Collaboration with J. Cross, Stockbridge, MA

                        "Forms from Nature,” The Gallery at Park West, Kingston, NY

                        "The Mohawk-Hudson Regional Exhibition," Schenectady Museum, Schenectady, NY

                        "Drawings," Image Gallery, Stockbridge, MA

1994                 "Landworks,” Vermont Council on the Arts, Woodstock, VT

                        "Hudson Valley Sampler,” The Gallery at Park West, Kingston, NY

                        "Geological Visions: Art of the Landscape" Schick Gallery, Skidmore College,
Saratoga Springs, NY

1993                 "Fieldwork,” site-specific installation, Art Omi International Arts Center, Omi, NY

                        "Riverworks,” site-specific installation, Hoosic River Watershed Association, Williamstown, MA

                        "Contemporary Monotypes," Associated American Artists, New York, NY

1992                 "Abstraction in the 90s," Sound Shore Gallery, Stamford, CT

                        "The Hudson Art Project," site-specific installation, Hudson, NY

                        "Contemporary Sculpture at Chesterwood,"  Stockbridge, MA

1991                 "Physicality, Color Dimensionality in Painting," Hunter College, New York, NY

                        "Art for the Land," Five Points Gallery, East Chatham, NY

1990                 Allan Stone Gallery, New York, NY

                        "Dimensions Between 2 and 3," Five Points Gallery, E. Chatham, NY 

1989                 "Color Moves," Sound Shore Gallery, Stamford, CT

1988                 "Common Objects," Elaine Benson Gallery, Bridgehampton, NY

                        Triangle Artists Workshop, Pine Plains, NY

                        Five Points Gallery, East Chatham, NY

1985                 Durham-Ziff Gallery, New York, NY

1977                 Webb & Parsons Gallery, New Bedford, NY

1969                 Annual Exhibition, Guild Hall, East Hampton, NY

                        The American Academy of Arts & Letters, New York, NY

1968                 East Side Gallery, New York, NY

                        “PAPER ‘ 68,” John Michael Kohler Art Center, Sheboygan, WI

                        The National Institute of Arts and Letters, New York, NY

1967                 Annual Exhibition, Pennsylvania Academy of Fine Arts, Philadelphia, PA

1966                 “Art on Paper,” University of North Carolina, Greensboro, NC

                        Annual Fine Arts Festival, The Parrish Art Museum, South Hampton, NY

                        Annual Exhibition, Guild Hall, East Hampton, NY

                        Midyear Exhibition, The Butler Institute of American Art, Youngstown, OH

                        Annual Exhibition, The Pennsylvania Academy of Fine Arts, Philadelphia, PA

                        The National Institute of Arts and Letters, New York, NY

1965                 East Side Gallery, New York, NY

                        “Ultimate Concerns,” Ohio University, Athens, OH

                        Midyear Exhibition, The Butler Institute of American Art, Youngstown, OH

1964                 Annual Exhibition, National Academy of Design, New York, NY

                        “Second Annual Touring Exhibition”, Botts Memorial Hall, Albuquerque,NM

1963                 “Award Winners Selection Show,” East Side Gallery, New York, NY

1962                 Annual Exhibition, National Academy of Design, New York, NY

                        Annual Exhibition, The Art Institute of Chicago, Chicago IL

1961                 Madison Gallery Quarterly Exhibit, Madison Gallery, New York, NY

                        Corrales Invitational Exhibition, Corrales, NM

                        Museum of New Mexico, Santa Fe, NM

1960                 Invitational Exhibition, Roswell Museum of Art, Roswell, NM

                        Art Rental and Sales Gallery, The Art Institute of Chicago, Chicago, IL

1959                 Fifth Annual Festival of the Arts, The University of Chicago, Chicago, IL



Selected Bibliography

2015                 Kedmey, Karen, Allan Stone Projects, ARTSY EDITORIAL


2014                 Morgan, Robert C., Brochure essay, Carrie Haddad Gallery, Hudson, NY

2011                 Morgan, Robert C., "Linda Cross: Excavation Painting," The Brooklyn Rail

                        Simpson, Nicole, “The Possibilities of Paper Pulp,” blog.art21/ink, July 8

2010                 Morgan, Robert C., “Readymades Remade (After Consumption): Detritus as Art", The Brooklyn Rail

                        Goodman, Jonathan, “Linda Cross at Vassar and Beacon,” artcritical.com, New York, NY

                        McCormack, Ed, “Accumulation at Allan Stone Gallery,” Gallery & Studio, New York, NY

                        Weintraub, Linda, “Nature/Nurture,” Hudson River Museum & Gallery Guide, Fall

2009                 Phagan, Patricia, catalog essay, Vassar College, Poughkeepsie, NY

                        Stewart, Linda, catalog essay, Beacon Institute for Rivers and Estuaries, Beacon, NY

2006                 Clark, Agi, “Linda and John Cross, in their own terrain,” Hudson River Art, vol. 5. p. 8

2005                 Morgan, Robert C., “50+,” catalogue essay, The Holland Tunnel, Brooklyn, NY

2005                 Nahas, Dominique, “Selected Paper Art Exhibitions in New York City,” Hand Papermaking, Summer 2005, p. 30

2004                 “Art and Environmentalism,” Catalogue Introduction by Tom Nelson,  Coffey Gallery, Kingston, NY

2003                 Lombardi, Dominick, “Sticks and Stones 2,” The New York Times, Aug. 24

2002                 Cahill, Timothy, “Unnatural Landscapes,” Albany Times Union, May 19

2002                 Morgan, Robert C., “Linda Cross, Davis & Hall,” Sculpture Magazine, April

2000                 Jaeger, William, “Art on the Hudson,” Albany Times Union, Dec. 10

1998                 Morgan, Robert C., “Linda Cross, Shifting Terrains,” catalogue essay,
The Albany Center Galleries, Albany, NY

                        Wilkinson, Jeanne C., “Land Marks,” COVER, vol. 12, #3, New York, NY

1997                 Morgan, Robert C., “Linda Cross, Land Marks,” NY Arts Magazine, issue 16, New York, NY

1995                 Jaeger, William, "Six Artists Light Out for Interior Territory," The Times Union, Albany, NY, Nov. 2

                        Temin, Christine, "Nature Gets into the Act," The Boston Globe, Boston, MA, Aug.9

                        Wright, Peg Churchill, "Chesterwood Sculptures Work Harmoniously with Surroundings,"
The Daily Gazette, Schenectady, NY, July 27

1994                 Abramson, Mark, "Visioning and Revisioning the Valley,” Woodstock Times, Woodstock, NY, Aug. 4

1992                 Peseckis, Frank, "The Resolution of Complexity: The Drawings of Linda Cross,”
Catalogue essay, Five Points Gallery, East Chatham, NY

                        Wright, Peg Churchill, "Chesterwood Stirs Imagination," The Daily Gazette, Schenectady, NY, Sept. 3, p. A8

                        Temin, Christine, "Chesterwood Gives Sculpture Room to Soar," The Boston Sunday Globe, Boston, MA, Aug. 23.

1990                 Lail, Thomas, "Show Mixes Math and Metaphor," The Times Union, Albany, NY, Nov.8, p. 10

1988                 Moffett, Kenworth, "Triangle Workshop," Moffett's Artletter, Stamford, CT, Sept.-Oct., p.130

1965                 “Linda Cross, East Side Gallery,” Art News, New York, NY April

1963                 “Linda Norford Cross, East Side Gallery,” Art News, New York, NY October



2012                 Strategic Opportunity Stipend, NYFA and NY State Council on the Arts 

2007,08             New York Foundation for the Arts, The Artist Fund

2000                 First Prize, Work on Paper, Columbia County Council on the Arts Juried Show

1993                 Special Opportunity Stipend, NY Foundation for the Arts & Renessalaer County Council for the Arts

1988                 Residency, Triangle Artists’ Workshop, Pine Plains, NY

1966                 Purchase Prize for Painting, 31st Midyear Show, The Butler Institute of American Art, Youngstown, OH

1964                 George Grosz Memorial Scholarship, Art Students League, NY

1963                 Award for Painting, Allied Arts Guild Selection Show, East Side Gallery, NY

1959                 Graduate Fellowship, University of New Mexico, Albuquerque, NM

1959                 First Prize for Painting, 5th Annual Festival of the Arts, University of Chicago


Selected Collections

Ann and Richard Artschwager, Stotville, NY

The AYCO Company, Saratoga Springs, NY

Darla Barger, San Antonio, TX

The Lawrence Benenson Collection, New York, NY

Butler Institute of American Art, Youngstown, OH

California State University, Long Beach, CA

Constantine and Partners, New York, NY

Lisa Fox Martin and Dick May, Catskill, NY

The Francis J. Greenburger Collection, New York, NY

Anna Jane Hays, Santa Fe, NM

Hudson Area Library, Hudson, NY

Kingsboro Community College, Brooklyn, NY

Neel and Allison Lane, San Antonio, TX

Jim and Purcell Palmer, Catskill, NY

Pepsico, Inc., Purchase, NY

Pondside Press, Rhinebeck, NY

Ethel Runion, San Antonio, TX

The Allan Stone Collection, Purchase, NY

Syracuse University, Syracuse, NY

University of New Mexico, Albuquerque, NM

Iliana von Meeteren, Rhinebeck, NY

Western Electric Company, New York, NY


Hope College Kruizenga Art Museum, Holland, MI



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