Jacquie Alberga Germanow
[email protected]

Education                                                
St. Lawrence University: Bachelor of Science in Biology: Beta Beta Honorary, Phi Beta Kappa Award
Utah State University: Masters of Fine Arts in Sculpture: Student Award Sculpture

Employment                                                
Rochester Institute of Technology                            
  • Fine Arts Faculty: Sculpture, Drawing, and Painting (1993-2001)
  • Nominee for The Eisenhart Outstanding Teacher Award  
  • Nominee for The Multidisciplinary Studies Excellence in Teaching Award
Hobart & William Smith Colleges
  • Interim Faculty: Drawing (1992)
University of Rochester: Memorial Art Gallery
  • Fine Arts Faculty: Sculpture and Ceramics (1975-1988)
Utah State University
  • Graduate Teaching Assistantship: Figure Sculpture and Ceramics (1972-1973)
Grants, Residencies, Speaking Engagements                 
  • Monroe County Artist Residency Exchange, New York State Council on the Arts (1996)
  • Special Opportunity Stipend for Wood Carving Symposium New York State Council on the Arts (1995)
  • Marble/marble Residency, Marble CO ( 1996, 1997)
  • Painting Residency with Tim Hawesworth, PA
Speaking Engagements:
    Studio Talks on Creativity & the Arts for Pegasus Early Music, & Madrigalia Chorus 2020,21
    Social Justice and the Arts, Humanities Center, University of Rochester 2019   
    Technical Talks on Kiln Casting Glass at Studio 34, Rochester, NY, 2013
    Lecture on Artemisia Gentileschi for Docents, MAG, University of Rochester, NY 2012
​    Lecture on Artemisia Gentileschi, Nazareth College, Rochester, NY, 2010
    Presentation of work & Discussion, Pittsford Art Group, Pittsford, NY 2007
​    Lecture on my Exhibition, Art Dept. St. Lawrence University, Canton, NY (1995)
    Technical Lecture on Ceramic Forming Techniques, Hobart &William Smith Colleges, 1993
    SUNY @Oswego, Ceramics Technical Lecture & Demo, Oswego, NY, 1983    
    Nazareth College, Fine Arts, Rochester,NY 1982

Exhibitions (* indicates a juried exhibition)                            
  • Open Studio Show of Sculpture, Paintings & Drawings, Rochester, NY 2016-2022
  • *Portals & Portholes National, Main St. Arts, Clifton Springs, NY, 2022*
  • *FEMINA, International, Biafarin & published in Galleria, Ontario, Canada 2022*
  • *Persistance, National, d’Art Center,Norfolk, VA 2022*
  • *National Protest Signs, CAB Gallery,UNC, Wilmington, NC2022
  • *Nuditas International Group Show & Publication, Ontario, Canada, 2021
  • *Made in New York, Schweinfurth memorial Art Center, Auburn, NY, 2021
  • Main St. Gallery, Clifton Springs, NY Invitational 2018
  • Solo Show of Sculpture, Paintings, & Drawings, Geisel Gallery, Rochester, NY (2016) 
  • Invitational Theme Show: Oxford Gallery, Rochester, NY ( 2011,12,13,14,15,16,17, 18, 19) 
  • Invitational Sculpture Show: Oxford Gallery, Rochester, NY (2011)
  • A Show of Heads, Limner Gallery, Hudson, NY 2013*
  • Sculpture, Fine Art Fair: Jacob K. Javits Center, New York , NY (2010)*
  • Germanow Sculpture & Netsky Prints: Nazareth College Art Center, Rochester, NY (2010)
  • Solo Painting Invitational: Wilmot Library, Nazareth College, Rochester, NY (2010)
  • Democracy Now – Sculpture: Booksmart Gallery, Rochester NY (2009)*
  • Invitational Sculpture Show: Oxford Gallery, Rochester, NY (2008)
  • High Falls Art Center Painting Invitational: Rochester, NY (2007)
  • Invitational Sculpture Show: Oxford Gallery, Rochester, NY (2006)
  • Sculpture: Oxford Gallery, Rochester, NY (2005)
  • Drawings & Sculpture: Gallery 15, Rochester, NY (2003)
  • Invitational Sculpture Show: Oxford Gallery, Rochester, NY (2003)
  • Faculty Show: Rochester Institute of Technology, Rochester, NY (2000)
  • Sculpture Invitational: Oxford Gallery, Rochester, NY (2000)
  • Large Drawings Invitational: Lightner Gallery, Keuka College, Keuka Park, NY (1999)
  • Gateway Gallery Sculpture Invitational: Rochester, NY (1999)
  • Genesee Valley Sculpture Invitational: Lederer Gallery, SUNY Geneseo, NY (1998)
  • Hallowed Earth Visions: C. Lindholm Fine Art, Milwaukee, WI (1997)*
  • Montclair State University National Exhibition of Small Works: Montclair, NJ (1997)*
  • Metamorphosis – A National Exhibit: C. Lindholm Fine Art Gallery, Milwaukee,WI (1997)*
  • Faculty Show: Rochester Institute of Technology, Rochester, NY (1997)
  • National Council on Education for the Ceramic Arts Invitational Convention Show: Upper Falls Gallery, Rochester, NY (1996)
  • Artist Residency Exchange Show: Hallwalls Contemporary Art Center, Buffalo, NY (1996)*
  • Solo Invitational Exhibition: St. Lawrence University Art Center, Canton, NY (1995)
  • Faculty Show: Rochester Institute of Technology, Rochester, NY (1995)
  • Twenty Five Regional Artists – Traveling show: SUNY Brockport, NY (1993-1994)
    Faculty Show: Hobart & William Smith Colleges, Geneva, NY (1993)
  • Sculpture Solo Show: Oxford Gallery, Rochester, NY (1992)
  • Rochester Finger Lakes Exhibit: Memorial Art Gallery, Rochester, NY (1991)*
  • Sculpture Solo Show: Schweinfurth Memorial Art Center, Auburn, NY (NYSCA) (1991)*
  • Regional Sculptors: Yates County Arts Council, Penn Yan, NY (1990, 1989)
  • Appleseed Collection: Traveling Midstate New York Show (1987, 1985, 1983)*
  • Regional Work: Dawson Gallery, Rochester, NY (1985, 1983)
  • Crafts '83 – Featured Artists Exhibit Invitational: Museum & Science Center, Rochester, NY (1983)
  • Jacquie Germanow, David McDonald, Richard Zakin: Oswego Art Center, Oswego, NY (1983)
  • I Love New York – Featured Artists: SUNY Brockport, Brockport, NY (1983)
  • National Gallery Store Show: Memorial Art Gallery, Rochester, NY (1982)
  • Arts for Greater Rochester Show (Juror's Award from Robert Buck) (1982)*
  • Rochester Finger Lakes Exhibit: Memorial Art Gallery, Rochester NY (1980)*
  • Rochester Finger Lakes Exhibit: Memorial Art Gallery, Rochester, NY (1979)*
  • Rochester Finger Lakes Exhibit: (Juror’s  Award), Memorial Art Gallery, Rochester, NY (1977)*


PublishedArticles                                            
Article in Handformed Ceramics by Richard Zakin (Chilton, 1995)
  • Article in Ceramics Monthly (February, 1981)
  • Article in Electric Kiln Ceramics by Richard Zakin (Chilton, 1994, 2003)


Collections                                        
Work included in national and international corporate, private, and institutional collections: California, Florida, Kansas, Kentucky Maryland, Nevada, New Jersey, New York, Ohio, Utah, Washington D.C. Israel, Japan

Sebby Wilson Jacobson, Art Critic for the Rochester Times Union
distinguishes Jacquie's work from all the other art work in a regional sculpture Show at The Dawson Gallery when she states: "Germanow uses clay in a purely sculptural way, creating wall-hung compositions out of pillow- and bone-shaped clay forms. The eye "reads" the mystery and meaning behind these ancient forms as if they were a poem."

Ron Netsky, Chair of the Nazereth College Fine Arts Department and
writer for The Rochester Democrat & Chronicle
delves into the intellectual metaphors behind Germanow's work when he describes: "These biomorphic forms, juxtaposed with the realistic legs, arms, feet, and hands, are effective because they conjure up some sort of dream image of a mutation, evocative of everything from primitive creatures to science-fiction nuclear mutations. By paring down to these simple symbols - limbs, real and imaginary - Germanow seems to have discovered a means of expressing universal concerns in a vocabulary all her own."

Judith Reynolds of City Newspaper (Rochester, NY)
describes Germanow's sculpture as "powerful spiraling forms that twist upward, rising out of soft or broken shapes like massive screwdrivers - or giant plants."

Graham Beal, Director of the Joslyn Art Museum in Omaha, Nebraska
"sees a power and mystery radiated by Germanow's work: a phenomenon that repays extended examination"

Oxford Gallery Owner, Jim Hall
The sculptural forms wrought by the skilled hands of Jacquie Germanow acknowledge small debt to their creator. They appear rather to have grown by some inner necessity of the material itself: a “force that through the green fuse drives the flower.” At times, their emergence is explosive. (In her highly successful Spiral Metamorphoses series, a swirling vector appears to have torn through its containing substance.)  At other times, the emergence is more an evolution toward perfection of form: the organic fulfilling of an internal logic. On occasion, we witness the very struggle between emergence and containment.

What we observe in Ms. Germanow’s work is not a static object - an artistic fait accompli - but an organic process unfolding before our eyes.  It is, of course, a process of articulation.  But the direction is from inside out.  We experience her art as growth rather than volition.

In many of her works, this process of articulation is both an achieved fact and a represented idea. It is achieved in the progress from rough textures and unmodelled shapes to polished surfaces and refined images. We observe the emergence of represented object from inchoate mass. And to this achievement Ms. Germanow brings a facility in many media, combining more “primitive” materials like wood or stone with the finished surfaces of ceramic or metal.

But as we witness the journey toward perfection of form, so are we often asked to comprehend it symbolically. Many of her works juxtapose objects suggestive of earlier life forms or of earlier cultures  with figural forms,  commonly hands. Through these juxtapositions,  the “evolution” of the art object  resonates within a far wider context of meaning: the biological evolution of  life forms and the anthropological evolution of societies. Each creative act assumes its place in a natural continuum of growth and metamorphoses.  And the culmination of these processes is contained in the image of the hand or the fingers striving to touch, with its unavoidable allusion to the famous image on the Sistine ceiling. It is in this moment of contact that past becomes present, that form receives its highest expression,  and that object and observer become one.   As Ms. Germanow’s highly tactile surfaces invite our touch, so the internal urge toward form in the material pushes outward to make contact with the observer.  At that point of contact, we become fully engaged with both artist and artifact.