![](https://img.artlogic.net/w_754,h_660,c_lfill/exhibit-e/599f12405a4091c6048b4568/53923940bf99a26595ae2150069d180c.jpeg)
ALISON ELIZABETH TAYLOR
GSENM: Toadstools, 2023
Marquetry hybrid
58 1/2 x 46 in
148.6 x 116.8 cm
JCG15882
ALISON ELIZABETH TAYLOR
The Hotel’s Pool, 2023
Marquetry hybrid
93 3/4 x 130 1/4 in
238.1 x 330.7 cm
JCG15242
ALISON ELIZABETH TAYLOR
Tiger's Spread, 2023
Marquetry hybrid
41 5/8 x 58 7/8 in
105.7 x 149.5 cm
JCG15243
ALISON ELIZABETH TAYLOR
Decision Fatigue, 2022
Marquetry hybrid
23 7/8 x 21 1/8 in
60.6 x 53.7 cm
JCG15240
ALISON ELIZABETH TAYLOR
Cheryl Before She Left for Maine 2020, 2022
Marquetry Hybrid
67 1/4 x 55 in
170.8 x 139.7 cm
JCG15235
ALISON ELIZABETH TAYLOR
Javier and Will in CDMX, 2022
Marquetry hybrid
56 x 47 3/4 in
142.2 x 121.3 cm
JCG15236
ALISON ELIZABETH TAYLOR
Guitar Her, 2022
Marquetry hybrid
35 1/8 x 43 7/8 in
89.2 x 111.4 cm
JCG15237
ALISON ELIZABETH TAYLOR
Bathers, 2022
Marquetry Hybrid
20 3/4 x 15 1/4 in
52.7 x 38.7 cm
JCG14770
ALISON ELIZABETH TAYLOR
At the Wedding, 2022
Marquetry hybrid
20 x 17 1/2 in
50.8 x 44.5 cm
(JCG15239)
ALISON ELIZABETH TAYLOR
Try Us, 2022
Marquetry hybrid
85 x 53 in.
215.9 x 134.6 cm
JCG13944
ALISON ELIZABETH TAYLOR
The Residency, 2022
Marquetry hybrid
42 x 51 in
106.7 x 129.5 cm
JCG15238
ALISON ELIZABETH TAYLOR
Sawdust and Glitter, 2022
Marquetry hybrid
50 x 75 in.
127 x 190.5 cm
JCG14731
ALISON ELIZABETH TAYLOR
Sawdust and Glitter, 2022
Marquetry hybrid
50 x 75 in.
127 x 190.5 cm
JCG14731
ALISON ELIZABETH TAYLOR
My Untutored Pleasure, 2022
Marquetry hybrid
19 x 14 1/4 in
48.3 x 36.2 cm
JCG15241
ALISON ELIZABETH TAYLOR
Roommates, 2022
Marquetry hybrid: wood veneer, shellac, acrylic, and
paper
41 x 45 1/2 in.
104.1 x 115.6 cm
JCG13489
ALISON ELIZABETH TAYLOR
Anthony Cuts under the Wburg Bridge, Sunset, 2021
Marquetry hybrid
73 x 53 in.
185.4 x 134.6 cm
JCG12429
ALISON ELIZABETH TAYLOR
Midwinter, 2021
Marquetry hybrid
58 x 60 in.
147.3 x 152.4 cm
JCG12430
ALISON ELIZABETH TAYLOR
Midwinter, 2021
ALISON ELIZABETH TAYLOR
Meet You There, 2021
Marquetry hybrid
96 x 120 in. total (2 panels approx 96 x 58 in.)
243.8 x 304.8 cm
JCG12437
ALISON ELIZABETH TAYLOR
Meet You There, 2021
ALISON ELIZABETH TAYLOR
GSENM: Slot Canyon #1, 2018
Marquetry hybrid
69 x 59 in.
175.3 x 149.9 cm
JCG10045
ALISON ELIZABETH TAYLOR
The Sum of It, 2017
Wood veneer, acrylic, shellac
72 x 52 in.
182.9 x 132.1 cm
JCG9425
ALISON ELIZABETH TAYLOR
The Cosmopolitan, 2016
Marquetry hybrid
59 x 46 in.
149.9 x 116.8 cm
JCG8659
ALISON ELIZABETH TAYLOR
Kitchen, 2014
Wood veneer, oil, acrylic, shellac
92 x 116 in.
233.7 x 294.6 cm
JCG7180
ALISON ELIZABETH TAYLOR
Laocoön, 2013
Wood veneer, shellac and oil on panel
58 x 76 in.
147.32 x 193.04 cm
JCG6700
ALISON ELIZABETH TAYLOR
Security House, 2008 – 2010
Wood veneer, shellac
93 x 122 in.
236.2 x 309.9 cm
JCG4594
ALISON ELIZABETH TAYLOR
Kiss, 2021
Marquetry hybrid
31 x 24 in.
78.7 x 61 cm
JCG12439
ALISON ELIZABETH TAYLOR
Anthony Cuts under the Wburg Bridge-P.M., 2021
Marquetry hybrid
73 x 53 in.
185.4 x 134.6 cm
JCG12438
ALISON ELIZABETH TAYLOR
Anthony Cuts under the Wburg Bridge-P.M., 2021
Detail
ALISON ELIZABETH TAYLOR
Alaska Clock, 2021
Marquetry hybrid
18 x 22 in
45.7 x 55.9 cm
JCG12436
ALISON ELIZABETH TAYLOR
We Don’t Mean You, 2021
Marquetry hybrid
38 x 32 in.
96.5 x 81.3 cm
JCG12435
ALISON ELIZABETH TAYLOR
We Don’t Mean You, 2021
Detail
ALISON ELIZABETH TAYLOR
Real Plant People, 2021
Marquetry hybrid
20 x 18 in.
50.8 x 45.7 cm
JCG12434
ALISON ELIZABETH TAYLOR
Here’s the Zoom Link, 2021
Marquetry hybrid
32 x 24 in
81.3 x 61 cm
JCG12432
ALISON ELIZABETH TAYLOR
The Whistleblower, 2021
Marquetry hybrid
22 x 16 in.
55.9 x 40.6 cm
JCG12433
ALISON ELIZABETH TAYLOR
The Whistleblower, 2021
Detail
ALISON ELIZABETH TAYLOR
Statuary Inc., 2021
Marquetry hybrid
80 x 60 in.
203.2 x 152.4 cm
JCG12431
ALISON ELIZABETH TAYLOR
Overlap, 2021
Marquetry hybrid
34 x 25 in.
86.4 x 63.5 cm
JCG12965
ALISON ELIZABETH TAYLOR
Rockshop, 2020
Marquetry hybrid
68 x 51 in.
172.7 x 129.5 cm
JCG11857
ALISON ELIZABETH TAYLOR
Some Velvet Morning, 2019
Marquetry hybrid
40 x 30 in.
101.6 x 76.2 cm
JCG11205
ALISON ELIZABETH TAYLOR
Occam's Razor, 2017
Marquetry hybrid
75 x 53 in.
190.5 x 134.6 cm
JCG9423
ALISON ELIZABETH TAYLOR
GSENM: Hoodoo #1, 2018
Marquetry hybrid
35 x 28 in.
88.9 x 71.1 cm
JCG10043
ALISON ELIZABETH TAYLOR
Not Pretzel Arch, 2018
Marquetry hybrid
21 x 18 in.
53.3 x 45.7 cm
JCG10046
ALISON ELIZABETH TAYLOR
The Fire Wave, 2018
Marquetry hybrid
48 x 78 in.
121.9 x 198.1 cm
JCG9741
ALISON ELIZABETH TAYLOR
Reclamation, 2013 - 2017
Wood veneer, shellac, acrylic
Wall C (5 panels) forest wall: 24 x 7 ft
Wall B (3 panels) interior wall: 12'10" x 9'2" ft
Wall A (3 panels) interior wall: 12'5" x 9'2" ft
Installation view, permanent site-specific commission, Cornell Discovery Center, Roosevelt Island, NY
Photo: Sam Rohn
ALISON ELIZABETH TAYLOR
Reclamation, 2013 - 2017
Installation view, site-specific commission, Cornell Discovery Center, Roosevelt Island, NY, permanent
Photo: Maris Hutchinson
ALISON ELIZABETH TAYLOR
Reclamation, 2013 - 2017
Installation view, permanent site-specific commission, Cornell Discovery Center, Roosevelt Island, NY
Photo: Maris Hutchinson
ALISON ELIZABETH TAYLOR
Reclamation, 2013 - 2017
Detail
ALISON ELIZABETH TAYLOR
Reclamation, 2013 - 2017
Detail
ALISON ELIZABETH TAYLOR
Reclamation 2013 - 2017
Detail
ALISON ELIZABETH TAYLOR
Your Eyes Are Open but You Don’t See Very Far, 2017
Marquetry hybrid
72 x 49 in.
182.9 x 124.5 cm
JCG9426
ALISON ELIZABETH TAYLOR
Forgive me, Mr. Eakins, 2017
Wood veneer, acrylic, shellac
60 x 69 in.
152.4 x 175.3 cm
JCG9422
ALISON ELIZABETH TAYLOR
The Desert Inn, 2017
Marquetry hybrid
45 x 65 in.
114.3 x 165.1 cm
JCG9421
ALISON ELIZABETH TAYLOR
Solutionism: Plan B, 2017
Marquetry hybrid
21 x 18 in.
53.3 x 45.7 cm
JCG9428
ALISON ELIZABETH TAYLOR
Reitscape, 2017
Wood veneer, acrylic, archival inkjet on museum board
15 x 18 in.
38.1 x 45.7 cm
JCG9420
ALISON ELIZABETH TAYLOR
Sam's Town, 2016
Marquetry hybrid
47 x 59 in.
119.4 x 149.9 cm
JCG8658
ALISON ELIZABETH TAYLOR
Gold Spike Afternoon, 2015
Wood and acrylic painted paper marquetry on mat board
33 x 27 in.
83.8 x 68.6 cm
JCG8324
ALISON ELIZABETH TAYLOR
The Lookers, 2015
Marquetry hybrid on panel
58 x 46 in.
147.3 x 116.8 cm
JCG7317
ALISON ELIZABETH TAYLOR
Exhibition view, Savage Root, Chateau de Nyon, Nyon, France, June 19 – October 25, 2015
ALISON ELIZABETH TAYLOR
No Side to Fall In, 2015
Wood veneer, shellac, oil paint
79 x 59 in.
200.7 x 149.9 cm
JCG7714
ALISON ELIZABETH TAYLOR
Exhibition view, Savage Root, Chateau de Nyon, Nyon, France, June 19 – October 25, 2015
ALISON ELIZABETH TAYLOR
Exhibition view, Savage Root, Chateau de Nyon, Nyon, France, June 19 – October 25, 2015
ALISON ELIZABETH TAYLOR
South 7th, 2014
Wood veneer, shellac on panel
47 x 47 in.
119.4 x 119.4 cm
JCG7509
ALISON ELIZABETH TAYLOR
Midnight Cowboy, 2014
Wood veneer, shellac
50 x 48 in.
127 x 121.9 cm
JCG7007
ALISON ELIZABETH TAYLOR
El Jamon, 2014
Wood veneer, shellac, acrylic, oil paint
58 1/2 x 76 in.
148.6 x 193 cm
JCG6998
ALISON ELIZABETH TAYLOR
Kelso, 2013
Wood veneer, shellac and acrylic on panel
50 x 47 x 1 1/4 in.
127 x 119.4 x 3.2 cm
JCG6509
ALISON ELIZABETH TAYLOR
Exhibition view, Savage Root, Chateau de Nyon, Nyon, France, June 19 – October 25, 2015
ALISON ELIZABETH TAYLOR
The Optimist's Ennui, 2013
Wood veneer, shellac and acrylic on panel
62 1/2 x 46 1/2 in.
158.75 x 118.11 cm
JCG6701
ALISON ELIZABETH TAYLOR
Silver Fox, 2013
Wood veneer and shellac on panel
53 x 51 in.
134.62 x 129.54 cm
JCG6702
ALISON ELIZABETH TAYLOR
Van Cortlandt, 2013
Wood veneer, shellac and oil on panel
55 1/2 x 42 in.
141 x 106.7 cm
JCG6638
ALISON ELIZABETH TAYLOR
Transparent Eye, 2013
Wood veneer, shellac and oil on panel
53 1/2 x 40 in.
135.9 x 101.6 cm
JCG6637
ALISON ELIZABETH TAYLOR
Brooklyn Navy Yard, 2013
Wood veneer, shellac and oil on panel
36 x 30 x 3/4 in.
91.4 x 76.2 x 1.9 cm
JCG6510
ALISON ELIZABETH TAYLOR
Sebastian, 2012
Wood veneer, oil paint, shellac
41 1/4 x 31 1/8 in.
104.8 x 79.1 cm
JCG6423
ALISON ELIZABETH TAYLOR
Into the Wild, 2012
Wood veneer, oil paint, shellac
52 1/2 x 38 1/2 in.
133.4 x 97.8 cm
JCG6179
ALISON ELIZABETH TAYLOR
Multiple Shots with Knife Slashes, 2010
Wood veneer, oil paint, shellac
54 x 41 in.
137.2 x 104.1 cm
JCG4885
ALISON ELIZABETH TAYLOR
Shotgun Hole with Additional Vandalism, 2009 – 2010
Wood veneer, oil paint, shellac
55 1/2 x 38 1/2 in.
141 x 97.8 cm
JCG4601
ALISON ELIZABETH TAYLOR
Squatter Doorway, 2009
Wood veneer, shellac
53 x 46 1/2 in.
134.6 x 118.1 cm
JCG4492
ALISON ELIZABETH TAYLOR
Wires Ripped, 2009 – 2010
Wood veneer, shellac
61 x 29 in.
154.9 x 73.7 cm
JCG4584
ALISON ELIZABETH TAYLOR
The Breeder, 2009 – 2010
Wood veneer, shellac
56 x 45 in.
142.2 x 114.3 cm
JCG4583
ALISON ELIZABETH TAYLOR
Exhibition view, Savage Root, Chateau de Nyon, Nyon, France, June 19 – October 25, 2015
ALISON ELIZABETH TAYLOR
Paradise Gates, 2009
Wood veneer, shellac
47 x 70 in.
119.4 x 177.8 cm
JCG4246
ALISON ELIZABETH TAYLOR
Exhibition view, Savage Root, Chateau de Nyon, Nyon, France, June 19 – October 25, 2015
ALISON ELIZABETH TAYLOR
Bombay Beach, 2008
Wood veneer, pyrography, shellac
96 x 58 in.
243.8 x 147.3 cm
JCG3914
ALISON ELIZABETH TAYLOR
Folie a Deux, 2008
Wood veneer, pyrography, shellac
35 x 32 in.
88.9 x 81.3 cm
JCG4258
ALISON ELIZABETH TAYLOR
Hank, 2007
Marquetry, shellac
57 x 73 in.
144.8 x 185.4 cm
JCG4283
ALISON ELIZABETH TAYLOR
Fucminster Buller, 2008
Wood veneer, lacquer
71 3/4 x 95 in.
182.2 x 241.3 cm
JCG3700
ALISON ELIZABETH TAYLOR
Room, 2007 – 2008
Wood veneer, pyrography, shellac
96 x 120 x 96 in.
243.8 x 304.8 x 243.8 cm
JCG3763
ALISON ELIZABETH TAYLOR
Room, 2007 – 2008
Wood veneer, pyrography, shellac
96 x 120 x 96 in.
243.8 x 304.8 x 243.8 cm
JCG3763
ALISON ELIZABETH TAYLOR
Room, 2007 – 2008
Wood veneer, pyrography, shellac
96 x 120 x 96 in.
243.8 x 304.8 x 243.8 cm
JCG3763
ALISON ELIZABETH TAYLOR
Wonder Valley, 2007 – 2008
Wood veneer, shellac
47 x 70 in.
119.4 x 177.8 cm
JCG3758
ALISON ELIZABETH TAYLOR
Chainlink, 2008
Wood veneer, shellac
34 x 46 in.
36.4 x 116.4 cm
JCG3759
ALISON ELIZABETH TAYLOR
Era of Argus, 2007
47 x 70 in.
119.4 x 177.8 cm
Exhibition view, North Carolina Museum of Art, Raleigh, NC
ALISON ELIZABETH TAYLOR
Era of Argus, 2007
Wood veneer, pyrography, shellac
47 x 70 in.
119.4 x 177.8 cm
JCG3347
ALISON ELIZABETH TAYLOR
Slab City, 2007
Marquetry, shellac
47 X 77 in.
119.4 x 195.6 cm
JCG3190
ALISON ELIZABETH TAYLOR
Swimming Pool, 2006
Wood inlay, shellac
70 x 48 in.
177.8 x 121.9 cm
JCG2901
ALISON ELIZABETH TAYLOR
The Good War, 2006
Wood inlay, shellac
60 x 46 in.
152.4 x 116.8 cm
JCG2993
ALISON ELIZABETH TAYLOR
Morning After Pabco, 2006
Wood inlay, shellac
41 x 72 in.
104.1 x 182.9 cm
JCG2897
Photograh by Vincent Dilio
Alison Elizabeth Taylor, is an artist known for transforming the historic technique of marquetry or wood inlay into a new form: marquetry hybrid—a novel synthesis of media and process that incorporates inlaid wood, painting, and collaged textures to create a new perspective on painting. Taylor casts a critical and compassionate eye across the breadth of contemporary American experience in works that depict the changing Southwestern landscape and the rural survivalists, hedonists, squatters, and economic misfits of late American capitalism who inhabit it. Taylor pays respect to the innate humanity of her subjects through her choice of this extraordinarily demanding medium. A native Nevadan who grew up through boom and bust cycles in Las Vegas, Taylor derives her tableaux from direct observation. There is a volatile tension between the surface and the subject; as she explains, “The natural beauty inherent in finished wood draws attention to themes more subtle or complex. The splendor of the shellacked wood is an invitation to look at subjects the viewer might otherwise ignore.”
In September 2017, Alison Elizabeth Taylor’s Reclamation, a room-sized permanent installation, opened at the Emma and Georgina Bloomberg Center at the new Cornell Tech campus on Roosevelt Island, NY. Reclamation is an architectural space on the verge of giving way to the forest. Taylor writes, “Nature never pauses in its race to reclaim, and innovation is the human response against this flow towards entropy. The continual churn of the cycle between nature and human endeavor stands at the core of this work.”
Raised in Las Vegas, Nevada, Alison Elizabeth Taylor received her M.F.A. from Columbia University, Graduate School of the Arts in 2005. Alison Elizabeth Taylor: The Sum of It, a major traveling survey exhibition at the Des Moines Art Center in Des Moines, IA, opened in October 2022. The show, which is accompanied by a catalog, traveled to the Addison Gallery of American Art, Andover, MA in February 2023. Selected solo exhibitions include: Alison Elizabeth Taylor: The Sum of It, Des Moines, IA (2022); Future Promise, James Cohan, New York (2021); The Needle’s Eye, Zidoun & Bossuyt, Luxembourg (2019); The Backwards Forwards, James Cohan (2017); Musée Historique, Chateau de Nyon, Switzerland (2015); Surface Tension, James Cohan (2013); Un/Inhabited at SCAD, Savannah and Atlanta, GA (2010); Foreclosed, James Cohan (2010); Alison Elizabeth Taylor, James Cohan (2008); Idyll, James Cohan (2006).
Important group shows include: The Outwin 2022: American Portraiture Today, National Portrait Gallery, Washington, DC (2022); Reflections on Perception, Akron Art Museum, Akron, OH (2022); We Are Family, New York Academy of Fine Arts, New York, NY (2022);The Slipstream: Reflection, Resilience, and Resistance in the Art of Our Time, Brooklyn Museum, NY (2021); Personal Space, Crystal Bridges Museum of American Art, Bentonville, AR (2018); Makeshift, John Michael Kohler Arts Center, WI (2018), curated by Michelle Grabner; I See Myself in You: Selections from the Collection, Brooklyn Museum (2016); Crafted: Objects in Flux, Museum of Fine Arts, Boston, MA (2015); First International Biennial of Contemporary Art of Cartagena de Indias, Cartagena, Colombia (2014); Branching Out: Trees as Art, Peabody Essex Museum, MA, (2014); BEYOND EARTH ART: Contemporary Artists and the Environment, Herbert F. Johnson Museum of Art, Cornell University, NY (2014); Unfolding Tales: Selection from the Collection, Brooklyn Museum (2013); Surface Value, Des Moines Art Center, IA (2011); 185th Annual: An Invitational Exhibition of Contemporary American Art, National Academy Museum, NY (2010).
In 2022, Taylor received the Outwin Boochever Portrait Competition Prize. Taylor's winning work, Anthony Cuts under the Williamsburg Bridge, Morning, 2020, was featured in The Outwin 2022: American Portraiture Today, a major exhibition that was on view at the National Portrait Gallery from April 2022, through February 2023. In 2009, Taylor received a Louis Comfort Tiffany Foundation Award and the Smithsonian's Artist Research Fellowship Program Award. Selected permanent collections include: Addison Gallery of American Art, Phillips Academy, Andover, MA; Arizona State University Art Museum, Tempe, AZ; Brooklyn Museum of Art, Brooklyn, NY; Crystal Bridges Museum of American Art, Bentonville, AR; Des Moines Art Center, Des Moines, IA; Hood Museum, Dartmouth College, Hanover, NH; Orlando Museum of Art, Orlando, FL; and The Toledo Museum of Art, Toledo, OH. Taylor lives and works in Brooklyn, NY.
Alison Elizabeth Taylor, is an artist known for transforming the historic technique of marquetry or wood inlay into a new form, marquetry hybrid—a novel synthesis of media and process that incorporates inlaid wood, painting, and collaged textures to create a new perspective on painting. Taylor casts a critical and compassionate eye across the breadth of contemporary American experience in works that depict the changing Southwestern landscape and the rural survivalists, hedonists, squatters, and economic misfits of late American capitalism who inhabit it. There is a volatile tension between the surface and the subject; as she explains, “The natural beauty inherent in finished wood draws attention to themes more subtle or complex. The splendor of the shellacked wood is an invitation to look at subjects the viewer might otherwise ignore.”
Brooklyn, New York
Brooklyn, New York