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Curriculum Vitae

Education

1985 CCRMA, (Center for Computer Research in Music and Acoustics), Independent Study, Stanford University, Palo Alto, CA
1984 Music Theory and Harmony, Independent Study, S.F. State, S.F., CA
1970-1967 San Francisco Art Institute, San Francisco, CA
1970-1966 University of Hawaii, East-West Center, HI
1966-1965 Hillsdale College, Hillsdale, MI

Exhibitions

2017 Middot Exhibit (Upcoming Nov - Dec, 2017) Peninsula Jewish Community Center, Foster City, CA
2017 50|50 group exhibit (Upcoming Sept, 2017) Sanchez Art Center, Pacifica, CA
2017 Group exhibit (Upcoming July-August, 2017) Burlingame Library, Burlingame, CA
2017 Solo exhibit, Caldwell Gallery (Upcoming July-August, 2017) Redwood City, CA
2017 Daydreams, Museum Studios, Burlingame, CA
2017 MANUAL DIGITAL, Space151, San Francisco, CA
2017 Golden Section, The Mathematical Association of America, Santa Clara University, S.C., CA
2016 SPACES First Friday Exhibits, Menlo Park, CA
2016 Art Installation, 525 University, Multi-Corporate Lobby, Palo Alto, CA
2016 Featured Artist, Gallerie Mistral, Redwood City, CA
2016 G25N, Juried Exhibit, Online Gallery A
2016 PJCC Gallery, Juried Exhibit, Foster City, CA
2016 Tessellation, Museum Studios, Burlingame, CA
2016 Featured Artist, Philz, Burlingame, CA
2016 Expansion, Peninsula Museum of Art, Burlingame, CA
2015 Lost and Found, Museum Studios Gallery, Burlingame, CA
2015 Paying it Forward, Coastal Arts Enterprises, Curator Lainey Saint-Marie, Half Moon Bay, CA
2015 Art Installation, Avalanche Biotechnology, Neurobiology Series, Menlo Park, CA
2015 Dimensions, Peninsula Art Institute, Burlingame, CA
2014 Science, Technology and the Future of Art, Pacific Art League, Palo Alto, CA
2014 Shadows, Peninsula Art Institute, Burlingame, CA
2013 Curious Maps of Impossible Places, PAI Gallery Exhibits, S.F., CA
2013 Small Works, Peninsula Art Institute, Burlingame, CA
2013 Art Liaisons Exhibit at Gallerie Mistral, Redwood City, CA
2012 PJCC Gallery, First Place, 2D work, Foster City, CA
2012 Silvia White Gallery, Juried Show, Ventura, CA
2012 Pressing Matters, Pacific Art League Main Gallery, Juried Exhibit, Palo Alto, CA
2011 Caldwell Gallery, Redwood City, CA
1980 The Fine Arts Presses, A Survey of Master Printmaking, Walnut Creek Art Center, Walnut Creek, CA
1979 Oakland Museum Collectors Gallery, Oakland, CA
1978 Exhibit at Downtown Gallery, Honolulu, HI
1977 Solo exhibit: The Julie Gallery, New York, NY
1976 Solo exhibit: Zara Gallery, San Francisco, CA
1976 Solo exhitit: Woodward Gallery, Scottsdale, AZ
1976 Solo exhitit: Arras Gallery, New York, NY
1974 Solo exhitit: Wenger Gallery, San Francisco, CA

Museum Exhibitions

2016 Transparency, Museum Studios, Peninsula Museum of Art, S.F., CA
2016 Group Show, Peninsula Museum of Art, Burlingame, CA.
2012 Monterey Museum of Art, Miniatures Exhibit, Monterey, CA
1975 S.F. MOMA, Mix Graphics II, San Francisco, CA

Awards

2017 Certificate of Recognition from Kevin Mullin, Speaker pro Tempore, California Legislature Assembly
for work with critical care pediatric cancer patients through Kids & Art Foundation.
2017 Certificate of Honor from Supervisor Jeff Sheehy and the Board of Supervisors, City & County of San Francisco
for "support, community involvement, spirit, and dedication to creating safe creative spaces for critical care pediatric cancer patients."
2014 artcompetition.net, International Juried Competition, honorable mention "Water, Essence of Life,” Online.
2014 PJCC Gallery Juried Exhibit (First place, Mixed media), Foster City, CA
2013 Finalist - California State Capital Painting Competition, Sacramento, CA

Press

2017 Studio Visit Magazine, Volume 36, Page 132. Download pdf of magazine.
2014 Aesthetica Magazine, Issue 59, June/July
2013 Ionic Magazine Issue 4, The Retina ’s Unintuitive Wiring − Why Did Evolution Do That?
2016 Neil Murphy Working in the Edge by Leigh Toldi, Museum Studios website(Formerly the Peninsula Art Institute)
2015 Blog: Corporate Art Installation: Avalanche Biotech, by Lainey Saint-Marie
2014 Neil Murphy: Hawaii Artist in the Bay Area, Posted by Paula Rath, paularath.com
1974 Wenger Gallery (First) Solo Exhibit Roll-over for quick view of review by S.F. Chronicle Art Critic Thomas Albright.

Other Professional Work

1988-Present Ghostdog Design. Founding Partner and Creative Director. Ghostdog provides graphic and web design to fortune 500 companies and technology startups. The company draws corporate clients to a design style that is aesthetically innovative in ways atypical for that world. Note: Ghostdog is currently not seeking new www clients and is instead focused on creating fine art, design, and infographics using both traditional fine art and digital techniques.
1990-94 Graphic Design for multimedia application development, GainMomentum, Sybase (SAP), and Cadence Design Systems.
1981-87 Computer Speech Lab, National Semiconductor. Santa Clara, CA., Production Manager. Created multi-language synthetic speech for a variety of products.
1981-85 Experimental Media Artist. Project Artaud, San Francisco, CA.
1978-81 Studio C, San Francisco, CA. Audio engineer, Sound effects creation, recording and post production engineering for film and video.
1977 Alaska Dept. of Fish and Game, Juneau, AK. Graphic design/location sound for the department's film crew.
1973-77 Ohm's Law Company, Founder, film and video sound production company. Clients for sound design and effects included Levis Strauss and Sesame Street.
1970-73 Amazing Life Games Company, Sausalito, CA. Sound engineer, location recordist, and effects creator for this educational film and print production company.

 

Thomas Albright, Art Critic, S.F. Chronicle, Review of Wenger Gallery Exhibit    June 29, 1974

Neil Murphy's paintings at the Wenger Gallery, 855 Montgomery street, are inspired by some very complex ideas involving music and mathematics. According to Leslie Wenger, a large painting of a Hawaiian mountain range is based on Murphy's calculations of the harmonic system that would result if the valley in front of it were converted into one gigantic organ pipe.

It's all right with me is Murphy needs such concept to inspire what he does, so long as he does not dispense with painting, for these are among the freshest, most lyrical canvasses to come along in some time.

Murphy uses various dyes that are stained into linen and other fine-grained material to form transparent, ambiguous atmospheres in which he floats wiry lines drawn in ink and spots of radiant pastels.

Some of this paintings are relatively naturalistic views of cliffs and rocks, all in deep blues, amid which white lines curl toward arrows at their ends, forming both river currents and vectors of movement and energy. Others are more abstract, sprinkled with tiny arrows, free-form geometric shapes and other simple but eccentric forms, although the sense of nature, and of natural forces, is never far away these tiny shapes hover in indeterminate spaces, linked together by lines of force that are sometimes visible, sometimes the function of minutely calculated intervals and relationships, and they form a fascinating visual analogy to the erratic rhythms and effects of electronically mixed and natural sounds that Murphy has designed to complement his paintings.

One thinks of Paul Klee in looking at Murphy's work, as in discussing its relationship to mathematics and music, but more as an undertone that as a dominating influence, and for the most part, one thinks of Neil Murphy.

 

Thomas Albright, Art Critic, S.F. Chronicle, Review of Wenger Gallery Exhibit    June 29, 1974

Neil Murphy's paintings at the Wenger Gallery, 855 Montgomery street, are inspired by some very complex ideas involving music and mathematics. According to Leslie Wenger, a large painting of a Hawaiian mountain range is based on Murphy's calculations of the harmonic system that would result if the valley in front of it were converted into one gigantic organ pipe.

It's all right with me is Murphy needs such concept to inspire what he does, so long as he does not dispense with painting, for these are among the freshest, most lyrical canvasses to come along in some time.

Murphy uses various dyes that are stained into linen and other fine-grained material to form transparent, ambiguous atmospheres in which he floats wiry lines drawn in ink and spots of radiant pastels.

Some of this paintings are relatively naturalistic views of cliffs and rocks, all in deep blues, amid which white lines curl toward arrows at their ends, forming both river currents and vectors of movement and energy. Others are more abstract, sprinkled with tiny arrows, free-form geometric shapes and other simple but eccentric forms, although the sense of nature, and of natural forces, is never far away these tiny shapes hover in indeterminate spaces, linked together by lines of force that are sometimes visible, sometimes the function of minutely calculated intervals and relationships, and they form a fascinating visual analogy to the erratic rhythms and effects of electronically mixed and natural sounds that Murphy has designed to complement his paintings.

One thinks of Paul Klee in looking at Murphy's work, as in discussing its relationship to mathematics and music, but more as an undertone that as a dominating influence, and for the most part, one thinks of Neil Murphy.