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Exhibitions + Publicity

Recent Publicity
2023 YouTubeTV, Neil Murphy, Artist Interview, Silicon Valley Visual Arts.
2023 Podcast, Neil Murphy & Youth Mentors, Peninsula Press, San Carlos Art Center, Youth Mentor Pgm
2023 Neil Murphy Profile, Beckman Center Molecular & Genetic Med, Stanford U,
          Annual Report: NM Profile Section Only (pdf) -  Full Annual Report (pdf) (NM Profile starts pg 17)

Galleries & Art Venues
2024 Ecuador Art for Healing, Butterfly Lounge Exhibition Space. Ayampe, Ecuador
2024 NeuroArt & Beasties, w/ Marianna Kiraly's Holding Space for You,
          Twin Pines Art Center, Belmont, CA
2024 Mapping Abstraction, Hyland Design Group, San Carlos, CA
2024 Group Exhibit, QD Gallery, Stanford Mall, Palo Alto, CA
2023 Mapping Kindness, Group Exhibit @ PJCC, San Mateo, CA -- "Community Choice Award"
2023 Abstracts and Color, Exhibit at China Basin Center, Main Lobby 5, S.F., CA
2023 Group Exhibit, Maker Nexus, Sunnyvale, CA - SVOS Preview
2023 Group Exhibit, Community School of Music and Arts, Mountain View, CA - SVOS Preview
2023 Village of Endless Gratitude, International Exhibit + Gallery Projection, Türkiye
2022 Neuroscience, Art Exhibit at China Basin Center, Lobby 1, S.F., CA
2022 Art for Healing II, Twin Pines Art Center, Belmont, CA
2022 Fantastic Art, M-Moreli Gallery + Siy Gallery Collaborative Exibit, S.F., CA
2022 Art for Healing, Siy Gallery Atelier, Tanforan Center, San Bruno, CA
2022 New Art Expressions, Group Exhibit, M-Moreli Gallery + Siy Gallery Collaborative, S.F., CA
2022 Pathways, Art Ark Gallery, San Jose, CA
2022 Spark, Gallery House, Palo Alto, CA
2020 50|50, August - September, 2020, Sanchez Art Center, Pacifica, CA
2020 The Unfolding, August, Group Exhibit, Museum Studios Gallery, Burlingame, CA
2020 Siy Gallery , Ongoing Group Exhibit, Sie Gallery, San Francisco, CA
2020 Favorite Things, Apr-May, Sebastopol Center for the Arts, Digital Exhibitions, Sebastopol, CA
2020 Punch Review, Feb, Palo Alto Art Center, Palo Alto, CA
2020 Can't Hide the Sun with One Finger, Feb, Museum Studios Gallery, Burlingame, CA. (Coming: Review by Leigh Toldi.)
2019 Line and Color, The Enduring Legacy of Bauhaus, November - December, Bethany Center, Ruth's Table, San Francisco, CA
2019 Solo exhibit at Shepard Mullin Law Offices, Sept - Dec, 2019, Palo Alto, CA
2019 50|50, August - September, 2019, Sanchez Art Center, Pacifica, CA
2019 Black-White + Hint of Color, Merit Award International Exhibit,  Sebastopol Center for the Arts, Sebastopol, CA
2019 The Art of Healing, Enzo Gallery + Red Door Galleria collaboration, Half Moon Bay, CA
2019 Start at the Top, Museum Studios , Peninsula Museum of Art, Burlingame., CA
2019 Siy Gallery, Ongoing Representation, San Francisco, CA
2019 Red Door Galleria Group Exhibition, Wausau, WI
2018 Size Matters, Museum Studios, Peninsula Museum of Art, Burlingame., CA
2018 Art Attack, Juried Exhibit, Kids and Art Benefit Exhibition, July, San Francisco, CA
2018 Bay Area Masters, Juried Exhibit, June, Third Prize 2D Works, San Mateo, CA
2018 PJCC Gallery, Juried Exhibit, June-August, Foster City, CA
2018 Celebrating Color, May, Museum Studios, Peninsula Museum of Art, Burlingame, CA
2018 Curious Maps of Impossible Places, April, Ruth's Table, San Francisco, CA
2018 Grand Opening Reception, Red Door Galleria, June-July, Wasaw, WI
2017 Reflections, Museum Studios, Burlingame, CA
2017 50 x50, Sanchez Art Center, Pacifica, CA
2017 Group exhibit, Burlingame Library, Burlingame, CA
2017 Different Pathways, Solo exhibit, Caldwell Gallery, 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 Transparency, Museum Studios, Peninsula Museum of Art, Burlingame, CA
2016 Group exhibit, SPACES, 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 exhibit: Woodward Gallery, Scottsdale, AZ
1976 Solo exhibit: Arras Gallery, New York, NY
1974 Solo exhibit: Wenger Gallery, San Francisco, CA

Museum Exhibitions
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
2023 Community Choice Award, Mapping Kindness, Group Exhibit @ PJCC, San Mateo, CA
2019 Merit Award, International Exhibit Sebastopol Center for the Arts, Sebastopol, CA
2018 Third Prize 2D Works, Bay Area Masters, Juried Exhibit, June, San Mateo, CA
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


2018 ART The Daily Journal, Neil Murphy - A Map of the Mind.
2017 ART Lights Up the World, Arts for Future, Pages 15,16.
2017 Studio Visit Magazine, Volume 36, p 132. Roll-over to pop-up magazine spread.
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 the Edge by Leigh Toldi, for Museum Studios website
2015 Blog: Corporate Art Installation: Avalanche Biotech, by Lainey Saint-Marie
2014 Neil Murphy: Hawaii Artist in the Bay Area, Posted by Paula Rath, Oahu artist and designer
1974 Wenger Gallery (First) Solo Exhibit. Roll-over for quick view of review by S.F. Chronicle Art Critic Thomas Albright.

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

Other Professional Work

1988-Present Ghostdog Design. Founding Partner and Creative Director. Ghostdog provides graphic and web design biotech, university medical science departments, fortune 500 companies and tech startups. The company draws corporate clients to a design style that is aesthetically innovative in ways atypical for that world.
Note: Ghostdog continues to create design for existing clients, notably the Beckman Center, Stanford University, and biotech and biomedical clients, but new artistic explorations selectively limits onboarding new design clients.
Note: Neil says, "As Ghostdog's lead designer, I am currently focused on creating fine art (often focused on neuroscience and mental health issues), integrating art into sound and graphic design, and infographics using both traditional and digital techniques."
1990-94 Graphic Design for multimedia application development, GainMomentum, Sybase (SAP), and Cadence Design Systems.
1981-87 Production Manager, Computer Speech Lab, National Semiconductor. Santa Clara, CA., Created multi-language synthetic speech for a wide variety of retail products.
1981-85 Experimental Media Artist. Project Artaud, San Francisco, CA.
1978-81 Studio C, San Francisco, CA. Audio engineer, Sound effects creation, location 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 sound effects creator for this educational film and print production company whose primary client was Houghton Mifflin.

All Content © 2024 Neil Brian Murphy. All Rights Reserved.
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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.

 

Close

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.

 

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