1928

Bogardus, Ethel, “Boy Excites Artist with His Sketches,” San Francisco Examiner, June 3, 1928. Photo of Feeley working on portrait of Hobart B. Jacobs.

1934

The Bulletin of the Beaux-Arts Institute of Design, Vol. 10, no. 9, July, 1934, pp.15-16

First Medal – P. Feeley, Beaux-Arts Atelier: Mural Decoration Program VII—“The Sanctuary of a Small Catholic Chapel.” 

The Bulletin of the Beaux-Arts Institute of Design, Vol. 10, no. 10, August, 1934, pp. 23-24.

Second Medal – P. Feeley, Beaux-Arts Atelier: Mural Decoration Program VIII – “Grill Room of a Riding Club.”  

1948

“Reviews and Previews; Paul Feeley,” Art News, New York, Vol. 47, no. 8, December, 1948, p. 54. (New School)

“Creative Art Unit in First Exhibition,” The New York Times, November 19, 1948. (New School)

“Paul Feeley,” New York Herald Tribune, December 12, 1948.  

1949

Adlow, Dorothy, “New England Painting and Sculpture: Regional Show at Institute of Contemporary Art,” Christian Science Monitor, May 9, 1949.

1950

“Feeley,” The Boston Globe, November 19, 1950.

“Paul Feeley Has First Exhibit Here,” Santa Barbara News-Press, December 3, 1950.

“Navy Portraits, Feeley Caseins, Fine Exhibitions at Art Museum,” Santa Barbara News-Press, December 10, 1950.  Reprinted in The San Francisco Examiner, February 11, 1951.

1951

Hagan, R.H., “Some Local Galleries In Brief Review,” San Francisco Chronicle, February 11, 1951. (Graham-Feeley, San Francisco Museum)

Cross, Miriam Dungan, “Art-Music,” Oakland Tribune, February 18, 1951, p. C-3.

E.V.C., “Editor at Bat,” Daily Palo Alto Times, February 20, 1951, page 6, with possible post script within the week.

“Wellknown Eastern Painter Visits Here,” Monterey Peninsula Herald, November 5, 1951, p. 11. (Photo of Feeley, Helen, Gillian, Jennifer, and one black poodle). Probably written by Eugene Goossen. Rough draft in Eugene Goossen papers, Archives of American Art.

“In New Group Show,” Monterey Peninsula Herald, Monterey, California, November 8, 1951, p. 2. Reproduction of “Two Sisters.”  

1953

Smith, Wayne C., “Cummington Has Students’ Exhibit,” Union, Springfield, Massachusetts, July 31, 1953.

Smith, Wayne C., “Several Art Exhibitions Claim Attention in Week,” Sunday Republican, Springfield, Massachusetts, August 2, 1953.

“College to Exhibit Paintings in ‘Gouache,’” Milton and Milton Junction Courier, Milton Junction, Wisconsin, October 1, 1953.

“College Offers Display of Art,” Rockford Morning Star, October 4, 1953, p. 10A. (Milton)

“Prominent Artist To Show Works At Milton College,” Janesville Daily Gazette, October 2, 1953.

Nemerov, Howard, “On a Painting,” Bennington College Alumnae Quarterly, vol. 5, no. 1, Fall, 1953, pp. 11-13.  

1954

“Talent Tryout,” New York Herald Tribune, January 24, 1954. (Kootz)

1955

L. C. (Lawrence Campbell), “Reviews and Previews; Paul Feeley,” Art News, New York, Vol. 54, no. 6, October, 1955, p. 48, ill. (De Nagy, October 4-22)

Arts, New York, vol. 30, no. 1, October, 1955, p. 54, ill.

“About Art and Artists,” The New York Times, October 7, 1955. (De Nagy)

E.C. Goossen, “New York Letter: Feeley and Krasner,” Monterey Peninsula Herald, October 20, 1955, p. 24.

Reproduction only: “Rorschach” illustration for cover, Bennington College Alumnae Quarterly, Winter, 1955-56.  

Morris, Kyle. Vanguard 1955: A Painter’s Selection of New American Paintings. Minneapolis; Walker Art Center, 1955.

1956

Editorial, “Artists at Liberty,” Life Magazine, February 6, 1956, p. 30.

Editorial, “Life and the Crazy Artists,” Art News, New York, New York, March, 1956, p. 23.  

1957

Colson, Chester E., “Exhibits of Modern Art at Fleming Give Pleasant Escape From Winter,” Burlington Free Press, Burlington, Vermont, January 26, 1957.

“Feeley Water Colors To Be Exhibited,” Bennington Banner, Bennington, Vermont, March 30, 1957.

“Feeley Water Colors Shown,” North Adams Transcript, North Adams, Massachusetts, April 1, 1957.  

1958

Ashton, Dore, “Art: Recent Paintings,” The New York Times, February 18, 1958. (Tibor de Nagy)

L. C. (Lawrence Campbell), “Reviews and Previews; Paul Feeley,” Art News, New York, vol. 57, no. 1, March, 1958, p. 13.  (Tibor de Nagy)

R.W. D. (R. Warren Dash), “In the Galleries; Paul Feeley,” Arts, New York, vol. 32, no. 6, March, 1958, p. 60. (Tibor de Nagy)  

1959

I. H. S. (Irving H. Sandler), “Reviews and Previews,” Art News, New York, vol. 38, no. 2, April, 1959, p. 13. (Parsons)

1960

L. C. (Lawrence Campbell) “Reviews and Previews; Paul Feeley,” Art News, New York, vol. 59, no. 3, May, 1960, p. 15. (Parsons)

D. J. (Donald Judd), “In the Galleries; Paul Feeley,” Arts, New York, vol. 34, no. 8, May, 1960, pp. 60-61. (Parsons)  

1961

Art Institute of Chicago. Sixty-Fourth American Exhibition: Painting, Sculpture. Chicago: Art Institute of Chicago, 1961.

1962

Preston, Stuart, “Art: Abstract Expressionism to Suit Two Tastes,” The New York Times, New York, Saturday, May 19, 1962, p. 24.

L. C. (Lawrence Campbell), “Reviews and Previews; Paul Feeley,” Art News, New York, vol. 61, no. 4, Summer, 1962, p. 17, ill., Carthage, 1962. (Parsons)

Judd, Donald, “New York Reports; In the Galleries: Paul Feeley,” Arts, New York, vol. 36, no. 10, September, 1962, p. 47, ill., Syracuse, 1962. (Parsons)

Lynton, Norbert, “London Letter: American Painters,” Art International, vol. 1, no. 7, September, 1962, p. 48, ill., Cassius, 1959. (Molton)  

1963

I.H. S. (Irving H. Sandler), “Reviews and Previews; Paul Feeley,” Art News, New York, vol. 62, no. 3, May, 1963, p. 58. (Parsons)

B. O’D., “Paul Feeley,” The New York Times, May 19, 1963. (Parsons)

Judd, Donald, “In the Galleries, Paul Feeley,” Arts, New York, vol. 37, no. 10, p. 59, September, 1963, ill., Petono, 1962. (Parsons)

Frankenstein, Alfred, “Charm, Precision of N.Y. Artists,” The San Francisco Chronicle, December 2, 1963. (Dilexi)  

Harithas, James. New Experiments in Art. Lincoln, MA. DeCordova Museum, 1963.

1964

Alloway, Lawrence, “Profile of Paul Feeley,” Living Arts 3, London, 1964, pp. 26-28, ill., Red and Green, 1954.

Alloway, Lawrence, “Opinions of Paul Feeley,” (Interviewed by Lawrence Alloway), Living Arts 3, London, 1964, pp. 28-47, ill., Kilroy, 1957; Thruway, 1957; Rafina Watercolor, 1961, collection of Alexander Liberman; Sterope, 1957; Cassius, 1960; Atlanta, 1961; Lysander, 1962; Homer, 1962 (incorrectly titled in article); Medusa, 1962; Untitled, 1963 (probably Katadoro); Untitled, 1963; Petono, 1962; Untitled, 1963 (possibly Somara); Eight Colour Permutations on Three Figures, 1963.

Alloway, Lawrence, “Paul Feeley: Opinions on Painting,” (Edited reprint from Living Arts 3, 1964), Bennington College Bulletin, vol. 32, no. 4, May 1964, ill., Acrux, 1964; Lacona, 1962; Hawara, 1962; Caesarea, 1962. Cover image: Acubens, 1964.

Alloway, Lawrence. American Drawings. New York. Solomon R. Guggenheim Museum, 1964.

Canaday, John, “Painters’ Eyes,” The New York Times, March 8, 1964.

Seldis, Henry J., “Controversial Exhibition Explores New Abstract Trend,” Los Angeles Times, May 3, 1964, Calendar Section, p. 9, ill., Asijatija, 1963.  

Coplans, John, “Post-Painterly Abstraction” Artforum, San Francisco, vol. II, no. 12, Summer, 1964, pp. 4-9, ill., Asijatija, 1963.

“Art Tour: Paul Feeley,” New York Herald Tribune, October 31, 1964. (Parsons)

“On the Rebound from Abstract Expressionism, from Our Art Critic,” The Times, London, England, November 5, 1964. (Kasmin)

Stoecker, Karl, “Paul Feeley, Kasmin Limited,” The Arts Review, November 14, 1964.

Melville, Robert, “Kasmin Gallery,” The New Statesman, November 20, 1964.

“Paul Feeley,” Time, November 6, 1964, p. 9. (Parsons)

Chapman, Max, “Kasmin” What’s On In London: Art, November 27, 1964. (Kasmin)

Goossen, E. C., “Paul Feeley,” Art International, Lugano, Switzerland, vol. VIII, no. 10, December, 1964, pp. 31-33, ill., Katadoro, 1963; Metapa, 1962; Alnium (listed as untitled); Ilion, 1962; Untitled, 1964.

Lynton, Norbert, “London Letter: Stella and Feeley,” Art International, Lugano, Switzerland, vol. VIII, no. 10, December, 1964, p. 44, ill., Alkaphrah, 1964. (Kasmin)

Rose, Barbara, “New York Letter: Post-Painterly Abstraction,” Art International, Lugano, Switzerland, vol. VIII, no. 10, December, 1964, p. 50. (Parsons)

N. E. (Natalie Edgar), “Reviews and Previews; Paul Feeley,” Art News, New York, vol. 63, no. 8, December, 1964, p. 14, ill., Alnium, 1964. (Parsons)

Judd, Donald, “Paul Feeley,” Arts, New York, vol. 39, no. 3, December, 1964, p. 69, ill., Alphard, 1964. (Parsons)

Gruen, John, “Art: The Shaped Canvas,” The Sunday Herald Tribune Magazine, New York, New York, December 20, 1964. (Guggenheim)

Reproduction only. “Arneb.” New York Times, November 1, 1964, p. 26.

Max Kozloff, “Abstract Attrition,” Arts, January, 1965, p. 47-50, ill., Altair, 1964.  

Greenberg, Clement. Post Painterly Abstraction. Los Angeles: Los Angeles County Museum of Art, 1964.

Rhode Island School of Design Museum of Art. Paintings and Constructions of the 1960s Selected from the Richard Brown Baker Collection. Providence Rhode Island School of Design Museum of Art, 1964.

1965

Judd, Donald, “The Shaped Canvas,” Arts, New York, vol. 39, no. 5, February, 1965, pp. 56-57.

Seitz, William, “The New Perceptual Art,” Vogue, February 15, 1965, pp. 78-80, 142-143. Ill., Alnium, 1964.  (“The Responsive Eye,” Museum of Modern Art)

Seitz, William. The Responsive Eye. New York: Museum of Modern Art, 1965.

Canaday, John, “Art: Capturing the Optical Movement in an Exhibit,” The New York Times, February 25, 1965, p. 25. (“The Responsive Eye,” Museum of Modern Art)

Rykwert, Joseph, “Mostra a Londra,” Domus, Milan, no. 424, March 3, 1965, p. 54.

Lippard, Lucy, “New York Letter,” Art International, March 1965. (The Shaped Canvas, Guggenheim).

“Four Vermont Artists at New York Modern Art Museum,” Bennington Banner, Bennington, Vermont, April 8, 1965, p. 5. (“Responsive Eye” artists: Feeley; Hewitt; Noland; Stroud.)

“Bennington College Artists To Exhibit,” Burlington Free Press, Burlington, Vermont, May 1, 1965. (Forty Key Artists, Detroit Institute: Feeley; Olitski)

“Two College Artists in Detroit Exhibit,” Bennington Banner, Bennington, Vermont, May 6, 1965.

French, Winsor, “Bennington is Full of Life,” Cleveland Press, Cleveland, Ohio, August 2, 1965.

Du Plessix, Francine (ed.), “Painters and Poets,” Art in America, New York, October-November, 1965, vol. 53, no. 5, pp. 24-56 (illustration by Feeley for Lawrence Alloway’s “School of Scyros,” 3 out of 9,” p. 52.

Glueck, Grace, “New York Gallery Notes,” Art in America, New York, vol. 53, no. 6, December, 1965 – January, 1966, p. 124, ill., Ster 1965, sculpture. (Parsons)

“Reviews and Previews; Paul Feeley,” Art News, New York, vol. 64, no. 8, December, 1965, p. 14, ill., sculpture, “Ster,” 1965 (#771). (Parsons)

Anon., “Paul Feeley,” Time,  December 10, 1965. (Parsons)

Gruen, John, “Art Tour: Paul Feeley,” New York Herald Tribune, December 11, 1965, p. 11. (Parsons)  

Aldrich Museum of Contemporary Art. Art of the 50s and 60s: Selections from the Richard Brown Baker Collection. Ridgefield, CT: Aldrich Museum of Contemporary Art, 1965.

Ventura, Anita. Colorists, 1950-1965. San Francisco: San Francisco Museum of Art, 1965.

Whitney Museum of American Art. 1965 Annual Exhibition of Contemporary American Painting. New York: Whitney Museum of American Art, 1965.

1966

Coates, Robert M., “The Art Galleries, Merry-Go-Round,” New Yorker, January 1, 1966, pp.52, 55. (Whitney Annual)

“Paul Feeley,” Art Forum, January, 1966, ill., sculpture, Ster, 1965. (Parsons)

Baro, Gene, “Paul Feeley: The Art of the Definite,” Arts, New York, vol. 40, no. 4, February, 1966, pp. 19-25. Photo of Feeley; Red and Green, 1954; Ilion, 1962; Almaha, 1957; Maia, 1963; Elna 1, 2, 3, 4 , 1965, designed expressly for Arts by Paul Feeley; Arpa, 1964; Errai, model for a sculpture court, 1965; sculpture, El Kophrah, 1965. Cover photo of sculpture, Enir, 1965.

Lippard, Lucy, Artforum, February, 1966, vol. 4, no. 6, p. 54, ill., Steora. (Parsons)

Artforum, March, 1966, vol. 4, no. 7, p. 15, ill. (Wilder)

Goossen, E. C., “Paul Feeley, 56, Painter, is Dead,” The New York Times, June 12, 1966, p. 86. (Incorrect age in headline.  He died at age 55.  Published anonymously.  Rough draft among papers of E. C. Goossen at the Archives of American Art.)

“Noted Artist Paul Feeley Dies; Bennington College Teacher,” Bennington Banner, June 13, 1966, p. 1.

Solomon, Alan, “Bennington Artists:  The Green Mountain Boys,” Vogue, vol. 148, no. 2, August 1, 1966, pp. 104-109, 151-152.

“Obituaries: Paul Feeley,” Art News, New York, vol. 65, no. 5, September, 1966, p. 13.

Aujourd’hui, Paris, vol. 10, no. 54, September, 1966, p. 103, ill., Alphard, 1966. (Lausanne, Galeries Pilotes)

Kramer, Hilton, “‘Systemic Painting’: An Art For Critics,” The New York Times, September 18, 1966.

Kramer, H., The New York Times, November 5, 1966.

Kramer. H., “The Thingification of Sculpture,” The New York Times, November 13, 1966, p. D17.

Goossen, E. C., “20th Anniversary ‘Pattern Art’,” 57th Street Review, New York, November 15, 1966.

L. C. (Lawrence Campbell), “Reviews and Previews; Paul Feeley,” Art News, New York, vol. 65, no. 8, December 1966, p. 10, ill., Gomelza, 1965.

“Caro, Feeley, Olitski, And Smith Have One-Man Shows,” Quadrille, December, 1966, p. 1, ill., Sculpture Court; Gomelza; Cheleb. (Parsons)

C. N., “Reviews in the galleries; Paul Feeley,” Arts, New York, vol. 41, no. 3, December, 1966–January, 1967, p. 66. (Parsons)  

Aujourd’hui, Paris, vol. 10, no. 55-56, December 1966 – January 1967, p. 162, ill., Asellus, 1964. (“Systemic Painting,” Guggenheim).  

Alloway, Lawrence. Pattern Art. New York: Betty Parsons Gallery, 1966.

Beeren, Wim, and Edy de Wilde. Vormen van de kleur. Amsterdam: Stedlijk Museum, 1966.

Hecksher Museum of Art. Whence Op. Huntington, NY: Heckscher Museum of Art, 1966.

Rannells, Molly. Multiplicity. Boston: Institute of Contemporary Art, 1966.

Selz, Peter. Seven Decades, 1895-1966: Crosscurrents in Modern Art. New York: Cordier & Ekstrom, Inc., 1966.

1967

Benedikt, Michael, “New York Letter,” Art International, Lugano, Switzerland, vol. XI, no. 1, January 20, 1967, pp. 56-62. (Feeley, p. 58-59) (Parsons)

Reproduction only: “Collection of Mr. & Mrs. Robert B. Mayer,” Holiday, March, 1967. Alruccabah, 1964.

Goossen, E.C., “Georgia O’Keeffe,” Vogue, March 1, 1967, p. 224. (Influence on Feeley).

Reproduction only: Advertisement for Boulevardier, printed in Newsweek, March 6, 1997. (Model holding magazine with photo of Ruth Ann Fredenthal painting sculpture as Feeley watches).

Hakanson, Joy, “20 Painters, 9 Sculptors in ‘Color, Image, Form,’” Detroit News, Detroit, Michigan, March 26, 1967, [no page]. Ill., El Kophrah. (Detroit Institute)

Alloway, Lawrence, “The Artist as Bookmaker: Notebook Art,” Arts, New York, vol. 41, no. 8, Summer, 1967, pp. 22-23, ill.

Reproduction only, Bloustein, Edward J., Education on a Human Scale: A Program of Development for Bennington College, 1967. Cover and back reproduction of Feeley unidentified “Jack” painting, yellow and dark orange.  

Baro, Gene. Color, Image, Form. Detroit: Detroit Institute of Arts, 1967.

Honisch, Dieter. Formen der Farbe. Stuttgart: Württembergischer Kunstverein, 1967.

1968

Andreae, Christopher, “Jack,” Christian Science Monitor, March 25, 1968, p. 10, ill., Jack, 1968.

“Feeley Art Exhibition at Guggenheim Museum,” Bennington Banner, March 29, 1968.

Campbell, Lawrence, ed., Art Students League News, vol. 21, no. 4, April, 1968, pp. 1-2. (Review)

Baro, Gene, “Paul Feeley: Serene and Joyful Vitality,” Vogue, vol. 151, no. 7, April 1, 1968, pp. 180-181, 231.

Baro, Gene. Paul Feeley: Retrospective Exhibition of Drawings and Watercolors, 1927-1966. Washington, DC: Smithsonian Institution, 1968.

Kramer, Hilton, “The Pressure of a Style,” The New York Times, April 14, 1968, p. D29.

Wichelns, Jerome, “Paul Feeley’s Lyric Leap Beyond Time And Space,” Bennington Banner, April 20, 1968, p. 2.

Andreae, Christopher, “Art that Just Sat Still and Had a Presence,” Christian Science Monitor, International ed., April 26, 1968, p. 4; National Edition, April 30, 1968, p. 6. Ill., Sculpture Court, Maia, Katadoro. (Guggenheim, Bennington)

“Feeley at Guggenheim,” Arts, vol. 42, no. 7, May, 1968, p. 21, ill., “Sculpture Court” 1966-68.

Bourdon, David, (unsigned), “Paul Feeley, a Voluble Dandy Who Taught Vision Using Jacks,” Life Magazine, vol. 64, no. 20, May 17, 1968, pp. 94-98, ill., Jack sculpture; Formal Haut, Alnium, Alphard, Gomelza, Sculpture Court. (Guggenheim)

Alloway, Lawrence, “Paul Feeley: Two Recent Exhibitions,” Arts Magazine, vol. 42, no. 8, New York, Summer 1968, p. 41-3, ill., Cassius, 1960; Untitled  Drawing (Feb. 4, 1962); Ionia, 1962; Altair, 1964, Untitled Drawing, undated.

Battcock, Gregory, “The Art of the Real: The Development of a Style: 1948-68,” Arts Magazine, vol. 42, no. 8, New York, Summer 1968, pp. 44-47. (no mention of Feeley).

Hyman, Laurence, ed., Quadrille, Bennington College, vol. 2, no. 5, June 1968, p. 5, ill., Sculpture Court, Jack, Group of drawings.

Reproduction only: “Sculpture Court,” The Washington Post, June 30, 1968, p. G1. (Corcoran Gallery).

“Forest in the Guggenheim,” P/A News Report, (Progressive Architecture Rheinhold Pet. Corp., 430 Park Ave., New York) June, 1968, p. 48.

“Forest in the Guggenheim,” il Progres Arch, vol. 49, June, 1968, p. 48.

“Best Bets: Painted Realism,” New York Magazine, vol. 1, no. 13, July 1, 1968.

Baro, Gene, “The Art of Paul Feeley,” Studio International, vol. 176, no. 902, London, England, July, 1968, p. 24-8, ill., Red Blotch, 1954; sculpture, Jack; 1965; sculpture, Deneb-el-Okab, 1965; sculpture, Errai, 1965; Cheleb, 1965; Carthage, 1962; Sculpture Court, 1968.

“Artists ‘Make,’ Not Represent,” Stamford Advocate, Stamford, Connecticut, July 27, 1968, ill., Deneb-El-Algedi. (Art of the Real) (Reproduction only).

Mellow, James R., “New York Letter,” Art International, vol. XII, no. 6, Summer, 1968, p. 113. (ill., Ionia, 1962; Sculpture Court, 1965).

Wasserman, Emily, “Review,” Artforum, vol. VI, no. 10, Summer, 1968, pp. 54-55. Ill., Sculpture Court, 1968; Untitled, 1956.

“Sculpture Court Comes to Town,” The Evening Star, Washington, D.C., June 18, 1968, p. B1. (Ill., Sculpture Court). (Corcoran)

Reproduction only: Washington Post, June 18, 1968, p. B.2. Ill., Sculpture Court at Corcoran.

Washington Star, June 18, 1968, p. B.1. (Sculpture Court at Corcoran)

Washington Post, Washington, DC., June 30, 1968, p. G1.

Kramer, Hilton, “The Abstract and the Real: From Metaphysics to Visual Facts,” The New York Times, July 21, 1968. (“Art of the Real,” Museum of Modern Art)

Andreae, Christopher, “Paul Feeley,” Christian Science Monitor, August 9, 1968. (Home Forum page) Ill., Ionia, 1962; Paeligni, 1961.

Baro, Gene, “Paul Feeley: The Drawings and Watercolors,” The Bennington Review, Spring, 1968, p. 25-30. Ill., Untitled (Blue, white, pink, green), 1962; Untitled (two blues with white), 1962; Trick Dog, 1950; Torremolinos, 1957; Self-Portrait, 1930; Helen Reading, 1946; Leg, 1927; Dream of Flying, 1940; Washing, 1944-45; Ballplayer, 1944-45; Figure and Sculpture, 1965; Four Sculptures, 1965; Untitled, 1964; Untitled, 1964; Untitled, undated.

Reproduction only: Studio, vol. 175, May, 1968, p. 283, ill., “Sculpture Platform” 1966.

Reproduction only: Kunstwerk, vol. 21, April, 1968, p. 44, ill., “Sculpture Court” 1966-68.  

———— Paul Feeley (1910-1966): A Memorial Exhibition. New York: Solomon R. Guggenheim Museum, 1968.

Goosen, E.C. The Art of the Real: USA, 1948-1968. New York: Museum of Modern Art, 1968.

———— Betty Parson’s Private Collection. New York: Finch College Museum of Art, 1968.

1969

Reproduction only: The 1969 Compton Yearbook: A Summary and Interpretation of the Events of 1969 to Supplement Compton’s Encyclopedia, F.E. Compton Co., Chicago, Illinois, 1969. Untitled Tondo, (Blue, Red). (#767)

Hall, Carolyn, “Current Show More Eclectic,” The Eccentric, Birmingham, Michigan, April 3, 1969, pp. 1D, 9D. (National Religious Art Exhibition) ill., Alcyone, 1963 (incorrectly labeled Giedi).

Russell, John, “Painter—Power,” The Sunday Times, London, England, April 17, 1969 [No page]. (Art of the Real).

Reproduction only: Apollo, vol. 89, May, 1969, p. 394, ill., sculpture, “Denebola” 1965.

Reproduction only: Connoisseur, vol. 171, August, 1969, p. 248, ill., “Alphecca” 1965.

Reproduction only: Goya, no. 92, September, 1969, p. 101, ill., sculpture, “Jack II” 196???.

Reproduction only: “Living with Art,” House & Garden, November, 1969, ill., Untitled, No Record; sculpture, “Deneb El Okab,” 1965. The Collection of S.I. Newhouse, Jr.)  

1970

Last, Martin, Art News, vol. 69, April, 1970, p. 18. (Parsons)

“Recent Gifts,” Kresge Art Center Bulletin, Michigan State University, May 1970, vol. III, no. 8.  (Clement Greenberg gifts Feeley Still-Life, 1950, to Kresge Art Center.)

Ratcliff, C., Art International, vol. 14, May, 1970, p. 80. (Parsons)

Baldwin, Nick, “The Visual Arts,” Des Moines Sunday Register, Des Moines, Iowa, August 2, 1970, p. 2L. (Announcement, Smithsonian Traveling Exhibit.)

Art Journal, vol. 30, no. 1, Fall, 1970, p. 68. (Smithsonian Institution, Washington, DC, exhibit)

Alloway, Lawrence, “Spectrum of Monochrome,” Arts, vol. 45, December, 1970, p. 33, ill., “Acrab” 1964.  

Goossen, E.C. Paul Feeley: A Selection from the Late 1950s Paintings. New York: Betty Parsons Gallery, 1970.

1971

Cynthia Smith, “Report on the Feeley Note-Paper Project,” Quadrille, May 1971, Vol. 5, No. 2, p. 39.

Reproduction only: Arts, vol. 45, April, 1971, p. 54, ill., Alioth, 1964.

Borsick, Helen, “A Touching Memorial,” The Plain Dealer, Cleveland, Ohio, September 19, 1971. Ill., Paul Feeley, pencil self-portrait, 1930. (Smithsonian Traveling Exhibit: Cleveland Institute of Art.)

Kramer, Hilton, “Paul Feeley,” The New York Times, October 30, 1971, p. 27.

Art News, vol. 70, November, 1971, p. 22. (Parsons)

Gruen, John, “Paul Feeley,” New York Magazine, November 1, 1971, p. 70. (Parsons)

Arts, vol. 46, December, 1971, pp. 63-4. (Parsons)

Reproduction only: Baldwin, William, “A Villa for Active Americans,” House and Gardens Magazine, February, 1971.  

1972

“Sometimes All the Magic Ends Converge …” Quadrille, Fall, 1972, vol. 7, no. 1, p. 37-40. (Interview with Helen Frankenthaler.)

1973

Art News, vol. 72, October, 1973, pp. 90-91. (Crispo Gallery)

Hess, Thomas B., “Art: Paul Feeley,” New York Magazine, October 23, 1973.

Arts, vol. 48, November, 1973, p. 64. (Crispo Gallery)  

1975

Arts, vol. 49, March, 1975, p. 13. (Parsons)

Art News, vol. 74, March, 1975, pp. 107-108. (Parsons)  

1976

Russell, John, “Paul Feeley,” The New York Times, February 28, 1976.

Goossen, E. C., and Sidney Tillim, “Artists at Bennington: Visual Arts Faculty, 1932-1976,” Bennington College Arts Center Dedication Exhibition, May 20-June 2, 1976.  The Suzanne Lemberg Usdan Gallery, Bennington College, Bennington, Vermont. Ill, Deneb el Bola, 1965.

“André Emmerich Uptown Gallery,” Arts, 50: 18-19, May, 1976. (Emmerich)

Arts, vol. 50, February, 1976, p. 13. Ill., Apyu, 1961, inside cover. (25thAnniversary Show: Tibor de Nagy Gallery exhibit.)

Reproduction only: Art in America, vol. 64, March, 1976, p. 2.

Reproduction only: Art News, vol. 75, February, 1976, p. 20.  

1980

“Paul Feeley, 1910-1966: ‘Formal Haut, 1963’,” Guggenheim Museum Collection: 1900-1980, Solomon R. Guggenheim Foundation, New York, NY, 1980, p. 488.

1983

Reproduction only: Contemporary Art from the Estate of Betty Parsons,”Christies New York, Christie, Manson & Woods International Inc., New York, November 9, 1983, auction catalogue. Akerena, 1963; sculpture, Elphekrah, 1965.

1985

“‘Feeley Wall’ Donated to College, Installed in Crossett Library,” Quadrille, February, 1985, cover and p. 4. Photo of Feeley in front of wall. Interview with Eugene Goossen.

Brockway, Thomas, “Personalities of Painters in the 40s: Feeley, Knaths & Holt,” Quadrille, February 1985, p. 8-9. Photo of Feeley teaching students in late 1940s.

Tillim, Sidney, “Art Education at Bennington: The Creation of Artistic Will,” Quadrille, February, 1985, p. 8-9. Reprinted from “Bennington Artists: The Years After,” exhibition catalogue, Usdan Gallery, Bennington College, 1984.  

Anon., “Making Excellent Use of Usdan Gallery,” Quadrille, February 1985, p. 16. (on “Art as Personal Relation: The Collection of Lionel and Laura Nowak.”)  

1987

Messer, Thomas R. Paintings Since World War II. Vol. 3 of Fifty Years of Collecting: An Anniversary Selection. New York: The Solomon R. Guggenheim Foundation, 1987.

1988

Armstrong, Tom (Director) and Karl Willers (Branch Director), “Made in the Sixties,” Paintings and Sculpture from the Permanent Collection of the Whitney Museum of American Art. W. M.A.A. Downtown at Federal Reserve Plaza, April 18-July 13, 1988, ill., Gomelza, 1965.

Willers, Karl. Made in the Sixties. New York: Whitney Museum of American Art, 1988.

1992

Smith, Roberta, “Abstraction: A Trend That May Be Coming Back,” The New York Times, January 10, 1992, P. C28. Includes review of “Stubborn Painting.”

1994

Michael Kimmelman, “Three 60’s Art Stars Rise and Shine Again,” The New York Times, May 5, 1994, C15. (Feeley glaringly absent from a discussion of “The Green Mountain Boys.”)

1997

Smith, Roberta, “Paul Feeley,” The New York Times, October 3, 1997, p. B36. (Markey)

“Paul Feeley,” The New York Times, October 10, 1997, Ill., Untitled “Paintings Studies,” 1965. (Reproduction and gallery listing) (Markey)  

1998

Kernan, Nathan, “Paul Feeley: Works on Paper,” On-Paper, v. 2, Jan./Feb., 1998, p. 46. Ill., Untitled, watercolor.

Glueck, Grace, “During a 60’s Interlude, Color Was the Content,” The New York Times, New York, January 30, 1998, p. B33.

Kelley, Kevin, “A Rural Revolution: A New Exhibit Looks at the Vermont School That Changed Abstract Art,” The Burlington Free Press, March 14, 1998, pp. 1C, 3C. ill., Alkes, 1964.

“Special Exhibit by the ‘Green Mountain Boys,’ Bennington Banner, Bennington, Vermont, March 7-8, 1998, p. 2C.  

“The Green Mountain Boys Return to Vt.,” Bennington Banner, Bennington, Vermont, March 14-15, 1998.

Rubinstein, Raphael, “Paul Feeley at Lawrence Markey,” Art in America, vol. 86, no. 4, April 1998, pp. 114-115, ill., “Untitled, 1964” watercolor.

Brennan,  Michael, “Paul Feeley at Lawrence Markey,” Artnet.com/magazine/reviews/brennan, downloaded March 17, 1998.

“Greenberg Again,” Village Voice, February 3, 1998, p. 139.

“The Green Mountain Boys Revisited,” Bennington: The Alumni Magazine, Spring 1998, p. 24. Installation shots of show at André Emmerich Gallery. Photographs and excerpts from 1966 Vogue magazine article. 

1999

Cordova, Cary, Paul Feeley: His Life, His Art and the Rise of the Avant-Garde at Bennington College, Master of Arts Thesis, Department of American Civilization, University of Texas at Austin, 1999.

2002

"New to the Collection." Carnegie Magazine. Carnegie Museums of Pittsburgh. July-August, 2002. (Alya, 1964.)

"Four Experiments in Little Living." New York Times. September 19, 2002. D1.

Finch, Charlie. "For Sale: The Object Returns." www.artnet.com/magazine/features/finch/finch10-11-02.asp. October 11, 2002.

Newhall, Edith. "The Shape of Things to Come." New York. October 14, 2002.

"Paul Feeley." New Yorker. October 28, 2002. p. 25.

"Paul Feeley: Painting and Sculpture & Peter Cain: More Courgage and Less Oil." http://www.flavorpill.net/archive/oct-29-02.html. October 29, 2002.

Dannatt, Adrian. "Paul Feeley: Painting and Sculpture; Lawrence Markey and Matthew Marks Gallery." The Art Newspaper. November 2002.

Clem, Chivas. "Paul Feeley." Time Out: New York. November 14-21, 2002. [image of Elkeber, 1965]

Johnson, Ken. "Paul Feeley." New York Times. November 15, 2002. B35.

"Paul Feeley: Painting and Sculpture." www.artdealers.org [no longer available online]. Fall 2002.

2001

Wilkin, Karen and Bruce Guenther. Clement Greenberg: A Critic’s Collection. Portland, OR. Portland Art Museum 2001.

2002

Lawrence Markey Gallery and Matthew Marks Gallery. Paul Feeley: Painting and Sculpture. New York: Lawrence Markey Gallery and Matthew Marks Gallery 2002.

2004

David Pagel. "Too Much Fun To Be Called Elegant." Los Angeles Times.January 16, 2004. E36.

2007

Anfam, David. “Paul Feeley. Rijo.” In Abstract Expressionism and Other Modern Works: The Muriel Kallis Steinberg Newman Collection in The Metropolitan Museum of Art, edited by Gary Tinterow, Lisa Mintz Messinger, and Nan Rosenthal, 197-99. New York Museum of Art, 2007.

2010

Armstrong, Richard. Color Fields. Berlin: Deutsche Guggenheim, 2010.

2011

Garth Greenan Gallery. Paul Feeley: 1959-1962. New York. Garth Greenan Gallery, 2013.