The
work of Michael Mazur has been featured in numerous solo and
group painting, print, and drawing exhibitions, nationally and
internationally, since 1958. Only those exhibitions significant
to Mazur's career as a printmaker are documented here. The artist's
complete gallery and museum exhibition history is maintained
by his current dealers, Barbara Krakow Gallery in Boston and
Mary Ryan Gallery in New York. The Archives of American Art
has 10 1/4 hours of taped interviews with Mazur, conducted by
Robert Brown in sessions between 12 January 1993 and 3 February
1995. The Archives has also microfilmed thirteen bound work
journals and one loose sketchbook kept by the artist between
1 May 1974 and 3 March 1998.
2009
Prepares for upcoming exhibits in NY, Boston and Provincetown.
NY exhibit to be held in Mary Ryan’s Chelsea gallery opening
May 2. Boston exhibit to be 6 large paintings from the “War:”
series opening in the Fall. Finishing prints for Merola exhibit
in the summer. Working on wood cuts, etchings and lithographs.
2008
Finishes “Headless” the last in the “War”
series begun in 2007. Begins Rain series in the fall, Completes
work for “I’ll Tell What I Saw” A boxed set
of 13 digital prints of selected images from Dante’s Divine
Comedy with translations by Robert Pinsky.
2007
Begins large paintings for “War series”. Uses magnetic
surfaces for vertical spray painting in acrylic.
Shows a retrospective of works on paper at Mary Ryan’s
in NY. It includes works from 1958-the present.
2006
Exhibition at the USC Fisher Gallery in Los Angeles is planned
for the fall of ’06. Dante exhibit, currently managed
by CATE in Pasadena and also scheduled for University of Vermont
and the Buck’s County Community College in Pennsylvania
will be accompanied by a second show of recent paintings at
USC.
2005
During a summer workshop at the Fine Arts Work Center in Provincetown,
Mazur begins experimentation with stencils in his monotypes.
His success with this encourages him to take the process into
painting and eventually collage. Completes over 160 paintings
and collages during 2004/05. Exhibits these at Mary Ryan in
the fall of ‘05. Mazur still effected by Dermato-Myositis
and undergoes a new angioplasty procedure.
2004
An exhibit Recent paintings and works on Paper, organized by
the Springfield, Missouri Art Museum opened in the fall just
before Mazur went into the hospital for quadruple by-pass and
also finds out about his having Dermato-Myositis, a rare auto-immune
disease of the trunk muscles. Spent three weeks at Brigham and
Women’s Hospital. Mazur then spent the rest of the year
and the spring of 2004 in recovery. Exhibited works from the
previous year and summer at the Mary Ryan Gallery. Works mostly
on small drawings until the summer of 2004 when he starts to
paint again.
2003
Exhibits several paintings in a three-person show, “Looking
East”, at Boston University Art Gallery with Pat Steir
and Brice Marden. The show shows the influence of Chinese and
Japanese art on the three artists.
2000-02“The Prints of Michael Mazur” a traveling
exhibit organized by Rutgers University at its Zimmerli museum
began at the MFA Boston along with an exhibit of recent paintings.
The Print retrospective traveled to Minneapolis Institute of
Art, The Cantor Center, Stamford University, and ended at Rutgers.
2000
“The Inferno of Dante” a series of 41 etchings and
Text translated by Robert Pinsky, is exhibited for the first
time at Castelvecchio, the Public Museum of Verona, Italy. The
exhibition is the inugural of a show, which also traveled to
The American Academy of Rome later that year and in early ’01.
In Verona, during this year of the 700th anniversary of Dante’s
poem--he dedicated the "Paradiso” to the Scalieri
family lord in Verona known as “Cangrande”(Big Dog)--
Mazur spoke at the opening ceremony and Robert Pinsky read from
the text in its courtyard later that month. The exhibition was
held in the same building built in the first decades of the
1300’s as the family’s castle and later used by
Napoleon’s troops in the Veneto as an armory in the 19th
Century and by Nazi armaments during the later part of WWII.
It was bombed by the British and restored in the 1960’s
by the famous Italian architect Carlo Scarpa into one of the
most striking museums in Italy.
1998-99Collaborates on a set design for a staged adaptation
of Dante’s Inferno, with script by Pinsky, performed at
the Unterberg Poetry Center, 92nd Street YMCA, New York; completes
commissions for large-scale digital prints on canvas for the
Federal Reserve Bank, Boston, and the Swiss Bank Warburg Dillon
Read, Stamford, Connecticut.
1997
Is elected chair of the board of the Fine Arts Work Center;
returns to Florence and Rome in the company of Dimitri and Cynthia
Hadzi; collaborates on monotypes at Smith Andersen Editions,
Palo Alto. Solo exhibition: Branching: The Art of Michael Mazur,
Mead Art Museum, Amherst College, Massachusetts (travels to
DeCordova Museum and Sculpture Park, Lincoln, Massachusetts,
1998); group exhibition: Singular Impressions: The Monotype
in America, National Museum of American Art, Smithsonian Institution,
Washington, D.C.
1996
Is invited to join the Longpoint Gallery, a cooperative gallery
in Provincetown founded by Robert Motherwell, Leo Manso, Sidney
Simon, and others.
1995
Is visiting critic, Massachusetts College of Art, Boston, returning
in 1996; begins teaching a summer workshop in monotype at the
Fine Arts Work Center; group exhibition: The Herbert W. Plimpton
Collection of Realist Art: 18th Annual Patrons and Friends Exhibition,
Rose Art Museum, Brandeis University.
1994
In January, addresses the Massachusetts Board of Education at
the statehouse to request increased support for arts in the
public school system and to propose several approaches to arts
in the core curriculum; during summer, collaborates with Townsend
and guest artists Richard Rosenblum, Richard Baker, Paul Bowen,
James Balla, George Marsh, and Varujan Baghosian at the New
Provincetown Print Project; solo exhibition: Monotypes by Michael
Mazur for the Inferno, University of Iowa Museum of Art, Iowa
City (travels through 1997 with Mazur and Pinsky giving lectures
on their collaboration at eight venues).
1993
In January, after coronary catheterization reveals heart disease,
undergoes ballon angioplasty procedure; during the summer months,
collaborates with Townsend and guest artists Eric Avery, Sue
Coe, Sam Messer, and Joan Snyder at the New Provincetown Print
Project; the resulting portfolio is published to jointly benefit
the Fine Arts Work Center and the Provincetown AIDS Support
Group; joins U.F.O. Gallery in Provincetown; granddaughter Rebecca
is born to son Daniel and his wife Susan Chasen.
1992
Begins collaboration with poet/translator Robert Pinsky, resulting
in a series of monotype illustrations to accompany Pinsky’s
translation of The Inferno of Dante (New York: Farrar, Straus
and Giroux, 1994); in June and July, collaborates with Townsend
and guest artists Jacqueline Humphries, Nathan Oliveira, Therese
Oulton, and John Walker at the New Provincetown Print Project;
is appointed to the board of trustees of the Fine Arts Work
Center.
1991
In June and July, collaborates with Townsend and guest artists
Yvonne Jacquette, Sylvia Plimack Mangold, Roberto Juarez,, and
David True at the New Provincetown Print Project; solo exhibition:
Reflected Self: Mazur Prints, Kansas City Art Institute, Missouri.
1990
Founds the New Provincetown Print Project in conjunction with
the Fine Arts Work Center; during summer, collaborates with
master printer Robert Townsend and guest artists Mary Frank,
George McNeil, Fred Sandback, and Gregory Gillespie on monoprint
and monotype projects; at Harvard’s Carpenter Center for
the Visual Arts, attends weekly drawing and printmaking sessions
with fellow faculty and teaching assistants, resulting in the
continuing Harvard Evenings print series; solo exhibition: Michael
Mazur: Color Prints, Mary Ryan Gallery, New York (also has solo
exhibitions there in 1994, 1995, 1996, 1997, 1998, and 1999).
1989
Spends winter and spring in Houston, where Gail is visiting
associate professor in the Graduate Writing Program at the University
of Houston; purchases summer house in Provincetown.
1988
Mazur’s mother dies; travels to San Francisco to work
at the Experimental Workshop on a series of silk monotype screens
(colorplate); solo exhibitions: Michael Mazur: Paintings, Prints,
Drawings, Monotypes, 1962-1988, Macalester College, St. Paul,
Minnesota; Joe Fawbush Gallery, New York.
1987
Begins collaboration with New York master printer Judith Solodkin
on Wakeby Night edition; in May and June, travels to Suchow,
Shanghai, and Beijing in China with Gail and artist friends,
including Catherine Murphy, Harry Roseman, Marianna Pineda,
and Richard Rosenblum; visits Hong Kong, Shanghai, Beijing,
Xian, and other cities and sites to study landscape and Chinese
garden traditions; solo exhibition: Michael Mazur’s Self-Portraits,
Joe Fawbush Gallery, New York; group exhibitions: The Monumental
Image: Prints by Jennifer Bartlett, Chuck Close, Michael Mazur,
Susan Rothenberg, Donald Sultan, Terry Winters, California State
University, Northridge; Modern American Realism, National Museum
of American Art, Smithsonian Institution, Washington, D.C.
1986
Designs screenprint poster for a Russell Sherman concert to
benefit the nuclear weapons freeze campaign; begins spending
part of each summer in Provincetown, Massachusetts, where he
and Gail Mazur are visiting critics at the Fine Arts Work Center.
1984
Organizes Art for a Nuclear Weapons Freeze, a national traveling
exhibition and benefit auction for the antinuclear campaign;
his "Art for Arm's Sake" satire is published by the
New York Times on the Op-Ed page.
1983
Serves as a member of the Pennell Committee at the Library of
Congress until 1993, replacing Jim Dine; works first with Donald
Saff and then with Yvonne Jacquette to select prints for the
Library of Congress Pennell Print Collection; is guest teacher
at Cornell University, SUNY Purchase, and University of Southern
California, Los Angeles; sings in and designs a set based on
Goya's prisoner figures for the "El Salvador" oratorio
concert by the Back Bay Chorale under the direction of conductor
Larry Hill, which takes place at Harvard's Sanders Theater on
18 May; exhibition Wakeby Day/Wakeby Night: Monumental Monotypes
by Michael Mazur opens 11 March at the Hayden Gallery, MIT (colorplate
18), in conjunction with installation of Wakeby monotypes at
the 500 Memorial Drive dormitory building.
1982
Begins the Wakeby Day, Wakeby Night series of monumental monotypes,
commissioned by MIT; creates monotype series to illustrate Richard
Howard's translation of Les Fleurs du Mal by Charles Baudelaire
(Boston: David R. Godine, 1982); in spring semester, is guest
teacher at Cornell University and at SUNY Purchase; in fall
semester, teaches a class in the Graduate School of Art, Boston
University; begins planning for the Artists for a Nuclear Weapons
Freeze project that he co-directs with his Boston dealer Barbara
Krakow; solo exhibitions: Smith Andersen Gallery, Palo Alto,
California; The Cyclamen Dance Series (fig), Janus Gallery,
Los Angeles; Gustavus Adolphus College, St. Peter, Minnesota;
group exhibitions: Perspectives on Contemporary American Realism:
Works on Paper from the Collection of Jalane and Richard Davidson,
Pennsylvania Academy of the Fine Arts, Philadelphia; A Private
Vision: Contemporary Art from the Graham Gund Collection, Museum
of Fine Arts, Boston; A Close Look at the Human Figure in Contemporary
Art, Contemporary Arts Center, New Orleans
1981
Travels to Washington on 3 May for march to the Pentagon in
protest of Reagan foreign policy; teaches at Yale Summer School
of Music and Art; Mazurs build a summer home overlooking Wakeby
Pond in Mashpee on Cape Cod after Gail Mazur's family summer
home there is destroyed by fire (1979); after dissolution of
the Harcus-Krakow Gallery, continues regular exhibitions at
the Barbara Krakow Gallery, Boston (also 1984, 1987, 1989, 1990,
1993, 1995, 1996, and 1998); solo exhibitions: Rutgers University
Art Gallery (now the Jane Vorhees Zimmerli Art Museum), New
Brunswick, New Jersey (in conjunction with a large acquisition
of the artist's work); John Stoller Gallery, Minneapolis; Greenberg
Gallery, St. Louis; Andrews Gallery, College of William and
Mary, Williamsburg, Virginia; group exhibition: American Prints:
Process and Proofs, Whitney Museum of American Art, New York.
1980
Meets Jim Dine and introduces him to monotype techniques; writes
catalogue essay for The Painterly Print: Monotypes from the
Seventeenth to the Twentieth Century, Metropolitan Museum of
Art, New York (travels to the Museum of Fine Arts, Boston, 1981);
the monotype Window Sequence (Fire) (fig) is included in that
exhibition; solo exhibition: Pace Editions, New York; group
exhibitions: Aspects of the '70's: Directions in Realism, Danforth
Museum, Framingham, Massachusetts; Three Decades, DeCordova
Museum and Sculpture Park, Lincoln, Massachusetts; Realist Works
on Paper, Virginia Museum of Fine Arts, Richmond.
1979
Curates exhibition at MIT's Hayden Gallery titled The Narrative
Impulse, which opens on 16 November and includes the work of
Mazur, Mary Frank, Robert Birmelin, and Irving Petlin; joins
the Robert Miller Gallery, New York (exhibits the Stoneham Zoo
series of paintings, drawings, monotypes, and pastels); group
exhibitions: Grafica Contemporanea Americana, Galleria Bevilacqua,
La Massa, Venice, Italy; Nouvelle Sujectivité, Palais
des Beaux-Arts, Brussels; Fifty American Works on Paper from
the Collection of Mr. and Mrs. Stephen D. Paine, Williams College
Museum of Art, Williamstown, Massachusetts.
1978
In January, testifies before Senator John Brademas's congressional
committee regarding government support for individual artists;
travels to France and Barcelona; at the request of the Gabo
estate, documents and organizes ten portfolios of Gabo's wood-engraving
monoprints and writes article on Gabo's monoprints for the Print
Collector's Newsletter special issue on monotype; on 11 December,
is sworn in as a member of the Massachusetts State Art Council
for a three-year term; is active in establishing the state's
"New Works" program and artists' rights legislation.
1977
Begins guest teaching printmaking classes at Harvard University,
which continue regularly through 1997; works for the first time
with master printer Robert Townsend, a relationship that continues
today; group exhibitions: Print Biennial, National Collection
of Fine Arts, Washington, D.C.; Wellesley Greenhouse: Janowitz,
Kumler, Mazur, Wellesley College Museum of Art, Massachusetts;
New England Works on Paper, Museum of Fine Arts, Boston.
1976
In April, with Museum of Fine Arts print curators, visits Naum
Gabo to view Gabo's wood-engraving monoprints; solo exhibitions:
Michael Mazur: Vision of a Draughtsman: A Twenty-Year Retrospective
of Works on Paper, Brockton Art Center, Massachusetts (organized
by Marylin Hoffman; travels to Middlebury College, Vermont;
Montreal Museum of Fine Arts; Delaware Art Museum, Wilmington;
and the jane Haslem Gallery, Washington, D.C.); Michael Mazur:
Prints and Drawings, Widener Gallery, Trinity College, Hartford,
Connecticut; group exhibitions: American Prints, 1913-1963,
Museum of Modern Art, New York (travels); Thirty Years of American
Printmaking, Brooklyn Museum, New York; The Figurative Tradition:
Nine Artists and Their Prints, Williams College Museum of Art,
Williamstown, Massachusetts; America 1976: A Bicentennial Exhibition
Sponsored by the Department of the Interior, Corcoran Gallery
of Art, Washington, D.C. (travels through 1978).
1975
Receives commission from the U.S. Department of the Interior
to participate in a project and subsequent bicentennial-year
traveling exhibition, America 1976, and in January goes to Ossabaw
Island off the coast of Georgia to create a series of landscape
oils, pastels, and monotypes (fig); in April is guest teacher
at the College of Creative Studies, University of California,
Santa Barbara; in July, teaches at the Yale Summer School of
Music and Art; in November, travels in France, Austria, East
Germany, and Holland, with particular interest in studying the
landscape drawings of Pieter Brueghel; resigns from Brandeis
University to devote full time to art; joins the Harcus-Krakow
Gallery, Boston, and has regular solo exhibitions there; group
exhibition: 60 Prints from 60 Years, Philadelphia Print Club.
1974
Meets the artist Mary Frank and begins a long friendship that
often includes joint work sessions; is appointed to the board
of the Artists' Foundation in Boston; joins the Terry Dintenfass
Gallery, New York, and has regular solo exhibitions there; group
exhibition: Selections from the Permanent Collection, Museum
of Fine Arts, Boston.
1973
In spring semester, is visiting professor, Queens College, Flushing,
New York; solo exhibition: Picker Art Gallery, Colgate University,
Hamilton, New York (paintings, prints, drawings, and sculpture);
group exhibitions: Michael Mazur and Robert Birmelin, State
University of New York, Cortlandt; Segundo Bienal Americana
de Artes Graficas, Museo La Tertulia, Cali, Colombia.
1972
Returns to Cambridge and purchases house on Walnut Avenue in
the Porter Square neighborhood; converts carriage house into
a studio (fig); in spring semester, is visiting professor at
Yale University School of Art and Architecture; solo exhibition:
"The Studio" and Other Works, 1969-70, Finch College
Museum of Art, New York (a revised and expanded version of the
1970 show); group exhibition: Phases of New Realism, Lowe Art
Museum, University of Miami, Florida
1971
Group exhibition: Two Aspects of Illusion: Paul Gedeohn/Michael
Mazur, Finch College Museum of Art, New York.
1970
Mazur's father dies; he moves family to New York City and rents
living and studio space (figs) in the old Lord and Taylor Building
at 901 Broadway that had formerly belonged to the sculptor Paul
Manship; while in New York becomes active in the Arts Workers
Coalition; is selected as one of the American artists to exhibit
at the Venice Biennale, but subsequently withdraws in protest
with several other artists as part of an antiwar boycott of
American foreign policy; solo exhibition: "The Studio"
and Other Works, 1969-70, Institute of Contemporary Art, Boston
(environmental installations); group exhibition: Human Concerns,
Personal Torment, Whitney Museum of American Art, New York.
1969
Master printer and good friend George Lockwood dies in Boston;
solo exhibition: Prints by Michael Mazur, Rose Art Museum, Brandeis
University; group exhibitions: Homage to Tamarind, Museum of
Modern Art, New York; Prints of the 1960s, Museum of Fine Arts,
Boston; Primero Biennale, Cali, Colombia; Big Prints, Albright-Knox
Art Gallery, Buffalo, New York; Annual, Pennsylvania Academy
of the Fine Arts, Philadelphia.
1968
The Artist and the Model, a portfolio of twelve intaglio prints,
is published by Sylvan Cole at Associated American Artists,
New York; receives a Tamarind Artist Fellowship and travels
to the Tamarind Lithography Workshop in Los Angeles, where he
produces thirty-four editions of primarily black-and-white lithographs
that continue the Artist and the Model theme; begins using the
airbrush, which he had learned from the artist Billy Al Bengston
while at Tamarind; sees the exhibition Edgar Degas: Monotypes
at the Fogg Art Museum and subsequently begins making monotypes;
in Boston co-founds Artists against Racism and the War and collaborates
with Fred Stone on The American Way Room (fig), an antiwar installation
piece that is shown throughout the Boston area and subsequently
travels to New York, Atlanta, Syracuse, and Philadelphia; solo
exhibitions: Associated American Artists, New York (The Artist
and the Model); Comsky Gallery, Los Angeles; group exhibitions:
Contemporary American Graphic Artists, Rijksakademie van Beeldende
Kunsten, Amsterdam (travels); New Expressions in Fine Printmaking,
National Collection of Fine Arts, Washington, D.C. (travels
in Germany and Belgium); 16th National Print Exhibition, Brooklyn
Museum, New York; Annual Exhibition, Whitney Museum of American
Art, New York; Graphics '68: Recent American Prints, University
of Lexington, Kentucky.
1967
Group exhibitions: Prints of Two Countries, Italy-America, Tyler
School of Art, Philadelphia; The Helen W. and Robert M. Benjamin
Collection, Yale University Art Gallery, New Haven.
1966
Group exhibitions: 15th National Print Exhibition, Brooklyn
Museum, New York; Annual Exhibition: Sculpture and Prints, Whitney
Museum of American Art, New York.
1965
Moves to Fuller Place in Cambridge; completes the Images from
a Locked Ward portfolio of fourteen lithographs (figs), which
are printed at Impressions Workshop in Boston with images based
on the Closed Ward etching series; begins teaching at Brandeis
University in Waltham, Massachusetts, where he remains for the
next ten years, except for a two-year leave to work in New York
in 1970-71; is active in university politics and in the peace
movement; solo exhibitions: Alpha Gallery, Boston (also 1969
and 1974); group exhibitions: A Decade of American Drawings,
Whitney Museum of American Art, New York; Young Americans: 35
Artists under 35, Whitney Museum of American Art, New York;
Print Biennial of the Americas, Santiago, Chile.
1964
Receives a fellowship from the John Simon Guggenheim Foundation;
moves family to Arlington Street in Cambridge, Massachusetts,
for the year of his Guggenheim grant; though still drawing and
experimenting with printmaking, his main activity is in making
sculpture (fig); receives an award from the American Academy
of Arts and Letters and subsequently has a small solo exhibition
in New York in conjunction with the award; solo exhibitions:
Boris Mirski Gallery, Boston (also 1966); Philadelphia Print
Club; Silvermine Guild of Artists, New Canaan, Connecticut;
group exhibitions: Painters and Sculptors as Printmakers, Museum
of Modern Art, New York; 14th National Print Exhibition, Brooklyn
Museum, New York.
1963
Teaches at the Yale summer school of Music and Art; exhibits
first Closed Ward prints and drawings at the Providence Art
Club, where several works are purchased by the Fogg Art Museum
at Harvard University, Cambridge, and the Museum of Modern Art,
New York; group exhibitions: 19th Annual Print Exhibition, Library
of Congress, Washington, D.C.; National Print Exhibition, Brooks
Memorial Art Gallery, Memphis, Tennessee.
1962
Receives Louis Comfort Tiffany Foundation grant; group exhibitions:
13th National Print Exhibition, Brooklyn Museum, New York; Boston
Printmakers, Museum of Fine Arts, Boston.
1961
In spring of his last semester at Yale, assists sculptor Naum
Gabo for three months in printing two editions of etchings;
Gabo shows Mazur the wood-engraved monoprints he is printing
by hand; receives M.F.A., School of Art and Architecture, Yale
University; begins teaching printmaking, life drawing, and anatomy
at the Rhode Island School of Design, Providence; daughter Kathe
is born in Providence; solo exhibition: Jill Kornblee Gallery,
New York (also 1963 and 1966).
1960
First solo exhibition: Barone Gallery, New York (prints, drawings,
and sculpture [fig. 68]); group exhibitions: 18th National Print
Exhibition, Library of Congress, Washington, D.C.; 12th National
Print Exhibition, Brooklyn Museum, New York.
1959
Receives B.F.A. from Yale University; son Daniel is born in
New Haven.
1958
B.A., Amherst College; creates An Image of Salomé for
his senior thesis project, which is published by the artist
and printed at Apiary Press, run by Baskin's students at Smith
College; meets and becomes good friends with Baskin's assistant
George Lockwood, who would later found Impressions Workshop
in Boston; marries Gail Beckwith (later, the poet Gail Mazur),
who was then a student at Smith College; begins graduate study
at School of Art and Architecture, Yale University, New Haven;
studies with Gabor Peterdi, Bernard Chaet, William Bailey, Rico
Lebrun, Sewell Sillman, Neil Welliver, art historian Egbert
Haverkamp-Begemann, and Asian-art historian Nelson Wu, as well
as with visiting artists Fairfield Porter and John Scheuler;
makes regular Thursday trips with other students to Peterdi's
home/studio; works as a teaching assistant for both Peterdi
and Bailey.
1956
Takes a year off from studies at Amherst to live in Italy; takes
drawing classes at the Accademia di Belle Arti in Florence;
studies the work of Renzo Vespignani and other Italian neorealists
as well as the Italian old masters; learns Italian; while in
Florence, visits the studio of American sculptor Bernard Reder;
buys his first prints, which include works by Georges Rouault,
Käthe Kollwitz, Rodolphe Bresdin, and illustrations from
the German periodical Die Stürm; on his return to the U.S.,
reads Dante's Divine Comedy in the original Italian.
1954-55
Under reciprocal arrangement between Amherst and Smith College,
takes classes from Smith faculty member Leonard Baskin; in the
summer of his sophomore year, works as an intern in the New
York architectural offices of Ely Jacques Kahn and Robert Jacobs
and also attends Yale Summer School of Music and Art, Norfolk,
Connecticut.
1935-53
Born Michael Burton Mazur on 2 November 1935 at Doctor's Hospital
in New York, the only child of Burton and Helen (Isaacs) Mazur;
spends summers at boys' camps in Maine; attends the Lincoln
School in Manhattan and the Horace Mann School, located in the
Riverdale section of the Bronx; while still in high school,
spends Saturdays in 1949-50 assisting the artist Alan Ullman
in his Greenwich Village studio and taking painting classes
with Morris Davidson; high school art club friends include the
art critic Henry Geldzahler and the artist/cartoonist Ed Koren,
with whom Mazur worked on the school literary magazine, Manuscript.