Maria Porges

{{Use mdy dates|date=June 2015}} {{short description|American artist and writer}} {{Infobox artist | honorific_prefix = | name = Maria Porges | honorific_suffix = | image =  | image_size = | alt = | caption = | native_name = | native_name_lang = | birth_name =  | birth_date = {{Birth year and age|1954}} | birth_place = Oakland, California, United States | death_date =  | death_place = | resting_place = | resting_place_coordinates =  | nationality = | education = University of Chicago, Yale University | alma_mater = | known_for = Sculpture, assemblage, drawing, writing, criticism | notable_works = | style = | movement = | spouse = William McMahon | awards = SFMOMA SECA Award, California Arts Council, College Art Association of America | elected = | patrons = | memorials = | website = [https://mariaporges.com/ Maria Porges] | module = }}

'''Maria Porges''' (born 1954) is an American artist and writer based in the San Francisco Bay Area.<ref name="Pritikin23">Pritikin, Renny. [https://www.squarecylinder.com/2023/09/maria-porges-35-years/ "Maria Porges: 35 Years,"] ''SquareCylinder'', September 11, 2023. Retrieved January 5, 2024.</ref><ref name="AF">''Artforum''. [https://www.artforum.com/author/maria-porges/ "Maria Porges,"] Authors. Retrieved January 11, 2024.</ref> As an artist she is known for the prominent use of text in her visual works, which encompass sculpture, works on paper and assemblage and have an epistemological bent.<ref name="Webster98">Webster, Mary Hull. "Maria Porges at John Berggruen Gallery," ''Artweek'', February 1998, p. 18.</ref> As a critic Porges has written for ''Artforum'', ''Art in America'', ''Sculpture'' and ''SquareCylinder'', among other publications.<ref name="Roth18">Roth David M. [https://www.squarecylinder.com/2018/09/new-domestics-monterey-art-museum/ "New Domestics @ Monterey Museum of Art,"] ''SquareCylinder'', September 24, 2018. Retrieved January 5, 2024.</ref><ref name="CCA">California College of the Arts. [https://portal.cca.edu/people/mporges/ Maria Porges], People. Retrieved January 5, 2024.</ref>

thumb|right|upright=1.6|Maria Porges, ''Natural Magic: Cures for Modern Maladies'', wax wood, metal leaf, 30" x 46" x 7", 2000. Porges is best known for the curiously labeled wax bottle sculptures she created throughout the 1990s and early oughts,<ref name="Melrod96">Melrod, George. "Openings," ''Art & Antiques'', October 1996, p. 30.</ref><ref name="Bonetti00">Bonetti, David. [https://www.sfgate.com/news/article/Witty-ways-with-words-materials-3068474.php "Witty ways with words, material,"] ''San Francisco Examiner'', March 24, 2000, p. 37. Retrieved January 5, 2024.</ref><ref name="King00">King, Sarah. "Maria Porges at Allene LaPides," ''Art in America'', March 2000, p.137–38.</ref> together with the tools and weapons fashioned from books that appear throughout her career.<ref name="Roth18"/><ref name="Roth16">Roth David M. [https://www.squarecylinder.com/2016/05/maria-porges-seager-gray-3/ "Maria Porges @ Seager Gray,"] ''SquareCylinder'', May 2, 2016. Retrieved January 5, 2024.</ref><ref name="Spector90">Spector, Buzz and Maria Porges. "Conversation: Maria Porges/Buzz Spector," ''Visions'', Fall 1990, p. 14–18.</ref><ref name="Helfand89">Helfand, Glen. "The Ordinary Transformed," ''Artweek'', January 7, 1989, p. 7.</ref> The work is considered to be provocative in its method of inquiry and redefinition of artistic syntax.<ref name="Pritikin23"/><ref name="Roth18"/><ref name="Webster98"/> According to critic Sarah S. King of ''Art in America'', "[Porges] invites viewers to focus their attention on the paradoxical relationships between empirical and subjective systems of interpretation through clever juxtapositions of objects, images and words."<ref name="King00"/>

Porges's work belongs to the collections of the San Francisco Museum of Modern Art (SFMOMA), Berkeley Art Museum and Pacific Film Archive and Oakland Museum of California.<ref name="SFMOMA">San Francisco Museum of Modern Art. [https://www.sfmoma.org/artist/Maria_Porges/ Maria Porges], Artists. Retrieved January 5, 2024.</ref><ref name="BAMPFA">Berkeley Art Museum and Pacific Film Archive. [https://collection.bampfa.berkeley.edu/catalog/c58ebefe-a610-43fd-b31b-2a6d1733618b ''Bomboozle'', Maria Porges], Collection. Retrieved January 5, 2024.</ref><ref name="OCMA">Oakland Museum of California. [http://collections.museumca.org/?q=collection-item/20021111 ''Acts of (Self) Deception #4'', Maria Porges], Collection. Retrieved January 11, 2024.</ref> She has exhibited at SFMOMA, the deYoung Museum and Aldrich Contemporary Art Museum, among other venues.<ref name="Watten92">Watten, Barrett. "Strategies: SECA," ''Artweek'', November 4, 1992, p. 24.</ref><ref name="Hamlin99">Hamlin, Jesse. [https://www.sfgate.com/entertainment/article/the-state-of-bay-area-art-now-and-then-shows-2897138.php "The State of Bay Area Art, Now and Then / Shows at de Young, Yerba Buena reflect diversity and history,"] ''San Francisco Chronicle'', November 14, 1999. Retrieved January 5, 2024.</ref><ref name="ACAM">Aldrich Contemporary Art Museum. [https://thealdrich.org/exhibitions/bottle-contemporary-art-and-vernacular-tradition " Bottle: Contemporary Art and Vernacular Tradition,"] Exhibitions. Retrieved January 11, 2024.</ref> Porges lives in Oakland and is a professor at the California College of the Arts.<ref name="CCA"/>

==Education and career== Porges was born in 1954 in Oakland, California.<ref name="SFMOMA"/> She studied art at Yale University and University of Chicago, earning a BA and MFA, respectively.<ref name="Hamlin00">Hamlin, Jesse. [https://www.sfgate.com/entertainment/article/Messages-in-Her-Bottles-Maria-Porges-wax-work-2765805.php "Messages in her bottles,"] ''San Francisco Chronicle'', April 5, 2000, p. 1, 6. Retrieved January 5, 2024.</ref><ref name="CCA"/>

In her early career, she had solo exhibitions at SFMOMA (1992) and alternative spaces such as Southern Exposure, SF Camerawork and Intersection for the Arts.<ref name="Weigand99">Weigand, David. [https://www.sfgate.com/entertainment/article/COMING-UP-WHAT-S-NEW-THIS-WEEK-2934575.php "Good Exposure,"] ''San Francisco Chronicle'', April 25, 1999. Retrieved January 5, 2024.</ref><ref name="Rapko91">Rapko, John. "Remembering and Forgetting," ''Artweek'', June 6, 1991, p.28 .</ref><ref name="Watten92"/><ref name="SFMOMA92">San Francisco Museum of Modern Art. [https://search.worldcat.org/title/27294979 ''SECA Art Award 1992''], San Francisco: San Francisco Museum of Modern Art, 1992.</ref> Subsequent solo exhibitions took place at the di Rosa Center for Contemporary Art (2008) and Sanchez Art Center (2016),<ref name="dREX">di Rosa Center for Contemporary Art. [https://www.dirosaart.org/2010/07/after-the-age-of-reason-new-work-by-maria-porges/ "After the Age of Reason: New Work by Maria Porges,"] 2008. Retrieved January 11, 2024.</ref><ref name="SAC">Sanchez Art Center. [http://www.sanchezartcenter.org/ARCHIVES/2016/Friction.html Maria Porges: F(r)iction]. Retrieved January 11, 2024.</ref> and galleries such as John Berggruen (1995–2003), Seager Gray (2016) and Fourth Wall (2023, retrospective) in the Bay Area,<ref name="Klausner96">Klausner, Betty. "Maria Porges," ''Art in America'', March 1996.</ref><ref name="Roth16"/><ref name="Pritikin23"/> David Beitzel Gallery (2000) and Littlejohn Contemporary (2003) in New York, James Harris (2001, Seattle) and Carrie Secrist (2003, Chicago).<ref name="Johnson00">Johnson, Ken. [https://www.nytimes.com/2000/04/14/arts/art-guide.html?searchResultPosition=2 "Maria Porges,"] ''The New York Times'', April 14, 2000, p. B44. Retrieved January 5, 2024.</ref><ref name="Josslin01">Josslin, V. "Porges brings art, magic and science together," ''Seattle Post-Intelligencer'', February 9, 2001.</ref><ref name="Brunson03">Brunson, Jamie. [https://www.stretcher.org/features/maria_porges/ "Maria Porges,"], ''Stretcher'', January 2003. Retrieved January 5, 2024.</ref> Her work has appeared in surveys at White Columns,<ref name="WC">White Columns/Hallwalls. ''The Library of Babel'', New York: White Columns/Hallwalls, 1991.</ref> SFMOMA,<ref name="SFMOMA99">San Francisco Museum of Modern Art. [https://www.sfmoma.org/exhibition/looking-at-ourselves/ " Looking at Ourselves: Works by Women Artists from the Logan Collection,"] Exhibitions. Retrieved January 11, 2024.</ref> the deYoung Museum,<ref name="Hamlin99"/> Oakland Museum of California,<ref name="Westbrook02">Westbrook, Lindsey. [https://eastbayexpress.com/oakland-light-and-dark-1/ "Oakland After Dark,"] ''East Bay Express'', March 27, 2002. Retrieved January 5, 2024.</ref> Aldrich Museum<ref name="ACAM"/> and Monterey Museum of Art,<ref name="Roth18"/> among others.

== Work and reception == Porges is known for featuring text in her artworks, often in semiotic counterpoint to commonplace objects.<ref name="Whitney00">Whitney, Kay. "Maria Porges," ''Sculpture'', April 2000, p. 67–69.</ref><ref name="Brunson03"/> Her assemblage and collage pieces employ actual objects while her drawings and sculptures reference them. The text takes a variety of forms and lengths, appearing variously as labels affixed to forms, captions with drawings, and blocks of text partially obscured by surface cuts and folds or by thickly sculpted glass. Wordplay features prominently in some of the works, for example as words embedded within other words or in the use of binary pairs.<ref name="Pritikin23"/><ref name="Hamlin00"/> Certain themes are recurrent, including history, time, science, magic, weaponry and child psychology.

Art observers have characterized Porges' work as philosophical and Dadaistic in its approach, as its charged juxtaposition of text and imagery raises questions about meaning and how it is made.<ref name="Rapko91"/><ref name="Webster98"/> The subjective ambiguity of the artist's texts contrasts with the tangible and conventional elements of her visuals to uncanny effect.<ref name="King00"/><ref name="Roth16"/> Kathleen Whitney of ''Sculpture'' wrote, "Porges places a verbal proposition in contention with the mechanics of visual communication in a way that confounds both… Involved with creating meaning through association and context, her work questions basic expectations of the role art serves."<ref name="Whitney00"/>

Noted influences on the artist include anthropologist Claude Levi-Strauss and artists Claes Oldenburg and René Magritte.<ref name="Hamlin00"/> The often surrealist character of Porges' work extends beyond visual elements to the incorporated text, with critic David M. Roth describing Porges as a "meta-fabulist," whose mid-career artwork evokes "a fusion of Max Ernst and Dick and Jane."<ref name="Roth16"/> Commentators also draw parallels to the text and imagery of the iconic children's book, ''Alice in Wonderland''.<ref name="Melrod96"/><ref name="Webster98"/><ref name="Roth16"/> Childhood is a prominent theme in Porges' oeuvre, and similar to Alice, Porges' children are innocents beset by ogres, villains and a latent sense of threat.<ref name="Roth16"/> The artist's child-themed work is reported to be influenced by her experiences both as a mother of twin daughters and as a child of supportive but cerebral parents.<ref name="Pritikin23"/><ref name="Hamlin00"/><ref name="Moser92">Moser, Charlotte. "Down Home," ''Artweek'', April 24, 1992.</ref>

thumb|right|upright=1|Maria Porges, ''Squeeze'', hot sculpted glass with wall text, 12" tall, 1993–2001. Porges' artworks vary widely in their aesthetic approach. Reviewers characterize her bottle sculptures as possessing a formal sensibility akin to the still lives of Giorgio Morandi,<ref name="Pritikin23"/><ref name="Brunson03"/> while noting a marked aesthetic contrast with other works—including some concurrently developed—which they describe as more "enigmatic"<ref name="King00"/> and "less mediated."<ref name="Webster98"/> Still other of her series channel pop art in their vintage comic styling.<ref name="Roth16"/><ref name="Brunson03"/><ref name="Nargi11">Nargi, Lela. "Bomboozle, Maria Porges," [https://books.google.com/books?id=xPdSaU07wRoC ''Astounding Knits!''] Voyageur Press, 2011, p.148–49. Retrieved January 5, 2024.</ref>

===Earlier work: 1988–2009=== Porges began receiving critical attention in the late 1980s. Early works were largely assemblages, several of which featured text in conjunction with tools. ''The Tools of Knowledge'' (1988) featured axe handles bearing books as blades.<ref name="Helfand89"/><ref name="Baker89">Baker, Kenneth. "Finding a Message in Found Objects," ''San Francisco Chronicle'', January 7, 1989, p. C-7.</ref> The books were sculpted into wedge shapes and partly retained their covers, revealing their former roles as dictionary and political tome. ''Old Saws'' (1990) featured common proverbs inscribed on a group of rusty saws that were hung from the gallery ceiling.<ref name="Watten90">Watten, Barrett. "The Writing on the Wall: Women and Language at CCAC," ''Artweek'', July 5, 1990, p. 12–13.</ref> Books and tools—especially tools with weapon-like qualities—are recurrent motifs in Porges' work.<ref name="Roth16"/><ref name="Roth18"/>

In the 1990s, Porges pursued an interest in casting and began creating objects in bronze, glass and wax.<ref name="Bonetti92">Bonetti, David. "Conceptual Art By The Book," ''San Francisco Examiner'', April 24, 1992, p. D2.</ref><ref name="Snedeker96">Snedeker, Rebecca. "Waxing Pain," ''New Orleans Art Review'', November-December 1996, p. 30–31.</ref><ref name="Melrod96"/> In 1995 she created the sculpture ''Witness'', an open glass book atop a steel bookstand with the word "thought" etched into a glass shelf below.<ref name="Klausner96"/><ref name="SFMOMA"/> ''Squeeze'' (1993–2001), an hourglass shaped object in hot sculpted glass, explores a scientific principle called "the observer effect," distorting the text mounted on a wall behind as viewers try to read it.<ref name="Pritikin23"/> Other cast works featured bronze relief drapery samples and oversized hands in various materials and settings that were based on fragments and gestures from art-historical paintings.<ref name="Klausner96"/><ref name="Webster98"/>

Around this time, Porges developed a predilection for working with wax and began creating the cast wax bottle sculptures for which she became widely known.<ref name="Hamlin00"/><ref name="Klausner96"/><ref name="Artner99">Artner, Alan. "Maria Porges stays true to unique vision," ''Chicago Tribune'', April 1, 1999, Sect. 5, p. 2.</ref> Appearing in groups, the bottles bore thought-provoking labels and evoked apothecary medicines in their arrangement on shelves and in cabinets.<ref name="Knight02">Knight, Heather. [https://www.sfgate.com/bayarea/article/Cabinets-of-wonder-capture-spirit-of-the-past-2757765.php "Cabinets of Wonder capture spirit of the past,"] ''San Francisco Chronicle'', November 1, 2002. Retrieved January 5, 2024.</ref> Those that appeared in her 2000 show "Miraculous Vessels" were described by ''New York Times'' critic Ken Johnson as "poetic" and "metaphysical," suggesting such impalpable contents as "Youth With Wisdom," and "Solitude Without Loneliness."<ref name="Johnson00"/> In similar fashion, her 1999 sculpture ''Natural Magic: Cures for Modern Maladies'' features a miscellaneous assortment of bottles with intangible labels such as "For Compassion Fatigue" and "To Relieve Boredom." The bottles are grayscale in tone save for a small red one marked "Drink Me."<ref name="King00" /> Her satirical piece ''Acts of (Self) Deception'' (2000) critiques the hyperbolic use of language with imaginary bottle contents that include "The Science of Square Dancing" and "The Art of Point-of-Purchase Packaging."<ref name="Hamlin00" />

Concurrent with her cast creations, Porges produced other artwork that critics describe as aesthetically less formal. One such work is Porges' 1997 piece ''Telling Time'', a functioning clock that cycles through historical events—genocide, peace, famine—in place of numbers.<ref name="King00"/><ref name="Webster98"/><ref name="Pritikin23"/>

Porges' 2003 exhibition, "Bombast," was a thematic exploration of explosives which appeared in a variety of materials and forms. Some of the pieces echoed her bottle works, placing labeled objects—this time sculpted bombs—on shelves in careful composition. Others—such as ''Molotov Museum I'', an improvised-bomb wall clock of sorts—recalled her earlier found-object assemblages. ''Bomboozle'' (2003) introduced a new medium—felted wool—in the form of stuffed knit bombs.<ref name="Brunson03"/><ref name="Nargi11"/>

Her 2008 show "After the Age of Reason" presented drawings and sculptures cast in a variety of materials, including wax, bronze, and lead crystal. Together, the works formed a Baroque-inspired narrative involving books, girls in large wigs and sculpted heads of children, which explored the Enlightenment and its deleterious effects in the west and themes of parenting, childhood, education and knowledge.<ref name="dREX"/><ref name="Pritikin23"/><ref name="MPw">Maria Porges website. [https://mariaporges.com/work#/after-the-age-of-reason-1 "After the Age of Reason,"] Work. Retrieved January 5, 2024.</ref>

===Later work: 2010–present=== thumb|right|upright=1.6|Maria Porges, "Mashups," clay, dimensions variable, 2020. After exhibiting a 15-year survey of her works in wax, Porges turned to other forms. Her 2016 exhibition at Seager Gray gallery introduced two new series, "Shortest Stories"—a collection of collages, sculptures and brief original writings—and "Exhortations"—a continuation of Porges' book-tools motif in the form of wall-mounted sculptures.<ref name="Roth16"/> Both series feature book fragments sliced at sharp angles to create forms that are vaguely weapon-like and threatening. Critic David M. Roth called the "Stories" pieces "unsettling adult fairy tales" whose "Dadaistic logic treats the line between adulthood and childhood as a permeable membrane."<ref name="Roth16"/> Porges' "Exhortations" appeared as two-word imperatives—"Calm Calamitously," "Harm Charmingly"—debossed on the surface of each piece.<ref name="Roth16"/>

Other work explored a "words within words" motif, including ''(C)hair'' (2012)—a drawing of an antique chair constructed of hair<ref name="Pritikin23"/>—and ''F(r)iction'' (2016)—a series of words that uses book slices to call attention to other words contained in each.<ref name="SAC"/> Her post-2020 "Mashup" series consists of protuberant ceramic figures and dense drawings in black and white. It features bulbous forms that combine design elements from disparate cultures, including Gaelic, Chinese and Native American southwest. The works appeared in her 35-year retrospective and were characterized as "provocative and inquiring" by art critic Renny Pritikin.<ref name="Pritikin23"/>

== Writing and teaching == Porges has been a writer and art critic for over thirty-five years. Her critical writing has been published in ''Artforum'',<ref name="AF"/><ref name="Porges90">Porges, Maria. [https://www.artforum.com/features/youre-history-pal-reading-nayland-blake-204545/ "You're History, Pal: Reading Nayland Blake,"] ''Artforum'', November 1990. Retrieved January 11, 2024.</ref> ''Sculpture'',<ref name="Sculpture">''Sculpture''. [https://sculpturemagazine.art/author/mariaporges/ "Maria Porges,"] Authors. Retrieved January 11, 2024.</ref> ''Art in America'',<ref name="Porges01">Porges, Maria. "Brad Brown at Susan Cummins Gallery," ''Art in America'', February 2001.</ref> ''Artweek'',<ref name="Porges89b">Porges, Maria. "A Meeting of Rough and Refined – Ken Price at Rena Bransten," ''Artweek'', April 29, 1989.</ref> ''American Craft'',<ref name="Porges09">Porges, Maria. "Ron Nagle: Fishing Around for Chords," ''American Craft'', November-December 2009.</ref> ''The New York Times'' Book Review,<ref name="Porges89">Porges, Maria. [https://www.nytimes.com/1989/08/20/books/a-pilgrim-at-the-pottery-wheel.html?searchResultPosition=1 "A Pilgrim at the Pottery Wheel,"] ''The New York Times'', August 20, 1989. Retrieved January 11, 2024.</ref> ''Hyperallergic''<ref name="Porges22">Porges, Maria. [https://hyperallergic.com/author/maria-porges/ "Libby Black Processes the World Around Her By Recreating It,"] ''Hyperallergic'', May 15, 2022. Retrieved January 11, 2024.</ref> and ''SquareCylinder'',<ref name="Porges21">Porges, Maria. [https://www.squarecylinder.com/2021/10/maria-porges-on-21st-century-feminist-art-bampfa/ "Maria Porges on 21st Century Feminist Art @ BAMPFA,"] ''SquareCylinder'', October 8, 2021. Retrieved January 11, 2024.</ref> among other publications. She has written numerous catalogue and book essays,<ref name="Porges21b">Porges, Maria. [https://search.worldcat.org/title/1298895562 ''Bay Area Women Artists' Legacy Project: The Seventies''], San Francisco: Bay Area Women Artists' Legacy Project, 2021.Retrieved January 11, 2024.</ref> for galleries, artists and institutions such as the San Francisco Museum of Craft + Design,<ref name="Porges04">Porges, Maria. [https://search.worldcat.org/title/764633497 ''Dovetailing Art and Life: the Bennett Collection''] San Francisco: San Francisco Museum of Craft + Design Museum, 2004. Retrieved January 11, 2024.</ref> Sonoma Valley Museum of Art,<ref name="Porges09b">Porges, Maria. "New World(s)," [https://search.worldcat.org/title/316804050 ''Genius Loci: Donald Fortescue''], Sonoma, CA: Sonoma Art Museum, 2009. Retrieved January 11, 2024.</ref> Nevada Museum of Art<ref name="Porges11">Porges, Maria. "Matter, light as air," [https://search.worldcat.org/title/773252671 ''Linda Fleming: Modeling the Universe''], Reno, NV: Nevada Museum of Art, 2011. Retrieved January 11, 2024.</ref> and De Saisset Museum,<ref name="Porges14b">Porges, Maria. "Ann Holsberry: Being Blue," [https://search.worldcat.org/title/915085096 ''Migrations: Ann Holsberry''], Santa Clara, CA: De Saisset Museum, 2014. Retrieved January 11, 2024.</ref> and created audio tour scripts for museum exhibitions across the United States.<ref name="Hamlin99"/><ref name="CCA"/>

Porges is a professor at California College of the Arts, teaching in the graduate programs in Fine Arts and Visual and Critical Studies and the undergraduate Fine Arts program.<ref name="CCA"/> She has also taught at the San Francisco Art Institute, University of California, Berkeley, Stanford University and Pilchuck Glass School, among other institutions.<ref name="Hamlin00"/> In 2024, the College Art Association of America (CAA) named Porges the recipient of that year's CAA Distinguished Teaching of Art Award.<ref name="CCA2">California College of the Arts. [https://www.cca.edu/newsroom/faculty-awards-2024/ "CCA faculty lead their fields and earn top honors and fellowships,"] Newsroom, February 2024. Retrieved March 4, 2024.</ref><ref name="CAA24">College Art Association. [https://www.youtube.com/watch?v=TSnE5FqjT0s 2024 CAA Convocation]. Retrieved March 4, 2024.</ref>

== Collections and recognition == Porges’s work belongs to the public art collections of the Berkeley Art Museum and Pacific Film Archive,<ref name="Nargi11"/><ref name="BAMPFA"/> di Rosa Center for Contemporary Art,<ref name="dR">di Rosa Center for Contemporary Art. [https://www.dirosaart.org/di-rosa-artist-list/ Artist List]. Retrieved January 5, 2024v.</ref> Monterey Museum of Art,<ref name="MMA">Monterey Museum of Art. [https://collections.montereyart.org/objects-1/info?query=Artist_Maker%20%3D%20%221792%22&sort=0 Maria Porges, ''Amerika''], Objects. Retrieved January 11, 2024.</ref> Oakland Museum of California,<ref name="OCMA"/> SFMOMA,<ref name="SFMOMA"/> San Jose Museum of Art,<ref name="SJMA">San Jose Museum of Art [https://sjmusart.org/embark/objects-1/info?query=mfs%20any%20%22Maria%20Porges%22&sort=0&page=3 ''The virtues and vices of history'', from the series History Lessons, Maria Porges], Objects. Retrieved January 11, 2024.</ref> Scottsdale Museum of Contemporary Art and Yale University Art Gallery,<ref name="Yale">Yale University Art Gallery. [https://artgallery.yale.edu/collection?query=Maria+Porges Maria Porges], Collection. Retrieved January 11, 2024.</ref> among others.

She has been recognized with a SECA Art Award (Society for the Encouragement of Contemporary Art) from SFMOMA (1992), grants from the California Arts Council (1990) and Center for Cultural Innovation (2014), and the 2024 College Art Association Distinguished Teaching of Art Award.<ref name="SFMOMAb">San Francisco Museum of Modern Art. [https://www.sfmoma.org/membership/seca/seca-award-winners/ "SECA Art Award History."]</ref><ref name="Spector90"/><ref name="CCA2"/> She has received artist residencies from the Headlands Center for the Arts, Pilchuck Glass School and Kala Art Institute.<ref name="Hamlin02">Hamlin, Jesse. [https://www.sfgate.com/entertainment/article/Stanford-is-first-stop-for-tour-of-Indian-art-2844297.php Review], ''San Francisco Chronicle'', April 30, 2002. Retrieved January 5, 2024.</ref><ref name="HCA">Headlands Center for the Arts. [https://www.headlands.org/artist/maria-porges/ Maria Porges], Artists. Retrieved January 11, 2024.</ref><ref name="Kala">Kala Art Institute. [http://www.kala.org/residencies/parent-artist-residency-program/ Parent Artist Residency Program], Residencies. Retrieved January 11, 2024.</ref>

==References== {{reflist}}

==External links== *[https://mariaporges.com/ Maria Porges official website] *[https://wordsaboutart.com/ Words About Art], Maria Porges writing *[http://thestudiowork.blogspot.com/2016/01/maria-porges-studio-visit.html Maria Porges Interview], ''The Studio Work'', 2016

{{DEFAULTSORT:Porges, Maria}} Category:Living people Category:American women artists Category:California College of the Arts faculty Category:1954 births Category:American women academics Category:21st-century American women