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ASL 2025
A VISION FOR THE FUTURE - WHILE HONORING THE PAST











Marne Rizika attended Syracuse University and graduated with a BA in art history. She studied with Henry Schwarts, Patrick Carter and Master Printer Carolyn Muskat at The School of the Museum of Fine Arts, Boston, and with Leatrice Rose, Peter Homitzky, Sylvie Covey, and Michael Pellettieri at The Art Students League of New York, and with Barbara Baum at the Studio School in Cambridge. She has worked in Israel, France, New Jersey, Boston, the Berkshires, and Vermont, and exhibited in the U.S. and Switzerland. Ms. Rizika has concentrated on a body of work with drawings of Boston's Big Dig and paintings both still life and landscape culminating in numerous exhibitions including solo shows at MIT and The Southern Vermont Art Center. Her work is represented in public, private, and corporate collections.

As a result of extensive travel and study, Ms. Rizika formalized her early interests and influences, developing a personal viewpoint, exploring the ancient arts, archeological digs and holy sites, and having encountered the incredible geological landscape of the Middle East and Europe. Throughout her formative years, she experimented in clay at the Israel Museum, Jerusalem, and later at Mudville Studio in Somerville, MA, and studied figure drawing through classes at the Massachusetts College of Art. Upon graduating, Ms. Rizika traveled to Italy to study architecture and environmental design under the auspices of Syracuse University's Division of International Programs. It was here that she began to concentrate on building design both exterior and interior and how structures relate to the spaces around them, combined with travels in the midwest and west coast that informed her work.

In 1986, Rizika committed to making original artwork, entering the School of the Museum of Fine Arts in Boston, studying painting, photography, sculpture, printmaking, stained glass and mixed media. She developed a particular affinity for painting that led to further studies at the Art Students League of New York, and she expanded her vocabulary of artistic expression by concentrating on landscape and still life painting. In the past, The League provided a place to connect with longtime friends and working artists with exposure to a variety of viewpoints that reflect the larger art community.

The League has always been a home away from home for Marne -- offering tremendous flexibility to study varied mediums, to learn from different instructors, and to establish structural continuity while making a living. As a meeting place, it provided exposure to a wide spectrum of people with diverse cultural backgrounds and levels of expertise. Working with instructors and experimenting in multiple disciplines helped Marne to look at her paintings in a new way "resolving issues where I was having doubts and looking for answers." Over the years, Marne has returned to the Art Students League for the fun of painting, to discuss her work and to connect with this unique community of artists. Resume.


Marne Rizika's
1938 Farmal Shufelt Farm, 2004
Oil, 34 x 42 inches





Construction site with View of Boston Sand and Gravel
2002, charcoal, 22" x 30"



Sweeper
2002, charcoal, 22" x 30"



Leverett Circle Overpass
2001, charcoal, 22" x 30"


OTHER ENTRIES:

ASL 2025 - September 2016 Update (9/30/16)

The Great AukWord Gazette by Paul Perlow. (5/2/16)

ASL 2025 - March 2016 Update (3/17/16)

ASL 2025 Looks Forward to Seeing You in 2016! (12/10/15)

Jessica Lane: Endowment funds and building renovations. (12/2/15)

Response to Mr. Barbieri's November 30 E-mail (12/2/15)

Are you the same Mr. Cenedella? (12/2/15)

A Painting of the League, Part 3: Power and Constitution (12/2/15)

A Painting of the League, Part 2: Our Vote and Our Bloat (12/1/15)

Regarding legal fees and the League's added $6 million. (12/1/15)

A Cheerful and Lively Little Oasis for Artists (12/1/15)

A Message from Marne Rizika (12/1/15)

Mr. Torak and anonymous "instructors and friends" of ASL (12/1/15)

By-law 28: Regarding electioneering by ANY League employee (11/29/15)

Regarding The Art Students League's Original Mission (11/29/15)

My Experience at the Art Students League (11/29/15)

ASL Life Member Arthur Robbins: "The honorable thing to do" (11/29/15)

ASL Life Member Paul Perlow: "What the Golden Owl Says" (11/29/15)

Response to Brian Tepper (11/28/15)

A Painting of the League, Part 1: Introduction and Finances (11/25/15)

ASL Life Member Rick Michalek responds to Tom Torak (11/25/15)

Six answers to Mr. Tepper's questions (11/24/15)

ASL Member Marilyn Rogers: Questions to ask before you vote (11/24/15)

What John Varriano Didn't Tell You In His E-mail (11/23/15)

ASL 2025 Responds to Mr. Barbieri's E-mail of November 16 (11/23/15)

ASL 2025 Responds to Mr. Barbieri's November 19 E-mail (11/23/15)

Wallane Steele: "Why I'm running." (11/19/15)

Peter Homitzky: "What Happened to My League?" (11/17/15)

ASL Member Jose Morales Responds to Dan Gheno (11/16/15)

An Open Letter to Tom Torak (11/16/15)

Is the League College-Bound? (11/11/15)

ASL 2025 Responds to Ira Goldberg (11/9/15)

ASL 2025 Responds to Susan Matz (11/8/15)

An Open Letter to Sharon Sprung (11/6/15)

An Open Letter to Board Member Richard Baker (11/4/15)

ASL 2025 Responds to Dan Gheno (11/3/15)

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