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"




Transparency
Governance