Zachary Keeting, ‘4339 west carol avenue’, 2012, FRED.GIAMPIETRO Gallery
Zachary Keeting, ‘4339 west carol avenue’, 2012, FRED.GIAMPIETRO Gallery
Zachary Keeting, ‘4339 west carol avenue’, 2012, FRED.GIAMPIETRO Gallery


2011 Artist-in-Residence, VCCA; Amherst, VA
2010 Artist-in-Residence, Yaddo; Saratoga Springs, NY
Artist-in-Residence, Petrified National Forest, AZ
2009 Artist-in-Residence, Byrdcliffe; Woodstock, NY
2006 Artist-in-Residence, Montana Artists Refuge; Basin, MT
2005 Artist-in-Residence, Santa Fe Art Institute; Santa Fe, NM
2001 Artist-in-Residence, Pouch Cove; Newfoundland, Canada
Artist-in-Residence, Millay Colony; Austerlitz, NY
2000 Artist-in-Residence, Woodstock School of Art; Woodstock, NY
Online Projects

2010 – 2015 Gorky’s Granddaughter

2011 Hartford Art School, University of Hartford, Visiting Artist; Hartford, CT
2006 – 2013 Educational Center for the Arts, Painting Instructor; New Haven, CT

2006 Amici Scholarship
Publications & Press

2013 Two Coats of Paint (September 25) review by Sharon Butler
Painters’ Table (September 10) in conversation with Brett Baker
KCLOG (September 23)
2011 Two Coats of Paint (May 5) review by Sharon Butler
2010 Time Out Boston (November 9) review by David Wildman
New Haven Independent (July 16) review by Stephen Kobasa
2009 Rojo Magazine
2008 Studio Visit Magazine

About Zachary Keeting

Through abstract paintings that burst forth from the canvas in an exquisitely composed cacophony of color and form, Zachary Keeting grapples with the complexity of the world. As he describes: “I see the world as an incredibly complex place, a baffling / gorgeous / brutal environment. Over the years, I've increasingly attempted to emulate that richness in the pictures, to participate in it.” References to such movements as Op Art, Geometric and Gestural Abstraction, Color Field Painting, and Pop Art inflect his compositions, shaped by an intensely physical process in which he builds up and breaks down the marks on his canvas. Keeting’s earlier works followed what he calls “jigsaw logic,” with hard-edged shapes structured into loosely rigid patterns. His recent work is looser and lush, filled with fat, gestural brushstrokes, stains, smears, and drips, unfolding across the picture plane.