1940 Born in Lawrence Kansas. 1946 Family moves to New York City. 1949 Family settles in Montreal, Quebec. 1949-53 Attends St. Georges School where earliest painting classes were with Arthur Lismer and Alfred Pinsky. 1957 Graduates Macdonald High School Ste Anne de Bellevue. 1957-58 Family lives in Dhaka, Bangladesh where father is on assignment for the United Nations. Studies Music and Dance with Ajit Sanyal. Learns about South Asian tonal frameworks used for composition and improvisation. Learns about gesture and body in space. Travels frequently in rural areas of Bangladesh. Photographs Jali, perforated screens used in Indo/Islamic architecture, observing how their permeable surfaces warp space. 1958-60 Attends Antioch College Yellow Springs Ohio. Studies Art and Engineering. 1959 Apprentices with Max Mercer, Architect, Yellow Springs. Reviews construction documents and produces design documents for a single family home renovation. 1960 Visiting Artist, University of Southern California Idyllwild School of Music and Art. 1960-62 Works as Architectural Draftsman for George Day Construction Company, San Jose, CA preparing construction documents for single family homes. 1962-64 Works as Architectural Draftsman, T. Eaton Co, Montreal, Quebec. Prepares design documents related to Expo 67. Rents first studio on rue de la Gauchetiere. I964-65 Moves to Los Angeles and attends UCLA Art Department to study painting. Meets often with Robert Chuey, Ed Moses, Lee Mullican and John Saccaro. 1965 Marries Peter Alexander also a student in UCLA Art Department. Daughter Hope is born. 1967 Daughter Julia is born. Meets and becomes life long friends with many artists working in Los Angeles at the time. Friendships with Ken Price, Larry Bell, Robert Irwin, Peter Alexander and Jack Brogan contribute input for later work. 1972 Moves to Santa Monica Mountains with Peter, Hope and Julia building an energy efficient home out of recycled materials and growing organic produce. Wallace Berman and George Hermes live nearby. 1972-78 Introduced to 18-20th C American textiles and becomes a dealer and independent curator for primarily American quilts. 1974 Co-authors A Century of American Quilts 1830-1930 a monograph and 100 slide series published by Environmental Communications, Venice, CA. Images chosen for the series highlight the quilt makers who used textiles as a material to investigate artistic concerns. 1976 At the invitation of Hal Glicksman, curates The Great American Quilt 1776-1976, a bicentennial exhibition for Otis College of Art and Design, Los Angeles. Returns to painting as time allows. Meets Lynda Benglis. A long and productive friendship follows. 1978-83 Manages studio for Peter. 1978 Begins one day paintings. Dissatisfied with resulting space detaches canvas from supports and makes painted tin installations incorporating the wall and surrounding space. 1980 First Solo Exhibition with Ruth S. Schaffner Gallery, Santa Barbara. Begins to exhibit in group shows on West Coast. 1983 Separates from Peter. 1986 Divorce is final. Included in Pasadena Collects the Art of Our Time at Art Center College of Design, curated by Malinda Wortz. 1987-88 Produces Atlantic Crossing series, small watercolors recording the color of the sea, sky and quality of light each day of a 21 day voyage across the Atlantic from Gibraltar to the Caribbean. 1988 Begins to support studio with series of large scale commissioned paintings. In September-October works in Quebec on Lac St. Germaine producing a series of watercolors recording color in the landscape as the weather changes. 1989 Solo Exhibition, Landscapes/Seascapes, Saxon-Lee Gallery featuring color studies of the previous two years. Works in Independence, CA in an early 20th C storefront belonging to Ruth Schaffner producing the Incunabula series, works derived from direct observation of the landscape including letters found on roadside signs. Again dissatisfied with resulting space breaks through surfaces allowing work to interact with wall. The resulting series, Ladders and Shutters, made of marine plywood and automotive lacquer are installed on and away from the wall. 1990 Returns to India for the first time since 1957 as Artist in Residence at the Sarabhai Family Foundation, Ahmedabad working on the Kumbh series. Travels in Rajasthan, Gujerat and Haryana taking photographs. Begins to integrate South Asian and European concepts of space. Is reacquainted with the Mahahbharata which becomes an on going reading project. Returning to California, finishes Ladders and Shutters series and begins TV paintings using bars and color. 1991 Extends the loosely drawn lines used to organize the surfaces of the Incunabula and TV paintings to include the wall. Begins Independence series by arranging work on studio walls as space frames to suggest multiple perspective. Layers of paint as accumulations of marks activate these surfaces. At times, the lines/bars are clearly on the surface. At other times, they hover behind loosely worked scrims of color. 1993 Individual Support Grant, Pollock-Krasner Foundation (Nov-Oct) to continue work on paintings titled after the chapters of the Mahabharata. 1994 Rents a studio in New York and begins working in both California and New York. Solo Exhibition, The Fire in the Lacquer House Victoria Anstead, New York. 1995 Meets Paola Iacucci who later exhibits work in Galleria AAM, Milan and introduces Francesco Moschini, AAM Architecttura Arte Moderna, Rome and Roberto Peccolo, Galleria Peccolo, Livorno. 1996 Artist in Residence, International Studio & Curatorial Program, New York (Sept-Dec). 1996-98 Guest Critic, Columbia University Graduate School of Architecture, New York. 1996 Spends six weeks in Otranto, Italy with Paola Iacucci and Carlo Cego observing and recording hazes of colored light hanging over the Adriatic at dawn and sunset. 1997 Included in Group Exhibition, After The Fall: Aspects of Abstract Painting Since 1970, Newhouse Center for Contemporary Art, Staten Island curated by Lilly Wei. Solo Exhibition, Narada I, Spazio Callaghan, Milan. 1998 Solo Exhibition, Narada II, Galleria Architettura arte moderna, Milan. Individual Support Grant Elizabeth Foundation for The Arts (June-Dec). Visiting Artist, American Academy in Rome, (January-April). 1998-12 Studio Space Award, with Elizabeth Foundation for the Arts Studio Program, New York renewed every two years though Spring 2012. 1999 Visiting Artist, American Academy in Rome (March-May). Solo Exhibition, Europa/America, AAM Architettura Arte Moderna, Rome. Visits Carlo Scarpa projects. 2000-01 Guest Critic, The City College of New York, School of Architecture, New York. 2001 Individual Support Grant, Pollock-Krasner Foundation (Jan-Dec). Solo Exhibition, “The Deer in The Dream” e altri dipini e lavori su carta 1995- 2001, Galleria Architettura Arte Moderna, Milan and Galleria Peccolo, Livorno. Solo Exhibition, Clytie Alexander, The Ben Shahn Galleries, William Paterson University, Wayne, NJ. Limited Edition artist book, Seeing Red, Notes From a Painters Studio, acquired by the Getty Research Institute Library. 2002 Solo Exhibition, L'Atelier in Galleria Clytie Alexander: in situ, Galleria AAM, Rome. Visiting Artist, American Academy in Rome (March-April) 2003 Visiting Artist and painting instructor, Ohio State University at Columbus. Art Purchase Award, American Academy of Arts and Letters which gives The Burning of the Khandava Forest to Museum of Contemporary Art San Diego. 2004 Following observation of shadows behind a small piece of white perforated paper hanging in studio begins the Diaphans series, nonrepresentational, not abstract, anti-meditative works. The title, from the Latin Diaphanus and Greek Diaphanes, Diaphainein means transparent, to show through. The Diaphans are rectangular, perforated sheets of either paper-thin aluminum or handmade Kozo painted on both sides installed hanging 4 inches in front of the wall. Light is reflected onto the wall from the back of the work as colored shadow and returns through the perforations so the Diaphans hover in front of a colored aura. To make the aluminum Diaphans, works with an art fabricator, a 'technical artist', who uses mechanical means to punch holes through the aluminum. After punching, the aluminum is annealed, sanded and primed before applying different colors to front and back surfaces. To perforate the Kozo Diaphans, uses a hand punch then flattens the perforated Kozo sheets and paints them one color with shellac-based ink. In both aluminum and Kozo Diaphans, each arrangement of perforations is unique. The system for determining the distribution of holes is controlled chance - the 'control' being 'the rules and parameters for fabrication' and the 'chance' being the fabrication technician's interpretation of ‘the rules and parameters' and/or the limitations of the materials. 2005 Group Exhibition, Off the Wall: Clytie Alexander, Charles Arnoldi, Daniel Buren, Bodo Korsig and Louise Nevelson, Leslie Sacks Contemporary, Santa Monica includes a Diaphan. Individual Support Grant, Adolph and Esther Gottlieb Foundation (March-Dec). Begins the NM ink glassine works based on afterimages originating from the Diaphans shadows. 2005-06 Teaches painting, School of Visual Arts, New York. 2006 Solo Exhibition, Diaphans, Greenfield Sacks Gallery, Santa Monica. Solo Exhibition, Diaphans, Toomey-Tourell Gallery, San Francsico. 2007 Solo Exhibition, Diaphans, Leslie Sacks Contemporary, Santa Monica. Art Purchase Award, American Academy of Arts and Letters which gives Diaphan 15 to Nelson-Atkins Museum. 2008 Solo Exhibition, Diaphans, Galleria Peccolo, Livorno, Italy. 2009 Solo Exhibition, Clytie Alexander: Diaphans, Betty Cuningham Gallery, New York. Solo Exhibition, Clytie Alexander: Diaphans, Sarah Moody Gallery of Art, The University of Alabama, Tuscaloosa. 2010 Participates in The Shape of Space, 222 Shelby Street Gallery, Santa Fe. Visiting Artist, Vermont Studio Center, Johnson, VT. Begins a series of iridescent oil on linen paintings using the NM ink on glassine works as studies. 2011 Group Exhibition, THAW: group show of selected works by gallery artists, Betty Cuningham Gallery, New York. Group Exhibition. Less is More, curated by Katherine B. Cone in celebration of “Pacific Standard Time; Art in L.A. 1945-1980” (with Edith Baumann, Larry Bell, Scott Heywood, Jow, Sol Lewitt, Bertril Petersson, Anthony Sneed and Samuel Stabler), Subliminal Projects, Los Angeles.