Dennis Aufiery has studied with Alex Katz, Neil Welliver, Janet Fish, and Graham Nickson. He received a fellowship while earning his MFA at the University of Pennsylvania and a Post Graduate fellowship to the Skowhegan School. He received his undergraduate degree while at Penn and attended the Pennsylvania Academy of the Fine Arts, where he received the Thomas Eakins prize for painting.

Mr. Aufiery has collaborated with Robert Venturi on a number of projects, including the TREEHOUSE in Philadelphia, which won an A.I.A. gold medal and HIGH STYLES at the Whitney Museum of Art. Mr. Aufiery has shown work at the Leo Castelli Gallery in New York, exhibited in solo shows in Los Angeles, Philadelphia and South Florida. His exhibition history also includes the Museum of American Art, Pennsylvania Academy of Fine art, Institute of Contemporary Art in Philadelphia, The Harn Museum of Art, the Portland Museum of Art, and the Boca Raton Museum of Art.

Mr. Aufiery lives in Jupiter Florida.

Andersen Curt, Time Magazine, January 6, 1986, Breaking Out of the Box, BEST Designs of 1985

Michael Mills; New Times Broward Palm Beach August 21, 2008, A QUESTION OF TASTE: “Dennis Aufiery’s oil painting SAND ALLEY, pulls off the considerable feat of being as much about his deft gestural handling of the medium as its defiantly mundane subject matter, which includes a pickup truck, a motorboat, and an oil drum.”

Beem, Edgar Allen, Maine Times, June 26, 1987, Skowhegan Body Heat, Review.

Beyer, Rita, Art Critic, Chestnut Hill Local, February 11, 1999, Review. “In Aufiery paintings the message is bold and brilliant…. He addresses the notion of place and culture…and the fundamental problems that face humanity.”

Dietsch, Deborah, Architectural Record, September, 1985, “Learning from Mother Nature.”

Donahoe, Victoria, Art Critic, Philadelphia Inquirer, May 10, 1998, Review “Beach Mambo”, Gallery Les Amis, Malvern Pa. “… Sharply evocative and visceral….Aufiery is quite able to capture what’s quick, aware and specific about human interaction. The poignancy of this show is that besides the feel of a story being told, something is being expressed that’s genuine.” Illustrated.

Donahoe, Victoria, Art Critic, Philadelphia Inquirer, Review , July 22,1983, Review, Arabesque Gallery Illustrated.

Dinh Linh, Art Editor, Cross X Connect, 1998, Web Journal, http.//ccat.sas.upenn.edu/xconnect, Kelly Writers House, University of Pennsylvania.

Dorsey, John, Sun Art Critic, Baltimore Sun, January 29, 1988, “Thought Provoking Artwork.”

Douglas Keating, May 17th, 1981, Philadelphia Inquirer, “A Tough Look at Today’s Sexual Attitudes.”

Foster, Gail, Christian Science Monitor, July 18, 1986, Illustrated, The Treehouse.

Feighner, Jan, Suburban and Wayne Times, Wayne Pa. May 3, 1998, Profile.

Filler, Martin, Architectural Writer, Architectural Digest, January 1987, Treehouse Murals.

Isaneson, Phillip, Maine Sunday Telegram, Portland, Maine, June 21, 1987, “From the Shores of Wesserrunsett, to the walls of PMA. Review.

Katz, Jonathan G., The Bulletin, October 12, 1980, Around the Galleries, “Looking at a Private Language.”

Kolson, Ann October 24th, 1980, Philadelphia Inquirer, “From Out of Isolation to Best In Show”, Feature Story.

Goldberger, Paul Architectural Critic, New York Times, Sept. 20, 1985, “When American Design Grew Up.” Review, High Styles, Whitney Museum of American Art.

Hines, Thomas, Architectural writer, The Philadelphia Inquirer, April 10, 1985, “The Zoo’s New Answer to the Call of the Wild”, Illustrated.

Helander, Bruce, Artist, Critic, Palm Beach Post, May 8, 2005. “Aufiery paints a wonderful Visual Poetry.”

Mangravite, Andrew, Art Critic, Welcomat, Philadelphia, February 19, 1992, Galleries, “Dennis Aufiery’s Pulsing Energy”, Review “White Man’s View.” “White Man’s View is boldly conceived, expressively colored and jumping with life….Ghosts of Redlining, New Middle Class, Fear and Ignorance…and City Tableau are angry, funny works driven by a fierce, jibing desperation…a ferociously talented fellow. Illustrated.

Pardee, Hearne, The Portland Monthly, April, 1987, Portland, Maine.

Reef, Pat Davidson, Art New England, October, 1987, Portland Museum of Art.

Redd, Adrienne, Art Matters, April 1998, Philadelphia Artist Finds Inspiration in Cuba, Illustrated.

Rice, Robin, Art Critic, City Paper, May 11, 1990, Philadelphia, Review, “Selected Refuses.”

Robin Rice, Art Critic, January 1, 1992, City Paper, Philadelphia, Review.

John Russell, Art Critic, New York Times, “Skowhegan Retrospective” October 24, 1986.

Schnore, Peter, Art Critic, Art Matters, Philadelphia, Dec./Jan. 1992. Review, Woodmere Art Museum, Academy Fellowship Show. "…a school of Red Grooms repellent/attractive empathy eliciting oil…". Schnore, Peter, Art Critic, Art Matters, Phila. Pa. More Reviews, “Dennis Aufiery’s ‘Fallen Mahogany’ a marvelous juxtaposition of extensively varied…jungle forms…two outstanding figures…very special in their honesty, not imitative of, yet related to, the great Avigdor Arikah.

Schwan, Gary, Art Critic Palm Beach Post, May 8, 2005, “Whether portraits of nude models, or narrative paintings of crowded beaches in Miami and Cuba, Aufiery’s images have an air of mystery about them. The viewer asks “WHY?” Illustrated.

Schwan Gary, Art Critic, Palm Beach Post, January 9, 2005, A&E Exhibitions of Note.

Schwan Gary, Art Critic, Palm Beach Post, December, 19, 2004, A&E/ART, Drawing Now.

Schwan Gary, Art Critic, Palm Beach Post, November 12, 2004, Art Review, Gallery Artists, Armory Art Center, “Dennis Aufiery Red Carpet is nicely done.”

Schwan, Gary Art Critic, The Palm Beach Post, June 15, 2001, Review, Clarke Gallery, West Palm Beach. "…a young lifeguard, an old man and a rusty raft. You can make up your own story for this intriguing painting, by Dennis Aufiery. Aufiery adds to the mystery, however, simply through the body language of the seemingly resigned lifeguard and puzzled beachwalker.”

Sjostrom Jan, Arts Editor, Palm Beach Daily News, October 30, 2006, Armory Exhibition offers wide variety of media. “Aufiery’s painting’s show him pushing his boundaries in Pier Crows…"

Sjostrom Jan, Arts Editor, Palm Beach Daily News, June 10, 2001, Front Page, Illustrated “Artist Takes Hold of Emotions”. Feature.

Sozanski, Edward, Art Critic, Philadelphia Inquirer, Illustrated, Review April 22, 1994. “In this group of paintings, Aufiery explores erotically charged situations set in tropical locales. The series begins with pictures of raunchy rowdyism painted in lurid and expressionist colors. As the paintings move forward in time they become less comic and more sexually tense. The climax of this progression is a fishing boat scene called Gulf Stream Magic that places the viewer right in the center of he action.” Illustrated.

Sosanski, Edward, Art Critic, Philadelphia Inquirer, Review, February 22, 1992.

Jacqueline, Urgo, Atlantic City Press, November 11, 1988, “Town Carves It’s Gratitude in Stone”, 1988.

Art Matters, Philadelphia, November 1997, Review.

Wasserman, Burton, Art Matters, April, 1982, Un-Pigeonholed, Feature Illustrated.

Wood, Carol, Art critic, New Art Examiner, April, 1982, Skowhegan: A Ten-Year Retrospective, Review.

Art, Virginia Museum of Art, illustrated.

Spirits of the Revolution, by Luis Gonzalez, Colonnade Books, Los Angeles, 1998. Cover Illustration.

America’s Painted Ladies, The Glory of Our Resplendent Victorians, Elizabeth Pomada & Michael Larsen, 1992.

Catalogue, “Beyond Aesthetics”, Alternative Museum, New York, 1991, Illustrated.

Catalogue, Art At The Armory, Philadelphia, 1990, Illustrated.

Catalogue, Pennsylvania Academy of the Fine Arts, THE UNBROKEN LINE, Centennial Exhibition, 1997, Illustrated.

Catalogue, Skowhegan Ten Year Retrospective, 1986, Illustrated.

El Andar, winter 1998, Illustration, The Balcony, Havana.