Ann Craven
ValueEgon research · Artist market profile
The market, in context.
Explore Ann Craven’s auction history alongside the exhibitions, collections and gallery relationships behind the market.
Recent auction highlight
$152,400
Moon (Silent Pink Light over Saint George's River), 2021
View the sale and market context →Institutional research
Collections & exhibitions
Read holdings, exhibition history and their qualifications in context.
Read the institutional research →
Egon investment scores
Market position
Research updated
Recent auction highlight
A result from Egon’s tracked auction sales; historical auction records are researched separately. Price including buyer’s premium.
Auction highlights
Little Cardinal (on White with Black Pensées), 2021
- Result
- $33,540 premium-inclusive (OUR internal auction database); Artnet lists the lot with sale date July 16, 2026, 'Auction Closed', no price
- Venue and date
- Phillips, 2026-07-16
Diptych (Stripes, 09-09-07), 2007
- Result
- outcome not established on the page retrieved
Venue and date
Sotheby's, New York (Contemporary Discoveries format), 2026-07 (Sotheby's artist page shows a 7–14 July 2026 New York online session; the page interleaves several sales, so the lot/date pairing is not fully resolved)
Little Cardinal (on White with Black Pensées), 2021
- Result
- $33,540 premium-inclusive (internal auction database); Artnet lists the lot as 'Auction Closed' on July 16, 2026, with no price
- Venue and date
- Phillips (per internal database), 2026-07-16
31 further auction entries on record for Ann Craven — inside Egon.
Pricing
Range 2025
$9,030 (small moon, Phillips online, September 2025) to $152,400 (record, Phillips, May 14, 2025; now confirmed on Phillips' artist page against an $80,000–120,000 estimate). Mid-size moons clustered at $60,000–85,000 in February, October and November 2025.
Primary market
Controlled by Karma (New York, Los Angeles, and a seasonal space in Thomaston, Maine). Prices are not published; dealer listings show 'Price on Request'. Contact Karma for current primary pricing. No published primary price was found this cycle.
Range 2018 2023
Roughly $10,000–40,000 for mid-size works (e.g. 'Stepping Out With Cherries', 60 x 48 in., $36,250 at Phillips, November 14, 2018) and £12,065 for a small canvas at Phillips London in December 2023. The jump came in 2024–2025, alongside the Maine museum cycle.
Current 2026 observed
Highest 2026 result found: 'Stepping Up', $54,180 premium-inclusive against a $30,000–50,000 estimate, Phillips online, New York (lots began closing March 10, 2026). Small bird canvases ran about $13,000–34,000 in June and July 2026 (internal database). No 2026 result above the May 2025 record was found in the sources checked.
Price ranges by work type
Birds animals
$13,000–34,000 (2026, internal database), with 'Stepping Up' (2026) at $54,180. Its subject and size weren't captured, so it isn't assigned to a size band.
Prints editions
Low hundreds to low thousands at auction (Rago estimate $600–800 for a 2025 screenprint, edition of 100; LAMA estimate $1,000–1,500 for a 2008–2014 archival inkjet, edition of 50). JRP|Editions retail about CHF/$2,500–5,900.
- Stripes diptychs
- Estimated $15,000–20,000 at Sotheby's in 2026; historically the weakest body of work at auction
- Small moons 14x14
- $9,000–25,000
- Mid size moons 40x30
- $60,000–85,000 (2025 results); record $152,400
Large moons 84x60 and up
Museum-scale works rarely come to auction. Two of them entered museum collections by purchase in 2022 (Farnsworth, Portland Museum of Art). There is effectively no public price benchmark at the top of the size range.
- Small moon paintings 14x14
- $9,030 - $23,220 (recent sales)
- Works on paper watercolors
- Thin auction data; priced below unique canvases
- Large scale works 60x48 plus
- $36,250 (2018) to low six figures (2025); few data points
- Mid size works 24x18 to 40x30
- $23,000 - $84,000
Liquidity
Moderate. About 10–15 catalogued lots a year across Phillips (dominant), Sotheby's and regional houses, including prints. At least ten 2026 lots were catalogued through July. Depth is concentrated in one house and one motif (moons), and very few large canvases have traded publicly.
Comparables
Within the Karma roster she trades an order of magnitude below Nicolas Party and Jonas Wood, and broadly alongside Dike Blair and Mathew Cerletty.
Collector base
Contemporary collectors drawn to conceptual painting, plus an unusually committed Maine and New England base (the KHR McNeely Family Foundation underwrote the 2025 cycle). Museums have bought directly: the Farnsworth in 2022 ('Museum purchase, supported by anonymous donor') and the Portland Museum of Art in 2022 ('Museum purchase with support from a Manitou Fund grant').
Primary market
- Primary market pricing
- Contact Karma (New York) for current pricing; gallery-controlled primary market with selective releases
Auction history
Buy ins
No bought-in Craven lot was found on the pages checked. That is not evidence none occurred. Artsy's summary shows a 33.3% sell-through, but its other aggregates (55 lots a year, $5M in sales) don't fit any other source and look like data-quality problems, so it is not relied on.
Sell through
The internal database records 100% sell-through across 7–8 settled lots, a small sample weighted to Phillips. Every Craven lot on the Phillips artist-page excerpt shows 'Sold for'. Outcomes for several 2026 lots listed as 'Auction Closed' on Artnet remain unknown.
- Fair participation
- Art Basel, Frieze, SCOPE Miami Beach, Guadalajara Art Fair (participation documented in the 2010s)
2026 activity scope
Artnet lists Craven lots with 2026 sale dates of March 10, March 17, March 28, May 13, May 20, June 2, June 3, June 12, July 14 and July 16, all marked 'Auction Closed'. The March 10 lot ('Stepping Up', Phillips NY010226) is now documented as sold for $54,180. The rest are of unknown outcome unless the internal database records a price.
Five year trajectory
- 2026 ytd
- Consolidating: $54,180 in March (Phillips online) and $13,000–34,000 for small bird works in June and July (internal database); no new record
- 2018-2020
- Limited auction activity; $10,000–40,000 range for mid-size works ($36,250 in November 2018)
- 2021-2023
- Growing secondary presence; increasing institutional recognition (museum purchases by the Farnsworth and the Portland Museum of Art in 2022)
- 2024-2025
- Faster activity and the record price during the Maine museum cycle and Maine in America Award
Auction performance summary
- Record work
- Moon (Silent Pink Light over Saint George's River), 2021 — Phillips, New York, May 14, 2025
- Database coverage
- Internal database covers 2025 onward; earlier lots come from Phillips pages and aggregators
- Total auction record
- $152,400 premium-inclusive (May 14, 2025, Phillips; documented on Phillips' artist page)
- Primary auction house
- Phillips (dominant); Sotheby's secondary; prints at Rago and LAMA
Recent average hammer
Internal-database average of $62,491 premium-inclusive across 8 priced lots (last 730 days). This is premium-inclusive, not hammer, and includes the record.
- Recent range 2024 2025
- $9,030 - $152,400
- Sell through rate 2025
- 100% of settled lots in the internal database (small sample)
Editions and multiples market
A separate, much cheaper channel that should not be averaged in with paintings: 'Moon (July Quiet)', 2025, screenprint, edition of 100, Rago, June 12, 2026 (estimate $600–800); 'Pensée for Le Confort Moderne', 2008–2014, archival inkjet, edition of 50, LAMA, May 19, 2026 (estimate $1,000–1,500).
Market position
Mid-market contemporary painter whose price band moved from five figures to low six figures in 2024–2025, then consolidated in the $50,000–85,000 range for strong mid-size works. Peers: Shara Hughes and Nicole Wittenberg (same Phillips New Now sessions; Hughes much higher), Jenna Gribbon, Lois Dodd and Yvonne Jacquette. Craven's institutional record is stronger than most of this group; her auction depth is not.
Investment outlook
The 2024–25 repricing came from a once-in-a-career convergence: a lifetime-achievement award, three Maine museum shows at once, and a New York touring venue. That cycle ended when the Farnsworth show closed on January 4, 2026. 2026 results so far ($54,180 in March; $13,000–34,000 for birds) are consolidation, not new records, and no 2026 museum solo appears on Karma's bio. The base case is a range of $10,000–35,000 for birds and small works and $50,000–85,000 for mid-size moons, unless a first-rank museum solo or a large-canvas consignment tests the top. The $152,400 record is a ceiling, not a floor; buyers should anchor entry prices to the mid-size band.
Institutional presence
Research updated
Exhibitions
Upcoming
No upcoming museum solo or museum group exhibition was found in the sources checked (Karma bio, artist website, Anton Kern page), as of 2026-09-29. That doesn't mean none is planned.
Group exhibitions selected
- Time Wise, Swiss Institute, New York (1996)
- Contemporary Arts Center, Cincinnati (2006)
- Prague Biennale (2011)
- Painting Overall, Prague Biennale (2011)
- Whitney Museum of American Art (various group shows)
- Museum of Contemporary Art Chicago (collection displays)
- American Genre: Contemporary Painting, curated by Michelle Grabner, Institute of Contemporary Art at Maine College of Art, Portland (per artist's website)
- New England Triennial, deCordova Sculpture Park and Museum and Fruitlands Museum, Massachusetts (2022)
- Unnatural Nature: Post-Pop Landscapes, Acquavella Galleries, New York and Palm Beach (2022)
- Farnsworth at 75, Farnsworth Art Museum, Rockland (2023)
- Mother Lode: Material and Memory, James Cohan, New York (2024)
- Love Will Come Back: Ann Craven with Robert Mapplethorpe and Mohammed Z. Rahman, Phillida Reid, London (2024)
- A Rose Is, FLAG Art Foundation, New York (2025)
- Friends in Both Places, Nicelle Beauchene Gallery, New York (2025)
- Analog: 30th Anniversary Exhibition, Anton Kern Gallery, New York (March 4 – May 1, 2026)
- Everyone you're looking at is also you: Artists for the Ali Forney Center, David Zwirner, New York (2026; a benefit show)
- Outside, curated by Matthew Higgs, Karma, Thomaston, Maine (2026)
- Nightswimming, Broadway, New York (2026)
- Museum tier
- Tier 1 — Museum of Modern Art and Whitney Museum of American Art (holdings confirmed on both museums' own sites; both came in as gifts)
Publications
Summary
The monographic literature is mainly museum catalogues (FRAC Champagne-Ardenne/JRP Ringier 2009; CMCA 2019; SCAD 2023) plus gallery-published books from Karma (the 2018 560-page monograph). No catalogue raisonné or independent academic monograph was found. The full bibliography is under critical_data.publications_and_media.major_publications_catalogues.
- Tier framework
- named-institutions-v1
Museum collections
Tier 1 museums
Museum of Modern Art (MoMA), New York
- Holdings
- 5 works online in collection
Works include
- Morning Glory, 2000
- Orange Bird with Fake Cloud, 2000
- A Poppie, 2000
- A Small Poppy, 2000
- Midday Song, 2001
Whitney Museum of American Art, New York
- Holdings
- 1 work confirmed in collection
- Significance
- Listed in permanent collection
Hammer Museum, Los Angeles
- Holdings
- Confirmed in collection
Museum of Contemporary Art Chicago
- Holdings
- Confirmed in collection
New Museum, New York
- Holdings
- Confirmed in collection
View 7 more records
Smithsonian Institution
- Holdings
- 2 works (from museum API data)
Museum of Modern Art (MoMA), New York
- Holdings
- 5 works online in the collection (MoMA artist page, retrieved 2026-09-29)
- Source URL
- https://www.moma.org/artists/28595
Credit line
Midday Song, 2001 (watercolor and pencil on paper, 15 x 11 1/2 in.): 'The Judith Rothschild Foundation Contemporary Drawings Collection Gift. 1478.2005'. Credit lines for the other four works: unknown (not retrieved).
Status note
Holding confirmed on MoMA's site. Came in through a foundation gift; curatorial initiation is unresolved. All are works on paper from 2000–2001; no painting is recorded.
Works include
- Morning Glory, 2000
- Orange Bird with Fake Cloud (Vic Muniz), 2000
- A Poppie, 2000
- A Small Poppy, 2000
- Midday Song, 2001
- Institution tier
- 1
Whitney Museum of American Art, New York
- Holdings
- 1 work in the collection; first acquired 2004
- Credit line
- gift of Lois Plehn 2004.414
- Status note
- Holding confirmed on the Whitney's site. Gift from a private individual; curatorial initiation is unresolved. Not on view.
Works include
- YELLO FELLO 1, 2004, oil on canvas, 108 1/8 × 72 1/8 in.
- Institution tier
- 1
Hammer Museum, Los Angeles
- Holdings
- Claimed in the prior record; not confirmed this cycle
- Credit line
- credit line unknown
- Status note
- UNRESOLVED. Not on Karma's current collections list or in the SCAD summary; no museum record was retrieved.
Museum of Contemporary Art Chicago
- Holdings
- Claimed by Karma, SCAD Museum of Art and Ocula
- Credit line
- credit line unknown
- Status note
- REPORTED. Gallery and museum-biography claims only; MCA Chicago's own collection record was not retrieved.
- Institution tier
- 2
New Museum, New York
- Holdings
- Claimed by Ocula
- Source URL
- https://ocula.com/artists/ann-craven/
- Credit line
- credit line unknown
Status note
UNRESOLVED/REPORTED. Ocula lists it, but it is not on Karma's current bio list. The New Museum has historically not kept a conventional permanent collection, so this may refer to a semi-permanent or other holding. Not confirmed.
- Institution tier
- 2
Smithsonian Institution
Holdings
No artwork holding established. The name-matched records are a Smithsonian Libraries artist file ('Ann Craven [Folder]') and a library copy of the Knoedler catalogue 'Moon birds' (essay by Josh Smith).
- Credit line
- not applicable — library materials, not artworks
Status note
CONTRADICTED as an artwork holding. Library and bibliographic records don't show that any Smithsonian museum (SAAM, Hirshhorn, etc.) holds her art. Kept here only so the earlier claim is visibly corrected.
Recent acquisitions
The latest documented acquisitions are two 2022 museum purchases of museum-scale 2021 moon canvases: Farnsworth 2022.2 ('Museum purchase, supported by anonymous donor') and Portland Museum of Art 2022.29 ('Museum purchase with support from a Manitou Fund grant'). No acquisition after 2022 was documented in the sources checked (as of 2026-09-29).
Tier 2 regional museums
Farnsworth Art Museum, Rockland, Maine
- Holdings
- Multiple works including Moon (Pink Harvest Moon, Bright Red Dancing Trees, Cushing), 2021
- Acquisition
- Museum purchase, 2022, anonymous donor support
- Significance
- Major 2025 retrospective venue; Maine in America Award anchor institution
Portland Museum of Art, Maine
- Holdings
- Works in collection; described as 'cornerstone of contemporary holdings'
Colby College Museum of Art, Waterville, Maine
- Holdings
- Confirmed in collection
SCAD Museum of Art, Savannah
- Holdings
- Confirmed; hosted Twelve Moons exhibition 2023
Henry Art Gallery, Seattle
- Holdings
- Confirmed in collection
View 8 more records
Institute of Contemporary Art, Miami
- Holdings
- Confirmed
Farnsworth Art Museum, Rockland, Maine
- Holdings
- Moon (Pink Harvest Moon, Bright Red Dancing Trees, Cushing), 2021, oil on linen, 84 x 60 in.
- Acquisition
- Museum purchase, 2022
- Credit line
- Museum purchase, supported by anonymous donor, 2022.2
Status note
Documented on the Farnsworth exhibition page (credit line in the image caption). The earlier 'multiple works' claim is not confirmed beyond this purchase.
- Significance
- A curator-initiated purchase of a museum-scale canvas; the anchor institution for the 2025 survey and the Maine in America Award
- Institution tier
- 3
Portland Museum of Art, Maine
- Holdings
- Big Moon (Blue Night, Pink Glowing Trees, August, Cushing), 2021, oil on canvas, 84 1/4 x 72 1/4 x 1 3/8 in.
- Credit line
- Museum purchase with support from a Manitou Fund grant, 2022.29
- Status note
- Documented on the PMA Spotlight page. A curator-initiated purchase. The earlier 'cornerstone of contemporary holdings' wording is not verified.
- Institution tier
- 3
Colby College Museum of Art, Waterville, Maine
- Holdings
- Claimed in the collection
- Credit line
- credit line unknown
- Status note
- REPORTED by Karma and SCAD Museum of Art; Colby's own object record was not retrieved.
- Institution tier
- 3
SCAD Museum of Art, Savannah
- Holdings
- Claimed in the collection; hosted Twelve Moons (2023)
- Credit line
- credit line unknown
- Status note
- REPORTED by Karma. The 2023 solo is documented; the holding is not independently confirmed.
- Institution tier
- 3
Henry Art Gallery, Seattle
- Holdings
- Claimed in the prior record
- Credit line
- credit line unknown
- Status note
- UNRESOLVED; not re-confirmed this cycle
Institute of Contemporary Art, Miami
- Holdings
- Claimed in the prior record
- Credit line
- credit line unknown
- Status note
- UNRESOLVED; not re-confirmed this cycle
Museum of Fine Arts, Boston
- Holdings
- Claimed in the collection (new this cycle)
- Credit line
- credit line unknown
Status note
REPORTED by Karma's bio only. Her website separately records a public lecture at the MFA, which is not a holding. The MFA's collection record was not retrieved.
- Institution tier
- 2
Awards and recognition
- 2025 Maine in America Award (lifetime achievement), Farnsworth Art Museum
- 2002 Best Monographic Show in a Commercial Gallery, International Association of Art Critics (AICA)
- 1997 Rosenthal Foundation Young Painter Prize
Institutional score rationale
Revised from 8 to 7 (the framework has no 8 rung). Her record crosses borders: solo presentations in France (FRAC Champagne-Ardenne 2008; Le Confort Moderne 2014, a non-collecting venue) and in the US (SCAD 2023; Farnsworth, Bowdoin and PMA 2025). Holdings at two Tier 1 museums are confirmed on the museums' own sites (MoMA, 5 works on paper; Whitney, 1 painting), but both came in as gifts from a foundation or an individual, with no curatorial purchase shown. Documented curatorial purchases are at regional Maine museums (Farnsworth, PMA). Scholarship is mostly museum catalogues and gallery publications. There has been no monographic retrospective at a first-rank museum and no documented first-rank purchase, so 9 isn't supported; 7 ('validated internationally') fits.
Career & Biography
Research updated
Career
Career milestones
- Event
- Worked as studio assistant to Alex Katz, whose influence is evident in her bold application of paint and monumentality of brushstrokes
- Period
- 1990-1998
- Event
- First moon painting created on Lincolnville Beach, Maine - became signature motif
- Period
- 1995
- Event
- Rosenthal Foundation Young Painter Prize
- Period
- 1997
- Event
- Studio fire destroyed nearly all artwork; began practice of repetition and archiving
- Period
- 1999
- Event
- Best Monographic Show in Commercial Gallery, International Association of Art Critics
- Period
- 2002
View 7 more records
- Event
- First retrospective: Shadows Moon and Abstract Lies, FRAC Champagne-Ardenne, Reims, France
- Period
- 2008
- Event
- Participated in Prague Biennale
- Period
- 2011
- Event
- Retrospective: TIME, Le Confort Moderne, Poitiers, France
- Period
- 2014
- Event
- 560-page monograph published by Karma Books
- Period
- 2018
- Event
- Birds We Know retrospective, Center for Maine Contemporary Art
- Period
- 2019
- Event
- 12 Moons, SCAD Museum of Art, Savannah
- Period
- 2023
- Event
- Maine in America Award (lifetime achievement); three simultaneous museum exhibitions across Maine
- Period
- 2025
Updates 2025 2026
Event
Maine in America Award presented at the Farnsworth Gala, July 18, 2025, with concurrent solo presentations at the Farnsworth Art Museum, Bowdoin College Museum of Art and Portland Museum of Art; the Bowdoin project travelled to the New York Studio School, September 3 – November 9, 2025
- Period
- 2025
Event
Farnsworth 'Painted Time (2020–2024)' closed — the 2025 institutional cycle is complete; no successor museum solo was found announced in the sources checked
- Period
- 2026-01-04
- Event
- Included in Anton Kern Gallery's 30th Anniversary Exhibition ('Analog'), New York — a group presentation, not representation
- Period
- 2026-03-04 to 2026-05-01
Event
Maine in America Award presented at the Farnsworth Gala on July 18, 2025, alongside solo presentations at the Farnsworth Art Museum, the Bowdoin College Museum of Art and the Portland Museum of Art. Karma's bio says the Bowdoin project was curated in rotations by Anne Collins Goodyear, Jay Sanders and Adam Weinberg, and travelled to the New York Studio School (curated by Julia Trotta, Clémence White and Matthew Higgs), September 3 – November 9, 2025.
- Period
- 2025
Event
Farnsworth show 'Painted Time (2020–2024)' closed, ending the 2025 institutional cycle. Karma's bio (retrieved 2026-09-29) lists no 2026 solo exhibition.
- Period
- 2026-01-04
Event
2026 group shows per Karma's bio: David Zwirner, New York, 'Everyone you're looking at is also you: Artists for the Ali Forney Center' (a benefit show); Karma, Thomaston, Maine, 'Outside', curated by Matthew Higgs; Broadway, New York, 'Nightswimming'. Also included in Anton Kern Gallery's 30th-anniversary show 'Analog', March 4 – May 1, 2026. These are group inclusions, not representation.
- Period
- 2026
Career length note
Exhibiting since the mid-1990s (first moon paintings 1995; Swiss Institute group show 1996), about a 30-year career. A deep secondary market only developed after about 2021, so the market is much younger than the career.
Career milestones retained
1990–98 studio assistant to Alex Katz; 1995 first moon painting, Lincolnville Beach, Maine; 1997 Rosenthal Foundation Young Painter Prize; 1999 studio fire (the origin of her systematic repetition and archiving); 2002 AICA Best Monographic Show in a Commercial Gallery; 2008 FRAC Champagne-Ardenne survey; 2014 'TIME', Le Confort Moderne, Poitiers; 2018 Karma 560-page monograph; 2019 CMCA 'Birds We Know'; 2023 SCAD Museum of Art 'Twelve Moons'; 2024 'Long Nights Moon', The 'Quin House, Boston (a private club, not a museum); 2025 Maine in America Award with three Maine museum shows at once.
Identity
- Name
- Ann Craven
- Gender
- Female
Birth note
Getty ULAN lists 1969, but multiple authoritative sources (Artnet, MoMA, Ocula, Farnsworth Museum exhibitions) consistently cite 1967. Some early auction records and one source cite 1961, 1968, or 1972, likely data entry errors.
- Birthplace
- Boston, Massachusetts
Getty note
Getty ULAN 500331987 matches on name, nationality (American), gender (female) and roles (painter, installation artist). It has no birth or death dates, so the birth year rests on museum and gallery sources. The ULAN record is kept for identity only.
- Nationality
- American
- Personal life
- Married to artist Peter Halley; inspired by Italian grandmother's vintage ornithology books
- Current location
- New York and Cushing, Maine (Karma bio, retrieved 2026-09-29: 'Lives in New York and Cushing, Maine')
Birth year status
CONTRADICTED, though the evidence now leans strongly to 1967. Sources giving 1967: MoMA artist page ('American, born 1967'), the Whitney artist page ('Ann Craven, 1967–'), the Portland Museum of Art ('United States, born 1967'), Karma's bio ('Born 1967, Boston'), SCAD Museum of Art, JRP|Editions and the Norton Museum of Art. Sources giving 1961: the Farnsworth Art Museum's 2025 exhibition page and Wikipedia. Art.Salon gives 1969 and Ocula's header gives 1968 (low weight, while Ocula's own text says 1967). Getty ULAN 500331987 has no dates and can't settle it. verified_birth_year stays null because the Farnsworth disagrees, but 1967 is the working figure.
Birth year candidates
- 1961 (Farnsworth Art Museum exhibition page; Wikipedia)
- 1967 (Portland Museum of Art; Norton Museum of Art; Artnet; prior record)
- 1969 (Art.Salon database, low weight)
- 1967 (MoMA; Whitney; Portland Museum of Art; Karma; SCAD; Norton; Artnet)
- 1961 (Farnsworth Art Museum 2025 exhibition page; Wikipedia)
- 1969 (Art.Salon, low weight)
- 1968 (Ocula page header, which contradicts its own text; low weight)
- Best supported birth year
- 1967
Education
Scroll horizontally if needed →
| Year | Degree | Institution |
|---|---|---|
| 1986 | BFA | Massachusetts College of Art, Boston |
| 1993 | MFA | Columbia University, New York |
Personal life
Married to the artist Peter Halley. The bird motif comes from her Italian grandmother's vintage ornithology books. Carried over from the prior record and not re-checked this cycle.
Studio practice
Paints the moon from direct observation in Cushing, Maine and from New York rooftops, wet-into-wet in one sitting. Every painting is titled with place, date and time, and each has a matching 'Palette' canvas used to mix its colours, which is kept and archived. She copies and re-copies her own earlier canvases, producing serial 'laboratories'; more than 150 moon compositions formed the pool for the 2025 Bowdoin rotations.
Artistic context
Alex Katz (direct mentor and employer); Pop appropriation; On Kawara and Agnes Martin (serial, date-stamped, meditative practice); Sturtevant and Sherrie Levine (the copy); Lois Dodd and Marsden Hartley, cited in Karma publications; peers on the Karma roster (Dike Blair, Mathew Cerletty, Verne Dawson, Yvonne Jacquette).
Artistic Profile
Research updated
Style
High-key, saturated colour applied fast and wet-into-wet, with visible brush arcs and soft edges; a deliberately simplified, almost naïve notation carried by sophisticated tonal control. The distinctiveness lies less in any single image than in the systematic re-painting of one motif until the copy, the original and the record of their making constitute a single work.
Evolution
- Focus
- First moon paintings; establishment of serial methodology; Katz influence visible
- Period
- 1995–2000
- Key works
- 101 Moons (1995)
- Focus
- Post-studio-fire systematic repetition and archiving; bird paintings from vintage ornithology sources; date and time stamping; Palette canvases
- Period
- 1999–present
- Focus
- Stripe/band and diptych works as abstract sister works to the iconographic paintings
- Period
- 2002–present
- Focus
- Watercolour series (92 pansies/pensées) during the FRAC Champagne-Ardenne period, Reims
- Period
- 2007–2008
- Focus
- Maturation of the conceptual framework; flower paintings (roses, dahlias); continued moon documentation
- Period
- 2010s
- Focus
- Larger scale, looser touch, black-ground night works; the Moons 'laboratory' as an exhibitable system; museum consolidation in Maine
- Period
- 2020–2026
- Characteristics
- Sustained conceptual rigour with increasingly gestural handling
Influences
Alex Katz (direct); Pop appropriation; On Kawara and Agnes Martin; Sturtevant and Sherrie Levine; Georgia O'Keeffe and Arthur Dove (invoked by critics); Lois Dodd and Marsden Hartley (cited in Karma publications).
Scale range
14 x 14 in. studies → 40 x 30 in. mid-size moons (the band that set the 2025 auction record) → 84 x 72 in. museum-scale canvases (e.g. the Portland Museum of Art's Big Moon, 84 1/4 x 72 1/4 in.).
Visual language
Lush high-key pinks, magentas, purples, yellows and greens against deep ultramarine or black nocturnal grounds; dramatic black-and-white flower paintings as a counterpoint; figure-ground clarity with a centralized motif; scale from 14 x 14 in. plein-air studies to 84 x 72 in. museum-scale canvases.
Signature series
- Moons (101 Moons; 400 moons; Painted Time: Moons (Laboratory))
- Birds and Cardinals with pensées and cherries
- Deer and Young Buck works
- Flowers — roses, dahlias, bleeding hearts, pansies/pensées
- Stripes, Diptychs and Triptychs
- Palettes (indexical archive)
Themes and subjects
- Time, duration and 'the moment just past'
- Serial repetition and the copy (original vs. replica; authenticity)
- Diaristic dating and time-stamping of every canvas
- The moon as a cyclical index of time and place
- Birds and animals drawn from vintage ornithology books and postcards — memory and sentiment
- Flowers and trees as ephemeral subjects
- Archiving and indexing (Palettes, stripes) as a parallel abstract practice
- Devotion, loss and the immortalising function of painting
Movements and periods
Post-Pop conceptual painting with a neo-expressive colour sensibility; adjacent to process/serial conceptualism (On Kawara, Agnes Martin) and to the American observational painting lineage (Katz, Dodd, Jacquette, Hartley).
Techniques and mediums
Oil on linen and canvas, alla prima and plein air, single-sitting execution; self-copying from her own earlier canvases as well as from photographs; watercolour and gouache on paper; editioned screenprint, lithograph, monotype and archival inkjet through Karma and JRP|Editions.
Fingerprint verification
Confirmed
The moon-painting exemplar still holds: wet-into-wet oil on linen or canvas painted in a single sitting, a centred disc, concentric brushwork, a column of reflected light on water, contemplative mood, and serial repetition tied to a named place and time (Cushing, Maine). The museum-scale moons confirmed this cycle (Farnsworth, 84 x 60 in., oil on linen; PMA, 84 1/4 x 72 1/4 in., oil on canvas) and the Whitney's YELLO FELLO 1 (2004, a canary on a branch against a pink floral ground, 108 x 72 in.) support the large-scale and bird sides of the fingerprint.
Disagreement
⚠️ One Tier-1 exemplar describes a charcoal-and-chalk seated male nude on toned paper. Nothing in the documented Craven literature, or in the MoMA works on paper (watercolour and pencil flowers and birds, 2000–2001), describes a life-drawing practice. Treat that exemplar as probably misattributed and don't use it as an attribution anchor.
Additions not in fingerprint
- The indexical 'Palette' canvases made alongside every painting, archived and exhibited as works in their own right
- Stripe/band works and diptychs/triptychs — a distinct abstract sub-body that prices materially lower at auction
- Black-ground night works (Karma 'Night' body), where an unbroken dark field intensifies chroma
- Works on paper and editioned prints (screenprint, lithograph, monotype, archival inkjet) as a separate medium and price band
- Explicit place/date/time titling as a formal device — the title is part of the work's conceptual apparatus
- The 'Palette' canvases made alongside every painting, archived and shown as works in their own right
- Stripe/band works and diptychs/triptychs, a separate abstract body of work that sells for much less at auction
- Black-ground night works (Karma's 'Night' show)
- Watercolour and pencil works on paper (e.g. five 2000–2001 sheets at MoMA)
- Editioned prints and design multiples (screenprint, lithograph, monotype, archival inkjet, silk scarves)
- Place/date/time titling as a formal device
Critical Reception
Research updated
Critical reception
Recent coverage
- Date
- September 2025
- Type
- Long-form artist interview, 'ANN CRAVEN with Phong H. Bui'
Assessment
Substantive critical conversation invoking Deleuze on difference and repetition; Craven describes the Bowdoin laboratory as the core of her practice and the Farnsworth survey as its 'mothership'
- Publication
- The Brooklyn Rail
- Date
- October 2025
- Type
- Exhibition review, 'Ann Craven's Moonlit Meditations' (Julie Schneider)
- Assessment
- Positive; reads the paintings through cyclical, generative change in nature
- Publication
- Hyperallergic
- Date
- April 21, 2025
- Type
- Preview of the Maine museum cycle (carried on Karma's press index)
- Publication
- The New York Times
- Date
- June 1, 2025
- Type
- Feature, 'Many Moons: A trio of exhibits illuminates an artist's night-sky paintings'
- Publication
- Down East Magazine
- Date
- July 17, 2025
- Type
- Feature, 'How artist Ann Craven paints the moon'
- Publication
- Portland Press Herald
- Date
- 2025 (undated on the page retrieved)
- Type
- Interview with Suzette McAvoy, 'Ann Craven: Chasing the Moon'
- Publication
- Decor Maine
Online discourse
Steady museum, regional-press and podcast presence (Talk Art episode); Maine connections generate durable regional cultural coverage independent of the New York market cycle.
Coverage gap note
Spot check, 2026-09-29: no 2026 review in a tier-1 art publication was found. Coverage peaked with the 2025 museum cycle. Scholarship is mostly museum catalogues and gallery publications rather than independent academic work, which limits the institutional case but says nothing about the quality of the work.
Awards recognition
- 2025 Maine in America Award (lifetime achievement)
- 2002 Best Monographic Show in Commercial Gallery, International Association of Art Critics
- 1997 Rosenthal Foundation Young Painter Prize
- 2025 Maine in America Award (lifetime achievement), Farnsworth Art Museum
- 2002 Best Monographic Show in a Commercial Gallery, AICA
Critical positioning
Consistently framed as a conceptual painter who uses seriality, repetition and self-copying to record time. The Farnsworth survey explicitly moved her away from being read as a 'colorist' and toward the mechanics of painting itself. Critics compare her to On Kawara, Agnes Martin, Sturtevant, Sherrie Levine and Alex Katz, and regionally to Lois Dodd and Marsden Hartley.
Major critical reviews
- Date
- October 2006
- Author
- Nick Stillman
- Assessment
- Positive - 'fantastic paintings'; compared conceptual approach to Sturtevant and Sherrie Levine; notes mastery of tonality
- Publication
- Artforum
- Date
- January 2012
- Author
- Review of Southard Reid exhibition
- Assessment
- 'Ann Craven paints with heart'; 'serial and obsessive nature hints at framework far from flippant'
- Publication
- Artforum
- Date
- 2008-2009
- Assessment
- Positive review of Knoedler exhibition; noted technical skill, compared to Georgia O'Keeffe and Arthur Dove
- Publication
- Frieze
- Date
- October 2025
- Assessment
- 'Moonlit Meditations' - positive review of Farnsworth exhibition; 'gestural, wet-on-wet paintings that chronicle time'
- Publication
- Hyperallergic
- Date
- June 2025
- Assessment
- 'Spiritual mantra that intones profound meaning from cycles of life'; compared to Agnes Martin's meditative practice
- Publication
- Boston Art Review
Historic reviews retained
Artforum (Nick Stillman, October 2006; Southard Reid review, January 2012); frieze on the 2008 Knoedler presentation; Boston Art Review, June 2025. Retained from the prior record and not re-verified this cycle.
Publications and media
- Note
- Media reach combines tier-1 New York art press (concentrated around exhibitions) with unusually deep Maine regional coverage.
Outlets
- The New York Times
- Artforum
- frieze
- Art in America
- ARTnews
- The New Yorker
- Flash Art
- Modern Painters
- BOMB
- The Brooklyn Rail
- Hyperallergic
- Boston Art Review
- Down East
- Portland Press Herald
- Decor Maine
Major publications catalogues
Ann Craven
- Year
- 2018
- Pages
- 560
- Publisher
- Karma Books
- Significance
- Major career monograph
Ann Craven: Twelve Moons
- Year
- 2023
- Designer
- Karma Books
- Publisher
- SCAD
Ann Craven: Animals, Birds, Flowers, Moons
- Publisher
- Karma Books
Birds We Know
- Year
- 2019
- Designer
- Karma Books
- Publisher
- CMCA
Ann Craven: Pensée
- Year
- 2013
- Publisher
- Karma Books and Maccarone
- Significance
- Complete watercolor series of 92 pansies from FRAC residency
Ann Craven: Shadows Moon and Abstract Lies
- Year
- 2009
- Publisher
- JRP Ringier and FRAC Champagne-Ardenne
Gallery & Representation
Research updated
Fair presence
Status
No 2026 fair booth featuring Craven was found in the sources checked. Karma shows regularly at Art Basel, Frieze and Independent. Not finding a listing doesn't mean she wasn't shown.
- Art fair participation
- Art Basel, Frieze, SCOPE Miami Beach, Guadalajara Art Fair (documented participation in the 2010s)
Representation
Galleries
Karma
Note
Named on Karma's published list of represented artists (bio page meta, retrieved 2026-09-29). Solos include 'Sunset Moon' (2018), 'Animals Birds Flowers Moons' (2021) and 'Night' (2023). Group shows at Karma Thomaston run 2024–2026, including 'Outside' (2026), curated by Matthew Higgs. Karma also publishes her monographs.
- Tier
- 2
- Since
- 2018
- Status
- current
- Location
- New York and Los Angeles (plus a seasonal space at 70 Main Street, Thomaston, Maine)
- Institution tier
- 2
Southard Reid
Note
Solos in 2011, 2015 and 2017. The gallery, now Phillida Reid, London, held the three-artist show 'Love Will Come Back: Ann Craven with Robert Mapplethorpe and Mohammed Z. Rahman' in 2024 (per Karma's bio). Current representation is not established.
- Tier
- 1
- Status
- former
- Location
- London
Maccarone
- Note
- Primary representation until about 2016 ('Hello, Hello, Hello', 2016)
- Tier
- 1
- Status
- former
- Location
- New York / Los Angeles
Hannah Hoffman Gallery (now Hoffman Donahue)
- Note
- Solos in 2014 and 2022
- Tier
- 1
- Status
- former
- Location
- Los Angeles
Shane Campbell Gallery
- Note
- 'Promise (Birds for Chicago)', 2019
- Tier
- 1
- Status
- former
- Location
- Chicago
View 7 more records
Nina Johnson
Note
Correction: per Karma's bio, 'I Like Blue' (2015) was at Gallery Diet, Miami, the gallery's earlier name, and 'Snowbirds' (2018) was at Nina Johnson
- Tier
- 1
- Status
- former
- Location
- Miami
Anton Kern Gallery
- Note
- Included in the gallery's 30th-anniversary show 'Analog', March 4 – May 1, 2026. A group inclusion, not representation.
- Tier
- 2
- Status
- secondary
- Location
- New York
CLAMP
- Note
- Artnet lists it as having offered Craven works and editions (marked Sold)
- Tier
- 0
- Status
- secondary
- Location
- New York
aye gallery
- Note
- Artnet listings of 2024–2025 canvases at 'Price on Request'
- Tier
- 0
- Status
- secondary
- Location
- per Artnet listing
New Art Editions
- Note
- Editions channel, including a Big Moon silk scarf edition sold through the Portland Museum of Art store
- Tier
- 0
- Status
- secondary
- Location
- per Artnet listing
JRP|Editions
- Note
- Print and monotype publisher working with Karma
- Tier
- 0
- Status
- secondary
- Location
- Geneva/Zurich
Parapet / Real Humans
- Note
- Solo projects 'A Robin Singing, 2011' (2017) and 'Pensée #59' (2020), per Karma's bio
- Tier
- 0
- Status
- former
- Location
- St. Louis, Missouri
- Gallery tier assessment
- Strong Tier 2 primary representation (Karma); previously represented by established galleries (Maccarone); international secondary representation
Current primary representation
Karma
- Notes
- Gallery also maintains Craven's church space in Thomaston, Maine for summer exhibitions
- Location
- New York (East Village)
- Exhibitions
- Night (2023), Sunset Moon (2018), multiple solo shows
- Relationship
- Primary representation; extensive solo exhibition history
- Significance
- Leading contemporary gallery; strong institutional relationships
Previous gallery representation
Maccarone
- Period
- Major representation through 2016
- Location
- New York (Greenwich St) and Los Angeles
- Exhibitions
- Hello, Hello, Hello (2016), Flowers (2010), Watercolors (2011)
- Significance
- Published Pensée artist book with Karma Books (2013)
Southard Reid
- Location
- London
- Exhibitions
- Animals 1999-2017 (2017), Untitled (Palettes) (2015), Summer (2011)
Shane Campbell Gallery
- Location
- Chicago
- Exhibitions
- Promise (Birds for Chicago) (2019)
Hannah Hoffman Gallery
- Notes
- Now part of Hoffman Donahue (merged gallery)
- Location
- Los Angeles
- Exhibitions
- Flowers (Watercolors) (2022), solo exhibition (2014)
Nina Johnson
- Location
- Miami
- Exhibitions
- I like Blue (2015)
Geographic reach
New York and Los Angeles through Karma; Maine through Karma Thomaston and the state's museums (Farnsworth, Bowdoin, Portland, Colby, CMCA); Boston via the 2024 'Quin House show; Europe historically via Southard Reid/Phillida Reid (London; most recently a 2024 group show), FRAC Champagne-Ardenne and Le Confort Moderne (France), and JRP|Editions (Switzerland). No current European representation was confirmed.
Gallery history note
The path runs Gasser & Grunert (early 2000s), then Maccarone (until about 2016), then Karma (2018–present), with parallel relationships in London, Chicago, Los Angeles, Miami and St. Louis. The Karma relationship, now eight years, is the deepest of her career.
Representation summary
Representation is current and unchanged: Karma is the primary gallery (a named Tier 2 gallery) and controls the primary market, with 'Price on Request' standard. Secondary supply reaches the market mostly through Phillips, with scattered dealer and print offerings. Showing in a 2026 benefit group show at David Zwirner doesn't mean she is represented by a Tier 1 gallery.
- Gallery tier assessment
- Strong Tier 2 primary representation (Karma); earlier representation by established mid-market galleries (Maccarone, Southard Reid)
Current primary representation
Karma
- Notes
- Karma also runs a summer exhibition space in Thomaston, Maine, where Craven shows regularly
- Location
- New York and Los Angeles; Thomaston, Maine (seasonal)
- Exhibitions
- Night (2023), Animals Birds Flowers Moons (2021), Sunset Moon (2018); Thomaston group shows 2024–2026
- Relationship
- Primary representation and publisher
- Significance
- Named Tier 2 gallery with strong institutional relationships
Previous gallery representation
Maccarone
- Period
- Major representation through 2016
- Location
- New York (Greenwich St) and Los Angeles
- Exhibitions
- Hello, Hello, Hello (2016), Flowers (2010), Watercolors (2011)
- Significance
- Published the Pensée artist book with Karma Books (2013)
Southard Reid (now Phillida Reid)
- Location
- London
- Exhibitions
- Animals 1999-2017 (2017), Untitled (Palettes: Naked, Tagged) (2015), Summer (2011); Love Will Come Back (three-artist show, 2024)
Shane Campbell Gallery
- Location
- Chicago
- Exhibitions
- Promise (Birds for Chicago) (2019)
Hannah Hoffman Gallery
- Notes
- Now part of Hoffman Donahue
- Location
- Los Angeles
- Exhibitions
- Flowers (Watercolors) (2022), solo exhibition (2014)
Gallery Diet / Nina Johnson
- Location
- Miami
- Exhibitions
- I Like Blue (2015, as Gallery Diet); Snowbirds (2018)
Sources & research notes
Egon’s artist research combines historical auction records, recent sales, institutional history, critical reception and gallery information. Researched auction records and auction highlights are identified separately.
Read prices with their work, sale date, currency and stated basis. Egon’s market assessments are distinct from reported auction results.
Reference: Egon, “Ann Craven: Market Intelligence & Investment Profile.”
Evidence & qualifications
These notes preserve the sources, status and qualifications recorded in the research.
Phillips New Now, New York, 28 February 2025: Moon (Blue Night, Quiet Water, August, Cushing, Again), 2021, estimate $20,000–30,000, 'Sold For' $69,850.
Market · Documented · Event: 2025-02-28 · Source retrieved: 2026-09-18
Read from the Phillips results listing; 'Sold For' at Phillips is premium-inclusive and is not directly comparable with the hammer-basis estimate.
https://www.phillips.com/auctions/auction/NY010125Phillips online sale NY010325, 16 September 2025: Moon O-74, 2006, estimate $6,000–8,000, sold for $9,030.
Market · Documented · Event: 2025-09-16 · Source retrieved: 2026-09-18
Premium-inclusive result against a hammer-basis estimate. The retrieved snippet interleaved lots from another Phillips sale, so only the explicitly adjacent Craven lot is relied on.
https://www.phillips.com/auction/NY010325$152,400 for Moon (Silent Pink Light over Saint George's River), Phillips, May 2025, remains the highest recorded price on this auction-artist record.
Market · Reported · Event: 2025-05-14 · Source retrieved: 2026-09-18
The price comes from OUR internal auction database, not from the Phillips page; the retrieved Phillips page confirms lot 346 by this title in that sale but the price was not captured in the retrieved text. No higher result was found in sources checked through September 2026 — which is not proof none exists.
https://www.phillips.com/auction/NY010525Multiple Craven lots with 2026 sale dates appear on Artnet marked 'Auction Closed' with no price.
Market · Unresolved · Event: 2026-03 to 2026-07 · Source retrieved: 2026-09-18
Page content returned with a cached retrieval timestamp of 2026-09-15. 'Auction Closed' does not establish that a lot sold; prices sit behind Artnet's price database.
https://www.artnet.com/artists/ann-craven/Phillips London New Now, 6 December 2023: 'Sans Titre', estimate £5,000–7,000, sold for £12,065 — a pre-repricing benchmark.
Market · Documented · Event: 2023-12-06 · Source retrieved: 2026-09-18
Premium-inclusive; the work's size and medium were not captured, so it anchors the small-work band only.
https://www.phillips.com/auction/UK010823Editioned prints trade as a distinct low-price channel: a 2025 screenprint from an edition of 100 and a 2008–2014 archival inkjet from an edition of 50 were offered at Rago (June 2026) and LAMA (May 2026).
Market · Documented · Event: 2026-05-19; 2026-06-12 · Source retrieved: 2026-09-18
Catalogue descriptions confirm the editions and offering dates; hammer outcomes were not retrieved.
https://www.invaluable.com/artist/craven-ann-rts5tuj0n8/sold-at-auction-prices/Phillips' artist page lists lot 346, Moon (Silent Pink Light over Saint George's River), 2021, estimate $80,000–120,000, 'Sold for' $152,400.
Market · Documented · Event: 2025-05-14 · Source retrieved: 2026-09-29
Upgrades the prior 'reported' status. The price is premium-inclusive and the estimate is on a hammer basis. The sale date comes from the prior record of sale NY010525.
https://www.phillips.com/artist/6074/ann-cravenPhillips' artist page lists lot 5, 'Stepping Up', estimate $30,000–50,000, sold for $54,180. Phillips sale NY010226 (online, New York; lots began closing March 10, 2026) lists 'Ann Craven, Stepping Up'.
Market · Documented · Event: 2026-03-10 · Source retrieved: 2026-09-29
The price and the sale listing come from two Phillips pages, so the date pairing is inferred. The work's date, size and subject were not captured.
https://www.phillips.com/artist/6074/ann-cravenPhillips lot page: Stepping Out With Cherries, lot 304, November 14, 2018, estimate $12,000–18,000, sold for $36,250.
Market · Documented · Event: 2018-11-14 · Source retrieved: 2026-09-29
Upgrades the prior 'unresolved' carry-over. Premium-inclusive.
https://www.phillips.com/detail/ann-craven/NY010918/304Phillips New Now, New York, February 28, 2025: Moon (Blue Night, Quiet Water, August, Cushing, Again), 2021, estimate $20,000–30,000, sold for $69,850.
Market · Documented · Event: 2025-02-28 · Source retrieved: 2026-09-18
Premium-inclusive; carried from the prior cycle.
https://www.phillips.com/auctions/auction/NY010125Artsy's auction summary for Craven shows 55 lots sold a year, a 33.3% sell-through and $5M in sales over 36 months.
Market · Contradicted · Source retrieved: 2026-09-29
These aggregates don't fit Phillips' own lot pages, the internal database (100% of settled lots sold) or the observed volume of about 10–15 lots a year. Treated as an aggregation error and not used.
https://www.artsy.net/artist/ann-craven/auction-resultsMultiple Craven lots with 2026 sale dates appear on Artnet as 'Auction Closed' with no price.
Market · Unresolved · Event: 2026-03 to 2026-07 · Source retrieved: 2026-09-29
'Auction Closed' does not show that a lot sold.
https://www.artnet.com/artists/ann-craven/MoMA's artist page shows '5 works online' by Ann Craven (Morning Glory, Orange Bird with Fake Cloud (Vic Muniz), A Poppie, A Small Poppy, all 2000; Midday Song, 2001) and describes her as 'American, born 1967'.
Institutional · Documented · Source retrieved: 2026-09-29
Confirms the existing MoMA entry. The accession year for Midday Song is 2005 (1478.2005).
https://www.moma.org/artists/28595MoMA, Midday Song, 2001, credit line 'The Judith Rothschild Foundation Contemporary Drawings Collection Gift. 1478.2005'.
Institutional · Documented · Event: 2005 · Source retrieved: 2026-09-29
Read from the search-result text of the object page. Credit lines for the other four MoMA works were not retrieved and are unknown; they are not assumed to match.
https://www.moma.org/collection/works/95729Whitney: YELLO FELLO 1, 2004, oil on canvas, 108 1/8 × 72 1/8 in., 'gift of Lois Plehn 2004.414'. The artist page says '1 work in the Whitney's collection', first acquired 2004, not on view.
Institutional · Documented · Event: 2004 · Source retrieved: 2026-09-29
Gift from a private individual; no fund or committee is named, so curatorial initiation is unresolved.
https://whitney.org/collection/works/22631Portland Museum of Art: Big Moon (Blue Night, Pink Glowing Trees, August, Cushing), 2021, credit line 'Museum purchase with support from a Manitou Fund grant, 2022.29'.
Institutional · Documented · Event: 2022 · Source retrieved: 2026-09-29
Taken from an image caption on the museum's own exhibition page. A curator-initiated purchase at a regional museum.
https://www.portlandmuseum.org/ann-cravenFarnsworth Art Museum: Moon (Pink Harvest Moon, Bright Red Dancing Trees, Cushing), 2021, oil on linen, 84 x 60 in., 'Museum purchase, supported by anonymous donor, 2022.2'.
Institutional · Documented · Event: 2022 · Source retrieved: 2026-09-29
Read from the search-result text of the museum's exhibition page caption. The same page gives the artist as 'born 1961', which conflicts with MoMA, the Whitney and the PMA.
https://www.farnsworthmuseum.org/exhibition/maine-in-america-2025-ann-craven/Karma's bio says Craven's paintings are in the collections of Colby College Museum of Art, Farnsworth Art Museum, MCA Chicago, Museum of Fine Arts Boston, MoMA, Portland Museum of Art, SCAD Museum of Art and the Whitney, 'among others'.
Institutional · Reported · Source retrieved: 2026-09-29
A gallery's claim. MoMA, the Whitney, the Farnsworth and the PMA are independently confirmed; Colby, MCA Chicago, MFA Boston and SCAD are not. MFA Boston is a new claim this cycle.
https://karmakarma.org/artists/ann-craven/bio/The existing 'Smithsonian Institution — 2 works (from museum API data)' entry refers to artworks.
Institutional · Contradicted
The supplied Smithsonian records are a Smithsonian Libraries artist file and a library copy of the 2008 Knoedler 'Moon birds' catalogue, where Craven is author and subject. Those are bibliographic records, not artwork holdings at any Smithsonian museum.
The existing Hammer Museum, Henry Art Gallery, ICA Miami and New Museum holdings.
Institutional · Unresolved · Source retrieved: 2026-09-29
Ocula's search-result text lists the New Museum. None of the four appears on Karma's current collections list, and no museum record was retrieved. They are kept but not confirmed, and are not taken as evidence that the works were deaccessioned.
https://ocula.com/artists/ann-craven/The legacy group-show entries 'Whitney Museum of American Art (various group shows)' and 'Museum of Contemporary Art Chicago (collection displays)'.
Institutional · Unresolved
No specific exhibition title or date was established for either this cycle; they are kept as legacy entries without verification.
Karma's bio lists no 2026 solo exhibition; its 2026 entries are group shows at David Zwirner (a benefit show), Karma Thomaston ('Outside', curated by Matthew Higgs) and Broadway, New York ('Nightswimming').
Institutional · Documented · Event: 2026 · Source retrieved: 2026-09-29
A gallery-maintained list; absence from it doesn't prove no 2026–27 museum project is planned.
https://karmakarma.org/artists/ann-craven/bio/The Brooklyn Rail published a long-form Ann Craven interview with Phong H. Bui in September 2025 discussing the three Maine exhibitions and their curators.
Critical · Documented · Event: 2025-09 · Source retrieved: 2026-09-18
An interview is critical attention, not independent scholarship; curatorial details it reports (e.g. four PMA collection works in Spotlight) are the artist's own account.
https://brooklynrail.org/2025/09/art/ann-craven-with-phong-h-bui/Hyperallergic reviewed 'Painted Time (2020–2024)' at the Farnsworth, noting Jaime DeSimone as curator and a January 4, 2026 closing date.
Critical · Documented · Event: 2025-10 · Source retrieved: 2026-09-18
Positive in tone; a review is editorial recognition and carries no weight on the institutional axis.
https://hyperallergic.com/1046532/ann-craven-moonlit-meditations-farnsworth-art-museum/The Brooklyn Rail published a long-form interview with Ann Craven by Phong H. Bui in September 2025, covering the three Maine exhibitions and their curators.
Critical · Documented · Event: 2025-09 · Source retrieved: 2026-09-18
An interview is critical attention, not independent scholarship.
https://brooklynrail.org/2025/09/art/ann-craven-with-phong-h-bui/Hyperallergic reviewed 'Painted Time (2020–2024)' at the Farnsworth.
Critical · Documented · Event: 2025-10 · Source retrieved: 2026-09-18
Positive review; editorial recognition only, with no weight on the institutional axis.
https://hyperallergic.com/1046532/ann-craven-moonlit-meditations-farnsworth-art-museum/frieze reviewed the 2008 Knoedler presentation (Katie Sonnenborn).
Critical · Documented · Event: 2008 · Source retrieved: 2026-09-29
Confirms the prior record's frieze entry and names the critic.
https://www.frieze.com/article/ann-craven-0
Research bibliography · 40 sources
Sources recorded for this artist’s research. This bibliography does not assign every source to an individual claim.
- Ann Craven: Painted Time (2020-2024) - Farnsworth Art Museum
- Spotlight: Ann Craven - Portland Museum of Art
- Ann Craven | Painted Time: Moons (Laboratory) - Bowdoin College Museum of Art
- This Month the Museum Will Open 'Ann Craven | Painted Time: Moons (Laboratory)' — Bowdoin College
- Ann Craven | Painted Time: Moons (Laboratory) — New York Studio School
- Ann Craven — KARMA (bio)
- Exhibitions — KARMA (represented artists roster)
- 2025.04.21 The New York Times — Ann Craven (KARMA press index)
- Ann Craven at Hannah Hoffman Gallery — press release (KARMA)
- New Now: Modern & Contemporary Art — Phillips New York, February 28, 2025
- Modern & Contemporary Art Day Sale, Afternoon Session — Phillips New York, May 14, 2025
- Modern & Contemporary Art: Online Auction — Phillips New York, September 16, 2025
- New Now — Phillips London, December 6, 2023
- Ann Craven - Artnet
- Ann Craven | Art for Sale, Results & Biography — Sotheby's
- Ann Craven — Invaluable sold-at-auction price guide (2026 edition offerings)
- Ann Craven - Anton Kern Gallery
- ANN CRAVEN with Phong H. Bui — The Brooklyn Rail, September 2025
- Ann Craven's Moonlit Meditations — Hyperallergic
- Ann Craven - Ocula
- Ann Craven - Wikipedia
- Norton Museum of Art — Ann Craven (2024 gala auction artist page)
- Ann Craven: Chasing the Moon — Decor Maine (interview with Suzette McAvoy)
- Ann Craven — Exhibitions (artist website)
- Ann Craven — News (artist website; 2024 Karma publication)
- Ann Craven x KARMA x JRP|Editions — Works on Paper (Artsy viewing room)
- Ann Craven — Art.Salon artist record (1969 birth-year variant)
- Ann Craven | MoMA
- Ann Craven. Midday Song. 2001 | MoMA
- Ann Craven, YELLO FELLO 1 | Whitney Museum
- Ann Craven | Whitney Museum artist page
- Ann Craven » Biography
- Twelve Moons - SCAD Museum of Art
- Summer shows include multiple exhibitions - Portland Press Herald
- Ann Craven - frieze (Knoedler review)
- Ann Craven - Phillips artist page
- Phillips Modern & Contemporary Art: Online Auction, New York (March 2026)
- Ann Craven, Stepping Out With Cherries - Phillips
- Ann Craven - Auction Results - Artsy
- Ann Craven - Invaluable
Research updates by section
These dates show when Egon’s research sections were updated. Source retrieval dates, where supplied above, refer to individual evidence notes.
Ranking updated . Research sections follow their own update dates.
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Personalized acquisition strategy for Ann Craven based on your budget, timeline, and collection goals.
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You now have Egon's market assessment of Ann Craven. The next question is personal: does this artist belong in your collection? Egon analyzes collection fit based on your aesthetic thesis, existing holdings, budget, and investment goals — delivering acquisition strategies no public index can provide.