Grace Roselli is a multidisciplinary artist whose four-decade practice spans painting, photography, and curatorial work, grounded in feminist narratives, cultural memory, and visibility. She studied at the Rhode Island School of Design (BFA, 1982), Skowhegan (1981), and with Emilio Vedova at the Accademia di Belle Arti in Venice (1984), later holding a residency at Empire State Studios in New York.

Her work has been shown nationally and internationally, with solo presentations at Anita Friedman Fine Arts (New York) and Pentimenti Gallery (Philadelphia), and group exhibitions at the Alternative Museum (New York), the Gemeente Museum (Netherlands), and Robert Miller Gallery (New York). Her book Is the Room was published by Jaded Ibis Press (2013), and her work has been covered in The New York Times, Artnet, ArtCritical, Village Voice, and more.

Earlier projects laid the groundwork for her long-form inquiry into representation and cultural history: Uncanny Lady M reimagined Macbeth through feminist myth, while Naked Bike (2015–17), a series on women motorcyclists, explored visibility, equity, and subculture. She has also co-curated Voyeur’s Delight at Franklin Furnace (1996) and organized public dialogues at Zürcher Gallery, the Brooklyn Public Library, Silver Eye Center for Photography, and Artists Talk on Art.

In 2018, Roselli launched Pandora’s BoxX Project, a photographic portrait archive of women, trans, and non-binary artists, curators, writers, and cultural practitioners active since the 1960s. With over 330 portraits completed toward a goal of 360, the project frames portraiture as both recognition and record, creating a new and living history. It has received support from the Barbara Deming Memorial Fund, Puffin Foundation, NYSCA, and Brooklyn Arts Council, and recognition including a nomination for the Anonymous Was A Woman Award.

Pandora’s BoxX has been presented at Carney Gallery, Regis College (2025), with a large-scale video installation at Broodworks (Brooklyn, 2025) and upcoming programming at the Kreeger Museum (Washington, D.C., 2026). Across her career, Roselli has consistently examined who is remembered, how narratives take shape, and whose voices are made visible—building a practice that is both personal and collective, redefining the record while opening space for what comes next.