Paul Druecke's work was included in the 2014 Whitney Biennial. A co-authored discussion of his work is anthologized in Blackwell and Wiley's Companion to Public Art (2016).
Druecke's “Social Event Archive” (1997 - 2007) will be exhibited at Milwaukee Art Museum in 2017 in conjunction the project's 20th Anniversary. The influential project foreshadowed social media's now common blurring of personal and public history. Andrew Goldstein, writing on Artspace.com, says, “A Social Event Archive is viewed as having prefigured social sites like Instagram by inviting people to give him personal snapshots that he then displayed.” In his essay, Party Platform (2000), David Robbins writes, “... Paul Druecke is fascinated by the collective mind. The platform he’s invented employs both pictorial and structural means to present it.”
Druecke's site-specific sculptures have been commissioned by Marlborough Chelsea—“96th Street Aperture” (NYC 2014); Lynden Sculpture Garden—“Garden Path” (Milwaukee 2014); The Suburban—“Angelique Roy's Passage” in conjunction the Terrain Biennial (Milwaukee 2015); and Sculpture Milwaukee—“Shoreline Repast” (Milwaukee 2017). Druecke received a Greater Milwaukee Foundation Mary L. Nohl Fellowship for Individual Artists in 2010. Druecke has published two books with Green Gallery Press, Life and Death on the Bluffs (2014), and The Last Days of John Budgen Jr. (2010). His work has been featured in Camera Austria and InterReview, and written about in Artforum, Art in America, Artnet.com, and Metropolis.com.
In addition to recent work with public inscription, Druecke's projects have solicited strangers door to door, christened a park and courtyard, rolled out the red carpet, appropriated the role of benefactor, initiated a Board of Directors, and created two Memorial Reading Rooms.
Paul Druecke lives in Milwaukee Wisconsin.