Carol Hepper

Inside the Between

Published in conjunction with the exhibition Carol Hepper: Inside the Between, coordinated by the Yellowstone Art Museum in Billings, Montana.

The Yellowstone Art Museum, Billings, Montana March 17 - June 26, 2011 South Dakota Art Museum, Brookings, South Dakota September 13 - December 4, 2011 Dahl Arts Center, Rapid City, South Dakota January 13 - April 28, 2012 Plains Art Museum, Fargo, North Dakota May 19 - September 2, 2012

Copyright 2011 Yellowstone Art Museum All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without prior written permission from the publisher. ISBN 0-9755185-5-0 All photographs courtesy of the artist, with exception of: Jeffrey Hepper page 45 (top); Laura Sejen page 45 (bottom); Nick Ghiz, cover, inside cover, page 3, page 11, page 13, and page 34. Thank you to Steve Alba and Paul Alba of Alba NewYork and to Louise Dudas for their generous contributions towards the success of this exhibition and publication. Designed by Liz Harding Printed by Artcraft Printers, Billings, Montana Published by Yellowstone Art Museum 401 North 27th Street Billings, Montana 59101 www.artmuseum.org

Spring in Winter

Contents
Introduction Nature Revisited, The Work of Carol Hepper Essay by Eleanor Heartney In and Out of the Sculptural Body Essay by Leda Cempellin Carol HepperCareer Overview Exhibition Checklist Yellowstone Art Museum 26 42 46 48 14 8

Collection of Jordan Schnitzer

Tumbleweed

Introduction

any artists depart the central states to

Carol Hepper: Inside the Between is an exhibition honoring Heppers achievement close to its point of origin. The essays that follow, by Dr. Leda Cempellin and Eleanor Heartney, shed light on Heppers complex goals and her means of reaching them. Celebrated on both coasts, Hepper is long overdue this recognition here in the central states. The Yellowstone Art Museum is honored to partner with sister institutions in the Dakotas to acquaint our audiences with Heppers thoughtful and highly personal sculptural work.

develop their work in the countrys art world epicenters on the coasts. Few, however, are able or willing to leave their homes behind. The texture of remembered experiences continues to bear fruit. Thus it is that Carol Heppers earliest years in South Dakota deeply inform her work. These roots manifest in her mixed media sculptures in both self-evident and veiled ways. As years pass between her past and her present, new influences appear, like threads in a weave. A greater contrast would be hard to imagine than that existing between the shoulder-to-shoulder cacophony of Chinatown in New York and the cold, subtle solitude of South Dakota. Yet, Hepper melds all of her many influences together, finding the common ground in suggestions of the motion of life. Her works stride, gesture, surge, envelop, and aspirate. They metaphorically cleave air and water as they come into being from the earth of their origins. They beckon the viewer with their strange familiarity.

Robyn G. Peterson Executive Director Yellowstone Art Museum

Collection of Dr. Willis Stevens, Jr.

Whirlwind Dancing

She

Blister Pack

10

Stringer Moon

12

Nature Revisited: The Work of Carol Hepper Eleanor Heartney

he open sky of the Great Plains, the dense foliage of the northeastern forests, and the glassy lakes of rural America cling to Carol Heppers sculptures like half forgotten memories, which in some sense they are. Hepper was raised on a ranch in an Indian reservation in South Dakota, and after the requisite New York City artist life, now divides her time between the city and the verdant forests of upstate New York. Her sense of intimacy with nature is a rare gift in this urbanized, atomized, and increasingly digitalized world. Her works speak the language of contemporary abstraction, with its balance of form and void, mass and line, the biomorphic and the geometric. But they are also tinged with the life force of the once living materials that are incorporated into them and their forms suggest the same mix of logic and chance that one finds in nature. This exhibition surveys thirty years of Heppers work, and reveals how certain themes have remained constant even as her work has evolved and changed. Underlying all is a concern with the revelation of structure, which in Heppers work is closely related to the idea of the body. This is evident in the earliest works here in which animal hides, willow branches, and bones create organic structures at once sheltering and open

to the elements. These sculptures explored the symbiosis between the stick and hide frames of Native American tipis and the skeletons of animals to which Hepper had been exposed as a small child. These works, many of them set outside beneath the expansive South Dakota sky, suggest a convergence between the productions of humankind and nature. Heppers move to New York in 1985 brought her into contact with another kind of human-made structure. The skyscrapers and boxy warehouse buildings, as well as the grid structure of the city itself, introduced a new set of materials and organizational principles to her work. Recognizing the analogy between animal skin and skeletons and the armature and cladding of industrial buildings, she began to incorporate first plumbing joints and then copper tubing into her work. She continued to use willow branches, bundling them to create looping linear shapes that wound together like sailors knots. In such works, one senses a melding of the circulatory systems of urban architecture and the human body. She also began to incorporate fish skin, a material readily available at the nearby fish market, into her works. This beautiful translucent material

Lunar Chamber

14

is the basis for Island (2000), a room-sized environmental work that was created in collaboration with the dancer Molissa Fenley. Installed in a darkened room illuminated by colored stage lights, the work consists of hanging tapestries of fish skins, tanned, threaded together with fishing lines, and painted so that they catch the changing light like iridescent wings or ripples on the surface of a stream. Heppers recent work reveals a growing sense of freedom with respect to her sources and her structural language. New and unexpected materials have entered her vocabulary, among them foam, fur, clamps, plywood, and glass, the latter the result of a residency at the Pilchuck Glass School in Seattle. At the School, she learned about the properties of glass from artisans Daniel Spitzer and Patricia Davidson, who worked with her on her ideas and blew the glass for her sculptures. Where she once confined herself to the natural colors of her chosen materials, she now introduces vibrant touches of green, pink, orange, and blue. In keeping with new complexity of her palette and materials, the structure of the works has also become more intricate, with elements weaving together and breaking through each other, in ways that seem to have as much to do with expressionist painting as with conven-

tional sculpture. But perhaps the most striking change is a new playfulness and humor. Take, for instance, Around a square (2006), whose name itself announces a humorous contradiction. This work, like many of Heppers recent sculptures, incorporates segments of fruit tree branches gathered from her upstate home. These are linked together by connective steel cables that emerge from the ends of each branch segment so that they seem strung together like beads on a string. Together they create a spiraling construction that does indeed seem to partake both of the circle and the square while suggesting the continuous surface of a mobius strip. Departing from her tendency to sheath the places where different elements connect inside of plumbing joints, here Hepper emphasis the transitions by painting the severed ends of the branches (themselves tinted green) with orange paint. Other works, with titles like Inside the Between and A part Together, both from 2007, are equally paradoxical, cobbled together with elements and forms that would intuitively seem to be antithetical. Increasingly, the works have begun to take on distinctive personalities. The synthetic colors and found and fabricated additions turn

Inside the Between

16

them into hybrid beings who seem like mutant offspring of the natural and the industrial worlds. Blister Pack (2008), for instance, is composed of an armature of severed tree limbs tied together with rope in whose interstices Hepper has set globular blobs of green blown glass. The structure rises like a head and neck at one end and the whole sculpture seems to lope along like a manylegged animal. She (2007), meanwhile, has a more human reference. Three roughly planed slabs of wood come together like a tripod. At their intersection, Hepper has hung a long swath of bison fur streaked with bright pink glue and topped with a bulbous mass of pink glass. The fleshy glass and thick fur are blatantly sexual, making the sculpture a witty parody of femininity. Such works suggest how much fun Hepper is having with the vocabulary of forms she has developed over the years. She has also begun to explore other media. This show presents several collages based on photographs inspired by the stone fences, patios, and woodpiles that are part of her life in upstate New York. Here, as in the sculptures, Hepper focuses on the spaces in between the stones and wood, and in the unexpected juxtapositions of form that create abstract compositions. She is also creating delicate drawings that explore the relationships of colors

and forms borrowed from her sculptures, layering them in a way that mimes the process by which her sculptures are built. Nature continues to inform Heppers work, but so, thirty years on, does the accumulation of all her other experiences. She plays the human-made against the natural world, the soft pliability of foam and molten glass against the stiffness of tree branches and steel cables, a sense of logic and order against the chaos and serendipity of human experience. In the process she creates works that breathe with possibility and remind us of the fullness of life.

Patio

18

Iris

20

previous page: Island opposite page: Code (for Jacob)

24

In and Out of the Sculptural Body Leda Cempellin

hirlwind Dancing visually wraps us into its tornadic dance. Hot & Cold Running Water twists into a powerfully complex embrace. Island fascinates us with the ever changing light and color dynamism, coupled with flowing dance that becomes the ritual of the flesh. The flexible Around a square awaits its multiple structures to be discovered by the audience walking around it. The sensual fur running through the bare wood and the powerfully sexualized semi-open glass orb in She invite our indiscrete curiosity, between mixed feelings of attraction and repulsion that echo the experience of Meret Oppenheims 1936 fur-covered Object. Blister Pack invites us to visually ride on it through its fragile structure of wooden branches and colorful glass forms. As bodily metaphors, whose choices and assemblages of materials evolved through decades, Carol Heppers mixed-media sculptures not only affirm their presence in the surrounding space, but transcend it by activating a physical and emotional connection with the audience. Heppers early body metaphors using willow and animal hides come from the intersection of biography and geography in her native South Dakota. Her pieces exhibited in the 1983 exhibition

New Perspectives in American Art: 1983 EXXON National Exhibition at the Guggenheim Museum in New York imply a human-centered vision. The shelter of Three Chambers and the leathered torso of Wall Piece draw the association between architectural forms and the human body. In the 1986 exhibition The Sculptural Membrane at the Sculpture Center in New York, Douglas Dreishpoon recognized a common pattern among some major contemporary women artists (Lee Bontecou, Louise Bourgeois, Eva Hesse, Louise Nevelson, and Ruth Vollmer), in making experimental sculptures that evolved out of Minimalism, but subverted its formal purity through varied materials and associative images. The following year, John Day used the term PostMinimalist to describe the organic quality and individualism of Heppers work. The distance of Heppers sculptural metaphors from minimalist literalism was described by Day as an impulse to explore real space from a highly personal, subjective point of departure her own physical presence, the relationships of skeleton, skin, and environment.

Around a square

26

As the pieces grow in complexity and size, the organic form is counterbalanced by the use of manmade materials, such as copper and steel. This culminates with Vertical Void (1994), where two twisting forces (yin and yang, male and female, creation and destruction) envelop a void that becomes physical presence. Hepper has employed whirlwind forms since the early 1980s. The difference is the elimination of animal hides to reveal the underlying willow twisting like elegant drawings in space.3 This was anticipated in 1988, in the powerful Comet, described by Jennifer Borum as a sophisticated, abstract esthetic, and a visually exciting development that wittily suggests a metaphorical shift from the bodily to the technological,4 in a paradoxical form that seems to be imploding and exploding all at once.5 However, Hepper still sees the technological world through human eyes: I saw the copper tubes as a manmade interpretation of the circulatory and digestive systems (). There has been an enormous amount of construction since Ive lived in Chinatown. Often, during construction, I would see the skin of the street pulled back to expose plumbing joints, the circulatory system and the electrical pulse of the city. Those were

very powerful images that had a profound effect on my work.6 In the exhibition Skin/Deep at the Orlando Museum of Art in 1995, Sue Scott points to the innate tendency of humans to shape their world after the body.7 This definition becomes visible in Physical Geography (1991), where the human and manmade dimensions are interlocked in the assemblage of willow branches bent and inserted into steel tubing. The powerful structure rhythmically and gracefully twists inward and outward in an infinite dance in space, becoming a synthesis of human structure and actions: a shelter, a body, a gesture, an emotion. The 1999 copper and bronze series Untitled (from Hot & Cold Running Water) retains a quintessential dualism in both title and structure, enriched by the introduction of vivid colors for the joints, which recur in later, more geometric-looking structures such as A part Together (2007). Soliciting genuine emotional responses, the daring introduction of synthetic Pop colors strategically placed at the joints facilitates metaphorical exchanges between organic and manmade. In pieces from the late 1990s, with twisted metal forms, color becomes a fundamental

A part Together

28

ingredient, with a surface treatment comparable to the best painting. In 1998 Stuart Horodner associated Hepper with the tendency, started by Frank Stella, to explore the ambiguity of sculpture and painting: while many painters love the wall, they have also consistently attempted to get beyond it by developing strategies to make paintings as opposed to painting them. Perhaps in response to this, sculptors have felt free to poach on the painterly, employing riotous color and readymade skins in exciting new ways.8 While Hepper progressively abandoned the animal hide in the late 1980s, her introduction of fish skins in works such as Three Stroke Roll (1986) added another autobiographical element: fish skin becomes more available to the artist, living in New York City since 1985, than the animal hide of her native South Dakota. The fish skin disappeared in the bare forms of the early 1990s, but was reintroduced in 2000 in the collaborative piece Island, and then in other works, such as Tsunami and Percussion (2000). In the 1996 exhibition In the Flesh at the Aldrich Museum of Contemporary Art, Jill Snyder viewed the bodys skin as a boundary, a container, a barrier, and a place from which both external and internal perceptions may spring.9 In Island, the association between skin and self-representation was drawn by Nancy Princenthal in a wide range of

possible associations: as metaphorical mediation between inside and out, the exposed and the concealed; and skin as the bodys shield and its biggest sensory organ, tough, resilient, waterproof, stain resistant.10 A part Together shows Heppers tendency to bring different orientations together.11 In turn, a work such as Iris develops a strong and unifying structure, while at the same time allowing the audience to experience the piece at multiple levels encouraging visual stimuli to be translated dynamically and personally: I started exploring how the various elements in the piece interact; for example, the size and type of stitch in relationship to the parts being connected; in turn, the size of the void created by these relationships, as well as the drawing that was incorporated into the piece by the fishing line I used to stitch the piece together. () As you approach and walk around it, your movement and relationship to the piece changes your perception of it, so youre constantly rebuilding it. You are rethinking it as you consider it from different vantage points.12 She (2007) shows the concern of the artist with the way the audience approaches the piece: I wanted the glass element to be at head height: you relate to it as a head, because of proximity and scale, though it encourages you to come up

Three Stroke Roll

30

and look inside because of the opening which reveals a cavity and the reverse of the outside form. Inside it looks like endoscopic images of the human body, so you get a visceral experience of both the inside and the outside.13 Such postmodern consideration of the audiences own experience of the pieces comes to the artist from an evolution of interest beginning with the vast open spaces of her origin to the observation of the complex human dynamics in the busy streets of New York City. Carol Heppers distinctive and unconventional approaches14 to sculpture have continuously evolved as she has explored aspects of the human experience at the physical, visual, and emotional level: from the use of elusive symbols hidden under semi-transparent membranes; to the dynamic coordination of artificial light and physical movement; to the changing effects of natural light; to the painterly use of color and through the transformative power of human touch.
Acknowledgments: I wish to thank the University Archives & H.M. Briggs Library Special Collections at South Dakota State University for having made extensive research materials on the artist available for this project.
1

Scott, Carol Hepper. Skin/Deep, n.p. Horodner, All Together Now, 4-6. Snyder, In the Flesh, 6. 10 Princenthal, A Local Abstraction: Recent Work by Carol Hepper, n.p. 11 Brenson, Carol Hepper, in Wood: A Supple Synthesis, n.p. 12 Hepper, statement 29 July 2005, in Trinkett, Some Assembly Required, 26. 13 Hepper, interview by Cempellin, 2010, n.p. 14 Heartney, Emerging Artists 1978-86, 206.
7 8 9

References: Borum, Jenifer P. Carol Hepper. Rosa Esman Gallery. Artforum, September 1991, p. 136. Brenson, Michael. Carol Hepper, in Wood: A Supple Synthesis. New York Times, October 28, 1988. Day, John. Carol Hepper: An Academic Perspective. Carol Hepper, exhibition leaflet, Dahl Fine Arts Center, Rapid City, April 3 April 30, 1987. Dreishpoon, Douglas. Introduction. The Sculptural Membrane, exhibition catalog, Sculpture Center, New York City, November 8 December 2, 1986. Heartney, Eleanor. Emerging Artists 1978-86: Selections from the Exxon Series. ARTnews, vol. 86, no.9, November 1987, p. 206. Heartney, Eleanor. Carol Hepper. ARTnews, vol. 89, no.1, January 1990, pp. 162-166. Hepper, Carol, statement, 29 July 2005. Clark Trinkett. Some Assembly Required. Cumulative Visions, exhibition catalog, Mead Art Museum, Amherst College, Amherst, Massachussets, 20 January 7 May, 2006. Hepper, Carol, Interview by Leda Cempellin. New York City, September 23, 2010. Revision from the original transcript (unpublished). Horodner, Stuart. All Together Now. Carol Hepper. Reverse Osmosis, exhibition catalog, Art Gallery, Williams Center for the Arts, Easton, Pennsylvania, October 22 November 19, 2000. Kosinski, Dorothy M. Women of the American West, exhibition catalog, The Bruce Museum, Greenwich, Connecticut, May 19 August 31, 1985, n.p. Melrod, George. Carol Hepper Sheds Her Skin. Sculpture, May-June 1989, pp. 25-27. Princenthal, Nancy. A Local Abstraction: Recent Work by Carol Hepper. Wet Paint, exhibition catalog, Hopkins Center, Dartmouth College, Jaffe-Friede & Strauss Galleries, June 27-July 30, 2000. Scott, Sue. Carol Hepper. Skin/Deep, exhibition leaflet, Orlando Museum of Art, Orlando, Florida, August 10 November 5, 1995. Snyder, Jill. In the Flesh, exhibition catalog, The Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, January 21 May 5, 1996.

Dreishpoon, Introduction. The Sculptural Membrane, 3. Day, Carol Hepper: An Academic Perspective, n.p. Kosinski, Women of the American West, n.p. 4 Borum, Carol Hepper. Rosa Esman Gallery, 136. 5 Melrod, Carol Hepper Sheds Her Skin, 27. 6 Hepper, interview by Cempellin, 2010, n.p.
2 3

Weightless

32

Devils Curve

34

Stack Flat Up

36

Collection of Thomas Willinski and Daniel Lebson

Pierced Angel with glass penis

38

Untitled #0847

40

Untitled #0850

41

Carol Hepper
Born 1953 McLaughlin, South Dakota

Education 1975 South Dakota State University, Brookings, SD; B.S. Solo Exhibitions 2008 Galeria Ramis Barquet, Carol Hepper: A Part Together, New York, NY (catalog with essay by Michael Coffey) 2006 Elizabeth Leach Gallery, Carol Hepper, Selections 1996-2005, Portland, OR (additional solo exhibitions in 995 & 1999) 2003 Burapha University, University Library, Carol Hepper, Andaman Sea, Chonburi, Thailand 2002 Maryland Institute College of Art, Decker Gallery, Translucency and Light, Baltimore, MD (brochure with essay by Will Hipps) 2000 Williams Center for the Arts, Williams Center Gallery, Reverse Osmosis, Lafay ette College, Easton PA (curated by Michiko Okaya, catalog with essay by Stuart Horodner) Hopkins Center, Dartmouth College, Wet Paint, Jaffe-Friede & Strauss Galleries, Hanover, NH (catalog with essay by Nancy Princenthal) Frederieke Taylor Gallery, Strange Island, New York, NY 1998 Soma Gallery, La Jolla, CA 1996 Portland Institute for Contemporary Art, Residency and Open Studio, Portland, OR (catalog with essay by Kristy Edmunds) Hill Gallery, John Duff, and Carol Hepper, Birmingham, MI (additional solo exhibitions: 1991, 1992, & 1993) 1995 Orlando Museum of Art, Skin/Deep, Orlando, FL (brochure with essay by Sue Scott) Mississippi Museum of Art, Works in Progress, Jackson, MS 1994 Hartman & Company, La Jolla, CA Michael Lord Gallery, Milwaukee, WI 1993 Galerie Waltraud Matt, Eschen, Liechtenstein Margulies/Taplin Gallery, Boca Raton, FL 1992 Worcester Art Museum, Insights: Carol Hepper, Worcester, MA (brochure with essay by Donna Harkavy) Dennos Museum Center, Traverse City, MI 1991 Rosa Esman Gallery, New York, NY (catalog with essay by John Howell) ( additional solo exhibitions: 1989,& 1988) Vaughan + Vaughan Gallery, Minneapolis, MN 1987 Dahl Fine Arts Center, Rapid City, SD, traveled to University of South Dakota, Brookings, S.D. (brochure with essays by Cynthia Nadelman and John Day)

42

1984 1982

Ritz Gallery, South Dakota State University, Brookings, SD Institute for Art and Urban Resources, P.S.1, New York, NY (catalog)

Performance 2000 Island, a collaborative work with dancer/ choreographer, Molissa Fenley, premiered at The Kitchen, New York City, traveling to Williams Center for the Arts, Lafayette College, Easton, Pennsylvania, and Raymond S. Kravits Center, West Palm Beach, Florida Selected Group Exhibitions 2008 ARCO 2008, Galeria Ramis Barquet, Madrid, Spain 2007 Nevada Museum of Art, Enigma; Absence + Presence in Contemporary Art, Reno, NV (curated by Ann Wolfe) North Dakota Museum of Art, Introductions: Artists Self Portraits, traveling throughout North Dakota until 2008 2006 Mead Art Museum, Amherst College, Some Assembly Required, Amherst, MA (catalog with essay by Trinket Clark) Memorial Art Gallery, University of Rochester, Extreme Materials, Rochester, NY (curated by Maria Via) North Dakota Museum of Art, Land and Spirit, Grand Forks, ND 2005 Portland Institute for Contemporary Art, Landmark, Portland, OR (catalog with essays by Kristy Edmunds and Stuart Horodner) Marlborough Chelsea, L.C. Armstrong, Carol Hepper, Francisco Lerio, Carrie Moyer, Rick Siggins, Steven Talasnik, (curated by Kim Wauson), New York, NY Elizabeth Leach Gallery, 2D from 3D; Contemporary and Historical Drawings by Sculptors, Portland, OR 2003 North Dakota Museum of Art, Bugs and Such, Grand Forks, ND (curated by Laurel Reuter) Frederieke Taylor Gallery, A Tenth Anniversary Exhibition, New York, NY 2002 Mead Art Museum, Amherst College, The Belles of Amherst: Contemporary Women Artists in the Collections of the Mead Art Museum and The University Gallery, University of Massachusetts, Amherst, MA 2001 Bucknell University Campus, Outdoor installation of Sap Green, Lewisberg, PA 2000 University Gallery, Fine Arts Center, Abstract Notions: Selections from the Per manent Collection, University of Massachusetts, Amherst, MA 1999 Boca Raton Museum of Art, The Artist as Collector: The Collection of Francie Bishop Good and David Horvitz, Boca Raton, FL Fine Arts Center Galleries, University of Rhode Island, Elusive Traces, (brochure with essay by Judith Tolnick), Kingston, RI 1997 Neuberger Museum of Art, 1997 Biennial Exhibition of Public Art (outdoor installation), Purchase, NY, (catalog with essay by Judith Collischan)

43

1996

1995

1994 1993

1992

1991

1990

1989 1988 1987

Currier Gallery of Art, Manchester, NH, Community of Creativity: A Century of MacDowell Colony Artists, traveling through 1997 to National Academy of Design, New York, NY, and Wichita Art Museum, Wichita, KS, (catalog with essays by Robert Storr and Tom Wolf) Aldrich Museum of Contemporary Art, In the Flesh, Ridgefield, CT (catalog with essays by Jill Snyder and Maxine Sheets-Johnstone) Arkansas Art Center, National Drawing Invitational, Little Rock, AR (catalog) The White House, Twentieth Century American Sculpture at The White House, Exhibition II, Washington, DC Weatherspoon Art Gallery, Art on Paper, University of North Carolina, Greensboro, NC (catalog with introduction by Thomas H. Kochheiser) Boise Art Museum, Fabricated Nature, Boise, ID (catalog with essay by Sandy Harthorn) Laumeier Sculpture Park, (installation) Saint Louis, MO, on view through 1997 Portland Art Museum, Oregon, Material Identity, Sculpture between Nature & Culture, Tony Cragg, Heide Fasnacht, Carol Hepper, Jene Highstein (catalog with essay by John S. Weber) Cranbrook Academy of Art Museum, The Fine Art of Patronage, Bloomfield Hills, MI DeCordova Museum and Sculpture Park, (installation) Lincoln, MA The Phillips Collection, A Dialogue with Nature: Nine Contemporary Sculptors, Washington, DC (catalog with essay by Linda Johnson) through 1993 Rose Art Museum, Brandeis University, Breakdown!, Waltham, MA ( catalog with essay by Susan Stoops) University of Colorado, 20th Year Visiting Artists Invitational Exhibition, Boulder, CO (catalog) Walker Art Center, Material Matters: Permanent Collection Sculpture since 1980, Minneapolis, MN The New Museum, Benefit, New York, NY (catalog) Jacksonville Art Museum, The Nature of Sculpture, Florida (catalog with essay by Bruce Dempsey) Florida International University, New Directions: American Art Today, Miami, FL (catalog with essay by Eleanor Heartney) L.A. Louver Gallery, Sculptors Drawings, Los Angeles, CA Mandeville Art Center, Seven Sculptors, University of California at San Diego, La Jolla, CA Hunter College, The Bertha and Karl Leubsdorf Gallery, Formulation and Representation: Recent Abstract Sculpture, New York, NY (catalog with essay by Susan Edwards) Walker Art Center, Recent Acquisitions, Minneapolis, MN Aldrich Museum of Art, Innovations in Sculpture 1985-1988, Ridgefield, CT (catalog with essay by Ellen ODonnell) The Sculpture Center, Natural Inflections: Inside/Outside, New York, NY (catalog with essay by Douglas Dreishpoon)

44

1986

1983

Solomon R. Guggenheim Museum, Emerging Artists 1978-86: Selections from the EXXON Series, New York, NY (catalog with essay by Diane Waldman) Rutgers University, Robeson Gallery, Contemporary Syntax: Edge and Balance, New Brunswick, NJ (catalog with essay by Allison Weld) Contemporary Art Center, Standing Ground: Sculpture by American Women, Cincinnati, OH (catalog with essay by Sarah Rogers) The Art Gallery of Western Australia, Perth, The Art Gallery of New South Wales, Sidney, Australia, AMERICA: Art and the West, (book with essays by Celeste M. Adams & Dr. Ron Tyler) Sculpture Center, The Sculptural Membrane, (catalog with essay by Douglas Dreishpoon), New York, NY Solomon R. Guggenheim Museum, New Perspectives in American Art: 1983 EXXON National Exhibition, New York, NY (catalog with essay by Diane Waldman)

Public Collections American Telephone & Telegraph, NY Aterrana Foundation, Vaduz, Liechtenstein Brooklyn Union Gas, NY Champion Paper, Stamford, CT Dannheisser Foundation, NY Detroit Institute of Arts, Detroit, MI Solomon R. Guggenheim Museum, NY Hood Museum, Dartmouth College, Hanover, NH Housatonic Museum of Art, Bridgeport, CT Laumeier Sculpture Park, St. Louis, MO Margulies Foundation, Miami, FL Metropolitan Museum of Art, NY MIT, List Visual Art Center, Cambridge, MA Museum of Contemporary Art, Chicago, IL Museum of Modern Art, NY Nevada Museum of Art, Reno Newark Museum, Newark, NJ New School for Social Research, NY New York Public Library, NY North Dakota Museum of Art, Grand Forks Orlando Museum of Art, FL PECO Energy, King of Prussia, PA Phoenix Art Museum, AZ Portland Art Museum, OR Ringling School of Art & Design, Selby Gallery, Sarasota, FL South Dakota Art Museum, Brookings University of Massachusetts, Amherst, Fine Arts Center Walker Art Center, Minneapolis, MN

Exhibition Checklist
A part Together, 2007 Lunar Chamber, 1983
Bison hide, willow 65 x 76 x 60

Cherry wood, plywood, clamps, pigment, epoxy resin 41 x 43 x 50

Synchrony, 2010

Archival digital print 53 x 38

Around a square, 2006

Lunar Chamber, 2010

Archival digital print 53 x 38

Untitled, 2008

Apple wood, steel, pigment 32 x 40 x 39

Gouache, ink, graphite on paper 30 x 22.5

Blister Pack, 2008

Passage, 1980
Driftwood 48 x 72 x 57

Untitled, 2008

Blown glass, cherry wood, epoxy resin 80 x 57 x 77

Gouache, ink, graphite on paper 30 x 22.5

Passage, 2010

Devils Curve, 2008

Apple wood, plywood, cardboard, pigment 23 x 51 x 11

Archival digital print 53 x 38

Untitled #0847, 2008

Gouache, ink, graphite on paper 30 x 22.5

Patio, 2007-2011

Hot & Cold Running Water, 1999

Copper, bronze 59 x 32 x31

Assembled archival digital prints 53 x 42

Untitled #0850, 2008

Gouache, ink, graphite on paper 30 x 22.5

Seven Stroke Roll, 2010

Archival digital print 53 x 38

Vertical Chamber, 1980

Ribs, wood, rawhide strips 7.3 x 3.7 x 3.7

Inside the Between, 2007

Blown glass, cherry wood, plywood, steel 52 x 52 x 32

She, 2007

Blown glass, red maple, glue, bison fur 67 x 18 x 20

Vertical Chamber, 2010

Archival digital print 53 x 38

Iris, 2002

Fish skins, dacron line, wall paint, wire Assembled archival digital prints 74 x 124 43 x 49

Stack Flat Up, 2007-2011

Weightless, 2004

Fish skins, dacron line, paint 144 x 54 x 12

Island, 2000

Fish skins, dacron line, pigment, wire 7.5 x 24

Spring in Winter, 2008

Whirlwind Dancing, 2010

Archival digital print 53 x 38

Wood, plywood, clamps, glue, blown glass 98 x 84 x 55

Chinatown studio, 2011

46

47

Yellowstone Art Museum

Staff Robyn G. Peterson Ashley Armstrong Drew Bennett LeAnn Bennett Lisa Berke Deann Bice Paul Bohler Jeanne Bowman Nancy Clark Wayne Drashil Linda Ewert Ken Haak Liz Harding Jet Holoubek Diane Jung Chuck Randall Kimberly Sapone Daya Sapone Pat Smith Carol Welch Board of Trustees President President-Elect Vice-President Treasurer Immediate Past President Jim Baker David Brown Kris Carpenter Douglas Carr, MD Juni Clark Sheryl Costanzo Joy Culver Pat Etchart * Michael Fried Carol L.H. Green *
* Trustee Emeritus

Executive Director Special Events Coordinator Marketing and Public Relations Manager Education Assistant Finance and Administration Director Custodian Security Guard Reception Registrar Security Guard Education Director Facility Rentals Manager Curatorial Assistant & Graphic Designer Reception Membership and Volunteer Manager Security Guard Development Director Reception Preparator and Facilities Manager Museum Art Educator

Linda Shelhamer Doug Carr Kris Carpenter Susan Sullivan Valeria Jeffries Max Griffin Robert Griffin Wayne Hirsch Valeria Jeffries Gareld Krieg * Jon Lodge Ted Lovec * Larry Martin * Tom Minckler Gary Oakland Don Roberts Linda Shelhamer Linda Snider Sue Stanaway Kevin Stenberg Susan Sullivan Curtis Tierney Steve Tostenrud Darell Tunnicliff Al Winegardner *

Exhibition sponsors
Lead Sponsor Cynthia Foster
Supporting Sponsors Action Electric Anonymous Artcraft Printers
Contributing Sponsor The Joy of Living Season Sponsor

yam
yellowstoneartmuseum
ISBN 0-9755185-5-0