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Carol HepperInside 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, MontanaMarch 17 - June 26, 2011

South Dakota Art Museum, Brookings, South DakotaSeptember 13 - December 4, 2011

Dahl Arts Center, Rapid City, South DakotaJanuary 13 - April 28, 2012

Plains Art Museum, Fargo, North DakotaMay 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 permissionfrom the publisher.

ISBN 0-9755185-5-0

All photographs courtesy of the artist, with exception of: Jeffrey Hepper page 45 (top); Laura Sejenpage 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 generouscontributions towards the success of this exhibition and publication.

Designed by Liz HardingPrinted by Artcraft Printers, Billings, MontanaPublished by Yellowstone Art Museum401 North 27th StreetBillings, Montana 59101www.artmuseum.org

Spring in Winter

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Contents

Introduction 8

Nature Revisited, The Work of Carol HepperEssay by Eleanor Heartney 14

In and Out of the Sculptural BodyEssay by Leda Cempellin 26

Carol Hepper—Career Overview 42

Exhibition Checklist 46

Yellowstone Art Museum 48

TumbleweedCollection of Jordan Schnitzer

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Whirlwind DancingCollection of Dr. Willis Stevens, Jr.

Many artists depart the central states to develop their work in the country’s art world epi-centers 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 Hepper’s 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 influ-ences appear, like threads in a weave.

A greater contrast would be hard to imagine than that existing between the shoulder-to-shoul-der cacophony of Chinatown in New York and the cold, subtle solitude of South Dakota. Yet, Hepper melds all of her many influences togeth-er, 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.

Carol Hepper: Inside the Between is an exhibi-tion honoring Hepper’s achievement close to its point of origin. The essays that follow, by Dr. Leda Cempellin and Eleanor Heartney, shed light on Hepper’s 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 Hep-per’s thoughtful and highly personal sculptural work.

Robyn G. PetersonExecutive DirectorYellowstone Art Museum

Introduction

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She

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Blister Pack

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Stringer Moon

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The open sky of the Great Plains, the dense foliage of the northeastern forests, and the glassy lakes of rural America cling to Carol Hepper’s 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 urban-ized, 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 geomet-ric. 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 Hepper’s 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 Hepper’s 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 produc-tions of humankind and nature.

Hepper’s 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 to-gether like sailor’s 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 mate-rial readily available at the nearby fish market, into her works. This beautiful translucent material

Lunar Chamber

Nature Revisited: The Work of Carol HepperEleanor Heartney

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is the basis for Island (2000), a room-sized envi-ronmental work that was created in collabora-tion 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 chang-ing light like iridescent wings or ripples on the surface of a stream.

Hepper’s recent work reveals a growing sense of freedom with respect to her sources and her structural language. New and unexpected mate-rials 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 sculp-tures. Where she once confined herself to the natural colors of her chosen materials, she now introduces vibrant touches of green, pink, or-ange, and blue. In keeping with new complexity of her palette and materials, the structure of the works has also become more intricate, with ele-ments 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 Hepper’s 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 togeth-er 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

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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 many-legged 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 un-expected juxtapositions of form that create ab-stract 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 Hepper’s 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

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Iris

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previous page: Islandopposite page: Code (for Jacob)

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Whirlwind 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 Oppenheim’s 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 assem-blages of materials evolved through decades, Carol Hepper’s 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.

Hepper’s early body metaphors using willow and animal hides come from the intersection of bi-ography and geography in her native South Da-kota. 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 thehuman 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, Lou-ise Nevelson, and Ruth Vollmer), in making experi-mental sculptures that “evolved out of Minimal-ism, but subverted its formal purity through varied materials and associative images.”¹

The following year, John Day used the term “Post-Minimalist” to describe the organic quality and individualism of Hepper’s work. The distance of Hepper’s 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.”²

In and Out of the Sculptural BodyLeda Cempellin

Around a square

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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 power-ful Comet, described by Jennifer Borum as “a sophisticated, abstract esthetic,” and “a visu-ally exciting development that wittily suggests a metaphorical shift from the bodily to the techno-logical,”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 cop-per tubes as a manmade interpretation of the circulatory and digestive systems (…). There has been an enormous amount of construction since I’ve lived in Chinatown. Often, during construc-tion, 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 Mu-seum 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, becom-ing 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 quintessen-tial 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). Solicit-ing genuine emotional responses, the daring introduction of synthetic Pop colors strategically placed at the joints facilitates metaphorical ex-changes between organic and manmade.

In pieces from the late 1990s, with twisted metal forms, color becomes a fundamental

A part Together

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ingredient, with a surface treatment comparable to the best painting. In 1998 Stuart Horodner as-sociated 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 be-yond it by developing strategies to make paint-ings 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 disap-peared in the bare forms of the early 1990s, but was reintroduced in 2000 in the collabora-tive 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 body’s skin as a boundary, a container, a barrier, and a place from which both external and internal perceptions may spring.”9 In Island, the associa-tion “between skin and self-representation” was drawn by Nancy Princenthal in a wide range of

possible associations: “as metaphorical media-tion between inside and out, the exposed and the concealed; and skin as the body’s shield and its biggest sensory organ, tough, resilient, water-proof, stain resistant.”10

A part Together shows Hepper’s tendency to “bring different orientations together.”11 In turn, a work such as Iris develops a strong and unify-ing 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 rela-tionship 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 you’re 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

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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 post-modern consideration of the audience’s 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 Hepper’s “distinctive and unconventional approaches”14 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 Dreishpoon, “Introduction.” The Sculptural Membrane, 3. 2 Day, “Carol Hepper: An Academic Perspective,” n.p. 3 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.

7 Scott, “Carol Hepper. Skin/Deep,” n.p. 8 Horodner, “All Together Now,” 4-6. 9 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.

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, Penn-sylvania, 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.

Weightless

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Devil’s Curve

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Stack Flat Up

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Pierced Angel with glass penisCollection of Thomas Willinski and Daniel Lebson

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Untitled #0847

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Untitled #0850

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Carol Hepper

Born1953 McLaughlin, South Dakota

Education 1975 South Dakota State University, Brookings, SD; B.S.

Solo Exhibitions2008 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, NY1998 Soma Gallery, La Jolla, CA1996 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, WI1993 Galerie Waltraud Matt, Eschen, Liechtenstein Margulies/Taplin Gallery, Boca Raton, FL1992 Worcester Art Museum, Insights: Carol Hepper, Worcester, MA (brochure with essay by Donna Harkavy) Dennos Museum Center, Traverse City, MI1991 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)

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1984 Ritz Gallery, South Dakota State University, Brookings, SD1982 Institute for Art and Urban Resources, P.S.1, New York, NY (catalog)

Performance2000 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 Exhibitions2008 ARCO 2008, Galeria Ramis Barquet, Madrid, Spain2007 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 20082006 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, ND2005 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, OR2003 North Dakota Museum of Art, Bugs and Such, Grand Forks, ND (curated by Laurel Reuter) Frederieke Taylor Gallery, A Tenth Anniversary Exhibition, New York, NY2002 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, MA2001 Bucknell University Campus, Outdoor installation of Sap Green, Lewisberg, PA2000 University Gallery, Fine Arts Center, Abstract Notions: Selections from the Per manent Collection, University of Massachusetts, Amherst, MA1999 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, RI1997 Neuberger Museum of Art, 1997 Biennial Exhibition of Public Art (outdoor installation), Purchase, NY, (catalog with essay by Judith Collischan)

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1996 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)1995 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)1994 Boise Art Museum, Fabricated Nature, Boise, ID (catalog with essay by Sandy Harthorn) Laumeier Sculpture Park, (installation) Saint Louis, MO, on view through 19971993 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, MA1992 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)1991 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)1990 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)1989 Walker Art Center, Recent Acquisitions, Minneapolis, MN1988 Aldrich Museum of Art, Innovations in Sculpture 1985-1988, Ridgefield, CT (catalog with essay by Ellen O’Donnell)1987 The Sculpture Center, Natural Inflections: Inside/Outside, New York, NY (catalog with essay by Douglas Dreishpoon)

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)1986 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, NY1983 Solomon R. Guggenheim Museum, New Perspectives in American Art: 1983 EXXON National Exhibition, New York, NY (catalog with essay by Diane Waldman)

Public CollectionsAmerican Telephone & Telegraph, NYAterrana Foundation, Vaduz, LiechtensteinBrooklyn Union Gas, NYChampion Paper, Stamford, CTDannheisser Foundation, NYDetroit Institute of Arts, Detroit, MISolomon R. Guggenheim Museum, NYHood Museum, Dartmouth College, Hanover, NHHousatonic Museum of Art, Bridgeport, CTLaumeier Sculpture Park, St. Louis, MOMargulies Foundation, Miami, FLMetropolitan Museum of Art, NYMIT, List Visual Art Center, Cambridge, MA Museum of Contemporary Art, Chicago, ILMuseum of Modern Art, NYNevada Museum of Art, RenoNewark Museum, Newark, NJNew School for Social Research, NYNew York Public Library, NYNorth Dakota Museum of Art, Grand ForksOrlando Museum of Art, FLPECO Energy, King of Prussia, PAPhoenix Art Museum, AZPortland Art Museum, ORRingling School of Art & Design, Selby Gallery, Sarasota, FLSouth Dakota Art Museum, BrookingsUniversity of Massachusetts, Amherst, Fine Arts CenterWalker Art Center, Minneapolis, MN

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A part Together, 2007Cherry wood, plywood, clamps, pigment, epoxy resin41” x 43” x 50”

Around a square, 2006Apple wood, steel, pigment32” x 40” x 39”

Blister Pack, 2008Blown glass, cherry wood, epoxy resin80” x 57” x 77”

Devil’s Curve, 2008Apple wood, plywood, cardboard, pigment23” x 51” x 11”

Hot & Cold Running Water, 1999Copper, bronze59” x 32” x31”

Inside the Between, 2007Blown glass, cherry wood, plywood, steel52” x 52” x 32”

Iris, 2002Fish skins, dacron line, wall paint, wire74” x 124”

Island, 2000Fish skins, dacron line, pigment, wire7.5’ x 24’

Lunar Chamber, 1983Bison hide, willow65” x 76” x 60”

Lunar Chamber, 2010Archival digital print53” x 38”

Passage, 1980Driftwood48” x 72” x 57”

Passage, 2010Archival digital print53” x 38”

Patio, 2007-2011Assembled archival digital prints53” x 42”

Seven Stroke Roll, 2010Archival digital print53” x 38”

She, 2007Blown glass, red maple, glue, bison fur67” x 18” x 20”

Stack Flat Up, 2007-2011Assembled archival digital prints43” x 49”

Spring in Winter, 2008Wood, plywood, clamps, glue, blown glass98” x 84” x 55”

Synchrony, 2010Archival digital print53” x 38

Untitled, 2008Gouache, ink, graphite on paper30” x 22.5”

Untitled, 2008Gouache, ink, graphite on paper30” x 22.5”

Untitled #0847, 2008Gouache, ink, graphite on paper30” x 22.5”

Untitled #0850, 2008Gouache, ink, graphite on paper30” x 22.5”

Vertical Chamber, 1980Ribs, wood, rawhide strips7.3’ x 3.7’ x 3.7’

Vertical Chamber, 2010Archival digital print53” x 38”

Weightless, 2004Fish skins, dacron line, paint144” x 54” x 12”

Whirlwind Dancing, 2010Archival digital print53” x 38”

Exhibition Checklist

Chinatown studio, 2011

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Don RobertsLinda ShelhamerLinda SniderSue StanawayKevin StenbergSusan SullivanCurtis TierneySteve TostenrudDarell TunnicliffAl Winegardner *

* Trustee Emeritus

Board of Trustees

President Linda ShelhamerPresident-Elect Doug CarrVice-President Kris CarpenterTreasurer Susan SullivanImmediate Past President Valeria Jeffries

Jim BakerDavid BrownKris CarpenterDouglas Carr, MDJuni ClarkSheryl CostanzoJoy CulverPat Etchart *Michael FriedCarol L.H. Green *

Yellowstone Art MuseumStaff

Robyn G. Peterson

Ashley ArmstrongDrew BennettLeAnn BennettLisa BerkeDeann BicePaul BohlerJeanne BowmanNancy ClarkWayne DrashilLinda EwertKen HaakLiz HardingJet HoloubekDiane JungChuck RandallKimberly SaponeDaya SaponePat SmithCarol Welch

Executive Director

Special Events CoordinatorMarketing and Public Relations ManagerEducation AssistantFinance and Administration Director CustodianSecurity GuardReceptionRegistrarSecurity GuardEducation DirectorFacility Rentals ManagerCuratorial Assistant & Graphic DesignerReceptionMembership and Volunteer ManagerSecurity GuardDevelopment DirectorReceptionPreparator and Facilities ManagerMuseum Art Educator

Max GriffinRobert GriffinWayne HirschValeria Jeffries Gareld Krieg *Jon LodgeTed Lovec *Larry Martin *Tom MincklerGary Oakland

Cover.indd 1 2/24/11 12:56 PM

yellowstoneartmuseumyam

ISBN 0-9755185-5-0

Lead SponsorCynthia Foster

Supporting SponsorsAction ElectricAnonymousArtcraft Printers

Contributing SponsorThe Joy of Living

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