MANUEL NERI: Matters of Form & Construction

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MANUEL NERI

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MANUEL NERI MATTERS OF FORM & CONSTRUCTION

Bruce Nixon

CLARINDA C ARNEGIE ART MUSEUM CHRISTIAN PETERSEN ART MUSEUM Iowa State University Museums

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CONTENTS

ix

PREFACE Karen and Robert Duncan

xiii

DIRECTOR’S FOREWORD Trish Okamoto

xvii

DIRECTOR’S FOREWORD Lynette L. Pohlman

xxi

INTRODUCTION Anne Pagel

1

15

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MATTERS OF FORM & CONSTRUCTION Bruce Nixon MANUEL NERI Collections Clarinda Carnegie Art Museum Karen and Robert Duncan

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MANUEL NERI Collection University Museums Iowa State University, Ames

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CURATOR’S NOTES George W. Neubert

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EXHIBITION CHECKLIST MANUEL NERI: THE MODERNIST FIGURE June 18 – December 3, 2017 Clarinda Carnegie Art Museum, Iowa

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EXHIBITION CHECKLIST MANUEL NERI: AMBIGUITY, MYSTERY AND ALLURE January 18 – May 18, 2018 Christian Petersen Art Museum Iowa State University, Ames

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BIOGRAPHY, BOOKS & CATALOGUES MUSEUM & PUBLIC COLLECTIONS

109

BIOGRAPHY

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BOOKS & CATALOGUES

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MUSEUM & PUBLIC COLLECTIONS

131

PHOTO CREDITS

132

COLOPHON

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PREFACE

WHEN WE BECAME INTERESTED in contemporary art forty years ago,

we were young and knew very little about collecting. Fortunately, the Sheldon Museum of Art, almost in our back yard, had a new director, George Neubert, who had recently arrived from California. George was personally knowledgeable about the artistic talent on the west coast, and he became our teacher and mentor.

As we began to learn more about art, we found ourselves particularly drawn to three-dimensional works. Sculpture occupies space in a dynamic way, and one thing we have in the center of the United States is space.We are particularly attracted to the way sculptures define the space, how they vary in scale from miniscule to monumental, how their surfaces range from highly textured to smooth, and the diversity of subject matter, from abstract to realistic figuration.

Almost without realizing it, we began to collect figurative works, many of which were by women. One by one, they entered our collection: works by Niki de Saint Phalle, Magdalena Abakanowicz, Louise Bourgeois, Georgia O’Keeffe, Yayoi Kusama, Deborah Butterfield, and Beverly Pepper, as well as Dennis Oppenheim, Manuel Neri, Bernar Venet, Richard Long, and Charles Ginnever, among others.

M. Lee Fatherree, Photographer Benicia Studio, 1985

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We responded deeply to Manuel Neri’s work from the first time we visited his studio. Housed in an old church in Benicia, California, the space was overflowing with his work. Although Neri wasn’t there at the time, we were able to explore the gorgeous female figures made of marble, ceramic, plaster, and bronze.We found their patinas and painted surfaces to be vibrant—each sculpture offering a unique presence.

We continued to keep an eye on Neri’s work and, in 1996, we acquired Bull Jumper II. We finally met the artist at his studio about ten years ago, and although we had seen him in photographs, it was still a surprise to discover a ruggedly handsome man with his shock of white hair. We liked each other immediately.

We have continued to add Neri’s works to our collection and have found that, over time, we see them differently and appreciate them more and more.

Neri sculpts the female figure in such a sensitive and beautiful way. His drawings—many of them studies for the plaster, bronze or marble sculptures that follow—are also compelling and exquisite.

It gives us great pleasure to present a selection of his works in this exhibition, which is enhanced by loans from the University Museums of Iowa State University and the Sheldon Museum of Art, as well as the private collections of Kathryn and Marc LeBaron, Eva and George Neubert, Ree and Jun Kaneko, and The Manuel Neri Trust.

Karen and Robert Duncan

OPPOSITE

Selected sculptures from the Karen and Robert Duncan Collection.

See Page 131 for sculpture information.

ABOVE

Roger Bruhn, Photographer Karen and Robert Duncan, 2017

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DIRECTOR’S FOREWORD

IT WAS ONLY BY HAPPENSTANCE that the Clarinda Carnegie Art

Museum came into existence. Karen and Robert Duncan learned one day in advance that the former library building in their hometown was to be sold at auction.

Karen Kent, once a girl who loved to read so much she considered the library her second home, grew up in Clarinda, Iowa, a town of 5,000 people.

She married Robert Duncan and the two settled in Lincoln, Nebraska. They started a family and Robert assumed management of his father’s aviation sales and service company. Before long, the Duncans discovered a passion for contemporary art and began to build a collection.

In the meantime, the Clarinda library building—like many of the 1,689 American libraries funded by Pittsburgh businessman Andrew Carnegie between 1883 and 1929—had grown tired and too small for the community.

Clarinda built a new library, leaving the old building to a variety of uses. Like Carnegie, whose love of reading led to his worldwide philanthropy, Karen Duncan couldn’t bear to see the old library come to a sorry end, so when it came up for auction in 2013, she and Robert knew they had found a way to repay a community they loved.

Ree Schonlau, Photographer Bemis Project, 1986

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The Duncans purchased the library building and hired me to oversee the planning, organization and renovation, and on November 9, 2014, we opened Clarinda Carnegie Art Museum with an exhibition fittingly called Our People, Our Place, Our Time.

Between the Duncans’ willingness to loan art from their world-class collection for six-month curated exhibitions, and my passion for working with young people, CCAM has brought new cultural vibrancy to Southwest Iowa and the surrounding states.

Children from regional schools need no longer ride two hours to reach an art museum. Our Junior Docents and a parallel organization for at-risk youth from a regional residential foster-care facility explore contemporary art and its place in the community. C-bloc, a group organized by CCAM and the Nodaway Valley Historical Museum, looks at art in the context of both the past and the future.

The museum has brought artists to Clarinda to lead workshops on making shadow-box assemblages that tell children’s stories, on creating vessels and wearable works from found objects, and on video production. A new virtual reality setup will offer students from the region an opportunity to explore the intersection of art and technology.

Manuel Neri: The Modernist Figure is the museum’s first exhibition of works by a single artist. Among the programs planned to illuminate the works of this notable sculptor is a presentation for adults and children by Ted Kooser, who served as U.S. Poet Laureate from 2004 through 2006. The event is particularly meaningful considering Neri’s lifelong fondness for poetry and his creative responses to it.

Trish Okamoto, Director Clarinda Carnegie Art Museum Photographer Unknown Group photographs of selected Youth Programs at Clarinda Carnegie Art Museum, 2016

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DIRECTOR’S FOREWORD

WHY IS IOWA STATE UNIVERSITY inspired by Manuel Neri and his art?

Manuel Neri’s sculpture, Escalieta I, first arrived at Iowa State in 2004.

Installed in the Gerdin Building, the relief sculpture of Carrara marble represents a female figure captured in the midst of emerging into fullness. The figure suggests a transformation into a more refined being who seems to personify grace, wisdom, and confidence. For me, the sculpture symbolizes the University’s students as they secure academic knowledge and propel themselves forward into their futures.

Iowa State was founded in 1858 with a mandate to create from the prairie a beautiful college campus that would inspire learning. Indeed, sixteen decades later, Iowa State is internationally renowned for its beautiful campus.

In the beginning, the beauty was defined by the landscape and architecture; then, in the 1930s, fine art was actively collected and incorporated into the campus and its curriculum. In 1934, Christian Petersen joined Iowa State as the nation’s first collegiate permanent artist-in-residence, and he remained as a campus sculptor and faculty member until his retirement in 1955. Petersen sculpted major, site-specific works of art in the figurative tradition, as well as thousands of studio sculptures. Today, the Christian Petersen Art Museum celebrates Petersen’s sculptural legacy, as well as keeping a programmatic

Ree Schonlau, Photographer Bemis Project, 1986

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focus on the Art on Campus Collection, which includes two thousand public works of art located on the 1,900-acre campus, and integrated into the campus landscape, buildings, and courtyards.

In early 2005, the Brunnier Art Museum presented the exhibition Collaboration and the Creative Process: Sculpture and Artists Books by Manuel Neri and Mary Julia Klimenko. The exhibition, featuring books that combine Neri’s drawings with poetry by Klimenko, as well as related sculptures, focused on the developmental, aesthetic, creative, and collaborative processes of Neri’s art, expanding the campus visual and intellectual conversation. From this exhibition, poetry commissions flourished and the sculptural dialogue between Petersen’s historic figures and Neri’s contemporary figures were integrated into university-wide curriculums, inspiring thousands of students.

Neri’s bronze relief Mujer Pegada Series No. 1 arrived in 2009, a gift of Frank and Jinx Lobdell, and was installed in the lobby of the new Christian Petersen Art Museum, where it visually and expressively nexuses with Petersen’s Reclining Nudes of 1936, located in the Anderson Sculpture Garden.

These two sculptures, created sixty years apart by different artists, stand as embodiments of women’s power, grace, and curiosity.

The inspiration of learning and the creative process, whether in science or art, should permeate a student’s entire educational experience.Thus, I was privileged to curate and select for the University Museums’ permanent collection sculptural maquettes and drawings by Neri, as well as several life-size bronze and plaster figures. These works highlight Neri’s imaginative creative process, and are wonderful additions to the inspirational art available for curriculum integration for the benefit of this and future generations of Iowa State University students and beyond.

The inspiration continues: Manuel Neri: Ambiguity, Mystery and Allure, presented in 2018 in the Christian Petersen Art Museum, celebrates Manuel Neri and his art. The exhibition and the University Museums’ expanded collection of his works tie Neri’s figurative sculpture tradition securely to Iowa State.

Why is Iowa State inspired by Manuel Neri? Because he and his art inspire us as we continue our journeys through life, exploring the human experience

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and finding expressions for our values. This inspiration is the foundation for our love of Manuel Neri and his art.

On behalf of Iowa State University, I would first like to express gratitude to Manuel Neri for creating and sharing his art. We are eternally grateful to The Manuel Neri Trust for this most significant gift of 42 objects to the permanent collection, and to Anne Kohs for her committed association in nurturing and building Iowa State University’s collection. Our sincere appreciation to Anne Pagel, curator, and Trish Okamoto, director of the Clarinda Carnegie Art Museum, for their invaluable assistance in preparing, planning, and presenting the Neri exhibitions in Iowa. I am very grateful to Karen and Robert Duncan in supporting and fostering the artistic partnerships between the Clarinda Carnegie Art Museum and the Christian Petersen Art Museum, ISU. Their support has also made possible this important exhibition catalogue.

Support for the exhibition Manuel Neri: Ambiguity, Mystery and Allure at Iowa State University is generously provided by the J. W. Fisher Outreach Endowment Fund and University Museums. Mackenzie Boileau, ISU Class of 2017, and Allison Sheridan, University Museums collection manager and communication specialist, contributed much to the success of the exhibition at ISU, and to them I am very appreciative.

Lynette L. Pohlman Director and Chief Curator University Museums Iowa State University, Ames

OPPOSITE

Bob Elbert, Photographer Manuel Neri’s sculpture, Escalieta I, 1998, Gerdin Business Building, Iowa State University, Ames LEFT TO RIGHT

Bob Elbert, Photographer Christian Petersen (1885–1961) Reclining Nudes, 1936 Elizabeth and Byron Anderson Sculpture Garden, Iowa State University, Ames Mujer Pegada Series No. 1 (Cast 3/4), 1986 Bronze with oil-based pigments

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INTRODUCTION

IT WOULD BE DIFFICULT TO IMAGINE a more fitting exhibition for the

Clarinda Carnegie Art Museum than Manuel Neri: The Modernist Figure, for at its heart, Neri’s work depicts the essence of humanity.

The museum’s mission is to bring people of the Midwest together in an environment of learning and celebration of the visual arts. The young people who flock to the museum on afternoons and weekends discover new aspects of themselves, while CCAM’s exhibitions inform them about the world and its people.

As visitors to CCAM, they see works that are primarily from the collection of Karen and Robert Duncan, the museum’s founders. The two are intrigued by the human form and, for more than four decades, have built their collection around that interest.

Like the Duncans, each of the lenders to this particular exhibition— Kathryn and Marc LeBaron, Ree and Jun Kaneko, Eva and George Neubert, Iowa State University Museums, and Sheldon Museum of Art—are actively interested in works that portray the human form, gesture, intellect, sensuality, and character.

Neri’s works manifest all of these aspects.

M. Lee Fatherree, Photographer Benicia Drawing Studio, 1997

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Posturing Series No. 2, 1978 Plaster and mixed media 31 × 21½ × 12 in.

78.7 × 54.6 × 30.5 cm Karen and Robert Duncan Collection

His figurative works have been shaped by an intense curiosity, by his passion for the hands-on act of making, and by his ability to filter that which impresses him through the sieve of his own aesthetic concepts.

His personal history and art experiences are ingrained in his figures. His own studio practice of working with the model is foremost in the work, yet these forms also contain traces of his Mexican heritage, his rural California childhood, the teachings and works of his professors, his professorial practice, artworks seen on his travels, and the ruins and artifacts around Carrara, Italy, where he maintains a studio for working in marble.

Neri’s sculptures reflect the influences of Archaic Greek and Etruscan artifacts, as well as pre-Columbian sculptures of Mesoamerica, distinguished by taut rigidity and idealized forms juxtaposed with vitality and naturalism.

Likewise, his reliefs recall the simple figure-against-ground metopes found high on the entablatures of Greek temples.

While many of his works are carved marbles and cast bronzes, Neri’s primary sculptural medium is plaster, which he initially chose due to economic necessity and continued because it lends itself to his spontaneous additive and subtractive method of working. The medium is also ideal for achieving the highly textured, multihued finishes that distinguish his work.

In 1972, Mary Julia Klimenko became Neri’s primary model, bringing poetry, life and lyricism to his studio. For decades her lithesome, androgynous body and vigor fueled his creativity, giving his works vibrancy and a spring-loaded demeanor. There is a clarity and angularity about her gestures that matches Neri’s work perfectly. The dynamism in these forms is, undoubtedly, a reflection of her vitality.

Yet, Neri’s figures are not portraits. They don’t communicate narratives, nor are they tethered by the suggestion of a time period.

As his creative process unfolds, Neri—the unmistakable Modernist— becomes more and more manifest in the work. It is as though he draws an imaginary circle around the sculpture and himself, shifting from figurative representation to a highly personal dialog between artist and sculptural object.

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Neri portrays no refined facial features, as is evident in his Japanese Dancer Series. Neither does he attempt to render precise musculature, although the figures’ proportions remain naturalistic. He finds no need to create figures in their specificity and, because viewers are now accustomed to ancient figures missing arms, hands or feet, their often fragmentary nature is not entirely disarming. Neri alters his surfaces with gouges, scrapes and bulges juxtaposed with satiny smooth passages, oftentimes with sweeps of pigment that can vary from bold, primary hues to soft yellow washes over flat white.

LEFT TO RIGHT

Photographer Unknown Benicia Studio, 1979 Mary Julia Head I, 1974 Plaster and mixed media 28 × 16 × 17 in.

71.1 × 40.6 × 43.2 cm Private Collection

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LEFT TO RIGHT

Mujer Pegada Series No. 3 (Cast 2/4), detail 2007, Bronze with oil-based pigments 77¾ × 55 × 121/2 in.

197.5 × 139.7 × 31.8 cm Cantor Art Center, Stanford University, Stanford, CA Arcos de Geso III, 1985 Plaster and mixed media 78¾ × 56 × 141/2 in.

200.0 × 142.2 × 36.8 cm Karen and Robert Duncan Collection

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These practices suggest a continued exploration of concepts that absorbed European Modernists such as Marino Marini and Alberto Giacometti.

The works of all three artists suggest artifacts, raising questions about the historical scope of human depiction.

A major aspect of Neri’s production has been his relief sculptures. Like their counterparts on Archaic-period temples, these figures seem somewhat formal and ritualistic; but, rather than viewing them from far below, Neri offers an intimate eye-level view. These changes in scale and vantage point have the effect of making the figures less remote, more humanistic.

The relief sculptures depict one or two figures in front of—or emerging from—solid, oftentimes heavily textured backdrops that can be read as interior or exterior walls. Yet, viewers also see the walls as blocks of clay or plaster from which human forms might arise, or into which they might dissolve, another reminder of the Modernist’s hand. The effect is amplified by Neri’s use of both high and low relief, along with vestigial figures that could evoke emergent forms or ancient artifacts that have eroded over time.

Among the most captivating aspects of Neri’s practice is his treatment of each sculpture as a distinctive, singular work. His preparatory drawings are often exquisite. While he works through spatial problems on paper, these compositions can morph into entirely different forms, colors, and attitudes in finished sculptures. Even his handling of identical forms—such as his bronze editions cast from an original ghostly, ephemeral plaster—can have finishes ranging from elegant gold washes to brash, expressionistic strokes of bright blue, orange, or red.

In the end, each of us finds a bit of ourselves in Neri’s works, and therein lies the sculptor’s genius.

Anne Pagel, Curator Clarinda Carnegie Art Museum and the Karen and Robert Duncan Collection

Mujer Pegada Study [Gustavo No. 15], 1985 Mixed media on paper 13 5∕8 × 10 5∕8 in.

34.6 × 27.0 cm Private Collection

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ACKNOWLEDGEMENTS The Clarinda Carnegie Art Museum board and staff wish to thank those individuals and organizations that so generously loaned their works for Manuel Neri: The Modernist Figure. They include Kathryn and Marc LeBaron, Ree and Jun Kaneko, Eva and George Neubert, Sheldon Museum of Art,The University Museums of Iowa State University, Ames,Yares Art, New York, Hackett | Mill, San Francisco, The Manuel Neri Trust, and, of course, Karen and Robert Duncan.

We wish to express our appreciation for the months of enthusiastic collaborative effort given by the Iowa State University Museums staff: Director and Chief Curator Lynette Pohlman, Collection Manager and Communication Specialist Allison Sheridan, and Curation Intern Mackenzie Boileau. The partnership with them has made a memorable experience unforgettable.

Finally, special gratitude must go to The Manuel Neri Trust for its generous gifts and loans of artwork, and to Anne Kohs & Associates for coordinating the exhibition and publication. Without their excellent care and attention to detail, this presentation of Manuel Neri: The Modernist Figure would not have been possible.

OPPOSITE AND ABOVE

Kneeling Figure, 1991 Bronze with oil-based pigments 40 × 18 × 25 in.

101.6 × 45.7 × 63.5 cm

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MANUEL NERI MATTERS OF FORM & CONSTRUCTION

AS HIS CAREER ADVANCED , Manuel Neri would acquire a reputation as

the most improvisational of sculptors. One early commentator referred to him as an “action sculptor,” echoing the discourse around painting in New York and bringing it to bear on an artist who seemed to be engaged in transferring exactly that kind of activity to the built object. It was terminology that validated a critical role for the lively, intuitive spontaneity of Neri’s treatment of the standing figure, which at the time seemed—a disconcerting paradox—the most tradition-bound of subjects. But there have been other attempts to establish affiliations for him, always as a way of explaining the figural devotion of an artist so clearly contemporary in his sensibility and constructive instincts. Now, with the full spread of his career before us, we can see how all such efforts, however well intentioned, want to somehow contain the sheer originality of Neri’s conception of the form. The various descriptive qualities may be present in his work, true, but they should never be taken as ends in themselves, nor are they meant to mask a deeper artistic conservatism, nor, really, do they convey the essence of Neri’s manner of working. Neri is dedicated to a complex figural communicability, and that goal rests on his prodigious concentration and discipline. His condition is contemporary, and has never been anything else.

M. Lee Fatherree, Photographer Tyler Street Studio, 2006

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LEFT TO RIGHT

Ostrakon Plaster Maquette No. 2, 1984 Plaster and mixed media 20 1∕8 × 5 7∕8 × 5 5∕18 in.

51.1 × 14.9 × 13.5 cm Private Collection Photographer Unknown Carrara Studio, 1983

To go a step further, the predominant characteristic of Neri’s studio practice is a guiding sense of process, an approach to the matters of form and construction that, over many decades, has produced a rich, tapestried weave and flow of production, mingling, overlapping, a great outpouring of ideas that inflect and nourish one another as the sculptor continues to study and build and learn his subject. Inevitably, perhaps, Neri’s reliance on plaster as a primary material did encourage a view of his building procedures as intensely active and improvisational, but his expansion into bronze and stone during the 1980s provides ample evidence of the utterly crucial significance of his faith in the unrestricted possibilities of the figure as a communicative form and how he has continued to enlarge its autobiographical capacities, its ability to “speak” on his behalf.

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First, Neri’s working habits have created a situation that we must accept more or less on its own terms. His process simply defies straightforward, organized chronology—so much is always going on at once, multiple series underway at any give time in both his drawing and building practices, often considering similar or closely related formal issues—and as a result, it can be difficult to chart his development exactly. He may return to a former idea before pressing onward again. His methods are rarely linear.They have, rather, momentum. This in turn creates an extremely fertile environment for the artist, and once we see how he makes use of it, currents begin to emerge from the flow of work and we are able to observe the mutuality of Neri’s practice as a whole, the way in which series stimulate, support, and interact with one another over time. With this in mind, we can begin to break down the stages of his practice.

LEFT TO RIGHT

David Wakely, Photographer Benicia Studio, 1987 Juana – Plaster Maquette VI, 1989 Plaster and mixed media 24½ × 6 × 5½ in.

62.2 × 15.2 × 14.0 cm Private Collection

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M. Lee Fatherree, Photographer Benicia Drawing Studio, 2006

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Neri does not normally begin from an idea as such—from a figural gesture, rather, one that communicates an idea or network of ideas that embody and express something intrinsically human for him. Figural gesture is the foundation of his sculptural language, and once a gesture seizes his imagination, he begins to consider it in series of small drawings. If it holds his interest, he turns to a larger format, working with the model now, rendering the form in outline and establishing it spatially with a limited palette, often just two colors. He returns to these drawings later, without the model, adding other colors and atmospheric notations that generate a sense of the form in space.

These drawings are the basis for sculptural maquettes, produced, once again, in series—five or six would be typical, though Neri might do as many as ten —as variations of the gestures/ideas in the drawings. Each maquette represents a basis of study, a gestural nuance or modulation now considered in three dimensions. Neri is looking for the particular form that obtains the peak of articulation for him.

LEFT TO RIGHT

David Wakely, Photographer Benicia Studio, 1987 Re-making Mary Julia No. 6, 1976 Plaster and mixed media 52 × 17 × 38 in.

132.1 × 43.2 × 96.5 cm Yale University Art Gallery, New Haven, CT

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LEFT

Maha Ceramic Relief II, 1986 Ceramic with glaze 48 × 36 × 12 in.

122.0 × 91.4 × 30.5 cm Racine Art Museum, Racine, WI RIGHT AND OPPOSITE

Ree Schonlau, Photographer Bemis Project, 1986

With the maquettes behind him, Neri brings the model back to the studio and begins making armatures for the full-sized sculptures. Metal rods are cut and bent precisely to her proportions, and here again, Neri tends to build in series. With five or six figures in proximity, he can move easily among them, generating variations in surface textures and marks, as a kind of discourse among the figures themselves as they develop in real time. The nature of plaster requires that he work quickly, but from Neri’s perspective, the discourse is fundamental, and the imaginative concentration and focused physical activity demanded by the medium assures him that he can pursue it without the undue distractions of self-criticality, unnecessary refinement, or even habit. Once the plaster dries, numerous reductive and additive techniques are available to him, and enable him to continue on, if he wishes, before an idea is put to rest.

In one of Neri’s most sustained maquette series—twelve ceramic Maha reliefs done in 1986 while he was artist-in-residence at the Bemis Project in Nebraska—the sculptures, each less than two feet in height, were done without a model from a group of fifteen small and large drawings, and the maquettes led to two large relief sculptures.The maquettes and the full-sized reliefs were subsequently cast, and further altered by surface textures and paint, now as a series that Neri called the Mujer Pegadas.

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Neri would turn his constructive sensibilities to bronze and stone as a way of inscribing formal information on materials generally regarded as intractable. In bronze, especially, he has devised a variety of techniques for modifying the metal surface, while the application of paint—Neri is a sophisticated colorist with a lovely, lyrical palette—gives each figure individuality as a communicative form.

Patination operates to a similar end, and white, in particular, tends to clarify the gestural subtleties of the figure and indeed an exceedingly precise formal organization that reflects the thoroughness of Neri’s process. Color, on the other hand, allows him to either emphasize or deemphasize certain aspects of a form, whether by unifying the figure as a totalized form or by fragmenting it visually, based on what he wishes to communicate with it. He sometimes draws from the sculpture while it is in progress, in a contemplation of the efficacy of a figural gesture.

OPPOSITE

M. Lee Fatherree, Photographer Benicia Studio, 1998 LEFT TO RIGHT

M. Lee Fatherree, Photographer Tyler Street Studio, 2006

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M. Lee Fatherree, Photographer Tyler Street Studio, 2006

For Neri, such gestures—characteristic communicative gestures of the human form in space—are more accurate than language, and more truthful.

Verbal language is tricky. It can be manipulated, and is open to misunderstanding. Because the figure “speaks” for him, as the vehicle of his chosen mode of “speech,” he must continue “speaking,” actively, in his own tongue, using the full range of his means. In his drive to convey his sense of the human, the calibrations of the body will always be for him more reliable than words.

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With more than one series underway at any given time, each at a different stage of process, the artist pursues a tireless quest for all that he can say with and through the human form. Yet completion is not, strictly speaking, Neri’s sole objective. Even when a figure appears realized to us, it exists in a relationship with his other work. No single sculpture is discrete. The individual work wants to reach back into the larger field of the artist’s practice: if it does not quite depend for its meaning on the great community of figures behind

M. Lee Fatherree, Photographer Manuel Neri with Curator Bruce Guenther Tyler Street Studio, 2006

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it, neither can its existence be entirely separated from theirs. At some level, Neri’s process can be understood as a mode of research into a broader figurative language, and with this in mind, we can see, too, how his work also begins to seek out its ancestry among figural modes of the past as a kind of contextual background. Neri’s identity as a contemporary artist lies, of course, in his insistence that he remain the final source of authority in his work, the source of the figural gestures, the surface textures and colors, the sprawling intricacy of the constructive process itself. But because he is aware of the art-historical past, and knows it so well, Neri insists that any conversation with it, through the form, be conducted in an unmistakably contemporary voice.The language of the figure is never static, and Neri carries it forward in and through his own time.

Amid the intersections of language and process, we can return to the idea of Neri as an improviser. Improvisation does not denote an absence of discipline. Exactly the opposite. He can improvise on the form, with all his material means at hand, because he has made the effort to acquire fluency. The strategies of his practice—resembling the scales and etudes of a musician—assure him that mastery, embedded deep in his own body, will support him as he performs in an intuitive, spontaneous way.

Bruce Nixon

BRUCE NIXON is an art writer and independent scholar who has written about contemporary art for numerous publications, including books, magazines, monographs, and exhibition catalogues. From 1990 to 1996, he was editor-in-chief of Artweek, a weekly art journal based in Northern California. He has written essays for gallery and museum catalogues for artists Manuel Neri, Frank Lobdell, Wally Hedrick, Robert Arneson, Cianne Fragione, Seymour Locks, Hassel Smith, Oliver Jackson, Younhee Paik, Jessica Dunne, and Charles Ginnever, among others. He received an M.F.A. in Creative Writing from Mills College, Oakland, in 1993.

OPPOSITE AND ABOVE

David Wakely, Photographer Benicia Studio, 1987

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MANUEL NERI COLLECTIONS

CLARINDA C ARNEGIE ART MUSEUM KAREN AND ROBERT DUNC AN COLLECTION

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Untitled Relief Study II (Mexico), 1993 Mixed media on paper 17 × 14 in.

43.2 × 34.6 cm

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Arcos de Geso III, 1985 Plaster and mixed media 78¾ × 56 × 14½ in.

200.0 × 142.2 × 36.8 cm Karen and Robert Duncan Collection

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Bull Jumper II, 1987 Plaster and mixed media 19½ × 50½ × 30 in.

49.5 × 128.3 × 76.2 cm

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Bull Jumper II (Cast 1/4), 1989 Bronze with oil-based pigments 19½ × 50 × 30 in.

49.5 × 127.0 × 76.2 cm Karen and Robert Duncan Collection

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Recuerdo Benicia No. 20, 1993 Mixed media on paper 40¾ × 26 in.

103.5 × 66.0 cm

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Encantada III, 2004 Marble 45½ × 19 × 14 in.

115.6 × 48.3 × 35.6 cm

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Encantada III (Back View), 2004 Marble 45½ × 19 × 14 in.

115.6 × 48.3 × 35.6 cm

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Torso – Back View VI, 1976 Mixed media on paper 343/4 × 231/2 in.

88.3 × 59.7 cm

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Arcos de Geso Study No. 4 (Diptych), 1984 Mixed media on paper 13 5∕8 × 20 7∕8 in.

34.6 × 53.0 cm

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Arcos de Geso Study [Gustavo No. 36], 1985 Mixed media on paper 13 5∕8 × 10 5∕8 in.

34.6 × 27.0 cm

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Untitled IX, 1998 Mixed media on paper 39 3∕8 × 27½ in.

100.0 × 69.9 cm

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Maha – Bronze Relief No.1 (Cast 1/4), 2006 Bronze with oil-based pigments 42¾ × 32¾ × 10¾ in.

108.6 × 83.2 × 27.3 cm Karen and Robert Duncan Collection

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Untitled Relief Study IV (Mexico), 1993 Mixed media on paper 17 × 14 in.

43.2 × 35.6 cm

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Maha – Bronze Relief No. 5 (Cast 1/4), 2006 Bronze with oil-based pigments 43¼ × 34¼ × 10¾ in.

109.9 × 87.0 × 27.3 cm Karen and Robert Duncan Collection

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OPPOSITE ABOVE LEFT

Maha No. 11, 1986 Mixed media on paper 41½ × 29½ in.

105.4 × 74.9 cm RIGHT

K.C. No. 9, 1986 Mixed media on paper 41½ × 293/4 in.

105.4 × 75.6 cm BELOW LEFT

Maha No. 13, 1986 Mixed media on paper 41¼ × 29½ in.

104.8 × 74.9 cm Maha – Bronze Relief No. 6 (Cast 1/4), 2006 Bronze with oil-based pigments 42½ × 32½ × 10½ in.

108.0 × 82.6 × 26.7 cm Karen and Robert Duncan Collection

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OPPOSITE ABOVE LEFT

Japanese Dancer Series No. 3 [Makiko], 1980 Mixed media on paper 41¾ × 29¾ in.

106.0 × 75.6 cm RIGHT

Japanese Dancer Series No. 11 [Makiko], 1985 Mixed media on paper 41¾ × 29¾ in.

106.0 × 75.6 cm BELOW LEFT

Japanese Dancer Series No. 13 [Makiko], 1985 Mixed media on paper 41¾ × 29¾ in.

106.0 × 75.6 cm Makiko I, 1983 Plaster and mixed media 16¾ × 13 × 10 in.

42.5 × 33.0 × 25.4 cm

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Japanese Dancer Series No. 9 [Makiko], 1980 Mixed media on paper 41½ × 29¾ in.

105.4 × 75.6 cm

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Makiko I (Cast A/P-I), 1983; Cast 2014; Patina 2016 Bronze with oil-based pigments 16¾ × 13 × 10 in.

42.5 × 33.0 × 25.4 cm

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Makiko II (Cast A/P-I),1983; Cast 2014; Patina 2016 Bronze with oil-based pigments 16¾ × 13 × 10 in.

42.5 × 33.0 × 25.4 cm

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Makiko III (Cast A/P-I), 1983; Cast 2014; Patina 2016 Bronze with oil-based pigments 15 × 13 × 10 in.

38.1 × 33.0 × 25.4 cm

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Makiko IV (Cast A/P-I), 1983; Cast 2014; Patina 2016 Bronze with oil-based pigments 16¾ × 13 × 10 in.

42.5 × 33.0 × 25.4 cm

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Painting on Printed Paper No. 6, 1980 Mixed media on printed paper 24¾ × 22 in.

62.9 × 55.9 cm Karen and Robert Duncan Collection

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Mary Julia Torso II, 2009 Mixed media on paper 30 1∕8 × 22¼ in.

76.5 × 56.5 cm

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Mary Julia Torso IX, 2009 Mixed media on paper 30 1∕8 × 22¼ in.

76.5 × 56.5 cm

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Pecadoras Series I (Cast 2/4), 2001 Bronze with oil-based pigments 31¼ × 7 7∕8 × 7¼ in.

79.4 × 20.0 × 18.4 cm Karen and Robert Duncan Collection

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Posturing Series No. 2, 1978 Plaster and mixed media 31 × 21½ × 12 in.

78.7 × 54.6 × 30.5 cm Karen and Robert Duncan Collection

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Posturing Series No. 2 (Cast 2/4), 1978; Cast 2007 Bronze with oil-based pigments 31 × 21¼ × 12 in.

78.7 × 54.0 × 30.5 cm Karen and Robert Duncan Collection

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Andrea No. 12, 1984 Mixed media on paper 17 × 12½ in.

43.2 × 31.8 cm

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Ostrakon Series No. 2 (Cast 4/4), 1984; Cast 2007 Bronze with patina 20 × 5¾ × 5 5∕16 in.

50.8 × 14.6 × 13.7 cm Karen and Robert Duncan Collection

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MANUEL NERI COLLECTION

UNIVERSITY MUSEUMS Iowa State University, Ames

CHRISTIAN PETERSEN ART MUSEUM

IOWA STATE UNIVERSITY

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Alicia No. 19, 1994 Mixed media on paper 40 7∕8 × 25 7∕8 in.

103.8 × 65.7 cm

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Alicia No. 18, 1994 Mixed media on paper 39 7∕16 × 26¼ in.

100.8 × 66.7 cm

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Arcos de Geso Study [Amalfi No. 4] (Diptych), 1984 Mixed media on paper 17 × 24 in.

43.2 × 61.0 cm

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Arcos de Geso Study [Gustavo No. 6], 1985 Mixed media on paper 13 5∕8 × 10 5∕8 in.

34.6 × 27.0 cm

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Ink and Pastel Figure Study No. 77, 1958 Mixed media on paper 13 9∕16 × 10¾ in.

34.5 × 27.3 cm

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Mary Julia – Back I, 2001 Mixed media on paper 39¼ × 27½ in.

99.7 × 69.9 cm

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Autos Sacramentales VIII, 1997 Mixed media on paper 41 × 26¼ in.

104.1 × 66.7 cm

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Arcos de Geso XI, 1985 Plaster and mixed media 87 × 57 × 15½ in.

221.0 × 144.8 × 39.4 cm

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Untitled VII, 1998 Mixed media on paper 39 3∕8 × 27½ in.

100.0 × 69.9 cm OPPOSITE

Escalieta I, 1998 Marble 72 3∕8 × 26½ × 19½ in.

183.8 × 67.3 × 49.5 cm Installed at the Gerdin Building, Iowa State University, Ames

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FIGURE STUDIES — PAINTINGS ON PRINTED PAPER ABOVE , LEFT TO RIGHT

Cabeza Study No. 20, 1978 Mixed media on printed paper 12¼ × 9 3∕8 in.

31.1 × 23.8 cm Christopher Gannon, Photographer Cabeza Study No. 22, 1978 Mixed media on printed paper 12 1∕8 × 9 3∕8 in.

30.8 × 23.8 cm BELOW, LEFT TO RIGHT

Gesture Study No. 28, 1980 Mixed media on printed paper 12 1∕8 × 9 3∕8 in.

30.8 × 23.8 cm Gesture Study No. 39, 1980 Mixed media on printed paper 12¼ × 9½ in.

31.1 × 24.1 cm

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Gesture Study No. 70, 1980 Mixed media on printed paper 12 1∕8 × 9 3∕8 in.

30.8 × 23.8 cm

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ABOVE , LEFT TO RIGHT

Posturas Study No. 35, 1984 Mixed media on printed paper 12 1∕8 × 9 3∕16 in.

30.8 × 24.3 cm Posturas Study No. 40, 1984 Mixed media on printed paper 12 1∕8 × 9 3∕16 in.

30.8 × 24.3 cm BELOW, LEFT TO RIGHT

Posturas Study No. 47, 1984 Mixed media on printed paper 12 1∕8 × 9 3∕16 in.

30.8 × 24.3 cm Posturing Series No. 44, 1978 Mixed media on printed paper 12 3∕8 × 9 3∕8 in.

31.4 × 23.8 cm

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Sitting and Standing Study No. 33, 1978 Mixed media on printed paper 12 1∕8 × 9¼ in.

30.8 × 23.5 cm

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FIGURE STUDIES — PASTELS

Ink and Pastel Figure Study No. 49, 1958 Mixed media on paper 13 9∕16 × 10¾ in.

34.4 × 27.3 cm

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Ink and Pastel Figure Study No. 62, 1958 Mixed media on paper 13 9∕16 × 10¾ in.

34.4 x 27.3 cm

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La Palestra No. 6 (Cast A/P), 1998; Cast 2007; Patina 2016 Bronze with oil-based pigments 32 × 21 × 44 in.

81.3 × 53.3 × 111.8 cm

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Mujer Pegada Study No. 4, 1984 Mixed media on paper 13 5∕8 × 10 5∕8 in.

34.6 × 27.0 cm

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ABOVE , LEFT TO RIGHT

Marble Relief Maquette No. 1 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 × 9½ × 3½ in.

71.1 × 24.1 × 8.9 cm Marble Relief Maquette No. 2 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 23 7∕8 × 7¼ × 3 in.

60.6 × 18.4 × 7.6 cm BELOW, LEFT TO RIGHT

Marble Relief Maquette No. 3 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 × 10 1∕16 × 3½ in.

71.1 × 25.6 × 8.9 cm Marble Relief Maquette No. 4 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 26 7∕8 × 10 1∕8 × 3½ in.

68.3 × 25.7 × 8.9 cm

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ABOVE , LEFT TO RIGHT

Marble Relief Maquette No. 5 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 1∕8 × 10¼ × 3½ in.

71.4 × 26.0 × 8.9 cm Marble Relief Maquette No. 6 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 1∕8 × 10 × 4 in.

71.4 × 25.4 × 10.2 cm BELOW, LEFT TO RIGHT

Marble Relief Maquette No. 7 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 22 × 6¾ × 2½ in.

55.9 × 17.1 × 6.4 cm Marble Relief Maquette No. 8 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 1∕8 × 10 × 2 7∕8 in.

71.4 × 25.4 × 7.3 cm

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Marble Relief Maquette No. 9 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 22 1∕8 × 6¾ × 2¾ in.

56.2 × 17.1 × 7.0 cm

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OPPOSITE ABOVE LEFT

Mujer Pegada Study – Carrara No. 9, 1984 Mixed media on paper 13½ × 12 1∕8 in.

34.3 × 31.4 cm RIGHT

Maha – Bronze Maquette No. 8 (Cast A/P), 2005 Bronze with oil-based pigments 23 × 15 × 3 in.

58.4 × 38.1 × 7.6 cm BELOW LEFT

Maha – Ceramic Maquette III, 1986 Ceramic 20 × 14½ × 3½ in.

50.8 × 36.8 × 8.9 cm Maha – Bronze Maquette No. 7 (Cast 1/4), 2006 Bronze with oil-based pigments 22 × 16 × 3 in.

55.9 × 40.6 × 7.6 cm

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ABOVE , LEFT TO RIGHT

Mujer Pegada Study – Carrara No. 13, 1984 Mixed media on paper 133/4 × 10 5∕8 in.

34.9 × 27.0 cm Mujer Pegada Study – Carrara No. 14, 1984 Mixed media on paper 133/4 × 10 5∕8 in.

34.9 × 27.0 cm BELOW, LEFT TO RIGHT

Mujer Pegada Study – Carrara No. 15, 1984 Mixed media on paper 133/4 × 10 5∕8 in.

34.9 × 27.0 cm Mujer Pegada Study – Carrara No. 16, 1984 Mixed media on paper 133/4 × 10 5∕8 in.

34.9 × 27.0 cm

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Mujer Pegada – Bronze Maquette II (Cast 3/4), 2006 Bronze with oil-based pigments 22¾ × 16 × 3½ in.

57.8 × 40.6 × 8.9 cm

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Mujer Pegada Study – Carrara VI, 1984 Mixed media on paper 133/4 × 10 5∕8 in.

34.9 × 27.0 cm

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Mujer Pegada Series No. 1 (Cast 3/4), 2006 Bronze with oil-based pigments 71¾ × 56 × 12½ in.

182.2 × 142.2 × 31.8 cm Gift of Jinx and Frank Lobdell

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Steve Moore, Photographer Benicia Studio, 1976

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MANUEL NERI CURATOR’S NOTES I have a hard time letting things go. … [In the early 1960s], I realized that you are an artist all your life—not just when you’re preparing for the next show. I began to think in terms of a life’s career, rather than just next year or the year after.

—Manuel Neri

THE HUMAN FORM AS A SUBJECT has dominated Manuel Neri’s work

throughout his career. Since the 1950s, he has constructed life-size figures that represent the centrality of his artistic expression. Neri’s figures do not feel anchored in time; they float freely through the history of human artifacts and may seem analogous to archeological fragments, while always remaining kin to modern sculptural modes.

In some ways, Neri’s early works reflect an artistic milieu that flowered in the San Francisco Bay Area in the late 1950s and early 1960s, in which many artists turned from pure abstraction to figurative traditions. However, Neri’s artistic development and career cannot be viewed as simply regional. Neri’s work has incorporated artistic concepts of humanness from a variety of historical sources—as varied as Classical Greek and Egyptian art, and modernist ideas expressed in the work of Alberto Giacometti and Marino Marini—that he has transformed into his own contemporary figurative language.

In Neri’s plaster sculptures, the surrounding atmosphere seems to enclose the figures’ mass, as the textured surfaces absorb light into the dull white hollows. Hands, facial features, and feet are often left undefined, and at

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Steve Moore, Photographer Benicia Studio, 1976 OPPOSITE

Mary Julia, 1976 [Standing Figure V], 1976 Plaster and mixed media 66 × 19 × 13 in.

167.6 × 48.3 × 33.0 cm Private Collection

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times are merely vague plaster forms attached with rags or wire. Naturalistic details are reduced, creating dream-like effigies poised between the physical and spiritual realms.

His figurative sculptures, particularly those created since 1972 with his principal model, Mary Julia Klimenko, are disarming in their tension between gestural assertion and the delicacy and vulnerability also inherent in the human form. To be in the same room with these figures and to share the space with them is a haunting and surreal experience.

Neri’s sculptures are filled with a mysterious power. The way the figure stands, sits, or gestures expresses an essential humanity embodied in the sculptural form that is communicated directly to the viewer. While the philosophical and emotional implications of his figurative sculpture may not be the artist’s primary concern when working in the studio, Neri’s sculptures nevertheless present us with a deeper understanding of what it means to be human.

George W. Neubert

George W. Neubert is Director of the Flatwater Art Foundation. He previously served as Director and Curator of Contemporary Art at the San Antonio Museum of Art (1999–2004); Director of the Sheldon Museum of Art in Lincoln, Nebraska (1983–1999); Associate Director of Art at the San Francisco Museum of Modern Art (1980–1983); and Chief Curator of Art at The Oakland Museum, California (1970–1980).

The above text is an edited excerpt from an essay written by George Neubert in 1976 for the catalogue for the exhibition Manuel Neri: Sculptor, which he organized at The Oakland Museum. The quote by Manuel Neri was published in an article by Thomas Albright, “Manuel Neri: A Kind of Time Warp,” Currant, April-May 1975.

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M. Lee Fatherree, Photographer Tyler Street Studio, 2007

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MANUEL NERI EXHIBITION CHECKLIST

MANUEL NERI: THE MODERNIST FIGURE JUNE 18 – DECEMBER 3, 2017

CLARINDA C ARNEGIE ART MUSEUM, IOWA

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NOTE: Exhibition checklist is arranged alphabetically.

Unless otherwise noted, works are from the collection of the Clarinda Carnegie Art Museum, Iowa.

Alicia No. 18, 1994 Mixed media on paper 39 11∕16 × 26¼ in.

100.8 × 66.7 cm University Museums, Iowa State University, Ames

Arcos de Geso III, 1985 Plaster and mixed media 78¾ × 56 × 14½ in.

200.0 × 142.2 × 36.8 cm Karen and Robert Duncan Collection

Arcos de Geso Study [Amalfi No. 4] (Diptych), 1984 Mixed media on paper 17 × 24 in.

43.2 × 61.0 cm University Museums, Iowa State University, Ames

Arcos de Geso Plaster Maquette XII, 1984 Plaster and mixed media 24½ × 17½ × 3 in.

62.2 × 44.5 × 7.6 cm Private Collection

Arcos de Geso [La Figura/Escalieta Study No. 11], 1984 Mixed media on paper 14 × 10½ in.

35.6 × 26.7 cm Private Collection

Arcos de Geso Study [Gustavo No. 6], 1985 Mixed media on paper 1 5∕8 × 10 5∕8 in.

34.6 × 27.0 cm University Museums, Iowa State University, Ames

Arcos de Geso Study [Gustavo No. 36], 1985 Mixed media on paper 13 5∕8 × 10 5∕8 in.

34.6 × 27.0 cm

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Arcos de Geso Study No. 4 (Diptych), 1984 Mixed media on paper 13 5∕8 × 20 7∕8 in.

34.6 × 53.0 cm

Arcos de Geso Study No. 11, 1984 Mixed media on paper 13 5∕8 × 10 5∕8 in.

34.6 × 27.0 cm Courtesy of Hackett | Mill, San Francisco

Arcos de Geso Study [Pisano No. 50], 1982 Mixed media on paper 161/2 × 12 1∕8 in.

41.9 × 30.8 cm Courtesy of Hackett | Mill, San Francisco

Bull Jumper II, 1987 Plaster and mixed media 19½ × 50 × 30 in.

49.5 × 127.0 × 76.2 cm

Bull Jumper II (Cast 1/4), 1989; Cast 1990 Bronze with oil-based pigments 19½ × 50 × 30 in.

49.5 × 127.0 × 76.2 cm Karen and Robert Duncan Collection Catun No. 1 (Cast A/P), 1986; Cast 2007; Patina 2016 Bronze with oil-based pigments 67 × 19 × 12½ in.

170.2 × 48.3 × 31.8 cm Eva and George Neubert, Brownville, NE, Courtesy of Flatwater Art Foundation

Couple of Girls, 1967 Lithograph Proof; Mixed media on paper 30½ × 22½ in.

77.5 × 57.2 cm Sheldon Museum of Art, University of Nebraska—Lincoln, Anna R. and Frank M. Hall Charitable Trust, H-1467.8.1970

Encantada III, 2004 Marble 45½ × 19 × 14 in.

115.6 × 48.3 × 35.6 cm

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Gesture Study No. 28, 1980 Mixed media on printed paper 12 1∕8 × 9 3∕8 in.

30.8 × 23.8 cm University Museums, Iowa State University, Ames

Gesture Study No. 39, 1980 Mixed media on printed paper 12¼ × 9½ in.

31.1 × 24.1 cm University Museums, Iowa State University, Ames

Gesture Study No. 70, 1980 Mixed media on printed paper 12 1∕8 × 9 3∕8 in.

30.8 × 23.8 cm University Museums, Iowa State University, Ames

Ink and Pastel Figure Study No. 49, 1958 Mixed media on paper 13 9∕16 × 10¾ in.

34.4 × 27.3 cm University Museums, Iowa State University, Ames

Ink and Pastel Figure Study No. 62, 1958 Mixed media on paper 13 9∕16 × 10¾ in.

34.4 × 27.3 cm University Museums, Iowa State University, Ames

Japanese Dancer Series No. 3 [Makiko], 1980 Mixed media on paper 41¾ × 29¾ in.

106.0 × 75.6 cm

Japanese Dancer Series No. 9 [Makiko], 1980 Mixed media on paper 41½ × 29¾ in.

105.4 × 75.6 cm

Japanese Dancer Series No. 11 [Makiko], 1985 Mixed media on paper 41¾ × 29¾ in.

106.0 × 75.6 cm

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Japanese Dancer Series No. 13 [Makiko], 1985 Mixed media on paper 41¾ × 29¾ in.

106.0 × 75.6 cm

La Palestra Drawing No. 2, 1988 Mixed media on paper 30 1∕8 × 40 in.

76.5 × 101.6 cm Courtesy of Yares Art, New York

La Palestra Study No. 6, 1987 Mixed media on paper 8½ × 11 in.

21.6 × 27.9 cm Courtesy of Hackett | Mill, San Francisco

Torso – Back View VI, 1976 Mixed media on paper 343/4 × 231/2 in.

88.3 × 59.7 cm

La Palestra Drawing No. 2, 1988 Mixed media on paper 30 1∕8 × 40 in.

76.5 × 101.6 cm Courtesy of Yares Art, New York

La Palestra Study No. 6, 1987 Mixed media on paper 8½ × 11 in.

21.6 × 27.9 cm Courtesy of Hackett | Mill, San Francisco

M.J./Parra Series No. 1, 1996 Mixed media on paper 66 × 45 in.

167.6 × 114.3 cm

Maha – Bronze Relief No. 1 (Cast 1/4), 2006 Bronze with oil-based pigments 42¾ × 32¾ × 10¾ in.

108.6 × 83.2 × 27.3 cm Karen and Robert Duncan Collection

Maha – Bronze Relief No. 5 (Cast 1/4), 2006

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Bronze with oil-based pigments 43¼ × 34¼ × 10¾ in.

109.9 × 87.0 × 27.3 cm Karen and Robert Duncan Collection

Maha – Bronze Relief No. 6 (Cast 1/4), 2006 Bronze with oil-based pigments 42½ × 32½ × 10½ in.

108.0 × 82.6 × 26.7 cm Karen and Robert Duncan Collection

Maha – Ceramic Maquette XII [Four Seasons I], 1986 Ceramic with glaze 22½ × 16 × 5 in.

57.2 × 40.6 × 12.7 cm Ree and Jun Kaneko, Omaha, NE Aaron Zavitz, Photographer Maha – Ceramic Maquette XIII [Four Seasons II], 1986 Ceramic with glaze 22½ × 16 × 7¼ in.

57.2 × 40.6 × 18.4 cm Ree and Jun Kaneko, Omaha, NE Aaron Zavitz, Photographer

Maha – Ceramic Maquette XIV [Four Seasons III], 1986 Ceramic with glaze 22¼ × 17 × 4½ in.

56.5 × 43.2 × 11.4 cm Ree and Jun Kaneko, Omaha, NE Aaron Zavitz, Photographer

Maha – Ceramic Maquette XV [Four Seasons IV], 1986 Ceramic with glaze 22¼ × 16¼ × 4 in.

56.5 × 41.3 × 10.2 cm Ree and Jun Kaneko, Omaha, NE Aaron Zavitz, Photographer

Maha No. 11, 1986 Mixed media on paper 41½ × 29½ in.

105.4 × 74.9 cm Maha No. 13, 1986 Mixed media on paper 41¼ × 29½ in.

104.8 × 74.9 cm

Makiko I, 1983

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Plaster and mixed media 16¾ × 13 × 10 in.

42.5 × 33.0 × 25.4 cm

Makiko I (Cast A/P-I), 1983; Cast 2014; Patina 2016 Bronze with oil-based pigments 16¾ × 13 × 10 in.

42.5 × 33.0 × 25.4 cm

Makiko II (Cast A/P-I), 1983; Cast 2014; Patina 2016 Bronze with oil-based pigments 16¾ × 13 × 10 in.

42.5 × 33.0 × 25.4 cm

Makiko III (Cast A/P-I), 1983; Cast 2014; Patina 2016 Bronze with oil-based pigments 15 × 13 × 10 in.

38.1 × 33.0 × 25.4 cm

Makiko IV (Cast A/P-I), 1983; Cast 2014; Patina 2016 Bronze with oil-based pigments 16¾ × 13 × 10 in.

42.5 × 33.0 × 25.4 cm

Marble Relief Maquette No. 1 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 × 9½ × 3½ in.

71.1 × 24.1 × 8.9 cm University Museums, Iowa State University, Ames

Marble Relief Maquette No. 2 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 23 7∕8 × 7¼ × 3 in.

60.6 × 18.4 × 7.6 cm University Museums, Iowa State University, Ames

Marble Relief Maquette No. 3 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 × 10 1∕16 × 3½ in.

71.1 × 25.6 × 8.9 cm University Museums, Iowa State University, Ames

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Marble Relief Maquette No. 4 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 26 7∕8 × 10 1∕8 × 3½ in.

68.3 × 25.7 × 8.9 cm University Museums, Iowa State University, Ames

Marble Relief Maquette No. 8 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 1∕8 × 10 × 2 7∕8 in.

71.4 × 25.4 × 7.3 cm University Museums, Iowa State University, Ames

Marble Relief Maquette No. 5 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 1∕8 × 10¼ × 3½ in.

71.4 × 26.0 × 8.9 cm University Museums, Iowa State University, Ames

Marble Relief Maquette No. 9 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 22 1∕8 × 6¾ × 2¾ in.

56.2 × 17.1 × 7.0 cm University Museums, Iowa State University, Ames

Marble Relief Maquette No. 6 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 1∕8 × 10 × 4 in.

71.4 × 25.4 × 10.2 cm University Museums, Iowa State University, Ames

M.J. Series II (Cast 2/4), 1989; Cast 1990; Patina 2016 Bronze with oil-based pigments 68½ × 10½ × 14 in.

174.0 × 26.7 × 35.6 cm Courtesy of Yares Art, New York

Marble Relief Maquette No. 7 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 22 × 6¾ × 2½ in.

55.9 × 17.1 × 6.4 cm University Museums, Iowa State University, Ames

Mary Julia (Cast 3/4), 2006 Bronze with oil-based pigments 65 × 19 × 15 in.

165.1 × 48.3 × 38.1 cm Courtesy of Hackett | Mill, San Francisco

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Mary Julia Torso II, 2009 Mixed media on paper 30 1∕8 × 22¼ in.

76.5 × 56.5 cm

Mary Julia Torso IX, 2009 Mixed media on paper 30 1∕8 × 22¼ in.

76.5 × 56.5 cm

Mujer Pegada – Bronze Maquette II (Cast 3/4), 2006 Bronze with oil-based pigments 22¾ × 16 × 3½ in.

57.8 × 40.6 × 8.9 cm University Museums, Iowa State University, Ames

Mujer Pegada Series No. 1 (Cast 3/4), 2006 Bronze with oil-based pigments 71¾ × 56 × 12½ in.

182.2 × 142.2 × 31.8 cm University Museums, Iowa State University, Ames, Gift of Frank and Jinx Lobdell

Mujer Pegada Study [Gustavo No. 22], 1985 Mixed media on paper 13 5∕8 × 10 5∕8 in.

34.6 × 27.0 cm Courtesy of Hackett | Mill, San Francisco

Omaha No. 5, 1986 Mixed media on paper 31 × 22 in.

78.7 × 55.9 cm Ree and Jun Kaneko, Omaha, NE

Ostrakon Series No. 5 (Cast A/P-I), 2007 Bronze with patina 25½ × 7 × 6 5∕8 in.

64.8 × 17.8 × 16.8 cm Kathryn and Marc LeBaron, Lincoln, NE

Painting on Printed Paper No. 1, 1996 Mixed media on printed paper 24 × 20 in.

61.0 × 50.8 cm

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Kathryn and Marc LeBaron, Lincoln, NE

Painting on Printed Paper No. 6, 1996 Mixed media on printed paper 24¾ × 22 in.

62.9 × 55.9 cm Karen and Robert Duncan Collection

Pecadoras Series I (Cast 2/4), 2001 Bronze with oil-based pigments 31¼ × 7 7∕8 × 7¼ in.

79.4 × 20.0 × 18.4 cm Karen and Robert Duncan Collection

Posturas Study No. 35, 1984 Mixed media on printed paper 12 1∕8 × 9 3∕16 in.

30.8 × 24.3 cm University Museums, Iowa State University, Ames

12 1∕8 × 9 3∕16 in.

30.8 × 24.3 cm University Museums, Iowa State University, Ames

Posturas Study No. 47, 1984 Mixed media on printed paper 12 1∕8 × 9 3∕16 in.

30.8 × 24.3 cm University Museums, Iowa State University, Ames

Posturing Series No. 2, 1978 Plaster and mixed media 31 × 21½ × 12 in.

78.7 × 54.6 × 30.5 cm Karen and Robert Duncan Collection

Posturing Series No. 2 (Cast 2/4), 1978; Cast 2007 Bronze with oil-based pigments 31 × 21¼ × 12 in.

78.7 × 54.0 × 30.5 cm Karen and Robert Duncan Collection

Posturas Study No. 40, 1984 Mixed media on printed paper Posturing Series No. 44, 1978

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Mixed media on printed paper 12 3∕8 × 9 3∕8 in.

31.4 × 23.8 cm University Museums, Iowa State University, Ames

Prietas Series IV (Cast 4/4), 1993; Painted 1998 Bronze with oil-based pigments 69 × 23 × 14 in.

175.3 × 58.4 × 35.6 cm Kathryn and Marc LeBaron, Lincoln, NE

Recuerdo Benicia No. 20, 1993 Mixed media on paper 403/4 × 26 in.

103.5 × 66.0 cm

Rosa Negra No. 1 (Cast 3/4), 1982; Cast 1983 Bronze with oil-based pigments 67½ × 34¼ × 17 in.

171.5 × 87.0 × 43.2 cm Sheldon Museum of Art, University of Nebraska—Lincoln, Olga N. Sheldon Acquisition Trust, U-3710.1985

She Said Series No. 2, 1990 Mixed media on paper 39 7∕8 × 26¼ in.

101.3 × 66.7 cm Ree and Jun Kaneko, Omaha, NE

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Fumie Kakinuma, Photographer Carrara Studio, 1993

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MANUEL NERI EXHIBITION CHECKLIST

MANUEL NERI: AMBIGUITY, MYSTERY AND ALLURE JANUARY 18 – MAY 18, 2018

CHRISTIAN PETERSEN ART MUSEUM IOWA STATE UNIVERSITY, AMES

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NOTE: Exhibition checklist is arranged alphabetically.

Unless otherwise noted, works are from the collection of University Museums, Iowa State University, Ames.

Alicia No. 18, 1994 Mixed media on paper 39 11∕16 × 26¼ in.

100.8 × 66.7 cm

Arcos de Geso Plaster Maquette XII, 1984 Plaster and mixed media 24½ × 17½ × 3 in.

62.2 × 44.5 × 7.6 cm Private Collection

Arcos de Geso Study [Amalfi No. 4] (Diptych), 1984 Mixed media on paper 17 × 24 in.

43.2 × 61.0 cm

Alicia No. 19, 1994 Mixed media on paper 40 7∕8 × 25 7∕8 in.

103.8 × 65.7 cm

Arcos de Geso Study [Gustavo No. 6], 1985 Mixed media on paper 13 5∕8 × 10 5∕8 in.

34.6 × 27.0 cm

Arcos de Geso XI, 1985 Plaster and mixed media 87 × 57 × 15½ in.

221.0 × 144.8 × 39.4 cm

Arcos de Geso Study No. 11, 1984 Mixed media on paper 13 5∕8 × 10 5∕8 in.

34.6 × 27.0 cm Private Collection

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Arcos de Geso Study [Pisano No. 50], 1982 Mixed media on paper 16½ × 12 1∕8 in.

41.9 × 30.8 cm Courtesy of Hackett | Mill, San Francisco

Autos Sacramentales VIII, 1997 Mixed media on paper 41 × 261/4 in.

104.1 × 66.7 cm

Cabeza Study No. 20, 1978 Mixed media on printed paper 12¼ × 9 3∕8 in.

31.1 × 23.8 cm Christopher Gannon, Photographer

Cabeza Study No. 22, 1978 Mixed media on printed paper 12 1∕8 × 9 3∕8 in.

30.8 × 23.8 cm

Catun No. 1 (Cast A/P), 1986; Cast 2003; Patina 2016 Bronze with oil-based pigments 67 × 19 × 12½ in.

170.2 × 48.3 × 31.8 cm Eva and George Neubert, Brownville, NE, Courtesy of Flatwater Art Foundation

Coming in Last Thursday (Cast 4/4) 1981; Cast 1998; Patina 2016 Bronze with oil-based pigments 64 × 231/4 × 14½ in.

162.6 × 58.8 × 36.8 cm Courtesy of Yares Art, New York

Couple of Girls, 1967 Lithograph Proof; Mixed media on paper 30½ × 22½ in.

77.5 × 57.2 cm Sheldon Museum of Art, University of Nebraska–Lincoln, Anna R. and Frank M. Hall Charitable Trust, H-1467.8.1970 Escalieta I, 1998 Marble 3 72 ∕8 × 26½ × 19½ in.

183.8 × 67.3 × 49.5 cm Installed in the Gerdin Building, Iowa State University, Ames

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Gesture Study No. 28, 1980 Mixed media on printed paper 12 1∕8 × 9 3∕8 in.

30.8 × 23.8 cm

Gesture Study No. 39, 1980 Mixed media on printed paper 12¼ × 9½ in.

31.1 × 24.1 cm

Gesture Study No. 70, 1980 Mixed media on printed paper 12 1∕8 × 9 3∕8 in.

30.8 × 23.8 cm

Ink and Pastel Figure Study No. 49, 1958 Mixed media on paper 13 9∕16 × 10¾ in.

34.4 × 27.3 cm

Ink and Pastel Figure Study No. 62, 1958 Mixed media on paper 13 9∕16 × 10¾ in.

34.4 × 27.3 cm

La Palestra Drawing No. 2, 1988 Mixed media on paper 30 1∕8 × 40 in.

76.5 × 101.6 cm Courtesy of Yares Art, New York

La Palestra No. 6 (Cast A/P), 1988; Cast 2007; Patina 2016 Bronze with oil-based pigments 32 × 21 × 44 in.

81.3 × 53.3 × 111.8 cm

La Palestra Study No. 6, 1987 Mixed media on paper 8½ × 11 in.

21.6 × 27.9 cm Courtesy of Hackett | Mill, San Francisco

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M.J. Series II (Cast 2/4), 1989; Cast 1990; Patina 2016 Bronze with oil-based pigments 68½ × 20½ × 14 in.

174.0 × 52.1 × 35.6 cm Courtesy of Hackett | Mill, San Francisco

Maha – Bronze Maquette No. 7 (Cast 1/4), 1986 Bronze with oil-based pigments 22 × 16 × 3 in.

55.9 × 40.6 × 7.6 cm

Maha – Bronze Relief No. 5 (Cast 1/4), 2006 Bronze with oil-based pigments 43¼ × 34¼ × 10¾ in.

109.9 × 87.0 × 27.3 cm Karen and Robert Duncan Collection

Maha – Ceramic Maquette III, 1986 Ceramic 20 × 14½ × 3½ in.

50.8 × 36.8 × 8.9 cm

Maha – Bronze Maquette No. 8 (Cast A/P), 1986 Bronze with oil-based pigments 23 × 15 × 3 in.

58.4 × 38.1 × 7.6 cm

Maha – Ceramic Maquette XII [Four Seasons I], 1986 Ceramic with glaze 22½ × 16 × 5 in.

57.2 × 40.6 × 12.7 cm Ree and Jun Kaneko, Omaha, NE Aaron Zavitz, Photographer

Maha – Bronze Relief No. 1 (Cast 1/4), 2006 Bronze with oil-based pigments 42¾ × 32¾ × 10¾ in.

108.6 × 83.2 × 27.3 cm Karen and Robert Duncan Collection

Maha – Ceramic Maquette XIII [Four Seasons II], 1986 Ceramic with glaze 22½ × 16 × 7¼ in.

57.2 × 40.6 × 18.4 cm Ree and Jun Kaneko, Omaha, NE Aaron Zavitz, Photographer

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Maha – Ceramic Maquette XIV [Four Seasons III], 1986 Ceramic with glaze 22¼ × 17 × 4½ in.

56.5 × 43.2 × 11.4 cm Ree and Jun Kaneko, Omaha, NE Aaron Zavitz, Photographer

Marble Relief Maquette No. 3 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 × 10 1∕16 × 3½ in.

71.1 × 25.6 × 8.9 cm

Maha – Ceramic Maquette XV [Four Seasons IV], 1986 Ceramic with glaze 22¼ × 16¼ × 4 in.

56.5 × 41.3 × 10.2 cm Ree and Jun Kaneko, Omaha, NE Aaron Zavitz, Photographer

Marble Relief Maquette No. 4 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 26 7∕8 × 10 1∕8 × 3½ in.

68.3 × 25.7 × 8.9 cm

Marble Relief Maquette No. 1 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 × 9½ × 3½ in.

71.1 × 24.1 × 8.9 cm

Marble Relief Maquette No. 2 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 23 7∕8 × 7¼ × 3 in.

60.6 × 18.4 × 7.6 cm

Marble Relief Maquette No. 5 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 1∕8 × 10¼ × 3½ in.

71.4 × 26.0 × 8.9 cm

Marble Relief Maquette No. 6 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 1∕8 × 10 × 4 in.

71.4 × 25.4 × 10.2 cm

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Marble Relief Maquette No. 7 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 22 × 6¾ × 2½ in.

55.9 × 17.1 × 6.4 cm

Mujer Pegada – Bronze Maquette II (Cast 3/4), 2006 Bronze with oil-based pigments 23 7∕8 × 16 × 3½ in.

57.8 × 40.6 × 8.9 cm

Marble Relief Maquette No. 8 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 28 1∕8 × 10 × 2 7∕8 in.

71.4 × 25.4 × 7.3 cm

Mujer Pegada Series No. 1 (Cast 3/4), 1986 Bronze with oil-based pigments 71¾ × 56 × 12½ in.

182.2 × 142.2 × 31.8 cm Gift of Jinx and Frank Lobdell

Marble Relief Maquette No. 9 (Cast 2/4), 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 22 1∕8 × 6¾ × 2¾ in.

56.2 × 17.1 × 7.0 cm

Mujer Pegada Study – Carrara VI, 1984 Mixed media on paper 133/4 × 10 5∕8 in.

34.9 × 27.0 cm

Mary Julia – Back I, 2001 Mixed media on paper 391/4 × 271/2 in.

99.7 × 69.9 cm

Mujer Pegada Study – Carrara No. 9, 1984 Mixed media on paper 131/2 × 12 3∕8 in.

34.3 × 31.4 cm

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Mujer Pegada Study – Carrara No. 13, 1984 Mixed media on paper 133/4 × 10 5∕8 in.

34.9 × 27.0 cm

Mujer Pegada Study No. 4, 1984 Mixed media on paper 13 5∕8 × 10 5∕8 in.

34.6 × 27.0 cm

Mujer Pegada Study – Carrara No. 14, 1984 Mixed media on paper 133/4 × 10 5∕8 in.

34.9 × 27.0 cm

Mujer Pegada Study [Gustavo No. 15], 1985 Mixed media on paper 13 5∕8 × 10 5∕8 in.

34.6 × 27.0 cm Private Collection

Mujer Pegada Study – Carrara No. 15, 1984 Mixed media on paper 133/4 × 10 5∕8 in.

34.9 × 27.0 cm

Mujer Pegada Study [Gustavo No. 22], 1985 Mixed media on paper 13 5∕8 × 10 5∕8 in.

34.6 × 27.0 cm Courtesy of Hackett | Mill, San Francisco

Mujer Pegada Study – Carrara No. 16, 1984 Mixed media on paper 133/4 × 10 5∕8 in.

34.9 × 27.0 cm

Omaha No. 5, 1986 Mixed media on paper 31 × 22 in.

78.7 × 55.9 cm Ree and Jun Kaneko, Omaha, NE

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Ostrakon Series No. 2 (Cast 4/4), 1984; Cast 2007 Bronze with patina 20 × 5¾ × 5 3∕16 in.

50.8 × 14.6 × 13.7 cm Karen and Robert Duncan Collection

Pecadoras Series I (Cast 2/4), 2001 Bronze with oil-based pigments 31¼ × 7 7∕8 × 7¼ in.

79.4 × 20.0 × 18.4 cm Karen and Robert Duncan Collection

Ostrakon Series No. 5 (Cast A/P-I), 1984; Cast 2007 Bronze with patina 25½ × 7 × 6 5∕8 in.

64.8 × 17.8 × 16.8 cm Kathryn and Marc LeBaron, Lincoln, NE

Posturas Study No. 35, 1984 Mixed media on printed paper 12 1∕8 × 9 3∕16 in.

30.8 × 24.3 cm

Painting on Printed Paper No. 1, 1996 Mixed media on printed paper 24 × 20 in.

61.0 × 50.8 cm Kathryn and Marc LeBaron, Lincoln, NE

Painting on Printed Paper No. 6, 1996 Mixed media on printed paper 24¾ × 22 in.

62.9 × 55.9 cm Karen and Robert Duncan Collection

Posturas Study No. 40, 1984 Mixed media on printed paper 12 1∕8 × 9 3∕16 in.

30.8 × 24.3 cm

Posturas Study No. 47, 1984 Mixed media on printed paper 12 1∕8 × 9 3∕16 in.

30.8 × 24.3 cm

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Posturing Series No. 2 (Cast 2/4), 1978; Cast 2007 Bronze with oil-based pigments 31 × 211/2 × 12 in.

78.7 × 54.6 × 30.5 cm Karen and Robert Duncan Collection

Posturing Series No. 44, 1978 Mixed media on printed paper 12 3∕8 × 9 3∕8 in.

31.4 × 23.8 cm

She Said Series No. 2, 1990 Mixed media on printed paper 39 7∕8 × 26¼ in.

101.3 × 66.7 cm Kathryn and Marc LeBaron, Lincoln, NE

Sitting and Standing Study No. 33, 1978 Mixed media on printed paper 12 1∕8 × 9¼ in.

30.8 × 23.5 cm

Untitled VII, 1998 Mixed media on paper 39 3∕8 × 271/2 in.

100.0 × 69.9 cm

Untitled Relief Study I (Mexico), 1993 Mixed media on paper 17 × 14 in.

43.2 × 35.6 cm Kathryn and Marc LeBaron, Lincoln, NE

Untitled Relief Study II (Mexico), 1993 Mixed media on paper 17 × 14 in.

43.2 × 35.6 cm Clarinda Carnegie Art Museum

Untitled Relief Study IV (Mexico), 1993 Mixed media on paper 17 × 14 in.

43.2 × 35.6 cm Clarinda Carnegie Art Museum

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Standing Armless Figure (Cast 1/4), 1974; Cast 2008; Patina 2016 Bronze with oil-based pigments 64¼ × 20¼ × 20 in.

163.2 × 51.4 × 50.8 cm Courtesy of Yares Art, New York

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M. Lee Fatherree, Photographer Anne Kohs and Manuel Neri Benicia Studio, 1992

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MANUEL NERI BIOGRAPHY BOOKS & C ATALOGUES MUSEUM & PUBLIC COLLECTIONS

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Fumie Kakinuma, Photographer Carrara Studio, 1992

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BIOGRAPHY

BORN 1930, Sanger, CA

EDUCATION 1949 – 50 San Francisco City College, San Francisco, CA 1951 – 52 University of California, Berkeley 1951 – 56 California College of Arts and Crafts, Oakland, CA 1956 – 58 California School of Fine Arts [San Francisco Art Institute], San Francisco

TEACHING 1959 – 65 California School of Fine Arts, San Francisco 1963 – 64 University of California, Berkeley 1965 – 90 University of California, Davis

GRANTS AND AWARDS 1953

Oakland Art Museum, First Award in Sculpture

1957

Oakland Art Museum, Purchase Award in Painting

1959

Nealie Sullivan Award, California School of Fine Arts, San Francisco

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1963

San Francisco Art Institute, 82nd Annual Sculpture Award

SELECTED SOLO EXHIBITIONS

1965

National Art Foundation Award

1957

The 6 Gallery, San Francisco, Manuel Neri, June

1970 – 75 University of California at Davis, Sculpture Grant

1959

Spatsa Gallery, San Francisco, Manuel Neri

1979

John Simon Guggenheim Memorial Foundation Fellowship

1960

Dilexi Gallery, San Francisco, Manuel Neri, June 20 – July 16

1980

National Endowment for the Arts, Individual Artist Grant

1963

1982

American Academy and Institute of Arts and Letters, AcademyInstitute Award in Art

New Mission Gallery, San Francisco, Neri Sculpture, July 20 – August 17

1964

Berkeley Gallery, Berkeley, CA, Manuel Neri

1985

San Francisco Arts Commission, Award of Honor for Outstanding Achievement in Sculpture

1966

Quay Gallery, San Francisco, Neri Sculpture

1968

Quay Gallery, San Francisco, Manuel Neri

1990

San Francisco Art Institute, Honorary Doctorate for Outstanding Achievement in Sculpture

1969

Louisiana State University, Baton Rouge, Manuel Neri

1992

California College of Arts and Crafts, Honorary Doctorate

1970

St. Mary’s College, Moraga, CA, Manuel Neri

1995

Corcoran School of Art, Washington, DC, Honorary Doctorate

1999

Orange County Museum of Art, Newport Beach, CA, Distinguished Artist Award

2006

International Sculpture Center, Lifetime Achievement Award in Contemporary Sculpture

2008

San Francisco Museum of Modern Art, Bay Area Treasure Award

COMMISSIONS 1980 – 82 Office of the State Architect, State of California, Marble sculpture Tres Marias for The Bateson Building, Sacramento 1987

North Carolina National Bank, Marble sculpture Española for NCNB Tower, Tampa, FL The Linpro Company, Marble sculpture Passage for the Christina Gateway Project, Wilmington, DE U.S. General Services Administration, Marble sculpture Ventana al Pacífico for U.S. Courthouse, Portland, OR

1994

Laumeier Sculpture Park, St. Louis, MO

2003

Iowa State University, Ames, Marble sculpture Escalieta I for the Gerdin Building St. Anne’s Church, Seattle, WA, Bronze sculpture Virgin Mary

San Francisco Art Institute, San Francisco, CA, Manuel Neri 1971

Art Gallery, University of Nevada, Reno, Manuel Neri San Francisco Museum of Art, San Francisco, CA, Arts of San Francisco: Manuel Neri, August 6 – September 5. Brochure Quay Gallery, San Francisco, Manuel Neri at Quay, November 9 – 27

1972

Sacramento State College Art Gallery, Sacramento, CA, Work by Manuel Neri, March 22 – April 18 Davis Art Center, Davis, CA, Manuel Neri: New Sculpture, October 27 – November 16

1974

Art Gallery, San Jose State University, San Jose, CA, Manuel Neri, February 13 – March 8 Davis Art Gallery, Stephens College, Columbia, MO, Manuel Neri: Sculpture and Installations, October 3 – 23

1975

Quay Gallery, San Francisco, Manuel Neri: Sculpture and Drawings, April 1 – 26

1976

Braunstein/Quay Gallery, New York, Neri Sculpture, March 16 – April 10 80 Langton Street, San Francisco, The Remaking of Mary Julia: Sculpture in Process, May 4 – 15 The Oakland Museum, Oakland, CA, Manuel Neri, Sculptor, September 21 – November 28. Travel: Utah Museum of Fine Arts, Salt Lake City, March 12 – May 1, 1977. Catalogue

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1977

ArtSpace/Open Ring, E. B. Crocker Art Gallery, Sacramento, CA, Manuel Neri: Recent Sculpture and Drawings, July 22 – August 20.

Brochure

Gimpel-Hanover & Andre Emmerich Galerien, Zurich, Switzerland, Manuel Neri, April 16 – June 7. Catalogue 1985

Robert Else Gallery, California State University, Sacramento, Manuel Neri: Sculpture and Drawings, October 15 – November 12.

Catalogue

1979

Gallery Paule Anglim, San Francisco, Manuel Neri, May 15 – June 9

1980

Whitman College, Walla Walla, WA, Manuel Neri: Sculpture and Drawings, April 1 – 30

1986

Richmond Art Center, Richmond, CA, Manuel Neri: Drawings, July 1 – 31

Charles Cowles Gallery, New York, Manuel Neri, February 1 – March 1

1987

Fay Gold Gallery, Atlanta, GA, Manuel Neri: Sculpture and Drawings, March 14 – April 22

Grossmont College Gallery, El Cajon, CA, Manuel Neri, November 10 – December 10 1981

Seattle Art Museum, Seattle, WA, Manuel Neri, January 15 – March 1.

Catalogue

San Antonio Art Institute, San Antonio, TX, Manuel Neri, November 24 – December 22 1988

Charles Cowles Gallery, New York, Manuel Neri, February 7 – 28.

Brochure

John Berggruen Gallery, San Francisco, Manuel Neri: Recent Sculpture and Drawings, April 28 – May 28. Catalogue

The Mexican Museum, San Francisco, Manuel Neri: Sculpture/ Drawings, May 7 – June 5 The Art Museum Association, Manuel Neri: Drawings and Bronzes.

Travel: Redding Museum and Art Center, Redding, CA; Fresno Art Center, Fresno, CA; Gardiner State University Art Gallery, Stillwater, OK; San Jose Museum of Art, San Jose, CA; North Dakota State University, Fargo; Arkansas Art Center, Little Rock; Abilene Fine Arts Museum, Abilene, TX; Art Museum of Santa Cruz County, Santa Cruz, CA; Florida International University, Miami; Springfield Art Museum, Springfield, MO; Honolulu Academy of Art, Honolulu, HI; Laumeier International Sculpture Park, St. Louis, MO. Brochure John Berggruen Gallery, San Francisco, Manuel Neri, November 17 – December 19 1982

Charles Cowles Gallery, New York, Manuel Neri, November 7 – 27

1983

Middendorf/Lane Gallery, Washington, DC, Manuel Neri, Sculpture and Drawings, January 26 – February 22

1984

John Berggruen Gallery, San Francisco, Manuel Neri, Sculpture and Drawings, February 23 – March 24 Middendorf Gallery, Washington, DC, Manuel Neri, March 10 – 31 Art Gallery, California State University, Chico, The Human Figure: Sculpture and Drawings by Manuel Neri, March 26 – April 13

College of Notre Dame, Belmont, CA, Manuel Neri, A Personal Selection, April 14 – May 21. Brochure

James Corcoran Gallery, Santa Monica, CA, Manuel Neri, October 29 – November 27. Catalogue 1989

Sheppard Fine Arts Gallery, University of Nevada, Reno, Manuel Neri, March 10 – April 3 Charles Cowles Gallery, New York, Manuel Neri, New Works: Marble and Plaster, April 29 – May 27. Catalogue San Francisco Museum of Modern Art, Manuel Neri: Plaster, May 25 – July 23. Catalogue Greg Kucera Gallery, Seattle, Manuel Neri: Sculpture and Drawings, June 1 – July 9 Riva Yares Gallery, Scottsdale, AZ, Manuel Neri: Sculpture of the 1980s, November 18 – December 25. Catalogue

1990

John Berggruen Gallery, San Francisco, Manuel Neri, March 21 – April 21 Crocker Art Museum, Sacramento, CA, Manuel Neri: Bronzes, August 10 – October 21. Catalogue.

Bingham Kurts Gallery, Memphis, TN, Manuel Neri: Works on Paper, October 19 – November 13 Margulies/Taplin Gallery, Coconut Grove, FL, Manuel Neri, December 28, 1990 – January 23, 1991

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1991

Charles Cowles Gallery, New York, Manuel Neri, February 2-23

Campbell-Thiebaud Gallery, San Francisco, Manuel Neri: Recent Drawings, May 23 – June 24

Richard L. Nelson Gallery, University of California, Davis, Manuel Neri: Drawings, Part I. 1953 – 1974, April 7 – May 19

Robischon Gallery, Denver, CO, Manuel Neri: Bronze Sculpture and Drawing, November 10, 1995 – January 6, 1996

Eve Mannes Gallery, Atlanta, Manuel Neri, April 12 – June 15

NICA Gallery at the Cannery, Nevada Institute for Contemporary Art, Las Vegas, Manuel Neri—Classical Expressions: Sculpture and Drawings, November 16 – December 31. Travel: Riva Yares Gallery, Scottsdale, AZ; Riva Yares Gallery, Santa Fe, NM. Catalogue

Riva Yares Gallery, Santa Fe, NM, Manuel Neri, June 1 – August 31 Richard L. Nelson Gallery, University of California, Davis, Manuel Neri: Drawings, Part II. 1974 – 1991, October 13 – December 6 1992

John Berggruen Gallery, San Francisco, Manuel Neri, March 5 – April 4 Morgan Gallery, Kansas City, MO, Manuel Neri, March 27 – May 2

1996

Margulies/Taplin Gallery, Boca Raton, FL, Manuel Neri, May 7 – June 11

Corcoran Gallery of Art, Washington, DC, Manuel Neri: A Sculptor’s Drawings. Travel: Laumeier Sculpture Park, Saint Louis, MO; Academy of Art College, San Francisco; Sheldon Memorial Art Gallery and Sculpture Garden, Lincoln, NE; The Hyde Collection, Glens Falls, NY; Fresno Art Museum, Fresno, CA. Catalogue

Fresno Art Center, Fresno, CA, She Said: I Tell You It Doesn’t Hurt Me, June 5 – August 16 1993

Bingham Kurts Gallery, Memphis, TN, Manuel Neri, January 8 – 31 Charles Cowles Gallery, New York, Manuel Neri: New Work: Marbles, Bronzes and Works on Paper, January 28 – March 6 Riva Yares Gallery, Scottsdale, AZ, Manuel Neri, February 11 – March 9 University of Alabama Art Gallery, Tuscaloosa, Manuel Neri— Drawings and Sculpture, March 26 – May 2 Dia Center for the Arts, Bridgehampton, NY, Manuel Neri: Painted and Unpainted, July 31 – September 19. Catalogue Campbell-Thiebaud Gallery, San Francisco, Manuel Neri: Recent Work, August 31 – October 2. Catalogue

1994

Margulies/Taplin Gallery, Boca Raton, FL, February 2 – 23 Hearst Art Gallery, St. Mary’s College, Moraga, CA, Manuel Neri: Master Artist Tribute III, November 11 – December 23. Catalogue Morgan Gallery, Kansas City, MO, Manuel Neri, December 2, 1994 – January 15, 1995

1995

Galerie Claude Samuel, Paris, Manuel Neri: Sculptures et Dessins, January 21 – February 28 Charles Cowles Gallery, New York, Manuel Neri, March 11 – April 15

Lisa Kurts Gallery, Memphis, TN, Manuel Neri: Recent Drawings and Sculpture, February 9 – March 7

1997

Corcoran Gallery of Art, Washington, DC, Manuel Neri: Early Work, 1953 – 1978, February 1 – May 5. Travel: San Jose Museum of Art, San Jose, CA; Orange County Museum of Art, Newport Beach, CA. Catalogue Corcoran Gallery of Art, Washington, DC, Manuel Neri: Recent Marble Sculpture, February 1 – May 5. Brochure San Marco Gallery, Dominican College, San Rafael, CA, Manuel Neri, March 3 – 29 Galerie Claude Samuel, Paris, France, Manuel Neri: Sculptures et Dessins, March 18 – April 25 Charles Cowles Gallery, New York, Manuel Neri, March 22 – April 26 Campbell Thiebaud Gallery, San Francisco, Manuel Neri, May 27 – June 28 Palo Alto Cultural Center, Palo Alto, CA, Manuel Neri: Recent Works, June 15 – September 7 Anne Reed Gallery, Ketchum, ID, Manuel Neri, June 30 – July 31

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1998

Robischon Gallery, Denver, Manuel Neri: Recent Drawings, Bronze and Marble Sculpture, November 8, 1997 – January 3, 1998

Charles Cowles Gallery, New York, Manuel Neri, March 22 – April 19

Galerie Simonne Stern, New Orleans, LA, Manuel Neri: Sculpture and Drawings, March 7 – 31

Anne Reed Gallery, Ketchum, ID, Manuel Neri: Sculpture and Drawings, June 29 – July 28

Palm Springs Desert Museum, Palm Springs, CA, Manuel Neri: A Sculptor and His Drawings, October 21, 1998 – January 24, 1999

2004

Riva Yares Gallery, Scottsdale, AZ, Manuel Neri, November 14 – December 31

Hackett-Freedman Gallery, San Francisco, Manuel Neri: Recent Marble Sculpture, June 3 – July 31

Charles Cowles Gallery, New York, Manuel Neri: Recent Work, December 1, 1998 – January 9, 1999 1999

Galerie Simonne Stern, New Orleans, Manuel Neri: Sculpture, February 6 – March 2

Bobbie Greenfield Gallery, Santa Monica, CA, Manuel Neri: He Said, She Said, October 2 – November 13 2005

Campbell-Thiebaud Gallery, Laguna Beach, CA, Manuel Neri: Sculpture & Drawings, May 19 – June 19

Stremmel Gallery, Reno, NV, Manuel Neri: Drawings and Sculpture, October 14 – November 6

Hackett-Freedman Gallery, San Francisco, Manuel Neri: Painted Bronzes and Plasters, April 7 – June 3. Catalogue

Campbell Thiebaud Gallery, San Francisco, Manuel Neri, February 15 – March 20

Reva and David Logan Gallery of Illustrated Books, California Palace of the Legion of Honor, Fine Arts Museums of San Francisco, Manuel Neri: Artists’ Books/The Collaborative Process, June 28 – November 27. Catalogue

Anne Reed Gallery, Ketchum, ID, Manuel Neri: Recent Works, July 7 – August 1 Charles Cowles Gallery, New York, Manuel Neri: Recent Bronzes, Marbles, Plasters and Drawings, September 5 – October 26 2001

2006

Galerie Simonne Stern, New Orleans, Manuel Neri, April 7 – May 1

2003

Grounds For Sculpture, Hamilton, NJ, Manuel Neri: The Figure in Relief, October 7, 2006 – April 29, 2007. Catalogue

Riva Yares Gallery, Scottsdale, AZ, Manuel Neri: White Sculpture and Dream Drawings, February 9 – March 4. Brochure Robischon Gallery, Denver, Manuel Neri: Sculpture/Drawings, November 1 – December 28 Hackett-Freedman Gallery, San Francisco, Manuel Neri— Metamorphosis: Recent Figurative Sculpture, February 6 – March 29.

Catalogue

Ameringer Yohe Fine Art, New York, Manuel Neri: In the Classical Tradition, February 23 – March 25. Catalogue Gallery Camino Real, Boca Raton, FL, Manuel Neri, March 9 – April 3

Hackett-Freedman Gallery, San Francisco, Manuel Neri, Paintings and Sculpture: 1958 – 1970, October 4 – 27. Catalogue 2002

University Museums, Iowa State University, Ames, Collaboration and the Creative Process: Sculpture and Artists Books by Manuel Neri and Mary Julia Klimenko, January 18 – May 15 Riva Yares Gallery, Scottsdale, AZ, Manuel Neri: 50 Years of Work, March 3 – April 4. Travel: Riva Yares Gallery, Santa Fe, NM. Catalogue

Robischon Gallery, Denver, Manuel Neri, September 11 – October 16

2000

San Jose Institute of Contemporary Art, San Jose, CA, Collaboration and the Creative Process: Artists’ Books by Manuel Neri and Mary Julia Klimenko, April 16 – June 4

Gerald Peters Gallery, Dallas, TX, Manuel Neri, November 17 – December 23 2007

Riva Yares Gallery, Scottsdale, AZ, Manuel Neri: The Figure in Relief, January 13 – February 12

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Hackett-Freedman Gallery, San Francisco, Manuel Neri: Painted Sculpture and Reliefs, March 8 – April 28

2014

Hackett|Mill, San Francisco, Manuel Neri, Working in Marble: A Selection from the Carrara Studio, February 7 – May 9

Portland Art Museum, Portland, OR, Manuel Neri: The Figure in Relief, March 18 – July 8

2016

Robischon Gallery, Denver, Manuel Neri: FIGURA|Form + Fragment, February 11 – April 2

Robischon Gallery, Denver, Manuel Neri, May 12 – June 16

Yares Art Projects, Santa Fe, NM, Manuel Neri Bronzes: Singularity of Form & Surface, July 29 – September 17

Anne Reed Gallery, Ketchum, ID, Manuel Neri: The Figure In Relief, August 1 – 29 Anne Reed Gallery, Ketchum, ID, Manuel Neri, November 22 – December 27 2008 2010 2011 2012

2017

San Jose Institute of Contemporary Art, San Jose, CA, Manuel Neri: The Figure In Relief, November 8, 2008 – January 17, 2009

Clarinda Carnegie Art Museum, Clarinda, IA, Manuel Neri: The Modernist Figure, June 18 – December 18. Catalogue

Marin Museum of Contemporary Art, Novato, CA, Legends of the Bay Area: Manuel Neri, October 1 – November 13

The Anderson Collection at Stanford University, Stanford, CA, Manuel Neri, September 15, 2017– February 12, 2018

Robischon Gallery, Denver, Manuel Neri, January 26 – March 10

Yares Art Projects, Santa Fe, NM, Manuel Neri: Mujer Pegada Series 1983 – 2013, July 5 – August 24

Yares Art, New York, Manuel Neri: Singularity of Form & Surface, February 23 – April 8. Catalogue Nasher Sculpture Center, Dallas, Recent Acquisitions from the Manuel Neri Trust, February 18 – July 16

Hackett|Mill, San Francisco, Manuel Neri: Collage, 1958-1960, October 8 – December 23

Stanford University Libraries, Green Library Bing Wing, Stanford University, Stanford, CA, Things that Dream/Cosas que sueñan, April 19 – July 8, 2012. Catalogue 2013

Hackett|Mill, San Francisco, Bronze: Recent Works by Manuel Neri, October 27 – December 16. Catalogue

2018

Christian Petersen Art Museum, Iowa State University, Ames, Manuel Neri: Ambiguity, Mystery and Allure, January 18 – May 18.

Catalogue Yale University Art Gallery, New Haven, CT, Manuel Neri: The Human Figure in Plaster and on Paper, March – July

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Nicolas Graille, Photographer Exhibition installation Yares Art/New York, 2017

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Fumie Kakinuma, Photographer Carrara Studio, 1992

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BOOKS & C ATALOGUES

ARTISTS’ BOOKS García Lorca, Federico; with Introduction by Mary Julia Klimenko. Café Cantante.

Unique artists’ book with poems by Federico García Lorca; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding by Daniel E. Kelm and The Wide Awake Garage, 2008. Collection of The National Gallery of Art, Washington, DC _____. Duende/Songs of Despair. Unique artists’ book with poems by Federico García Lorca; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding by Daniel E. Kelm and The Wide Awake Garage, 2009. Collection of the New York Public Library, New York, NY _____. El compás/Counting Time. Unique artists’ book with poems by Federico García Lorca; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding by Daniel E. Kelm and The Wide Awake Garage, 2007. _____. Es verdad/It is True. Unique artists’ book with poems by Federico García Lorca; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding by Daniel E. Kelm and The Wide Awake Garage, 2008. Collection of the Library of Congress, Washington, DC _____. La fragua. Unique artists’ book with poems by Federico García Lorca; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding by Daniel E. Kelm and The Wide Awake Garage, 2008.

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_____. Saetas/Songs of the Arrows. Unique artists’ book with poems by Federico García Lorca; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding by Daniel E. Kelm and The Wide Awake Garage, 2008

_____. La verdad y la poesía/Truth and Poetry. Unique artists’ book with poems by Pablo Neruda; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding by Daniel E. Kelm and The Wide Awake Garage, 2005. Private collection, Portola Valley, CA

_____. Soledad/Songs of Loneliness. Unique artists’ book with poems

by Federico García Lorca; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding by Daniel E. Kelm and The Wide Awake Garage, 2009. Collection of the Morgan Library & Museum, New York, NY

_____. Las piedras/Stones. Unique artists’ book with poems by Pablo Neruda; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding by Daniel E. Kelm and The Wide Awake Garage, 2005.

Private collection, Boston, MA

_____. Sonámbulo. Unique artists’ book with poems by Federico García Lorca; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding by Daniel E. Kelm and The Wide Awake Garage, 2007.

Collection of the Federico García Lorca Foundation, Spain _____. Tristezas/Songs of Sadness. Unique artists’ book with poems by Federico García Lorca; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding by Daniel E. Kelm and The Wide Awake Garage, 2009. Collection of Yale University Art Gallery, New Haven, CT Klimenko, Mary Julia. Crossings/Chassé-croisé. Berkeley, CA: Editions Koch, 2003. Photographs by M. Lee Fatherree; original artwork by Manuel Neri. Limited edition of 45 plus 10 deluxe editions _____. She Said: I Tell You It Doesn’t Hurt Me. San Diego, CA: Brighton Press, 1991. Handpainted etchings by Manuel Neri. Limited edition of 33 _____. Territory. San Diego, CA: Brighton Press, 1993. Photolithograph illustrations by Manuel Neri with one original drawing. Limited edition of 55 Neruda, Pablo; with Introduction by Mary Julia Klimenko. El mar de Isla Negra. Unique artists’ book with poems by Pablo Neruda; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding

by Daniel E. Kelm and The Wide Awake Garage, 2006. Private collection, Portola Valley, CA _____. La mañana, las tardes, y esta noche/Morning, Afternoons, and Tonight. Unique artists’ book with poems by Pablo Neruda; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding

by Daniel E. Kelm and The Wide Awake Garage, 2004. Collection of The Metropolitan Museum of Art, New York, NY

_____. Los amores/The Loves. Unique artists’ book with poems by Pablo Neruda; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding by Daniel E. Kelm and The Wide Awake Garage, 2004 _____. Melancolia. Unique artists’ book with poems by Pablo Neruda; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding by Daniel E. Kelm and The Wide Awake Garage, 2005. Private collection, Portola Valley, CA _____. Oda a la bella desnuda/Ode to a Beautiful Nude. Unique artists’ book with poems by Pablo Neruda; original drawings by Manuel Neri; hand calligraphy by Thomas Ingmire; binding by Daniel E. Kelm and The Wide Awake Garage, 2004. Private collection, Portola Valley, CA

BOOKS Albright, Thomas. Art in the San Francisco Bay Area, 1945–1980. Berkeley, CA: University of California Press, 1985 Andersen, Wayne. American Sculpture in Process: 1930–1970. Boston, MA: New York Graphic Society, 1975 Anderson, Mark; Bruce, Chris, and Wells, Keither, with essay by Jim Dine.

Extending the Artist’s Hand: Contemporary Sculpture from Walla Walla Foundry. Pullman, WA: Museum of Art, Washington State University, 2004 Aukeman, Anastasia. Welcome to Painterland: Bruce Conner and the Rat Bastard Protective Association. Los Angeles and Berkeley, CA: University of California Press, 2016 Barron, Stephanie; Bernstein, Sherri, and Fort, Ilene Susan. Made in California: Art, Image, and Identity, 1900–2000. Los Angeles, CA: Los Angeles County Museum of Art and University of California Press, 2000

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Cancel, Luis R., et al. The Latin American Spirit: Art and Artists in the United States, 1920–1970. Bronx, NY: Bronx Museum of the Arts and Harry N. Abrams, 1988

Mamiya, Christin J. “Manuel Neri” in Sculpture from the Sheldon Memorial Art Gallery. Karen O. Janovy, ed. Lincoln, NE, and London, UK: University of Nebraska Press, 2005

Cándida Smith, Richard. Utopia and Dissent: Art, Poetry, and Politics in California. Berkeley, CA; Los Angeles, CA, and London, UK: University of California Press, 1995

Manhart, Marcia, and Manhart, Tom, eds. The Eloquent Object. Tulsa, OK: The Philbrook Museum of Art, 1987

Clark, Garth, and Hughto, Margie. A Century of Ceramics in the United States, 1878–1978. New York, NY: E.P. Dutton in association with the Everson Museum of Art, 1979

Martin, Alvin. American Realism: Twentieth-Century Drawings and Watercolors From the Glenn C. Janss Collection. New York, NY: Harry N. Abrams, Inc., and San Francisco, CA: San Francisco Museum of Modern Art, 1985

Clinton, Hillary Rodham (Foreword); Finn, David, and Monkman, Betty C. 20th-Century American Sculpture in the White House Garden. New York, NY: Harry N. Abrams, Inc., 2000

McFadden, David Revere; Panczenko, Russell; Ilse-Neuman, Ursula; Scanlan, Jennifer, et al. Dual Vision: The Simona and Jerome Chazen Collection.

New York, NY: Museum of Arts & Design, 2005

Congdon, Kristin G., and Hallmark, Kara Kelley. Artists from Latin American Cultures: A Biographical Dictionary. Westport, CT, and London, UK: Greenwood Press, 2002

Natsoulas, John, et al. The Beat Generation Galleries and Beyond. Davis, CA: John Natsoulas Press, 1996

Gilbert, Rita. Living with Art. New York, NY: Random House, 1985 Herskovic, Marika. American Abstract and Figurative Expressionism: Style is Timely Art is Timeless. New York, NY: New York School Press, 2009

Nixon, Bruce. Things That Dream: Contemporary Calligraphic Artists’ Books/ Cosas que sueñan: Libros de artistas caligráficos contemporáneos.

Stanford, CA: Stanford University, 2012

Hopkins, Henry. 50 West Coast Artists. San Francisco, CA: Chronicle Books, 1981

Paz, Octavio; Beardsley, John, and Livingston, Jane. Hispanic Art in the United States. New York, NY: Abbeville Press, 1987

_____. Foreword to Artists: The Creative Personality, Photographs by Jim Arkatov. Seattle, WA: University of Washington Press, 1998

Plagens, Peter. Sunshine Muse. New York, NY: Praeger Publishers, 1974

Jones, Caroline A. Bay Area Figurative Art: 1950–1965. Berkeley, CA: University of California Press, 1989 Kelly, James J. The Sculptural Idea (4th ed.). Long Grove, IL: Waveland Press, 2004 Knight, Gregory G., et al. The Chicago Public Art Guide. Chicago, IL: Department of Public Affairs, 2005 Krantz, Les. American Artists: An Illustrated Survey of Leading Americans.

Chicago, IL: The Krantz Company Publishers, 1985 Langland, Tuck. From Clay to Bronze: A Studio Guide to Figurative Sculpture.

New York, NY: Watson-Guptill Publications, 1999

Niles, Bo. Timeless Design. Glen Cove, NY: PBC International, Inc., 1997

Quirarte, Jacinto. Mexican American Artists. Austin, TX: University of Texas Press, 1973 Saeks, Diane Dorrans. San Francisco Interiors. San Francisco, CA: Chronicle Books, 1995 Sayre, Henry. A World of Art (7th ed.). London, UK: Pearson Education, 2012 Solomon, Holly, and Anderson, Alexandra. Living with Art. New York, NY: Rizzoli International Publishers, Inc., 1985 Williams, Thomas. The Bay Area School: Californian Artists of the 1940s, 1950s and 1960s. London, UK: Lund Humphries, 2013

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CATALOGUES Abrams, Harry N. American Images: The SBC Collection. New York, NY: Harry N. Abrams, Inc., 1996 Adelphia Society. A Bid for Human Rights. San Francisco, CA: Adelphia Society, 1988 Albright, Thomas. Manuel Neri. San Francisco, CA: John Berggruen Gallery; Santa Monica, CA: James Corcoran Gallery, and New York, NY: Charles Cowles Gallery, 1988

Boas, Nancy. As I Am: Painting the Figure in Post-War San Francisco. San Francisco, CA: Hackett|Mill, 2016 Bolomey, Roger. Forgotten Dimension—A Survey of Small Sculpture in California Now. Fresno, CA: Fresno Arts Center, 1982 Boynton, James, ed. San Francisco 9. Houston, TX: Houston Contemporary Arts Museum, 1962 Braunstein Gallery. Braunstein Gallery Twentieth Anniversary. San Francisco, CA: Braunstein Gallery, 1981

Albuquerque Museum. The Human Factor: Figurative Sculpture Reconsidered. Albuquerque, NM: The Albuquerque Museum, 1993

_____. Bay Area Sculptors of the 1960s: Then and Now. San Francisco, CA: Braunstein Gallery, 1990

Amnesty International. Artists for Amnesty. Davis, CA: Amnesty International, 1987

Brighton Press. Livres d’Artistes. San Diego, CA: Brighton Press, 1994

Anderson, Maxwell L. Manuel Neri: In the Classical Tradition. New York, NY: Ameringer-Yohe Fine Art, 2006 Antenucci Becherer, Joseph. Manuel Neri. San Francisco, CA: Hackett Freedman Gallery, 2003 Armstrong, Richard. Sculpture in California 1975–80. San Diego, CA: San Diego Museum of Art, 1980 Art Against AIDS, San Francisco. Art Against AIDS. New York, NY: American Foundation for AIDS Research and Livet Reichard Co., 1989 The Artists Association, San Francisco Art Institute. Art Bank 64/66. San Francisco, CA: San Francisco Art Institute, 1966 _____. Sculptors at UC Davis: Past and Present. San Francisco, CA: San Francisco Art Institute, 1982 Barilleaux, Rene Paul. Sculptors on Paper: New Work. Madison, WI: Madison Art Center, 1987 Bates, Mary, and Moulton, Susan. Works in Bronze: A Modern Survey.

Rohnert Park, CA: Sonoma State University, 1984 Bischoff, David A. Manuel Neri: Sculpture and Drawings. Sacramento, CA: Robert Else Gallery, California State University, 1985 Bishop, Janet, et al. California Classics: Highlights from the Collection of the San Francisco Museum of Modern Art. Tokyo, Japan: APT International, Inc., 1999 Bledsoe, Jane K. Figurative Sculpture: Ten Artists/Two Decades. Long Beach, CA: University Art Museum, California State University, 1984

Brook House/Victor Fischer Fine Arts. The Brook House Sculpture Invitational at Kaiser Center. Orinda, CA:Victor Fischer Fine Arts, 1982 Bush, Martin. Figures of Contemporary Sculpture 1970–1990: Images of Man. Tokyo, Japan: Brain Trust, Inc., 1992 Butterfield, Jan, and Wortz, Melinda. California Sculpture Show. Los Angeles, CA: California/International Arts Foundation, 1984 Butterfield & Butterfield. Contemporary Paintings, Watercolors, Drawings and Sculpture. San Francisco, CA: Butterfield & Butterfield, 1988 Byer, Robert H. Sculptural Intimacies—Recent Small-Scale Sculpture. Los Angeles, CA: Security Pacific Corporation, 1989 Campbell-Thiebaud Gallery. Twenty-five Treasures Exhibition. San Francisco, CA: Campbell-Thiebaud Gallery, 1991 _____. Manuel Neri: Recent Work. San Francisco, CA: Campbell-Thiebaud Gallery, 1993 _____. Twenty-five Treasures Exhibition. San Francisco, CA: CampbellThiebaud Gallery, 1996 Cantor Arts Center. Cantor Arts Center Journal (vol. 5). Stanford, CA: Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, 2007 Castellon, Rolando. A Third World Painting and Sculpture Exhibition. San Francisco, CA: San Francisco Museum of Art, 1974 Christie’s. Property from the Collection of Henry Geldzahler. New York, NY: Christie’s, 1996 Clisby, Roger, ed. Sacramento Sampler I. Sacramento, CA: E. B. Crocker Art Gallery, 1972

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Coplans, John, ed. Abstract Expressionist Ceramics. Irvine, CA: Fine Arts Gallery, University of California, 1966

Foothills Art Center. The North American Sculpture Exhibition. Golden, CO: Foothills Art Center, 1996

Costello, Daniel W.; Earls-Solari, Bonnie, and Stankus, Michelene.

BankAmerica Corporation Art Program 1985. San Francisco, CA: BankAmerica Corporation, 1986

Fuller Goldeen Gallery. Casting: A Survey of Cast Metal Sculpture in the ‘80s. San Francisco, CA: Fuller Goldeen Gallery, 1982

Cowart, Jack. Manuel Neri: Paintings and Painted Papers. Washington, DC: Corcoran Gallery of Art, 2001 Cowart, Jack, and Amerson, Price. Manuel Neri: A Sculptor’s Drawings.

Washington, DC: Corcoran Gallery of Art, 1994 Cowart, Jack; Amerson, Price; Beardsley, John; Geldzahler, Henry, and Pincus, Robert. Manuel Neri: Early Work 1953–1978. Washington, DC: Corcoran Gallery of Art, 1996 DeGroot, George. California Contemporary: Recent Work of Twenty-three Artists. Monterey, CA: Monterey Peninsula Museum of Art, 1983 Denton, Monroe. No Man’s Land. Long Island City, NY: Socrates Sculpture Park, 1990 Dickson, Joanne. Manuel Neri: Sculpture & Drawings. Seattle, WA: Seattle Art Museum, 1981

Garduño, Blanca, and Rodriguez, Jose Antonio. Pasión por Frida. Mexico City, Mexico: Museo Estudio Diego Rivera, 1991-2 Geldzahler, Henry. Manuel Neri: Sculpture, Painted and Unpainted.

Bridgehampton, NY: Dia Center for the Arts, 1993 _____. Manuel Neri: Classical Expressions/Sculpture and Drawings. Las Vegas, NV: Nevada Institute for Contemporary Art, in association with Riva Yares Gallery, 1995 Gettings, Frank. Drawings 1974–1984. Washington, DC: Hirshhorn Museum and Sculpture Garden, 1984 Goodwin, Erin. A Survey of Sculptural Directions of the Bay Area. Cupertino, CA: De Anza College, 1975 Grounds for Sculpture. Spring/Summer Exhibition 94. Hamilton, NJ: Grounds for Sculpture, 1994 _____. Summer Exhibition. Hamilton, NJ: Grounds for Sculpture, 2001

E. B. Crocker Art Gallery. Manuel Neri: Recent Sculpture and Drawings.

Sacramento, CA: E. B. Crocker Art Gallery, 1977

Guenther, Bruce. The Essential Gesture. Newport Beach, CA: Newport Harbor Art Museum, 1994

80 Langton Street. 80 Langton Street: Documentation of the First Year. San Francisco, CA: 80 Langton Street, 1976

_____. Bronze: Recent Works by Manuel Neri. San Francisco, CA: Hackett|Mill, 2016

Emporia State University. Twenty-First Annual National Invitational Drawing Exhibition. Emporia, KS: Emporia State University, Norman R. Eppink Art Gallery, 1997

Hackett-Freedman Gallery. Hackett-Freedman Gallery: 20 Years. San Francisco, CA: Hackett-Freedman Gallery, 2005

Faberman, Hilarie, et al. Picasso to Thiebaud: Modern and Contemporary Art from the Collections of Stanford University Alumni and Friends. Stanford, CA: Leland Stanford, Jr. University, 2004 FitzGibbon, John. California A–Z and Return.Youngstown, OH: The Butler Institute of American Art, 1990 Flood, Richard. The Sixth Day: A Survey of Recent Developments in Figurative Sculpture. Chicago, IL: The Renaissance Society at the University of Chicago, 1983 Foley, Suzanne. Remember: It’s Only Art. Walnut Creek, CA: Civic Arts Gallery, 1981

Harn Museum of Art. From Paradigm to the Unexpected: Modern and Contemporary Art from the Shey Collection. Gainesville, FL: Harn Museum of Art, 2008 Hayward Area Festival of the Arts. 17th Annual Hayward Festival of the Arts. Hayward, CA: Hayward Area Festival of the Arts, 1978 Henning, Robert, Jr., et al. Santa Barbara Collects. Santa Barbara, CA: Santa Barbara Museum of Art, 1985 Holland, Katherine Church. The Art Collection. San Francisco, CA: Federal Reserve Bank of San Francisco, 1986 _____. A Bay Area Connection: Works from the Anderson Collection, 1954 – 1984. Santa Clara, CA: Triton Museum of Art, 1995

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J.P.L. Fine Arts. California Gold. London, UK: J.P.L. Fine Arts, 1975 John Berggruen Gallery. John Berggruen Gallery. San Francisco, CA: John Berggruen Gallery, 1986 _____. Sculpture and Works in Relief. Introduction by Henry T. Hopkins.

San Francisco, CA: John Berggruen Gallery, 1986 _____. Works on Paper. San Francisco, CA: John Berggruen Gallery, 1988 _____. Large Scale Works on Paper. San Francisco, CA: John Berggruen Gallery, 1991 Jones, Caroline A. Manuel Neri: Plasters. San Francisco, CA: San Francisco Museum of Modern Art, 1989 Journal of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University: Volume 1, 1998–1999. Stanford, CA: Leland Stanford Junior University, 2001

Linhares, Philip. Here and Now: Bay Area Masterworks from the Di Rosa Collections. Oakland, CA: The Oakland Museum, 1994 _____. Artists of Invention: A Century of CCA. Oakland, CA: The Oakland Museum, 2007 Lombino, Mary-Kay. Out of Shape: Stylistic Distortions of the Human Form in Art from the Logan Collection. Poughkeepsie, NY: The Frances Lehman Loeb Center,Vassar College, 2008 Lucie-Smith, Edward. Riva Yares 2000. Scottsdale, AZ, and Santa Fe, NM: Riva Yares Gallery, 2000 _____. Manuel Neri: Fifty Years of Work. Scottsdale, AZ, and Santa Fe, NM: Riva Yares Gallery, 2005 Magloff, Joanna, ed. Current Painting and Sculpture of the Bay Area. Stanford, CA: Stanford University Art Museum, 1964

Kagawa, Paul, et al. Other Sources: An American Essay. San Francisco, CA: San Francisco Art Institute, 1976

Matilsky, Barbara C. The Expressionist Surface: Contemporary Art in Plaster.

Queens, NY: Queens Museum, 1990

Karlstrom, Paul. San Francisco Art Institute: Illustrious History, 1871–Present.

San Francisco, CA: San Francisco Art Institute, 1996

Matthews, Gene. Visiting Artist Program: 20th Anniversary Show. Boulder, CO: CU Art Galleries, University of Colorado, 1992

Kastner, Carolyn. M. Lee Fatherree’s Photography: Evidence of Artists at Work 1978-2007. San Francisco, CA: San Francisco Museum of Craft + Design, 2007

McCormick, Jim. 30 from 25. Reno, NV: Sheppard Fine Arts Gallery, University of Nevada, 1986

Kiechel,Vivian. Contemporary Bronze: Six in the Figurative Tradition. Lincoln, NE: Sheldon Memorial Art Gallery, University of Nebraska, 1985

McCullough, Tom; Thomas, Daniel, and Nicholson, Harry. Three Views on the 1976 Biennale—Recent International Forms in Art. Sydney, Australia: Art Gallery of New South Wales, 1976

Kimball, Cathy, et al. Into the 21st Century: Selections from the Permanent Collection. San Jose, CA: San Jose Museum of Art, 1999

Morris, Dan W. Introduction to National Drawing Invitational. Little Rock, AR: Arkansas Art Center, 1990

Lagoria, Georgianna M., and Martin, Fred. Northern California Art of the Sixties. Santa Clara, CA: De Saisset Museum, Santa Clara University, 1982

Moss, Stacey. The Howards: First Family of Bay Area Modernism. Oakland, CA: The Oakland Museum, 1988

Laguna Gloria Art Museum. Human Nature Human Form. Austin, TX: Laguna Gloria Art Museum, 1993 Landauer, Susan. San Francisco Abstract Expressionism. San Francisco, CA: Hackett-Freedman Gallery, 2001 LaPlante, John D., ed. San Francisco Bay Area Painting and Sculpture: Some Points of View–1962. Stanford, CA: Stanford University Art Gallery, 1962

Muckenthaler Cultural Center. Sculptural Perspectives for the Nineties.

Fullerton, CA: Muckenthaler Art Center, 1991 Nash, Steven. Abstract and Figurative: Highlights of Bay Area Painting. San Francisco, CA: John Berggruen Gallery, 2009 Nassau County Museum of Fine Art. Contemporary Naturalism: Works of the 1970s. Roslyn, NY: Nassau County Museum of Fine Art, 1980 Natsoulas, John, and Nixon, Bruce, eds. 30 Years of TB-9: A Tribute to Robert Arneson. Davis, CA: John Natsoulas Gallery, 1991

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Natsoulas/Novelozo Gallery, with foreword by John Natsoulas. 30 Ceramic Sculptors. Davis, CA: Natsoulas/Novelozo Gallery, 1988

Orr-Cahall, Christina, ed. The Dilexi Years 1958–1970. Oakland, CA: The Oakland Museum, 1984

_____. 30 Ceramic Sculptors. Davis, CA: Natsoulas/Novelozo Gallery, 1990

_____. The Art of California: Selected Works from the Collection of The Oakland Museum. Oakland, CA: The Oakland Museum; San Francisco, CA: Chronicle Books, 1984

Natsoulas/Novelozo Gallery, with foreword by John Allen Ryan. Lyrical Vision: The ‘6’ Gallery 1954–1957. Davis, CA: Natsoulas/Novelozo Gallery Press, 1989 Neubert, George. Manuel Neri, Sculptor. Oakland, CA: The Oakland Museum, 1976 _____. The Brook House Sculpture Invitational. Albany, CA: Brook House and Victor Fischer Fine Arts, 1982 _____. Bay Area Sculptors of the 1960s: Then and Now. San Francisco, CA: Braunstein/Quay Gallery, 1990

Perl, Jed. “A Tale of Two Cities” in A Culture in the Making: New York and San Francisco in the 1950s and ‘60s. San Francisco, CA: HackettFreedman Gallery, 2006 Pritikin, Renny; Reynolds, Jock, and Sadler, Simon. You See: The Early Years of the UC Davis Studio Art Faculty. Davis, CA: Richard L. Nelson Gallery, University of California, 2007 Project Sculpture. Project Sculpture. Oakland, CA: Project Sculpture, 1982

Nierengarten-Smith, Beej. Laumeier Sculpture Park First Decade, 1976– 1986. St. Louis, MO: Laumeier Sculpture Park, 1986

Provincetown Art Association and Museum. The Sun Gallery.

Provincetown, MA: Provincetown Art Association and Museum, 1981

Nierengarten-Smith, Beej; McCue, George, et al. Laumeier Sculpture Park: Second Decade, 1987–1996. St. Louis, MO: Laumeier Sculpture Park and Museum, 1998

Rannells, Susan, and Richardson, Brenda. Free. Berkeley, CA: University Art Museum, 1970

Nixon, Bruce. Manuel Neri: Painted Bronzes and Plasters. San Francisco, CA: Hacket-Freedman Gallery, 2005

Rasmussen, Jack; Cohn, Terri, et al. The True Artist is an Amazing Luminous Fountain: Selected Works from the di Rosa Preserve: Art & Nature.

Napa, CA: di Rosa Preserve, 2004

_____. Manuel Neri: Artists’ Books/The Collaborative Process. San Francisco, CA, and New York, NY: Fine Arts Museums of San Francisco, in association with Hudson Hills Press, 2005

Restany, Pierre. Manuel Neri. San Francisco, CA: John Berggruen Gallery; New York, NY: Charles Cowles Gallery; Zurich, Switzerland: Gimpel-Hanover + Andre Emmerich Galerien, 1984

_____. Manuel Neri: The Figure in Relief. Hamilton, NJ: Grounds for Sculpture; Portland, OR: Portland Art Museum; San Jose, CA: San Jose Institute for Contemporary Art, in association with Hudson Hills Press, 2006

Richard L. Nelson Gallery. Sculptors at UC Davis: Past and Present. Davis, CA: Richard L. Nelson Gallery, University of California, 1972

_____. Manuel Neri: Singularity of Form & Surface. New York, NY:Yares Art, 2016

_____. Painters at UC Davis. Davis, CA: Richard L. Nelson Gallery, University of California, 1984

Novakov, Anna. “Funk Art: A San Francisco Phenomenon” in Painters at UC Davis. Davis, CA: Richard L. Nelson Gallery, University of California, 1984

Richardson, Trevor. Kinds of Drawing. Amherst, MA: Herter Art Gallery, University of Massachusetts, 2001

The Oakland Museum. 100 Years of California Sculpture. Oakland, CA: The Oakland Museum, 1982 Oki, Kazuki, et al. De migrante marmoris. Carrara, Italy: ARSculptoris Associazione Culturale, 2008

_____. Directions in Bay Areas Painting: A Survey of Three Decades, 1940– 1969. Davis, CA: Regents of the University of California, 1983

Riva Yares Gallery. Manuel Neri: Sculpture of the 1980s. Scottsdale, AZ: Riva Yares Gallery, 1989 Rodriguez, Peter. The Mexican Museum. San Francisco, CA: The Mexican Museum, 1981

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Rogers-Lafferty, Sarah. Body & Soul: Aspects of Recent Figurative Sculpture.

Cincinnati, OH: The Contemporary Arts Center, 1985

Schwartz, Joyce Pomeroy; and Rossback, Janet. Black & White & Read All Over. Charlotte, NC: LaSalle Partners at Nationsbank Plaza, 1995

St. Mary’s College Art Gallery. The Small Format. Moraga, CA: St. Mary’s College, 1973

Scios Nova. Ventriloquist. Baltimore, MD: Scios Nova, 1993

_____. The Good Drawing Show. Moraga, CA: St. Mary’s College, 1976 Salow, David. Pairings II: Discovered Dialogues in Postwar Abstraction. San Francisco, CA: Hackett-Freedman Gallery, 2005 San Diego Museum of Art. San Diego Museum of Art: Selections from the Permanent Collection. San Diego, CA: San Diego Museum of Art, 1993

Scott, Sue; and Rubinstein, Raphael. Co-Conspirators: Artist and Collector, The Collection of James Cottrell and Joseph Lovett. Orlando, FL: Orlando Museum of Art, 2004 Selvin, Nancy. 2002 Scripps College 58th Ceramic Annual. Claremont, CA: Ruth Chandler Williamson Gallery, Scripps College, 2002 Selz, Peter, ed. Funk Art. Berkeley, CA: University Art Museum, 1967

San Francisco Art Institute. Other Sources: An American Essay. San Francisco, CA: San Francisco Art Institute, 1976

Selz, Peter, and Moser, Joann. Nathan Oliveira. Berkeley and San Jose, CA: University of California Press and San Jose Museum of Art, 2002

_____. Reflections: Alumni Exhibitions, San Francisco Art Institute. San Francisco, CA: San Francisco Art Institute, 1981

Southwestern Bell Corporation. Contemporary Masters Kansas Tour: Selections from the Collection of Southwestern Bell Corporation. Wichita, KS: Southwestern Bell Corporation, 1988

San Francisco Museum of Modern Art. Twenty American Artists. San Francisco, CA: San Francisco Museum of Modern Art, 1980 _____. 50th Anniversary Commemorative Program 1985. San Francisco, CA: San Francisco Museum of Modern Art, 1985 _____. San Francisco Museum of Modern Art: The Painting and Sculpture Collection. San Francisco, CA: San Francisco Museum of Modern Art, 1985 San Francisco Museum of Modern Art and the National Collection of Fine Arts, Smithsonian Institution. Painting and Sculpture in California: The Modern Era. San Francisco, CA: San Francisco Museum of Modern Art; Washington, DC: National Collection of Fine Arts, Smithsonian Institution, 1977

Starr, Sandra Leonard. Lost and Found in California: Four Decades of Assemblage Art. Santa Monica, CA: James Corcoran Gallery, 1988 Taragin, Davira S. et al. Bigger, Better, More: The Art of Viola Frey. Racine, WI: Racine Art Museum and Gardiner Museum, 2009 University of Nevada. 1968 Sculpture Invitational. Reno, NV: University of Nevada, 1968 University of New Mexico Art Museum. Bulletin: The University of New Mexico Art Museum. Albuquerque, NM: College of Fine Arts, The University of New Mexico, 1978 Vanderlip, Dianne Perry, et al. The View from Denver: Contemporary American Art from the Denver Art Museum.Vienna: Museum Moderner Kunst Stiftung Ludwig Wien, 1997

Sarah Spurgeon Gallery. Second Annual Invitational Drawing Exhibition.

Ellensburg, WA: Sarah Spurgeon Gallery, Central Washington University, 1979

Vicario, Gilbert. Phyllis Barlow: Scree. Des Moines, IA: Des Moines Art Center, 2014

Schipper, Merle. Marmo/Marble: A Contemporary Aesthetic. Los Angeles, CA: California Museum of Science and Industry, 1989

Western Association of Art Museums. Catalogue of Exhibition. San Francisco, CA: Western Association of Art Museums, 1968

Schönholzer, Annette, and Spiegler, Marc. Art Kabinett 2010 (Art Basel/ Miami Beach). Basel, Switzerland: Art Kabinett|MCH Swiss Exhibition (Basel) Ltd., 2010

Yellowstone Art Museum. 32nd Annual Art Auction. Billings, MT: Yellowstone Art Museum, 2000 Zakian, Michael. California Figurative Sculpture. Palm Springs, CA: Palm Springs Desert Museum, 1987

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SELECTED BROCHURES Butterfield, Jan. Manuel Neri: Drawings & Bronzes. San Francisco, CA: Art Museum Association, 1981 Charles Cowles Gallery. Manuel Neri. New York, NY: Charles Cowles Gallery, 1981 Corcoran Gallery of Art. Manuel Neri: Recent Marble Sculpture. Washington DC: Corcoran Gallery of Art, 1997 Hackett-Freedman Gallery. Manuel Neri: Sculpture and Paintings, 1958– 1978. San Francisco, CA: Hackett-Freedman Gallery, 2001 Neri, Kate. Manuel Neri, A Personal Selection. Belmont, CA: Wiegand Art Gallery, College of Notre Dame, 1988 Nordland, Gerald. Manuel Neri. San Francisco, CA: San Francisco Museum of Art, 1971 Riva Yares Gallery. Manuel Neri: White Sculpture and Dream Drawings.

Scottsdale, AZ: Riva Yares Gallery, 2002 Van Melle, Paul, and Futterman, Armelle. “Word and Image: A Collaboration.” Crossings/Chassé-croisé. Berkeley, CA: Editions Koch, 2004

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Photographer Unknown Manuel Neri and Henry Geldzahler Dia Center for the Arts Bridgehampton, New York, 1993

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MUSEUM & PUBLIC COLLECTIONS

A Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, San Francisco, California Anderson Collection at Stanford University, Stanford, California B Beinecke Library,Yale University, New Haven, Connecticut Berkeley Art Museum, University of California, Berkeley, California C Cantor Arts Center, Stanford University, Stanford, California Clarinda Carnegie Art Museum, Clarinda, Iowa Crocker Art Museum, Sacramento, California D De Saisset Museum, Santa Clara, California Denver Art Museum, Denver, Colorado Des Moines Art Center, Des Moines, Iowa Di Rosa Art Preserve, Sonoma, California

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E El Paso Museum of Art, El Paso, Texas F Fine Arts Museums of San Francisco, San Francisco, California Frederik Meijer Gardens and Sculpture Park, Grand Rapids, Michigan Fresno Art Museum, Fresno, California G Grove Isle Sculpture Garden, Coconut Grove, Florida H Harold Washington Public Library, City of Chicago, Illinois Harvard University Art Museums, Cambridge, Massachusetts Hawaii State Council on the Arts, Honolulu, Hawaii Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC Honolulu Advertiser/Twigg-Smith Collection, Honolulu, Hawaii Honolulu Museum of Art, Honolulu, Hawaii I Indianapolis Museum of Art, Indianapolis, Indiana Iwate University, Tokyo, Japan K Kemper Museum of Contemporary Art, Kansas City, Missouri L Laumeier Sculpture Park, St. Louis, Missouri Library of Congress, Rare Book and Special Collections Division, Washington, DC

M Mandeville Library, Special Collections, University of California, San Diego, California Manetti Shrem Museum, University of California, Davis, California Memphis Brooks Museum of Art, Memphis, Tennessee The Metropolitan Museum of Art, New York, New York The Mexican Museum, San Francisco, California Morgan Library and Museum, New York, New York N Nasher Museum of Art, Duke University, Durham, North Carolina Nasher Sculpture Center, Dallas, Texas National Gallery of Art, Washington, DC National Museum of American Art, Smithsonian Institution, Washington, DC Nevada Museum of Art, Reno, Nevada New York Public Library, New York, New York O The Oakland Museum, Oakland, California Orange County Museum of Art, Newport Beach, California P Palm Springs Museum of Art, Palm Springs, California Phoenix Art Museum, Phoenix, Arizona Portland Art Museum, Portland, Oregon Princeton University Art Museum, Princeton, New Jersey R Racine Art Museum, Racine, Wisconsin

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S San Antonio Museum of Art, San Antonio, Texas San Diego Museum of Art, San Diego, California San Francisco Arts Commission, San Francisco, California San Francisco International Airport, San Francisco, California San Francisco Museum of Modern Art, San Francisco, California San Jose Museum of Art, San Jose, California Seattle Art Museum, Seattle, Washington Sheldon Museum of Art, Lincoln, Nebraska Stanford University Libraries, Department of Special Collections, Stanford, California State of California, The Bateson Building, Sacramento, California T Tampa Museum of Art, Tampa, Florida U U.S. General Services Administration, Federal Courthouse, Portland, Oregon University Museums, Iowa State University, Ames, Iowa University of Colorado Art Museum, Boulder, Colorado University of New Mexico Fine Arts Center, Albuquerque, New Mexico W Washington State Arts Commission, Olympia, Washington Whitney Museum of American Art, New York, New York Y Yale University Art Gallery, New Haven, Connecticut

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Photographer Unknown Carrara Studio, 1983

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PHOTO CREDITS UNLESS OTHERWISE NOTED , photographs

CENTER , LEFT TO RIGHT

of Manuel Neri’s artworks are by M. Lee Fatherree, Oakland, California.

Beverly Pepper (b. 1922) Split Ritual, 1990 Cast iron Ricardo Barros, Photographer

COVER & VELLUM INSERT

David Wakely, Photographer Benicia Studio, 1987 OPPOSITE TITLE PAGE

M. Lee Fatherree, Photographer Benicia Studio, 2005

Bernar Venet (b. 1941) Arcs in Disorder: 222 Degrees Arc X 12, 2000 Rolled steel Roger Bruhn, Photographer

M. Lee Fatherree, Photographer Benicia Studio, 2005

Dennis Oppenheim (1938– 2011) Device to Root Out Evil, 2001 Aluminum, stainless steel, fiberglass, blue glass Ricardo Barros, Photographer

OPPOSITE CONTENTS, PAGE VI

BELOW, LEFT TO RIGHT

David Wakely, Photographer Benicia Studio, 1987

Richard Long (b. 1945) Rain Line, 2005 Delabole steel Ricardo Barros, Photographer

OPPOSITE CONTENTS

PAGE X ABOVE , LEFT TO RIGHT

Louise Bourgeois (1911– 2010) Spider, 1996 Bronze and steel Ricardo Barros, Photographer Charles Ginnever (b. 1931) Rashomon, 1999 Steel Bahara Emami, Photographer

Magdalena Abakanowicz (1930– 2017) Untitled (From Backs Series In 6 Parts), 1988 Bronze Ricardo Barros, Photographer PAGE X VIII

Art on Campus Collection, University Museums, Iowa State University, Ames.

U2004.7 Bob Elbert, Photographer PAGE XIX

Christian Petersen (1885–1961) Reclining Nudes, 1936 Terra cotta Commissioned by Iowa State College for Roberts Hall. Reinstallation in the Elizabeth and Byron Anderson Sculpture Garden in 2011.

Christian Petersen Art Collection, Art on Campus Collection, University Museums, Iowa State University, Ames. U88.74 Bob Elbert, Photographer PAGE 48

Bob Elbert, Photographer Morrill Hall, Iowa State University, Ames, 2008 PAGES 49 AND 132

Digital rendition by Rachel Geneser of Morrill Hall/Christian Petersen Art Museum, Iowa State University, Ames. © Rachel Geneser, 2017

Escalieta I, 1998 An Iowa Art in State Buildings Project for the College of Business, Gerdin Building. In the

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MANUEL NERI This catalogue is published in conjunction with the exhibition, Manuel Neri: The Modernist Figure, organized by the Clarinda Carnegie Art Museum, Iowa, June 18 – December 3, 2017, and the exhibition, Manuel Neri: Ambiguity, Mystery, and Allure, organized by the Christian Petersen Art Museum, Iowa State University, Ames, January 18 – May 18, 2018.

Manuel Neri’s work is represented by Hackett | Mill, San Francisco; Robischon Gallery, Denver; and Yares Art, New York, Palm Springs, and Santa Fe. Copyright of artworks by Manuel Neri are held by The Manuel Neri Trust. Text copyrights published in the catalogue are held by their respective authors. Photography copyrights are held by their respective photographers.

Copyright for this publication is held by Anne Kohs & Associates, Inc., 2017.

All rights reserved under International and Pan-American Copyright Conventions.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, or otherwise without written permission from Anne Kohs & Associates, Inc. Catalogue concept, research, and project coordination by Anne Kohs & Associates, Inc., Portola Valley, California. www.artistsforum.com Edited by Pam Rino Evans, Anne Pagel, and Diane Roby.

Image management by Pam Rino Evans.

Designed by John Hubbard / EMKS, Finland Typeset in Gill Sans Light and Standard by EMKS, Finland Color and print management by iocolor, LLP, Seattle, Washington Printed and bound by Artron Color Printing Company, China

CHRISTIAN PETERSEN ART MUSEUM

IOWA STATE UNIVERSITY

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