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ARNY NADLER bruno david gallery Firstlings: Sculptures + Works on Paper
Editor: Bruno L. David
Firstlings: Sculptures + Works on Paper October 31 - December 23, 2020 Bruno David Gallery 7513 Forsyth Boulevard Saint Louis, Missouri 63105,
ThisFounder/Director:www.brunodavidgallery.cominfo@brunodavidgallery.comU.S.A.BrunoL.Davidcataloguewaspublishedinconjunction
Catalogue Designer: Lily Hollinden, Naomi Yu and Alex McLaughlin
Designer Assistant: Claudia R. David Printed in USA All works courtesy of Arny Nadler and Bruno David Gallery
Cover image: “Firstlings: Sculptures + Works on Paper” (Installation view)
First CopyrightEdition©2021 Arny Nadler and Bruno David Gallery All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery
“Arny Nadler, Firstlings: Sculptures + Works on Paper” at Bruno David Gallery.
Arny Nadler
with the exhibition
Photographs by Richard Sprengeler and Bruno David Gallery
CONTENTS FIRSTLINGS BY TERRY SUHRE AFTERWORD BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE BIOGRAPHYEXHIBITION
Arny Nadler’s recent work seeks to address the predicament of the human form’s fragility and its endless struggle to adapt to life’s ever-changing circumstances. The “predicament” Nadler refers to in statements on his work is the uneasy, existential awareness of an unsympathetic, and likely hostile, existence that is not predisposed to human wants or needs. A reality that continually tests the body’s (and the spirit’s) limitations, revealing its susceptibility to everyday suffering and humiliation.
The body’s limitations and desires have been ongoing themes in Nadler’s work for close to twenty years. These anxieties were present in Nadler’s 2001 Imperfect Adaptations/Inevitable Endings series where the artist created functionally useless rehabilitative equipment illustrating the body’s limitations and society’s failure at restoration.
6 FIRSTLINGS BY TERRY SUHRE
Moving outside the studio Nadler expanded on this theme and addressed the duality of the human body’s limitation and dominance in the environment with large-scale and installation works such as Whelm (Gallery 210, University of Missouri-St. Louis, 2012), Gross Point Confluence (Evanston Art Center, 2010) and his imposing architectonic sculpture series Beacons (2006).
Nadler’s experiments with clay led to the Gilt series (2013), the precursor of Firstlings. With the Gilt series the artist starts to invest in the expressive and metaphorical potential of ceramic. Titles, such as rhizus despero (root of despair) 2012, and rhizus perpessio (root of suffering) 2012, that reference emotional and psychological qualities demonstrate a conceptual change in Nadler’s work.
Nadler followed these works with a group, titled Infrastructure, of concrete and rebar works where aspects of the human body are suggested. Here the artist begins to step away from the modernist fetish of industrial materials to experiment with more ‘traditional’ art materials. With the shift in materials there is also a shift in form away from the formalist linear and planar structures of earlier pieces to the more biomorphic and gestural expressions.
Terry Suhre is an art writer based in St. Louis, Missouri, and former Research Professor and Director of Gallery 210 at the University of Missouri, St. Louis. This text is one in a series of the gallery’s exhibitions written by fellow gallery artists and friends.
With the shift of his studio practice to more traditional art materials there was an additional emphasis placed on drawing. Nadler’s drawings were, at first, a warm-up exercise, a practice not dissimilar to Surrealist automatism. As work on Firstlings progressed Nadler discovered in the ink-brush drawings a sense of motion, recognizing a relationship between the fluidity of the ink on the paper and of the plasticity of the clay. In each drawing he looks for an event, a transition, the suggestion of a kind of form, then seeks to incorporate that fluidity and dynamic into the sculptures. The drawings in the exhibition stand as separate and fully realized works created contemporaneously and in dialogue with the sculptures. As noted above Nadler has been preoccupied with the notion of the intangibility of physical wholeness, the body, constantly in flux with a sense of uncertainty, a little broken, always incomplete but always becoming. In Firstlings his figures do not have complete agency over themselves as they become aware of their environment and struggle to evolve. Each work by Nadler stops time’s flow and provides a glimpse of living at the edge of chaos.
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The earlier pieces in the Firstling series, such as the Firstling No.12, 2017 and Firstling No. 9, 2017, are suggestive of formal classical figures where the more recent grey works, such as Firstling No. 25, 2020 are more expansive, baroque and expressive. Nadler’s strategy of using neutral hues, black, white, and grey, is the artist’s way of having the piece be about form rather than color to convey a sense of the object being the same substance throughout.
Firstlings is the logical evolution in Nadler’s work. With this series his warping and morphing of the human form are never entirely resolved into a single reading.
8 BYAFTERWORDBRUNOL.DAVID
I am pleased to present, Firstlings: Sculptures + Works on Paper an exhibition by Arny Nadler. This is Nadler’s first exhibition with the Nadlergallery.writes of his work: “My sculptures investigate the body in a state of ambiguous metamorphosis. Many works begin as individual parts that are eventually grafted together in a manner that nods at structural order but disregards anatomical and proportional correctness. Irregular outgrowths in the material signal erratic germination or atrophy—a misfiguration of append ages. The resulting forms are often simultaneously heroic and absurd—they acknowledge the limitations of the body and flout conventional response systems. Where traditional figurative sculpture often captures a predictable motion in time and space, my work changes as the viewer moves around it. What happens on one side might be wholly unanticipated on the other. By working against symmetry, I confront the expectations of wholeness for the body.
My work draws on human, animal, and otherworldly bodies, all precariously gesturing, as if they themselves do not know what they truly are. Approaching this idea with a sometimes-wry sense of humor, these self-deprecating forms are subject to the same gravitational challenges we all face as beings of this earth. These strange bodily forms defy disambiguation. Their stilled and puzzling nature is grasping for truth or a viable system to make things whole.”
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Nadler has been included in exhibitions at the Orange County Center for Contemporary Art, the Clay Center of New Orleans, and the on-line exhibition of the Korean International Ceramic Biennale 2019. His outdoor sculptures have been exhibited at venues across the country, including the Newport Beach Civic Center, the Evanston Art Center, the Kingston Sculpture Biennial, the Catherine Konner Sculpture Park in West Nyack, NY, Cedarhurst Center for the Arts and the University of Alabama, Huntsville. In 2017, He moderated the panel Material Poetics at the International Sculpture Conference in Kansas City, MO. He has presented at the Foundations in Art: Theory and Education Conference and the Mid-America College Art Association Conference and has been a visiting artist at several universities and colleges. Nadler is a recipient of a George Sugarman Foundation grant, a St. Louis Regional Arts Commission Fellowship and two Faculty Creative Research Grants from the Sam Fox School of Design & Visual Arts at Washington University in St. Louis.
Invaluable gallery staff support for the exhibition was provided by Jordan Lee, Lily Hollinden, Grace Ray, and Nina R. Huang.
Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery since its founding in 2005. I would like to express my sincere thanks to Terry Suhre for his thoughtful eassay. I am deeply grateful to Lily Hollinden, Naomi Yu, and Alex McLaughlin, who gave much time, talent, and expertise to the production of this catalogue.
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11 CHECKLIST & IMAGES OF THE EXHIBITION
12 Firstling No. 21 2019 Painted ceramic 25 1/2 x 15 x 12 inches (64.8 × 38.1 × 30.5 cm)
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15 Firstling No. 25 Painted2020 ceramic 38 1/4 x 18 x 19 inches (97.2 × 45.7 × 48.3 cm)
16 Firstling No. 29 2019 Painted ceramic 24 1/4 × 10 1/4 × 13 1/2 inches (61.6 × 26 × 34.3 cm)
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19 Firstling No. 24 Painted2020 ceramic 31 1/2 × 20 × 12 1/4 inches (80 × 50.8 × 31.1 cm)
20 Firstling No. 5 2017 Painted ceramic 29 3/4 × 12 1/2 × 11 3/4 inches (75.6 × 31.8 × 29.8 cm)
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Firstling 3/8 × 15 1/2 × 11 1/2 inches (80.6 × 39.4 × 29.2 cm)
No. 10 2017 Painted ceramic 31
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24 Firstling No. 22 2019 Painted ceramic 25 1/2 × 17 1/2 × 14 inches (64.8 × 44.5 × 35.6 cm)
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27 Firstling No. 28 Painted2020 ceramic 40 1/2 × 22 × 19 1/2 inches (102.9 × 55.9 × 49.5 cm)
28 Firstling No. 9 2017 Painted ceramic 35 1/2 × 9 3/4 × 8 inches (90.2 × 24.8 × 20.3 cm)
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31 Firstling No. 26 Painted2020 ceramic 45 × 22 1/2 × 17 1/2 inches (114.3 × 57.2 × 44.5 cm)
32 Firstling No. 23 2019 Painted ceramic 24 3/4 × 16 × 11 inches (62.9 × 40.6 × 27.9 cm)
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35 Firstling No. 27 Painted2020 ceramic 35 1/2 × 26 1/2 × 16 inches (90.2 × 67.3 × 40.6 cm)
36 Firstling No. 6 2017 Painted ceramic 28 1/4 × 12 1/2 × 7 3/4 inches (71.8 × 31.8 × 19.7 cm)
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38 Firstling No. 3 2017 Painted ceramic 30 × 18 1/2 × 14 inches (76.2 × 47 × 35.6 cm)
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40 Firstling No. 19 2019 Painted ceramic 25 × 11 × 9 1/2 inches (63.5 × 27.9 × 24.1 cm)
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42 Firstling No. 17 2019 Painted ceramic 22 1/2 × 16 1/2 × 12 inches (57.2 × 41.9 × 30.5 cm)
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44 Firstling No. 18 2019 Painted ceramic 24 1/2 × 14 × 11 inches (62.2 × 35.56 × 22.9 cm)
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46 Firstling No. 8 2017 Painted ceramic 31 1/4 × 19 × 15 1/2 inches (79.4 × 48.3 × 39.4 cm)
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48 Firstling No. 2 2017 Painted ceramic 29 1/2 × 30 × 15 inches (74.9 × 76.2 × 38.1 cm)
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50 Firstling No. 20 2019 Painted ceramic 25 × 13 1/4 × 8 1/2 inches (63.5 × 33.7 × 21.6 cm)
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52 Firstling No. 16 2019 Painted ceramic 24 1/2 × 19 1/2 × 11 inches (62.2 × 49.5 × 27.9 cm)
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54 Firstling No. 15 2019 Painted ceramic 40 × 11 1/2 × 9 1/4 inches (101.6 × 29.2 × 23.5 cm)
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56 Firstling No. 4 2017 Painted ceramic 27 × 20 × 16 1/2 inches (68.6 × 50.8 × 41.9 cm)
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58 Firstling No. 14 2017 Painted ceramic 26 × 20 × 24 inches (66 × 50.8 × 61 cm)
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Firstling Studies
(38.1015Ink2019-2020onpaperx11inchesx27.94cm)
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62 Firstling Study No. 9 Firstling Study No. 16
63 Firstling Study No. 5 Firstling Study No. 23
64 Firstling Study No. 17 Firstling Study No. 7
65 Firstling Study No. 21 Firstling Study No. 4
66 Firstling Study No. 1 Firstling Study No. 34
67 Firstling Study No. 18 Firstling Study No. 15
68 Firstling Study No. 12 Firstling Study No. 13
69 Firstling Study No. 3 Firstling Study No. 2
70 Firstling Study No. 20 Firstling Study No. 14
71 Firstling Study No. 22 Firstling Study No. 24
72 Firstling Study No. 6 Firstling Study No. 33
73 Firstling Study No. 8 Firstling Study No. 10
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ARNY EDUCATION(American,NADLERb.1969)
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1991 B.F.A. Washington University School of Art, St. Louis, MO
2013 Gilt, Schmidt Art Center, Southwestern Illinois College, Belleville, IL
2010 Infrastructure, Good Citizen Gallery, St. Louis, MO Grosse Point Confluence, Sculpture on the Grounds Exhibition, Evanston Art Center, Evanston, IL
2008 Beacons, Philip Slein Gallery, St. Louis, MO
2005 Arny Nadler, Maryland Hall for The Creative Arts, Annapolis, MD
1994 M.F.A. Cranbrook Academy of Art, Bloomfield Hills, MI
2012 Whelm, Gallery 210, University of Missouri-St. Louis, Out-door permanent installation
2021 Ivan Albreht & Arny Nadler, Manifest Gallery, Cincinnati, OH
SELECTED SOLO / TWO PERSON EXHIBITIONS AND OUTDOOR INSTALLATIONS
2007 Arny Nadler, Perkinson Gallery, Millikin University, Decatur, IL
1998 Favorite Son, Len G. Everett Gallery, Monmouth College, Monmouth, IL
2020 Firstlings: Sculptures + Works on Paper, Bruno David Gallery, St. Louis, MO (catalogue)
2009 Arny Nadler, Millstone Gallery at COCA, St. Louis, MO
2011 Arny Nadler, Mitchell Museum, Cedarhurst Center for the Arts, Mt. Vernon, IL
1995 Adaptations, A.R.C. Gallery Invitational 1, Chicago, IL
2006 Arny Nadler, Tinnin Fine Arts Center, Three Rivers Community College, Poplar Bluff, MO
2018 Evident, Recent Work by Ken Wood and Arny Nadler, Meramec Contemporary Art Gallery, St. Louis Community College
2001 Imperfect Adaptations / Inevitable Endings, Gallery 210, University of Missouri St. Louis Fallen, Bonsack Gallery, St. Louis, MO
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2021 Sketches, Drawings & Limnings: Works from the Permanent Collection, Daum Museum of Contemporary Art, Sedalia, MO
SELECTED GROUP EXHIBITIONS
Visions in Clay 2020, San Joaquin Delta College, LH Horton Gallery, Stockton, CA
2019 Modern and Contemporary American Ceramics from the Permanent Collection, Daum Museum of Contemporary Art, Sedalia, MO
2016 Diverted Reality, Evelyn E. Jorgenson Gallery, Moberly Area Community College, MO Jeske Sculpture Park, Ferguson, MO.
The Rule of Three, a selection of sculptural ceramics from the permanent collection, Daum Museum of Contemporary Art, Sedalia, MO
Curated by Beth Ann Gerstein, (Executive Director of the American Museum of Craft)
Material Identity, Artworks Center for Contemporary Art, Loveland, CO
The International Cluj Ceramics Biennale 2019, Cluj, Romania (catalog only)
OVERVIEW_2019, Bruno David Gallery, St. Louis, MO
This Moment of Rupture, a national survey of contemporary ceramics, VisArts Art Center, Rockville, MD Blanche/Blanc, Bruno David Gallery, St. Louis, MO
Natural Tensions, Oliver Clark, Arny Nadler, and Miranda Clark, Todd Weiner Gallery, Kansas City, MO Spaces Sculpture Trail, University of Alabama, Huntsville, AL
2017 Ceramattack, Duane Reed Gallery, St. Louis, MO
2014 Newport Beach, California Inaugural Sculpture in Civic Center Park
Korean International Ceramic Biennale 2019 On-line Exhibition, Gyeonggi, South Korea Craft Revolution, Orange County Center for Contemporary Art, Santa Ana, CA Exhibition juror Staci Steinberger, Assistant Curator, Decorative Arts and Design, LACMA Clay Bodies, Clay Center of New Orleans, New Orleans, LA
Bilingual: Abstract & Figurative, Bruno David Gallery, St. Louis, MO (catalogue)
2015 29th Rosen Outdoor Sculpture Competition and Exhibition, Boone, NC
2018 Visions in Clay 2018, San Joaquin Delta College, LH Horton Gallery, Stockton, CA
2020 OVERVIEW_2020, Bruno David Gallery, St. Louis, MO No Dead Artists 2020, Jonathan Ferrara Gallery, New Orleans, LA
2004 Union University Sculpture Tour, Jackson, TN
2003 Sky, Blue, Heavens. Purdue University Galleries, West Lafayette, IN Network Gallery, Cranbrook Art Museum, Bloomfield Hills, MI
Benini Sculpture Foundation, Johnson City, TX
2005 First Sculpture Biennial Invitational, Herron School of Art, Indianapolis, IN Kingston Sculpture Biennial, Kingston, NY
Greater Midwest International Exhibition XVIII
2008
2002 Erga Topika, Thomas Jefferson School, St. Louis, MO Sculptors 5, Innsbrook Resort & Conference Center, Innsbrook, MO
Three Artists, Crowe T. Brooks Gallery, St. Louis, MO
Burlington County Sculpture Garden, Pemberton, NJ Sculpture Key West, Key West, FL
Go Figure Invitational, Kansas City Artists Coalition, Kansas City, MO
1999 Washington University Faculty Show, Mitchell Museum, Mt. Vernon, IL
First International Juried Biennial Exhibition, Pyramid Hill Sculpture Park & Museum, Hamilton, OH Artists of the Leather Trades Building, St. Louis, MO
Chicago Artist 1997, Gallery 312, Chicago, IL
2006
Marshall Arts @ Delta Axis, Memphis, TN
1997 Critical Mass Exhibition, Bixby Gallery, Washington University, St. Louis, MO
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The Cedarhurst Biennial Sculpture Competition and Maquette Exhibition, Cedarhurst Center for the Arts, Mt. Vernon, IL
The Catherine Konner Sculpture Park Inaugural Exhibition, Rockland Center for the Arts, West Nyack, NY
Central Missouri State Art Center Gallery, Warrensburg, MO
2001 Shape & Content; An Exhibition of Contemporary Prints and Sculpture Bruce Gallery, Edinboro University, Edinboro, PA
2000 Aspects of Being, Hunt Gallery, Webster University, Webster Groves, MO
2009 Western Michigan University Sculpture Tour, Kalamazoo, MI
2007 21st Rosen Outdoor Sculpture Competition and Exhibition, Boone, NC Sculpture Exhibition, Fay Gold Gallery, Atlanta, GA
The Harveyville Project, Lawrence, KS
Regional Arts Commission Artist Support Grant
2017 Moderator for International Sculpture Center Conference Panel Material Poetics, Kansas City, MO
One of ten recipients of a $20,000 fellowship selected from 265 applicants.
84 1997 Artful Furniture, Evanston Art Center, Evanston, IL
Sam Fox School Faculty Creative Activity Research Grant, Washington University in St. Louis
CURRATORIAL PROJECTS, VISITING ARTISTS PRESENTATIONS, PANELS AND ESSAYS
2013 Regional Arts Commission Fellow, St. Louis, MO
2000 Washington University Studio Residence, Cité International Des Arts, Paris, France
1996 Around The Coyote Invitational, Chicago, IL 1995 A Sight For Sore Eyes, Ten In One Gallery, Chicago, IL 1994 Around The Coyote Invitational, Chicago, IL Invitational Art Auction, Chicago Fine Arts Exchange, Chicago, IL
2007 The George Sugarman Foundation, Inc., Novato, CA
2020AWARDS
A.R.C. Regional, A.R.C. Gallery, Chicago, IL
2021 MLA Lecture Series, Firstlings: Sculptures + Works on Paper, February 6, 2021 University College, Washington University in St. Louis MLA Saturday Lecture Series - Feb. 6, 2021
Competitive annual grant for painters and sculptors engaged in creating new work.
https://museumofnonvisibleart.com/interviews/arny-nadler/
2010 Sam Fox School Faculty Creative Activity Research Grant, Washington University in St. Louis
1993 The Carl Milles Scholarship, Cranbrook Academy of Art, Bloomfield Hills, MI
2018 Praxis Interview Magazine, WYBCX Yale Radio, by Brainard Carey, May 2, 2018.
Visiting Artist, Herron School of Art, Indiana University Purdue University Indianapolis
2001 Monday Noon Series Lectures, Center for the Humanities, University of Missouri, St. Louis, MO
Public lecture and studio visits, Edinboro University, Edinboro, PA Public lecture, Bonsack Gallery, St. Louis, MO
Panelist, Foundations in Art: Theory and Education Conference, Savannah, GA
2000 Studio Crawl, participating artist, Forum for Contemporary Art, St. Louis, MO
2007 Public lecture and studio visits, Millikin University, Decatur, IL Public lecture, Appalachian State University, Boone, NC
2012 Visiting Researcher, University of Manitoba Center for Architectural Structures and Technology
2011 Panelist, Foundations in Art: Theory and Education Conference, St. Louis, MO
2016 Curator, Ontology of Influence: Ron Leax and Alumni Exhibition, Des Lee Gallery, Washington University in St. Louis, Featured artwork by Halsey C. Ives Professor of Art Ron Leax and thirty-seven alumni.
2003 Public lecture and studio visits, Cranbrook Academy of Art, Bloomfield Hills, MI
Juror, Regional Arts Commission-St. Louis, Entryway Project
Arts Roundtable Lecture, Sheldon Art Gallery, St. Louis, MO
Consultant, Skinker-DeBaliviere Sculpture Project, St. Louis, MO
Monday Noon Series Lectures, Center for the Humanities, University of Missouri, St. Louis, MO
Public lecture, Three Rivers Community College, Poplar Bluff, MO Arts Encounters public lecture, Benini Sculpture Foundation, Johnson City, TX
2014 Public Lecture, University of North Texas, Denton, TX (scheduled October 2014)
1999 Co-juror, University City Entrance Project, University City, MO
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Juror, MFA Exhibition, Southern Illinois University-Edwardsville
2005 Author of contributing essay “Invisible Skills” in Small Changes, Big Impact: 20 Years of Collaborative Public Sculpture, produced by the Washington University College of Art, Sculpture Department, St. Louis, MO
2010 Juror, C4 Exhibition, Surplus Gallery, Southern Illinois University-Carbondale Public lecture, Evanston Art Center, Evanston, IL
2006 Panelist, Mid-America College Art Association Conference, Nashville, TN
Hosted studio visit for Webster University and University of Missouri-St. Louis
2002 Public lecture, Thomas Jefferson School, St. Louis, MO
2013 Contemporary Art Museum, Open Studio, St. Louis, MO, Participating artist Co-juror, Cedarhurst Biennial, Cedarhurst Center for the Arts, Mt. Vernon, IL
Ten St. Louis-area Artists Awarded $20,000 RAC Fellowship, by Nancy Fowler, Dec. 12. http://news.stlpublicradio.org/post/ten-st-louis-area-artists-awarded-20000-rac-fellowships2013
The St. Louis Beacon (stlbeacon.com) Bright Spots, Ivy Cooper, December 16, 2010.
Firstlings: Sculptures + Works on Paper, catalogue, Bruno David Gallery Publications, May 2021.
Praxis Interview Magazine, WYBCX Yale Radio, by Brainard Carey, May 2, 2018. https://museumofnonvisibleart.com/interviews/arny-nadler/
Whelm sculpture takes shape outside Gallery 210, Myra Lopez, UMSL Daily, July 2012. blogs.umsl.edu/news/2012/07/17/whelm/
REVIEWS, PUBLICATIONS AND BLOGS
The St. Louis Beacon (stlbeacon.com), Bright Spots, Ivy Cooper, April 27, 2009.
Exhibition on Display at Clayton’s Bruno David Gallery Juxtaposes Figurative and Abstract Works, Bryan Hollerbach, Ladue News, August 2021. Bilingual: Abstract & Figurative, catalogue, Essay by Buzz Spector, Bruno David Gallery Publications, September 2021.
The Riverfront Times, “Featured Review: Arny Nadler”, Jessica Baran, St. Louis, MO, April 14, 2009.
The Riverfront Times, “Newly Reviewed: Infrastructure”, Jessica Baran, December 16, 2010.
The Riverfront Times, St. Louis Art Capsules, Jessica Baran, St. Louis, MO, November 25, 2008.
The Riverfront Times, “The Weight”, Paul Friswold, St. Louis, MO, November 4, 2008
The Montage, Sculpture and Printmaking Collide in New Exhibition, by Chris Hutson, January 25, 2018 http://www.meramecmontage.com/artlife/sculpture-and-printmaking-collide-in-new-exhibition/ Evident, All the Art, review by Joe Kohlburn, All the Art, Spring 2018 Washington University Record. Washington People: Arny Nadler, Respect for the well-made thing. By Liam Otten, February 24, 2014. http://news.wustl.edu/news/Pages/26540.aspx
86 1998 Public lecture and studio visits, Monmouth College, Monmouth, IL 1997 Visiting Artist, The School of The Art Institute of Chicago, Chicago, IL. Visiting Artist, The Evanston Art Center, Evanston, IL 1995 Visiting Artist, The School of The Art Institute of Chicago, Chicago, IL
AEQAI, Ceramics Shows at Weston Gallery, DAAP Meyers Gallery, Manifest Gallery, and the Contemporary Arts Center, March 27, 2021, by Jonathan Kamholtz. Terry Suhre, Essay, Firstlings, catalogue, Bruno David Gallery Publications, May 2021.
The Monmouth College Oracle, “Contorted Grace.” Jane Carlson, Monmouth, IL, February 1998.
The Kansas City Star, “Figuring Out Humans,” Caprice Stapely, Kansas City, MO, June 2001.
The Riverfront Times, “Human Being.” Ivy Schroeder, St. Louis, MO, August 2000.
87 Art in America, “Art at Land’s End”, Karen Wilkin, September 2008.
The Art Guide, cover art for New York section of the Northeast Edition, Madison, CT, February 2007
The University of Missouri-St. Louis Current, “Nadler Exhibit Debuts at Gallery 210”, Sara Porter, St. Louis, MO, October 2001.
The Mountain Times Online, “New Outdoor Sculpture Drawing Stares at ASU 21st Rosen Competition Attracts Artists from Across U.S.” Jeff Eason, Boone, NC, May 2007.
Wynwood Art Magazine, “Sculpture Key West 2008”, Hal Bromm, March 2008.
High Country Press Online, “Looking for New Outdoor Sculpture at ASU.” Staff writer, Boone, NC, April 2007.
Publicartindianapolis.com, “Herron Gallery Hosts Its First Sculpture Invitational.” Staff writer, Indianapolis, IN, 2005.
The Washington University Record, “Giving Students a Taste of Public Art” Liam Otten, St. Louis, MO, March 1999.
Sculpture Magazine, Itinerary section, photo publication and exhibition announcement, Washington DC, April 2007.
St. Louis Post Dispatch, “Aspects of Being--’Threads of a Broad Subject.’” Jeff Daniel, St. Louis, MO, July 2000.
St. Louis Post Dispatch, “Laumeier’s neighbor Opens an Exhibit Worthy of Address.” Jeff Daniel, St. Louis, MO, May 2002.
Nuovo.net, “Drive by Art.” Juliana Thibodeaux, June 2005.
The Evanston Review, “Evanston Art Center Shows Off Faculty.” Lisa Stein, Evanston, IL, August 1997.
St. Louis Post Dispatch West, “Spring Has Blossomed, And So Has Art in U. City.” Marianna Riley, St. Louis, MO, April 1998.
The Memphis Flyer Online, “Calculating Our Risks: Three Artists Take On The World.” Carol Knowles, Memphis, TN, 2003.
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ARTISTS
Freed Richard Hull Kelley Johnson Chris Kahler Leslie
Douglass Laskey (Estate) Henry GaryPatriciaYvonneNadlerOseiOlynykPassanise
Justin
Drury Dubinsky
Robert Pettus (Estate) Charles P. Reay Daniel Raedeke Tom
Yvette
Miller James Austin Murray Arny