Cheryl Barnett - 35 Years in Bronze by California State Univeristy Stanislaus School of the Arts

CHERYL BARNETT 35 YEARS IN BRONZE

CHERYL B ARNETT 35 YEARS IN BRONZE University Art Gallery Department of Art School of the Arts California State University Stanislaus

300 copies printed Cheryl Barnett: 35 Years in Bronze January 29 - February 27, 2015 University Art Gallery School of the Arts California State University Stanislaus One University Circle Turlock, CA 95382

This exhibition and catalog have been funded by: Associated Students Instructionally Related Activities, California State University Stanislaus

Catalog Design: Nic Webber, School of the Arts, California State University Stanislaus Catalog Printing: Claremont Print, Claremont, CA Catalog Photography: Courtesy of the artist, Jacques Cressaty, Jeff Gwartney, Jay Sousa and (in memory) Gary MacKenzie. Photographs included are used under the permission of the artist.

ISBN: 978-1-940753-08-9

Cover Image: Vessel of the Innocents V, detail, 2002, unique cast bronze, 94” x 26” x 16”

CON T E NT S Director’s Foreword. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

35 Years in Bronze: The Sculpture of Cheryl Barnett

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Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Artist Statement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Artist Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Résumé . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

D IRE C TO R ’S FO R E WORD Cheryl Barnett – 35 Years in Bronze, represents a chance to view her brilliant work. In her 35 years as an artist, Barnett has steadily and ever more successfully created a coherent body of work that has risen to staggering heights. In addition to being a very successful professional artist, Barnett is also a devoted teacher of other artists. A few years ago, the University Art Gallery’s exhibition titled Close to Home featured the work of the faculty of Merced College and Modesto Junior College. Through this joint exhibition a new program of solo exhibitions of our colleagues was created. Barnett is one of our colleagues from Merced College. Cheryl Barnett’s years of teaching at Merced College and working at the Artworks Foundry in Berkeley have had a great impact on the learning of her students as well as her colleagues. Her work has constantly demonstrated the excellence that California State University, Stanislaus is seeking for our exhibition programs. I have had the wonderful opportunity to work with many of the students who receive an excellent education in the arts from Merced College. Many of these students discuss how wonderful it was to work with and be inspired by Cheryl Barnett . I am very excited to be able to exhibit her work for others to enjoy. I would like to thank the many colleagues have been instrumental in presenting this exhibition. Cheryl Barnett for the chance of exhibiting great work, Jamey Brzezinski for the wonderful essay, the School of the Arts in the College of the Arts, Humanities and Social Sciences, California State University, Stanislaus for the catalog design and Claremont Print and Copy for the printing this catalog. Much gratitude is also extended to the Instructionally Related Activities Program of California State University, Stanislaus, as well as anonymous donors for the funding of the exhibition and catalogue. Their support is greatly appreciated.

Dean De Cocker, Director University Art Gallery California State University, Stanislaus

INTRODUCTION

Because a work does not aim at reproducing the natural appearance it is not… an escape from life… it may be penetrating into reality… a stimulation to greater effort in living. -Henry Moore

35 YEARS IN BRONZE: THE SCULPTURE OF CHERYL BARNETT BY JAMEY BRZEZINSKI Cheryl Barnett began her sculpture studies at UC Santa Cruz in the mid-seventies and was highly inspired by Jack Zajac and Nick Jonk. She soon made a commitment to bronze and went on to graduate work at San Jose State with John Battenberg and Fletcher Benton. “There were no women instructors to discuss ideas with. I felt misunderstood as an artist and discouraged by not being taken seriously—as if sculpture was for men only.” Undeterred and a bit angry, this propelled her to create an enormous number of small bronzes during her masters program at CSU Fresno. Her mentor, David Bottini, encouraged her to sculpt ten waxes a week. Later while living in the Bay Area and working at Artworks Foundry she not only earned these and other sculptors’ respect, but their support and friendship. Barnett came of age just after the first major Post-war thrust of the modern Women’s Liberation movement. Rosie the Riveter built the weapons of WWII. But after the defeat of the Nazis and Imperial Japan these women defense workers were relegated back to the traditional “helpmeet” role in society during the 1950s. In the late sixties and early seventies even the most progressive male professors at the nation’s colleges and universities still held onto certain quaint notions. I remember one, asking his students their majors on the first day of class, responding to female students: “Journalism? Oh so you want to work on the society pages. Pre-law? Oh, you want to do family law and children’s issues?” Believe it or not, these condescending responses were meant as encouragement! Yes, that’s the way it still was circa 1970. In Northern and Central California where young Cheryl Barnett was studying a while later, her older “sisters” had already begun to aggressively slap these old stereotypes upside the head. But the bronze foundries of university art departments were often still macho boys clubs. Barnett was literally told: “Why do you want to get your master’s degree? Aren’t you just going to get married and have kids?” Perhaps because of these experiences in her art studies, Barnett’s mature work—bronze sculpture that range from small gesture studies to full-scale, life-size pieces—developed into a multi-faceted examination of the nature of womankind. Barnett creates flat, two-dimensional sheets of wax, cut with curves that are then bent and twisted into three-dimensional concave and convex forms enhanced by subtle textural elements, then cast into bronze. These figures are coupled with arches, masts, trees, shadows, and other elements that place her female forms into an implied environment. The results embrace not only the notion of beauty in the classical sense of an idea well conceived and executed, but also in beauty’s more common use. These sculptures are often quite lovely, visually striking, rich with color, texture, and pleasurable nuance of form. Barnett repeatedly utilizes these elements to visually explore feminist and feminine themes. Her women are strong, robust… the wellspring of life. Yet they retain a quality of the feminine that imbues them with a strength that is quite different than one associated with masculinity. Barnett portrays strength not of muscle, but of purpose, of character. Although she has only directly addressed motherhood three times in her work, I am reminded of a trip to Disneyland with my wife and my daughter. The day was hot. The lines were long. I was exhausted just standing there. In front of us two mothers were enjoying the day with their toddlers. One was chatting to the other while holding her sleepy two-year old on her hip while her three-year old kept trying to escape her grasp, tugging this way and that, hanging from her hand, pulling with all her might. The whole time mommy continued chatting effortlessly with her friend while simultaneously dealing with at least seventy or eighty pounds of often squirming childhood. That’s the kind of strength Barnett’s work depicts: an endurance for which bronze, with its potential to last for millennia, seems analogous. 7

Barnett’s earliest studies depict the female form with classical virtuosity. She quickly moved through a sort of Rodin-like approach, initially dealing with thick, molded, muscular forms. Inspired by the modernist works of Brancusi, Giacometti and Picasso, Barnett began to abstract the female form into its essence: the curve of hip or breast coupled with metaphor. Spirals reference infinity. Vessels evoke fertility and the fragility of life. Her Cloven Women and Parted series address the heartbreak of loss, romantic and otherwise. Separation, intellectual depth, spiritual strength, and a certain sauciness of female sexuality are all celebrated in bronze: cast hot and molten, finished to a beautiful surface that can be at once brilliant with reflected light and cool to the touch. The Months series couples classical mythology with the personal mythology of people she has known. Barnett explains: “This series emerged after a holiday season spent in Paris and Venice observing elegant jetsetter fashionistas, old Renaissance palaces, and cathedrals with Byzantine stained glass and gothic trefoils. December captures this moment in my life and led me to explore the other months. February, my month, reflects my internal, melancholy blue, shy spirit. March was named for Mars, the Roman god of war, and represents my mother’s birth month and her powerful and indomitable spirit. I then researched the history of the other months from their origins—Roman, Greek, god or goddess—and made a connection to certain friendships and/or activities.” During her work at the renowned Artworks Foundry in Berkeley, where she maintained a studio for over two decades, she honed her skills in casting and especially patination. A consummate craftswoman, her sculptures reveal the hand of the artist while exploring the aesthetics and metaphors examined by artists from classical times, through the Renaissance, to the present. Her series, Vessel of the Innocents, was partially inspired by Jean Goujon’s 1549 marble relief, Fountain of the Innocents, in the Louvre’s former courtyard. Another facet inspiring this theme was images of Ethiopian women, drought-stricken and emaciated, gracefully carrying water jugs on their heads. She pulls these two disparate sources together evoking a universal archetype of woman. Barnett says: “The vessel is a timeless symbol in history: a utilitarian object that holds food or water for sustaining nourishment. Women are the ultimate vessel of life – the seedpod for all of humanity.” Sometimes the inspiration results in contrast. Of Henry Moore she says: “Through him I realized that the human form had endless possibilities to be re-invented. He abstracted through closed form, volume defined visually as solid mass. I abstract through open form, open space defined by concave and convex folded planes.” In fact, sometimes Barnett’s form is so open that the figure is represented only in the voids between the folds of the clothing draping her female figures. She continues on Moore: “But our goals are the same: to captivate the viewer by the mystery of a spiritual presence hidden inside the bronze. It is perhaps in this goal where Cheryl Barnett’s sculpture is most successful. Using the ancient medium of lost-wax bronze casting, she manages to evoke sorrow, humor, hope, compassion, and a myriad of human emotions through the thrust of an abstracted arm, the tilt of a textured head, or the stance of non-existent feet. Sometimes her sculpture represents intensely personal incidences in her own life. But these events have a certain we’ve-all-been-there, timeless quality to them which, although we may not be able to put our finger on why, resonates spiritually and echoes in reverberations not quite audible. Like 30 thousand year old cave paintings that affect us today, she penetrates, and penetrates deeply, into the mystery of being woman, of being human.

IMAGES

Vessel of the innocents IV, 2003, unique cast bronze, 79” x 20” x 12”

Vessel of the Innocents V, 2002, unique cast bronze, 94” x 26” x 16”

Rain Charmer, 2002, unique cast bronze, 63” x 16” x 10”

Vessel of the Innocents III, 2002, unique cast bronze, 79” x 27” x 12”

Top to Bottom: Cheryl Barnett with friend and former art dealer Eleonore Austerer (in memory), 2004 Garden Parasol - Variation II, 2004, unique cast bronze, 58” x 21” x 12”

Vessel of the Innocents II, 1998, unique cast bronze, 73” x 16” x 14”

Top to Bottom: Reminiscence, 2004, unique cast bronze, 16” x 4.5” x 4.5” Solitary Vessel, Edition of 7, 1996, cast bronze, 17.5” x 9.5” x 9”

Vessel of the Innocents I, 1998, unique cast bronze, 73” x 17” x 14”

Diane - The Huntress, 1998, unique cast bronze, 31.5” x 14” x 6”

Window of the Night, Edition of 7, 1993, cast bronze, 35” x 25” x 7”

Top to Bottom: Electra, 1998, unique cast bronze, 30.5” x 4.5” x 6.5” Hallway of Dreams, 1998, unique cast bronze, 24” x 7” x 3.5”

Pandora’s Puzzle, 1998, unique cast bronze, 27” x 10.5” x 4”

Through the Looking Glass, 1990, unique cast bronze, 16.25” x 6.25” x 4.5”

Top to Bottom: Memories, Edition of 7, 1986, cast bronze, 19” x 8.5” x 3” Memories, A.P., 1996, fiberglass and mixed media, 88” x 34” x 12”

Eve II, 1989, unique cast bronze, 44” x 10.5” x 4.5”

Eve I, 1989, unique cast bronze, 42” x 15” x 6

Top to Bottom: V, 1987, uniquecast bronze, 31.5” x 12” x 5” Woman and Vessel II, 1987, unique cast bronze, 36” x 15.5” x 4”

May, Edition of 7, 1987, cast bronze, 32” x 14” x 3”

Top to Bottom, Left to Right:February, Limited Edition, 1987, cast bronze, 23” x 8.5” x 3” March, Limited Edition, 1987, cast bronze, 36.5” x 12” x 3” September, Limited Edition, 1987, cast bronze, 30.5” x 6.5” x 3” December, Limited Edition, 1987, cast bronze, 31” x 13” x 3”

October, Edition of 7, 1987, cast bronze, 36” x 14” x 3”

A Breath Between Us, Edition of 7, 1992, cast bronze, 35.5” x 14.25” x 4.5”

Parted II, Edition of 7, 1988, cast bronze, National Sculpture Prize Award Winner, 31” x 13” x 3”

Top to Bottom: Study of Laura I, Edition of 12, 1998, cast bronze, 11.5” x 5” x 8” Study of Laura II, Edition of 12, 1998, cast bronze, 5.5” x 5” x 12”

Top to Bottom: Gesture Sketch No. 24, 1998, unique cast bronze, 11” x 7” x 8.5” Gesture Sketch No. 20, 1997, unique cast bronze, 12” x 4.5” x 5.5”

Top, Left to Right: Gesture Sketch No. 1, 1990, unique cast bronze, 11” x 7” x 6.5” Gesture Sketch No. 7, 1990, unique cast bronze, 9.5” x 10” x 6.5” Bottom: Gesture Sketch No. 5, 1990, unique cast bronze, 7” x 4.5” x 14”

Gesture Sketch No. 4, 1990, unique cast bronze, 11” x 11” x 7”

Top: Dancer, Edition of 7, 1984, cast bronze, 12.5” x 4.5” x 3” Bottom from Left to Right: Day Dreams II, 1985, unique cast bronze, 6” x 8” x 6” Reflections, 1985, unique cast bronze, 5” x 4” x 4” Seated Figure, 1984, unique cast bronze, 9.5” x 5.5” x 4.5”

Jazz Turquoise, Edition of 7, 1984, cast bronze, 12.5” x 6” x 4”

ARTIST STAT E M E N T I choose the figure as my primary focus in sculpture for its universal identification, complexity and mystery. The human body conveys a multitude of implied messages in a simple gesture. Attitudes, emotions, spirit, or suggestive symbolic relationships can be depicted through form. I abstract the figure by concentrating on the minimal qualities of line, form and space. By manipulating the structural illusion through implied volume and mass, the piece begins to portray an individual persona. My portfolio of work represents people I’ve known, while others are a reflection of myself. Additional themes identify with a more universal archetype, myth, or fable that can be understood in the abstract by each of us in our own way. Perhaps for every ten waxes created, only one or two will capture an essence within the folded form; all the rest go back into the melting pot. I tend to gravitate toward elegant combinations of three: such as focusing on the female figure as the “dominant” subject, contrasting that S curve against a straight line to suggest a doorway as a “subdominant” element, with the third form being a small mysterious shadow or a vase, as a “passive” shape - creating a 3-way dialog. These separate parts are then created using the lost wax bronze casting process. Sections are welded together, sanded smooth, polished, and a patina coloration is applied hot, then waxed cold for a layer of protection.The whole process is very time consuming and highly laborious – that’s why it is so costly. While working to keep my eye-to-hand skills honed, I like to create what I call “Gesture Sketches”: not as serious works of art, but as studies of the figure. Occasionally, my cats or dog have been included in these studies – as they often shadow me into the studio. My sculptures range from small 6” tabletop studies to 6’ life-size figures (with up to 8’ vertical elements), unique one-of-a-kind casts to limited edition works of seven or twelve. The edition copies allow me to keep the “artist’s proof ” for my own personal collection and as a foundry copy for reproduction purposes. These usually include my favorite works, which inspire me to recreate larger or smaller variations on a theme. However, I also enjoy unique casts, as new works invite experimentation of exploratory concepts and are considered more valuable to the collector, being one-of-a-kind. The website, Barnettsculpture.com, represents only a small introduction to my portfolio, as I hesitate to put between 400 to 500 works out there in cyberspace. I am very fortunate that the majority of my sculptures are sold and they are now in private art collections in numerous countries. Regarding the impetus that Jamey mentioned in his introductory essay, perhaps that one art instructor was right. If I had achieved the model life as a “happily” devoted wife and mother, would I have had the time to dedicate myself to creating artwork? Would my life have followed another path? Perhaps it is through those loves lost and found that I created the story of my life - encrypted through my art. In many ways my children are my sculptures and I am very proud that they are now in beautiful places around the world. And yet revisiting some of them here (through my DVD presentation) is like seeing dear old friends with many shared memories.

ARTIST B I O GR A PH Y Cheryl Barnett grew up as a fifth generation Californian enjoying the arts in San Francisco with her family (the Symphony, Theatre, or the Ballet). Her mother was a professional pianist and music educator who often traveled to Europe to study and perform at International Music Workshops with numerous famous musicians. Barnett considers her mother’s love of music and travel as influencing her interest in art. Her participation in University summer extension programs offered several opportunities to study art and music here and abroad. While intrigued by these travels, she studied German for 5 years prior to living in Vienna, Austria, the summer of 1976 to study art history and music history. The great art collections of Europe: the Musee d’Orsay & Musee Picasso in Paris, the Uffizzi in Florence, the Alte Pinakothek in Munich, and many more, all made a lasting impression on Barnett to dedicate her life to art. Her college years were spent at UC Santa Cruz (BA), San Jose State University and CSU Fresno (MA), where she focused on bronze casting with international sculptors Jack Zajac, Nick Jonk, John Battenberg, Fletcher Benton and David Bottini, among others. During her time spent living in the San Francisco Bay Area, art became her entire focus. While working as a Patina Specialist for 3 years at ARTWORKS Foundry & Gallery in Berkeley, she became friends with some of the famous artists who cast their work at the facility. She continued to produce a significant body of bronze sculptures while keeping an art studio right next door for over 22 years. Even after receiving a full-time teaching contract at Merced College in 1988, she continued to commute and maintained her studio and foundry production in Berkeley. The Meyerovich Gallery noticed Barnett’s bronze sculptures at ARTWORKS Gallery in 1986 and invited her to exhibit alongside several significant artists in San Francisco (231 Grant Avenue) - first with the famous Italian artist Mimmo Paladino, and then later with the British/LA painter David Hockney, while being paired in one room with the works of Pablo Picasso. The Eleonore Austerer Gallery invited Barnett to show in her beautiful new San Francisco Gallery (540 Sutter Street) in 1990 and years later in her Palm Desert Gallery (73-660 El Paseo Drive).Their business relationship and friendship flourished for two decades. Austerer often displayed Barnett’s sculptures next to famous 20th century modern masters’ prints or with contemporary painters. Eleonore the Gallery owner’s exacting quality and stylish flair acted as a magnet to attract collectors (being from Vienna, Austria herself, then Spain, before moving to the US). Her stable of European artists often appealed to an international group of art buyers and Barnett’s works joined collections worldwide: Australia, Belgium, England, France, Switzerland, Korea, Singapore, Taiwan, China and the US. Austerer mounted a show entitled “Studies of the Human Figure” in 2004 with rare prints and a large tapestry by the renowned British sculptor Henry Moore (1898-1986) paired with bronze sculptures by Barnett. Due to high interest in her last two exhibits, buyers returned from Switzerland, Belgium and New York City to purchase a second and third Barnett for their private collections. Barnett’s exhibition record is extensive, but mostly regional. Malcolm Rogers, Director of the Museum of Fine Arts, Boston, juried a show and selected a work titled “Parted II” to award “The National Sculpture Prize” in 1998 (from approx. 4500 entries) displayed in Cambridge, MA. Over the years, numerous juried group exhibitions coupled with several shows in a variety of corporate headquarters, and five significant charity art auctions helped generate sales and critical praise. During the height of the economy four California Art Galleries were showing Barnett’s work: San Francisco, Palm Desert, Carmel and Bass Lake. Sadly, the Austerer Gallery in Palm Desert closed in 2011, two years after Eleonore’s passing. Barnett moved her art studio down the East Bay to San Leandro from 2001 to 2012, to be closer to family. She continued to create her life-size series known as “Vessel of the Innocents” in Berkeley. Several opportunities surfaced through inclusion in the juried book American Art Collector (2006-2015) such as exhibiting with The William and Joseph Gallery (727 Canyon Road) in Santa Fe, NM, in 2012. Currently, the artist continues to teach at Merced College while showing art at her new residence, the Ekasake Sculpture Garden and Gallery, featuring works by friends and students, as well as her own collection. The namesake is a tribute to her friends, Toni and Gordy Ekas, (prior owners of the property) - open to the public by individual appointment.

CH E RYL B A R NE T T EDUCATION: 1985 1983 1981 & 1982 1977 - 1978 1977 1976

M. A. in Art, Cast Bronze Sculpture, California State University Fresno, Fresno, CA Master Class in Sculpture & Figure Drawing, Nick Jonk, University of California Santa Cruz, Santa Cruz, CA Drawing & Painting Studies, Western Michigan University Ext., Oahu, HI & Innsbruck, Austria Graduate Studies in Sculpture, Painting and Art History, San Jose State University, San Jose, CA B. A. in Art, University of California Santa Cruz, Santa Cruz, CA Art History Studies, The Institute of European Studies, Hope College MI Extension, Vienna, Austria

SOLO & FEATURED EXHIBITIONS: 2015 35 Years in Bronze, University Art Gallery, California State University Stanislaus, Turlock, CA 2005 Cheryl Barnett & Sandy Young, The Simmons Gallery, San Francisco, CA 2004 Studies of the Human Figure - Henry Moore and Cheryl Barnett, Eleonore Austerer Gallery, Palm Desert, CA (Moore’s graphics paired with Barnett’s sculptures) 2004 Personal Affections, Eleonore Austerer Gallery, San Francisco, CA 1998 Exploring the Figure - Two Women, Two Visions, (paired with Catherine Woskow), Eleonore Austerer Gallery, San Francisco, CA 1994 Sculpture: Figure and Form, (with Gay Gordon & Wayne Shaffer), Merced College Art Gallery, CA 1993 Symbolic Relationships, (paired with Jon Neuse), Eleonore Austerer Gallery, San Francisco, CA 1989 Bronze Sculpture, Merced College Art Gallery, Merced, CA 1988 “The Months - by Cheryl Barnett,” Banaker Gallery, Walnut Creek, CA 1987 Erika Meyerovich Gallery, (paired with Picasso, during David Hockney’s exhibit), San Francisco, CA 1986 Erika Meyerovich Gallery, (paired with Mimmo Paladino), San Francisco, CA Cast Bronze by Cheryl Barnett, The Art Circle, Visalia, CA 1985 Cheryl Barnett, Phebe Conley Art Gallery, Calif. State Univ. Fresno, Fresno, CA 1984 Bronze Sculptures by Cheryl Barnett, Merced College Art Gallery, Merced, CA Bronze Sculptures by Cheryl Barnett, Fresno Art Museum, Gift Gallery, Fresno, CA 1982 Sculptor / Painter - Cheryl Barnett, Merced College Art Gallery, Merced, CA GROUP SHOWS & GALLERY EXHIBITIONS: 1988 - 2014 Fine Arts Faculty Exhibition, annual exhibit, Merced College Art Gallery, Merced, CA 2014 Inside Out, Contemporary Humanitarian Artists Association, Merced Multicultural Arts Center, Merced, CA 2012 The William & Joseph Gallery, Santa Fe, NM Close to Home, University Art Gallery, California State University Stanislaus, Turlock, CA 2011 - 2012 Gallery on the Square, Merced, CA 2002 - 2011 Eleonore Austerer Gallery, Palm Desert, CA (name changed to Austerer-Williams Gallery in 2010) 2010 Topophilia – Love of Place, Contemp. Humanitarian Artists Assoc. (CHAA), M.C. Art Gallery, Merced, CA I’ve Got the Music in Me, CHAA, Merced Multicultural Arts Center, Merced, CA 2006 Focus: Sculpture, Eleonore Austerer Gallery, Palm Desert, CA 2003 - 2005 The Simmons Gallery, San Francisco, CA (former Austerer Gallery & changed name) 2002 - 2005 Brumley Art Gallery, Bass Lake, CA 1990 - 2004 Eleonore Austerer Gallery, San Francisco, CA 2004 Contemporary Sculpture: Metal & Glass, Eleonore Austerer Gallery, Palm Desert, CA Brinker Knox Gallery, Yountville, CA 2001 - 2002 Austerer / Crider Gallery, Palm Springs, CA 2002 Gallery Ocean Avenue, Carmel, CA 2001 Santa Clara BienniaI Indoor/Outdoor Sculpture Exhibition, Santa Clara, CA 2000 Lost Wax / Foundry Friends IV, Phebe Conley Gallery, C.S.U.F., Fresno, CA Merced College Art Invitational, Mariposa Arts Council, Mariposa, CA 1999 Pacific Rim Sculptors - Diversity in Sculpture, Hayward City Hall, Hayward, CA 1998 & 1999 The Big Valley Arts & Culture Festival, Merced Civic Center, Merced, CA 42

1998 Sculpture ’98, Artworks, Hayward Arts Council, Hayward City Hall Galleria, Hayward, CA National Prize Show, Juror: Malcolm Rogers (Director, Museum of Fine Arts, Boston), Cambridge Art Association, Cambridge, MA Black and White Show, curated by Karen Le Cocq, Merced Multicultural Arts Center, CA 1997 Life Lines, Juror: Stephen McGough (Director, Crocker Art Museum), Mendocino Art Center, Mendocino, CA Art in the Garden, Pacific Rim Sculpture Group, Cooper-Molera Historical Park, Monterey, CA 1996 Grand Opening, Merced Multicultural Arts Center, Merced, CA LOST WAX / FOUNDry FRIENDS, Conley Art Gallery, C.S.U.F., Fresno, CA Pacific Rim Sculpture Group - Bronze Sculpture, College Art Gallery, Merced, CA Expressions of the Vessel, Juror: Tran Turner, Artisans Gallery, Mill Valley, CA Pacific Rim Sculptors Exhibit the Mother Lode, Kautz Ironstone Vineyard, Bradford Galleries, The Vault Gallery, Murphys & Sonora, CA Speaking of Her, Curated by John Battenburg, Pacific Rim Sculpture Group, Contract Design Center, San Francisco, CA 1995 Life Lines, 8th Biennial National Figurative Exhibition, Juror: James Steward (Curator, University Art Museum Berkeley), Mendocino Art Center, Mendocino, CA Through the Door, Pacific Rim Sculpture Group Exhibition, Juror: Marian Parmenter (Director, SFMOMA Rental Gallery), Contract Design Center, San Francisco, CA Sculptures by Cheryl Barnett, Merced County Arts Center, Merced, CA 1994 3 COM Corporation, Santa Clara, CA Artists Who Teach, Carnegie Art Center, Turlock, CA Synopsys Inc., Mountain View, CA Network General, Menlo Park, CA 1993 Women and Bronze, Artworks Foundry & Gallery, Berkeley, CA Cadence Design Center, San Jose, CA Go Figure, Juror: Wallace Gorell, Opts Art, San Francisco, CA 1986 - 1993 Bronze Sculpture, Artworks Foundry & Gallery, Berkeley, CA 1992 Art For Merced’s Sake, Merced County Arts Center, Merced, CA Art Instructors of Merced County, Merced Civic Center, Merced, CA Outdoor Sculpture, A Garden Gallery, Berkeley, CA 1991 - 1992 Artifacts, San Francisco, CA 1991 Drawing from Life: The Human Figure, Juniper Gallery, Napa Art Center, Napa, CA Hitachi Corporation, Santa Clara, CA 1990 Bronze Sculpture: The Art of Lost Wax, One Market Plaza, San Francisco, CA Herbert Palmer Gallery, Los Angeles, CA 1989 Excellence of the West, Juror: David LaPlantz, Humboldt Cultural Center, Eureka, CA Arts Alive, Artifacts, San Francisco, CA Merced County Artists, Merced Civic Center, Merced, CA Salute to Arts & Flowers, The Arts Com. of S. F., Golden Gate Park, San Francisco, CA East Bay Open Studios, Pro Arts Gallery, Oakland, CA Turlock City Arts Commission 8th Annual Invitational, Carnegie Center, Turlock, CA 250 Women, Artworks Foundry and Gallery, Berkeley, CA 1988 Curator’s Invitational, Berkeley Art Center, Berkeley, CA 3 COM Corporation, Santa Clara, CA Bay Area Bronze, Curated by Carl Worth, Civic Arts Gallery, Walnut Creek, CA 1987 Bronze Sculpture: The Process and the Art, Artworks Gallery, Berkeley, CA Erika Meyerovich Gallery, San Francisco, CA 1986 Bronze Sculpture, Fresno City College, Fresno, CA Bronze Sculptures, College of the Sequoias, Visalia, CA 1985 Fig Tree Invitational ‘85, Fig Tree Gallery, Fresno, CA 1984 Merced College Art Faculty, Calif. State Univ. Stanislaus Art Gallery, Turlock, CA 43

1982 & 1983 1982 1981 1978 1977

Annual Art Faculty Exhibition, Merced College Art Gallery, Merced, CA International Art Exhibition, Sparkasse Bank, Innsbruck, Austria International Art Exhibition, Kamehameha Library, Honolulu, HI Featured Artist - Merced Art League, M.S.E.F. Credit Union, Merced, CA Clay Sculpture, University of California Santa Cruz, Santa Cruz, CA U.C.S.C. Cast Metal Sculpture, Cooper House Gallery, Santa Cruz, CA

GROUP EXHIBITIONS FOR CHARITY ART AUCTION EVENTS 2001 Hospitality House 16th Annual Art Auction, Braunstein /Quay Gallery, S.F., CA 1998 Central City Hospitality House Art Auction, Stephen Wirtz Gallery, San Francisco, CA 1997 Benefit Auction, Triton Museum of Art, Santa Clara, CA 1995 Hospitality House 10th Annual Art Auction, Stephen Wirtz Gallery, San Francisco, CA Artists for a Dream Come True, Sculpture Gallery, Make-A-Wish Foundation, S.F., CA PUBLIC COMMISSIONS: (numerous private commissions unlisted) 2000 Mercy / U. C. Davis Cancer Center, Marge McAuley & Family Commission, Merced, CA 1987 Hanna & Hanna Civil Engineering, Wilson Hanna, Fresno, CA 1979 Merced School Employees Federal Credit Union, 25th Anniversary, Merced, CA BIBLIOGRAPHY: Selected Publications, Periodicals and Catalogs 2006 - 2015 American Art Collector, Alcove Books, Berkeley, CA, Annual Juried Print 2001 - 2015 Who’s Who in American Art, Marquis, New Providence, NJ, USA, Annual Print 1996 - 2007 Who’s Who of American Women, Marquis, New Providence, NJ, USA, Annual Print 1993 - 2007 Art in America - Annual Guide to Museums, Galleries and Artists, Magazine Publication 2000 - 2005 2000 Notable American Women, American Biographical Institute, Raleigh, NC, Print 2000 2000 Outstanding Women of the 21st Century, International Biographical Center, Melrose Press Ltd., St. Thomas Place, Cambridge, CB2 3QP, England, Print 2000 World Who’s Who of Woman, American Biographical Institute Inc., Print 1999 2000 Outstanding Artists and Designers of the 20th Century, International Biographical Center, Melrose Press Ltd., Cambridge, CB2 3QP, England, Print 1996 - 1997 Who’s Who Among America’s Teachers, Educational Communications, Inc., Lake Forest, Illinois, USA, Print 1996 Virtuosity - Art Collection, Art Communication International, Philadelphia, PA, USA 1995 In Three Dimensions: Women Sculptors of the ‘90s, Newhouse Center for Contemporary Art & The Snug Harbor Cultural Center, Staten Island, NY, USA, Page 89. Catalog Print & Essay 1988 Art Week, “Cheryl Barnett Exhibits at the Berkeley Art Center,” July 23, Page 15, Newspaper

Numerous newspaper, magazine and periodical articles are compiled in a separate list & binder.

AWARDS RECEIVED: 2001 Award of Merit, Santa Clara Biennial Indoor / Outdoor Sculpture Exhibition, Santa Clara, CA 1998 The National Sculpture Prize, The Frances DeB. Henderson Award, National Prize Show, Juror: Malcolm Rogers (Director, Museum of Fine Arts, Boston), Cambridge Art Assoc., Cambridge, MA (selected from 4500 entries) 1996 N.I.S.O.D Excellence Award for Teaching- Merced College, University of Texas, Austin. TX 1977 Honorary Award, Art Exhibition, Salz Tannery, Santa Cruz, CA 1974 Achievement Award in the Field of Art, Bank of America

PROFESSIONAL EMPLOYMENT: 1988 - present Art Professor, Merced College, Merced, CA (Sculpture: 3D Foundation, Design: 2D Foundation, Art History of the 20th Century, and previously Figure Drawing, Ceramics, Illustration) 1986 - 1988 Patina Specialist, Artworks Foundry & Gallery, Berkeley, CA 1981 - 1986 Art Instructor, Merced College, (part-time; Sculpture, Ceramics, Design, Drawing & Composition) 1985 Sculpture Instructor, Fresno Art Museum, Fresno, CA 1983 - 1984 Art Instructor, Summer College for Kids, Merced College, (Sculpture, Drawing) 1981 - 1983 Art Gallery Coordinator, Merced College Art Gallery, Merced, CA 1979 - 1981,`83 Art Therapist, Merced Manor Psychiatric Hospital, 3 Senior Citizens Cherish sites, Kingsview Work Experience for the Disabled, Community Services, Merced College, Merced, CA 1979 Visiting Guest Lecturer, UCSC, Santa Cruz, CA and the American Assoc. University Women, Merced, CA ART COLLECTIONS: Australia, Belgium, China, England, France, Korea, Singapore, Switzerland, Taiwan, USA MEMBERSHIPS: 1990 - present 1979 - present 2002 - 2012 1986 - 2006 1998 - 2006 1995 - 1996 1988 - 1998

The National Museum of Women in the Arts, Charter Member, Washington, DC San Francisco Museum of Modern Art, Supporting Member, San Francisco, CA Oakland Museum of California, Educator and Donor Circle, Oakland, CA International Sculpture Center, Washington, DC American Association of University Women Womenâ&#x20AC;&#x2122;s Caucus for the Arts, National & Chapter Member, San Francisco & Philadelphia, PA Pacific Rim Sculpture Group, San Francisco, CA

AC K N OWLEDGEME NTS California State University Stanislaus

Dr. Joseph F. Sheley, President

Dr. James T. Strong, Provost/Vice President of Academic Affairs

Dr. James A. Tuedio, Dean, College of the Arts, Humanities and Social Sciences

Department of Art

Dr. Roxanne Robbin, Chair, Professor

Dean De Cocker, Professor

Daniel Edwards, Assistant Professor

Jessica Gomula, Professor

David Olivant, Professor

Gordon Senior, Professor

Richard Savini, Professor

Dr. Staci Scheiwiller, Assistant Professor

Meg Broderick, Administrative Support Assistant II

Andrew Cain, Instructional Technician I

Jon Kithcart, Equipment Technician II

University Art Gallery

Dean De Cocker, Director

Artist Acknowledgements and Dedication The artist would like to thank her father, Charles Barnett, for being her rock, Jamey Brzezinski for his introductory essay, kind words and years of friendship, The CSU Stanislaus Art Department, Dean De Cocker for the opportunity to exhibit her work and Nic Webber for the catalog design. This exhibition and catalog are dedicated to the memory of my mother, Neville Barnett, and my art dealer, Eleonore Austerer, who taught me the meaning of strength. I also pay tribute to Toni and Gordy Ekas, dear friends whose former home has become the inspiration for the Ekasake Sculpture Garden and Gallery, in their namesake.

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