MAREN HASSINGER: As One
26 April 2018 – 2 June 2018
Susan Inglett Gallery, NYC
Maren Hassinger “Passing Through”
I don’t know where I came from and I don’t know where I’m going. This is the life I share with everyone. We are equal in this predicament. We are all passing through. From this untenable place, I make things. So, what follows is how I go to this place. I wish the prose were more elegant and sensuous. But, after all, I’m a sculptor, not a novelist. Maybe you should think of each paragraph as a room in a midcentury modern (in my growing-up time that was the premier style) home. The construction is simple, minimal almost – with floating walls and sleek furniture. Lots of glass. An insistence on structure – recognizing the verticals and horizontals. From paragraph to paragraph, you will pass through – from room to room, from one life episode to the next. As a child in Los Angeles, two seminal experiences were dance class and Camp Fire Girls. In dance, I learned the joy and abandonment movement could bring, and in Camp Fire Girls I learned about equality. Later, at Bennington College, I found sculpture. I had intended to be a dance major, but, alas, technically I was ill-equipped – or so I was told. But the sculpture teacher – Isaac Witkin, from South Africa – liked me and my work, and I was welcomed. I made a lot of welded steel modernist sculpture, and I also took photography and drawing seriously. There was no postmodernism then! It was modernist. My first job after college was as an arts editor for a textbook company. I think I was hired to fill a racial quota; I never had much to do. I remember a particularly wretched encounter on the phone with someone from a museum in the South. I was asking about the Seventh Calvary. I needed an illustration for a textbook. “Oh, those were the Nigra soldiers.” Needless to say, not much art was done at this time, but I did take a drafting class. Returning to Los Angeles in 1970, I wanted to get an MFA in sculpture from UCLA. Nope, they said, but I could major in fiber structure. I did that and was the first student to receive an MFA in that department, thanks to my professor Bernard Kester. During my time at UCLA, I discovered the material wire rope, which became a very important material. Wire rope is steel, and can be treated as steel, but it is also a rope, so it can be treated as fiber. The rope could look like many elements of nature – hair, vines, or water ripples. There was potential for the expression of motion, and you can see in the way that it’s made that there is a bound up, wound up potential energy twisted into the material. This also reminded me of dance. For ten years after that MFA, I remained in Los Angeles, working and living in a great space with my husband, Peter Hassinger. I was in several shows, using lots of wire rope, and met Senga Nengudi, David Hammons, Ulysses Jenkins, Frank Parker, and Houston Conwill. I did public work. I made a lot of wire rope sculptures related to nature – bushes, trees, and hedges. There was a whole social component to this work, which also had to do with conversations that I had and collaborations that I did with Senga. Both of us at the time were creating work that had to do with performance. My work had to do with tenets of minimalism, like pattern, rhythm, and recognizing the power of the individual performer’s history. Senga’s pieces were based on certain social interactions, like, Dance Card, the eternal triangle, and a poster that she made of two lovers dancing. We both became part of Brockman Gallery’s CETA, Title VI program. What we both made is in perfect character. I made Twelve Trees, trees out of wire rope in a weed patch next to the San Diego freeway, northbound. I was talking about the industrialization of nature, and Senga was looking at interpersonal and sociological relationships. Freeway Fets, the performance she did, was in that line because it dealt with cultural history, both remembered and resurrected. The thing that was great about our collaboration, which has lasted all these years, is that we came from very separate sensibilities and used each other as personnel to great advantage and success. That was LA, but I longed for a larger venue. It was 1984, and my application for Artist-inResidence at the Studio Museum in Harlem was accepted! Off to New York! And I never returned to live
on the West Coast! My children were born in New York. In 1991, we bought a house in the Springs, Long Island, around the corner from the former Pollock studio. I became entranced with film and video and learned a lot from a local TV station. I made Daily Mask, shooting it in 16mm, with the help of many worthy people, including my student Ford Allen from SUNY Stony Brook. This is when my early study of photography came back to me. Then, divorce, illness, and financial problems consumed my marriage, and a move to Baltimore was necessary to keep eating. I assumed the position of director of Rinehart School of Graduate Sculpture at the Maryland Institute College of Art (MICA), the oldest accredited art school in the nation. Leslie King-Hammond, who was dean of MICA’s graduate school, and Lowery Stokes Sims and Richard Martin of the Metropolitan Museum of Art were on the selection panel. Rinehart was founded at the end of the nineteenth century by sculptor William Henry Rinehart, a European-educated artist who wanted to bring that culture to his hometown. And somehow, I and the students I have chosen, have become his progeny. I had a house in Baltimore with a fabulous red bud tree. That tree produced lots of leaves, which became a primary material for me in the 1990s. A highlight of that period is The Dream. There is a hominess and a bit of melancholy about Baltimore, which is within me now. All of us understand Baltimore’s sadness now. During a sabbatical from MICA in 2010, I decided to move back to New York City for a year. I have remained. I am bowled over by the pace and the intelligence, the caring and the humanity. I like the business of art in New York. I feel my sculpture maturing. Last spring, Carrie Mae Weems invited several artists to participate in a days’ long presentation at the Guggenheim, where she was having a retrospective exhibition. I did something that challenged the norm of “presenter” and “audience.” I left the pedestal of the stage to become one with the audience and, as a result, defied that power relation. My point was that the use of space in sculpture can define our relationships to one another. Additionally, I defined sculpture for the audience by showing and doing. The presentation became the piece! Some people think I do abstract work, but I see myself as making things actual and sitespecific. My work is responsive and its’ making is inspired by my physical environment with its experiences. I change modes of working because of the subject and place. If I want the art to reflect relationships, or a real situation, it might become a film or video. If I’m talking about a vanishing nature, I’ve made wire-rope trees. If I want to talk about “love,” I’ve filled pink bags with human breath. If I want to talk about consumerism, I’ve used masses of product boxes configured like the island of Manhattan. If I want to dream, and I’d like the audience to dream with me, I have looked up…and made canopies. All spaces have meanings and associations, and I use space as a palpable material. I know now that much of what I do has been channeled intuitively from the past and rooted in a deeply felt place. I am concerned now, more than ever – and as I was a small child in that midcentury modern house – with issues of equality. These become apparent in my attempt to find balance between the material and the environment and to rectify any sense of separation. My goal is to find a way to unify people in this our worldly space – in this our home.
Text from the Maren Hassinger…Dreaming catalogue Published by Spelman College Museum of Fine Art, 2015 Made possible by the Elizabeth Firestone Graham Foundation
Installation View, 2018 Susan Inglett Gallery, NYC
Whole Cloth, 2017 Muslin dyed with tea and coffee 62 x 66 in.
Whole Cloth, 2017 Photograph on fabric 34 3/4 x 54 1/2 in. Fabric 36 3/4 x 56 11/16 in. Framed Edition of 5
Love, 2008/2018 Pink bags filled with breath and love notes Dimensions variable
Installation View, 2018 Susan Inglett Gallery, NYC
Consolation, 1974 Wire and wire rope 16 in. each (100 units)
Our Lives, 2008/2018 Shredded, twisted and wrapped New York Times newspapers 72 in. dia.
Fight The Power, 2017 Ink on newsprint 20 x 175 x 15 in. overall 20 x 35 x 15 in. each (5 units)
Rain, 1974 Galvanized wire and wire rope 92 x 50 in. overall 92 x 10 in. each (5 units)
BIOGRAPHY
MAREN HASSINGER
Born in Los Angeles, CA 1947 University of California, Los Angeles, MFA, 1973 Bennington College, BA, 1969 Lives and works in New York, NY Northridge, CA
SOLO EXHIBITIONS
"Maren Hassinger," Art Gallery, Los 2018
“As One,” Susan Inglett Gallery, NYC “The Spirit of Things,” Art + Practice, Los
Angeles City College, Los Angeles, CA 1981
Angeles, CA; traveling to Baltimore Museum
Angeles County Museum of Art, Los
of Art, Baltimore, MD “Monuments,” Marcus Garvey Park in
"Gallery Six: Maren Hassinger," Los Angeles, CA
1980
partnership with the Studio Museum in
"Beach," Just Above Midtown/Downtown Gallery, NYC
Harlem, NYC (upcoming) 2015
"Maren Hassinger: A Retrospective,"
GROUP EXHIBITIONS
Spelman College Museum of Fine Art, 2014
Spelman College, Atlanta, GA
2018
Rubin Foundation, NYC (upcoming)
“Maren Hassinger,” Reginald Ingraham
2017
"Magnetic Fields," Kemper Museum,
Gallery, Los Angeles, CA
Kansas City, MO; traveling to National
"Maren Hassinger: Lives," Schmucker
Museum of Women in the Arts,
Gallery, Gettysburg College, Gettysburg, PA
Washington, D.C.; Museum of Fine Arts,
2005
"The River," School 33, Baltimore, MD
St. Petersburg, FL
2004
"Rainforest," David Allen Gallery, Brooklyn,
"Uptown," Triennial, Wallach Gallery,
NY
Columbia University, NYC
"Diaries," Julio Art Gallery, Loyola College,
"The First 100 Days," Gallery
Baltimore, MD
onetwentyeight, NYC
"My Hand, This Leaf," David Allen Gallery,
"We Wanted a Revolution: Black Radical
Brooklyn, NY
Women, 1965-85," Brooklyn Museum,
"Treachery and Consolation," Trans-Hudson
Brooklyn, NY; traveling to California
Gallery, Jersey City, NJ
African American Museum, Los Angeles,
"Memory," Benton Gallery, Southampton,
CA; Albright Knox, Buffalo, NY; Institute
NY
of Contemporary Art, Boston, MA
"Bushes," Fine Arts Gallery,
"Post- Election," September Gallery,
2010
2001 1996 1993 1992
LIU/Southampton, Southampton, NY 1991
"Maren Hassinger," Gracie Mansion Gallery,
Hudson, NY 2016
"Descent," a Matriarch collaboration with
NYC
Ava Hassinger, Institute of Contemporary
1989
"Field," Soho 20 Gallery, NYC
Art, Philadelphia, PA
1986
"Blanket of Branches" and “Dancing
"Impact! The Legacy of the Women's
Branches,” Contemporary Arts Forum and
Caucus for Art," American University
Alice Keck Park, Santa Barbara, CA
Gallery, Washington, D.C.
"Focus: Environment, Maren Hassinger," Art
"Remix," Columbia Museum of Art,
Gallery, California State University,
Columbia, SC
1985
BIOGRAPHY
MAREN HASSINGER 2015
2014
2013
"Body | Image," Susan Inglett Gallery,
"Dance/Draw," The Institute of
NYC
Contemporary Art, Boston, MA,
"100 Portraits: Women Artists;
"Inti," curated by Clifford Owens,
Photographs by Barbara Yoshida,"
OnStellarRays Gallery, NYC
Salena Gallery, Long Island University,
"Sculpted Etched and Cut and Collected,"
Brooklyn, NY
Studio Museum in Harlem, NYC
"Hand/Made," Decker Gallery, Maryland
"VideoStudio: Playback," Studio Museum in
Institute College of Art, Baltimore, MD
Harlem, NYC
"Poor Working Conditions," curated by
"Material Girls," Reginald F. Lewis Museum
Claire Grube, Martos Gallery, NYC
of Maryland African American History and
"Cultural Guerillas," Hudson Guild
Culture, Baltimore, MD; traveling to Spelman
Gallery, NYC
College Museum of Fine Art, Spelman
“American Beauty,” curated by William Villalongo, Susan Inglett Gallery, NYC
College, Atlanta, GA 2010
"Hassinger & Clark: Boxes, Combs & Constellations," University of Delaware
Design, NYC 2009
Museums, Newark, DE "Ashe to Amen," Reginald F. Lewis Museum
2011
"30 Seconds Off an Inch," Studio Museum in Harlem, NYC
2008
"Discursive Acts: African American Art at
of Maryland African American History and
University of Delaware and Beyond,"
Culture, Baltimore, MD
University Museums, Newark, DE
“Selections from the Permanent Collection
"Faculty Show," Decker Gallery, Maryland
at the VWI Thurgood Marshall Airport,”
Institute College of Art, Baltimore, MD
organized by the Reginald F. Lewis Museum,
"Slideshowpotluck," Democratic National
Baltimore, MD
Convention, Denver, CO
"Heavy Metal: Joseph Beckles, Charles
"Grimaldis @ Area 405," Area 405,
Dickson, Melvin Edwards, Maren Hassinger,
Baltimore, MD
John Outterbridge," Garboushian Gallery,
"The Sondheim Finalists," Baltimore
Beverly Hills, CA 2012
"Global Africa Project," Museum of Arts and
"Radical Presence: Black Performance in
Museum of Art, Baltimore, MD 2007
"Cinema Remixed & Reloaded: Black Women
Contemporary Art," Contemporary Arts
Artists and the Moving Image Since 1970,"
Museum Houston, TX; traveling to Studio
Spelman College Museum of Fine Art,
Museum in Harlem, NYC; Grey Art Gallery,
Spelman College, Atlanta, GA; traveling to
New York University, NYC; Walker Art
Contemporary Art Museum Houston,
Center, Minneapolis, MN; and Yerba Buena
Houston, TX
Center for the Arts, San Francisco, CA
"Celebrating Forty Years: Showcasing Forty
“Cinema Remixed & Reloaded 2.0,” Biennial,
Artists," Maryland State Arts Council,
Havana, Cuba
Baltimore, MD
"Romare Bearden Centennial," Studio
"Mini-Curated-Micro-Books," Baltimore Book
Museum in Harlem, NYC
Festival, Baltimore, MD
"Now Dig This!," Hammer Museum, Los
"Janet and Walter Sondheim Prize at MICA:
Angeles, CA; traveling to MoMA P.S.1, Long
Semi-Finalists Exhibition," Meyerhof Gallery,
Island City, NY; Williams College Museum of
Maryland Institute College of Art, Baltimore,
Art, Williamstown, MA
MD
BIOGRAPHY
MAREN HASSINGER "21st Annual Critics’ Residency Program,"
News, VA; and Bermuda National Gallery,
Maryland Art Place, Baltimore, MD "15th Annual Lotta Art Benefit," School 33
Hamilton, Bermuda 2002 "Faculty Show," Maryland Institute
Art Center, Baltimore, MD
College of Art, Baltimore, MD
"Crossing the Line: African American Artists
"Unforgettable," Chelsea Studio
in the Jacqueline Bradley and Clarence Otis,
Gallery, NYC
Jr. Collection," The Cornell Fine Arts
"Healing Arts/Art That Heals," Maryland
Museum, Rollins College, Winter Park, FL "Agents of Change: Women, Art and
General Hospital, Baltimore, MD 2001
Baltimore, MD
"At Freedom’s Door: Challenging Slavery in
"2001 Faculty Exhibition," Meyerhoff
Maryland," Maryland Historical Society,
Gallery, Maryland Institute College of Art,
Baltimore, MD 2006
"181st Annual: An Invitational Exhibition of
Baltimore, MD 2000
Baltimore, MD
Museum, NYC
"2000 Faculty Exhibition," Decker Gallery,
"14th Annual Lotta Art Benefit," School 33
Maryland Institute College of Art, Baltimore,
Art Center, Baltimore, MD
MD
Lived Realities," James E. Lewis Museum of
"Artscape," Festival, Baltimore, MD 1999
Studio Museum in Harlem, NYC; traveling to
"Double Consciousness: Black Conceptual
Chicago Cultural Center, Chicago, IL; and
Art Since 1970," Contemporary Arts
Miami Art Museum, Miami, FL
Museum, Houston, TX
"Through the Fire to the Limit: African-
"Along the Way: MTA Arts for Transit,
American Artists in Maryland," Government
Celebrating 20 Years of Public Art," UBS
House, Annapolis, MD
Art Gallery, NYC
"Faculty Show," Maryland Institute College
Program," Center for Architecture, NYC
2003
"Passages: Contemporary Art in Transition,"
Art, Morgan State University, Baltimore, MD
"City Art: New York’s Percent for Art 2004
"Snapshot," Contemporary Museum,
Contemporary Art," National Academy
"Riffs and Rhythms: Abstract Forms and
2005
"Homecoming," Thomas Segal Gallery,
Intellect," Ceres Gallery, NYC
of Art, Baltimore, MD 1998
"Sculpture on Site, Sculpture Inside,"
"Sabbatical Exhibition," Decker Gallery,
Chesapeake Gallery, Harford Community
Maryland Institute College of Art, Baltimore,
College, Bel Air, MD
MD
"Faculty Show," Maryland Institute College
"African-American Artists in Los
of Art, Baltimore, MD
Angeles, A Survey Exhibition: Fade (1990-
"Out of Actions: Between Performance and
2003)," California State University, Los
the Object, 1949-1979," Geffen
Angeles, CA
Contemporary, Los Angeles Museum of
"Living With Art: Modern and
Contemporary Art, Los Angeles, CA;
Contemporary African-American Art
traveling to MAK-Austrian Museum of
from the Collection of Alitash Kebede,”
Applied Arts, Vienna, Austria; Museu d’art
traveling to Gallery of Contemporary Art,
Contemporani, Barcelona, Spain; and
University of Colorado, Colorado Springs, CO; Museum of Texas Tech, Lubbock, TX; Peninsula Fine Art Center, Newport
Museum of Contemporary Art, Tokyo, Japan 1997
"1997 New Faculty Exhibition," Decker Gallery, Maryland Institute College of Art,
BIOGRAPHY
MAREN HASSINGER Baltimore, MD
"Sightings," The Parrish Art Museum,
"Faculty Show 1997," University Art Gallery,
Southampton, NY
Staller Center for the Arts, State University
"Maren Hassinger and Cynthia Hawkins,"
of New York at Stony Brook, Stony Brook,
Peg Alston Fine Arts, NYC
NY "Introductions – New Faculty Exhibition,"
1996
"Black Prints," Elsa Mott Ives Gallery, NYC 1993
"Forms of Life?," Trans-Hudson Gallery,
Art, Baltimore, MD
Jersey City, NJ
"Eight by Eight," Heckscher Museum of Art,
"Multiples," Benton Gallery, Southampton,
Huntington, NY
NY
"4 Who Teach," Omni Gallery, Uniondale, NY
"Wall to Wall," Benton Gallery, Southampton,
"Whisper, Stomp, Shout! A Salute to AfricanAmerican Performance Art," Colorado
1995
1994
"Travel," Benton Gallery, Southampton, NY
Decker Gallery, Maryland Institute College of
NY 1992
"The Printmaking Workshop: Bob
Springs Fine Arts Center, Colorado Springs,
Blackburn’s Collection," The Cleveland
CO
Institute of Art, Cleveland, OH
"Required Nuance: Three Contemporary
"5 Artists at the Airport, Insights into Public
Sculptors," Studio Museum in Harlem, NYC
Art," Wood Street Galleries, Pittsburgh
"Black Pearls: Treasures of African-
Cultural Trust, Pittsburgh, PA
American Women Artists," Cinque Gallery,
"Volume: 6 Contemporary Sculptors:
NYC
Aycock, Benglis, Hassinger, Holt, Kendrick,
"Listening to the Earth: Artists and the
Newman," Guild Hall, East Hampton, NY
Environment," Emerson Art Gallery,
"Environmental Terror," Fine Arts Gallery,
Hamilton College, Clinton, NY
University of Maryland, College Park;
"Rainbow: Prints from Bob Blackburn’s
traveling to Maryland and Virginia
Printmaking Workshop," traveling to nine
“Summer/Selections from the Printmaking
galleries in Sub-Saharan African cities
Workshop Collection,” Printmaking
"Robert Blackburn: Inspiration and Innovation in American Printmaking,"
Workshop Gallery, NYC 1991
"5 From Bennington," Krasdale Foods Art
Kenkeleba Gallery, NYC
Gallery, Bronx, NY
"Inspired by Nature," Neuberger Museum of
"Three Installations: Renee Green, Maren
Art, Purchase, NY
Hassinger, Greg Henry," Jamaica Art Center,
"African-American Women Prints," The Printed Image Galleries, Firehouse Art
Jamaica, NY 1990
"Out/In Queens: A Sculpted View,"
Center, Philadelphia, PA
Queensborough Community College Art
"The Faculty Show ’94," University Art
Gallery, Bayside, NY
Gallery, Staller Center for the Arts, State
"In the Public Eye: Beyond the Statue in the
University of New York at Stony Brook,
Park," Euphrat Gallery, De Anza College,
Stony Brook, NY
Cupertino, CA
"27th Annual Artists of the Springs
"The Decade Show," New Museum of
Invitational Exhibition," Ashawagh Hall, East
Contemporary Art, Museum of
Hampton, NY
Contemporary Hispanic Art, and Studio
"Light and Lightness," Trans-Hudson
Museum in Harlem, NYC
Gallery, Jersey City, NJ
"New History: Beverly Buchanan, Mel
BIOGRAPHY
MAREN HASSINGER Edwards, Maren Hassinger," Atlanta College
"Airlines," Hillwood Art Gallery, Long Island
of Art, Atlanta, GA
University Post, Brookville, NY
"Artists for Amnesty," Blum Helman Gallery,
"The Appropriate Object," Albright-Knox Art
NYC "Nature & Humanity," Borough of Manhattan
1989
Gallery, Buffalo, NY 1988
"Coast to Coast: A Woman of Color National
Community College, NYC
Artist’s Book Project," Women’s Caucus for
"Hunts Point Sculptors: Gallery Works,"
Art, Houston, TX, in collaboration with Senga
Krasdale Foods Art Gallery, Bronx, NY
Nengudi; traveling to College of Wooster Art
"Benefit Sale," SculptureCenter, NYC
Museum, Wooster, OH; DePauw University
"Hassinger, McCarthy, Rodgers, Ziegler,"
Art Museum, Greencastle, IN; Center for
SculptureCenter, NYC
Book Arts, NYC; University of Michigan
"Artists at Hunter," Voorhees Gallery,
School of Art Museum, Ann Arbor, MI;
Hunter College, NYC
Flossie Martin Art Gallery, Radford, VA;
"Tropical Rain Forest," Sundered Ground
Eubie Blake Center, Baltimore, MD;
Gallery, NYC
Artemisia Gallery, Chicago, IL; and The
"Hassinger, McKeown, Mancini," Cyrus
Jamaica Arts Center, Queens, NY
Gallery, NYC
"Art as a Verb: The Evolving Continuum,"
"American Resources: Selected Works of
Maryland Institute College of Art, Baltimore,
African-American Artists," Bernice
MD; traveling to Studio Museum in Harlem,
Steinbaum Gallery, NYC; traveling to Carl
NYC; and Metropolitan Life Insurance, NYC
Van Vechten Gallery of Fine Arts, Fisk
"Workspace ’88," Jamaica Arts Center,
University, Nashville, TN; Downtown Arts
Jamaica, NY
Gallery at Church Street Center, Nashville,
"Unity: A Collaborative Process," Goddard
TN; and Fine Arts Gallery, Vanderbilt
Riverside Community Center, NYC
University, Nashville, TN
"Lava," onetwentyeight, NYC
"Outside the Clock: Beyond Good & Elvis,"
"Who’s Uptown: Harlem ’87," Schomburg
curated by Robert Longo, Scott Hansen Gallery, NYC
Gallery, NYC 1987
"Blue Angel: The Decline of Sexual
"Lines of Vision: Drawings by Contemporary
Stereotypes in Post-Feminist Sculpture,"
Women," Blum Helman Warehouse, NYC;
Longwood Art Gallery, Bronx, NY; traveling
traveling to Hillwood Art Gallery, Long Island
to A.I.R. Gallery, NYC; and Space One
University, Brookville, NY; Murray State
Eleven, Birmingham, AL
University, Murray, KY; Grand Rapids Art
"Los Angeles Collects," The Museum of
Museum, Grand Rapids, MI; University Art
African-American Art, Los Angeles, CA
Gallery, University of North Texas, Denton,
"Art in Public Places," The Museum of
TX; Richard F. Brush Gallery, Saint Lawrence
African-American Art, Los Angeles, CA
University, Canton, NY; and University of
"P.S. 1, The Clocktower National &
Oklahoma Museum of Art, Norman, OK
International Studio Artists’ Exhibition," The
"A Debate on Abstraction," curated by Maurice Berger, Hunter College, NYC
Clocktower Gallery, NYC 1986
"Choosing: An Exhibition of Changing
"Transformations and Traditions:
Perspectives in Modern Art and Art
Contemporary Afro-American Sculpture,"
Criticism by Black Americans, 1925-1985,"
The Bronx Museum, Bronx, NY
The Chicago Museum of Science and
BIOGRAPHY
MAREN HASSINGER Industry, Chicago, IL
"Beasley, Hassinger, Honeyword, Saar,"
"Visions of the World," Women’s Center for
Los Angeles Southwest College Art
Education and Career Advancement, NYC
Gallery, Los Angeles, CA
"Artists Select: Contemporary Perspectives
"Exchange of Sources: Expanding
by Afro-American Artists," Arizona State
Powers," California State University,
University Art Collections, Tempe, AZ "Progressions: A Cultural Legacy," The
1985
Stanislaus, CA 1982
Los Angeles, CA
Resources, Long Island City, NY
"Four," Art Gallery, Los Angeles City
"From the Studio: Artists-in-Residence, 1984-1985," Studio Museum in Harlem, NYC
College, Los Angeles, CA 1981
Women, 1862-1980," Illinois State
on American Art," Ohio University, Athens,
University, Normal, IL—National Tour
OH; traveling to the University of Palermo,
"Ten California Artists," California
Palermo, Sicily, Italy
Museum of Science and Industry, Los
Pen Factory, Atlanta, GA
Angeles, CA 1980
"Outlaw Aesthetics," Just Above
"Artists and the Landscape," Guggenheim
Midtown/Downtown Gallery, NYC
Gallery, Chapman College, Orange, CA
"In-Sites," The Woman’s Building, Los
"To the Astonishing Horizon," in
Angeles, CA
collaboration with Candida Alvarez, Design
"Afro-American Abstraction," P.S.1, Long
Center of Los Angeles, The Theater Art
Island City, NY; traveling to Everson
Gallery, NYC
Gallery, Syracuse, NY; Barnsdall
"4th Holiday Invitational Exhibit," A.I.R.
Municipal Art Gallery, Los Angeles, CA;
Gallery, NYC
Brooks Memorial Art Gallery, Memphis,
"Sticks and Stones: Modern/Post-Modern
TN; Bellevue Arts Museum, Bellevue, WA;
Sculpture," Kenkeleba Gallery, NYC
Laguna Gloria Art Museum, Austin, TX;
"East/West: Contemporary American Art,"
and Mississippi Museum of Art, Jackson,
California Afro-American Museum, Los Angeles, CA
MS 1979
"Transformation: UCLA Alumni in Fiber,"
"The Cotton Exchange Show," Cotton
Wight Art Gallery, University of
Exchange Building, sponsored by the LACE
California, Los Angeles, CA
Gallery, Los Angeles, CA
"Secrets & Revelations II," William Grant
"Transformation of the Minimal Style:
Still Community Arts Center, Los
Craft and Meaning," The Sculpture Center, NYC 1983
"Forever Free: Art by African-American
"Beyond 1984: Contemporary Perspectives
"The Mattress Factory Show," The Scripto
1984
"Magnus/Hassinger," Art Space Gallery,
Clocktower, The Institute of Art and Urban
Angeles, CA 1978
"New Talent Show," Zabriskie Gallery,
"Visual Conversations – East Coast/West
NYC
Coast," Social and Public Arts Resource
"Pocket Art," Just Above Midtown
Center, Venice, CA
Gallery, NYC
"At Home: Roles, Relationships, and
"Double X Plus," LACE Gallery, Los
Reality," Long Beach Museum of Art,
Angeles, CA
Long Beach, CA
"Art," California Museum of Science & Industry, Los Angeles, CA
BIOGRAPHY
MAREN HASSINGER "Abstract Concerns," Art Space Gallery,
Buena Center for Art, San Francisco, CA,
Los Angeles, CA 1977
1976
"Festival in Black," Otis Art Institute, Los
June 13, 2015 2014
Subjectivity," performance of Lorraine
"Tension/Line," Libra Gallery of the
O'Grady's writing as a part of "Future
Claremont Colleges, Claremont, CA
Feminism," The Hole, NYC, September 21,
"Studio Z," Long Beach Museum of Art,
2014
Long Beach, CA
"R.S.V.P.," activating Senga Nengudi's work,
"Hassinger/Mahan," Arco Center for Visual
as part of "Senga Nengudi: Alt," White Cube,
Art, Los Angeles, CA 1975
"Olympia's Maid: Reclaiming Black Female
Angeles, CA
"Group Show," Newspace Gallery, Los
London, UK, November 26, 2014 2013
"Together," performed as a part of the "Now
Angeles, CA
Dig This! From Los Angeles to New York
"Artists Choose Artists," Art Rental Gallery,
Symposium," Museum of Modern Art, NYC,
Los Angeles County Museum of Art, Los
February 8, 2013
Angeles, CA
"Kiss," with Ulysses Jenkins and Senga
"Fiberworks," Lang Art Gallery, Scripps
Nengudi, ongoing performance project by
College, Claremont, CA
Ulysses Jenkins, MoMA PS1, Long Island City, NY, February 10, 2013
PERFORMANCES
2012
"Women's Work," as a part of "Radical Presence: Black Performance in
2017
2016
"Pink Trash," Art Across the Park recreated
Contemporary Art," Contemporary Arts
at Prospect Park via The Brooklyn Museum,
Museum Houston, TX, November 17, 2012
- "We Wanted A Revolution: Black Radical
"A Morning of Performance Selected by
Women 1965-1985, NYC, 31 July 2017
Clifford Owens," P.S.1, Long Island City, NY
"What Goes Around Comes Around," a
"Walking Tall," Hammer Museum, Los
Matriarch performance with Ava Hassinger as part of "Descent," Institute of
2015
Angeles, CA 2011
"Kiss," a collaboration with Ulysses Jenkins
Contemporary Art, Philadelphia, PA, May 11,
and Senga Nengudi, Remake of Senga
2016
Nengudi's 1980 performance, Hammer
"Women's Work," as part of "Maren
Museum Blackbox Theater, Los Angeles, CA
Hassinger....Dreaming" retrospective,
"Dancing in the Street," a Matriarch Project
Spelman College Museum of Fine Arts,
collaboration with Ava Hassinger for "Be
Atlanta, GA, February 12, 2015
Black Baby," Recess Gallery, NYC
"Women's Work," with Rinehart graduate
"See Life," a Matriarch Project collaboration
students, Walters Art Museum, Baltimore,
with Ava Hassinger for "Flux This!," curated
MD, March 26, 2015
by William Pope L., Museum of Modern Art
"Women's Work," as a part of "Radical
Education Department, NYC
Presence: Black Performance in
"Africa," four 30-second performances at
Contemporary Art," Yerba Buena Center for
the opening of "Material Girls," Reginald
Art, San Francisco, CA, June 13, 2015 "R.S.V.P.," activating Senga Nengudi's work,
Lewis Museum, Baltimore, MD 2010
Contributed "score" to a performance by
as a part of "Radical Presence: Black
Clifford Owens called "Repose"
Performance in Contemporary Art," Yerba
Taped and transcribed interview and map of
BIOGRAPHY
MAREN HASSINGER performance experience in Los Angeles for
1984
LACE gallery, Los Angeles, CA 2009
"Africa," three 30-second performances at
Angeles, CA 1983
Beach Museum of Art, Long Beach, CA
Studio Museum in Harlem, NYC
"At Home," video, Long Beach Museum of
ritual written and directed by Ulysses
Art, Long Beach, CA 1982
Los Angeles, CA
Museum, Los Angeles, CA
"Still Wind," Just Above Midtown/Downtown
"Side by Side," mixed media performance
Gallery at Stilwende, NYC.
with Senga Nengudi, "Les Soirées Nomades,
1980
"Games," I.D.E.A., Santa Monica, CA
cycle Nuits Noires," Fondation Cartier pour
1979
"Lives" and "Vanities," Vanguard Gallery,
"Daily Mask,"film, first shown at Loyola
Los Angeles, CA 1977
College, Julio Art Gallery, Baltimore, MD 2002
"Flying," Barnsdall Municipal Art Gallery,
Jenkins, California African American
l’art contemporain, Paris, France 2004
"The Spooks Who Sat by the Door," Long
the opening of "30 seconds Off an Inch," "Quiet as Kept: Change," a performance
2006
"Voices," The Woman’s Building, Los
"Why Did This Happen?," participatory
"Diaries," Vanguard Gallery, Los Angeles, CA "Ten Minutes," Studio Z, Los Angeles, CA
1976
survey of 9/11 at Maryland Institute College
"High Noon," Arco Center for Visual Art, Los Angeles, CA
of Art, Baltimore, MD and Chelsea Studio Gallery, NYC 2000
SELECTED PUBLIC SCULPTURE
Untitled Presentation for "Golden Door, Golden Floor," Johns Hopkins Museums,
2013
"Artpark," Lewiston, NY
Evergreen Museum and Library, Baltimore,
2004
"Art in the Garden," Grant Park, Chicago
MD 1997
Park District and the Department of Cultural
"Herd," an evening with trustees at Rinehart School of Sculpture, Maryland Institute
Affairs, Chicago, IL 2001
College of Art, Baltimore, MD 1995
"More Notes," Studio Museum in Harlem,
110th Street IRT, NYC 2002
NYC
General Hospital, Baltimore, MD 2000
Museums, Evergreen Museum and Library,
"Sightings" at the Parrish Art Museum,
Baltimore, MD
Southampton, NY
"Nature Trail," Villa Julie College, Baltimore,
"Conversation with Contemporary Artists,"
1986
MD 1998
"The Garden Path, Mediating Nature and
The Museum of Modern Art, NYC
Culture," Stone Quarry Hill Art Park,
"Notes," The Whitney Museum at Philip
Cazenovia, NY
Morris, NYC
"Footfalls," The Village of Greenport,
"Nature’s Way," a piece by Senga Nengudi performed for the Contemporary Arts
1985
"Sculpture at Evergreen," Johns Hopkins
"Where’s Mommy?" for opening of
"Reir is to Laugh," for the series
1993
"Weeds and Nerves" for the exhibition "Healing Arts/Art That Heals," Maryland
"A Day at the Beach," The Victor D’Amico Institute of Art, Amagansett, NY
"Message from Malcolm," Arts for Transit,
Greenport, NY 1997
"Neuberger Museum of Art 1997 Biennial
Forum, Santa Barbara, CA
Exhibition of Public Art,” State University of
"Solitude," SPARC Gallery, Venice, CA
New York at Purchase, Purchase, NY
"Voices," L.A. City College, Los Angeles, CA
"Twentieth Century American Sculpture at
BIOGRAPHY
MAREN HASSINGER the White House, Exhibition IV," The First Lady’s Sculpture Garden, The White House, 1996
Grand Central Station, NYC 1979
ramp, San Diego Freeway, northbound, Los
"Ancestor Walk," P.S. 176, Percent for Art
Angeles, CA—Re-installed at California State
Program, Department of Cultural Affairs, NYC 1995
"Twelve Trees #2," Mulholland Drive off-
Washington, D.C.
University, Fullerton, CA 1978
"Fence of Leaves," P.S. 8, Percent for Art
Hollywood Freeway, southbound, Los
Program, Department of Cultural Affairs, NYC
"Twelve Trees," Vermont Avenue on-ramp, Angeles, CA (destroyed)
1977
"The Forest People," Set Design, Wendy
"Branches," storefront facade,1115 North La Brea Avenue, Inglewood, CA
Perron Dance Company, St. Mark’s Church, NYC 1993
PUBLIC AND CORPORATE COLLECTIONS
"Evening Shadows," University Art Museum, California State University, Long Beach, CA
AT&T, San Antonio, TX
"Window Boxes," Whitney Museum at Philip
Brown Capital Management, Baltimore, MD
Morris, NYC
Caltrans, Los Angeles, CA
"Cloud Room," Greater Pittsburgh
California African American Museum, Los Angeles,
International Airport, Pittsburgh, PA
CA
Installation of "Circle of Bushes" for C. W.
University Gallery, California State University, Long
Post, Long Island University, Brookville, NY
Beach Campus, Long Beach, CA
"Hunt’s Point Sculptors," Tall Grasses,
Greater Pittsburgh International Airport, Pittsburgh,
Bronx, NY—Moved to Roosevelt Island, NYC
PA
"Rend," Set Design, Donald Byrd Dance
Hammer Museum, Los Angeles, CA
Foundation, NYC
James E. Lewis Museum of Morgan State University,
"Bushes," Socrates Sculpture Park, Astoria,
Baltimore, MD
Queens, NY
Mobil Oil, Fairfax County, VA
1987
"Oasis," Artpark, Lewiston, NY
Museum of Modern Art, NYC
1986
Plaza Planters and Tree Grates,
Portland Museum of Art, Portland, OR
Commissions for Downtown Seattle Transit
Reginald F. Lewis Museum of Maryland African
Project, Seattle, WA
American History and Culture, Baltimore, MD
1986
"Weeds," The Houston Festival, Houston, TX
San Francisco Museum of Modern Art, San
1985
"Necklace (of Trees)," Atlanta Festival for
Francisco, CA
the Arts, Atlanta, GA
Seattle Transit Authority, Seattle, WA
"Pink Paths," Foundation for Art Resources
Studio Museum in Harlem, NYC
– Transitional Use, Lynwood, CA
Williams College Art Museum, Williamstown, MA
1992 1991 1989 1989 1988
1982
"Pink Trash," Art Across the Park, NYC "Chorus," Commission for Arco, elevator
AWARDS AND GRANTS
foyer of Anaconda Industries offices, Rolling Meadows, IL—Relocated to California African
2009
American Museum, Los Angeles, CA 1980
"Forest," Creative Time – Art on the Beach,
Caucus for the Arts 2008
Battery Park City, NYC "Project Grand Central," Waiting Room,
Lifetime Achievement Award, Women's Ten Best Baltimore Artists of 2008, Bmoreart.blogspot.com
2003
Adolph and Esther Gottlieb Foundation
BIOGRAPHY
MAREN HASSINGER 1997
Individual Support Grant
Critic," Maryland Institute College of Art,
Artists’ Grant, Anonymous Was A Woman,
Baltimore, MD
NYC
Artist in Residence, University of Delaware,
Inclusion in the National Endowment for the
Newark, DE
Arts permanent archive 1996
International Association of Art Critics
Juror, Target Gallery, Alexandria, VA 2012
Award, Best Show by an Emerging Artist (Second Place) for solo show at Trans-
2011
Hudson Gallery
at Arttable, NYC 2010
and Writers, Inc., NYC
1988
Artist’s Grant, Artist’s Space, NYC
1984
Artist’s Fellowship, National Endowment for
1983 1977
Presenter, Education Panel, Second Transformations Conference, Maryland
1989-88 Artist’s Fellowship, New York Foundation for the Arts
The Louis Comfort Tiffany Foundation, “Opportunities for Sculpture,” Lecture
Joan Mitchell Foundation, Grant for Artists Selection Panel, Alliance for Young Artists
Juror, Fulbright Foundation Visiting Lecturer, Queens College, NYC
Institute College of Art 2009
Juror, Baltimore Sculpture Project, Office for Promotion and the Arts, Baltimore, MD
2008
"African American Avant-Gardes 1965-
the Arts
1990," panel and oral history project, Getty
Prize in Sculpture, Betty Brazil Memorial
Research Institute, Los Angeles, CA
Fund
Lecture and slide presentation for the
Special Projects Grant, California Arts
Joshua Johnson Council at the Baltimore
Council Commission to build public sculpture
Museum of Art, Baltimore, MD
for the City of Los Angeles, CETA, Title VI
Lecture and critique, Bennington College, Bennington, VT
LECTURES, PANELS AND WORKSHOPS
2007
Juror, Baltimore Sculpture Project, Office of Promotion and the Arts, Baltimore, MD
2016 2015
Visiting Artist, Vermont Studio Center,
Pollock-Krasner Foundation, Artist's Grant
Johnson, VT
Panelist, “Modern Art in Los Angeles:
Panelist with Linda Goode Bryant, Dindga
Feminist Art in Southern California,” Getty
McCannon, Lorraine O’Grady, and Andrea
Research Institute, Los Angeles, CA
Barnwell-Brownlee, "Roundtable: We Wanted
Presenter, “Education Panel,” International
a Revolution," Elizabeth A. Sackler Center for
Sculpture Center Conference, Cincinnati,
Feminist Art, Brooklyn Museum, Brooklyn, NY
Ohio
Artist lecture with William Schmidt, "Maren
“Figure It Out: Interpreting Form in a Public
Hassinger and Bill Schmidt," Maryland
Space,” led tour of the Hirshhorn Museum
Institute College of Art, Baltimore, MD 2014
2013
Panelist with Dawoud Bey, Torkwase Dyson,
Sculpture Garden, Washington, DC 2006
Lecture and critique, Otis Art Institute, Los
Jennie C. Jones, Richard Hunt, Tameka
Angeles, CA
Norris and William Villalongo, "The Past is
Juror, Fulbright National Screening
Present: Black Artists and the Issue of
Committee, Sculpture Panel, NYC
Abstraction," Black Artists Retreat, Chicago,
Panelist, Arts Education Round Table,
IL
International Sculpture Center Conference,
Panelist with Ken Johnson, Michael Brenson
Cincinnati, OH
and Joan Waltemath, "The Position of the
Panelist, 36th Annual Meeting of the Jean
BIOGRAPHY
MAREN HASSINGER
2005
2004
Piaget Society on “The Arts and Human
Southampton Cultural Center, Southampton,
Development,” Baltimore, MD
NY
Conducted Residents’ Critiques, Creative
Panel discussion: “Feminism and Art
Alliance, Baltimore, MD
Production,” The Parrish Art Museum,
Judge, “Images: A Festival of the Arts,” for
Southampton, NY
the Atlantic Center for the Arts, New
Selection Panel, WESTAF/NEA, Santa Fe, NM
Smyrna Beach, FL
Selection Panel, Alliance for Young Artists
Co-Curator with Chezia Thompson, “Phenomenology,” Artscape, Baltimore, MD
and Writers, Inc., NYC 1994
Workshop, Philadelphia, PA
Seminar Group, “David Smith’s Workstream:
Panel discussion: “Opportunities for the
Integrating Art and Life,” Suburban Club of
Future – Careers for Women Artists,” State
Baltimore County, MD 2002 Member External Review Team for the Art
University of New York at Stony Brook 1993
Department of the State University of New York at Stony Brook 2001
Panel discussion: “The Love/Hate Blur,” National Council of Arts
Carbondale 1990
Lecture Panel, “Shifting the Mainstream: Multi-Cultural Identity in the Arts,” San Jose
University, VA
Museum of Art, San Joe, CA 1986
University of Maryland, College Park, MD 2000 Selection Panel, NAACP ACT-SO Competition,
Visiting Artist, University of Iowa, Iowa City Visiting Artist, Southern Illinois University at
Administrators, Virginia Commonwealth Presentation of work to Art Department,
Selection Panel, Mid-Atlantic States Art Federation/NEA, Baltimore, MD
1991
Relationship of Art Schools and the Art World
1999
Visiting Artist Fellowship, The Brandywine
Panel lecture/discussion for The Art
Selection Panel, Community Redevelopment Agency, Los Angeles, CA
1985
Selection Panel, New York Foundation for
Baltimore, MD
the Arts Slide Presentation, “Artists Who
Selection Panel, Maryland Art Place (MAP),
Work in Public Places,” M.O.M.A., NYC -
Baltimore, MD 1998
Selection Panel, MacDowell Colony, NYC
1997
Panelist, “Abstraction or Essence: Three
sponsored by City Arts Workshop, Inc. 1981
Selection Panel, National Endowment for the Arts
African-American Perspectives,” The Museum of Modern Art, NYC
RESIDENCIES
Visiting Artist, Mason Gross School of the Arts (Graduates), Rutgers University, New
2017
Brunswick, NJ Selection Panel, Mid-Atlantic States Arts
Foundation, New Orleans, LA 2005
Federation: Sculpture, Baltimore, MD Visiting Artist, Randolph-Macon College,
Hampton, NY 2001
Brenson, The New School, NYC Discussion: “Rubber Bob,” video short film by filmmakers Peter and Maren Hassinger, The
Artist in Residence, Nature Conservancy/Andy Warhol Estate, East
Panel discussion: “Nature, Landscape, and Contemporary Sculpture,” Moderator Michael
Residency ASAP (Arcadia Summer Art Program, Kippy’s Kamp), Bar Harbor, ME
2004
Lynchburg, VA 1995
Artist-In-Residence, Joan Mitchell
MacDowell Colony Residency, Peterborough, NH
1990
Artist-in-Residence, The Printmaking Workshop, NYC
BIOGRAPHY
MAREN HASSINGER 1986-87 Studio, MoMA P.S. 1, Long Island City, NY
1977
1985-84 Artist-in-Residence, Studio Museum in
Angeles County Museum of Art, Los Angeles, CA
Harlem, NYC 1983-84 Artist-in-Residence, California Arts Council
1975-77 “Sculpture,” “Art Experience” and “textiles,” Barnsdall Junior Art Center, Los Angeles, CA
TEACHING
1997–2018 Director Rinehart School of Graduate
1974-76 “Introduction to Textiles and Weaving,” California State University, Los Angeles,
Sculpture, Maryland Institute College of
CA
Art, Baltimore, MD 1992-97 Part-time Lecturer, Art Department, State University of New York at Stony Brook 1992
Associate Adjunct Professor of Art, Long
“The Pharaoh Tutankhamen,” Los
1973-74 “Non-Loom Fiber Techniques,” California State University, Long Beach, CA
Island University, Southampton Campus, NY 1988-91 Adjunct Professor of Art, Hunter College, NYC 1990
Adjunct Professor of Art, School of Visual Art, NYC
1985-88 “Mini Museum,” Arts Partners, Studio in a School Association, NYC 1985
“Sculpture Studio,” Parsons Art Institute, NYC (for Alice Adams)
1983-84 “Artist in Residence: Schools,” Visual Arts Classes funded by the California Arts Council at the Community School, Los Angeles, CA “The Figure in Clay – Sculpting from the Live Model,” University of California, Extension, Los Angeles, CA 1981
“Beginning Clay Sculpture,” Otis/Parsons Institute, Los Angeles, CA “Site Sculpture,” Pasadena Art Workshops, Pasadena, CA
1980
“Summer Art Scholarship Class in Sculpture,” Otis/Parsons Institute, Los Angeles, CA
1979
“Basic Sculpture,” California State University, Los Angeles, CA
1978
“Sculpture for the Very Young,” Los Angeles County Museum of Art, Los Angeles, CA
MAREN HASSINGER: As One Publication © 2018 Susan Inglett Gallery NYC All Rights Reserved
Design: Lily Ahern Photo Credit: Adam Reich, NYC Published by: SUSAN INGLETT GALLERY 522 West 24 Street New York, New York 10011 212 647 9111 | info@inglettgallery.com No image or portion thereof may be copied, reproduced or electronically stored/transmitted without permission.
SUSAN INGLETT GALLERY