B E V E R LY P E PP E R NEW WORKS
The Artist in her studio c. 1963 Cover image: Octavia (detail), 2014
2 - 31 JULY 2014
Beverly Pepper C U RVA E I N C U RVA E NEW WORKS
Most of the works are for sale Price on application
MARLBOROUGH LONDON Marlborough Fine Art (London) Ltd., 6 Albemarle Street, London W1S 4BY T: +44 (0) 20 7629 5161 • E: mfa@marlboroughfineart.com www.marlboroughfineart.com
S PA C E I S A L I V I N G T H I N G A C O N V E R S AT I O N W I T H B E V E R LY P E P P E R by Judith Hoos Fox
To page through the biography and bibliography of Beverly Pepper is to find a lexicon of major art world players spanning the last half decade. Critics and authors such as Frank O’Hara, Hilton Kramer, Barbara Rose and Rosalind Krauss have all written about her work, many repeatedly. As early as 1952, Time included a feature on her; and as recently as 2012 Robert Hobbs published a monograph devoted to her career. Pepper’s sculptures and large-scale commissioned works ring the globe from Sydney to Houston, Tokyo, Stockholm, Jerusalem and Calgary. Just as Pepper releases life from stone and coaxes form from the elements, she has elevated my pedestrian questions into meaty observations about her work, art-making and the role of the artist. Her responses reveal the depth of her thinking and feeling, as well as the tenacity of her commitment.
J U D I T H H OOS F OX : The sites where you’ve been
able to work range from the dense complexity of New York’s Park Avenue to open grassy swards and fields. Yet, there is a consistency in your formal vocabulary that links all your projects. Would you talk about the role of site in your process? BEVERLY P EP P ER: Certain formal elements are
constant within my work – and they do constitute a vocabulary. But in site-specific works this vocabulary comes to include physical forms, lines of force, and other considerations, which create a conversation between design and place. For example, if the given space has strong vertical dimensions, I might balance these by introducing horizontal planes or structures. In Manhattan Sentinels at Federal Plaza in New York. I was faced with the verticality of the Federal buildings and a reduced amount of horizontal space. So in approaching the project, I sought to avoid a confrontation between the work and the environment by setting the sculptures inside a circle of trees. Then I realized that the Thomas Street corner could contain a fourth sculpture, which could integrate the installation. Of course there are questions of how the natural light, or the kinds of topography – even the physical properties of the soil, or the vegetation, or the surrounding materials or physical and historical culture of the place – all have an important part to
Opposite page: Departure, for my Grandmother, 2005. Concrete, branches, and tar, 13 x 87.5 x 196 x 16ft. Work installed at Europos Parkas, Vilnius, Lithuania. Above left: Curvae in Curvae, 2012. Cor-ten steel, 115 x 128 x 82 in. Above right: Calgary Sentinels and Hawk Hill, 2008-10. Cor-ten steel, sod, and grass. 480 x 40in. diameter. Work installed at Ralph Klein Legacy Park, Calgary, Alberta, Canada.
play in my overall process. Civic or religious, domestic, theatrical, geological – the matter of context is both an opportunity and challenge, an interlocutor with whose “genius” (as in genius loci) I seek to co-operate. I think too of the persons, and possible communities that might come into being within and around sitespecific installations. If space is a living thing, how can we make its life – and the lives of those who inhabit it – more manifest? J HF: Geometry meets organic forms throughout
your work. Can you talk about the interplay of these opposing forces, or concepts? B P: Opposing forces are integral to any serious
work of art, especially in using organic forms within geometric ones or vice-versa. These opposing forces give a dynamic to the work, with an internal dialogue. They are also integral to our lives immersed in urban landscapes, where geometry dominates, just as they respond to tensions between experiential material and kinds of abstraction or conceptual thought, between extremes such as chaos and order, chance and regime. As a maker, of course, my energies flow from and toward forces that exceed any imposed system of analysis. And always, these forces are inseparable from the materials themselves – stone, iron, grass, trees, contours of a geological stratum. I turn to the organic in my work knowing that I will encounter unexplainable elements. Something always enters my process without my having any conscious idea where it came from. Also whereas geometry is cerebral, the organic carries emotions with a contrappunto opening into a second reality at the heart of painting, sculpture, poetry, or music for that matter. J HF: Totemic, hieratic, primal – these are images/
words that come to mind as I think of much of
your freestanding work. How do they fit with your intentions for the work? BP : My ‘intentions’ in creating a new form or concept
inevitably include going beyond the known into the unknown. I work with the back of my mind, while editing with the front. Also if I have any ‘intentions’ there are to allow me to feel the work as much as see it. Critics frequently refer to my work as ‘spiritual.’ Yet whether or not it is there, I’m less interested in spirituality than in the unexplainable, which you feel more than see. To be clear, I’m not trying to be mystical, nor consciously avoiding it. And though I am very concrete, and use very concrete materials, I do not intend my work to be ‘explainable’. Feeling is more important for me than anything formulaic. As for the terms “hieratic,” “totemic,” or “primal,” I’d say my work both responds to and tries to reinforce the human capacity for wonder, for reorienting ourselves in relation to powers or fields of force (whether internal or external), which are greater than our merely biographical or social selves. Obviously we can’t rebuild the monuments of the ancient world, but we can aspire to re-evoke, in however modern a world, some of the enduring and perhaps renewable sensations of amazement, even awe. J H F : You have spoken so eloquently about the
power and properties of iron. Could you share these thoughts again? BP : Everything in the world slowly converts into
iron. It is everywhere, even in a teardrop. Perhaps an awareness of this final, imperishable destiny plays a role in my feeling for its power and potentials. I admire the sheer resistance within iron, its stubbornness, even as it participates in slow processes
Above left: Spazio Teatro Celle, 1992. Cast iron, earth, grass, and terra cotta, 16 x 70 x 200ft. Work installed at Fattoria di Celle. Above right: Longo Monolith, 2006. Cor-ten steel, 197 x 31.5 x 90.5 in.
of corrosion or patination. And it’s always gripping to work in a material, which has been such a crucial part of human culture from the literal Iron Age to the great periods of industrial construction and beyond. Too often, in the modern world, iron seems by definition something impersonal or corporate – so there’s a very particular satisfaction in bringing an individual sensibility and an act of individual human making into some ever-new rapport with it.
as though we are at the end of the Roman Empire. There’s a sense of freedom, that anything goes, with no inhibition and where everything is possible – from the very worst to the sublime.
J HF: Do the other materials you have worked with
As for my ‘attitude toward art and art making,’ it’s like after man went to the moon: there are no more boundaries in space or on earth. However, I do believe there should be more emphasis on art education – art history in particular – to realize the essential reality within serious art, no matter how abstract or diffused. I am not sure of what or how, but I know that in our wild, untamed atmosphere, we have to look at art differently. Idea and concept have become primary, and frequently more important than the total work.
elicit other kinds of responses and attract you in other ways? B P: Clay has malleability that can change or even
repossess a creative moment. Stone and wood, and the use of earth, offer other kinds of properties. I like stone because it’s more combative yet open-ended. You can change direction ‘following’ the stone while working to accommodate a thought or a new perception from the stone itself. Metal is more easily controlled, whether it is cast-iron, making a mould, fabricating iron, or in forging steel. And inevitably every material has its own innate being. Michelangelo believed there was life in stone, waiting to be released, by the “rude hammer”. J HF: Can you offer some observations about what
has transpired in the world of art during the extent of your prodigious career, still in full swing – in terms of economics, and the gallery and museum landscape, and in terms of innovations, junctions, new materials, changes in views of urbanism, attitudes toward art and art making? B P: The 20 century’s emphasis on iconoclasm and th
‘story,’ has affected our current art world. Now Warhol looks conservative, Picasso a realist painter, Man Ray a formal photographer etcetera. Frankly, it’s difficult for me, at 90, to judge today’s aesthetics. It feels
Regarding today’s art world, I really am a ‘virgin’. I have only been represented by two galleries in my life, André Emmerich and Marlborough. As a result I am not familiar with the overall gallery landscape.
I keep thinking of Gulliver, the giant tied to the ground by many little people. But I can’t figure out whether art is the giant, bound by many forces of the market, or if the market is hobbled by today’s endless multiplicity of art forms. Perhaps it’s otherwise. While artists claim to be freer than most, they remain slaves to themselves and their dreams. J H F : Whose work have you looked at over the years,
and were moved by – inspired, miffed, angered? BP : I live in Italy, where the past and the present
co-exist; in fact, they inform each other. The world seemed to have ended here many times, but it keeps on going. There is a grim joke that, after a nuclear holocaust, Italy will still be there, alive and well, with its Renaissance of the human spirit. I live in the medieval town of Todi, where time frequently seems to
Above: Scalene Megalith, 2007-10. Prehistoric boulders and pressed earth, 20ft. high; inner circle: 72ft diameter. Work installed in San Anselmo, CA.
have stopped with Jacopone da Todi. Previously I lived in Rome where time is layered, so you went from the Caesars to Fascism to contemporary architecture. My influences are historical: Trajan’s column, Cleopatra’s obelisk’s, the Roman forum, amphitheaters in Sicily, Greece, Turkey… and beyond the Mediterranean. The Cambodian temple site at Angor Wat inf luenced my early wood and steel sculpture. Gaudí and Miró informed my Sol y Ombra Park in Barcelona. The Russian constructivists, at the turn of the 19 th-20 th century, were fundamental to my growth. Bauhaus geometry came into my work during the early 60’s. And for many years I brought African art and antiquities into my studio. So it’s hard to pinpoint a determinant influence. Philosophers have been important in finding my way – especially Henri Bergson and his thoughts on time, memory, intuition, and kinds of organic continuity within an otherwise increasingly fragmented world. There is a lot of garbage out there, but you can’t let yourself be angry. There are some works I dismiss, others I do not understand, but I keep on looking and reading.
of history. Counting on a future is too problematic. In these controversial times, it’s hard to believe that we will survive, or if we do, where or how it will happen. So I focus on the present as projected from the past. I think my works end up “knowing” more than I can about the future – and clearly I’m interested in materials that endure, that might have something to “say” to those who come after us. J H F : If artists are prescient and their work reflective of
the issues and zeitgeist of the time, can you articulate what is going on in your work? BP : I won’t even try to articulate what is going on in
my work. Once as a painter, I tried to portray social problems in my work. It was a failure. In this century, where almost everything is possible, and most any problem raises multiple possible solutions, I don’t look for an answer. Hopefully my work creates questions, and their answers should lead to more questions. It’s one of the exciting aspects of still being alive, with the prospect that our collapsing planet, with its infinite wonders and remnants of hopes and dreams, may still be saved.
J HF: Are there directions and artists today whose
work continues to hold your interest? B P: Many people continue to hold my attention,
including Serra, Michael Heizer, and James Turrell. I’m interested in a reflected history within their work. Invention, scale, surprise, even magic, certainly transformation – appeal to me. J HF: What do you see as the future of sculpture? Of
art making in this current culture? B P: I live in the present, but draw from the past, both
within the back of the mind, and within the substrates
Judith Hoos Fox works with Ginger Gregg Duggan under the moniker c 2 (curatorsquared), developing exhibitions of contemporary art and design that explore current issues in culture. The exhibitions FOOD-WATER-LIFE - LUCY+JORGE ORTA and Evan Roth//Intellectual Property Donor are currently touring. StereoType, MetaModern, and Coded Couture, will open and begin their tours in the coming year. We are grateful to Glenn Harper of Sculpture and to the author for allowing us to reproduce this article which was first published in the Sculpture Magazine, September 2013.
The Artist in her garden, Villa Olivola, May 2014 Photo by George Tatge
LIST OF WORKS
All works are in steel. Measurements are height by width by depth. Edition of six. 1.
9.
Octavia, 2014
Servillia, 2014
77 x 64 x 53 cm
42 x 57 x 20.2 cm.
Base 26 x 26 x 2.5 cm
Base 35 x 15 x 4 cm
2.
10.
Sulla, 2014
Cornelia, 2014
29 x 32 x 13.5 cm
34 x 35.5 x 13 cm
Base 25 x 25 x 4 cm
Base 25 x 25 x 4 cm
3.
11.
Plutarch, 2014
Livia, 2014
36 x 49 x 17 cm
51 x 56 x 28 cm
Base 25 x 25 x 4 cm
Base 25 x 25 x 4 cm
4. Plutarch Plus, 2014 29.5 x 47 x 13 cm Base 25 x 25 x 4 cm 5. Helena, 2014 33.5 x 35 x 17 cm Base 25 x 25 x 4 cm 6. Crispina, 2014 68 x 58 x 40 cm Base 26 x 26 x 2.4 cm 7. Junia Prima, 2014 46 x 50 x 19 cm Base 33 x 23.5 x 5 cm 8. Drusilla, 2014 38 x 35 x 17 cm Base 25 x 25 x 4 cm
1. Octavia, 2014 77 x 64 x 53 cm Base 26 x 26 x 2.5 cm
2. Sulla, 2014 29 x 32 x 13.5 cm. Base 25 x 25 x 4 cm
3. Plutarch, 2014 36 x 49 x 17 cm Base 25 x 25 x 4 cm
4.
5.
Plutarch Plus, 2014
Helena, 2014
29.5 x 47 x 13 cm
33.5 x 35 x 17 cm
Base 25 x 25 x 4 cm
Base 25 x 25 x 4 cm
6. Crispina, 2014 68 x 58 x 40 cm Base 26 x 26 x 2.4 cm
7. Junia Prima, 2014 46 x 50 x 19 cm Base 33 x 23.5 x 5 cm
8. Drusilla, 2014 38 x 35 x 17 cm Base 25 x 25 x 4 cm
9. Servillia, 2014 42 x 57 x 20.2 cm Base 35 x 15 x 4 cm
10. Cornelia, 2014 34 x 35.5 x 13 cm Base 25 x 25 x 4 cm
11. Livia, 2014 51 x 56 x 28 cm Base 25 x 25 x 4 cm
BIOGRAPHY
1922
Born in New York.
Studied at Pratt Institute and the Arts Students League in New York, and with Fernand Léger and Andrew Lhote in Paris The artist lives and works in Todi, Italy and New York S E L E C T E D A W A R D S & R E S I D E N C I E S
Galleria La Bussola, Turin, Italy Galleria Paolo Barozzi, Venice, Italy 1969 Beverly Pepper: Recent Sculpture, Marlborough-Gerson Gallery, New York, New York; traveled to Museum of Contemporary Art, Chicago, Illinois; Hayden Court and Plaza, Massachusetts Institute of Technology, Cambridge, Massachusetts; and Albright-Knox Art Gallery, Buffalo, New York
1982 Honorary Doctor of Fine Arts, Pratt Institute, Brooklyn, New York
The Jewish Museum, New York
1983 Honorary Doctor of Fine Arts, The Maryland Institute, Baltimore
Piazza della Rotonda, Milan, Italy
1987 Academic Merit, Accademia di Belle Arti, Perugia, Italy Paving stone, Celebrity Path, Brooklyn Botanic Garden, New York 1992 Named Friend of Barcelona, Spain 1994 Outstanding Achievement in the Visual Arts, Women’s Caucus for Art, Queens Museum of Art, New York 1999 Chevalier de l’Ordre des Arts et Lettres, Ministère de la Culture et de la Communication, République Française, Paris, France
1970 Everson Museum of Art, Syracuse, New York
Beverly Pepper: Recent Works, Studio Marconi, Milan, Italy
1971 Galerie Hella Nebelung, Dusseldorf, Federal Republic of Germany Piazza Margana, Rome, Italy 470 Parker Street Gallery, Boston, Massachusetts 1972 Qui Arte Contemporanea, Rome, Italy Beverly Pepper, Marlborough Galleria d’Arte, Rome, Italy 1973 Beverly Pepper: Sculpture, 1960-1973, Tyler School of Art, Temple University, Rome, Italy
Allied Arts Honor Award, The American Institute of Architects, Jefferson City, Missouri
1975 Sculpture Garden, Dag Hammarskjold Plaza, New York, New York
Xavier College Preparatory Vision and Voice Award, Phoenix, Arizona
André Emmerich Gallery, New York, New York
2000 Artist-in-Residence, Atelier Calder Prize, Saché, France 2003 Legends Award, Pratt Institute, Brooklyn, New York 2007 Alumni Achievement Award, Pratt Institute, Brooklyn, New York 2009 Honorary Citizenship, City of Todi, Italy 2011 National Academician, National Academy Museum and School, New York 2013 Lifetime Achievement Award, International Sculpture Center, New York S E L E C T E D S O L O E X H I B I T I O N S
everly Pepper: Sculpture, 1971-1975, San Francisco Museum B of Art (now San Francisco Museum of Modern Art), San Francisco, California; travelled to Seattle Art Museum, Seattle, Washington
1977 Beverly Pepper: New Sculpture, André Emmerich Gallery, New York, New York Hopkins Center for the Arts, Dartmouth College, Hanover, New Hampshire
everly Pepper: Sculpture, 1971-1975, Indianapolis Museum of B Art, Indianapolis, Indiana (through 1978)
1978 Princeton University Art Museum, Princeton University, Princeton, New Jersey
1952 Beverly Pepper, Galleria dello Zodiaco, Rome, Italy
1979 Beverly Pepper: Small Sculpture, André Emmerich Gallery, New York, New York
1954 Barone Gallery, New York
Hofstra University, Hempstead, New York
1955 Obelisk Gallery, Washington, DC
Piazza Maggiore Mostra, Todi, Italy
1956 Galleria Schneider, Rome, Italy
1980 Thomas Segal Gallery, Boston, Massachusetts
Barone Gallery, New York
Nina Freudenheim Gallery, Buffalo, New York
1958 Barone Gallery, New York
Galerie André Emmerich, Zurich, Switzerland
1959 Galleria dell’Obelisco, Rome, Italy
Ronald Greenberg Gallery, St. Louis, Missouri
1961 Galleria Pogliana, Rome, Italy
Beverly Pepper: Large Sculpture, André Emmerich Gallery, New York, New York
1962 Thibaut Gallery, New York 1965
Beverly Pepper, Marlborough Galleria d’Arte, Rome, Italy
1966 McCormick Place, Chicago, Illinois 1968 Beverly Pepper, Marlborough Galleria d’Arte, Rome, Italy
1981 Makler Gallery, Philadelphia, Pennsylvania Linda Farris Gallery, Seattle, Washington
everly Pepper: The Moline Markers, Davenport Municipal Art B Gallery (now The Figge Art Museum), Davenport, Iowa
Hansen Fuller Goldeen Gallery, San Francisco, California 1982 Beverly Pepper: New Work, André Emmerich Gallery, New York, New York Laumeier Sculpture Park, St. Louis, Missouri Riva Yares Gallery, Scottsdale, Arizona Beverly Pepper, mostra antologica: opere retrospettive, 1964-1968, Galleria Il Ponte, Rome, Italy 1983 Galerie André Emmerich, Zurich, Switzerland Beverly Pepper: New Sculpture, André Emmerich Gallery, New York, New York
Beverly Pepper: The Umbrian Bronze Markers, André Emmerich Gallery, New York, New York 1989 Beverly Pepper: An Autobiography in Form, Bakalar Sculpture Gallery, List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, Massachusetts The Harcus Gallery, Boston, Massachusetts
everly Pepper: Small Scale Sculpture and Drawings, Gerald B Peters Gallery, Santa Fe, New Mexico
James Corcoran Gallery, Los Angeles, California André Emmerich Gallery, New York, New York
Beverly Pepper in situ at the Huntington Galleries, Huntington Galleries, Huntington, West Virginia
1990 Beverly Pepper: Ten Wall Reliefs, Sentinels and Columns, André Emmerich Gallery, New York
John Berggruen Gallery, San Francisco, California
Charles Cowles Gallery, New York
1984 André Emmerich Gallery, New York, New York
1991
1985 Adams-Middleton Gallery, Dallas, Texas
The Metropolitan Museum of Art, New York
John Berggruen Gallery, San Francisco, California
André Emmerich Gallery, New York
1986 Beverly Pepper: Urban Altars and Ritual Sculpture, André Emmerich Gallery, New York, New York
1992 Lemberg Gallery, Birmingham, Michigan 1993
Nina Freudenheim Gallery, Buffalo, New York Beverly Pepper: Sculpture in Place, Albright-Knox Art Gallery, Buffalo, New York; traveled to San Francisco Museum of Art (now San Francisco Museum of Modern Art), San Francisco, California; Columbus Museum of Art, Columbus, Ohio; Brooklyn Museum, Brooklyn, New York; and Center for the Fine Arts, Miami, Florida (through 1987) 1987 Beverly Pepper: Private Scale Sculpture, 1966-1987, André Emmerich Gallery, New York, New York Baumgartner Gallery, Washington, DC Charles Cowles Gallery, New York, New York Hokin Gallery, Bay Harbor Islands, Florida 1988 Wilson Arts Center, Rochester, New York, New York
Beverly Pepper, Contemporary Sculpture Center, Tokyo, Japan
everly Pepper: A Two-Phase Exhibition: Altars and Sentinels; B A Survey of Public Sculpture, André Emmerich Gallery, New York
Hokin Gallery, Bay Harbour Islands, Florida 1994
Beverly Pepper, Charles Cowles Gallery, New York
Nardin Gallery, Somers, New York, New York André Emmerich Gallery, New York, New York 1995
orms of Memory: Recent Sculpture, André Emmerich Gallery, F New York
1996 Beverly Pepper: New Sculpture, Samuel P. Harn Museum of Art, Gainesville, Florida (through 1997) 1997 Charles Cowles Gallery, New York, New York
Beverly Pepper a Forte Belvedere, Trent’Anni di Sculptura, Fortezza
di Santa Maria in San Giorgio del Belvedere, Florence, Italy 1999 Beverly Pepper: Recent Sculpture: Forms of Memory II, Marlborough Chelsea, New York Retrospective, Palais Royal, Paris, France
Beverly Pepper, Grounds for Sculpture, Hamilton, New Jersey (through 2000)
2000 Queen of Hearts, Galerie Piece Unique, Paris, France 2001 Beverly Pepper: The Magma Series, Marlborough Chelsea, New York 2002 Beverly Pepper: Sculpture of the 70’s, Galerie Piece Unique, Paris, France 2003 Beverly Pepper: Markers 1980-2002, Marlborough Gallery, New York 2004
everly Pepper: Una poètica de l’espai, Casal Solleric, B Majorca, Spain
2005 Studio Art Center International, Florence, Italy 2007 Beverly Pepper, Drawings, Models, and Sculptures for Six SiteSpecific Works, Art Gallery at The Graduate Center, The City University of New York, New York 2008 Beverly Pepper: Explorations in Stone, Marlborough Gallery, New York Beverly Pepper: Voyages Out, Marlborough Chelsea, New York 2010 Beverly Pepper: Metamorphoses, Marlborough Chelsea, New York 2011 Stone and Steel: Small Works by Beverly Pepper, Georgia Museum of Art, Athens, Georgia 2012
everly Pepper: Palingenesis 1965-2012, Frederik Meijer B Gardens and Sculpture Park, Grand Rapids, Michigan
Curvae in Curvae: New Sculptures by Beverly Pepper, Marlborough Chelsea, New York S E L E C T E D C O M M I S S I O N S & I N S TA L L AT I O N S 1962
Icarus, Festival dei Due Mondi, Spoleto, Italy
1963 Contrappunto, William Kaufman Company, U.S. Plywood Building, New York 1964 Kennedy Memorial, Weizmann Institute, Rehovoth, Israel 1966 Strands of Mirror, Southland Mall, Memphis, Tennessee 1969
Torre, Flags Over Georgia, Atlanta, Georgia
1971
S udden Presence, Government Center, Boston, Massachusetts
L and Canal-Hillside, North Park, Dallas, Texas 1972
Paraclete, G. Oestreicher Company, New York
1973
Compound, Albany Mall, Albany, New York
1974 Phaedrus, Federal Reserve Bank, Philadelphia, Pennsylvania (through 1976)
Council, New York State Council on the Arts, New York State Award, New York
Amphisculpture, AT&T Long Lines Building, Bedminster, New Jersey 1975 T hel, Dartmouth College, Hanover, New Hampshire (through 1977)
Excalibur, San Diego Federal Building, San Diego, California
1978
Palimpsest 6, The Carborundum Company, Niagara Falls, New York
1979
Maxi Zig Zag, Buffalo Convention Center, Buffalo, New York
Major Ritual II, City Hall, Toledo, Ohio Major Ritual, Toledo Civic Center, Toledo, Ohio A scension/Descension, Physiocontrol Company, Seattle, Washington
Anfiscultura II, Todi, Perugia, Italy
1981
S ymbiotic Marker, Mute Metaphor, Primary Presence, Richard J. Hughes Justice Complex, Trenton, New Jersey
1982
Houston Sentinels, Four-Leaf Towers, Houston, Texas
1983 Museum Tower, The Museum of Modern Art, New York
Triad, The Metropolitan Museum of Art, New York
Polytech Marker, Virginia Polytechnic Institute and State University, Blacksburg, Virginia
essenger Series: Interrupted Messenger, Measured Presence, Volatile M Messenger, Valley Marker, Public Art Fund, Inc., and New York City Department of Parks, Doris C. Freedman Plaza, Central Park, New York
ertical Presence — Grass Dune, University of Buffalo, Buffalo, V New York (through 1984)
G enesis, Memorial Sloan-Kettering Cancer Center, New York, (through 1984) Claudio Column, Deere Split Column, Lima Marker III, Mauro Column II, Triangle Sentinel I, First Interstate Center, Seattle, Washington (through 1984) 1985 Maia Toltec, Corcoran Gallery of Art, Washington, DC Group installation, Top Gallant Farm, Pawling, New York
J anus Agri Altar, Iowa State University, Ames, Iowa (through 1986)
G romech Glen, Laumeier International Sculpture Park, St. Louis, Missouri (through 1990)
1986 Sol y Ombra Park, Barcelona, Spain 1987
oman Ritual, Normanno Wedge, Basalt Ritual, Koll Center, R Irvine, California (through 1988)
1988 T he Bedford Project at Ardenwood, Bedford Properties, Fremont, California 1989
Spazio Teatro, Villa Cella, Pistoia, Italy (through 1990)
1990 JMB Urban Development Company, Los Angeles, California
ernana Altar II, National Museum of American T Art, Smithsonian
Institution, Washington, DC (through 1991)
omage to Chaos, Lonny Ganz and Associates, Marina Del H Rey, California (through 1991)
1991 Normanno Wedge I, Detroit Institute of Arts, Detroit, Michigan Mural, Urban Land Institute, Washington, DC 1992
Split Ritual, United States National Arboretum, Friendship Garden, Washington, DC
astra a tre pannelli, Société des Amis du National d’Art L Moderne, Centre Georges Pompidou, Paris, France
G otanno Community Park, Neo-Hodos, Adachi-ku Machizukuri Corporation, Tokyo, Japan
1993
Triad Ritual, University of Michigan, Ann Arbor, Michigan
2008 Ascensione, San Pietro Church, Assisi, Italy
Cleopatra’s Wedge, Public Art Fund, Battery Park City Authority, New York, New York
Waccabuc Amphitheater, private commission, Waccabuc, New York
Palingenesis, Credit-Suisse, Zurich, Switzerland (through 1994)
Calgary Sentinels and Hawk Hill, Ralph Klein Legacy Park, Calgary, Canada (through 2010)
Manhattan Sentinels, The Garden at 26 Federal Plaza, General Services Administration, New York, (through 1996) 1994
Jerusalem Ritual, Jerusalem Foundation, Jerusalem, Israel
1995
he Todi Columns: Senatoria Column, Traiana Column, Martius T Column, Aventinus Column, Venice, Italy
S entinels of Justice, General Services Administration, Charles Evans Whittaker U.S. Courthouse, Kansas City, Missouri
K itakyushi Polygenesis, Kitakyusha-city, Japan
1996 Split Ritual II, Grounds for Sculpture, Mercerville, New Jersey 1997
Spazio Teatro Celle, Fattoria di Celle, Santomato di Pistoia, Italy
1999 G reat Ascension, Johns Hopkins Hospital, Baltimore, Maryland (through 2001)
2009 Triple C, private commission, San Anselmo, California Ockham’s Wedge, Lawrence Technological University, Southfield, Michigan
uovoTwist, Brookfield Properties Ltd. and BCIMC Realty N Corporation, Bankers Court Building, Calgary, Canada
Galileo’s Wedge, Meijer Gardens and Sculpture Park, Grand Rapids, Michigan 2010 Nuovo Twist, Memorial Sloan-Kettering Cancer Center, New York, Cyprus Nuovo Twist, private commission, Nicosia, Cyprus Private commission, Cantina Lungarotti, Torgiano, Italy
2001 Sacramento Stele, California Environmental Protection Agency, Sacramento, California
2011 Spazio Thetis, Arsenale Novissimo Venezia Fermata Bacini, Venice, Italy
2003
Broken Circle, Parco delle Sculture di Brufa, Torgiano, Italy
Departure: For My Grandmother, Europos Parks, Vilnius, Lithuania
P tolemy’s Wedge, Minneapolis Public Library, Minneapolis, Minnesota (through 2006)
2013-14 Ongoing project to build a Chapel of the Seasons for the Municipality of Todi, Italy
2005
Horizontal Wedge, City of New York Parks and Recreation, Park Avenue Malls, New York
Commission for a major amphitheatre in L’Aquila, Abruzzo, Italy
L ongo Monolith, Sergio Longo Collection, Cassino, Italy
(L’Aquila was partially destroyed by a major earthquake in 2009)
2006 D enver Monoliths, Denver Art Museum, Denver, Colorado
S E L E C T E D R E C E N T C ATA L O G U E S & M O N O G R A P H S 1986
S culpture and Works in Relief. San Francisco: John Berggruen Gallery. Exhibition catalogue
Fogg Museum, Harvard University, Cambridge, Massachusetts Frederik Meijer Gardens and Sculpture Park, Grand Rapids, Michigan Galleria Civica d’Arte Moderna e Contemporanea, Turin, Italy
1987 John E. Evans, The First Decade. New Smyrna Beach: Atlantic Center for the Arts
Galleria d’Arte Moderna, Florence, Italy
1989 Judith Hoos Fox, Beverly Pepper: An Autobiography in Form. Boston: List Visual Arts Center, Massachusetts Institute of Technology. Exhibition catalogue, March 3 – July 2, 1989
Georgia Museum of Art, Athens, Georgia
1990 Monroe Denton, No Man’s Land. New York: Socrates Sculpture Park, April 8, 1990 - March 8, 1991 1994
ontemporary Art Collection. Madrid: United States C Embassy. (Pamphlet)
Diane Kelder, Beverly Pepper. New York: WCA Honor Awards catalogue. Catalogue essay Leah Sloshberg. Grounds for Sculpture. Trenton: New Jersey State Museum. Spring/Summer Exhibition catalogue
Galleria Nazionale d’Arte Moderna, Rome, Italy Hirschorn Museum and Sculpture Garden, Washington, DC Hokkaido Museum of Modern Art, Sapporo, Japan Hood Museum of Art, Dartmouth College, Hanover, New Hampshire Indianapolis Museum of Art, Indianapolis, Indiana Istituto Italiano di Cultura, Stockholm, Sweden Iris and B. Gerald Cantor Center for Visual Arts at Stanford University, Stanford, California Jerusalem Foundation, Jerusalem, Israel
1995 Environmental Sculpture. Seoul: Kukje Gallery
Laumeier Sculpture Park, St. Louis, Missouri
2003 Beverly Pepper, Markers 1980-2002. New York: Marlborough Gallery, Inc.
Memorial Art Gallery of the University of Rochester, Rochester, New York
2004 Beverly Pepper: Una poètica de l’espai. Alicante: Caja de Ahorros del Mediterràneo. Exhibition catalogue, September 23 – November 15, 2004
Milwaukee Art Museum, Milwaukee, Wisconsin
2008 Beverly Pepper: Explorations in Stone. New York: Marlborough Gallery, Inc.
Museu d’Arte Contemporari de Barcelona, Barcelona, Spain
2010 Beverly Pepper: Metamorphoses, New York: Marlborough Gallery, Inc. 2012
everly Pepper: Palengenesis: 1962-2012, New York: B Marlborough Gallery, Inc.
everly Pepper: Curvae In Curvae, New York: Marlborough B Gallery, Inc.
Robert Hobbs, Monumenta, Skira Editore, Turin, Italy. Beverly Pepper’s Sculpture: Time as Space, A Dialogue with Henri Bergson, André Malraux and Walter Benjamin
SELECTED PUBLIC COLLECTIONS
Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France Museum of Contemporary Art, Chicago, Illinois Museum of Contemporary Art, University of North Florida, Jacksonville, Florida Neo-hodos, Adachi-ku Machizukuri, Tokyo, Japan Parkersburg Art Museum, Parkersburg, West Virginia Power Institute of Fine Art, University of Sydney, Sydney, Australia South Dakota Art Museum, South Dakota State University, Brookings, South Dakota The Cummer Museum of Art and Gardens, Jacksonville, Florida
Ajuntament de Barcelona, Barcelona, Spain
The Doris and Donald Fisher Collection, San Francisco Museum of Modern Art,
Albertina, Vienna, Austria
San Francisco, California
Albright-Knox Art Gallery, Buffalo, New York Art Gallery of Ontario, Toronto, Canada
The Fields Sculpture Park, Omi International Arts Center, Ghent, New York
Birmingham Museum of Art, Birmingham, Alabama
The Figge Art Museum, Davenport, Iowa
Boston Museum of Fine Arts, Boston, Massachusetts
The Jewish Museum, New York
Brooklyn Museum, New York
The Metropolitan Museum of Art, New York
Contemporary Art Collection, Embassy of the United States, Madrid, Spain
The Sondra and Marvin Smalley Family Sculpture Garden at American Jewish University, Los Angeles, California The Van Every/Smith Galleries, Davidson College, Davidson, North Carolina
Corcoran Gallery of Art, Washington, DC Dallas Museum of Art, Dallas, Texas deCordova Sculpture Park and Museum, Lincoln, Massachusetts Denver Art Museum, Denver, Colorado Detroit Institute of Arts, Detroit, Michigan Everson Museum of Art, Syracuse, New York Fattoria di Celle, Santomato di Pistoia, Italy
United States National Arboretum, Washington, DC Walker Art Center, Minneapolis, Minnesota Weizmann Institute of Science, Rehovot, Israel Western Gallery, Western Washington University, Bellingham, Washington Whitney Museum of American Art, New York
FUTURE PROJECT – TODI CHAPEL The Todi Chapel, referred to by the artist as Cappella delle Stagioni (The Chapel of the Seasons) is made in concrete, marble, stone and has a glass roof. The concrete walls are covered in Virginia creepers, changing colours for each season. The floors are made of large mosaics of geometrical black and white patterns. The mosaic walls represent the Stations of the Cross, and the altar will be made out of a century-old living olive tree. 12 columns, which Beverly refers to as sculptures, hold up the glass roof which gives natural light for the altar and makes the inside of the Chapel visible from the town centre just above it. A large stone staircase slowly leads up to the chapel, revealing the structure as one ascends, and the Ten Commandments are carved in the steps. The project was presented to the public on in March 28 2014 and is sponsored by the Town of Todi, the University of Perugia, the Academy of Fine Arts of Perugia and the Foundation for Perugia-Assisi as 2019 European Capitol of Culture.
M O N U M E N TA L SCULPTURES Available for sale. Not in exhibition.
Sulla Senior 498 x 550 x 232 cm Edition of 3 Photo-montage of the sculpture outside the Seagram Building, Park Avenue, New York
Drusilla Senior 596 x 549 x 267 cm Edition of 3
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Design: Shine Design, London Print: Impress Print Services Ltd. Photography: George Tatge, Firenze ISBN 978-1-909707-10-8 Catalogue no. 637 Š 2014 Marlborough