Robert Hudson: Ceramic Sculpture and Drawings 1970-2022 by paulthiebaudgallery

Robert Hudson

Ceramic Sculpture and Drawings 1970-2022

Skull Bottle, 1997, glazed porcelain and cork, 7 3/4 x 8 x 5 1/4 inches

Foreword

By Greg Flood

10 Robert Hudson: Ceramic Sculpture and Drawings

1970 - 2022

By Jim Edwards

24 Studios: Stinson Beach and Sausalito

1971 - 1973

By Richard Shaw

60 Biography

Foreword

Robert Hudson’s works have been an almost constant presence in my life for nearly twenty years. I first encountered them during an extended internship at what is now the di Rosa Center for Contemporary Art, in Napa, California. Its founder, Rene di Rosa, was a dedicated friend and supporter of Robert Hudson and his work for many decades, eventually amassing what might be the largest collection of Hudson’s sculptures, ceramics, paintings, and drawings anywhere in the world. I cannot tell you the exact number, but it is certainly well into the double digits. Seeing them every week on exhibit or in storage, I began to cultivate a keen sense of how Hudson used form and void, balance and asymmetry, and color and illusion in each work to create a unified, intelligent, and playful composition.

After leaving the museum, my journey with the work continued through the personal collection of my late partner, Richard Reisman, and later in 2015, when I began working at Brian Gross Fine Art, where he had just joined the roster of represented artists. The four exhibitions that I was a part of at Brian Gross Fine Art only deepened my knowledge and appreciation of his genius. Presenting his work in 2024 for the first time at Paul Thiebaud Gallery has brought me great joy and a sense of accomplishment, and I look forward to many exhibitions to come.

For this first exhibition, I felt it important to focus on Hudson’s ceramics because the last show devoted to them was over a decade ago, and also because they have not garnered as much attention as his steel sculptures have. At the time of their emergence in 1971, they were just as radical a proposition within the histories of ceramics and of sculpture as his steel sculptures were in the early 1960’s.

Their lasting impact on the evolution of ceramics began with Richard Shaw in the Stinson Beach studio where the two first worked together. By the end of their collaboration, Shaw had left behind the earthenware works of the late 1960’s and moved fully into the porcelain trompe l’oeil sculptures for which he is now internationally famous. They have also inspired subsequent generations of artists, including Adrian Saxe, the highly esteemed creator of surreal porcelain sculptures, as well as more recent emerging artists Shenny Cruces and Matt Goldberg. I feel it is safe to say the reverberations of Hudson’s ceramics will continue to be felt in the work of future generations.

The creation of an exhibition is a collaborative effort, and this one would not have been possible without the formation of a partnership between Paul Thiebaud Gallery, Brian Gross Fine Art, and Robert Hudson’s studio. It has been a great honor to work with Robert Hudson, his wife Mavis Jukes, and with Brian Gross to make this exhibition a reality. It also could not have happened without the support of the Paul Thiebaud Gallery team – Colleen Casey, Gregory Hemming, and Matthew Miller. I give my greatest thanks to everyone involved for their contributions to making this exhibition a reality.

The creation of an exhibition catalog is also a combined effort of many individuals. Included in this catalog is an essay written by Jim Edwards, the former Director and Chief Curator of the Nora Eccles Harrison Museum of Art at Utah State University in Logan, Utah, who was among the first visitors to Hudson’s exhibition on opening day. Alongside it, we have reprinted Richard Shaw’s 2009 recounting of collaborating with Robert Hudson in the 1970’s as well as their residency together at Andover in the 1990’s. To this text Shaw has added a postscript with his reactions to the current show. I am deeply thankful to both Jim Edwards and Richard Shaw for their contributions to the catalogue and for their dedication to and continued support of the work of Robert Hudson.

Greg Flood, Director May 2024

ROBERT HUDSON Ceramic Sculpture and Drawings 1970 - 2022

Robert Hudson’s exhibition on Paul Thiebaud Gallery’s second-floor gallery is worthy of a focused museum presentation, as it acknowledges a variety of artistic procedures and practices by this celebrated northern California artist. Hudson is primarily known for his large-scale, brightly painted sculptures of welded steel, which from early in his career gained him recognition as one of America’s foremost contemporary artists. This survey of Hudson’s ceramic sculptures and drawings highlights his translation of the principles of assemblage sculpture into the medium of porcelain and collage.

Robert Hudson first began working in porcelain in 1971 when he was invited by his neighbor, friend, and former student, the ceramicist Richard Shaw, to join him in his Stinson Beach studio and explore the medium. Together, they made molds of found objects – twigs, rocks, and toys, as well as handbuilt shapes – that were then cast in porcelain and assembled into finished works over the next 18 months. A little over a year into their efforts, Hudson moved the studio across Marin County to a larger space in Sausalito and production continued at a rapid pace. The conclusion of this initial period of working together resulted in the Spring of 1973 exhibition San Francisco Museum of Art exhibition, Robert Hudson/Richard Shaw: Work in Porcelain. Those fortunate enough to see that exhibit, instantly understood its importance. Hudson and Shaw’s creative vision and skillful craftsmanship in juxtaposing the cast found objects was inspiring, original, and groundbreaking. They had elevated a domestic “tea-room” porcelain craft into a new form of contemporary assemblage art.

Of the twelve ceramic sculptures included in the exhibit, three date from the initial period of Hudson’s and Shaw’s first endeavors together. Hudson’s 1972 Untitled (teapot with spiral) is a diminutive measuring only 7 ½ inches at its largest dimension, however it wallops a punch in its spectacular glazing. Composed of spiral shapes attached to a bottle form with a spout, Hudson embellished its surface heavily with elaborate patterns and coloring. The same elaborate surface work is found in Untitled (with shell), 1974, but in Bottle with Goose, 1973, Hudson restrained himself to adding a small area of primary colors to the surface and allowed the trompe l’oeil effect of the goose head and sticks to come forward.

One of the consistent aspects of Hudson’s work in clay is his ability to take a central vessel form – pot, bottle, teapot, jar – and push it to the limit of our perceptual expectations. In the later works of the 1990s and 2000s, Hudson began including actual found objects in the sculptures that seem to fly off into space. The 2002 ceramic sculpture Jar with Wheel includes the precarious looking appendages of a rubber wheel and a broken clear glass bottle that dangles from a string. Two 1997 works – Untitled (with spots) and Full Moon Bottle – are exquisite examples of Hudson iterating with the same central domed form by combining it with different elements.

Visual rhythms are key in the placement of the representational and abstract elements that populate Hudson’s collage drawings. To the abstracted pastel surface of Untitled, 1980/2018, he has attached a vintage illustration depicting various farm tools, an image of mountain climbers, and a postcard from one of his previous exhibitions. In the photo montage Untitled (Pier 7 photo), Hudson has layered atop a historic river dock image a variety of found imagery, including a constellation of his own sculptural works.

Jar with Wheel, 2002, glazed porcelain, rubber, steel, string, and glass, 21 x 19 x 17 inches

Robert Hudson occupies a unique place in American art in his long career of liberating object and image within his sculpture and drawings. His art has, from the beginning, been daring in its composition, movement of forms, and in its caprice and humor.

Jim Edwards May 2024

* Jim Edwards received his MFA in Painting from the San Francisco Art Institute in 1969. He has a 40 year career as a curator in museums and university art galleries, including as Director and Chief Curator of the Nora Eccles Harrison Museum of Art. In 2001, he co-curated the exhibition Pop Art U.S./U.K. Connections 1956-1966 at the Menil Collection.

Jar with Wheel, 2002, glazed porcelain, rubber, steel, string, and glass, 21 x 19 x 17 inches

Untitled (bottle with stick and wheel), 2000, glazed porcelain, wood, cork, rubber, plastic, steel, magnets, and found objects, 30 1/2 x 20 x 13 inches

Untitled (teapot with cup), n.d., glazed porcelain with found teacup, 12 1/4 x 13 1/2 x 6 inches

Pot with Ball, 2000, glazed porcelain with string, 10 1/4 x 11 1/4 x 10 inches

Untitled (Pier 7 Photo), 2021, mixed media and collage on paper, 22 3/4 x 30 inches

Studios: Stinson Beach and Sausalito 1971 - 1973

STINSON BEACH (It was Bob’s idea to work together in porcelain.)

At that time Bob taught in the art department at UC Berkeley. I was teaching at the San Francisco Art Institute (S.F.A.I.) where Bob had been my teacher as an undergraduate. Bob taught on Tuesdays and Thursdays while I taught on Mondays and Wednesdays. We had our time alone in the studio and then together for three really great days.

We worked across from each other and filled the table up with beer cans and objects until the entire studio was full. We worked this way for a couple of months, then stopped to make plaster molds as we used up ideas or repeated specific images too often. When the plaster molds dried we would start the process all over again.

The work was about assemblage, taking common, prosaic images and combining all the parts into something personal. At the time, this was considered “funk art” although we did not necessarily embrace that characterization.

I had come from a pottery and painting background, and at that time, my work was consistently symmetrical. Bob, with his interdisciplinary background, focused on precarious balances where the pieces looked different from every angle.

All the work was based on functional objects: cup, bowl, bottle. All but a few were disguised as containers. We referred to our work as “pots.” At a time when any object that was functional was considered craft and not art, we consciously used the container as a form not because we did not differentiate between the two, but there is good and bad in both. Humor came naturally to the work and was included just below the surface.

At this time ceramics was well on its way to becoming an established art form. Many institutions and studios were moving toward a more sculptural voice. In 1969 the book and traveling exhibition, Objects USA included contemporary work in ceramics, glass and metal, defining what was going on nationally. Peter Voulkos, Ann Adair, James Melchert, Ron Nagle and Robert Arneson were but a few of our colleagues in the book and show, including myself.

In the early and mid sixties the “earthenware revolution” had begun, drawing its influence from many cultures ancient and modern. The contemporary ceramic art of that time was pretty much the same as it is now: commercial production ceramics, studio pottery and some individuals, art institutions, and universities. The work dealt with sculptural ideas and concepts, current and past, or a combination from different periods.

By 1970, much of the clay work was imitated and diluted by artists around the country, as movements in art tend to do. It included purposefully bad craftsmanship and scatological jokes meant to shock. The end of the line came for me, when looking in a crafts magazine, I saw an earthenware penis-shaped toilet paper holder decorated with stars-and-stripes alongside high-fire functional pottery influenced by the traditions of Europe, Japan and China.

continues on pg. 30

Untitled (Hawk Owl), 2021, acrylic, pastel, and collage on paper, 30 x 22 1/2 inches

Full Moon Bottle, 1997, glazed porcelain, 17 x 10 1/2 x 7 3/8 inches

Untitled (with spots), 1997, glazed porcelain, 18 3/3 x 10 x 7 1/4 inches

When I began teaching at S.F.A.I. my wife Martha and our first child moved to White Gate Ranch, overlooking the Pacific north of San Francisco. Bob and his wife, the artist Cornelia Schulz, were our neighbors. Bob and Cornelia had lived in the area and on the ranch for years. Each family had a house and a studio. My studio was a milk shed that had been converted to a studio by the artist Mel Moss in the early 60s, and later used by sculptor Bill Geis.

At the time, ceramics was considered a craft and not of the stature of the other arts, even at S.F.A.I. This is where it stood in 1972 when I was teaching with Ron Nagle, Robert Rasmussen, and Karen Breschi in the ceramics department. Because we were considered the “sugar bowl makers” and were physically connected to the sculpture area, we constantly had to defend our space from being swallowed up by the “more important” art forms.

However, at other local institutions, there was already a higher regard for the medium. Pete Voulkos and Marilyn Levine were teaching at the University of California, Berkeley. The University of California, Davis had a blooming art department and a great faculty that included Robert Arneson in ceramic sculpture. Viola Frey and Art Nelson were already teaching at the California College of Arts & Crafts, now the California College of the Arts.

Bob had no prejudice for or against any material; for him every object was a means to produce art. Bob had been creating painted metal sculptures, as well as painting and drawing with a variety of materials, since the early sixties. He was at that time and still is highly respected nationally and internationally. What he decided to incorporate into his art making was everything that he had discovered while working with other materials and media.

Clay had already become my main medium, and I had been making and using plaster molds for slip casting since the late 1960s. I used the cast forms in combination with hand built and thrown pieces as my work developed towards a loose form of realism. As ceramics had a functional tradition for a few million years, I accepted this and, in some cases, with tongue in cheek, used that format with which to create.

I’m not sure either Bob or I had any concrete ideas of work we were going to make when we began. Maybe some sort of unformed, unconnected floating ideas, but we did have the molds and some historical and contemporary influences going in. Inspiration came from contemporary art and artists as well as the history of ceramics. Picasso, Staffordshire ware, and art deco were all resources. Any books that came through the studio were scrutinized for ideas and ways of working. Our ideas developed over the next three years of collaboration.

The concept of the pieces as containers took shape pretty quickly, and after a few glaze firings, the possibilities of surface effect became apparent. Porcelain is fired high and is hard or vitrified. The commercial underglaze colors we were using became matte and subtle on the clay surface fired at that temperature. In low fire or earthenware temperatures, where these underglazes were used, as the name indicates, the colors go under a shiny clear glaze. With the high temperature of porcelain no glaze was needed. The potential for painting, drawing and the creation of verisimilitude was possible. As we improved our glazing techniques, we started to create illusions of realism and forced perspective. Bob had done this in his painted metal sculpture before and translated it into the medium of porcelain.

We both admired the qualities of porcelain before we began production - its whiteness, translucency and apparent plasticity (which we later discovered was not inherent to the material or our intentions).

continues on pg. 38

Untitled (San Francisco), 2021, acrylic, colored pencil, and collage on paper, 30 x 22 1/2 inches

Bottle with Weed, 2000, glazed porcelain, 21 x 7 1/2 x 9 1/2 inches

Bottle, 1997, glazed porcelain, 17 x 7 x 5 inches

Porcelain looks very plastic and malleable when it is fired. We found it to be very hard to work with at first. The slip and clay body cracked, warped, slumped and it was at times thixotropic, or like gelatin. Each day we learned of the possibilities and extreme limitations of the medium.

Again, Bob had no preconceptions or rules toward the medium. Being a spontaneous and great alternative thinker, he just went to work with what we had. I, on the other hand, had great expectations and accepted the rules of how things were supposed to look and work in ceramics, which Bob didn’t even consider. He reworked things that didn’t work out as they were supposed to and made “pots” instead.

In the early 1970s Reese Palley had a gallery on Maiden Lane in San Francisco showing contemporary art. Along side these works, he showed Edward Boehm birds, which I believe made him more money than anything else. Boehm birds are porcelain scenes with birds that are much like the glass flowers at the Harvard Museum of Natural History by the German glass artists Leopold and Rudolph Blaschka. The Boehm sculptures were a real “tour de force.” Although I, or we, thought of them as a “one liner” or overly commercial opulent art, they were technically amazing. I think we were both inspired in some way by this work.

My studio had no heat or water and only enough electricity to run the lights and a slip mixer given to us by the artist Manuel Neri. So we no longer had to make the slip at school, but all the work had to be packed up and driven to various kilns for the bisque and glaze firings.

After we had completed enough pieces to fill a kiln, we would pack them carefully in saw dust in the back of Bob’s Ford pick-up and drive them north to a kiln at the other end of Stinson Beach. Dale Roush would bisque fire them in his down draft kiln. Dale and Lone Roush had gone to Alfred University and after graduation had built from scratch a working pottery studio and made a living selling their wares. Dale not only bisque fired our pieces, but also helped us with various technical problems that we encountered with the clay and slip.

At that time, White Gate was still a working ranch that ran Black Angus and saddle horses. Twice we, well, me the second time, made the fatal mistake of backing the truck up too close to the corral fence. The horses could reach across and eat the sawdust as well as the art from the far back of the bed. The second lesson came when I packed the work in boxes and put them too close to the other side of the fence and the horses again stretched their necks over and down and ate the boxes and our work.

After the bisque had cooled, we would take them back to the studio and begin glazing. This part of the process lasted for a year and a half before we moved to the Sausalito studio.

After we had glazed enough pieces to fill an electric kiln, we would drive the pieces over the mountain to Mill Valley, load the kiln, start it and play pool, stopping long enough to turn up the kiln and then drive home after the bar closed or we had the kiln all turned up. At that point there were few bars in Stinson or on the mountain that we could go to, as we had long hair

If the next day was Saturday, even if Bob was or wasn’t still in the studio working all night, we would start back to work.

Bob, who was new to this medium, approached glazing as he did building. He would develop new ideas and techniques. One, which we used while working at Philips Academy and that we both still employ, is mixing acrylic medium into the underglaze, so that various layers and washes could be

continues on pg. 48

Untitled, 1989, acrylic and enamel on paper, 30 x 22 inches

Untitled (teapot with spiral), 1972, glazed porcelain, 6 3/4 x 7 1/2 x 3 1/4 inches

Untitled (with shell), 1974, glazed porcelain, 5 3/8 x 5 x 4 1/2 inches

Bottle (with goose), c. 1973, glazed porcelain, 16 1/4 x 7 1/4 x 8 3/4 inches

applied one over the other and fired and finished at once. In the past, each color had to be fired one at a time in the traditional manner.

Bob brought to the project all he knew about painting, drawing & sculpture, and applied those techniques to the work. He could be loose in some places, then incredibly tight and accurate in other areas. He would make the surface flat, deep, create illusion and employ abstraction and realism. After getting pretty far on a piece, he would appear to reach an impasse on how to finish it. He would sit quietly thinking and staring intently at the sculpture for hours.

We worked all day and into the night. I would poop-out somewhere between 12:00 and 2:00 A.M. leaving him to solve the piece that he couldn’t seem to finish.

I remember a woman, who lived in the town of Bolinas just north of us on the coast, saying after her shift as a nurse ended at 12:00 A.M. in San Francisco, rounding the last curve from the woods she was so glad to see our lights burning in the studio as she passed the ranch. She said she knew that everything was all right, and she was almost home. If the moon was up one could see the sand pit, Duxbury Reef and the lights of Bolinas in the distance.

I would wake up in the morning, cross the barn yard to the studio, and there would be Bob either still staring at the same piece or having finished it in some amazing manner and many others as well.

SAUSALITO

In 1973 we moved to the studio in Sausalito. It had all the amenities, running water, a bathroom, and enough electricity to run an electric heater, radio, lights, kiln & the slip mixer all at the same time.

The Sausalito studio was a huge vacant warehouse. It had been a factory for building crash boats for World War II. Before that it had been a foundry for casting bronze ornamental and architectural decorations for the interior of buildings. Stored away in dusty piles were hundreds of plaster molds. I think by their formal looks that they were probably from the 1920s-30s. The find was a complete surprise and we set to work pulling out particular molds of interest to include in our work, along with the molds we had made, and were making. There were simple molds of alphabets, bas-reliefs, plaques, cornices and complicated literal subjects like horses’ heads. These molds added to our vocabulary and library of images and shapes.

Coincidentally, when Jock Reynolds and Ann Smith, the ceramics teacher at Phillips Academy in Massachusetts, were giving us a tour of the studio facilities, they pointed to another large pile of molds available to us. This pile had been donated and dumped outside the studio by a ceramic shop that had gone out of business. It was covered with snow and contained all kinds of kitsch molds that we included in our work, along with molds we made with the students there.

In Sausalito we had everything we needed to make clay sculptures in one studio. Bob also had a separate studio for doing his sculpture, paintings and drawings. He even held his graduate seminars in there.

We worked together until May of 1973. We later collaborated on a small show in Kansas City, Missouri

continues on pg. 50

Untitled, 1975, acrylic, graphite, and charcoal on paper, 30 1/2 x 25 1/2 inches

in spring of 1974. We didn’t work together again until 25 years later when Jock Reynolds invited us to collaborate as old codgers at Philips Academy in Andover, Massachusetts.

I am not sure how many artists, collectors, or members of the public knew that we had spent three years working together in porcelain, but it appeared that the show at the San Francisco Museum of Art in 1973 took many people by surprise. We exhibited 40 pieces each and the catalogue sold out. The quality and the originality of the work in the collaboration and Bob’s participation helped legitimize expressing oneself in clay in the Bay Area and beyond.

It was Bob’s idea to work together in porcelain.

Richard Shaw February 21, 2009

POSTSCRIPT

The majority of the work in the Paul Thiebaud Gallery exhibition was created by Bob in his studio in Cotati, CA where he lives with his wife, Mavis, and two daughters. It’s a great combination of porcelain objects combined with found objects. It has the same great originality, imagination and surprise as his painted metal sculptures have had over the last sixty-five years: balance, surprise of choice, and skill of creation.

My wife Martha, my daughter Alice, and I, along with many others, thought this exhibition of his sculpture and collages was one of his best. This includes Diana Fuller, whose gallery (variously named Hansen Fuller, Fuller Goldeen, and Fuller Gross over the years) exhibited his work for several decades in San Francisco.

Bob was my sculpture teacher at the San Francisco Art Institute in the 60’s and it was inspiring to have a professor whose amazing work, painted metal sculptures, moved you, and still do.

As history tells the story, my wife, Martha, first child, Alice, and myself moved next door to Bob and his first wife Cornelia Schulz, the painter, and their two sons on a ranch overlooking Stinson Beach in 1966. We all had studios overlooking the Pacific Ocean. Bob and I began working together in cast porcelain in 1971. Bob was teaching sculpture at UC Berkeley, and I ceramic sculpture at the SF Art Institute. We used the same plaster molds we built together, but worked on our own sculptures separately. After a move to a studio in Sausalito, CA, we had a show together at the San Francisco Museum of Art in 1973, with fifty objects each. The show was curated by Suzanne Foley.

This led to other shows of our work together and a residency at Philips Academy in Andover, MA hosted by Jock Reynolds, the director of the Addison Gallery. We worked together three times there, and had two exhibitions at other institutions in the U.S.

Bob came up with the many ways of working and ideas that were original, new, and inspiring in the medium of ceramics. This current exhibition of his work tells the story.

Richard Shaw

May 8, 2024

Untitled, 1980/2018, acrylic, pastel, ink, and collage on paper, 30 x 22 1/2 inches

Bottle with Chain, 2002, glazed porcelain with steel chain, 23 x 14 1/2 x 11 1/4 inches

Stage Cup Saucer, 1997, glazed porcelain with wood and cork, 13 1/2 x 11 1/2 x 8 1/4 inches

ROBERT HUDSON

Born 1938 in Salt Lake City, UT

Died 2024 in Cotatl, CA

Education

1963 MFA, San Francisco Art Institute

1961 BFA, San Francisco Art Institute

Professional Experience

1997

1994

Artist-In-Residence, Phillips Academy, Andover, MA

Faculty Guest Instructor of Sculpture, California College of Arts and Crafts

1983 Distinguished Visiting Professor, Department of Art, University of California, Davis

1974

1966-1973

1965-1966

1964-1965

Artist-in-Residence, University of Wisconsin, Madison, WI

Assistant Professor of Art, University of California, Berkeley

Appointed Chair, Sculpture/Ceramics Dept. San Francisco Art Institute

Faculty, Instructor of Sculpture San Francisco Art Institute

Selected Solo Exhibitions

2024

2023

2019

2018

2016

2015

2013

2012

2011

2010

2008

2007

2005

2004

2003

2001

2000

1999-2000

Robert Hudson: Ceramic Sculpture and Drawings, Paul Thiebaud Gallery, San Francisco, CA

Robert Hudson: Drawings from the 1960s (online exhibition), Brian Gross Fine Art, San Francisco, CA

Project: Robert Hudson Drawings, Brian Gross Fine Art, San Francisco, CA; exhibition catalog

Selected Works 1968-71, Brian Gross Fine Art, San Francisco, CA

Robert Hudson: Selected Work 1968–71, Luckman Gallery, California State University at Los Angeles, Los Angeles, CA

Robert Hudson: New Work, South Willard, Los Angeles, CA

Recent Sculpture and Drawings, Brian Gross Fine Art, San Francisco, CA

Robert Hudson New Works, South Willard, Los Angeles, CA

Legends of the Bay Area: Robert Hudson, Marin Museum of Contemporary Art, Novato, CA

Robert Hudson: Sculpture, Perimeter Gallery, Chicago, IL

Robert Hudson: Recent Sculpture, Elizabeth Leach Gallery, Portland, OR

Robert Hudson, Sanchez Gallery Pacifica, CA

Robert Hudson: Sculpture and Drawings, Patricia Sweetow Gallery, San Francisco, CA

Robert Hudson: Sculpture, Perimeter Gallery, Chicago, IL

Robert Hudson: Sculpture, Frank Lloyd Gallery, Santa Monica, CA

Robert Hudson: Found Objects, Perimeter Gallery, Chicago, IL

Robert Hudson: New Work, Perimeter Gallery, Chicago, IL

Robert Hudson: The Sonoma County Years, 1977-2005, Sonoma County Museum, Santa Rosa, CA

Robert Hudson: Sculpture/Constructions, b. sakata garo gallery, Sacramento, CA

Robert Hudson: Ceramics, Frank Lloyd Gallery, Santa Monica, CA

Robert Hudson: Works on Paper, Robert Mondavi Gallery, Oakville, CA

Robert Hudson: Ceramics, Drawings, Nancy Margolis Gallery, New York, NY

Robert Hudson: Ceramics, Sculpture, Drawings, b. sakata garo, Fine Art, Sacramento, CA

Robert Hudson: Ceramic Sculpture, Drawings, Robischon Gallery, Denver, CO

Robert Hudson: Ceramics, Frank Lloyd Gallery, Santa Monica, CA

1999 Collaborations, William Allan, William Wiley, Robert Hudson, b. sakata garo, Fine Art, Sacramento, CA

1998

1996

Robert Hudson: Ceramics, Nancy Margolis Gallery, New York, NY

Robert Hudson: Drawings and Sculpture, Morgan Gallery, Kansas City, MO

1995 Works On Paper, Struve Gallery, Chicago, IL

1991

Robert Hudson: Sculpture and Works on Paper, John Berggruen Gallery, San Francisco, CA

1989

1987

1986

1985

1984

Robert Hudson: New Sculpture, Frumkin/Adams Gallery, New York, NY

Robert Hudson: Sculpture, Dorothy Goldeen Gallery, Santa Monica, CA

Robert Hudson: Unique Polychrome Bronzes, Allan Frumkin Gallery, New York, NY

Robert Hudson: A Survey, San Francisco Museum of Modern Art, San Francisco, CA; Albright-Knox Art Gallery, Buffalo, NY; The Art Museum at Florida International University, Miami, FL; Laguna Beach Museum of Art, Laguna Beach, CA

Robert Hudson: Paintings and Works on Paper, Richard Eugene Fuller Art Gallery, Beaver College, Glenside, PA

1983 The Bob Hudson Show, Morgan Gallery, Shawnee Mission, MO

1982

1981

1979

1978

Robert Hudson, Fuller Goldeen Gallery, San Francisco, CA

Robert Hudson: Sculpture and Drawings, Richard L. Nelson Gallery, UC Davis, Davis, CA

Robert Hudson: New Polychrome Sculpture, Allan Frumkin Gallery, New York, NY

Robert Hudson, Hansen Fuller Gallery, San Francisco, CA

Robert Hudson: Paintings, Constructions, and Drawings, South Campus Art Gallery, Miami-Dade Community College, Miami, FL

Robert Hudson: New Paintings and Drawings, Allan Frumkin Gallery, New York, NY

1977 Robert Hudson, Allan Frumkin Gallery, New York, NY

Robert Hudson, Hansen Fuller Gallery, San Francisco, CA

Robert Hudson, Portland Center for the Visual Arts, Portland, OR

Two California Artists; Robert Hudson and Roy De Forest, Institute of Contemporary Art, Boston, MA

Robert Hudson, Moore College of Art Gallery, Philadelphia, PA

1976

1975

1974

1972

1971

1970

1967

1965

1964

1962

Robert Hudson, Allan Frumkin Gallery, Chicago, IL

Robert Hudson: Paintings and Sculptures, Hansen Fuller Gallery, San Francisco, CA

Robert Hudson/Richard Shaw: Work in Porcelain, San Francisco Museum of Art, San Francisco, CA

Robert Hudson: Paintings, Hansen Fuller Gallery, San Francisco, CA

Robert Hudson/Richard Shaw: Work in Porcelain, E.G. Gallery, Kansas City, MO

Robert Hudson: Recent Sculpture, Allan Frumkin Gallery, Chicago, IL

Robert Hudson: New Sculpture, Allan Frumkin Gallery, New York, NY

The Star Show, University Art Museum, University of California, Berkeley, CA

Robert Hudson, Michael Walls Gallery, San Francisco, CA

Robert Hudson: Recent Sculpture, Nicholas Wilder Gallery, Los Angeles, CA

Robert Hudson Sculpture: 1965 Nealie Sullivan Award Exhibition, Diego Rivera Gallery, San Francisco Art Institute, San Francisco, CA

Robert Hudson: First New York Exhibition, Allan Frumkin Gallery, New York, NY

Robert Hudson, Lanyon Gallery, Palo Alto, CA

Robert Hudson, Bolles Gallery, San Francisco, CA

1961 Sculpture and Drawings by Robert Hudson, Batman Gallery, San Francisco, CA

Sculpture by Robert Hudson, Richmond Art Center, Richmond, CA

Selected Group Exhibitions

2023 TWENTY-FIVE TREASURES 2023, Paul Thiebaud Gallery, San Francisco, CA

2022 FRAMED: Works by Peter Alexander, Robert Arneson, Andrew Belschner, Roy De Forest, Adam Fowler, Dana Hart-Stone, Robert Hudson, Ed Moses, Ruth Pastine, Paul Sarkisian and Andrea Way, Brian Gross Fine Art, San Francisco, CA

2021 Photo Based: Works by Tony Berlant, Dana Hart-Stone, Robert Hudson, Keira Kotler, Meridel Rubenstein, and Paul Sarkisian, Brian Gross Fine Art, San Francisco, CA

2020 30th Anniversary Exhibition, Brian Gross Fine Art, San Francisco, CA; exhibition catalog

2019 Landscape Without Boundaries: Selections from the Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis

2018 20 Sonoma Collectors: Celebrating SVMA’s 20th Year, Sonoma Valley Museum, Sonoma, CA

3 Friends: Hudson, Stupin and Shaw, Art Museum of Sonoma County, Santa Rosa, CA

2016 Mustard Road, The Battery SF, San Francisco, CA

Imagery Art for Wine Collection: An Art and Wine Partnership, Triton Museum of Art, Santa Clara, CA

The Butterfly Effect: Art in 1970s California, Palo Alto Art Center, Palo Alto, CA

Selected Group Exhibitions

(cont.)

2016 Palate to Palette: The Imagery Collection at Sonoma State University, Sonoma State University Art Gallery, Rohnert Park, CA

Reclaimed: Elevating the Art of Reuse, San Francisco Art Education Project, Minnesota Street, San Francisco, CA

2015 The Ceramic Presence in Modern Art, Yale University Art Gallery, New Haven, CT

What Nerve! Alternative Figures in American Art, 1960 to the Present, Matthew Marks Gallery, New York, NY

2014 What Nerve! Alternative Figures in American Art, 1960 to the Present, RISD Museum, Providence, RI

2013 Small is Beautiful, Frank Lloyd Gallery, Santa Monica, CA

Curator’s Choice: Bay Area Art, Ascent, San Francisco, CA

2012 The Intersection of Art And Music, Sonoma State University Gallery, Rohnert Park, CA

Robert Hudson and Cornelia Schulz: In Conversation, Patricia Sweetow Gallery, San Francisco, CA

California Dreamin’: Thirty Years of Collecting, Palm Springs Art Museum, Palm Springs, CA

20@20: Twenty Artists at Twenty Years, Santa Rosa, CA

2009 Robert Hudson & Richard Shaw, American University, Washington, D.C.

Group Show, Patricia Sweetow Gallery, San Francisco, CA

Sculpture, Frank Lloyd Gallery, Santa Monica, CA

Robert Hudson & Richard Shaw: Ceramic Sculpture, San Jose State University, San Jose, CA

2008 Sculpture, Perimeter Gallery, Chicago, IIl.

2006 Recent Acquisitions, di Rosa Preserve: Art & Nature, Napa, CA

2005 Spectrum, Sculpture, Sonoma, Paradise Ridge Winery, Santa Rosa, CA

Teapots, Frank Lloyd Gallery, Santa Monica, CA

Robert Hudson, John di Marchi, Michael Cooper, Santa Rosa Junior College Museum, Santa Rosa, Ca

2004-2005

The True Artist is an Amazing Luminous Fountain: Selections from The di Rosa Preserve — Art and Nature, The Kreeger Museum, Washington, DC; di Rosa Preserve, Napa, CA; Palm Springs Desert Museum, Palm Springs, CA; Santa Cruz Museum of Art and History, Santa Cruz, CA

2004 25th Anniversary Exhibition, Sonoma State University Art Gallery, Rohnert Park, CA

Crown Point Press: Prints, Crown Point Press, San Francisco, CA

2003 The Other Side, b. sakata garo gallery, Sacramento, CA

Color, Form & Figure, John Berggruen Gallery, San Francisco, CA

2002 Hudson, De Forest, Holland, John Berggruen Gallery, San Francisco, CA

2001 Hudson/Shaw Ceramics, Byron Cohen Gallery, Kansas City, MO

Collection of the Artist: Manuel Neri, Benicia, CA

2000 Celebrating Modern Art - The Anderson Collection, San Francisco Museum of Modern Art, San Francisco, CA

Looking Toward the Future, SFMOMA Rental Gallery, San Francisco, CA

Robert Hudson and Richard Shaw - New Ceramic Sculpture, Hand Workshop, Richmond, VA

Santa Barbara’s 150th Birthday Celebration, Santa Barbara, CA

Made In California: Art, Image and Identity, Los Angeles County Museum of Art, Los Angeles, CA

Generations II, b. sakata garo, Fine Art, Sacramento, CA

1999 Collaborations: William Allan, Robert Hudson, William Wiley, Museum of Art, Washington State University, Pullman, WA / Scottsdale Museum of Art, Scottsdale, AZ

Teamworks -Robert Hudson and Richard Shaw, Yerba Buena Center for the Arts, San Francisco, CA

The Art of Craft, M.H. de Young Memorial Museum, San Francisco, CA

By Design: Art and Wine - The Benziger Series, Glen Ellen, CA

Collaborations, William Allan, William Wiley, Robert Hudson, b. sakata garo, Sacramento, CA Hudson. Wiley, Shaw - Collaborative Works, S.S.U., Cotati, CA

1998 Robert Hudson and Richard Shaw, Addison Gallery of American Art, Andover, MA

Massachusetts Institute of Art, Boston, MA

Collaborations William Allan, Robert Hudson, William Wiley, Palm Springs Desert Museum, Palm Springs, CA; The Art Museum at Florida International University, Miami, FL

A Theater of Art lll, Riva Yares Gallery, Scottsdale, AZ

1997 Hudson, Wiley, Shaw - Collaborative Works, Hayward State University, Hayward, CA

1997 Thirty Five Years at Crown Point Press, Palace of the Legion of Honor, San Francisco, CA

1996 Illustrious History 1871-Present, San Francisco Art Institute, S.F., CA

1995 Advice and Dissent collaborative Work: William Allan, Robert Hudson, William T. Wiley, Palm Springs Desert Museum, Palm Springs, CA

California in the 60s - Funk Revisited, Allan Frumkin Gallery, New York, NY

1994 Selections from Rene di Rosa Collections, Oakland Museum, Oakland, CA

Advice and Dissent Collaborative Work: William Allan, Robert Hudson, William T. Wiley, John Berggruen Gallery, San Francisco, CA

Imagery Series Collection, Rockford College, Rockford, IL

Academy of Art College, Sculpture Exhibition, San Francisco

1993 Contemporary Crafts and the Saxe Collection, Toledo Museum of Art, Toledo, OH; St. Louis Art Museum, MO; Newport Harbor Art Museum, CA; National Museum of American Art, D.C.

1992 Robert Hudson: New Sculpture, Dorothy Goldeen Gallery, Santa Monica, CA

1991 Selections from the Rene and Veronica di Rosa Collection, Redding Museum of Art and History

American Abstraction at the Addison, Addison Gallery of American Art, Phillips Academy, Andover, MA Collection of Pacific Enterprises, Los Angeles, CA

Robert Hudson: Sculpture, William T. Wiley Painting, Rose Museum, Brandeis University, Waltham, MA

1988 Spectrum: New Developments in Three Dimensions, Frumkin/Adams Gallery, New York, NY

1985 Fortissimo: Thirty Years from the Richard Brown Baker Collection of Contemporary Art, Museum of Art, Rhode Island School of Design, Providence, Rhode Island; San Diego Museum of Art, San Diego, CA; Portland Museum of Art, Portland, OR

1984 Return of the Narrative, Palm Springs Desert Museum, Palm Springs, CA

California Sculpture Show, Fisher Gallery, University of Southern California, Los Angeles, CA; C.A.P.C. Musee dArt Contemporain de Bordeaux, France: Stadiche Kunsthalle, Mannheim, West Germany; Yourshire Sculpture Par, West Bretton, England; Sonja Henies og Niels Onstads Stiftelser, Hovidkodden, Norway (organized by the California/International Arts Foundation as part of the 1984 Olympic Arts Festival)

1982 A Private Vision: Contemporary Art from the Graham Gund Collection, Museum of Fine Arts, Boston, MA

The West as Art: Changing Perception of Western Art in California Collections, Palm Springs Desert Museum, Palm Springs, CA

100 Years of California Sculpture, The Oakland Museum, Oakland, CA

1980 Directions, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.

1979 The First Western States Biennial Exhibition, Denver Art Museum, Denver, Colorado; National Collection of Fine Arts, Smithsonian Institution, Washington, D.C.; San Francisco Museum of Modern Art, San Francisco, California; Seattle Art Museum, Seattle, Washington (organized by the Western States Arts foundation with assistance from the Denver Art Museum)

1976 Painting and Sculpture in California: The Modern Era, San Francisco Museum of Modern Art, San Francisco, CA; National Collection of Fine Arts, Smithsonian Institution, Washington, D.C.

1975 34th Biennial of Contemporary American Painting, The Corcoran Gallery of Art, Washington, D.C.

The Condition of Sculpture Hayward Gallery, London (Arts Council of Great Britain)

1971 San Francisco Art Institute Centennial Exhibition, M.H. de Young memorial Museum, San Francisco, CA

The Nicholas Wilder Collection: Portrait of an Art Dealer, Fine Arts Gallery, University of Nevada, Las Vegas, NV

1970 Annual Exhibition: Contemporary American Sculpture, Whitney Museum of American Art, New York, NY

1969 14 Sculptors: The Industrial Edge, Walker Art Center and Daytons Department Store, Minneapolis, MN

1968 The West Coast Now: Current Work from the Western Seaboard, Portland Art Museum, Portland, OR; Seattle Art Museum, Seattle, Washington: M.H. de Young Memorial Museum, San Francisco, CA; Los Angles Municipal Art Gallery, Los Angeles, CA

Annual Exhibition: Contemporary American Sculpture, Whitney Museum of American Art, New York, NY

1967 Funk, University Art Museum, University of California, Berkeley, CA

American Sculpture of the Sixties, Los Angeles County Museum of Art, Los Angeles, CA; Philadelphia Museum of Art, Philadelphia, PA

1966 The Slant Step Show, Berkeley Gallery, San Francisco, CA

Annual Exhibition 1966: Contemporary Sculpture and Prints, Whitney Museum of American Art, New York, NY

Selected Group Exhibitions

(cont.)

1965 Young America 1965: Thirty American Artists under Thirty-Five, Whitney Museum of American Art, New York, NY

Young American Sculpture - East to West, American Express Pavilion, World’s Fair, New York, NY

1964 The Eighty-Third Annual Exhibition of the San Francisco Art Institute, San Francisco Museum of Art, San Francisco, CA

Annual Exhibition 1964: Contemporary American Sculpture, Whitney Museum of American Art, New York, NY

1963 The 82nd Annual Exhibition of the San Francisco Art Institute, San Francisco Museum of Art, San Francisco, CA

1962 Some Points of View ‘62: San Francisco Bay Area Painting and Sculpture, Stanford University Art Gallery and Museum, Palo Alto, CA

1961 Art of San Francisco: Ninetieth Anniversary Exhibition of the San Francisco Art Institute, San Francisco, CA

1960 San Francisco Art Association Seventy-ninth Annual: Painting and Sculpture, San Francisco Museum of Art, San Francisco, CA

Northern California Sculptors Annual, Oakland Art Museum, Oakland, CA

Awards

2014 Lee Krasner Award in recognition of a Lifetime of Artistic Achievement

1979 Awarded Public Sculpture Commission under the General Services Administration’s Art-in-Architecture program to execute the sculpture, Tlingit

1976 John Simon Guggenheim Fellowship

1972 Individual Artist Fellowship, National Endowment for the Arts.

1969 Repair Show, Berkeley Gallery, San Francisco, CA; Travelled to: A S S S C Art Gallery, Sacramento State College, Sacramento, CA

1965 Nealie Sullivan Award, San Francisco Art Institute

Selected Public Collections

Addison Gallery of American Art, Andover, MA

Albright-Knox Gallery, Buffalo, NY

Anderson Collection at Stanford University, CA

Atlantic Richfield, Los Angeles, CA

AT&T Corporation

Berkeley Art Museum and Pacific Film Archive, University of California at Berkeley, CA

Art Institute of Chicago, Chicago, IL

Crocker Art Museum, Sacramento, CA

Denver Art Museum, CO

Des Moines Art Center, IA

di Rosa Center for Contemporary Art, Napa, CA

Fine Arts Museums of San Francisco, CA

Gund Gallery, Kenyon College, Gambier, OH

Henry Art Gallery, University of Washington, Seattle, WA

Hirshhorn Museum and Sculpture Garden, Washington, DC

Honolulu Museum of Art, Honolulu, HI

Hood Museum of Art, Dartmouth College, Hanover, MA

Indianapolis Museum of Art, Indianapolis, IA

Iris & B. Gerald Cantor Center for Visual Arts at Sanford University, CA

Jan Shrem and Maria Manetti Shrem Museum of Art, University of California, Davis

Los Angeles County Museum of Art, Los Angeles, CA

Mint Museum of Craft and Design, Charlotte, NC

Museum of Fine Arts, Boston, MA

Museum of Sonoma County, Santa Rosa, CA

National Gallery of Art, Washington, DC

Oakland Museum of California, Oakland, CA

Palm Springs Art Museum, Palm Springs, CA

Philadelphia Museum of Art, Philadelphia, PA

San Francisco Arts Commission, San Francisco, CA

San Francisco Museum of Modern Art, San Francisco, CA

San Jose Museum of Art, San Jose, CA

Smithsonian American Art Museum, Washington, DC

Stedelijk Museum, Amsterdam, The Netherlands

St. Louis Art Museum, St. Louis, MO

The Flood Family Collection, San Francisco, CA

The Museum of Modern Art, New York, NY

The Rose Art Museum, Brandeis University, Waltham, MA

The University of Arizona Museum of Art, Tucson, AZ

University Art Gallery, Sonoma State University, Rohnert Park, CA

Utah Museum of Fine Arts, Salt Lake City, UT

Whitney Museum of American Art, New York, NY

Yale University Art Gallery, New Haven, CT

Selected Bibliography

Coplans, John. “Sculpture in California”, Artforum, August 1963, p. 5. Coplans, John. “Circle of Styles on the West Coast”, Art in America, June 1964, p. 30. “Three San Francisco Sculptors”, Artforum, September 1964, pp. 36, 38-39.

Kozloff, Max. “The Further Adventures of American Sculpture”, Arts Magazine, February 1965, p. 31. Danieli, Fidel. “Robert Hudson: Space and Camouflage”, Artforum, November 1967, pp. 32-35.

Friedman, Martin. “14 Sculptors: The Industrial Edge”, Art International, February 1970, pp. 38, 40, 50. Richardson, Brenda. “Bay Area Survey; The Myth of Neo-Dada”, Arts Magazine, Summer 1970, p. 48.

Fitzgibbon, John. “Sacramento”, Art in America, November 1971, pp. 79-81. Muldavin, Albie, and Chandler, John Noel. “Correspondences”, Artscanada, June-July 1971, pp. 44-45,47-48, 52, 54-55, 60-61, 61.

Tarshis, Jerome. “Letter from San Francisco”, Studio International, November 1973, p. 193. Chapman, Hilary. “The Condition of Sculpture 1975”, Arts Magazine, November 1975, p. 69.

Butterfield, Jan. “Robert Hudson, Robert Hudson.”, New York: Allan Frumkin Gallery, 1976, n.p. (exhibition catalog). Kuspit, Donald B. “Regionalism Reconsidered”, Art in America, July-August 1976, p. 67.

Schjeldahl, Peter. “East and West and Robert Hudson: Robert Hudson”, Philadelphia: Moore College of Art Gallery, 1978, pp. 7-10 (exhibition catalog).

di Rosa, Rene. “Robert Hudson / Notes on the Artist and his Work”, Robert Hudson: Sculpture and Drawing. The Richard L. Nelson Gallery and The Fine Arts Collection, Department of Art, University of California at Davis and The Regents of the University of California, 1983.

Rubin, David S. “Robert Hudson: New Polychrome Sculpture”, New York: Allan Frumkin Gallery, 1984, n.p. (exhibition catalog).

Beal, Graham W.J. “Welded Irony: The Sculpture of Robert Hudson”, Robert Hudson: A Survey. San Francisco: San Francisco Museum of Modern Art, 1984, (exhibition catalog).

Butterfield, Jan. “Perceptual Alchemy: The Paintings of Robert Hudson”, Robert Hudson: A Survey. San Francisco: San Francisco Museum of Modern Art, 1984, (exhibition catalog).

Schwager, Michael. “Casting Illusions: The Ceramics of Robert Hudson”, Robert Hudson: A Survey San Francisco: San Francisco Museum of Modern Art, 1984, (exhibition catalog).

Fuller Goldeen Gallery. Robert Hudson, 1985, (exhibition catalog).

Shere, Charles. “Why Bronze? Robert Hudson: Unique Polychrome Bronzes”, New York: Alan Frumkin Gallery, 1986, n.p. (exhibition catalog).

“‘It’s strange to talk about art... ‘ A conversation between Robert Hudson and William Wiley”, Artweek, February 7, 1991, pp. 28, 24, 25.

Selected Bibliography (cont.)

Reynolds, Jock, curator. “Robert Hudson and Richard Shaw: New Ceramic Sculpture”, Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts, 1998, (exhibition catalog).

Schwager, Michael. “Robert Hudson: Speaking Softly and Casting Big Sticks”, Sonoma County Museum, 2005 (exhibition catalog).

Rassmussen, Jack, director and curator. “Robert Hudson and Richard Shaw: Collaborations”, American University Museum at the Katzen Art Center, Washington, D.C., 2009, (exhibition catalog).

Roth, David M. “SF Preview: Wiley, Graves, Hudson, Shaw!”, Squarecylinder.com, March 20, 2010.

Roth, David M. “Hudson + Schulz @ Sweetow”, Squarecylinder.com, June 18, 2012.

Baker, Kenneth. “Robert Hudson, Cornelia Schulz on shape, intimacy”, SFGATE.com, June 22, 2012.

Cassidy, Victor. “Robert Hudson Sculpture Builder”, Sculpture Magazine, December 2014, pgs. 52-55.

Krantz, Ed. “Calder: Exhuming Influences”, Safety-Kleen Gallery One, Elgin Community College, Elgin, IL, 2014, (exhibition catalog).

Chun, Kimberly. “Beauty found in curious objects”, San Francisco Chronicle | SFGATE.com Schjeldahl, Peter. “Go Figure: A Chelsea gallery surveys the weird in the wilds beyond New York”, The New Yorker, August 3, 2015.

Roth, David M. “Robert Hudson @ Brian Gross”, Squarecylinder.com, December 6, 2015. Selz, Peter. “Robert Hudson: ‘Recent Sculpture and Drawings’ at Brian Gross Fine Art”, art ltd Magazine, January-February 2016, pg 26.

Roth, David M. “Best of 2016”, Squarecylinder.com, January 2, 2016.

Porges, Maria. “Scratches, Spit and Vinegar @ Crown Point Press”, Squarecylinder.com, May 23, 2016. Pacifica Tribune. “Robert Hudson exhibit opens at Sanchez Art Center”, mercurynews.com, August 13, 2016. Couzens, Julia. “Robert Hudson + Ed Moses @ Brian Gross”, Squarecylinder.com, October 3, 2018. Van Proyen, Mark. “Robert Hudson @ Brian Gross”, Squarecylinder.com, October 20, 2019. Van Proyen, Mark. “Crown Point Press in the ‘80s”, Squarecylinder.com, February 12, 2020.

Hanes, Shaelyn. “Photo Based @ Brian Gross”, Squarecylinder.com, August 10, 2021.

Roth, David M. “Outward Bound”, Squarecylinder.com, October 2, 2022.

Edwards, Jim. “Robert Hudson: Ceramic Sculpture and Drawings 1970-2022”, Robert Hudson: Ceramic Sculpture and Drawings 1970-2022. Paul Thiebaud Gallery, 2024, (online exhibition catalog).

Flood, Greg. “Robert Hudson: In Memoriam”, PaulThiebaudGallery.com, June 25, 2024. Whiting, Sam. “Bob Hudson, sculptor who worked with found objects and loud paint, dies at 85”, SFChronicle.com, July 18, 2024.

Spencer Smith, Tasmin. “Reverberations:three A Visual Conversation”, Sebastopol Center for the Arts, Sebastopol, CA, 2024, (exhibition catalog).

Linetzky, Jason, director. “Home is Where the Art is: Ten Years of the Anderson Collection at Stanford University” , Anderson Collection at Stanford University, Stanford, CA, 2024.

Cover: Jar with Wheel, 2002

Rear Cover: Untitled (San Francisco) (detail), 2021

Design: Greg Flood and Matthew Miller

All images, photo: Matthew Miller

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