Brad Howe Book by Traffic Creative Management

First published in Italy in 2021 by Skira editore S.p.A. Palazzo Casati Stampa via Torino 61 20123 Milano Italy www.skira.net All rights reserved under international copyright conventions. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage and retrieval system, without permission in writing from the publisher. Printed and bound in Italy. First edition ISBN: 978-88-572-4258-3 Distributed in USA, Canada, Central & South America by ARTBOOK | D.A.P. 75 Broad Street Suite 630, New York, NY 10004, USA. Distributed elsewhere in the world by Thames and Hudson Ltd., 181A High Holborn, London WC1V 7QX, United Kingdom.

Cover image: Center Piece 01, 2018 (Plate 292) Stainless Steel, Urethane 5 x 12 x 9 in. (13 x 30 x 23 cm) Private collection Executive Producer: Alexander Mertens Design and Production: Traffic NYC (www.traffic-nyc.com) Assistant Designers: Jenna Jia, Hong Doan Editorial Coordination: Vincenza Russo Copy editing: Cristina Pradella All images Copyright Brad Howe © 2021 © 2021 Skira editore All text by Brad Howe unless otherwise noted. Studio Photography by Jason Bennett (Before 2012); Shaun Garren (2012-2019); ImageSpace Project (2019-Present) All photography of art in situ by Brad Howe and Brad Howe Studio unless otherwise noted. Skira editore thanks Paola Gribaudo for her initial input and coordination

BRAD HOWE A Dance of Atoms

BRAD HOWE A Dance of Atoms Designed by Michelle Edelman Introduction by Asher Edelman Essays by Charles A. Riley II Anthony Haden-Guest Edited by Peter Frank

1 | Ventana, 2002, Bronze, 84 x 120 x 30 in. (210 x 300 x 75 cm), Katel Properties, Los Angeles, CA 6

Table of Contents Introduction by Asher Edelman Unfolding a Tale: The Art and Mind of Brad Howe by Charles A. Riley II

Axiom

Calligraphy

Free Standing Calligraphy

Bronze

Constructs

Deprivato

114

Eterea : Mirror Play

142

Monoliths

150

Maquettes

158

Monumental Sculpture

186

Paintings

210

Wall Sculptures

218

Kinetics

246

Kinetic Kelp

252

Quipu Photography

286

Photography & Embroidery

300

Affinities

304

Brad Howe and the 500 Year Plan by Anthony Haden-Guest

318

Story of Mauá

320

Exhibitions and Collections

328

Plate Numbers

332

Acknowledgments

340

2 | If Not Now, 2017, Stainless Steel, Urethane, 13 x 25 x 12 in. (33 x 63 x 30 cm), Collection of Elenore and Domenico De Sole 8

Brad Howe Surrealist which way is up which way is down which side is the side none of the above what is the shadow which is the object why this or that color forget all of that Brad’s work is multi-dimensional without boundaries and not created for us to solve it’s a puzzle it’s a question without answer we are the answer

—Asher Edelman

“Two forces rule the universe: light and gravity.” — Simone Weil

3 | Cajole, 2017, Aluminum, Urethane, 29 x 51 x 6 in. (73 x 128 x 15 cm), Private Collection 11

4 | Topsoil, 2017, Stainless Steel, Urethane, 13 x 14 x 9 in. (33 x 35 x 23 cm), Collection of the Artist 12

Unfolding a Tale The Art and Mind of Brad Howe by Charles A. Riley II

As if by stealth and visible I sense That fold by fold the widowed stone unrobes itself (Comme furtive d’elle et visible je sens Que se dévêt pli selon pli la pierre veuve) —Stephane Mallarme, “Remémoration d’amis belges”

figurative knives at the act’s finale, which never disappointed. I vividly remember the way he buried one well-aimed blade after another in the graduate students when their reasoning failed to keep up. Yet the students remained under his spell, dazzled by his verbal legerdemain. Wit was part of the virtuoso performance. Digging out my notebooks for this essay I enjoyed going back to the perfect spring afternoon in the lecture hall when, typical of Rorty, who would mutter an aside that was often as piquant as his prepared test, I found my record of this superb one-liner: “Ontology is more like a playground than a science.”

You don’t look at a work of art by Brad Howe. You unfold it. There was already a genre known as

Taking that as our cue, and paying close attention to the artist’s statements and studio notes, we

kinetic sculpture, as exemplified by George Rickey and the swinging elements of Mark di Suvero

approach Brad Howe’s art from the perspective of the pleasure principle but with an eye to its

among others, but then there is what Howe calls kinetic sculpture, and it is different: “You are the

quiet insights into perception and knowledge of the world. The basis for many of Howe’s works

moving part.” Grasp that notion of mobility and curiosity, and you’re on track to enjoy a panoply

can be deceptively simple. This is a time-tested strategic best practice for “additive” creators like

of colors, ideas, art historical allusions, geographical journeys and visual poetry tapping many

him: Begin with a relatively economical motif, or phrase in music and poetry, and build the com-

languages. Like a master’s origami, with disarming ease it becomes quickly complex.

plexity from that unit. Bach, for example, preferred brief, open-ended subjects for fugues that would soar into towers of such harmonic complexity that even he, one of the foremost keyboard

Howe’s career has been as circuitous as his work. With a busy studio in Los Angeles (not far from

virtuosi of his age, was incapable of playing them note-for-note. This was the case with the plain-

Riverside, where he was born), he has established himself as one of the go-to public sculptors

tive melody, which even a rank amateur like me can manage, upon which the 32-part Goldberg

of the day, with more than thirty completed projects in seven different countries already to his

Variations was erected. Miles Davis and Bill Evans had the two “So What” chords and a scale

credit, including monumental works in venues as varied as Biberach, Germany and the Beverly

when they invented modal jazz with Kind of Blue. Monet had the muffin shape of the haystacks,

Hills City Hall. Several museums and institutions include his work in their collections, including

two or three at a time in a stubble field, while Shakespeare had the symmetric monosyllables of

The Crocker Art Museum in Sacramento, the Honolulu Museum of Art, MIT, Temple University and

“to be” as his opener and e.e. cummings, perhaps the poet I would pair with Howe most readily,

UCLA. He has an international following in Mexico, France, Germany, South Korea and Brazil—the

could squeeze more meaning out of a pair of parentheses than anyone I know. We could model

starting point on his path to sculpture. As a student of International Relations at Stanford Uni-

the design principles behind several of Howe’s most important works by taking a sheet of paper

versity, Howe attended the University of São Paulo to double major in Literature and Economic

and beginning to fold it. Astonishingly soon, the mountains and valleys of his creases start to

History. Focusing on the political implications of land use, ostensibly to become a diplomat, he

race ahead from the basic premise. Like the mathematicians who avidly pursue the not-quite-

was distracted when he fell in with the architecture students, who were listening to Pink Floyd

infinite permutations of crease patterns in origami, we cheerfully submit to losing ourselves in

and eating better than anybody else at the university. Aesthetics nudged policy aside. “I fell in

the alpine upper reaches of Hinterland (plate 16) with its snowy north side and its sunny valleys,

love with the making of models. Everything I thought about as color comes from Brazil.” His first

bright yellow and fresh green around the corner from gleaming white. The flip from one palette

works were mobiles inspired by an early passion for the works of Alexander Calder, whose wit

to another is the endless source of delight and drama, like coming around the bend on a hike to

informs so many of Howe’s buoyant pieces to this day.

find a meadow of wild flowers. That flip is Howe’s signature.

That intellectual range is one of the most appealing qualities of the artist. For example, Howe

Color in three dimensions is never easy, especially when the color and the shape are in dialogue.

cites the great American philosopher Richard Rorty in one of his modest yet revealing artist’s

The subtle pianissimo of Daylight (plate 101), which veils the colors behind a frosted Lucite scrim,

statements: “If we are to engage in the project of self-edification, the evolution of self, the en-

is one of Howe’s most enchanting and diplomatic answers to this riddle. There is a group of works

terprise is tied to our imagination.” As Rorty indicates, “imagination is bound by our vocabulary,

he called Axioms, riffing on the laws of geometry, physics and logic. Among them are the enig-

and it is in the growth of vocabulary we should focus. Vocabulary is tied to experience, and it is

matic sculptures titled Triumph of Enchantment (plate 25) and A Flower from the Future (plate

in energized moments of exposure to strangeness that our vocabulary expands. Encountering

13) 3),, which uses a deep chocolate brown as the complementary warm tone to “soften the sharp-

strangeness stretches and expands our self-image and seeds the rich potential for our collective

ness of the form,” in his words. A commission, it boldly addressed a problem in time and space,

conversations.” Rorty happens to have been my teacher. As an undergraduate seeking a philo-

yoking presence and absence. There are not many problems as vexing as the prediction of what

sophical substratum for my literary tastes (which ran to William Butler Yeats, Stéphane Mallarmé,

comes next in almost any field, from business to politics to art. Howe writes, “In both cases the

Philip Larkin and the New York School poets), I turned up on the doorstep of Princeton’s vaunted

pieces come from an earlier intention to create forms that enveloped an activated space. The in-

philosophy department where he was one of the many stars. His weekly seminar was a highlight,

ternal space was to be an imaginary space. At first I called it a dark space that you often couldn’t

by turns comical and terrifying, a deft juggling act (he was tossing around the ideas that landed

see into and where its inaccessibility both fascinated and frightened you. Something like a cave

on the pages of his now-canonic book The Consequences of Pragmatism that could best be de-

on a hillside, that you can peer into but can’t see far inside, and where a bear or a snake might

scribed as ontology with an edge. Almost for sport (but now I understand that he was preparing

be lurking. The solid, resolved construction of the form would be countered by the ephemeral,

them for their profession), Rorty would invite doctoral candidates to join and toss a few of the

haunting internal dark space of the imagination.” 13

One of the first things you can do with a shape to unlock its potential is to double it. The two

from the shadows made by the bracelets on the wall, having just read a book on Islam. The cal-

parts of Gravity (plate 109) remind r me of the way Henry Moore would introduce a gap between

ligraphic works are united by forms that are derived from the oval, some partial and others with

corresponding solids. I was drawn to this work by the way Howe used a particularly fascinating

bridges. They are run through a three-ring roller at a 45-degree angle to create stunning forms

blue, one of the many luscious colors he achieves by mixing automotive urethanes with the care

that appear to be the skeletal structures of curled leaves. “A happy accident,” Howe admits.

of a perfectionist and the experimental energy of an alchemist. He informs me it begins with the primaries, and the purplish blue is a nod to Luis Barragán, the Pritzker Prize-winning architect

The linguistic character of the works is part of their charm. You never quite know what you are

with a prismatic flair. “I have aimed at that blue many, many times,” Howe says. “It is one of the

going to get when you ask Howe for a little background information, and sometimes the detours

colors I most feel at home with.” The work was a highlight of an exhibition entitled “Deprivato”

venture a long way into his own far-flung experience. The mental peregrinations are valuable

(page 115), Italian for “Deprived,” that was partly a meditation on the influential psychoanalyst

analogies for the perceptual experience of the works. For instance, when I needed a bit of guid-

and philosopher Jacques Lacan’s theory of the mirror stage of child development, a stage that

ance on what the title Barriga (plate 80) means, I was treated to more than a mere translation

results in the life-long pursuit of objects of desire. As the artist helpfully adds, “So the blue mono-

from the Portuguese. As Howe replied:

lith is gazing at itself in its mirrored twin.” As with Brancusi as well as Moore, the associations with the human figure, and human development, multiply in the mirror.

It has a ton of double meanings in Brazil, mainly any sort of protrusion, or heavy awkward weight you have to carry around. In this case, I was interested in different qualities of lines. Architectural

That lively ping-pong match of ideas and art runs through Howe’s work. Beyond Lacan’s ground-

lines, the sorted distance between two points (expression of efficiency and mechanical logic) and

breaking work on the psyche, Howe (who started his undergraduate years as a pre-med) is also

the meandering line, a daydreamer’s walk through a meadow, a knot of vines climbing a tree. So,

conversant with marine biology and the string theory of Brian Greene’s fascinating book The

the architecture has to contend with the wildness of the knotted mess.

Elegant Universe, which inspired a group of works under the rubric of Kelp, which includes The Song of the Expanding Universe (plate 225). It is one of several huge installations that incorpo-

In our dialogue, when I tried to get clever and call Howe out on his debt to David Smith with Palm

rate as many as two thousand elements. “I saw the installation as suspended bodies in the ether,

Trees, his superb outdoor installation for Beverly Hills, he returned my serve with ease. “David

imaginary celestial forms. Another relevant point is that I am fascinated with things like fractals,

Smith is a foundational influence in my work. I think he gave me a basic vocabulary of forms that

macrocosms and microcosms. The earliest inspiration for its structure was plankton floating in

I draw on, as did Calder, but in different circumstances. I am comfortable with the Derrida quote:

huge masses in the sea. I imagined the parallels between the plankton and the stars, even when it

‘I speak only one language, and it is not my own.’” With some artists, suggestions about compar-

came to forms.” Initially the artist proposed using powerful lights on one wall to project the shad-

isons of this kind can be touchy subjects in a time when originality is the coin of the realm (even

ows of the kelp across the space so viewers “would get two experiences out of the installation,

Yves Klein headed to the patent office when he and the chemists from Rhône-Poulenc perfected

the actual piece and the ‘meta’ expression of the moving shadows on the wall they would notice

IKB). But Howe is entirely different, and that may be one of the reasons I had such a good time in-

and not understand immediately where they came from, like a diffused giant fish tank where the

terviewing him and writing this essay. Around the time I studied with Rorty, as mentioned above, I

fish were just shadows.”

also dutifully appeared in the lecture hall when literary scholar Harold Bloom, the hottest ticket in criticism, descended from his Olympian roost at Yale to teach us about the “anxiety of influence,”

The play of shadows is essential to the experience of Howe’s calligraphic works. Any writer would

his brilliantly articulated theory of how one generation overshadows the next in a family romance

be drawn to them, with their poetic nature. They float through global languages with the poly-

of tremendous tension. We ran around after that proving how strenuously our favorite poets

glot ease of a contemporary Henry Higgins. They take their place in a sophisticated tradition

struggled with the burden of the past, isolating the twists and turns of Wordsworth as he tried to

of calligraphy in art, from the height of brush and ink virtuosity in the Song dynasty with the

outdo Milton and Virgil, for example. None of this angst affects Howe. Calder, Donald Judd, Henry

Chinese master Mi Fu (sometimes called Mi Fei) through the great Persian calligrapher Darvish

Moore, David Smith are all happily acknowledged as sources. His attitude toward the question of

Abdolmajid Taleqani and the inscriptions in the Alhambra. There is a brilliant roster of painters

influence is almost shockingly cavalier: “I am a skeptic on the concept of originality. I see it as a

who have made calligraphy a source of gestural repertoire, including Joan Miró’s invention of

false god. Every system is borrowed if you are in the culture.”

poésie peinture, the classical penmanship with which René Magritte inscribed “Ceci n’est pas une

pipe” on Surrealism’s most discussed masterwork, the curlicues of Philip Taaffe, Brice Marden’s

For all their differences, it is difficult to set aside the Minimalists when placing Howe in his art

superb Han Shan series of paintings and works on paper, and paintings by John Baldessari and

historical frame of reference. It might be said that the austerity of Judd, Sol LeWitt, Richard Serra

Suzanne McClelland. Even Richard Serra’s handwritten list of infinitives is calligraphic. The silhou-

and Tony Smith prepared the ground for a revisionist look at the materials and colors of geomet-

ette also has a distinguished Modernist provenance, as used by such artists as Kara Walker, Tom

ric sculpture as Howe has re-imagined it. The vibrant tones of Judd’s many-hued Untitled (1991)

Wesselmann and Kumi Yamashita. The Calligraphy series had a mundane start, when a Hungarian

makes it an appealing, almost friendly monument that dominates even a huge gallery with an

architectural firm asked Howe to design jewelry for an exhibition in their offices. Reluctant to play

architectural immensity. There is no getting around the pleasure of the colors, however, just as

the artisan, Howe demurred. Then he archly welded pins and stuck them on the wall so no one

it is difficult to get around Judd himself in thinking about what Howe has done with his planes,

would be able to try anything on. He was pleasantly surprised by the Arabic script that emerged

edges, empty spaces. But Howe’s bliss is also at odds with the ascetic conventions of High Min-

imalism, as codified in the influential writings of Judd, Serra and most controversial in its time,

as a welcome sign, like the bright awning of one of those Parisian corner stores. Just over the

Michael Fried. Fried, Frank Stella’s roommate at Princeton wrote the brilliant but feisty “Art and

quadrangle’s upper lip, we catch a glimpse of three folding panels angle away into the next pla-

Objecthood,” a manifesto that was initially published in Artforum in 1967 and quickly became a

nar stages. The first is a lemon yellow (I checked with the sculptor, whose fastidious chromatic

focus of debate in graduate seminars and studios all over New York. When I revisited this major

mixing is everywhere evident in his work), making me wonder if we are circumambulating the

essay in preparation for writing about Howe, I noted for the first time that Fried’s epigraph cites

primaries because it takes a left turn into a sail white, and then, abruptly, a tall panel of very dark

Jonathan Edwards, the epitome of American Puritanism, certainly a signal that fun would not

grey (verging on black, as Calder probably would have chosen) with a black top edge but, let’s

be on the menu. Probably the most often-cited ending of any art history essay in my time is the

not miss this detail, a red side edge which takes us back to the “front.” It may be these four col-

grand finale of Fried’s essay: “We are all literalists most or all of our lives. Presentness is grace.”

ors and their history, but from this direction I appear to be headed to the Bauhaus, where that

This is a long way from the Californian Brad Howe’s buoyant spirit, freed of angst and gravity.

chromatic syntax was quite common. Others might suggest that the Russian Constructivists combined red, white and black in their sculpture and graphic designs, and Howe drops the name

Whenever I install sculpture at my museum, whether in the elegant gallery that had been the

Malevich in reference to this work. A whole detour could be made to Leiden where de Stijl also

Frick family’s dining room or outside on the 145-acre grounds, I take care to site the work in a

used this palette. Suddenly we are far from the Paris of Léger and Mondrian’s breakthrough work

way that permits the viewer to circulate around it through the full three-hundred-and-sixty de-

in the primaries. Such is the international range of Howe’s vocabulary. But we tarry too long in

grees. A common practice for curators, this is our way of paying respect to the three-dimensional

front of the attractive red façade. Keep moving.

character of the medium, even when it is fairly clear that a work has a privileged (usually frontal) view that finds its own way to assert itself. This rule of thumb takes on special significance with

As we circle counter-clockwise we offer ourselves a better view of that cheerful yellow even if it

the work of Howe, because it so often packs a surprise for the circumambient viewer. A brief trip

means leaving the red momentarily behind, inviting the first stage of “perspectival amnesia” to

from recto to verso (if you will) leads to the eureka moment unlocked by Howe’s masterful de-

set in. We are in for a surprise. The yellow expands to a much broader plane than that secure red,

ployment of color to give the “reveal” of the obverse its impact. The transition from one façade

and it yields at its right border to a dark khaki grey (again, according to the source), its top edge

to its obverse is a major part of the pleasure of viewing the work.

the brilliant white, but the view over that edge takes us into a real black, like a shadow. Because the left wing of the yellow panel is also “black,” with just the hint of that red edge to remind us

Let’s take a walk around a Howe sculpture. I’ve chosen Tobacco Shop, Shop, 2017 (plate 28) for its tem-

where we have just been. The new heraldry of the Tobacco Shop, Shop, 2017 (plate 28) is a classic

po—allegro—which is particularly rewarding not just in terms of the bounce of its vibrant colors

black-yellow-black alternation, as familiar as a caution sign in a factory and yet as shocking as

but the subtle shock it delivers as it discloses its many charms. In plain geometric terms, there is

the inverse of that art historically loaded combination of red, yellow, black and white. Howe has

that deceptive simplicity that makes it the perfect introduction to a deeper dive into his method.

pulled the old bait-and-switch perfectly.

When I ran this idea by Howe of a verbal perambulation, he told me a charming story about the reason for the title, which was suggested to him as the work took shape because the alluring

But the game is not over. Turn the corner once more on the “rear” black panel and a whole new

colors brought back to him a vivid memory of a little old tobacco shop in Paris’s Rue Bonaparte

panoply of color unfolds. Our bright red hauls back into view on the right, flanked by a panel of

that he had visited. “I knew this thing – it was a place I had gone by often.” Howe points out. Then

black and the next a panel of white and then back to a tall column of red, so that the barely reg-

he went a step further to suggest to me that, as the palette changes from one view to the next,

istered familiarity of black-yellow-black is swapped for a new and also familiar trio of red black

it also suggests to him Paris in different decades, from the Jazz Age to the Thirties and even the

and white, with the hot red panels presenting themselves outward to the world while our inner

Fifties, so that we are not just moving in space but in time. Even the artist blissfully concedes

recess is black and white. We need another trip around this “dysfunctional accordion” (Howe’s

that it took him fifteen laps around the work to sort out exactly which part was where, a state

hysterically funny label for this work) to find out where that yellow went, and confirm or memory

of mind he cleverly calls “perspective amnesia.” This bafflement, I would argue, is crucial to the

of what seems like such a different work of art from the one we had just encountered head on.

modus operandi of the work. The Rive Gauche anecdote was all the hint I needed, having written

Turn the corner again, and you are home.

extensively about Paris in the Jazz Age. I even had my soundtrack for this unusual exercise in art criticism, the “walking theme” in George Gershwin’s an American in Paris (1928), complete with

Charles A. Riley II, PhD is the director of the Nassau County Museum of Art and the author of thir-

the intricate xylophone riff and the off-key blare of the taxi horns (Gershwin made a special trip

ty-seven books on the arts, cultural history, business and politics, including Color Codes, Free as

to the district where the horns were sold to buy that “note” of realism.) So the invitation is for you

Gods, The Saints of Modern Art, The Art of Lincoln Center and The Jazz Age in France. The former

to become Gene Kelly and assume that jaunty, hands-in-pockets lilt of the most famous cinemat-

editor of Art & Auction magazine, he has curated several exhibitions in galleries and museums in

ic flâneur in history as we take a turn around Tobacco Shop, 2017 (plate 28).

Asia, Europe and the United States. He is a professor at Clarkson University and a jurist on public art selection committees.

To begin, let’s approach from the side that presents a brilliant, cardinal-red façade, actually a blend of orange and red that hints at the proprietary Calder red over which a great deal of ink has already been spilled. Who knows if it’s really the front, but we can use the blast of warm red 15

the man pulling radishes points the way with a radish —Issa

5 | Amnesia, 2017, Stainless Steel, Baltic Birch, 13 x 12 x 4 in. (33 x 30 x 10 cm), Collection of Katherine Cone 16

Axiom Activated by color, these objects parse space, creating inside and outside, foreground and background, seen and unseen. They manifest sculpture as an event, the object as a verb, a presence comprehended in time as well as space – in time as space. By virtue of their multifaceted compositions, the Axiom sculptures interface with the present, the future and the past in a dynamic exchange of witnessing, remembering and forgetting. They fold and unfold simultaneously in the viewer’s time and in their own.

6 | Gentle is the Resting Hand, 2018, Stainless Steel, Urethane, 23 x 20 x 13 in. (56 x 50 x 33 cm), Collection of May Chung 19

7 | All of a Sudden, 2017, Stainless Steel, Urethane

5 x 16 x 5 in. (13 x 40 x 13 cm), View A and B Collection of Elizabeth and Lothar Blattner

8 | Forgetting, 2017, Stainless Steel, Urethane 20 x 11 x 8 in. (50 x 28 x 20 cm) Collection of Johannes Remmele 21

9 | Blameless as Snow, 2018, Stainless Steel, Urethane, 11 x 17 x 6 in. (28 x 43 x 15 cm), Private Collection 22

10 | Borderland, 2018, Aluminum, Urethane, 18 x 16 x 16 in. (45 x 40 x 40 cm), Collection of the Artist 23

11 | If Not Now, 2017, Stainless Steel, Urethane, 13 x 25 x 12 in. (33 x 63 x 30 cm), Collection of Elenore and Domenico De Sole 24

12 | Cant, 2017, Stainless Steel, Urethane, 5 x 15 x 9 in. (13 x 38 x 23 cm), Collection of Uli Lang 25

13 | A Flower from the Future, 2018, Aluminum, Urethane, 85 x 33 x 29 in. (213 x 83 x 73 cm), Collection of Susan and Randy Snyder 27

14 | Dueling and Drinking, 2018, Aluminum, Urethane, 36 x 8 x 11 in. (90 x 20 x 28 cm), Collection of the Artist 28

15 | Forever Not Yet, 2017, Stainless Steel, Urethane, 18 x 19 x 6 in. (45 x 48 x 15 cm), Collection of the Artist 29

16 | Hinterland, 2017, Stainless Steel, Urethane, 13 x 17 x 6 in. (33 x 43 x 15 cm), View A and B, Private Collection 30

32 17 | Imitating a Tree, 2018, Aluminum, Urethane, 93 x 40 x 30 in. (233 x 100 x 75 cm), Private Collection

18 | Love is an Instrument, 2017, Stainless Steel, Urethane, 6 x 16 x 15 in. (15 x 40 x 38 cm), Private Collection 33

19 | Slope, 2017, Stainless Steel, Urethane, 9 x 18 x 13 in. (23 x 45 x 33 cm), Harriet and Steven Nichols 34

20 | Seeming to Be, 2018, Aluminum, Urethane, 16 x 12 x 8 in. (40 x 30 x 20 cm), Private Collection 35

21 | Soft, 2017, Stainless Steel, Urethane, 12 x 24 x 9 in. (30 x 60 x 23 cm), Private Collection 36

22 | This is About To Be, 2017, Stainless Steel, Urethane 7 x 14 x 5 in. (18 x 35 x 13 cm), View A and B Private Collection

23 | The Planet Is a Wild Place, 2018, Stainless Steel, Urethane, 13 x 19 x 7 in. (33 x 48 x 18 cm), View A and B, Collection of Elaine Surnow and Jim Martini 38

24 | While The Getting Is Good, 2017, Stainless Steel, Urethane, 7 x 14 x 5 in. (18 x 35 x 13 cm), Private Collection 40

25 | Triumph of Enchantment, 2018, Aluminum, Urethane, 82 x 24 x 34 in. (205 x 60 x 85 cm), View A and B, Private Collection 41

26 | Trapdoor, 2018, Stainless Steel, Urethane, 4 x 14 x 3 in. (10 x 35 x 8 cm), Private Collection 42

27 | Thusness, 2018, Stainless Steel, Urethane, 16 x 22 x 18 in. (40 x 55 x 45 cm), Collection of Sheryl Sandberg 43

28 | Tobacco Shop, 2017, Stainless Steel, Urethane, 15 x 12 x 9 in. (38 x 30 x 23 cm), View A, B, C, D and E, Collection of Rich Esposito 44

29 | Tussle, 2017, Stainless Steel, Urethane 6 x 14 x 5 in. (15 x 35 x 13 cm) Collection of Sheryl Sandberg 46

Calligraphy My lifelong ambition has been to unite the utmost seriousness of question with the utmost lightness of form. —Milan Kundera The initial concept behind the Calligraphy sculptures was to extrude the lines of text into three dimensional space. They presented a challenge to examine the pathways of writing and how their traced gestures and intersections overlay our memories and the patterns we find all around us in nature. Are their structures then components of words that might signal something beyond themselves, or are they wings or leaves, depicting themselves? What I had not anticipated were the wild shadows that escaped their bodies like animals they were sheltering.

One realized all sorts of things. The value of an illusion, for instance, and that the shadow can be more important than the substance. All sorts of things. —Jean Rhys, Quartet

The beginnings and ends of shadow lie between the light and darkness and may be infinitely diminished and infinitely increased. Shadow is the means by which bodies display their form. The forms of bodies could not be understood in detail but for shadow. —Leonardo da Vinci

Both light and line are sculptural as much as pictorial properties. Line does not simply define shape, it defines direction, volume and energy. Light, in turn, defines line as well as plane. The Calligraphy series brings this to the fore, exploiting the shadows cast by illumined forms as counterweights—perceptual and physical—to the forms themselves. A shape dances with its shadow and a choreography of material and immaterial emerges.

30 | Stanza, 2011, Stainless Steel, Urethane, 24 x 24 x 8 in. (61 x 36 x 20 cm), Private Collection 49

31 | Phlogiston, 2017, Aluminum, Urethane, 50 x 80 x 12 in. (125 x 200 x 30 cm), Commissioned by Erdrich White Fine Art 50

32 | Carillon, 2011, Stainless Steel, Urethane, 12 x 29 x 6 in. (30 x 73 x 15 cm), Private Collection 52

33 | Imbue, 2017, Stainless Steel, Urethane, 66 x 90 x 7 in. (165 x 225 x 18 cm), Private Collection

34 | Graferes, 2011, Stainless Steel, Urethane, 16 x 36 x 16 in. (40 x 90 x 40 cm), Private Collection 54

35 | Sombra, 2011, Stainless Steel, Urethane, 20 x 14 x 14 in. (50 x 35 x 35 cm), Private Collection 55

36 | Tocer, 2011, Stainless Steel, Urethane, 20 x 28 x 14 in. (50 x 70 x 143 cm), Private Collection 56

37 | Kallos, 2013, Stainless Steel, Urethane, 10 x 33 x 9 in. (25 x 83 x 23 cm), Collection of Agata Maszkiewicz 57

38 | Ionian Bevy, 2011, Stainless Steel, Urethane, 21 x 52 x 7 in. (53 x 130 x 18 cm.) Private Collection 59

39 | A Difficulty in Knowing, 2017, Stainless Steel, Urethane 56 x 19 x 8 in. (140 x 48 x 20 cm), Private Collection 60

40 | At the End of the Day, 2017, Stainless Steel, Urethane 36 x 36 x 6 in. (90 x 90 x 15 cm), Private Collection 61

41 | Outgiving, 2017, Stainless Steel, Urethane, 16 x 120 x 6 in. (40 x 300 x 15 cm), Collection of Tom Gregory 62

42 | Making It Up As I Go Along, 2017, Stainless Steel, Urethane, 44 x 82 x 6 in. (110 x 205 x 15 cm), Collection of the Artist 63

Left: 43 | Workaround, 2015, Stainless Steel, Urethane, 38 x 34 x 8 in. (95 x 85 x 20 cm), Collection of Torsten Michel 44 | Enfatico, 2013, Stainless Steel, Urethane, 12 x 34 x 11 in. (30 x 85 x 28 cm), Private Collection 65

Free Standing Calligraphy

I do not know which to prefer, The beauty of inflections Or the beauty of innuendoes, The blackbird whistling Or just after. —Wallace Stevens

45 | When Bad Things Fail to Happen, 2018, Stainless Steel, Urethane, 6 x 9 x 5 in. (15 x 23 x 13 cm), Private Collection 66

46 | Mexido, 2013, Stainless Steel, Urethane, 6 x 14 x 10 in (15 x 36 x 25 cm), View A, B, C and D, Collection of Raphaele Cohen-Barcy 68

47 | Desire to Assimilate, 2018, Stainless Steel, 8 x 19 x 11 in. (20 x 48 x 28 cm), Private Collection 70

48 | The Intolerable Discovery of Limits, 2018, Stainless Steel, Urethane, 7 x 13 x 10 in. (18 x 33 x 25 cm) Private Collection 49 | Prattle, 2018, Stainless Steel, Urethane 6 x 13 x 9 in. (15 x 33 x 23 cm), Private Collection 71

50 | So Far So Good, 2018, Stainless Steel, Urethane, 8 x 12 x 8 in. (20 x 30 x 20 cm), Private Collection 72

51 | Vao, 2013, Stainless Steel, Urethane 9 x 21 x 12 in. (23 x 53 x 30 cm), Private Collection

52 | Bird in a Snare, 2018, Stainless Steel, Urethane 6 x 16 x 8 in. (15 x 40 x 20 cm) Private Collection 73

53 | Lang 50, 2018, Stainless Steel, Urethane 5 x 14 x 7 in. (13 x 35 x 18 cm), Private Collection

54 | Lang 55, 2018, Stainless Steel, Urethane 5 x 8 x 8 in. (11 x 19 x 19 cm), Private Collection

55 | Lang 73, 2018, Stainless Steel, Urethane 9 x 10 x 6 in. (23 x 25 x 15 cm), Private Collection

56 | Lang 81, 2018, Stainless Steel, Urethane 3 x 9 x 6 in. (8 x 23 x 14 cm), Private Collection

57 | Lang 84, 2018, Stainless Steel, Urethane 5 x 8 x 5 in. (13 x 20 x 13 cm), Private Collection

58 | Lang 91, 2018, Stainless Steel, Urethane 5 x 10 x 9 in. (13 x 25 x 23 cm), Private Collection

59 | Lang 118, 2018, Stainless Steel, Urethane 5 x 8 x 6 in. (13 x 20 x 15 cm), Private Collection

60 | Lang 36, 2018, Stainless Steel, Urethane 5 x 8 x 6 in. (13 x 20 x 15 cm), Private Collection

61 | Lang 116, 2018, Stainless Steel, 3 x 5 x 3 in. (8 x 13 x 8 cm), Private Collection 76

62 | Lang 101, 2018, Stainless Steel, 3 x 7 x 4 in. (8 x 18 x 10 cm), Private Collection 77

63 | Lang 57, 2018, Stainless Steel, Urethane, 4 x 7 x 6 in. (10 x 18 x 15 cm), Private Collection 78

64 | Rara Avis, 2011, Stainless Steel, Urethane 6 x 6 x 6 in. (14 x 15 x 14 cm), Views A and B, Private Collection 79

80 65 | Kabobette, 2002, Bronze, 21 x 6 x 12 in. (53 x 15 x 30 cm), Collection of Tom Gregory

Bronze The storied history of Bronze didn’t prepare me for how soft it is. Bronze is a sensual, almost living material. It is a medium that is made to be touched, forgiving and willing to comply with what is asked from it. Bronze, like flesh, records time, responds to oil and glows in light.

66 | Surge, 2008, Bronze, 12 x 23 x 6 in. (30 x 58 x 15 cm), Private Collection 81

82 67 | Chubby Raindrop, 2003, Bronze, 40 x 24 x 10 in. (100 x 60 x 25 cm), Private Collection

68 | Workbench, 2017, Bronze, 18 x 22 x 5 in. (45 x 55 x 13 cm), Private Collection 83

69 | Heap, 2008, Bronze, 12 x 23 x 6 in. (30 x 58 x 15 cm), Private Collection

Right: 70 | La Ascenci n del Corazon, 1999, Bronze, 17 x 19 x 10 in. (43 x 48 x 25 cm), Private Collection 84

86 71 | Magellan, 2003, Bronze, 28 x 18 x 11 in. (70 x 45 x 28 cm), Private Collection

72 | Pinocchio, 2003, Bronze, 36x 17 x 11 in. (90 x 43 x 28 cm), Private Collection

73 | Flute, 2011, Bronze 21.5 x 7 x 6 in. (54 x 18 x 15 cm), Private Collection 88

74 | Flow, 2010, Bronze, 6 x 29 x 5 in. (15 x 73 x 13 cm), Collection of the Artist 89

75 | Shanghai, 2007, Patinated Bronze, 34 x 25 x 14 in. (85 x 63 x 35 cm), View A, B, C, and D, Collection of Cody Luket 90

76 | Nor Thing, Nor Fact, 2011, Stainless Steel, Urethane, 15 x 13 x 8 in. (38 x 33 x 20 cm), Private Collection 92

Constructs My father was a carpenter. I spent summers watching him build houses. Ditches were dug, concrete was molded, walls framed and roofs constructed. I was always torn between the elegance of his assembled homes and the rich cacophony of the trash piles, filled with wood segments, pipes, wires and discarded tiles. I learned to see lines. Wind and weather, highways and architecture, storytelling and writing are all expressed with lines. The aspiration of modernity, the logic of the shortest distance between two points, a pursuit of efficiency in a machine age, is understood through lines. These Constructs trace this approach to the world. They serve as three-dimensional maps of a wordless landscape, delineating borders, inside and outside, the integrated and the disconnected. The Eiffel Tower, submarines, bathroom plumbing, all have lines for bones.

77 | Sabine, 2011, Stainless Steel, Urethane 12 x 7 x 17 in. (30 x 18 x 43 cm), Private Collection 94

78 | Throwing Water on a Grease Fire, 2011, Stainless Steel, Urethane 13 x 11 x 5 in. (33 x 28 x 13 cm), Views A and B, Private Collection 95

79 | Prop, 2015, Stainless Steel, Urethane, 19 x 13 x 7 in. (48 x 33 x 18 cm), Private Collection 96

80 | Barriga, 2014, Stainless Steel, Urethane, 19 x 11 x 8 in. (48 x 28 x 20 cm), Private Collection 97

Left: 81 | Kangchenjunga, 2015, Stainless Steel 9 x 12 x 5 in. (23 x 30 x 13 cm) Private Collection 82 | Manga Parbat, 2015, Stainless Steel 18 x 7 x 5 in. (45 x 18 x 13 cm) Private Collection 99

83 | Mont Blanc, 2015, Stainless Steel 13 x 6 x 3 in. (33 x 15 x 8 cm), Private Collection

100

84 | Denali, 2015, Stainless Steel 13 x 6 x 5 in. (33 x 15 x 13 cm), Private Collection

85 | Kilimanjaro, 2015, Stainless Steel 15 x 9 x 4 in. (38 x 23 x 10 cm), Private Collection

86 | Himalchuli, 2015, Stainless Steel 18 x 6 x 3 in. (45 x 15 x 8 cm), Private Collection

101

102 87 | Rainier, 2015, Stainless Steel, 18 x 7 x 4 in. (45 x 18 x 10 cm), Private Collection

88 | Whitney, 2015, Stainless Steel, 13 x 7 x 4 in. (33 x 18 x 10 cm), Private Collection

103

Wall Constructs

89 | 4 Constructs, 2010, Stainless Steel, Urethane, 36 x 30 x 5 in. (90 x 75 x 13 cm) 104

90| Happenstance, 2010, Stainless Steel, Urethane, 12 x 8 x 2 in. (30 x 20 x 5 cm), Collection of Agata Maszkeiwicz 105

91 | Blue/Black Construct, 2010, Stainless Steel, Urethane, 12 x 8 x 2 in. (30 x 20 x 5 cm), Private Collection 106

92 | What is the Cost of Giving, 2010, Stainless Steel, Urethane, 12 x 8 x 5 in. (30 x 20 x 13 cm), Private Collection 107

93 | Compliance, 2016, Stainless Steel, Urethane, 30 x 28 x 3 in. (75 x 70 x 8 cm), Collection of The Gerster Family 108

94 | Erstwhile, 2015, Stainless Steel, Urethane, 30 x 30 x 7 in. (75 x 75 x 18 cm), Collection of the Artist 109

95 | Alacran Blanco, 2010, Stainless Steel, Urethane, 5 x 5 x 2 in. (13 x 13 x 5 cm), Private Collection 110

96 | Construct 26, 2011, Stainless Steel, Urethane 11 x 12 x 3 in. (28 x 30 x 8 cm) Private Collection 111

97 | Construct 19, 2011, Stainless Steel, Polyurethane, 16 x 12 x 4 in. (40 x 30 x 33 cm), Private Collection 112

98 | Confessions of Disappearance, 2016, Stainless Steel, Urethane 22 x 12 x 3 in. (55 x 30 x 8 cm) Private Collection 113

99 | Abolition, 2013, Stainless Steel, Urethane, 15 x 25 x 8 in. (38 x 63 x 20 cm), Private Collection 114

Deprivato …Behind the smooth, obdurate silver barriers of these new works lurk many of the same jocular presences that have populated Howe’s oeuvre from its beginning; we just no longer have direct access to them. If you give it thought, however, these barriers are themselves rather coy, slipping and sliding around the shapes behind them so that we can glimpse these shapes, if only in part. This goes doubly for the corrugated Plexiglas boxes encasing some other, obviously hot-colored and oddly bent presences. You could say that the newly appointed guardians of Howe’s giddy creatures act like chaperones, keeping their wards in line and keeping their admirers at bay. But the silver walls and distorting encasements have their own sense of play, and are content to tease us by, in effect, lifting and lowering their veils…. —Peter Frank

115

1. 100 | Amid, 2017, Stainless Steel, Urethane, Acrylic 18 x 24 x 6 in. (45 x 60 x 15 cm) Collection of the Artist 2. 101 | Benevolence, 2017, Stainless Steel, Urethane, Acrylic 15 x 24 x 10 in. (38 x 60 x 25cm) Collection of Elke and Thomas Handtmann 2

3. 102 | Daylight, 2017, Stainless Steel, Urethane, Acrylic 24 x 10 x 10 in. (60 x 25 x 25 cm) Collection of Elke and Thomas Handtmann 4. 103 | Absence, 2017, Acrylic 39 x 16 x 10 in. (98 x 40 x 25 cm) Private Collection

116

4 117

104 | Flavor, 2017, Stainless Steel, Urethane, Acrylic, 15 x 24 x 10 in. (38 x 60 x 25 cm), Private Collection 118

105 | Murmur, 2012, Stainless Steel, Urethane, 12 x 20 x 12 in. (30 x 50 x 30 cm), Private Collection 119

106 | Autonomy, 2012, Stainless Steel, 13 x 24 x 11 in. (33 x 60 x 28 cm), Views A and B , Collection of Nancy Larrew and Andi Fuzes 120

121

107 | Blurr, 2013, Stainless Steel, Urethane 31 x 11 x 10 in. (78 x 28 x 25 cm), Private Collection 122

108 | Chitin, 2012, Stainless Steel, 115 x 49 x 48 in. (288 x 123 x 120 cm) Collection of the Artist 123

109 | Gravity, 2013, Stainless Steel, Urethane, 20 x 22 x 13 in. (50 x 55 x 33 cm), Collection of Darlene Fogel 124

110 | Linger, 2015, Stainless Steel, 18 x 25 x 9 in. (45 x 63 x 23 cm), Private Collection 125

111 | Fete, 2012, Stainless Steel, Urethane, 12 x 24 x 15 in. (30 x 60 x 38 cm), Collection of the Artist 126

112 | Response, 2013, Stainless Steel, Urethane, 20 x 18 x 16 in. (50 x 45 x 40 cm), Collection of Carrie Chassin and Jochen Haber 127

113 | Whitewash, 2013, Stainless Steel, Urethane, 25 x 31 x 12 in. (61 x 76 x 29 cm), Collection of Suzanne and Sebastian Finkbeiner 128

114 | Routine and Ritual, 2015, Stainless Steel, Aluminum, Urethane, 23 x 30 x 12 in. (58 x 75 x 30 cm), Private Collection 129

115 | Temptation, 2012, Stainless Steel, Urethane, 15 x 21 x 14 in. (38 x 53 x 35 cm), View A, B and C, Private Collection 130

131

116 | Sonant, 2013, Stainless Steel, Urethane, 17 x 10 x 10 in. (43 x 25 x 25 cm), View A and B, Private Collection 132

117 | Rules of Thumb, 2015, Stainless Steel, Urethane, 18 x 24 x 12 in. (45 x 60 x 30 cm), Private Collection 133

118 | Sorrow, 2013, Stainless Steel, Urethane, 6 x 15 x 9 in. (15 x 38 x 23 cm), View A, B, C and D, Collection of Cynthia Penna Simonelli and Renato Penna 134

135

136

119 | Frock, 2012, Stainless Steel, Aluminum, Urethane, 12 x 25 x 18 in. (29 x 61 x 45 cm) , View A and B, Private Collection 137

120 | The Pacification of Vision, 2015, Stainless Steel, Urethane, 38 x 20 x 16 in. (95 x 50 x 40 cm), Private Collection 138

121 | Inference, 2013, Stainless Steel, Urethane, 21 x 20 x 22 in. (53 x 49 x 54 cm), View A, B, C and D, Collection of May Chung 139

122 | Midst, 2013, Stainless Steel, Urethane, 20 x 24 x 6 in. (50 x 60 x 15 cm), View A and B, Collection of the Artist 140

141

123 | Within This Horizon, 2016, Stainless Steel, 20 x 40 x 14 in. (50 x 100 x 35 cm), Collection of the Artist 142

Eterea: Mirror Play It could be argued that it is in the observer that the work of art is created and equally that the work creates the observer. If we process our lives through metaphors, then we are measuring the world poetically. As mapmakers, navigators of our own geographies, we generate a topology of existence, tracking our presence, moving through a field of oppositions and thresholds, between object and image, inside and out, macro and micro, familiar and foreign. Mirror-play exposes and decenters observation and interpretation, so as to bring to light that which is unthought, to expose presuppositions and their consequences. It makes apparent unsettling aspects of what we thought we knew all along, a self-showing, a flagrancy, challenging the stability of sight. Through the lens of the polished mirror vision shifts; it becomes pliant, fugitive, detailed, present.

143

124 | Verisimilitude, 2016, Stainless Steel, Urethane, 24 x 30 x 5 in. (60 x 75 x 13 cm), View A and B, Private Collection Exhibited together with paintings by Suzan Woodruff 144

B 145

125 | Ambush, 2016, Stainless Steel, 36 x 20 x 14 in. (90 x 50 x 35 cm), Collection of Rhonda and Ron Papell 146

126 | Tricky Day, 2016, Stainless Steel, 24 x 18 x 18 in. (60 x 45 x 45 cm), Private Collection 147

127 | Meanwhile, 2016, Stainless Steel, 21 x 24 x 16 in. (53 x 60 x 40 cm), Private Collection 148

128 | Carom, 2019, Stainless Steel, 12 x 21 x 3 in. (30 x 53 x 8 cm), Collection of the Artist 149

150

Monoliths These monoliths are my stones. They are massive, honed, self-referential and deliberate. Their geometric language reifies that deliberateness—and that sense of mass, at once tensile and almost invisible. They are dependable, almost touchstones, but promise an ethereality, as if they could pull a disappearing act at any moment.

129 | A Desire For Symmetry, 2018, Stainless Steel, Urethane, 42 x 96 x 24 in. (105 x 240 x 60 cm), Collection of the Artist 151

130 | Blunt Instrument (Variation J), 2018, Stainless Steel, Urethane, 58 x 70 x 12 in. (145 x 175 x 30 cm), Collection of the Artist 152

131 | Anesthesia, 2018, Stainless Steel, 40 x 120 x 24 in. (100 x 300 x 60 cm), Collection of the Artist 153

132 | Nook and Cranny, 2018, Stainless Steel, Urethane, 61 x 72 x 14 in. (153 x 180 x 35 cm), View A and B, Private Collection 154

155

133 | What Before Who, 2018, Stainless Steel, Urethane, 44 x 60 x 13 in. (110 x 150 x 33 cm), Collection of the Artist 156

157

Maquettes Constructing a maquette is like building a watch, or a hummingbird, or a ship in a bottle. You’re working in miniature, and everything needs to be very small but perfectly proportioned. I use the term “maquette” here not to denote models for large objects, but to identify sculptures conceived and fabricated on an intimate scale. They could become larger, but they don’t need to.

134 | Truffle Hound, 2016, Stainless Steel, Urethane, 18x 24 x 6 in. (45 x 60 x 15 cm), Collection of Gallery Jones 158

159

135 | Bubble Shuffle, 2009, Stainless Steel, Urethane, 14 x 18 x 12 in. (34 x 45 x 30 cm), Private Collection Right: 136 | Blind Belief, 2015, Stainless Steel, Urethane, 19 x 15 x 7 in. (48 x 38 x 18 cm), Private Collection 160

161

137 | Dodger, 2012, Stainless Steel, Urethane, 17 x 20 x 10 in. (43 x 50 x 25 cm), Private Collection Right: 138 | Brutus, 2015, Stainless Steel, Urethane, 15 x 19 x 6 in. (38 x 48 x 15 cm), Collection of May Chung 162

163

B 164

Left: 139 |Changes In The Weather, 2016, Stainless Steel, Urethane, 6 x 22 x 8 in. (15 x 55 x 20 cm), View A and B, Collection of the Artist 140 | Cul-de-Sac, 2015, Stainless Steel, Urethane, 8 x 12 x 13 in. (20 x 30 x 33 cm), Collection of the Artist 165

141 | Countless, 2014, Stainless Steel, 7 x 11 x 5 in. (18 x 28 x 13 cm), Private Collection 166

142 | Doppio, 2008, Patinated Stainless Steel, 33 x 24 x 11 in. (83 x 60 x 28 cm), Private Collection 167

143 | Doorbell, 2013, Stainless Steel, Urethane, 25 x 14 x 9 in. (63 x 35 x 23 cm), Private Collection 168

144 | Dewey, 2013, Stainless Steel, Urethane, 14 x 18 x 8 in. (35 x 44 x 20 cm), Private Collection 169

145 | Geezer, 2011, Stainless Steel, Urethane, 35 x 24 x 16 in. (88 x 60 x 40 cm), Collection of Gary Goldstein 170

146 | Brain of a Sparrow, 2006, Stainless Steel, Urethane, 12 x 30 x 5 in. (30 x 75 x 13 cm), Private Collection 171

147 | Gush, 2017, Stainless Steel, Urethane, 19 x 19 x 8 in. (48 x 48 x 20 cm), Private Collection 172

148 | Grace, 2014, Stainless Steel, Urethane, 16 x 14 x 8 in. (40 x 35 x 20 cm), Private Collection 173

149 | Jitter, 2016, Stainless Steel, Urethane, 14 x 12 x 5 in. (35 x 30 x 13 cm), Collection of the Artist

174

150 | Juvenilia, 2016, Stainless Steel, Urethane, 8 x 25 x 13 in. (20 x 63 x 33 cm), Collection of the Artist 175

151 | Nopal, 2007, Stainless Steel, Urethane, 28 x 21 x 9 in. (70 x 53 x 22 cm), Private Collection 176

152 | Tenor, 2008, Stainless Steel, Urethane, 14 x 22 x 6 in. (35 x 55 x 15 cm), Private Collection 177

153 | Pulso, 2012, Stainless Steel, Urethane, 21 x 12 x 8 in. (51 x 30 x 20 cm), Private Collection 178

154 | Plow, 2011, Stainless Steel, Urethane, 14 x 18 x 4 in. (35 x 45 x 10 cm), Collection of Eva Fayman 179

155 | Plush, 2017, Stainless Steel, Urethane, 14 x 18 x 7 in. (35 x 45 x 18 cm), Private Collection 180

156 | Tropos, 2011, Stainless Steel, Urethane, 39 x 36 x 18 in. (98 x 90 x 45 cm), Private Collection 181

157 | Life Jacket, 2015, Stainless Steel, Urethane, 6 x 19 x 13 in. (15 x 48 x 33 cm), Private Collection 182

158 | Mola, 2008, Stainless Steel, Urethane, 12 x 23 x 5 in. (30 x 58 x 13 cm), Collection of Suzanne and Jean Claude Benarrosh 183

159 | Lato, 2012, Stainless Steel, Urethane, 31 x 17 x 9 in. (78 x 43 x 21 cm), Private Collection 184

160 | Kettle, 1995, Steel, Urethane, 30 x 19 x 18 in. (75 x 48 x 45 cm), Private Collection 185

Monumental Sculpture While in Nice, France, I visited the Museum of Modern Art. I was walking through the outdoor sculpture exhibit when I realized the large sculptures frightened me ever so slightly. “These things are big enough to eat me,” I thought to myself. My pulse accelerated, I paid more attention. I calculated that the larger sculptures were at least one and a half times the size of a normal person, and some part of me felt physically threatened. Run or engage? Engaging meant enhanced looking and gaining respect for the works, for more than just their scale. Once this sort of seeing begins, one senses movement, the weather, gravity, dynamic tensions, the surroundings and paths of escape.

161 | Oferta Ao Sol, 2012, Stainless Steel, Urethane, 132 x 75 x 64 in. (330 x 188 x 160 cm) Collection of the Artist 186

162 | Occam’s Razor, 2018, Carbon Fiber,Stainless Steel, Urethane, 25 x 18 x 11 in. (63 x 45 x 28 cm), Collection of Essex Property Trust, San Mateo, CA 187

163 | Elan, 2018, Stainless Steel, Urethane 150 x 4 x 45 in. (375 x 120 x 113 cm) Collection of Sandy and Larry Post 188

164 | A City in the Sky, 2019, Aluminum, Urethane 84 x 144 x 48 in. (213 x 366 x 122 cm) Collection of Terry Greene 189

190

165 | Reckon, 2012, Stainless Steel, Urethane, 127 x 120 x 32 in. (318 x 300 x 80 cm), Collection of City of Carmel, Carmel, IN Left: Work in Progress, Reckon, 2012 191

166 | At The Center Of The Story, 2016, Stainless Steel, Urethane, 82 x 34 x 19 in. (205 x 85 x 48 cm), Private Collection 192

167 | Buffalo Cowgirl, 2010, Stainless Steel, Urethane, 104 x 64 x 42 in. (260 x 160 x 105 cm), Collection for Robin and Richard Goldman 193

168 | Tissue Paper, 2015, Stainless Steel, Urethane, 81 x 47 x 12 in. (203 x 118 x 30 cm), Private Collection 194

Above Left: 169 | Sweet Potato, 2016, Stainless Steel, Urethane, 90 x 62 x 17 in. (225 x 155 x 43 cm), Private Collection Right: 170 | Bobo, 2011, Stainless Steel, Urethane, 64 x 30 x 30 in. (160 x 75 x 75 cm), Collection of the Artist 195

171 | Watusi, 2000, Stainless Steel, 180 x 72 x 72 in. (450 x 180 x 180 cm), Collection of Ajinomoto Windsor Inc., Ontario, CA 172 | Venezuela, 2003, Stainless Steel, 168 x 96 x 72 in. (420 x 240 x 180 cm), Collection of George Rosenthal 196

173 | Spinoza, 2014, Stainless Steel, Urethane, 190 x 117 x 44 in. (475 x 293 x 110 cm), Collection of the Artist 174 | Waypoint, 2001, Stainless Steel, Urethane, 360 x 240 x 120 in. (900 x 600 x 300 cm), Overton Moore Properties, Torrance, CA 197

175 | Woodpath, 2016, Stainless Steel, Urethane, 62 x 42 x 16 in. (155 x 105 x 40 cm), Private Collection Right: 176 | As Alive as Possible, 2018, Aluminum, Urethane, 77 x 52 x 20 in. (193 x 130 x 50 cm), View A and B, Collection of Elke and Thomas Handtmann 198

199

200

Left: 177 | Semillas, 2016, Stainless Steel, Urethane, (each piece) 72 x 52 x 32 in. (180 x 130 x 80 cm), Stanford University, Stanford, CA 178 | Qualia, 2016, Stainless Steel, Urethane, 204 x 168 x 96 in. (510 x 420 x 240 cm), Stanford University, Stanford, CA 201

179 | Lemonada, 2009, Aluminum, Urethane, 50 x 84 x 120 in. (125 x 210 x 300 cm), Collection of the Artist 202

203

180 | Red, Black Monoliths, 2006, Stainless Steel, Urethane, 60 x 150 x 10 in. (150 x 375 x 25 cm), Private Collection 204

181 | Rivers Run Through Us, 2018, Aluminum, Urethane, 180 x 96 x 48 in. (450 x 240 x 120 cm), Michigan State University, East Lansing, MI 205

182 | Palomino, 2015, Stainless Steel, Urethane, 156 x 90 x 60 in. (396 x 229 x 152 cm), Collection of Frost Bank, San Antonio, TX 206

183 | Paddles, 2010, Stainless Steel, Urethane, 78 x 55 x 36 in. (195 x 138 x 90 cm)

184 | Ransack, 2014, Stainless Steel, Urethane, 108 x 60 x 30 in. (270 x 150 x 75 cm)

Private Collection

Private Collection 207

185 | Judo, 2015, Stainless Steel, Urethane, 80 x 64 x 24 in. (200 x 160 x 60 cm), Private Collection 208

186 | Paloma, 2005, Stainless Steel, 76 x 81 x 23 in. (190 x 203 x 58 cm), Private Collection

209

Paintings

187 | Bossa, 2009, Aluminum, Urethane, 48 x 40 x 1 in. (120 x 99 x 3 cm), Collection of Uli and Gerhard Lang 210

188 | Chords (triptych), 2008, Stainless Steel, Urethane, 36 x 108 x 2 in. (90 x 270 x 5 cm), Collection of Simon Rolf 211

189 | Dog Whistle, 2015, Stainless Steel, Urethane, 48 x 146 x 2 in. (120 x 365 x 5 cm), Private Collection 212

190 | Doughboy, 2008, Aluminum, Urethane, 36 x 36 x 2 in. (90 x 90 x 5 cm), Collection of the Artist 213

191 | Parque Central, 2011, Aluminum, Urethane, 48 x 72 in. (120 x 180 cm), Collection of Peter Moglia 214

192 | Quasar Triptych, 2008, Aluminum, Urethane, 36 x 110 x 2 in. (90 x 275 x 5 cm), Private Collection 215

“Do anything, but let it produce joy.” —Walt Whitman

193 | Topo, 2010, Aluminum, Urethane, 30 x 2 in. (75 x 5 cm), Private Collection 216

217

Wall Sculpture If my aesthetic bounces between the conditions of two dimensions and three, the wall sculpture I make can be seen as an attempt to find the midway point in that oscillation. The compositions are primarily frontal and the objects are framed or backed by the neutrality of the wall, but they push into space to destabilize their perimeters, and often their interiors. They may be low relief but they are not about low relief, they are about the attempt to distort the picture plane. The most substantive work I’ve done for the vertical plane is The Baroda Wall, realized as a commission for a private collector. Conceived from a series of mutual discussions about aesthetics, perception, and time, The Baroda Wall, a sequence of 52 highly individualized sculptures, serves as a record of a storied journey through a finite and deeply nurtured place, notated in a frieze of distinct symbolic gestures open to anyone’s interpretation.

194 | Baroda Wall, Wall 1, 2005, Stainless Steel, Bronze, Aluminum, Urethane 48 x 264 x 12 in. (120 x 660 x 30 cm), Collection of David Bohnett 218

219

220

195 | Baroda Wall Installation, 2019, Aluminum, Bronze and Stainless Steel, 240 x 480 x 36 in. (600 x 1200 x 90 cm), Collection of Los Angeles County & University of Southern California, Gift of David Bohnett 221

196 | And Yet, 2017, Aluminum, Urethane, 32 x 24 x 24 in. (80 x 60 x 60 cm), Private Collection 197 | Forgetfulness, 2007, Aluminum, Urethane, 52 x 31 x 4 in. (130 x 78 x 10 cm), Private Collection 222

198 | Virtual Banjo, 2004, Stainless Steel, Urethane, 12 x 24 x 7 in. (30 x 60 x 18 cm), Private Collection 223

199 | Combinatorialism, 2016, Stainless Steel, Aluminum, Urethane, 216 x 216 x 48 in. (540 x 540 x 120 cm), Collection of Lynette and Derek Brown 224

200 | Chuva, 2007, Aluminum, Urethane, 47 x 32 x 4 in. (118 x 80 x 10 cm), Private Collection 225

226

201 | Goyo, 2007, Aluminum, Urethane, 18 x 76 x 4 in. (45 x 190 x 10 cm), Collection of Elke and Thomas Handtmann 227

202 | Green River, 2005, Stainless Steel, Aluminum, Urethane, 15 x 15 x 1 in. (38 x 38 x 3 cm), Private Collection 228

203 | Onda Azul, 2006, Stainless Steel, Aluminum, Urethane, 24 x 24 x 2 in. (60 x 60 x 5 cm), Private Collection 229

204 | Strew, 2017, Aluminum, Urethane, 22 x 37 x 7 in. (56 x 94 x 18 cm), Collection of Bruna Howe 230

205 | Lift, 2009, Aluminum, Urethane, 34 x 30 x 4 in. (85 x 75 x 9 cm), Private Collection

206 | Speed, 2004, Stainless Steel, Urethane, 60 x 48 x 9 in. (150 x 120 x 23 cm) Collection of Uli and Gerhard Lang 231

207 | Naranja y Leche, 2001, Stainless Steel, Urethane, 15 x 20 x 3 in. (38 x 50 x 8 cm), Private Collection 232

208 | Medusa, 2008, Aluminum, Urethane, 54 x 57 x 3 in. (135 x 143 x 8 cm), Collection of Carolin Grimbacher 233

209 | Nebraska, 2005, Stainless Steel, Urethane, 36 x 36 x 5 in. (90 x 90 x 13cm), Collection of Lisa and Chris Bonbright 234

210 | Light House, 2006, Stainless Steel, Urethane, 10 x 10 x 16 in. (25 x 25 x 40 cm), Private Collection 235

211 | Neruda, 2007, Aluminum, Urethane, 47 x 32 x 4 in. (118 x 80 x 10 cm), Collection of Beatriz Borges 236

212 | Norwegian Wood, 2007, Stainless Steel, Urethane, 19 x 12 x 19 in. (48 x 30 x 48 cm), Collection of Elke and Thomas Handtmann 237

213 | Sabanas, 2004, Steel, Urethane, 15 x 15 x 3 in. (38 x 38 x 6 cm), Private Collection 238

214 | Iowa, 1997, Steel, Urethane, 30 x 24 x 6 in. (75 x 60 x 15 cm), Collection of Dr. Norman Hartstein 239

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215 | Salty Biscuits, 2017, Stainless Steel, Urethane 60 x 42 x 6 in. (150 x 105 x 15 cm), Private Collection

216 | Spread, 2017, Aluminum, Urethane, 28 x 24 x 3 in. (70 x 60 x 8 cm), Collection of Elke and Thomas Handtmann 241

217 | Tingle, 2015, Stainless Steel, Urethane, 10 x 60 x 9 in. (25 x 150 x 23 cm), Collection of the Artist 242

218 | Plural Truths, 2017, Aluminum, 40 x 48 x 2 in. (102 x 122 x 5 cm), Collection of the Artist 243

219 | Oregon, 2005, Stainless Steel, Urethane, 9 x 12 x 14 in. (23 x 30 x 35 cm), Collection of the Gerster Family 244

220 | Cornbread, 2010, Stainless Steel, Urethane 10 x 12 x 13 in. (25 x 30 x 33 cm), Collection of Uli Lang, Biberach, Germany 245

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Kinetics If it weren’t for Alexander Calder and his magical universe, I don’t believe I would be an artist today. His mobiles immediately spoke to me in a language that felt so familiar I knew instantly I could respond with my own. Principles of kinetic sculpture inform everything I make. The object is always in motion in relation to the viewer. When an artwork moves it escapes the static world of frozen gestures into a common dimension of ever-changing geometries. Gravity pulls at it, the wind pushes it, the clock measures it. The kid in me wants the art to move. The observer in me wants to learn its choreography and predict the next sequence of events. The contemplator wants to gaze at the shadows that ebb and shift at the edge of a meta-world where visions are teased out of the walls. Kinetic sculpture reminds us that we float in space and are tethered to a system of interconnection, where even the most remote elements are leveraged by the weight of the whole. I want these sculpture installations to spark a sense of wonder and excitement in the viewer. I want to share my fascination with color and motion. At their best, these works will serve as abstract models of what we know to be true about the world around us. We project onto them that which we already know, about physics and patterns from nature and the like. I hope these sculptures are as entertaining as they might be challenging, and

that one comes away more curious about this magical world that supports us.

One Desert Sky, 2014, Stainless Steel, Aluminum, Urethane, Kinetic Installation, High Desert Health Center, Lancaster, CA 247

221 | Ropa en el Viento, 2002, Aluminum Stainless Steel, Urethane, 144 x 144 in. (360 x 360 cm) Private Collection 248

222 | Casa de Mi Abuelita, 2014 Mixed Media, 37 x 33 x 34 in. (93 x 83 x 85 cm) Private Collection 249

223 | High North, 2015, Stainless Steel, Aluminum, Urethane, 24 x 216 x 72 in. (60 x 540 x 180 cm), Collection of Ellen Hoffman 250

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224 | Things Happen, 2015, Stainless Steel, Aluminum, Urethane, 32 x 100 x 12 in. (80 x 250 x 30 cm), Private Collection

Kinetic Kelp Plankton floating weightless in the sea, a boundaryless dreamscape of drift, color and shadows. These suspended colonies touch on the primordial echoes of early life, cellular and symbiotic. Extravagant swarms, rotating forests, weave a dreamscape of slow, lingering motion.

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225 | Song of the Expanding Universe, 2003, Aluminum, Urethane 120 x 120 x 960 in. (300 x 300 x 2400 cm) Georgia International Convention Center, College Park, Atlanta, GA Detail on following page 255

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226 | One Desert Sky, 2014, Stainless Steel, Aluminum Kinetic Installation, High Desert Health Center, Lancaster, CA 258

227 | It Smells Like Rain Again, 2006, Stainless Steel, Aluminum, Urethane, 102 x 72 x 12 in. (255 x 180 x 30 cm), Private Collection 259

228 | Trade Winds, 2009, Stainless Steel, Aluminum, Urethane, 360 x 216 x 300 in. (900 x 540 x 750 cm), Temple University, Philadelphia, PA 260

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229 | Ventriloquism, 2013, Stainless Steel, Aluminum, Urethane, 216 x 132 x 36 in. (540 x 330 x 90 cm), Private Collection 262

230 | To Delight in the Hopes of the Young, 2019, Aluminum, Stainless Steel, Urethane, 156 x 72 x 36 in. (396 x 183 x 91 cm), The Collection of Terry Gree30

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231 | An Exaltation of Larks, 2010, Stainless Steel, Aluminum, Urethane, 156 x 120 x 120 in. (427 x 305 x305 cm), View A and B, Collection of Gary Simmons 264

Free Standing Kinetics

B 265

232 | Near, 2013, Stainless Steel, Urethane, 20 x 10 x 13 in. (51 x 25 x 33 cm), Collection of Maria and Alexander Mertens 266

233 | Bouyance, 2014, Mixed Media, 42 x 24 x 18 in. (105 x 60 x 45 cm), Collection of the Artist 267

234 | Puerto Plata, 2014,Stainless Steel, Aluminum, Urethane, 32 x 44 x 12 in. (80 x 110 x 30 cm), Collection of Ezra Kest 268

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Left: 235 | Three, 2013, Stainless Steel, Aluminum, Urethane, 15 x 16 x 9 in. (38 x 40 x 21 cm), Collection of the Artist Above: 236 | Acra, 2012, Stainless Steel, Aluminum, Urethane, 18 x 21 x 12 in. (45 x 53 x 30 cm), Private Collection 271

237 | Cabruta, 2017, Stainless Steel, Aluminum, Urethane, 29 x 26 x 11 in. (73 x 65 x 28 cm), Private Collection 272

238 | Camellia, 2012, Stainless Steel, Aluminum, Urethane, 21 x 8 x 10 in. (53 x 20 x 25 cm), Private Collection 273

239 | Cartagena, 2009, Stainless Steel, Urethane, 16 x 16 x 10 in. (40 x 40 x 25 cm), Private Collection 274

240 | Camelopardalis, 2013, Stainless Steel, Aluminum, Urethane, 22 x 23 x 8 in. (54 x 58 x 20 cm), Collection of Ron and Rhonda Papell 275

241 | Moldova, 2012, Stainless Steel, Aluminum, Urethane, 21 x 22 x 9 in. (53 x 54 x 23 cm), Private Collection 276

242 | False Confession, 2014, Stainless Steel, Aluminum, Urethane, Wood, 39 x 39 x 34 in. (98 x 98 x 85 cm), Private Collection 277

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Wall Kinetics

Left: 243 | Toralba, 2017, Stainless Steel, Aluminum, Urethane, 28 x 42 x 10 in. (70 x 105 x 25 cm), Private Collection Above: 244 | Snack Shack, 2014, Mixed Media, 44 x 47 x 11 in. (110 x 118 x 28 cm), Collection of the Artist 279

245 | Dust, 2010, Stainless Steel, Aluminum, Urethane, 35 x 50 x 17 in. (88 x 125 x 43 cm), Private Collection 280

246 | Prato, 2012, Stainless Steel, Aluminum, Urethane, 16 x 16 x 6 in. (40 x 40 x 15 cm), Collection of the Artist 281

247 | Pirate Ship , 2011, Stainless Steel, Aluminum, Urethane, 48 x 72 x 6 in. (120 x 180 x 15 cm), Collection of Alice Steiner 282

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248 | Urbanica, 2010, Stainless Steel, Aluminum, Urethane, 16 x 96 x 13 in. (41 x 244 x 33 cm), Private Collection 284

249 | Pictologica, 2009, Stainless Steel, Aluminum, Urethane 84 x 48 x 12 in. (210 x 120 x 30 cm), Private Collection 285

250 | Fuyu, 2016, Archival Pigment Print, 36 x 48 in. (90 x 120 cm), Private Collection

252 | Yaku Akapana, 2015, Archival Inkjet Print, 16 x 18 in. (39 x 45 cm), Private Collection 286

251 | Karl, 2015, Archival Inkjet Print, 20 x 13 in. (50 x 33 cm), Private Collection

253 | Yaku Wambuy, 2015, Archival Inkjet Print, 13 x 20 in. (33 x 50 cm), Private Collection

Quipu Photography The most celebrated example of a notational device consisting entirely of threads is the Inca Quipu. The quipu comprises a plied cord to which secondary cords are attached with knots. Tertiary cords may be knotted to secondary ones, fourth order to tertiary, fifth order to fourth order, and so on. Scholars still argue over the function and method of the Quipu, whether it served to prompt memory or to record information, and, if the latter, whether that information was merely numerical or involved elements of narrative. 254 | Kuytsa, 2016, Archival Pigment Print, 36 x 72 in. (90 x 180 cm), Private Collection

Collecting and sifting detritus from roadways, city gutters and empty beaches, the lint and dander of contemporary life, I strung these findings, quipu-like, into lines of narrative, believing each link a living, aura-charged fractal of human life. Sequenced into phrases these intermingled residuals, remnant energy of prior functions, propose new accounts of meaning. The photographs are the documents of those elusive phrases.

255 | Nina, 2016, Archival Pigment Print, 40 x 72 in. (100 x 180 cm), Private Collection

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256 | Allpa Jaku, 2016, Archival Pigment Print, 40 x 60 in. (100 x 150 cm), Private Collection 288

257 | Warmi, 2016, Archival Pigment Print, 40 x 60 in. (100 x 150 cm), Private Collection 289

258 | Anga, 2016, Archival Pigment Print, 40 x 60 in. (100 x 150 cm), Private Collection 290

259 | Buyi, 2016, Archival Pigment Print, 40 x 60 in. (100 x 150 cm), Private Collection 291

260 | Ukucha, 2016, Archival Pigment Print, 60 x 40 in. (150 x 100 cm), Private Collection 292

261 | Rupana, 2016, Archival Pigment Print, 44 x 48 in. (110 x 120 cm), Private Collection 293

262 | Tayta, 2018, Archival Pigment Print, 44 x 44 in. (110 x 110 cm), Private Collection 294

263 | Tazin, 2016, Archival Pigment Print, 48 x 60 in. (120 x 150 cm), Private Collection 295

264 | Llantu, 2016, Archival Pigment Print 40 x 60 in. (100 x 150 cm) Private Collection 265 | Putru, 2016, Archival Pigment Print 40 x 72 in. (100 x 180 cm) Private Collection 296

266 | Putsuju, 2015, Archival Inkjet Print, 20 x 13 in. (50 x 33 cm), Private Collection 267 | Manya, 2016, Archival Pigment Print, 40 x 72 in. (100 x 180 cm), Private Collection 297

268 | Micha, 2016, Archival Pigment Print, 44 x 60 in. (110 x 150 cm), Private Collection 298

269 | Pacha Mama, 2016, Archival Pigment Print, 44 x 60 in. (110 x 150 cm), Private Collection 299

Photography & Embroidery Embroidery on photography is an intervention onto a fixed time document. It becomes a juxtaposition, an overlay of one story onto another. The process allows for the redirection of meaning within the ever-present alternative interpretation of an image and the image as an object.

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I make pictures to tell a story, to tell lies, and to amuse. —Federico Fellini

270 | Terms of Opprobrium, 2017, Archival Pigment Print, 30 x 30 in. (75 x 75 cm), Collection of the Artist 271 | The Need To Obey, 2017, Archival Pigment Print, 30 x 30 in. (75 x 75 cm), Collection of the Artist 301

272 | A Conspiracy To Miss, 2017, Archival Pigment Print, 36 x 36 in. (90 x 90 cm) Collection of the Artist

274 | Letting Beings Be, 2017, Archival Pigment Print, 36 x 36 in. (90 x 90 cm) Collection of the Artist 302

273 | Accountability To The Other, 2017, Archival Pigment Print, 36 x 36 in. (90 x 90 cm) Collection of the Artist

275 | Man Is Not A Killer But The Group Is, 2017, Archival Pigment Print, 36 x 36 in. (90 x 90 cm) Collection of the Artist

276 | Aftermath, 2017, Archival Pigment Print, 30 x 30 in. (75 x 75 cm) Collection of the Artist

278 | Snake Charmer, 2017, Archival Pigment Print, 36 x 36 in. (90 x 90 cm) Collection of the Artist

277 | An Unadulterated Day, 2017, Archival Pigment Print, 36 x 36 in. (90 x 90 cm) Collection of the Artist

279 | Predisposition, 2017, Archival Pigment Print, 36 x 36 in. (90 x 90 cm) Collection of the Artist 303

Affinities Empathy is central to constituting ourselves as social creatures, enabling us to imagine what others are thinking or feeling, to emotionally engage with them. To this intent we mirror each other. Mirroring generates a felt symmetry of experience, a sense of parity, balance and stability. Empathy, reciprocity and the Golden Rule are the fundamental social adhesives that provide the equilibrium necessary for our compatibility. As symmetry, that equilibrium is an expression of agreement of harmony and proportion, of binding affinities.

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280 | Flatterer of the Court, 2020, Polished Stainless Steel, Mixed Media, 12 x 10 x 3 in. (30 x 25 x 8 cm), Private Collection 305

281 | When a Dream is Told, 2016, Polished Stainless Steel, Mixed Media, 12 x 10 x 5 in. (30 x 25 x 13 cm), Private Collection 306

282 | Let a Hundred Flowers Bloom, 2020, Polished Stainless Steel, Mixed Media, 12 x 10 x 5 in. (30 x 25 x 13 cm), Private Collection 307

283 | The Prestine Privacy of Thought, 2020, Polished Stainless Steel, Thread, 12 x 10 x 1 in. (30 x 25 x 3 cm), Private Collection Right: The Prestine Privacy of Thought, 2020, Detail 308

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284 | Evicted From Paradise, 2020, Polished Stainless Steel, Mixed Media, 16 x 15 x 3 in. (40 x 62.5 x 8 cm), Private Collection 310

285 | All Hat No Cattle, 2016, Polished Stainless Steel, Mixed Media, 12 x 10 x 5 in. (30 x 25 x 13 cm), Private Collection 311

286 | When Time Rushes Off, 2020, Polished Stainless Steel, Mixed Media, 12 x 10 x 6 in. (30 x 25 x 15 cm) , Private Collection Right: When Time Rushes Off, 2020 , Detail 312

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287 | Based on the Current Understanding, 2020, Polished Stainless Steel, Wire, 12 x 10 x 6 in. (30 x 25 x 15 cm), Private Collection 314

288 | Echoes, 2020, Stainless Steel, Aluminum, Urethane, 16 x 15 x 5 in. (40 x 38 x 13 cm), Private Collection 315

289 | Flags on a Map, 2020, Polished Stainless Steel, Wire, Stainless Steel Plate, Urethane, 16 x 15 x 12 in. (40 x 38 x 30 cm), Private Collection Right: Flags on a Map, 2020, Detail 316

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Brad Howe and the 500 Year Plan by Anthony Haden-Guest

ANTHONY HADEN-GUEST Your work is remarkably diverse. I am struck by your piece, Amnesia (plate 5), a sculpture you created from stainless steel and birchwood. One fully expects to see other pieces exploring that direction. You didn’t. The usual procedure has been that an artist will come up with a strong idea, then run with it before moving on to another. You don’t do that. I began to make a list of other hits that are also one-offs. I’d like to talk about how you get your ideas. BRAD HOWE

AHG: How do you choose your material? BH: I’m attracted to metal because it represents durability and permanence in a metaphysical way, different from canvas or something like that. My father was a carpenter, I saw him handling lumber, hammers and nails for years. I was always very proud of him. I idealized the lifestyle, the physicality of it, so I guess I wanted something similar to that to work with. Welding steel is similar. Over the years I put together a studio primarily centered on stainless steel and bronze and aluminum.

Creating art doesn’t cease to fascinate me, although it’s quite often overwhelming. But it’s such

AHG: Your calligraphic work is interesting—it doesn’t disappear into signage. When did this come

a fabulous opportunity to imagine something and try to figure out how to get there. That’s the

into your work?

biggest attraction. Art seems like it’s full of complicated riddles in general. And I like the riddle aspect of it. That being said, I look at the endeavor of art as participating in a large conversation.

BH: I was asked to make jewelry by the architect Judit Fekete for an exhibition. I designed several

It feels similar to walking into a cocktail party. You walk in the room and you hear a phenomenal

bracelets. They had to fit the body, so I made them circular. I was reluctant to be asked to make

conversation going on over to the left. You wander over. You listen to some interesting points

jewelry ongoing so I pinned the pieces to the wall so they couldn’t be tried on. Unexpectedly,

and you make some comments. Then your ear catches a different debate on another side of the

the shadows they created were astounding, their forms had nothing to do with the objects that

room. You wander over there and engage. I’m a bit of a butterfly, but with the idea that all of

had created them; the shadow had this calligraphic form to it. There was a mystery there. What

these exchanges are interrelated, it’s all one very large effort, being tested from very different

had created that shadow? I thought it was a wonderful accident and I began to create forms for

angles. All the different angles, the facets of the puzzle, are fascinating to me. That’s what got me

these shadows, almost always starting with a curved oval. It can be a bit of a brainteaser and I

into art. I see it as a relevant, rich exchange of ideas.

like these problem-solving scenarios.

AHG: You didn’t go to art school. How did your art-making career begin?

AHG: I like your Quipu photographs (pages 289-299), the objects, and shadows together. Apparently, the objects don’t exist anymore?

BH: I was studying International Relations in the U.S. and went to Brazil to study literature and political history. At the University of São Paulo I met architecture students and with them encoun-

BH: Are you familiar with Quipu? The Inca empire didn’t have a written script. They had Quipu,

tered a completely new language … urban design, landscape design, and art. And it hit me like a

where they would weave a string and arrange knots into the string, a collection of knots, and this

rock. I felt, oh man, this is an impressive instrument. Art and design felt powerful and magical.

was the official royal script. Cuzco, the center of the Inca Empire, would send out proclamations

They dealt with emotions, with memory and with aspirations. They seemed so untainted and full

by having runners carry the Quipu and demands for taxes on a knotted string.

of potential. It didn’t feel I was entering a toxic zone and I could do what I wanted with it. Those were the earliest notions in my head. After I graduated university I wandered a bit. I became first

AHG: That’s become part of your work process?

a gardener, because I wanted to experience that. Then I took a position as an algebra teacher in

BH: I collected small things I would find on the street, and in the gutter, items that had a certain

a junior high school because I wanted to serve. But in the back of my mind this question about

aura to them, flotsam that had been tossed but that had had a previous life. If I looked at it that

art was just ticking and getting stronger.

way they vibrated with their own story. I gathered as many of these shards as I could and began to tie them together as if they were words for a stanza. I would compose a poetic sequence with

AHG: Can we return to the sheer diversity in your output? BH: Ultimately what interests me is to absorb information from the world around me, including the work of artists I’m inspired by, and then I respond to it from my position and understanding, to engage as if it were dialog. It’s the dialog that’s interesting to me. I have a ongoing exchange within my own work, of course, but an intriguing statement made by another’s work of art can

these pieces. The elements were tied together with knots. Quipu! Eventually another step to the process occurred to me. I decided to take an extremely high-resolution photograph of each one of these compositions, then destroy them. I wanted the photograph as the only form of the piece. The photograph then became the surrogate sculpture of the Quipu. AHG: The image replaces the object.

present a whole new potential world to explore. There are so many nutrients in the constant production of art. I want to absorb that nutrition, feel the energy, and respond to it with some

BH: I was inspired by Baudrillard’s book, Simulacra and Simulation. You know when you’re in the

kind of nuance, some inflection that comes from questioning and processing. Maybe that’s why I

mountains and there is that stunning view? You pull your car over and you hear someone saying

feel I have the freedom to follow any course … anywhere … any time … I don’t feel locked into any

it’s so beautiful, It’s just like a postcard! So I wanted to make a postcard of the art that was ‘better’

specific body of work, any specific approach, other than my gained knowledge of how to work

than the art. We live in an image-driven society. We don’t seem to need to experience the actual

with certain materials.

event or object anymore. The object is no longer primary. I felt exchanging the actual Quipu for its image made sense. And at the same time, I was intrigued to think of my Quipu as a sort of macramé. It had a nostalgic quality to it because it was homemade, with my fingers tying little

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often-difficult knots. Somehow akin to slow food, mending, and our current fascination with nos-

AHG: Odilon Redon, the 19th century Symbolist, said he just wanted his symbols to make the

talgia. This was all cooked into the Quipu experiment. There are a lot of moving parts to it. I feel

paintings work—that he didn’t feel it necessary for people to understand precisely what they

I’ll be working on these ideas for a while.

meant to him.

AHG: Some of your pieces are off-balance, disconcerting. Such as Soft, 2017 (plate 21).

BH: That’s right, that’s how I feel. I also subscribe to the idea that art functions as a mirror, and

BH: My experiment with Constructivism was another accident through “process.” I had been reading Lacan and I was fascinated by the notion of our unfulfilled desires. I wanted to create a place where that itch could exist, you knew it was in there but you didn’t have access to it. I was working structurally with the idea of very simple planes and the creation of an opening to a depth within the structure that I could not see into fully… a void, a dark space… I would be frustrated, I would be denied the ability to explore it. That was the model in my mind. Most of these pieces have an opening, or a fold leading to an internal space. You have the feeling that something is contained there. AHG: Color is a significant element too.

the person standing in front of the object can only see themselves. I want people to spend time gazing at themselves but make it enticing in some way so that the time they spend with it can be significant. This is the magic that I aspire to. The artwork functions as a trigger. The true art experience is what happens in the mind of the viewer. It’s not the object. AHG: So it’s a mirror with a trigger? BH: Yeah! That’s what I will want to be written on my tombstone! He made mirrors with triggers.

Anthony Haden-Guest is a British-American writer, art critic, cartoonist, and poet, who lives in New York City and London. He is a frequent contributor to major magazines and has had several books published. His most recent books are True Colors: The Real Life of the Art World (Grove

BH: My art life began in Brazil. Brazil has a generally exuberant culture. Color, music and personal

Atlantic), The Last Party: Studio 54, Disco and the Culture of the Night (William Morrow & Co,)

expression can be intense. To see someone walking down the street with a chartreuse blouse …

and a book of cartoons, The Chronicles of Now (The Allworth Press), as well as the latest: In The

yellow pants … black and white striped shoes … and a purple hat would not be considered ex-

Mean Time (Freight Volume). Haden-Guest formerly penned a weekend column on art collection

traordinary. So that early incubation period in Rio de Janeiro opened up the whole color palette

for the Financial Times and he has contributed articles and stories to the Sunday Telegraph, Van-

to me. Color is a primary component of almost everything I do. Not only did I want this hidden

ity Fair, The New Yorker, Paris Review, Sunday Times, Esquire, GQ (UK), The Observer, Radar and

space within the piece, I wanted to make it an experience that, as you moved around the object,

other major publications. In 1979 he was awarded a New York Emmy for writing and narrating the

you would be taken on a radical color journey and be tossed and twisted and turned, not being

PBS documentary The Affluent Immigrants.

sure where you had been nor where you were going. AHG: The color in Dueling and Drinking (plate 14) is vibrant. BH: I guess at a certain point I started to take more bold steps with color, heading towards fluorescence. I always thought it would be a little bit too much, maybe self-defeating, but you know, you just keep on taking steps and get comfortable with the new possibilities. I just decided to open that up and that’s what happened. AHG: I like your titles. Too many artists call stuff “Untitled.” Why give up that opportunity? Your titles are an add, they can suggest the mood. BH: I look at the titles as an opportunity to deliver another layer of information and juxtaposition. It’s not my intent to decipher anything for anybody, but I want to serve a full meal with the work. Maybe the title could be the wine that goes with the course. Part of my brain spends each day listening to words, not as content but as a sort of code. I am struck constantly by these isolated vignettes, small sequences of words without context. Whenever possible I write them down. I end up with an extensive collection of what I hold as potential titles. Once a sculpture is completed another kind of work begins, determining a title. It is rarely easy, but strangely fulfilling. I am both baptizing a piece and finding a home for these collected words or phrases. I won’t give up until something fits. Why it fits, I am never sure. But I know it fits, and I am relieved. I have these fantasies and one of them is that someone out there will conclude that the real message in my work is in the titles. The objects are there to support them … If I were to leave something, some field of information on the planet before I’m gone, it would be the titles. Which ties back to this Quipu a little bit, right?

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StoryofMau , 2011-1019 From Inceptionto Installation

290 | Mau Maquette, 2011, Stainless Steel, Urethane, 14 x 9 x 5 in. (35 x 23 x 13 cm) View A and B, Collection of Hortense and Matias Marcier

Right: 291 | Mau , 2019, Stainless Steel, Urethane, 156 x 84 x 48 in. (390 x 210 x 120 cm), Collection of City of Havanna, Cuba 320

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StoryofMau , 2011-1019 The Havana Experience Public art belongs to the public. As an artist I embrace the fact that I have no control over how a work will be received. My job is to synthesize my experience of the world into an object of interest. It can also be my responsibility to see that the work arrives at its final destination in pristine condition, from that point I become just a witness. It was an exhausting effort to oversee the transport of my sculpture Mauá from Los Angeles to Cuba for the 2020 Havana Biennial. At all stages the work was elaborately protected from even the smallest threat of damage. Once it was hoisted from a truck into its exhibition location along the Malecon seawall, two gentlemen on bicycles armed with a bucket of handtools worked with me for several hours securing the sculpture to the cobblestone walkway. Under the Cuban sun, it was a big job. When we completed the installation, I turned to thank them for the careful work they had done. Not a single scratch. At that moment I heard the excited conversation of a family behind me. When I looked back I saw that the whole family had climbed on and into the sculpture and were posing for photos. I was stunned. Then joy came over me. I understood that the sculpture was being received with affection by those who it was made for.

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Exhibitions and Collections Solo Exhibitions 1997

Diane Nelson Gallery, Laguna Beach, California

Barbara Scott Gallery, Miami, Florida

Brad Howe Invitational, Gallery Jeon, Daegu, South Korea

1996

Flats & Risers, Diane Nelson Gallery, Laguna Beach, California

System of Shared Risk, Galerie Uli Lang, Biberach, Germany

Causes, Arario Gallery, Cheoan-Shi, South Korea

2015

Working Fictions, Caldwell Snyder Gallery, San Francisco, California

1995

Boias, Galeria Nara Roesler, Sao Paulo, Brazil

Inoxydable, Galerie Sparts, Paris, France

Wabi-Sabi Gallery, Chicago, Illinois

Cartography, CMay Gallery, Seoul, Korea

1994

Hop The Twig, Boritzer/Gray/Hamano Gallery, Santa Monica, California

Thomas Punzmann Contemporary, Frankfurt, Germany

1993

Dierlich Gallery, Bonn, Germany

2014

Shadow Economy, Museum of Art and History, Lancaster, California

1990

Gallery de Arte Misrachi, Mexico City, Mexico

Concoctions, The Frostig Collection, Santa Monica, California

Galerie du Cobra, Paris, France

2013

Coyote, Galerie Uli Lang, Biberach, Germany

Diane Nelson Gallery, Laguna Beach, California

Docile Bodies, Caldwell Snyder Gallery, San Francisco, California

Galeria Millan, Sao Paulo, Brazil

Deprivato, Katherine Cone Gallery, Los Angeles, California

1989

B-1 Gallery, Santa Monica, California

2012

Sculpture, Galerie Janos, Paris, France

Diane Nelson Gallery, Laguna Beach, California

Kinetic Works, The Frostig Collection, Santa Monica, California

Galeria G. B. Arte, Rio de Janeiro, Brazil

Sculpture & Kinetic Art, Soohoh Gallery, Seoul, South Korea Galerie Uli Lang, Biberach, Germany 2011 Caldwell Snyder Gallery, St. Helena, California

1987

Mt. San Jacinto College, San Jacinto, California

Museum Historico e Artistico de Maranhao, San Luis, Brazil

Galeria Matias Marcier, Rio de Janeiro, Brazil

Construct, Galerie Uli Lang, Biberach, Germany

1986

Galeria Matias Marcier, Rio de Janeiro, Brazil

2010

Einladung Zur Kunstausstellung Bei H.P. Kaysser, Stuttgart, Germany

Primavernica, AndrewShire Gallery, Los Angeles, California

Sculturen, Mobiles und Mandalas, Galerie Kaysser, Munich, Germany

2020

Trooping the Colours, Brad Howe, Michelle Benoit, Galerie Uli Lang, Biberach, Germany

Giocare con la Scultura, Art 1307, Napoli, Italy

2019

XIII Bienal de la Habana 2019, Havana, Cuba

2009

Ein Kaktus–ganz ohne Stacheln; Sudwestbank AG, Stuttgart, Germany

Brad Howe, Michelle Benoit, Eduardo Vega de Seoane, Thomas Punzmann Contemporary, Frankfurt, Germany

008 2

Sculpture, College of The Canyons, Santa Clarita, California

Fractured Beauty, Alisa Henriquez, Andy Krieger, Brad Howe, David Klein Gallery, Detroit, Michigan

2007

Skulturen Und Objekte, Galerie Kaysser, Munich, Germany

2018

The Pearly Gates Collection, Yucca Valley Visual and Performing Arts Center, Yucca Valley, California

At This Moment, Sculpturesite Gallery, San Francisco, California

Bauhaus Club, Contemporary Cluster, Rome, Italy

Strata, Museum of Design, Art and Architecture, Culver City, California

Disturbances, Art 1307, Naples, Italy

Kunsthaus Schill, Stuttgart, Germany

Thomas Punzmann Contemporary, Frankfurt, Germany

2006

Stainless Steel Sculpture, Galerie Uli Lang, Biberach, Germany

2017

Off the Wall, GR Gallery, New York, New York

New Work, Parchman Stremmel Gallery, San Antonio, Texas

Monoliths, Galerie Holm, Ulm, Germany

Trooping The Colours, Thomas Punzmann Contemporary, Frankfurt, Germany

Jill Thayer Gallery, Bakersfield, California

Angles of Perspective, Deshan Art Space, Beijing, China

Boehringer Ingelheim, Biberach, Germany

On the Road: American Abstraction, David Klein Gallery, Detroit, Michigan

Tectonics, Galerie Uli Lang, Biberach, Germany

2016

Properties of Light, George Billis Gallery, Los Angeles, California

2019

Wishful Thinking, Caldwell Snyder Gallery, St. Helena, California

2017

Second Nature, Galerie Uli Lang, Biberach, Germany

2016

328

Jardine de Reverie, Pacific Design Center, West Hollywood, California

Alexander Mertens Fine Art, Montecito, California

Steps in Serious Exuberance, Skulpturengalerie, Zurich, Switzerland

The Next Dimension, Hamilton-Selway Fine Art, Hollywood, California

2005

A Survey of Color, Form and Motion, Rosenthal Fine Art, Chicago, Illinois

In Collaboration, Adamar Fine Art, Miami, Florida

Synchrony, Galerie Uli Lang, Biberach, Germany

2002

Stahlplastiken, Galerie Uli Lang, Biberach, Germany

2001

Steel Haiku, Jernigan Wicker Fine Arts, San Francisco, California

2000

Neo Modernism, Boritzer/Gray/Hamano Gallery, Santa Monica, California

1999

Biscotto, Jernigan Wicker Fine Arts, San Francisco, California

Aquatica, Boritzer/Gray/Hamano Gallery, Santa Monica, California

Esculturas, Praxis Arte Internacional, Mexico City, Mexico

Drift, Boritzer/Gray/Hamano Gallery, Santa Monica, California

Selected Group Exhibitions

Ojai Invitational 2017: California Space and Light, Porch Gallery, Ojai, California

20, Zetaeffe Galleria, Florence, Italy

Recent Work, Gallery Jones, Vancouver, Canada 2015

2015

Gerundet Umkriest, Gallery Foundation SBC Pro Arte, Biberach, Germany

American Array, Honolulu Museum of Art, Honolulu, Hawaii

The Nature of Sculpture: Art in the Garden, Los Angeles County Arboretum, Arcadia, California

Farbe ist mein Motiv, Galerie Kaysser, Ruhpolding, Germany

2014

Bogen Schiessen, Museum Biberach, Biberach, Germany

Blur the Lines, Brad Howe and Murakami Takashi, Asian Art Works, Busan, Korea

2013

Farmhouse Logic: Brad Howe and Gary Komarin, Morrison Gallery, Kent, Connecticut Brad Howe, Zachary Thornton, Lopez-Herrera, Thomas Punzman Fine Arts, Frankfurt,, Germany

The Frostig Collection, Museum of Art and History, Lancaster, California

1998

Jernigan Wicker Gallery, San Francisco, California

Galerie Janos, Paris, France

Gary Komarin and Brad Howe, Galerie Proarta, Zurich, Switzerland

Galerie Uli Lang, Biberach, Germany

Bunt, Galerie Kaysser, Ruhpolding, Germany

Rouge, Katherine Cone Gallery, Los Angeles, California 2012

L’Art del Regal XII & Brad Howe, Esculture. Art Contemporani Nord-America, La Galeria, Barcelona, Spain

TARFEST: 10th Anniversary Art Exhibition, LACMA, Los Angeles, California

Mouvement et Lumiere: Exposition de 85 Sculptures, La Fondation Villa Datris, Isle Sur La Sorgue, Vaucluse, France

Frostig at Large: In West Hollywood, West Hollywood, California

2010

Color Balance, Marco Casentini and Brad Howe, Melissa Morgan Fine Art, Palm Desert, California

Exhibit Curated by Judit Fekete

SPF: a Gallery, Culver City, California

Malibu Sculpture 2010, A Summer Exhibition curated by Carl Scholsberg, Malibu Civic Center, Malibu, California

Avesta Art 2010, Verket, Avesta, Sweden

Brad Howe, Sabina Tress, Maibritt Ulvedl Bjelke, Isabel Kerkermeier, Galerie Proarta, Zurich, Switzerland

Beyond Painting, Galerie Lausberg, Toronto, Canada

2009

A Happy Medium, Gilman Contemporary, Ketchum, Idaho

Five, Andrea Schwartz Gallery, San Francisco, California

Internationale Kunst Schloss Ruhpolding, Ruhpolding, Germany

2008

Eingeshift/Aussebootet Schiffsmotive in der zeitgenoschen Kunst Galerie der Stiftung BC-pro arte,

Biberach, Germany

Fusion, Robert Atwell, Bernd Haussemann, Brad Howe, Stephanie Weber, Gilman Contemporary, Ketchum, Idaho

Sculpture in Motion, Art Choreographed by Nature, Atlanta Botanical Garden, Atlanta, Georgia

2007

Keeping It Straight, Right Angles and Hard Edges in Contemporary Southern California, Riverside Museum of Art,

Riverside, California

The El Paseo Invitational, Outdoor Sculpture Exhibition, Palm Desert, California

2006

Garten, Kunst und Gerspräche, Mutschler Skulptur-Garten, Ulm, Germany

Salon Der Schonen Bilder IV, Galerie Axel Holm, Ulm, Germany

L.A. Minimalism Today, Gallery C, Hermosa Beach, California

Primary Colors, Sculpturesite Gallery, San Francisco, California

2005

Touch Me, Gallery C, Hermosa Beach, California

Cities of Light, Fluxian Gallery, Omaha, Nebraska

2004

Nine, Gallery C, Hermosa Beach, California

Out of Plane: Light on White Maze, Collaboration with

Architect Judit Fekete, SPF Gallery, Los Angeles, California

2002

Pourquoi Pas, Galerie Janos, Paris, France

2000

El Paseo Outdoor Sculpture Exhibition, Palm Desert, California

1999

Pier-Walk 99, International Sculpture Exhibition, Chicago, Illinois

1998

Illusion, Riverside Art Museum, Riverside, California

1997

Grins, Humor & Whimsy in Contemporary Art, Millard Sheets Gallery, Pomona, California

1996

Riverside Art Museum, Riverside, California

1995

Eden Gallery, Rowland Heights, California

Edition FIAC/SAGA, Paris, France, SLAC, Strasbourg, France

Tectonic-Ephemeral-Sensual: Sculpture and Jewelry, Architect Su Beningfield and Sculptor Brad Howe. A Collaborative

Leif Holmer Gallery, Nassjo, Sweden

Ekerum Konsthall, Oland, Sweden

1994

Big Littles, Boritzer/Gray/Hamano, Los Angeles, California

Pusan Biennial, Pusan, South Korea

Pop into the 90s’, Kass/Meridian Gallery, Chicago, Illinois

Peter Blake Gallery, Laguna Beach, California

Decouvertes, Paris, France

1993

Kass/Meridian Gallery, Chicago, Illinois

Brea Gallery, City of Brea, California

Galerie Janos, Paris, France

1992

Rubiner Gallery, West Bloomfield, Michigan

Downey Museum of Art, Downey, California

1991

B-1 Gallery, Santa Monica, California

Galerie du Rivo, Freiburg, Germany

1990

Galeria de Arte Misrachi, Mexico City, Mexico

Ministry of Industry & Trade, Mexico City, Mexico

American Pop Culture Today, Laforet Museum, Tokyo, Japan

1988

Diane Nelson Gallery, Laguna Beach, California

1987

B-1 Gallery, Santa Monica, California

Galeria I.B.E.U., Rio de Janeiro, Brazil

Galeria GB Arte, Rio de Janeiro, Brazil

B-1 Gallery, Santa Monica, California

Gallery IV, Los Angeles, California

Diane Nelson Gallery, Laguna Beach, California

329

Selected Public and Corporate Collections

330

Allergan Corporation, Irvine, California

Kitakyushu City International Center, Kitakyushu, Japan

The Animation Guild, Burbank, California

Arario Industries, Cheon-Shi, South Korea

Kimball International, Inc., Los Angeles, California

The Contemporary Museum of Hawaii

Bachem California Inc., Torrance, California

Kreissparkasse, Biberach, Germany

The Diplomat Hotel, Hollywood, Florida

Baxter Healthcare Corporation, Irvine, California

Lancaster Museum of Art and History, Lancaster, California

The Trenton Group, Los Angeles, California

Beechcraft Corporation, Van Nuys, California

La Fundidora, Centro Cultural, Monterrey, NL, Mexico

Trinity University, San Antonio, Texas

Birtcher Corporation, Irvine, California

Landesbank Baden-Wurttemberg, Stuttgart, Germany

UCLA Medical Center, Los Angeles, California

Boehringer Ingelheim, Biberach, Germany

Liberty Mutual Insurance, Plano, Texas

UCLA Anderson School of Business, Los Angeles, California

Boehringer Ingelheim, Ridgefield, Connecticut

Lockton Insurance, Los Angeles, California

Union Bank, Carmel, California

California Spine Center, Thousand Oaks, California Canon Corporation, Irvine, California

Lord Baltimore Properties, Ontario, California

Wheelock Inc. Singapore

Carl Bean AIDS Center, Los Angeles, California

Los Angeles Retarded Citizen’s Foundation, Saugus, California

Wheelock Inc. Hong Kong

Cedars-Sinai Hospital, Los Angeles, California

Loyola Law School, Los Angeles, California

Western Asset, Pasadena, California

Chandler Properties, Los Angeles, California

McNay Art Museum, San Antonio, Texas

Western Asset, Sao Paulo, Brazil

City of Hope, Duarte, California

Medix Mihagino, Kitakyushu, Japan

Xerox Corporation, Rochester, New York

City of Montebello, Transportation Building, Montebello, California

Mercure Hotel, Sao Paulo, Brazil

City of Santa Fe Springs, California

M.G.M. Grand Airlines, JFK Airport, New York

City of West Hollywood, California Clarinda Carnegie Art Museum, Clarinda, Iowa

Michigan State University, East Lansing, Michigan

Colegio Nacional de Educacion Profesional Tecnica- Administrative Campus, Toluca, Mexico

Ministry of Industry and Trade Building, Mexico City, Mexico

Concord Property Corporation, San Antonio, Texas

M.I.T., Cambridge, Massachusetts

County of Los Angeles, California

Murrel Company, Newport Beach, California

Crocker Museum of Art, Sacramento, California

Neiman Marcus, Dallas, Texas

Cupertino Housing Partners, Cupertino, California

Nobe Telecommunications Corporation, Miami, Florida

Delta Dental, San Francisco, California

Overton Moore and Associates Inc. Los Angeles, California

Duncan Aviation, Lincoln, Nebraska

Pacific Medical Buildings, San Diego, California

Edificio Siglum, SARE Corporation, Mexico City, Mexico

Pasadena Museum of California Art, Pasadena, California

Edison International, Rosemead, California

Princess Cruise Line, Sun Princess, Los Angeles, California

Edwards Lifesciences, Irvine, California

Raleigh Durham Airport, Raleigh, North Carolina

Eisenhower Medical Center, Rancho Mirage, California

Royal Host, International Forum Building, Tokyo, Japan

Equity Office, Atlanta, Georgia

Saks Fifth Avenue, USA

Frost Bank, San Antonio, Texas

Samsung Corporation, Seoul, South Korea

Georgia International Convention Center, Atlanta, Georgia

Sand Hill Property Company, Sunnyvale, California

Gershwin Hotel, New York City, New York

SAS Software Inc. Cary, North Carolina

Heising-Simons Foundation, San Francisco, California

Secretary of Commerce, Mexico City, Mexico

Hilton Caribe, San Juan, Puerto Rico

Stanford University, Palo Alto, California

Honolulu Museum of Art, Honolulu, Hawaii

Straub Autovermietung Hertz, Biberach, Germany

Houlihan Lokey, Los Angeles, California

Sudwestbank, Stuttgart, Germany

Intuit, Reno, Nevada

Stanford University, Palo Alto, California

Jesuit Dallas Museum, Dallas, Texas

Sysco Corporation, Houston, Texas

Katell Properties, Los Angeles, California

Temple University, Philadelphia, Pennsylvania

Kaiser Permanente, Baldwin Park, California

Tesoro, San Antonio, Texas

331

Plate Numbers 1 | Ventana, 2002 Bronze 84 x 120 x 30 in. (210 x 300 x 75 cm) Katel Properties, Los Angeles, CA

14 | Dueling and Drinking, 2018 Aluminum, Urethane 36 x 8 x 11 in. (90 x 20 x 28 cm) Collection of the Artist

27 | Thusness, 2018 Stainless Steel, Urethane 16 x 22 x 18 in. (40 x 55 x 45 cm) Collection of Sheryl Sandberg

2 | If Not Now, 2017 Stainless Steel, Urethane 13 x 25 x 12 in. (33 x 63 x 30 cm) Collection of Elenore and Domenico De Sole

15 | Forever Not Yet, 2017 Stainless Steel, Urethane 18 x 19 x 6 in. (45 x 48 x 15 cm) Collection of the Artist

28 | Tobacco Shop, 2017 Stainless Steel, Urethane 15 x 12 x 9 in. (38 x 30 x 23 cm) Collection of Rich Esposito

3 | Cajole, 2017 Aluminum, Urethane 29 x 51 x 6 in. (73 x 128 x 15 cm) Private Collection

16 | Hinterland, 2017 Stainless Steel, Urethane, 13 x 17 x 6 in. (33 x 43 x 15 cm) Private Collection

29 | Tussle, 2017 Stainless Steel, Urethane 6 x 14 x 5 in. (15 x 35 x 13 cm) Collection of Sheryl Sandberg

4 | Topsoil, 2017 Stainless Steel, Urethane 13 x 14 x 9 in. (33 x 35 x 23 cm) Collection of Artist

17 | Imitating a Tree, 2018 Aluminum, Urethane 93 x 40 x 30 in. (233 x 100 x 75 cm) Private Collection

30 | Stanza, 2011 Stainless Steel, Urethane 24 x 24 x 8 in. (61 x 36 x 20 cm) Private Collection

18 | Love is an Instrument, 2017 Stainless Steel, Urethane 6 x 16 x 15 in. (15 x 40 x 38 cm) Private Collection

31 | Phlogiston, 2017 Aluminum, Urethane 50 x 80 x 12 in. (125 x 200 x 30 cm) Commissioned by Erdrich White Fine Art

6 | Gentle is the Resting Hand, 2018 Stainless Steel, Urthane 23 x 20 x 13 in. (56 x 50 x 33 cm) Collection of May Chung

19 | Slope, 2017 Stainless Steel, Urethane 9 x 18 x 13 in. (23 x 45 x 33 cm) Harriet and Steven Nichols

32 | Carillon, 2011 Stainless Steel, Urethane 12 x 29 x 6 in. (30 x 73 x 15 cm) Private Collection

7 | All of a Sudden, 2017 Stainless Steel, Urethane 5 x 16 x 5 in. (13 x 40 x 13 cm) Collection of Elizabeth and Lothar Blattner

20 | Seeming to Be, 2018 Aluminum, Urethane 16 x 12 x 8 in. (40 x 30 x 20 cm) Private Collection

33 | Imbue, 2017 Stainless Steel, Urethane 66 x 90 x 7 in. (165 x 225 x 18 cm) Private Collection

8 | Forgetting, 2017 Stainless Steel, Urethane 20 x 11 x 8 in. (50 x 28 x 20 cm) Collection of Johannes Remmele

21 | Soft, 2017 Stainless Steel, Urethane 12 x 24 x 9 in. (30 x 60 x 23 cm) Private Collection

34 | Graderes, 2011 Stainless Steel, Urethane 16 x 36 x 16 in. (40 x 90 x 40 cm) Private Collection

9 | Blameless as Snow, 2018 Stainless Steel, Urethane 11 x 17 x 6 in. (28 x 43 x 15 cm) Private Collection

22 | This is About To Be, 2017 Stainless Steel, Urethane 7 x 14 x 5 in. (18 x 35 x 13 cm) Private Collection

35 | Sombra, 2011 Stainless Steel, Urethane 20 x 14 x 14 in. (50 x 35 x 35 cm) Private Collection

10 | Borderland, 2018 Aluminum, Urethane 8 x 16 x 16 in. (45 x 40 x 40 cm) Collection of the Artist

23 | The Planet Is a Wild Place, 2018 Stainless Steel, Urethane 13 x 19 x 7 in. (33 x 48 x 18 cm) Collection of Elaine Surnow and Jim Martini

36 | Tocer, 2011 Stainless Steel, Urethane 20 x 28 x 14 in. (50 x 70 x 143 cm) Private Collection

11 | If Not Now, 2017 Stainless Steel, Urethane 13 x 25 x 12 in. (33 x 63 x 30 cm) Collection of Elenore and Domenico De Sole

24 | While The Getting Is Good, 2017 Stainless Steel, Urethane 7 x 14 x 5 in. (18 x 35 x 13 cm) Private Collection

37 | Kallos, 2013 Stainless Steel, Urethane 10 x 33 x 9 in. (25 x 83 x 23 cm) Collection of Agata Maszkiewicz

12 | Cant, 2017 Stainless Steel, Urethane 5 x 15 x 9 in. (13 x 38 x 23 cm) Collection of Uli Lang

25 | Triumph of Enchantment, 2018 Aluminium, Urethane 82 x 24 x 34 in. (205 x 60 x 85 cm) Private Collection

38 | Ionian Bevy, 2011 Stainless Steel, Urethane 21 x 52 x 7 in. (53 x 130 x 18 cm) Private Collection

13 | A Flower from the Future, 2018 Aluminum, Urethane 85 x 33 x 29 in. (213 x 83 x 73 cm) Collection of Susan and Randy Snyder

26 | Trapdoor, 2018 Stainless Steel, Urethane 4 x 14 x 3 in. (10 x 35 x 8 cm) Private Collection

39 | Difficulty in Knowing, 2017 Stainless Steel, Urethane 56 x 19 x 8 in. (140 x 48 x 20 cm) Private Collection

5 |

332

Amnesia, 2017 Stainless Steel, Baltic Birch 13 x 12 x 4 in. (33 x 30 x 10 cm) Collection of Katherine Cone

40 | At the End of the Day, 2017 Stainless Steel, Urethane 36 x 36 x 6 in. (90 x 90 x 15 cm) Private Collection

53 | Lang 50, 2018 Stainless Steel, Urethane 5 x 14 x 7 in. (13 x 35 x 18 cm) Private Collection

66 | Surge, 2008 Bronze 12 x 23 x 6 in. (30 x 58 x 15 cm) Private Collection

41 | Outgiving, 2017 Stainless Steel, Urethane 16 x 120 x 6 in. (40 x 300 x 15 cm) Collection of Tom Gregory

54 | Lang 55, 2018 Stainless Steel, Urethane 5 x 8 x 8 in. (11 x 19 x 19 cm) Private Collection

67 | Chubby Raindrop, 2003 Bronze 40 x 24 x 10 in. (100 x 60 x 25 cm) Private Collection

42 | Making It Up As I Go Along, 2017 Stainless Steel, Urethane 44 x 82 x 6 in. (110 x 205 x 15 cm) Collection of the Artist

55 | Lang 73, 2018 Stainless Steel, Urethane 9 x 10 x 6 in. (23 x 25 x 15 cm) Private Collection

68 | Workbench, 2017 Bronze 18 x 22 x 5 in. (45 x 55 x 13 cm) Private Collection

43 | Workaround, 2015 Stainless Steel, Urethane 38 x 34 x 8 in. (95 x 85 x 20 cm) Collection of Torsten Michel

56 | Lang 81, 2018 Stainless Steel, Urethane 3 x 9 x 6 in. (8 x 23 x 14 cm) Private Collection

69 | Heap, 2008 Bronze 12 x 23 x 6 in. (30 x 58 x 15 cm) Private Collection

44 | Enfatico, 2013 Stainless Steel, Urethane 12 x 34 x 11 in. (30 x 85 x 28 cm) Private Collection

57 | Lang 84, 2018 Stainless Steel, Urethane 5 x 8 x 5 in. (13 x 20 x 13 cm) Private Collection

70 | La Ascenci n del Corazon, 1999 Bronze 17 x 19 x 10 in. (43 x 48 x 25 cm) Private Collection

45 | When Bad Things Fail to Happen, 2018 Stainless Steel, Urethane 6 x 9 x 5 in. (15 x 23 x 13 cm) Private Collection

58 | Lang 91, 2018 Stainless Steel, Urethane 5 x 10 x 9 in. (13 x 25 x 23 cm) Private Collection

71 | Magellan, 2003 Bronze 28 x 18 x 11 in. (70 x 45 x 28 cm) Private Collection

46 | Mexido, 2013 Stainless Steel, Urethane 6 x 14 x 10 in (15 x 36 x 25 cm), View A, B, C, D Collection of Raphaele Cohen-Barcy

59 | Lang 118, 2018 Stainless Steel, Urethane 5 x 8 x 6 in. (13 x 20 x 15 cm) Private Collection

72 | Pinocchio, 2003 Bronze 36x 17 x 11 in. (90 x 43 x 28 cm) Private Collection

47 | Desire to Assimilate, 2018 Stainless Steel, Urethane 8 x 19 x 11 in. (20 x 48 x 28 cm) Private Collection

60 | Lang 36, 2018 Stainless Steel, Urethane 5 x 8 x 6 in. (13 x 20 x 15 cm) Private Collection

73 | Flute, 2011 Bronze 21.5 x 7 x 6 in. (54 x 18 x 15 cm) Private Collection

48 | The Intolerable Discovery of Limits, 2018 Stainless Steel, Urethane 7 x 13 x 10 in. (18 x 33 x 25 cm) Private Collection

61 | Lang 116, 2018 Stainless Steel, Urethane 3 x 5 x 3 in. (8 x 13 x 8 cm) Private Collection

74 | Flow, 2010 Bronze 6 x 29 x 5 in. (15 x 73 x 13 cm) Collection of the Artist

49 | Prattle, 2018 Stainless Steel, Urethane 6 x 13 x 9 in. (15 x 33 x 23 cm) Private Collection

62 | Lang 101, 2018 Stainless Steel, Urethane 3 x 7 x 4 in. (8 x 18 x 10 cm) Private Collection

75 | Shanghai, 2007 Patinated Bronze 34 x 25 x 14 in. (85 x 63 x 35 cm), View A, B, C, and D Collection of Cody Luket

50 | So Far So Good, 2018 Stainless Steel, Urethane 8 x 12 x 8 in. (20 x 30 x 20 cm) Private Collection

63 | Lang 57, 2018 Stainless Steel, Urethane 4 x 7 x 6 in. (10 x 18 x 15 cm) Private Collection

51 | Vao, 2013 Stainless Steel, Urethane 9 x 21 x 12 in. (23 x 53 x 30 cm) Private Collection

64 | Rara Avis, 2018 Stainless Steel, Urethane 6 x 6 x 6 in. (14 x 15 x 14 cm) Private Collection

52 | Bird in a Snare, 2018 Stainless Steel, Urethane 6 x 16 x 8 in. (15 x 40 x 20 cm) Private Collection

65 | Kabobette, 2002 Bronze 21 x 6 x 12 in. (53 x 15 x 30 cm) Collection of Tom Gregory

76 | Nor Thing, Nor Fact, 2011 Stainless Steel, Urethane 15 x 13 x 8 in. (38 x 33 x 20 cm) Private Collection 77 | Sabine, 2011 Stainless Steel, Urethane 12 x 7 x 17 in. (30 x 18 x 43 cm) Private Collection 78 | Throwing Water on a Grease Fire, 2011 Stainless Steel, Urethane 13 x 11 x 5 in. (33 x 28 x 13 cm), View A and B Private Collection

333

334

79 | Prop, 2015 Stainless Steel, Urethane 19 x 13 x 7 in. (48 x 33 x 18 cm) Private Collection

92 | What is the Cost of Giving, 2010 Stainless Steel, Urethane 12 x 8 x 5 in. (30 x 20 x 13 cm) Private Collection

105 | Murmur, 2012 Stainless Steel, Urethane 12 x 20 x 12 in. (30 x 50 x 30 cm) Private Collection

80 | Barriga, 2014 Stainless Steel, Urethane 19 x 11 x 8 in. (48 x 28 x 20 cm) Private Collection

93 | Compliance, 2016 Stainless Steel, Urethane 130 x 28 x 3 in. (75 x 70 x 8 cm) Collection of The Gerster Family

106 | Autonomy, 2012 Stainless Steel 13 x 24 x 11 in. (33 x 60 x 28 cm) Collection of Nancy Larrew and Andi Fuzes

81 | Kangchenjunga, 2015 Stainless Steel 9 x 12 x 5 in. (23 x 30 x 13 cm) Private Collection

94 | Erstwhile, 2015 Stainless Steel, Urethane 30 x 30 x 7 in. (75 x 75 x 18 cm) Collection of the Artist

107 | Blurr, 2013 Stainless Steel, Urethane 31 x 11 x 10 in. (78 x 28 x 25 cm) Private Collection

82 | Manga Parbat, 2015 Stainless Steel 18 x 7 x 5 in. (45 x 18 x 13 cm) Private Collection

95 | Alacran Blanco, 2010 Stainless Steel, Urethane 5 x 5 x 2 in. (13 x 13 x 5 cm) Private Collection

108 | Chitin, 2012 Stainless Steel 115 x 49 x 48 in. (288 x 123 x 120 cm) Collection of the Artist

83 | Mont Blanc, 2015 Stainless Steel 13 x 6 x 3 in. (33 x 15 x 8 cm) Private Collection

96 | Construct 26, 2011 Stainless Steel, Urethane 11 x 12 x 3 in. (28 x 30 x 8 cm) Private Collection

109 | Gravity, 2013 Stainless Steel, Urethane 20 x 22 x 13 in. (50 x 55 x 33 cm) Collection of Darlene Fogel

84 | Denali, 2015 Stainless Steel 13 x 6 x 5 in. (33 x 15 x 13 cm) Private Collection

97 | Construct 19, 2011 Stainless Steel, Urethane 16 x 12 x 4 in. (40 x 30 x 33 cm) Private Collection

110 | Linger, 2015 Stainless Steel 18 x 25 x 9 in. (45 x 63 x 23 cm) Private Collection

85 | Kilimanjaro, 2015 Stainless Steel 15 x 9 x 4 in. (38 x 23 x 10 cm) Private Collection

98 | Confessions of Disappearance, 2016 Stainless Steel, Urethane 22 x 12 x 3 in. (55 x 30 x 8 cm) Private Collection

111 | Fete, 2012 Stainless Steel, Urethane 12 x 24 x 15 in. (30 x 60 x 38 cm) Collection of the Artist

86 | Himalchuli, 2015 Stainless Steel 18 x 6 x 3 in. (45 x 15 x 8 cm) Private Collection

99 | Abolition, 2013 Stainless Steel, Urethane 15 x 25 x 8 in. (38 x 63 x 20 cm) Private Collection

112 | Response, 2013 Stainless Steel, Urethane 20 x 18 x 16 in. (50 x 45 x 40 cm) Collection of Carrie Chassin and Jochen Haber

87 | Rainier, 2015 Stainless Steel 18 x 7 x 4 in. (45 x 18 x 10 cm) Private Collection

100 |

Amid, 2017 Stainless Steel, Urethane, Acrylic 18 x 24 x 6 in. (45 x 60 x 15 cm) Collection of the Artist

113 | Whitewash, 2013 Stainless Steel, Urethane 25 x 31 x 12 in. (61 x 76 x 29 cm) Collection of Suzanne and Sebastian Finkbeiner

88 | Whitney, 2015 Stainless Steel 13 x 7 x 4 in. (33 x 18 x 10 cm) Private Collection

101 |

Benevolence, 2017 Stainless Steel, Urethane, Acrylic 15 x 24 x 10 in. (38 x 60 x 25cm) Collection of Elke and Thomas Handtmann

114 | Routine and Ritual, 2015 Stainless Steel, Aluminum, Urethane 23 x 30 x 12 in. (58 x 75 x 30 cm) Private Collection

89 | 4 Constructs, 2010 Stainless Steel, Urethane 6 x 30 x 5 in. (90 x 75 x 13 cm) Private Collection

102 |

Daylight, 2017 Stainless Steel, Urethane, Acrylic 24 x 10 x 10 in. (60 x 25 x 25 cm) Collection of Elke and Thomas Handtmann

115 | Temptation, 2012 Stainless Steel, Urethane 15 x 21 x 14 in. (38 x 53 x 35 cm) Private Collection

90 | Happenstance, 2010 Stainless Steel, Urethane 12 x 8 x 2 in. (30 x 20 x 5 cm) Collection of Agata Maszkeiwicz

103 | Absence, 2017 Acrylic 39 x 16 x 10 in. (98 x 40 x 25 cm) Private Collection

116 | Sonant, 2013 Stainless Steel, Urethane 17 x 10 x 10 in. (43 x 25 x 25 cm) Private Collection

91 | Blue/Black Construct, 2010 Stainless Steel, Urethane 12 x 8 x 2 in. (30 x 20 x 5 cm) Private Collection

104 | Flavor, 2017 Stainless Steel, Urethane 15 x 24 x 10 in. (38 x 60 x 25 cm) Private Collection

117 | Rules of Thumb, 2015 Stainless Steel, Urethane 18 x 24 x 12 in. (45 x 60 x 30 cm) Private Collection

118 | Sorrow, 2013 Stainless Steel, Urethane 6 x 15 x 9 in. (15 x 38 x 23 cm) Collection of Cynthia Penna Simonelli and Renato Penna

131 | Anesthesia, 2018 Stainless Steel 40 x 120 x 24 in. (100 x 300 x 60 cm) Collection of the Artist

144 | Dewey, 2013 Stainless Steel, Urethane 14 x 18 x 8 in. (35 x 44 x 20 cm) Private Collection

119 | Frock, 2012 Stainless Steel, Aluminum, Urethane 12 x 25 x 18 in. (29 x 61 x 45 cm) Private Collection

132 | Nook and Cranny, 2018 Stainless Steel, Urethane 61 x 72 x 14 in. (153 x 180 x 35 cm) Private Collection

145 | Geezer, 2011 Stainless Steel, Urethane 35 x 24 x 16 in. (88 x 60 x 40 cm) Collection of Gary Goldstein

120 | The Pacification of Vision, 2015 Stainless Steel, Urethane 38 x 20 x 16 in. (95 x 50 x 40 cm) Private Collection

133 | What Before Who, 2018 Stainless Steel, Urethane 44 x 60 x 13 in. (110 x 150 x 33 cm) Collection of the Artist

146 | Brain of a Sparrow, 2006 Stainless Steel, Urethane 12 x 30 x 5 in. (30 x 75 x 13 cm) Private Collection

121 | Inference, 2013 Stainless Steel, Urethane 21 x 20 x 22 in. (53 x 49 x 54 cm) Collection of May Chung

134 | Truffle Hound, 2016 Stainless Steel, Urethane 18x 24 x 6 in. (45 x 60 x 15 cm) Collection of Gallery Jones

147 | Gush, 2017 Stainless Steel, Urethane 19 x 19 x 8 in. (48 x 48 x 20 cm) Private Collection

122 | Midst, 2013 Stainless Steel, Urethane 20 x 24 x 6 in. (50 x 60 x 15 cm) Collection of the Artist

135 | Bubble Shuffle, 2009 Stainless Steel, Urethane 14 x 18 x 12 in. (34 x 45 x 30 cm) Private Collection

148 | Grace, 2014 Stainless Steel, Urethane 16 x 14 x 8 in. (40 x 35 x 20 cm) Private Collection

123 | Within This Horizon, 2016 Stainless Steel 20 x 40 x 14 in. (50 x 100 x 35 cm) Collection of the Artist

136 | Blind Belief, 2015 Stainless Steel, Urethane 19 x 15 x 7 in. (48 x 38 x 18 cm) Private Collection

149 | Jitter, 2016 Stainless Steel, Urethane 14 x 12 x 5 in. (35 x 30 x 13 cm) Collection of the Artist

124 | Verisimilitude, 2016 Stainless Steel, Urethane 24 x 30 x 5 in. (60 x 75 x 13 cm) Private Collection

137 | Dodger, 2012 Stainless Steel, Urethane 17 x 20 x 10 in. (43 x 50 x 25 cm) Private Collection

150 | Juvenilia, 2016 Stainless Steel, Urethane 8 x 25 x 13 in. (20 x 63 x 33 cm) Collection of the Artist

125 | Ambush, 2016 Stainless Steel 36 x 20 x 14 in. (90 x 50 x 35 cm) Collection of Rhonda and Ron Papell

138 | Brutus, 2015 Stainless Steel, Urethane 15 x 19 x 6 in. (38 x 48 x 15 cm) Collection of May Chung

151 | Nopal, 2007 Stainless Steel, Urethane 28 x 21 x 9 in. (70 x 53 x 22 cm) Private Collection

126 | Tricky Day, 2016 Stainless Steel 24 x 18 x 18 in. (60 x 45 x 45 cm) Private Collection

139 | Changes In The Weather, 2016 Stainless Steel, Urethane 6 x 22 x 8 in. (15 x 55 x 20 cm) Collection of the Artist

152 | Tenor, 2008 Stainless Steel, Urethane 14 x 22 x 6 in. (35 x 55 x 15 cm) Private Collection

127 | Meanwhile, 2016 Stainless Steel 21 x 24 x 16 in. (53 x 60 x 40 cm) Private Collection

140 | Cul-de-Sac, 2015 Stainless Steel, Urethane 8 x 12 x 13 in. (20 x 30 x 33 cm) Collection of the Artist

153 | Pulso, 2012 Stainless Steel, Urethane 21 x 12 x 8 in. (51 x 30 x 20 cm) Private Collection

128 | Carom, 2019 Stainless Steel 12 x 21 x 3 in. (30 x 53 x 8 cm) Collection of the Artist

141 | Countless, 2014 Stainless Steel 7 x 11 x 5 in. (18 x 28 x 13 cm) Private Collection

154 | Plow, 2011 Stainless Steel, Urethane 14 x 18 x 4 in. (35 x 45 x 10 cm) Collection of Eva Fayman

129 | A Desire For Symmetry, 2018 Stainless Steel, Urethane 42 x 96 x 24 in. (105 x 240 x 60 cm) Collection of the Artist

142 | Doppio, 2008 Patinated Stainless Steel 33 x 24 x 11 in. (83 x 60 x 28 cm) Private Collection

155 | Plush, 2017 Stainless Steel, Urethane 14 x 18 x 7 in. (35 x 45 x 18 cm) Private Collection

130 | Blunt Instrument (Variation J), 2018 Stainless Steel, Urethane 58 x 70 x 12 in. (145 x 175 x 30 cm) Collection of the Artist

143 | Doorbell, 2013 Stainless Steel, Urethane 25 x 14 x 9 in. (63 x 35 x 23 cm) Private Collection

156 | Tropos, 2011 Stainless Steel, Urethane 39 x 36 x 18 in. (98 x 90 x 45 cm) Private Collection

335

157 | Life Jacket, 2015 Stainless Steel, Urethane 6 x 19 x 13 in. (15 x 48 x 33 cm) Private Collection

170 | Bobo, 2011 Stainless Steel, Urethane 64 x 30 x 30 in. (160 x 75 x 75 cm) Collection of the Artist

183 | Paddles, 2010 Stainless Steel, Urethane 78 x 55 x 36 in. (195 x 138 x 90 cm) Private Collection

158 | Mola, 2008 Stainless Steel, Urethane 12 x 23 x 5 in. (30 x 58 x 13 cm) Collection of Suzanne and Jean Claude Benarrosh

171 | Watusi, 2000 Stainless Steel 180 x 72 x 72 in. (450 x 180 x 180 cm) Collection of Ajinomoto Windsor Inc., Ontario, CA

184 | Ransack, 2014 Stainless Steel, Urethane 108 x 60 x 30 in. (270 x 150 x 75 cm) Private Collection

159 | Lato, 2012 Stainless Steel, Urethane 31 x 17 x 9 in. (78 x 43 x 21 cm) Private Collection

172 | Venezuela, 2003 Stainless Steel 168 x 96 x 72 in. (420 x 240 x 180 cm) Collection of George Rosenthal

185 | Judo, 2015 Stainless Steel, Urethane 80 x 64 x 24 in. (200 x 160 x 60 cm) Private Collection

160 | Kettle, 1995 Steel, Urethane 30 x 19 x 18 in. (75 x 48 x 45 cm) Private Collection

173 | Spinoza, 2014 Stainless Steel, Urethane 190 x 117 x 44 in. (475 x 293 x 110 cm) Collection of the Artist

186 | Paloma, 2005 Stainless Steel 76 x 81 x 23 in. (190 x 203 x 58 cm) Private Collection

161 | Oferta Ao Sol, 2012 Stainless Steel, Urethane 132 x 75 x 64 in. (330 x 188 x 160 cm) Collection of the Artist

174 | Waypoint, 2001 Stainless Steel, Urethane 360 x 240 x 120 in. (900 x 600 x 300 cm) Overton Moore Properties, Torrance, CA

187 | Bossa, 2009 Aluminum, Urethane 48 x 40 x 1 in. (120 x 99 x 3 cm) Collection of Uli and Gerhard Lang

175 | Woodpath, 2016 Stainless Steel, Urethane 62 x 42 x 16 in. (155 x 105 x 40 cm) Private Collection

188 | Chords (triptych), 2008 Stainless Steel, Urethane 36 x 108 x 2 in. (90 x 270 x 5 cm) Collection of Simon Rolf

163 | Elan, 2018 Stainless Steel, Urethane 150 x 4 x 45 in. (375 x 120 x 113 cm) Collection of Sandy and Larry Post

176 | As Alive as Possible, 2018 Aluminum, Urethane 77 x 52 x 20 in. (193 x 130 x 50 cm) Collection of Elke and Thomas Handtmann

189 | Dog Whistle, 2015 Stainless Steel, Urethane 48 x 146 x 2 in. (120 x 365 x 5 cm) Private Collection

164 | A City in the Sky, 2019 Aluminum, Urethane 84 x 144 x 48 in. (213 x 366 x 122 cm) Collection of Terry Greene

177 | Semillas, 2016 Stainless Steel, Urethane 72 x 52 x 32 in. (180 x 130 x 80 cm) Stanford University, Stanford, CA

190 | Doughboy, 2008 Aluminum, Urethane 36 x 36 x 2 in. (90 x 90 x 5 cm) Collection of the Artist

165 | Reckon, 2012 Stainless Steel, Urethane 127 x 120 x 32 in. (318 x 300 x 80 cm) Collection of City of Carmel, Carmel, IN

178 | Qualia, 2016 Stainless Steel, Urethane 204 x 168 x 96 in. (510 x 420 x 240 cm) Stanford University, Stanford, CA

191 | Parque Central, 2011 Aluminum, Urethane 48 x 72 in. (120 x 180 cm) Collection of Peter Moglia

166 | At The Center Of The Story, 2016 Stainless Steel, Urethane 82 x 34 x 19 in. (205 x 85 x 48 cm) Private Collection

179 | Lemonada, 2009 Aluminum, Urethane 50 x 84 x 120 in. (125 x 210 x 300 cm) Collection of the Artist

192 | Quasar Triptych, 2008 Aluminum, Urethane 36 x 110 x 2 in. (90 x 275 x 5 cm) Private Collection

167 | Buffalo Cowgirl, 2010 Stainless Steel, Urethane 104 x 64 x 42 in. (260 x 160 x 105 cm) Collection for Robin and Richard Goldman

180 | Red, Black Monoliths, 2006 Stainless Steel, Urethane 60 x 150 x 10 in. (150 x 375 x 25 cm) Private Collection

193 | Topo, 2010 Aluminum, Urethane 30 x 2 in. (75 x 5 cm) Private Collection

168 | Tissue Paper, 2015 Stainless Steel, Urethane 81 x 47 x 12 in. (203 x 118 x 30 cm) Private Collection

181 | Rivers Run Through Us, 2018 Aluminum, Urethane 180 x 96 x 48 in. (450 x 240 x 120 cm) Michigan State University, East Lansing, MI

194 | Baroda Wall, Wall 1, 2005 Stainless Steel, Bronze, Aluminum, Urethane 48 x 264 x 12 in. (120 x 660 x 30 cm) Collection of David Bohnett

169 | Sweet Potato, 2016 Stainless Steel, Urethane 90 x 62 x 17 in. (225 x 155 x 43 cm) Private Collection

182 | Palomino, 2015 Stainless Steel, Urethane 156 x 90 x 60 in. (396 x 229 x 152 cm) Collection of Frost Bank, San Antonio, TX

195 | Baroda Wall Installation, 2019 Aluminum, Bronze and Stainless Steel 240 x 480 x 36 in. (600 x 1200 x 90 cm) Los Angeles County & University of Southern California Gift of David Bohnett

162 |

336

Occam’s Razor, 2018 Carbon Fiber,Stainless Steel, Urethane 25 x 18 x 11 in. (63 x 45 x 28 cm) Collection of Essex Property Trust, San Mateo, CA

196 | And Yet, 2017 Aluminum, Urethane 32 x 24 x 24 in. (80 x 60 x 60 cm) Private Collection

209 | Nebraska, 2005 Stainless Steel, Urethane 36 x 36 x 5 in. (90 x 90 x 13cm) Collection of Lisa and Chris Bonbright

222 | Casa de Mi Abuelita, 2014 Mixed Media 37 x 33 x 34 in. (93 x 83 x 85 cm) Private Collection

197 | Forgetfulness, 2007 Aluminum, Urethane 52 x 31 x 4 in. (130 x 78 x 10 cm) Private Collection

210 | Light House, 2006 Stainless Steel, Urethane 10 x 10 x 16 in. (25 x 25 x 40 cm) Private Collection

223 |

198 | Virtual Banjo, 2004 Stainless Steel, Urethane, 12 x 24 x 7 in. (30 x 60 x 18 cm) Private Collection

211 | Neruda, 2007 Aluminum, Urethane 47 x 32 x 4 in. (118 x 80 x 10 cm) Collection of Beatriz Borges

224 | Things Happen, 2015 Stainless Steel, Aluminum, Urethane 32 x 100 x 12 in. (80 x 250 x 30 cm) Private Collection

212 | Norwegian Wood, 2007 Stainless Steel, Urethane 19 x 12 x 19 in. (48 x 30 x 48 cm) Collection of Elke and Thomas Handtmann

225 | Song of the Expanding Universe, 2003 Aluminum, Urethane 120 x 120 x 960 in. (300 x 300 x 2400 cm) Georgia International Convention Center College Park, Atlanta, GA

199 |

Combinatorialism, 2016 Stainless Steel, Aluminum, Urethane 216 x 216 x 48 in. (540 x 540 x 120 cm) Collection of Lynette and Derek Brown

High North, 2015 Stainless Steel, Aluminum, Urethane 24 x 216 x 72 in. (60 x 540 x 180 cm) Collection of Ellen Hoffman

200 | Chuva, 2007 Aluminum, Urethane 47 x 32 x 4 in. (118 x 80 x 10 cm) Private Collection

213 | Sabanas, 2004 Steel, Urethane 5 x 15 x 3 in. (38 x 38 x 6 cm) Private Collection

201 | Goyo, 2007 Aluminum, Urethane 18 x 76 x 4 in. (45 x 190 x 10 cm) Collection of Elke and Thomas Handtmann

214 | Iowa, 1997 Steel, Urethane 30 x 24 x 6 in. (75 x 60 x 15 cm) Collection of Dr. Norman Hartstein

227 | It Smells Like Rain Again, 2006 Stainless Steel, Aluminum, Urethane 102 x 72 x 12 in. (255 x 180 x 30 cm) Private Collection

202 | Green River, 2005 Stainless Steel, Aluminum, Urethane 15 x 15 x 1 in. (38 x 38 x 3 cm) Private Collection

215 | Salty Biscuits, 2017 Stainless Steel, Urethane 60 x 42 x 6 in. (150 x 105 x 15 cm) Private Collection

228 |

203 | Onda Azul, 2006 Stainless Steel, Aluminum, Urethane 24 x 24 x 2 in. (60 x 60 x 5 cm) Private Collection

216 | Spread, 2017 Aluminum, Urethane 28 x 24 x 3 in. (70 x 60 x 8 cm) Collection of Elke and Thomas Handtmann

229 | Ventriloquism, 2013 Stainless Steel, Aluminum, Urethane 216 x 132 x 36 in. (540 x 330 x 90 cm) Private Collection

204 | Strew, 2017 Aluminum, Urethane 22 x 37 x 7 in. (56 x 94 x 18 cm) Collection of Bruna Howe

217 | Tingle, 2015 Stainless Steel, Urethane 10 x 60 x 9 in. (25 x 150 x 23 cm) Collection of the Artist

230 |

205 | Lift, 2009 Aluminum, Urethane 34 x 30 x 4 in. (85 x 75 x 9 cm) Private Collection

218 | Plural Truths, 2017 Aluminum 40 x 48 x 2 in. (102 x 122 x 5 cm) Collection of the Artist

231 | An Exaltation of Larks, 2010 Stainless Steel, Aluminum, Urethane 156 x 120 x 120 in. (427 x 305 x305 cm) Collection of Gary Simmons

206 | Speed, 2004 Stainless Steel, Urethane 60 x 48 x 9 in. (150 x 120 x 23 cm) Collection of Uli and Gerhard Lang

219 | Oregon, 2005 Stainless Steel, Urethane 9 x 12 x 14 in. (23 x 30 x 35 cm) Collection of the Gerster Family

232 |

207 | Naranja y Leche, 2001 Stainless Steel, Urethane 15 x 20 x 3 in. (38 x 50 x 8 cm) Private Collection

220 | Cornbread, 2010 Stainless Steel, Urethane 10 x 12 x 13 in. (25 x 30 x 33 cm) Collection of Uli Lang, Biberach, Germany

233 | Bouyance, 2014 Mixed Media 42 x 24 x 18 in. (105 x 60 x 45 cm) Collection of the Artist

208 | Medusa, 2008 Aluminum, Urethane 54 x 57 x 3 in. (135 x 143 x 8 cm) Collection of Carolin Grimbacher

221 | Ropa en el Viento, 2002 Aluminum, Stainless Steel, Urethane 144 x 144 in. (360 x 360 cm) Private Collection

234 |

226 | One Desert Sky, 2014 Stainless Steel, Aluminum, Kinetic Installation High Desert Health Center, Lancaster, CA

Trade Winds, 2009 Stainless Steel, Aluminum, Urethane 360 x 216 x 300 in. (900 x 540 x 750 cm) Temple University, Philadelphia, PA

To Delight in the Hopes of the Young, 2019 Aluminum, Stainless Steel, Urethane 156 x 72 x 36 in. (396 x 183 x 91 cm) Collection of Terry Gree30

Near, 2013 Stainless Steel, Urethane 20 x 10 x 13 in. (51 x 25 x 33 cm) Collection of Maria and Alexander Mertens

Puerto Plata, 2014 Stainless Steel, Aluminum, Urethane 32 x 44 x 12 in. (80 x 110 x 30 cm) Collection of Ezra Kest

337

Three, 2013 Stainless Steel, Aluminum, Urethane 15 x 16 x 9 in. (38 x 40 x 21 cm) Collection of the Artist

248 | Urbanica, 2010 Stainless Steel, Aluminum, Urethane 16 x 96 x 13 in. (41 x 244 x 33 cm) Private Collection

261 | Rupana, 2016 Archival Pigment Print 44 x 48 in. (110 x 120 cm) Private Collection

236 | Acra, 2012 Stainless Steel, Aluminum, Urethane 18 x 21 x 12 in. (45 x 53 x 30 cm) Private Collection

249 | Pictologica, 2009 Stainless Steel, Aluminum, Urethane 84 x 48 x 12 in. (210 x 120 x 30 cm) Private Collection

262 | Tayta, 2018 Archival Pigment Print 44 x 44 in. (110 x 110 cm) Private Collection

237 | Cabruta, 2017 Stainless Steel, Aluminum, Urethane 29 x 26 x 11 in. (73 x 65 x 28 cm) Private Collection

250 | Fuyu, 2016 Archival Pigment Print 36 x 48 in. (90 x 120 cm) Private Collection

263 | Tazin, 2016 Archival Pigment Print 48 x 60 in. (120 x 150 cm) Private Collection

238 | Camellia, 2012 Stainless Steel, Aluminum, Urethane 21 x 8 x 10 in. (53 x 20 x 25 cm) Private Collection

251 | Karl, 2015 Archival Inkjet Print 20 x 13 in. (50 x 33 cm) Private Collection

264 | Llantu, 2016 Archival Pigment Print 40 x 60 in. (100 x 150 cm) Private Collection

239 | Cartagena, 2009 Stainless Steel, Urethane 16 x 16 x 10 in. (40 x 40 x 25 cm) Private Collection

252 | Yaku Akapana, 2015 Archival Inkjet Print 16 x 18 in. (39 x 45 cm) Private Collection

265 | Putru, 2016 Archival Pigment Print 40 x 72 in. (100 x 180 cm) Private Collection

253 | Yaku Wambuy, 2015 Archival Inkjet Print 13 x 20 in. (33 x 50 cm) Private Collection

266 | Putsuju, 2015 Archival Inkjet Print 20 x 13 in. (50 x 33 cm) Private Collection

241 | Moldova, 2012 Stainless Steel, Aluminum, Urethane 21 x 22 x 9 in. (53 x 54 x 23 cm) Private Collection

254 | Kuytsa, 2016 Archival Pigment Print 36 x 72 in. (90 x 180 cm) Private Collection

267 | Manya, 2016 Archival Pigment Print 40 x 72 in. (100 x 180 cm) Private Collection

242 | False Confession, 2014 Stainless Steel, Aluminum, Urethane, Wood 39 x 39 x 34 in. (98 x 98 x 85 cm) Private Collection

255 | Nina, 2016 Archival Pigment Print 40 x 72 in. (100 x 180 cm) Private Collection

268 | Micha, 2016 Archival Pigment Print 44 x 60 in. (110 x 150 cm) Private Collection

243 | Toralba, 2017 Stainless Steel, Aluminum, Urethane 28 x 42 x 10 in. (70 x 105 x 25 cm) Private Collection

256 | Allpa Jaku, 2016 Archival Pigment Print 40 x 60 in. (100 x 150 cm) Private Collection

269 | Pacha Mama, 2016 Archival Pigment Print 44 x 60 in. (110 x 150 cm) Private Collection

244 | Snack Shack, 2014 Mixed Media 44 x 47 x 11 in. (110 x 118 x 28 cm) Collection of the Artist

257 | Warmi, 2016 Archival Pigment Print 40 x 60 in. (100 x 150 cm) Private Collection

270 |

Terms of Opprobrium, 2017 Archival Pigment Print 30 x 30 in. (75 x 75 cm) Collection of the Artist

245 | Dust, 2010 Stainless Steel, Aluminum, Urethane 35 x 50 x 17 in. (88 x 125 x 43 cm) Private Collection

258 | Anga, 2016 Archival Pigment Print 40 x 60 in. (100 x 150 cm) Private Collection

271 |

The Need To Obey, 2017 Archival Pigment Print 30 x 30 in. (75 x 75 cm) Collection of the Artist

246 |

Prato, 2012 Stainless Steel, Aluminum, Urethane 16 x 16 x 6 in. (40 x 40 x 15 cm) Collection of the Artist

259 | Buyi, 2016 Archival Pigment Print 40 x 60 in. (100 x 150 cm) Private Collection

272 | A Conspiracy To Miss, 2017 Archival Pigment Print 36 x 36 in. (90 x 90 cm) Collection of the Artist

247 |

Pirate Ship , 2011 Stainless Steel, Aluminum, Urethane 48 x 72 x 6 in. (120 x 180 x 15 cm) Collection of Alice Steiner

260 | Ukucha, 2016 Archival Pigment Print 60 x 40 in. (150 x 100 cm) Private Collection

273 | Accountability To The Other, 2017 Archival Pigment Print 36 x 36 in. (90 x 90 cm) Collection of the Artist

235 |

240 |

338

Camelopardalis, 2013 Stainless Steel, Aluminum, Urethane 22 x 23 x 8 in. (54 x 58 x 20 cm) Collection of Ron and Rhonda Papell

274 | Letting Beings Be, 2017 Archival Pigment Print 36 x 36 in. (90 x 90 cm) Collection of the Artist

287 | Based on the Current Understanding, 2020 Polished Stainless Steel, Wire 12 x 10 x 6 in. (30 x 25 x 15 cm) Private Collection

275 | Man Is Not A Killer But The Group Is, 2017 Archival Pigment Print 36 x 36 in. (90 x 90 cm) Collection of the Artist

288 | Echoes, 2020 Stainless Steel, Aluminum, Urethane 16 x 15 x 5 in. (40 x 38 x 13 cm) Private Collection

276 | Aftermath, 2017 Archival Pigment Print 30 x 30 in. (75 x 75 cm) Collection of the Artist

289 | Flags on a Map, 2020 Polished Stainless Steel, Wire, Stainless Steel Plate, Urethane 16 x 15 x 12 in. (40 x 38 x 30 cm) Private Collection

277 | An Unadulterated Day, 2017 Archival Pigment Print 36 x 36 in. (90 x 90 cm) Collection of the Artist

290 | Mau Maquette, 2011, Stainless Steel, Urethane 14 x 9 x 5 in. (35 x 23 x 13 cm) Collection of Hortense and Matias Marcier

278 | Snake Charmer, 2017 Archival Pigment Print 36 x 36 in. (90 x 90 cm) Collection of the Artist 279 | Predisposition, 2017 Archival Pigment Print 36 x 36 in. (90 x 90 cm) Collection of the Artist

291 | Mau , 2019, Stainless Steel, Urethane 156 x 84 x 48 in. (390 x 210 x 120 cm) Collection of the City of Havana, Cuba 292 | Center Piece 01, 2018 Stainless Steel, Urethane 5 x 12 x 9 in. (13 x 30 x 23 cm) Private collection

280 | Flatterer of the Court, 2020 Polished Stainless Steel, Mixed Media 12 x 10 x 3 in. (30 x 25 x 8 cm) Private Collection 281 | When a Dream is Told, 2016 Polished Stainless Steel, Mixed Media 12 x 10 x 5 in. (30 x 25 x 13 cm) Private Collection 282 | Let a Hundred Flowers Bloom, 2020 Polished Stainless Steel, Mixed Media 12 x 10 x 5 in. (30 x 25 x 13 cm) Private Collection 283 | The Prestine Privacy of Thought, 2020 Polished Stainless Steel, Thread 12 x 10 x 1 in. (30 x 25 x 3 cm) 284 | Evicted From Paradise, 2020 Polished Stainless Steel, Mixed Media 16 x 15 x 3 in. (40 x 62.5 x 8 cm) 285 | All Hat No Cattle, 2016 Polished Stainless Steel, Mixed Media 12 x 10 x 5 in. (30 x 25 x 13 cm) Private Collection 286 | When Time Rushes Off, 2020 Polished Stainless Steel, Mixed Media 12 x 10 x 6 in. (30 x 25 x 15 cm) Private Collection

339

Acknowledgements My experience with this project of pursuing art is not a solitary journey. It has been sustained by a tremendous amount of support. It is in fact a collective effort. Because that is true, this book is not my book, but our book. I am deeply appreciative of your belief in me and willingness to contribute to and collaborate in this effort. To all of you mentioned below and to all of you who have helped me get this far down the road: Thank you

Abbott Brown Alan & Judy Nussenblatt Alan Shapiro Alex Fässler Alexander & Maria Mertens Ann Mazirow Ann Mulally Antonio Arguelles Antonio Xol Chavez Asher Edelman Beth-Anne Mason Bill Maloney Billy Morrison Bob & Toby Waldorf Bonner David Gallery Brian Gamberg & Ming Britta Campbell Bruce Gray Carl Schlosberg Carolin Grimbacher Cheryl Drasin Chip & Marie Carter Chris Boas Christine O’Brien Christine Schefman Cynthia Nelson Dana DePoy Daniel Krause Darlene Fogel Dave Tourje David Bohnett David Cremin David Klein Leslie and David Johnson Lynette Brown & Derek J Brown Dean and Pamela Downing Deborah Rader Dennis Galanter Dinny Lesser Donna & Ian Mitroff Doug Rucker Ed & Peggy Robin Edith Matthai Edward Shufro Elinor Turner Emilio Smeke Eunice David Eva Fayman Francis Montgomery Frank Hicks Fred & Harriet Eilber Frozan Aref 340

Geri Thayer Gina & Irving Posalski Gonzalo Algarate Harriett & Guy Salt Helene Brown Irv & Dena Schechter Isaac Soffer James Arnone James Frederick Jason Bennet Jim Traut Janice Wallace Jeannie Denholm Jeff Birdwell Jeff Lapin Joey & Evie Schor John & Marilyn Long John and Gina Willot Jonathan Goodson Judy Fekete Julie Easton Karen Calvert Ken & Marylin Riding Kevin & Alice Steiner Kurt Peterson Laurie Leiberman Leon & Barbara Lewitt Loren Steele Louise Epstein Mark David Leonard Marisa Caichiolo Matias and Hortense Marcier Maureen Shapiro & Ben Rosenthal Maurice Zeitlin Max & Diane Weissberg Maxine Manges May Chung Megan Winkel Michael O’Brian Michael Paselk Michelle & Scott Greer Michelle Edelman & Traffic Miree Koo Frick Mona Rosenberg Nan Miller Natalia Hinojos-Naff Neal Castleman Neil Sherman Oliver Caldwell Pamela and Dennis Beck Patricia Houston Paul & Eileen Meshekow

Pej Behdarvand Penny Akashi Peter & Bea Kahn Peter Beitsch Peter Kahn Phizz Evans R. Lee Willmore Rana Davis Ren Ridolfi Renzo Pali Richard & Gloria Pink Richard Goldman Richard Rho & Steven DeMille Richard Trail Robert & Karen Duncan Rod & Sandy Chase Ron and Rhonda Papell Sandy & Lawrence Post Scott Tucker Sharon Polkinghorne Shaun Garren Sheree Chiou Simon Rolf Skip & Karen Farber Steve and Laura Sharpe Steven & Harriet Nichols Steven Dresner Sue Tsao Susan Snyder Sylvia Reyes Tamar Erdberg Teri & Mike Lasky Terry Greene Tom Clarke & John Hampton Tom Friar Tom Gregory Tony Kantarjian Uli & Gerhard Lang Ursula Schwitalla Vera Tsai Vitalino Mazariegos Warren & Nancy Brakensiek Wendelin Samstag Wendy Temira Wolfgang Kuhn

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