Hedda Sterne: Structures & Landscapes 1950 - 1968

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HEDDA STERNE STRUCTURES & LANDSCAPES 1950 –1968



HEDDA STERNE: VARIABLE TERRAIN

Germany, and stayed for two years “to settle things” (her mother and brother were there; her father had died while

Hedda Sterne is not best known as a painter of

she was young). It was a courageous decision. Sterne

landscapes. But this most mercurial of artists—matters

later spoke of having “barely escaped with—escaped

turn slippery within her works as well as between them—

alive. They came to get me one night. A non-Jewish

produced a significant body of paintings, drawings, and

friend fought them off.” Emigration became imperative,

prints in the 1950s and ’60s that are based on the

but it was no simple matter. With influence secured by

natural world. Along with her abstract “Structures” from

her first husband, already in the U.S., Sterne was able

the same period, they are among her richest and most

to sail to New York in 1941; her passport shows that

enigmatic compositions. By turns guarded and radiant,

she traveled to Vienna, Munich, Barcelona, Madrid, and

they represent realms impossible to place yet deeply

Lisbon on the way. (Her mother and brother survived the

personal: variations on a portable internal homeland.

war in Romania.)

Like many immigrants of her generation, Sterne seldom

In New York, Sterne again quickly found a welcoming

spoke of her first life. Born in Bucharest in 1910 into

art community, meeting doyenne Peggy Guggenheim

a cultured Jewish family, she was supported in her

through Arp and the gallery owner Betty Parsons—who

precocious attraction to art, taking instruction that

would represent Sterne’s work and become a lifelong

included, conventionally, drawing from Classical plaster

friend—through Guggenheim. Duchamp and Breton

casts and copying from art history books; less ordinary

included Sterne’s chance-based torn-paper collages in

was her assimilation of artists ranging from Holbein and

their landmark “First Papers of Surrealism” exhibition.

Titian to Corinth and Kokoschka into a canon of “great

But she soon gave up such techniques, because, she

artists” that was at first utterly divorced from chronology,

said, she found the U.S. “more Surrealistic than anything

creating an auspiciously heterodox congregation of

anybody imagined.” Indeed, she must have felt keenly

stylistic models. Bucharest was a cosmopolitan city,

the plunging absurdity of not only the safety enjoyed

and by her teens, Sterne was familiar with its pioneering

in the U.S., while so much of the rest of the world was

Dadaists Victor Brauner and Marcel Janco. But Paris was

ravaged by war, but also the prosperity that followed,

the Romanian capital’s lodestar, and Sterne was there

while Europe remained blasted and gray, unheated and

by 1930, studying in the Léger atelier and achieving

underfed. Here, it seemed, comforts were as plentiful

sufficient success that she was included in the 1938

as they were fanciful; she noted a building shaped

Salon des Surindépendants, presenting automatic work

like a duck, and another like an orange. Her response,

that drew the attention of Jean Arp.

typically free of cynicism, was to become, she said, “a premature Pop artist,” painting everything around her.

The advent of war stalled this promising trajectory. In

Early subjects included a circus and an ingeniously toy-

1939, Sterne returned to Romania, then occupied by

like battleship. There were paintings of interiors with

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subtly anthropomorphized furnishings, as well as

back.” She also said, “People think they have the idea.

industrial equipment, cars, trains, and airplanes. Whimsy

And I think more of myself as an optical instrument,”

wasn’t altogether absent, but neither was an increasingly

alternately widening and narrowing her focus, coming in

close understanding of American industry and might.

close to her subject, and moving away.

Sterne’s taste for genially sharp ironies was shared with

She made the analogy—specifically, to a movie camera—

fellow Romanian Saul Steinberg, whom she married in

more than once, and it is particularly suggestive for

1944; their active social life (they separated in 1960

her production of landscapes that border closely on

but never divorced) engaged leading figures in both

abstraction. Often in these works, energy gathers at

the New York and Parisian art worlds. Her friendships

focal points that can be construed as lurking oculi—of

with the leading Abstract Expressionist painters were

persons or cameras—even when they also suggest

made the stuff of legend by her inclusion, as the sole

moons or suns. A large, untitled vertical abstraction from

woman, at the apex of a group photo commissioned

1959, dark and thickly painted, with a single black-

by Life magazine in 1951. But her stylistic association

limned almond-shaped eye near the bottom, is one such

with the painters pictured, who included Rothko, de

painting; lunar light spills down its center. A nocturne

Kooning, and Reinhardt, was loose and fleeting. Sterne’s

from1963-64 in the “Vertical Horizontal” series, nearly

restlessness as an artist can be connected to her

realist by comparison, features an eye-like moon that is

multilingualism (she was fluent in four languages) and to

mirrored in one of a succession of gray and black bands

her cultural displacement. These conditions appear to

below. The smaller Untitled (Lunar Halo), from 1950, is a

have supported an understanding that there is no simple

night vision of chilly light cast on glass in refracted rings.

identity between things and their descriptions—that there

In another key altogether, the glistening, tropical-green

is always another apt word, or image, with a different

terrain of Green Landscape No. 2 (1952) is veined with

shade of meaning.

ridges that suggest it has been creased and unfolded—a landscape newly exposed; perched on a frail stalk at

She resisted fixed spiritual authority as well. A

the center is a cornflower-blue eye. From the same year

student of non-Western belief systems (she took up

comes Yellow Structure, a smallish, roughly square

a daily meditation practice in the mid-1960s), Sterne

composition of various yellows. Less hot than irradiated,

described her working process as one in which

it has a nervous energy activated by a loose scaffold of

she “takes dictation.” This was not the automatism

twitchy lines.

associated with Freud and Jung, whom Sterne dismissed (as she did Marx) as “simplistic.” Rather

Powered by sources that seem internal, these paintings

than exploring internal, psychological motives, Sterne

have an animist quality that’s also present in two highly

preferred enlisting the imperatives of the creative

experimental untitled paintings from 1967. One, colored

process. “As I work, the thing takes life and fights

an unearthly shade of grayish yellow-green, features an

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hourglass-shaped figure, its flaring skirts wildly aswirl.

was a hiker and backpacker in her youth; in 1956,

Sterne left undecided whether her work’s orientation

she made an epic road trip with Steinberg from the

should be vertical or horizontal. (Similarly, in 1967

East Coast to Alaska. Among her early landscapes

she envisioned a group of paintings installed on the

is one organized from the point of view of an airplane

ceiling, offering no fixed orientation for viewers below;

passenger (Airport #1, 1948). Another perspective she

in the early 1950s she made a series of tondi that were

adopted early on was her antipathy toward branding.

mounted in such a way that they could be rotated.) More

Even “‘freedom,’ pursued too often and loosely,” she

idiosyncratic still is a big square painting from 1967;

observed, can “become like the ‘better’ of advertising

its subject seems floral, although it is one among an

copy,” a remark that suggests her stylistic restlessness

extended series of works based on heads of lettuce. (It

may have reflected her wary contention with the kinds of

is worth noting that heads have eyes.) Like a blossom

compromises required of Steinberg, who did so much

placed in a bowl of water, it was executed from above

commercial work to support his signature line.

with thinned acrylic dripped onto wet canvas; the leafy head’s crisp edges were defined afterward.

Sterne’s canny assessments of her cultural milieu found especially lively expression in her works on

In a riff on Sartre’s famous formulation for displacing

paper. A suite of nine finely drawn lithographs from

human will, in which a man considers himself an active

1967 begins with what resembles a loosely floral

observer until he finds himself being watched in turn,

(or lettuce-shaped) form, moves on to what look like

Norman Bryson turns to traditional Ch’an calligraphy, a

eerily glowing X-rays of the same form, and then

spattering technique in which, he says, “the flinging of

shifts into an explosive color scheme that shows

ink marks the surrender of the fixed form of the image to

she was alert to the pleasures of psychedelia. An

the global configuration of force that subtends it.” With

early adopter of a range of materials and tools

its soft-focus center and sharp periphery, and its indelible

(including, in the 1950s, commercial spray paint),

record of the most fugitive of painting gestures, Sterne’s

she welcomed the superfine continuous ink line

lettuce can be said to reach back, in spirit, to this

permitted by Rapidograph pens, as can be seen in ink

technique, capturing its spry grace and deep humility.

renderings of lettuces that start with observation and

In a statement from 1954, Sterne wrote, “Conclusions

spin into images of extra-dimensional complexity, in

reached through thinking are useful only when ripened

which clefts are torqued into wings, vegetables into

into feeling, causing a spontaneous gesture.…the artist

bodily organs, black holes into gossamer. Trusting

finds beauty through indirection.”

only in beauty found through indirection—“Those who try for beauty directly are artisans,” she wrote. “There

That is not to say that she was a dreamy, passive witness

is grace but no risk”—Sterne found a rare balance

of paint falling softly on canvas. An acute observer,

between the two.

omnivorous reader, and indefatigable traveler, Sterne

—Nancy Princenthal

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Untitled (Lunar Halo), c. 1950 Oil on canvas 30 x 40 3/8 inches (76.2 x 102.6 cm) HS 2533 Exhibited: Montclair Art Museum, Montclair, NJ, Hedda Sterne Retrospective, 24 April–June 26, 1977. Betty Parsons Gallery, New York, date unknown.

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Yellow Structure, 1952 Oil on canvas 24 1/4 x 20 1/4 inches (61.6 x 51.4 cm) “Hedda Sterne” lower right HS 0181 Exhibited: Saidenberg Gallery, New York, Hedda Sterne, 6 Feb–17 March 1956. Betty Parsons Gallery, New York, date unknown.

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Green Landscape No. 2, 1952 Oil on canvas 40 x 30 inches (101.6 x 76.2 cm) “Hedda Sterne 1952” upper left HS 2538 Exhibited: Saidenberg Gallery, New York, Hedda Sterne, 6 Feb–17 March 1956.

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Baroque No. 3, 1953–54 Oil on canvas 40 1/8 x 25 inches (101.9 x 63.5 cm) HS 0176

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Untitled, c. 1959 Oil on canvas 60 x 40 inches (152.4 x 101.6 cm) HS 0120

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#1-1959, 1959 Oil on canvas 72 1/8 x 42 1/4 inches (183.2 x 107.3 cm) “Hedda Sterne� on reverse HS 0796 Exhibited: Betty Parsons Gallery, New York, date unknown.

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Vertical Horizontal, 1963–64 Oil on canvas 58 1/4 x 39 5/8 inches (148 x 100.6 cm) “Venice Vertical Horizontal / Hedda Sterne / 1963” on reverse HS 0117

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Untitled, 1967 Acrylic on canvas 64 x 64 inches (162.6 x 162.6 cm) “Hedda Sterne 67” on reverse HS 2556 Exhibited: Montclair Art Museum, Montclair, NJ, Hedda Sterne Retrospective, 24 April–June 26, 1977. Krannert Art Museum, University of Illinois, Champaign, Uninterrupted Flux: Hedda Sterne; A Retrospective, 21 Jan–26 March 2006.

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Untitled, 1967 Acrylic on canvas 72 x 54 inches (182.9 x 137.2 cm) “Hedda Sterne 67” on reverse HS 2561 Exhibited: Likely included: Betty Parsons Gallery, New York, Hedda Sterne: Metaphors and Metamorphoses, 23 Jan–10 Feb 1968. Montclair Art Museum, Montclair, NJ, Hedda Sterne Retrospective, 24 April–June 26, 1977. Queens Museum, New York, Hedda Sterne: Forty Years, 2 Feb–14 April 1985.

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Untitled, 1951 Oil pastel on paper 22 1/4 x 15 inches (56.5 x 38.1 cm) HS 0228

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Untitled, 1951 Oil pastel on paper 22 1/8 x 14 3/4 inches (56.2 x 37.5 cm) “Hedda Sterne 1951� lower right HS 105 27


Untitled, 1951 Lithograph, ink on paper 20 x 13 inches (50.8 x 33 cm) HS 1453

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#3-1954, 1954 Crayon on paper 29 x 23 inches (73.7 x 58.4 cm) HS 1720 Exhibited: Betty Parsons Gallery, New York, date unknown. 29


Externe (4), 1952 Watercolor on paper 13 1/4 x 19 7/8 inches (33.7 x 50.5 cm) HS 1405

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Untitled, c. 1965–68 Rapidograph pen on paper 14 1/2 x 11 1/2 inches (36.8 x 29.2 cm) HS 1200

Untitled, c. 1965–68 Rapidograph pen on paper 14 1/2 x 11 1/2 inches (36.8 x 29.2 cm) HS 1198

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Untitled, c. 1965–68 Rapidograph pen on paper 14 1/2 x 11 1/2 inches (36.8 x 29.2 cm) HS 1219

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Untitled, c. 1965–68 Rapidograph pen on paper 14 1/2 x 11 1/2 inches (36.8 x 29.2 cm) HS 11986


Untitled, c. 1965–68 Rapidograph pen on paper 14 1/2 x 11 1/2 inches (36.8 x 29.2 cm) HS 1212

Untitled, c. 1965–68 Rapidograph pen on paper 14 1/2 x 11 1/2 inches (36.8 x 29.2 cm) HS 1199

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Untitled, c. 1965–68 Rapidograph pen on paper 14 1/2 x 11 1/2 inches (36.8 x 29.2 cm) HS 2513 Exhibited: Montclair Art Museum, Montclair, NJ, Hedda Sterne Retrospective, 24 April–June 26, 1977.

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Untitled, c. 1965–68 Rapidograph pen on paper 14 1/2 x 11 1/2 inches (36.8 x 29.2 cm) HS 1185


Untitled, c. 1965–68 Rapidograph pen on paper 14 1/2 x 11 1/2 inches (36.8 x 29.2 cm) HS 1218

Untitled, c. 1965–68 Rapidograph pen on paper 14 1/2 x 11 1/2 inches (36.8 x 29.2 cm) HS 1211

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HEDDA STERNE (b. Bucharest, Romania, 1910, d. 2011 New York, NY)

1990 Hedda Sterne, CDS Gallery, New York, NY

Hedda Sterne: Drawings and Select Prints, Benson Gallery, Bridgehampton, NY

1987 Hedda Sterne, CDS Gallery, New York, NY

1966 Hedda Sterne, Portraits: 1941-1965, Betty Parsons Gallery, New York, NY

SELECTED SOLO EXHIBITIONS 2018 Hedda Sterne: Printed Variations, Amon Carter Museum of American Art, Fort Worth, TX (through January 27, 2019) Hedda Sterne: Structures & Landscapes 1950–1968, Van Doren Waxter, New York, NY

1985 Hedda Sterne: Forty Years, Queens Museum, New York, NY 1984 Hedda Sterne Reflections, CDS Gallery, New York, NY

2016 Hedda Sterne: Machines, 1947-1951, Van Doren Waxter, New York, NY

1982 Hedda Sterne: A Painting Life, CDS Gallery, New York, NY

2006 Uninterrupted Flux: Hedda Sterne; A Retrospective, Krannert Art Museum, University of Illinois, Champaign, IL

1977 Hedda Sterne Retrospective, Montclair Art Museum, Montclair, NJ

2004 Hedda Sterne: Ghosts, CDS Gallery, New York, NY 2000 Hedda Sterne: A Collection of Wordless Thoughts, CDS Gallery, New York, NY

1975 Hedda Sterne, Betty Parsons Gallery, New York, NY Hedda Sterne - Portraits, Lee Ault & Company, New York, NY 1974 Hedda Sterne, Betty Parsons Gallery,

1963 Hedda Sterne, Betty Parsons Gallery, New York, NY 1961 Hedda Sterne, Galleria dell’ Obelisco, Rome, Italy Hedda Sterne: Paintings, Betty Parsons Gallery, New York, NY 1958 Hedda Sterne: Paintings, Betty Parsons Gallery, New York, NY 1957 Hedda Sterne, Betty Parsons Gallery, New York, NY 1956 Paintings by Hedda Sterne, Vassar College Art Gallery, Poughkeepsie, NY Hedda Sterne, Saidenberg Gallery, New York, NY

New York, NY 1998 Hedda Sterne, Dessins (1939 - 1998), Bibliothèque Municipale, Ville de Caen, France Hedda Sterne: Over the Years; Paintings and Drawings from the 1960s through the 1990s, CDS Gallery, New York, NY 1995 Hedda Sterne, CDS Gallery, New York, NY 1993 Hedda Sterne, Philippe Briet Gallery, New York, NY

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1972 Hedda Sterne, Betty Parsons Gallery, New York, NY 1970 Hedda Sterne Shows Everyone, Betty Parsons Gallery, New York, NY 1968 Hedda Sterne: Metaphors and Metamorphoses; Paintings, Betty Parsons Gallery, New York, NY

1954 Hedda Sterne: Paintings, Betty Parsons Gallery, New York, NY 1953 Hedda Sterne, Galleria dell’ Obelisco, Rome, Italy 1952 Paintings by Hedda Sterne, Gump’s Gallery, San Francisco, CA Hedda Sterne, Museu de Arte de São Paulo, Brazil

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1950 Hedda Sterne: Paintings, Betty Parsons Gallery, New York, NY (February 13-March 4; December 18–January 5)

Making Space: Women Artists and Postwar Abstraction, The Museum of Modern Art, New York, NY Go Figure, Van Doren Waxter, New York, NY

1948 Hedda Sterne: Paintings, Betty Parsons Gallery, New York, NY

2016 Architecture of Life, Berkeley Art Museum and Pacific Film Archive, Berkeley, CA You Go Girl! Celebrating Women Artists, The Heckscher Museum of Art, Huntington, NY

1947 Hedda Sterne: Paintings, Betty Parsons Gallery, New York, NY 1946 Hedda Sterne, Mortimer Brandt Gallery, New York, NY 1945 Hedda Sterne, Mortimer Brandt Gallery, New York, NY 1943 Hedda Sterne, Wakefield Gallery, New York, NY

2015 America is Hard to See, Whitney Museum of American Art, New York, NY

Collection, 1945 to Now, Carnegie Museum of Art, Pittsburgh, PA Gaze, Van Doren Waxter, New York, NY The Persistence of Vision, Philip M Meyers Jr. Memorial Gallery, University of Cincinnati, Cincinnati, OH Mid-Century Abstraction, Richard Gray Gallery, New York, NY Surface Work, Victoria Miro, London, England 2017 Artists in Exile: Expressions of Loss and Hope, Yale University Art Gallery, New Haven, CT

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1971 Artists of the Region: Hedda Sterne and Ibram Lassaw, Guild Hall Museum, East Hampton, NY American Painting and Sculpture, 1948– 1969, Krannert Art Museum, University of Illinois, Champaign, IL

2012 Pulling at polarities, Hollis Taggart Galleries, New York, NY

1970 American Drawings of the Sixties: A Selection, New School Art Center, New York, NY

2011 Abstract Expressionist New York, The Museum of Modern Art, New York, NY

1968 Betty Parsons Private Collection, Finch College Museum of Art, New York, NY

2008 Sterne & Steinberg: Critics Within, The Menil Collection, Houston, TX

1967 Annual Exhibition of Contemporary American Painting, Whitney Museum of American Art, New York, NY Four American Painters: George, Rankine, Reichek, Sterne, Axiom Gallery, London, U.K.

SELECTED GROUP EXHIBITIONS 2018 Crossroads: Carnegie Museum of Art’s

1978 From the Guild Hall Art Collection: Presented in Memory of Harold Rosenberg 1906-1978, Guild Hall Museum, East Hampton, NY

2001 Abstrakter Expressionismus in Amerika: Lee Krasner, Hedda Sterne, Elaine de Kooning, Joan Mitchell, Helen Frankenthaler, Pfalzgalerie Kaiserslautern, Germany

1966 Painting and Sculpture Today, Heron Museum of Art, Indianapolis, IN

1982 Poets and Artists, Guild Hall Museum, East Hampton, NY

1965 Women Artists of America, Newark Museum, NJ Contemporary American Painting and Sculpture, Krannert Art Museum, University of Illinois, Champaign, IL Portraits from the American Art World, New School Art Center, New York, NY

1979 Women Artists of Eastern Long Island, Guild Hall Museum, East Hampton, NY Paintings by Hedda Sterne, Walter Murch, Alexander Liberman, Roswell Museum and Art Center, Roswell, NM


1964 Pittsburgh International Exhibition of Contemporary Painting and Sculpture, Carnegie Institute, Pittsburgh, PA 159th Annual Exhibition of American Painting and Sculpture, Pennsylvania Academy of the Fine Arts, Philadelphia, PA 1963 Two Modern Collectors: Susan Morse Hilles, Richard Brown Baker, Yale University Art Gallery, New Haven, CT The 28th Biennial Exhibition, Corcoran Gallery of Art, Pittsburgh, PA 1962 Four American Painters: Sterne, Feeley, Kawabata, Reichek, Molton Gallery, London, U.K. 65th American Exhibition: Some Directions in Contemporary Painting and Sculpture, Art Institute of Chicago, IL 1961 The Lambert Collection: Three Hundred Pictures Purchased in a Half Century, Pennsylvania Academy of the Fine Arts, Philadelphia, PA Pittsburgh International Exhibition of Contemporary Painting and Sculpture, Carnegie Institute, Pittsburgh, PA Contemporary American Painting and Sculpture, Krannert Art Museum, University of Illinois, Champaign, IL 64th American Exhibition: Paintings, Sculpture, Art Institute of Chicago, IL 1960 The 155th Annual Exhibition of American Painting and Sculpture, Pennsylvania Academy of the Fine Arts, Philadelphia, PA 1959 Annual Exhibition - Contemporary American Painting, Whitney Museum of

American Art, New York, NY The 26th Biennial Exhibition, Corcoran Gallery of Art, Washington, D.C. 1958 Paintings for Unlimited Space, Betty Parsons Gallery, New York Pittsburgh Bicentennial International Exhibition of Contemporary Painting and Sculpture, Carnegie Institute, Pittsburgh, PA 22 New York Painters, Landau Gallery, Los Angeles, CA 1957 Annual Exhibition: Sculpture, Paintings, Watercolors, Whitney Museum of American Art, New York 62nd Exhibition of American Painting and Sculpture, Art Institute of Chicago, IL 1956 American Artists Paint the City, Venice Biennale, Italy

1951 Contemporary Painting in the United States, Los Angeles County Museum of Art, CA Contemporary Art in the United States, Worcester Art Museum, MA 1950 Annual Exhibition of Contemporary American Painting, Whitney Museum of American Art, New York, NY Young Painters in U.S. and France, Sidney Janis Gallery, New York, NY Young American Artists: Life Magazine’s Fifty Most Promising Painters in the United States, Metropolitan Museum of Art, New York, NY Contemporary American Painting, College of Fine and Applied Arts, University of Illinois at Urbana-Champaign, IL The 145th Annual Exhibition of Painting and Sculpture, Pennsylvania Academy of the Fine Arts, Philadelphia, PA

1955 Ten Years, Betty Parsons Gallery, New York, NY Fourth Annual Exhibition of Painting and Sculpture, Stable Gallery, New York, NY 50 Ans d’art aux etats-unis: Collections du Museum of Modern Art de New York, Musee National d’Art Moderne, Paris, France Janicki-Sterne-Glasco, Arts Club of Chicago, IL

1949 Painting in the United States, Carnegie Institute, Pittsburgh, PA The 21st Biennial Exhibition of Contemporary American Oil Paintings, Corcoran Gallery of Art, Washington, D.C.

1954 61st American Exhibition: Paintings and Sculpture, Art Institute of Chicago, IL Third Annual Exhibition of Painting and Sculpture, Stable Gallery, New York, NY

1948 The 143rd Annual Exhibition of Painting and Sculpture, Pennsylvania Academy of the Fine Arts, Philadelphia, PA XXIV Biennale di Venezia: La Collezione Peggy Guggenheim, Palazzo Centrale, Venice, Italy

1952 Painter’s Choice, Worcester Art Museum, MA

The 144th Annual Exhibition of Painting and Sculpture, Pennsylvania Academy of the Fine Arts, Philadelphia, PA La Collezione Guggenheim, Palazzo Strozzi, Florence; Palazzo Reale, Milan, Italy

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1947 58th Exhibition of American Painting and Sculpture, Art Institute of Chicago, IL 1945 The Women, Art of This Century, New York, NY Paintings by John Graham, David Hill, Theodoros Stamos, Hedda Sterne, Mortimer Brandt Gallery, New York, NY Portraits of Today by Painters of Today, Mortimer Brandt Gallery, New York, NY 1944 Spring Salon for Young Artists, Art of This Century, New York, NY 1943 Spring Salon for Young Artists, Art of This Century, New York, NY Exhibition of Collage, Art of This Century, New York, NY 31 Women, Art of This Century, New York, NY 1942 First Papers of Surrealism, curated by AndrĂŠ Breton and Marcel Duchamp, Whitelaw Reid Mansion, New York, NY 1939 50th Exposition du Salon des Independants, Paris, France 1938 Exhibition of Collages, Papiers-Colles and Photo-Montages, Guggenheim Jeune, London, U.K. 11th Exposition du Salon des Surindependants, Paris, France

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PUBLIC COLLECTIONS Albrecht-Kemper Museum of Art, Saint Joseph, MO Albright-Knox Art Gallery, Buffalo, NY Art Institute of Chicago, IL Baltimore Museum of Art, MD Carnegie Museum of Art, Pittsburgh, PA Chazen Museum of Art, University of Wisconsin, Madison, WI Everson Museum of Art, Syracuse, NY Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, NY Guild Hall Museum, East Hampton, NY Harvard University Art Museums, Cambridge, MA Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Illinois State Museum, Springfield, IL Indianapolis Museum of Art, IN Krannert Art Museum and Kinkead Pavilion, University of Illinois, Champaign, IL Library of Congress, Washington, DC Los Angeles County Museum of Art, CA The Menil Collection, Houston, TX Metropolitan Museum of Art, New York, NY Minnesota Museum of American Art, Saint Paul, MN Montclair Art Museum, NJ Museum of Contemporary Art San Diego, CA Museum of Modern Art, New York, NY National Gallery of Art, Washington, D.C. Neuberger Museum of Art, Purchase College, State University of New York, Purchase, NY New Britain Museum of American Art, CT Norton Simon Museum, Pasadena, CA Palmer Museum of Art, The Pennsylvania State University, University Park, PA Patricia & Phillip Frost Art Museum, Florida International University, Miami, FL Pennsylvania Academy of the Fine Arts, Philadelphia, PA Philadelphia Museum of Art, PA

Queens Museum, Flushing Meadow, NY Racine Art Museum, WI Rhode Island School of Design Museum, Providence, RI Sheldon Museum of Art, University of Nebraska, Lincoln, NE Smithsonian American Art Museum, Washington, D.C. Tate Modern, London, United Kingdom Toledo Museum of Art, OH University of Michigan Museum of Art, Ann Arbor, MI Virginia Museum of Fine Arts, Richmond, VA Weatherspoon Art Museum, The University of North Carolina, Greensboro, NC Whitney Museum of American Art, New York, NY Worcester Art Museum, MA



Published on the occasion of the exhibition Hedda Sterne: Structures & Landscapes 1950–1968 November 1–December 22, 2018 Design by Leslie Miller Edited by Dorsey Waxter, Sophia Jackson and Nick Naber Essay © 2018 by Nancy Princenthal Artwork photography by Lance Brewer Additional photography © by Gjon Mili/ The LIFE Picture Collection/ Getty Images (p.2 & p. 36)

We would like to thank Nancy Princenthal for the contribution of her insightful essay. This exhibition would not be possible without the unwavering support of Shaina Larrivee, Sanford Hirsch and the board of the Hedda Sterne Foundation. VAN DOREN WAXTER 23 EAST 73RD ST NEW YORK, NY 10021 Phone 212 445-0444 Fax 212 445-0442 info@vandorenwaxter.com www.vandorenwaxter.com ISBN: ISBN: 978-1-7325933-0-5 © VAN DOREN WAXTER, New York, NY. All rights reserved. No part of the contents of this catalogue may be reproduced without permission of the publisher.




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