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(b Bay St Louis, MS, Jan 28, 1909; d Pasadena, CA, March 6, 1989).

African American sculptor and painter. Barthé was raised a devout Roman Catholic Creole. He was also the only African American artist of his generation to consistently portray the black male nude. Although closeted throughout his life, sensual figures such as Stevedore (1937; Hampton, VA, U. Mus.) expose his homosexuality. Barthé’s elementary education ended in 1914. As an adolescent, he skillfully copied magazine illustrations, especially figures. Barthé worked for the wealthy New Orleans Pond family, who summered on the Bay, and in 1917, he moved to New Orleans to become their live-in servant. Barthé had access to the Pond library and art collection, and while in their employment, he began to paint in oil. In 1924, his head of Jesus prompted the Rev. Harry F. Kane to fund the first of four years at the Art Institute of Chicago School, where Barthé studied painting with Charles Schroeder and sculpture with Albin Polasek (...

(b Emelle, AL, Sept 10, 1928; d McCalla, AL, Jan 25, 2016).

African American painter and sculptor. Dial was born into poverty and left school at age nine to work various jobs, including fieldwork. At age ten, his mother gave up Thornton and his half-brother Arthur to be raised by their great-grandmother. Upon her death they were taken in by their aunt for two years, and then given to their great-aunt, Sarah Dial Lockett, in Bessemer, AL.

Throughout most of his life, Dial worked as a farmer, a gardener, a bricklayer, and a construction worker. He worked for the Bessemer Water Works for 13 years and the Pullman Standard for nearly 30 years. Dial’s labor gave him a great many skills that he would later apply to making artwork. He was handy with found objects and materials, often making cemetery decorations, as well as for his yard—both of which should be considered in the context of vernacular signifying practices within the African diaspora. Unfortunately, he buried or destroyed much of his early mixed-media yard work, as it often carried messages of social protest and could have been a source of trouble for him and his family. The practice of destroying his work changed when he met his future patron, the Atlanta collector Bill Arnett, in ...

(b Hastings, March 21, 1930; d New Plymouth, Dec 8, 2011).

New Zealand sculptor, painter, printmaker, and installation artist. His art primarily involves assemblage, often with an eye to colour relationships; it also incorporates diverse sources including American modernism, African, and Asian art. Driver had little formal training and worked as a dental technician before he began sculpting with wood, clay, and dental plaster during the 1950s. Between 1960 and 1964 he produced assemblages and collages reminiscent of Robert Rauschenberg, though Driver was not aware of the American’s work then (e.g. Large Brass). In the United States from March to August 1965, he developed an interest in Post-painterly Abstraction as well as in Jasper Johns’s works. References to New York are manifest in his mixed-media wall relief La Guardia 2 (1966; Auckland, A.G.). The Painted Reliefs (1970–74) with their horizontal panels and strips of varying width and depth, mostly painted but sometimes aluminium, indicate the impact of American abstraction, notably that of Kenneth Noland. ...

(b Nashville, TN, c. 1874; d Nashville, TN, 1951).

African American sculptor. Edmondson is known for his blocky, abstracted images of animals and angels. Edmondson was born around 1874 in Davidson County near Nashville, TN, where he lived and worked his entire life. While working for the St Louis Railroad in 1907, Edmondson became disabled and took a job as a janitor at Woman’s Hospital. In 1933, he was inspired by God to carve limestone tombstones. He displayed many of his works in his yard where they were seen by Nashville-based poet and Vanderbilt University professor Sidney Hirsch in 1936. This encounter sparked Edmondson’s eventual “discovery” by the New York art world. In 1936 and 1937, fashion photographer Louise Dahl-Wolfe took photographs of Edmondson and his sculptures and presented them to Museum of Modern Art (MOMA) director Alfred H(amilton) Barr. Edmondson became the first African American artist to have a solo exhibition at MOMA, titled Exhibition of Sculpture by William Edmondson...

(Kirtland)

(b St Louis, MO, June 28, 1901; d Gloucester, MA, Dec 30, 1998).

American sculptor. Hancock knew from an early age that he wanted to be a sculptor. He trained under Charles Grafly at the Pennsylvania Academy of Fine Arts in Philadelphia from 1921 till 1925. Winning the Prix de Rome, Hancock then worked and studied at the American Academy in Rome for three years. Shortly after his return to the States in the spring of 1929, Grafly died and Hancock succeeded him as instructor in sculpture at the Pennsylvania Academy, where he taught until 1967. Beginning in 1930, Hancock maintained a studio on Cape Ann, the Massachusetts artists’ colony. In his four years in the army during World War II, he helped protect monuments and reclaim stolen art.

Hancock’s conservative style lent itself to public works, and he is best known for monumental commissions. The most important of these is the Pennsylvania Railroad War Memorial in Philadelphia’s 30th Street Station (commissioned in ...

(b Valrico, FL, 1930).

American performance artist and sculptor. Hay started out in the performance scene at Judson Memorial Church in downtown New York City in the early 1960s. He arrived in New York from Florida in 1959, after studying at the Florida State University (1953–8). His wife, the dancer Deborah Hay, was a key figure in the Judson Dance Theater, launched in the summer of 1962, and Alex Hay performed in many of its productions. In the early 1960s he assisted Robert Rauschenberg on set designs for Merce Cunningham, and danced with him with roller-skates and parachutes in Rauschenberg’s now famous performance piece Pelican (1963). After these collaborations, Hay was invited to participate in 9 Evenings: Theater & Engineering at New York’s 69th Regiment Armory (fall 1966). This initiative, conceived by Rauschenberg with critical contributions from the engineer Billy Klüver, was an idealistic effort to pair artists with engineers, to merge art and new technologies. That project evolved into ...

(b Buffalo, NY, 1950).

Tuscarora artist, writer, educator, and museum director. Hill studied at the Art Institute of Chicago (1968–70), and was awarded a Master of Arts degree from SUNY, Buffalo, NY (1980).

Intrigued with Seneca General Ely Parker (General Grant’s Military Secretary), Hill investigated Parker’s life, which took him to Washington, DC, for two years. Hill began to identify with Parker’s experience and realized he would devote himself to enlightening others about Native American arts, knowledge, education, and culture.

Hill was skilled in painting, photography, carving, beading, and basket weaving, and many of these works are located at the Canadian Museum of Civilizations, Quebec; the Woodland Indian Cultural Center, Brantford, Ontario; the Cleveland Museum of Art; the Philbrook Museum of Art, Tulsa, OK; the Indian Arts and Crafts Board, Washington, DC; and the Seneca Iroquois National Museum, Salamanca, NY. He taught at McMaster University, Mohawk College, Six Nations Polytechnic, and SUNY at Buffalo. Hill developed a culturally based Seneca Language curriculum and training models for teaching....

[Gwe-la-yo-gwe-la-gya-lis]

(b Alert Bay, BC, Canada, 1950).

Kwakwaka’wakw woodcarver. Hunt’s maternal grandfather, Mungo Martin (Kwa-giulth; 1879–1962), was one of the last living carvers on northern Vancouver Island, founder of the Thunderbird Park program in Victoria and one of the first to formulate Kwakwaka’wakw sculptural and painting styles. His paternal father, George Hunt, was an ethnologist, while his brothers, Tony and Stanley, also worked as woodcarvers.

Raised in Victoria British Columbia, and the first to finish high school, his encouraging teacher, who respected his culture, let him carve. Under his father, he became an apprentice in the Carving Program at Thunderbird Park, next to the British Columbia Provincial Museum.

At 21, Hunt assumed the title of Chief Carver at Thunderbird Park, a post held for 12 years. Resigning in 1986, Hunt began his independent artistic career. He is the first Native artist inducted into the Order of British Columbia, 1991, and in 1994 became a member of the Order of Canada. The University of Victoria awarded him an honorary doctorate in ...

(Dickey)

(b Jackson, FL, 1925; d East Hampton, NY, March 4, 2015).

American sculptor. King’s figurative human representations are recognized for their often humorous character models, which blend smooth and rough surfaces to form a unique signature style. King’s sculptures are identified as Pop art and abstraction, and are represented by a diverse range of scales from the miniature to the monumental and executed with a versatile range of media, from clay to ceramics, wood, and welded or bent metals. His early influences were Isamu Noguchi and Elie Nadelman.

King attended the University of Florida between 1942–4, and moved to New York in 1945 to study at Cooper Union where he graduated in 1948 and continued studies in art at the Brooklyn Museum Art School in New York. King traveled to Europe on a Fulbright Grant to study in Rome Italy (1949–50) and in London at the Central School (1952). King’s first solo exhibition of sculpture was in ...

(b Long Beach, CA, Jan 1, 1941).

American sculptor and installation artist. He studied architecture and mathematics at California State University and art at the Los Angeles College of Art and Design in 1963 before going on to receive a BFA in 1964 and an MFA in 1967 from the Otis Art Institute of Los Angeles County. He is often regarded as a key contributor to the development of Post-minimalism and Process art during late 1960s, and he is sometimes credited with more or less inventing the so-called ‘scatter piece’ as a form in contemporary art.

Le Va became widely celebrated for a series of scatter pieces or ‘distributions’, to use his preferred term, that he began in 1966 while still a graduate student at the Otis Art Institute. In these pieces, he deposited a heterogeneous array of materials into loosely configured piles on the gallery floor. Many of these early works featured cut pieces of canvas or felt that he mixed in with other materials such as scraps of wood, puzzle pieces, lengths of string and ball bearings. These pieces refused both the monumentality and the singularity of modernist sculpture, and although these works were carefully planned, they nevertheless introduced an element of chance into the completed object because they could never be realized in exactly the same way twice. Through this element of chance, and through their use of both multiplicity and horizontality, these pieces seemed to extend the implications of Jackson Pollock’s paintings into sculptural practice. In this sense, these works marked a shift in emphasis from the discrete sculptural product to the process and conditions of display. In 1969–70 pieces such as ...

(b Winchester, OH, Nov 21, 1874; d Osterville, MA, March 10, 1954).

American sculptor. Longman was the first American woman of her generation to establish a career in large-scale public sculpture and the first woman sculptor to become a full member of the National Academy of Design (1919). Longman studied at the Art Institute of Chicago as a teenager, then began modeling clay in 1896 while at Olivet College in Michigan. In 1898 she enrolled full-time at the Art Institute of Chicago. Training with Lorado Taft, she completed the four-year program in two years. After moving to New York City she became a studio assistant to Daniel Chester French in 1901. At his encouragement she opened her own studio, where she worked in her free time. After she left French’s studio in 1906, they remained close friends and colleagues.

Longman’s first public commission was Victory (gilded staff, 1903), created for the 1904 St Louis World’s Fair. This 7.6-m tall gilded figure of a lithe male athlete crowned the fair’s central building, while the plaster model for the piece won a silver medal for sculpture (bronze casts ...

(b Santurce, Puerto Rico, Jun 10, 1955).

American sculptor and installation artist. Born and raised in Puerto Rico, Osorio came to New York in 1975 and earned a BSc in sociology from Lehman College, Bronx, in 1978. He then earned an MA in art education from Teachers College, Columbia University, in 1985. Osorio spent much of his early years in New York as a social worker in Puerto Rican neighborhoods in the South Bronx, an experience that would inform both his aesthetic style and his artistic involvement with Latin American communities.

Osorio worked primarily in Assemblage sculpture, which led to more elaborate and ornate multimedia installations. From the mid-1980s, his practice was characterized by an overabundance of kitschy objects and a keen eye for the intricacies of Nuyorican (New York–Puerto Rican) material culture and family life. In 1985, a turning point in his stylistic development, he created La Bicicleta (The Bicycle) (New York, Ronald Feldman Fine Arts), which references the vehicular decoration of street peddlers in Puerto Rico in the 1950s and 1960s. This hanging bicycle covered with flowers, ribbons, plastic trees, Kewpie dolls, and many other cheap adornments was rendered useless as a mode of transportation and made entirely sculptural. Osorio’s later installations maintained this attention to vernacular decoration, but were more narrative in their investigation of urban Latino communities. For the ...

(b Paris, April 11, 1861; d New York City, May 22, 1930).

American sculptor and art critic. After early schooling at the Adelphi Academy in Brooklyn and Columbia College in New York, Partridge pursued art training in Europe, studying briefly at the Ecole des Beaux-Arts in Paris and with the sculptor Pius Weloński (1849–1931) in Rome from 1887 to 1889. Weloński’s preference for strongly modeled surfaces and naturalistic detail influenced Partridge’s early sculptural style. At the 1893 World’s Columbian Exposition in Chicago, Partridge exhibited ten works, among them a model for a bronze statue of Shakespeare erected in Lincoln Park, Chicago, in 1894. Favorable critical attention established Partridge’s national reputation and guaranteed commissions that placed him in the front ranks of American sculpture. Large-scale bronze monuments include an equestrian statue of Ulysses S. Grant (1896; New York, Brooklyn, Grant Square); Thomas Jefferson (1914; New York, Columbia University); Horace Greeley (1912; Chappaqua, NY); Pocahontas (1922; Jamestown, VA); the Samuel Hay Kauffmann Memorial (...

(b Honolulu, HI, 1966).

American video artist and sculptor. Pfeiffer exploited the latest in computer and video technology to examine the overwhelming power of mass media. He received his Bachelor of Fine Arts degree in printmaking from the San Francisco Art Institute (1987) and his Master of Fine Arts from Hunter College in New York (1994). He participated in the Whitney Museum of American Art Independent Study Program (1997–8) and, among his many prizes and fellowships, was awarded the Whitney Museum’s Bucksbaum Award (2000).

Pfeiffer was born in Honolulu and grew up primarily in the Philippines but moved to the continental United States to pursue a career as an artist. Although he began producing his art in New York City in 1990, it was not until his breakthrough showing at the 2000 Whitney Museum Biennial that Pfeiffer was officially “discovered” by the art world. Even in his earliest works, he demonstrated a keen eye for the contradictions inherent in a world both dominated by celebrity culture and in which images define the ways people look at and interact with each other. Although photography, video and computers ostensibly connect people and transmit information as directly as possible, Pfeiffer dedicated his art to upturning these faulty assumptions about the veracity of what we see. Again and again, His work reveals his fascination with the ways in which the human image can be conveyed, distorted and fetishized through the mass media....

(b New York, NY, Dec 25, 1944).

American sculptor, draftsman and installation artist. Saret received a BArch from Cornell University in Ithaca, NY, in 1966 and subsequently studied at Hunter College in New York under Robert Morris from 1966 to 1968. In the late 1960s his work was classified as part of the “anti-form” movement, which rejected the rigidity of Minimalism in favor of creating non-figurative works that were structured in part by the inherent physical properties of the industrial materials favored by this group.

Saret’s early sculptures from the 1960s and 1970s were primarily crafted from industrial metal wire of varying thickness, though he also sometimes used rubber, wire mesh or other non-art materials. They were often suspended from the ceiling or installed directly on the ground and exuded a weightless, ephemeral quality akin to clouds or gestural drawings rendered three-dimensionally. It was around this time, in 1967, that Saret began his ongoing Gang drawings series. These gestural drawings were initially created as preliminary studies for the sculptures and were produced by the artist spontaneously grabbing a handful, or “gang,” of colored pencils, thereby integrating an element of chance to the process....

(b Terre Haute, IN, Oct 27, 1873; d Rockport, MA, June 9, 1940).

American sculptor, active also in France. Scudder developed a lively style influenced by antique and Renaissance statuary as well as by the animated figurative work of Frederick William MacMonnies . The carefree spirit of her sculpture suited the tastes of wealthy Americans who ordered her bronzes for the grounds of their country estates, and her fountains helped garden sculpture achieve a new level of prestige. She had one of the most successful careers of any woman artist of the early 20th century.

A student of modest means, Scudder learned the practical trade of wood carving at the Cincinnati Academy of Art and briefly carved decorations for a Chicago furniture factory. Her first breakthrough came when Lorado Taft hired her as an assistant at the 1893 Chicago World’s Columbian Exposition. Her experience as one of Taft’s “White Rabbits” (as Taft’s female sculpture assistants at the fair were known), gave her the training and financial means to travel to Paris where she secured a coveted position in MacMonnies’s studio. She bought a house at Ville d’Avrya outside of Paris in ...

(b New York, New York, 1941).

American sculptor. Shapiro received a BA in 1964 and an MA in 1969, both from New York University. From 1965 to 1967, Shapiro worked with the Peace Corps in India. While there, he saw many examples of Indian sculpture, which helped spur his decision to become an artist. In 1967, Shapiro married Amy Snider, an art educator, with whom he had a daughter, Ivy, in 1969; the couple separated in 1972. In the early 1970s, Shapiro befriended artists Elizabeth Murray and Jennifer Bartlett and gallery owner Paula Cooper, who gave Shapiro his first solo exhibition in 1970.

Shapiro’s work between 1968 and 1972 was strongly influenced by Process art, and Eva Hesse in particular, as seen in Shapiro’s Two Hands Forming (1971; artist’s col.), a circle of clay balls placed on the floor, which closely resembles Hesse’s Sequel (1967–8; Chicago, IL, A. Inst.). Other works made by Shapiro during this time included smeared and dripped paintings, nylon string sculptures and a number of metal sculptures influenced by Richard Serra....

(b Elmwood, NJ, April 29, 1860; d Chicago, IL, Oct 30, 1936).

American sculptor, teacher and author. A year after graduating from the University of Illinois in 1879 with a master’s degree in 1880, Taft set off for Paris to study sculpture at the Ecole des Beaux-Arts from 1880 to 1883. There he was an exceptionally diligent student who never questioned the academic formulae of the time. He studied with Augustin-Alexandre Dumont and Gabriel-Jules Thomas. The letters that Taft wrote home at this time provide one of the most vivid and complete existing accounts of the academic training of the period. While still in Paris, Taft exhibited his work in the salon and also received several small commissions from both French and American patrons.

Taft returned from Paris in 1886, settled in Chicago and attempted to establish a career as a sculptor. At the time only five works of public sculpture had been erected in the city and commissions were scarce. To publicize his talents, Taft taught sculpture at the newly created Art Institute of Chicago and lectured widely. During this period (...

(b Quebec, May 11, 1944).

American sculptor of Canadian birth. Educated in Montreal and in New York City, where he attended the Brooklyn Museum Art School, Hunter College, and received a BS from New York University in 1969. Trakas created site-specific landscape installations in America and Europe from the 1970s. He has received numerous awards including NEA and Guggenheim fellowships and the American Academy of Arts and Letters Merit Award for Sculpture and has taught at Cooper Union and Yale University. Trakas moved to the USA in 1963 and since his earliest completed outdoor works, like Rock River Union (1976), he has been a leading proponent of hand-constructed environments. His work shared aspects of scale, audience participation and architectural form with such artists as Alice Aycock, Mary Miss, Richard Fleischner and Siah Armajani. They all extended the tradition of earlier, less accessible earthworks into the realm of more approachable, often urban, spaces that a viewer can engage spatially as well as understand for their symbolic and narrative content. Trakas’s own projects were primarily constructed of welded steel with wood and stone elements, sometimes recycled from the sites themselves....

(b Baltimore, MD, March 16, 1921; d Washington, DC, Dec 23, 2004).

American sculptor. Truitt was raised in the town of Easton on Maryland’s Eastern Shore. She received a BA in psychology from Bryn Mawr College, where she graduated cum laude in 1943. In 1947, she married James McConnell Truitt, a journalist, whose career caused the couple to relocate frequently in subsequent years.

Truitt’s artistic training began in 1945 with night classes in sculpture in Boston. She continued her studies at the Institute of Contemporary Art in Washington, DC, in 1949–50, where she studied with Alexander Giampietro (1912–2010) and befriended fellow student Kenneth Noland . In the early 1950s she also studied with Octavio Medellin (1907–99) at the Museum School in Dallas, with Peter Lipman-Wulf (1905–93) in New York City, and with Noland and Peter Blanc in Washington, DC. Throughout the 1950s, Truitt experimented with a wide variety of materials and styles in sculpture and drawing.

After living in San Francisco from ...