Between Recent Sculpture of Coleen Sterritt
By Constance Mallinson
Coming of artistic age in the 1970’s when Jackie Windsor and Eva Hesse were dipping, hanging and wrapping mundane materials and the large formal assemblages of found lumber by Louise Nevelson made her the reigning doyenne of monumental sculpture, Coleen Sterritt has both maintained and transcended her artistic roots. Along with other influential post-minimalists like Nancy Graves whose eccentric, polychromed “plant-animals” defied the norm, female sculptors broke the hold of Minimalism/Reductivism, emphasisizing process, organic and biomorphic forms, and an eccentric, mostly handworked, use of materials like rubber, rope, latex, and wax rather than the clean technology of plastics and shiny metals. The formal and the referential now existed simultaneously: body allusions, previously repressed, rebounded and the primitive, magical, personal and compulsive reentered the sculptural lexicon. The legacy for Sterritt has been an abiding interest in those qualities as well as in the potential of diverse materials and formal inventiveness to inspire meaningful and relevant contemporary narratives.
Initiated in part by the female sculptors above, the postmodern era, has seen hierarchies and orthodoxies obsolesce in favor of heterogeny, contingency, hybridity, the interdisciplinary and material excess. Sterritt’s footed overturned pyramidal works from the 1980’s combining natural and industrial materials such as straw, tar, plaster, wood, wiremesh and resin participated in the emergent anti-classical or antiGreenbergian strain of sculptural practice that challenged formal purity and closed systems to embrace dualities. Craig Owens aptly characterized much of the art at that time as, having sprung from Feminist concerns and involving “the dissolution of once fundamental distinctions - original/copy, authentic/ inauthentic, function/ornament… each term now seems to contain its opposite.” (1)
By the 1990’s Sterritt turned to even more ephemeral and cast-off materials: studio waste, felt, paper, cardboard, carpet scraps, plastic and plywood discards, cannibalized bits of dismantled sculptures. While she remains undiminished in her search for unconventional sculptural matter and presentation of the kind seen in Squeezebox (2002) - a gargantuan necklace constructed of colorful dog collars, plaster, plywood, plastic fencing, bamboo, and foam rubber suspended between two walls - the work in BETWEEN moves closer to what Nicholas Bourriaud has termed “Altermodernism”. Suggesting that we may have reached a pivotal point similar to the shift of the early 1970’s, contemporary art, in addition to taking into its stride postmodern pluralities and an overriding discomfort with unexposed fictions, now approaches reality as filtered through globalization, the instantaneity of mass media, the need for an ecological worldview, and the post-consumer ethos. Increasingly, as in the work of Jessica Stockholder who unabashedly celebrates and critiques our consumer and consumable world simultaneously, the altermodern artist is comfortable with the instabilities and contradictions in this scheme of things. Moreover, the natural, as Sterritt so dramatically suggests, remains poised not so much in opposition to but is inextricably intertwined with civilization. She describes this as an “investigation into the uneasy balance between nature and the constructed environment.”
As much as Sterritt embodies these current tendencies, art historically speaking, there is much here that parallels the early 20th century Merzbau of Kurt Schwitters in which collage was seen as affording a combination of any and all possible materials from the new urban spaces under the unifying principles of capitalism. Schwitters’ theatrical, cubistic accumulations of discarded objects combined with hand fabricated forms became a dynamic exchange or collaboration that re-imagined the existing order of the modern city. Sterritt’s particular use of three dimensional collage renews Merzbau aesthetics and attitudes to produce an equally compelling interrogation of today’s consumerist culture, one that seems to anticipate a transformation of our current system to another that seeks a more acutely examined intersection between commerce and nature.
Several works from 2005-2006 shown in her 2006 exhibition at the Riverside Art Museum and d.e.n. contemporary typified this sort of convergence. Despite the range of work in these exhibitions, Sterritt’s attention to “physical balance and contrapposto of form…. whether the “tittering, tippy-toed or the surefooted four-legged stance,” as she describes it, remains consistent throughout. A “push/pull” between the industrially manufactured and the individually crafted as well as a humorous and provocative juxtaposition and multi-layering of shapes, volumes, and solids drives and defines much of her practice. Most notably, the Dada-esque nine foot tall Domestic Fairytale (2005) interweaves and grafts natural birch logs with an overturned mass produced blonde wood dining table and five modern looking Ikea style stools. Bolted atop another log perched on a homemade stool, this acrobatic balancing act seems to mimic a tree as it grows and branches upward. Playfully but purposefully, the furniture and tree sections interchangeably support one another, the rugged and raw symbiotically paired with its sleek and fabricated offspring. As in the current work here, wood becomes not just an artist’s material to carve, but a substance charged with social, ecological and cultural significance. Additionally, crossing the handmade and the readymade creates a sophisticated formal and conceptual gaming, in which the personal and the cultural are enmeshed in a complicated dance. While they construct, they also dismantle visual hierarchies of design and high art to challenge and disrupt the expectations and requirements for both. Put to a different use, the elements are now engaged in a dialogue about the role and place of each in our constantly changing cultural climate. Diagramme de Navigation de Mon Coeur (2005), also first shown in that exhibition, deposits a Vladimir Tatlinesque tower of woodshop scraps culminating in a tangle of wooden rectangles at the top on a battered rococo style end table. Absurd, slightly perverse with its phallus mounted upon a curvy, decorative feminine shape, Diagramme seems both a meditation on male/female relationships as well as a reference to modernist utopian projects that challenged bourgeois values but also eventually co-existed cosily with those values as in the present. The witty Daddy-O (2006) from the same period likewise uses such a jagged, spikey agglomeration of studio detritus and a small four legged stool to construct a prehistoric looking creature with a thorny outsized horn or, as suggestively, an exotic bristly cactus/coral. But the plantanimal hybrid could just as easily conjure an upscale toy made from recycled materials to satisfy “green” conscious parents in overly consumptive times. Like all Sterritt’s work, it walks a line between charm and threat, the natural, the industrial and the hand fabricated, rejecting easy associations for complex reads into the current nature /culture debate.
Aeolin Tilt (2007), the largest in the exhibition, consists of an upended wooden bench balanced on turned legs from pieces of pillaged furniture. Sprouting from the bottom and top at one side, heads from several dozen wooden spoons pull thick red wire taut like the strings of a harp tied to its keys. Unfinished simple pine frames jut sideways from the slats of the bench like windows, shelves or architectural appendages. Characteristically, the work is a subversion of “form follows function”, as the once useful seat becomes an
imaginative transformation of the utilitarian into the distinctly non-utilitarian--the poetic. The rectangles and squares, modules and boxes, once the mainstay of pure modernist form, now no longer serve as transcendent vehicles, but rather as they cling parodically like barnacles or ghostly spirits to a domestic object, seem to be just abstract sculptural elements in concert with the variety of forms experienced in daily life. Similarily, in the whimsical, totemic Floaters and Flashers (2007), a quirky arrangement of connected frames sporting a “weathervane” of wooden cooking spoons, the suggestion is that the clean Modernist lines and geometries of Modernist abstraction are perhaps no longer an autonomous, universal domain but constantly intermingle with the pedestrian artifacts of our civilization. While preserving some of the rigors and syntax of formalism, Sterritt eliminates and problematizes the conceptual boundaries between furniture as emblematic of industry, and creative artistry, socializing and assimilating the two. Additionally, the frame is the domain of the painter and 2-D representation. Here Sterritt uses the frame much as David Smith in his groundbreaking sculptures of the 1950’s, to delineate multiple views of space in contradiction to the painter’s aim to position the viewer in a single spot for viewing a scene. Instead, these works become amalgams of painting and sculpture, signifying an interchangeability of representation, reality and illusion. This kind of spatial gaming disrupts the traditional antagonisms between painting and sculpture, suggesting that we need both to adequately describe our experiences.
This constant and exuberant cross-pollinization of genres, disciplines and objects is perhaps most pronounced in works that refer specifically to natural processes or use natural artifacts in juxtaposition with the human made. Sharing an interest in organic abstraction with historical sculptors like Brancusi and more recent contemporary American sculptors such as Martin Puryear and Louise Bourgeois, Sterritt is not so much interested in mimesis of nature but in exploring our relationship to the natural world in the technological, consumerist age. As in many of the recent pieces, modernist purity abuts natural disorderliness. Its entire shape evoking an evenly weighed scale, Ways of Seeing (2007) with thick “forest” of birch limbs sprouting from a long cushiony upholstered seat back and then balanced on a stacked series of found furniture, conceives of nature as precariously balanced on civilization itself. A number of birch rings applied to the tops of the logs recall primitive statuary and totems with their highly abstracted, archtypal evocations of human heads. Stranded and crowded on their floating island, propped up by the cast-offs of our culture, this highly anthropomorphic band of trees reflects an anxiety about the mutual interdependence of humans and nature. This sentiment is expressed again in Float (2007), an accretion of jagged cork fragments perched on a rectangular wooden box with diminutive spindly steel legs. Out of this pile of “rubble” arise two wobbly stacked columns connected by a sagging suspension bridge. Entreating a lineage of sculptural landscapes from Louise Bourgeois to David Smith, Sterritt alludes in perhaps a more fanciful, Seussical fashion, to the cycles of man-made and natural destruction and devastation. The earthy color of the materials, the heaving, shifting, and undulating strata recall entropic geologic formations and processes resulting from earthquakes and cataclysms. Resting upon a pedestal whose shape references contemporary skyscrapers, this tabletop topography with its miniature architecture ambiguously hints at both ruins of ancient civilizations and a post apocalyptic landscape rising above the remains of an urban utopia.
The most recently completed work in the exhibition, Blue Patina for Patsy Button (2009) reiterates many of the formal issues described here especially in its improbable balancing, use of window-like open frames and heaping, layering, and wrapping of strips and slabs of lowly materials. Thrusting out of an angled plywood box partially supported by a cluster of furniture leg is an elongated open frame crowned by the weathered blue-green half of a scalloped tabletop. This awkward animalistic contraption with green vinyl
skin flaps seems to strut along like a surreal drunken rooster or a lumbering multi-footed sea creature. As the Sorcerer’s Apprentice’s broom anthropomorphized into an animated demonic nightmare, Sterritt’s everyday finds are magically transformed to tap into our unconscious desire to reconnect with the natural, working to eliminate the conceptual boundaries between creations of nature and those of humans.
Included in this exhibition are a number of Sterritt’s two dimensional mixed medium works on paper that reiterate many of the formal and conceptual strategies of the sculpture. While not considered working drawings in the traditional sense of blueprints for 3D works, Sterritt’s highly intuitive working process is readily perceived here. The interplay of flat geometric shapes with biomorphic and organic forms evoking pods, microscopic cells and procreating life, swarms, corals, twigs, webs, insects, as well as cosmic gases and nebulae, ensues from the same impulse to combine the natural with the human-made we see in the sculpture. Using ink, pastel, acrylic, overlaying collaged strips of paper and masking tape, as well as cutting into the brushy surface of the paper to create holes, she creates a fluid atmospheric world where paint drips and splatters surrealistically morph into beings, and molecular structures appear to metamorphize into architectural designs. Overlapping, interacting, synthesizing, intersecting, this imagery points to the emergence of a dynamic network rather than the perennial stand-off between competing domains. In our era when ecological, social, and cultural concerns seem to endlessly collide, Sterritt forges a vision based not on a resurgent romanticism but of as yet untold possibilities.
Footnotes:
1. Craig Owens, The Discourse of Others: Feminists and Postmodernism, in The Anti-Aesthetic: Essays on Postmodern Culture(Port Townsend, Washington: Bay Press,1983) p.77
Constance Mallinson is a Los Angeles-based artist and writer.
Images
Aeolian Tilt 2007
88” x 53” x 27”
wood, wire, varnish, found furniture, hardware, adhesive
Aeolian Tilt (detail) 2007
88” x 53” x 27” wood, wire, varnish, found furniture, hardware, adhesive
Floaters & Flashes 2007
74” x 36” x 33”
wood, paint, shellac, hardware
Floaters & Flashes (detail) 2007
74” x 36” x 33” wood, paint, shellac, hardware
Ways of Seeing 2007
80” x 38” x 75” wood, vinyl, found furniture, hardware
Ways of Seeing (detail) 2007
80” x 38” x 75” wood, vinyl, found furniture, hardware
Diagramme de Navigation de Mon Couer 2005
84” x 32” x 33”
wood, graphite, glue, found furniture, hardware
Diagramme de Navigation de Mon Couer (detail) 2005 84” x 32” x 33” wood, graphite, glue, found furniture, hardware
Daddy-O 2006
83” x 38” x 40”
wood, glue, insulation foam, cork, paint, shellac, found furniture
Domestic Fairytale 2005 108” x 70” x 55” wood, glue, found furniture, hardware
Float 2007
90” x 23” x 57” cork, wood, steel, hardware, adhesive
Float (detail) 2007 90” x 23” x 57” cork, wood, steel, hardware, adhesive
Blue Patina for Patsy Button 2009
77” x 38” x 33”
wood, vinyl, found furniture, adhesive, hardware
Blue Patina for Patsy Button (detail) 2009
77” x 38” x 33” wood, vinyl, found furniture, adhesive, hardware
Untitled February 2009 #3
44” x 30” masking tape, pastel, ink on paper
Untitled February 2009 #2 44” x 30” masking tape, pastel, ink and paper collage on paper
Untitled February 2009 #1
44” x 30” masking tape, pastel, ink and paper collage on paper
Untitled April 2008 #1 44” x 30” masking tape, pastel and paper collage on paper
Coleen Sterritt
Born 1953, Morris, Illinois
Education
1979 MFA, Sculpture, Otis Art Institute, Los Angeles, CA
1976 BFA, Sculpture, University of Illinois, Champaign-Urbana, IL
Awards
2007 Artist Fellowship, City of Los Angeles (COLA), Sculpture
1996 Artist Fellowship, J. Paul Getty Trust Fund for the Visual Arts, Sculpture
1994 Artist Fellowship, Art Matters Inc., New York
1994
Artist-in-Residence, Roswell Museum, Roswell, NM
1986 Artist Fellowship, National Endowment for the Arts, Sculpture
Solo Exhibitions
2009 Between, California State University, Stanislaus, University Art Gallery, Turlock, CA
2006 d.e.n. contemporary art, Culver City, CA
Stuck to the World, Riverside Art Museum, Riverside, CA
2002 Squeezebox, 2900 D, Santa Monica, CA
1996 LASCA Gallery, Los Angeles, CA
1996 Up, The Claremont Graduate University, Claremont, CA
1990 California State University, Los Angeles, Fine Arts Gallery
1988 The King & I, Santa Monica City College, Santa Monica, CA
1987 Pepperdine University, Seaver College Art Gallery, Malibu, CA
1986 Karl Bornstein Gallery, Santa Monica, CA
1984 Karl Bornstein Gallery, Santa Monica, CA
1983 Mark Quint Gallery, San Diego, CA
1982 Ulrike Kantor Gallery, Los Angeles, CA
1981
Mark Quint Gallery, San Diego, CA
Selected Group Exhibitions
2009 Connections, Overtones, Los Angeles, CA
2008 Looky See, Ben Maltz Gallery, Otis College of Art & Design, Los Angeles, CA
Ripe, d.e.n. contemporary art, Culver City, CA
Sum of Parts, dba256, Pomona, CA
L.A .- A Survey of Art from Los Angeles, Center for Contemporary Art, Sacramento, CA
2007 Themes & Variations: New Abstraction in Los Angeles, Torrance Art Museum, Torrance, CA
COLA: Individual Artist Fellowships, Los Angeles Municipal Art Gallery at Barnsdall Park, Los Angeles, CA
P. Suasion, Warschaw Gallery, San Pedro
2006 Draw, Paper, Scissors, domestic setting, Los Angeles, CA
Otis: Nine Decades of Los Angeles Art, Los Angeles Municipal Art Gallery at Barnsdall Park, Los Angeles, CA
2005 Group, Carl Berg Gallery, Los Angeles,CA
2004 Mark Making, Schneider Museum of Art, So. Oregon University, Ashland,OR
2002 Recent Sculpture: Marvell, Sterritt, Walker, L.A. Artcore, Los Angeles, CA
Curio, Andrew -Shire Gallery, Los Angeles, CA
Emergent Behavior, Brewery Project, Los Angeles, CA
From Sculpture, Irvine Fine Arts Center, Irvine, CA
2001 epitome-n. Katy Crowe and Coleen Sterritt, Harbor College,Los Angeles,CA
2000 The Group Show, Andrew-Shire Gallery, Los Angeles, Ca
Eccentric Visions, Hunsaker/ Schlesinger Gallery, Santa Monica, CA
1999 Drawing the Line, Ruth Chandler Williamson Gallery, Scripps College, Claremont, CA
The Last Spring, Dirt Gallery, Los Angeles, CA
1998 Sculpture Project, College of Santa Fe, Santa Fe, New Mexico
1997
L.A . New Art, University of Madrid, Sala de Bellas Artes, Madrid, Spain
L.A . Art Now: Arte Actual de Los Angeles, Universidad Castilla-La Mancha, Cuenca, Spain
Abstractionists: Katy Crowe and Coleen Sterritt, SITE, Los Angeles,CA
1996 The Empowered Object, Hunsacker/Schlesinger Gallery, Santa Monica, CA
Drawn From L .A., Armory Center for the Arts, Pasadena, CA
Living With Art, Andrew Shire Gallery, Los Angeles, CA
Sexy: Sensual Abstraction in California, 1950’s-1990’s, Armory Center for the Arts, Pasadena, CA - traveling exhibition
The Cup and the Teapot: The Extraordinary Diversity of a Simple Form, The Clark Humanities Museum, Scripps College, Claremont, CA
1995 L.A . Abstracts: Drawings, Schick Art Gallery, Skidmore College, Saratoga Springs, New York
Sexy: Sensual Abstraction in California, 1950’s-1990’s, Contemporary Artists Collective/Temporary Contemporary, Las Vegas, NV
1994 Five Artists: Work in Progress, Roswell Museum, Roswell, NM
1991 Selections from the Permanent Collection: 1975-91, Museum of Contemporary Art, Los Angeles, CA
1990 Natural Forces in Los Angeles Sculpture, Los Angeles Municipal Art Galleries at Barnsdall Park, Los Angeles, CA
1989 Coates Collection, Long Beach Museum of Art, Long Beach, CA
Experience-Reordered: L.A.Abstractionists,Allport Gallery, SanFrancisco CA
1988 Raw Grace, Art Gallery, Otis Art Institute of Parsons School of Design, Los Angeles, CA
1987 On the Horizon: Emerging in California, Fresno Art Center and Museum, Fresno, CA
1986 Recent Works:Five Artists, Guggenheim GalleryChapmanCollege,Orange,CA
1985 Off the Street, Old City Print Shop, Los Angeles, CA
An American Album, Focus International: American Women in Art, United Nations World Conference on Women, Nairobi, Kenya
1984 A Broad Spectrum: Contemporary Los Angeles Painters and Sculptors, Design Center of Los Angeles, L.A., CA
Table Top Sculptures: Studies for Large Scale Works, Mattingly-Baker Gallery, Dallas, TX
The Cotton Exchange Show, Los Angeles Contemporary Exhibitions(LACE)
Critics Choice: Downtown Artists, curated by Joan Hugo,TransAmerica-Occidental, Los Angeles, CA
1983 Downtown L.A .: Between the Freeways, Palm Springs Desert Museum, Palm Springs, CA (National traveling exhibition)
Dealers’ Choice, Eaton/Shoen Gallery, San Francisco, CA
Miles Above: 19 Return to Otis-Parsons, curated by Miles Forst, Otis Art Institute of Parsons School of Design, Los Angeles, CA
Flatworks: Non-Three Dimensional Works by Sculptors, Washington Project for the Arts (WPA), Washington, D.C.
1982 The New Art of Downtown Los Angeles, Illinois State University, Normal, IL; Madison Art Center, Madison WI (traveling)
Estuary Channel Sculpture Project, 12th International Sculpture Conference, Oakland Museum, Oakand, CA
Small Scale Sculpture: David Bower and Coleen Sterritt, Fine Arts Gallery, University of Las Vegas, Las Vegas, NV
1981 Young Turks, Downtown Gallery/Ron Salgado Fine Arts, Los Angeles, CA
Gallery Artists, Ulrike Kantor Gallery, Los Angeles, CA
Drawing: Personal Definitions, San Diego State University, San Diego, CA
Southern California Artists,curated by Barbara Haskell, Los Angeles Institute of Contemporary Art (LAICA), Los Angeles, CA
1980 Sculpture: Proposals for Downtown Los Angeles, Kirk deGooyer Gallery, Los Angeles, CA
Downtown L.A . in Santa Barbara, Santa Barbara Museum of Art, Santa Barbara, CA
Installation, Downtown Window Site, LosAngeles Institute of Contemporary Art (LAICA), Los Angeles, CA In-Sites, The Women’s Building, Los Angeles, CA
1979 Six Downtown Sculptors, Los Angeles Contemporary Exhibitions (LACE), Los Angeles, CA
Sculpture Invitational, Ralph M. Parsons Engineering Co., Pasadena, CA
Exhibition Catalogs, Brochures, Books
Ayres, Anne, “As the Clock Ticks”, Charting New Currents, Celebrating Ten Years of Grantmaking by the California Community Foundation, J.Paul Getty Trust Fund for the Visual Arts, 1998
Canty, Scott, “Coleen Sterritt: COLA ’07 Individual Artists Fellowships”, Dept. of Cultural Affairs, City of Los Angeles Childs, Carrie,”Coleen Sterritt: Up”, Claremont Graduate University, 1996 Couzens, Julia, “Stuck to the World”, Riverside Art Museum, 2006 FitzGibbon, John, “Sexy: Sensual Abstraction in California Art 1950’s-1990’s” Armory Center for the Arts, Pasadena, CA, 1996 Hugo, Joan, “Coleen Sterritt: Sculpture”, Cal State University Los Angeles,’90 Krumpak, Tom, “Restless Voices: Abstraction from Los Angeles”, Skidmore College, Saratoga Springs, NY, 1995 Lillo, Jose Maria, “LA New Art / Arte Actual en Los Angeles,” Universidad Castilla-La Mancha, Cuenca, Spain, 1997 Mallinson, Constance, “Coleen Sterritt - Between”, CSU Stanislaus, University Art Gallery, 2009 Rubinstein, Charlotte Streifer, American Women Sculptors: A History of Women Working in Three Dimension, G.K. Hall and Co., Boston, 1990
Publications - selected reviews
2007 Mallinson, Constance, “Coleen Sterritt at d.e.n. contemporary”, Art in America, March Satorius, Katherine, “Coleen Sterritt at d.e.n. Contemporary ”, Artweek, Feb.
2006 Frank, Peter, “Pick of the Week”, L.A. Weekly, Dec. 13
2000 Cooper, Jacqueline, “Report from the Trenches: Teaching Fine Art at the Community College”, New Art Examiner, February
1998 Allen, Jane Ingram, “Inspiration and Renewal: Residencies for Sculptors”, Sculpture, February
1996 Reed, Michal, “Coleen Sterritt at LASCA”, Artweek, December
1990 Frank, Peter, “Pick of the Week”, L.A. Weekly, Oct. 18
1988 Donohue, Marlena, “Sculpture Taking Its Lyrical Ease Beyond Gender in ‘Raw Grace’ ”, L.A. Times, August 13
Frank, Peter, “Pick of the Week”, L.A. Weekly, August 11
Frank, Peter, “L.A. Art Seen”, L.A. Weekly, January 29
1986 Clothier, Peter, “ L.A. Art Seen”, L.A. Weekly, January 31
Gardner, Colin, “ The Galleries”, L.A. Times, January 24
1984 Gardner, Colin, “Art Throughout the City: Coleen Sterritt”, L.A. Reader, October Hammond, Pamela, “Coleen Sterritt: New Expressionism”, Images & Issues, March-April
Pincus, Robert, “The Galleries”, L.A. Times, June 15
Wolf, Leslie, “L.A Art Seen”, L.A. Weekly, June 22
1983 Ballatore, Sandy, “ The Psychological Tightrope: 1982”, Images & Issues, January - February Curtis, Cathy, “Up from the South”, Artweek, May 28
Lugo, Mark, “Nairobi 95: Sculpture by Coleen Sterritt ”, San Diego Tribune, September 9
1982 Drohojowska, Hunter, “Pick of the Week”, L.A. Weekly, January 29
Drohojowska, Hunter, “ Young Turks”, Art Forum, February Hugo, Joan, “Ambiguous Presences, Artweek, February 6
Wilson, William, “The Galleries”, L.A. Times, January 22
1981 Drohojowska, Hunter, “Urban Art ”, L.A. Weekly, May 22
Drohojowska, Hunter, “ Young Turks”, High Performance, Fall Sutter, Esther, “Mammut, Eine USA Reise”, Kunst Bulletin, Switzerland Wilson, William, “Toward a Definition of Post-Modernism”, L.A. Times
1980 Drohojowska, Hunter, “Pick of the Week”, L.A. Weekly, December 19 Knight, Christopher, “ When Sculpture Goes Public”, Los Angeles Herald Examiner, December 14 McCloud, Mac, “On Site”, Artweek, March 8
1979 Hugo, Joan, “Six Downtown Sculptors”, Artweek, April 21
Public Collections
Museum of Contemporary Art, Los Angeles Crocker Art Museum, Sacramento, CA
Carnation Company, Los Angeles Capitol Group Companies, Los Angeles, New York, London Scripps College Collection, Claremont, CA
Professional Affiliations and Activities
“Point-of-view-Talk”- Coleen Sterritt discusses the work of Tim Hawkinson, J. Paul Getty Museum at the Getty Center, April 2007 Artist Fellowship Jurist, J. Paul Getty Trust Fund for the Visual Arts, 1993 Los Angeles Contemporary Exhibitions (LACE), Board of Directors 1986-92, Chair 1991-92,Treasurer 1988-90, Performed in “Spalding Gray’s Map of L.A.”, a film by Bruce & Norman Yonemoto,1984 College Art Association
International Sculpture Center
Lectures
Art Center College of Design
California State University, Fullerton California State University, Long Beach
The Claremont Graduate University
Otis Art Institute
Pepperdine University
U.C.L.A.
University of Southern California
Academic Experience
1996- Long Beach City College, Professor, Sculpture Program Coordinator
1988-99 The Claremont Graduate University, Visiting Artist/ Adjunct Professor Painting, Drawing, Sculpture - Sabbatical Replacement, Core Faculty , 1990-91, 1993-94
1994-98 College of the Canyons, Instructor, Beginning Painting & Drawing
1990 California State University, Long Beach, Collaborative Workshop: Dance Majors /Art Majors, with Lucinda Childs, Margit Omar, Coleen Sterritt
1989 University of Southern California, Instructor, Inter-Dimensional Design
1987-93 Otis College of Art & Design, Instructor, Intermediate Sculpture
1987-88 Pepperdine University, Instructor, 2 & 3-D Design
1986-87 California State University, Fullerton, Distinguished Visiting Artist, Drawing & Painting
1985-86 University of Southern California, Cont. Education, Beg. & Interm Drawing
1985 The Claremont Graduate School, Visiting Artist, Painting, Drawing, Sculpture
1983 The Claremont Graduate School, Sculpture Colloquium
