MANUEL NERI: Singularity of Form & Surface

MANUEL NERI

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MANUEL NERI SINGULARITY OF FORM & SURFACE

YARES ART 745 FIFTH AVENUE – NEW YORK, NY 10151

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IT IS A GREAT PLEASURE FOR ME to present this exhibition of bronze sculptures by

Manuel Neri. I have worked personally with Neri for more than twenty-five years, organizing exhibitions of his work at the Yares Galleries in Scottsdale and Santa Fe, as well as publishing exhibition catalogues documenting his work and ideas.

Manuel Neri’s career spans more than sixty years and continues a Modernist figurative tradition advanced in the 20th century by such artists as Alberto Giacometti and Marino Marini, yet Neri’s approach to the figure is unique and very much his own. For Neri, the sculptural figure remains a viable and relevant vehicle capable of speaking in contemporary terms to convey his ideas.

Neri has been known in the past for a vibrant use of color on his sculptures, and for his uniquely painted and patinaed bronzes. The bronzes in this exhibition offer another approach, activated by an overall, subtly modulated patina that Neri calls Alborada. With this white patina enhanced with a luminous yellow glaze, Neri’s figures achieve a powerful unity of sculptural form and surface.

My support of Manuel Neri’s work has been consistent with the context of this gallery and the other artists we represent. I have found that when I view a painting by Helen Frankenthaler, or by Morris Louis, Robert Motherwell, Kenneth Noland, Jules Olitski, or Larry Poons, I am mesmerized, engulfed in the overall assertion of often fully saturated color. When a Neri bronze with the Alborada patina stands next to a “color field” painting, both the figure and the painting display a new sense of urgency. In this context, each presents an aura that is richer, denser, and emanates well beyond the surface.

I am indebted to Manuel Neri for his continued association with the Yares Galleries.

This exhibition and catalogue are produced through the efforts of many people, and I owe much gratitude to Bruce Nixon for his insightful essay; Lee Fatherree for his photography of the artwork; John Hubbard of EMKS, Finland for an outstanding catalogue design and layout; Gary Hawkey and the staff at iocolor, Seattle for color management and coordination of catalogue production; and Anne Kohs & Associates, Inc., for facilitating this presentation of Manuel Neri’s work in New York.

La Palestra No. 5 (Cast 4/4) 1988; Cast 2007; Patina 2015 Bronze with oil-based pigments 29 × 47 × 18½ in.

73.7 × 119.4 × 47.0 cm Collection Nasher Sculpture Center Dallas, Texas

DENNIS YARES

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Makiko IV (Cast 3/4) 1983; Cast 2008; Patina 2016 Bronze with oil-based pigments 15 × 10½ × 10 in.

38.1 × 26.7 × 25.4 cm

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MANUEL NERI MANUEL NERI IS A FUNDAMENTALLY MODERN , autobiographical

artist, and a humanist by instinct. His motif is the sculpted female figure, rendered at human scale in an original, thoroughly naturalistic formal language that unifies and then advances the prominent figural modalities of his modernist predecessors. Neri’s work, whether in plaster, bronze, or marble, is idiomatic, inimitable, and immediately recognizable — sculptural forms whose delicate formal integrity and evocative gesture are submitted to a textural treatment of surface that recreates the figure as an articulate “speaking” subject indigenous to the artist. Neri constructs sculptures that capture the condition of the figure/artist striving to make itself/himself known in a world of time and spatial divide, striving, that is, to ascertain how the human expresses itself across that same division, and to discover ways in which that expression might be amplified through the artist’s means.

Neri’s fluent knowledge of the figurative motif as a history has enabled him to engage some of the most durable traditions of Western sculpture, from antiquity to the present, as he has continued to investigate the possibilities of the form in a fully contemporary voice. He accepts the dense thematic and emotional histories of the figure as an available resource, and as he contemplates them in the sculptural vocabulary of his own time, an authentic “modern” figure emerges to meet the needs of a “modern” sculptor, a figure that draws on ideas from the past without repeating them verbatim. The figure is for Neri a resilient form, capable of embodying humanness under almost any circumstance.

SINGULARITY OF FORM & SURFACE

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Neri has devoted much of his career to the problems of communicability — the human need to be known to and to know another, and to learn how and even if such an exchange is finally achievable. The spread of figures across the full span of his career constitutes his answer to the inquiries bequeathed to sculpture by other humanist sculptors of the Modern era. Taken together, Neri and his predecessors demonstrate the renewal and indeed the continuity of the sculptural figure amid the vicissitudes of the past century and into the contemporary moment.

In the wake of World War II, sculpture in Europe experienced an expansion at once figural and profoundly humanist, led by a group of artists that included Kenneth Armitage, Louise Bourgeois, Alberto Giacometti, Marino Marini, Eduardo Paolozzi, and Germaine Richier, among others. For the most part, it took place just outside the main currents of European art at the time, in deliberate response to sweeping, catastrophic wartime events and to social shifts that threatened the life of culture — shifts that included the ascendance of the technological state and its dehumanizing tendencies. Most of these artists were building on developments that had occurred elsewhere in art, chiefly in the formal distortions of late expressionism and, of course, abstraction, and would continue to pursue those modes of working. Giacometti and Marini were two who remained loyal to a naturalistic sculptural figure.

Because the work of Giacometti and Marini is so familiar to us today, we can easily forget that it met with tremendous resistance in its own time — that its passage was hazardous precisely because the artistic climate of the era was dominated by abstraction and its advocates, and would remain inhospitable to figuration of any kind until the early 1960s. But it was an adventurous passage, too, one in which the figural motif showed its tenacity as a valid, efficacious artistic choice in the tumultous environment of late modernism.Their work would establish the basic terms for survival of the naturalistic figure in postwar culture, and how in each instance the individual treatment of the motif advances that survival, enabling it to retain a place within the contentious discourse of modernity.

In essence, Giacometti and Marini developed sculptural figures whose thematic substance proved congenial to the temper of progressive art in the postwar era. As

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a matter of strategy, neither artist attempted to refute abstraction or its rationales, or to undermine its real advances. Neither did they ignore the cultural atmosphere in which abstraction was emerging around them. Their work does not evade its historical moment. It argues, rather, for the durable significance of the figure, and its ability to address some of the most problematic conditions of the modern present.

Giacometti took up, as art, questions raised by phenomenology, using stylized form, scale, radical attenuation, and surface to study the subjective variability and instability of visual perception; in Marini’s work, on the other hand, forms drawn from the long history of the sculptural figure are employed to address the diminished circumstances of the cultural present.

These artists had reestablished the naturalistic figure at roughly the same time that Neri was beginning his career on the American West Coast, and as we now gaze over the length of Neri’s career, we can readily observe how he extends them.

Neri recognized that their work was not finished — that more remained to be said with the sculpted figure in our time.Though he represents a subsequent generation in art, Neri negotiates the similarly difficult landscape, one that includes the challenging cultural shifts that register the passage from late Modernism toward post-modernity as well as all the social discontents of the era.

Neri values the centrality of the figure in the history of art and its immense eloquence as a form, but at the same time, he is always aware that, in the atmosphere of the late twentieth and early twenty-first centuries, he will be required to establish himself as the authority in his work, the source of both its authenticity and its communicability, that he cannot claim the cultural commonalities that once informed sculptural building except as personal reference. It is in this sense that his figures, we might say, are utterly autobiographical. They speak for him in, or as, his language — and he is driven to make that language accessible in sculptural terms, literally from work to work.

The sculptures in this exhibition — bronze figures bathed in an allover white patina with the further addition of a light yellow glaze — are not a departure from what Neri has done in the past so much as a crucial recent step in his presentation

Ostrakon Series No. 7 (Cast 3/4) 1984; Cast 1998; Patina 2016 Bronze with oil-based pigments 19 5∕8 × 5 3∕8 × 4½ in.

49.8 × 13.7 × 11.4 cm

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of the figure, one that concentrates formal issues that have been active throughout his career — frankly and without ambiguity. For these figures, he has been able to make use of a surface treatment, which he calls the “Alborada patina,” applying it to bronze casts of works that he produced in plaster beginning in the late 1970s. With that in mind, Neri’s long identification with plaster means that the monochromatic surface is to some extent intrinsic to his conception of the motif.

Although Neri has experimented with white surface treatments on his cast editions since the mid-1980s in an ongoing effort to further clarify the effects of plaster’s allover tonality, the limitations of conventional patination presented a source of frustration for him: in the past, his white patinas were sometimes destabilized by the bronze itself, as an active surface that changed chemically as it aged and altered the patinas on it. But Neri always visualized a durable white surface for the bronzes, and the persistence of his quest for a solution affirms its importance to him. With the Alborada patina on these figures before us, we can see that his vision of the work was always sure.

Here, Neri uses the patina as both color and surface. Or: color and surface now merge on the impermeable exterior of the bronze, inseparable as elements of the three-dimensional form. The patina is neither inherent to the material, nor is its appearance painterly in an obvious sense. The patination does not entail the traditional chemical treatment of the bronze surface, however, so let us be clear: the Alborada patina is white paint, subtly modulated by pale yellow glaze that focuses attention on the textured areas of the surface. The application of sealants on the metal and on the outer paint surface, in conjunction with layered paint films, some quite thin, in slightly different hues of white, produces a shimmering, softly gleaming skin that interacts with ambient light and enhances the sculptures’ surface dimensionality — characteristics that distinguish it from the grayish-white matte surface of plaster while retaining the lusciousness of the bronze surface and brushed color, so adept at arousing the haptic eye.

These figures are, once again, not new — indeed, they are iconic in Neri’s output, familiar standing and kneeling figures, partial forms, and reliefs. But they ask

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us to come to them afresh. We might say that Neri has eliminated all issues but the purely sculptural from the precincts of the form. Gone is the provocative fragility of plaster, its ordinariness, and gone, too, the achievement of Neri’s highly developed colorism. We encounter instead the artist’s unequivocal conception of the figure as sculpture, as, that is, an organized three-dimensional structure, a compositional harmony of parts, means, and effects. He is not constructing a representation or a surrogate of the human, or producing a narrative depiction based on the body. He wants sculpture that happens to be derived from the human model. And it must affect us as a sculptural object that shares our space, that stands alongside us, with us, and we must respond to it on those terms.

Surface texture, another element fundamental to Neri’s identity as a sculptor, also shifts away from narrative, away from its familiar role as a suggestive incursion by the artist, and from the normal business of mobilizing the viewer’s eye across the form: it remains an incorporation of the artist’s hand, yes, but as another mode of sculptural marking that wants to act sculpturally, inseparable from the whole, or wholeness, of the object. To speak broadly, the sculpted figure now comes forward in a condition of integration, its various features unified as a totalized sculptural form. The allover character of the Aborada patina distills and focuses all such concerns, uniting all the various elements of sculptural form, texture and mark, light and shadow across the surface. There are none of the diversions or disguises that come so easily to the varied palette and skillful brush of Neri’s earlier painted figures, which can so easily promote other intentions for the object. Instead pose and gesture now melt into sculptural presence, or put somewhat differently, the emotional or psychological narratives embedded in the figural merge with the sculptural, cannot be extricated from it. A lot is going on at once, and we experience it as such, as a simultaneity of effects.

A figure turns slightly in a kind of contrapposto, tilts its head, cocks a hip or leg, but in white, such gestures are sublimated into a delicate interrelationship of parts that lock into a single state, and so embody the assertion that Neri wishes to make with a particular figure, whether psychological, emotional, or existential. The unified

Ostrakon Series No. 6 (Cast 4/4) 1984; Cast 2007; Patina 2016 Bronze with oil-based pigments 15 7∕16 × 5 7∕16 × 5 in.

39.2 × 13.8 × 12.7 cm

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Mujer Pegada Series No. 1 (Cast 4/4) 1986; Cast 2005; Patina 2015 Bronze with oil-based pigments 70 × 56 × 10 in.

177.8 × 142.2 × 25.4 cm

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impact of the figure can also quiet our interpretative reflexes, which tend to respond quickly to the plasters and colored bronzes, requiring that we now start from a bodily, experiential recognition of the formal clarity of Neri’s originative intentions for any given figure, and in that atmosphere of clarity, look directly at what he was seeking from it, as sculpture, and how it was achieved in fact.

It may go without saying that Neri mistrusts verbal language and its dubious proclamations of authority. The figure provides him with the authenticity of the expressive body and its gestures, which in turn has sustained his dedication to the processes of sculptural building as a route of escape from the confusions instigated by speech and by the potential for misunderstanding that lurks within it. He wants the sculptural form to speak for him, and to be understood in just that way. His fidelity to the expressible has rarely been more boldly stated than it is here.

We can justly say that after more than fifty years of devotion to the figural motif, Neri’s work speaks for itself, or perhaps more precisely, it speaks for his faith in the durable vitality of the motif at the center of Western art history. Still, his use of the sculptural figure — his reliance on the standing female figure and on various canonical poses, and his scrupulous attention to truncated and partial forms — reminds us that Neri’s engagement with the art-historical will always return him to his abiding concern with the relevance of the form in contemporary sculpture.

BRUCE NIXON

BRUCE NIXON is an art writer and critic who has written extensively about contemporary art for numerous publications, including books, magazines, monographs, and exhibition catalogues.

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MANUEL NERI SINGULARITY OF FORM & SURFACE

ALBORADA BRONZES

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Annunciation No. 1 (Cast AP) 1982; Cast 2016; Patina 2016 Bronze with oil-based pigments 463/4 × 22 × 241/2 in.

118.7 × 56.0 × 61.6 cm

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Bull Jumper II (Cast 4/4) 1987; Cast 1989; Patina 2016 Bronze with oil-based pigments 191/2 × 50 × 30 in.

50.0 × 127.0 × 76.2 cm

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Bull Jumper III (Cast 4/4) 1987; Cast 1989; Patina 2016 Bronze with oil-based pigments 291/2 × 47 × 19 in.

75.0 × 119.4 × 48.3 cm

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Catun No. 1 (Cast 3/4) 1986; Cast 2003; Patina 2016 Bronze with oil-based pigments 67 × 19 × 121/2 in.

170.2 × 48.3 × 31.8 cm

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Catun No. 2 (Cast 3/4) 1986; Cast 2006; Patina 2016 Bronze with oil-based pigments 67 × 18¼ × 13¼ in.

170.2 × 46.4 × 33.7 cm

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Joan Brown Seated (Unique Cast) 1959; Cast 1963; Patina 2016 Aluminum with oil-based pigments 30½ × 12½ × 27 in.

76.8 × 31.8 × 68.6 cm Anderson Collection at Stanford University, California

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Julia II (Cast 1/4) 1976; Cast 2010; Patina 2016 Bronze with oil-based pigments 67 × 21¼ × 19½ in.

170.2 × 54.0 × 49.5 cm

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La Palestra No. 6 (Cast AP) 1988; Cast 2007; Patina 2016 Bronze with oil-based pigments 32 × 21 × 44 in.

81.3 × 53.3 × 111.8 cm

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M.J. Series II (Cast 2/4) 1989; Cast 1990; Patina 2016 Bronze with oil-based pigments 68½ × 20½ × 14 in.

174.0 × 52.1 × 35.6 cm

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Makiko IV (Cast 3/4) 1983; Cast 2012; Patina 2016 Bronze with oil-based pigments 16¾ × 13 × 10 in.

42.5 × 33.0 × 25.4 cm

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Mary Julia No. 4 (Cast 1/4) 1980; Cast 2010; Patina 2016 Bronze with oil-based pigments 67 × 30 × 14 in.

170.2 × 76.2 × 35.6 cm

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On the Up No. 1 (Cast 1/4) 1992; Cast 2002; Patina 2016 Bronze with oil-based pigments 69½ × 19¼ × 16¼ in.

176.5 × 48.9 × 41.3 cm

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Posturing Series No. 2 (Cast 3/4) 1978; Cast 2016; Patina 2016 Bronze with oil-based pigments 31 × 21½ × 12 in.

78.7 × 54.6 × 30.5 cm

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Prietas Series VI (Cast AP) 1993; Cast 2000; Patina 2016 Bronze with oil-based pigments 68 × 19 × 15 in.

172.7 × 48.3 × 38.1 cm

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Re-making Mary Julia No. 2 (Cast 4/4) 1976; Cast 2005; Patina 2016 Bronze with oil-based pigments 63 × 29 × 15 in.

160.0 × 73.7 × 38.1 cm

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Standing Figure I, 1982 (Cast AP-I) 1982; Cast 2005; Patina 2016 Bronze with oil-based pigments 69 × 18 × 20½ in.

175.3 × 45.7 × 52.1 cm

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MANUEL NERI MAQUETTES

ALBORADA BRONZES

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Amante Bronze Maquette I (Cast 2/4) 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 23¼ × 61∕8 × 6 in.

59.1 × 15.6 × 15.2 cm

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Amante Bronze Maquette V (Cast 2/4) 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 12¾ × 4½ × 4 5∕8 in.

32.4 × 11.4 × 11.8 cm

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Amante Bronze Maquette VI (Cast 1/4) 1983; Cast 2013; Patina 2016 Bronze with oil-based pigments 17¾ × 4½ × 4 5∕8 in.

45.1 × 11.4 × 11.8 cm

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Arcos de Geso—Bronze Maquette II (Cast 1/4) 1984; Cast 2016; Patina 2016 Bronze with oil-based pigments 23¼ × 15½ × 5 5∕8 in.

59.1 × 39.4 × 14.3 cm

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Juana – Bronze Maquette (Cast 2/4) 1989; Cast 2014; Patina 2016 Bronze with oil-based pigments 24½ × 6 × 5½ in.

62.2 × 15.2 × 14.0 cm

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Pecadoras Series I (Cast AP-II) 1999; Cast 2001; Patina 2015 Bronze with oil-based pigments 31¼ × 7 7∕8 × 7¼ in.

79.4 × 20.0 × 18.4 cm Private Collection, California

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Pecadoras Series III (Cast 2/4) 1999; Cast 2001; Patina 2015 Bronze with oil-based pigments 31¼ × 6¼ × 5 3∕8 in.

79.4 × 15.9 × 13.7 cm

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Pecadoras Series IV (Cast AP-II) 1999; Cast 2001; Patina 2015 Bronze with oil-based pigments 31 × 6¼ × 53∕8 in.

78.7 × 15.9 × 13.7 cm Private Collection, California

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Torso - Bronze Maquette II (Cast 1/4) 1993; Cast 2007; Patina 2016 Bronze with oil-based pigments 14½ × 5 × 3¼ in.

36.8 × 12.7 × 8.3 cm

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MANUEL NERI BIOGRAPHY BOOKS & C ATALOGUES MUSEUM & PUBLIC COLLECTIONS

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Manuel Neri Benicia Studio, 1982 Photograph, M. Lee Fatherree

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BORN 1930, Sanger, CA

EDUCATION 1949–50 San Francisco City College, San Francisco, CA 1951–52 University of California, Berkeley 1951–56 California College of Arts and Crafts, Oakland, CA 1956–58 California School of Fine Arts [San Francisco Art Institute], San Francisco

TEACHING 1959–65 California School of Fine Arts, San Francisco 1963–64 University of California, Berkeley 1965–90 University of California, Davis

GRANTS AND AWARDS 1953

Oakland Art Museum, First Award in Sculpture

1957

Oakland Art Museum, Purchase Award in Painting

1959

Nealie Sullivan Award, California School of Fine Arts, San Francisco

1963

San Francisco Art Institute, 82nd Annual Sculpture Award

1965

National Art Foundation Award

BIOGRAPHY

1970–75 University of California at Davis, Sculpture Grant 1979

John Simon Guggenheim Memorial Foundation Fellowship

1980

National Endowment for the Arts, Individual Artist Grant

1982

American Academy and Institute of Arts and Letters, Academy-Institute Award in Art

1985

San Francisco Arts Commission, Award of Honor for Outstanding Achievement in Sculpture

1990

San Francisco Art Institute, Honorary Doctorate for Outstanding Achievement in Sculpture

1992

California College of Arts and Crafts, Honorary Doctorate

1995

Corcoran School of Art, Washington, DC, Honorary Doctorate

1999

Orange County Museum of Art, Newport Beach, CA, Distinguished Artist Award

2006

International Sculpture Center, Lifetime Achievement Award in Contemporary Sculpture

2008

San Francisco Museum of Modern Art, Bay Area Treasure Award

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COMMISSIONS

1974

1980–82 Office of the State Architect, State of California, Marble sculpture Tres Marias for The Bateson Building, Sacramento 1987

Davis Art Gallery, Stephens College, Columbia, MO, Manuel Neri: Sculpture and Installations, October 3–23

North Carolina National Bank, Marble sculpture Española for NCNB Tower, Tampa, FL

1975

The Linpro Company, Marble sculpture Passage for the Christina Gateway Project, Wilmington, DE

Quay Gallery, San Francisco, Manuel Neri: Sculpture and Drawings, April 1–26

1976

Braunstein/Quay Gallery, New York, Neri Sculpture, March 16– April 10

U.S. General Services Administration, Marble sculpture Ventana al Pacífico for U.S. Courthouse, Portland, OR 1994

Laumeier Sculpture Park, St. Louis, MO

2003

Iowa State University, Ames, Marble sculpture Escalieta I for the Gerdin Building St. Anne’s Church, Seattle, WA, Bronze sculpture Virgin Mary

80 Langton Street, San Francisco, The Remaking of Mary Julia: Sculpture in Process, May 4–15 The Oakland Museum, Oakland, CA, Manuel Neri, Sculptor, September 21–November 28. Travel: Utah Museum of Fine Arts, Salt Lake City, March 12–May 1, 1977. Catalogue 1977

ArtSpace/Open Ring, E. B. Crocker Art Gallery, Sacramento, CA, Manuel Neri: Recent Sculpture and Drawings, July 22–August 20.

Brochure

1979

Gallery Paule Anglim, San Francisco, Manuel Neri, May 15–June 9

1980

Whitman College, Walla Walla, WA, Manuel Neri: Sculpture and Drawings, April 1–30

SELECTED SOLO EXHIBITIONS 1957

The 6 Gallery, San Francisco, Manuel Neri, June

1959

Spatsa Gallery, San Francisco, Manuel Neri

1960

Dilexi Gallery, San Francisco, Manuel Neri, June 20–July 16

1963

New Mission Gallery, San Francisco, Neri Sculpture, July 20– August 17

1964

Berkeley Gallery, Berkeley, CA, Manuel Neri

1966

Quay Gallery, San Francisco, Neri Sculpture

1968

Quay Gallery, San Francisco, Manuel Neri

1969

Louisiana State University, Baton Rouge, Manuel Neri

1970

St. Mary’s College, Moraga, CA, Manuel Neri San Francisco Art Institute, San Francisco, CA, Manuel Neri

1971

Art Gallery, University of Nevada, Reno, Manuel Neri San Francisco Museum of Art, San Francisco, CA, Arts of San Francisco: Manuel Neri, August 6–September 5. Brochure Quay Gallery, San Francisco, Manuel Neri at Quay, November 9–27

1972

Art Gallery, San Jose State University, San Jose, CA, Manuel Neri, February 13–March 8

Sacramento State College Art Gallery, Sacramento, CA, Work by Manuel Neri, March 22–April 18 Davis Art Center, Davis, CA, Manuel Neri: New Sculpture, October 27–November 16

Richmond Art Center, Richmond, CA, Manuel Neri: Drawings, July 1–31 Grossmont College Gallery, El Cajon, CA, Manuel Neri, November 10–December 10 1981

Seattle Art Museum, Seattle, WA, Manuel Neri, January 15–March 1.

Catalogue Charles Cowles Gallery, New York, Manuel Neri, February 7–28.

Brochure The Mexican Museum, San Francisco, Manuel Neri: Sculpture/ Drawings, May 7–June 5 The Art Museum Association, Manuel Neri: Drawings and Bronzes.

Travel: Redding Museum and Art Center, Redding, CA; Fresno Art Center, Fresno, CA; Gardiner State University Art Gallery, Stillwater, OK; San Jose Museum of Art, San Jose, CA; North Dakota State University, Fargo; Arkansas Art Center, Little Rock; Abilene Fine Arts Museum, Abilene, TX; Art Museum of Santa Cruz County, Santa Cruz, CA; Florida International University, Miami; Springfield Art

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Museum, Springfield, MO; Honolulu Academy of Art, Honolulu, HI; Laumeier International Sculpture Park, St. Louis, MO. Brochure

Greg Kucera Gallery, Seattle, Manuel Neri: Sculpture and Drawings, June 1–July 9

John Berggruen Gallery, San Francisco, Manuel Neri, November 17–December 19

Riva Yares Gallery, Scottsdale, AZ, Manuel Neri: Sculpture of the 1980s, November 18–December 25. Catalogue

1982

Charles Cowles Gallery, New York, Manuel Neri, November 7–27

1983

Middendorf/Lane Gallery, Washington, DC, Manuel Neri, Sculpture and Drawings, January 26–February 22

1984

1986 1987

Middendorf Gallery, Washington, DC, Manuel Neri, March 10–31

Bingham Kurts Gallery, Memphis, TN, Manuel Neri: Works on Paper, October 19–November 13

Art Gallery, California State University, Chico, The Human Figure: Sculpture and Drawings by Manuel Neri, March 26–April 13

Margulies/Taplin Gallery, Coconut Grove, FL, Manuel Neri, December 28, 1990–January 23, 1991 1991

Robert Else Gallery, California State University, Sacramento, Manuel Neri: Sculpture and Drawings, October 15–November 12. Catalogue

Eve Mannes Gallery, Atlanta, Manuel Neri, April 12–June 15

Charles Cowles Gallery, New York, Manuel Neri, February 1– March 1 Fay Gold Gallery, Atlanta, GA, Manuel Neri: Sculpture and Drawings, March 14–April 22

Riva Yares Gallery, Santa Fe, NM, Manuel Neri, June 1–August 31 Richard L. Nelson Gallery, University of California, Davis, Manuel Neri: Drawings, Part II. 1974–1991, October 13–December 6 1992

James Corcoran Gallery, Santa Monica, CA, Manuel Neri, October 29–November 27 1989

Sheppard Fine Arts Gallery, University of Nevada, Reno, Manuel Neri, March 10–April 3 Charles Cowles Gallery, New York, Manuel Neri, New Works: Marble and Plaster, April 29–May 27 San Francisco Museum of Modern Art, Manuel Neri: Plaster, May 25–July 23. Catalogue

John Berggruen Gallery, San Francisco, Manuel Neri, March 5–April 4 Morgan Gallery, Kansas City, MO, Manuel Neri, March 27–May 2 Margulies/Taplin Gallery, Boca Raton, FL, Manuel Neri, May 7–June 11

College of Notre Dame, Belmont, CA, Manuel Neri, A Personal Selection, April 14–May 21. Brochure John Berggruen Gallery, San Francisco, Manuel Neri: Recent Sculpture and Drawings, April 28–May 28

Charles Cowles Gallery, New York, Manuel Neri, February 2-23 Richard L. Nelson Gallery, University of California, Davis, Manuel Neri: Drawings, Part I. 1953–1974, April 7–May 19

San Antonio Art Institute, San Antonio, TX, Manuel Neri, November 24–December 22 1988

John Berggruen Gallery, San Francisco, Manuel Neri, March 21– April 21 Crocker Art Museum, Sacramento, CA, Manuel Neri: Bronzes, August 10– October 21. Catalogue.

John Berggruen Gallery, San Francisco, Manuel Neri, Sculpture and Drawings, February 23–March 24

Gimpel-Hanover & Andre Emmerich Galerien, Zurich, Switzerland, Manuel Neri, April 16–June 7 1985

1990

Fresno Art Center, Fresno, CA, She Said: I Tell You It Doesn’t Hurt Me, June 5–August 16 1993

Bingham Kurts Gallery, Memphis, TN, Manuel Neri, January 8–31 Charles Cowles Gallery, New York, Manuel Neri: New Work: Marbles, Bronzes and Works on Paper, January 28–March 6 Riva Yares Gallery, Scottsdale, AZ, Manuel Neri, February 11– March 9 University of Alabama Art Gallery, Tuscaloosa, Manuel Neri— Drawings and Sculpture, March 26–May 2 Dia Center for the Arts, Bridgehampton, NY, Manuel Neri: Painted and Unpainted, July 31–September 19. Catalogue Campbell-Thiebaud Gallery, San Francisco, Manuel Neri: Recent Work, August 31–October 2. Catalogue

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1994

Margulies/Taplin Gallery, Boca Raton, FL, February 2–23

Campbell Thiebaud Gallery, San Francisco, Manuel Neri, May 27– June 28

Hearst Art Gallery, St. Mary’s College, Moraga, CA, Manuel Neri: Master Artist Tribute III, November 11–December 23. Catalogue

Palo Alto Cultural Center, Palo Alto, CA, Manuel Neri: Recent Works, June 15–September 7

Morgan Gallery, Kansas City, MO, Manuel Neri, December 2, 1994– January 15, 1995 1995

Anne Reed Gallery, Ketchum, ID, Manuel Neri, June 30–July 31

Galerie Claude Samuel, Paris, Manuel Neri: Sculptures et Dessins, January 21–February 28 Charles Cowles Gallery, New York, Manuel Neri, March 11–April 15

Robischon Gallery, Denver, Manuel Neri: Recent Drawings, Bronze and Marble Sculpture, November 8, 1997–January 3, 1998 1998

Campbell-Thiebaud Gallery, San Francisco, Manuel Neri: Recent Drawings, May 23–June 24

Palm Springs Desert Museum, Palm Springs, CA, Manuel Neri: A Sculptor and His Drawings, October 21, 1998–January 24, 1999

Robischon Gallery, Denver, CO, Manuel Neri: Bronze Sculpture and Drawing, November 10, 1995–January 6, 1996 NICA Gallery at the Cannery, Nevada Institute for Contemporary Art, Las Vegas, Manuel Neri—Classical Expressions: Sculpture and Drawings, November 16–December 31. Travel: Riva Yares Gallery, Scottsdale, AZ; Riva Yares Gallery, Santa Fe, NM. Catalogue 1996

1997

Riva Yares Gallery, Scottsdale, AZ, Manuel Neri, November 14– December 31 Charles Cowles Gallery, New York, Manuel Neri: Recent Work, December 1, 1998–January 9, 1999 1999

Lisa Kurts Gallery, Memphis, TN, Manuel Neri: Recent Drawings and Sculpture, February 9–March 7 Corcoran Gallery of Art, Washington, DC, Manuel Neri: A Sculptor’s Drawings. Travel: Laumeier Sculpture Park, Saint Louis, MO; Academy of Art College, San Francisco; Sheldon Memorial Art Gallery and Sculpture Garden, Lincoln, NE; The Hyde Collection, Glens Falls, NY; Fresno Art Museum, Fresno, CA. Catalogue Corcoran Gallery of Art, Washington, DC, Manuel Neri: Early Work, 1953–1978, February 1–May 5. Travel: San Jose Museum of Art, San Jose, CA; Orange County Museum of Art, Newport Beach, CA. Catalogue Corcoran Gallery of Art, Washington, DC, Manuel Neri: Recent Marble Sculpture, February 1–May 5. Brochure San Marco Gallery, Dominican College, San Rafael, CA, Manuel Neri, March 3–29 Galerie Claude Samuel, Paris, France, Manuel Neri: Sculptures et Dessins, March 18–April 25 Charles Cowles Gallery, New York, Manuel Neri, March 22–April 26

Galerie Simonne Stern, New Orleans, LA, Manuel Neri: Sculpture and Drawings, March 7–31

Galerie Simonne Stern, New Orleans, Manuel Neri: Sculpture, February 6–March 2 Campbell-Thiebaud Gallery, Laguna Beach, CA, Manuel Neri: Sculpture & Drawings, May 19–June 19 Robischon Gallery, Denver, Manuel Neri, September 11–October 16 Stremmel Gallery, Reno, NV, Manuel Neri: Drawings and Sculpture, October 14–November 6

2000

Campbell Thiebaud Gallery, San Francisco, Manuel Neri, February 15–March 20 Anne Reed Gallery, Ketchum, ID, Manuel Neri: Recent Works, July 7– August 1 Charles Cowles Gallery, New York, Manuel Neri: Recent Bronzes, Marbles, Plasters and Drawings, September 5–October 26

2001

Galerie Simonne Stern, New Orleans, Manuel Neri, April 7–May 1 Hackett-Freedman Gallery, San Francisco, Manuel Neri, Paintings and Sculpture: 1958–1970, October 4–27. Catalogue

2002

Riva Yares Gallery, Scottsdale, AZ, Manuel Neri: White Sculpture and Dream Drawings, February 9–March 4. Brochure Robischon Gallery, Denver, Manuel Neri: Sculpture/Drawings, November 1–December 28

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2003

Hackett-Freedman Gallery, San Francisco, Manuel Neri— Metamorphosis: Recent Figurative Sculpture, February 6–March 29.

Catalogue

Portland Art Museum, Portland, OR, Manuel Neri: The Figure in Relief, March 18–July 8

Charles Cowles Gallery, New York, Manuel Neri, March 22–April 19

Anne Reed Gallery, Ketchum, ID, Manuel Neri: The Figure In Relief, August 1–29

Robischon Gallery, Denver, Manuel Neri, May 12–June 16

Anne Reed Gallery, Ketchum, ID, Manuel Neri: Sculpture and Drawings, June 29–July 28 2004

2005

San Jose Institute of Contemporary Art, San Jose, CA, Collaboration and the Creative Process: Artists’ Books by Manuel Neri and Mary Julia Klimenko, April 16–June 4

2008

San Jose Institute of Contemporary Art, San Jose, CA, Manuel Neri: The Figure In Relief, November 8, 2008–January 17, 2009

Hackett-Freedman Gallery, San Francisco, Manuel Neri: Recent Marble Sculpture, June 3–July 31

2010

Hackett|Mill, San Francisco, Manuel Neri: Collage, 1958-1960, October 8–December 23

Bobbie Greenfield Gallery, Santa Monica, CA, Manuel Neri: He Said, She Said, October 2–November 13

2011

Marin Museum of Contemporary Art, Novato, CA, Legends of the Bay Area: Manuel Neri, October 1–November 13

University Museums, Iowa State University, Ames, Collaboration and the Creative Process: Sculpture and Artists Books by Manuel Neri and Mary Julia Klimenko, January 18–May 15

2012

Robischon Gallery, Denver, Manuel Neri, January 26–March 10

Riva Yares Gallery, Scottsdale, AZ, Manuel Neri: 50 Years of Work, March 3–April 4. Travel: Riva Yares Gallery, Santa Fe, NM. Catalogue Hackett-Freedman Gallery, San Francisco, Manuel Neri: Painted Bronzes and Plasters, April 7–June 3. Catalogue Reva and David Logan Gallery of Illustrated Books, California Palace of the Legion of Honor, Fine Arts Museums of San Francisco, Manuel Neri: Artists’ Books/The Collaborative Process, June 28– November 27. Catalogue 2006

Anne Reed Gallery, Ketchum, ID, Manuel Neri, November 22– December 27

Stanford University Libraries, Green Library Bing Wing, Stanford University, Stanford, CA, Things that Dream/Cosas que sueñan, April 19–July 8, 2012. Catalogue 2013

Yares Art Projects, Santa Fe, NM, Manuel Neri: Mujer Pegada Series 1983–2013, July 5–August 24

2014

Hackett|Mill, San Francisco, Manuel Neri, Working in Marble: A Selection from the Carrara Studio, February 7–May 9

2016

Robischon Gallery, Denver, Manuel Neri: FIGURA|Form + Fragment, February 11–April 2 Yares Art Projects, Santa Fe, NM, Manuel Neri Bronzes: Singularity of Form & Surface, July 29–September 17

Ameringer Yohe Fine Art, New York, Manuel Neri: In the Classical Tradition, February 23–March 25. Catalogue

Hackett|Mill, San Francisco, Bronze: Recent Works by Manuel Neri, October 27–December 16. Catalogue

Gallery Camino Real, Boca Raton, FL, Manuel Neri, March 9–April 3 Grounds For Sculpture, Hamilton, NJ, Manuel Neri: The Figure in Relief, October 7, 2006–April 29, 2007. Catalogue Gerald Peters Gallery, Dallas, TX, Manuel Neri, November 17– December 23 2007

Riva Yares Gallery, Scottsdale, AZ, Manuel Neri: The Figure in Relief, January 13–February 12 Hackett-Freedman Gallery, San Francisco, Manuel Neri: Painted Sculpture and Reliefs, March 8–April 28

2017

Yares Art, New York, Manuel Neri: Singularity of Form & Surface, February 23–April 8. Catalogue Nasher Sculpture Center, Dallas, Recent Acquisitions from the Manuel Neri Trust, February 18–July 16 Clarinda Carnegie Art Museum, Clarinda, IA, Manuel Neri & The Assertion of Modern Figurative Sculpture, June 11–December 3.

Catalogue

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Manuel Neri Benicia Studio, 1982 Photograph, M. Lee Fatherree

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BOOKS Albright, Thomas. Art in the San Francisco Bay Area, 1945–1980. Berkeley, CA: University of California Press, 1985 Andersen, Wayne. American Sculpture in Process: 1930–1970. Boston, MA: New York Graphic Society, 1975 Anderson, Mark; Bruce, Chris, and Wells, Keither, with essay by Jim Dine. Extending the Artist’s Hand: Contemporary Sculpture from Walla Walla Foundry. Pullman, WA: Museum of Art, Washington State University, 2004 Aukeman, Anastasia. Welcome to Painterland: Bruce Conner and the Rat Bastard Protective Association. Los Angeles and Berkeley, CA: University of California Press, 2016 Barron, Stephanie; Bernstein, Sherri, and Fort, Ilene Susan. Made in California: Art, Image, and Identity, 1900–2000. Los Angeles, CA: Los Angeles County Museum of Art and University of California Press, 2000 Cancel, Luis R., et al. The Latin American Spirit: Art and Artists in the United States, 1920– 1970. Bronx, NY: Bronx Museum of the Arts and Harry N. Abrams, 1988 Cándida Smith, Richard. Utopia and Dissent: Art, Poetry, and Politics in California. Berkeley, CA; Los Angeles, CA, and London, UK: University of California Press, 1995 Clark, Garth, and Hughto, Margie. A Century of Ceramics in the United States, 1878–1978.

New York, NY: E.P. Dutton in association with the Everson Museum of Art, 1979

BOOKS & C ATALOGUES

Clinton, Hillary Rodham (Foreword); Finn, David, and Monkman, Betty C. 20th-Century American Sculpture in the White House Garden. New York, NY: Harry N. Abrams, Inc., 2000 Congdon, Kristin G., and Hallmark, Kara Kelley. Artists from Latin American Cultures: A Biographical Dictionary. Westport, CT, and London, UK: Greenwood Press, 2002 Gilbert, Rita. Living with Art. New York, NY: Random House, 1985 Herskovic, Marika. American Abstract and Figurative Expressionism: Style is Timely Art is Timeless. New York, NY: New York School Press, 2009 Hopkins, Henry. 50 West Coast Artists. San Francisco, CA: Chronicle Books, 1981 _____. Foreword to Artists: The Creative Personality, Photographs by Jim Arkatov. Seattle, WA: University of Washington Press, 1998 Jones, Caroline A. Bay Area Figurative Art: 1950–1965. Berkeley, CA: University of California Press, 1989 Kelly, James J. The Sculptural Idea (4th ed.). Long Grove, IL: Waveland Press, 2004

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Knight, Gregory G., et al. The Chicago Public Art Guide. Chicago, IL: Department of Public Affairs, 2005 Krantz, Les. American Artists: An Illustrated Survey of Leading Americans.

Chicago, IL: The Krantz Company Publishers, 1985 Langland, Tuck. From Clay to Bronze: A Studio Guide to Figurative Sculpture. New York, NY: Watson-Guptill Publications, 1999 Mamiya, Christin J. “Manuel Neri” in Sculpture from the Sheldon Memorial Art Gallery. Karen O. Janovy, ed. Lincoln, NE, and London, UK: University of Nebraska Press, 2005 Manhart, Marcia, and Manhart, Tom, eds. The Eloquent Object. Tulsa, OK: The Philbrook Museum of Art, 1987 Martin, Alvin. American Realism: Twentieth-Century Drawings and Watercolors From the Glenn C. Janss Collection. New York, NY: Harry N. Abrams, Inc., and San Francisco, CA: San Francisco Museum of Modern Art, 1985 McFadden, David Revere; Panczenko, Russell; Ilse-Neuman, Ursula; Scanlan, Jennifer, et al. Dual Vision: The Simona and Jerome Chazen Collection. New York, NY: Museum of Arts & Design, 2005 Natsoulas, John, et al. The Beat Generation Galleries and Beyond. Davis, CA: John Natsoulas Press, 1996

CATALOGUES Abrams, Harry N. American Images: The SBC Collection. New York, NY: Harry N. Abrams, Inc., 1996 Adelphia Society. A Bid for Human Rights. San Francisco, CA: Adelphia Society, 1988 Albright, Thomas. Manuel Neri. San Francisco, CA: John Berggruen Gallery; Santa Monica, CA: James Corcoran Gallery, and New York, NY: Charles Cowles Gallery, 1988 Albuquerque Museum. The Human Factor: Figurative Sculpture Reconsidered.

Albuquerque, NM: The Albuquerque Museum, 1993 Amnesty International. Artists for Amnesty. Davis, CA: Amnesty International, 1987 Anderson, Maxwell L. Manuel Neri: In the Classical Tradition. New York, NY: Ameringer-Yohe Fine Art, 2006 Antenucci Becherer, Joseph. Manuel Neri. San Francisco, CA: Hackett Freedman Gallery, 2003 Armstrong, Richard. Sculpture in California 1975–80. San Diego, CA: San Diego Museum of Art, 1980

Niles, Bo. Timeless Design. Glen Cove, NY: PBC International, Inc., 1997

Art Against AIDS, San Francisco. Art Against AIDS. New York, NY: American Foundation for AIDS Research and Livet Reichard Co., 1989

Nixon, Bruce. Things That Dream: Contemporary Calligraphic Artists’ Books/ Cosas que sueñan: Libros de artistas caligráficos contemporáneos. Stanford, CA: Stanford University, 2012

The Artists Association, San Francisco Art Institute. Art Bank 64/66. San Francisco, CA: San Francisco Art Institute, 1966

Paz, Octavio; Beardsley, John, and Livingston, Jane. Hispanic Art in the United States. New York, NY: Abbeville Press, 1987

_____. Sculptors at UC Davis: Past and Present. San Francisco, CA: San Francisco Art Institute, 1982

Plagens, Peter. Sunshine Muse. New York, NY: Praeger Publishers, 1974

Barilleaux, Rene Paul. Sculptors on Paper: New Work. Madison, WI: Madison Art Center, 1987

Quirarte, Jacinto. Mexican American Artists. Austin, TX: University of Texas Press, 1973

Bates, Mary, and Moulton, Susan. Works in Bronze: A Modern Survey. Rohnert Park, CA: Sonoma State University, 1984

Saeks, Diane Dorrans. San Francisco Interiors. San Francisco, CA: Chronicle Books, 1995

Bischoff, David A. Manuel Neri: Sculpture and Drawings. Sacramento, CA: Robert Else Gallery, California State University, 1985

Sayre, Henry. A World of Art (7th ed.). London, UK: Pearson Education, 2012 Solomon, Holly, and Anderson, Alexandra. Living with Art. New York, NY: Rizzoli International Publishers, Inc., 1985

Bishop, Janet, et al. California Classics: Highlights from the Collection of the San Francisco Museum of Modern Art. Tokyo, Japan: APT International, Inc., 1999

Williams, Thomas. The Bay Area School: Californian Artists of the 1940s, 1950s and 1960s. London, UK: Lund Humphries, 2013

Bledsoe, Jane K. Figurative Sculpture: Ten Artists/Two Decades. Long Beach, CA: University Art Museum, California State University, 1984

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Boas, Nancy. As I Am: Painting the Figure in Post-War San Francisco. San Francisco, CA: Hackett|Mill, 2016

Coplans, John, ed. Abstract Expressionist Ceramics. Irvine, CA: Fine Arts Gallery, University of California, 1966

Bolomey, Roger. Forgotten Dimension—A Survey of Small Sculpture in California Now. Fresno, CA: Fresno Arts Center, 1982

Costello, Daniel W.; Earls-Solari, Bonnie, and Stankus, Michelene. BankAmerica Corporation Art Program 1985. San Francisco, CA: BankAmerica Corporation, 1986

Boynton, James, ed. San Francisco 9. Houston, TX: Houston Contemporary Arts Museum, 1962 Braunstein Gallery. Braunstein Gallery Twentieth Anniversary. San Francisco, CA: Braunstein Gallery, 1981 _____. Bay Area Sculptors of the 1960s: Then and Now. San Francisco, CA: Braunstein Gallery, 1990 Brighton Press. Livres d’Artistes. San Diego, CA: Brighton Press, 1994 Brook House/Victor Fischer Fine Arts. The Brook House Sculpture Invitational at Kaiser Center. Orinda, CA: Victor Fischer Fine Arts, 1982 Bush, Martin. Figures of Contemporary Sculpture 1970–1990: Images of Man. Tokyo, Japan: Brain Trust, Inc., 1992 Butterfield, Jan, and Wortz, Melinda. California Sculpture Show. Los Angeles, CA: California/International Arts Foundation, 1984 Butterfield & Butterfield. Contemporary Paintings, Watercolors, Drawings and Sculpture. San Francisco, CA: Butterfield & Butterfield, 1988 Byer, Robert H. Sculptural Intimacies—Recent Small-Scale Sculpture. Los Angeles, CA: Security Pacific Corporation, 1989 Campbell-Thiebaud Gallery. Twenty-five Treasures Exhibition. San Francisco, CA: Campbell-Thiebaud Gallery, 1991 _____. Manuel Neri: Recent Work. San Francisco, CA: Campbell-Thiebaud Gallery, 1993 _____. Twenty-five Treasures Exhibition. San Francisco, CA: CampbellThiebaud Gallery, 1996 Cantor Arts Center. Cantor Arts Center Journal (vol. 5). Stanford, CA: Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, 2007 Castellon, Rolando. A Third World Painting and Sculpture Exhibition. San Francisco, CA: San Francisco Museum of Art, 1974 Christie’s. Property from the Collection of Henry Geldzahler. New York, NY: Christie’s, 1996 Clisby, Roger, ed. Sacramento Sampler I. Sacramento, CA: E. B. Crocker Art Gallery, 1972

Cowart, Jack. Manuel Neri: Paintings and Painted Papers. Washington, DC: Corcoran Gallery of Art, 2001 Cowart, Jack, and Amerson, Price. Manuel Neri: A Sculptor’s Drawings.

Washington, DC: Corcoran Gallery of Art, 1994 Cowart, Jack; Amerson, Price; Beardsley, John; Geldzahler, Henry, and Pincus, Robert. Manuel Neri: Early Work 1953–1978. Washington, DC: Corcoran Gallery of Art, 1996 DeGroot, George. California Contemporary: Recent Work of Twenty-three Artists. Monterey, CA: Monterey Peninsula Museum of Art, 1983 Denton, Monroe. No Man’s Land. Long Island City, NY: Socrates Sculpture Park, 1990 Dickson, Joanne. Manuel Neri: Sculpture & Drawings. Seattle, WA: Seattle Art Museum, 1981 E. B. Crocker Art Gallery. Manuel Neri: Recent Sculpture and Drawings.

Sacramento, CA: E. B. Crocker Art Gallery, 1977 80 Langton Street. 80 Langton Street: Documentation of the First Year. San Francisco, CA: 80 Langton Street, 1976 Emporia State University. Twenty-First Annual National Invitational Drawing Exhibition. Emporia, KS: Emporia State University, Norman R. Eppink Art Gallery, 1997 Faberman, Hilarie, et al. Picasso to Thiebaud: Modern and Contemporary Art from the Collections of Stanford University Alumni and Friends. Stanford, CA: Leland Stanford, Jr. University, 2004 FitzGibbon, John. California A–Z and Return. Youngstown, OH: The Butler Institute of American Art, 1990 Flood, Richard. The Sixth Day: A Survey of Recent Developments in Figurative Sculpture. Chicago, IL: The Renaissance Society at the University of Chicago, 1983 Foley, Suzanne. Remember: It’s Only Art. Walnut Creek, CA: Civic Arts Gallery, 1981

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Foothills Art Center. The North American Sculpture Exhibition. Golden, CO: Foothills Art Center, 1996 Fuller Goldeen Gallery. Casting: A Survey of Cast Metal Sculpture in the ‘80s.

San Francisco, CA: Fuller Goldeen Gallery, 1982 Garduño, Blanca, and Rodriguez, Jose Antonio. Pasión por Frida. Mexico City, Mexico: Museo Estudio Diego Rivera, 1991-2

J.P.L. Fine Arts. California Gold. London, UK: J.P.L. Fine Arts, 1975 John Berggruen Gallery. John Berggruen Gallery. San Francisco, CA: John Berggruen Gallery, 1986 _____. Sculpture and Works in Relief. Introduction by Henry T. Hopkins. San Francisco, CA: John Berggruen Gallery, 1986 _____. Works on Paper. San Francisco, CA: John Berggruen Gallery, 1988

Geldzahler, Henry. Manuel Neri: Sculpture, Painted and Unpainted.

Bridgehampton, NY: Dia Center for the Arts, 1993

_____. Large Scale Works on Paper. San Francisco, CA: John Berggruen Gallery, 1991

_____. Manuel Neri: Classical Expressions/Sculpture and Drawings. Las Vegas, NV: Nevada Institute for Contemporary Art, in association with Riva Yares Gallery, 1995

Jones, Caroline A. Manuel Neri: Plasters. San Francisco, CA: San Francisco Museum of Modern Art, 1989

Gettings, Frank. Drawings 1974–1984. Washington, DC: Hirshhorn Museum and Sculpture Garden, 1984

Journal of the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University: Volume 1, 1998–1999. Stanford, CA: Leland Stanford Junior University, 2001

Goodwin, Erin. A Survey of Sculptural Directions of the Bay Area. Cupertino, CA: De Anza College, 1975

Kagawa, Paul, et al. Other Sources: An American Essay. San Francisco, CA: San Francisco Art Institute, 1976

Grounds for Sculpture. Spring/Summer Exhibition 94. Hamilton, NJ: Grounds for Sculpture, 1994

Karlstrom, Paul. San Francisco Art Institute: Illustrious History, 1871–Present.

San Francisco, CA: San Francisco Art Institute, 1996

_____. Summer Exhibition. Hamilton, NJ: Grounds for Sculpture, 2001 Guenther, Bruce. The Essential Gesture. Newport Beach, CA: Newport Harbor Art Museum, 1994

Kastner, Carolyn. M. Lee Fatherree’s Photography: Evidence of Artists at Work 1978-2007. San Francisco, CA: San Francisco Museum of Craft + Design, 2007

_____. Bronze: Recent Works by Manuel Neri. San Francisco, CA: Hackett|Mill, 2016

Kiechel, Vivian. Contemporary Bronze: Six in the Figurative Tradition. Lincoln, NE: Sheldon Memorial Art Gallery, University of Nebraska, 1985

Hackett-Freedman Gallery. Hackett-Freedman Gallery: 20 Years. San Francisco, CA: Hackett-Freedman Gallery, 2005

Kimball, Cathy, et al. Into the 21st Century: Selections from the Permanent Collection. San Jose, CA: San Jose Museum of Art, 1999

Harn Museum of Art. From Paradigm to the Unexpected: Modern and Contemporary Art from the Shey Collection. Gainesville, FL: Harn Museum of Art, 2008

Lagoria, Georgianna M., and Martin, Fred. Northern California Art of the Sixties.

Santa Clara, CA: De Saisset Museum, Santa Clara University, 1982

Hayward Area Festival of the Arts. 17th Annual Hayward Festival of the Arts.

Hayward, CA: Hayward Area Festival of the Arts, 1978 Henning, Robert, Jr., et al. Santa Barbara Collects. Santa Barbara, CA: Santa Barbara Museum of Art, 1985 Holland, Katherine Church. The Art Collection. San Francisco, CA: Federal Reserve Bank of San Francisco, 1986 _____. A Bay Area Connection: Works from the Anderson Collection, 1954– 1984. Santa Clara, CA: Triton Museum of Art, 1995

Laguna Gloria Art Museum. Human Nature Human Form. Austin, TX: Laguna Gloria Art Museum, 1993 Landauer, Susan. San Francisco Abstract Expressionism. San Francisco, CA: Hackett-Freedman Gallery, 2001 LaPlante, John D., ed. San Francisco Bay Area Painting and Sculpture: Some Points of View–1962. Stanford, CA: Stanford University Art Gallery, 1962 Linhares, Philip. Here and Now: Bay Area Masterworks from the Di Rosa Collections. Oakland, CA: The Oakland Museum, 1994

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_____. Artists of Invention: A Century of CCA. Oakland, CA: The Oakland Museum, 2007 Lombino, Mary-Kay. Out of Shape: Stylistic Distortions of the Human Form in Art from the Logan Collection. Poughkeepsie, NY: The Frances Lehman Loeb Center, Vassar College, 2008 Lucie-Smith, Edward. Riva Yares 2000. Scottsdale, AZ, and Santa Fe, NM: Riva Yares Gallery, 2000 _____. Manuel Neri: Fifty Years of Work. Scottsdale, AZ, and Santa Fe, NM: Riva Yares Gallery, 2005 Magloff, Joanna, ed. Current Painting and Sculpture of the Bay Area. Stanford, CA: Stanford University Art Museum, 1964 Matilsky, Barbara C. The Expressionist Surface: Contemporary Art in Plaster.

Queens, NY: Queens Museum, 1990

_____. 30 Ceramic Sculptors. Davis, CA: Natsoulas/Novelozo Gallery, 1990 Natsoulas/Novelozo Gallery, with foreword by John Allen Ryan. Lyrical Vision: The ‘6’ Gallery 1954–1957. Davis, CA: Natsoulas/Novelozo Gallery Press, 1989 Neubert, George. Manuel Neri, Sculptor. Oakland, CA: The Oakland Museum, 1976 _____. The Brook House Sculpture Invitational. Albany, CA: Brook House and Victor Fischer Fine Arts, 1982 _____. Bay Area Sculptors of the 1960s: Then and Now. San Francisco, CA: Braunstein/Quay Gallery, 1990 Nierengarten-Smith, Beej. Laumeier Sculpture Park First Decade, 1976–1986.

St. Louis, MO: Laumeier Sculpture Park, 1986

Matthews, Gene. Visiting Artist Program: 20th Anniversary Show. Boulder, CO: CU Art Galleries, University of Colorado, 1992

Nierengarten-Smith, Beej; McCue, George, et al. Laumeier Sculpture Park: Second Decade, 1987–1996. St. Louis, MO: Laumeier Sculpture Park and Museum, 1998

McCormick, Jim. 30 from 25. Reno, NV: Sheppard Fine Arts Gallery, University of Nevada, 1986

Nixon, Bruce. Manuel Neri: Painted Bronzes and Plasters. San Francisco, CA: Hacket-Freedman Gallery, 2005

McCullough, Tom; Thomas, Daniel, and Nicholson, Harry. Three Views on the 1976 Biennale—Recent International Forms in Art. Sydney, Australia: Art Gallery of New South Wales, 1976

_____. Manuel Neri: Artists’ Books/The Collaborative Process. San Francisco, CA, and New York, NY: Fine Arts Museums of San Francisco, in association with Hudson Hills Press, 2005

Morris, Dan W. Introduction to National Drawing Invitational. Little Rock, AR: Arkansas Art Center, 1990

_____. Manuel Neri: The Figure in Relief. Hamilton, NJ: Grounds for Sculpture; Portland, OR: Portland Art Museum; San Jose, CA: San Jose Institute for Contemporary Art, in association with Hudson Hills Press, 2006

Moss, Stacey. The Howards: First Family of Bay Area Modernism. Oakland, CA: The Oakland Museum, 1988 Muckenthaler Cultural Center. Sculptural Perspectives for the Nineties.

Fullerton, CA: Muckenthaler Art Center, 1991

Novakov, Anna. “Funk Art: A San Francisco Phenomenon” in Painters at UC Davis. Davis, CA: Richard L. Nelson Gallery, University of California, 1984

Nash, Steven. Abstract and Figurative: Highlights of Bay Area Painting. San Francisco, CA: John Berggruen Gallery, 2009

The Oakland Museum. 100 Years of California Sculpture. Oakland, CA: The Oakland Museum, 1982

Nassau County Museum of Fine Art. Contemporary Naturalism: Works of the 1970s. Roslyn, NY: Nassau County Museum of Fine Art, 1980

Oki, Kazuki, et al. De migrante marmoris. Carrara, Italy: ARSculptoris Associazione Culturale, 2008

Natsoulas, John, and Nixon, Bruce, eds. 30 Years of TB-9: A Tribute to Robert Arneson. Davis, CA: John Natsoulas Gallery, 1991

Orr-Cahall, Christina, ed. The Dilexi Years 1958–1970. Oakland, CA: The Oakland Museum, 1984

Natsoulas/Novelozo Gallery, with foreword by John Natsoulas. 30 Ceramic Sculptors. Davis, CA: Natsoulas/Novelozo Gallery, 1988

_____. The Art of California: Selected Works from the Collection of The Oakland Museum. Oakland, CA: The Oakland Museum; San Francisco, CA: Chronicle Books, 1984

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Perl, Jed. “A Tale of Two Cities” in A Culture in the Making: New York and San Francisco in the 1950s and ‘60s. San Francisco, CA: Hackett-Freedman Gallery, 2006 Pritikin, Renny; Reynolds, Jock, and Sadler, Simon. You See: The Early Years of the UC Davis Studio Art Faculty. Davis, CA: Richard L. Nelson Gallery, University of California, 2007 Project Sculpture. Project Sculpture. Oakland, CA: Project Sculpture, 1982 Provincetown Art Association and Museum. The Sun Gallery. Provincetown, MA: Provincetown Art Association and Museum, 1981 Rannells, Susan, and Richardson, Brenda. Free. Berkeley, CA: University Art Museum, 1970 Rasmussen, Jack; Cohn, Terri, et al. The True Artist is an Amazing Luminous Fountain: Selected Works from the di Rosa Preserve: Art & Nature. Napa, CA: di Rosa Preserve, 2004 Restany, Pierre. Manuel Neri. San Francisco, CA: John Berggruen Gallery; New York, NY: Charles Cowles Gallery; Zurich, Switzerland: Gimpel-Hanover + Andre Emmerich Galerien, 1984 Richard L. Nelson Gallery. Sculptors at UC Davis: Past and Present. Davis, CA: Richard L. Nelson Gallery, University of California, 1972 _____. Directions in Bay Areas Painting: A Survey of Three Decades, 1940–1969.

Davis, CA: Regents of the University of California, 1983

Salow, David. Pairings II: Discovered Dialogues in Postwar Abstraction. San Francisco, CA: Hackett-Freedman Gallery, 2005 San Diego Museum of Art. San Diego Museum of Art: Selections from the Permanent Collection. San Diego, CA: San Diego Museum of Art, 1993 San Francisco Art Institute. Other Sources: An American Essay. San Francisco, CA: San Francisco Art Institute, 1976 _____. Reflections: Alumni Exhibitions, San Francisco Art Institute. San Francisco, CA: San Francisco Art Institute, 1981 San Francisco Museum of Modern Art. Twenty American Artists. San Francisco, CA: San Francisco Museum of Modern Art, 1980 _____. 50th Anniversary Commemorative Program 1985. San Francisco, CA: San Francisco Museum of Modern Art, 1985 _____. San Francisco Museum of Modern Art: The Painting and Sculpture Collection. San Francisco, CA: San Francisco Museum of Modern Art, 1985 San Francisco Museum of Modern Art and the National Collection of Fine Arts, Smithsonian Institution. Painting and Sculpture in California: The Modern Era. San Francisco, CA: San Francisco Museum of Modern Art; Washington, DC: National Collection of Fine Arts, Smithsonian Institution, 1977

_____. Painters at UC Davis. Davis, CA: Richard L. Nelson Gallery, University of California, 1984

Sarah Spurgeon Gallery. Second Annual Invitational Drawing Exhibition.

Ellensburg, WA: Sarah Spurgeon Gallery, Central Washington University, 1979

Richardson, Trevor. Kinds of Drawing. Amherst, MA: Herter Art Gallery, University of Massachusetts, 2001

Schipper, Merle. Marmo/Marble: A Contemporary Aesthetic. Los Angeles, CA: California Museum of Science and Industry, 1989

Riva Yares Gallery. Manuel Neri: Sculpture of the 1980s. Scottsdale, AZ: Riva Yares Gallery, 1989

Schönholzer, Annette, and Spiegler, Marc. Art Kabinett 2010 (Art Basel/Miami Beach). Basel, Switzerland: Art Kabinett|MCH Swiss Exhibition (Basel) Ltd., 2010

Rodriguez, Peter. The Mexican Museum. San Francisco, CA: The Mexican Museum, 1981 Rogers-Lafferty, Sarah. Body & Soul: Aspects of Recent Figurative Sculpture.

Cincinnati, OH: The Contemporary Arts Center, 1985 St. Mary’s College Art Gallery. The Small Format. Moraga, CA: St. Mary’s College, 1973 _____. The Good Drawing Show. Moraga, CA: St. Mary’s College, 1976

Schwartz, Joyce Pomeroy; and Rossback, Janet. Black & White & Read All Over.

Charlotte, NC: LaSalle Partners at Nationsbank Plaza, 1995 Scios Nova. Ventriloquist. Baltimore, MD: Scios Nova, 1993 Scott, Sue; and Rubinstein, Raphael. Co-Conspirators: Artist and Collector, The Collection of James Cottrell and Joseph Lovett. Orlando, FL: Orlando Museum of Art, 2004

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Selvin, Nancy. 2002 Scripps College 58th Ceramic Annual. Claremont, CA: Ruth Chandler Williamson Gallery, Scripps College, 2002

Yellowstone Art Museum. 32nd Annual Art Auction. Billings, MT: Yellowstone Art Museum, 2000

Selz, Peter, ed. Funk Art. Berkeley, CA: University Art Museum, 1967

Zakian, Michael. California Figurative Sculpture. Palm Springs, CA: Palm Springs Desert Museum, 1987

Selz, Peter, and Moser, Joann. Nathan Oliveira. Berkeley and San Jose, CA: University of California Press and San Jose Museum of Art, 2002 Southwestern Bell Corporation. Contemporary Masters Kansas Tour: Selections from the Collection of Southwestern Bell Corporation. Wichita, KS: Southwestern Bell Corporation, 1988

SELECTED BROCHURES Butterfield, Jan. Manuel Neri: Drawings & Bronzes. San Francisco, CA: Art Museum Association, 1981

Starr, Sandra Leonard. Lost and Found in California: Four Decades of Assemblage Art. Santa Monica, CA: James Corcoran Gallery, 1988

Charles Cowles Gallery. Manuel Neri. New York, NY: Charles Cowles Gallery, 1981

Taragin, Davira S. et al. Bigger, Better, More: The Art of Viola Frey. Racine, WI: Racine Art Museum and Gardiner Museum, 2009

Corcoran Gallery of Art. Manuel Neri: Recent Marble Sculpture. Washington DC: Corcoran Gallery of Art, 1997

University of Nevada. 1968 Sculpture Invitational. Reno, NV: University of Nevada, 1968

Hackett-Freedman Gallery. Manuel Neri: Sculpture and Paintings, 1958–1978.

San Francisco, CA: Hackett-Freedman Gallery, 2001

University of New Mexico Art Museum. Bulletin: The University of New Mexico Art Museum. Albuquerque, NM: College of Fine Arts, The University of New Mexico, 1978

Neri, Kate. Manuel Neri, A Personal Selection. Belmont, CA: Wiegand Art Gallery, College of Notre Dame, 1988

Vanderlip, Dianne Perry, et al. The View from Denver: Contemporary American Art from the Denver Art Museum. Vienna: Museum Moderner Kunst Stiftung Ludwig Wien, 1997 Vicario, Gilbert. Phyllis Barlow: Scree. Des Moines, IA: Des Moines Art Center, 2014

Nordland, Gerald. Manuel Neri. San Francisco, CA: San Francisco Museum of Art, 1971 Riva Yares Gallery. Manuel Neri: White Sculpture and Dream Drawings.

Scottsdale, AZ: Riva Yares Gallery, 2002 Van Melle, Paul, and Futterman, Armelle. “Word and Image: A Collaboration.”

Crossings/Chassé-croisé. Berkeley, CA: Editions Koch, 2004

Western Association of Art Museums. Catalogue of Exhibition. San Francisco, CA: Western Association of Art Museums, 1968

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Manuel Neri (right) with curator Bruce Guenther Benicia Studio, 2014 Photograph, M. Lee Fatherree

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A Achenbach Foundation for Graphic Arts, Fine Arts Museums of San Francisco, San Francisco, California Anderson Collection at Stanford University, Stanford, California B Beinecke Library, Yale University, New Haven, Connecticut Berkeley Art Museum, University of California, Berkeley, California C Cantor Arts Center, Stanford University, Stanford, California Clarinda Carnegie Art Museum, Clarinda, Iowa Crocker Art Museum, Sacramento, California D Denver Art Museum, Denver, Colorado Des Moines Art Center, Des Moines, Iowa Di Rosa Art Preserve, Sonoma, California

MUSEUM & PUBLIC COLLECTIONS

E El Paso Museum of Art, El Paso, Texas F Fine Arts Museums of San Francisco, San Francisco, California Frederik Meijer Gardens and Sculpture Park, Grand Rapids, Michigan Fresno Art Museum, Fresno, California G Grove Isle Sculpture Garden, Coconut Grove, Florida H Harold Washington Public Library, City of Chicago, Illinois Harvard University Art Museums, Cambridge, Massachusetts Hawaii State Council on the Arts, Honolulu, Hawaii

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Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC Honolulu Advertiser/Twigg-Smith Collection, Honolulu, Hawaii Honolulu Museum of Art, Honolulu, Hawaii I Indianapolis Museum of Art, Indianapolis, Indiana Iwate University, Tokyo, Japan K Kemper Museum of Contemporary Art, Kansas City, Missouri L Laumeier Sculpture Park, St. Louis, Missouri Library of Congress, Rare Book and Special Collections Division, Washington, DC M Mandeville Library, Special Collections, University of California, San Diego, California Manetti Shrem Museum, University of California, Davis, California Memphis Brooks Museum of Art, Memphis, Tennessee The Metropolitan Museum of Art, New York, New York The Mexican Museum, San Francisco, California Morgan Library and Museum, New York, New York N Nasher Museum of Art, Duke University, Durham, North Carolina Nasher Sculpture Center, Dallas, Texas National Gallery of Art, Washington, DC National Museum of American Art, Smithsonian Institution, Washington, DC Nevada Museum of Art, Reno, Nevada New York Public Library, New York, New York O The Oakland Museum, Oakland, California Orange County Museum of Art, Newport Beach, California

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P Palm Springs Museum of Art, Palm Springs, California Phoenix Art Museum, Phoenix, Arizona Portland Art Museum, Portland, Oregon R Racine Art Museum, Racine, Wisconsin S San Antonio Museum of Art, San Antonio, Texas San Diego Museum of Art, San Diego, California San Francisco Arts Commission, San Francisco, California San Francisco International Airport, San Francisco, California San Francisco Museum of Modern Art, San Francisco, California San Jose Museum of Art, San Jose, California Seattle Art Museum, Seattle, Washington Sheldon Museum of Art, Lincoln, Nebraska Stanford University Libraries, Department of Special Collections, Stanford, California State of California, The Bateson Building, Sacramento, California T Tampa Museum of Art, Tampa, Florida U U.S. General Services Administration, Federal Courthouse, Portland, Oregon University Museums, Iowa State University, Ames, Iowa University of Colorado Art Museum, Boulder, Colorado University of New Mexico Fine Arts Center, Albuquerque, New Mexico W Washington State Arts Commission, Olympia, Washington Whitney Museum of American Art, New York, New York Y Yale University Art Gallery, New Haven, Connecticut

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MANUEL NERI This catalogue is published on the occasion of the exhibition Manuel Neri: Singularity of Form & Surface at Yares Art, New York, 23 February – 8 April 2017.

The patina named “Alborada Patina” was originally developed by Neri for a series of sculptures cast in 1985. In 2014, Neri worked with conservator Mikhail Ovchinnikov, Conservation Art, Oakland, California to re-create this patina for the bronze sculptures presented in this exhibition.

Manuel Neri’s bronze sculptures in this catalogue were cast at Walla Walla Foundry, Walla Walla, Washington, and Fundidores Artísticos, Mexico City.

Artworks by Manuel Neri are copyright © the Manuel Neri Trust.

Publication copyright © is held by Anne Kohs & Associates, Inc. All rights reserved under International and Pan-American Copyright Conventions.

No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, or otherwise without written permission from Anne Kohs & Associates, Inc. All photography reproduced in the catalogue is by M. Lee Fatherree, Oakland, California. Photographs by M. Lee Fatherree are copyright © M. Lee Fatherree.

Catalogue concept, research, and project coordination by Anne Kohs & Associates, Inc., Portola Valley, California. www.artistsforum.com

Page 14 M. J. Series V (Cast 1/4) 1989; Cast 2001; Patina 2016 Bronze with oil-based pigments 44½ × 19½ × 29½ in.

113.0 × 49.5 × 74.9 cm

Page 44 Isla Negra Series I (Cast AP) 1989; Cast 1993; Patina 2016 Bronze with oil-based pigments 18½ × 15 × 10 in.

47.0 × 38.1 × 25.4 cm Page 58 Arcos de Geso – Bronze Maquette I (Cast 1/4) 1984; Cast 2005; Patina 2015 Bronze with oil-based pigments 23¼ × 16½ × 5½ in.

59.1 × 41.9 × 14.0 cm

YARES ART

NEW YORK 745 Fifth Avenue New York, NY 10151 212.256.0969 yaresart.com SANTA FE 1222 Flagman Way Santa Fe, NM 87505 505.984.0044 yaresartprojects.com PALM SPRINGS By appointment only info@yaresart.com

Edited by Diane Roby and Pam Rino Evans Catalogue layout designed by John Hubbard / EMKS, Finland Typeset in Gill Sans Light by EMKS, Finland Color and print management by iocolor, LLP, Seattle, Washington Printed and bound by Artron Color Printing Company, China

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