Mia Westerlund Roosen: Sculptures 1976 - 2012

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Mia Westerlund Roosen

Mia Westerlund Roosen

Muro 2 1976 7 x 7 x 1 feet concrete (previous page)

Mia Westerlund Roosen Sculptures, 1976–2012 May 17– June 30, 2012



Mia Westerlund Roosen’s Studies, 1975–2011

Surface, Structure, and Form in Scale Saul Ostrow

When in Mia Westerlund Roosen’s sprawling studio in upstate New York, which is a converted dairy barn, I am often reminded of the photographs I have seen of the studios of such artists as Auguste Rodin, Alberto Giacometti, and Constantin Brancusi. As in those photographs, there are pieces of varied scale made from various materials representing differing concerns and periods distributed throughout her rambling workspace. Maquettes, sketches, and small works fill the shelves or sit about on worktables alongside finished works or those in progress. So when I was asked to write this text, meant to make sense of thirty years of those studies, small works, and sketches, as well as a few new sculptures that represent a departure for the artist, I looked around at the variety of works to be accounted for and wondered how I might tackle the task ahead. As I thought about how to order Westerlund Roosen’s diverse production, I came to an important realization: Westerlund Roosen’s process of turning her intuitions into subjects is, in the main, nonlinear and nondevelopmental. Although formalism and Minimalism play a critical role in her production, it is apparent from the works gathered in this exhibition, which span three decades, that Westerlund Roosen will rethink or re-employ a given form, structure, or theme or engage significantly different issues within the same period of time, only to return to them years later. The course suggested by her work is marked by starts, stops, and detours, Pompadour 1986 27 x 27 x 7 inches concrete and encaustic

twists and turns, contingencies and affinities, which reflect her changing approach to sculpture. One has the impression that on a regular basis she abandons some hard-won position so as to explore old and new solutions



New Work

1979 Leo Castelli Gallery New York, NY

Undulina 1979 7¼ x 35¼ x 3 inches concrete and lead

Heat 1989 9 x 9 x 3¼ inches cast iron


within the context of new understandings, which may have been the result of her responding to her own work or might be due to changed personal and cultural conditions. Given this tendency to change and rework previous themes and structures, she has avoided becoming a slave to stylistic consistency; instead she has found creative freedom in her ability to radically shift her material concerns, formal vocabulary, focus, and intentions. Because of the array of approaches she has come to deploy, if it is necessary to construct an overarching proposition concerning Westerlund Roosen’s practice, it would be that her work is the product of an intuitive engagement with a complex inquiry into sculpture’s varied formal characteristics, material qualities, and modes of expression. The resources she draws upon to achieve her ends combine the conventions of traditional sculpture as modeled and composed form with an acknowledgement of art as a literal object as defined by Minimalism. What is perhaps the most significant aspect of her works' dialogue with Minimalism is that the repetition of form, which in Minimalism signified standardization, in Westerlund Roosen’s hands comes to be humane, in that her forms are irregular, evocative and are subjected to organic, nonsystemic variations. On one hand, as evidenced by the models included in this exhibition, her practice per se seems committed to giving metaphorical and material expression to an embodied sense of self while at the same time mapping the terrain of sculpture. To make sense of the mixed nature of Westerlund Roosen’s production, it is necessary to place her practice in the context of the late 1960s and early 1970s, which is the period in which she emerged as a mature artist. It was during this time that artists, to a degree, were liberated from both the need for a metaphysical-existential philosophy as well as the idea that some form Petal 2 1990 15½ x 10¼ x 7 inches plaster and encaustic


of consistency in style must underlie their work. Structuralism and materialism had just begun to displace existentialism and formalism as aesthetic and philosophical culture concerns. Subsequently, in the United States, artists



Untitled 1 1976 41⁄8 x 107⁄8 x 6 inches concrete and copper

Untitled 3 1976 33⁄4 x 10 x 91⁄2 inches concrete and copper

Untitled 4 1976 5 x 6 x 8 inches concrete and copper



such as Robert Smithson, Barry Le Va, Bruce Nauman, Keith Sonnier, Bill Bollinger, Eva Hesse, and Richard Tuttle, who were identified with Postminimalism, were producing works in a variety of materials, through a multiplicity of approaches and formats, as they probed the limits of what might be called sculpture. The movement away from stylistic refinement and development in the 1970s was itself partly a result of the emergence of new forms, practices, materials, media, and aesthetic concerns, which effectively exploded the definition of art. Intermedia and multimedia works, earthworks, environmental and sitespecific installations, performance, photography, and video, to name a few, came to be accepted as art. Collaterally, these new practices and perspectives, along with the critical views that emerged with Pop art and Minimalism’s subscription to phenomenology and gestalt psychology, further undermined the authority of formalism as modernism’s binding discourse. With this, the influence of modernism’s prohibitive historicity, its model of progress premised on a process of negation, were diminished. In sculpture, a consequence of this proliferation of media and modes of production was that the traditional, free-standing sculptural object consisting of composed forms was displaced by the readymade, the fabricated, and process-oriented work, or abandoned altogether for new media, as well as architectural installations, performance, and the various forms of documentation associated with Conceptual art. In response to sculpture’s expanding field of operations, Westerlund Roosen and a number of her contemporaries, including William Tucker, Jene Highstein, Martin Puryear, and Mel Kendrick, conspicuously moved away from their reductive, Minimalist-oriented work to take up the challenge of Aida 1978 15½ x 11½ x 9½ inches concrete, copper, and lead

making sculpture using traditional sources, practices, and processes. In doing this they sought to maintain the viability of the sculptural object by developing a perspective that did not require a commitment to modernism’s rejection of traditional forms to stay contemporary. It was at this time, during the late


1970s, that Westerlund Roosen adopted an approach that would permit her to produce expressive, suggestive forms whose contents were at once formal, associative, and abstract. This afforded her fertile ground to address the interconnections between the conventions of traditional and modern sculpture while at the same time exploring new aesthetic, formal, and, perhaps most importantly, narrative possibilities. The aggregate of models presented in the current exhibition along with her most recent works demonstrate the diverse nature of Westerlund Roosen’s exploration of the terrain known as sculpture. The range of her work affords us insight into the artist’s engagement with generating forms and material relationships, which are ordered in accord with their structural, thematic, and indexical properties, as well with differentiating between object-thing-image, structure-form, surface-exterior, volume-interior, material-process, etc., and the differing logics, concepts, relationships, and aesthetics that define each. Yet, given her commitment to abstract art as something expressive rather than merely physical, or nonobjective, the position that Westerlund Roosen has carved out for herself permits her to assert her own formal goals by simultaneously employing and subverting Minimalism’s various strategies. As such, unlike the formalism of modernism with its commitment to selfreferentiality and the reductive logic of Minimalism, the “self” of sculpture defined by Westerlund Roosen’s practice is much too complex an entity to exist in a one-dimensional preset of fixed context and history as well as forms, qualities, and referents. It would be a mistake to believe that Westerlund Roosen’s use of irregular and biomorphic forms defines her project as being little more than that of constructing an eccentric formalism premised on Minimal strategies of repetition Baritone 1984 9½ x 12 x 6 inches concrete and lead


and variation, and literalism. Instead, while it is not readily apparent from these small-scale works, in actuality it seems that given her mixed ambitions, she seeks to establish an equilibrium between sculpture’s narrative logics and



American Beauties 1989 10½ x 11 x 9 inches concrete and lead (two views)

American Beauties 2011 7 x 13½ x 13½ inches marble

Folio 1990 12¾ x 56 x 10½ feet plaster and encaustic (following page)






Parts and Pleasures 2002 size variable concrete ( previous page)


Peel 1995 31½ x 20 x 15 cotton and resin

Peel 1995 5½ x 6 x 4½ feet cotton and resin



the respective means used to encode them. Consequently, her work presents two or more interconnected narratives: those that are fractured (whose pieces form an expository text) and the other continuous (constituting a descriptive text) that combine to establish the analogous terms and conditions by which her sculptures come to act as both signifier and as material form. Much of what informs Westerlund Roosen’s ongoing practice derives from her earliest works, which are strategically linked to Minimalism in that their forms are reductive and modular, yet already, in essence, they are Postminimalist in their sensibility in that the artist’s role in the object’s making is clearly present and the qualities of the material employed are emphasized. Represented here by the maquette for Muro Series 2 (1978), these early works are hybrids, the product of welding together monochromatic painting and shaped canvas with Minimalism’s literalist approach to art’s objecthood. While these early concrete pieces initially appeared to function as literal objects, keeping with the tenets of Minimalism, the work’s aesthetic content was concerned with something more than articulating the terms and conditions of its own phenomenal existence. Made with pigmented concrete, these works consist of compositions of singular or multiple slabs, steles, or ramplike forms, which are placed directly on the floor, emphasizing their implied weight and, though they are relatively flat, their three-dimensionality. These brute, inert forms have an aura of awkwardness, uncertainty, and anxiety about them, which undermines the specificity that their geometric forms, materiality, coloring, and surface treatment were meant to guarantee. Such qualities manifested in Westerlund Roosen’s early work attest to an internalized dialogue that continues within the artist’s mature work concerning the subordination of formalism to the personal. Yet Yellow Mange 2011 21 x 30 x 25 inches mixed media

in the 1970s, such an orientation could not be critically discerned, and her work’s importance was identified with its similarity to and divergence from Minimalism, rather than its subversion.


Another aspect of Westerlund Roosen’s work that stems from her early concrete pieces is her commitment to color and surface as an inherent property of her materials. As such, her palette extends from the cool, matte-grey finish of the combination of felt and resin that give her more recent sculptures a soft and luminous quality and the gunmetal grayness of the lead she has chosen to clad some pieces in to the slightly soiled pinkish quality of the encaustic she has used. Notably, it is only now that she has strayed from this long-held approach. For her newest works, which consist of midsize pedestal-based objects that might be identified as being assemblage-like in their construction, she has applied paint: poured, splattered, or applied in an even coat. These painted surfaces she has then sealed with a smooth coat of buffed wax, such as Blue Madonna (2010) and Warts and All (2010). Yet, even with these works, the colored surfaces, whether smooth or agitated, do not record process so much as they indicate her consideration of the sensuous experience that is required to define and unify the work’s character as a whole. Even in the reduced scale of the models presented in this exhibition, it can be noted from piece to piece that Westerlund Roosen engages in a relatively personal and multifaceted construction process in which she uses the sensuous nature of her materials to mediate between her conception of form and structure and their emotive contents. What can also be noted is that, over the years, the nature and function of her forms have shifted back and forth between forms that are imagistic and those that can be considered to be nonFrench Kiss 2009 6½ x 12 x 5½ inches ceramic

referential. The range of this vocabulary and their organization reinforces the proposition that Westerlund Roosen is intent on exploiting sculpture’s ability to simultaneously encode multiple and interrelated reading, which respectively extend from the formal to the comically anecdotal. Therefore, within her work there is often an operable principle, which links the precariousness,

Juggler 2009 9½ x 21 x 10¼ inches ceramic


instability, and tentativeness of her structures to the conflicting associations and metaphors embedded in the irregularity of the works’ forms. As such, the artist is able to articulate material and formal relationships that are nei-


ther merely literal nor strictly anecdotal but which simultaneously encourage and inhibit the associative narratives or formal analysis. Consequently, one in the same work can alternately provoke associations to the body or to nature, as well as producing a kinesthetic or haptic effect, while also referencing the terms by which the work exists as a stand-alone formalist structure.

Juggler 2009 10 x 28 x 7 feet high density foam and stucco


At the same time, these models, maquettes, sketches, and small works tell a slightly different story than Westerlund Roosen’s finished works, in that they represent the means by which she visualizes and tests shapes and forms before going on to make a full-scale sculpture. As such, they express her initial

intuitions; the instinctive qualities of her aesthetic are marked by an unselfconscious spontaneity of means and expression, which often cannot be found in her larger, more refined works. From looking at the range and limits of the forms she has deployed over the course of her career as represented by these models, it is obvious that she has taken pleasure in the invention of forms and surfaces; modeled by hand, poured, cast, beaten, and soldered, the edges tend to be soft and rounded. Bolero 2005 3 x 16 x 16 feet felt and resin

While exploiting Minimalism’s strategies of producing monolithic forms (Baritone, 1985) or modular ones that can be repeated and varied (Triple


Disc 1, 1988), it is apparent that Westerlund Roosen forgoes Minimalism’s commitment to standardization, machine finishes, and the polish of an industrial aesthetic. The unity of the sensuousness of materials and of “standardized” eccentric (irregular) invented forms gives rise to works such as Petal 1 (1988), in which irregular disks are stacked upon one another or uneven upright planar L-shaped forms are nestled into one another to create a wall. This is true among many of the maquettes and models in which irregular forms are either stacked upon one another (Peel, 1995) line-up (Petal 2, 1990) leaned against one another (Leaning Discs, 1994) inserted into a plinth (Juggler, 2009) or into the ground (Score, 2000). Within each of these works, the individual units retain their own distinct identities and qualities; the irregularity of each reverberates, affecting the structure of the larger whole. In other works, Westerlund Roosen’s forms become more thinglike (Aida, 1978) figural, or suggestively anthropomorphic (Pompadour, 1986), forming corporeal masses that are enclosed or consist of planar constructions (Parts and Pleasures, 2002). Their lead, encaustic, or plaster surfaces tend to be emotionally evocative, while their references to bodies may be caricaturized as both humorous and sensuously “abstract.” Her greatest structural deviation from Minimalism’s tenets lies in her return to sculptures consisting of composed forms, such as Sleeping Beauty (1980) and Eminence (2006). Yet even these works of diverse, juxtaposed forms may be understood to represent a struggle between the inert and the animated, marking a tension between their formal qualities as image and their suggestive thingness. Subsequently, even at this scale we can detect a modeling of surface, a hardness of materials that contrasts with the softness of her forms. Synecdoche, in which the part comes to represent the whole, plays an important part in much of Westerlund French Kiss 2009 10 x 21 x 4 feet high-density foam and stucco


Roosen’s work. Commalike forms become tongues (French Kiss, 2009), irregular, sensuously curved planar forms (Double Disc 1, 1988) or disks with protuberances come to be breasts, and all of these come to signify the female body. It is this identification combined with signs of the physical effort of




these forms having been acted upon by outside forces or, conversely, the sense of self-containment, of being a form enclosed within itself, that imbues Westerlund Roosen’s work with a psychological tension and an ambiguity that resists literal interpretation. Those works that most readily epitomize the tension between thing and image among the models and small sculptures presented in this exhibition are those that simultaneously reference breasts, disks, and wheels, such as American Beauties Lead (1989). These units again are used as irregular modules that are presented singly or in groups. The associations stimulated by these works include the art historical, in that singly and cast in lead, they appear to reference Jasper Johns’s lead-relief casting of the image of a target, yet when multiples are lined up side by side and executed in a pinkish encaustic with their “nipples” touching, they become erotically charges (American Beauties Concrete, 1989). The reference to the breast in these small works is also literalized in American Beauties Marble (2012) on which the nipples are painted a dark burgundy red and the disk a pinkish orange. Battenkill 2004 5 x 16 x 28 feet high-density foam and stucco (preceding page)

Given the body references to be found in her forms, Westerlund Roosen has in the past been associated with the objectification of the sexual markers of the female body, but it is actually her privileging of organic forms and structures, as well as her commitment to the handmade with its emphasis on surface material qualities, where she actualizes her identification with that

Bolero 2005 43⁄4 x 131⁄2 x 13 inches ceramic

body. The resulting irregular forms with their seductive, haptic surfaces are what lead the viewer to make association with either the physical effort of the body being acted upon by outside forces or the self-containment of being enclosed in one’s own form. It is through these associations that Westerlund Roosen addresses a humanist body, one in which content gives

Iris 2004 83⁄4 x 16 x 12 inches ceramic


rise to form, rather than the post-human body theorized by Francois Lyotard, which exists without organs and whose form (appearance) supersedes its content (function).


Mettawee 2008 5¾ x 9¼ x 9¼ inches ceramic


Mettawee 2008 5¾ x 9¼ x 9¼ inches ceramic

Mettawee 2004 10 x 16 x 16 feet high-density foam and stucco


Score 2000 121⁄2 x 40 feet resin and cotton


Bones 1998 11 x 75⁄8 x 73⁄8 inches ceramic

Enclosure V 1999 20 x 24 x 18 inches cement




With hindsight, we now can see that Westerlund Roosen’s shift to organic and anthropomorphic forms and her commitment to the handmade as part of the critique of modernism and formalism, as well as part of the feminist critique of the masculine aesthetic and iconic norms, which insist on singularity and literalness as the means to expose and identify the essential nature of the art object. Looking at such models as Bolero (2005), we can observe how, by appropriating the strategies of Minimalism but not its forms, Westerlund Roosen creates a sense of empowerment for its other—the irregular, the evocative, and the associative. By these means her objects’ structures and qualities seem instinctively to offer up contradictory experiences, avoiding the reductive drive to singularity and literalism that is identified with the masculine. In turn, by making her work polymorphic and structurally diverse, she performatively addresses and resists the authoritative perceptual order of the masculine by disturbing and subverting the fixity of its organization. This is particularly apparent in such works as White Lies (1989) and Parts and Pleasures (2002), with their distributions of diverse forms and multiple structures. Westerlund Roosen’s concern for the multiplicity of parts to the whole also supplies her with the means to emphasize the relationship between her objects and the spaces they occupy, relative to the architecture they inhabit or to that of the landscape. This led her to expand her objects into the viewer’s space by making sculptures that are inseparable from the landscape in which Bethlehem Slouch 1994 2.3 x 18 x 20 feet concrete and steel (preceding page)

they are placed, such as Kink (1995), or indoors where they become part of the architecture, such as Score (1995). This point is made apparent when we look at the varied maquettes made over the years for freestanding rooms, outdoor pieces, and architectural interventions, whose identities do not reside in the site but in how they act upon it.

Dueña 2011 30 x 19 x 12 inches mixed media


Given the range of issues and approaches that Westerlund Roosen’s work indexes, what might one conclude here, given the sense from these models of the freedom with which she moves through and explores the terrain



of sculpture? Most notably, I would say that even on at the scale of models and maquettes, the interaction of material and form conveys a sense of vitality in which each quality of the work contains essential information as to the character of the whole, while the whole, in turn, is not defined by its collective qualities but comes to have a character of its own. It is these interactions that have given Westerlund Roosen’s sculptures the ability to provide both an external and internal perspective—in other words, both to represent and to offer an experience that is both subjective and analytic. That she manages this without relinquishing other types of narratives is a result of the implicit Dervish 2005 6 x 7 x 61⁄2 inches ceramic

nature of Westerlund Roosen’s particular approach to formalism, which offers up the terms of sculpture’s underlying identity as yet another fragmented body in the world rather than singularity or totality.




Dervish 2004 32 x 77 x 73 inches felt and resin (preceding page)


Carmelite 2 2005 13 x 7ž x 7Ÿ inches ceramic

Carmelite 2 2005 89 x 49 x 36 inches felt and resin


Double Probe 2011 23 x 27 x 26 inches mixed media


Warts and All 2010 18 x 18 x 22 inches mixed media

Blue Madonna 2010 22 x 19 x 13 inches mixed media (two views, following page)





Born: New York, NY The artist lives and works in New York, NY, and Buskirk, NY



Mia Westerlund Roosen, Sculptures, 1976–2012, Betty Cuningham Gallery, New York, NY, May 17–June 30


ia Westerlund Roosen Baritone, French Kiss, and Juggler, installation on Park Avenue Malls, City of New M York Parks & Recreation Department and Fund for Park Avenue Sculpture Committee, New York, April 19–August 28


Mia Westerlund Roosen, Betty Cuningham Gallery, New York, NY, October 17–December 6

Battenkill, installation in Thomas Paine Park, City of New York Parks & Recreation Department, New York, NY, July–October 2006

Mia Westerlund Roosen: New Sculptures, Betty Cuningham Gallery, New York, NY, September 7–October 14


Mia Westerlund Roosen: Namesake, Lennon, Weinberg, Inc., New York, NY, February 12–March 27


Mia Westerlund Roosen: New Sculptures, Lennon, Weinberg, Inc., New York, NY, November 9–December 29


Mia Westerlund Roosen, Shoshana Wayne Gallery, Santa Monica, CA, February–March

1998–99 Mia Westerlund Roosen, Lennon, Weinberg, Inc., New York, NY, November 14–January 9



Mia Westerlund Roosen, Lennon, Weinberg, Inc., New York, NY, March 28–April 27


Mia Westerlund Roosen, Shoshana Wayne Gallery, Santa Monica, CA, January 14–March 11


Mia Westerlund Roosen: Sculpture and Drawings, Storm King Art Center, Mountainville, NY, May 14–October 31


Mia Westerlund Roosen: New Sculpture and Drawings, Lennon, Weinberg, Inc., New York, NY, April 1–May 8


Mia Westerlund Roosen, Lennon, Weinberg, Inc., New York, NY, October 3–November 9

Mia Westerlund Roosen: American Beauties, Sculpture Center, Long Island City, NY, March 9–April 6

Mia Westerlund Roosen, Compass Rose Gallery, Chicago, IL, January 11–February 9


ia Westerlund Roosen, Joseloff Gallery, Harry Jack Gray Center, University of Hartford, M West Hartford, CT, August 16–September 24

Mia Westerlund Roosen, Christine Burgin Gallery, New York, NY, January 3–February 9

Mia Westerlund Roosen, Shoshana Wayne Gallery, Santa Monica, CA


Mia Westerlund Roosen, Drawings and Monumental Sculpture, Compass Rose Gallery, Chicago, IL, October 9–31


Mia Westerlund Roosen, Sculpture and Drawings, Leo Castelli Gallery, NY, November 20–October 11


Mia Westerlund Roosen, Recent Sculpture, New Museum of Contemporary Art, New York, NY


Mia Westerlund Roosen, Sculpture, Bluxome Gallery, San Francisco, CA, May 1–June 2


Mia Westerlund Roosen, Sable-Castelli Gallery, Toronto, Ontario, January

Mia Westerlund Roosen, Leo Castelli Gallery, New York, NY, March 6–27


Sable-Castelli Gallery, Toronto, Ontario, Canada, November

Material Matters, The Clocktower, New York, NY, May 28–June 21

ia Westerlund Roosen, Sculptures & Drawings, Storm King Art Center, Mountainville, M NY, May 21–October 31


University of Western Ontario, London, Ontario

Mia Westerlund Studies, Art Gallery of Southern Alberta, Lethbridge, Alberta

New Work, Leo Castelli Gallery, New York, NY, March 31–April 21


Sable-Castelli Gallery, Toronto, Ontario, May 13–June 3

Mia Westerlund Roosen, Recent Work: Sculptures & Drawings, Vancouver Art Gallery, Vancouver, British Columbia, September 8–October 15

Drawings and Sculpture, Yajima Gallery, Montreal, Quebec


Leo Castelli Gallery, New York, NY


Sable-Castelli Gallery, Toronto, Ontario


Willard Gallery, New York, NY


Jared Sable Gallery, Toronto, Ontario

Willard Gallery, New York, NY

Zabriskie Gallery, New York, NY


Dunkelman Gallery, Toronto, Ontario,


Albert Campbell Library, Scarborough, Ontario



What is a Line? Drawings from the Collection, Yale University Art Gallery, New Haven, CT, May 1–July 22


Twice Drawn, Tang Museum, Skidmore College, Saratoga Springs, NY, October 7–December 30

2005 Recent Modernist Sculpture, Joined, Modeled, Cast, Carved, Poured, Painted, curated by Karen Wilkin, Locks Gallery, Philadelphia, PA, September 9–October 8 2003

H2O, curated by Jo Anna Isaak, Danese Gallery, New York, NY, July 10–August 29

1995–96 The Material Imagination, Solomon R. Guggenheim Museum, New York, NY, December–January 1989–90 Figuratively Speaking: Drawings by Seven Artists, Neuberger Museum of Art, State University of New York, Purchase, NY, April 16–June 11; traveled to: Toledo Museum Art, Toledo, OH, November 11–January 7; Nelson-Atkins Museum of Art, Kansas City, MO, January 21–February 25 1989 Heroics Recast: Mia Westerlund Roosen, Francesco Clemente, and Terry Allen, Boston Museum School of Fine Arts, Boston, MA, February 17–March 14 1988–89 Figurative Impulses: Five Contemporary Sculptors, Santa Barbara Museum of Art, Santa Barbara, CA, October 15–January 1 1987 Leo Castelli & His Artists: 30 Years of Promoting Contemporary Art, Centro Cultural Arte Contemporaneo, Mexico City, Mexico, June 25–October 18 1984

American Woman II, Janis Gallery, New York, NY

Four Sculptors: Ritual & Artifact, Zabriskie Gallery, New York, NY, September 12–October 6

Large Drawings, Zilka Gallery, Wesleyan University, Middletown, CT, January 26–March 9

1983 Monumental Drawings by Sculptors, Hillwood Art Gallery, Long Island University, Greenvale, NY, January 7–February 9 1980

Pluralities, National Gallery of Canada, Ottawa, July 5–September 9

Material Matters, Norton Gallery, West Palm Beach, FL, March 28–April 27

Brown Invitational Exhibition, Bell Gallery, Brown University, Providence, RI, February 1–24


Albany Museum of Art, Albany, GA

Albright-Knox Art Gallery, Buffalo, NY


Art Gallery of Ontario, Toronto, Ontario

Art Gallery of Vancouver (Longstaffe Collection), Vancouver, British Columbia

Canada Council, Art Bank, Ottawa, Ontario,

Metropolitan Museum of Art, New York, NY

National Gallery of Canada, Ottawa, Ontario

Neuberger Museum, Purchase, NY

Savannah College of Art and Design, Savannah, GA

Solomon R. Guggenheim Museum, New York, Y

Storm King Art Center, Mountainville, NY

University of California, Berkeley, CA

Western Gallery, Western Washington University, Bellingham, WA

Yale Art Gallery, New Haven, CT



Canada Council Art Grant

1988–89 National Endowment for the Arts 1993

John Simon Guggenheim Memorial Foundation Fellowship


Fulbright Fellowship

Selected Bibliography REVI EWS AN D PU B LICATION S

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Dreishpoon, Douglas. “Mia Westerlund Roosen.” Artnews, January: 126. Wilkin, Karen. “At the Galleries.” Partisan Review, (Winter): 119–88. Princenthal, Nancy. “Mia Westerlund Roosen at the Sculpture Center.” Artnews, July: 113–14. Brenson, Michael. “‘American Beauties’: Images of Softness Rendered in Concrete.” New York Times, March 15. Raynor, Vivien. “Large Sculptures of Pale Presence.” New York Times, September 3: 26. G. S. “The Galleries: Santa Monica.” Los Angeles Times, May 19. Brenson, Michael. “Mia Westerlund Roosen.” New York Times, January. Ratcliff, Carter. “Mia Westerlund Roosen at Castelli Greene Street.” Art in America, December: 131–32. Madoff, Steven Henry. “Sculpture Unbound.” Artnews, November: 103–109. Feinberg, Jean E. “Evocative Abstraction: The Sculpture of Mia Westerlund Roosen.” Arts Magazine, October: 18–20. Westerlund Roosen, Mia. “Processes.” Issue, Spring: 48–49. Van Wagner, Judith K. “Drawings as Active Verb.” Artery, February/March: 2–5. McFadden, Sarah. “Mia Westerlund Roosen at Castelli Greene Street.” Art in America, Summer: 143–44. Albee, Edward. “The New Work of Mia Westerlund Roosen.” Arts Magazine, March: 120–21. Rubinfien, Leo. “Mia Westerlund, Leo Castelli Gallery.” Artforum, September: 79–80. Tannenbaum, Judith. “Mia Westerlund.” Arts Magazine, February: 16. Nasgaard, Ronald. “Toronto: New Sculpture and Drawings by Mia Westerlund.” Arts Magazine, February: 74–75. Chandler, John Noel. “The Search for New Forms: Mia Westerlund Sculpture and Drawings.” ArtsCanada, February: 43–47.


2008 2007 2006 2001 1999 1994 1989 1988 1985 1983 1978

Twice Drawn. Exhibition catalogue. Saratoga Springs, NY: Tang Museum, Skidmore College. Dreishpoon, Douglas. 96th Annual Exhibition: Humor’s Lines. Exhibition catalogue. Lynchburg, VA: Maier Museum of Art, Randolph Macon Women’s College. Harris, Susan. Mia Westerlund Roosen. Exhibition catalogue. New York: Betty Cuningham Gallery. Mattera, Joanne. The Art of Encaustic Painting: Contemporary Expression in the Ancient Medium of Pigmented Wax. New York: Watson-Guptill Publications. Stavitsky, Gail. Waxing Poetic: Encaustic Art in America. Montclair, NJ: Montclair Art Museum. Phillips, Patricia C. Mia Westerlund Roosen: Sculpture and Drawings. Exhibition catalogue. Mountainville, NY: Storm King Art Center. Miller, Nancy. Figuratively Speaking: Drawings by Seven Artists. Purchase, NY: Neuberger Museum, Purchase College, State University of New York. Ratcliff, Carter. Mia Westerlund Roosen. West Hartford, CT: Joseloff Gallery, University of Hartford. Doll, Nancy. Figurative Impulses: Five Contemporary Sculptors. Santa Barbara, CA: Santa Barbara Museum of Art. Gumpert, Lynn. Mia Westerlund Roosen. New York: The New Museum of Contemporary Art. Morrin, Peter. Content in Abstraction: The Uses of Nature. Atlanta, GA: The High Museum of Art. Van Wagner, Judith K. Monumental Drawings by Sculptors. Greenvale, NY: Hillwood Art Gallery, Long Island University. Chandler, John. Mia Westerlund: Recent Work/Sculpture and Drawing. Vancouver, BC: Vancouver Gallery.


Design: Susan Bowman Photographers: David Craven (cover), Robert Cumming, Nick Ghiz, Clemen Kalisher, Alan Zindman, Philip Ennik


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