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The Artist in her studio c. 1963 Cover image: Octavia (detail), 2014

2 - 31 JULY 2014

Beverly Pepper C U RVA E I N C U RVA E NEW WORKS

Most of the works are for sale Price on application

MARLBOROUGH LONDON Marlborough Fine Art (London) Ltd., 6 Albemarle Street, London W1S 4BY T: +44 (0) 20 7629 5161 • E:

S PA C E I S A L I V I N G T H I N G A C O N V E R S AT I O N W I T H B E V E R LY P E P P E R by Judith Hoos Fox

To page through the biography and bibliography of Beverly Pepper is to find a lexicon of major art world players spanning the last half decade. Critics and authors such as Frank O’Hara, Hilton Kramer, Barbara Rose and Rosalind Krauss have all written about her work, many repeatedly. As early as 1952, Time included a feature on her; and as recently as 2012 Robert Hobbs published a monograph devoted to her career. Pepper’s sculptures and large-scale commissioned works ring the globe from Sydney to Houston, Tokyo, Stockholm, Jerusalem and Calgary. Just as Pepper releases life from stone and coaxes form from the elements, she has elevated my pedestrian questions into meaty observations about her work, art-making and the role of the artist. Her responses reveal the depth of her thinking and feeling, as well as the tenacity of her commitment.

J U D I T H H OOS F OX : The sites where you’ve been

able to work range from the dense complexity of New York’s Park Avenue to open grassy swards and fields. Yet, there is a consistency in your formal vocabulary that links all your projects. Would you talk about the role of site in your process? BEVERLY P EP P ER: Certain formal elements are

constant within my work – and they do constitute a vocabulary. But in site-specific works this vocabulary comes to include physical forms, lines of force, and other considerations, which create a conversation between design and place. For example, if the given space has strong vertical dimensions, I might balance these by introducing horizontal planes or structures. In Manhattan Sentinels at Federal Plaza in New York. I was faced with the verticality of the Federal buildings and a reduced amount of horizontal space. So in approaching the project, I sought to avoid a confrontation between the work and the environment by setting the sculptures inside a circle of trees. Then I realized that the Thomas Street corner could contain a fourth sculpture, which could integrate the installation. Of course there are questions of how the natural light, or the kinds of topography – even the physical properties of the soil, or the vegetation, or the surrounding materials or physical and historical culture of the place – all have an important part to

Opposite page: Departure, for my Grandmother, 2005. Concrete, branches, and tar, 13 x 87.5 x 196 x 16ft. Work installed at Europos Parkas, Vilnius, Lithuania. Above left: Curvae in Curvae, 2012. Cor-ten steel, 115 x 128 x 82 in. Above right: Calgary Sentinels and Hawk Hill, 2008-10. Cor-ten steel, sod, and grass. 480 x 40in. diameter. Work installed at Ralph Klein Legacy Park, Calgary, Alberta, Canada.

play in my overall process. Civic or religious, domestic, theatrical, geological – the matter of context is both an opportunity and challenge, an interlocutor with whose “genius” (as in genius loci) I seek to co-operate. I think too of the persons, and possible communities that might come into being within and around sitespecific installations. If space is a living thing, how can we make its life – and the lives of those who inhabit it – more manifest? J HF: Geometry meets organic forms throughout

your work. Can you talk about the interplay of these opposing forces, or concepts? B P: Opposing forces are integral to any serious

work of art, especially in using organic forms within geometric ones or vice-versa. These opposing forces give a dynamic to the work, with an internal dialogue. They are also integral to our lives immersed in urban landscapes, where geometry dominates, just as they respond to tensions between experiential material and kinds of abstraction or conceptual thought, between extremes such as chaos and order, chance and regime. As a maker, of course, my energies flow from and toward forces that exceed any imposed system of analysis. And always, these forces are inseparable from the materials themselves – stone, iron, grass, trees, contours of a geological stratum. I turn to the organic in my work knowing that I will encounter unexplainable elements. Something always enters my process without my having any conscious idea where it came from. Also whereas geometry is cerebral, the organic carries emotions with a contrappunto opening into a second reality at the heart of painting, sculpture, poetry, or music for that matter. J HF: Totemic, hieratic, primal – these are images/

words that come to mind as I think of much of

your freestanding work. How do they fit with your intentions for the work? BP : My ‘intentions’ in creating a new form or concept

inevitably include going beyond the known into the unknown. I work with the back of my mind, while editing with the front. Also if I have any ‘intentions’ there are to allow me to feel the work as much as see it. Critics frequently refer to my work as ‘spiritual.’ Yet whether or not it is there, I’m less interested in spirituality than in the unexplainable, which you feel more than see. To be clear, I’m not trying to be mystical, nor consciously avoiding it. And though I am very concrete, and use very concrete materials, I do not intend my work to be ‘explainable’. Feeling is more important for me than anything formulaic. As for the terms “hieratic,” “totemic,” or “primal,” I’d say my work both responds to and tries to reinforce the human capacity for wonder, for reorienting ourselves in relation to powers or fields of force (whether internal or external), which are greater than our merely biographical or social selves. Obviously we can’t rebuild the monuments of the ancient world, but we can aspire to re-evoke, in however modern a world, some of the enduring and perhaps renewable sensations of amazement, even awe. J H F : You have spoken so eloquently about the

power and properties of iron. Could you share these thoughts again? BP : Everything in the world slowly converts into

iron. It is everywhere, even in a teardrop. Perhaps an awareness of this final, imperishable destiny plays a role in my feeling for its power and potentials. I admire the sheer resistance within iron, its stubbornness, even as it participates in slow processes

Above left: Spazio Teatro Celle, 1992. Cast iron, earth, grass, and terra cotta, 16 x 70 x 200ft. Work installed at Fattoria di Celle. Above right: Longo Monolith, 2006. Cor-ten steel, 197 x 31.5 x 90.5 in.

of corrosion or patination. And it’s always gripping to work in a material, which has been such a crucial part of human culture from the literal Iron Age to the great periods of industrial construction and beyond. Too often, in the modern world, iron seems by definition something impersonal or corporate – so there’s a very particular satisfaction in bringing an individual sensibility and an act of individual human making into some ever-new rapport with it.

as though we are at the end of the Roman Empire. There’s a sense of freedom, that anything goes, with no inhibition and where everything is possible – from the very worst to the sublime.

J HF: Do the other materials you have worked with

As for my ‘attitude toward art and art making,’ it’s like after man went to the moon: there are no more boundaries in space or on earth. However, I do believe there should be more emphasis on art education – art history in particular – to realize the essential reality within serious art, no matter how abstract or diffused. I am not sure of what or how, but I know that in our wild, untamed atmosphere, we have to look at art differently. Idea and concept have become primary, and frequently more important than the total work.

elicit other kinds of responses and attract you in other ways? B P: Clay has malleability that can change or even

repossess a creative moment. Stone and wood, and the use of earth, offer other kinds of properties. I like stone because it’s more combative yet open-ended. You can change direction ‘following’ the stone while working to accommodate a thought or a new perception from the stone itself. Metal is more easily controlled, whether it is cast-iron, making a mould, fabricating iron, or in forging steel. And inevitably every material has its own innate being. Michelangelo believed there was life in stone, waiting to be released, by the “rude hammer”. J HF: Can you offer some observations about what

has transpired in the world of art during the extent of your prodigious career, still in full swing – in terms of economics, and the gallery and museum landscape, and in terms of innovations, junctions, new materials, changes in views of urbanism, attitudes toward art and art making? B P: The 20 century’s emphasis on iconoclasm and th

‘story,’ has affected our current art world. Now Warhol looks conservative, Picasso a realist painter, Man Ray a formal photographer etcetera. Frankly, it’s difficult for me, at 90, to judge today’s aesthetics. It feels

Regarding today’s art world, I really am a ‘virgin’. I have only been represented by two galleries in my life, André Emmerich and Marlborough. As a result I am not familiar with the overall gallery landscape.

I keep thinking of Gulliver, the giant tied to the ground by many little people. But I can’t figure out whether art is the giant, bound by many forces of the market, or if the market is hobbled by today’s endless multiplicity of art forms. Perhaps it’s otherwise. While artists claim to be freer than most, they remain slaves to themselves and their dreams. J H F : Whose work have you looked at over the years,

and were moved by – inspired, miffed, angered? BP : I live in Italy, where the past and the present

co-exist; in fact, they inform each other. The world seemed to have ended here many times, but it keeps on going. There is a grim joke that, after a nuclear holocaust, Italy will still be there, alive and well, with its Renaissance of the human spirit. I live in the medieval town of Todi, where time frequently seems to

Above: Scalene Megalith, 2007-10. Prehistoric boulders and pressed earth, 20ft. high; inner circle: 72ft diameter. Work installed in San Anselmo, CA.

have stopped with Jacopone da Todi. Previously I lived in Rome where time is layered, so you went from the Caesars to Fascism to contemporary architecture. My influences are historical: Trajan’s column, Cleopatra’s obelisk’s, the Roman forum, amphitheaters in Sicily, Greece, Turkey… and beyond the Mediterranean. The Cambodian temple site at Angor Wat inf luenced my early wood and steel sculpture. Gaudí and Miró informed my Sol y Ombra Park in Barcelona. The Russian constructivists, at the turn of the 19 th-20 th century, were fundamental to my growth. Bauhaus geometry came into my work during the early 60’s. And for many years I brought African art and antiquities into my studio. So it’s hard to pinpoint a determinant influence. Philosophers have been important in finding my way – especially Henri Bergson and his thoughts on time, memory, intuition, and kinds of organic continuity within an otherwise increasingly fragmented world. There is a lot of garbage out there, but you can’t let yourself be angry. There are some works I dismiss, others I do not understand, but I keep on looking and reading.

of history. Counting on a future is too problematic. In these controversial times, it’s hard to believe that we will survive, or if we do, where or how it will happen. So I focus on the present as projected from the past. I think my works end up “knowing” more than I can about the future – and clearly I’m interested in materials that endure, that might have something to “say” to those who come after us. J H F : If artists are prescient and their work reflective of

the issues and zeitgeist of the time, can you articulate what is going on in your work? BP : I won’t even try to articulate what is going on in

my work. Once as a painter, I tried to portray social problems in my work. It was a failure. In this century, where almost everything is possible, and most any problem raises multiple possible solutions, I don’t look for an answer. Hopefully my work creates questions, and their answers should lead to more questions. It’s one of the exciting aspects of still being alive, with the prospect that our collapsing planet, with its infinite wonders and remnants of hopes and dreams, may still be saved.

J HF: Are there directions and artists today whose

work continues to hold your interest? B P: Many people continue to hold my attention,

including Serra, Michael Heizer, and James Turrell. I’m interested in a reflected history within their work. Invention, scale, surprise, even magic, certainly transformation – appeal to me. J HF: What do you see as the future of sculpture? Of

art making in this current culture? B P: I live in the present, but draw from the past, both

within the back of the mind, and within the substrates

Judith Hoos Fox works with Ginger Gregg Duggan under the moniker c 2 (curatorsquared), developing exhibitions of contemporary art and design that explore current issues in culture. The exhibitions FOOD-WATER-LIFE - LUCY+JORGE ORTA and Evan Roth//Intellectual Property Donor are currently touring. StereoType, MetaModern, and Coded Couture, will open and begin their tours in the coming year. We are grateful to Glenn Harper of Sculpture and to the author for allowing us to reproduce this article which was first published in the Sculpture Magazine, September 2013.

The Artist in her garden, Villa Olivola, May 2014 Photo by George Tatge


All works are in steel. Measurements are height by width by depth. Edition of six. 1.


Octavia, 2014

Servillia, 2014

77 x 64 x 53 cm

42 x 57 x 20.2 cm.

Base 26 x 26 x 2.5 cm

Base 35 x 15 x 4 cm



Sulla, 2014

Cornelia, 2014

29 x 32 x 13.5 cm

34 x 35.5 x 13 cm

Base 25 x 25 x 4 cm

Base 25 x 25 x 4 cm



Plutarch, 2014

Livia, 2014

36 x 49 x 17 cm

51 x 56 x 28 cm

Base 25 x 25 x 4 cm

Base 25 x 25 x 4 cm

4. Plutarch Plus, 2014 29.5 x 47 x 13 cm Base 25 x 25 x 4 cm 5. Helena, 2014 33.5 x 35 x 17 cm Base 25 x 25 x 4 cm 6. Crispina, 2014 68 x 58 x 40 cm Base 26 x 26 x 2.4 cm 7. Junia Prima, 2014 46 x 50 x 19 cm Base 33 x 23.5 x 5 cm 8. Drusilla, 2014 38 x 35 x 17 cm Base 25 x 25 x 4 cm

1. Octavia, 2014 77 x 64 x 53 cm Base 26 x 26 x 2.5 cm

2. Sulla, 2014 29 x 32 x 13.5 cm. Base 25 x 25 x 4 cm

3. Plutarch, 2014 36 x 49 x 17 cm Base 25 x 25 x 4 cm



Plutarch Plus, 2014

Helena, 2014

29.5 x 47 x 13 cm

33.5 x 35 x 17 cm

Base 25 x 25 x 4 cm

Base 25 x 25 x 4 cm

6. Crispina, 2014 68 x 58 x 40 cm Base 26 x 26 x 2.4 cm

7. Junia Prima, 2014 46 x 50 x 19 cm Base 33 x 23.5 x 5 cm

8. Drusilla, 2014 38 x 35 x 17 cm Base 25 x 25 x 4 cm

9. Servillia, 2014 42 x 57 x 20.2 cm Base 35 x 15 x 4 cm

10. Cornelia, 2014 34 x 35.5 x 13 cm Base 25 x 25 x 4 cm

11. Livia, 2014 51 x 56 x 28 cm Base 25 x 25 x 4 cm



Born in New York.

Studied at Pratt Institute and the Arts Students League in New York, and with Fernand Léger and Andrew Lhote in Paris The artist lives and works in Todi, Italy and New York S E L E C T E D A W A R D S & R E S I D E N C I E S

Galleria La Bussola, Turin, Italy Galleria Paolo Barozzi, Venice, Italy 1969  Beverly Pepper: Recent Sculpture, Marlborough-Gerson Gallery, New York, New York; traveled to Museum of Contemporary Art, Chicago, Illinois; Hayden Court and Plaza, Massachusetts Institute of Technology, Cambridge, Massachusetts; and Albright-Knox Art Gallery, Buffalo, New York

1982 Honorary Doctor of Fine Arts, Pratt Institute, Brooklyn, New York

The Jewish Museum, New York

1983 Honorary Doctor of Fine Arts, The Maryland Institute, Baltimore

Piazza della Rotonda, Milan, Italy

1987 Academic Merit, Accademia di Belle Arti, Perugia, Italy Paving stone, Celebrity Path, Brooklyn Botanic Garden, New York 1992 Named Friend of Barcelona, Spain 1994 Outstanding Achievement in the Visual Arts, Women’s Caucus for Art, Queens Museum of Art, New York 1999 Chevalier de l’Ordre des Arts et Lettres, Ministère de la Culture et de la Communication, République Française, Paris, France

1970 Everson Museum of Art, Syracuse, New York

Beverly Pepper: Recent Works, Studio Marconi, Milan, Italy

1971 Galerie Hella Nebelung, Dusseldorf, Federal Republic of Germany Piazza Margana, Rome, Italy 470 Parker Street Gallery, Boston, Massachusetts 1972 Qui Arte Contemporanea, Rome, Italy  Beverly Pepper, Marlborough Galleria d’Arte, Rome, Italy 1973  Beverly Pepper: Sculpture, 1960-1973, Tyler School of Art, Temple University, Rome, Italy

Allied Arts Honor Award, The American Institute of Architects, Jefferson City, Missouri

1975 Sculpture Garden, Dag Hammarskjold Plaza, New York, New York

Xavier College Preparatory Vision and Voice Award, Phoenix, Arizona

André Emmerich Gallery, New York, New York

2000 Artist-in-Residence, Atelier Calder Prize, Saché, France 2003 Legends Award, Pratt Institute, Brooklyn, New York 2007 Alumni Achievement Award, Pratt Institute, Brooklyn, New York 2009 Honorary Citizenship, City of Todi, Italy 2011 National Academician, National Academy Museum and School, New York 2013 Lifetime Achievement Award, International Sculpture Center, New York S E L E C T E D S O L O E X H I B I T I O N S

 everly Pepper: Sculpture, 1971-1975, San Francisco Museum B of Art (now San Francisco Museum of Modern Art), San Francisco, California; travelled to Seattle Art Museum, Seattle, Washington

1977  Beverly Pepper: New Sculpture, André Emmerich Gallery, New York, New York Hopkins Center for the Arts, Dartmouth College, Hanover, New Hampshire

 everly Pepper: Sculpture, 1971-1975, Indianapolis Museum of B Art, Indianapolis, Indiana (through 1978)

1978 Princeton University Art Museum, Princeton University, Princeton, New Jersey

1952  Beverly Pepper, Galleria dello Zodiaco, Rome, Italy

1979  Beverly Pepper: Small Sculpture, André Emmerich Gallery, New York, New York

1954 Barone Gallery, New York

Hofstra University, Hempstead, New York

1955 Obelisk Gallery, Washington, DC

Piazza Maggiore Mostra, Todi, Italy

1956 Galleria Schneider, Rome, Italy

1980 Thomas Segal Gallery, Boston, Massachusetts

Barone Gallery, New York

Nina Freudenheim Gallery, Buffalo, New York

1958 Barone Gallery, New York

Galerie André Emmerich, Zurich, Switzerland

1959 Galleria dell’Obelisco, Rome, Italy

Ronald Greenberg Gallery, St. Louis, Missouri

1961 Galleria Pogliana, Rome, Italy

 Beverly Pepper: Large Sculpture, André Emmerich Gallery, New York, New York

1962 Thibaut Gallery, New York 1965

Beverly Pepper, Marlborough Galleria d’Arte, Rome, Italy

1966 McCormick Place, Chicago, Illinois 1968  Beverly Pepper, Marlborough Galleria d’Arte, Rome, Italy

1981 Makler Gallery, Philadelphia, Pennsylvania Linda Farris Gallery, Seattle, Washington

 everly Pepper: The Moline Markers, Davenport Municipal Art B Gallery (now The Figge Art Museum), Davenport, Iowa

Hansen Fuller Goldeen Gallery, San Francisco, California 1982  Beverly Pepper: New Work, André Emmerich Gallery, New York, New York Laumeier Sculpture Park, St. Louis, Missouri Riva Yares Gallery, Scottsdale, Arizona  Beverly Pepper, mostra antologica: opere retrospettive, 1964-1968, Galleria Il Ponte, Rome, Italy 1983 Galerie André Emmerich, Zurich, Switzerland  Beverly Pepper: New Sculpture, André Emmerich Gallery, New York, New York

 Beverly Pepper: The Umbrian Bronze Markers, André Emmerich Gallery, New York, New York 1989  Beverly Pepper: An Autobiography in Form, Bakalar Sculpture Gallery, List Visual Arts Center, Massachusetts Institute of Technology, Cambridge, Massachusetts The Harcus Gallery, Boston, Massachusetts

 everly Pepper: Small Scale Sculpture and Drawings, Gerald B Peters Gallery, Santa Fe, New Mexico

James Corcoran Gallery, Los Angeles, California André Emmerich Gallery, New York, New York

 Beverly Pepper in situ at the Huntington Galleries, Huntington Galleries, Huntington, West Virginia

1990  Beverly Pepper: Ten Wall Reliefs, Sentinels and Columns, André Emmerich Gallery, New York

John Berggruen Gallery, San Francisco, California

Charles Cowles Gallery, New York

1984 André Emmerich Gallery, New York, New York


1985 Adams-Middleton Gallery, Dallas, Texas

The Metropolitan Museum of Art, New York

John Berggruen Gallery, San Francisco, California

André Emmerich Gallery, New York

1986  Beverly Pepper: Urban Altars and Ritual Sculpture, André Emmerich Gallery, New York, New York

1992 Lemberg Gallery, Birmingham, Michigan 1993

Nina Freudenheim Gallery, Buffalo, New York  Beverly Pepper: Sculpture in Place, Albright-Knox Art Gallery, Buffalo, New York; traveled to San Francisco Museum of Art (now San Francisco Museum of Modern Art), San Francisco, California; Columbus Museum of Art, Columbus, Ohio; Brooklyn Museum, Brooklyn, New York; and Center for the Fine Arts, Miami, Florida (through 1987) 1987  Beverly Pepper: Private Scale Sculpture, 1966-1987, André Emmerich Gallery, New York, New York Baumgartner Gallery, Washington, DC Charles Cowles Gallery, New York, New York Hokin Gallery, Bay Harbor Islands, Florida 1988 Wilson Arts Center, Rochester, New York, New York

Beverly Pepper, Contemporary Sculpture Center, Tokyo, Japan

 everly Pepper: A Two-Phase Exhibition: Altars and Sentinels; B A Survey of Public Sculpture, André Emmerich Gallery, New York

Hokin Gallery, Bay Harbour Islands, Florida 1994

Beverly Pepper, Charles Cowles Gallery, New York

Nardin Gallery, Somers, New York, New York André Emmerich Gallery, New York, New York 1995

 orms of Memory: Recent Sculpture, André Emmerich Gallery, F New York

1996 Beverly Pepper: New Sculpture, Samuel P. Harn Museum of Art, Gainesville, Florida (through 1997) 1997 Charles Cowles Gallery, New York, New York

Beverly Pepper a Forte Belvedere, Trent’Anni di Sculptura, Fortezza

di Santa Maria in San Giorgio del Belvedere, Florence, Italy 1999  Beverly Pepper: Recent Sculpture: Forms of Memory II, Marlborough Chelsea, New York Retrospective, Palais Royal, Paris, France

Beverly Pepper, Grounds for Sculpture, Hamilton, New Jersey (through 2000)

2000  Queen of Hearts, Galerie Piece Unique, Paris, France 2001  Beverly Pepper: The Magma Series, Marlborough Chelsea, New York 2002  Beverly Pepper: Sculpture of the 70’s, Galerie Piece Unique, Paris, France 2003  Beverly Pepper: Markers 1980-2002, Marlborough Gallery, New York 2004

 everly Pepper: Una poètica de l’espai, Casal Solleric, B Majorca, Spain

2005 Studio Art Center International, Florence, Italy 2007  Beverly Pepper, Drawings, Models, and Sculptures for Six SiteSpecific Works, Art Gallery at The Graduate Center, The City University of New York, New York 2008 Beverly Pepper: Explorations in Stone, Marlborough Gallery, New York  Beverly Pepper: Voyages Out, Marlborough Chelsea, New York 2010  Beverly Pepper: Metamorphoses, Marlborough Chelsea, New York 2011  Stone and Steel: Small Works by Beverly Pepper, Georgia Museum of Art, Athens, Georgia 2012

 everly Pepper: Palingenesis 1965-2012, Frederik Meijer B Gardens and Sculpture Park, Grand Rapids, Michigan

 Curvae in Curvae: New Sculptures by Beverly Pepper, Marlborough Chelsea, New York  S E L E C T E D C O M M I S S I O N S & I N S TA L L AT I O N S 1962

Icarus, Festival dei Due Mondi, Spoleto, Italy

1963  Contrappunto, William Kaufman Company, U.S. Plywood Building, New York 1964  Kennedy Memorial, Weizmann Institute, Rehovoth, Israel 1966  Strands of Mirror, Southland Mall, Memphis, Tennessee 1969

Torre, Flags Over Georgia, Atlanta, Georgia


S udden Presence, Government Center, Boston, Massachusetts

 L and Canal-Hillside, North Park, Dallas, Texas 1972

Paraclete, G. Oestreicher Company, New York


Compound, Albany Mall, Albany, New York

1974  Phaedrus, Federal Reserve Bank, Philadelphia, Pennsylvania (through 1976)

Council, New York State Council on the Arts, New York State Award, New York

 Amphisculpture, AT&T Long Lines Building, Bedminster, New Jersey 1975  T hel, Dartmouth College, Hanover, New Hampshire (through 1977)

Excalibur, San Diego Federal Building, San Diego, California


Palimpsest 6, The Carborundum Company, Niagara Falls, New York


Maxi Zig Zag, Buffalo Convention Center, Buffalo, New York

Major Ritual II, City Hall, Toledo, Ohio  Major Ritual, Toledo Civic Center, Toledo, Ohio  A scension/Descension, Physiocontrol Company, Seattle, Washington

Anfiscultura II, Todi, Perugia, Italy


S ymbiotic Marker, Mute Metaphor, Primary Presence, Richard J. Hughes Justice Complex, Trenton, New Jersey


Houston Sentinels, Four-Leaf Towers, Houston, Texas

1983 Museum Tower, The Museum of Modern Art, New York

Triad, The Metropolitan Museum of Art, New York

Polytech Marker, Virginia Polytechnic Institute and State University, Blacksburg, Virginia

 essenger Series: Interrupted Messenger, Measured Presence, Volatile M Messenger, Valley Marker, Public Art Fund, Inc., and New York City Department of Parks, Doris C. Freedman Plaza, Central Park, New York

 ertical Presence — Grass Dune, University of Buffalo, Buffalo, V New York (through 1984)

 G enesis, Memorial Sloan-Kettering Cancer Center, New York, (through 1984)  Claudio Column, Deere Split Column, Lima Marker III, Mauro Column II, Triangle Sentinel I, First Interstate Center, Seattle, Washington (through 1984) 1985  Maia Toltec, Corcoran Gallery of Art, Washington, DC Group installation, Top Gallant Farm, Pawling, New York

J anus Agri Altar, Iowa State University, Ames, Iowa (through 1986)

G romech Glen, Laumeier International Sculpture Park, St. Louis, Missouri (through 1990)

1986  Sol y Ombra Park, Barcelona, Spain 1987

 oman Ritual, Normanno Wedge, Basalt Ritual, Koll Center, R Irvine, California (through 1988)

1988  T he Bedford Project at Ardenwood, Bedford Properties, Fremont, California 1989

Spazio Teatro, Villa Cella, Pistoia, Italy (through 1990)

1990 JMB Urban Development Company, Los Angeles, California

 ernana Altar II, National Museum of American T Art, Smithsonian

Institution, Washington, DC (through 1991)

 omage to Chaos, Lonny Ganz and Associates, Marina Del H Rey, California (through 1991)

1991  Normanno Wedge I, Detroit Institute of Arts, Detroit, Michigan Mural, Urban Land Institute, Washington, DC 1992

Split Ritual, United States National Arboretum, Friendship Garden, Washington, DC

 astra a tre pannelli, Société des Amis du National d’Art L Moderne, Centre Georges Pompidou, Paris, France

 G otanno Community Park, Neo-Hodos, Adachi-ku Machizukuri Corporation, Tokyo, Japan


Triad Ritual, University of Michigan, Ann Arbor, Michigan

2008  Ascensione, San Pietro Church, Assisi, Italy

Cleopatra’s Wedge, Public Art Fund, Battery Park City Authority, New York, New York

 Waccabuc Amphitheater, private commission, Waccabuc, New York

Palingenesis, Credit-Suisse, Zurich, Switzerland (through 1994)

Calgary Sentinels and Hawk Hill, Ralph Klein Legacy Park, Calgary, Canada (through 2010)

 Manhattan Sentinels, The Garden at 26 Federal Plaza, General Services Administration, New York, (through 1996) 1994

Jerusalem Ritual, Jerusalem Foundation, Jerusalem, Israel


 he Todi Columns: Senatoria Column, Traiana Column, Martius T Column, Aventinus Column, Venice, Italy

S entinels of Justice, General Services Administration, Charles Evans Whittaker U.S. Courthouse, Kansas City, Missouri

K itakyushi Polygenesis, Kitakyusha-city, Japan

1996  Split Ritual II, Grounds for Sculpture, Mercerville, New Jersey 1997

Spazio Teatro Celle, Fattoria di Celle, Santomato di Pistoia, Italy

1999  G reat Ascension, Johns Hopkins Hospital, Baltimore, Maryland (through 2001)

2009  Triple C, private commission, San Anselmo, California  Ockham’s Wedge, Lawrence Technological University, Southfield, Michigan

 uovoTwist, Brookfield Properties Ltd. and BCIMC Realty N Corporation, Bankers Court Building, Calgary, Canada

 Galileo’s Wedge, Meijer Gardens and Sculpture Park, Grand Rapids, Michigan 2010  Nuovo Twist, Memorial Sloan-Kettering Cancer Center, New York,  Cyprus Nuovo Twist, private commission, Nicosia, Cyprus Private commission, Cantina Lungarotti, Torgiano, Italy

2001  Sacramento Stele, California Environmental Protection Agency, Sacramento, California

2011 Spazio Thetis, Arsenale Novissimo Venezia Fermata Bacini, Venice, Italy


 Broken Circle, Parco delle Sculture di Brufa, Torgiano, Italy

Departure: For My Grandmother, Europos Parks, Vilnius, Lithuania

 P tolemy’s Wedge, Minneapolis Public Library, Minneapolis, Minnesota (through 2006)

2013-14 Ongoing project to build a Chapel of the Seasons for the Municipality of Todi, Italy


Horizontal Wedge, City of New York Parks and Recreation, Park Avenue Malls, New York

Commission for a major amphitheatre in L’Aquila, Abruzzo, Italy

L ongo Monolith, Sergio Longo Collection, Cassino, Italy

(L’Aquila was partially destroyed by a major earthquake in 2009)

2006  D enver Monoliths, Denver Art Museum, Denver, Colorado

 S E L E C T E D R E C E N T C ATA L O G U E S & M O N O G R A P H S 1986

S culpture and Works in Relief. San Francisco: John Berggruen Gallery. Exhibition catalogue

Fogg Museum, Harvard University, Cambridge, Massachusetts Frederik Meijer Gardens and Sculpture Park, Grand Rapids, Michigan Galleria Civica d’Arte Moderna e Contemporanea, Turin, Italy

1987 John E. Evans, The First Decade. New Smyrna Beach: Atlantic Center for the Arts

Galleria d’Arte Moderna, Florence, Italy

1989 Judith Hoos Fox, Beverly Pepper: An Autobiography in Form. Boston: List Visual Arts Center, Massachusetts Institute of Technology. Exhibition catalogue, March 3 – July 2, 1989

Georgia Museum of Art, Athens, Georgia

1990 Monroe Denton, No Man’s Land. New York: Socrates Sculpture Park, April 8, 1990 - March 8, 1991 1994

 ontemporary Art Collection. Madrid: United States C Embassy. (Pamphlet)

Diane Kelder, Beverly Pepper. New York: WCA Honor Awards catalogue. Catalogue essay Leah Sloshberg. Grounds for Sculpture. Trenton: New Jersey State Museum. Spring/Summer Exhibition catalogue

Galleria Nazionale d’Arte Moderna, Rome, Italy Hirschorn Museum and Sculpture Garden, Washington, DC Hokkaido Museum of Modern Art, Sapporo, Japan Hood Museum of Art, Dartmouth College, Hanover, New Hampshire Indianapolis Museum of Art, Indianapolis, Indiana Istituto Italiano di Cultura, Stockholm, Sweden Iris and B. Gerald Cantor Center for Visual Arts at Stanford University, Stanford, California Jerusalem Foundation, Jerusalem, Israel

1995 Environmental Sculpture. Seoul: Kukje Gallery

Laumeier Sculpture Park, St. Louis, Missouri

2003 Beverly Pepper, Markers 1980-2002. New York: Marlborough Gallery, Inc.

Memorial Art Gallery of the University of Rochester, Rochester, New York

2004 Beverly Pepper: Una poètica de l’espai. Alicante: Caja de Ahorros del Mediterràneo. Exhibition catalogue, September 23 – November 15, 2004

Milwaukee Art Museum, Milwaukee, Wisconsin

2008 Beverly Pepper: Explorations in Stone. New York: Marlborough Gallery, Inc.

Museu d’Arte Contemporari de Barcelona, Barcelona, Spain

2010 Beverly Pepper: Metamorphoses, New York: Marlborough Gallery, Inc. 2012

 everly Pepper: Palengenesis: 1962-2012, New York: B Marlborough Gallery, Inc.

 everly Pepper: Curvae In Curvae, New York: Marlborough B Gallery, Inc.

Robert Hobbs, Monumenta, Skira Editore, Turin, Italy. Beverly Pepper’s Sculpture: Time as Space, A Dialogue with Henri Bergson, André Malraux and Walter Benjamin


Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France Museum of Contemporary Art, Chicago, Illinois Museum of Contemporary Art, University of North Florida, Jacksonville, Florida Neo-hodos, Adachi-ku Machizukuri, Tokyo, Japan Parkersburg Art Museum, Parkersburg, West Virginia Power Institute of Fine Art, University of Sydney, Sydney, Australia South Dakota Art Museum, South Dakota State University, Brookings, South Dakota The Cummer Museum of Art and Gardens, Jacksonville, Florida

Ajuntament de Barcelona, Barcelona, Spain

The Doris and Donald Fisher Collection, San Francisco Museum of Modern Art,

Albertina, Vienna, Austria

San Francisco, California

Albright-Knox Art Gallery, Buffalo, New York Art Gallery of Ontario, Toronto, Canada

The Fields Sculpture Park, Omi International Arts Center, Ghent, New York

Birmingham Museum of Art, Birmingham, Alabama

The Figge Art Museum, Davenport, Iowa

Boston Museum of Fine Arts, Boston, Massachusetts

The Jewish Museum, New York

Brooklyn Museum, New York

The Metropolitan Museum of Art, New York

Contemporary Art Collection, Embassy of the United States, Madrid, Spain

The Sondra and Marvin Smalley Family Sculpture Garden at American Jewish University, Los Angeles, California The Van Every/Smith Galleries, Davidson College, Davidson, North Carolina

Corcoran Gallery of Art, Washington, DC Dallas Museum of Art, Dallas, Texas deCordova Sculpture Park and Museum, Lincoln, Massachusetts Denver Art Museum, Denver, Colorado Detroit Institute of Arts, Detroit, Michigan Everson Museum of Art, Syracuse, New York Fattoria di Celle, Santomato di Pistoia, Italy

United States National Arboretum, Washington, DC Walker Art Center, Minneapolis, Minnesota Weizmann Institute of Science, Rehovot, Israel Western Gallery, Western Washington University, Bellingham, Washington Whitney Museum of American Art, New York

FUTURE PROJECT – TODI CHAPEL The Todi Chapel, referred to by the artist as Cappella delle Stagioni (The Chapel of the Seasons) is made in concrete, marble, stone and has a glass roof. The concrete walls are covered in Virginia creepers, changing colours for each season. The floors are made of large mosaics of geometrical black and white patterns. The mosaic walls represent the Stations of the Cross, and the altar will be made out of a century-old living olive tree. 12 columns, which Beverly refers to as sculptures, hold up the glass roof which gives natural light for the altar and makes the inside of the Chapel visible from the town centre just above it. A large stone staircase slowly leads up to the chapel, revealing the structure as one ascends, and the Ten Commandments are carved in the steps. The project was presented to the public on in March 28 2014 and is sponsored by the Town of Todi, the University of Perugia, the Academy of Fine Arts of Perugia and the Foundation for Perugia-Assisi as 2019 European Capitol of Culture.

M O N U M E N TA L SCULPTURES Available for sale. Not in exhibition.

Sulla Senior 498 x 550 x 232 cm Edition of 3 Photo-montage of the sculpture outside the Seagram Building, Park Avenue, New York

Drusilla Senior 596 x 549 x 267 cm Edition of 3




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Marlborough Contemporary 6 Albemarle Street London, W1S 4BY Telephone: +44-(0)20-7629 5161 Telefax: +44-(0)20-7629 6338 info@ NEW YORK Marlborough Gallery Inc. 40 West 57th Street New York, N.Y. 10019 Telephone: +1-212-541 4900 Telefax: +1-212-541 4948 mny@ Marlborough Chelsea 545 West 25th Street New York, N.Y. 10001 Telephone: +1-212-463 8634 Telefax: +1-212-463 9658 chelsea@ Marlborough Broome Street 331 Broome St. New York, N.Y. 10002 Telephone: +1-212-219-8926 Telefax: +1-212-219-8965 broomestreet@

BARCELONA Marlborough Barcelona Enric Granados, 68 08008 Barcelona. Telephone: +34-93-467 4454 Telefax: +34-93-467 4451 infobarcelona@ MONTE CARLO Marlborough Monaco 4 Quai Antoine ler MC 98000 Monaco Telephone: +377-9770 2550 Telefax: +377-9770 2559 art@ SANTIAGO Galería A.M.S. Marlborough Avenida Nueva Costanera 3723 Vitacura, Santiago, Chile Telephone: +56-2-799 3180 Telefax: +56-2-799 3181 info@

Design: Shine Design, London Print: Impress Print Services Ltd. Photography: George Tatge, Firenze ISBN 978-1-909707-10-8 Catalogue no. 637 Š 2014 Marlborough

Beverly Pepper: New Works  

Online catalogue showcasing Beverly Pepper's sculptures for her upcoming show at Marlborough Fine Art, London.

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