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them. “She seemed very down-toearth,” recalls Moore, who wasn’t sure what to expect from a highprofile artist. “She was just so easy to talk to from the get-go.” Soon the talk turned to the exhibit. Schön led the students on a grand tour of her home and studio, pointing out pieces—a bust of her father, a horse’s head—that she liked. “At first I thought I would have a normal show of all my work I’ve had a billion times,” Schön says. Then one night in bed, the theme metamorphosis played over in her mind. “I thought, ‘You know, I have a lot of stuff here in my cellar and attic’—I didn’t even know [what I had]. So I got up the next morning, started looking. This is a much more interesting thing.’” Her epiphany gave the students direction. “There were lots of surprises,” says Schön. “It was sort of like a treasure hunt.” With each trip to Schön’s house (there were about four), the students deliberated back and forth about what to include and why. “She definitely was not forcing any piece on us,” says Cutter. “We picked out pieces that Nancy wouldn’t necessarily pick out.” One of those was “Balancing Boy” (1974 bronze)—a small figure of a boy catching his balance with outstretched arms. The right hand is missing.
“She didn’t think anyone would want to see it because it was damaged,” says Cutter. But the students liked it because it shows Schön, a mother and grandmother, as a proud mom because the statue is modeled after her son when he was a young gymnast. Edney arranged for professional art movers to bring the pieces to the gallery. Cutter, Campbell, and Moore deliberated again over placement. “We had to talk a lot of things out,” says Campbell. At one point Schön expressed dislike for a couple of pairings; the students conferred and made changes to
the exhibit. “It wasn’t tense,” says Campbell. “It was the opposite.” Eventually they grouped like objects together: the interpretive or metaphoric pieces at the beginning; people, including busts and figures, next; then the animals. “Raccoon” (1995 bronze) is the one piece you’re allowed to touch, a hallmark of Schön’s public art. Two pieces done in 1971— “Hands” (bronze) and “Crying Mask” (painted bronze)—mark “a dark period” in her life. “It was hard,” she says of that time. “We didn’t have a lot of money. We had four kids, and we were moving all over the place.”
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