Tom Doyle by Sundaram Tagore Gallery

TOM DOYLE

g a lle r y m i s s i o n

Established in 2000, Sundaram Tagore Gallery is devoted to examining the exchange of ideas between Western and non-Western cultures. We focus on developing exhibitions and hosting not-for-profit events that encourage spiritual, social and aesthetic dialogues. In a world where communication is instant and cultures are colliding and melding as never before, our goal is to provide venues for art that transcend boundaries of all sorts. With alliances across the globe, our interest in cross-cultural exchange extends beyond the visual arts into many other disciplines, including poetry, literature, performance art, film and music.

TOM DOYLE by Dore Ashton

he year before he died, Rainer Maria Rilke wrote to his wife Clara of a “ruthless encroachment that has grieved and upset me.” A beautiful old poplar tree in front of his house had been felled. “The landscape you can imagine, has been much changed—that strong vertical drew it upward and gave it lift and lineage.” Lift and lineage: I suspect that both aspects are present in Tom Doyle’s imagination as he queries the nature of each member of his tripartite sculptures. “I know the weights of what I work with,” he says, and I take this straightforward statement to yet another level. Weight always insists on our reflexive sense of gravity. If Doyle juxtaposes a limb of oaken solidity with one of lighter consistency, such as that of the sassafras tree, he calls upon our innate sense of gravity and at the same time suggests Left: Sculptures on the artist’s property, Roxbury, Connecticut, 2010

the lift known to the imagination above all. In the event that we neglect the poetic dimension, the artist calls us to order with his suggestive titles. I think, for instance, of his allegiance to his Irish heritage—a late development, I suspect—and his oblique allusions to the great Irish poets and writers, as when he names a sculpture of 1986 Coole Park. Not once, but twice, William Butler Yeats had brought us there, where his turning to what he imagined to be his Celtic heritage took on heft. Yeats and Joyce are companions to Doyle, but then, so are dozens of other poets and other places that he subsumes in three worked pieces of timber. Why three? First Doyle gives the practical answer: “three points will stand anywhere.” Then he reminds us that three is a magical number, referring us to the Christian Trinity, and to even more

ancient sources that we can be sure he has investigated in his rich library. (He does not neglect his American sources, as for instance the composer Charles Ives, who in turn insisted on his Americanness when he wrote a piano sonata with four movements titled 1. Emerson 2. Hawthorne 3. The Alcotts and 4. Thoreau.) In his own telling, Doyle was a typical smalltown American boy from northwestern Ohio. While still in grade school he worked in a blacksmith’s shop run by a man who, “if he needed a tool, he made it.” In high school he seemed to have majored in football. It was his football coach, it appears, who noticed his facility for carving wood and gave him a book on mythology that had “wonderful illustrations of Greek and Roman sculptures.” Elsewhere he attributes his interest in mythology to his

Swedens Coves, 1966, wood, steel, fiberglass, 5'6" h x 12' w x 12' l

mother’s tutelage. In 1946, “in order to get out of town” Doyle joined the army, and was sent to Germany, where he also played football. Later, on the GI Bill, Doyle went to Miami University in Ohio to play football. Eventually he went to Ohio State University where he met and studied with two young instructors, Roy Lichtenstein and Stanley Twardowicz. So much for Doyle’s telling of his early encounters with professional artists. He apparently did not know much about the burgeoning interest in wood carving in New York where, by 1956, there were already two notable sculptors finding fresh ways to install sculptures in wood, Louise Bourgeois and Louise Nevelson. In their quasi-narrative

Winchester, 1979, pine, 8'6" h x 28' w x 26' l

approach, both sculptors defied previous conventions and extended the lessons offered by Giacometti, whose distinctive Palace at Four AM had been on view at The Museum of Modern Art since 1936. Doyle, who had made his way to New York by 1956, was engaged with sculpture and influenced by painting which, by the time he reached New York City had been celebrated so mightily, and even given titles such as Abstract Expressionism, or The New York School. No newcomer could have failed to notice painting’s hegemony. Doyle was no exception. The painter who most attracted him was Franz Kline whose background was not so different from his own, and whose wit was already legendary.

If Doyle had some claim to the famous Irish gift of gab, Kline was the master. Everyone who ever knew him always spoke of his fabulous—literally—disquisitions and Doyle is no exception. In the course of his late-night talking, Kline seemed to Doyle very Joycean. That is, Kline epitomized the idea of the stream of consciousness. Moreover, Kline’s work was highly congenial to Doyle who saw in its vertiginous sweeps over the canvas an affinity for bridges and natural engineering that has always attracted Doyle. By the time Doyle was well ensconced in the New York art world the idea of getting sculpture off the plinth had been long assimilated. He and other sculptors, most

Kittatinny, 1984, pine, 9'8" h x 16' w x 21' l

notably Mark di Suvero, and to some degree Gabriel Kohn, quite naturally avoided any suggestion of a fixed stand, and also quite naturally made use of any material that came to hand, including timber. It can be assumed that incidents in a personal biography can be significant. In Doyle’s history is a marriage to Eva Hesse with whom he went to Germany in 1964-65. It was difficult for Hesse, a Jewish refugee from Nazi Germany, to return to Germany, and undoubtedly Doyle had to consider historical conditions from a greatly modified point of view. Hesse’s febrile imagination led her to audacious experiments with new materials including glass fiber and plastics, and

Coole Park, 1986, oak, 5'6" h x 6'2" w x 10' l

Doyle himself worked experimentally with laminated wood and steel. The distancing from the New York milieu proved beneficial for Doyle as he had hoped. From the farrago of intellectual and emotional sources he had accumulated, he began his winnowing process. By the late 1960s, which were wracked with both political and artistic upheavals, Doyle had begun to carve out his personal destiny, which was to honor the fecundity of trees. For most sculptors at the time, the problem of mass had long since been bypassed. The history of sculpture vaults forward and Doyle begins to know that what he craves is equilibrium. Once, long before, he had thought of

making places, as did the creators of Stonehenge. Now he sought a kind of truth (as they used to talk about “truth to materials”) or, as I see it, a metaphor for existence. His truth was akin to that of William Carlos Williams who called one of his books In the American Grain. There Williams tells us: “A most confusing thing in American History, as we read it, is the nearly universal lack of scale.” Doyle understood in his bones that the nature of scale (not puzzling out the meaning of the Golden Mean) was at the very heart of his undertaking. With those three limbs of the living tree he would take the measure of this world.

How the elements of sculpture hit the ground has always been of signal importance to sculptors and Doyle has always been meticulous in gauging how much weight his tapering elements can bear. As he has often told interviewers, it was Calder and not David Smith who inspired him among the forebears. His obvious love of transparency gave him the desire to create volumes that were, in effect, etched in the wind. When he arrived finally at the simplicity of the three elements, he was already beyond the need for a fulcrum, or, if a fulcrum exists in his recent work, it is certainly invisible. The different weights of Doyle’s elements—cherry: light, oak: heavy, sassafras: soft—can only be sensed by the viewer. And yet, this weighing out of material and of space is at the heart of his enterprise. With an elaborate array of hand tools (the adze and the axe are never far from his hand) Doyle resurrects the ideals of sculptors throughout history who sought to lift matter into space and to contest the will of gravity. But these are not intellectual concerns finally. Rather they rise quite naturally. Or, as Paul Klee remarked in 1929, “we construct and construct, yet intuition still had its uses.”

Limbs hewn from living matter regardless of the glue, the pegs, the invisible props that guide the sculptor’s hand, cannot fail to bestir intuitive responses. It is Doyle’s special grace that in a mere three elements he can inspire intimate analogies; of the earth, of course, but above all, of the imagination.

Dore Ashton is a noted author, art critic, and professor of art history at The Cooper Union for the Advancement of Science and Art, as well as a lecturer at Yale University. An awardwinning writer, Ashton has published more than thirty books on the arts, including The New York School: A Cultural Reckoning, About Rothko, and Noguchi East and West. She has curated many international art exhibitions and appeared in several documentaries. Ashton lives in New York City.

C O B H 2009 bronze f rom wo o d, 4'4"h x 7'w x 11'6"l

IR O N RAIN 1994 o a k, 6'4"h x 6'4"w x 7'4"l

B E L T AIN 2003 cher r y, o a k, 6'h x 3'7"w x 6'1"l 15

S E N E C A 1994 o a k, 5'9"h x 6'w x 8'10"l 16

SA M H IN 1996 cher r y, o a k, 8'h x 9'6"w x 14'9"l 17

C O NN E M ARA 1962 bluestone, 29"h x 33"w x 44"l 19

B A L LY M A C O D A 2008 bronze f rom wo o d, 8.5"h x 12"w x 12"l

B A L L INS K E L L IG 2002 o a k, 19"h x 24"w x 33"l

INNIS H K E E N 2003 cher r y, o a k, s ass af ras, 6'4"h x 8'5"w x 10'10"l

P H O E NI X 2011 bronze f rom wo o d, 4'h x 7'w x 10'l

AG H A D A 2004 o a k, 6'2"h x 12'w x 16'l 27

B IG C R U C K 2009 bronze f rom wo o d, 10'9"h x 4'6"w x 8'l

M A C R O O M 2003 cher r y, o a k, s ass af ras, 4'9"h x 7'9"w x 8'3"l 31

B A L LY M O N D 2008 bronze f rom wo o d, 6"h x 15"w x 12"l 32

B A L LY C L AR E 2007 bronze f rom wo o d, 9"h x 9"w x 12"l 33

GA L L AR U S 1986 o a k, 6'4"h x 5'1"w x 8'l

Artist's studio, Roxbury, Connecticut, 2010

C U RRI C U L U M V I T A E BORN 1928 Jerry City, Ohio EDUCATION 1952–1953 MFA, Ohio State University, Columbus, Ohio 1950–1952 BFA, Ohio State University, Columbus, Ohio 1948–1950 Miami University, Oxford, Ohio TEACHING 1970–1992 Queens College, CUNY, Queens, New York, tenured professor, retired 1969 School of Visual Arts, New York, New York 1961–1968 The New School for Social Research, New York, New York 1960–1968 Brooklyn Museum Art School, Brooklyn, New York AWARDS, FELLOWSHIPS, GRANTS 1997 National Academy of Design, elected member 1996 Ohioana Career Award 1994 American Academy of Arts and Letters, Jimmy Ernst Award in art for lifetime achievement 1990–1991 National Endowment for the Arts Fellowship Award in sculpture 1989 City University Research Award 1982 John Simon Guggenheim Fellowship Award in sculpture

SOLO EXHIBITIONS 2011 Sundaram Tagore Gallery, New York, New York 2009 Lesley Heller Workspace, New York, New York 2008 La Motta Fine Art, Hartford, Connecticut 2006 Shirley-Jones Gallery, Yellow Springs, Ohio 2005 New Arts Gallery, Litchfield, Connecticut 2003 New Arts Gallery, Litchfield, Connecticut 2001 Paesaggio Gallery (with Sol LeWitt), West Hartford, Connecticut Tom Doyle: Relief Drawings, New Arts Program, Inc., Kutztown, Pennsylvania Nicolaysen Art Museum and Discovery Center, Casper, Wyoming 1999 Kouros Gallery, New York, New York 1996 Mattatuck Museum, Waterbury, Connecticut The Station at Paris-New York-Kent Gallery, Kent, Connecticut 1995 LongHouse Reserve, East Hampton, New York 1994 Quietude Garden Gallery, East Brunswick, New Jersey Bill Bace Gallery, New York, New York 1993 Bill Bace Gallery, New York, New York 1991 Bill Bace Gallery, New York, New York 1988 SculptureCenter, New York, New York

1982 Miami Dade Community College, Miami, Florida Dag Hammarskjold Plaza Sculpture Garden, New York, New York Max Hutchinson Gallery, New York, New York 1978 Sculpture Now, Inc., New York, New York 1976 55 Mercer Street Gallery, New York, New York The Picker Art Gallery, Colgate University, Hamilton, New York 55 Mercer Street Gallery, New York, New York 1974 55 Mercer Street Gallery, New York, New York 55 Mercer Street Gallery, New York, New York 1972 55 Mercer Street Gallery, New York, New York 1971 Brata Gallery, New York, New York 1967 Dwan Gallery, New York, New York 1966 Dwan Gallery, New York, New York 1962 Allan Stone Gallery, New York, New York 1961 Allan Stone Gallery, New York, New York 1956 The Ohio State University, Columbus Ohio

GROUP EXHIBITIONS 2010 Material Exploration, Sundaram Tagore Gallery, New York, New York 2009 Sculptors Draw, Lesley Heller Gallery, New York, New York Art Squared, Washington Art Association, Washington Depot, Connecticut 2008 A Memorial for Jaques (with 100 artists), Bachelier Cardonsky Gallery, Kent, Connecticut Color Me Real; An Exhibition Dedicated to Sol LeWitt, Windsor Art Center, Windsor, Connecticut Benefit for The Brooklyn Rail, Pace Gallery, New York, New York LeWitt x 2, Sol LeWitt: Selections from the LeWitt Collection, Austin Museum of Art, Texas Invitational Salon Exhibition of Small Works, New Arts Program, Kutztown, Pennsylvania The Sculpture Mile, The Hollycroft Foundation, Madison, Connecticut 2007 Madison Museum of Contemporary Art, Madison, Wisconsin Miami Art Museum, Miami, Florida LeWitt x 2, Sol LeWitt: Selections from the LeWitt Collection, Weatherspoon Art Museum, Greensboro, North Carolina 55 and Growing, Washington Art Association, Gunn Museum, Washington, Connecticut Invitational Salon Exhibition of Small Works, New Arts Program, Kutztown, Pennsylvania The Sculpture Mile, The Hollycroft Foundation, Madison, Connecticut 2006 45 From Litchfield County, Bachelier Cardonsky Gallery, Kent, Connecticut Day for Night—Peace Tower, Whitney Biennial 2006, New York, New York Exhibition from the Permanent Collection, National Academy Museum, New York, New York Small Works/Big Ideas, New Arts Gallery, Litchfield, Connecticut

Art Squared, Washington Art Association, Washington Depot, Connecticut Invitational Salon Exhibition of Small Works, New Arts Program, Kutztown, Pennsylvania 10th Anniversary Exhibition, New Arts Gallery, Litchfield, Connecticut The Sculpture Mile, The Hollycroft Foundation, Madison, Connecticut 2005 Disegno 180th Annual Exhibition, National Academy Museum, New York, New York Optical Simulations (American Abstract Artists), Yellow Bird Gallery, Newburgh, New York Tabletop, Kouros Gallery, New York, New York Artists at Work (Curator Judith Petrovich), Paris-New York-Kent Gallery, Kent, Connecticut The Sculpture Mile, The Hollycroft Foundation, Madison, Connecticut 2004 Drawing Today, New Arts Gallery, Litchfield, Connecticut Art Happening, Hollycroft Foundation, Madison, Connecticut Contemporary Sculpture at Chesterwood, National Trust for Historic Preservation, Chesterwood Museum, Stockbridge, Massachusetts 2003 Art Party for John Kerry, 22 Haviland Street Gallery, New Haven, Connecticut Invitational Salon Exhibition of Small Works, New Arts Program, Kutztown, Pennsylvania 10 Years at 100 Pearl, 100 Pearl Street Gallery, Hartford, Connecticut Selections from the LeWitt Collection, New Britain Museum of American Art, New Britain, Connecticut 2002 Contemporary Sculpture at Chesterwood 2002, Chesterwood Museum, Stockbridge, Massachusetts 50th Anniversary Exhibition, Washington Art Association, Washington Depot, Connecticut Invitational Salon Exhibition of Small Works, New Arts Program, Kutztown, Pennsylvania 2001 Pleasure Culture Sculpture, Paris-New York-Kent Gallery, Kent, Connecticut 176th Annual Exhibition, National Academy Museum, New York, New York Biennial Exhibition of Public Art, Neuberger Museum of Art, Purchase, New York The Madison Mile (continuing through 2003), The Hollycroft Foundation, Ivoryton, Connecticut Contemporary Sculpture at Chesterwood 2001, Chesterwood Museum, Stockbridge, Massachusetts Stephen Antonakos and Colleagues, Rose Art Museum, Waltham, Massachusetts 2000 Benefit Auction; In the Landscape, New York Studio School, New York, New York Six Great Families, Paris-New York-Kent Gallery, Kent, Connecticut Washington, Pride of Place, The Gunn Historical Museum, Washington, Connecticut 1999 A Holiday Bazaar, Kouros Gallery, New York, New York 26 Sculptors in their Environments, Rockland Center For the Arts, West Nyack, New York Size Matters, Gale Gates et al., Brooklyn, New York Outdoor Sculpture Show, Elena Zang Gallery, Shady, New York Small SCULPTURE, Paesaggio Gallery, West Hartford, Connecticut The 15th Anniversary, Paris-New York-Kent Gallery, Kent, Connecticut 1998 Outdoor Sculpture Show, Elena Zang Gallery, Shady, New York Stages of Creation: Public Sculpture by National Academicians, National Academy Museum, New York, New York Sculptors and Their Environments, Pratt Manhattan Gallery, New York, New York Our Tenth Anniversary, Bachelier Cardonsky Gallery, Kent, Connecticut Pratt Institute Sculpture Park, Pratt Institute, Brooklyn, New York 1997 Drawing From Life, Stark Gallery, New York, New York Outdoor Sculpture Show, Elena Zang Gallery, Shady, New York Kouros Sculpture Center, Ridgefield, Connecticut Sculpture Garden, Jaques Kaplan, Kent, Connecticut

The Moderns Revisited, Washington Art Association, Washington, Connecticut Art for Kids Sake (benefit/silent auction), Little Red School House, New York, New York Annual benefit/silent auction, New York Studio School, New York, New York 1996 University Galleries, Salisbury State University, Salisbury, Maryland A 30 Mile Circle, Bachelier Cardonsky Gallery, Kent, Connecticut The Artists of Fred W. McDarrah, Candice Perich Gallery, Ridgefield, Connecticut 50th Anniversary Exhibition, Essex Art Gallery, Essex, Connecticut Hollycroft International, The Hollycroft Foundation, Ivoryton, Connecticut Outdoor Sculpture Show, Elena Zang Gallery, Shady, New York Randall Tuttle Fine Arts, Woodbury, Connecticut Twenty Years of 20/20 Vision, The Mattatuck Museum, Waterbury, Connecticut Miniatures by Major Artists, Elena Zang Gallery, Shady, New York The Artist Mirrored: Self Portraits (benefit/silent auction) New York Studio School, New York, New York Art for Kids Sake (benefit/silent auction), Little Red School House, New York, New York 1995 Semaphore: Placing the Mark, Bill Bace Gallery, New York, New York Face to Face, Paris-New York-Kent Gallery, Kent, Connecticut Second Hollycroft Invitational Exhibition, The Hollycroft Foundation, Ivoryton, Connecticut Outdoor Sculpture Show, Elena Zang Gallery, Shady, New York 1994 Artists of the Gallery, Bill Bace Gallery, New York, New York American Academy Invitational Exhibition of Painting and Sculpture, American Academy of Arts and Letters, New York, New York Spring/Summer Exhibition and Fall/Winter Exhibition, Grounds for Sculpture, Hamilton, New Jersey Kouros Sculpture Center, Ridgefield, Connecticut Two-person exhibition, 100 Pearl Street Gallery, Hartford, Connecticut Los Angeles Art Fair, Los Angeles, California, with the Bill Bace Gallery, New York, New York 1993 Spring Benefit, SculptureCenter, New York, New York Three Sculptors, Washington Art Association, Washington Depot, Connecticut Kouros Sculpture Center, Ridgefield, Connecticut 1992 Largescale, Bill Bace Gallery, New York, New York Persistence of Abstraction, Ulrich Museum of Art at Wichita State University, Wichita, Kansas Kouros Sculpture Center, Ridgefield, Connecticut Artist Christmas Tree Ornament Benefit, Bill Bace Gallery, New York, New York 1991 The First Parrish Art Museum Design Biennial: Weathervanes, The Parrish Art Museum, Southampton, New York 1989 Portes Ouvertes, Fondation D’Art de la Napoule, La Napoule, France Idiomi Della Scultura Contemporanea 2, Sommacampagna, Italy 1988 Summer Sculpture Exhibition, Music Mountain, Falls Village, Connecticut Romanek Sculpture and Flower Garden, Chicago, Illinois Keystone at the Crossing, Indianapolis, Indiana 1987 American Abstract Artists: New Work, New Members, The City Gallery, New York, New York Material Sense, SculptureCenter, New York, New York In the Spirit of Wood, Kenkeleba Gallery, New York, New York 1986 Sculpture on the Green, Allentown Cedar Parkway, Allentown, Pennsylvania Artists Choose Artists, Socrates Sculpture Park, Long Island City, New York American Abstract Artists: 50th Anniversary Celebration, The Bronx Museum, Bronx, New York

1985 Gathering of the Avant-Garde, The Lower East Side 1948–1970, Kenkeleba Gallery, New York, New York CON=STRUCT=URES, Reading Public Museum, Reading, Pennsylvania Diversity—New York Artists, The University of Rhode Island, Kingston, Rhode Island Artists Toys and Ornaments, Vanderwoude Tananbaum Gallery, New York, New York 1984 Vanishing Points, Moderna Museet, Stockholm, Sweden The Ways of Wood, Sculpture Center, New York, New York, and Queens College, Queens, New York Artists Toys, Vanderwoude Tananbaum Gallery, New York, New York 1983 55 Mercer/12 Years, 55 Mercer Street Gallery, New York, New York Varieties of Sculptural Ideas, Max Hutchinson Gallery, New York, New York 1982 Mayor Byrne’s Mile of Sculpture, Navy Pier, Chicago, Illinois S/300 Sculpture Tricentennial, Philadelphia Art Alliance, Philadelphia, Pennsylvania Gallery Artists, Max Hutchinson Gallery, New York, New York Benefit for Franklin Furnace, Ronald Feldman Gallery, New York, New York 1981 Sculpture Invitational, Zabriskie Gallery, New York, New York Sculptors Working Drawings, Max Hutchinson Gallery, New York, New York 1980 Breaking In—First Precinct House, Creative Time, New York, New York Across the Nation, Fine Art for Federal Buildings 1972–1979, Hunter Museum of Art, Chattanooga, Tennessee and National Collection of Fine Arts, Smithsonian Institution, Washington D.C. Sites: Outdoor Sculpture at Pratt, Pratt Institute, Brooklyn, New York Nineteen at Twenty Six, Federal Plaza, New York, New York 1979 Gates and Fences, Thorpe Intermedia Gallery, Sparkill, New York The Artists View, Wave Hill, Bronx, New York Customs and Culture, U.S. Customs House, New York, New York 1978 OIA, Wards Island sculpture garden, New York, New York On the Roof and in the Gallery, Robert Freidus Gallery, New York, New York In the Event of Living Sculpture, O.K. Harris and Susan Caldwell galleries, New York, New York Museum of Drawers, Herbert Distel, Cooper Hewitt Museum, New York, New York Small Works, 55 Mercer Street Gallery, New York, New York Roy G. Biv Gallery, New York, New York Indoor–Outdoor Sculpture Show, PS1, The Institute for Art and Urban Resources Inc., Long Island City, New York 1977 Prepatory Notes and Thinking Drawings, 80 Washington Square East Galleries, New York, New York Maquettes for Large Sculpture, Monique Knowlton Gallery, New York, New York Museum of Drawers, Herbert Distel, The Israel Museum, Jeruselem, Israel Museum of Drawers, Herbert Distel, Stadtlische Kunsthalle Museum, Dusseldorf Germany Museum of Drawers, Herbert Distel, Museum, Schwäbisch Gmünd, Germany Wood, The Nassau County Museum of Art, Roslyn, New York Forms in Focus, Co-Op City, Bronx, New York Sculpture Yesterday/Today, Sculpture Now, Inc., New York, New York Wood Works and Other Works, Central Hall Gallery, Port Washington, New York 1976 Museum of Drawers, Herbert Distel, International Cultural Center, Antwerp Belgium Reviews and Other Works, Rachel bas-Cohain, A.I.R. Gallery, New York, New York Benefit, New York Studio School, New York, New York 1974–1976 Traveling Group Show, 55 Mercer Street Gallery, SUNY Plattsburgh, SUNY Oswego, SUNY Buffalo, SUNY Albany, SUNY New Paltz, and Olean Public Library, Olean, New York

1974 Business Commission for the Arts, Lake Placid School, Alfred, New York Painting and Sculpture Today, Taft Museum of Art, Cincinnati, Ohio Painting and Sculpture Today, The Indianapolis Museum of Art, Indianapolis, Indiana Encounter, benefit, Paula Cooper Gallery, New York, New York Benefit, The New York Studio School, New York, New York Huntingdon County Arts Festival, Huntingdon, Pennsylvania 1973 Faculty Exhibition, Queens College, Queens, New York 1972 Museum of Drawers, Herbert Distel, Documenta Art Exhibition, Kassel Germany 1971 Brata Gallery, New York, New York Package Project, Stephen Antonakos, John Weber Gallery, New York, New York 1970 55 Mercer Street Gallery, New York, New York O.K. Harris Gallery, New York, New York 1969 St. John’s University, New York, New York Between Object and Environment, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania Kunsthalle Düsseldorf, Düsseldorf, Germany 1968 Walker Art Museum, Minneapolis, Minnesota The Brooklyn Museum, Brooklyn, New York 1968 Whitney Museum of American Art, New York, New York American Sculpture of the Sixties, Philadelphia Museum of Art, Philadelphia, Pennsylvania 1967 American Sculpture of the Sixties, Los Angeles County Museum of Art, Los Angeles, California Gallery Artists, Dwan Gallery, New York, New York Whitney Annual, the Whitney Museum of American Art, New York, New York Primary Structures, the Jewish Museum, New York, New York 1966 Baden-Baden, Germany Kunstverein, Berlin, Germany 1965 World House, New York, New York Kunsthalle, Essen, Germany Kunsthalle, Berlin, Germany Kunsthalle Düsseldorf, Düsseldorf, Germany Baden-Baden, Germany 1964 Marcel Duchamp, Wassily Kandinsky, Kasimir Malewitsch, Josef Albers, Tom Doyle, Kunsthalle Bern, Bern, Switzerland 1963 Rose Art Gallery, Brandeis University, Waltham, Massachusetts Seattle Worlds Fair, Seattle, Washington Park Place Gallery, New York, New York Riverside Museum, New York, New York Peabody Museum, Nashville, Tennessee Two-person exhibition, Zabriskie Gallery, New York, New York Sculpture, Riverside Museum, New York, New York 1962 Carnegie International, Philadelphia, Pennsylvania 1961 Three Young Romantic Sculptors, Allen Art Gallery, Oberlin, Ohio 1960 New Forms—New Media I & II, Martha Jackson Gallery, New York, New York 1959 Cornell University, Ithaca, New York 1956 Two Young Romantic Sculptors, Art Institute of Zanesville, Zanesville, Ohio

PUBLIC INSTALLATIONS, COMMISSIONS 2006 New Britain Museum of American Art, New Britain, Connecticut 2002 Congregation Beth Shalom Rodfe Zedek, Chester, Connecticut 1997 Jean Widmark Memorial, Roxbury, Connecticut 1988 Queens College Science Building, Queens, New York 1988–1992 The Hillwood Art Museum at the C.W. Post Campus, Long Island University, Greenville, New York 1987 Allentown Cedar Parkway, Allentown, Pennsylvania 1985 Thelma Burdick Housing, Cooper Square Commission, New York, New York Reading Public Museum, Reading, Pennsylvania 1983 Art in Public Places, South Dakota State University, Brookings, South Dakota 1980 General Service Administration Commission; Federal Building and Courthouse, Fairbanks, Alaska 1979 Wright State University, Dayton Ohio City Beautiful Project, Dayton Ohio Ohio State University, Columbus Ohio (reinstalled at Wright State, 1980) 1977–1986 Nassau County Museum of Art, Roslyn, New York 1976 The Gallery Association of New York State Inc., Hamilton, New York 1976–1980 Manhattanville College, Purchase, New York 1973 City Sculpture Competition, Isham Park, New York, New York CATALOG ESSAYS 2001 James F. Carroll, “A Conversation With Tom Doyle,” video and catalog Eleanor Heartney, “Public Art and Public Questions,” Neuberger Museum of Art, Purchase, New York Bill Bendig, “Madison Mile,” catalog of exhibition, The Hollycroft Foundation, Madison, Connecticut J. Bowyer Bell, “Objects of Desire,” Nicolaysen Art Museum, Casper, Wyoming 1999 Carter Ratcliff, “The Spatial Gesture,” Kouros Gallery, New York, New York 1996 Naomi Spector, “Carving into Space,” The Mattatuck Museum, Waterbury, Connecticut 1995 Dominique Nahas, “Semaphore: Placing the Mark, Bill Bace’s Salon des Refuses,” Art Inititaves, New York, New York 1994 Leah P. Schlosberg, “Spring/Summer Exhibition,” Grounds for Sculpture, Hamilton, New Jersey 1993 Isabelle Maheu Wiennot, “Artistes a La Napoule,” La Napoule Art Foundation, La Napoule, France 1991 Beth DeWoody, Jane Wenner, Sheila Wolfe, “The First Parrish Art Museum Design Biennial: Weathervanes,” Parrish Art Museum, Southampton, New York 1989 Carol Squires, “Proosals,” Idiomi Della Scultura Contemporanea 2, exhibition catalog, Sommacampagna Verona, Italy 1988 Myra Yellin Goldfarb, “Stepping Stones into the Past; A History of Allentown’s Outdoor Public Sculpture,” Allentown, Pennsylvania “Artists Choose Artists,” Socrates Sculpture Park, Long Island City, New York 1987 Corinne Jennings, “In the Spirit of Wood,” Kenekeleba Gallery, New York, New York 1986 “American Abstract Artists 1936–1986,” Bronx Museum of the Arts, Bronx, New York and Hillwood Art Gallery, C.W. Post Campus, Long Island University, Greenville, New York 1985 Aimee Price, “Diversity–New York Artists,” University of Rhode Island Fred B. Adelson, “CON=STRUCT=URES,” Reading Public Museum, Reading, Pennsylvania April Kingsley, “The Ways of Wood,” Queens College Campus, Queens, New York 1984 Carter Ratcliff, “Vanishing Points,” Moderna Muset, Stockholm, Sweden 1983 Gary J. Schwindler, “Trisolini Print Project,” Trisolini Gallery of Ohio State University, Athens, Ohio

1982 “American Drawings, Watercolors, Pastels and Collages,” Collection of the Corcoran Gallery of Art, Washington D.C. S/300 Sculpture Tricentennial,” Philadelphia Art Alliance, Philadelphia, Pennsylvania 1980 “Quintessence,” City Beautiful Council and Wright State University, Dayton, Ohio Jim Jordan, “Triad,” Wright State University, Dayton, Ohio Donald Thalacker, “Across the Nation; Fine Arts for Federal Buildings 1972–1979” 1979 Kirk Varnedoe, “The Artists View,” Wave Hill, Bronx, New York Judd Tully, “The Artist’s View, Looking at Sculpture, a Guide for Young People,” Wave Hill, Bronx, New York 1977 “Wood,” The Nassau County Museum, Roslyn, New York Carol Squieres, “Sculpture Yesterday/Today,” Sculpture Now, Inc., New York, New York Herbert Distel, “Museum of Drawers,” Kunsthalle, Zurich, Switzerland 1974 Regina A. Trapp, “Tom Doyle: Awareness of Space,” Master’s Thesis, Department of Fine Arts, New York University, New York, New York “55 Mercer,” The Gallery Association of New York State, Inc., Hamilton, New York “Painting and Sculpture Today,” Indianapolis Museum of Art, Indianapolis, Indiana, and Taft Museum of Art, Cincinnati, Ohio 1973 “Tot-Lot Art,” Owens Corning Fiberglass Company, Kearny, New Jersey 1969 Stephen S. Prokopoff, “Between Object and Environment,” Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania 1968 Gregory Battcock, “Primary Structures,” The Whitney Museum of American Art, New York, New York 1967 Irving Sandler, “Gesture and Non–Gesture in Recent Sculpture,” and “American Sculpture of the Sixties,” Los Angeles County Museum, Los Angeles, California, and Philadelphia Museum, Philadelphia, Pennsylvania 1966 “Plastik in Unserer Zeit,” Erlangen Orangerie, Erlangen, Germany 1965 Lucy R. Lippard, “Tom Doyle,” Kunsthalle Düsseldorf, Düsseldorf, Germany 1964 H.S. “Marcel Duchamp, Wassily Kandinsky, Kadimir Malewitsch, Joseph Albers, Tom Doyle,” Kunsthalle Bern, Switzerland 1956 Maple and Adair, “Two Young Romantic Sculptors,” Art Institute of Zanesville, Zanesville, Ohio

ARTICLES AND REVIEWS 2008 Phong Bui, “In Conversation: Tom Doyle with Phong Bui,” The Brooklyn Rail, May Jovana Stokic, “Tom Doyle,” Bowery Artists Tribute, New Museum, August 2007 Robert C. Morgan, “Allegories of Time, Space, and Nature,” Sculpture, September 2006 Jud Yalkut, “Tom Doyle: Shirley-Jones Gallery,” Sculpture, December Kirsten Swenson, “Machines and Marriage: Eva Hesse and Tom Doyle in Germany 1964–65,” Art in America, June/July Mark di Suvero, “The Peace Tower,” Artforum, March 2003 Tracy O’Shaughnessy, Republican-American, July 6 2002 William Zimmer, “For a 50th Celebration, an Intimate Guest List,” The New York Times, August 11 Dominick D. Lombardi, “Purchase NY 2001 Biennial Exhibition of Public Art,” Sculpture, May 2001 Ron Schira, “Discerning the MONUMENTAL in the small,” Reading Eagle, December 9 William Zimmer, “A Smaller, More Accessible Biennial,” The New York Times, June 24 Gary Gunderson, “Tom Doyle, Sculpteur D’espaces,” Jardins Passion, January/February 2000 William Zimmer, “Now Playing, in Studios Near You,” The New York Times, November 19 1999 Jonathan Goodman, “New York Reviews; Tom Doyle and Lawrence Fane at Kouros Gallery,” Sculpture, September Patricia Rosoff, “The Eye’s Limitations, Sculpture that Challenges the Senses,” The Hartford Advocate, June 24 Matt Damsker, “ ‘Small Sculpture’ Perfect for Paessagio,” The Hartford Courant, June 30 Robert Taplin, “Tom Doyle and Lawrence Fane at Kouros,” Art in America, October Herbert Reichert, “Tom Doyle; The Spacial Gesture,” Review Magazine, April 1 Ezra Shales, “Tom Doyle/Lawrence Fane,” Review Magazine, April 1 J. Bowyer Bell, “Doyle Dazzles,” Review Magazine, March 15 1997 William Zimmer, “Crop of New Names, Fields of Sculpture,” The New York Times, August 17 1996 Vivien Raynor, “A Sculpture Show With Butterflies,” The New York Times, July 28 William Zimmer, “Sculpture of Large Gestures and a Sense of Place,” The New York Times, June 16 Elizabeth Maker, “A Roxbury Sculptor and the Art of Paradox,” The Litchfield County Times, May 31 Richard Culver, “Art and Flowers at SSU,” The Daily Times, May 9 Kelly Devine, “Sculptor,” Republican-American, April 7 1995 Judith Thurman, “Portrait: Arthur Miller,” Architectural Digest, November Rose C. S. Slivka, “From the Studio,” The East Hampton Star, August 3 Jude Schwendenwien, “The Year in Art 1994,” The Hartford Courant, January 1 1994 Gloria Russel, “Chesterwood Brings Sculpture Out into the Open,” The Sunday Republican, July 31 Jude Schwendenwien, “Site; Grounds for Sculptue Hamilton N.J.,” Sculpture, November/December Vivien Raynor, “In Ridgefield, Works Familiar and New,” The New York Times, September 4 Jude Schwendenwien, “New Display Sobering at Pearl Street,” The Hartford Courant, August 14 Margaret Plaganis, “High-Voltage Synergy,” Hartford Advocate, August 11 Vivien Raynor “Sculptural Works That Defy the Limitations of Definition,” The New York Times, May 29 Wendy Heisler, “On View; Balance and Tension,” Princeton Packet, April 29 1993 Fielding Dawson, “Franz Kline, The 10th Street Painters, and the Cedar Tavern: New Discursions in Art History,” Crits ’93: Discourses on the Visual Arts, Western Carolina University Jude Schwendenwien, “Regional Reviews, Connecticut,” Art New England, October/November George Melrod, “Reviews: New York, Tom Doyle,” ArtNews, September George Melrod, “Studio; Tom Doyle,” Sculpture, September/ October

Vivien Raynor, “In Fields Where Sculpture Holds Sway,” The New York Times, August 22 Vivien Raynor, “Three Sculptors Create a Vista in Tones of Wood and Metal,” The New York Times, July 18 Robert Dahlin, “Roxbury Sculptor’s Artwork Now on Display in Washington Is Deeply Rooted in Nature,” The Litchfield County Times, July 16 1992 Gabriella De Ferrari, “Sol Lewitt: Artist in Residence,” Architectural Digest, October Vivien Raynor, “Concrete and Metal in Striking Repose,” The New York Times, September 13 George Melrod, “Tom Doyle at Bill Bace,” Art in America, February 1991 Roberta Smith, “Tom Doyle,” The New York Times, November 8 1989 Shoichiro Higuchi, “Boomerang Thrown by Tom Doyle,” IDEA Magazine, May Michael Brenson, “Tom Doyle,” The New York Times, October 28 1987 Myra Goldfarb, “20th Century Aesthetics and Technology Merge In Allentown Parkway,” The Morning Call, September 25 1985 Michael Brenson, “Art: New Sculpture,” The New York Times, April 17 “Outdoor Art Exhibit on Very Solid Ground,” Reading Eagle Times, September Tony Lucia, “Nine Outdoor Sculptors Provide Life For the Museum Grounds,” Reading Eagle Times, August 31 1984 Michael Brenson, “Sculptors Find New Ways With Wood,” The New York Times, December 2 1982 Stephen Westfall, Arts, April Vivien Raynor, “Art: Zabriskie Offers a Sculpture Twin Bill,” The New York Times, January 29 Grace Glueck, “A January Saturday,” The New York Times, January 15 1980 Kay Larson, “Brooklyn,” The Village Voice, April 28 1979 Walt McCaslin, “A Reverence for Craft,” The Journal Herald, October Robert Pincus Witten, “Tom Doyle: Things Patriotic and Union Blue,” Arts, September April Kingsley, “The Shapes Arise,” The Village Voice, July 30 John Ashbery, “The Sculptures of Summer,” New York Magazine, July 23 Ellen Lubell, “Hudson River (Summer School),” The SoHo Weekly News, July 5 Grace Glueck, “Artists of the Custom House,” The New York Times, May 4 Review, Arts, February 1978 The Village Voice, December 25 William Zimmer, “A Reverence for Wood,” SoHo Weekly News, December 21 Harriet Senie, “Monuments Above Debris,” The New York Post, December 9 Carter Ratcliff, “Taking Off: Four New York Sculptors and The Big New York Gesture,” Art In America, March/April Harold Olejarz, “Contemporary Sculpture,” Arts, September Deborah Perlberg, Artforum, January 1977 Lucy R. Lippard, “Wood: At The Nassau County Museum,” Art in America, November/December Lubell, Ellen, Arts, February April Kingsley, “Art for All,” The Village Voice, December 12 Mitchell Senft, Art Workers News, May/June Malcolm Preston, Newsday, July 25 Perrault, John, The SoHo Weekly News, July 21 Marguerita Grecco, The Queens Tribune, June 29 David Shirey, “The Special Beauties of Wood,” The New York Times, May 22 1976 Marjory Betz, Art News, May “Artists Review Art,” March 10

April Kingsley, The SoHo Weekly News, March 4 Hilton Kramer, The New York Times, March 6 1975 Joyce Wadler, “Artists in New York,” The New York Post, July 12 1974 Peter Frank, SoHo Weekly News, February 14 Alan Moore, Artforum, April Lubell, Ellen, Arts, April Robins, Corinne, Art in America, July/August 1973 Rosemary Mayer, Arts, February April Kingsley, Art News, January Barbara Schwartz, Art News, January 1972 Robert Pincus Witten, “New York,” Artforum, February 1969 Hilton Kramer, The New York Times, April 12 1968 Rufus Foshee, “Local Art,” The Villager, August 29 Don Cyr, “A Conversation with Tom Doyle,” Arts and Activities, June 1967 Jane Kay, Columbus Dispatch, April 2 Emily Wasserman, “Triumph of Realism,” Artforum, December 1966 Dennis Adrian, “New York: Tom Doyle,” Artforum, May Lucy R. Lippard, “Space Embraced: Tom Doyle’s Recent Sculpture,” Arts Ted Berrigan, “Reviews and Previews: Tom Doyle,” Art News, April Hilton Kramer, “There’s Nothing Like Thinking Big, Sometimes,” The New York Times, March 12 Shawn Bayer, “An Interview with Tom Doyle,” The Price, February 1965 Fundshau Koln, August Kettwiger Zeitung, May 18 1964 Max Kozloff, “The Further Adventures of American Sculpture,” Arts Lucy R. Lippard, “New York,” Artforum, May Forbes Whiteside, “Three Young Americans,” Oberlin College Bulletin 1963 Donald Judd, “The New York Exhibition; Contemporary Sculpture,” Arts Leonard Horowitz, “Art,” The Village Voice, May 2 1961 Arnold Ukken, Oberlin Review, April 28

VISITING ARTIST, LECTURES, PANELS 2006 The Speckled Ax, Torrington, Connecticut Hampshire College, Amherst, Massachusetts “Studio Tour”, Washington Art Association, Washington, Connecticut New Britain Museum of American Art, New Britain, Connecticut 2005 The Speckeled Ax, Torrington, Connecticut 2003 Waterbury Foundation, Washington, Connecticut 2002 Washington Art Association, Washington Depot, Connecticut Flanders Nature Center, Woodbury, Connecticut 2001 New Arts Program, Inc., Kutztow, Pennsylvania New Arts Alive; Berks Community television, interviewed by James Carroll, Reading, Pennsylvania Boston University, Boston, Massachusetts Nicolaysen Art Museum and Discovery Center, Casper, Wyoming 2000 “Evening Lecture Series,” The New York Studio School, New York, New York 1999 University of Pennsylvania, Philadelphia, Pennsylvania 1996 The Mattatuck Museum, Waterbury, Connecticut Ohioana Library Association, Columbus, Ohio 1995 The New York Studio School, New York, New York Boston University, Boston, Massachusetts Colby College, Waterville, Maine 1989 Artist in Residence, La Napoule Art Foundation, La Napoule, France 1987 Juniata College, Huntingdon, Pennsylvania Juror, Huntingdon County Arts Festival, Huntingdon, Pennsylvania 1984 Parsons School of Design, New York, New York 1982 South Dakota University, Brookings, South Dakota Miami Dade Community College, Miami, Florida 1981 Parsons School of Design, New York, New York Juror, Massachusetts Council on the Arts, Boston, Massachusetts Juror, CAPS, New York, New York 1980 “Visiting Artist in Printmaking,” Ohio University, Athens, Ohio Pratt Institute, Brooklyn, New York 1979 Wright State University, Dayton, Ohio Ohio State University, Columbus, Ohio 1975 University of Wisconsin, Madison, Wisconsin

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First published in the United States of America in 2011 by Sundaram Tagore Gallery Text and photographs © 2011 Sundaram Tagore Gallery Art © Tom Doyle All rights reserved under international copyright conventions. No part of this catalogue 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, without prior permission in writing from the publisher. Cover: Tom Doyle and Pheonix on the artist’s property, Roxbury, Connecticut, 2010 ISBN-13: 978-0-615-44824-4