Elise Siegel

Last updated
Elise Siegel
Born1952 (age 71–72)
Newark, New Jersey, U.S.
NationalityAmerican
Education Emily Carr University of Art and Design, University of Chicago
Known forSculpture, installation art
Awards Anonymous Was A Woman Award, New York Foundation for the Arts, Virginia A. Groot Foundation
Website www.elisesiegel.com

Elise Siegel (born 1952) is an American sculptor and installation artist based in New York City. [1] [2] She is known for several bodies of figurative work that use subtle and ambiguous gesture and facial expression to evoke psychic and emotional states. [3] [4] [5] In the 1990s, she first gained recognition for garment-like constructions that blurred boundaries between clothing, skin and body, critiquing the roles fashion and plastic surgery play in the construction of sexual and cultural identity; [6] [3] writer Mira Schor included Siegel among the cohort of artists she dubbed "Generation 2.5" and credited for developing the tropes of feminist art. [7] After shifting to clay as her primary material, Siegel was one of a number of artists in the 2000s whose work spurred a rebirth in figurative ceramics emphasizing emotional expression, social conditions, identity and narrative. [8] [9] [10] Her ceramic work—which ranges from roughly modeled portrait busts to highly charged, theatrical installations—is said to capture fleeting moments of internal struggle, conflict and vulnerability, creating a psychological tension with the viewer. [11] [12] [13] [14]

Contents

Elise Siegel, rough edges, partial installation view, twelve ceramic portrait busts on plywood stands, busts approx. 24"- 28", overall dimensions variable, 2019, Studio10, Brooklyn, NY. Elise Siegel rough edges 2019.jpg
Elise Siegel, rough edges, partial installation view, twelve ceramic portrait busts on plywood stands, busts approx. 24”- 28”, overall dimensions variable, 2019, Studio10, Brooklyn, NY.

Siegel has exhibited at institutions including the Museum of Fine Arts Houston (MFAH), [15] The Museum at FIT, Mississippi Museum of Art, [16] Chazen Museum of Art, [17] Neuberger Museum of Art [18] and the Third World Ceramic Biennale in South Korea, among others. [19] [20] She has received the Anonymous Was A Woman Award and fellowships from the New York Foundation for the Arts, [21] [22] and her work belongs to the public art collections of MFAH and the Chazen Museum of Art. [23] [24] Siegel has taught ceramics at Greenwich House Pottery since 1984. [17] [20]

Early life and career

Siegel was born in Newark, New Jersey in 1952. [17] She studied at the University of Chicago from 1969 to 1971, before enrolling at the Emily Carr University of Art and Design in Vancouver, British Columbia, where she earned a BFA and did postgraduate studies (1980–1). [17] She focused on ceramics as an undergraduate, but after moving to New York City in 1982, explored other materials for roughly the first decade of her professional career. [9] [25] [3] Musician and songwriter, Dick Siegel, is her brother.

Siegel first received attention in the 1980s for wall and floor sculptures exhibited at Laurie Rubin Gallery (her first solo show, 1987) and SculptureCenter in New York and at the Williams Center for the Arts at Lafayette College, among other venues. [25] [26] [17] Siegel made these sculptures from sheets of wire mesh that she coated with layers of pigmented or painted modeling paste. After cutting the sheets up, she sewed the pieces together with wire to make volumetric forms, then twisted the constructions, creating rich surfaces of cracks, chips, and exposed veins of underpaint and mesh. While fully abstract, the sculptures conveyed anatomical or animistic qualities, often suggesting bodies with articulated, extending appendages. [25] [26] [18] ARTnews likened them in color and texture to bone or fossils with hints of prior life and weathering, and in form, to the biomorphic abstractions of Eva Hesse, Jean Arp and Constantin Brâncuși. [25]

Elise Siegel, Portrait #6, wire mesh and acrylic modeling paste, 22" x 16" x 6", 1992. Elise Siegel Portrait 6 1992.jpg
Elise Siegel, Portrait #6, wire mesh and acrylic modeling paste, 22" × 16" x 6", 1992.

Mature work and critical reception

Throughout her mature career, Siegel has concentrated on three-dimensional work that emphasizes materials, the art-making process, and the human body and psyche. [9] She has produced three broad bodies of work: feminist, garment-like constructions during the 1990s; figurative ceramic installations and sculpture during the latter 1990s and 2000s; and ceramic portrait busts in the 2010s.

Garment constructions (1990s)

Beginning in 1991, Siegel took a more sociopolitical direction, employing feminist critique and psychological investigation in sculptures that resembled female-gendered clothing and referenced the body metaphorically through its absence. [18] [27] [4] [6] This work developed formally and materially out of her abstract sculpture and was widely shown in the first half of the decade, in group exhibitions—at the Neuberger Museum ("Empty Dress," 1993) and Museum at FIT ("Fashion Is a Verb," 1995), among others—and a solo show, "Second Skin" (College of Charleston, 1993). [18] [20] Siegel animated the garments (skirts, dresses, pinafores, corsets, bras and tutus) with wires that suggested hair, creating movement and allowing her to draw in space. Their patched and cracked, pigmented surfaces evoked skin, while straps and stitched wire seams suggested bandages and psychological/cultural constriction. [18] [3] [4] Curator and writer Nina Felshin identified these works as "concrete aesthetic parallels" to contemporary cultural theory, which revealed the role of clothing in definitions and transformations of female identity by, in essence, turning social construction "inside out so the stitching shows." [18]

In her "Portrait" series, Siegel created a series of bra forms in response to the Dow Corning breast implant crisis of 1992. [18] It included Portrait #6 (1992), a corset and tutu doubling as a female torso that drew a connection between foundational garments that "mold and shape" and bodies altered by cutting into flesh. [3] [6] [28] The sculpture's rough, tangled construction equated garment straps—both intimate and strangling—with medical bandages, while its frayed, faded edges and Frankensteinian wire stitching evoked struggle and damage, conveying a sense of horror regarding the movement to surgery as reinvention, which wounded as much as enhanced women. [6] [3] [28] In another series, Siegel explored apron forms, employing webs of wire that simultaneously read as (pubic) hair and skirt (e.g., Hairskirt, 1993), alluding to the garment's original function as a protection against the "polluting" power of genitalia. [18] [29]

Elise Siegel, Into the room of dream/dread, I abrupt awake clapping, eight life-size ceramic figures on wooden chairs, overall dimensions variable, 2001, Museum of Fine Arts, Houston. Elise Siegel into.the.room.of.dream dread 2001.jpg
Elise Siegel, Into the room of dream/dread, I abrupt awake clapping, eight life-size ceramic figures on wooden chairs, overall dimensions variable, 2001, Museum of Fine Arts, Houston.

Figurative ceramic installations and sculpture

In the mid-1990s, Siegel returned to clay, looking for a more immediate, tactile material from which to create directly figurative work. [4] [9] She initially produced fragments—ghostly heads, tightly clasped hands, dangling arms—before turning to installations of life-size, hollow doll or puppet-like figures, that Eleanor Heartney described as "psychologically complex tableaux of children of curiously ambiguous sexuality." [30] [31] [9] Village Voice critic Robert Shuster wrote that these works derived an uncanny, foreboding power from what he called "Siegel's process of golem-like creation," a schematic form of modeling that foregrounded a sutured together look with rotating parts and misalignments. [13] [14] She hand-built the figures whole out of clay coils, cut them into parts to fit into the kiln, then reassembled them, leaving visible seams along shoulders, wrists and waists, with heads sometimes resting at awkward angles. [13]

Siegel's installations combined carefully arranged stagecraft and a precise sense of gesture and choreography to create ambiguous scenes with the uncanny quality of dreams. [13] [12] Her first, Into the room of dream/dread, I abrupt awake clapping (2001), was installed in a heavily curtained, dimmed gallery, and consisted of seven seated children arrayed in a loose circle around another child, in an uncertain place of honor or reproach. [12] [32] The figures were colored a dull, even gray and modeled in doughy fashion, with simple, punched-in eyes, detailed extremities, and separately fired heads set on small wedges so they could be rotated to fix the gazes. [12] Seated upright with tense dangling feet and hands in front of their chests arrested in the act of clapping—excepting the central child—the children tilted their heads inquisitively toward the gallery entrance, mouths slightly ajar in silence. [12] [32] Reviewers noted the eerie reversal of focus—which made viewers the center of attention, as if they had interrupted a conversation or game at a moment of expectancy or dread—as an effective means of evoking a sense of repression and anxiety associated with childhood. [12] [4] [2]

Elise Siegel, Twenty-four Feet, twelve slightly smaller than adult-size figures, ceramic, aqua resin, fabric, wooden stands, overall dimensions variable, 2004, Garth Clark Project Space, Long Island City, NY. Elise Siegel Twenty-four Feet 2004.jpg
Elise Siegel, Twenty-four Feet, twelve slightly smaller than adult-size figures, ceramic, aqua resin, fabric, wooden stands, overall dimensions variable, 2004, Garth Clark Project Space, Long Island City, NY.

Three subsequent installations employed children’s bodies divided into upper and lower halves, which Sculpture critic Edward Rubin wrote, projected "a chillingly real psychic turbulence." [19] [33] In Twenty-four Feet (2004), Siegel placed two neat rows of girls—lower bodies only—seated on facing chairs without seat bottoms, exposing them from below. [2] [4] [33] The lower torsos were open at the waist and hollow, intensifying a sense of vulnerability already created by the open seat bottoms. [2] [4] The figures were arranged so that their playfully rendered stockinged feet nearly touched; Art in America's Nancy Princenthal wrote, "flexed and pointed, toes curled and spread, they communicate with uninhibited eloquence" an innocence so potent that it plunged viewers "into a total immersion in childhood." [2]

Diametrically opposite in tone, Twenty-one Torsos (2004) depicted twenty-one upper bodies in pairs or groups of three with arms and fists waving (but never quite touching), each perched on a rolling metal stand. [2] [4] Siegel modeled the figures with boyish cropped hair, tight sleeveless t-shirts, and vague, somewhat helpless expressions of uncertainty that belied an aggressive scene Princenthal called "an unstable cloud of silent strife." [2] [4] In I am what is around me (2007), Siegel created a similar grouping of unsmiling, nearly identical boys—upper halves, mounted on black stands—that seemed to enact a cultish playground ritual or game; in his review, Robert Shuster noted one boy who comes forward to present beseeching, blackened hands, implicating the viewer as a possible intruder or corrupter. [13]

Ceramic portrait busts

In the 2010s, Siegel has concentrated on hand-built ceramic busts that explore human interiority. [34] [11] [35] This work draws on historical empowered objects, such as the Jōmon period Dogū and Haniwa funeral figures of prehistoric and third-to-sixth-century Japan, respectively, European iron helmets, Renaissance reliquary busts, idols and African masks. [36] [37] [1] The life-sized to 24"-inch sculptures—presented on pedestals or plinths—are not portraits of specific people, but works created from memory and imagination. [1] [5] Reviews describe the heads as anonymous and universal—suggestive but indeterminate in terms of race and gender, and mutable in registering fleeting passages of disquiet, unease or indecision. [9] [1] [34] [38] Their fleshy features range in modeling from naturalistic to lumpy and crude, with glazing that shifts from subtly layered patina-like surfaces to provisional and raw; most are fired in two pieces, leaving a visible crack at the base of the neck. [1] [5] [36]

Critics such as Nina Felshin and Ann Landi suggest that these features translate into emotional vulnerability and warmth and stimulate personal projection by viewers, a key to Siegel’s work. [34] [1] Romanov Grave described her attention to the subtleties of expression, modeling and surface application as a vocabulary evoking "the injuries of the world as worn by the body … articulating the pathos, horror and eros of daily human experience." [36] In his review in Hyperallergic of Siegel's exhibition "Rough Edges" (2019, Studio 10), Stephen Maine commented on the faces' complex, equivocal emotions—for example, hovering between stoicism and disappointment (in Pale Blue Portrait Bust with Dark Drips, 2018) or incomprehension and muted chagrin (Portrait Bust with Amber Shirt and Lavender Hair, 2016): "the viewer is struck by these multifaceted yet understated attitudes and shaded emotional states because they are embodied in the work through such direct, primal means. We appreciate the fine-tuning wrought upon these clumps of mud even as we let ourselves be taken in by it." [5]

Awards and collections

Siegel has received fellowships from the New York Foundation for the Arts (2017, 2007, 1988), [22] MacDowell Colony (1988) [39] and Yaddo (1986), [40] the Anonymous Was A Woman Award in 2014, [21] and awards from the Virginia A. Groot Foundation (2016) [41] and Canada Council (1982, 1981). [17] Her work belongs to the public art collections of the Museum of Fine Arts, Houston, Chazen Museum of Art, Museum of Anthropology at UBC, and Arario Gallery (Seoul, Korea). [23] [24] [42]

Related Research Articles

Janine Antoni is a Bahamian–born American artist, who creates contemporary work in performance art, sculpture, and photography. Antoni's work focuses on process and the transitions between the making and finished product, often portraying feminist ideals. She emphasizes the human body in her pieces, such as her mouth, hair, eyelashes, and, through technological scanning, brain, using it as a tool of creation or as the subject of her pieces, exploring intimacy between the spectator and the artist. Her work blurs the distinction between performance art and sculpture.

Wangechi Mutu is a Kenyan-born American visual artist, known primarily for her painting, sculpture, film, and performance work. Born in Kenya, she has lived and established her career in New York City for more than twenty years. Mutu's work has directed the female body as subject through collage painting, immersive installation, and live and video performance while exploring questions of self-image, gender constructs, cultural trauma, and environmental destruction and notions of beauty and power.

<span class="mw-page-title-main">Hannah Wilke</span> American artist

Hannah Wilke was an American painter, sculptor, photographer, video artist and performance artist. Wilke's work is known for exploring issues of feminism, sexuality and femininity.

<span class="mw-page-title-main">Ghada Amer</span> Egyptian American artist (born 1963)

Ghada Amer is a contemporary artist, much of her work deals with issues of gender and sexuality. Her most notable body of work involves highly layered embroidered paintings of women's bodies referencing pornographic imagery.

Lisa Yuskavage is an American artist who lives and works in New York City. She is known for her figure paintings that challenge conventional understandings of the genre. While her painterly techniques evoke art historical precedents, her motifs are often inspired by popular culture, creating an underlying dichotomy between high and low and, by implication, sacred and profane, harmony and dissonance.

<span class="mw-page-title-main">Jane Hammond</span> American painter

Jane R. Hammond is an American artist who lives and works in New York City. She was influenced by the late composer John Cage. She collaborated with the poet John Ashbery, making 62 paintings based on titles suggested by Ashbery; she also collaborated with the poet Raphael Rubinstein.

<span class="mw-page-title-main">Robert Arneson</span> American sculptor and professor (1930 - 992)

Robert Carston Arneson was an American sculptor and professor of ceramics in the Art department at University of California, Davis for nearly three decades.

<span class="mw-page-title-main">Doris Salcedo</span> Colombian sculptress (born 1958)

Doris Salcedo is a Colombian-born visual artist and sculptor. Her work is influenced by her experiences of life in Colombia and is generally composed of commonplace items such as wooden furniture, clothing, concrete, grass, and rose petals. Salcedo's work gives form to pain, trauma, and loss, while creating space for individual and collective mourning. These themes stem from her own personal history. Members of her own family were among the many people who have disappeared in politically troubled Colombia. Much of her work deals with the fact that, while the death of a loved one can be mourned, their disappearance leaves an unbearable emptiness. Salcedo lives and works in Bogotá, Colombia.

<span class="mw-page-title-main">Arnold Zimmerman</span> American sculptor

Arnold Zimmerman (1954-2021), also known as Arnie Zimmerman, was an American sculptor and ceramic artist. His work ranged from monumental to miniature, and abstract to figurative, encompassing totemic vessel forms, tabletop sculpture and figures, murals, and room-size installations. He was part of a multi-decade, 20th-century shift in American ceramics during which artists challenged clay's identification with function and craft, engaging fine-art domains such as emotional expression, social commentary, figuration and narrative. Zimmerman first gained recognition in the 1980s for deeply carved, architectonic sculptures characterized by rough physicality, rhythmic surfaces, gestural presence and Italian Romanesque influences. In the mid-1990s, he shifted to figurative work that critic Donald Kuspit wrote, examined the interaction of finite man and infinite matter, artist and creative work: "There is a sense of futility and folly as well as seemingly senseless idealism and innocence built into Zimmerman's parables of the all-too-human."

Adriana Varejão is a Brazilian artist. She works in various disciplines including painting, drawing, sculpture, installation and photography. She was an artist-in-resident at the Isabella Stewart Gardner Museum in 2004. Varejão lives and works in Rio de Janeiro.

<span class="mw-page-title-main">Annabeth Rosen</span> American artist

Annabeth Rosen is an American sculptor best known for abstract ceramic works, as well as drawings. She is considered part of a second generation of Bay Area ceramic artists after the California Clay Movement, who have challenged ceramic traditions involving expression, form and function and helped spur the medium's acceptance in mainstream contemporary sculpture. Rosen's sculptures range from monumental to tabletop-sized, and emerge out of an accumulative bricolage process combining dozens or hundreds of fabricated parts and clay fragments and discards. Reviewers characterize her art as deliberately raw, both muscular and unapologetic feminine, and highly abstract yet widely referential in its suggestions of humanoid, botanical, aquatic, artificial, even science-fictional qualities. Critic Kay Whitney wrote that her work is "visceral in its impact, violent even, but also sensual and evocative" and "floats between the poles of the comic and the mordant."

<span class="mw-page-title-main">Beth Cavener Stichter</span>

Beth Cavener, also known as Beth Cavener Stichter, is an American artist based out of Montana. A classically trained sculptor, her process involves building complex metal armatures to support massive amounts of clay. Cavener is best known for her fantastical animal figures, which embody the complexity of human emotion and behavior.

<span class="mw-page-title-main">Karen LaMonte</span> American artist

Karen LaMonte is an American artist known for her life-size sculptures in ceramic, bronze, marble, and cast glass.

Barbara Sorensen is an American artist. Her sculptures and multimedia installations mimic geological formations and natural landscapes, and are made from clay, metal, and resin. Sorensen works from art studios in Snowmass Village, Colorado and Winter Park, Florida.

Mimi Smith is an American visual artist. She is a pioneer in early feminist and conceptual art focusing on clothing sculpture and drawing installation. She lives and works in New York City.

<span class="mw-page-title-main">Ann Agee</span> American visual artist

Ann Agee is an American visual artist whose practice centers on ceramic figurines, objects and installations, hand-painted wallpaper drawings, and sprawling exhibitions that merge installation art, domestic environment and showroom. Her art celebrates everyday objects and experiences, decorative and utilitarian arts, and the dignity of work and craftsmanship, engaging issues involving gender, labor and fine art with a subversive, feminist stance. Agee's work fits within a multi-decade shift in American art in which ceramics and considerations of craft and domestic life rose from relegation to second-class status to recognition as "serious" art. She first received critical attention in the influential and divisive "Bad Girls" exhibition, curated by Marcia Tucker at the New Museum in 1994, where she installed a functional, handmade ceramic bathroom, rendered in the classic blue-and-white style of Delftware. Art in America critic Lilly Wei describes Agee's later work as "the mischievous, wonderfully misbegotten offspring of sculpture, painting, objet d'art, and kitschy souvenir."

<span class="mw-page-title-main">Elizabeth King (artist)</span> American artist

Elizabeth King is an American sculptor and writer known for movable figurative sculptures that she has employed in stop-frame animations. Her work combines exacting handcraft, elementary mechanics, and digital and electronic technologies, applied in sculptures of half or full figures, heads, arms and hands, or even simply eyes. She often equips figures with subtly illuminated eyes and visible and invisible mechanisms enabling the performance of anatomically correct simple operations, seemingly of their own volition. Writers have described her figures as "insistently nonhuman" yet "uncannily alive" in their ability to project self-awareness, intelligence, agency and emotion. They reflect her interests in early clockwork automata, the history of the mannequin and puppet, literature involving unnatural figures come to life, and human movement. Art in America critic Leah Ollman wrote that King's "highly articulated automatons invite us to consider how consciousness arises from physical being … she portrays her mechanical surrogates as convincingly self-aware, while we are left to ponder that age-old question: where exactly does the self reside?"

Kukuli Velarde is a Peruvian artist based in Philadelphia, Pennsylvania. She specializes in painting and ceramic sculptures made out of clay and terra-cotta. Velarde focuses on the themes of gender and the repercussions of colonization on Latin American history, with a particular interest in Peru. Her ceramics consist of unusual body positions, childlike faces, and works that have been molded from her own face as well.

Daisy Quezada Ureña is an American visual artist and educator. She was born in California and is based in Santa Fe, New Mexico. Informed through her Mexican-American cultural background, Quezada addresses social issues including immigration, gender inequality, labor, and class issues. She creates ceramic and fabric works and installations that speak on themes of identity and place in relation to social structures and imposed borders.

Nancy Princenthal is an American art historian, writer, and author. She is based in Brooklyn, New York.

References

  1. 1 2 3 4 5 6 Landi, Ann. "Elise Siegel," Sculpture Magazine, November/December 2019. Retrieved August 23, 2021.
  2. 1 2 3 4 5 6 7 Princenthal, Nancy. "Elise Siegel at Garth Clark," Art in America, March 2005, p. 138.
  3. 1 2 3 4 5 6 Felshin, Nina. "Women's Work: A Lineage, 1966-94," Art Journal, Spring 1995, p. 71–85. Retrieved August 23, 2021.
  4. 1 2 3 4 5 6 7 8 9 Welch, Adam. "Elise Siegel: The psychoanalytic construction of the work of art," Clay in Art International, 2006.
  5. 1 2 3 4 Maine, Stephen. "Elise Siegel and Her Inscrutable Heads," Hyperallergic, January 19, 2019. Retrieved August 23, 2021.
  6. 1 2 3 4 Mancoff, Debra and Lindsay J. Bosch. Icons of Beauty: Art, Culture, and the Image of Women, Santa Barbara, CA: Greenwood Press, 2010, p. 237–8. Retrieved August 23, 2021.
  7. ↑ Schor, Mira. "Generation 2.5," in A Decade of Negative Thinking: Essays on Art, Politics, and Daily Life, Durham, NC/London: Duke University Press, 2009. Retrieved August 24, 2021.
  8. ↑ Koplos, Janet. "Pot or Not? The State of Ceramics Today," KC Studio, March/April 2016.
  9. 1 2 3 4 5 6 Wayne, Leslie. "Immediate, physical, emotional: Studio visit with Elise Siegel," Two Coats of Paint, January 6, 2019. Retrieved August 23, 2021.
  10. ↑ Genocchio, Benjamin. "Ideas Abound in Clay: Ceramics That Go Beyond Bowls," The New York Times, November 28, 2008. Retrieved August 23, 2021.
  11. 1 2 Jones, Whitney. "Elise Siegel’s Rough Edges," Cfile, February 10, 2019. Retrieved August 23, 2021.
  12. 1 2 3 4 5 6 Taplin, Robert. "Elise Siegel at Jane Hartsook," Art in America, December 2001.
  13. 1 2 3 4 5 Shuster, Robert. "The Half-Boys," The Village Voice, May 1, 2007. Retrieved August 23, 2021.
  14. 1 2 Siegel, Elise. "The Child Within the Adult," The Studio Potter, Winter/Spring 2008–9.
  15. ↑ Clark, Garth et al. Shifting Paradigms in Contemporary Ceramics, New Haven, CT: Yale University Press/Houston: Museum of Fine Arts, Houston, 2012. Retrieved August 24, 2021.
  16. ↑ Barrileaux, Rene. Work in Progress: Elise Siegel, Jackson, MS: Mississippi Museum of Art, 1997.
  17. 1 2 3 4 5 6 Panczenko, Russell and Garth Clark, Christy Wahl. The Human Condition: The Stephen and Pamela Hootkin Collection of Contemporary Ceramic Sculpture, Madison, WI: Chazen Museum of Art, 2014. Retrieved August 23, 2021.
  18. 1 2 3 4 5 6 7 8 Felshin, Nina. Second Skin, Purchase, NY: Neuberger Museum of Art, 1993.
  19. 1 2 Rubin, Edward. "Scheon, Gwangju, and Teojo, South Korea – The 3rd World ceramic Biennale," Sculpture Magazine, January/February 2006, p. 78–9. Retrieved August 23, 2021.
  20. 1 2 3 Greenwich House. Elise Siegel, Faculty. Retrieved August 23, 2021.
  21. 1 2 Anonymous Was a Woman. "Previous Recipients." Retrieved August 23, 2021.
  22. 1 2 Artforum. "NYFA Announces 2017 Fellows," News, July 7, 2017. Retrieved August 23, 2021.
  23. 1 2 Museum of Fine Arts, Houston. Elise Siegel, Into the Room of Dream/Dread I Abrupt Awake Clapping, Objects. Retrieved August 23, 2021.
  24. 1 2 Chazen Museum of Art. Twenty-four Feet, Collection. Retrieved August 23, 2021.
  25. 1 2 3 4 Sofer, Ken. "Elise Siegel," ARTnews, May 1987, p. 166.
  26. 1 2 Tully, Judd. Made in New York, Easton, PA: Williams Center for the Arts, 1989.
  27. ↑ Zimmer, William. "Making Clothes Stand on Their Own," The New York Times, December 17, 1995, Sect. 13NJ, p. 18. Retrieved August 23, 2021.
  28. 1 2 Shaw, Dan. "A Backdrop for the Color Black," The New York Times, January 30, 2015, p. RE1. Retrieved August 23, 2021.
  29. ↑ Connor, Maureen. "Icons at Large," Artforum, November 1989, 26–8.
  30. ↑ Heartney, Eleanor. "Bad Girls', in The Reckoning: Women Artists of the New Millennium by Helaine Posner, Eleanor Heartney, Nancy Princenthal and Sue Scott, Munich: Prestel Verlag, 2014. Retrieved August 23, 2021.
  31. ↑ Johnson, Ken. "From the Neck Up," The New York Times, August 8, 2003, p.E31. Retrieved August 23, 2021.
  32. 1 2 Princenthal, Nancy. Into the room of dream/dread I abrupt awake clapping, New York: Jane Hartsook Gallery, 2001.
  33. 1 2 Clark, Garth. "Theater Of The Figure," in The Human Condition: The Stephen and Pamela Hootkin Collection of Contemporary Ceramic Sculpture, Russell Panczenko (ed.), Madison, WI: Chazen Museum of Art, 2014. Retrieved August 23, 2021.
  34. 1 2 3 Felshin, Nina. "The Penetrating Gaze of Portrait Busts," Hyperallergic, January 17, 2019. Retrieved August 23, 2021.
  35. ↑ Yau, John. "There is a lot of very good painting going on these days,” Two Coats of Paint, January 28, 2015. Retrieved August 23, 2021.
  36. 1 2 3 Boyle, Fintan and Jennie Nichols. "Elise Siegel," Romanov Grave, October 3, 2019. Retrieved August 23, 2021.
  37. ↑ Rockefeller, Hall W. "Almost Human," less than half, December 5, 2018. Retrieved August 23, 2021.
  38. ↑ Stevenson, Jonathan. "Revitalization by contamination: OBJECT’hood at Lesley Heller," Two Coats of Paint, August 2015. Retrieved August 23, 2021.
  39. ↑ Macdowell Colony. Elise Siegel, Artists. Retrieved August 23, 2021.
  40. ↑ Yaddo. Visual Artists. Archived 2021-06-14 at the Wayback Machine Retrieved August 23, 2021.
  41. ↑ Virginia A. Groot Foundation. "Elise Siegel," Winners. Retrieved August 23, 2021.
  42. ↑ Museum of Anthropology at University of British Columbia. Pot, Elise Siegel, Collection. Retrieved August 23, 2021.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.