Nancy Bowen

Last updated
Nancy Bowen
Born1955
Providence, Rhode Island, United States
Education Hunter College, School of the Art Institute of Chicago
Known forSculpture, collage
Awards Anonymous Was A Woman Award, National Endowment for the Arts, New York Foundation for the Arts
Website Nancy Bowen
Nancy Bowen, Artemis Dilemma, shell, ceramic, chair and mixed media, 52" x 16" x 16", 2016. Nancy Bowen Artemis Dilemma.jpeg
Nancy Bowen, Artemis Dilemma, shell, ceramic, chair and mixed media, 52" x 16" x 16", 2016.

Nancy Bowen (born 1955) is an American visual artist. [1] [2] She is known for two main groups of work that share qualities of hybridity and multiplicity in their materials and inspirations: largely abstract sculptures and collaged works on paper. [3] [4] [5] Writers such as curator Nina Felshin situate her sculpture amid a strain of feminist art based in the physical body (rather than social construction), which emerged in the 1980s to reclaim female imagery from male-dominated conceptions of women often theorized under the concept of the "male gaze." [6] [7] [8] According to Felshin, in Bowen's work this involves an "exploration of the fragmented, internal body as a means of communicating the visceral experience of [embodiment] … By fashioning anatomically evocative objects from tactile, sensuous and sometimes decorative 'craft' materials … [she] emphasizes the body as a sensory instrument." [6] [9] [10] [11] Bowen's later collages connect her New England roots and Eastern spiritualism through the language of contemporary art. [12] [13]

Contents

Bowen has exhibited at venues including the Museum of Arts and Design (New York), Boston Center for the Arts, Corcoran Gallery of Art, Contemporary Arts Center in Cincinnati, Museum fur Angewandte Kunst (Frankfort) and Corning Museum of Glass. [14] [15] [16] [17] [2] She has received awards from Anonymous Was A Woman and the National Endowment for the Arts, among others. [18] [19] Bowen is a professor emerita at Purchase College, SUNY and is based in Brooklyn, New York. [20] [18]

Early life and career

Bowen was born in Providence, Rhode Island in 1955, into a family that dates back twelve generations in New England. [1] [13] She was prompted by an early interest in biology to enroll in pre-med at Stanford University, but soon turned to architecture, and then art. [1] [9] After transferring to the School of the Art Institute of Chicago (SAIC), she earned a BFA in 1978. [21] At SAIC, she was drawn to surrealism, outsider art, feminism and the work of women artists like Louise Bourgeois and her teacher Ree Morton, interests that planted the seeds of her longstanding exploration of the physical experience of the female body. [1] [8]

Bowen moved to New York City in 1980 and began exhibiting her work, appearing in group shows at the SculptureCenter, and Queens Museum, Hyde Park Art Center (Chicago), Centre d'Art Contemporain Genève and Institute for Contemporary Art, Richmond. [22] [23] [9] [24] Her first solo exhibitions took place at Galerie Farideh Cadot (Paris, 1981) and Susan Caldwell Gallery in (New York, 1983). [25] [21] Her early work consisted of small, symbolic dollhouse-like constructions—formally balanced settings characterized by odd angles and complex perspectives that were absent people. [23] [26] She gradually introduced anonymous figures in metaphorical, dynamic poses exploring female experience and sexuality, placed over vividly painted relief or shadowbox structures, and later, abstract sculptural settings. [27] [28] [24] In the later 1980s, she explored that theme through larger-than-life figures and heads bearing an Eastern influence which she melded with simple sculptural shapes. [29] [30]

After completing an MFA degree at Hunter College in 1990, [31] Bowen began producing the abstracted sculptural work for which she became more widely known, receiving critical attention for solo and two-person exhibitions at Annina Nosei Gallery (1990–93) [32] and One Great Jones (1996) in New York, [33] Betsy Rosenfield Gallery (Chicago, 1991), [4] and Wesleyan University (1998). [7] During that period, she began teaching, serving at Sarah Lawrence College, Columbia University, Massachusetts College of Art and Bard College between 1990 and 2004. [1] [8] Bowen wrote about her experiences with institutional sexism and male privilege in the first part of her university career in a 2018 Hyperallergic opinion article titled, "The Pervasive Power of Male Privilege at America’s Elite Universities." [34] In 2001, she joined the art faculty at Purchase College, SUNY, serving as a professor in sculpture until 2024, when she was named a professor emerita. [31] [20]

Work and reception

Nancy Bowen, Black Heart, clay, copper, turmeric and mixed media, 24" x 140" x 96", 1998. Nancy Bowen Black Heart.jpeg
Nancy Bowen, Black Heart, clay, copper, turmeric and mixed media, 24" x 140" x 96", 1998.

Artforum's Barry Schwabsky described Bowen's work as "pointed extrapolations of form; a cross-pollination of craft traditions [with] sculptural concerns." [3] Her sculpture has been linked to artists such as Louise Bourgeois, Rona Pondick and Kiki Smith—and further back to Brancusi and Jean Arp—who sought to evoke the body without actually depicting it. [6] [35] [3] Like those artists, Bowen creates metaphoric and metonymic representations of physical, psychological or social experience using strategies such as fragmentation, abstraction, exaggeration and excess. [6] [7] [1] [8]

In Bowen's case, her concern has largely focused on haptic experience of the (primarily) female body, often through an inside-out focus what has been called the "grotesque body." [5] [33] [6] Her ambiguous objects often suggest partly familiar yet alien forms—amalgamations of distorted bodies, uncertain species, furniture and household objects. [2] [9] [1] [8] As a result, critics often describe her work in contradictory terms: beautiful and gross, erotic and vulgar, [1] whimsical and discomfiting, attractive and repelling. [9] [6] Judith Russi Kirshner placed Bowen's "odd corporeality … someplace between the imaginative poles represented by Disney and Bosch." [4]

The hybrid character of Bowen's sculpture and collages extends beyond form to her incongruous mixing of disparate materials, techniques, sources and content. [6] [36] Critics suggest that her use of elements not inherently linked to the body seduces viewers to grapple with the work's sometimes visceral subject matter. [6] In her sculpture, she has consistently employed unusual combinations of materials related to craft (and by that association, to women)—clay, glass, wax, ribbon, beads, synthetic hair, copper and wire—as well as non-Western symbolic systems of representation and thought. [32] [7] [33] [8] She takes a similar, loosely archeological approach to her works on paper, scavenging ornamental motifs from other cultures and belief systems that she mixes, adds and redacts in relation to more personal elements. [8] [13] [37] Hyperallergic critic Faye Hirsch describes them as "elegant images that vault through time and place, from chakras … to astrological signs and defunct alphabets." [5]

Sculpture, 1989–present

In the early 1990s Bowen orchestrated biomorphic ceramic and blown-glass vessels and unconventional, curved metal supports into sculptures that functioned as expressions of sensory knowledge, feminist critique and send-ups of pedestal sculpture traditions (e.g., Astriction, 1990). [38] [4] [39] Alternately graceful and clunky, ethereal and carnal, they triggered contradictory associations: prosthetic devices and ornamental plant stands, ambiguous body parts, constricting 19th-century undergarment support. [35] [4] [38] Several of these works, including her Seven Aspects of the Body series, were related to the Indian chakras—the seven spiritual points of energy in the body according to Hindu philosophy—evoking the actions of subtitles, such as Touching, Burning, Breathing and Visceral Hearing. [1] [11] [35]

Bowen took a more expansive approach in subsequent pieces, using cascading forms to viscerally represent bodily sensations (Aural Obsession, 1993) [3] or female roles in an unsentimental, sometimes disconcerting fashion, as in Parthenogenesis (1993), a structure of thorny, rose-cane-like branches with seven nesting grub forms made of glass. [32] [1] [40] Her exhibition "Figuring the Body" (1998, with Nancy Davidson) was anchored by the elaborate floor piece Black Heart, which featured a gigantic heart of clay sprouting tentacle-like copper wires that spilled onto a bed of turmeric powder rimmed by blood-red, leaf-like forms. [7] [6] [11]

Nancy Bowen, All-American Personalities with Kali's Tongues, gouache and digital collage on found book, 51" x 37", 2018. Nancy Bowen All American Personalities with Kali's Tongues.jpeg
Nancy Bowen, All-American Personalities with Kali’s Tongues, gouache and digital collage on found book, 51" x 37", 2018.

In the 2000s, Bowen produced open, mixed-media structures that reviewers likened to futuristic growths suggesting "fantastical gardens" [5] or part-plant, part-creature species. [41] Boston Globe critic Cate McQuaid described works like Cerebral Flora (2004) as "comical, excited and strangely beautiful" pieces that "make seen the unseen—the explosion of an idea or an anatomical eruption." [15] Similarly, Exalt (2007) featured a Gaudi-like pedestal studded with mirrors sprouting a vine with blooming resin ruffs. [5] [36]

Bowen introduced more imposing, massed structures implying spiritual power and totems embedded with powerfully female imagery in her later works. [12] [8] In Territory (2010) she draped a lacy garment of blue beads over a swelling, mountainous, vaguely anthropomorphic figure of unpainted white plaster topped with a jeweled porcelain tower. [12] Parasol (2010) was a swelling, curvy plaster form sprouting a cast-plaster bamboo pole crowned with a blue-beaded, parasol-like tiara, while Artemis Dilemma (2016) drew upon the multi-breasted, ancient Artemis statue of Ephesus, placing a giant conch shell on a mid-section of pink cast-ceramic breasts and a decorative base set on a small chair. [12] [13]

Works on paper, 2010–present

Bowen's analog-digital collages coalesce the disparate cultures and languages of contemporary art, laconic Yankee practicalism and Eastern belief into what critic Nancy Princenthal called works of "hypnotic complexity." [12] [13] The layered works she exhibited at Purchase College in 2011 combined meteorological and astronomical lists and text from 19th-century farmers' almanacs (from her father's collection), rubbings of early American tombstones taken by her grandfather and linear patterns recalling Eastern imagery. They included Blue Angel, a collage in which she doubled a grave marker impression of a winged skull over a checkered ground of almanac entries webbed with black thread and colored-paper circles that suggested a Tantric chart. [12]

Nancy Bowen, Spectral Evidence, installation, Westchester Center for the Arts, 2021. Nancy Bowen Spetcral Evidence.jpeg
Nancy Bowen, Spectral Evidence, installation, Westchester Center for the Arts, 2021.

Her painted and text-filled pieces exhibited at the Kentler International Drawing Space (2018) pieced together fragments of maps, engravings, pamphlets, stamps, picture frames and book pages, evoking unidentified myths, archetypes and rituals, often involving the female body. [37] [13] [42] Writer Sarah Sentilles identified redaction as crucial to this work "as a critical tool [that] reminds viewers there is always misinformation and missing information" and as "a refusal of oppressive meaning-making systems." [37] For example, in All American Personalities with Kali's Tongues (2018) Bowen covered over stories from an old book on "great American personalities"—all of them male—with color blocks and an abstraction of a woman with strands emitting from her body that suggested a reclamation of power. [13] [37]

In her thirty-year survey at the Westchester Center for the Arts (2023) Bowen presented collages alongside sculpture and a related installation referencing her family history. [36] [5] [43] The installation, Spectral Evidence (2021), consisted of twenty squat "grave markers" with wings, skull heads and shoes projecting from beneath that stood before a ghostly, faceless life-size figure wearing a black hair shirt. [43] [5] Each marker carried the name of a person killed during the Salem witch trials, which were presided over by nine judges, among them Bowen's ancestor, Samuel Sewall, who later repented. [5] [44] [43] Bowen collaborated with the poet Elizabeth Willis—a descendant of one of the women executed as a witch—on the show's related series of collages and a book, Spectral Evidence: The Witch Book (2023). [45] [46] [5]

Recognition

Bowen has received the Anonymous was a Woman Award (2017) and fellowships from the National Endowment for the Arts (1994), New York Foundation for the Arts (1989) and Art Matters (1986), among other recognition. [18] [19] [47] She has been awarded artist residencies from the American Antiquarian Society, [48] Dora Maar House (Brown Foundation, France), [46] Jentel Arts, [18] MacDowell, [47] MassMoCA, Sanskriti Foundation [49] and Yaddo, [50] as well as from craft-oriented organizations such as the Centre International de Recherche sur le Verre et les Arts Plastiques (CIRVA), Pilchuck Glass School and European Ceramics Work Centre. [1] [51] Bowen's work belongs to the public art collections of the Corning Museum of Glass, Neuberger Museum of Art and DePauw University Galleries, among others. [2] [18] [52]

Related Research Articles

<span class="mw-page-title-main">Nancy Graves</span> American painter (1939–1995)

Nancy Graves was an American sculptor, painter, printmaker, and sometime filmmaker known for her focus on natural phenomena like camels or maps of the Moon. Her works are included in many public collections, including those of the National Gallery of Art, the Brooklyn Museum of Art, the Smithsonian American Art Museum, the National Gallery of Australia (Canberra), the Des Moines Art Center, Walker Art Center (Minneapolis), and the Museum of Fine Arts. When Graves was just 29, she was given a solo exhibition at the Whitney Museum of American Art. At the time she was the youngest artist, and fifth woman to achieve this honor.

<span class="mw-page-title-main">Kiki Smith</span> German-born American artist

Kiki Smith is a German-born American artist whose work has addressed the themes of sex, birth and regeneration. Her figurative work of the late 1980s and early 1990s confronted subjects such as AIDS, feminism, and gender, while recent works have depicted the human condition in relationship to nature. Smith lives and works in the Lower East Side, New York City, and the Hudson Valley, New York State.

Wangechi Mutu is a Kenyan American visual artist, known primarily for her painting, sculpture, film, and performance work. Born in Kenya, Mutu now splits her time between her studio there in Nairobi and her studio in Brooklyn, New York, where she has lived and worked for over 20 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.

Larry Bell is an American contemporary artist and sculptor. He is best known for his glass boxes and large-scaled illusionistic sculptures. He is a grant recipient from, among others, the National Endowment for the Arts and the Guggenheim Foundation, and his artworks are found in the collections of many major cultural institutions. He lives and works in Taos, New Mexico, and maintains a studio in Venice, California.

<span class="mw-page-title-main">Diana al-Hadid</span> American artist

Diana al-Hadid is a Syrian-born American contemporary artist who creates sculptures, installations, and drawings using various media. She lives and works in Brooklyn, New York. She is represented by Kasmin Gallery.

<span class="mw-page-title-main">Katherine Bradford</span> American artist

Katherine Bradford, née Houston, is an American artist based in New York City, known for figurative paintings, particularly of swimmers, that critics describe as simultaneously representational, abstract and metaphorical. She began her art career relatively late and has received her widest recognition in her seventies. Critic John Yau characterizes her work as independent of canon or genre dictates, open-ended in terms of process, and quirky in its humor and interior logic.

<span class="mw-page-title-main">Howardena Pindell</span> American painter

Howardena Pindell is an American artist, curator, critic, and educator. She is known as a painter and mixed media artist who uses a wide variety of techniques and materials. She began her long arts career working with the New York Museum of Modern Art, while making work at night. She co-founded the A.I.R. gallery and worked with other groups to advocate for herself and other female artists, Black women in particular. Her work explores texture, color, structures, and the process of making art; it is often political, addressing the intersecting issues of racism, feminism, violence, slavery, and exploitation. She has created abstract paintings, collages, "video drawings," and "process art" and has exhibited around the world.

Nancy Grossman is an American artist. Grossman is best known for her wood and leather sculptures of heads.

Mary Beth Edelson was an American artist and pioneer of the feminist art movement, deemed one of the notable "first-generation feminist artists". Edelson was a printmaker, book artist, collage artist, painter, photographer, performance artist, and author. Her works have been shown at the Museum of Modern Art, the Smithsonian American Art Museum, and the Museum of Contemporary Art in Chicago.

<span class="mw-page-title-main">Jennie C. Jones</span> American artist

Jennie C. Jones is an African-American artist living and working in Brooklyn, New York. Her work has been described, by Ken Johnson, as evoking minimalism, and paying tribute to the cross-pollination of different genres of music, especially jazz. As an artist, she connects most of her work between art and sound. Such connections are made with multiple mediums, from paintings to sculptures and paper to audio collages. In 2012, Jones was the recipient of the Joyce Alexander Wien Prize, one of the biggest awards given to an individual artist in the United States. The prize honors one African-American artist who has proven their commitment to innovation and creativity, with an award of 50,000 dollars. In December 2015 a 10-year survey of Jones's work, titled Compilation, opened at the Contemporary Arts Museum in Houston, Texas.

<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?"

Bella Tabak Feldman was an American sculptor. Her work addressed the themes of sexuality, war, and the persistent anxiety of the industrial age. Feldman was known for pioneering the use of glass with steel. Her work has affinities with Surrealism, Post-Minimalism, and the Feminist art movement, although she has no formal affiliation with these. She was a Professor Emeritus at the California College of the Arts. Feldman lived and worked in Oakland, California and in London, England.

Melissa Stern is an American artist and journalist. Her drawing and sculpture have been exhibited in museums, galleries, private and corporate collections throughout the world. Her art reviews and cultural commentary have been featured in Hyperallergic, the Brooklyn-based digital arts publication. She serves as Art Editor for Posit, a journal of literature and art.

Kate Just is an American-born Australian feminist artist. Just is best known for her inventive and political use of knitting, both in sculptural and pictorial form. In addition to her solo practice, Just often works socially and collaboratively within communities to create large scale, public art projects that tackle significant social issues including sexual harassment and violence against women.

Doreen Garner is an American sculptor and performance artist. Her art practice explores where history, power, and violence meet on the body via beauty or medicine. Garner has exhibited at a number of venues, including New Museum, Abrons Arts Center, Pioneer Works, Socrates Sculpture Park, The National Museum of African American History in Washington, D.C., Museum of Contemporary African Diasporan Art in Brooklyn, and Chrysler Museum of Art in Norfolk, Virginia. Garner holds a monthly podcast called #trashDAY with artist Kenya (Robinson). Garner lives and works in Brooklyn, New York.

Joan Livingstone is an American contemporary artist, educator, curator, and author based in Chicago. She creates sculptural objects, installations, prints, and collages that reference the human body and bodily experience.

<span class="mw-page-title-main">Virginia L. Montgomery</span> American visual artist

Virginia L. Montgomery, also known as VLM, is an American multimedia artist working in video art, sound art, sculpture, performance, and illustration. She has exhibited extensively throughout the U.S. and Europe at museums, galleries, and film festivals. Her artwork is known for its surrealist qualities, material experimentation, and thematic blending of science, mysticism, metaphysics, and 21st century feminist autobiography.

<span class="mw-page-title-main">Elana Herzog</span> American artist

Elana Herzog is an American installation artist and sculptor based in New York City. She is most known for abstract, tactile works in which she disassembles, reconfigures and embeds second-hand textiles in walls, modular panels and architectural spaces with industrial-grade metal staples. Herzog has been recognized with a Guggenheim Fellowship, Anonymous Was a Woman Award and Louis Comfort Tiffany Foundation Award, among others. She has exhibited nationally and internationally, including at the Brooklyn Museum, Museum of Arts and Design (MAD), Tang Museum, Weatherspoon Art Museum, Sharjah Art Museum, and Reykjavik Art Museum.

<span class="mw-page-title-main">Heide Fasnacht</span> American visual artist (born 1951)

Heide Fasnacht is a New York City-based artist who works in sculpture, drawing, painting and installation art. Her work explores states of flux, instability and transformation caused by human action and natural events. Since the mid-1990s, she has been known for sculptures and drawings that recreate momentary phenomena such as sneezes, geysers and demolitions—in sometimes abstract or cartoony form—that are temporally and spatially "frozen" for consideration of their aesthetic, perceptual, social or sensate qualities. In the late 2010s, she has expanded these themes in paintings that examine lost and neglected childhood sites, such as playgrounds and amusement parks. ARTnews critic Ken Shulman has described her work as "chart[ing] the fluid dialogue between second and third dimensions, motion and inertia, creation and ruin."

<span class="mw-page-title-main">Elise Siegel</span> American visual artist

Elise Siegel is an American sculptor and installation artist based in New York City. She is known for several bodies of figurative work that use subtle and ambiguous gesture and facial expression to evoke psychic and emotional states. 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; writer Mira Schor included Siegel among the cohort of artists she dubbed "Generation 2.5" and credited for developing the tropes of feminist art. 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. 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.

References

  1. 1 2 3 4 5 6 7 8 9 10 11 Koplos, Janet. "Nancy Bowen: An Inside View," Glass, Winter 1995, p. 26–31.
  2. 1 2 3 4 Oldknow, Tina. Collecting Contemporary Glass: Art and Design after 1990 from the Corning Museum of Glass, Corning, NY: Corning Museum of Glass, 2014. Retrieved October 23, 2024.
  3. 1 2 3 4 Schwabsky, Barry. "Nancy Bowen," Artforum, April 1991. Retrieved October 22, 2024.
  4. 1 2 3 4 5 Kirshner, Judith Russi. "Nancy Bowen," Artforum, April 1991. Retrieved October 22, 2024.
  5. 1 2 3 4 5 6 7 8 9 Hirsch, Faye. "Witches take over Westchester," Hyperallergic, April 2, 2023. Retrieved October 23, 2024.
  6. 1 2 3 4 5 6 7 8 9 Felshin, Nina. Figuring the Body: Nancy Bowen & Nancy Davidson, Middletown, CT: Center for the Arts, Wesleyan University, 1998.
  7. 1 2 3 4 5 Schlegel, Amy. "Figuring the Body: Nancy Bowen and Nancy Davidson," Sculpture, November 1998, p. 67–69.
  8. 1 2 3 4 5 6 7 8 Silas, Silas and Chrysanne Stathacos. "A conversation with Nancy Bowen," Mommy, May 2018. Retrieved October 23, 2024.
  9. 1 2 3 4 5 Filipovna, Valerie. "Nancy Bowen: Visceral Sculptor," Paper Magazine, October 1993, p. 26.
  10. ↑ Raynor, Vivien. "Two Shows: 'Bad Girls' and 'Personal Visions,'" The New York Times, March 4, 1990. Retrieved October 22, 2024.
  11. 1 2 3 Zimmer, William. "Flights of Creation by Women," The New York Times, February 15, 1998, p. 18. Retrieved October 22, 2024.
  12. 1 2 3 4 5 6 Princenthal, Nancy. Nancy Bowen, Purchase, NY: Purchase College, 2011.
  13. 1 2 3 4 5 6 7 Yaniv, Etty. "Nancy Bowen: The Story of Objects," Art Spiel, June 10, 2019. Retrieved October 23, 2024.
  14. ↑ Preu, Nancy and Sabine Runde (eds). Corporal identity, Frankfort/New York: Museum Angewandte Kunst/Museum of Arts & Design, 2003. Retrieved October 32, 2024.
  15. 1 2 McQuaid, Cate. "On balance, 'Somatic Scales' explores bodies and minds," The Boston Globe, July 16, 2004.
  16. ↑ Burchard, Hank. "Turned On at the Corcoran," The Washington Post, June 8, 1995. Retrieved October 23, 2024.
  17. ↑ Artfacts. "Body and Soul - Aspects of Recent Figurative Sculpture," Exhibitions. Retrieved October 23, 2024.
  18. 1 2 3 4 5 Anonymous Was A Woman. Nancy Bowen, 2017 Artists. Retrieved October 22, 2024.
  19. 1 2 National Endowment for the Arts. "National Recipients," A Creative Legacy: A History of the National Endowment for the Arts, New York: Harry N. Abrams, 2001, p. 211. Retrieved July 27, 2023.
  20. 1 2 Purchase College. Nancy Bowen, Profiles. Retrieved October 22, 2024.
  21. 1 2 Henley, John. "Nancy Bowen: Scenes de la Vie Surreale," Art Press, February 1981.
  22. ↑ Sheppard-Gallagher, Ileen. Activated Walls, Flushing, NY: Queens Museum, 1984. Retrieved October 23, 2024.
  23. 1 2 Leonhart, Mark. "The Non-Naïve Show," The New Art Examiner, March 1980.
  24. 1 2 Boyd, Julia. Sculpture Now: Recent Figurative Works, Richmond, VA: The Institute of Contemporary Arts, Virginia Museum, 1983.
  25. ↑ Girard, Xavier. "Nancy Bowen, Galerie Farideh Cadot," Art Press, June 1981.
  26. ↑ Haydon, Harold. "Trio's 'non-naïve' show a major debut," Chicago Sun Times, September 9, 1980.
  27. ↑ Fort, Susan. "Group Show: Zabriskie," Arts, November 1982.
  28. ↑ Henry, Gerrit. "Invitational I," ARTnews, November 1982.
  29. ↑ Brenson, Michael. "Figurative Sculpture of the 80s," The New York Times, June 3, 1986, p. 18. Retrieved October 22, 2024.
  30. ↑ Raven, Arlene. "Art Throb," Lears, November 1989.
  31. 1 2 Gouveia, Georgette. "A Circle of Art," The Journal News, January 27, 2006, p.27–28.
  32. 1 2 3 Koplos, Janet. "Nancy Bowen at Annina Nosei," Art in America, February 1994.
  33. 1 2 3 Canning, Susan. "Nancy Bowen," The New Art Examiner, April 1997, p. 48.
  34. ↑ Bowen, Nancy. "The Pervasive Power of Male Privilege at America’s Elite Universities," Hyperallergic, September 10, 2018. Retrieved October 23, 2024.
  35. 1 2 3 Hackett, Regina. "Bowen's abstract sculptures reflect curves of human form," Seattle Post-Intelligencer, July 20, 1992.
  36. 1 2 3 Canning, Susan. Nancy Bowen: Sometimes a Body Is Not Just a Body, Valhalla, NY: Westchester Center for the Arts, 2023.
  37. 1 2 3 4 Sentilles, Sarah. "Nancy Bowen: Behold, I Am Making a New Thing," Nancy Bowen: For Each Ecstatic Instant, New York: Kentler International Drawing Space, 2018. Retrieved October 23, 2024.
  38. 1 2 Raven, Arlene. "A Breed Apart," The Village Voice, November 2, 1993.
  39. ↑ Levin, Kim. "Nancy Bowen," The Village Voice, October 26, 1993.
  40. ↑ Katz, Vincent. "Nancy Bowen at One Great Jones," Art in America, September 1997, p. 113.
  41. ↑ Silver, Joanne. "Scales Weighs Body, mind, spirit," The Boston Herald, June 13. 2004.
  42. ↑ Kentler International Drawing Space. "Nancy Bowen, For Each Ecstatic Instant," Exhibitions. Retrieved October 22, 2024.
  43. 1 2 3 Van Der Wende, Andre. "Nancy Bowen makes Intergenerational Amends," The Provincetown Independent, October 6, 2021. Retrieved October 22, 2024.
  44. ↑ Fox, Jonathan Charles. "Are you a good witch?" River Reporter, June 2, 2021. Retrieved October 22, 2024.
  45. ↑ Willis Elizabeth and Nancy Bowen. Spectral Evidence: The Witch Book, New York: Litmus Press, 2023. Retrieved October 23, 2024.
  46. 1 2 Dora Maar Cultural Center. Nancy Bowen, Artists. Retrieved October 22, 2024.
  47. 1 2 MacDowell. Nancy Bowen, Artists. Retrieved October 22, 2024.
  48. ↑ American Antiquarian Society. Fellows Directory, Retrieved October 23, 2024.
  49. ↑ Sanskriti Foundation. Previous Artists, Retrieved October 23, 2024.
  50. ↑ Yaddo. Artists. Retrieved October 22, 2024.
  51. ↑ European Ceramics Work Centre. Nancy Bowen. Retrieved October 23, 2024.
  52. ↑ DePauw University. "Modern and Contemporary Art." Collection. Retrieved October 22, 2024.
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.