Nancy Davidson (artist)

Last updated
Nancy Davidson
"Buttress", 1997,180" x 53" x 33", Latex and fabric.jpg
Buttress, latex, rope and plastic, 180" x 53" x 333", 1997.
Born
Nancy Brachman

(1943-11-03) November 3, 1943 (age 80)
Chicago, Illinois, United States
NationalityAmerican
Education School of the Art Institute of Chicago, University of Illinois at Chicago
Known forSculpture, photography, video
Movement Contemporary, Feminist art
Spouse Greg Drasler
Awards Guggenheim, Pollock-Krasner, Anonymous Was a Woman Award, National Endowment for the Arts, Creative Capital
Website Nancy Davidson

Nancy Davidson is an American artist best known for large-scale inflatable sculptures regarded as hyper-feminized abstractions of the human female form. [1] [2] [3] [4] Bulbous and flesh-like, the sculptures resemble buttocks and breasts and employ erotic cultural signifiers in their shape and decoration. [5] [6] [7] Davidson's work spans art media but centers around sculpture. It is largely post-minimal in character and described by commentators as providing a feminist counterpoint to the male-dominated, minimalist sculpture of the 1960s, as well as to cultural tropes involving bodies that the works themselves invoke. [8] [9] [10] [11] Of particular note are Davidson's use of humor and a sense of absurdity to seemingly both celebrate and subvert these tropes, inviting their investigation but without the seriousness and moralism that often accompany critical works. [12] [13] [14] [15] Sculpture Magazine critic Robert Raczka wrote that "The confectionary color and oversize scale" of Davidson's sculpture creates a "playfully upbeat mood that allows feminist and gender issues to rise to the surface at irregular intervals, without didacticism." [14] The New Art Examiner's Susan Canning described it as establishing "a context where all can revel in the transgressive and liberating power of the grotesque."

Contents

Davidson’s work has also been covered in the New York Times, Artforum, Art in America and Der Spiegel, among other publications, and recognized with a Guggenheim Fellowship, [16] Pollock-Krasner and Creative Capital grants, [17] [18] and an Anonymous Was a Woman Award, [19] among others. [20] She lives and works in New York City.

Life and career

Born and raised in Chicago, Davidson was involved in art from an early age, observing her father paint landscapes and later, attending classes at Chicago's Junior Art Institute. [11] After receiving a bachelor's degree in education in 1965 and beginning a lifelong, concurrent career in teaching, she studied art at the University of Illinois at Chicago and the School of the Art Institute of Chicago, earning a BFA and MFA, respectively. [21] [22] [11] In 1975, she launched her professional art career in Chicago, producing paintings and drawings for several group and solo exhibitions before moving to New York in 1979. These early pieces, chosen for exhibition at Chicago's Art Institute and Museum of Contemporary Art as well as at the Walker Art Center in Minneapolis, were positively reviewed in Artforum and Art in America. [21] [23] [24] [25] After relocating to New York, she began using textiles in her work and showed steadily throughout the 1980s—in group shows at the MCA and Albright-Knox Art Gallery, and in solo exhibitions, mainly at Chicago's Marianne Deson Gallery. [22]

In the early 1990s, Davidson's artwork shifted toward sculpture and she began creating the large balloon displays for which she is best known. [26] [27] Following this shift, her works were selected for group exhibits at the Whitney Museum, Aldrich Museum of Contemporary Art and Corcoran Gallery of Art, and appeared in solo shows at the Institute of Contemporary Art, Philadelphia (1999) and Contemporary Arts Center (2001) in Cincinnati, among other venues; [28] [29] she also appeared in the well-known feminist exhibition, "Bad Girls West" (1994). [30] [31] Davidson branched out into other media during this period, including video and photography. [32] [33] [34] [1] Over the next two decades, she had solo shows at Robert Miller Gallery (2001), Betty Cuningham Gallery (2012), the Boca Raton Museum of Art (2013) and the Krannert Art Museum (2020–1). [7] [35] [36]

Concurrent with her professional art career, Davidson taught at a number of institutions, including University of Illinois Urbana-Champaign, Williams College, and State University of New York at Purchase College, where she completed a 24-year tenure. [21]

Nancy Davidson, Lulu (1 of 3), latex and fabric, 48" x 24" x 24", 1993. Nancy Davidson Lulu 1999.jpg
Nancy Davidson, Lulu (1 of 3), latex and fabric, 48" x 24" x 24", 1993.

Work

In her first two decades, Davidson worked primarily in painting, [37] frottage drawing, [38] [25] [39] and with textiles. [40] [41] In the early 1990s, she began experimenting with latex weather balloons, and by 1993 had begun showing the feminized, anthropomorphic sculptures for which she became known. [15] [42] [26] Her exhibitions are traditional in the sense that they contain discreet works, but she often displays the works in tableaux or as part of an immersive environment, in the manner of installation art. [12]

Davidson's sculpture is said to draw on work by sculptors Donald Judd and Eva Hesse [9] [10] and she has cited them as influences, [35] together with literary figures Mikhail Bakhtin and Jeanette Winterson. [13] [15] Her work has also been called "Rabelaisian," after French writer François Rabelais, whose writings enacted social critique through their satirical use of bawdy humor and the grotesque. [3] [41]

The subject matter and materials used—together with the size and minimal character of the pieces—have led commentators to describe Davidson's work as a markedly feminist response to the masculine, minimalist sculpture of the 1960s. [10] [11] [43] While Davidson's sculptures echo these works in scale and level of abstraction, their soft pliability, light weight and ebullient femininity stand in sharp contrast with the rigid and heavy, sober works cast in steel and concrete by the artist's predecessors. [1] [10] Davidson has confirmed the intentionality of this contrast in interviews, stating that she designed one of her largest pieces, Double Exposure (2003), to be a feminine counterpoint to artist Ronald Bladen's giant "X" sculpture (The X, 1965), [44] which, in 1967, occupied the same atrium space at the Corcoran Gallery of Art for which Davidson's piece was commissioned. [35] [15] Critics also see a subversive feminist ethos in the way Davidson's art employs cultural tropes involving bodies and desirability, noting that any subversion is achieved subtly. Art in America's Travis Diehl wrote that "[Davidson's] work is light and playful, as well as genuinely erotic, which makes our involvement with it more experiential than intellectual. Her sly seduction shows us to be objectifiers as well as objectified, illuminating our roles as both accomplices and victims." [33]

Brightly colored, large, and bearing references to pop-culture icons like Elvis Presley and Mae West, [8] [10] the sculptures appear to celebrate the exaggerated forms of culturally idealized bodies while simultaneously undermining the forces behind them. [12] [15] Artforum's David Frankel wrote, "there is a certain hilarity and even joyfulness in their comically rounded bulges and furrows, in their colors and fussy corsetry," further noting that Davidson's work "examines the roles imposed on women in the theater of male expectation while also allowing a space for women to act in that theater without being limited by it—in effect, by taking over the play." [1] Humor, limitation and the transcendence of limitation are common themes in her art, and the artist has cited the latter—which she calls "unruliness"—as being a key inspiration to her work. [35]

Early balloon sculptures

Davidson's work spans multiple art disciplines but she is best known for large, inflatable abstract sculptures that erotically reference the human female form. [1] [45] Fashioned from latex weather balloons, [42] the works have a bulbous, fleshy appearance and are seen as hyper-feminized abstractions of erogenous body parts—a visual interpretation reinforced by Davidson's use of fishnet lace, rope, and other culturally eroticized textiles to adorn, constrict and shape the tautly inflated forms. [32] [46] [45] One early configuration involved constricting single balloons with a corset and featured bifurcated bulges on both top and bottom, mimicking the curves of buttocks and breasts. This design gave rise to several works and the artist—as well as critics—began referring to the corseted pieces collectively as "lulus," after a 1993 triad with that name. [8] Other lulu-type pieces include Maebe (1994) and Blue Moon (1998), which reference Mae West and Elvis Presley, respectively. [15] [47] Blue Moon (1998) was included in the group show, "Sculpture-Figure-Woman" (Landesgalerie, 1998) which originated in Linz, Austria and travelled to Chemnitz, Germany; the piece was subsequently featured in Der Spiegel magazine. [48]

Davidson's stable of undergarment-clad works also include the egg-like Netella (1998), as well as Buttress (1998) and Dulcinea (1999)—two pillar-like stack sculptures over fifteen feet high. [7] [14] [49] As with Lulu, Davidson revisited Buttress, reprising it with the similar but distinct, bright green Stacked in 2016. [10] [50] Hang 'Em High (1999), was nearly twenty feet square and featured side-by-side red spheres veiled by netting and hung by a rope, which also bound the piece vertically at the center. [14] [49]

The latex period also saw the introduction of a recurrent, literal "gaze" theme in Davidson's sculpture, by way of spherical forms that overtly reference the human eye. In her 1998–9 piece, Carnivaleyes, twelve fabric-wrapped pairs of eyes form a wall, their gazes askance. [14] In 2001, she created a twelve-by-fifteen-foot-square installation at the Contemporary Arts Center that featured a mound of cartoonish eye pairs presented with an immersive sound element. [49] In her 2017 piece, Eyeenvy, a 14-ft-high eyeball looks down on viewers from atop a four-legged platform. [51] [49]

Nancy Davidson, Dustup, vinyl coated nylon, rope, leather, blowers, sandbags and sawdust, 240" x 240" x 192", 2012. Nancy Davidson Dustup 2012.jpg
Nancy Davidson, Dustup, vinyl coated nylon, rope, leather, blowers, sandbags and sawdust, 240” x 240” x 192”, 2012.

Later sculpture

In the early 2000s, Davidson began using vinyl-coated nylon as a primary sculpture material. The Corcoran Gallery commissioned Davidson in 2002 to create a piece for its 47th Biennial, and she produced Double Exposure, a 34-foot by 20-foot-square nylon work that filled one side of the museum's atrium. [35] [15] Echoing her latex piece Hang 'Em High, the installation featured an anthropomorphic red double-sphere, viewable from both above and below and suspended from the center by a thick blue rope.

In 2005, a Creative Capital Artist Grant funded research for a new body of work—an exploration of the cowgirl archetype. [41] [29] The results were exhibited in her solo shows, "Dustup" (2012) and "Let 'er Buck" (2013), and featured giant nylon inflatables together with other types of work. The piece Dustup (2012) is based, according to Davidson, on the classic-comic convention of portraying skirmishes as "dustballs" and takes the form of three bulbous, boot- and tassel-clad forms in pink, yellow and blue, suspended around a central point, "legs up." [35] [49] The piece Let 'er Buck (2013) poses the pink character from Dustup singly, in a standing posture. [52]

Between 2016 and 2018, Davidson did multiple solo exhibitions—including "Ridin' High" (2016) and "Per Sway" (2017–8), both of which featured new veins of work. [8] [51] [53] One prominent theme involved the relationship of privilege to vantage point and had eyeballs and knots of various character mounted atop platforms of various heights. [15] [8]

Nancy Davidson, Hive, fabric, LED, blowers, electronic wiring, fabric, computer, 222" x 144" x 144", 2020, Krannert Art Museum. Nancy Davidson Hive 2020.jpg
Nancy Davidson, Hive, fabric, LED, blowers, electronic wiring, fabric, computer, 222” x 144” x 144”, 2020, Krannert Art Museum.

In 2020, Davidson collaborated with Lakshmi Ramgopal to create the exhibition "Hive" at the Krannert Art Museum, a year-long, immersive installation that includes sculpture, sound and light. [36] [41] Two eighteen-foot-high Davidson sculptures fill the glass-enclosed entrance to the Krannert's Kinkead Pavilion, while a soundscape created by Ramgopal projects abstract vocalizations of breath, including inhales, sighs and hums. Davidson's Hive inflatables are soft, pink and rounded, and contrast with the hard, angular qualities of the postmodern-style pavilion. The dual sculptures are internally lit and flash in a programmed pattern. [36] [21] Hive appears to have derived from a smaller, similar Davidson piece—Bigarurre—which was included in the artist's 2017–8 solo show, "Per Sway." [53] [49]

Photography and video

In addition to sculpture, Davidson has also produced photographic and video works, many of which use her sculptures and art materials as subjects. [1] [15] [34]

In her solo show, "nobutsaboutit" (1998, 1999), Davidson exhibited multiple series of images she created from photographs of two of her sculptures: Musette (1994) and Spin Too! (1995). [1] The images frame details of the sculptures and mirror them along the center line for a symmetrical effect which—in line with Davidson's three-dimensional works—references the cleaved curves of buttocks and breasts. [32] Because of the close-up, cropped nature of the scenes, the inanimate origin of the images is somewhat disguised, leaving viewers to believe it could be human. [1] [13] [15] The feminist undertones of the series have been noted by reviewers, including New York Times critic Ken Johnson, who wrote, "By constructing such images instead of photographing real women, Ms. Davidson means to reflect on the media's construction of women as objects of desire, and she does so in works that are, like the icons they evoke, from Mae West to Marilyn Monroe, seductive and slyly ironic." [32]

In 1999, Davidson exhibited her first video work, Breathless (1999), as part of the immersive media for a show of her works at Philadelphia's Institute of Contemporary Art. [35] [15] It captured a pink weather balloon in its deflation process bouncing around a room, interspliced with scenes of the balloon being inflated and overlaid with balloon sounds. In 2009, her rodeo research for the cowgirl project led to the creation of All Stories Are True, a five-minute, slow-motion video of men performing rodeo. The video was overlaid with enhancements, including a visual and audio camera-flash effect and slowed-tempo music. [35] [54] She also produced a 7-minute video of the Gotham Girls Roller Derby titled I Am Not Tame (2016), meant to be played on loop in a video installation. [15] [55]

Public recognition

Davidson has been recognized with a Guggenheim Fellowship (2014), [16] [29] Anonymous Was a Woman Award (1997), [19] [20] and grants from the Pollack-Krasner Foundation (2001, 2015), [17] [56] Creative Capital (2005), [18] Massachusetts Council of the Arts (1981, 1984) and National Endowment for the Arts (1979). [20] She has received artist residencies from Yaddo, MacDowell and Djerassi. [57] [58] [59]

Commentators have also noted that Davidson's 1990s work intersects with—and appears to have foreshadowed—cultural shifts in body image and desirability that became prevalent in the 2010s. At MTV's 2019 Video Music Awards, a performance by singer Lizzo featured a set prop—a large inflatable buttocks sculpture—that resembled Davidson's work. [60] Others have drawn comparisons between Davidson's sculptures and the buxom body image popularized by media stars such as Kim Kardashian. [8] [11]

Related Research Articles

<span class="mw-page-title-main">Diana Cooper (artist)</span> American visual artist (born 1964)

Diana Cooper is an American visual artist, known for largely abstract, improvised hybrid constructions that combine drawing, painting, sculpture, installation and photography. Her art has evolved from canvas works centered on proliferating doodles to sprawling installations of multiplying elements and architectonic structures. Critics have described her earlier work—primarily made with craft supplies such as markers, pens, foamcore, pushpins, felt, pipe cleaners, tape and pompoms—as humble-looking yet labor-intensive, provisional and precarious, and "a high-wire act attempting to balance order and pandemonium." They note parallels to earlier abstract women artists such as Eva Hesse, Lee Bontecou, Elizabeth Murray, and Yayoi Kusama. Lilly Wei, however, identifies an "absurdist playfulness and Orwellian intimations" in Cooper's work that occupy a unique place in contemporary abstraction.

<span class="mw-page-title-main">Marcia Tucker</span> American art historian, critic and curator (1940–2006)

Marcia Tucker was an American art historian, art critic and curator. In 1977 she founded the New Museum of Contemporary Art, a museum dedicated to innovative art and artistic practice in New York City, which she ran as the director until 1999.

<span class="mw-page-title-main">Lynda Benglis</span> American sculptor (born 1941)

Lynda Benglis is an American sculptor and visual artist known especially for her wax paintings and poured latex sculptures. She maintains residences in New York City, Santa Fe, New Mexico, Kastellorizo, Greece, and Ahmedabad, India.

<span class="mw-page-title-main">Jeff Koons</span> American sculptor and painter (born 1955)

Jeffrey Lynn Koons is an American artist recognized for his work dealing with popular culture and his sculptures depicting everyday objects, including balloon animals produced in stainless steel with mirror-finish surfaces. He lives and works in both New York City and his hometown of York, Pennsylvania. His works have sold for substantial sums, including at least two record auction prices for a work by a living artist: US$58.4 million for Balloon Dog (Orange) in 2013 and US$91.1 million for Rabbit in 2019.

<span class="mw-page-title-main">Jessica Stockholder</span> American artist

Jessica Stockholder is a Canadian-American artist known for site-specific installation works and sculptures that are often described as "paintings in space." She came to prominence in the early 1990s with monumental works that challenged boundaries between artwork and display environment as well as between pictorial and physical experience. Her art often presents a "barrage" of bold colors, textures and everyday objects, incorporating floors, walls and ceilings and sometimes spilling out of exhibition sites. Critics suggest that her work is informed by diverse artistic traditions, including abstract expressionism, color field painting, minimalism and Pop art. Since her early career, they have noted in her work an openness to spontaneity, accident and marginality and a rejection of permanency, monetization and disciplinary conventions that Stephen Westfall characterized as an "almost shocking sense of freedom."

<span class="mw-page-title-main">Katy Schimert</span> American visual artist

Katy Schimert is an American artist known for exhibitions and installations that meld disparate media into cohesive formal and conceptual visual statements arising out of personal experience, myth and empirical knowledge. She interweaves elements of fine and decorative arts, figuration and abstraction in densely layered drawings and sculpture that together suggest elliptical narratives or unfolding, cosmic events. Curator Heidi Zuckerman wrote that Schimert is inspired by "the places where the organized and the chaotic intersect—the scientific and the mythic, the known and the unknown, and the real and the imagined … she creates work that exists where, through fantasy, truth and beauty meet."

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

<span class="mw-page-title-main">Mary Ann Unger</span> American sculptor

Mary Ann Unger was an American sculptor known for large scale, semi-abstract public works in which she evoked the body, bandaging, flesh, and bone. She is known for dark, bulbous, beam-like forms. Her sculptures concern universal issues such as death and regeneration and are described as transcending time and place. Unger received a Guggenheim Fellowship and Pollock-Krasner Foundation grants and was a resident fellow at Yaddo. Her work is found in collections such as the Hirshhorn Museum and Sculpture Garden, the Brooklyn Museum of Art, the Philadelphia Museum of Art, the Albright-Knox Art Gallery, and the High Museum of Art. In 2018, Unger's work was acquired by both the Whitney Museum of American Art and the Art Institute of Chicago.

Glenda León is a Cuban artist born in Havana, in 1976.

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">Annette Lemieux</span> American artist (born 1957)

Annette Lemieux is an American artist who emerged in the early 1980s along with the "picture theory" artists. Lemieux brought to the studio a discipline equally based on introspection, and the manifestations of an ideological minimalism. Process is a key component in the execution of her works over the past three decades, creating the lure to the confrontation of issues of social and historical urgency. Lemieux has been the recipient of awards from the National Endowment of the Arts and the Keiser Wilhelm Museum, Germany and an honorary Doctorate in Fine Arts from Monserrat College of Art. Presently, in addition to her studio and exhibition schedule, she is a senior lecturer at Harvard University in the area of visual and environmental studies.

<span class="mw-page-title-main">Polly Apfelbaum</span> American contemporary visual artist (born 1955)

Polly E. Apfelbaum is an American contemporary visual artist, who is primarily known for her colorful drawings, sculptures, and fabric floor pieces, which she refers to as "fallen paintings". She currently lives and works in New York City, New York.

Nancy Dwyer is an American contemporary artist whose works include paintings, works on paper, public art, word sculpture and furniture art. Her work has been exhibited widely at venues including the Whitney Museum of American Art, the Museum of Contemporary Art, Los Angeles, the Contemporary Arts Museum in Houston, the New Museum in New York and many others. Her work was included in the 2009 exhibition “The Pictures Generation” at the Metropolitan Museum of Art in New York, alongside the work of her peers and contemporaries, including Cindy Sherman and Robert Longo, with whom she cofounded Hallwalls in Buffalo, New York in 1974, as well as work by Barbara Kruger, Richard Prince, John Baldessari, Louise Lawler and Sherrie Levine, among others.

<span class="mw-page-title-main">Valerie Hegarty</span> American artist (born 1967)

Valerie Hegarty is an American painter, sculptor, and installation artist. She is known for irreverent, often critical works that replicate canonical paintings, furnishings, and architectural spaces from American or personal history undergoing various processes of transformation. Hegarty most often portrays her recreations in meticulously realized, trompe l’oeil states of decay, ruin, or physical attack related to their circumstances. Her work examines American historical themes involving colonization, slavery, Manifest Destiny, nationalism, art-historical movements and their ideological tenets, romantic conceptions of nature, and environmental degradation. Sculpture critic Robin Reisenfeld wrote that among other things, Hegarty's art is "informed by 19th-century American landscape painting as an expression of the sublime, as well as by the manufacturing of two-dimensional 'masterworks' to be destroyed in three-dimensional fashion in order to evoke entropic forces of growth and decay."

<span class="mw-page-title-main">Rosemary Mayer</span> American artist (1943–2014)

Rosemary Mayer (1943–2014), was an American visual artist who was closely associated with the feminist art movement and the conceptual art movement of the 1970s. She was a founding member of A.I.R. gallery, the first all-female artists cooperative gallery in the United States.

Margaret Wharton (1943-2014) was an American artist, known for her sculptures of deconstructed chairs. She deconstructed, reconstructed and reimagined everyday objects to make works of art that could be whimsical, witty or simply thought-provoking in reflecting her vision of the world.

<span class="mw-page-title-main">Helen O'Leary</span> Irish and American artist

Helen O'Leary is an Irish-born artist based in the United States and Ireland, known for constructions that blur the boundaries between painting and sculpture and object and image. She uses bricolage and handicraft approaches to refashion older works, studio castoffs and diverse materials into abstract pieces that explore materials, language, remnants of the past, and the visual, cultural and emotional influences of origin. She has exhibited internationally, including shows at the Irish Museum of Modern Art (IMMA), Metropolitan Arts Centre (MAC) (Belfast), American Academy of Arts and Letters, SFMOMA, the Sanskriti Foundation, Victorian College of the Arts (Melbourne), and Centre Culturel Irlandais (Paris). Her work has been recognized by the American Academy in Rome and John S. Guggenheim, Pollock-Krasner and Joan Mitchell foundations, numerous residencies, and reviews in The Times (UK), The New York Times, Chicago Tribune, The Irish Times, and Arts Magazine, among others.

<span class="mw-page-title-main">Jane Benson</span> British multidisciplinary artist

Jane Benson is a British multidisciplinary artist. She is known for her immersive geopolitical and research based practice that spans across sculpture, installation, sound, video, institutional critique and collaborations with musicians.

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

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">Cristos Gianakos</span> American sculptor (born 1934)

Cristos Gianakos is an American postminimalist artist known for his large-scale ramp sculptures and installations. He lives and works in New York, where he has been teaching at the School of Visual Arts since 1963.

References

  1. 1 2 3 4 5 6 7 8 Frankel, David. "Nancy Davidson," Artforum, February, 1999. Retrieved February 2, 2021.
  2. ↑ Karmel, Pepe. "Maux Faux," The New York Times, March 24, 1995. Retrieved February 2, 2021.
  3. 1 2 Frank, Peter. "Art Picks of the Week: Nancy Davidson, Joseph Cornell," LA Weekly, September 11, 1997.
  4. ↑ Art Observed. "Miami Beach: NADA at the Deauville Resort and Hotel," December 2, 2016. Retrieved February 2, 2021.
  5. ↑ Madoff, Steven. "Pop Surrealism," Artforum, October, 1998. Retrieved February 2, 1998.
  6. ↑ Kimmelman, Michael. "Nancy Davidson," The New York Times, March 17, 1995. Retrieved February 2, 2021.
  7. 1 2 3 Glueck, Grace. "Nancy Davidson," The New York Times, September 21, 2001. Retrieved February 2, 2021.
  8. 1 2 3 4 5 6 Sellers, Meredith. "Sexual and Playful Inflatable Bodies," Hyperallergic, May 20, 2016. Retrieved February 2, 2021.
  9. 1 2 Youens, Rachel. "Nancy Davidson," The Brooklyn Rail, November, 2001. Retrieved February 2, 2021.
  10. 1 2 3 4 5 6 Palon, Nadia. "At art basel miami, the future is still female," Vice, December 7, 2016. Retrieved February 2, 2021
  11. 1 2 3 4 5 Frank, Priscilla. "How An Artist Is Using Minimalist Sculpture To Challenge Absurd Body Ideals," Huffington Post, May 31, 2016. Retrieved February 2, 2021.
  12. 1 2 3 Canning, Susan. "Nancy Davidson," New Art Examiner, Summer, 1995.
  13. 1 2 3 Schwabsky, Barry. "Nancy Davidson," Artforum, June, 1995. Retrieved February 2, 2021.
  14. 1 2 3 4 5 Raczka, Robert. "Nancy Davidson," Sculpture, April, 2000.
  15. 1 2 3 4 5 6 7 8 9 10 11 12 McNelis, Ashley. "Nancy Davidson with Ashley McNelis," The Brooklyn Rail, April, 2016. Retrieved February 2, 2021.
  16. 1 2 Artforum. "2014 Guggenheim Fellows Announced," April 10, 2014. Retrieved February 2, 2021.
  17. 1 2 Artnet. "Pollock-Krasner Announces $4.3 Million in Grants," News, October 31, 2001. Retrieved February 2, 2021.
  18. 1 2 Creative Capital. "Award Year 2005." Retrieved February 2, 2021.
  19. 1 2 Dobrzynski, Judith. "Anonymous Gifts for Art, So Women Creating It Aren't," The New York Times, October 12, 1997. Retrieved February 2, 2021.
  20. 1 2 3 Hershenson, Roberta. "2 Women Receive Art Grants From Unknown Female Donor," The New York Times, March 22, 1998. Retrieved February 2, 2021.
  21. 1 2 3 4 Kan, Ozlem. "On 'Hive' installation with Nancy Davidson," Warhola Magazine. Retrieved February 2, 2021.
  22. 1 2 Binstock, Jonathan P. The 47th Corcoran Biennial: Fantasy Underfoot, Washington, DC: Corcoran Gallery of Art, 2002.
  23. ↑ Morrison, C. L. "'The Chicago Connection,'" Artforum, February, 1977. Retrieved January 28, 2021.
  24. ↑ Morrison, C. L. "Nancy Davidson" Artforum, October, 1977. Retrieved January 28, 2021.
  25. 1 2 Frueh, Johanna. "Nancy Davidson at Marianne Deson," Art in America, May, 1979.
  26. 1 2 Duncan, Michael. "The Zone," Frieze, November, 1993.
  27. ↑ Davidson, Nancy. "Nancy Davidson considers an amorphous object that has shaped her career," The Architect's Newspaper, June 27, 2018. Retrieved February 2, 2021.
  28. ↑ Zimmer, William. "The Push of Gravity, The Pull of Gravity," The New York Times, July 18, 1999. Retrieved February 2, 2021.
  29. 1 2 3 John Simon Memorial Guggenheim Foundation. "Nancy Davidson," Retrieved February 2, 2021.
  30. ↑ Krannert Art Museum. Nancy Davidson, Artists. Retrieved March 4, 2021.
  31. ↑ Tucker, Marcia (ed.). Bad Girls, New York: New Museum of Contemporary Art, 1994.
  32. 1 2 3 4 Johnson, Ken. "Nancy Davidson," The New York Times, October 9, 1998. Retrieved February 2, 2021.
  33. 1 2 Diehl, Carol. "Nancy Davidson at Dorsky," Art in America, April, 1999.
  34. 1 2 Zimmer, William. "At Wesleyan: Whistler's Etchings, Contemporary Works," The New York Times, October 10, 1999. Retrieved February 2, 2021.
  35. 1 2 3 4 5 6 7 8 Gilmore, Kate. "Nancy Davidson with Kate Gilmore," The Brooklyn Rail, September, 2012. Retrieved February 2, 2021.
  36. 1 2 3 Heckel, Jodi. "Ancient and modern intersect in 'Hive' exhibition at Krannert Art Museum," Illinois News Bureau, January 21, 2020. Retrieved February 2, 2021.
  37. ↑ Bonesteel, Michael. "Nancy Davidson at Marianne Deson," Art in America, February, 1984.
  38. ↑ Morrison, C.L. "Chicago Dialectic" Artforum, February, 1978. Retrieved January 28, 2021.
  39. ↑ Village Voice. "'Physical Relief,'" December 17, 1991.
  40. ↑ Rubinstein, Mayer. "Nancy Davidson at Richard Anderson," Art in America, February, 1992.
  41. 1 2 3 4 King, Elaine A. "Unruly Forms: A Conversation with Nancy Davidson," Sculpture, April 20, 2021. Retrieved April 22, 2021.
  42. 1 2 Zimmer, William. "Flights of Creation by Women and Some About Women, Too," The New York Times, February 15, 1998. Retrieved February 2, 2021.
  43. ↑ Creative Capital. "Nancy Davidson: When Deep Research Is Needed to Make Sculpture," December 2, 2019. Retrieved February 2, 2021.
  44. ↑ Meyer, James. Minimalism: Art and Polemics in the Sixties, p. 165. New Haven, Connecticut: Yale University Press, 2001. Retrieved February 2, 2021.
  45. 1 2 Smith, Roberta. "Judy Ledgerwood: 'April Showers,'" The New York Times, June 23, 2011. Retrieved February 2, 2021.
  46. ↑ Debord, M. "US Shorts," Artforum, September, 1999. Retrieved February 2, 2021.
  47. ↑ Clement, Douglas. "The Female Identity, Discussed in Art," The New York Times, April 1, 2016. Retrieved February 2, 2021.
  48. ↑ Hohmeyer, Jurgen. "Abschied von Momma," Der Spiegel, May, 1999.
  49. 1 2 3 4 5 6 Davidson, Nancy. "Sculpture," Retrieved February 2, 2021.
  50. ↑ McMahon, Katherine. "Scenes From NADA Miami Beach, Part 1," ARTnews, December 2, 2016. Retrieved February 2, 2021.
  51. 1 2 Hanson, Sarah. "Nancy Davidson: p e r Sway," The Art, December 6, 2017.
  52. ↑ Artcore Journal. "Surrender to Something Dangerous: A Conversation Between Artists Nancy Davidson and Nene Humphrey," June, 2013. Retrieved February 2, 2021.
  53. 1 2 Terremoto. "p e r Sway," January 23, 2018. Retrieved February 2, 2021.
  54. ↑ Davidson, Nancy. "Video," Retrieved February 2, 2021.
  55. ↑ Davidson, Nancy. "I Am Not Tame." Retrieved February 2, 2021.
  56. ↑ Pollock-Krasner Foundation. "The Pollock-Krasner Foundation, Inc. Announces 118 Grants Totaling $2,616,000 to Visual Artists Internationally in Fiscal Year 2014-2015," December 3, 2015. Retrieved February 2, 2021.
  57. ↑ Yaddo. Visual Artists. Artist Guests. Retrieved March 2, 2021.
  58. ↑ MacDowell. Nancy Davidson. Artists. Retrieved March 2, 2021.
  59. ↑ Djerassi Resident Artists Program. Nancy Davidson. Artists. Retrieved March 2, 2021.
  60. ↑ Armstrong, Annie. "No, Lizzo’s VMA Performance Did Not Feature a Nancy Davidson 'Buttress' Sculpture," ARTnews, August 27, 2019. Retrieved February 2, 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.