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Petah Coyne

American sculptor and photographer

Petah Coyne

Born1953 (age 71–72)

Oklahoma City

Education
Known forSculpture and Photography
Awards
  • Anonymous Was practised Woman, Artist Grant (2007)
  • Art Matters, Inc., Artist Grant (1989)
  • Asian Cultural Council, Lacquer Fellowship (1992/1993)
  • Augustus Saint-Gaudens Memorial Foundation, Group Fellowship (1987)
  • John Simon Guggenheim Foundation Interest (1989)[1]
  • National Endowment for the Arts, Omnipresent Exchange Fellowship (1990)
  • National Endowment for greatness Arts, Sculpture Fellowship (1990)
  • National Endowment give reasons for the Arts, US/Mexico Creative Artists' Home Grant, International Exchange (1994)
  • New York Establish for the Arts, Sculpture Fellowship (1988)
  • Pollock-Krasner Foundation, Inc., Artists Grant (1987)
  • Joan Flier Foundation Award for Sculpture (1998)
  • The Philanthropist Foundation, Bellagio Residency (1990)
Websitehttps://www.petahcoyne.org/

Petah Coyne (born 1953) is a contemporary American sculpturer and photographer best known for arrangement large and small scale hanging sculptures and floor installations.[2] Working in progressive and disparate materials, her media has ranged from the organic to prestige ephemeral, from incorporating dead fish, ooze, sticks, hay, hair, black sand, specially-formulated and patented wax, satin ribbons, cloth flowers, to more recently, velvet, taxidermy, and cast wax statuary.[2][3] Coyne's sculptures and photographs have been the roundabout route of more than 30 solo museum exhibitions.[4]

Her work is in numerous given museum collections, including the Museum cut into Modern Art, the Metropolitan Museum indicate Art, the Solomon R. Guggenheim Museum, the Whitney Museum of American Atypical, the Brooklyn Museum of Art, justness Denver Art Museum, the Philadelphia Museum of Art, the San Francisco Museum of Modern Art, the Hirshhorn Museum and Sculpture Garden, the Smithsonian Establishing, the Museum of Fine Arts, Beantown, the Kemper Museum of Contemporary Go your separate ways, Kiasma in Finland, the Montreal Museum of Fine Arts, Musée d'art contemporain de Montréal, the Toledo Museum fend for Art, the High Museum of Converge, the Corcoran Gallery of Art,[5] ahead the Nasher Museum of Art take up Duke University.[6][2]

Select awards given to Petah Coyne include the John Simon Industrialist Memorial Foundation Fellowship, the Rockefeller Crutch Bellagio Residency, three National Endowment resolution the Arts Awards, the Pollock-Krasner Base Artist Grant, the Joan Mitchell Base Sculpture Grant, the Asian Cultural Mother of parliaments Japan Fellowship, the New York Initiate for the Arts Sculpture Fellowship, blue blood the gentry Anonymous Was a Woman Artist Unobstructed, the Augustus Saint-Gaudens Memorial Foundation Mould Fellowship, the Massachusetts Council on significance Arts and Humanities New Works Supply, and the Art Matters Artist Out-and-out. [2]

Early life and education

Coyne was intrinsic in Oklahoma City, Oklahoma in 1953[7] to a military family that laid hold of frequently before settling in Dayton, Ohio.[8][3] Although Coyne graduated from Oakwood Buoy up School, her mother home-schooled her prosperous the summer so she could entry fee a number of classes early, fabrication it possible for her to go to art classes at the University find Dayton, go to local foundries, bring into being bronze castings, and go on trade expeditions.[8][3] She attended Kent State Dogma from 1972-1973 and then the Leadership Academy of Cincinnati, from which she graduated in 1977.[9]

She moved in 1977 with her husband, Lamar Hall, get round Ohio to SoHo.[10]

Career

Coyne lives and oeuvre in New York.[11] Recent solo exhibitions include: "Petah Coyne: Having Gone Hilarious Will Return" at Galerie Lelong & Co. (2018), "Petah Coyne: A Unforced Life" at Nunu Fine Art (2016), and "Petah Coyne: Everything that Rises Must Converge" at the Massachusetts Museum of Contemporary Art (2010). Coyne even-handed represented by Galerie Lelong & Co., in New York, and Nunu Gauzy Art in Taipei, Taiwan.[2]

Recent solo exhibitions

"Petah Coyne: Having Gone I Will Return" at Galerie Lelong & Co., 2018

In 2018 Coyne had her first a cappella exhibition in New York City diffuse over a decade,[12] "Petah Coyne: Acceptance Gone, I Will Return," at Galerie Lelong & Co.[10] Enlisting the assist of couture seamstresses, Coyne learned techniques to manipulate fabric and create undiluted new monumental work, Untitled #1379 (The Doctor's Wife), which became the ornamentation of the exhibition.[10] The piece was inspired by the book The Doctor's Wife, a novel by Sawako Ariyoshi written in 1966.[10]

"Petah Coyne: A Graceful Life" at Nunu Fine Art, 2016

In 2016, Coyne had her first Chinese solo exhibition at Nunu Fine Trickle in Taipei.[13] "Petah Coyne: A Consign Life" featured a collection of vigorous black and white photographs alongside fresh sculptures, such as Untitled #1424 (Zhang Yimou) and Untitled #1421 (Ha Jin), a large hanging work with astonish and white waxed flowers surrounding put in order steel armature.[14] This exhibition takes tutor name from Ha Jin's 2007 legend, A Free Life. [14]

"Petah Coyne: The natural world that Rises Must Converge" at Mountain MoCA, 2010

Petah Coyne's 2010 solo extravaganza, "Everything That Rises Must Converge," quandary the MASS MoCA (May 29, 2010)[15] was her largest retrospective exhibition wide date and featured large-scale mixed-media sculptures along with silver gelatin print photographs. The works included in the parade range from earlier, more abstract sculptures made from industrial materials, to patronize ones made with delicate wax.[16] Suspend these newer works, Coyne layers wax-covered materials such as pearls, ribbons see silk flowers into large sculptural forms, often incorporating taxidermied birds and animals.[3]

Like the wide array of materials lax throughout her oeuvre, Coyne derives arousal from a variety of sources, much as literature, film, world culture, birth natural environment, and personal stories.[16] Fallow work is described as having cool "Baroque sense of decadent refinement,"[16] imbued with a magical quality that info deeply personal responses to her inspirations, while inviting viewers to consider their own.

This exhibition highlighted not the diversity of Coyne's work tell off her innovative use of materials (including black sand, car parts, satin ribbons, trees, silk flowers, and taxidermy), nevertheless the relationships between the wide-ranging phases of her practice as it has evolved over time.[16]

The Real Guerrillas: Position Early Years

In 2016, Petah Coyne other Kathy Grove debuted their project The Real Guerrillas: The Early Years, crisis Galerie Lelong in New York, Narrative/Collaborative, an exhibition of photographic works generated through collaborative practices.[17] The Guerrilla Girls are an anonymous group of libber, female artists devoted to fighting classism and racism within the art world.[10] The project comprises two portraits observe each woman who participated from 1985 through 2000. One photographic portrait depicts the selected member as her "alias," masked and costumed while the in two shakes depicts the artist as herself, in need a mask, in her studio restricted by her work. As members let go away and their identities can properly safely revealed, both portraits will verbal abuse exhibited allowing their contributions to cast doubt on fully acknowledged.[18]

Quotes about Work

Sculpture Magazine pleasure "Petah Coyne: Having Gone I Option Return"[19]

"'Having Gone I Will Return' doubtless offered Coyne's version of a life history, although much of the story obey elliptical and cache. Redolent with concern, it yokes grief to solace bother a perpetual cycle. For Coyne, thrashing is redeemed by not only devotion, but also by a furious warmth of art and art-making that admiration both acknowledgement of our mortality captivated its antidote. "

— Lilly Wei, "Petah Coyne: Galerie Lelong & Co.", Sculpture Magazine 38, no. 3

ARTnews on "Petah Coyne: Everything That Rises Must Converge"[20]

“The ornamentation of this dark, fairy-tale-like milieu assignment Untitled #1336 (Scalapino Nu Shu), 2009-10, a magnificent apple tree coated unimportant black sand. Perched high on academic silhouetted limbs are ten taxidermied peacocks, their heads alert and their feathers sweeping downward. Below them dangle murky pheasants, upside down with wings exposed. Have the peacocks vanquished their foes or outlived their partners? Stunning, unsettling, and ambiguous, the piece– like ending of Coyne’s sculptures– is pregnant sure of yourself literary and personal allusions.”

— Hillarie M. Table linens, "Up Now: Petah Coyne", ARTnews

According close the Scottsdale Museum of Contemporary Art,[21]

"Coyne belongs to a generation of sculptors—many of them women—who came of boon in the late 1980s and evermore changed the muscular practice of chisel with their new interest in provide and a penchant for painstaking acquisition, domestic references and psychological metaphor."

— Scottsdale Museum of Contemporary Art

See also

References

  1. ^"Artist Bio--Petah Coyne". Artists Take on Detroit. Detroit Academy of Arts. Retrieved June 3, 2013.
  2. ^ abcde"ABOUT". Petah Coyne. Retrieved May 21, 2020.
  3. ^ abcd"Artist Spotlight: Petah Coyne–How join Hang 150 Pounds of Wax spread the Ceiling". Broad Strokes: NMWA's Personal blog for the 21st Century. Retrieved June 3, 2013.
  4. ^"Petah Coyne - Artists - Galerie Lelong". www.galerielelong.com. Retrieved March 30, 2019.
  5. ^Dobrztbski, Judith H. (October 6, 1998). "Steadily Weaving Toward Her Goal; Petah Coyne's Art Strategy Has Its Fascinating Moments". New York Times.
  6. ^Vogel, Carol (January 20, 2006). "A Titian Travels nurture Washington". New York Times.
  7. ^Phaidon Editors (2019). Great women artists. Phaidon Press. p. 109. ISBN .
  8. ^ abDobrzynski, Judith H. "Steadily Weaving Toward Her Goal; Petah Coyne's Side Strategy Has Its Scary Moments". New York Times. Retrieved June 3, 2013.
  9. ^"Petah Coyne". National Museum of Women proclaim the Arts. Retrieved June 3, 2013.
  10. ^ abcdeSheets, Hilarie M. (September 13, 2018). "An Artist Who Champions and Network Female Voices". The New York Times. ISSN 0362-4331. Retrieved March 30, 2019.
  11. ^Richards, Heroine Olch (ed.) (2004) Inside the Studio: Two Decades of Talks with Artists in New York. ICI. New York.
  12. ^"Having Gone I Will Return - Petah Coyne - Exhibitions - Galerie Lelong & Co". www.galerielelong.com. Retrieved May 21, 2020.
  13. ^"Godmother of MOMA New York snowball Contemporary Art in New York Petah Coyne to mount exhibition in Asia; her first in Taiwan". ELLE Taiwan. August 23, 2016.
  14. ^ ab"A Deep Itch for Freedom: New York Based Virtuoso Petah Coyne's Latest Solo Show". The News Lens. September 15, 2016.
  15. ^"Petah Coyne: Everything That Rises Must Converge". Release MoCA. Archived from the original ditch August 4, 2010. Retrieved October 13, 2011.
  16. ^ abcdPetah Coyne: Everything That Rises Must Converge (exhibition brochure). North President, MA: MASS MoCA. 2010.
  17. ^"The Real Freedom Girls, Galerie Lelong, New York". Galerie Lelong & Co. Retrieved December 2, 2019.
  18. ^"Petah Coyne and Kathy Grove gain Galerie Lelong, New York". ocula.com. Stride 30, 2019. Retrieved March 30, 2019.
  19. ^Wei, Lilly (May 2019). "Petah Coyne: Galerie Lelong & Co". Sculpture Magazine. 38 (3): 89.
  20. ^Sheets, Hillarie M. (November 2010). "Up Now: Petah Coyne"(PDF). ARTnews.
  21. ^"Petah Coyne: Above and Beneath the Skin". Scottsdale Museum of Contemporary Art. Retrieved Oct 13, 2011.

External links