483:(2002) was a pink-tinted concrete work consisting of large rippled disks, irregular balls, cylinders, and rope-like forms strewn across the floor, whose repetition and connection suggested a vaguely functional system that had rapidly dissipated. Janet Koplos interpreted the work's bursting of bounds, loss of control and release as a visualization of the "tension and dissolution" of a woman’s orgasm. For her 2004 show, "Namesake," Westerlund Roosen exhibited five modestly scaled, abstract sculptures in poured concrete, each named for a historical or mythological woman—
254:, which balances formal and associative concerns and emphasizes materials, surfaces and process, the body and sexuality, and qualities such as awkwardness and uncertainty. She has produced work ranging from drawings to small pedestal-based objects to monumental sculpture (indoor and outdoor), using materials including resin, felt, cast concrete, lead, copper, bronze, encaustic, ceramic and plaster.
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later wrote that her sculptures "seemed to have existed where they sit—wherever they sit—forever. They are truly prehistoric, and if there is a collective unconscious, then that is their domain." Her figural pieces consisted of simple structures (ranging from 15' high to palm-sized)—hulks and surging
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Critics identified a revitalization in
Westerlund Roosen's work in the 1980s that turned from a more formalist and sublimated approach to an embrace of plasticity, figural forms, and modularity. The work's more fleshy, visceral elements and evocative qualities extended its reach into a psychological
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In the "Bridges" series (2014–5), Westerlund Roosen returned to the minimal, monolithic approaches of her early work, setting elementary, rectangular concrete forms atop one another in simple, rigorous compositions marked by uneven edges, rounded corners, bowed planes and visible imperfections that
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In her felt and resin works, Westerlund Roosen departed from the more closed and monolithic cast concrete process, breaking up mass and volume and introducing a lyrical sense of openness and dynamism. These expressive, somewhat ungainly works featured wavy flaps and curlicues of stiffened felt that
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and feminist-influenced, noting its privileging of organic form, handmade processes and surfaces, and evocative possibilities. Wei placed
Westerlund Roosen among a pioneering group of women that "breached the barricades of Minimalism," individually producing work whose "distinctive, even eccentric
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In the mid-1990s, Westerlund Roosen turned to site-specific outdoor and earth works, most significantly in a 1994 Storm King Art Center exhibition in which she sought to fuse object-making, large gesture and the earth. Several works incorporated trenches cut into the ground, modular organic and
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series, pouring concrete (and sometimes asphalt) to form thin horizontal slabs that became monolithic vertical surfaces when stood side by side or back to back. They melded minimalist objecthood, aspects of monochromatic and shaped-canvas painting, and handmade, trowel-textured surfaces into a
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403:: nine, back-to-back breast forms assembled into a 20-foot-long, low "machine" that Michael Brenson wrote, "suggested the blades of a sexual reaper, or a battalion of baby pacifiers, or a Stone Age chariot of wrathful fire" with a "comical but irrepressible force" of sisterhood.
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series, 2004–5). She extended the expressivity of this work with a series of eccentric, assemblage-like, pedestal-based objects in the early 2010s, which were unified by bold hues of deep red, marigold and sky blue, then sealed with smooth, buffed wax (e.g.,
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Westerlund Roosen was born in New York City in 1942, and her early life was divided between there and Cuba. She lived in
Toronto between 1964 and 1976. She considered both dance and art as career options, ultimately studying art at the
436:(1993) consisted of eleven rippled, overlapping sheets recalling gills or a supple spine, which she choreographed into an undulating wave emerging from the ground. Her 1995 exhibition at Shoshana Wayne included the indoor earthwork,
347:, compared her 1982 show at Castelli to a natural history museum exhibition, with diverse, universal, and perhaps subconscious, forms suggesting fossilized fragments or objects sharing common origins in time or place. Playwright
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Westerlund Roosen moved between New York and
Toronto in the 1970s, balancing family life and a nascent art career, whose reputation she initially built through exhibitions in Canada. Early highlights include solo shows at
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or swelling, curved forms resembling gargantuan tusks, bones and body parts—with complex, varied surfaces covered in mottled, crusty "epidermises" of encaustic or lead. Two sculptures were compared to works by
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In her early career, Westerlund Roosen favored materials such as fabric, thread and polyester resin, often fashioned into draped and pleated wall or floor pieces. In the mid-1970s, she produced her well-known
432:(1993–4), was an 80-foot-long trench whose side walls were studded with rows of boulder-like, concrete forms, reminiscent of a dig of partially excavated bones and (in title) the battle of the sexes.
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In later work, Westerlund Roosen incorporated more varied approaches, revisiting the layered and stiffened cloth methods of her earlier sculpture, exploring expressive forms bearing
Renaissance and
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critic Janet Koplos wrote that her work "captures sensation or gesture rather than image; the genius of her abstraction is that the forms convey physical feelings that viewers may internalize."
440:, an enormous mound of earth (6' x 30' x 20' and 18 tons) that rose into a tapered peak crowned by a long, narrow, visceral cavity of pearly pink concrete evoking giant female genitalia.
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s Leo
Rubinfien wrote that they appeared "at once flexible and stationary, playful and serene, suggesting a mingling of intellect and sensuality a sense of having sprouted full-grown."
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Westerlund Roosen has been recognized with a
Guggenheim Fellowship (1993), the Anonymous Was A Woman Award (2017), a Fulbright U.S. Scholar research grant (1996), and grants from the
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described her work's development as "non-linear and non-developmental," with recurring motifs and shifts between non-referential and imagistic forms that often serve as
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291:(1977) consisted of massive concrete wedges separated by very narrow air spaces and embellished with caps of roofing copper or heavy plates of oxidized metal.
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wrote, the "ungainly but endearing invade and unsettle the viewer's grip on plausibility… Willful and enigmatic, these objects have considerable authority."
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forms and wide range of materials served as a rebuttal to the rational geometries, serialization, coolness, and crushing industrial scale" of that movement.
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In 2010, Westerlund Roosen displayed three 10-foot-tall, concrete and architectural foam works using curved elements on New York's Upper East Park Avenue:
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In the 1970s, she began adapting minimalist strategies to the exploration of expressive and erotic content, using pared down irregular, biomorphic forms.
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suggested that the monumental scale and material transfigurations of her forms blurred their anatomical reference, creating an abstraction that recalled
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termed it a tongue-in-cheek, monumental image of feminine "lack" that answered the "masculine posturing" of earth artists such as
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495:, a calligraphic composition of tentacle-like tangles that emerged from two ovoid forms and activated interior, empty spaces.
407:(1991) employed eight upturned and parted, massive lips that were eerily sensual and ambiguous enough to be oral or vaginal.
383:, 1990) or planar, flange-like shapes, inviting organic associations with micro- and macro- or technological systems. Critic
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In later sculptures
Westerlund Roosen employed repetition and seriality as a generative device suggesting formal mutation or
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Phillips, Patricia C. "Signs of
Imperfection," , Mountainville, NY: Storm King Art Center, 1994. Retrieved March 22, 2022.
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wrote that the series conveyed "a primal moment when art emerges as an evocative presence, resolute and personalized."
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influences, and producing both smaller, statuary-like pieces and sprawling arrangements of forms and lines.
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544:(1974). Her work belongs to the public collections of the Albany Museum of Art, Albright-Knox Art Gallery,
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Art writers place
Westerlund Roosen's work within a postminimalist tradition indebted to artists such as
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known for largely abstract, often monumental works that reference the body, eroticism, and primal forms.
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198:; her sculptural focus on the body, flow and movement stems in part from this early interest in dance.
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described the juxtaposition of minimalist shapes, biomorphic association, and hand-worked surfaces in
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395:(stacked breast-like protuberances) as both disconcerting and reminiscent of the forms and humor of
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Ostrow, Saul. "Mia Westerlund Roosen's Studies, 1972–2012: Surface, Structure, and Form in Scale,"
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Storm King Art Center. , Mountainville, NY: Storm King Art Center, 1994. Retrieved March 22, 2022.
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cantilevered out from upright supports or trunks and seemed frozen in time and space (e.g., the
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908:, Hanover, NH: Dartmouth College, Hopkins Center for the Arts, 2016. Retrieved March 21, 2022.
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364:(1986), which consisted of two elephantine, limb-like forms, locked in an embrace.
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Westerlund Roosen emerged as a sculptor during the male-dominated ascendancy of
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physicality that critics described as emotive, "eloquent and august." The
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Goodman, Jonathan. "Mia Westerlund Roosen: The Storm King Art Center,"
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realm that encompassed eroticism, humor, mystery, repulsion and dread.
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geometric forms, and hand-finished, skin-like surfaces. The largest,
1425:, New York: Betty Cuningham Gallery, 2006. Retrieved March 22, 2022.
399:. Westerlund Roosen's SculptureCenter exhibition (1991) centered on
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Westerlund Roosen has had solo exhibitions at the Castelli Gallery,
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A Creative Legacy: A History of the National Endowment of the Arts
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traditions of sexually suggestive or whimsical biomorphism (e.g.,
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McFadden, Sarah. "Mia Westerlund Roosen at Castelli Greene St.,"
713:"Beauties and Beasts: A Conversation with Mia Westerlund Roosen,"
391:(seven bent forms recalling nestled tropical shapes or fungi) or
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806:"'American Beauties': Images of Softness Rendered in Concrete,"
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grant. Her work belongs to the public art collections of the
1585:, New York: Betty Cuningham, 2012. Retrieved March 21, 2022.
788:, New York: Betty Cuningham, 2012. Retrieved March 21, 2022.
1452:"New Art on the Walls - and the Floor & Ceiling, Too,"
1069:"Restless Metaphors Breaching the Land and Consciousness,"
1468:" Elegant Organic: Sculptures by Mia Westerlund Roosen,"
1179:"Just Four Sculptures Make For a Full Show from Roosen,"
467:, which conjoined comma-like forms evoking two tongues.
379:. She often layered or lined up large, irregular discs (
1211:"Architectural Structures, With a Hint of the Surreal,"
548:, Canada Council Art Bank, Metropolitan Museum of Art,
360:(1980)—a large, leaden arc with a sectioned spine, and
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White, Peter. "Mia Westerlund’s Pictorial Sculpture,"
1114:, December 13, 1975, p. 17. Retrieved March 22, 2022.
744:, September 1977, p. 79–80. Retrieved March 22, 2022.
1159:, December 1980, p. 83–84. Retrieved March 22, 2022.
1498:Ivey, Bill, Nancy Princenthal and Jennifer Dowley.
811:, March 15, 1991, p. C26. Retrieved March 21, 2022.
695:, January 1992, p. 105–6. Retrieved March 21, 2022.
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418:, concrete and pink granite, 2' x 28' x 16', 1991.
210:(all New York), Sable-Castelli (Toronto), and the
1605:Oral history interview with Mia Westerlund Roosen
1372:"Two Art Galleries Play Monopoly on Park Avenue,"
1138:"Canadian Art May Be in the Eye of the Beholder,"
242:, concrete and steel, 210" x 105" x 22.5", 1978.
1457:, September 20, 2006. Retrieved March 18, 2022.
524:emphasized her creative process. Art historian
154:, among others. She has been recognized with a
1403:, November 23, 2001. Retrieved March 21, 2022.
1143:, December 11, 1983. Retrieved March 21, 2022.
1093:, February 16, 1974. Retrieved March 22, 2022.
1035:, September 3, 1989. Retrieved March 22, 2022.
718:, September 1, 2014. Retrieved March 18, 2022.
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1607:, Smithsonian Archives of American Art, 2012
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1154:"'Pluralities,' National Gallery of Canada,"
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1074:, August 21, 1994. Retrieved March 22, 2022.
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886:, January 5, 1996. Retrieved March 21, 2022.
881:"The Stuff of Dreams and the Natural World,"
607:"Mia Westerlund Roosen at Lennon, Weinberg,"
1582:Mia Westerlund Roosen: Sculptures 1976-2012
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1195:"Drawings That Impress, Not Only for Size,"
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785:Mia Westerlund Roosen: Sculptures 1976-2012
641:, March 18, 2004. Retrieved March 18, 2022.
636:"Mia Westerlund Roosen at Lennon, Weinerg,"
306:, concrete and lead, 22" x 50" x 23", 1986.
1619:, Western Washington University Public Art
1473:, June 26, 2012. Retrieved March 18, 2022.
1441:, March 1, 2004. Retrieved March 18, 2022.
1297:Baskin, Leonard. "Mia Westerlund Roosen,"
1283:, July 28, 1996. Retrieved March 22, 2022.
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1557:, July 9, 2020. Retrieved March 21, 2022.
1552:"Storm King Reopens for the Art-Starved,"
1336:, June 6, 1999. Retrieved March 22, 2022.
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181:She lives and works in New York City and
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1489:March 1, 2016. Retrieved March 18, 2022.
122:in the 1970s and 1980s. Critics such as
1570:, Collection. Retrieved March 18, 2022.
1541:, Collection. Retrieved March 18, 2022.
1528:, Collection. Retrieved March 18, 2022.
1399:Johnson, Ken. "Mia Westerlund Roosen,"
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663:"Restoring Ceremony to the Experience,"
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1663:Art Students League of New York alumni
1537:Rhode Island School of Design Museum.
1511:Canada Council for the Arts Art Bank.
1436:"Mia Westerlund Roosen and Kim Jones,"
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126:and Lilly Wei characterize her art as
39:New York City, New York, United States
1638:21st-century American women sculptors
1633:20th-century American women sculptors
1361:, May 1995. Retrieved March 21, 2022.
962:, Grantees. Retrieved March 18, 2022.
100:, epoxy resin, 16" x 16" x 47", 2020.
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1278:"A Sculpture Show With Butterflies,"
1030:"Large Sculptures of Pale Presence,"
924:, Fellows. Retrieved March 18, 2022.
562:Rhode Island School of Design Museum
220:Musée d'art contemporain de Montréal
148:Musée d'art contemporain de Montréal
1515:, Artist. Retrieved March 18, 2022.
1229:, Artist. Retrieved March 18, 2022.
1010:, Person. Retrieved March 18, 2022.
994:, Artist. Retrieved March 18, 2022.
902:Stich, Sidra. "Bridges and Grays,"
738:"Mia Westerlund, Castelli Gallery"
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850:Prince, Kathy. "Mia Westerlund,"
1331:"Wax as a Medium and a Message,"
974:The Metropolitan Museum of Art.
755:"Jerry Saltz’s special request,"
423:Outdoor and earth works (1994– )
311:Biomorphic sculpture (1980–1996)
1678:21st-century American sculptors
1643:20th-century American sculptors
538:National Endowment for the Arts
196:Art Students League of New York
142:, and appeared in shows at the
49:Art Students League of New York
1390:Art. Retrieved March 22, 2022.
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1566:Yale University Art Gallery.
532:Awards and public collections
16:American sculptor (born 1942)
1658:Sculptors from New York City
990:National Gallery of Canada.
566:Solomon R. Guggenheim Museum
144:Solomon R. Guggenheim Museum
1006:Albright-Knox Art Gallery.
578:Yale University Art Gallery
160:Anonymous Was A Woman Award
107:(born 1942) is an American
81:Anonymous Was A Woman Award
36:1942 (age 81–82)
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554:National Gallery of Canada
405:Promises Promises Promises
224:National Gallery of Canada
172:National Gallery of Canada
168:Metropolitan Museum of Art
1653:American feminist artists
1648:American abstract artists
1601:, Betty Cuningham Gallery
1524:National Gallery of Art.
946:Retrieved March 18, 2022.
176:Albright-Knox Art Gallery
1487:"Mia Westerlund Roosen,"
1356:"Mia Westerlund Roosen,"
1315:"Mia Westerlund Roosen,"
1262:"Mia Westerlund Roosen,"
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1088:"Mia Westerlund Roosen,"
867:, December 1994, p. 142.
831:"Mia Westerlund Roosen,"
690:"Mia Westerlund Roosen,"
471:Later sculpture (1999– )
1613:, Storm King Art Center
1466:Valentine, Victoria L.
1225:Storm King Art Center.
1127:, Winter 1978, p. 36–9.
942:Anonymous Was a Woman.
558:Neuberger Museum of Art
550:National Gallery of Art
487:, Magdalena, Victoria,
414:Mia Westerlund Roosen,
302:Mia Westerlund Roosen,
238:Mia Westerlund Roosen,
96:Mia Westerlund Roosen,
546:Art Gallery of Ontario
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1354:Auerbach, Lisa Anne.
1227:Mia Westerlund Roosen
1214:The New York Observer
1008:Mia Westerlund Roosen
992:Mia Westerlund Roosen
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960:Mia Westerlund Roosen
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574:Vancouver Art Gallery
570:Storm King Art Center
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265:for the female body.
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212:Vancouver Art Gallery
189:Early life and career
156:Guggenheim Fellowship
140:Storm King Art Center
105:Mia Westerlund Roosen
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77:Guggenheim Fellowship
23:Mia Westerlund Roosen
273:Early sculpture and
206:, Leo Castelli, and
1388:"Art in the Parks,"
481:Parts and Pleasures
1579:Cuningham, Betty.
1555:The New York Times
1401:The New York Times
1334:The New York Times
1318:The New York Times
1313:Brenson, Michael.
1281:The New York Times
1265:The New York Times
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1141:The New York Times
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1091:The New York Times
1072:The New York Times
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884:The New York Times
834:The New York Times
809:The New York Times
804:Brenson, Michael.
758:Two Coats of Paint
688:Borum, Jenifer P.
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318:The New York Times
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230:Work and reception
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1370:Corbett, Rachel.
1329:Zimmer, William.
1109:"Mia Westerlund,"
1067:Zimmer, William.
666:Los Angeles Times
442:Los Angeles Times
416:American Beauties
401:American Beauties
183:Buskirk, New York
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612:, May 2002.
526:Sidra Stich
465:French Kiss
339:Reviews in
263:synecdoches
259:Saul Ostrow
124:Saul Ostrow
1627:Categories
584:References
326:Surrealist
136:New Museum
116:minimalism
1125:Parachute
716:Sculpture
520:, 2010).
505:Carmelite
438:Madam Mao
362:Pompadour
334:Joan MirĂł
293:Artforum'
248:Eva Hesse
164:Fulbright
45:Education
1375:Observer
1359:Artforum
1157:Artforum
852:Vanguard
742:Artforum
693:Artforum
457:Baritone
354:Brâncuși
330:Jean Arp
324:and the
109:sculptor
65:Movement
59:sculptor
1301:, 1982.
1299:ARTnews
865:ARTnews
501:Dervish
477:Baroque
461:Juggler
444:critic
381:Olympia
377:mitosis
368:critic
345:ARTnews
304:Bariton
576:, and
491:, and
485:Althea
463:, and
277:series
222:, and
174:, and
162:, and
150:, and
138:, and
73:Awards
509:Falls
98:Box 2
507:and
493:Iris
489:Clio
343:and
284:Muro
275:Muro
250:and
29:Born
336:).
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