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were at rest, and in complete opposition to the raging warhorse (stallion) that represents most equine sculpture. The next series of horses was made of mud and sticks and suggested that its forms were left clotted together after the river flooded and subsided. the pieces were dark and almost sinister, reflecting the realization that I was perhaps more like the warhorse than the quiet mares. For me they represented the process of attitudes and feelings taking shape after a flood of experiences. The materials and images were to suggest that the horses were both figure and ground, merging external world with the subject."
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Referencing her materials, Butterfield has said, "When I walk past my pile of junk, I am inspired by the things I see. It has to do with finding and identifying objects of interest that I can work with. Working with junk is a way of recognizing a quality of line and appropriating it to my sculpture."
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Butterfield has said, "I first used the horse images as a metaphorical substitute for myself – it was a way of doing a self-portrait one step removed from the specificity of
Deborah Butterfield." She also said, "These first horses were huge plaster mares whose presence was extremely gentle calm. They
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Butterfield's work has been exhibited widely and there is demand among art collectors for her sculptures. Her earliest works from the mid-1970s were made from sticks and natural detritus gathered on her property in
Bozeman, Montana. "The materials and images were meant to suggest that the horses were
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Initially constructing her sculptures using natural materials such as mud, clay and sticks in the 1970s, Butterfield has since moved to using metal in her work. In 1979, she began using reclaimed materials such as found steel and scrap metal. For the past 20 plus years, Butterfield has been using
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in 2004, "By now
Deborah Butterfield's skeletal horses, fashioned of found wood, metal and other detritus, are familiar to almost a generation of gallerygoers. Yet they still have a freshness, which comes from the artist's regard for them as individuals. In fact, training, riding and bonding with
285:(Purchase, New York) are among the public collections holding work by Deborah Butterfield. Also, the Rockford Art Museum, Rockford, Illinois. Butterfield was featured in the 1989 Women's Art show, Women's Work: the Montana Women's Centennial Art Survey Exhibition 1889–1989. In the
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Butterfield has said that her horses are intended to make a feminist statement. "I wanted to do these big, beautiful mares that were as strong and imposing as stallions but capable of creation and nourishing life. It was a very personal feminist statement."
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bronze casts of "stray, downed pieces of wood." Butterfield carefully selects pieces of wood that outline the form and gesture of the horse. The wood pieces are then cast in bronze, burning the wood away.
139:(May 7, 1949), Butterfield partly credits that birthdate as an inspiration for her subject matter; she has also said that she would have preferred to work in the female form, but that her mentor
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dominated that form. Instead, she chose to create metaphorical self-portraits using images of horses. Gradually, the horses themselves became her primary theme. Butterfield earned her
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Butterfield, Deborah; Kopf, Vicki; Wake Forest
University; Southeastern Center for Contemporary Art; North Carolina School of the Arts (January 1, 1983).
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horses, as she does at her
Montana farm, she thinks of them as personifications of herself ... They seem to express the very spirit of equine existence."
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Making connections: modern and contemporary art on the High Plains, 1945–present : works from the permanent collection of the
Yellowstone Art Museum
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Deborah
Butterfield is represented by Marlborough Gallery, New York; Anglim Gilbert Gallery, San Francisco; Greg Kucera Gallery,
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Deborah
Butterfield: artist-in-residence program sponsored by the Rockefeller Foundation : 25 February-17 April, 1983
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both figures and ground, merging external world with the subject." She began crafting horses out of scrap metal and cast
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from the mid-1970s to the mid-1980s. Since 1986, Butterfield has spent her summers in
Montana, and winters in Hawaii.
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in the early 1980s. She would sculpt a piece using wood and other materials fastened together with wire, then
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297:, Deborah Butterfield has 2 sculptures installed there, which are Juno (1989) and Ancient Forest (2009).
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439:. Benezra, Neal David, 1953–, Neff, Terry Ann R. Des Moines: Des Moines Art Center.
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Yellowstone Art Museum (Billings, Mont.); McConnell, Gordon (January 1, 2005).
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the piece from all angles so as to be able to reassemble the piece in metal.
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107:(born May 7, 1949) is an American sculptor. Along with her artist-husband
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281:, the Albrecht-Kemper Museum of Art (St. Joseph, Missouri) and the
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Quoted in Wausau, Wisconsin, Leigh Yawkey
Woodson Art Museum,
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made from found objects, like metal, and especially pieces of
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Mind and Beast: Contemporary Artists and the Animal Kingdom
402:. North Carolina: Wooten Printing Company, Inc. p. 8.
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Deborah Butterfield, at Smithsonian American Art Museum
189:(1990), steel sculpture by Deborah Butterfield, at the
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An uncommon vision : the Des Moines Art Center
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655:, text by Thomas H. Garver (Wausau. 1992), p. 25.
554:Spalding House Self-guided Tour, Sculpture Garden
135:Born the same day as the 75th running of the
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345:"Butterfield's horses ride into MAC opening"
539:Quoted in Janet Wilson, "The Mane Event,"
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111:, she divides her time between a farm in
607:Greater Des Moines Public Art Foundation
582:Greater Des Moines Public Art Foundation
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38:Sculpture by Deborah Butterfield, 1986,
724:University of California, Davis alumni
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699:21st-century American women sculptors
689:20th-century American women sculptors
42:Honolulu Museum of Art Spalding House
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472:. Billings: Yellowstone Art Museum.
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166:Butterfield taught sculpture at the
159:, where she met her husband, artist
505:. Winston-Salem, N.C.: The Center.
267:Madison Museum of Contemporary Art
172:Montana State University – Bozeman
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435:Center., Des Moines Art (1998).
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704:21st-century American sculptors
694:20th-century American sculptors
249:; and Zolla/Lieberman Gallery,
168:University of Wisconsin–Madison
157:University of California, Davis
149:University of California, Davis
87:University of California, Davis
371:"Deborah Butterfield | artnet"
263:Whitney Museum of American Art
237:Representation and exhibitions
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16:American sculptor (born 1949)
163:, whom she married in 1974.
543:222 (February 1992), p. 68.
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301:Materials and construction
271:Metropolitan Museum of Art
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552:Honolulu Museum of Art,
287:Pappajohn Sculpture Park
283:Neuberger Museum of Art
247:Los Angeles, California
105:Deborah Kay Butterfield
556:, 2014, pp. 9 & 14
255:Honolulu Museum of Art
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719:Sculptors from Hawaii
628:"Deborah Butterfield"
422:"Deborah Butterfield"
273:(New York City), the
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66:San Diego, California
398:Kopf, Vicki (1983).
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261:(Corning, N.Y), the
210:Horses as a metaphor
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400:Deborah Butterfield
349:East Valley Tribune
275:Delaware Art Museum
269:(Madison, WI), the
243:Seattle, Washington
191:Delaware Art Museum
153:Master of Fine Arts
25:Deborah Butterfield
528:The New York Times
225:The New York Times
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151:with Honors and a
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251:Chicago, Illinois
145:bachelor's degree
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141:Manuel Neri
73:Nationality
59:May 7, 1949
678:Categories
479:0332465462
446:1879003201
326:References
291:Des Moines
218:As critic
204:photograph
131:Background
117:sculptures
55:1949-05-07
488:261297235
408:82-063092
222:wrote in
161:John Buck
109:John Buck
97:Sculpture
83:Education
511:11726813
455:40614105
355:July 24,
314:See also
77:American
170:and at
603:"Juno"
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253:. The
200:bronze
178:Career
121:horses
639:2016
614:2023
589:2023
507:OCLC
484:OCLC
474:ISBN
451:OCLC
441:ISBN
404:LCCN
382:2018
357:2011
295:Iowa
187:Riot
125:wood
49:Born
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