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sculpture" then developing her own style by the 1970s. Between the late 1950s and early 1970s, Ferrara's sculptures "included wax figures in groups, constructed boxes with macabre contents, and hanging pieces, such as tail-like objects of jute and canvas panels covered with cotton batting and hung in
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The show of 1973 presented mainly layered, simplified sculptures – cubic or resembling stairs, obelisks or pyramids. The scale ranged from 0.6 to nearly 2.7 metres in height; the modular units of the works were made of wood or cardboard and covered with cotton batting. In the subsequent show
Ferrara
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Looking like models that could serve as the basis for large-scale outdoor works, these pieces have rectangular decks, flanked by one or more walls; they also sometimes include stairways and geometric motifs that mirror others on the opposing plane. After often choosing two shades of plywood for the
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Large-scale public works
Ferrara has created include "Castle Clinton: Tower and Bridge" (1979) and "Meeting Place" (1989), which featured a large "lobby" with concrete and steel flooring, a raised platform with steps, and concrete and steel seating. In 1988, she created the work "Belvedere" at the
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for six months in 1950, but otherwise had little formal arts education. She moved to New York City in 1952 and became involved in the city's burgeoning art scene. She worked temporarily for the Henry Street
Playhouse, and there became involved with theatre and dance. During the 1960s, Ferrara was
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used only bare wood (nailed or glued) and thereby achieved greater clarity over all, technical precision and a stronger sense of mathematical order with her unitary sequences. The works were "pyramids" of various types, with stepped walls, truncated tops and sometimes curved sides, as in
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Since the 1980s, Ferrara's work has shifted to commissions for outdoor settings. Her "public environments" in the 1980s and 1990s "deal primarily with surface – floor areas, walkways and platforms – and the arrangement of geometric patterns... Ferrara has favoured the use of tiles
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Another series of small works, which
Ferrara referred to as "places," grew out of these works. Many look like small-scale models of temples, yet defy "specific historical dating... seeming simultaneously ancient, modern and even futuristic in some cases".
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works she called "wallyards" or "courtyards" that looked like models rather than finished sculptures. She added complexity to these works by combining multiple kinds of wood in a single work and experimenting with different
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wallyards, Ferrara in 1982 started using stains, which she limited to black, red and yellow and diluted so as to leave the grain of the wood visible. Colour allowed for more complicated patterning and geometry, as in
310:(1983; Steven Goldberg collection, New York). Like many works by Ferrara from this and other periods, this sculpture derives some of its complexity from being composed of more than one type of wood (
285:, and to geometric form." She further experimented with cutting away sections and moved away from having four identical sides on her pyramids. Some of Ferrara's exhibitions included her
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Other well-known works of the period include "Curved
Pyramid" and "Stacked Pyramid", both 1973. In the 1980s, Ferarra began working on a smaller scale, producing
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structures with accompanying horizontally stacked steps, "meticulous craftmanship... reference to generic types of non-Western building, such as those of
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drawings, "testifying to her methods of elaboration." One of her earliest mature works was 1974's "Hollow Core
Pyramid".
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rows." Ferrara had solo exhibitions in New York in 1973 and 1974, and established her major sculptural direction:
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During this time she began sculpting, initially "having affinities with
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Other public works include the 250 seat "Amphitheater" (1999) at
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Characteristics of
Ferrara's work include wooden pyramid or
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White Whore and the Bit Player, The / La
Estella y La Monja
518:. Gaze, Delia. London: Fitzroy Dearborn Publishers. 1997.
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stacked structures. Her work is in the collection of the
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Ferrara's page on La MaMa
Archives Digital Collections
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Design Excellence Award for Flushing Bay Promenade,
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657:"Stepped Tower" from Public Art Archive of
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597:Henry, David J. (1991). "Art in Public".
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209:(in the English-language version) and
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566:(1973a)". Accessed August 8, 2018.
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404:American Institute of Architects
134:Los Angeles County Museum of Art
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716:21st-century American sculptors
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384:National Endowment for the Arts
169:involved with performances and
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138:Louisiana Museum of Modern Art
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350:Minneapolis Sculpture Garden
514:Dictionary of women artists
449:rosecollection.brandeis.edu
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579:Turner, Jane, ed. (1996).
177:. She performed in two of
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166:Michigan State University
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636:Jackie Ferrara's website
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124:best known for her
470:"Ferrara, Jackie."
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255:Sol LeWitt
239:(1978) at
237:A188 Pylon
218:Minimalist
171:happenings
144:, and the
51:1929-11-17
542:cite book
251:B Pyramid
199:bilingual
156:Biography
126:pyramidal
83:Sculpture
70:Education
534:37693713
275:ziggurat
263:Hartford
231:(1977),
187:Tom Eyen
88:Movement
619:3193264
425:Tuscany
329:granite
294:plywood
253:(1974;
243:in 2022
173:at the
98:Website
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406:, 1990
397:Queens
392:, 1976
316:poplar
299:stains
136:, the
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116:(born
64:, U.S.
615:JSTOR
605:(1).
357:LACMA
333:slate
283:Egypt
197:as a
548:link
530:OCLC
520:ISBN
456:2021
417:jazz
335:and
314:and
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281:and
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