484:(2008–13) draws on elements of Siegel's intimate pieces and large installations, combining dense, intricately woven detail, diverse postconsumer materials, and an epic, undulating horizontal sweep. At 156 feet long, the mixed-media wall piece has only been viewed in large sections (of up to 100 feet) exhibited at Marlborough (2011, 2013) and the Albany Airport (2018– ) or digitally, via composite photographs. Functioning as both a geologic and personal timeline, it was constructed organically from right to left without a fixed endpoint, using Siegel's characteristic strategies of accumulation, compression and transformation. Writers have compared it in scale and density to the
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352:(2015, Sculpture in the Wild, Lincoln, MT), his largest newspaper piece. Writers have noted the cyclical "lifespan" of such works, from material origins in paper produced from trees, to art returned to the landscape, through biodegradation by fungi, mushrooms and molds into soil from which new trees grow.
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In the 2000s, Siegel shifted his emphasis to studio work, producing abstract work inspired by evolutionary processes that ranged from intimate sculpture to ambitious multimedia installations. This work relates to his large-scale outdoor work in its continued use of postconsumer materials and evolving
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critic
Patricia C. Phillips wrote, "There is a puzzling experience of dissonant beauty in these ungainly objects made of disposable, if not unsightly materials." Siegel fabricates his pieces through painstaking processes of accumulation that build to common forms such as boulders, vessels, geological
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of the same name, which reassessed evolutionary theory. The series replicates the detail and diversity of natural life, progressing from simple to more elaborate and sophisticated forms. However, rather than imitate results in nature, Siegel appropriated its methodology, exploring simple, cumulative
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Writers distinguish Siegel's work by its combination of traditional sculptural aesthetics (abstraction, centrality of form and composition, craftsmanship) and unconventional means, such as repurposed indigenous materials, scientific concepts and evolving processes derived from nature, and strategies
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s Allese
Thomson Baker wrote, "Siegel commands the detritus of our culture into a frantic rhythm, nailing contemporary anxieties about the environment to the wall. may image our world out of rubbish, but the result is ravishing, glittering, and glistening in all its synthetic, inorganic wonder."
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Siegel's newspaper works generally take monolithic, concentrated forms, such as cylinders, hives, walls or towers. They reference time through their layers of dated newsprint, methodical reiterative construction process, and gradual disintegration. Siegel's first fully realized such work was
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Siegel's site-specific public works fall into three broad categories: time-bound, outdoor newspaper structures; organic, linear works primarily made with shredded rubber; and large cubes or spheres of bound waste materials, often crushed plastic or aluminum containers.
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processes of incremental accumulation and craft that build to larger wholes. In 2001, he exhibited small wall and tabletop pieces compressing stone, discarded paper, shredded rubber, and tree bark and branches into forms suggesting nests, flora and rock formations.
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district and worked as a carpenter, while producing abstract sculpture and drawings, often focused on interactions between man-made structures and landscape. In the mid-1980s he became increasingly interested in geologic phenomena and concepts––most prominently
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involving organic development, change and risk, and collaboration. His work raises contradictory notions of natural versus artificial, found versus constructed, growth and decay, and time as something ephemeral and enduring, intelligible and incomprehensible.
148:, sculpture, collage and film. He is most known for site-specific, outdoor sculptures, public art commissions and installations made from repurposed pre- and postconsumer materials, which have been influenced by concepts and processes derived from geology and
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Since 2013, Siegel has produced large collages and films combining photography, object-making and digital manipulation as an alternative format for his large studio work. These works employ both close-up and wide perspectives and multiple, grid-like screens.
317:(1992), a newspaper, stone and flora installation in the woods near his home in Milan, New York. It was undertaken as an experiment in change, decay and rebirth, and by 2000, had largely disappeared into a landscape of overgrown vegetation.
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While the integration of Siegel's newspaper works blur boundaries between natural and constructed forms, his linear installations using rubber suggest organic, sometimes menacing intrusions into architectural settings. The indoor work
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formations, immense artifacts or topographical maps. Although not overtly political or message-oriented, they raise questions about consumption, waste and landscape, as well as sculptural practice itself in an eco-conscious world.
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described its mountain of household rubbish—catalogued by descriptive lists provided by people who donated the items tacked on an opposite wall—as both poetry and an "impressive simulation" of a dumpsite. For
325:(1998, Appalachian State University) from old school newspapers and sod, wedging an undulating structure between a grove of hemlocks, the organic curves creating a dialogue with the site's rolling hills. For
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478:, Germany), Siegel used 9,000 pounds of donated aluminum Audi body-part rejects to create a giant, slug-like form that jutted from a wall and sprawled across and around a gallery space and its columns.
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noted a key difference from Siegel's nearly monochromatic newspaper works, describing the series' "garish, contrasting, almost pop colors" as "not necessarily joyous both exuberant and menacing."
321:(Portland, 1993) was a thirteen-foot, cone-shaped sculpture topped by colorful flora, whose distinct layers were created by alternating placement of newspaper folds in or out. Siegel constructed
388:(2013, Canberra, Australia)—Siegel's largest permanent public work—ooze from a soffit and across the façade of a multi-use building once home to Australia's Department of Climate Change.
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In other installations, Siegel created works in contrast to landscaped and idyllic sites that suggested both minimalist sculpture and functional objects such as collections of material
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This work developed into “Wonderful Life” (2002–8), a chronological series of 52 wall pieces made with a limited range of materials that were partly inspired by and titled after
274:. He often designed the outdoor works to have an evolving, symbiotic relationship with their environments, including weathering and decomposition over long exhibition periods.
513:(2016) consists of 169 gridded wall panels, a master photograph and an eight-minute movie narrated by his wife, Alice, to whom it is dedicated. Subsequent films include
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183:, among other venues. He has created commissioned works in cities and universities throughout the U.S. and Europe, in Australia, and Kazakhstan and Korea, and at the
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399:(2001, University of Virginia) was a ten-foot, minimalist cube of crushed plastic bottles strapped together with rubber hose. Similar installations included
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372:(1997, Atlanta) consisted of a dark mound of shredded tires atop a shale-like stack of juice cartons that twisted through a large exhibition space. For
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255:(1990), a 15-foot-tall, ten-foot-wide cylinder made of recycled newspapers layered like shales and crowned with earth, grasses and flowers, which
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380:), he created a slender, playful 200-foot organic form that incongruously snaked its way through the otherwise austere architectural plaza of
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changes in "evolution" (i.e., the refinement of technique) that generate form from generation to generation (work to work). Critic
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Over the next decade, Siegel gained wide recognition for related site-specific installations using pre- and
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549:(1977), among others. He has been awarded artist residencies from Grounds for Sculpture,
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Scrupe, Mara
Adamitz. "Environment, Audience, and Public Art in the New World (Order),"
403:(Bowling Green State University, 2002), a warped sphere of bound aluminum can discards;
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critic
Michael Brenson wrote, "sprout from the ground like an ancient circular tomb."
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Sculpture
Festival in 1990 shifted his work's direction. The festival was located on
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During this time, Siegel also produced large-scale indoor installations. He created
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329:(1999, Art Omi), he constructed two newspaper towers in a stand of maple trees.
1304:, Boone, NC: Turchin Center for the Visual Arts, 2009. Retrieved August 5, 2021.
770:, Boone, NC: Turchin Center for the Visual Arts, 2009. Retrieved August 5, 2021.
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Phillips, Patricia C. "Wandering
Through Time: The Sculpture of Steven Siegel,"
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407:(2006, Stanford University), a cylinder formed from electronic waste; cubes of
746:, Rhinebeck, NY: Artnow Publications, 2006, p. 64–6. Retrieved August 4, 2021.
537:(2001, 1981), Gunk Foundation (2000), ArtsLink Collaborative Projects (1999),
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Clarke, Jessica. "Eye-Catching
Sculpture at JMU Features 30,000 Newspapers,"
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Grande, John K. "We Are the
Landscape: A Conversation with Steven Siegel,"
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465:(2001) for an exhibition of work responding to the Fresh Kills Landfill;
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Leonard, Mary. "Tying Knots of Wow and Wonder: Sculptor Steven Siegel,"
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Mah, Linda S. "Artist builds outdoor sculpture from wood and paper,"
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Richmond, Susan. "Paper, Earth: An
Installation with Steven Siegel,"
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Cullum, Jerry. "Recyclers create a whole new life from secondhand,"
1192:"A Marketplace of Bulls and Bears Faces a New Bottom Line: Snakes,"
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Cassai, Mary. "Hudson
Gallery features earth-centered sculptures,"
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1270:, London I.B.Tauris & Co Ltd, 2010. Retrieved August 4, 2021.
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Exploring Site-Specific Art: Issues of Space and Internationalism
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Bolender, Karin. "Into the Holocene: The Art of Steven Siegel,"
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638:"Artist Steven Siegel inches toward becoming one with nature,"
285:, paper, 2006. North Carolina Museum of Art, Raleigh, NC, USA.
955:, February 1, 1981, Sect. 11, p. 6. Retrieved August 4, 2021.
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from "Wonderful Life", mixed media, 68" x 84" x 24", 2008.
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1028:, September 16, 1990, p. NJ12. Retrieved August 4, 2021.
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Sharnoff, Elena. "Large Accumulations of Small Things,"
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in 1978. After graduating, he lived in New York City's
140:(born 1953) is an American artist whose work includes
1112:, February 1, 2002, p. E38. Retrieved August 4, 2021.
811:, March 18, 2001, p. CN14. Retrieved August 4, 2021.
1313:Phillips, Patricia C. "All the Time in the World,"
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859:, August 6, 2010, p. E37. Retrieved August 4, 2021.
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1107:"A Landfill in the Eyes of Artists Who Beheld It,"
904:, July 30, 1999, p. E37. Retrieved August 4, 2021.
1391:Ryumina, Elena. "Garbage-Man Puts Up the Trash,"
1012:, July 27, 1990, p. C1. Retrieved August 4, 2021.
827:, Charlotte, NC: Bechtler Gallery, 1992, p. 20–3.
743:Cycle-Logical Art, Recycling Matters for Eco-Art
384:. The rubber tentacle or tree-root-like forms of
219:in 1976 with a BA degree and earned an MFA from
643:, November 23, 2016. Retrieved August 3, 2021.
529:Siegel has received awards and grants from the
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1301:Wonderful Life: Works by Steven Siegel
1088:"A Smaller, More Accessible Biennial,"
767:Wonderful Life: Works by Steven Siegel
167:His studio work has been exhibited at
708:Baucon, Andrea. "The Abyss of Time,"
419:(2019, Providence, RI), among others.
187:, Arte Sella Sculpture Park (Italy),
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1209:Van Gelder, Lawrence. "Footlights,"
917:, Hampshire College, 2001, p. 19–22.
899:"The Hudson Valley, Inside and Out,"
806:"On Paper, a Show That Measures Up,"
539:The American-Scandinavian Foundation
272:Newhouse Center for Contemporary Art
19:For the American tennis player, see
1382:, Grants. Retrieved August 3, 2021.
764:Perreault, John. "Wonderful Life,"
1523:People from White Plains, New York
1197:, October 1, 2000, Sect. 14, p. 6.
177:Aldrich Museum of Contemporary Art
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1329:Boettger, Suzaan. "Of Our Time,"
1449:Steven Siegel's Evolutionary Art
1224:The Atlanta Journal Constitution
553:, Abington Art Center, Art OmI,
535:New York Foundation for the Arts
395:to being recycled. For example,
133:, detail, mixed media, 2008–13.
104:New York Foundation for the Arts
1518:Sculptors from New York (state)
1513:21st-century American sculptors
1478:20th-century American sculptors
823:Brown, Linda. "Steven Siegel,"
543:National Endowment for the Arts
268:John Michael Kohler Arts Center
100:National Endowment for the Arts
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340:(2005, Montalvo Arts Center),
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1483:American installation artists
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1023:"Sculpture Show in the Open,"
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195:. Siegel lives and works in
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344:(2009, Arte Sella, Italy),
290:Work and critical reception
211:in 1953. He graduated from
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1068:Dupont, David. "Pop art,"
551:Three Rivers Arts Festival
417:Like a Buoy, like a Barrel
361:Like a Buoy, like a Barrel
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950:"Diverse Sensibilities ,"
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852:Morris, Roderick Conway.
825:RSVP: Six Artists Respond
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1443:Steven Siegel public art
1332:Steven Siegel, Biography
596:, October 2003, p. 32–7.
247:, New York—then home to
26:Not to be confused with
1362:Steven Siegel website.
1151:American Craft Magazine
976:American Craft Magazine
788:Baker, Allese Thomson.
378:Neuberger Museum of Art
1493:Pratt Institute alumni
1421:One, Two, Three of 'em
1315:An Evolutionary Moment
1213:, May 22, 2001, p. E1.
1132:Kingston Daily Freeman
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618:, March 2010, p. 41–5.
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1148:"The Nature of Risk,"
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1378:A Fox Lives Here Too
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472:Did God Make a Worm?
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173:Montalvo Arts Center
169:Marlborough Fine Art
150:evolutionary biology
1279:Milkovits, Amanda.
879:, October 22, 2006.
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348:(2016, Korea), and
334:Abington Art Center
283:To See Jennie Smile
264:post-consumer waste
207:Siegel was born in
1350:A Puzzle for Alice
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1195:The New York Times
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1091:The New York Times
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1026:The New York Times
1010:The New York Times
1005:Brenson, Michael.
973:"It's About Time,"
971:Mahoney, Brian K.
953:The New York Times
902:The New York Times
857:The New York Times
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740:Weintraub, Linda.
641:Yonhap News Agency
511:A Puzzle for Alice
467:The New York Times
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937:Dutchess Magazine
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519:An Art Video
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91:Alice Linder
21:Steve Siegel
1503:1953 births
1445:, CODAworks
838:Wild Apples
686:ArtsJournal
525:Recognition
517:(2017) and
249:Fresh Kills
241:Snug Harbor
230:John McPhee
58:Nationality
1488:Public art
1462:Categories
1453:Chronogram
1179:About Town
561:References
476:Ingolstadt
463:Collection
323:Squeeze II
179:, and the
154:minimalism
142:public art
1451:, video,
1250:Sculpture
1163:Sculpture
661:Sculpture
616:Sculpture
594:Sculpture
515:35 Pieces
502:Artforum'
482:Biography
327:Very Slow
297:Sculpture
234:deep time
131:Biography
66:Education
793:Artforum
541:(1996),
533:(2006),
521:(2018).
492:and the
393:en route
342:Bridge 2
162:Land art
61:American
474:(2005,
415:), and
411:(2006,
405:E-virus
401:Can Can
376:(2001,
225:Chelsea
193:Art Omi
114:Website
386:Carbon
370:Repose
197:Tivoli
191:, and
96:Awards
88:Spouse
439:Zelig
1364:Film
451:book
397:Bale
319:Hood
46:1953
43:Born
494:Pop
449:'s
336:),
215:in
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