Robyn Horn Sculptor Little Rock, Arkansas

Where is your studio? My husband, John, and I share a shop that is over the ridge from our house. The shop encompasses both my wood and painting studios and his letterpress printing studio. One of his specialties is moving large, heavy objects. So his help has been invaluable in dealing with large chunks of wood. One year our anniversary present to each other was a forklift. It’s come in very handy.

Do you work alone in your studio and do you prefer that to sharing studio space with other artists? I seem to get distracted pretty easily when people are around and lose my train of thought. So I’m fairly uncomfortable working in front of anyone. It’s enjoyable to have visiting students or interested visitors come by, but I’d rather be alone while I’m working.

Do you keep regular hours of work time? I wear several hats, so there are a lot of things that interfere with my work time. It varies considerably.

Do you listen to music or prefer silence when you are most creative? I usually have some music on, anything from Mozart to Lady Antebellum, or NPR on the radio.

How would a visitor describe your studio? (for example: chaotic, obsessively tidy, comfortable or intimidating, etc.) My wood studio has a fine layer of wood dust all over it. I’ve found that, if I spend a lot of time cleaning it up, I hesitate to get back to work and mess it up again. So I just let it be and just try to keep my workbench cleared off and any large piles of sawdust off the floor. My painting studio, which is next door, has smudges of paint all over the floor. It stifles my spontaneity if I try to be careful with the materials. Sometimes it’s necessary to stick your finger in the paint to clear up a drip or smooth an area over. I don’t want to have to worry about it getting all over me, or the studio.

Do you seek out conversations with other artists either formally (like a clay club, or XX Association, etc.) or informally (like looking for feedback from your artist friends or mates)? When artists get together, they often talk about art. I enjoy doing that on an informal basis, and have found that I can learn important aspects about art from almost anyone. On one trip we took to visit artist friends, we picked up one of those boxes with lots of questions in it, meant to stimulate conversations. After reading just a couple of the questions, we decided we needed to come up with a box full of questions for people interested in art. It took us a couple of hours to come up with 100 questions about art and answer them. We had some interesting conversations. A couple of beers helped too. I’ve always talked to my friend Stoney Lamar about our respective work. He and I seem to share the same aesthetic, and bouncing ideas off of each other is helpful. I have several friends who work mostly in wood who have been very helpful to me with techniques, equipment and concepts about form and texture.

Do you keep current with work in your field or prefer to work without the potential influences? It’s been my experience that looking at other artists work is very beneficial. I’ve also found that going outside of your field can also be helpful. Sometimes, the material is not essential, but the aesthetic aspects can span from one medium to another.

What creative books or other sources do you find useful? Early on in my career, I took a class with Steve Loar who was teaching at RIT. He made a suggestion to all of us that we keep a notebook of things that inspired or appealed to us . . . anything from an interesting form or texture to the design on a necktie in a catalog. I have been doing that for a long time and it is very helpful whenever I need a creative boost. Of course the notebook has turned into six storage boxes now. Still some of the early things I saved are still interesting to me.

What distracts you most from your work? Playing tennis.

How do you nurture yourself to remain creative? Creativity is a constant state of mind, not something I do when I go to my studio. If I am thinking about my work all the time, and being aware of my visual surroundings, it helps me to be creative when I get to my studio. Making little sketches or notes to myself is also a good way of remembering the things I think of as the day passes when I’m not in my studio. Then when I get back to work, I usually have something in mind before I walk in the door.

Do you make “office” time and is that a struggle to balance the artist with the business-person? I keep a database and images of all of my work with descriptions and details that I need to remember. It’s also handy to keep from sending the same piece back to the gallery that just returned it to you. I photograph my own work, and the computer is a great tool to help get images to galleries. I remember having to overnight slides back in the dark ages. I don’t particularly enjoy the business end of it, but it’s a necessary thing to do. Sometimes the most difficult part is pricing the work.

How many years did it take for you to feel accomplished at your craft? And how many years have you been working in your materials or as an artist? I think feeling accomplished in my work comes and goes. Having my work selected for a certain exhibition or getting a one-person show can be a real boost. Then I’d run into someone who didn’t want to handle my work anymore and it would be tough to handle. I’ve been working in wood for 28 years and painting for seven. I feel pretty confident now that whatever piece I am attempting currently will be successful, but as always, some are more successful than others. Finding that perfect combination of technique and design doesn’t happen all the time, but it happens more often than it used to.

Can you define “studio practice” as it relates to your life or share a personal philosophy about what contributed to your choice to be an artist, and how you approach that choice as a lifestyle?

Makers’ Marks, essay by Robyn Horn

Anyone can make a mark on a piece of paper. There are always those who say “I’m not an artist, I can’t even draw a straight line.” The thing that designates one as an artist is being compelled to make that first mark and feeling an irresistible urge to continue making marks. Using your heart as well as your hands, and doing work that lets you exercise your creative right brain can be emotionally rewarding. It comes down to compulsion and letting the strong desire to make art override other factors of existence. Those artists that are obsessed with making marks or using their hands to create, and are in their studios working constantly, are generally the most effective artists.

It seems that our culture has lost its respect and reverence for the artists. Except in extreme circumstances, it is difficult for an artist to succeed financially. Without a Medici-like support system, it would seem that becoming an artist would not be very fruitful if measuring is determined by how lucrative it can become. So someone who has decided that is the course they want to take must certainly feel an attraction to art that is overwhelming. The desire to use ones hands is a very important aspect of making art. The satisfaction of creating is on the same level with the adrenaline rush achieved by dare-devils. It can also be an anchor that can secure a life. In some cases, art saves lives.

We’ve become a country that processes information rather than manufacturing products. Building or producing things, whether industrial or artistic is becoming less prevalent. Most people have no idea how things are made or how they work. If given a chance, students in an educational climate that embraces the arts, will respond in a positive way. Unfortunately many are not given this opportunity.

Being an artist is not an easy thing to do. Many artists struggle with the concepts of what work to make. Many have issues with confidence and second-guess themselves as they work and as they reflect on their work. When you consider the act of making something, it’s natural to think about the artist toiling away in their studio with their head to their drawing board, easel or workbench. There’s something to be said for the act of making art and how valuable that is to some people. There are others who would not understand that at all and who think art is superfluous. Not every artist will have work in museums or be famous. Believing that the act of making can be worthwhile is critical to understanding yourself as an artist.

The processes artists use have a tendency to define their careers. What makes an artist gravitate toward one material or another? When you consider ceramics, the act of making something with clay is a building or additive process. The material is soft and pliable, and easily manipulated. But then there are firing techniques that have to be learned along with glazing or finishing in a way that takes the process out of the hands of the artist and puts it into the technical realm of cones and reduction quotients.

An artist choosing wood is dealing with the opposite type of process to ceramics. Turning or sculpting wood is a subtractive process. Take too much away and a work can be ruined. Leave too much and it can appear unfinished or heavy. Wood is not as easily worked as clay. It resists change and can be difficult to deal with when grain, splits and inclusions are encountered. But wood is immediate, and perfect for those of us who are impatient. Cut or carve it and it’s gone.

A painter has to deal with decisions on which medium to use; oils, acrylics, charcoal, watercolor, or gouache. Paint on canvas or panels, produce abstract or representational work, or include multi-media. Most artists look at these decisions as opportunities to explore. The possibilities are endless, and the process of working whatever material an artist is using informs the work they are making. Most artists tend to use techniques they enjoy or at least portions of the process are enjoyed. Rauschenberg said “I do what I do because I want to, because painting is the best way I’ve found to get along with myself. And it’s the moment of doing it that counts. When a painting is finished, it’s already something I’ve done, no longer what I’m doing.” *** (p. 166 Off The Wall, A portrait of Robert Rauschenberg by Calvin Tomkins, Picador, NY, NY, 1980, 2005.)

Some artists, in trying to survive in this world where art is considered a luxury or just a fun thing to do, probably make the thing that sells the best whether they enjoy the making part or not. But artists whose work is expressive, stirring and riveting are slaving away in their studios, experimenting with materials, finding new ways to make the marks and shapes they feel are worthwhile, all while dealing with which processes work well together, which ones work at all, and which ones they are willing to tackle. Experimenting with new things can take an artist in a totally new direction than they were headed in before. It’s difficult sometimes to jump into something entirely different, taking a chance on whether it will work or not and whether the skills needed are sufficient to successfully execute a project. This is where the craftsmanship of making things is critical. Stepping into a different realm of making work can be challenging in a design sense, but it is even more problematic when technique is considered.

Nothing feeds the creative spirit more than experimentation. Inspiration is a big motivator, but without experimenting with materials, the inspired designs are never realized. The movie Pollock showed Jackson Pollock looking down at the paint dripping on the ground beside his shoe as he held the brush after painting with brush strokes. The dripping became the process he perfected and became known for. Realizing which processes work and how to use them is the combination artists are always looking for. If they are in the zone thinking about their work in a continual, intense way, they will be aware of these aspects of inspiration when they present themselves. But they need to be in the studio, experimenting with the materials in order to have the opportunity to grasp this awareness.

It’s interesting that the art world has mostly avoided an extensive discussion about process. An esoteric description of a work is a much more acceptable approach in their view. Unfortunately they frequently discount the craftsmanship of a work entirely, when it would never have been created at all had the artist not been skilled enough to make the work. If you have ever been fortunate enough to view an exhibition of Martin Puryear’s work, you will notice the exquisite craftsmanship involved in making each and every one of his sculptures. The aesthetic nature of Puryear’s work is unique and remarkable. The skills with which he incorporates bent wood and his proficiency with joinery are key features that enable him to create the work he envisions.

The English sculptor David Nash, with his delightful sense of humor, tells a story about his huge wooden boulder. He carved it along a creek side where he found a large tree down. Unable to move it to his studio because of its size and weight, he rolled it into the creek thinking it would eventually float downstream. In the years to come, he would bring visitors by to see it and explain to them that it was the experience of not only making it, but seeing it move and change that was valuable. At one point it landed on the banks of the creek in a farmer’s field where he kept sheep. Men who were dispatched to keep the area around creek clear were in the process of removing the boulder when the farmer showed up. “Oh, you can’t take that away. . . apparently it’s art!” said the farmer.

Our sensibilities are all different and come from different places. Rather than telling someone an object is art, it might be more justified in their own minds if they came to that conclusion on their own. Education is the key to making that happen. Reintroducing the arts back into the schools will be a first step toward understanding how important creativity is to learning and to producing resourceful, inventive students. Art is an important aspect of our culture. We can’t afford to lose it if we expect makers to go on to make their marks in the world.

Bio Robyn Horn was born in Ft. Smith, Arkansas, graduated from Northside High School, then Hendrix College in Conway, Arkansas. Her mother and sister are painters, and her interest in the arts was encouraged. After college, she worked in the typesetting field in Little Rock, then became chief photographer for Arkansas Parks and Tourism. After trying her hand a stained glass, she found wood.

In 1984, she began working on a lathe making bowls and vases, which eventually evolved into sculpture. Over the past 30 years, she has developed an aesthetic through studying the work of contemporary craft artists, then artists such as Rene Magritte, Picasso, and Braque’s Cubism, then the Futurists and Abstract Expressionists. Horn has always worked in series, making sculptures that share qualities of asymmetry, geometry, volume, lack of balance, contrast, and heavy textural qualities. Recently she has moved into painting and explored similar qualities in two dimensions.

She lives and works in Little Rock with her husband John Horn.

Artist Statements

Sculpture I am drawn to abstract, geometric sculpture, the volume of it, the form, the textures, and the negative spaces. I am obsessed with tension and movement, the gestural qualities of sculpture. I believe that the individual character of the material can be preserved by the inspiration of the artist, that they can both exist by the combining of the curving lines of nature, together with the angular line of geometry, resulting in a gentle merging of the two entities, one working with the other in a union of souls. I am influenced by the nature of the material and its resistance to being changed. I think in terms of wood and stone, of the things of which nature made, of the ease with which nature develops into shapes and forms, created throughout centuries of accumulated time. I persist in seeing sculpture in a purely visceral way, line and mass, the interplay of angles and planes to create effects of light and shadow, with a strong emphasis on visual grace, and a sense of structural strength and unity.

Painted Work It has been reassuring to me that, during the last few years, I have been able to integrate my visual language, applying my knowledge of sculpture to painting. I remember times in college when I would be sitting in front of a blank canvas thinking, “what on earth am I going to paint?’. Having developed an aesthetic that is both formal and minimal, I am enjoying the freedom to work spontaneously with layered surfaces, mark making and color. Some of the themes that have transferred easily are geometry, volume, lack of balance, textural qualities and contrast. I have noticed how Marcel Duchamp’s painting Nude Descending a Staircase has as much guidance for me when it comes to painting as it did for the Slipping Stone series I explored in my sculpture. My interest is Cubism and Abstract Expressionism also relates to both painting and sculpture, so the transition has been seamless.

The experience of using new materials has given me a process through which I have been able to evaluate aspects of the work, eliminating and expanding as I make decisions about composition and surface. I am particularly encouraged by the results of the mark making with charcoal that has evolved from a simple process to a valued dimension resulting from adding volume to the work. As opposed to my sculptural career, which moved forward in small incremental steps, my painted work is changing very rapidly and is a source of considerable inspiration and exhilaration for me.

Installation of Robyn’s sculpture at Crystal Bridges Museum ROBYN HORN robynhorn.com

PERSONAL Born in Fort Smith, Arkansas, 1951. Currently residing in Little Rock, Arkansas. HISTORY B. A. from Hendrix College, Conway, Arkansas 1969 - 1973. Charter Member, Advisory Council, Arrowmont School of Arts and Crafts, Gatlinburg, TN Advisory Committee, Wharton Esherick Museum, Paoli, PA Advisory Committee, San Francisco Museum of Craft + Design, San Francisco, California President/Founder, Collectors of Wood Art 1998-2000, Board Member 1998-2004, 2006-2011 Honorary Board, Renwick Gallery, Smithsonian Institution 2000-2002 Member of the Arkansas Arts Center Foundation Board, Little Rock, AR 2003-2010 Member of the Collections Committee, Museum of Art & Design, New York City, 2004-2007 Honorary Co-Chair for Capital Campaign, Penland School of Crafts, Penland, NC 2009-2012

AWARDS 2009 Hendrix Odyssey Award in Artistic Creativity, Hendrix College, Conway, AR 2008 Aileen Osborne Webb Award for Philanthropy, American Craft Council, New York 2008 Living Treasure, The Department of Arkansas Heritage 2008 Craft Organizations Development Association Award for Leadership, Creative Thinking and Outstanding Service 2007 McColl Award, Founder’s Circle and Mint Museum of Craft + Design, Charlotte, NC 2007 Lifetime Achievement Award, Collectors of Wood Art 2002 Winthrop Rockefeller Memorial Award, Arkansas Arts Center, Little Rock, AR 2000 Honorary Lifetime Membership Award, American Association of Woodturners 2000 Distinguished Service Award, Arrowmont School of Arts and Crafts, Gatlinburg, TN

SELECTED EXHIBITIONS 2011 Wood Moving Forward, Blue Spiral 1, Asheville, North Carolina Winthrop Rockefeller Legacy Art Exhibition, Winthrop Rockefeller Institute, Petit Jean Mountain, Morrilton, AR Penland Benefit Auction, Penland School of Crafts, Penland, NC Turned and Sculpted Wood, del Mano Gallery, Los Angeles, CA 2010 Geometric Intersections: Sculpture and Paintings by Robyn Horn, The Arts & Science Center, Pine Bluff, AR Knock Wood: New Gifts to RAM’s Wood Collection, Racine Art Museum, Racine, WI Women in Wood, Grovewood Gallery, Asheville, NC 2009 Robyn Horn, Paintings and Sculpture, Tercera Gallery, Palo Alto, CA Selections from the Collection, Wood Turning Center, Philadelphia, PA National Wood Invitational, Blue Spiral 1, Asheville, NC In Balance: Metal & Wood, Wood Turning Center, Philadelphia, PA Los Angeles Art Show, del Mano Gallery, Los Angeles Turned & Sculpted Wood, del Mano Gallery, Los Angeles, CA Sculptural Objects, Functional Art, del Mano Gallery, Chicago, IL Women in Wood, Arrowmont School of Arts & Crafts, Gatlinburg, TN 2008 Permanently MAD, Revealing the Collection, Museum of Art + Design, New York, NY Nina Bliese Gallery presents: Robyn Horn & Ann Ginsburgh Hofkin, Nina Bliese Gallery, Minneapolis, MN Referencing the Earth, (Four person show) Blue Spiral 1, Asheville, NC Selected Works 2008, del Mano Gallery, Los Angeles, CA Sculptural Objects, Functional Art, del Mano Gallery, Chicago, IL and New York, NY

2007 Craft in America, Expanding Traditions, Arkansas Arts Center, Little Rock, AR and traveling 49th Annual Delta Exhibition, curated by Don Reitz, Arkansas Arts Center, Little Rock, AR Far From the Tree, Center for Furniture Craftsmanship, Rockport, ME Sculptural Objects, Functional Art, del Mano Gallery, Chicago, IL and New York, NY Selected Works, del Mano Gallery, Los Angeles, CA 2006 Wood Now Exhibition, Craft Alliance, St. Louis, MO New Acquisitions for the New Millennium, Long Beach Museum of Art, Long Beach, CA The Presence of Absence, CWA special exhibition curated by Hal Nelson, SOFA, Chicago, IL Woodturning on the Edge, University of Idaho, Prichard Gallery, Moscow, ID Sculptural Objects, Functional Art, del Mano Gallery, Chicago, IL and New York, NY Artediem 2, fundraiser for CARTI, Little Rock, AR 2005 Soulful Tracks: Form & Surface, 2 person show, Tercera Gallery, Palo Alto, CA Masters of Wood Art III, Finer Things Gallery, Nashville, TN Artists' Reflections: Selections from the Permanent Collection, Wood Turning Center, Philadelphia, PA Out of the Woods, DeVos Art Museum, Northern Michigan University, Marquette, MI Wood Sculpture, A Rhythmical Weave of the Elements, Upstairs Gallery, Tryon, NC Relativity & Art, Art from the Hutcheson Family, John Brown University Art Gallery, Siloam Springs, AR Sculptural Objects, Functional Art, del Mano Gallery, Chicago, IL and New York, NY Two person show, Jesus Moroles and Robyn Horn, Adair Margo Gallery, El Paso, TX Artediem, fundraiser for Our House, Little Rock, AR 2004 Out of the Woods, Arizona State University Art Museum, Nelson Fine Arts Center, Tempe, AZ Rooted in Innovation: Contemporary Wood Sculpture, Arkansas Arts Center, Little Rock, AR Celebrating Nature, curated by Kevin Wallace, Craft and Folk Art Museum, Los Angeles, CA 47th Annual Delta Exhibition, Honorable Mention, Arkansas Arts Center, Little Rock, AR Robyn Horn, Solo Exhibition, del Mano Gallery, Los Angeles, CA Robyn Horn, Solo Exhibition, Amy Howard Richmond Fine Art, Little Rock, AR New Artists, Andora Gallery, Carefree, AZ Whole Grain: Sculptured Wood, CWA special exhibition curated by Mark Leach, SOFA, Chicago, IL Sculptural Objects, Functional Art, del Mano Gallery, Chicago, IL and New York, NY Fifth Contemporary Wood Invitational, American Art Company, Tacoma, WA 2003 Union of Souls, solo exhibition, Arkansas Arts Center, Little Rock, AR Kanazawa World Craft Forum Invitational Exhibition, Kanazawa, Japan Into the Woods, Long Beach Museum of Art, Long Beach, CA Robyn Horn-One Woman Show, Olivia Cornwell Fine Art, Little Rock, AR Sculptural Forms in Wood, solo exhibition, Hendrix College, Conway, AR Two Steps Forward, One Step Back, Patina Gallery, Santa Fe, NM 25th Annual Contemporary Crafts, Mesa Arts Center, Mesa, AZ Masters of Wood Art II, Finer Things Gallery, Nashville, TN A Way with Nature, Blue Spiral 1, Asheville, NC Your Turn: Collecting Wood Art, The Sybaris Gallery, Royal Oak, MI Turned and Sculpted Wood 2003, del Mano Gallery, Los Angeles, CA Sculptural Objects, Functional Art, Chicago, IL and New York, NY Works in Wood, Harrison Gallery, Key West, FL

2002 Wood Turning in North America Since 1930, Renwick Gallery, Washington, DC Wood Turning in North America Since 1930, Yale University Art Gallery, New Haven, CT Southern Contemporary: New Art from the Ogden Museum of Southern Art, New Orleans, LA James Renwick Alliance 20th Anniversary Benefit Auction, Washington, DC Masters of Wood, curated by William Hunter, gallerymateria, Scottsdale, AZ Turned and Sculpted Wood 2002, del Mano Gallery, Los Angeles, CA Sculptural Objects, Functional Art, Chicago, IL and New York, NY Creators/Collectors, Baum Gallery of Fine Art, University of Central Arkansas, Conway, AR WOOD, Carved, Sculpted, Turned, Harrison Gallery, Key West, FL Branching Out: Contemporary Wood Turning in 2002, Ellipse Art Center, Arlington, VA Abstraction: A Parallel Reality, Blue Spiral 1, Asheville, NC 2001 Wood Turning in North America Since 1930, Minneapolis Institute of Arts, Minneapolis, MN Diversity & Exploration: New Forms in Wood, R. Duane Reed Gallery, St. Louis, MO Small Works, McClain Gallery, Houston, TX Sculptural Objects, Functional Art, Chicago, IL and New York, NY Southern Women of Influence, Kentucky Art and Craft Foundation, Louisville, KY Challenge VI: Roots-Insights & Inspirations, Contemporary Turned Objects, Berman Museum of Art, Ursinus College, Collegeville, PA New Acquisitions, Arizona State University, Nelson Fine Arts Center, Tempe, AZ Originals 2001, Ark. Committee of the National Museum of Women in the Arts, (traveling) Turning Wood into Art, Van Dyke Center, Emory & Henry College, Emory, VA Turned and Sculptured Wood 2001, del Mano Gallery, Los Angeles, CA Small Treasures, del Mano Gallery, Los Angeles, CA Third National Invitational, American Art Company, Tacoma, WA The Birthday Party, Brand Library and Art Center, Glendale, CA Masters of Wood Art, Finer Things Gallery, Nashville, TN 2000 Turning Wood into Art: Masterworks from the Arthur and Jane Mason Collection, Mint Museum of Craft + Design, Charlotte, NC Twenty Objects from the Late Century, Jerald Melberg Gallery, Charlotte, NC Living with Form, Arkansas Arts Center, Little Rock, AR The Fine Art of Wood at the Millennium, Detroit Institute of Arts, Detroit, MI Defining Craft, American Craft Museum, New York, NY Horizons 2000, Brookfield Craft Center, Brookfield, CT Distinguishing Natures, Southeast Wood Sculptors, Blue Spiral 1, Asheville, NC Sculpted Wood Forms, R. Duane Reed Gallery, St. Louis, MO Sculptural Objects, Functional Art, Chicago, IL and New York, NY American Woodturning: Emerging Contemporary Art Form, Rochester Art Center, Rochester, MN Second National Invitational, American Art Company, Tacoma, WA Turnings of the Season, Sable V Fine Art Gallery, Galveston, TX Alchemy in Wood, The Sybaris Gallery, Royal Oak, MI Studio Wood/ The New Frontier, Patina Gallery, Santa Fe, NM Collaborators, del Mano Gallery, Los Angeles, CA Turned and Sculptured Wood 2000, del Mano Gallery, Los Angeles, CA Small Treasures, del Mano Gallery, Los Angeles, CA Wood Works, Gallery I, Fine Arts Center, University of Arkansas at Little Rock 1999 Collectors' Choice, an Invitational, SOFA, Chicago, IL Sculptural Objects, Functional Art, Chicago, IL and New York, NY Forms in Wood Exhibition, Society of Arts and Crafts, Boston, MA American Woodturners Profile I, R. Duane Reed Gallery, St. Louis, MO Small Works, Robert McClain Gallery, Houston, TX American Woodturners Profile II, R. Duane Reed Gallery, Chicago, IL Revolution/Evolution I, del Mano Gallery, Los Angeles, CA Turned Wood, An Invitational, The American Art Company, Tacoma, WA Turned Out, The Sybaris Gallery, Royal Oak, MI Turned and Sculptured Wood '99, del Mano Gallery, Los Angeles, CA The White House Collection- Selected Work, Zazen Gallery, Belleville, WI Small Treasures, del Mano Gallery, Los Angeles, CA Images in Wood, Robyn Horn and Jack Slentz, The Arts & Science Center, Pine Bluff, AR Hendrix College Invitational Art Exhibition, Hendrix College, Conway, AR From Every Angle, Arkansas Arts Council, Little Rock, Arkansas 1998 Earth Voices*Star Songs, Michelle Holzapfel and Robyn Horn, Connell Gallery, Atlanta, GA Masters in Wood, Barry Friedman, Ltd., New York, NY Expressions in Wood, Wornick Collection, American Craft Museum, New York, NY Collaborators, del Mano Gallery, Los Angeles, CA Turned Wood '98, del Mano Gallery, Los Angeles, CA Pathways '98, Cleveland State University, Cleveland, OH In Collaboration With..., Fine Arts Building, University of Arkansas at Little Rock, Little Rock, AR Sculptural Objects, Functional Art, Chicago, IL and New York, NY 1997 Expressions in Wood, Wornick Collection, Oakland Museum of CA Turned Wood Now: Redefining the Lathe-Turned Object IV, Arizona State Univ., Tempe, AZ Moving Beyond Tradition Wood Invitational, Decorative Arts Museum, Little Rock, AR Artists from the White House Craft Collection, ERL Gallery, Winston-Salem, NC Exhibition to Benefit CERF, del Mano Gallery, Los Angeles, CA Turned Wood '97, del Mano Gallery, Los Angeles, CA Burton Creek Collection, Tifton Museum of Art and Heritage, Tifton, GA Turned Wood, Small Treasures, del Mano Gallery, Los Angeles, CA Homage to Osolnik, Connell Gallery, Atlanta, GA Bats and Bowls, Louisville Slugger Museum, Louisville, KY Hendrix Invitational, Alumni Art, Hendrix College, Conway, AR Sculptural Objects, Functional Art, Chicago, IL and New York, NY 1996 Turned Wood, Small Treasures, del Mano Gallery, Los Angeles, CA Hands Together for Heritage, Ark. Artists Registry Gallery, Little Rock, AR Turned Wood '96, del Mano Gallery, Los Angeles, CA White House Collection Craftspeople, del Mano Gallery, Los Angeles, CA Regional Craft Biennial, Decorative Arts Museum, Little Rock, AR-Purchase Award Women in Wood, Banaker Gallery, San Francisco, CA Turn, Turning, Turned, Exhibits USA Turned Askew, Piedmont Craftsmen, Winston-Salem, NC Nature Turning Into Art, The Waterbury Collection, Carleton College Art Gallery, Northfield, MN Sculptural Objects, Functional Art, Chicago, IL and New York, NY 1995 White House Collection of American Crafts, National Gallery of American Art, Washington DC Turned Wood, Small Treasures, del Mano Gallery, Los Angeles, CA Turned Wood '95, del Mano Gallery, Los Angeles, CA The Evolution of the Art Form, Connell Gallery, Atlanta, GA Sculptural Objects, Functional Art, Chicago, IL 1994 Challenge V, Berman Museum of Art, Collegeville, PA Turned Wood, Small Treasures, del Mano Gallery, Los Angeles, CA Regional Craft Biennial, Decorative Arts Museum, Little Rock, AR Turned Wood '94, del Mano Gallery, Los Angeles, CA Redefining the Lathe Turned Object III, ASU Museum, Tempe, AZ Materials Hard and Soft, Center for the Visual Arts, Denton, TX Women in Wood, Banaker Gallery, San Francisco, CA Woodturning: Work of Master Craftsmen, Carriage Barn Arts Center, New Canaan, CT Sculptural Objects, Functional Art, Chicago, IL 1993 White House Collection of American Crafts, White House, Washington, DC Sculptural Objects Functional Art, Chicago, IL Arkansas-Year of the Craft, Decorative Arts Museum, Little Rock, AR Hand of a Craftsman, Eye of an Artist- Hunter Museum of Art, Chattanooga, TN Turned Wood, Small Treasures, del Mano Gallery, Los Angeles, CA Turned Wood '93, del Mano Gallery, Los Angeles, CA 15th Annual Vahki Exhibition, Galeria Mesa Art Center, Mesa, AZ 1992 Turned Wood Sculpture-Geode Series, Herr-Chambliss Gallery, Hot Springs, AR Regional Craft Biennial, Decorative Arts Museum, Little Rock, AR Woodware, Galeria Mesa, Mesa, AZ Contemporary Wood, Banaker Gallery, Walnut Creek, CA Turned Wood '92, del Mano Gallery, Los Angeles, CA Out of the Woods: Turned Wood by American Craftsmen, Mobile Museum of Art, Mobile, AL Rain Forest Safe & Environmentally Friendly, NW Gallery of Fine Woodworking, Seattle, WA Women Woodturners, Hand & Spirit Gallery, Scottsdale, AZ Redefining the Lathe-Turned Objects, Arizona State University, Tempe, AZ 1991 Gallery Show of Woodturning, Carlyn Galerie, Dallas TX Turned Wood '91, del Mano Gallery, Los Angeles, CA Challenge IV, Port of History Museum, Philadelphia, PA 13th Annual Vahki Exhibition, Galerie Mesa Art Center, Mesa, AZ 1990 Third Annual Lathe Turned Objects Show, Sansar, Washington, D.C. Regional Craft Biennial, Arkansas Arts Center, Little Rock, AR - Purchase Award Vision and Concept II, Arrowmont School, Gatlinburg, TN Woodturners -Two person show, Western Carolina University, Cullowhee, NC Handmade for the 90's, The Berkshire Museum, Pittsfield, MA Turned Wood '90, del Mano Gallery, Los Angeles, CA Featured Artist for January, del Mano Gallery, Los Angeles, CA 12th Annual Vahki Exhibition, Mesa Arts Center, Mesa, AZ Materials Hard and Soft, Denton, TX - Juror's Award 1989 Turners Challenge III, Craft Alliance Gallery, St. Louis, MO Turned Wooden Objects, one-person show, Heights Gallery, Little Rock, AR American Contemporary Works in Wood, The Dairy Barn, Athens, OH Vessels and Forms in Wood, St. Paul, MN Materials Hard and Soft, Denton, TX 1988 International Turned Objects Show, Philadelphia, PA The Turned Message II, St. Paul, MN 20th Annual Louisiana Crafts Council, "Made in the Shade", Baton Rouge, LA Materials Hard and Soft, Denton, TX New Talent/New Work, Great American Gallery, Atlanta, GA Spectrum Auction at Hunter Museum, Chattanooga, TN

GALLERIES American Art Company, Tacoma, WA Blue Spiral 1, Asheville, North Carolina del Mano Gallery, Los Angeles, California Finer Things, Nashville, Tennessee Greg Thompson Fine Art, North Little Rock, Arkansas Justus Fine Art Gallery, Hot Springs, Arkansas Nina Bliese Gallery, Minneapolis, Minnesota

SELECTED PUBLIC COLLECTIONS Arizona State University, Tempe, Arizona Arrowmont School of Arts & Crafts, Gatlinburg, Tennessee Arkansas Arts Center, Little Rock, Arkansas Asheville Art Museum, Asheville, North Carolina Crystal Bridges Museum of American Art, Bentonville, Arkansas Detroit Institute of Art, Detroit, Michigan Fuller Craft Museum, Brockton, Massachusetts Hendrix College, Conway, Arkansas Kamm Teapot Museum, Sparta, NC Long Beach Museum of Art, Long Beach, California Los Angeles County Museum of Art, Los Angeles, California Minneapolis Institute of Arts, Minneapolis, Minnesota Mint Museum of Craft + Design, Charlotte, North Carolina Mobile Museum of Art, Mobile, Alabama Museum of Arts and Design, New York City, New York Museum of Fine Arts, Boston, Massachusetts Museum of Fine Arts, Houston, Texas National Museum of American Art, Renwick Gallery, Washington, DC North Carolina State University, Gregg Museum of Art & Design, Raleigh, North Carolina Ogden Museum of Southern Art, New Orleans, LA Racine Art Museum, Racine, Wisconsin Spartanburg County Museum of Art, Spartanburg, SC The Arts & Science Center, Pine Bluff, Arkansas Victoria and Albert Museum, London, England White House Collection of American Crafts, Clinton Library, Little Rock, Arkansas Wood Turning Center, Philadelphia, Pennsylvania Yale University Art Gallery, New Haven, CT

SELECTED PUBLICATIONS 2011 Conversations with Wood, The Collection of Ruth and David Waterbury, Minneapolis Institute of Arts, cover and pp. 106-114. 2009 Residences At the Little Nell on Aspen Mountain, ART, pp. 54-65. 2008 Yale University Art Gallery Bulletin 2008, Recent Acquisitions, p. 179. Ion Art, Arts and Culture Magazine, Volume 1, Number 2 pp. 22-25. MAD Book, Collection Handboook, Museum of Arts + Design, New York, NY, p. 97. 2007 UALR magazine, 2007, Fall/Winter Volume 3 Number 2 pp. 15-16. AY, February 2007, Volume XVIII, Number 10, 49th Annual Delta Exhibition, p. 16. At Home in Arkansas, May 2007, At Home in Arkansas, July 2007, Cover photo Craft in America traveling exhibition brochure, “Already Set in Motion” 2006 Woodwork, April 2006, Number 98, Robyn Horn: Turner, Sculptor, Collector, pp.22-28. Art & Antiques, March 2006, 100 Top Collectors by Rebecca Dimling Cochran & Bobbie Leigh, pp.98-99. Presence of Absence, exhibition catalogue, curated by Hal Nelson, SOFA, Chicago, IL Wood Now, exhibition catalogue, curated by Mark Leach, Craft Alliance, St. Louis, MO Woodturning on the Edge, ex. catalogue, Prichard Art Gallery, University of ID, Moscow, ID 2005 Little Rock Soirée, December 2005, Vol. 04, No. 10, Wood Work, p. 50. Real Living, December 2005, Spotlight Robyn Horn, p. 18. 2004 Sculpture, October 2004, Vol. 23, No. 8, In the Big Easy, p. 21, Fractured Millstone, 2000. The Art of the South 1890-2003, The Ogden Museum of Southern Art, J. Richard Gruber and David Houston, Scala Publishers, Ltd., London Celebrating Nature, Craft Traditions/Contemporary Expressions, Exhibition Catalogue, The Craft and Folk Art Museum, Los Angeles, CA Whole Grain, Sculptural Wood 2004, Special Exhibition curated by Mark Leach, SOFA Chicago "An Artist and a Gentlewoman", Arkansas Times, November 25, Leslie Newell Peacock, p. 23, 27. At Home In Arkansas, at home with . . . Robyn Horn, May 2004, Vol. 9, No. 4, p. 38. 2003 Union of Souls, Robyn Horn, Exhibition Catalogue, Arkansas Arts Center, Little Rock, AR Wood Art Today, Furniture, Vessels, Sculpture, Dona Z. Meilach, Schiffer Publishing. pp. 186,205,222,234. Sacred Vessels, In Concert for One People, CLAL, The National Jewish Center for Learning and Leadership Yale University Art Gallery Bulletin 2003, pp. 146-147. Arkansas Democrat Gazette, April 13, Style Section, pp.1E and 3E, article by Werner Trieschmann Log Cabin Democrat, November 13, Entertainment Guide, pp. 1, 10 and 11, article by Carol Rolf 2002 Scratching The Surface, Guild Publishing, by Michael Hosaluk American Style, "Wooed by Wood", Winter 2002-2003, P. 66-73. 2001 Wood Turning in North America Since 1930, Wood Turning Center and Yale University Challenge VI- Roots: Insights & Inspirations in Contemporary Turned Objects, Wood Turning Center. Philadelphia, PA 2000 Defining Craft, American Craft Museum, New York, NY Living with Form, The Horn Collection of Contemporary Crafts, Arkansas Arts Center Turning Wood into Art, The Jane and Arthur Mason Collection, Mint Museum of Craft + Design, Charlotte, NC The Fine Art of Wood at the Millennium, Detroit Institute of Arts American Craft, "Collecting A Life: John and Robyn Horn, Dec. 2000/Jan. 2001, pp.46-53. Beautiful Things, Guild Publishing, Madison, Wisconsin Turning Points, Wood Turning Center, Philadelphia, PA, "To Conserve or Not to Conserve", p. 38. American Woodturner, Journal of the American Association of Woodturners, Shoreview, MN, "Robyn Horn, Artist, Turners' friend honored by AAW", p. 14-16. Craft Arts International, Sydney, Australia No. 48, "Merging Geometry with Nature", p. 41-45 1999 Contemporary Turned Wood, by Leier, Peters, Wallace 1998 New York Times, Wornick Collection, American Craft Museum, Feb. 6, New York, NY 1997 Woodwork, February- "Madrone Burl Stepping Stone" Enter the World of Lathe-Turned Objects, Wood Turning Center Catalogue Moving Beyond Tradition: A Turned-Wood Invitational, Decorative Arts Museum Little Rock, Arkansas Turned Wood Now: Redefining the Lathe-Turned Object IV, Arizona State University Art Museum, Tempe, Arizona Expressions In Wood- Wornick Collection, Oakland Museum of Art, Oakland, CA American Craft- February/March- "Expressions In Wood", Wornick Collection 1996 Arkansas Democrat Gazette- Regional Craft Biennial, Decorative Arts Museum The Art of the Lathe- Patrick Spielman Regional Craft Biennial Catalogue, Arkansas Arts Center, Little Rock, AR Woodturning, December, 1996 - Presidential Collection 1995 The White House Collection of American Crafts 1994 Challenge V: International Lathe-Turned Objects Catalog Woodturning, May 1994 - A Focus on Hidden Talent Worldwide Woodturning, November 1994 - Review of Turned Wood, '94 del Mano Gallery 1993 Arkansas: Year of American Craft 1993 1992 Fine Woodworking Design Book Six Out of the Woods: Turned Wood by American Craftsmen 1991 Challenge IV: International Lathe-Turned Objects Catalogue Fine Woodworking Design Book Five Calendar (May) 1990 Arkansas Homes Magazine, Fall l990,"Pierced Geode, Nutmeg & Bocote" Fine Woodworking Design Book Five The Southern California Woodworker, January, "Pierced Geode" 1989 Fine Woodworking, Jan/Feb, p.84 "Redwood Geode" 1988 International Turned Objects Show Catalogue, pp. 44-45 American Woodworker, Sept/Oct, p. 70 "Sheoake Geode"