Patricia Cronin ALL is NOT LOST Patricia Cronin

1 Patricia Cronin

ALL is NOT LOST

with essays by Helen Molesworth and Alexander Nemerov

Newcomb Art Gallery Tulane University

2 3 foreword and Acknowledgments 7

all is not lost Love and Death in the Work of Patricia Cronin

This catalogue is published in conjunction with Helen Molesworth Patricia Cronin: All Is Not Lost, an exhibition organized by the Newcomb Art Gallery, 11 Tulane University.

Generous support for this exhibition and catalogue comes from The Andy Warhol Foundation for the Visual Arts. plates Additional funding provided by Sara Vance Waddell. 16 Copyright © 2012 by the Newcomb Art Gallery, Tulane University.

All rights reserved. ghosts and sculpture

No part of this publication may be Harriet Hosmer and Patricia Cronin reproduced or transmitted in any manner whatsoever without written permission from the publisher. Alexander Nemerov Edited by Teresa Parker Farris 27 Designed and typeset by Beverly Joel, pulp, ink. Printed and bound by Shapco Printing, Inc. Minneapolis, MN

ISBN-13 978-0-9668595-1-5 plates 33 photo credits Steven Bates: cover Tom Powell Imaging: pp. 8-9, 21, 25, 72 Rayographix: pp. 26, 31, 33–65 Lee Sandstead: pp. 10, 17, 18, 19, 22, 23 checklist of the exhbition 67

biography 68

bibliography 70

4 5 foreword and Acknowledgments

Charles M. Lovell director newcomb art gallery

Patricia Cronin: All Is Not Lost presents the complete I would like to thank the artist Patricia Cronin for works from the Harriet Hosmer: Lost and Found series her enthusiastic support and cooperation in mak- (2004-2009) alongside the marble sculpture Memorial ing this exhibition available to the Newcomb Art To A Marriage (2002) from one of America’s foremost Gallery. The Andy Warhol Foundation for the Visual contemporary artists. Her groundbreaking oeuvre, Arts provided critical funding for the catalogue and ex­ploring notions of gender as well as gay and lesbian exhibit, and I am particularly grateful to foundation representation, employs classical idioms ably realized President Joel Wachs as well as Program Director in traditional media. Rachel Bers and former Program Director Pamela The Harriet Hosmer series, never before seen Clapp. Additional financial support came from Sara in its entirety, offers a catalogue raisonné for the Vance Waddell. largely forgotten American sculptor (1830-1908) We appreciate the insightful essays contrib- who lived and worked in Rome for more than fifty uted by Alexander Nemerov, the Vincent Scully Pro­ years. Cronin’s representations exploit the transparent fessor­ of the History of Art at Yale University, and properties of watercolor to evoke the luminosity of Helen Molesworth, Chief Curator of the Institute of Hosmer’s neoclassical forms. Contemporary Art/Boston. We are also grateful to These are combined with Memorial To A Michael Plante, Associate Professor, History of Art at Marriage, carved in Carrara marble in the tradition of Tulane University, for suggesting the exhibition to the nineteenth-century mortuary sculptures, that pres- gallery,­ and being involved in the preliminary planning. ents the artist and her partner Deborah Kass in an Thanks to our generous lenders: Patricia Cronin, eternal embrace. the Corcoran Gallery of Art, Beth Rudin DeWoody, The Newcomb Art Gallery is proud to bring to Helen Stambler Neuberger and Jim Neuberger, Mrs. New Orleans and Tulane University this compelling Lois Plehn, Maura Reilly, PhD, Debi Sonzogni and exhibition with its powerful commentary on gender A.G. Rosen, and Sara M. and Michelle Vance Waddell. and sexuality at a time when such issues occupy a At the Corcoran, we are grateful to the assistance pro- central, and often controversial, place in contempo- vided by Sarah Newman, Curator of Contemporary rary American political discourses. Art, and Andrea Jain, Associate Registrar. Thanks to our Senior Curator, Sally Main, for her valuable contributions in arranging the loans, producing labels and signage, and exquisitely install- ing the exhibition. The catalogue was beautifully designed by Beverly Joel, pulp, ink., New York, and ably edited by our own Teresa Parker Farris, Marketing Coordinator. Finally, special thanks to Arthur Roger for his sup- port behind the scenes.

6 7 Memorial To A Marriage, 2004 Bronze, 2/3rds to scale, Brooklyn Museum, Brooklyn, New York

8 9 All is not lost

Love and Death in the work

of Patricia Cronin

Sometime in March of 2005, I was sitting at an air- the affairs of your death will be taken care of by port bar reading the close-captioned feed on the the person you choose—your spouse—rather than television. Then president, George W. Bush, had in- the people who are simultaneously the most perma- terrupted his vacation to fly back to Washington, nent and most arbitrary fixtures in your life—your DC, so he could sign legislation designed to prohibit parents. “No wonder people don’t want fags to get Terri Schiavo’s husband from authorizing her doctors married,” I thought. Not letting queers marry is a to remove her from life support. Schiavo had been in way of maintaining the fantasy that gays and lesbians a persistent vegetative state since 1998, and had been are in a perpetual “stage.” Not allowing queers to kept alive by virtue of a feeding tube. While her hus- marry is a way of refusing them their adulthood, a band wanted to release her from this medical limbo, way of keeping them tethered to their parents. It is her parents felt certain that recovery was still possible. a form of state-driven infantilization. I realized what Their unfortunate and bruising legal battle became a made the Schiavo case so deeply perverse was that cause célèbre of the right-to-life movement. some politicians’ desire to take a right-to-life stance My cocktail-induced epiphany at the bar that made them, in this instance, willing to overlook the day was about the relations between marriage and (sacred!) covenant of marriage. But the law prevailed: death. In an ideal world, it seemed to me, when you Schiavo had chosen her husband, and he did not let chose to marry you did so because you had found Washington’s meddling in his personal affairs stop his someone you trusted to take care of you—through pursuit of justice for his wife. Her feeding tube was sickness and in health—and there was perhaps no removed, and thirteen days later on March 31, 2005, greater test of this trust than how that person would she died a peaceful death. handle your affairs if you were, say, in a persistent Patricia Cronin’s work traffics in love and vegetative state. I realized that marriage is really death, and in the intimate relations between these about death; being married means knowing that two structuring poles of human existence. The exhi-

Helen Molesworth

10 11 bition All Is Not Lost brings together the two proj- Memorial To A Marriage was made a decade be- moment of reclamation. Cronin was doing what a about Hosmer, Cronin was loath to discover that art ects that best exemplify these concerns: her funerary fore Patricia Cronin and her partner Deborah Kass generation of feminist art historians before her had history had yet to bestow upon her its ultimate act of sculpture Memorial To A Marriage from 2000-02 and were granted the right to marry in their home state done. She answered Linda Nochlin’s question, “Why validation, a catalogue raisonné. So Cronin set out to a group of more than sixty watercolors based on the of New York. Hence Cronin made a memorial to have there been no great women artists?” with the provide her with one. work of Harriet Hosmer (1830-1908), an American a legal status that did not exist, just as she arranged now familiar answer: “Here’s one.” She thus present- She meticulously researched Hosmer’s life sculptor who lived most of her adult life as an ex- for a funeral sculpture before she and her lover had ed Harriett Hosmer, a young white woman from and oeuvre. She made small delicate grisaille water- patriate in Europe. Memorial To A Marriage is a larg- died (or were near death). The time- color renderings of all of Hosmer’s known works. er-than-life-size sculpture carved in white Carrara travel quality of the work is accentu- Accompanying these drawings was a traditional cata- marble. It depicts two female figures, intertwined in ated by how out of fashion it is with logue entry written by Cronin. The entries properly a sleeping embrace. The figures are nude, their breasts the conventions of queer, artistic, and enumerate the provenance of each work, account exposed, their hair sexily splayed across the pillows. urban life—conventions in which few for its multiple iterations, and their exhibition histo- A sheet drapes across the lower part of their bod- have embraced the logic of the me- ries. Each entry contains a description of the work, ies, leaving their feet exposed, and in a particularly morial with its dreams of permanence and greatness, ideas deeply problema-

tized by decades of feminist critique of the machinations of patriarchy. And poignant detail—a punctum if you will—their feet yet, there it sits in a kind of obdurate along with an explication of its iconography and a delicately touch. It is the detail that emblematizes the grandness, awaiting its ultimate activa- restrained version of interpretation, just enough to love, here imaged as eternal. The work is audacious. tion, its shift in temporality from an- let us know that Cronin has opinions, but not so A Carrara marble sculpture—really? After Donald ticipatory to eternal. emphatically stated that we are not free to muddle Judd? Two women in a postcoital slumber—really? On the face of it, Cronin’s ex- around with our own thoughts. For works whose After Gustave Courbet? A mortuary sculpture—re- traordinary project around the neo- locations are unknown, Cronin made abstract draw- ally? After Nietzsche? But there it is, installed in New classical sculptor Harriet Hosmer seems a radical Massachusetts who, against significant odds, became ings, glowing white forms that suggest a vague shad- York City’s Woodlawn Cemetery; a photo taken of departure from her previous work: small watercolors a noted neoclassical sculptor and lived an expatriate ow of what the original shape might have been. (For it in the autumn shows it surrounded by dried and of her and her lover in erotic engagement, which life in Rome surrounded by a circle of well-known instance, a lost fountain sculpture appears as a large dead maple leaves, a few of which are nestled in the culminated in Memorial To A Marriage. Leaving be- and well-to-do women, all of whom had eschewed vertical shape; a lost portrait medallion burns like a folds of the white drapery. Fitting, as fall is the season hind the libidinous, the Hosmer project seemed al- traditional marriage, preferring to live together in bright sun.) The watercolors are as sentimental— of death—winter is merely hibernation. most a step back in the feminist trajectory, to the a variety of Sapphic arrangements. Upon learning evoking their history as a woman’s art form from

12 13 the Victorian age—as the text is scholarly, bestowing noting, that holds almost no contemporary interest. and he did so with the intention of being able to longing and desire—is in essence the performance upon the project a dual affect: sweet and serious, de- The legacy of the movements for social justice that pass his custodianship on to the next generation. A of an art historical marriage. By performing the role cidedly not ironic. The project, in addition to partici- dominated the second half of the twentieth century curator was someone who made sure that objects of curator, Cronin brings Hosmer’s work into be- pating in the recuperative gestures of feminist art his- sought to supplant the ideal with the specific. And safely traveled through time such that they perse- ing, just as the utterance of the words “I do” brings tory, also participates in two of the dominant modes yet, I confess that Memorial To A Marriage, for all of its vered in ways that humans could not. Ars longa, vita one into the state of marriage. Well, if it’s legal that of contemporary art practice. The work is deeply radical specificity, is porous enough conceptually that brevis. Cronin stepped in to care for Hosmer’s legacy. is. On July 24, 2011, Cronin and Kass went to City indebted to the logic of appropriation, in which the I frequently (and narcissistically) imagine it to be as Her project appropriates Hosmer’s work and enters Hall in Manhattan and became legally wed in the artist makes recourse to the images and objects that much a sculpture of State of New York. By doing so, they ensured that already exist and resubmits them under her own sig- me and my lover as it they, and they alone, possess the right and responsi- nature. And it also is a deeply performative work, in is of Cronin and Kass, bility to care for each other ‘til death do them part.

But the time travel of history continues: the archi- which the artist takes on the roles of art historian and which is, I suppose, vist of New York’s city hall will enter the record of curator, even though she is professionally neither. how the ideal was their marriage into a database; the groundskeepers at Seeing the Hosmer project as connected to supposed to work. Woodlawn will tend to Memorial To A Marriage; and these larger contemporary modes of working helped But the most moving part of the Hosmer proj- it into the discipline of art history under a double some, as yet, unborn curator will inherit the task of me think through some of the ways the Hosmer proj- ect for me is Cronin’s occupation of the role of art signature, as if to ensure its (and her own) preser- caring for the sixty-odd watercolors that comprise ect and Memorial To A Marriage amplify one another. historian/curator. The Latin root of the word curator vation through time: either under the umbrella of the Harriet Hosmer project, guaranteeing that the Both projects show Cronin’s interest in neoclassi- is cura—to care for. This mandate—to care for—was “Cronin” or “Hosmer,” these works will survive. work of two women, separated by centuries, but cism, allowing Cronin to tap into the centuries-long the dominant part of the curator’s role for centu- Cronin’s appropriation—an appropriation that oc- who nonetheless shared a love of the ideal, can sur- aesthetic pursuit of the ideal—a pursuit, it is worth ries. A curator took care of a collection of objects, curs without irony or distance, but rather through vive the transient pleasures of the everyday.

14 15 pages 16–25 Memorial To A Marriage, 2002 Carrara marble, over-life size The Cronin-Kass plot, Woodlawn Cemetery, Bronx, New York

16 17 18 19 20 21 22 23 24 25 ghosts and sculpture

Harriet Hosmer and Patricia Cronin

In July 1851, at age twenty, Harriet Hosmer wrote of time she awoke until the time she went to bed, the a supernatural experience. It happened one evening young sculptor was preoccupied with the challenge when she was returning on horseback from a visit to of bringing inanimate materials to life. Sculpture for the house of the writer Lydia Maria Child, near her her was a supernatural pursuit. own in Watertown, Massachusetts. “I came up to a Maybe this is why Hosmer’s sculptures can fence with a very long rail resting against the upper seem like ghosts. Her Zenobia, for example, is one of bar and close to the entrance of the field where the what art historian Gabrielle Gopinath calls Hosmer’s bars were taken down,” Hosmer penned in a letter a “eerily emotionless sorority” of female figures, “a few days later. “My attention was directed particu- zombie-like brigade of the living dead.” Gopinath larly to the rail, for it was so long and slender. While persuasively regards the chained Zenobia and other I was looking at it, it raised itself from the fence and Hosmer sculptures of static and ghostly female fig- moved around to the outside of the post, a distance ures in feminist terms. Each is a sign of the “humbled of several yards, and then stood upright. Now I do feminine ambition” that Hosmer, Child, and other not tell this as a joke, but as a solemn fact, in which free-thinking women of the time would have under- light I most religiously view it.” stood as a heroic and tragic precursor to their own The tale’s ghostliness is self-evident. Cornelia condition of comparative liberty. But these female Carr, in a footnote to the letter in her 1912 book on figures who are “asleep, abandoned, turned into a the artist, notes, “Miss Hosmer had always more or tree, slaughtered, dead, on the eve of execution, [and] less of psychic power, and later was deeply interested being paraded in chains,” to cite Gopinath’s list of the in the work of the Society for Psychical Research sorority, also evoke the life-out-of-death state that in England.” 1 Less clear is the letter’s reference to simply was sculpture for Hosmer. As Gopinath notes, sculpture, but it too is evident. The “very long rail” Hosmer’s Galateas—having been turned from stone resting against the fence is a sleeping form that sud- to life—always retained the eerie sense of the inani- denly comes to life—a version of the Pygmalion mate material from which they came. 2 myth. Appropriately, Hosmer began this same letter This death-in-life state takes different forms with a description of having awakened at three in the in Hosmer’s art. Zenobia, like the resting rail on the morning to continue work on a medallion. From the Massachusetts fence, is brought to life by the sculp-

Alexander Nemerov

26 27 Harriet Hosmer, Beatrice Cenci, 1856, marble. From the Collections of the St. Louis Mercantile Library at the University of Missouri – St. Louis.

tor: “The sleeper of sixteen hundred years wakes venture of flying forward, dreaming of eras he will nal reminiscence, orbiting around the earth at veloci- tures known and unknown, accompanied by Cronin’s from her long repose,” wrote a critic in 1865, “and never know beyond the velour of his parlors, poised ties that (we can see now) would have broken it apart own thoughtful commentary, Lost and Found is an stands, calm in her scorn, grand in her grief, proud in even if his toadstool balance is no match for the hur- the minute this Victorian device left its homeland. act of recovery. Cronin was dismayed that Hosmer her humiliation.” 3 Like the rail that “stood upright,” ricane of time. Other Hosmer sculptures seem like All of Hosmer’s works, and not just this memorial, was so little heard-of, and she set about making a Zenobia rises from her sleep. Other Hosmer works fragile spacecraft ready to set sail upon a voyage of were intended for the future. But they sense that they record of the artist’s work so that others would learn such as Beatrice Cenci and The Sleeping Faun portray years that the sculptor, hope against hope, arms them will land in eras that do not recognize them, fated to of it. But Cronin’s project is also attuned to the in- a resting state like the marble itself prior to having nately ghostly state of Hosmer’s art. The penumbra of been quickened into still-ghostly life. Meanwhile, Cronin’s watercolors, for example the one of Medusa, Hosmer’s suicidal Oenone is alive, half-raised, only alerts us to what is un-alert, liquid, and dreamy, in to the extent that she slumps back to the slumber the heroine’s look and attitude. Other works (to me of a rock. Even Hosmer’s much-liked Puck, one of the most evocative in the series) portray missing her liveliest sculptures, is just a “spirit of another sort,” sculptures as ectoplasmic glows, bursting with fret- to quote Oberon’s lines in Shakespeare’s Midsummer ted, brushy edges, contoured dribbles, and snowflake Night’s Dream. That is, he exists as a sweet variation on patterns—the splintered spiders of shattered marble the chain-clanking ghouls fretting back to their tombs knees. Cronin’s pictures help us see the erotic melt- at dawn, as in Puck’s own description: “Damnèd spir- ing of even the works that survive. In Cronin’s art, as its all/ That in crossways and floods have burial,/ in Hosmer’s, what is found remains lost. Already to their wormy beds are gone,/ For fear lest Cronin’s format, the catalogue raisonné, is it- day should look their shames upon” (III.ii.388, 382-85). self an exploration of the lost. The artist’s scholarship Hosmer’s works are ghostly in another way. is a Pygmalion’s kiss, bringing to life what is loved They suggest the future afterlife of her art, construed and hitherto inert. The scholar loves an artist, and the as a noble journey into historical oblivion. The hostile artist—no matter how impressive her work—cannot and benighted passage her figures prepare themselves live without this creative devotion. But again this is for, like Zenobia being paraded through the streets of more than just an act of finding and saving. The cata- Rome, is implicitly a voyage of time. Similar to the logue raisonné is attuned to the peculiarly deathly defeated Queen, Hosmer’s works implicitly evoke life awakened by the kiss of scholarship. Finding all the burden of an alien temporal environment—one the works, tracking them down, summoning them that knows them no better than the nineteenth cen- from their hidden places in a latter-day accounting, is tury might have perceived a third-century ruler. For a kind of Judgment Day. Eternal life, Cronin knows, so the distant pasts where Hosmer found her subjects is not without its eerie side. As the ghostly washes of made the supremely historicist nineteenth century her pictures acknowledge, her scholarship is a form itself seem like a ruin waiting to happen. The works, for but with no sure sign of success. Swept back, patrol zones of the temporal unknown. of “Psychical Research.” however, bear the burden of this prospective with smooth surfaces, hair curled and torches a-flare, they Which brings me to Patricia Cronin. In 2009, Would Hosmer have wanted her work to be dignity and resignation. appear to lift off, or get set, for an eternal orbit well slightly more than one hundred years after Hosmer’s revived in this way? Consider two related anecdotes. The Beatrice Cenci, Oenone, and the tomb sculp- beyond the familiar scope of their time and place. death, Cronin published Harriet Hosmer: Lost and In the first, she is a young woman on a steamboat ture Judith Falconnet, for example, succumb in tran- Hosmer’s Lincoln Memorial, had it ever been built, Found, her artistic catalogue raisonné of the sculptor’s journey up the northern reaches of the Mississippi quilized states to the rush of years. Puck accepts the would have been the multi-pillared rocket of an eter- work. Composed of beautiful watercolors of sculp- River. On the Iowa shore, she sees an especially “tall,

28 29 precipitous height” among the passing bluffs and wa- own careful inscription, writ in the watercolors and gers several bragging young men that she can climb words of Cronin’s loving tribute? No doubt Hosmer to the top of it faster than they can. The bet on and is undeservedly little known. No doubt Cronin is the steamboat tied to shore, she makes good on her wise to conjure the ghostly blur of the artist’s work wager and reaches the summit first. “The place was a and the project that would recover it. But even so, I wilderness,” notes the Iowa man who recounted the imagine there is something still deeper and more ab- story in 1895, but now it is called “Mount Hosmer” in sent about Hosmer and her art. I imagine this absence honor of the woman “who is now known through- in the following form: Hosmer and Cronin having a out the world [but who] was then known only to discussion like the figures of the older man and the those whom she knew.” The man closes with a nod younger man do in the stories of Henry James. to the future: “Will not Mount Hosmer be a lasting It goes like this: the wise older person gently ac- (and fitting) monument to her name and fame?”4 Yet knowledges the well-meaning gesture of the young note what is lost in the elevation to recognition and admirer, but the admirer senses a certain reserve. The fame. The scrambling feat of athletic resolve and skill veteran artist seemingly wishes to spare the young becomes only “a lasting (and fitting) monument.” We follower the knowledge of some greater wisdom, lose the “wilderness” of the life just then. We lose the some Pandora’s Box, that the contained curatorial intimacy of a person known only to those close to gesture cannot help but open. “It is just that…”—I her—“those whom she knew”—a life that the mon- imagine Hosmer telling Cronin in Jamesian tones— ument forgets. “It is just that the whole recollection, the care and The second anecdote is from J. N. McDowell, kindness of it, the detailed recovery and the acknowl- Hosmer’s teacher of anatomy when she studied in edgment of loss…it is just that this endeavor should St. Louis in 1850-51. He also mentions the heights of still not find what it was about me, call it the knot, Hosmer’s achievement, though not literally the race call it the swirl of snakes, call it what you will, there is up the Iowa bluff. Summoning conventional figu- no proper sign for it, that made me and my work just rative language, McDowell relishes having seen “a then, when I was alive, so loved.” woman dare to scale the mountain height of fame, 1 when she has the heroic courage to plant her ladder Harriett Hosmer, Letter to “C,” July [1851], and on a precipice and lean it on a storm cloud.” He con- Carr, note, in Cornelia Carr, ed., Harriet Hosmer: Letters and Memories (London: John Lane nects elevation and eternity: “May the snowy peak The Bodley Head, 1913), 13. of the mount of Miss Hosmer’s glory ever stand as 2 Gabrielle Gopinath, “Harriet Hosmer and a beacon to woman’s daring.” 5 The sentiment is a the Feminine Sublime,” Oxford Art Journal 28, no. 1 fitting tribute to all that Hosmer accomplished. But (2005): 69. lost in the loftiness of the eternal achievement is, 3 again, the smaller scale of the person’s daily life, the Hosmer: Letters and Memories, 367. “wilderness” of a life as lived. 4 Ibid.,12-13. To monumentalize Hosmer is then a complex 5 task. On the one hand, why should she not have her Ibid., 125-26.

30 31 1. Book Cover 2. Title Page

32 33 3. Frontispiece 4. Hesper, 5. Doctor McDowell 6. Daphne The Evening Star

34 35 7. Ghost #2 8. The Clasped Hands of 9. Ghost #3 Robert Browning and Elizabeth Barrett Browning

36 37 10. Medusa 11. Ghost #4 12. Oenone 13. Ghost #5

38 39 14. Puck 15. Ghost #6 16. Beatrice Cenci 17. Ghost #7

40 41 18. Lady Constance 19. Ghost #9 20. Tomb of 21. Ghost #11 Talbot Judith Falconnet

42 43 22. Will o’ the 23. Ghost #12 24. Will o’ the 25. Ghost #13 26. Will o’ the Wisp Wisp Wisp

44 45 27. The Fountain 28. Zenobia in Chains 29. Ghost #14 30. Zenobia of the Hylas and the Water Nymphs

46 47 31. Ghost #15 32. Putti upon Dolphin 33. Ghost #16 34. The Fountain of the Siren

48 49 35. Ghost #17 36. Putti upon Dolphin 37. Ghost #18 38. Thomas Hart Benton

50 51 39. Ghost #19 40. Gate For An 41. Ghost #20 42. Gate For An Art Gallery Art Gallery (Phosper and Hesper (The Falling Star) Circling their Double Star)

52 53 43. Ghost #21 44. Gate For An 45. Ghost #22 46. Gate For An 47. Ghost #23 Art Gallery Art Gallery (Zephyr Descends) (Nights Rises with the Stars)

54 55 48. The Sleeping Faun 49. Ghost #24 50. Portrait of 51. Ghost #25 Wayman Crow

56 57 52. John Gibson 53. Ghost #27 54. The Waking Faun

58 59 55. Lincoln Memorial 56. Queen of Naples 57. Sentinel of Pompeii 58. Crerar Lincoln Memorial – The African Sybil

60 61 59. The Staghound 60. Dolphin Fountain 61. The Mermaid’s Cradle 62. Ghost #28

62 63 63. Queen Isabella of 64. Ghost #29 65. Back Cover Castile

64 65 checklist of the exhibition

Memorial To A Marriage 14. Puck, 2007 30. Zenobia, 2007 48. The Sleeping Faun, 2006 15 x 12 in. 15 x 12 in. 12 x 15 in. Collection of Mrs. Lois Plehn Memorial To A Marriage, 2000-02 15. Ghost #6, 2007 49. Ghost #24, 2007 Carrara marble, 27 x 47 x 84 in. 15 x 12 in. 31. Ghost #15, 2007 15 x 12 in. 15 x 12 in. 16. Beatrice Cenci, 2007 50. Portrait of Wayman Crow, 2007 Harriet Hosmer: 12 x 15 in. 32. Putti upon Dolphin, 2007 15 x 12 in. Lost and Found series Collection of Sara M. and 15 x 12 in. Collection of Michelle Vance Waddell Collection of Debi Sonzogni and Beth Rudin DeWoody Unless noted otherwise, all works A.G. Rosen 17. Ghost #7, 2007 51. Ghost #25, 2007 listed below are watercolor on paper. 15 x 12 in. 33. Ghost #16, 2007 15 x 12 in. Dimensions are listed Collection of 15 x 12 in. height x width. Helen Stambler Neuberger and 52. John Gibson, 2007 Jim Neuberger 34. The Fountain of the Siren, 2007 12 x 15 in. 1. Book Cover, 2007, 15 x 12 in. 15 x 12 in. 18. Lady Constance Talbot, 2007 53. Ghost #27, 2007 12 x 15 in. 35. Ghost #17, 2007 15 x 12 in. 2. Title Page, 2007 15 x 12 in. Graphite on paper, 15 x 12 in. 19. Ghost #9, 2007 54. The Waking Faun, 2007 15 x 12 in. 36. Putti upon Dolphin, 2007 12 x 15 in. 3. Frontispiece, 2007 15 x 12 in. Graphite on paper, 15 x 12 in. 20. Tomb of Judith Falconnet, 2006 Collection of Debi Sonzogni and 55. Lincoln Memorial, 2007 12 x 15 in. A.G. Rosen 12 x 15 in. 4. Hesper, The Evening Star, 2007 Corcoran Gallery of Art, 15 x 12 in. 21. Ghost #11, 2007 37. Ghost #18, 2007 Washington DC, Gift of Lois Plehn Collection of Maura Reilly, PhD 15 x 12 in. 15 x 12 in. 56. Queen of Naples, 2007 5. Doctor McDowell, 2007 22. Will o’ the Wisp, 2007 38. Thomas Hart Benton, 2007 15 x 12 in. 12 x 15 in. 15 x 12 in. 15 x 12 in. Collection of Debi Sonzogni and 57. Sentinel of Pompeii, 2007 6. Daphne, 2006 A.G. Rosen 39. Ghost #19, 2007 15 x 12 in. 15 x 12 in. 15 x 12 in. 23. Ghost #12, 2007 58. Crerar Lincoln Memorial – 7. Ghost #2, 2007 15 x 12 in. 40. Gate For An Art Gallery The African Sybil, 2007 15 x 12 in. (Phosper and Hesper Circling their 15 x 12 in. 24. Will o’ the Wisp, 2006 Double Star), 2007 8. The Clasped Hands of 15 x 12 in. 12 x 15 in. 59. The Staghound, 2007 Robert Browning and Collection of Debi Sonzogni and 12 x 15 in. Elizabeth Barrett Browning, 2006 A.G. Rosen 41. Ghost #20, 2007 12 x 15 in. 15 x 12 in. 60. Dolphin Fountain, 2007 25. Ghost #13, 2007 15 x 12 in. 9. Ghost #3, 2007 15 x 12 in. 42. Gate For An Art Gallery 15 x 12 in. (The Falling Star), 2007 61. The Mermaid’s Cradle, 2006 26. Will o’ the Wisp, 2007 12 x 15 in. 15 x 12 in. 10. Medusa, 2006 15 x 12 in. 15 x 12 in. Collection of Debi Sonzogni and 43. Ghost #21, 2007 62. Ghost #28, 2007 Collection of Beth Rudin A.G. Rosen 15 x 12 in. 15 x 12 in. DeWoody 27. The Fountain of the Hylas and the 44. Gate For An Art Gallery 63. Queen Isabella of Castile, 2007 11. Ghost #4, 2007 Water Nymphs, 2007 (Zephyr Descends), 2007 15 x 12 in. 15 x 12 in. 15 x 12 in. 12 x 15 in. Collection of Sara M. and Michelle Vance Waddell 12. Oenone, 2006 28. Zenobia in Chains, 2007 45. Ghost #22, 2007 12 x 15 in. 15 x 12 in. 15 x 12 in. 64. Ghost #29, 2007 Corcoran Gallery of Art, Collection of Beth Rudin 15 x 12 in. Washington DC, Gift of Lois Plehn DeWoody 46. Gate For An Art Gallery (Nights Rises with the Stars), 2007 65. Back Cover, 2007 13. Ghost #5, 2007 29. Ghost #14, 2007 12 x 15 in. 15 x 12 in. 15 x 12 in. 15 x 12 in. 47. Ghost #23, 2007 15 x 12 in.

66 67 biography biography

Born Solo Exhibitions Selected Group Exhibitions 2007 2002 1995 Selected Awards and Fellowships Selected Collections Open House: Cincinnati Collects, Family, Aldrich Contemporary Art Patricia Cronin & Lee Gordon, Contemporary Art Center, Museum, Ridgefield,CT Richard Anderson Gallery, 1963 2012 2012 Civitella Ranieri Foundation Corcoran Gallery of Art, Beverly, Massachusetts Patricia Cronin: All Is Not Lost, Permanent Collection, Kelvingrove Cincinnati, OH New York, NY Looking at America, Yale University Fellowship, 2009 Washington, DC Newcomb Art Gallery, Art Gallery and Museum, Glasgow, Trying to Land 2, MACRO (Museo Art Gallery, New Haven, CT Pervert, Irvine Art Gallery, University Tulane University, New Orleans, LA Scotland Anonymous Was A Woman Deutsche Bank, New York, NY d’Arte Contemporanea di Roma), of California, Irvine, CA Education (catalogue) Queer Visualities, University Art Award, 2009 Rome, Italy Gallery of Modern Art (GoMA), 2011 Gallery, Stony Brook University/ Love in the Time of Post-Feminism, Memorial To A Marriage, Arthur Louis Comfort Tiffany Foundation Glasgow, Scotland Sentimental Education, Gavlak NeoIntegrity, Derek Eller Gallery, SUNY, Stony Brook, NY ArtCenter/South Florida, Miami, FL Brooklyn College of the City Roger Gallery, New Orleans, LA Grant, 2007 Gallery, Palm Beach, FL New York, NY University of New York Way Cool, Exit Art/First World, Patricia Cronin: Bodies and Soul, 2001 New York Foundation for the Arts, Master of Fine Arts, Painting and Annual Summer Exhibition, Stars and Stripes, Galleria Biagiotti New York, NY Conner Contemporary Art, Faculty Exhibition, LeRoy Neiman Drawing, 1988 The Fields Sculpture Park, Progetto Arte, Florence, Italy Artist Fellowship, 2007 Washington, DC Gallery, School of the Arts, Omi International Arts Center, 1994 Rhode Island College Columbia University, New York, NY Deutsche Bank, New York Bachelor of Fine Arts, cum laude, Ghent, NY 2006 Up the Establishment: Reconstructing Foundation for the Arts 2009–10 Twice Drawn, The Frances Young the Counterculture, Sonnabend Painting and Printmaking, 1986 Patricia Cronin: Harriet Hosmer, Sex Drive, Cantor Fitzgerald Gallery, 2000 Fellowship, 2007 Tang Teaching Museum and Gallery, New York, NY Lost and Found, Brooklyn Museum, Haverford College, Philadelphia, PA Here Kitty, Kitty, Atlanta Additional Studies Art Gallery, Skidmore College, American Academy in Rome, Brooklyn, NY (catalogue) (traveled to Atlanta Center for Contemporary Art Center, Stonewall 25: Imaginings of the Gay Skowhegan School of Painting and Saratoga Springs, NY John Armstrong Chaloner/ Contemporary Art, Atlanta, GA) Atlanta, GA Past, Celebrating the Gay Present, Sculpture, 1991 Jacob H. Lazarus–Metropolitan Couples Discourse, Palmer Museum White Columns, New York, NY 2009 Put Up or Shut Up, Wilkinson The Standard Model: (GAME FACE), Museum of Art Fellowship in Visual Yale University, Norfolk Summer Battaglia al Castello di Civitella of Art, Penn State University, Gallery, New York Academy of Art, Geoffrey Young Gallery, Great The Long Weekend (Ellen Cantor, Art (Rome Prize), 2006-2007 School of Art and Music, 1985 Ranieri, Civitella Ranieri Gallery, University Park, PA New York, NY Barrington, MA Patricia Cronin, Marilyn Minter), Trial Umbertide, Italy The Research Foundation of The Title of This Show Is Not GAY Balloon, New York, NY The City University of New York, 2010 ART NOW, Paul Kasmin Gallery, 1999 PSC-CUNY Research Award, 2007 Sworn Statements, Geoffrey Young The Narcissism of Minor Difference, New York, NY horsePLAY, Real Art Ways, 2006, 2009, 2010 An American in Rome, American The Decker Gallery, Maryland Hartford, CT Gallery, Great Barrington, MA Academy in Rome Art Gallery, Institute College of Art (MICA), 2005 Rhode Island College, Distinguished Rome, Italy Baltimore, MD High Drama: Eugene Berman and 1998 1993 Alumni Award, 2004 the Legacy of the Melancholic Sublime, Patricia Cronin & Deborah Kass, COMING TO POWER: 25 Years Because We Are, Station Museum of Grand Arts Foundation, Artist 2004 McNay Art Museum, Art Resources Transfer, Inc., of Sexually X-Plicit Art By Women, Patricia Cronin, The Domain of Perfect Contemporary Art, Houston, TX David Zwirner, New York, NY Award, 2001 San Antonio, TX (traveled to New York, NY Affection, 1993 to 2003, UB (traveled to Real Art Ways, Behind the Green Door, Harris Georgia Museum of Art, Athens, Art Matters, Inc. Grant, 1996 Art Gallery, University at Buffalo, Work on Paper, Weatherspoon Hartford, CT) Lieberman Gallery, New York, NY GA, Long Beach Museum of Art, Buffalo, NY (catalogue) Art Gallery, University of North Pollock-Krasner Foundation, Inc. Long Beach, CA, and Allentown Love In A Cold Climate (21st Century Look Again, Marlborough Gallery, Carolina, Greensboro, NC Grant, 1995, 1998 Museum, Allentown, PA) Sex), Dooley LaCappellaine, 2002 New York, NY Drawings, GRAHAM (formerly Millay Colony for the Arts, Memorial To A Marriage, Deitch Welcome Home, Arthur Roger New York, NY John Graham & Sons Gallery), Fellowship, 1988 Projects, New York, NY Gallery, New Orleans, LA 2009 New York, NY The Return of the Cadavre Exquis, Naked, Paul Kasmin Gallery, The Drawing Center, New York, NY Artists Space, Artist Grant, Memorial To A Marriage, Grand Arts, Very Early Pictures, Luckman Gallery, New York, NY 1988, 1991 Kansas City, MO (catalogue) California State University, Los 1997 Songs of Retribution, Richard Sh(OUT): Contemporary Art and Angeles, CA (traveled to Arcadia The Name of the Place, Casey Kaplan Anderson Gallery, New York, NY 1999 Human Rights, Gallery of Modern University Art Gallery, Glenside, PA) Gallery, New York, NY The Domain of Perfect Affection, Art (GoMA), Glasgow, Scotland University of North Carolina, 2004 1996 Chapel Hill, NC 2008 Open House: Working in Brooklyn, The Strange Power of Cheap Great Women Artists: Selections from Brooklyn Museum, Brooklyn, NY Sentiment (or a Bientot to Irony), 1998 the Permanent Collection, Neuberger White Columns, New York, NY Tack Room, White Columns, Museum of Art, Purchase College/ 2003 Gender, Fucked, Center on Collaborations with Vincent Katz, New York, NY SUNY, Purchase, NY Contemporary Art, Seattle, WA Alessandra Bonomo Gallery, Rome, Pony Tales, Arthur Roger Gallery, Just Different, Cobra Museum, Italy Patricia Cronin & Lee Gordon, Arthur New Orleans, LA Amsterdam, The Netherlands Roger Gallery, New Orleans, LA Patricia Cronin & Kurt Kauper, If Love Could Have Saved You, 1997 The Armory Show, Deitch Projects, Pony Tales, Brent Sikkema, You Would Have Lived Forever, New York, NY NY New York, NY Bellwether, New York, Arthur Roger Gallery 25th 30th Anniversary Show, Arthur Anniversary Exhibition, Arthur Roger Roger Gallery, New Orleans, LA Gallery, New Orleans, LA

68 69 bibliography bibliography

Selected Books and Catalogues Kotik, Charlotta and Tumelo Interviews Atkins, Robert. “Goodbye Lesbian/ ———. “Tammy Rae Carland.” Ebony, David. “The Melancholy Kort, Michelle. “Eternal Portrait of a Rosenblum, Robert. “The Best Mosaka. Open House: Working in Gay History, Hello Queer New York Times, December 5, 2002. Gang: Eugene Berman Lesbian Marriage.” Ms. Magazine of 2003.” Artforum, December 2003. Brooklyn, New York: Brooklyn Sensibility: Mediating on Curatorial and His Circle.” Art in America, (blog), September 19, 2011. Berry, Ian and Jack Shear. Twice Castro, Jan Garden. “Making The ———. “A Tour Through Chelsea, Russell, Legacy. “Memorial To Museum, 2004. Practice.” Art Journal 55, March 2006. http://msmagazine.com/blog/ Drawn: Modern and Contemporary Personal Monumental: A The New Center of Gravity.” New A Marriage: Artist Patricia Cronin no. 4 (Winter 1996): 80-85. blog/2011/09/19/eternal-portrait- Drawings in Context. Saratoga Conversation With Patricia Cronin.” Lord, Catherine. Pervert. Irvine, CA: York Times, May 15, 1998. Ferrario, Rachel. “Il Colore of-a-lesbian-marriage/. Casts Eternity.” BOMBlog, Springs, NY: The Frances Young Irvine Art Gallery, University of Sculpture 22, no. 1 (2003). ———. “Very Queer Indeed.” Dei Versi.” Corriere Della Sera, September 19, 2011. http:// ———. “Trade.” New York Times, Tang Teaching Museum California, 1995. Village Voice, January 31, 1995. December 23, 2003. Kremintz, Jill. “Götterdämmerung bombsite.com/issues/1000/ Cronin, Patricia. “A Conversation February , . and Art Gallery, Skidmore College, 25 2005 by Dana Schutz.” New York Social articles/6090. McGlashan, Sean. Sh(OUT): on Lesbian Subjectivity and Painting Bolcer, Julie. “Love and Marriage, Finch, Charlie. “The Lady Hosmer.” with DelMonico Prestel Press, 2011. ———. “What “F” Word?,” New Diary, January 17, 2012. Contemporary Art and Human Rights. with Deborah Kass.” On Display For Eternity.” Advocate, artnet, May 29, 2009. Russeth, Andrew. “Artists Patricia York Times, March , . Cronin, Patricia. Harriet Hosmer: Lost Glasgow, Scotland: In M/E/A/N/I/N/G: An Anthology September 21, 2011. 7 2007 http://www.artnet.com/ Liebmann, Lisa. “The Best of 1998.” Cronin and Deborah Kass and Found, A Catalogue Raisonné. Modern Gallery of Art, 2009. of Artists’ Writings, Theory, and magazineus/features/finch/patricia- Artforum, December 1998. to Rest Forever in Bronx Britt, Douglas. “Exhibit on ‘Queer Cronin, Patricia. “Dante’s Inferno/ Milan: Charta Art Books, 2009. Criticism, edited by Susan Bee and cronin5-29-09.asp. Cemetery.” New York Observer, Reed, Christopher. Art and Identity’ Requires Unusual The Way of All Flesh.” McManus, Bridget. “Afternoon Mira Schor, 79-86. Durham, NC: September 12, 2011. Duncan, Michael. High Drama: M/E/A/N/I/N/G, 2011. Homosexuality: A History of Ideas. Duke University Press, 2003. Preparations.” Houston Chronicle, ———. “A Visit With Deb Delight: A ‘Bridesmaids’ Blooper Eugene Berman and the Legacy of the Oxford University Press: June 18, 2010. http://writing.upenn.edu/epc/ and Pattie.” artnet, January 18, 2006. Reel, Out Artist Patricia Cronin’s Saltz, Jerry. “Forever Yours.” Village meaning/ /meaning-online- . Melancholic Sublime. Manchester, VT: New York, 2011. Kass, Deborah. “Conversation: 05 5 http://www.artnet.com/ New Sculpture.” AfterEllen, Voice, October 29, 2003. Hudson Hills Press, 2005. Patricia Cronin and Deborah Kass.” ———. “Gay Identity Unfiltered.” html#cronin. magazineus/features/finch/ September 12, 2011. http://www. Robinson, Joyce Henri. Couples Houston Chronicle, June 18, 2010. ———. “A Year in the Life: Art Resources Transfer, Inc., 1998. ———. “Harriet Hosmer: finch1-18-06.asp. afterellen.com/column/afternoon- Ebony, David, Jane Harris, Frances Discourse. University Park, PA: Tropic of Painting.” Art in America, ———. “Houston Was Treated To Catalogue Raisonné.” BOMB, delight/2011-09-12 Richard, Meghan Dailey, and Palmer Museum of Art, Langer, Cassandra. “The Second Life Frankel, David. “Pony Tales.” October 1994. Great Art Shows in .” Houston Sarah Valdez. CURVE: The Female with Pennsylvania State University of Harriet Hosmer: Cassandra 2010 Fall 2008. Artforum, April 1997. Meier, Allison. “From Courbet to Chronicle, December , . Santis, Linda de. “Katz & Clemente Nude Now. New York: Press, 2006. Langer Talks with an Artist’s Artist.” 21 2010 the Bronx, The Love That Dare Not ———. “Memorial To A Marriage.” “Galleries - Patricia Cronin.” New Ecco L’unione Tra Poesia e Pittura.” Universe, 2003. Gay & Lesbian Review Worldwide 17, “Bush a Roma: Patricia Cronin, Public Art Review 22, no. 1 Speak Its Names Gets Marriage Rosenblum, Robert. “On Patricia no. 1 (2010): 16-18. Yorker, December 2, 2002. Memorial.” Hyperallergic, La República, December 27, 2003. Firmin, Sandra. “Patricia Cronin’s L’Arte Della Sensualita.” Pittura (Fall/Winter 2010): 28. Cronin: From Here to Eternity.” October 10, 2011. http:// XX Portfolio.” In Patricia Cronin: In Patricia Cronin: The Domain of Oggi, June 9, 2007. Gehman, Geoff. “Controversial Smith, Mark. “Mapplethorpe’s Ugly ———. “Obsessions: What A Girl Tombstone a Monument to the hyperallergic.com/?s=cronin. Image Risks Pandering to The Domain of Perfect Affection: Perfect Affection: 1993 to 2003. Theses Canning, Susan. “Tack Room.” Wants.” CAA Art Journal 60, no. 4 Triumph of Love.” LeHigh Valley Gay Stereotypes.” Herald (Glasgow), 1993 to 2003. Buffalo: UB Art Gallery, Buffalo: UB Art Gallery, University Sculpture, October 1998. (Winter 2001): 90-97. Miller, Paul. “Children Banned University at Buffalo, State at Buffalo, State University of (PA) Morning Call, February 5, 2006. From Explicit Gallery Display.” April 2, 2009. Baker-Vande Brake, Amanda. Casadio, Giovanna. “Per La First University of New York, 2004. New York, 2004. ———, ed. “Representing Lesbian Gronlund, Melissa. “Art Talk: Plot Herald (Glasgow), April 9, 2009. Strong, Lester. “The Out 100.” “Documenting Memory: Patricia Lady arte e niente shopping.” Subjectivities.” Special issue, Twist.” ARTnews, January 2003. Out, December 2003. Frankel, David. “Liebestod.” Sandell, Richard. “Museums and the Cronin’s Memorial To A La Republica, June 9, 2007. Art Papers 18, no. 6 (November/ ———. “Explicit Images To Go On In Patricia Cronin: Memorial To Human Rights Frame.” In Museums, Marriage.” MA thesis, New York December 1994). Hess, Elizabeth. “Basic Instincts.” Show In Gallery.” Herald (Glasgow), Volk, Gregory. “Big Brash Borough.” Castro, Jan Garden. “Open House: A Marriage. Kansas City, Equality and Social Justice, University, 2003. Village Voice, June 1, 1993. April 2, 2009. Art in America, September 2004. Grand Arts, 2002. edited by Eithne Nightingale and Working in Brooklyn.” ———. “’Til Death Do Us Part.” Richard Sandell. London: Dunn, Thomas R. “Queerly Sculpture 24, no. 1 (January/ Huffington Post, October 4, 2011. Hirsch, Faye. “Patricia Cronin, The Moon, Grace. “Memorial To A Watson, Keri W., “Parody as Political Franklin, Carmela and Dana Marriage.” Velvet Park, September , Routledge, 2012. Remembered: Tactical and Strategic February 2005). http://www.huffingtonpost.com/ Domain of Perfect Affection 1993- 6 Tool in Patricia Cronin’s Memorial Prescott. American Academy in Rome: Rhetorics for Representing patricia-cronin/ 2003.” Art in America, October 2004. 2010. http://velvetparkmedia.com/ To A Marriage.” Mosaic: A Journal for Cotter, Holland. “Brooklyn-ness, a The School of Fine Arts 2007. Rome: Smyth, Cherry. Damn Fine Art: the GLBTQ Past.” PhD dissertation, post_2511_b_995251.html. video/memorial-marriage. the Interdisciplinary Study of Literature State of Mind and Artistic Identity Art in Palombi Editori, 2007. New Art by Lesbians. London: Cassell University of Pittsburgh, 2011. ———. “Seeing Queerly.” 43, no. 2 (2010): 79-94. Publishers, 1996. in the Un-Chelsea.” Cupailuolo, Christine. “Brave America, February 4, 2011. Nadelman, Cynthia. “The New Gross, Jennifer. Looking At America. Zaytoun, Constance. “Enough New York Times, April 16, 2004. Grave.” Ms. Magazine, Spring 2004. http://www.artinamericamagazine. Realism.” ARTnews, December 2004. Weingarten, Judith. “Zenobia, New Haven, CT: Yale University Villa, Rocío de la. “Artistas Already!’ Let the Sun Shine-in com/features/seeing-queerly/. Nania, Rachel. “Patricia Cronin Lost and Found.” Zenobia Empress Art Gallery, 2002. Heroínas.” In Heroínas. Where the Sun Don’t Shine: ———. “Gay Pride (and Anguish) Curtis, Cathy. “Exposing ‘Pervert,’ Exhibits Bodies and Soul at Conner of the East (blog), Madrid: Museo Thyssen- A Feminist Nostalgia and A Place Around the Galleries.” UCI Show Reveals Fresh Views of Jenkins, Mark. “Patricia Cronin.” Hammond, Harmony. Lesbian Art in Contemporary Art. ArtSee: Coloring July 10, 2009. http:// Bornemisza, 2011. for Greatness.” PhD dissertation, New York Times, June 24, 1994. Homosexuality That Are No Threat Washington Post, February 24, 2012. judithweingarten.blogspot. America. New York: Rizzoli, 2000. DC, February 7, 2012. New York University, . to the Open-Minded.” Los Angeles Wagner, Frank. Just Different. 2011 ———. “The Name of the Place.” Johnson, Ken. “If Love Could com/2009/07/zenobia-lost-and- Hammond, Harmony and Times, May 3, 1995. found.html. Amsterdam: Cobra Museum, 2008. New York Times, January 31, 1997. Have Saved You, You Would Have Ollman, Leah. “An Open-Armed Catherine Lord. Gender, Fucked. DePalma, Anthony. “A Daring Lived Forever.” New York Times, Welcome.” Los Angeles Times, ———. “Patricia Cronin and Wolff, Rachel. “Art Talk: Neoclassic Seattle: Center on Contemporary Selected Articles and Reviews (and Icy) Duet.” New York Times, July 25, 2008. June 4, 2004. Art, with Bay Press, 1996. Deborah Kass.” New York Times, Revival.” ARTnews, Summer 2009. February 23, 2003. Paice, Kim. “Coming To Power.” April 17, 1998. Johnson, John. “Reviewed: Wolin, Joseph R. “Patricia Cronin, Harithas, James and Tim Gonzalez. Asper, Colleen. “If Love Could Have Art+Text, Fall 1993. Drucks, Acmim. “Desperately Patricia Cronin at Conner ‘Harriet Hosmer, Lost and Because We Are. Houston: Station Saved You, You Would Have Lived ———. “Patricia Cronin and Seeking Harriet: The American Contemporary.” Washington City Lee Gordon.” New York Times, Pollack, Barbara. “ARTtalk: Found.’” Time Out New York, Museum of Contemporary Art, Forever.” Artcritical, August 13, 2008. Artist Patricia Cronin on the Trail of Paper, February 15, 2012. The Mane Event.” ARTnews, August 27, 2009. 2010. http://www.artcritical. May 5, 1995. a Forgotten Sculptress.” Deutsche com/2008/09/14/if-love-could- Katz, Vincent. “Girlfriends: November 1999. ———. “Patricia Cronin: ‘Harriet Bank Art Mag 43 (July 17–October Yablonsky, Linda. “She Digs A Pony.” Klein, Richard, Jessica Hough, and have-saved-you-you-would-have- Up Close and Personal with Artist Hosmer, Lost and Found.’” 8, 2007). http://db-artmag.com/ Out, December/January 1997. Harry Philbrick. Family. lived-forever-curated-by-becky- Patricia Cronin.” Paper, April 1995. New York Times, June 18, 2009. archiv/2007/e/3/5/542.html. Ridgefield, CT: Aldrich Museum of smith/. Contemporary Art, 2002. ———. “Pony Tales.” Art in America, September 1997.

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