Kate Shepherd Lineaments Kate Shepherd Lineaments

Charlotte and Philip Hanes Art Gallery Galerie Lelong Contents

7 Kate Shepherd: Lineaments Paul Bright

13 Paintings

22 Installation Views

33 Top Ten Peter J. Russo

37 Works on Paper and Installation Views

56 Biography

60 List of Illustrations

62 Colophon Kate Shepherd: Lineaments unmodulated and usually of intense or Paul Bright saturated hues heightened by their highly reflective surfaces. A line placed on those surfaces energizes the elements in an inter action that belies their apparent simplicity, reminding us that even the most carefully wrought two-dimensional representation— Igor Stravinsky’s famous remark about of space, or as space—is an abstraction of music’s inability to express anything, of three-dimensional experience. After all, two expression not being an “inherent prop hues set next to one another already form erty” of it, came to mind as I spent time a spatial illusion. The even, glossy, and with the paintings and drawings of Kate fathomless colors of Shepherd’s panels are Shepherd that comprise the exhibition paradoxically hand-applied in nearly every Lineaments. Regardless of the impulses instance. The seams created where panels that motivate them, in an age of “over abut, as well as the clean but unfinished sharing” her works are not self-indulgent edges of the wood supports of those pan or narcissistic. They are not “about” her, els, reveal their structure and reassert their exactly, or at least overtly. Stravinsky later object-ness. From a distance, the lines-on- clarified his statement, saying that music’s planes can appear ruled and mechanical. As most important qualities are “supra we move closer, the austere linearity and personal” and that “music expresses itself” enameled planes of the paintings reverse (my emphasis). Despite painting’s very polarity to become hand-brushed lines different forms and parameters, I believe on fat, haptically engaging surfaces. Like much of Shepherd’s work achieves this par Mondrian’s paintings, which often appear ticular kind of self-expression. The paintings as merely flat planes of color when seen realize her intention to present the visual from a distance or in reproduction, viewed results of her investigative modus rather in person they reveal that they were made than function as barometers to register the with brushes, without taped boundaries, vagaries of emotion. their pentimenti more visible; they feel alive and organic. Kate Shepherd’s paintings reflect the artist’s deep interest in some of the funda Two paintings, Figure Plane, thread in, #7 mental elements of two-dimensional art tool (pure tulip red) and Initial Plain Blue making. In its bluffness, her work reveals Building w/ J catenary tool (pure custom an essential paradox of drawing; lines, bic) (both 2015), are almost cheeky in their cooperating with their attendant grounds, play of space and illusion, demonstrating do “express themselves” as lines-and- how little is needed to create a sense of planes per se and, alternately, they are volume and dimensionality, and how perceived as forms and volume. In fact, the easily that implied space can collapse leitmotiv of Shepherd’s work is this oscil back into flatly planar abstraction (pp. lation—sensed as an alternating current— 18, 22). An unlikely evocation of plane, between a literal directness and a meta figure, ground, and space,Figure Plane, phoric, sometimes even poetic, illusionism. thread in, #7 tool (pure tulip red) presents Her paintings are typically composed of a delineated parallelogram on a red two or more vertically stacked and joined field, with an additional line drooping panels, sometimes of different color or tentatively into it like a just-cut string. We value. These enameled planes upon which can, when we suspend our disbelief like the lines drape, course, and deploy are that tendrilled line, see it that way. Then,

7 when our “rational” consciousness, our be figurative, of which we are even less Shepherd’s two-dimensional paintings print, indeed employs etching ink rather “knowing” look, banishes the illusion, it consciously aware: we can respond bodily on panel establish a somewhat different than paint and depicts a chunky modern flattens back to lines on a plane of intense and psychologically to a work’s tactile correspondence with our bodily selves. ist sculpture with just enough indication color, the “thread” seemingly mistaken or physical qualities. This is clear when You don’t fully understand a large Jackson of mass and texture to be apprehended or out of place. Initial Plain Blue Building encountering Shepherd’s suspended Pollock painting until it subsumes you, until “bodily.” w/ J catenary tool (pure custom bic) is wire drawing-in-space, Chiseled Stone you feel how it allows you to enter into its The ochre enamel that forms the ground formed of two parallel—or overlapped— (2015), which coaxes us into a physical deepening, overlapping loops of gesticulate of ALVAR AALTO4halvesstacked_thread2no- parallelograms, which can be read relationship with it (p. 54). This 13-foot- paint that are the traces of a body in stand.s8 (sky grass, wire sculpture) (2014) illusionistically as transparent wall panels, tall work takes us a step away from our motion across a canvas plane. While Kate references the natural wood color of the with a section of a catenary line seemingly normally proprioceptive, or dimensionally- Shepherd’s work is in most ways very architect/designer’s work, just as the blue draped over or in between the panels from sensed, selves. Characteristic of Shepherd’s different from this hypothetical Pollock, in Initial Plain Blue Building w/ J catenary the left. works, it indicates by minimal means her works do set themselves resolutely in tool (pure custom bic) is specifically keyed an enclosure of volume and a floating relation to the viewer. Many of the artist’s to the ink of the pen, and as perhaps the Figuration is the kind of illusion Kate planarity of delineated abstract shapes, paintings in this exhibition are large, most red in Figure Plane, thread in, #7 tool (pure Shepherd’s work quietly but insistently visually snapping back and forth between ranging from a person’s natural height tulip red) refers to Mondrian (p. 20). ALVAR engages in throughout Lineaments. Her the two but grounded by line. That line to that of a traditional full-length portrait; AALTO4halvesstacked_thread2nostand. paintings in most instances investigate how vaguely indicates the shifting contour of a they maintain a proportional relationship s8 (sky grass, wire sculpture) takes as much visual information is both necessary human form, depending on one’s view of it. with our bodies or the dimensions we its ostensible “subject” Aalto’s famous and sufficient for a viewer to conjure a Chiseled Stone’s considerable height and encompass. Relatedly, our presence in their organic-modernist furniture—things that figure, without resorting to “expressive” lack of mass confound our visual, physical, pictorial space is implied by our reflection bodies sit in. However, as in womantorse line, without modeling and shading, and spatial relationship to the work as we in their seemingly liquid surfaces, which daz3d2 Draw-On- 1.lrfr(three scenes), the without detailed depiction. What is meant move around it. Composed of sections of push us a bit further back from them while linearity of the work seems to indicate the when we say a work is “figurative”—what clothes hangers of the same length—linear simultaneously drawing our eye past those motion of a figure, here getting up and constitutes “figuration” in art? Like so modules—its crimped joints recall the surfaces and deeper into the color space, moving out of repose rather than inhab many things, degrees of figurativeness painted lines and terminuses of Shepherd’s complicating our interaction with the iting a seat. And as in the triptych, the can be provisionally located on an arc panel paintings. painted figures. artist’s self-imposed constraint to use only or a spectrum, from very direct and Although suspended in two dimensions, One such work, the triptych womantorse variable-length segments of straight lines, recognizable depictions of form—especially the figure in the paintingViolet Grey daz3d2 Draw-On -1.lrfr(three scenes) (2014), even when creating curves, imparts a sense the human form—to works that may at first African Rabbit Skin (2010) most echoes opens with a vertical tangle of lineaments of torqued energy. seem to have little relation to that form but Chiseled Stone (p. 17). It is austere, tall and in the first panel, unfolding sequentially to onto which we project “figures,” as when attenuated, seemingly flayed and hung in the seemingly vectorized lines indicating The painting I Silver, February Snow (2007) seeing recognizable shapes in clouds. its indeterminate space. Stretching from the gesture and contour of a human form is disarmingly straightforward: light diago The word figure itself has a multiplicity the panel’s top to bottom edges, the central (p. 23). These three blue-black panels could nal marks on graphite-shimmering sur of meanings and nuances. A surprising placement of this figure feels hieratic. serve as a summation of the exhibition’s faces, building up and congesting in places number of these can be applied to Kate The painting relates strongly to the wire figurative theme: at what point can we like sleet (p. 15). Shepherd’s approach here, Shepherd’s delineated forms: a bodily drawing as seen from certain angles but as perceive the emergence of a figure from the while dryly unsentimental, is reminiscent shape (or its depiction), an investigation or a distillation of a drawing in space. In its non-figural? Where are we in relation to it? of the childlike literalness of the way rain is calculation, a surmise, a shape defined by quiet rotation of space, Central Park, double Each panel contains the same number of depicted in the paintings of Van Gogh (La one or more lines in two dimensions, or by cut @ 4, silver over black (2014), a work of linear elements, but differently deployed. Pluie, 1889, at the Philadelphia Museum of one or more surfaces in three dimensions, laser-cut wood shapes, transcribes a section The feeling of rotation, of expansion and Art) and Braque (the Phillips Collection’s a diagram or illustration in a book, a pattern of fractured sidewalk; what we normally movement rightward, is subtly reinforced The Shower, 1952) or their antecedents in of movement, a short succession of musical walk on is now draped from the wall onto by an almost imperceptible widening of the works of Japanese artists like Hiroshige. notes producing a single impression. a shelflike ledge (p. 28). It is a piece of the panels, left to right. The painting Table Unlike the other panels in the exhibi pavement as a quicksilver tapestry, both Sculptures #1 (2015), in its squarish format tion, the surface of the ground in I Silver, Some of the definitions forfigure describe concrete and fluid. Its repositioning, from and bulk, contrasts strongly with woman- February Snow is lustrous but not glossy, what we might see in a given artwork horizontal to vertical, and transformation, torse daz3d2 Draw-On-1.lrfr(three scenes) which emphasizes the dense barrier of lines and emphasize our visual relationship to from obdurate to almost insubstantially and most of the other panels in Lineaments that allude to driving winter precipitation; it. But there is another way a work can thin, enjoyably disorients us. (p. 21). The image, reminiscent of a relief we don’t feel we can see very far beyond

8 9 it. In its concern for liquidness, it paradox The paint chip works are blind-contour ically has the driest, least fluid surface of drawings, a process whereby the artist Shepherd’s panel paintings. In this, and its views the subject but not the paper upon directness, it is the painting most related which they are drawn. By typically doubling to the selections of works on paper in (as with Sailboats off page, blue and white, Lineaments, which form a sort of coda for 1995), or trebling the same figure (as with the exhibition. the torso in torn, 3 odalisques, Legs, 2015), The first group of these is comprised they raise questions about observation of graphite-on-serigraph works, a few of and “truth,” about the veracity of vision; them employing the same figuration as what, if anything, constitutes a “correct” the paintings, while others explore more iteration (pp. 38, 46)? These drawings posit explicitly architectural ideas, much like that a corollary to our “necessary and sufficient” in the painting Green Stack (2008–15) (p. observation made of the figuration in 11 ) . Tall, schematically volumetric, the work the paintings. They demonstrate what is is a fitting geometric device to which many required for Shepherd to evoke temporality of the exhibition’s other “figures” could and an attendant sense of movement in relate. This painting and corresponding space. Her repeated figures, one “after” drawings, like the stacked-box image of Toy another, and their shifting positions, some Blocks Stack, grey over white (2007–15), are traversing the edges of the paper, seem also figural but in the way architecture is; as to reveal a secret delight in creating those containers for and metaphors of the body illusions. The paint chip drawings bring and the space it inhabits (p. 53). us back to the essential function of the artist’s looking/drawing, and perhaps lightly As with her paintings, size and scale— register more unruly impulses, where all of relative size—are important considerations Kate Shepherd’s works begin. in Kate Shepherd’s drawings. The second group of works on paper are her “paint Paul Bright is the Director of the chip” drawings, executed initially in 1993 Charlotte and Philip Hanes Art Gallery. and again in 2015 on small hardware store paint samples. The oldest of these is an image of a rabbit, 3 grays, Lone Rabbit (1993), drawn on a color named “silverado” and fittingly next to “silver streak” (p. 39). Two tulips (1996) may refer to Mondrian, or more closely to Vermeer; the drawings are of a scale that evokes intimacy, and one has to move in close to view them (p. 49). They are of a size that is comfortable, as if we could and should cosset them in our palms. Quirky and direct, the artist’s hand is immediately visible in these drawings. Correspondingly, the lines in these small works divulge the varying pressure and velocity of the drawing material on the surfaces with fluctuations of density and texture—characteristics less readily apparent in the paintings until they, too, are viewed at this same close range.

10 11 Paintings 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Top Ten couple inches in either dimension. I don’t Peter J. Russo mean to suggest scale is the definitive characteristic of these drawings, that would be too easy. Also, to do so would miss what is significant about the works: the kinds of memory they envelop—personal, collective, and virtual, too. As decisive as Kate Shepherd’s paint chip drawings one can be about such things, Kate and I prompt questions about how memory choose to momentarily forget description works. “How memory works” is itself a in favor of discussing what motivated question frequently posed, just Google her to make the drawings. In writing this it. For me and perhaps a few others, any text, I say to Kate, I hope to uncover why accessible answer is inevitably road- these works, some twenty years old, blocked by Joan of Arc, an indie rock band capture my attention now, and to what from Chicago whose second album takes end. By discussing them with you, I want this phrase as its title. Like Kate’s paint- to understand how I/they might deepen chip drawings, “How Memory Works” a viewer’s engagement of your practice, was produced in the mid to late nineties. one which seems to pivot on a warm That vague connection may hold little detachment from technology. meaning for readers of this brief essay, even less so than the other references embedded below.

To begin, I’ll try to recall where I first saw these drawings—my inbox, a catalogue? It is unlikely I first saw them in person, in an exhibition. They haven’t been shown since the nineties. I am certain, however, we discussed the works at length in her studio, early one evening this past October.

By clicking on the box adjacent to each thumbnail of Kelly's image, and then Instructions are very brief, for the key clicking on ‘Download to Arriba Express,’ lines of each object tell their own story the Arriba Express user could simply and the child is entranced by the results download the full sized copyright regis soon gained. There is no stupid tracing tered image without asking for permis in this book, for tracing accomplishes at sion or even visiting Kelly's website. most only a little muscular control. First, says Kate, it’s worth noting that Kate’s paint chip drawings are small by in recent years I’ve used 3D-modeling all standards: a few rectangles of canary software to create relatively sizable oil- yellow, misty blue, or ice gray plus and-enamel paintings. Sizable relative graphite marks, together measuring just a to the paint chip drawings, that is. This

33 enables her, I gather, to achieve difficult York Times, an in-flight catalogue, or the and products that enhance the quality so popular during my high school years, perspectives on indeterminate volumes: library’s picture collection (she doesn’t of graphics—are highly prized in the and wonder what permission my memory a figurative wire sculpture, folding doors, recall every source). Withdrawing attrac market. grants others. Conjuring search results or sheets of rain. Her linework is imperfect tion allows her to see what is intensely (Polaroid iZone) entails some degree of because she translates from computer emotional about a subject’s commonality, Flat heels, tulips, torsos, and horses are creativity on the part of an unnamed engi screen to panel by hand, using rudimentary the cracks in its ordinariness. By measure more portable at the scale of Kate’s paint neer. I ask her, what degree of creativity is tools. Examining the shaky precision of her ment, I mean to say she crops, scales, and chips. I hesitate to call these drawings desirable in memory recall? Researchers brushstroke, I wonder why each line feels renders each subject and experience with “thumbnail sketches” because they have have found, she says, now reading off her familiar, as if they delineate a memory we the fewest lines required to stabilize a form: no referent—in other words, they don’t computer’s screen, that memories can hold in common. We both admit this is think, “how to draw _____.” Kate repeats stand in for larger artworks. This seems true be planted in someone’s mind if they’re unlikely. Some paintings have inscrutable this act once or twice more, extending her to contemporary life: both digital reading exposed to misinformation after an event, titles Kate derived from their source files, composition left and right or up and down, and viewing require us to thread narratives or if they’re asked suggestive questions like womantorse daz3d2 Draw-On- 1.lrfr(three the way one might complete a crossword through tiny jpegs, plucked by algorithms, about the past. Drawing on the scale of scenes)—another memorization trick (p. 29). puzzle. These drawings demonstrate her without expectation of finding originals, paint chips grants you, or any artist, a good visual athleticism: the ability to see the if they ever existed. Search results, like deal of creativity with memory recall, I say. court and act quickly to take advantage of sketches, help one explore multiple ideas Before we head out, she gathers a dozen or the changing view, to borrow the words of quickly: instant assemblages under con so drawings into a manila folder which she one sports writer. stant revision that are messy to collate and stores in her flat file. Some artworks remain can be messier to parse. In the safety of her memorable with a limited amount of detail. studio, I entertain the romantic notion that sketching sailboats and Brooklyn Bridges Peter J. Russo is the Director of Triple Canopy. might have the power to restore collective

memory, even in a changing information Image sources Your Magic Link has a geography environment we hardly ever escape. By modelled on that of the world, with limiting her iconography, Kate plays the 1. Excerpt and illustration from E. G. Lutz, What to Draw and How to Draw It, 1913, published by Dodd, rooms along hallways and buildings “top ten” on rotation while others choose Mead & Company, New York. Downloaded from along a street. To perform different personalized playlists, so to speak. archive.org. activities in the world, you move from 2. Background document with transcription from place to place. Similarly, to do different Leslie A. Kelly v. Arriba Soft Corporation, 1999, which things with your Magic Link, you’ll move upheld the right of image search engines to display along the places in its world. . . . There thumbnail copies of images within their search results. Downloaded from netcopyrightlaw.com via are other rooms in your Magic Link archive.org. geography and even other buildings. You enter rooms through doors. Just 3. Comparison of the video game R4: Ridge Racer Type 4 running natively on the PlayStation, and touch a door to go into the room behind For those enthusiastic video game under Bleemcast!, respectively. Released in March it. Each of the Magic Link rooms is a players who do not want to pay for a 1999, Bleemcast! was a software emulator that complete place appropriate for certain PlayStation console, they can avoid allowed players to run PlayStation discs on the Sega Dreamcast. Downloaded from wikipedia.org, with activities. The room for books, for having to do so by paying a smaller transcript from law.justia.com. example, is called the Library. sum for the Bleem software. For those aficionados who have already 4. Excerpt and illustration from Sony Magic Link PIC- 1000 user’s guide, 1994. Magic Link ran Magic Cap, an To untangle the meaning of Kate’s less purchased a Sony PlayStation console, object-oriented operating system for personal digital recently exhibited paint chip drawings, the new Bleem software allows them to assistants (or PDAs, predecessors of the smartphone). I ask again about process, her thought enjoy their games even more by playing Its applications were to operate in a “cloud.” process. In the works I sense an encounter, them on a computer, which is capable Downloaded from esupport.sony.com. followed by a retreat, then a measurement. of producing higher resolution graphics INTERVIEWER: Did you ever try it again? 5. Excerpt and illustration from a series of Campari This is how the drawings are made, hers than a television. The graphics are a parody ads published by Hustler from 1983 to 1984. Jerry Falwell mailed copies of the ad to supporters is a practice of detachment. Kate may large component of any video game, Seated at Kate’s desk, I use my phone to as part of a donation drive. Downloaded from have encountered her subjects in the New such that games with better graphics— look up the name of those sticker cameras, collegehumor.com.

34 35 Works on Paper 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 Kate Shepherd 2003 Ce lieu, par exemple, Galerie Lelong, Paris Real Estate, Ventana 244, Brooklyn 2007 Shadow, Galerie Lelong, New York Coloring, Atlanta Contemporary Art Center, Horizon, EFA Gallery, The Elizabeth Foundation Born 1961, New York 2002 G Fine Art Gallery, Washington, D.C. Atlanta for the Arts, New York Lives and works in New York Radiant Room, Galerie Lelong, New York New Editions, Pace Prints, New York Like Colors, Barbara Krakow Gallery, Boston 2013 Visiting an Imaginary Art Collector, Kleines Orthodoxes – hétérodoxes: choisir sa ligne, MFA, School of Visual Arts, New York, 1992 Light Shard, Spanish Grille, Galerie Lelong, Museum – Kultur auf der Peunt, Weissenstadt, Hôtel de Sponeck, L’Allan, Scène nationale de Skowhegan School of Painting and Sculpture, New York Germany Montbéliard, Montbéliard, France; concurrent Skowhegan, Maine, 1990 Ether Scrims, Dark Rooms & Calculative Planes, exhibition at Maison des Arts et des Loisirs, Master’s Certificate, New York Academy of Art, 2000 Portland Institute for Contemporary Art, Halsey McKay Gallery, East Hampton, New York Sochaux, France New York, 1986 Portland, Oregon Learning to See: Josef Albers and the Institute for Architecture and Urban Studies, New York, 1982 Hebel 121, Basel, Switzerland Interaction of Color, Scottsdale Museum of 2006 About Light, Galerie Lelong, New York BA, Oberlin College, Oberlin, Ohio, 1982 Ben Maltz Gallery, Otis College of Art & Design, Contemporary Art, Scottsdale, Arizona Espacio Interior / Inner Space, Sala Alcalá, Atelier Lucio Loubet, Paris, 1979, 1983, 1987, 1989 Los Angeles Work, Klaus von Nichtssagend Gallery, Madrid New York Take Off, Hebel_121, Basel, Switzerland 1999 Anthony Meier Fine Art, San Francisco Painting in Place, Los Angeles Nomadic Available (A Still Life Show), Monya Rowe Solo Exhibitions Lannan Foundation, Santa Fe, New Mexico Division, Los Angeles Gallery, New York EDGE, ORDER, RUPTURE, Galerie Lelong, Twice Drawn, Tang Teaching Museum and Art 2015 Lineaments, Charlotte and Philip Hanes Art 1998 Site Specific Wall Paintings, GAGA Gallery, New York Gallery, Skidmore College, Saratoga Springs, Gallery, Wake Forest University, Winston- New York Lines and Shapes: Geometric Abstraction New York Salem, North Carolina From the Art Bank Collection, Art Bank Gallery, Chunks, Hiram Butler Gallery, Houston 1997 Boesky & Callery Fine Arts, New York Washington, D.C. 2005 Spectrum, Galerie Lelong, New York Wordplay, Julie Saul Gallery, New York 2014 Fwd: The Telephone Game, Galerie Lelong, 1996 Chinati Foundation, Marfa, Texas 2012 Blues: John Baldessari, Mel Bochner, Frank Minimalist Art Now, Elvehjem Museum, New York Project Room, Boesky & Callery Fine Arts, Egloff, Robert Mangold, Kay Rosen, Kate Madison, Wisconsin Estampes, Galerie Lelong, Paris New York Shepherd & Suara Welitoff, Barbara Krakow Gallery, Boston 2004 InVisible Silence, David Winton Bell Gallery, 2012 Kate Shepherd: Past Tense Conditional, Bartha 1995 Patrick Callery Fine Art, New York Stretching Painting, Galerie Lelong, New York List Art Center, Brown University, Providence, Contemporary, London Transparent, Lannan Foundation Gallery, Rhode Island Kate Shepherd: News from Biathlon, Anthony Santa Fe, New Mexico Art…chitecture, Evo Gallery, Santa Fe, Meier Fine Arts, San Francisco Selected Group Exhibitions Limning, Show Room, New York New Mexico East West Shift to the Middle Part II, Bill Brady 2011 And Debris, Galerie Lelong, New York 2015 Cornering the Round: Robert Mangold, Brice Gallery, Kansas City, Missouri 2003 Streifzüge, Galerie Lelong, Zurich Marden, Robert Ryman and Kate Shepherd, Divergent, Galerie Lelong, New York 2010 Intersections: Relation to and yet not (homage Barbara Krakow Gallery, Boston 2011 Eye to Eye: Joseph Marioni at the Phillips, Ballpoint Inkling, KS Art, New York to Mondrian) by Kate Shepherd, The Phillips The Good Earth, Kerry Schuss, New York The Phillips Collection, Washington, D.C. Collection, Washington, D.C. Intersections @ 5, The Phillips Collection, No Known None, Barbara Krakow Gallery, 2002 Clarity of Vision: Minimalist Prints and Washington, D.C. Boston Drawings, Milwaukee Art Museum, Milwaukee 2009 Amiga de un Amigo, Galería Elvira González, Oysters with Lemon, Ventana 244, Brooklyn Anni Albers + Kate Shepherd, Barbara Krakow Madrid Expanded Field: Four New York Painters, James Gallery, Boston 2001 Work: Shaker Design and Recent Art, Tang Paper Works, Devin Borden Hiram Butler Howell, Winston Roeth, Play Pink, Galerie Lelong, Zurich Teaching Museum and Art Gallery, Skidmore Gallery, Houston Kate Shepherd, Joan Waltemath, Bartha Why Patterns?, Slewe Gallery, Amsterdam College, Saratoga Springs, New York Sculpture Painting, Galerie Lelong, Paris Contemporary, London Color Fields, Sandra and David Bakalar Gallery, 2010 Love in Vein: Editions Fawbush projects and 2000 Drawing Spaces, Rhona Hoffman Gallery, 2008 Stack Shack, Glenn Horowitz Bookseller, Massachusetts College of Art and Design, artists 2005–2010, Gering & López Gallery, Chicago East Hampton, New York Boston New York Sculpture by Four, Kohn Turner Gallery, Schroeder Practices, Dieu Donné Papermill, Pica: Celebrating 20 Years, Reflecting on the Tide Pool, Sara Meltzer Gallery, New York Los Angeles New York First Decade, Elizabeth Leach Gallery, Thirty Years of Collecting: A Recent Gift to the Inman Gallery, Houston In In The Spring, Anthony Meier Fine Art, Portland, Oregon Museum, Scottsdale Museum of Contemporary San Francisco Art, Scottsdale, Arizona 1999 Painting Invitational, Galerie Lelong, New York 2014 Red, Yellow, Blue, Hiram Butler Gallery, Held Up by Columns, Renwick Gallery, Parallel Lines: Mix and Match, Karen McCready 2007 No Title Here, Galerie Lelong, New York Houston New York Fine Art, New York Tenniseum, Stade Roland-Garros, Paris Celebrating the Spectrum: Highlights from the The Fifth Genre: Considering the Contemporary Anderson Collection, de Young Museum, Fine Still Life, Galerie Lelong, New York 1998 Time Dilates, Dave Muller’s Three Day Weekend, 2006 Wire and Thread, Galerie Lelong, Paris Arts Museums of San Francisco, San Francisco Tomar Studios, New York Knowing Space, School of Visual Arts, New York 2009 Evading Customs, Brown Gallery, London Food, Marcel Sitcoske Gallery, San Francisco 2005 Puzzles, Cards, and Blocks, Barbara Krakow Drawings & Works on Paper, Galerie Lelong, Mark-Making: Dots, Lines and Curves, Lora Videos by Artists Who Don’t Make Videos, Gallery, Boston New York Reynolds Gallery, Austin Edinburgh College of Art, Edinburgh Wunderkammer, Bartha Contemporary, London Blue, James Graham & Sons, New York The Everyday Sublime, Barbara Krakow 2004 Blue and Another Color, Anthony Meier Reductive Minimalism: Women Artists in Women in Print, Susan Sheehan Gallery, Gallery, Boston Fine Art, San Francisco Dialogue, 1960–2014, University of Michigan New York Trace, Bard Center for Curatorial Studies, Bard Wall, Floor, Rocky Crag, Galerie Lelong, Museum of Art, Ann Arbor College, Annandale-on-Hudson, New York New York Color as Structure, McKenzie Fine Art, New York 2008 A Year in Drawing, Galerie Lelong, New York Editions ’14, Lower East Side Printshop, New York

56 57 1997 Animal Tales: Contemporary Bestiary and Cleveland Clinic Art Program, Cleveland Animal Painting, Whitney Museum of American Des Moines Art Center, Des Moines, Iowa Art at Champion, Stamford, Connecticut Detroit Institute of Arts, Detroit Tracery, Betsy Senior Gallery, New York Fidelity Investments, Boston Oceans and Galaxies, Karen McCready Fine Art, Fried, Frank, Harris, Shriver & Jacobson, New York New York General Dynamics, Falls Church, Virginia Gruntal & Co., New York Indianapolis Museum of Art, Indianapolis Awards and Fellowships JP Morgan, New York Lannan Foundation, Marfa, Texas 2008 Jill Marino Fellowship, Publishing Residency, List Visual Arts Center, Massachusetts Institute of Lower East Side Printshop, New York Technology, Cambridge, Massachusetts Los Angeles County Museum of Art, Los Angeles 2005 Lab Grant Program Residency, Dieu Donné The Menil Collection, Houston Papermill, New York Microsoft Corporation, Redmond, Washington Museum of Fine Arts, Boston 1999 Lannan Foundation, Artist Residency, Santa Fe, The Museum of Fine Arts, Houston New Mexico New York Public Library, New York Norton Museum of Art, West Palm Beach, Florida 1998 The MacDowell Colony, Peterborough, The Phillips Collection, Washington, D.C. New Hampshire Progressive Corporation, Mayfield Village, Ohio Scottsdale Museum of Contemporary Art, 1997 Chinati Foundation, Print Studio Residency, Scottsdale, Arizona Marfa, Texas Seattle Art Museum, Seattle Tenniseum, Stade Roland-Garros, Paris 1995 Chinati Foundation, Artist Residency, Wellington Management, Boston Marfa, Texas

1994 The MacDowell Colony, Peterborough, New Hampshire

1993 The MacDowell Colony, Peterborough, New Hampshire

1992 Paula Rhodes Award, School of Visual Arts, New York

Monographs

Bright, Paul, and Peter J. Russo. Kate Shepherd: Lineaments. New York: Galerie Lelong, 2015 Arning, Bill, and Kate Shepherd. Kate Shepherd: Red. New York: Galerie Lelong, 2012 Harris, Susan, and Deborah Solomon. Kate Shepherd. New York: Galerie Lelong, 2007 Schwabsky, Barry. Kate Shepherd: Ce lieu, par example. Paris: Galerie Lelong, 2003 Weiner, Rob. Kate Shepherd. Santa Fe, New Mexico: Lannan Foundation, 1999

Public Collections

Albright-Knox Art Gallery, Buffalo, New York Artothèque d’Amiens, Amiens, France Artothèque d’Hennebont, Hennebont, France AXA, Brussels Baltimore Museum of Art, Baltimore Bibliothèque Nationale de France, Paris Eli and Edythe Broad Art Museum, Michigan State University, East Lansing, Michigan Citigroup Art Collection, Long Island City, New York

58 59 List of Illustrations I Silver, February Snow, 2007 Table Sculptures #1, 2015 p. 30 Acrylic and acrylic lacquer on panels Etching ink and enamel on panels Detail of womantorse daz3d2 Draw-On-1.lrfr(three 3 grays, Lone Rabbit, 1993 85 × 48 inches (215.9 × 121.9 cm) 56 ½ × 50 inches (143.5 × 127 cm) scenes), 2014 Pencil on paint chips p. 15 p. 21 2 × 5 ½ inches (5.1 × 14 cm) p. 31 p. 39 Folding Wall, merry colors, 2007–15 torn, 3 odalisques, Legs, 2015 Detail of Central Park, double cut @ 4, silver over Graphite transfer on screen print Graphite transfer and wax on paint chips black, 2014 Heal Tap, Small Shoe, 1995 10 ¾ × 8 ½ inches (27.3 × 21.6 cm) 6 × 5 ½ inches (15.2 × 14 cm) Graphite transfer on paint chips p. 50 p. 46 pp. 48–49 1 × 2 inches (2.5 × 5.1 cm) Sailboats off page, blue and white, 1995 p. 39 Standing Table Top, 2007–15 Yellow Figure, Bubble #25, 2015 Academic head, 1997 Graphite transfer on screen print Graphite transfer on screen print 3 grays, Lone Rabbit, 1993 Sailboats off page, blue and white, 1995 11 ¾ × 8 inches (29.8 × 20.3 cm) 13 × 10 inches (33 × 25.4 cm) Animal horizontal, Eyes, 1996 Pencil on paint chips p. 50 p. 51 Bridge, 1997 5 ¼ × 2 inches (13.3 × 5.1 cm) Two tulips, 1996 p. 38 Green Stack, 2008–15 Carbon transfer and wax on paint chips Oil and enamel on panels Installation views 7 × 2 ¾ inches (17.8 × 7 cm) A B diagram, 1996 84 x 44 inches (213.4 x 111.8 cm) Carbon transfer and wax on paint chips p. 11 Charlotte and Philip Hanes Art Gallery, 2015 pp. 52–53 2 × 6 ¼ inches (5.1 × 15.9 cm) (works listed from left to right) Curtain, 2015 p. 40 Blue Display Pair, 2009 Graphite transfer on screen prints Oil and enamel on panels pp. 22–23 Diptych: 12 ¼ × 7 ½ inches (31.1 × 19.1 cm) each Animal horizontal, Eyes, 1996 66 × 35 inches (167.7 × 88.9 cm) Figure Plane, thread in, #7 tool (pure tulip red), 2015 box broken, 2015 Pencil on paint chips p. 16 Oil and enamel on panel Graphite transfer on screen print 5 × 1 ½ inches (12.7 × 3.8 cm) 36 × 22 inches (91.4 × 55.9 cm) 8 ¼ × 12 ¼ inches (21 × 31.1 cm) p. 40 Violet Grey African Rabbit Skin, 2010 Initial Plain Blue Building w/ J catenary tool Gray Figure, Future #14, 2013 Oil and enamel on panels (pure custom bic), 2015 Yellow Figure, Bubble #25, 2015 Academic head, 1997 90 × 50 inches (228.6 × 127 cm) womantorse daz3d2 Draw-On-1.lrfr(three scenes), 2014 Standing Table Top, 2007–15 Graphite transfer and wax on lithograph p. 17 Oil and enamel on panels Toy Blocks Stack, grey over white, 2007–15 4 × 2 inches (10.2 × 5.1 cm) Triptych: Graphite transfer on screen print p. 43 Gray Figure, Future #14, 2013 72 × 46 inches (182.9 × 116.8 cm); 14 ¾ × 9 ¼ inches (37.5 × 23.5 cm) Graphite transfer on screen print 72 × 45 inches (182.9 × 114.3 cm); neon pink praying, 2012 7 5 Bed frame, twice, 1997 12 ⁄8 × 8 ⁄8 inches (32.7 × 21.9 cm) 72 × 43 inches (182.9 × 109.2 cm) Graphite transfer on screen print Graphite transfer and wax on lithograph p. 51 Green Stack, 2008–15 11 ¼ × 7 inches (28.6 × 17.8 cm) 2 × 4 inches (5.1 × 10.2 cm) p. 45 ALVAR AALTO4halvesstacked_thread2nostand.s8 pp. 24–25 p. 54 (sky grass, wire sculpture), 2014 Blue Display Pair, 2009 Chiseled Stone, 2015 Bridge, 1997 Oil and enamel on panels (see caption for pp. 52–53 for contents of vitrine) Wire hangers Graphite transfer and wax on screen print 70 × 50 inches (177.8 × 127 cm) Approx. 160 × 40 × 20 inches (406.4 × 101.6 × 50.8 cm) 2 × 6 ¼ inches (5.1 × 15.9 cm) p. 20 pp. 26–27 p. 41 Violet Grey African Rabbit Skin, 2010 p. 55 ALVAR AALTO5halvesstacked.charivari.s6.edit1a Table Sculptures #1, 2015 Detail of Chiseled Stone, 2015 Chicken, twice, 1997 (Aalto 3, wood color), 2014 ALVAR AALTO5halvesstacked.charivari.s6.edit1a Graphite transfer and wax on lithograph Oil and enamel on panels (Aalto 3, wood color), 2014 3 × 4 ¼ inches (7.6 × 10.8 cm) 74 × 48 inches (188 × 121.9 cm) Figure Plane, thread in, #7 tool (pure tulip red), 2015 p. 44 p. 19 Initial Plain Blue Building w/ J catenary tool (pure custom bic), 2015 Sole horse, bridal, 1997 Initial Plain Blue Building w/ J catenary tool (pure Carbon transfer on screen print custom bic), 2015 pp. 28–29 1 × 1 ¼ inches (2.5 × 3.2 cm) Oil and enamel on panel I Silver, February Snow, 2007 p. 41 40 × 22 ½ inches (101.6 × 57.2 cm) Central Park, double cut @ 4, silver over black, 2014 p. 18 Acrylic on birch plywood and pine shelf Two Planes, small shadow, 1997 34 ½ × 59 inches (87.6 × 149.9 cm) Graphite transfer and wax on screen print plans, 2015 womantorse daz3d2 Draw-On-1.lrfr(three scenes), 2014 2 ½ × 3 ¾ inches (6.4 × 9.5 cm) Graphite transfer on paint chips p. 42 7 ½ × 2 inches (19.1 × 5.1 cm) p. 47

60 61 Published in conjunction with the exhibition:

Kate Shepherd Lineaments

Charlotte and Philip Hanes Art Gallery Wake Forest University Winston-Salem, North Carolina November 2, 2015–January 31, 2016

Charlotte and Philip Hanes Art Gallery 1834 Wake Forest Road #113 Winston-Salem, North Carolina 27109 Tel +1 336 758 5585 Fax +1 336 758 6014 [email protected] hanesgallery.wfu.edu

Galerie Lelong 528 West 26th Street New York, New York 10001 Tel +1 212 315 0470 Fax +1 212 262 0624 [email protected] www.galerielelong.com

Design: Franklin Vandiver Printing: Enterprise Press, New Jersey Copyediting: Ryan Newbanks Publication manager: Sarah Landry

Photography Credits Michael Bodycomb: cover, pp. 15–17, 19, 20. Paul Bright: pp. 22–31, 46–49, 52–55. Christopher Burke Studio: pp. 11, 18, 21, 38–45, 50, 51. Antony Nagelmann: p. 59.

Cover image: womantorse daz3d2 Draw-On-1.lrfr (three scenes), 2014

ISBN: 978-0-692-60418-2

Kate Shepherd wishes to thank Paul Bright, Sarah Landry, Mary Sabbatino, Galerie Lelong, Renee Kopec, Google SketchUp, Peter J. Russo, Walter Robinson, Anees Assali, Central Park, Raouf Sarwari, Katie Wolf, Benjamin Moore, Janovic Paints, and Antony Nagelmann. ISBN 978-0-692-60418-2 90000>

9 780692 604182