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{{short description|American sculptor and artist (born 1948)}}
{{no footnotes|date=March 2009}}
{{Infobox artist
<!-- Deleted image removed: [[Image:Post-Balzac by Shea.jpg|thumb|''Post-Balzac'', bronze of 1991, in the Hirshhorn Museum and Sculpture Garden]] -->
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'''Judith Shea''' (born 1948, Philadelphia, PA) is an [[United States|American]]-born sculptor best known for her series of works in [[bronze]] in which she creates empty clothing forms suggesting figures that are not present; some of her more recent work incorporates figures as well.
| name = Judith Shea
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| image = File:Without Words 1988.jpg


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Judith Shea is represented by [[Kent Fine Art]].<ref>[http://www.kentfineart.net/artists/judith-shea [[Kent Fine Art]] in New York]</ref>.
| alt =
| caption = Judith Shea, ''Without Words'' (1988), [[Minneapolis Sculpture Garden]]
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| birth_date = 1948
| birth_place = [[Philadelphia]], [[Pennsylvania]], United States
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| alma_mater = [[Parsons School of Design]]
| known_for = Fashion design
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'''Judith Shea''' is an American sculptor and artist, born in Philadelphia, Pennsylvania, in 1948. She was awarded a degree in fashion design from the [[Parsons School of Design]] in 1969 and earned her Bachelor of Fine Arts degree there in 1975. This dual education formed the basis for her figure based works.<ref>"[https://www.newspapers.com/image/426409874 For them, clothing is art]." Wilkes-Barre, Pennsylvania: ''The Times Leader'', March, 1, 1984, Fashion Section, p. D1 (subscription required).</ref><ref>Plagens, Peter. "[https://www.wsj.com/articles/SB10001424052702303480304579579963685500546 Works by Judith Shea, Blane De St. Croix and Others]." New York, New York: ''The Wall Street Journal'', May 23, 2014 (subscription required).</ref>

Her career has had three distinct phases: the use of cloth and clothing forms from 1974 to 1981; the use of hollow cast metal clothing-figure forms from 1982 until 1991; and the creation of carved full-figure statues made of wood, cloth, clay, foam and hair from 1990 to the present.<ref>Seltzer, Ruth. "[https://www.newspapers.com/image/171475806/ 'Vested' interests]." Philadelphia, Pennsylvania: ''The Philadelphia Inquirer'', December 16, 1980, Society Section, p. D2 (subscription required).</ref><ref>[https://www.newspapers.com/image/502801974 "Walker Adds Works]." Hazleton, Pennsylvania: ''Standard-Speaker'', July 18, 1984, p. 30 (subscription required).</ref><ref>Sozanski, Edward. "[https://www.newspapers.com/image/168780019 Minimalist sculptures and sensitive drawings]." Philadelphia, Pennsylvania: ''The Philadelphia Inquirer'', March 13, 1986, Arts Section, p. C5 (subscription required).</ref>


==About==
==About==
Her first New York City presentation was at Alanna Heiss's CLOCKTOWER galleries Project Room in April 1976. In a performance based on color theory, she made a full spectrum of sheer silk shirts and pants. Dancer Juliette Shen, changing clothes at Shea's direction, added and subtracted layers, mixing new colors live in the transparent silk. There were five performances over three days. Her work then traveled the country, appearing in museum and art festival exhibits.<ref>"[https://www.newspapers.com/image/173568723 Miami Beach Schedules February Arts Festival]." Philadelphia, Pennsylvania: ''The Philadelphia Inquirer'', January 18, 1976, Advertising Supplement, p. 2 (subscription required).</ref><ref>Seltzer, Ruth. "[https://www.newspapers.com/image/174917603 A decorative 15th anniversary for ICA]." Philadelphia, Pennsylvania: ''The Philadelphia Inquirer'', June 14, 1979, Society Section, p. C3 (subscription required).</ref> In the January 1981 [[Whitney Biennial]], Shea showed three simple forms hung on the wall that evoked iconic clothes of her childhood years; a black overcoat, "I LIKE IKE", and 2 simple sheath dresses, "INAUGURAL BALL" and "EXEC. SEC'Y.". Five related works were included in the Hirshhorn’s Directions 83 survey. To Shea these works evoke a human presence through the clothes.
Judith Shea has been a notable presence in the New York art world since the 1970s. Trained as a designer at Parsons, she soon found the fashion industry too restrictive and abandoned it in favor of making art. For her first solo show, at The Clocktower in 1976, Shea made a work based on color theory, using transparent silks in a spectrum of colors, worn by a live model. Other early work referenced clothing and its construction, first as flat, minimalist pattern and later as molded draping over implied, absent figures. In the 1981 Whitney Biennial, Shea showed three simple forms that evoked iconic clothes of the 1950s and 60s—the overcoat and the simple sheath dress—which hung from the wall as if on hangers. Five related works were included in the Hirshhorn’s Directions 83 survey. All of these works evoke human presence, felt as absence, as if the clothes were placeholders for missing persons. Thinking about her earlier clothes-based works, Shea has said that she “was looking for characters, for personae, really, to occupy them. I used clothes as stand-ins for people.”


With the support of NEA grants, Shea began to learn bronze casting, and she was able to also spend time in Paris studying the statuary of its parks and gardens. This research led to several hollow-figure compositions from the 1980s that were designed to be sited in public spaces, such as ''Eden'' (John Hancock Tower, Chicago), ''Shepherd’s Muse'' (Oliver Ranch), ''Shield'' (Sheldon Museum of Art), and ''Without Words'' (Walker Art Center). In the 1990s, after a residency at Chesterwood—the site of Daniel Chester French’s studio in Stockbridge—Shea began to use woodcarving to make monumental public sculpture. The first of these full-scale wooden figures were shown in 1992 at the Whitney Museum at Phillip Morris in New York. In 1994 her wooden equestrian statue ''The Other Monument'', a monumental image of a black man on a black horse, was installed at Doris Freedman Plaza in New York, in the same plaza as the William Tecumseh Sherman Monument, Augustus Saint-Gaudens’s golden equestrian figure.
With the support of NEA grants in 1984 and 1986, Shea began casting her figures into iron and bronze, allowing her to work more three dimensionally.<ref>Sozanski, Edward J. "[https://www.newspapers.com/image/169819872 The works of a dozen sculptors help shape a revival of casting]." Philadelphia, Pennsylvania: ''The Philadelphia Inquirer'', November 12, 1987, Arts Section, p. C5 (subscription required).</ref><ref>"[https://www.newspapers.com/image/346759310/ Exhibits]." Carlisle, Pennsylvania: ''The Sentinel'', March 14, 1986, Alive Section, p. 8 (subscription required).</ref> The 1986 fellowship also offered a French Exchange, and Shea went to Paris to study the statuary of its parks and gardens. This research led to several hollow-figure compositions from the 1980s designed to be sited in public spaces, such as ''Eden'' 1986 (John Hancock Tower, Chicago), ''Shepherd’s Muse'' 1988 (Oliver Ranch), ''Shield'' 1990 (Sheldon Museum of Art), ''Without Words'' 1988 (Walker Art Center), and "Post-Balzac" 1990 (Hirshhorn Museum and Sculpture Garden).<ref>"[https://www.newspapers.com/image/346494866 Smithsonian museums, zoo acquire thousands pf items]." Carlisle, Pennsylvania: ''The Sentinel'', February 11, 1992, p. A6 (subscription required).</ref>


An artist-in-residence in [[Kutztown, Pennsylvania]] in 1987,<ref>"In the Gallery," in "[https://www.newspapers.com/image/280818628 Arts Journal]." Allentown, Pennsylvania: ''The Morning Call'', September 27, 1987, p. F3 (subscription required).</ref> Shea was then engaged for a 1989 residency at Chesterwood—Daniel Chester French’s summer studio in Stockbridge, Mass., where he had worked on his Lincoln Memorial monument. She then began to carve what she termed ironic monuments and statues in wood. A show of these works at Max Protetch Gallery, NY in March 1993 was titled "All About Adam, and Eve". In an article in Art in America Magazine that Spring, author Brooks Adams referred to them as "Shea's Anti-Monuments". Included was a white northern pine equestrian statue of an over-sized, middle aged, white-stained male astride an undersized, over-worked white-stained farm horse. Signifying the end of the cultural tradition of who gets to be the hero in our celebratory monuments, Shea titled the work "No More Monument".
Following several periods abroad, including in Bellagio as a Rockefeller Foundation Resident, in Rome as a Fellow at the American Academy, and in Oaxaca as a winner of the Lila Wallace–Reader’s Digest Artist’s Award, Shea began a group of works in 2000 that deal with the figure imagined as character and icon. This work set the stage for the evolution of her next major body of work, which she titled ''Judith Shea: Legacy Collection''. The direct source of the Legacy Collection was the artist’s experience of 9/11: Shea’s home was, and still is, near Ground Zero. In this very personal response, Shea fashioned a group of mannequin-like figures looking skyward, elegant in gray felt, dusted by debris. Several works from the Legacy Collection series have been acquired by the Yale University Art Gallery, where they are now on view.


[[File:Post-balzac.JPG|thumb|''[[Post-Balzac]]'' (1991) by Judith Shea at the [[Hirshhorn Museum & Sculpture Garden]]]]
In addition to the Yale Art Gallery, Shea’s work is included in many public collections, including the [[Museum of Modern Art]], [[Hirshhorn Museum and Sculpture Garden]], [[Nelson-Atkins Museum of Art]], [[Walker Art Center]], and [[Whitney Museum of American Art]]. She is the recipient of numerous fellowships and awards; recent honors include the Anonymous Was a Woman Award, in 2011, and the Guggenheim Foundation Fellowship, in 2012.
Following this in 1994 The Public Art Fund sponsored Shea's installation, ''The Other Monument''. This wooden equestrian monument was of a free black man astride a black horse. It was sited at Doris Freedman Plaza at 60th St. and Central Park, directly north of the Civil War era Union Victory Monument of Augustus Saint-Gaudens - a gilded equestrian figure of General William Tecumseh Sherman. Two years previously Shea had been awarded the Saint Gaudens Fellowship. Influenced by her research into his Civil War works, Shea realized that at that time there were no figurative monuments to the other victory of the American Civil War - Emancipation. This was her offering of the missing monument.<ref>"[https://www.nytimes.com/1994/09/04/arts/art-a-user-s-guide-to-making-a-monument.html Art; A User's Guide To Making A Monument]." New York, New York: ''The New York Times'', September 4, 1994 (subscription required).</ref>
Shea studied art at the [[Parsons School of Design]] and graduated with a BFA in 1969.<ref>{{cite book|last=Rosen|first=Randy|title=Making Their Mark: Women Artists Move into the Mainstream, 1970-1985|year=1989|publisher=Abbeville Press|location=New York|page=260}}</ref> In 1994 she was granted a [[fellow]]ship which allowed her to work at the [[American Academy in Rome]] and study the work of [[Gian Lorenzo Bernini]] and [[Michelangelo]], among others. Her work may be found in numerous museums, including the [[Hirshhorn Museum and Sculpture Garden]] in [[Washington, D.C.]], the [[Walker Art Center]] in [[Minneapolis, Minnesota]], and the [[Museum of Modern Art]] in [[New York City]].


Following several fellowships abroad, including a Rockefeller Foundation Residency Bellagio, Italy, The Rome Prize Fellowship the American Academy in Rome, and the Lila Wallace–Reader’s Digest Artist’s Award Residency in Oaxaca, Mexico, Shea began a group of works in 2000 that deal with the figure imagined as character and icon.<ref>{{Cite journal|last=Friedman|first=Martin|date=March 2005|title=Judith Shea: Seven Characters on the Verge of a Revelation|journal=Sculpture|volume=24| issue = 2|pages=28–33}}</ref> This work set the stage for the evolution of her next major body of work, which she titled ''Judith Shea: Legacy Collection''. The topic of the Legacy Collection was the artist’s first hand experience of 9/11: She lives very near what became Ground Zero of the World Trade Center site. In this very personal response, Shea fashioned a group of mannequin-like figures, as if placed in the windows of the Brooks Brothers store just across from the site on that Tuesday. They are looking skyward, elegant in gray felt, covered in dust and debris. About them Shea has written, "I was struck by this unique juxtaposition, the sleek image of Success - American Style, opposite this spectacular attempt to topple it, with just the unbroken shop window between themz'. Several works from the Legacy Collection series have been acquired by the Yale University Art Gallery in New Haven.

In 2012, Shea curated an exhibition at the invitation of The National Academy Museum. From their Collection she chose portraits and self-portraits of female members of the Academy from 1858 to 1971. In a video tour of the exhibit, titled "Her Own Style: An Artist's Eye With Judith Shea", Shea interpreted what she saw as the very personal self description that each woman made in her self-portrait. Telling what mattered to her as an artist and how she wanted to be viewed in history. Shea made additional sculptural portraits for the show of three of her favorite figurative sculptors - "Louise Monument" (Bourgeois), "Elizabeth Tribute" (Catlett) and "Marisol".<ref>Plagens, "Works by Judith Shea, Blane De St. Croix and Others, ''The Wall Street Journal'', May 23, 2014.</ref>

==Awards==
*2013 ARTS AND LETTERS AWARD IN ART: American Academy of Arts and Letters, New York, NY
*2013 AWARD FOR EXCELLENCE: The 2013 Annual Exhibition; National Academy Museum, New York, NY
*2012 GUGGENHEIM FELLOW in Fine Arts; The John Simon Guggenheim Memorial Foundation, New York, NY
*2011 ANONYMOUS WAS A WOMAN AWARD; New York, NY
*2011 ARTISTS’ LEGACY FOUNDATION 2011 ARTIST AWARD; Oakland, CA
*2007 CHARLOTTE DUNWIDDIE PRIZE for SCULPTURE; National Academy Museum, New York, NY
*1995 ARTS INTERNATIONAL-LILA WALLACE READER’S DIGEST: International Artist Award; Oaxaca, Mexico
*1994 ROME PRIZE FELLOWSHIP: Trustees Award, American Academy in Rome
*1993 FELLOW of the AUGUSTUS SAINT-GAUDENS MEMORIAL; National Historic Site; Home and studio of Augustus Saint-Gaudens
*1993 ROCKEFELLER FOUNDATION RESIDENT FELLOWSHIP, Bellagio Study Center, Bellagio, Italy
*1992 CERTIFICATE OF SERVICE: For Outstanding Volunteer Service with the Artist-and-Homeless Collaborative; City of New York, Human Resources Administration
*1989 The GUGGENHEIM MUSEUM SCULPTOR in RESIDENCE at CHESTERWOOD; A National Historic Trust Property; Stockbridge, MA
*1986 NATIONAL ENDOWMENT for the ARTS: Individual Artist Fellowship in Sculpture; US/France Exchange
*1984 NATIONAL ENDOWMENT for the ARTS: Individual Artist Fellowship in Sculpture

==Collections==
Shea's work is included in the following public collections:
*[[Yale University Art Gallery]]
*[[Hirshhorn Museum and Sculpture Garden]] in [[Washington, D.C.]]
*[[Museum of Modern Art]] in [[New York City]]
*[[Nelson-Atkins Museum of Art]] in Kansas City
*[[Whitney Museum of American Art]] in New York
*[[Walker Art Center]] in [[Minneapolis, Minnesota]]
*[[NATIONAL GALLERY]] in [[Washington, D.C.]] (Herbert & Dorothy Vogel Collection)
*[[MCASD]] in [[San Diego, CA]]
*[[Santa Barbara Museum of Art]] in [[Santa Barbara, CA]]
*[[Sheldon Memorial Art Gallery University of Nebraska]] in [[Lincoln, NE]]
*[[Weatherspoon Art Museum UNC Greensboro]] in [[Greensboro, NC]]
*[[Addison Gallery Phillips Academy]] in [[Andover, MA]]
*[[Albright-Knox Gallery]] in [[Buffalo, NY]]
*[[Brooklyn Museum]] in [[Brooklyn, NY]]
*[[Des Moines Art Center]] in [[Des Moines, IA]] (John and Mary [[Pappajohn Sculpture Park]])
*[[Laumeier Sculpture Park]] in [[St. Louis, MO]]


==References==
==References==
{{reflist}}


==External links==
<references />
*[https://web.archive.org/web/20110604201854/http://hirshhorn.si.edu/search.asp?search=&objNumber=&objNumberExact=true&artists=Judith+Shea&withImage=true&collection_search_advanced=GO Shea at the Hirshhorn]
{{Reflist}}
*[http://www.kentfineart.net/artists/judith-shea Judith Shea at Kent Fine Art]
*[http://hirshhorn.si.edu/search.asp?search=&objNumber=&objNumberExact=true&artists=Judith+Shea&withImage=true&collection_search_advanced=GO Shea at the Hirshhorn]
*[http://www.moma.org/collection/browse_results.php?criteria=O:AD:E:5381&page_number=1&template_id=6&sort_order=1 Shea at the Museum of Modern Art]
*[http://www.moma.org/collection/browse_results.php?criteria=O:AD:E:5381&page_number=1&template_id=6&sort_order=1 Shea at the Museum of Modern Art]
*[http://collections.walkerart.org/item/agent/505 Shea at the Walker]
*[http://collections.walkerart.org/item/agent/505 Shea at the Walker]
*[http://www.sculpture.org/documents/scmag05/March_05/shea/shea.shtml Biographical article about Shea]


{{Authority control}}
{{Authority control}}


{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. -->
| NAME = Shea, Judith
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = American artist
| DATE OF BIRTH = 1948
| PLACE OF BIRTH = Philadelphia, PA
| DATE OF DEATH =
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Shea, Judith}}
{{DEFAULTSORT:Shea, Judith}}
[[Category:1948 births]]
[[Category:1948 births]]
[[Category:Living people]]
[[Category:Living people]]
[[Category:American sculptors]]
[[Category:Artists from Philadelphia]]
[[Category:Guggenheim Fellows]]
[[Category:20th-century American sculptors]]
[[Category:Rome Prize winners]]
[[Category:21st-century American sculptors]]
[[Category:People from Philadelphia, Pennsylvania]]
[[Category:21st-century American women sculptors]]
[[Category:Sculptors from Pennsylvania]]

[[Category:20th-century American women sculptors]]

{{US-sculptor-stub}}

Latest revision as of 04:17, 9 September 2024

Judith Shea
Judith Shea, Without Words (1988), Minneapolis Sculpture Garden
Born1948
Philadelphia, Pennsylvania, United States
Alma materParsons School of Design
Known forFashion design
Patron(s)16

Judith Shea is an American sculptor and artist, born in Philadelphia, Pennsylvania, in 1948. She was awarded a degree in fashion design from the Parsons School of Design in 1969 and earned her Bachelor of Fine Arts degree there in 1975. This dual education formed the basis for her figure based works.[1][2]

Her career has had three distinct phases: the use of cloth and clothing forms from 1974 to 1981; the use of hollow cast metal clothing-figure forms from 1982 until 1991; and the creation of carved full-figure statues made of wood, cloth, clay, foam and hair from 1990 to the present.[3][4][5]

About

[edit]

Her first New York City presentation was at Alanna Heiss's CLOCKTOWER galleries Project Room in April 1976. In a performance based on color theory, she made a full spectrum of sheer silk shirts and pants. Dancer Juliette Shen, changing clothes at Shea's direction, added and subtracted layers, mixing new colors live in the transparent silk. There were five performances over three days. Her work then traveled the country, appearing in museum and art festival exhibits.[6][7] In the January 1981 Whitney Biennial, Shea showed three simple forms hung on the wall that evoked iconic clothes of her childhood years; a black overcoat, "I LIKE IKE", and 2 simple sheath dresses, "INAUGURAL BALL" and "EXEC. SEC'Y.". Five related works were included in the Hirshhorn’s Directions 83 survey. To Shea these works evoke a human presence through the clothes.

With the support of NEA grants in 1984 and 1986, Shea began casting her figures into iron and bronze, allowing her to work more three dimensionally.[8][9] The 1986 fellowship also offered a French Exchange, and Shea went to Paris to study the statuary of its parks and gardens. This research led to several hollow-figure compositions from the 1980s designed to be sited in public spaces, such as Eden 1986 (John Hancock Tower, Chicago), Shepherd’s Muse 1988 (Oliver Ranch), Shield 1990 (Sheldon Museum of Art), Without Words 1988 (Walker Art Center), and "Post-Balzac" 1990 (Hirshhorn Museum and Sculpture Garden).[10]

An artist-in-residence in Kutztown, Pennsylvania in 1987,[11] Shea was then engaged for a 1989 residency at Chesterwood—Daniel Chester French’s summer studio in Stockbridge, Mass., where he had worked on his Lincoln Memorial monument. She then began to carve what she termed ironic monuments and statues in wood. A show of these works at Max Protetch Gallery, NY in March 1993 was titled "All About Adam, and Eve". In an article in Art in America Magazine that Spring, author Brooks Adams referred to them as "Shea's Anti-Monuments". Included was a white northern pine equestrian statue of an over-sized, middle aged, white-stained male astride an undersized, over-worked white-stained farm horse. Signifying the end of the cultural tradition of who gets to be the hero in our celebratory monuments, Shea titled the work "No More Monument".

Post-Balzac (1991) by Judith Shea at the Hirshhorn Museum & Sculpture Garden

Following this in 1994 The Public Art Fund sponsored Shea's installation, The Other Monument. This wooden equestrian monument was of a free black man astride a black horse. It was sited at Doris Freedman Plaza at 60th St. and Central Park, directly north of the Civil War era Union Victory Monument of Augustus Saint-Gaudens - a gilded equestrian figure of General William Tecumseh Sherman. Two years previously Shea had been awarded the Saint Gaudens Fellowship. Influenced by her research into his Civil War works, Shea realized that at that time there were no figurative monuments to the other victory of the American Civil War - Emancipation. This was her offering of the missing monument.[12]

Following several fellowships abroad, including a Rockefeller Foundation Residency Bellagio, Italy, The Rome Prize Fellowship the American Academy in Rome, and the Lila Wallace–Reader’s Digest Artist’s Award Residency in Oaxaca, Mexico, Shea began a group of works in 2000 that deal with the figure imagined as character and icon.[13] This work set the stage for the evolution of her next major body of work, which she titled Judith Shea: Legacy Collection. The topic of the Legacy Collection was the artist’s first hand experience of 9/11: She lives very near what became Ground Zero of the World Trade Center site. In this very personal response, Shea fashioned a group of mannequin-like figures, as if placed in the windows of the Brooks Brothers store just across from the site on that Tuesday. They are looking skyward, elegant in gray felt, covered in dust and debris. About them Shea has written, "I was struck by this unique juxtaposition, the sleek image of Success - American Style, opposite this spectacular attempt to topple it, with just the unbroken shop window between themz'. Several works from the Legacy Collection series have been acquired by the Yale University Art Gallery in New Haven.

In 2012, Shea curated an exhibition at the invitation of The National Academy Museum. From their Collection she chose portraits and self-portraits of female members of the Academy from 1858 to 1971. In a video tour of the exhibit, titled "Her Own Style: An Artist's Eye With Judith Shea", Shea interpreted what she saw as the very personal self description that each woman made in her self-portrait. Telling what mattered to her as an artist and how she wanted to be viewed in history. Shea made additional sculptural portraits for the show of three of her favorite figurative sculptors - "Louise Monument" (Bourgeois), "Elizabeth Tribute" (Catlett) and "Marisol".[14]

Awards

[edit]
  • 2013 ARTS AND LETTERS AWARD IN ART: American Academy of Arts and Letters, New York, NY
  • 2013 AWARD FOR EXCELLENCE: The 2013 Annual Exhibition; National Academy Museum, New York, NY
  • 2012 GUGGENHEIM FELLOW in Fine Arts; The John Simon Guggenheim Memorial Foundation, New York, NY
  • 2011 ANONYMOUS WAS A WOMAN AWARD; New York, NY
  • 2011 ARTISTS’ LEGACY FOUNDATION 2011 ARTIST AWARD; Oakland, CA
  • 2007 CHARLOTTE DUNWIDDIE PRIZE for SCULPTURE; National Academy Museum, New York, NY
  • 1995 ARTS INTERNATIONAL-LILA WALLACE READER’S DIGEST: International Artist Award; Oaxaca, Mexico
  • 1994 ROME PRIZE FELLOWSHIP: Trustees Award, American Academy in Rome
  • 1993 FELLOW of the AUGUSTUS SAINT-GAUDENS MEMORIAL; National Historic Site; Home and studio of Augustus Saint-Gaudens
  • 1993 ROCKEFELLER FOUNDATION RESIDENT FELLOWSHIP, Bellagio Study Center, Bellagio, Italy
  • 1992 CERTIFICATE OF SERVICE: For Outstanding Volunteer Service with the Artist-and-Homeless Collaborative; City of New York, Human Resources Administration
  • 1989 The GUGGENHEIM MUSEUM SCULPTOR in RESIDENCE at CHESTERWOOD; A National Historic Trust Property; Stockbridge, MA
  • 1986 NATIONAL ENDOWMENT for the ARTS: Individual Artist Fellowship in Sculpture; US/France Exchange
  • 1984 NATIONAL ENDOWMENT for the ARTS: Individual Artist Fellowship in Sculpture

Collections

[edit]

Shea's work is included in the following public collections:

References

[edit]
  1. ^ "For them, clothing is art." Wilkes-Barre, Pennsylvania: The Times Leader, March, 1, 1984, Fashion Section, p. D1 (subscription required).
  2. ^ Plagens, Peter. "Works by Judith Shea, Blane De St. Croix and Others." New York, New York: The Wall Street Journal, May 23, 2014 (subscription required).
  3. ^ Seltzer, Ruth. "'Vested' interests." Philadelphia, Pennsylvania: The Philadelphia Inquirer, December 16, 1980, Society Section, p. D2 (subscription required).
  4. ^ "Walker Adds Works." Hazleton, Pennsylvania: Standard-Speaker, July 18, 1984, p. 30 (subscription required).
  5. ^ Sozanski, Edward. "Minimalist sculptures and sensitive drawings." Philadelphia, Pennsylvania: The Philadelphia Inquirer, March 13, 1986, Arts Section, p. C5 (subscription required).
  6. ^ "Miami Beach Schedules February Arts Festival." Philadelphia, Pennsylvania: The Philadelphia Inquirer, January 18, 1976, Advertising Supplement, p. 2 (subscription required).
  7. ^ Seltzer, Ruth. "A decorative 15th anniversary for ICA." Philadelphia, Pennsylvania: The Philadelphia Inquirer, June 14, 1979, Society Section, p. C3 (subscription required).
  8. ^ Sozanski, Edward J. "The works of a dozen sculptors help shape a revival of casting." Philadelphia, Pennsylvania: The Philadelphia Inquirer, November 12, 1987, Arts Section, p. C5 (subscription required).
  9. ^ "Exhibits." Carlisle, Pennsylvania: The Sentinel, March 14, 1986, Alive Section, p. 8 (subscription required).
  10. ^ "Smithsonian museums, zoo acquire thousands pf items." Carlisle, Pennsylvania: The Sentinel, February 11, 1992, p. A6 (subscription required).
  11. ^ "In the Gallery," in "Arts Journal." Allentown, Pennsylvania: The Morning Call, September 27, 1987, p. F3 (subscription required).
  12. ^ "Art; A User's Guide To Making A Monument." New York, New York: The New York Times, September 4, 1994 (subscription required).
  13. ^ Friedman, Martin (March 2005). "Judith Shea: Seven Characters on the Verge of a Revelation". Sculpture. 24 (2): 28–33.
  14. ^ Plagens, "Works by Judith Shea, Blane De St. Croix and Others, The Wall Street Journal, May 23, 2014.
[edit]
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