Cynthia Eardley's
figurative sculptures have been shown in solo and group exhibitions
in galleries and museums nationwide, including the Monique Knowlton
Gallery, Museum of South Texas, Huntsville Museum, New Museum
of Contemporary Art, and most recently, Sideshow, Ceres, and
Rhonda Schaller galleries (New York).
Her work has been
discussed in numerous publications, including The New York
Times, Sculpture, The Village Voice, The Nation, Sculpture Review,
and ARTnews magazine, where her figurative sculpture
was featured in "The New Realism".
Former co-founder
and co-director of the architecture/public arts group SITE,
Inc, her trompe-l’oeil design for Best Products in Richmond,
Va., was the first in a series by SITE that was reviewed and
exhibited worldwide, including the Museum of Modern Art (NYC).
A 2005 monograph (SITE: Identity in Density, Images Publishing,
Melbourne) features several examples of her early architectural
work.
She teaches sculpture,
anatomy, and art history at the New York Academy of Art Graduate
School of Figurative Art. She has also taught at Pratt Institute,
the University of the Arts, and the Newark Museum School and
participated in numerous lectures and arts conferences nationwide.
Her writings on art have been published in Bomb magazine,
the Women's Caucus on Art National Update, and most recently,
The Brooklyn Rail, where she is a contributing writer.
From articles
& reviews
"Living and working
near Ground Zero, like many artists, Eardley was profoundly
affected by 9/11. One of her especially vivid busts, Witness
I, is a depiction of a young woman who might have worked at
the World Trade Center, whose face registers shock and horror.
She is painted blue, white, and yellow, the colors of the sky
on the morning of 9/11. The sculpture takes the commonplace
into another dimension."
Cynthia Nadelman, ARTnews
"(Her) sculptures...depict
young women at a very intimate scale. Her naturalism captures
not only the external appearance of the subjects but, through
her attention to minute gestures and expressions, the conflicting
and complex emotional states experienced by today's youth."
James Kalm, catalog essay, "Little Women"
"beautifully
modeled"
"takes sculpture...into a psychological terrain that the
medium often ignores."
"probe(s) the ins and outs of companionship in subtle and
illuminating ways."
Roberta Smith, The New York Times
"Her work favors naturalistic,
sweeping gestures that express narrative succinctly and suggest
dreams and deep emotion."
Sculpture
"Melodrama and sensitivity
are rarely so successfully blended in a single oeuvre."
Gerrit Henry, ARTnews
"a feeling for body
language that we experience more often on a stage than in an
art gallery."
John Russell, The New York Times
"Eardley's interest
in portraying real life without irony is almost shattering in
its straightforwardness and in its flouting of current convention."
"(Her) small figurative bronzes...are audacious statements--perhaps
more precisely gestures-- that fly in the face of recent sculptural
history."
Cynthia Nadelman, ARTnews
"These impressive works
have an authoritative air."
Victoria Donahoe, The Philadelphia Inquirer
"beautifully modeled"
Vivien Raynor, The New York Times
Cynthia Eardley's earthenware
sculptures hug the broad white wall of the gallery forming pockets
of emotion. They are minimal stage sets....(her) forms milk
the last drop of emotion from each gesture."
Carla Sanders, Womanart
Cynthia Eardley's...fired
clay sculptures are different. They emphasize craft...and they
convey human-scaled, almost readable human drama."
Peter Frank, ARTnews
"(Her) small ghostly
white tableaux make us feel the essential kinship between humans
and animals."
Charlotte Striefer Rubinstein & Olivia Georgia, In Three
Dimensions: Women Sculptors of the 90s, catalog essay
"Eardley's
sculpture conveys a striking psychological presence."
Catalog essay, "The Power of Scale," Museum
of South Texas
Links
Gordon
Matta-Clark by Cynthia Eardley
Zaha
Hadid by Cynthia Eardley
Santiago
Calatrava by Cynthia Eardley
