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 Carol Hepper  (1953 - )

About: Carol Hepper


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Lived/Active: New York/South Dakota      Known for: sculptor-minimalism

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Ad Code: 3
Carol Hepper
from Auction House Records.
Double Return (from the Willow/Plumbing Joints series)
Artwork images are copyright of the artist or assignee
This biography from the Archives of AskART:
The following is from the artist:

BORN: 1953, McLaughlin, South Dakota, Living in New York City
EDUCATION: B.S. 1975, South Dakota State University, Brookings
PRESENTLY: lives and works in New York City and upstate New York

2000 Williams Center Gallery, Reverse Osmosis, Williams Center for the Arts, Lafayette College, Easton PA (catalogue with essay by Stuart Horodoner)
Jaffe-Fried & Strauss Galleries, Wet Paint, Hopkins Center, Dartmouth College, Hanover, NH (catalogue with essay by Nancy Princenthal)
Frederieke Taylor/TZ'Art, Strange Island, New York City
1999 Elizabeth Leach Gallery; Portland, Oregon
1998 Soma Gallery, LaJolla, California
1996 Portland Institute for Contemporary Art, Residency and Open Studio, Portland, Oregon (catalogue with essay by Kristy Edmunds)
Hill Gallery; John Duff, and Carol Hepper, Birmingham, Michigan
1995 Orlando Museum of Art, Skin/Deep, Orlando, Florida (brochure with essay by Sue Scott)
Mississippi Museum of Art, Works in Progress, Jackson, Mississippi
Elizabeth Leach Gallery, Portland, Oregon
1994 Hartman & Company, LaJolla, California
Michael Lord Gallery, Milwaukee, Wisconsin
1993 Galerie Waltraud Matt, Eschen, Liechtenstein
Hill Gallery, Birmingham, Michigan
Margulies/Taplin Gallery, Boca Raton, Florida
1992 Worcester Art Museum, Insights: Carol Hepper, Worcester, Massachusetts (brochure with essay by Donna Harkavy)
Dennos Museum Center, Traverse City, Michigan
Hill Gallery, Birmingham, Michigan
1991 Rosa Esman Gallery, New York (catalogue with essay by John Howell)
1989 Rosa Esman Gallery, New York
Vaughan + Vaughan Gallery, Minneapolis, Minnesota
1988 Rosa Esman Gallery, New York
Hill Gallery, Birmingham, Michigan
1987 Dahl Fine Arts Center, Rapid City, South Dakota, Traveled to University of South Dakota, Brookings, S.D. (brochure with essays by Cynthia Nadelman and John Day)
1984 Ritz Gallery, South Dakota State University, Brookings
1982 Institute for Art and Urban Resources, P.S.1, New York (brochure)

2000 Island, a collaborative work with dancer/ choreographer, Molissa Fenley, premiered at The Kitchen, New York City, traveling to: Williams Center for the Arts, Lafyette College, Easton, Pennsylvania, Raymond S. Kravis Center, West Palm Beach, Florida

2000 University Gallery, Fine Arts Center, Abstract Notions: Selections from the Permanent Collection, University of Mass., AmherstLab School, Chelsea, Yard Sale:
Downtown Arts Festival, New York City,
Hill Gallery, Particular Vision, Birmingham, Michigan
1999 Hill Gallery, summer, Birmingham, Michigan
1998 Bucknell University Campus Lewisburg, Pennsylvania, (outdoor installation) of Sap Green, a work created during the residency Hide & Seek

Forrest D. Brown Conference Center, Bucknell University, Cowan, Pennsylvania, Hide & Seek; A Summer Residency, outdoor group exhibition, (Catalogue with essay by Stuart Horodner)

Boca Raton Museum of Art, Florida, The Artist as Collector: The Collection of Francie Bishop Good and David Horvitz;

Fine Arts Center Galleries,University of Rhode Island, Elusive Traces, (brochure with essay by Judith Tolnick), Kingston, RI 1997 Gallery 128, Material Girls: Gender, Process & Abstract Art Since 1970", New York City

Neuberger Museum of Art, Biennial for Public Art, (outdoor installation), Purchase, New York, (catalogue with essay by Judith Collischan)

The Workspace, Sculptural Imagery, New York City,1996

Currier Gallery of Art, Manchester, New Hampshire, Community of Creativity:

A Century of MacDowell Colony Artists, traveling through 1997 to: National Academy of Design, New York, NY, Wichita Art Museum, Wichita, Kansas, (catalogue with essays by; Robert Storr and Tom Wolf)

Aldrich Museum of Contemporary Art, In The Flesh, Ridgefield, Connecticut, (catalogue with essays by Jill Snyder and Maxine Sheets- Johnstone)

Arkansas Art Center, National Drawing Invitational, Little Rock, Arkansas (catalogue)

1995 The White House, Twentieth Century American Sculpture at The White House, Exhibition II, Washington, D.C.

Weatherspoon Art Gallery, Art on Paper, University of North Carolina, Greensboro (catalogue with introduction by Thomas H. Kochheiser)

Freedman Gallery, Albright College, In The Flesh, Reading,Pennsylvania traveled to the Aldrich Museum, Ridgefield, CT.

The Newhouse Center for Contemporary Art, Snug Harbor Cultural Center In Three Dimensions:Women Sculptors of the 90's, Staten Island, New York through 1996 (catalogue with essay by Charlotte Streifer Rubinstein)
1994 Boise Art Museum, Fabricated Nature, Boise, Idaho (catalogue with essay by Sandy Harthorn)

American Telephone & Telegraph, New York
Aterrana Foundation, Vaduz, Liechtenstein
Brooklyn Union Gas, New York
Champion Paper, Stamford, Connecticut
Laumeier Sculpture Park, St. Louis, Missouri
New School for Social Research, New York
PECO Energy, King of Prussia, Pennsylvania
Ringling School of Art & Design, Selby Gallery, Sarasota, Florida

SELECTED BIBLIOGRAPHY: (catalogues listed under exhibitions, books denoted with bullet)

Harmony Hammond, Chrystopher Lyon "Lesbian Art in America: A Contemporary History" Rizzoli International Publications, Inc., New York, 2000

Janet Kopolos, New York Reviews, "Carol Hepper at TZArt", Art in America, July 2000

Ken Johnson, "Carol Hepper", The New York Times Art Guide, Feb. 25, 2000

Joyce Korot, "Carol Hepper @ Frederieke Taylor/TZArt " NY Arts, International Edition, Vol.5, no.2, Feb. 2000

Andrea Artz, Dance reviews "Molissa Fenley" The New Yorker 75th Anniversary Issue,. 44, Feb. 21 & 28, 2000

Deborah Jowitt, "Uncharted Terrain; Molissa Fenley at The Kitchen", Village Voice, Feb. 22, 2000

Eileen Myles, "Haikuriticism-17 Art Reviews (in 17 syllables) by 17 Writers", Art Issues, #63 summer 2000

Anne Barclay Morgan, "Paths to Success: Recently 'Emerged' Artists", Sculpture, vol.17, no.6, July/Aug. 1998

Mary Lynn Kotz, "At the White House: The First Lady's Sculpture Garden", Sculpture, vol.17 no.6, July/Aug., 1998

David S. Rubin,"The Human Touch in Contemporary Sculpture: The Continuing Vision of Eva Hesse"Focus On Art, Vol. 2,No.1,spring, 1997

Sarah Booth Conroy, "White House: A Test of Tradition, The Continuing Attraction of Contemporary Sculptures",.(photograph of "Vertical Void")The Washington Post, (home section) September 26, 1996

William Zimmer, "Eleven Artists Ponder Flesh's Possibilities" The New York Times, March 10, 1996

Kate F. Jennings, "Aldrich Museum's 'in the flesh' explores boundaries" Darien News Review, March 14, 1996

Shannon Hicks, "Aldrich Exhibit Really Gets Under Your Skin" The Newton Bee, February 23, 1996

Carolyn Wallace, "Aldrich opens diverse shows that explore organic surfaces", Press, Ridgefield, Ct. Feb., 8, 1996

Frank Merkling, "Aldrich tackles a paradigm of art" Weekend, The News Times, February 23, 1996

Anne Barclay Morgan,"Florida, Orlando Museum of Art", Reviews Sculpture, vol. 15, No. 3, March 1996

George Melrod, "Preview, Openings" Art and Antiques, January 1996 XXX Fruit, reproduction of "Saint" and "Untitled 1990", issue #2 "Soil" January 1996

Out in America, "White House Art, Garden Party", Out #25, September 1995
Philip E. Bishop, "Hepper explores dualities", The Orlando Sentinel, September 24, 1995

Cynthia Nadelman, "Recent Drawings by Sculptors: A Common Language," Drawing Vol. XVI, No. 2, July/August 1994

Randy Gragg, "Give that Artist the Championship Ring," The Oregonian, June 24, 1994

Chris Schooner, "Fabricated Nature, Sculptural Dualities," Reflex, August/September 1994

Jeanette Ross, "Through a looking Glass," Artweek Vol. 25, No. 10, May 19, 1994

Ariane Grabher, "Spannen der Diskurs fur den Betrachter: Natural Sculptures der New Yorker Kunstlerin

Carol Hepper in Eschen," Voralberger Nachrichten, Austria, July 10/11, 1993

Verbindung Natur und Mensch: New Yorker Kunstlerin Carol Hepper Stellt in der Galerie Matt aus," Liechtensteiner Volksblatt, July 9, 1993

Tina Kaufmann, "Natural Sculptures von Carol Hepper," Liechtensteiner Woche, July 11, 1993

Randy Gragg, "Between Mind and Body," The Sunday Oregonian, April 25, 1993

Donna Harkavy, "Showcase, Carol Hepper," Visions Art Quarterly, spring 1993

Hank Burchard, "Nurturing Natural Art," The Washington Post Weekend Magazine, November 13

Ann Barclay Morgan, (review) Sculpture, January/February 1992

Michael Welzenbach, "Doing What Comes Naturally, at Phillips, Organic Forms on an Intimate Scale," The Washington Post, November 30, 1992

Mary Sherman, "Brandeis Show Probes 'Breakdown' in Contemporary Life," Boston Sunday Herald, April 12,1992

Nancy Stapen, "Bringing Nature Inside the Museum," The Boston Sunday Globe, March 29,1992

Ann Schecter, "Hepper's Sculptures Combine the Natural and the Man-made," Worcester Magazine, March 4, 1992

Bruce D. Kurtz, "Contemporary Art, 1965-1990," Prentice Hall, Inc. Englewood Cliffs, NJ, 1992

Anne Barclay Morgan, "The Nature of Sculpture (review)," Sculpture, January/ February 1992, p. 57

Jenifer P. Borum, (review) Artforum, September 1991, p. 136

Roberta Smith, "On Long Island, Photos, Portraits, Pollock and Stereotyping," The New York Times, August 1991

Natalia Kozlova, "From the 'Bauhaus' School to the Macintosh Computer," New York Russian Daily, Novoye Russkoye Solvo, April 19, 1991

Alexis Gregory, "Art Show '91 Shines," The Journal of Art, April 1991

David Hirsh, "Architecture of the Body," New York Native, April 22, 1991

Helen L. Kohen, "Women Artists Illustrate New Directions," Miami Herald, Miami, Florida, 1991

Carol Volk, "Openings," Art and Antiques, March 1991, p.70

Dr. Laura Chapman "Discover Art," Davis Publications, Inc, Worcester, Massachusetts, 1991

Charlotte Streifer-Rubinstein "American Women Sculptors: A History of Women Working in Three Dimensions", G.K. Hall & Co., Boston 1990

Elizabeth Hayt-Atkins, "The Anxiety of Influence," Contemporanea, September 1990, pp.66-73

Eleanor Heartney, "Eco-Logic," Sculpture, March/April 1990, pp. 36-41

James Darlow, The USCD Guardian, March 8, 1990

Robert L. Pincus, The San Diego Union, March 4, 1990

Leah Ollman, "'Seven Sculptors' Offers Engaging Sampling," Los Angeles Times, March 2, 1990

John Howell, "Setter of Tender Traps," Elle Decor, March 1990, pp. 116-119
George Melrod, (review) Contemporanea, March 1990,

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