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 Peter Reginato  (1945 - )

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Lived/Active: New York      Known for: modernist form sculpture, bicycle forms

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Peter Reginato
from Auction House Records.
Putti in a Landscape, 1984
Artwork images are copyright of the artist or assignee
This biography from the Archives of AskART:
The following is from the artist, July 2002:

I grew up in California and remember knowing in 2nd grade when drawing a willow tree that I was an artist. In my teens I also was involved in the California "hot rod" car culture which gave me my early experience in metal and color and started the development of my engineering skills. After high school, I was offered two scholarships, one to the California School of Arts and Crafts, the other to the San Francisco Art Institute. I picked the Art Institute because I knew I wanted to do fine art, not commercial art. The Art Institute was my last formal education in art and all of my engineering and sculpture techniques are self-taught except for a brief course in welding at a vocational school.

My first one-man show was at the age of 20 in 1966 at the Open Theatre Gallery in Berkeley. It was mostly paintings but did include 4-5 sculptures which were very simple, minimalist, plywood and painted. I had a great review for both the paintings and sculptures, but after that show decided I wanted to be a sculptor.

I moved to Soho, New York in late 1966 (I still live and work at the same place) at the invitation of the Park Place Group, an artist coop run by Paula Cooper. I showed a severe minimalist sculpture at their show in Spring 1967 and was invited to show as a full member of their group but declined because I felt my work was going some place else. Up to here, my work had been in fiberglass or plywood and typically was painted one color or black with a touch of green or blue in it. Then I became aware of David Smith and began the idea of making freer, open sculpture.

About 1969, I started thinking that instead of spending so much time making flat pieces and rods out of fiberglass, I could just go buy flat pieces and rods of steel. Also it disturbed me that fiberglass was not strong enough for some of my more extreme engineering ideas. So I started making steel sculpture. My first piece were fabricated, i.e., I made a small maquette and then a factory made the bigger piece.

These early pieces were primarily made by just cutting shapes out of the flat steel plates. Also at this time I intuitively began the fight in my work, i.e., the wanting to draw in space, using free imaginative, unique, natural shapes instead of the neutral shapes of squares, stright lines, rectangles and circles. I wanted the more organic shapes of Mother Nature to take over. This also is where and when I began getting into trouble with the Greenbergian formulas and the minimalists. I was rejecting those neutral geometric forms which everyone always accepts as good design. I was rejecting the formulas that I believe could make a lot of inferior artists look good, which often create gutless art. I wanted to expand my free-style drawings in space. I was harking back to the ideas of thirties sculpture, like Picasso, Giacometti, Gonzalez, Calder, Miro, Matisse.

After five fabricated pieces, I realized I did not have the patience or money for fabrication and that I wanted to totally control my own sculpture. I took a short course in welding and my first show of welded work was at the Tibor de Nagy Gallery in 1971. From 1971-1981 I had a number of one-man shows at Tibor's galleries in New York and Houston. Lots of good things happened in that period including in 1973 winning the $30,000 competition for a piece at the Allen Carter in Houston (30' long -16' high). Critics at that time wrote that I was an interesting post-David Smith artist, particularly interesting because I was not a minimalist or pop artist. I was in the Whitney biennials in 1970 and 1973, showing low, heavy, massive welded steel sculpture painted in one translucent color. Storm King bought the piece out of the 1973 Whitney Biennial.

At this time I was trying to create sculpture that related to Matisse, yet kind of architectural. I saw my pieces as a group of shapes that stayed in curtained fields, relating to each other in the field. Often I placed shapes in a shelter. My sculptures at this time often had an architectural quality to them, a roof, an opening, a shelf, and most of the projections went inward. Compositionally I was thinking of Matisse's dance painting. I was seeing my sculpture as continuous, circular formats, as something you were forced to walk around, with all of the views being different. Again, there was this personal tension of how far I wanted to take the hand-drawn forms.

In 1975 I broke away from the low pieces and started making vertical ones that gained quite a bit of exposure and some museum sales including the Hirshhorn. Until this time all of my work had been very low, not more than 4' high and often wide, up to 10'. I began to feel the low stuff got lost outside. This also was the first time I felt I was making a significant personal statement, as the first in the Formalist Group to start making vertical sculptures that loosely related to the human figure - that had "legs", "hips", a "torso". I got a lot of flack in all circles for this. However, I was awarded a Guggenheim Foundation Fellowship in 1976.

About 1978-79, I began to realize how important engineering was to me and followed up with pieces that were vertical but at the same time had big cantilevers. I pushed the idea of making the top of the sculpture bigger than the bottom, exploring how extreme I could get I began playing with this idea of being a "decorative engineer". I liked the tension of the cantilevers and the illusion of a lot of weight hanging over the work. These were work shown at Diane Brown in Washington D.C. and De Nagy galleries in Houston and New York.

About 1980 the work got very complex. I started drawing lots of shapes and and developed my ideas of color. Up to here, in the 60's, the fiberglass and plywood were painted very bright; the early steel pieces were earth tones or metallics where I would grind the steel, then cover them with a coat of translucent paint but I dropped this because the pieces could not go outside. The 1975-80 steel pieces had no color and were just left to rust or had a clear coat on them.

As I came into 1981-1983, I felt I was going backwards. In that period I had started to experiment with the "legs" or support for my vertical pieces, which I felt resulted in more "neutralized" shapes- i.e. folded triangles and squares for legs. I was only using a few curves and leafy shapes and at the end of this period started seriously painting the works and using color and developing techniques to allow the painted work to go outside. But the color did not seem to go with the more neutralized shapes. This lead to the explosion which was the very serious start of my current work. Also in 1984 I received a $15,000 grant from the NEA.

In 1983-84, this explosion lead to the direction in my work where every shape would be unique. Every shape would be hand-drawn whether geometric or organic. Also the idea of using spiral lines and swirls began and the idea of cut-outs in the shapes to allow the viewer to see the guts of the piece. I was looking for a real looseness and freedom. I wanted to come up with original shapes, shapes that I could say were mine. At the same time I pushed the use of color. My spring 1985 show with Patricia Hamilton at the 112 Greene Street space showed my work getting very sophisticated, pushing the ideas of shapes and color but also causing me a lot of flack in the art world. I was trying to mix together shapes not necessarily homogeneous, very organic ones against severely geometric ones. I just kept pushing the drawing, the idea of taking the structure to the limit. The Metropolitan Museum of Art in New York bought a piece from this period.

In the late 80's I started my own dealing, working in partnership with Pat Hamilton and a financial backer. It was a very successful time for me-- financially good, a great sense of freedom, and quite a bit of critical response.

The early nineties were also a good time for me. I think my most impressive exhibition showing a lot of my new ideas and work was the 1994-95 Adelson and Beadleson show on West Broadway. I felt that work showed the fulfillment of my earlier ideas and goals and also some new things, particularly some very light and free pieces. Another significant show of the 90's featured only small works (3-4 feet) which is the closest I've come to a real series. I was also surprised to see how far I could go on small works and how many I turned into larger pieces or commissions.

One of my favorite most recent works is Area 51, a very large piece (10.5' x 13' x 10'). I like its environmental quality, its very individual forms, the fact that every shape is very different yet they all work together. I feel my new work is very much like drawing in space, like placing things in space. These pieces are a little out of synch, yet work. Also two very new pieces and very successful ones are vertical; one is a totem, the other is very curvy with the rhythm of its curves climbing into the air and a dark color paint. Recent new directions are the use of pastels, experimenting with very big and very small pieces, using plexiglass to make shapes and then getting the best of both worlds. With plexiglass one has the image and one can see through it.

I like the way it creates illusions of space, particularly when you cut holes in it. Also Area 51 has incorporated the use of an electric light inside the piece that bounces light off the floor. Two of the highlights of the year 2000 has been to be included in "Welded! Sculpture of the 20th Century" at the Neuberger Museum of Art and "The First 50 Years" at the Tibor de Nagy Gallery.

It was very gratifying to have my older work recognized and included in two such prestigious exhibitions and books. However, I am hoping that my upcoming 2001 show will generate interest in and critical response to my current work. I feel that as we go into this millennium, I want to push my ideas of original shapes and colors as far as they can go. My work ultimately is always about reevaluating its implicit balance. It is about questioning and reevaluating what is the perfect balance between color and no color, between geometric shapes and organic ones, between lightness and heaviness, between bright colors and light ones, between one color and 100 colors, between large and small, etc. It is always about balance and always about a structure.

PETER REGINATO

CHRONOLOGY

1945, Born in Dallas, grew up in Bay area, California

1963-66
Studied at San Francisco Art Institute

1971-73
Taught at Hunter College

SELECTED SOLO EXHIBITIONS

1971
Tibor de Nagy Gallery, NY

1973
Tibor de Nagy Gallery, NY
University of Rhode Island, Providence

1974
Tibor de Nagy Gallery, Houston
Allen Center, Houston

1975
Tibor de Nagy Gallery, NY
B.R. Kornblatt Gallery, Baltimore

1976
B.R. Kornblatt Gallery, Baltimore

1977
Tibor de Nagy Gallery, NY

1978
Diane Brown Gallery, Washington, DC
Watson/de Nagy, Houston

1979
Tibor de Nagy Gallery, NY
Tibor de Nagy Gallery, Houston

1980
Watson-Willour & Co., Houston
Tibor de Nagy Gallery, NY
Diane Brown Gallery, Washington, DC
Tibor de Nagy Gallery, Houston
Watson/de Nagy, Houston

1981
Salander-O'Reilly Galleries, New York
Medici-Berenson Gallery, Bay Harbor Islands, FL

1982
Sarah Rentschler Gallery, Bridgehampton, NY

1983
New Jersey State Council on the Arts, Architectural Monumental Sculpture Series
Salander-O'Reilly Galleries, New York
Medici-Berenson Gallery, Bay Harbor Islands, FL

1984
Watson/de Nagy, Houston

1985
Patricia Hamilton, 112 Greene Street, New York

1986
Patricia Hamilton, 57th Street West Gallery, Los Angeles

1987
Patricia Hamilton, 112 Greene Street, New York

1988
The Brunnier Gallery and Museum, Five Year Survey: Peter Reginato,
Iowa State University, Ames, Iowa

Patricia Hamilton, River North Concourse Building, Chicago

1989
Patricia Hamilton, 112, Greene Street, New York

1990
Patricia Hamilton, Santa Monica, California

1992
Adelson Galleries, Inc. and William Beadleston, Inc.,112 Green Street, NY

1994
Adelson Galleries, New York

1995
Meredith Long and Co., Houston, TX

1996
"Small Wonders" Adelson, Galleries, New York

1997-98
New Jersey Center for the Arts, Summit, New Jersey

1998
Jaffe Baker, Boca Raton, FL

2001
Adelson Galleries, New York

2001
Elaine Baker Gallery, Boca Raton, FL

2002
Meredith Long Gallery, Houston, TX

SELECTED GROUP EXHIBITIONS

1967
Park Place Gallery, 2nd
Annual Invitational, NY

1969
Tibor de Nagy Gallery,
Group Exhibition, NY

1970
Whitney Museum of American Art, Sculpture, Annual, New York

1971
Aldrich Museum, Highlights from the Art Season,
Ridgefield, CT
University of Maryland Art Gallery, What's
Happening in Soho,
College Park

1972
Indianapolis Museum of Art,
Sculpture Invitational,
Indianapolis
Corcoran & Corcoran, Group
Exhibition, Coral Gables, FL

1973
Rhode Island School of Design, Small Works:
Selections from the Richard Brown Baker
Collection, Providence
Whitney Museum of American Art, Biennial,
New York

1974
The Museum of Fine Arts, Sculpture, Houston
Storm King Art Center,
Recent Acquisitions,
Mountianville, NY

1975
Max Hutchinson's Sculpture
Now Gallery, Group
Invitational, New York
Hayward Gallery, The
Condition of Sculpture,
London
Galerie Ariadne, Group
Exhibition, New York
Nassau County Museum
of Fine Art, Group
Exhibition, Roslyn
Waco Creative Arts Center,
Recent Acquisitions,
Waco, TX

1976
Gulf Coast Invitational,
Sculpture Exhibition,
Galveston, TX
University of Texas,
Sculpture, Dallas

1979
Lubin House, The Collections of Tibor de Nagy,
Syracuse University
Annex, Syracuse, NY

1980
Medici-Berenson Gallery,
Group Selections, Bay
Harbor Islands, FL

1981
Salander-O'Reilly Galleries,
Sculpture, New York

1982
Boston Architectural Center,
Berklee College of Music
Pavillion, Boston

1983
Clayworks, Group
Exhibition, New York
Houston Museum of Fine
Arts, Sculpture Selections
from the Permanent
Collection, Houston

1984
Storm King Art Center, 20th
Century Sculpture,
Selections from the
Metropolitan Museum of
Art, Mountainville, NY
Sarah Rentschler Gallery,
International, New York

1985
Summit Art Center,
Interplay: Painted
Sculptures and
Constructions, Summit, NJ

1986
Gloria Luria Gallery, Hunt,
Kendrick, Reginato, Bay
Harbor Islands, FL
Michael Kohn Gallery, Still
Life: Life Still, Los Angeles

1987
Crossover, Gallery at
Hastings-on-Hudson, NY

1988
William's College Museum,
Little Big Sculpture,
Williamstown, MA

1989
Gimpel and Weitzenhoffer
Gallery, Sculpture with
Color, New York
Andre Zarre Gallery, Metal,
Wood, Stone, New York

1990
Philadelphia Art Alliance,
The Significant Surface,
Philadelphia
USX Tower, Steelworks,
Pittsburgh Academy of
the Arts, 30 Years and
Growing, Easton, MD

1991
Jaffe Baker Gallery, Alberto
Magnani, Peter Reginato,
Boca Raton, FL
Virginia Museum of Fine
Art, Contemporary
Sculpture, Richmond
Museum of Art, Peter
Reginato and Jane
Manus: Two Visions of
Abstract Constructed
Sculpture, Fort
Lauderdale, FL
Adelson Galleries, Inc., One
Hundred Years of
American and European
Art, New York

1992
Gloria Luria Gallery,
Meadmore, Perlman,
Reginato, Todd: Sculpture
for Public and Private
Places, Bay Harbor
Island, FL

1993
University of Florida, Samuel
P. Harn Museum of Art,
Fast Forward: Six Years
of Collecting for a New
Museum, Gainesville
Blaffer/Robinson Gallery,
Group Exhibition, Houston
Johnson Atelier, Grounds
for Sculpture: Opening
Exhibition, Mercerville, NJ

1994
Nicholas-Alexander Gallery,
Group Exhibition, New York

1995
Deep Space, New York

1996
Pardo View Gallery, New York
Thirtieth Anniversary
Reunion and Benefit:
Max's Kansas City,
Gagosian Annex, New York
1997
Tibor de Nagy Gallery, Art
and Friendship:
Selections from Pease
Collection, New York

1998
Charles Cowles Gallery,
Works on Paper, New York
Elena Zang Gallery, Outdoor
Sculpture, Shady, NY
594 Broadway Gallery, New
Eyes in New York, New York
Lookout Sculpture Park,
Maquette Exhibit,
Damascus, PA

1999
Beadleston Gallery, 20th
Century Steel Sculpture,
New York
Bruce Lewin Gallery,
Ongoing Gallery Show,
New York
Elena Zang Gallery, Outdoor
Sculpture Show,
Woodstock, NY

2000
Neuberger Museum of Art,
"Welded!" Sculpture of
the Twentieth Century,
New York
Tibor De Nagy Gallery, The
First Fifty Years, New York

SELECTED ARTICLES AND REVIEWS

"The Young Life," Vogue, January 1969
Benedikt, Michael, ARTnews,
February 1971, p. 24
Gollin, Jane, ARTnews,
December 1971, p. 19
Shirey, David, The New York
Times, February 28, 1973
Canaday, John, The New
York Times, February 17,
1972
Campbell, Lawrence,
ARTnews, March 1973, p.75
Bell, Jane, Arts, April 1973,
pp.79 and 81
Butler, Susan L., "Many
Firsts Happen to Sculptor
Peter Reginato," Houston
Chronicle, December 5,
1973.
Moser, Charlotte, "The Shape
of Sculpture," Houston
Post, December 23, 1973
Kramer, Hilton, The New
York Times, March 23, 1974
Weissman, Julian, "Standoff
in Soho," ARTnews,
November 1974,
pp. 92-94
Frackman, Noel, Arts, April
1975, p.11
Hodgson, Moira, "Sculpture
Peter Reginato: After the
Monument," Soho Weekly
News, April 24, 1975,
cover, pp. 13, 37-38
Cork, Richard, "Blackball at
the Sculptors Club,"
Evening Standard, May 6,
1975
Bell, Jane, Arts, June 1975,
pp. 26-27
Tuchman, Phyllis, ARTnews,
June 1975, pp. 146, 148
Siegel, Jeanne, Art in
America, September-
October 1975, pp.102-103
Kingsley, April, "A Return to
Abstract Impressionism?"
Soho Weekly News,
December 4, 1975, p. 21
Kramer, Hilton, The New
York Times, March 18,
1977
Gold, Sharon, Artforum, June
1977, p. 71
Crossley, Mimi, Houston
Post, January 13, 1978
Frackman, Noel, Arts,
January 1978
Forgey, Benjamin,
Washington Star, May 21,
1978
Carmean, Jr., E.A., Arts, June
1978, p.26
Gibson, Eric, Arts
International, May 1979,
p.21
Towle, Tony, Art in America,
September 1979, p. 137
Raynor, Vivian, The New
York Times, July 19, 1980
Tennant, Donna, "Reginato's
Recent Work Like Brush
Movements in Air,"
Houston Chronicle,
January 24, 1980, p. 6
Crossley, Mimi, Houston
Post, January 30, 1980,
p. 8AA
Raynor, Vivian, The New
York Times, July 19, 1980
Russell, John, The New York
Times, July 17, 1981
Tatransky, Valentine, Arts,
January 1982, p. 23
Jablons, Pamela, "Collecting
Within a Tradition,"
Diversion, August 1982,
pp. 201-208
Zimmer, William,
The New York Times,
February 6, 1983
Firestone, Evan,
"Three Musicians
at the Harlequin's
Carnival: Peter Reginato's
New Sculpture,"
Arts, February 1985,
pp. 116-119
Towle, Tony, Art in America,
September 1985, p. 139
Tuchman, Phyllis,
"Sculptures of the Unexpected,"
Patricia Hamilton,
57th Street West Gallery, 1986
Tuchman, Phyllis, "The Road
Now Taken,"
Art Criticism, May 1986
Shipper, Meryle, ARTnews,
May 1986
Firestone, Evan, "In Praise of Steel:
Notes on Some Recent Direct
Metal Sculpture."
Arts, April 1986, p. 44
Van Dam, B.J., "Steel Sculpture at
the Greene Street Gallery,"
Antiques and the Art Weekly,
March 13, 1987
Zimmer, William, "Crossover at
the Gallery at Hastings
on Hudson,"
The New York Times,
September 27, 1987
Cohen, Jean Lawlor, "Sculpture
Thrives in Washington
Law Firms,"
The Washington Lawyer,
January-February 1988,
pp. 40-48
Gurainick, Margo,
"Timely Obsessions,"
House and Garden,
September 1989, pp. 94-96
Story, Jeff, "Art in Park is
not Just for a Lark,"
Middletown Times-
Herald Record,
December 10, 1988
Duvoli, John, "Crystal Run
Become Home to Works
of Soho Sculptor,"
Orange County
Business Journal,
December 12, 1988
Ratcliff, Carter, "Reginato's
Improvisations,"
Art in America, December
1989, pp. 146-151
Barron, James, "Like Homecoming
Parade in New Kind of Downtown,"
The New York Times,
September 27, 1991
"Menlo Park's Atmosphere
Enhanced by Works of Art,"
Shopping Center World,
February 1992, p.18
"May Exhibitions of Recent
Sculpture by Peter Reginato,"
Antiques and the Arts Weekly,
May 8, 1992, p.12

Saeks, Diane Dooren,
"Where the Art Is," West
Magazine (San Jose
Mercury News),
August 30, 1992
Crippen, Bruce, "Lobby Eye
Catcher," Cincinnati Post,
September 22, 1992
Palazzo, Risa, "Home is
Where the Art Is," New
York Newsday, April 10, 1994
Koplos, Janet, Art in
America, September 1994,
p. 113
Pardee, Hearne, ARTnews,
September 1994, p. 173
Southgate, Patsy, "Soho
Pinups Sag Sculptures,"
East Hampton Star,
October 1995
"Houston Style,"
Architectural Digest,
November 1995, p. 24
Bischoff, Dan, "Peter
Reginato, Man of Steel,"
The Star Ledger, August
29, 1997
Kimmelman, Michael, "Art
and Friendship: Selections
from The Roland F. Pease
Collection," New York
Times, September 5, 1997
Fogleo, Jim, "Famous
sculptor's work
displayed," Summit
Observer, December 24, 1997
"Peter Reginato exhibit
extended at NJCVA Art
Park," Weekend Plus,
March 13, 1998
Hooper, Keith, "Big Barbara:
Unique Sculpture Installed
at Alden Bridge Center,"
The Villager, November 11, 1998
"Cartoon Zoo's adds to
Neuberger's Atmosphere,"
The Sound Shore Review,
March 26, 1999
"Neuberger Museum of Art
Acquires Cartoon Zoo:
Peter Reginato Sculpture,"
Antiques and The Arts
Weekly, March 26, 1999
"Collector-Turned
Philanthropist: A Study in
the Art of Giving," The
Philanthropist, Spring, 1999
Collischan, Judy, Welded
Sculpture of the Twentieth
Century, 2000, Hudson
Hills Press.
Wilken, Karen, Tibor de
Nagy Gallery: The First
Fifty Years, 2000, John
Ashberry, Publisher.
Wilkin, Karen, "Drawings in
Space," Westchester
County Times, June 2000
Johnson, Ken, "Testing the
Durability of Welding as
a Creative Form," New
York Times, August 11, 2000
Lewis, Janie N., (Photography
by Lucien Capehart)
"Contemporary Harmony,"
Art and Antiques, May 2001
Naves, Mario, "Currently Hanging,"
(Arp-Like Sculpture For A
Younger Set), The New York
Observer, April 30, 2001
Halasz, Piri, "From The Mayor's
Doorstep," No. 32, April 15, 2001
Brink, Bob " THE JOY OF STEEL"
[celebrated sculptor takes an
abstract look at life] Palm Beach
Illustrated Nov. 2001
McCarthy, Gerard "Peter Reginato
at Adelson Gallery" Art in America
January, 2002, p. 104

AWARDS AND COMMISSIONS

1973
Allen Art Center, National
Sculpture Competition, Houston
1974
Allen Art Center, Houston
1976
John Simon Guggenheim
Memorial Fellowship
1984
National Endowment for the Arts,
Sculpture Grant,
Washington, DC
1986
Glick Organization,
Promenade Building, New York
1991
The O'Connor Group, Menlo
Park Mall, Edison
1998
Woodlands Land
Development Company,
Woodlands, TX
2000-2001
Barbara B. Roberts Foundation

PUBLIC COLLECTIONS
Allen Art Center, Houston
Art Acres, Boca Raton, FL
Brown University, Providence
Bucknell University, Lewisberg, PA
Corcoran Gallery of Art,
Washington, DC
City of Hope Sculpture
Garden, Duarte, CA
Donna Klein Hebrew
Academy, Jewish
Federation of South Palm
Beach County, Boca
Raton, FL
Great Southwest Atlanta
Corporation, Atlanta
Hillel Day School, Boca
Raton, FL
Hirshhorn Museum and
Sculpture Garden,
Washington, DC
IBM Corporation, White Plains, NY
John and Mable Ringling
Museum of Art, Sarasota,
FL
Laguna Gloria Art Museum,
Austin, TX
McNay Art Museum
San Antonio, TX
Mead Art Museum, Amherst
College, Amherst, MA
Metropolitan Museum of Art,
New York
Mint Museum of Art,
Charlotte, NC
Museum of Fine Arts, Boston
Museum of Fine Arts, Houston
Nassau County Museum of
Art, Rosland, NY
Neuberger Museum of Art,
Purchase, NY
Northwestern University,
Evanston, IL
Palm Springs Desert Museum
Inc., Palm Springs, CA
Richard Brown Baker
Collection, Yale University
Art Gallery, New Haven, CT
Rockford Museum,
Rockford, IL
Storm King Art Center,
Mountainville, NY
University of Florida, Samuel
P. Harn Museum of Art,
Gainesville























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