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Nadine De Lawrence

Nadine De Lawrence was born July 8, 1953, in Hartford, Connecticut, to Joseph and Ruth De Lawrence.

De Lawrence received her Bachelor's of Fine Arts degree from Rhode Island School of Design, in Providence, R.I., in 1975.  As part of that course of study, she participated in the European Honors Program for painting, which included a year of study and travel in Italy.  In 1979, De Lawrence traveled to Africa under a United Technologies Corporation travel grant, an experience that greatly impacted her subsequent body of artwork. In 1985, she attended the School of Visual Arts in New York City.

Although De Lawrence began her career as a painter, she is best known as a sculptor.  She apprenticed with reknowned sculptor Bill Barrett, and delved into the creation of abstract yet mythological aluminum and steel sculptures.  Her polychromed aluminum pieces became her trademark.

As part of her growth and development, as further evidence of her seriousness as an artist, De Lawrence studied printmaking with master printmaker Bob Blackburn and received a grant from the Jerome Foundation to further investigate this medium.

Nadine De Lawrence's work has been exhibited all over the world, including: the French Embassy, the Alternative Museum, The Studio Museum in Harlem, the Arsenal Gallery, Cinque Gallery, White Columns, Spiral Gallery, and others, all in New York; Carol Getz Gallery, Coconut Grove, Florida; Sherry Washington Gallery, Detroit, Michigan, amoung others.  De Lawrence's works are in the permanent collections of a variety of individuals and public and private institutions, including the Cigna Corporation and The Studio Museum in Harlem.

During her 17-year career, De Lawrence received fellowships and grants from the Helene Wurlitzer and Jerome Foundations, and from Sculpture Space.  She was a recipient of the Romare Bearden Award of Outstanding Achievement and was also an artist-in-residence and exhibiting artist in the National Gallery in Botswana.  Her most recent project, the Women's Calendar, was published recently by Colgate-Palmolive and will be available through 1993.

At the time of her death, De Lawrence was an Artist-In-Residence in Learning Through Art/The Guggenheim Museum's Children's Program, where she worked with inner-city school children.

The art world will regard Nadine De Lawrence's unyielding drive and determination and incredible output that marked her career, as a blueprint for only the most successful to follow.  De Lawrence's work continues to be an inspiration to her fellow artists and a vast appreciative public. [[/page 1]]

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[[Image: black and white photograph of two oddly shaped items with square holes in the middle]]
"NEITH", 1988, Polychromed Aluminum
"My work proposes that it is quite possible, actually absolutely necessary for the artist to evoke his or her own personal mythology... I've found that my artwork precedes or rather parallels my subconscious world... I try through color and form and the innate beauty of my material to imbue my work with... energies. By imposing my own order, in my own way, I hope to reflect the greater order." 
De Lawrence

"Nadine De Lawrence employs painted aluminum, a medium exploited in a grand manner by celebrated artist Frank Stella.  But Ms. De Lawrence gets power in her work not through excessive use of materials but through knowing how to plug the material into a powerful tradition."
William Zimmer
Art Critic, The New York Times

"Nadine De Lawrence created sensuously elegant, multi-colored, aluminum wall constructions.  Her most successful works are small and convey a sense of intamacy and privacy... De Lawrence's work is inspired by her search for a personal mythology--'not fantasy', she (De Lawrence) explains, 'but subtle, tangible truths which are the fabric of spiritual culture'."
Carol Goodstein
Manhattan Arts

"It has been said that De Lawrence's works, inhabit the zone where the boundaries between painting and sculpture converge, and that her three dimentional images erupt with metaphysical energy.  Yet her paintings are mere sculptures from the soul."
Luisa Washington Chapman
Accent L.A. [[/column 1]]

[[column 2]]
"Nadine De Lawrence analyzes the color and structure of her work to expand her independence... Viewers become active participants when they are influenced by the lively relationships between shapes, spaces, color, and texture. Such combinations result in the projection of ideas and creation that De Lawrence is known for."
Samella Lewis
International Review of
African American Arts

"Nadine De Lawrence's Sculptures Fron The Soul (Sherry Washington Gallery 1990).. demands contemplative time; spectators are asked to involve themselves... The artist has seen herself in each story... Our minds can roam freely through the stories revealed--we are encouraged to add some elements of our own."
Detroit Focus Art Quarterly

"De Lawrence's formal inventions mark a viable path in the history of abstraction while simultaneously harking back to the quest for origins."
Michael R. Chislom
Professor of Art History
Manhattan Community College [[/column 2]] [[/page 2]]

Transcription Notes:
Please note some words in my transcription (Reknowned instead of Renowned, Intamacy instead of Intimacy, Dimentional instead of Dimensional,and Fron instead of From) because they are spelled that way in the transcript.

Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact