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London, Welsh Ats Counsin, Cardiff. University College of Wales: Northern Arts Associatino, Newcastle: University of Sussex, Brighton: Contemporary Arts Society of Wales, Cardiff: North Wales Arts Association, Caernarvonshire: Sourthern Ats Associatin, Winchester

Publications:
By PENNIE: "Sculptue in an Urban Setting" in Art and Artists(London) July 1969.

On PENNIE: Play Orbit catalogue edited by Jesia Reichardt (London) 1969; "London Letter" by Bernard Denvir. in Art International (Lugano) May 1971; "London Letter" by Fencella Crichlon. in Art International (Lugano) March 1974.


PEPPER, Beverly.
Americal Born Bevery Stroll in Brooklyn, New York, USA 20 December 1924 Studied industrial and advertising desighn at Pratt Institure, Brooklyn, New York 1939•41 (B.A. 1941). Art Students League, New York 1946. Atcher Andre L'Hote. Paris 1948: Atcher Fernard Leger. Paris 1949. Married Lawrence Gussin 1941 divorced 1948) Chidren: John Randolph. Worked as art direcor for numerous adertising agencies. New York 1942-48. Married curtis Gordon (Bill) Pepper 1949. Children Jorie Sheppard Graham Traveld throughout France, Italy, Nroth Afica, Germany, Turkey, Iseal and Spain. since 1949 lived in Paris and Haut du Cagnes. France 1949-50. in Positano Italy 1951-52 Settled in Rome 1952 Traveled in Far East and India. being especially influenced by Cambodian Rhmer sculpture 1960 Concentrated on sculpture. Rome 1961 Moved to lorre Gentile di Todi. Perugia 1972. Awards Cold Medal and Sculpture Purchased Award. 17th Mostra Internazionale Fiorino. Italy 1966. 1st Prize and Purchase Award. Jacksonvilled Art Museum. Florida 1970. Best in Steel Award. Iron and Steel Industry, New York 1970. Central Service Adminstration Grant. Washington. DC. 1974. National Endowment for the Arts Award. Washington DC. 1975 Dealer. Andre Emmerich Gallry.  41 East 57 Street. New York NY 10021. U S A  Mailing address Torre Gentile di Lodi. Perugia 06059. Italy.


Individual Shows:
1952 Galleria dello Zodiaco. Rome
1954 Barone Gallery. New York
1955 Obelisk Gallery. Washington DC.
1956 Galleria Schneider. Rome
Barone Gallery. New York (and 1958)
1959 Galleria dell'Obelisco. Rome
1961 Galleria Pogliani. Rome
1962 Thibaut Gallery. New York
1965 Marlborough Galleria d'Arte. Rome
1966 McCormick Place. Chicago
1967 Jewish Museum. New York
1968 Marlborough Galleria d'Arte. Rome
Galleria La Bussola. Tunn
Galleria Paolo Barozzi. Venice
1969 Marborough Gallery. New York
Museum of Contemporary Art. Chicago
Hayden Court and Plaza. Massachusetts  Institute of Technology. Cambridge.
Albright Knox Art Gallerey. Buffalo. Venice
1970 Everson Museum. Syracuse, New York
Piazza della Rotonda. Milan
Studio Marconi. Milan
1971 Galerie Hella Nebelung. Dusseldorf
Piazza Margana. Rome
470 Parker Street Gallery. Boston, Massachusetts
1972 Qui Arte Contemporanea. Rome
1973 Tyler School of Art. Temple University Abroad. Rome
1975 Hammerskjold Plaza Sculpture Garden. New York
Andre Emmerich Gallery, New York
1976 Museum of Art. Sanfrancisco
1977 Andre Emmerich Gallery. New York
     Rosa Freudenheim Gallery, New York


Selected Group Shows:

1954 I Nostra d'Arte dei Borsisti Stranieri, Palazzo
       delle Esposizioni. Rome
1956 Chicago Art Institute. Illinois
1961 The Quest and the Quarry. New York Art
       Foundation. Inc. Rome
1964 Sculture in Metallo. Galleria Civica d'Arte
       Moderna. Turin
1968 Plus by Minus: Today's Half-Century, Albright
       Knox Art Gallery. Buffalo. N.Y.
1970 Omaggio Roma. Galleria Nazionale d'Art
       Moderna, Rome
     Painting and Sculpture Today. Indianapolis
       Museum of Art. Indiana
1972 XXIII Biennale di Venezia. Venice. Italy
1974 Woman's Work American Art '74. Philadelphia
       Civic Center. Pennsylvania
1975 Monumental Sculpture in the '70's. Janie C. Lee
       Gallery. Houston. Texas
1976 Women Artists '76. McNay Art Institute. San
       Antonio. Texas
1977 Works on Paper, CAA. Los Angeles


Collections:

Fogg Museum. Cambridge. Massachusetts: Massachu-
setts Institute of Technology. Cambridge: Albright- 
Knox Art Gallery. Buffalo. New York: Fidelity Union
Life Insurance Company. Dallas. Texas: Jacksonville
Museum of Modern Art. Florida: Galleria d'Arte
Moderna. Florence. Walker Art Center. Minneapolis:
Instituto Italiano di Cultura. Stockholm: Power In-
stitute of Fine Arts. Sydney. Everson Museum.
Syracuse. New York: Galleria Civica d' Art Moderna. 
Turin: Albertina Museum. Vienna: Hirshhorn
Museum and Sculpture Gardem. Washington. DC:
Worcester Art Museum. Massachusetts: Charles Rand
Penny Foundation. Olcott. New York: Parkersburg
Art Museum. West Virginia: Smithsonian Institution.
Washington. DC: William Kaufman Company. U.S.
Plywood Building. New York (Sculpture Commis-
sion). Weizmann Institute. Rehovoth. Israel (Sculpture


Beverly Pepper Ascension 1975 

[[image]]




Commission): Soutland Mall. Memphis Tennessee
(Sculpture Commission): Government Center. Boston
(Sculpture Commission): North Park. Dallas. Texas
(Sculpture Commission): G Oestreicher Company.
New York (Sculpture Commission). Albany Mall.
New York (Sculpture Commission). Carlo Palazzi
Rome (Wall Sculpture Commission). Federal Reserve
Bank. Philadelphia (Sculpture Commission): Federal
Building. San Diego (Sculpture Commission) and 
many other public and private collections

Publications:

On PEPPER: "Beverly Pepper" by Virgilio Guzzi in
// Temp (Milan) December 1952. "Beverly Pepper"
by Lawrence Campbell. in Art News (New York)
December 1954; "Beverly Pepper" by E.M. Munroe.
in Arts News (New York) December 1956. "Beverly
Pepper" by Giovanni Carandente. in Arte Oggi (Milan)
October 1961: review by Alex Elliot in Art in 
America No. 2 (New York) 1965. "Plus by Minus by 
Douglas McAgy. in Art Gallery (Ivoryton Connecti
cut) 1968; "Beverly Pepper. Galeria Hella Nebelung
by Y Friedrichs. in Das Kunstwerk (Baden Baden) July
1971. "Art" by Robert Hughes. in Times (New York)
June 1975; "A Space has Many Aspects" by Jan But
tterfield, in Artsmagazine (New York) September 1975

If I talk about the formal problems that involve me [[?]] is because the abstract language of form that I have chosen has become a way to explore an interior life of feeling. In this way, my forms mirror emotional reality. The problems to which I have consistently linked my work concern the question of sculptural illusion. Put briefly, I wish to make an object that has a powerful physical presence, but at the same time inwardly turned, seeming capable of intense self-absorption.
  The works I made of highly polished stainless steel in the late 1960's achieved this kind of dualism primarily through the mirror-like polish of their surface. Those surfaces acted to emphasize the actual density and weight of the steel. At the same time they made the physical bulk of the sculpture withdraw behind a screen of reflections.
  Under certain light conditions and from certain angles this reflectivity picks up the sculpture's environment-sky, grass, earth. This causes the work almost to disappear, so that all that remains visible is the network of blue enamel line that includes the interior faces of the forms. From other angles the surfaces reflect into one another, causing geometries to appear

Transcription Notes:
A web link to help with the translation on the locations https://issuu.com/marlboroughfineart/docs/1588_mfa_beverly_pepper_artwork_02_/26