The Stand (Possessing Powers)
Installation view, 2013



The Stand (Possessing Powers)
The Stand: Last of the Tribes, detail
Plaster, 71" x 22" x 22"
The Stand (Possessing Powers)
The Stand: Last of the Tribes
Plaster, 71" x 22" x 22"
The Stand (Possessing Powers)
The Stand: Last of the Tribes, detail
Plaster, 71" x 22" x 22"
The Stand (Possessing Powers)
The Stand: Last of the Tribes, detail
Plaster, 71" x 22" x 22"
The Stand (Possessing Powers)
The Stand: Last of the Tribes, detail
Plaster, 71" x 22" x 22"
The Stand (Possessing Powers)
Key
found lettering pages from Le Scritture di Tutti i Secoli
11.5" x 15.25"
The Stand (Possessing Powers)
The Stand: Last of the Tribes, detail
Plaster, 71" x 22" x 22"
The Stand (Possessing Powers)
The Stand: California
Plaster, 70" x 28" x 21"




The Stand (Possessing Powers)
The Stand: California
Plaster, 70" x 28" x 21"

The Stand (Possessing Powers)
The Stand: California
Plaster, 70" x 28" x 21"
The Stand (Possessing Powers)
The Stand: California, detail
Plaster, 70" x 28" x 21"
The Stand (Possessing Powers)
The Stand: California, detail
Plaster, 70" x 28" x 21"
The Stand (Possessing Powers)
The Stand: California, detail
Plaster, 70" x 28" x 21"
The Stand (Possessing Powers)
The Stand: California, detail
Plaster, 70" x 28" x 21"
The Stand (Possessing Powers)
The Stand: Greek Slave
Plaster, 66" x 33" x 33"
The Stand (Possessing Powers)
The Stand: Greek Slave, detail
Plaster, 66" x 33" x 33"
The Stand (Possessing Powers)
The Stand: Greek Slave, detail
Plaster, 66" x 33" x 33"
The Stand (Possessing Powers)
The Stand: Greek Slave
Plaster, 66" x 33" x 33"
The Stand (Possessing Powers)
The Stand: Greek Slave, detail
Plaster, 66" x 33" x 33"
The Stand (Possessing Powers)
The Stand: Greek Slave, detail
Plaster, 66" x 33" x 33"
The Stand (Possessing Powers)
The Stand: Greek Slave
Plaster, 66" x 33" x 33"
The Stand (Possessing Powers)
The Stand: Greek Slave
Plaster, 66" x 33" x 33"
The Stand (Possessing Powers)
The Stand: Greek Slave, detail
Plaster, 66" x 33" x 33"
The Stand (Possessing Powers)
The Stand: Greek Slave, detail
Plaster, 66" x 33" x 33"
The Stand (Possessing Powers)
The Stand: Greek Slave and wall niches with cast plaster objects
Plaster, 66" x 33" x 33"
The Stand (Possessing Powers)
Niches: 25" x 17" x 8"
Cast plaster objects (from left): Manacles for Greek Slave, Shell for Fisher Boy, Divining Rod for California, Moccasin for The Last of the Tribes.

The Stand (Possessing Powers)
Detail (object in niche), Shell for Fisher Boy
Cast plaster, 5" x 10" x 4"



The Stand (Possessing Powers)
The Stand: Fisher Boy
Plaster, 68" x 20" x 20"

The Stand (Possessing Powers)
The Stand: Fisher Boy
Plaster, 68" x 20" x 20"
The Stand (Possessing Powers)
The Stand: Fisher Boy
Plaster, 68" x 20" x 20"
The Stand (Possessing Powers)
The Stand: Fisher Boy with framed works
Plaster, 68" x 20" x 20"


The Stand (Possessing Powers)
Two Greek Slaves, 2013
Left: Parian porcelain manufactured by Minton and Company, 1849, after Hiram Powers’ Greek Slave, Metropolitan Museum of Art;
Right: Parian porcelain after Hiram Powers’ Greek Slave, Frederick Douglass National Historic Site
10” x 21" 


The Stand (Possessing Powers)
Two rooms joined by a barrier, 2013
Left: Rococo Revival Parlor, The Metropolitan Museum of Art
Right: West Parlor, Frederick Douglass National Historic Site
16.5” x  32" 
Strike, 2012
Detail of lightning rods in diorama
SiTE:LAB @ the old Grand Rapids Public Museum

download PDF notes from exhibition

Strike, 2012
Installation view of cases
SiTE:LAB @ the old Grand Rapids Public Museum

download PDF notes from exhibition

Strike, 2012
Installation view of diorama
SiTE:LAB @ the old Grand Rapids Public Museum

download PDF notes from exhibition

Strike, 2012
Detail, The Superior Vividness of Lightning in America
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Model of barn with lightning rods
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Detail, Marked by Lightning
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Detail, This is not a photograph of lightning striking the Empire State Building
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Detail, I Sing the Body Electric
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Detail, I Sing the Body Electric(mug and gate)
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Detail, I Sing the Body Electric(mug)
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Detail, National Lightning Protection
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Detail, What Causes a Strike?
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Detail, What Causes a Strike?(scan)
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Detail, Why Trees are so Often Struck by Lightning
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Detail of lightning rods in diorama
SiTE:LAB @ the old Grand Rapids Public Museum

download PDF notes from exhibition

Strike, 2012
Detail of wigwam in diorama
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Detail, Lightning is a destructive force running wild. It is a freakish force.
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Detail, The Gleam without the Bolt (cabin)
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Detail, The Gleam without the Bolt (in the cabin)
SiTE:LAB @ the old Grand Rapids Public Museum

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Strike, 2012
Detail, The Gleam without the Bolt (in the cabin)
SiTE:LAB @ the old Grand Rapids Public Museum

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Fruiting Bodies, 2011
The Great Poor Farm Experiment, Manawa, WI
Cast aqua resin: 30' diameter, approx 5" tall

Hundreds of mushrooms form rings around unmarked graves in the old Waupaca County Poor Farm Cemetery
Fruiting Bodies, 2011
The Great Poor Farm Experiment, Manawa, WI
Cast aqua resin: 30' diameter, approx 5" tall

Hundreds of mushrooms form rings around unmarked graves in the old Waupaca County Poor Farm Cemetery
Fruiting Bodies, 2011
The Great Poor Farm Experiment, Manawa, WI
Cast aqua resin: 30' diameter, approx 5" tall

Hundreds of mushrooms form rings around unmarked graves in the old Waupaca County Poor Farm Cemetery
Fruiting Bodies, 2011
The Great Poor Farm Experiment, Manawa, WI
Cast aqua resin: 14' diameter, approx 3" tall

Hundreds of mushrooms form rings around unmarked graves in the old Waupaca County Poor Farm Cemetery
Fruiting Bodies, 2011
The Great Poor Farm Experiment, Manawa, WI
Cast aqua resin: 30' diameter, approx 5" tall

Hundreds of mushrooms form rings around unmarked graves in the old Waupaca County Poor Farm Cemetery
Fruiting Bodies, 2011
The Great Poor Farm Experiment, Manawa, WI
Cast aqua resin: 30' diameter, approx 5" tall

Hundreds of mushrooms form rings around unmarked graves in the old Waupaca County Poor Farm Cemetery
Fruiting Bodies, 2011
The Great Poor Farm Experiment, Manawa, WI
Cast aqua resin: 30' diameter, approx 5" tall

Hundreds of mushrooms form rings around unmarked graves in the old Waupaca County Poor Farm Cemetery
Fruiting Bodies, 2011
The Great Poor Farm Experiment, Manawa, WI
Cast aqua resin: 30' diameter, approx 5" tall

Hundreds of mushrooms form rings around unmarked graves in the old Waupaca County Poor Farm Cemetery
Fruiting Bodies, 2011
The Great Poor Farm Experiment, Manawa, WI
Cast aqua resin: 30' diameter, approx 5" tall

Hundreds of mushrooms form rings around unmarked graves in the old Waupaca County Poor Farm Cemetery
Fruiting Bodies, 2011
Waupaca County Poor Farm
The Great Poor Farm Experiment, Manawa, WI
Fruiting Bodies, 2011
Detail of the mushrooms put up for winter in the Poor Farm Cellar
The Great Poor Farm Experiment, Manawa, WI
Cast aqua resin
Fruiting Bodies, 2011
Detail of the mushrooms put up for winter in the Poor Farm Cellar
The Great Poor Farm Experiment, Manawa, WI
Cast aqua resin
Fruiting Bodies, 2011
Detail of the mushrooms put up for winter in the Poor Farm Cellar
The Great Poor Farm Experiment, Manawa, WI
Cast aqua resin
Rapt, 2009
Detail, Rapt 1, Rapt 2
Aqua resin, floral foam

Rapt, 2009
Installation view
Aqua resin, floral foam
Rapt, 2009
Detail, Rapt 2
Aqua resin, floral foam: 34" x 11" x 11"
Rapt, 2009
Detail, Rapt 1
Aqua resin, floral foam: 22" x 12" x 12"
Rapt, 2009
Detail, Rapt 3
Aqua resin, floral foam: 39" x 12" x 12"
Rapt, 2009
Detail, Rapt 4
Aqua resin: 36" x 11" x 11"
Rapt, 2009
Detail, Rapt 4
Aqua resin: 36" x 11" x 11"
Rapt, 2009
drawing for Rapt
Ink on yupo
Spark Gap, 2008
Installation
Tower: aluminum ladders, aqua resin, 14' tall
Rug: linen, 3" x 10' x 14'

Spark Gap, 2008
Installation
Tower: aluminum ladders, aqua resin, 14' tall
Rug: linen, 3" x 10' x 14'
Spark Gap, 2008
Rug detail
linen, 3" x 10' x 14'
Spark Gap, 2009
Rug detail
linen, 3" x 10' x 14'
Spark Gap, 2008
Tower detail
Aluminum ladders, aqua resin, 14' tall

Spark Gap, 2008
Installation
Tower: aluminum ladders, aqua resin, 14' tall
Rug: linen, 3" x 10' x 14'
Spark Gap, 2008
Detail, shard from tower
Aqua resin
Spark Gap, 2008
Detail, lightning rods
copper, cast plastic, old lightning rod
Spark Gap, 2008
Detail, lightning rods
copper, cast plastic, old lightning rod
Spark Gap, 2008
Detail/research
Spark Gap, 2008
Henna stain, in the pattern that sometimes appears on the skin of someone who has been struck by lightning
Spark Gap, 2008
Henna stain, in the pattern that sometimes appears on the skin of someone who has been struck by lightning
Spark Gap, 2008
Telegram
At Stake and Rider, 2007
Detail
Treated poplar split rails, gypsum, crushed glass, mica, acrylic
9' x 12' x 40'
At Stake and Rider, 2007
Installation
Treated poplar split rails, gypsum, crushed glass, mica, acrylic
9' x 12' x 40'
At Stake and Rider, 2007
Detail
Treated poplar split rails, gypsum, crushed glass, mica, acrylic
9' x 12' x 40'
At Stake and Rider, 2007
Detail
Treated poplar split rails, gypsum, crushed glass, mica, acrylic
9' x 12' x 40'
At Stake and Rider, 2007
Detail
Treated poplar split rails, gypsum, crushed glass, mica, acrylic
10' x 16' x 30'
At Stake and Rider, 2007
Detail: Markers
oak, silk, salt
8" x 32" x 12"
At Stake and Rider, 2007
Detail: Markers
oak, silk, salt
8" x 32" x 12"
Quickie Walkout (Lightning Strike), 2012
Detail
Hydrocal, foam, steel
56" x 5" x 5"

Quickie Walkout (Lightning Strike), 2012
Hydrocal, foam, steel
56" x 5" x 5"
drawing for "Not form, but the marrow of form," 2010


drawing for "Not form, but the marrow of form," 2010


White Lights/Bright Lights, 2008
Installation
FourPlay, AREA Gallery, Caguas, Puerto Rico
Rope, balloons, cups, tape
Dimensions variable

White Lights/Bright Lights, 2008
Detail
FourPlay, AREA Gallery, Caguas, Puerto Rico
Rope, balloons, cups, tape
Dimensions variable
White Lights/Bright Lights, 2008
Installation
FourPlay, AREA Gallery, Caguas, Puerto Rico
Rope, balloons, cups, tape
Dimensions variable

White Lights/Bright Lights, 2008
Detail
FourPlay, AREA Gallery, Caguas, Puerto Rico
Rope, balloons, cups, tape
Dimensions variable

Over the Road, 2001
Installation
Over the Road, 2001
Detail, Highway Hero
Over the Road, 2001
Detail, Highway Hero
Over the Road, 2001
Detail, Fragile


Over the Road, 2001
Detail, Fragile
Over the Road, 2001
Detail, Home
Over the Road, 2001
Detail, Home
Over the Road, 2001
Detail, Fuel
Over the Road, 2001
Detail, Fuel
Souvenir, 2002


News


Share This! Appropriation After Cynicism

Brent Birnbaum, Lily Cox-Richard, Matthew Craven, Sean Fader, Nikolai Ishchuk, Michael Mandiberg, Adam Parker Smith, Jordan Tate, Ana Teles

Denny Gallery
261 Broome Street  New York, NY 10002   

December 14, 2014 - January 25, 2015
Opening Reception on Sunday, December 14, from 6 to 8 p.m.



Art Journal (Winter 2013) includes the essay Lily Cox-Richard: On the Powers of Taking a Stand, by Nicholas Hartigan and Joan Kee.
This is part of the forum Sexing Sculpture: New Approaches to Theorizing the Object, organized by Jillian Hernandez and Susan Richmond.
You can read it here.


Bio/CV

Lily Cox-Richard is a sculptor currently based in Houston, Texas. She earned her MFA in Sculpture + Extended Media from Virginia Commonwealth University, and has exhibited at Hirschl & Adler in New York, Vox Populi in Philadelphia, the Poor Farm in Manawa, Wisconsin, and Kompact Living Space in Berlin. She has received several grants and residencies, including a Smithsonian Artist Research Fellowship, a postdoctoral fellowship in the University of Michigan's Society of Fellows, and residencies at the CORE Program at the Museum of Fine Arts Houston, Millay Colony, and the MacDowell Colony.


Download PDF of CV

Education

MFA, Sculpture + Extended Media, 2008
Virginia Commonwealth University, Richmond, VA

BFA with High Distinction, Jewelry/Metal Arts, 2001

California College of the Arts, San Francisco, CA

Solo Exhibitions

2015    The Stand (Possessing Powers), University of Mary Washington, Fredericksburg, VA
2014    The Stand (Possessing Powers), Hudson River Museum, Yonkers, NY
2014   
The Stand (Possessing Powers), Hirschl & Adler Modern, New York, NY
2013    Thicket, Institute for the Humanities, University of Michigan, Ann Arbor, MI
2013    The Stand (Possessing Powers), Vox Populi, Philadelphia, PA
2013   
The Stand (Possessing Powers), Second Street Gallery, Charlottesville, VA
2012    Strike, Site:LAB at Grand Rapids Public Museum, Grand Rapids, MI
2011    Fruiting Bodies, The Poor Farm, Waupaca County, WI
2010    The Stand, Lawndale Art Center, Houston, TX   
2008    Spark Gap, Arlington Art Center, Arlington, VA
2008    Spark Gap, Terminal, Richmond, VA   
2007    At Stake and Rider, Civilian Art Projects, Washington DC
2007    At Stake and Rider, Page Bond Gallery, Richmond, VA
2006    PRE-Fabulous, Archinofsky Gallery, Las Vegas, NV
2005    Magic Moments, The Soap Factory, Minneapolis, MN
2003    Altered Perspectives, Platteforum Arts, Denver, CO
2001    Over-the-Road, CCAC  North Gallery, Oakland, CA
   
Selected Group Exhibitions
2014   
Share This! Appropriation After Cynicism, Denny Gallery, New York, NY
2014    Arterial Motives, Street Road Artists Space, Cochranville, PA
2011    Why Did the Chicken Cross the Road? Original Jokes About The Suburban and The Poor Farm by the Artists Who Have Exhibited There, Yale University, School of Art
2010    2010 Core Exhibition, Glassell School of Art, Houston, TX
2010    Santo Foundation Exhibition, Fort Gondo, St Louis, MO
2009    Stone Sculpture Symposium, Steinbruch Kiefer, Fürstenbrunn, Austria
2009    …for lovers, Kim Foster Gallery, New York, NY
2009    Absolutely Modern, Rudolph Projects, Houston, TX
2009    2009 Core Exhibition, Glassell School of Art, Houston, TX
2008    Blitzfunk, Kompact Living Space, Berlin, Germany
2008    Gray Area Stake Out, Crane Building, Philadelphia, PA
2008    FourPlay, AREA Gallery, Caguas, Puerto Rico
2007    Company Picnic, Metro Space Gallery, Richmond, VA
2007    The Commonwealth Bricoleurs, Off Grounds Gallery, Charlottesville, VA
2007    We and Us, Playspace Gallery, San Francisco, CA
2007    Civilian @ G, G Fine Art, Washington, DC
2006    Dynamic Field, Civilian Art Projects, Washington, DC   
2006    Debate Team, FAB Gallery at VCU, Richmond, VA
2006    Space Domestic, McLean Project for the Arts, McLean, VA
2005    Medium, Area 405, Baltimore, MD
2005    Right of Way, Archinofsky Gallery, Las Vegas, NV
2004    Transformers, Transformer Gallery, Washington, DC
2003    The Out-of-Towners, Transformer Gallery, Washington, DC
2003    Popular™, WORKS/San Jose, San Jose, CA
2001    Freestyle, Southern Exposure, San Francisco, CA
2000    Fuzzy Logic, Southern Exposure, San Francisco, CA

Honors & Awards

2013    Paula & Edwin Sidman Fellowship in the Arts, Institute for the Humanities, University of Michigan
2012    Smithsonian Artist in Research Fellowship, Washington DC
2012    Faculty Seed Grant, Institute for Research on Women and Gender, University of Michigan
2010-13  University of Michigan Society of Fellows, Ann Arbor, MI
2010    The Long Prize, Museum of Fine Arts Houston, TX
2009    Eliza Prize, Museum of Fine Arts Houston, TX
2009    Milos Chlupác Fellowship, Stone Sculpture Symposium, Salzburg International Summer Academy of Art
2008    Eliza Prize, Museum of Fine Arts Houston, TX
2006-08 Graduate Teaching Assistantship, Virginia Commonwealth University, Richmond, VA
2006-08 Graduate Travel and Research Grants to Houston, TX; San Juan, PR; New York, NY; Miami, FL; Washington DC; Philadelphia, PA
2007    Jacob K. Javits Commended Scholar
2006    Graduate Fellowship, Virginia Museum of Fine Arts, Richmond, VA
2006    Carole Stupell Award to support promising artists, American Craft Council

Residencies

2013    Millay Colony Residency, Austerlitz, NY
2011    MacDowell Colony Residency, Peterborough, NH
2008-10 The Core Program, Museum of Fine Arts Houston, TX
2008    VCU Graduate Fellowship at Virginia Center for the Creative Arts, Amherst, VA
2008    Kompact Living Space Residency, Berlin, Germany
2008    AREA Gallery Residency, Caguas, Puerto Rico
2005    Vermont Studio Center Residency, Fellowship, Johnson, VT
2003    PlatteForum Arts Residency, Denver, CO

Articles and Reviews

Nicholas Hartigan and Joan Kee, "Lily Cox-Richard: On the Powers of Taking a Stand” Art Journal, Winter 2013
Molly Springfield, "Artist Profile: Lily Cox-Richard" The Studio Visit, 2011
Douglas Britt, "Sculptor Wins Long Award" The Houston Chronicle, May 8, 2010
Dominique Nahas, "Relations Matter 2008" MFA Thesis Catalog, VCUarts Publication
Kriston Capps, "Dynamic Field” The Washington City Paper, December 8, 2006
Kriston Capps, "Space Domestic” The Washington City Paper, June 30, 2006
Jessica Dawson, "Space Domestic in McLean” The Washington Post, June 24, 2006
Kristen Peterson, "Making a Scene” The Las Vegas Sun, March 1, 2006
Kate Silver, "Above the Belt and Behind the Wheel” The Las Vegas Weekly, May 26, 2005
Kelle Schillaci, "Road Tripping” Las Vegas City Life, June 9, 2005
Jessica Dawson, "Out of Towners at Transformer” The Washington Post, January 1, 2004
Susan Sobeloff, "Metal to the Middle” Trucker’s News Magazine, June 2002

Publications

Hammered Lead & Poems,
with Davy Knittle, BookMachine (Houston) onestar press, 2014
"Portfolio: The Stand (Possessing Powers)” Art Journal, Winter 2013
Thicket,
2013, self published book
Lightning Wireless
, CURIOUS Spring 2008, VCUarts Publication
Souvenir, CURIOUS Spring 2007, VCUarts Publication

Lectures, Visits, Activities

2014
The Stand: Possessing Powers, presenter in the colloquium: The Greek Slave by Hiram Powers
Yale Center for British Art, New Haven, CT

2013
Thicket, Panel Discussion with Lane Relyea, Jamie Jones, and Clare Croft
Institute for the Humanities, University of Michigan, Ann Arbor, MI

Gallery Conversation with art historian Alex Potts
Institute for the Humanities, University of Michigan, Ann Arbor, MI
   
Possessing Powers: Studio Premonitions and the Time Travel of Things, presenter on the session "(Re)imagining the Unknown: Contemporary Perspectives on Expansion, Invention, and Representation in the 19th Century"
Southeastern College Art Conference, Greensboro, NC

The Stand: Possessing Powers
, presenter on the session "Sexing Sculpture"
College Art Association Conference, New York, NY

2012
This Nameless Spectacle, Panel Discussion with Y. David Chung, Osman Khan and Amanda Krugliak
University of Michigan Museum of Art, Ann Arbor, MI

Artist Talk, Washington Project for the Arts, Washington DC

2011

Lecture, Art & Design Perspectives, School of Art & Design
University of Michigan, Ann Arbor, MI

Visiting Artist, Thesis Exhibition Critiques, Print Media Department

Cranbrook Academy of Art, Bloomfield Hills, MI

Guest Juror, BFA Exhibition Awards for School of Art

Bowling Green State University, Bowling Green, OH

Supersaturation of My Mind, Research in Action Colloquium, Department of Dance

University of Michigan, Ann Arbor, MI

2010

Gallery Conversation with Museum of Fine Arts Houston Curator Emily Neff
Lawndale Art Center, Houston, TX

Visiting Artist/Guest Critic, School of Art

University of Houston, Houston, TX

Visiting Artist, Guest Reviewer for MFA Thesis exhibitions

Sam Fox School of Design & Visual Arts, Washington University, St Louis, MO

Visiting Artist/Lecture, Art Department

American University, Washington, DC

2009

Artist Talk, Stone Sculpture Symposium
Salzburg International Summer Academy of Art, Salzburg, Austria
   
Visiting Artist/Guest Critic, School of Art
University of Houston, Houston, TX
       
Visiting Artist/Lecture, Visual and Dramatic Arts Department
Rice University, Houston, TX

2008

Lecture, Museo de Arte Contemporaneo de Puerto Rico
San Juan, Puerto Rico

2007

Visiting Artist, McIntire Department of Art
University of Virginia, Charlottesville, VA
   
Artist Talk, The Commonwealth Bricoleurs
Off Grounds Gallery, Charlottesville, VA

Artist Talk, At Stake and Rider

Civilian Art Projects, Washington DC
   
Artist Talk, At Stake and Rider
Page Bond Gallery, Richmond, VA

2006

Artist Talk, Red Roof Bungalow
Civilian Art Projects, Washington, DC   
   
Artist Talk, Small Town/Family Farm
McLean Project for the Arts, McLean, VA
    
Visiting Artist/Lecture, Department of Fine Arts and Art History
George Washington University, Washington DC
       
Artist Talk, Over the Road
Archinofsky Gallery, Las Vegas, NV

2005

Artist Talk, Magic Moments
The Soap Factory, Minneapolis, MN

Artist Talk, Pre-Fabulous

Archinofsky Gallery, Las Vegas, NV

2003

Artist Talk, Altered Perspectives
Platteforum Arts, Denver, CO

Visiting Artist/Artist in Residence

Odyssey Expeditionary Learning Charter School, Denver, CO
   
Artist Talk, The Out-of-Towners
Transformer Gallery, Washington, DC

Artist Talk, Small Town/Family Farm

WORKS/San Jose, San Jose, CA














Statement

Frontier fences, lightning rods, towers, obelisks, and fairy circles. These forms are familiar but they often seem vague, having drifted from their original contexts. I’m trying to understand how these symbols and systems can still be potent, and where this power is located, even as their earlier meanings and functions are obscured.
 
My sculpture grapples with charging empty spaces, revealing invisible systems, and reaffirming exhausted objects. Spark Gap is a tower made of ladders and a grassy linen rug.  The conjunction of this oddly paired transmitter and receiver is manifested in the electrical pattern in the fiber of the rug, marked as if struck by lightning. As I worked on Spark Gap, I amassed a growing collection of salvaged lightning rods in my studio. Although they aren't visibly marked by having been struck by lightning, I imagine that they still hold that charge; that materially they retain residual wisdom of knowing lightning. Visitors to my studio could have easily recalled something about Benjamin Franklin’s invention, yet most of them didn’t recognize these once ubiquitous symbols as lightning rods. This seemed to free them; without immediate recognition, these retired sentries could go on to have a rich life. They can be dowsing rods. They can become objects again.

I’m interested in ways that sculpture has historically served commemorative purposes, from public monument to personal grave marker. In Rapt, stylized shrouds cling to invisible obelisks. Based on 19th-century grave markers, my sculptures are ghosts of these monuments, yet their palpable physicality belies ephemerality. Fruiting Bodies consists of hundreds of cast mushrooms, which I installed in rings around unmarked graves in the Waupaca County Poor Farm cemetery. In nature, fairy rings appear as perfectly arranged individual mushrooms, but are in fact a single organism: an underground mycelium web. In Fruiting Bodies, the cast mushrooms are put up for winter, but the space of the cemetery remains charged with the potential for the mycelium to fruit again in the spring.

In The Stand (Possessing Powers), I explore the history of sculpture as it relates to the myths and allegories used to promote American national and artistic identity in the 19th century. I am creating a series of sculptures based on works by the American neoclassical sculptor, Hiram Powers. In his works, idealized female figures symbolize allegorical themes. Further reducing subtractive sculpture, I am recarving these works without the figures, focusing on the elements that structurally support the figure. By co-opting Powers’ works and making them my own, I aim to complicate the gender and implicit sexuality of both sculpture and sculptor. Reduced to their structural supports, my carved plaster sculptures are both originals and copies, homage and critique, familiar and strange, created in an attempt to see what new content might be revealed when the figure is removed, and how this work can be transformed when it is reimagined through a contemporary sculpture practice.

Press



Art Journal (Winter 2013) includes the essay Lily Cox-Richard: On the Powers of Taking a Stand, by Nicholas Hartigan and Joan Kee.
This is part of the forum Sexing Sculpture: New Approaches to Theorizing the Object, organized by Jillian Hernandez and Susan Richmond.
You can read it here.

Publication

Lightning Wireless, CURIOUS Spring 2008, VCUarts Publication
Download PDF

Souvenir, CURIOUS Spring 2007, VCUarts Publication








Contact

LilyCoxRichard at gmail dot com

If you'd like to receive updates on my work, please send me an email with your contact information.
Thank you!