Skip to main content

Selected Catalogs

Argan, Giulio Carlo, Beverly Pepper, Galleria Pogliani, September – October 15, Via Gregoriana, Rome, Italy

Catalog of the first exhibition of sculptures by the artist with a short critical introduction by Giulio Carlo Argan, the exhibition’s curator. After traveling to Cambodia in 1960, Beverly Pepper moved from painting to sculpture. The first production exhibited here includes wooden works with bronze and brass inserts recalling the roots of the banyan trees that shrouded the ancient Cambodian Khmer sanctuary in a perfect coexistence between nature and civilization.

Carandente, Giovanni, Sculptures in the city – Spoleto 1962, NE Editrice, Spoleto Italy, 2007 (Reissue)

Catalog of the open space exhibition in the city of Spoleto in Umbria, curated by Giovanni Carandente and organized during the 5th edition of the Festival of Two Worlds. The unprecedented event invited internationally renowned sculptors such as Alexander Calder, Henri Moore, David Smith and others to produce sculptures for the city’s public spaces at the Italian Italsider steelworks. Beverly Pepper, the only female artist present, participated as a result of her meeting with Carandente on the occasion of her first sculpture exhibition in Rome in 1961. The artist considered the experience at the Italsider steelworks in Piombino a veritable seminar which marked her transition to iron sculpture.

Gendel, Milton, Beverly Pepper, Marlborough Gallery, Rome, Italy, November, 1965

Catalog of the artist’s first exhibition at her historic gallery, edited and with a critical text by Milton Gendel. The exhibited work shows the transition from the sculptural series created in Spoleto and influenced by pictorial gesture to the next one. The latter presents box-like shapes in steel which are opened by the artist with the use of a blowtorch, obtaining a “drop effect” at the edges. The different treatment of the material between the internal and external parts of the sculpture is highlighted by the use of Fiat paints.

Beverly Pepper – Recent Sculpture, Marlborough-Gerson Gallery, New York, February 1-22, 1969 – 1970.

Exhibition catalog edited and with introductory text by Jan van der Mark (Chicago, December 1, 1968). Beverly Pepper organically presents one of the most beloved sculptural series ever for the first time. The works are made of mirrored stainless steel and perfectly reflect the external environment. This dialogue between the work and the external space anticipates the artist’s entry into the field of site-specific art which will take place two years later.

Beverly Pepper: Sculpture 1971-1975, San Francisco Museum of Art and Fine Arts Gallery of San Diego, October, 1975.

Exhibition catalog with introductory text by Edward F. Fry titled “Beverly Pepper: As Earth is to Sky” (Princeton, September, 1975) and some excerpts from a letter by the artist dated July 22, 1975. The event traces Pepper’s sculptural production from 1971 to 1975 and shows large-scale painted metal works, created after the modular series in mirrored stainless steel and in conjunction with the first site-specific ones. The precarious tendency of the works exhibited is the result of the dynamism that the artist inserts into the canonical geometric solids

Beverly Pepper – Small Sculpture (1977-78), Emmerich Gallery, New York, March 3 – 28, 1979.

Catalog of the exhibition in which the sculptural series of the “Columns” and “Wedges”, dominated by a completely new aesthetic and tendency, is presented for the first time. Pepper abandons the geometric shapes of the pyramid and triangle, developed on a horizontal plane, and creates works inspired by ancient sculptural and architectural bodies such as columns and totems. The history and civilizations of the past influence the aesthetics of her sculptures, though her language remains contemporary as the shapes are inspired by those of her work tools.

Beverly Pepper in Todi, Sculptures in the Square – Educational exhibition in the Sala delle Pietre, Todi, Perugia, Italy, 1979.

Catalog of the temporary installation and exhibition in Piazza del Popolo in Todi (Umbria, Italy) with an introduction by Roberto Abbondanza and critical texts by Marisa Volpi Orlandini (University of Rome) and Sam Hunter (Princeton University ). After moving to the Umbrian countryside in 1970, the artist was invited by the Association of Piazza Maggiore to create a site-specific installation accompanied by a one-woman show in the city centre. The event marks the first true contact between Pepper and the community of the medieval Umbrian town, honored by the artist with her famous “Todi Columns”: four steel columns over ten meters high and placed in dialogue with the ancient architecture of the main square of the city. Pepper will forge her trademark from this sculptural group by exporting it around the world.

Beverly Pepper – Large Sculpture, André Emmerich Gallery, New York, October 2-29, 1980.

Catalog of the exhibition presenting the development of the artist’s sculptural production from the late 1970s to the early 1990s. “Wedges” and “Columns” take on a variety of different and complex forms extending up to three meters in height. Furthermore, each work’s title suggests a link with ancient history through references to characters or places of inspiration of Italian origin.

Krauss, Rosalind E. Beverly Pepper: Sculpture in Place, New York: Abbeville Press and Albright-Knox Art Gallery, 1986.

Exhibition catalog introduced by the director of the Albright–Knox Art Gallery Douglas G. Schultz and edited by Rosalind E. Krauss, who pays homage to the artist with a critical essay titled “Beverly Pepper in Sun and Shade”. The exhibition, as well as the text by Krauss, retraces the artistic career of Beverly Pepper from the 1960s to the 1980s with relevant anecdotes of life and poetics also regarding site-specific and environmental works.

Beverly Pepper, The Umbrian Bronze Makers, André Emmerich Gallery, NY, November 3 to 26, 1988.

Catalog of the exhibition which presents, for the first time, a new development in the sculptural production initiated at the end of the 1970s. The sculptures made of cast iron show surfaces that seem to have been eroded by the passage of time as if they were ancient “markers” of sacred areas. The series is then enriched by a new vocabulary with the first appearance of the term “marker”. At the same time, the reference to the Umbria region of Italy is always evident from the title of the works, each of which are about 3 meters high as well.

Beverly Pepper, Recent Sculpture, Forms of Memory, exhibition catalogue, André Emmerich Gallery, NY, November 9 – December 2, 1995.

Catalog of the exhibition in which the series Forms of Memory – inspired by and dedicated to Italo Calvino’s Invisible Cities – is exhibited for the first time, with extracts from the book introducing some of the photographic reproductions of the exhibited works. The sculptures appear as concrete blocks about three meters high, modeled by hand with additions of plaster and graphite in order to simulate stone and the passage of time, the memory of which thus remains imprinted on the material.

Bertelli, Carlo; Cora, Bruno; Diana Kelder. Beverly Pepper at Forte Belvedere: Thirty Years of Sculpture., Electa, Milan, April 4 – August 10, 1998.

Catalog of the renowned retrospective at Forte Belvedere (Florence, Tuscany) which includes a long conversation between the artist and the critic Bruno Corà titled “Forms of silence – Face to face in the landscape”, with the critical texts “Humanized Steel” by Carlo Bertelli and “Sculpture in Context” by Diane Kelder. Pepper’s artistic production spanning over thirty years is exhibited here, both in the internal and external spaces of Forte Belvedere, a famous exhibition stage for the world’s greatest artists.

Rose, Barbara. Beverly Pepper – Three Site-Specific Sculptures, Spacemaker Press, Washington, 1998.

Art critic and friend Barbara Rose dedicates a monographic catalog (published in English and Italian) to the artist which presents an introductory text titled “Art into Nature”, plus three critical texts relating to Sol i Ombra Park in Barcelona, created by Pepper in 1992; Spazio Teatro Celle (1992, Pistoia, Italy); and Palingenesis (Zurich, Switzerland), from 1994. The well-known publication ends with a valuable interview with the artist conducted by the volume’s editor Heidi Landecker, who explores Beverly Pepper’s method as well as her most intimate artistic consciousness.

Beverly Pepper, Grounds for Sculpture, October 9, 1999 – April 16, 2000.

Catalog of Beverly Pepper’s personal exhibition at the famous Grounds for Sculpture in New Jersey, a destination for world-famous artists such as A. Caro, Kiki Smith and George Segal.
The catalog opens with an introductory text by Brooke Barrie (Director and curator) and a critical one by Robert T. Buck “Beverly Pepper’s Sculpture: Survey”. The one-woman show includes a large group of works ranging from the 1960s to the 1990s, including some of her most recent and best-known stone sculptures.

Beverly Pepper, The magma series, Marlborough Gallery, Chelsea, March 29 – April 28, 2001.

The first extensive solo exhibition of Beverly Pepper dedicated to the recent series in stone titled “Magma Series” and introduced with a critical essay by Phyllis Tuchman (February 2001). The works exhibited here range from small to large formats and were crafted mainly in Chauvigny Stone. Almost all the sculptures – as their titles suggest – are considered “presences” which attempt to touch the sky despite the pull of gravity, the erosion of time and the sculptural intervention that engraves geometric shapes or simple horizontal lines, perhaps in memory of those fossil remains usually found in stone.

Borras, Maria Lluisa, Beverly Pepper: Una Poetica de L’Espai: Ajuntament de Palma, Casal Solleric, Spain, September 23 – November 14, 2004.

Catalog of the personal exhibition at the venerable residence of Casal Solleric in Palma de Mallorca, which later became a well-known and prestigious exhibition space. The publication is in English and Portuguese and includes critical texts by Maria Lluisa Borràs, “Beverly Pepper, Poetics of Space”; by Robert Hobbs, “Memory Series”; by Carter Ratcliff “Pepper’s Bronze”; by Phyllis Tuchman, “Moline Markers”; and, by Barbara Rose, “Marble Stone” and “Beverly Pepper, Three Site-specific sculptures”. The large exhibition mainly features bronze sculptures from the 1980s and 1990s as well as stone sculptures from the subsequent series. There are also some models of art projects present in the space.

Beverly Pepper, Voyages Out, Marlborough Chelsea, September 12 – October 11, 2008.

Catalog of the exhibition presenting another new and important sculptural breakthrough by the artist at the age of eighty-six. From stone production Beverly Pepper returns to steel through gently curving and bending shapes. A new dynamism is instilled in this sculptural group, which has monumental dimensions of almost five meters in height and which is introduced in the catalog by a critical text by Rosalind E. Krauss called “Ascendence” (Paris, France, 2008)

Beverly Pepper, Metamorphoses Stone Sculpture, Marlborough Chelsea, February 18 – March 20, 2010.

Catalog of the exhibition of small-scale works representing a further development in the sculptural production in stone parallel to the more recent works in cor-ten. Beverly Pepper presents a highly varied aesthetic search experimenting with a vast typology of stone materials: granite from Zimbabwe, onyx, Carrara marble, porphyry, Portuguese red and Belgian black marble.

Antenucci Becherer, Joseph, Beverly Pepper, Frederik Meijer Gardens & Sculpture Park, Grand Rapids, MI, 2012.

Catalog of the large retrospective exhibition at the prestigious Frederik Meijer Gardens & Sculpture Park including all of the artist’s sculptural production. The catalog is introduced by David S. Hooker (President and CEO of the Frederik Meijer Gardens & Sculpture Park) and a critical text by Joseph Antenucci Becherer “Palingenesis: 1962-2012”. This is followed by the section “Beverly Pepper, in her own words, with images” with which the artist offers a personal view of her intense artistic journey, leaving previously unpublished testimonies.

Beverly Pepper, Curvae in curvae, Marlborough Chelsea NY, April 5 – May 5, 2012.

Catalog of the exhibition dedicated to the first developments of the latest sculptural series Curvae in Curvae. The new production in cor-ten includes medium- and large-scale works with shapes – as the title suggests – in curves and spirals. These sculptures are a tribute, in the truest sense, to the temporality of eternal return, monuments of the present and the future that cannot disavow their origins in the past. The series is introduced in the catalog by the valuable critical essay by Robert Hobbs (“Beverly Pepper’s Sculpture: Time as space. A dialogue with Henri Bergson, André Malraux and Walter Benjamin”).

Hobbs, Robert, Beverly Pepper: Monumenta, Skira Editore, Milan, 2012.

Monographic catalog designed by the artist herself and dedicated to her entire ouvre. The volume is edited by Robert Hobbs, who writes the critical introducion. What follows is a wide selection of site-specific works and environmental projects up to the monumental production of the 1980s and 2000s. Finally, an exhaustive catalogue raisonné of all the small, medium and large sculptural series from the 1960s to the early 2000s.

Beverly Pepper, Curvae in Curvae, New Works, Marlborough, London, 2-31 July, 2014.

Catalog of the exhibition dedicated to the developments of her latest great sculptural series Curvae in Curvae. Here are presented new works with a curved shape but with unprecedented characteristics, both in small and large formats. The catalog opens with an intense conversation between Beverly Pepper and Judith Hoos Fox (“Space is a living thing”).

Beverly Pepper at The Ara PacisRome, Italy, December 3, 2014 – March 15, 2015.

Catalog of the last major exhibition during the artist’s life at the Ara Pacis Augustae Museum in Rome (Italy). Here the latest series of the Curvae is presented with works in small and large format and illustrated in the catalog with photos by Gianfranco Gorgoni. The photographs are accompanied by critical texts by Roberta Semerario “Beverly Pepper at the Ara Pacis”, Gianluca Marziani “The Daughter of Icarus” and Anna Imponente “Return to Rome”.

Drawn into Form: Sixty Years of Drawings and Prints by Beverly Pepper, Frederik Meijer Gardens & Sculpture Park, February 2 – April 29, 2018.

Catalog of the exhibition dedicated to the artist’s drawings and prints. Here on display are unpublished drawings and figurative paintings dating back to the 1950s, to the subsequent abstract artistic language and to the sculptural turning point. There are a number of unpublished prints as well, but above all the works made with mixed techniques on paper dating back to the 1970s.