Steven Siegel Press

  • Siegel American Craft

    It’s About Time

    by Brian K. Mahoney
    American Craft Council, March 16, 2015

    Steven Siegel’s work challenges our idea of permanence – and our place on the planet.

    When Steven Siegel sits down for an interview, he’s just returned from installing his latest paper sculpture, Hill and Valley, and he’s hopping a flight to Italy the next day to scout a possible site for another installation. Surrounded by woods in Red Hook, New York, two hours north of New York City, his workshop is a neat, utilitarian space, more like a carpentry shop than an artist’s studio, reflecting the 20 years Siegel spent as a carpenter and cabinet maker while his art career built momentum.

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  • Siegel Artopia

    Steven Siegel

    by John Perreault
    Artopia, February 14, 2011

    Sculpture, by which I mean the actually physical mode of three-dimensional artmaking, is too cumbersome, bothersome, and troublesome. Takes up room; takes time. I love sculpture. And everything in between.

    Siegel has been showing his sculptures for at least 30 years. But most of his work, until just this moment, has only been seen outside New York City. This may be because his work has usually been site-specific. But if truth be known, there is still a silence here — in galleries and the magazines — about art that is in the boondocks. Maybe an image here and there or an excellent interview in Sculpture Magazine — which, let’s face it, is not seen by all that many power-brokers or theorists, curators or collectors.

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  • Siegel Artforum

    Steven Siegel

    by Allese Thomson Baker
    Artforum, 2011

    Siegel simultaneously trumpets our colorful wealth of objects and reminds us that consumption is, for better or worse, the cover of the twenty-first-century biography.

    As with most of Siegel’s work, an environmental critique is implicit—in Biography the litter of consumerism composes the look of our world. But the piece is complicated by its composition. Materials like plastic and polyester are mixed with beads and yarn, bound into brilliantly colored bunches and laced into a chaotic harmony. Siegel may image our world out of rubbish, but the result is ravishing, glittering, and glistening in all its synthetic, inorganic wonder.

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  • Siegel Sculpture Magazine

    Wandering Through Time: The Sculpture of Steven Siegel

    by Patricia C. Phillips
    Sculpture Magazine, October, 2003

    The most obvious and the most obscure thing in the world, this walking that wanders so readily into religion, philosophy, landscape, urban policy, anatomy, allegory, and heartbreak…

    Typically, Siegel makes great accumulations from small elements of a single material elaborately layered and stacked into monolithic forms that often look like boulders or vessels, geological formations or immense artifacts. The forms are androgynously natural and artificial, found and constructed. A painstaking process of fabrication requires the artist and other willing participants to engage in long periods of repetitive, yet thoughtful activity. The physical work may be habitual and reiterative, but it is never random or mindless.

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