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Steven Siegel Press

  • Siegel Berkshire Eagle

    BERKSHIRE EAGLE
    Put the Pieces together at ’35 Pieces’

    by Benjamin Cassidy, October 27, 2017

    They get these bits and pieces, and they see that piece, and then they see that piece, and then they say, ‘Wait a minute, that’s the same rock. How could they have been connected?

    …the Hampshire College graduate’s latest project, an exhibit called “35 Pieces” at CYNTHIA-REEVES on the Massachusetts Museum of Contemporary Art’s campus, features some old print copy indoors, enclosed in mixed-media panels hanging on the gallery’s walls and documented in a short film surveying the panels. While Siegel has stacked 30,000 pounds worth of newspapers in outdoor installations before, this project required the artist to work with far less than that; in many of the panels, he bunched together inch-long strips of newspapers with glue and staples in a manner that resembles rock layers and thus conveys the work’s focus on nature and history.

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  • Siegel American Craft

    AMERICAN CRAFT COUNCIL
    It’s About Time

    by Brian K. Mahoney, 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

    ARTOPIA
    Steven Siegel: The Sculptor from Planet X

    by John Perreault, 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

    ARTFORUM
    Steven Siegel

    by Allese Thomson Baker, 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

    SCULPTURE MAGAZINE
    Wandering Through Time: The Sculpture of Steven Siegel

    by Patricia C. Phillips, 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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