Fruiting Bodies, 2011
Fruiting Bodies
2011
The Great Poor Farm Experiment (Little Wolf, WI)
Notes:
Fruiting Bodies consists of hundreds of cast mushrooms installed in rings around unmarked graves in the Waupaca County Poor Farm cemetery (Little Wolf, WI). In nature, fairy rings appear as perfectly arranged individual mushrooms, but are in fact a single organism: an underground mycelium web. I conceived of this as a monument that would point down, bringing attention to the grass and decomposition just below.
List of Works:
Fruiting Bodies, 2011
cast aqua resin; 30 ft. diameter x 5 in. tall
Credits:
Photography by Sharad Patel
Hammered Lead
lilycoxrichard@gmail.com
2014
Drawings made by hammering lead wool into paper
Hammered Lead & Poems
lilycoxrichard@gmail.com
2014
Hammered Lead & Poems is a project realized on the occasion of BOOK MACHINE (Houston) powered by onestar press, a temporary publishing house set up at the Texas Contemporary art fair 2014.
Drawings by Lily Cox-Richard, poems by Davy Knittle, and designed by Sarah Salazar.
The Stand (Possessing Powers), 2010
The Stand (Possessing Powers)
2010 — 2017
May 7 – June 12, 2010
Lawndale Art Center (Houston, TX)
March 1 – March 30, 2013
Second Street Gallery (Charlottesville, VA)
February 1 – February 24, 2013
Vox Populi (Philadelphia, PA)
February 13 – March 15, 2014
Hirschl & Adler Modern (New York, NY)
May 10 – September 14, 2014
Hudson River Museum (Yonkers, NY)
March 18 – May 3, 2015
University of Mary Washington Galleries (Fredericksburg, VA)
February 2 – March 3, 2017
Paul Mesaros Gallery, West Virginia University (Morgantown, WV)
Related Materials:
Gallery Guide, University of Maryland Washington Galleries
Notes:
The Stand (Possessing Powers) deals with sculptural traditions, American history, gender and form. Each of my carved plaster sculptures takes on a major work by Hiram Powers (1805-1873), once considered the Father of American Sculpture. I carve these works without the figures, focusing on the supporting elements, and the contact points between figure and support. In my process of making and unmaking, figure and ground conflate into new forms.
List of Works:
The Stand: Last of the Tribes, 2010
carved plaster; 71 x 22 x 22 in.
The Stand: California, 2012
carved plaster; 70 x 28 x 21 in.
The Stand: Greek Slave, 2013
carved plaster; 66 x 33 x 33 in.
The Stand: Fisher Boy, 2013
carved plaster; 68 x 20 x 20 in.
The Stand: Eve Disconsolate, 2013
carved plaster; 69 x 26 x 26 in.
The Stand: Eve Tempted, 2013
carved plaster; 72 x 25 x 25 in.
Thicket, 2013
book, 6.5 x 8.5 in, 42 pages, edition of 500
Key, 2010
found lettering pages from Le Scritture di Tutti i Secoli; 11.5 x 15.25 in.
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 in.
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 in,
Press:
Alex Potts, “Alex Potts in Conversation with Lily Cox-Richard: The Stand (Possessing Powers),” Nineteenth-Century Art Worldwide, Summer 2016
Kristina Olson, “Rapt Attention: A Conversation with Lily Cox-Richard,” ARTPULSE, Spring 2015
Nicholas Hartigan and Joan Kee, “Lily Cox-Richard: On the Powers of Taking a Stand,” Art Journal, 2013
Credits:
Photography by Sharad Patel