Cynthia Eardley's figurative sculptures have been shown in solo and group exhibitions in

galleries and museums nationwide, including the Monique Knowlton Gallery, Museum of

South Texas, Huntsville Museum, New Museum of Contemporary Art, and most recently,

Sideshow, Ceres, and Rhonda Schaller galleries (New York).

 

Her work has been discussed in numerous publications, including The New York Times, 

Sculpture, The Village Voice, The Nation, Sculpture Review,  and ARTnews magazine,  

where her figurative sculpture was featured in "The New Realism."

 

Former co-founder and co-director of the architecture/public arts group  SITE, Inc, her trompe-l'oeil design for Best Products in Richmond, Va., was the first in a series by SITE that was reviewed and exhibited worldwide, including the Museum of Modern Art (NYC). A 2005 monograph  (SITE:  Identity in Density, Images Publishing,  Melbourne) features several examples of her early architectural work.  Recently, her models and drawings for glass bridges, between mountains as well as subterranean, were discussed in Figure del Ponte: Simbolo e Architettura (Alberto Giorgio Cassani, Edizioni Pendragon, 2014, pp 165, 282).

 

She  teaches  sculpture,  anatomy,  and  art  history  at  the  New York  Academy  of  Art 

Graduate School of Figurative Art.  She has also taught at Pratt Institute, the University of

the Arts, and the Newark Museum School and participated in numerous lectures and arts

conferences nationwide. Her writings on art have been published in Bomb magazine, the Women's Caucus on Art National Update, and The Brooklyn Rail, where she was a con-

tributing writer.

 

 

 

 

From articles and reviews

 

"Living and working near Ground Zero, like many artists, Eardley was profoundly  affected

by 9/11. One of her especially vivid busts, Witness I, is a depiction of a young woman who

might  have  worked  at  the  World Trade Center,  whose  face  registers shock and horror.

She is painted blue, white, and yellow,  the colors of the sky on the morning of  9/11.   The

sculpture takes the commonplace into another dimension."

Cynthia Nadelman, ARTnews

 

"(Her) sculptures ...depict young women at a very intimate scale.  Her naturalism captures

not  only  the  external  appearance  of  the subjects but,  through  her  attention  to  minute

gestures and expressions,  the conflicting  and  complex emotional states experienced by 

today's youth."

James Kalm, catalog essay, "Little Women"

 

"beautifully modeled"

"takes sculpture...into a psychological terrain that the medium often ignores."

"probe(s) the ins and outs of companionship in subtle and illuminating ways."

Roberta Smith, The New York Times

 

"Her work favors naturalistic, sweeping gestures that express narrative succinctly and 

suggest dreams and deep emotion."

Sculpture magazine

 

"Melodrama and sensitivity are rarely so successfully blended in a single oeuvre."

Gerrit Henry, ARTnews

 

"a feeling for body language that we experience more often on a stage than in an art

gallery."

John Russell, The New York Times

 

"Eardley's interest in portraying real life without irony is almost shattering in its 

straightforwardness and in its flouting of current conventions."

"(Her) small figurative bronzes...are audacious statements--perhaps more precisely 

gestures--that fly in the face of recent sculptural history."

Cynthia Nadelman, ARTnews

 

"These impressive works have an authoritative air."

Victoria Donahue, The New York Times

 

Cynthia Eardley's earthenware sculptures hug the broad white wall of the gallery forming

pockets of emotions.  They are minimal stage sets...(her) forms milk the last drop of 

emotion from each gesture."

Carla Sanders, Womanart

 

Cynthia Eardley's..fired clay sculptures are different.  They emphasize craft...and they 

convey human-scaled, almost readable human drama."

Peter Frank, ARTnews

 

"(Her) small ghostly white tableaux make us feel the essential kinship between humans

and animals."

Charlotte Striefer Rubinstein and Olivia Georgia, In Three Dimensions: Women Sculptors of

the 90s, catalog essay

 

"Eardley's sculpture conveys a striking psychological presence."

Catalog essay, "The Power of Scale," Museum of South Texas

 

The Brooklyn Rail Essays

 

Gordon Matta-Clark by Cynthia Eardley 

 

Zaha Hadid by Cynthia Eardley

 

Santiago Calatrava by Cynthia Eardley

 

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