Anne Chu - Sculpture and installation art

Anne Chu (1959, New York - July 25, 2016, New York) graduated from Philadelphia College of Art in 1982 and received her MFA from Columbia University in 1985. Anne Chu created painted sculptures from a variety of materials. She was the recipient of the John Simon Guggenheim Fellowship, The Penny McCall Award, Anonymous Was A Woman Award, Joan Mitchell Foundation Grant, and winner of the Louis Comfort Tiffany Biennial Competition."In keeping with her eclectic sources of inspiration—ranging from photographs of birds and medieval friezes to the biblical love poem “Song of Solomon”—Anne Chu works across media to produce diverse, evocative works that evoke mythology, ritual, and fables. Never literal, her sculptures, prints, paintings, and photographs are suggestive and imaginative musings on her chosen subjects. Chu's expressive sculptures of bears and bears’ heads, for example, reflect her interest in the terracotta warriors of China."(artsy.net)
"Chu received her BFA from the Philadelphia College of Art in 1982 and earned her MFA from Columbia University only three years later. Since 1991, she has had more than thirty solo exhibitions at a number of institutions and galleries throughout the United States and abroad, such as Victoria Miro in London; Monica De Cardenas in Milan and Zuoz; Donald Young Gallery in Chicago; Galerie Karlheinz Meyer in Karlsruhe; 303 Gallery in New York; the Dallas Museum of Art; the Weatherspoon Art Museum in Greensboro; Marc Foxx in Los Angeles; and the Indianapolis Museum of Art.Chu has also been the recipient of many prestigious grants and awards. Among them are a John and Simon Memorial Guggenheim Fellowship in 2010, a Joan Mitchell Foundation Grant in 1999, and the Alpert/Ucross Residency Prize in 2009.
In regard to Chu’s exhibition at the Kunstmuseen Krefeld/Museum Haus Lange, critic Hans Rudolf Reust said in the March 2013 issue of Artforum, “Chu’s installation surprises with an array of cultural fragments whose amalgamation seems at once unconventional and natural. The return of ornamentality, a lascivious luxury in spatial geometry, is here more than the return of what modernism repressed. She creates a bucolic and hybrid world that will certainly leave its mark on our memories of the rooms of the Haus Lange, already shaped by so many important exhibitions.”(artforum.com)

















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