BORN: 1953, McLaughlin, South Dakota
EDUCATION: B.S. 1975, South Dakota State University, Brookings, SD
PRESENTLY: lives and works in New York City and upstate New York

2003 Burapha University Library, Andaman Sea, Burapha University, Chonburi, Thailand
2002 Maryland Institute College of Art, Decker Gallery, Carol Hepper: Translucency and Light, Baltimore, MD
2000 Williams Center For the Arts, Williams Center Gallery, Reverse Osmosis, Lafayette College, Easton PA (catalogue with essay by Stuart Horodner)
2000 Hopkins Center, Dartmouth College, Wet Paint, Jaffe-Friede & Strauss Galleries, Hanover, NH (catalogue with essay by Nancy Princenthal)
2000 Frederieke Taylor Gallery, Strange Island, New York, NY
1999 Elizabeth Leach Gallery; Portland, OR
1998 Soma Gallery, LaJolla, CA
1996 Portland Institute for Contemporary Art, Residency and Open Studio, Portland State University Campus, Portland, OR (catalogue with essay by Kristy Edmunds)
1996 Hill Gallery; John Duff, and Carol Hepper, Birmingham, MI
1995 Orlando Museum of Art, Skin/Deep, Orlando, FL (brochure with essay by Sue Scott)
1995 Mississippi Museum of Art, Works in Progress, Jackson, MS
1995 Elizabeth Leach Gallery, Portland, OR
1994 Hartman & Company, LaJolla, CA
1994 Michael Lord Gallery, Milwaukee, WI
1993 Galerie Waltraud Matt, Eschen, Liechtenstein
1993 Hill Gallery, Birmingham, MI
1993 Margulies/Taplin Gallery, Boca Raton, FL
1992 Worcester Art Museum, Insights: Carol Hepper, Worcester, MA (brochure with essay by Donna Harkavy)
1992 Dennos Museum Center, Traverse City, MI
1992 Hill Gallery, Birmingham, MI
1991 Rosa Esman Gallery, New York, NY (catalogue with essay by John Howell)
1989 Rosa Esman Gallery, New York, NY
1989 Vaughan + Vaughan Gallery, Minneapolis, MN
1988 Rosa Esman Gallery, New York, NY
1988 Hill Gallery, Birmingham, MI
1987 Dahl Fine Arts Center, Rapid City, SD, Traveled to University of South Dakota, Brookings, S.D. (brochure with essays by Cynthia Nadelman and John Day)
1984 Ritz Gallery, South Dakota State University, Brookings, SD
1982 Institute for Art and Urban Resources, P.S.1, New York, NY (brochure)

2000 Island, a collaborative work with dancer/ choreographer, Molissa Fenley, premiered at The Kitchen, New York City, traveling to: Williams Center for the Arts, Lafyette College, Easton, Pennsylvania, Raymond S. Kravis Center, West Palm Beach, Florida

2003 Frederieke Taylor Gallery, A Tenth Anniversary Exhibition, New York City
2002 Mead Art Museum, Amherst College, The Belles of Amherst: Contemporary Women Artists in the Collections of the Mead Art Museum and The University Gallery, U of Mass., Amherst, Amherst College
2000 University Gallery, Fine Arts Center, Abstract Notions: Selections from the Permanent Collection, Univ. of Mass., Amherst
2000 Lab School, Chelsea, Yard Sale: Downtown Arts Festival, New York City
2000 Hill Gallery, Particular Vision, Birmingham, Michigan
1999 Hill Gallery, summer, Birmingham, Michigan
1998 Bucknell University Campus Lewisburg, Pennsylvania, (outdoor installation) of Sap Green, a work created during the residency Hide & Seek
1998 Forrest D. Brown Conference Center, Bucknell University, Cowan, Pennsylvania, Hide & Seek; A Summer Residency, outdoor group exhibition, (Catalogue with essay by Stuart Horodner)
1998 Boca Raton Museum of Art, Florida, The Artist as Collector: The Collection of Francie Bishop Good and David Horvitz;
1998 Fine Arts Center Galleries,University of Rhode Island, Elusive Traces, (brochure with essay by Judith Tolnick), Kingston, RI
1997 Gallery 128, Material Girls: Gender, Process & Abstract Art Since 1970", New York City
1997 Neuberger Museum of Art, Biennial for Public Art, (outdoor installation), Purchase, New York, (catalogue with essay by Judith Collischan)
1997 The Workspace, Sculptural Imagery, New York City
1996 Currier Gallery of Art, Manchester, New Hampshire, Community of Creativity: A Century of MacDowell Colony Artists, traveling through 1997 to: National Academy of Design, New York, NY, Wichita Art Museum, Wichita, Kansas, (catalogue with essays by; Robert Storr and Tom Wolf)
1996 Aldrich Museum of Contemporary Art, In The Flesh, Ridgefield, Connecticut, (catalogue with essays by Jill Snyder and Maxine Sheets- Johnstone)
1996 Arkansas Art Center, National Drawing Invitational, Little Rock, Arkansas (catalogue)
1995 The White House, Twentieth Century American Sculpture at The White House, Exhibition II, Washington, D.C.
1995 Weatherspoon Art Gallery, Art on Paper, University of North Carolina, Greensboro (catalogue with introduction by Thomas H. Kochheiser)
1995 Freedman Gallery, Albright College, In The Flesh, Reading,Pennsylvania traveled to the Aldrich Museum, Ridgefield, CT.
1995 The Newhouse Center for Contemporary Art, Snug Harbor Cultural Center In Three Dimensions:Women Sculptors of the 90's, Staten Island, New York through 1996 (catalogue with essay by Charlotte Streifer Rubenstein)
1994 Boise Art Museum, Fabricated Nature, Boise, Idaho (catalogue with essay by Sandy Harthorn)
1994 Laumeier Sculpture Park, (Installation) Saint Louis, MO. on view through 1997
1994 Horodner Romley Gallery, 5 Gestures, New York
1993 Portland Art Museum, Oregon, Material Identity, Sculpture Between Nature & Culture, Tony Cragg, Heide Fasnacht, Carol Hepper, Jene Highstein (catalogue with essay by John S. Weber)
1993 Cranbrook Academy of Art Museum, The Fine Art of Patronage, Bloomfield Hills, Michigan
1993 55 Ferris Street, 55 Ferris Street III, Brooklyn, NY. (catalogue with essay by Frederieke Taylor)
1993 DeCordova Museum and Sculpture Park (Installation) Lincoln, Massachusetts
1993 TZ'Art and Company, Nature Unnature, New York
1993 Jessica Berwind Gallery, Philadelphia, PA & Wynn Kramarsky, New York, NY."Drawings from 55 Ferris Street"
1992 The Phillips Collection, A Dialogue With Nature: Nine Contemporary Sculptors, Washington, D.C. (catalogue with essay by Linda Johnson) through 1993
1992 Rose Art Museum, Brandeis University, Breakdown!, Waltham, MA. ( catalogue with essay by Susan Stoops)
1992 University of Colorado, 20th Year Visiting Artists Invitational Exhibition, Boulder, Colorado (catalogue)
1991 Walker Art Center, Material Matters: Permanent Collection Sculpture since 1980, Minneapolis, Minnesota
1991 Nassau County Museum, American Narrative Painting and Sculpture, Rosyln, New York (catalogue with essay by William Lieberman)
1991 The New Museum, Benefit, New York (catalogue)
1991 Jacksonville Art Museum, The Nature of Sculpture, Florida (catalogue with essay by Bruce Dempsey)
1991 Florida International University, New Directions: American Art Today, Miami, Florida (catalogue with essay by Eleanor Heartney)
1991 Rutgers University, Mason Gross School of the Arts Outrageous Desire, New Brunswick, New Jersey
1990 L.A. Louver Gallery, Sculptors' Drawings, Los Angeles, California
1990 Mandeville Art Center, Seven Sculptors, University of California at San Diego, La Jolla, California
1990 Hunter College, The Bertha and Karl Leubsdorf Gallery, Formulation and Representation: Recent Abstract Sculpture, New York (catalogue with essay by Susan Edwards)
1990 Rosa Esman Gallery, Sculptures and Drawings, New York
1990 Vaughan + Vaughan Gallery, Drawings, Minneapolis, Minnesota
1989 Germans Van Eck Gallery, Terry Adkins, Carol Hepper and Lisa Hoke, New York
1990 State University of New York, Sculpture '89, Fellowship Recipients, New York Foundation for the Arts (NYFA), Albany, New York (catalogue)
1990 Hillwood Art Gallery, Lines of Vision: Drawings by Contemporary Women, Long Island University, national show traveled to: Blum Helman Gallery, Warehouse Space, New York; Murray State University, Murray, KY; Grand Rapids Art Museum, Grand Rapids, MI; University Art Gallery, University of North Texas, Denton, TX; Richard F. Brush Gallery, St. Lawrence University, Canton, NJ; University of Oklahoma Museum of Art, Norman, OK. The international show traveled to: Pan-America and Europe throughout 1989 (book with essay by Judith Collischan Van Wagner)
1990 Walker Art Center, Recent Acquisitions, Minneapolis, Minnesota
1988 Aldrich Museum of Art, Innovations in Sculpture 1985-1988, Ridgefield, Connecticut, (catalogue with essay by Ellen O'Donnell)
1988 Freedman Gallery, Life Forms: Contemporary Organic Sculpture, Albright College, Reading, Pennsylvania (catalogue with essay by David Rubin)
1988 Lyman Allen Museum, New Drawings, New Artists, New London, Connecticut (catalogue with essay by Virginia Peckham)
1988 Performing Arts Center Galleries, Strike, Valencia Community College, Orlando, Florida (catalogue with essay by Judith Page)
1988 Rosa Esman Gallery, Seventeen Years at the Barn: The Edward Albee Foundation Retrospective, New York
1988 Southeastern Massachusetts University, Nomadic Visions, North Dartmouth, Massachusetts (catalogue with essay by Lasse Antonsen)
1988 Meadowbrook Art Gallery, Magic in the Mind's Eye: the Kempf Hogan Collection, Museum of Oakland University, Rochester, Michigan (catalogue with essay by Kichi Usiui)
1987 The Sculpture Center, Natural Inflections: Inside/Outside, New York (catalogue with essay by Douglas Dreishpoon)
1987 Solomon R. Guggenheim Museum, Emerging Artists 1978-86: Selections from the EXXON Series, New York (catalogue with essay by Diane Waldman)
1987 Rutgers University, Robeson Gallery, Contemporary Syntax: Edge and Balance, New Brunswick, New Jersey (catalogue with essay by Allison Weld)
1987 Marianne Deson Gallery, New York, Chicago, Los Angeles, Chicago, Illinois
1987 East Hampton Center for Contemporary Art, New Sculpture, East Hampton, New York (catalogue with essay by Jennifer Cross)
1987 Hill Gallery, Figure Exploration, Birmingham, Michigan
1987 Rosa Esman Gallery, Sculpture: Material Transformations, New York
1987 David Winton Bell Gallery, Alternative Supports: Contemporary Sculpture on the Wall, Brown University, Providence, Rhode Island (catalogue with essay by Judith M. Tolnick)
1987 Contemporary Art Center, Standing Ground: Sculpture by American Women, Cincinnati, Ohio (catalogue with essay by Sarah Rogers)
1987 David Beitzel Gallery, Sculpture: George Dudding, Carol Hepper, Robert Rohm, New York
1986 The Art Gallery of Western Australia, Perth, The Art Gallery of New South Wales, Sidney, Australia, AMERICA: Art and the West, (book with essays by Celeste M. Adams & Dr. Ron Tyler)
Sculpture Center, The Sculptural Membrane, (catalogue with essay by Douglas Dreishpoon), New York
1983 North Dakota Museum of Art, Descendants, Grand Forks, North Dakota
1983 Solomon R. Guggenheim Museum, New Perspectives in American Art: 1983 EXXON National Exhibition, New York (catalogue with essay by Diane Waldman)

Solomon R. Guggenheim Museum, New York
Museum of Modern Art, New York
Metropolitan Museum of Art, New York
Museum of Contemporary Art, Chicago, Illinois
Walker Art Center, Minneapolis, Minnesota
Detroit Institute of Arts, Detroit, Michigan
Phoenix Art Museum, Arizona
South Dakota Art Museum, Brookings
Portland Art Museum, Oregon
Orlando Museum of Art, Florida
Newark Museum, Newark, New Jersey
Hood Museum, Dartmouth College, Hanover, New Hampshire
New School for Social Research, New York
New York Public Library
Laumeier Sculpture Park, St. Louis, Missouri
Ringling School of Art & Design, Selby Gallery, Sarasota, Florida
Aterrana Foundation, Vaduz, Liechtenstein
PECO Energy, King of Prussia, Pennsylvania
American Telephone & Telegraph, New York
Brooklyn Union Gas, New York
Champion Paper, Stamford, Connecticut

2000 Dartmouth College Studio Art Exhibition Program, Artist-In-Residence, Hanover, NH
1996 Portland Institute for Contemporary Art, Residency, Portland, OR
1993 Atelier 11 Residency, Triesen, Liechtenstein
1992 Yaddo Residency Fellowship, Saratoga Springs, NY
1990 National Endowment for the Arts Grant in Sculpture
1989 New York Foundation for the Arts Grant in Sculpture, New York, NY
1988 Djerassi Foundation Residency Fellowship, Woodside, CA Agnes Bourne Fellowship in Sculpture
1987 Jean and Louis Dreyfus/Macdowell Colony Fellow, Peterborough, NH Macdowell Colony Residency
1987 Fellowship, Peterborough, NH (1989 & 1990)
1986 Ludwig Vogelstein Foundation Grant, New York, NY
1986 Pollock-Krasner Foundation Grant, New York, NY
1986 Edward F. Albee Foundation Residency Fellowship, Montauk, NY (& 1991)
1985 Individual Artists Grant, South Dakota Arts Council
1984 Louis Comfort Tiffany Foundation Grant, New York, NY
1984 South Dakota Governors Award for Creative Achievement in the Arts
1983 Individual Artists Grant, South Dakota Arts Council
1982 Projects Room, P.S.1, The Institute for Art and Urban Resources, Queens, NY
1982 WARM Gallery, Invitational Space, Minneapolis, MN, Funded by the Jerome Foundation
1982 Betty Brazil Memorial Grant, Tarrytown, NY
1982 Individual Artists Grant, South Dakota Arts Council

1999 Harvard University, Cambridge Ma; Visiting Lecturer on Visual and Environmental Studies, Intermediate Sculpture (spring)
1989 Princeton University, Princeton, NJ, Visiting Faculty, Sculpture (fall)
1989 State University of New York, Purchase, NY, Visiting Faculty, sculpture (fall)
1988 Maryland Art Institute, Baltimore, MD, Visiting Faculty, Sculpture (spring)
1984 School of Visual Arts, New York, Drawing Instructor (spring)
1980 Standing Rock Community College, Standing Rock Sioux Indian Reservation, Fort Yates,
- 82 North Dakota, Drawing Instructor

* indicates videotaped lecture
1998 *17th International Sculpture Conference, Chicago IL panelists, Patrick Dougherty, Carol Hepper; Moderated by Dr. Beej Smith, Director, Laumeier Sculpture Park
1998 *South Dakota State University Van Zante visiting professorship in Visual Arts, a public lecture and student seminars.
1997 * National Academy of Design, New York City a panel discussion moderated by Brendan Gill in conjunction with "Community of Creativity: A Century of MacDowell Colony Artists"
1996 * Aldrich Museum of Contemporary Art, lecture in conjunction with "In the Flesh"
1995 Ringling School of Art and Design, Sarasota, Florida, lecture, studio visits printmaking workshop (produced artists’ book: "Hot and Cold Running Water")
1995 Freedman Gallery Center for the Arts, Albright College, Reading, PA, Panelist in conjunction with "In the Flesh", moderator: Jill Snyder, other panelists: Harry Philbrick and Jack Whitten
1995 Cranbrook Academy of Art, Bloomfield Hills, MI., lecture in conjunction with "John Duff & Carol Hepper"
1995 * Portland Art Museum, Portland OR., "The Third Dimension, Sculpture and Culture," lecture
1995 *Orlando Museum of Art, Florida, lecture in conjunction with the exhibition"Skin/Deep,Carol Hepper"
1994 Ringling School of Art and Design, Sarasota, Florida, lecture & sculpture workshop
1993 Portland Art Museum, Portland OR., lecture in conjunction with "Material Identity, Sculpture between Nature and Culture"1992
Portland State University, Portland, OR, lecture and studio visits
1992 Worcester Art Museum, Worcester, MA., lecture and workshop in conjunction with "Insights: Carol Hepper"
1992 Cranbrook Academy of Art, Bloomfield Hills, MI., lecture & studio visits
1992 Center for Creative Studies, Detroit, MI, lecture in conjunction with a solo exhibition at Hill Gallery
1990 Brandeis University, Waltham, MA, lecture and studio visits
University of Colorado, Boulder, lecture and studio visits
1989 Walker Art Center, Minneapolis, MN., lecture in conjunction with "Material Matters; Permanent Collection Sculpture since 1980"
1989 University of Massachusetts, Amherst, lecture & studio visits
1988 Rhode Island School of Design, Providence, RI., lecture & studio visits
1987 Williams College, Williamstown, MA., lecture
1987 Rhode Island School of Design, Providence, lecture & studio visits
1987 Women’s Sculpture Conference, Cincinnati, OH panelist "Art outside of the Museum"
1987 Valencia Community College, Orlando, FL., lecture and week long residency
1987 University of South Dakota, Vermilion, lecture in conjunction with a solo exhibition in the USD Galleries
1986 Rhode Island School of Design, Providence, RI., lecture & studio visit
1984 South Dakota State University, Brookings, lecture & studio visits
1983 University of North Dakota, Grand Forks, lecture

(catalogues listed under exhibitions, books denoted with bullet)
- Will Hipps, “Works of Violence and Solace”, The Chronicle Review”, The chronicle of higher education, section2, Dec.6, 2002
- Jessica Dawson, “True to Scale: Carol Hepper’s Fish-Skin Art”, The Washington Post, Galleries, Nov. 21, 2002
- Gadi Dechter, “Carol Hepper: Translucency and Light” Baltimore City Paper, Arts and Entertainment , Dec.4-10, 2002
- Harmony Hammond, Chrystopher Lyon “Lesbian Art in America: A Contemporary History” Rizzoli International Publications, Inc., New York, 2000
- Janet Kopolos, New York Reviews, “Carol Hepper at TZ’Art”, Art in America, July 2000
- Ken Johnson, “Carol Hepper”, The New York Times Art Guide, Feb. 25, 2000
- Joyce Korot, “Carol Hepper @ Frederieke Taylor/TZ’Art “ NY Arts, International Edition, Vol.5, no.2, Feb. 2000
- Andrea Artz, Dance reviews “Molissa Fenley” The New Yorker 75th Anniversary Issue,. 44, Feb. 21 & 28, 2000
- Deborah Jowitt, “Uncharted Terrain; Molissa Fenley at The Kitchen”, Village Voice, Feb. 22, 2000
- Eileen Myles, “Haikuriticism-17 Art Reviews (in 17 syllables) by 17 Writers”, Art Issues, #63 summer 2000
- Anne Barclay Morgan, "Paths to Success: Recently 'Emerged' Artists", Sculpture, vol.17, no.6, July/Aug. 1998
- Mary Lynn Kotz, "At the White House: The First Lady's Sculpture Garden", Sculpture ,vol.17 no.6, July/Aug., 1998
- David S. Rubin,"The Human Touch in Contemporary Sculpture: The Continuing Vision of Eva Hesse"FocusOnArt, Vol. 2, No.1, spring, 1997
- Sarah Booth Conroy, "White House: A Test of Tradition, The Continuing Attraction of Contemporary
- Sculptures",.(photograph of "Vertical Void") The Washington Post, (home section) September 26, 1996
- William Zimmer, "Eleven Artists Ponder Flesh's Possibilities" The New York Times, March 10, 1996
- Kate F. Jennings, "Aldrich Museum's 'in the flesh' explores boundaries" Darien News Review, March 14, 1996
- Shannon Hicks, "Aldrich Exhibit Really Gets Under Your Skin" The Newton Bee, February 23, 1996
- Carolyn Wallace, "Aldrich opens diverse shows that explore organic surfaces", Press, Ridgefield, Ct. Feb., 8, 1996
- Frank Merkling, "Aldrich tackles a paradigm of art" Weekend, The News Times, February 23, 1996
- Anne Barclay Morgan,"Florida, Orlando Museum of Art", Reviews Sculpture, vol. 15, No. 3, March 1996
- George Melrod, "Preview, Openings" Art and Antiques, January 1996
- XXX Fruit, reproduction of "Saint" and "Untitled 1990", issue #2 "Soil" January 1996
- Out in America, "White House Art, Garden Party", Out #25, September 1995
- Philip E. Bishop, "Hepper explores dualities", The Orlando Sentinel, September 24, 1995
- Cynthia Nadelman, "Recent Drawings by Sculptors: A Common Language," Drawing Vol. XVI, No. 2, July/August 1994
- Randy Gragg, "Give that Artist the Championship Ring," The Oregonian, June 24, 1994
- Chris Schooner, "Fabricated Nature, Sculptural Dualities," Reflex, August/September 1994
- Jeanette Ross, "Through a looking Glass," Artweek Vol. 25, No. 10, May 19, 1994
- Ariane Grabher, "Spannen der Diskurs fur den Betrachter: Natural Sculptures der New Yorker Kunstlerin
- Carol Heppe r in Eschen," Voralberger Nachrichten, Austria, July 10/11, 1993
- Verbindung Natur und Mensch: New Yorker Kunstlerin Carol Hepper Stellt in der Galerie Matt aus," Liechtensteiner Volksblatt, July 9, 1993
- Tina Kaufmann, "Natural Sculptures von Carol Hepper," Liechtensteiner Woche, July 11, 1993
- Randy Gragg, "Between Mind and Body," The Sunday Oregonian, April 25, 1993
- Donna Harkavy, "Showcase, Carol Hepper," Visions Art Quarterly, spring 1993
- Hank Burchard, "Nurturing Natural Art," The Washington Post Weekend Magazine, November 13
- Ann Barclay Morgan, (review) Sculpture, January/February 1992
- Michael Welzenbach, "Doing What Comes Naturally, at Phillips, Organic Forms on an Intimate Scale," The Washington Post, November 30, 1992
- Mary Sherman, "Brandeis Show Probes 'Breakdown' in Contemporary Life," Boston Sunday Herald, April 12, 1992
- Nancy Stapen, "Bringing Nature Inside the Museum," The Boston Sunday Globe, March 29, 1992
- Ann Schecter, "Hepper's Sculptures Combine the Natural and the Man-made," Worcester Magazine, March 4, 1992
- Bruce D. Kurtz, "Contemporary Art, 1965-1990," Prentice Hall, Inc. Englewood Cliffs, NJ, 1992
- Anne Barclay Morgan, "The Nature of Sculpture (review)," Sculpture, January/February 1992, p. 57
- Jenifer P. Borum, (review) Artforum, September 1991, p. 136
- Roberta Smith, "On Long Island, Photos, Portraits, Pollock and Stereotyping," The New York Times, August 1991
- Natalia Kozlova, "From the 'Bauhaus' School to the Macintosh Computer," New York Russian Daily, Novoye Russkoye Solvo, April 19, 1991
- Alexis Gregory, "Art Show '91 Shines," The Journal of Art, April 1991
- David Hirsh, "Architecture of the Body," New York Native, April 22, 1991
- Helen L. Kohen, "Women Artists Illustrate New Directions," Miami Herald, Miami, Florida, 1991
- Carol Volk, "Openings," Art and Antiques, March 1991, p.70
- Dr. Laura Chapman "Discover Art," Davis Publications, Inc., Worcester, Massachusetts, 1991
- Charlotte Streifer-Rubenstein "American Women Sculptors: A History of Women Working in Three Dimensions", G.K. Hall & Co., Boston 1990
- Elizabeth Hayt-Atkins, "The Anxiety of Influence," Contemporanea, September 1990, pp.66-73
- Eleanor Heartney, "Eco-Logic," Sculpture, March/April 1990, pp. 36-41
- James Darlow, The USCD Guardian, March 8, 1990
- Robert L. Pincus, The San Diego Union, March 4, 1990
- Leah Ollman, "'Seven Sculptors' Offers Engaging Sampling," Los Angeles Times, March 2, 1990
- John Howell, "Setter of Tender Traps," Elle Decor, March 1990, pp. 116-119
- George Melrod, (review) Contemporanea, March 1990, p. 95
- Nancy Princenthal, (review) Art in America, February 1990, pp.167-168
- Eleanor Heartney, (review) ARTnews, January 1990, pp. 162-66
- Peggy Cyphers, (review) Arts Magazine, January 1990, pp. 94-95
- Brooks Adams, "Preview," Interview, October 1989, pp.38
- George Melrod, "Carol Hepper Sheds Her Skin," Sculpture, May/June 1989, p.25
- Eric Gibson, "Donald Judd: The End of Sculpture," The New Criterion, April 1989, pp. 53-55
- Robert Mahoney, (review) Arts Magazine, January 1989
- Judith Collischan Van Wagner, "Lines of Vision: Drawings by Contemporary Women," Hudson Hills Press, New York, 1989
- Michael Brenson, "Carol Hepper in Wood: A Supple Synthesis," The New York Times, October 28, 1988
- Deborah Pearlburg, "New York: Day by Day," ARTnews, September 1988, pp. 114-15
- Marsha Miro, "Eye on Art: Hill Gallery," Detroit Free Press, July 27, 1988
- John Loghery, "17 Years At the Barn," Arts, April 1988, p. 110
- Robert Mahoney, "Best Art Bet This Season," New York Press, September 30, 1988
- Cynthia Nadelman, "Gabo's Progeny," ARTnews, December 1987, pp. 123-127
- Eleanor Heartney, "Emerging Artists 1978-86: Selections from the Exxon Series," ARTnews, November 1987, p.206
- Mirella Bentivoglio, "Visti & Da Vedere," Arte e Cornice, September 1988, p. 43
- Robert Mahoney, "Contemporary Syntax," Arts Magazine, December 1987, p.108
- Vivien Raynor, "The First Rule is Break the Rules," The New York Times, October 11, 1987 p.36
- Phyllis Braff, "Beyond Visual: Alternatives to Traditional Sculpture," The New York Times (LI), June 28, 1987, p.22
- Robert Long, "Sculpture on the Edge," Southampton Press, June 18, 1987
- Andrea Silverman, "Private Images," review, ARTnews, summer 1987, p.216
- Michael Brenson, "Private Images, Drawings By Sculptors," The New York Times, February 6, 1987, p.C 23
- Professor Paul Zelanski and Mary Pat Fisher, "Shaping Space: The Dynamics of Three-Dimensional Design," Holt, Rinehart and Winston, 1986, New York
- Michael Brenson, "Sculpture Breaks the Mold of Minimalism," The New York Times, November 23, 1986, sec. 2, p. 1
- Virginia Watson Jones, "Contemporary American Women Sculptors," Oryx Press, Phoenix, Arizona, 1986
- Celeste M. Adams, Franklin Kelly and Ron Tyler, "America: Art and the West," Harry N. Abrams Inc, New York, 1986
- William Zimmer, The New York Times (CT), August 4, 1985
- Cynthia Nadelman, "The New American Sculpture," Artnews, January 1984, pp.63-70
- John Marcus, "The Guggenheim Dares the Future," Cape Cod Times, Nov. 24, 1983, p.21
- Kay Larson, "The Barons Bounties," New York Magazine, October 17, 1983, pp.88-89
- John Russell, "Younger Americans: Visitors From the Past," The New York Times, September 30, 1983
- Edward J. Sozanski, "The Challenges and Rewards of 'Emerging Art'," Philadelphia Inquirer, November 20, 1983, p.16K
- Malcolm Preston, "The Promise of 11 Americans," Newsday, October 30, 1983
- Janet Kutner, "Art From Museum Points of View," Dallas Morning News, November 22,1983, p.1E
- Sylviane Gold, "Art's New Perspective is in Diversity," USA Today, October 3, 1983
- Fred Ferratti, "The Evening Hours," The New York Times, September 30, 1983
- Fran Addington, "Walls and Space Make Artists' Statement," Minneapolis Tribune, December 27, 1983
- Palmer Poroner, "Art of Primitive Origins or Great Traditions," Artspeak, Sept. 16, 1982, p.5
- Don Boyd, (review) Art Express, May-June, 1981, p.8

2000 ”wet paint,” Produced by Dartmouth College, Studio Art Exhibition Program. Recorded and edited by Michael Sacca, 8 min.CD
1997 "Community of Creativity: A Century of MacDowell Colony Artists"Panel discussion at the National Academy of
1997 Design, New York, moderated by Brendon Gill, with Benny Andrews, Simon Dinnerstein, Janet Fish, Carol Hepper
1996 "In the Flesh"; Interviews by Jill Snyder with: Lesley Dill. Carol Hepper, Prudencio Irazabal, Dennis Kardon, Byron Kim, Simon Leung, Glenn Ligon, Harry Philbrick, Kiki Smith, Jack Witten, Telma Zunz, produced by the Aldrich Museum for Contemporary Art, Ridgefield CT; recorded and edited by Martin Meyers, New York
1996 "Skin/Deep", Currents 4: Carol Hepper" Slide lecture with introduction by Sue Scott, produced by the Orlando Art Museum, Orlando, FL
1995 "The Third Dimension, Sculpture and Culture", Docent lecture series examining the museums permanent collection, Produced by The Portland Art Museum, Portland, OR
1995 "In the Flesh", Artist Panel Discussion, Jill Snyder moderator, Carol Hepper, Harry Philbrick, Jack Whitten, Produced by Freedman Gallery, Albright College, Reading, PA.1991 Contemporary Arts Series, "Sculpture of the 1980's; New Directions in Sculpture", Produced by Allan Schulte & Marcia Wright, Directed by Elly Friedman. 31.47 min.
1993 “Sculpture of the 1980’s” produced by the Whitney Museum of American Art, New York,
1990 "What Follows" Interview by Toni Rosato in conjunction with the visiting Artist Program, University of Colorado, Boulder, 20 min.
1987 "Summer Exhibitions 1987" I interviews by Jennifer Cross with Sidney Blum, Beverly Fishman, Carol Hepper, Amanda Kyser Produced by East Hampton Center for Contemporary Art, East Hampton, NY
1982 Videotape of work in progress, accompanying the installation at WARM Gallery Minneapolis MN, recorded and edited by Mary Smith at Minneapolis College of Art & Design, funded by the Jerome Foundation, Minneapolis, MN (beta format)

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