Born 1931 Jackson, Ohio
1956 B.F.A., Miami University, Oxford, Ohio

"With Sculpture There Are No Erasures."
By: Jan Butterfield

The late 1950's was a period of fascinating ferment in the San Francisco Bay Area. Cool jazz and poetry could be heard in many of the coffee houses - among the few places artists had to exbibit-and painters were coming into their own with a particular genre of gestural Abstract Expressionism which was eventually to become "Bay Area Figurative Painting." As a result, Fletcher Benton - who had finished his schooling and his stint in the service and had moved to San Francisco -became a figurative painter. For a period of some six years he worked with brushy, figurative works, isolating a lone figure against a ground with a gestural angst. It soon became apparent, however, that this was not his true métier. Other funky, Bay Area, painterly works aside, Benton's beginnings were in another era, and his roots were firmly planted in another discipline. Looking back, it is almost as if he had been pre-ordained to be a hard-edged sculptor, in spite of his painter's eye.

As a very young man, Benton began his gainful employment as a sign painter. The sense of order (signs, like canvases, have a beginning and an end and placement of imagery is crucial) and of discipline -signs must be executed to a specific format -furnished him with a lexicon of images or symbols from which to work. There are twenty-six letters from A to Z and ten numerals from 0 to 9. Applied to sculpture, this visual information in which he was so firmly schooled, furnished rich material for this six years of work - from 1980 to 1986 - the period of time covered by this catalog.

Historically, Benton's work, which originally took the form of kinetic sculpture, had its roots both in Russian Constructivism and in the precise design-derived work of the Bauhaus. For all of that, however, Benton is very much his own man, and his works have evolved out of his own history, first as a figurative painter, then as a kinetic sculptor whose works incorporated moving panes of painted, colored plexiglas. When the concept of kinetic works ceased to continue to engage him, Benton moved to smaller, pedestal-sized works executed with great surface finish, in iridescent, dappled bronze. Almost more painterly than sculptural because of their surfaces, these works were a far cry from the massive violated steel sculptures which were to come.

The light-filled, three-story studio space that houses Benton's works affords few clues to his early beginnings. Immaculate, high-ceilinged, the exhibition area has been designed to hold work of virtually any scale except the largest and most architectonic. It is only in the sunny work area of Benton's smaller watercolor studio that clues to his early interests manifest themselves. There against the wall are hundreds of HO gauge trains which bear witness to an early involvement with kinetics, perfection and with scale. Across the room, on beautifully crafted shelves, stand painted maquettes for Benton's entire alphabet sculpture series. Bright blue, primer red, brilliant yellow, strong violet, they bear powerful colors on their surfaces. Looking at them, one is struck by the utter absorption and finesse with which they have been executed. Seemingly perfectly conceived, each clearly bears witness to the letter it represents, yet there is much, much more. It is also clear that despite the strength of their colors it is not from this that they gain their inherent rightness, but rather from the complexity of their sculptural forms.

It soon becomes apparent that Benton's way of working is not only an aesthetic, but an intellectual exercise: the "Folded Circle" and the "Folded Square" works take as their initial given a square sheet of steel. In their beginnings they are composed of a flat plane - as is a painting, yet here it is steel instead of canvas that receives the artist's mark.

It is both a painter's capacity to "see" and a sculptor's capacity to function in three-dimension which are at work here. No material is added to the square - nothing is subtracted. Benton has disciplined himself to work within those parameters, creating the work in paper first, then in metal, still in miniature. He will test it sometimes for weeks to see if it "works," then give it to his studio assistants to be fabricated in larger yet maquette-sized scale. When he is fully pleased with the capacity of the work to "hold" in three-dimensional space, Benton then adds color which, for him, is a fillip, a nicety, since the work is in no way dependent upon its final color for its strength or substance.

The sculptures are also not dependent upon the alphabet to "hold." It is entirely possible, for example, that many do not at first see the letter, and perceive the sculpture only as a shape. Benton has said: "I have tried very hard not to make obvious letters ... that isn't what I was interested in. I wanted to work with the square as well. I need that kind of restriction in order to obtain the best of me." (1)

Some of the strongest of Benton's "Folded Circle" and "Folded Square" works were introduced to the general public for the first time in his exhibition at the Chicago Arts Club in 1979. With this show, Benton left behind the exquisitely crafted, beautiful surfaces of his small bronze works. In their place he exhibited huge, free-standing works partially over-painted in deep blue, their opposing aluminum surfaces richly scored and burnished in broad gestural strokes. These works shouted with a sure voice and their power was unmistakable. No longer simply well-bred works for collector's pedestals, they were now presences to be reckoned with on their own. Too, there was an additional element to their makeup: the fact that the works metaphorically folded back into a simple square lent an inherent rightness to them-an innate sense of proportion not immediately discernible.

Currently, the "Balancedl Unbalanced" works and the "Steel Watercolors" form an important part of Benton's oeuvre, along with the "Folded Circle" and "Folded Square" works. The "Balancedl Unbalanced" works are the most powerful and complex yet. Often architectonic in scale, their giant triangles, cubes, blocks, circles and dots balance and counter-balance each other in such a way that at any moment various elements threaten to tip, slide, or bounce off the work -with the end result that the sculpture, if not destroyed, would at least be radically incomplete. These works have learned their lessons from David Smith's "Cubi" series, yet they extend beyond his statement. Far more attenuated, more whimsical, there is an element of play here which is a crucial part of their strength. Created of painted steel in rich primer red, or, for example, International Blue, these works have a whimsical sculptural vocabulary which adds spirals and whirligigs to the work in addition to its geometric elements, not only preventing stasis, but affording a dynamic-seldom seen in contemporary sculpture.

A whimsical new series of sculptural "drawings" has been executed in fine lines against space instead of in pen or ink against paper. These works which Benton calls "Indians" grew out of the "Steel Watercolors". "The Indians" are mainly chiefs whose primary attributes are feathers and phalluses. They virtually do away with the volume which has been the thrust of the other works, and play instead with line, humor and whimsy.

The new "Watercolors" are exquisite works on paper which influence the sculptures but are not models for them. The "Watercolors" are executed with the same palette and mastery of space as the sculpture -filling out their cube of space as surely as do the volumetric works. Yet there is a delicacy to the watercolor and the new "feather and phallus" works which clearly demonstrates Benton's mastery of all his difficult mediums: ". . . no matter how you go about it, the sculptural process is still not as immediate as putting a line on a canvas with a brush. Taking a piece of steel, and bending it and doing something to it is not easy.... A painter usually makes his commitment at the end of the painting.... In most cases sculptors must make a commitment at the beginning or in the model stage. That is true simply because halfway through a large-scale project you can't decide you want to re-do a section, or tear it out and add a whole new section, like you can with painting. It doesn't work that way. WITH SCULPTURE THERE ARE NO ERASURES." (2)

(1) Butterfield, Jan, "An Interview with Fletcher Benton", 'Art International', November/December 1980, pp. 126-128
(2) Ibid.

Source: FLETCHER BENTON - SCULPTURE AND WATERCOLORS 1980-1986; Published by California/ International Arts Foundation, 1987; Library of Congress Catalog Number 87-64060; ISBN 0-971571-03-7


Zum Werk von Fletcher Benton

Fletcher Benton zählt heute zu den prominenten Metallbildhauern der USA. Nach dem Kunststudium widmet er sich zunächst der Malerei, beginnt aber bald, der Zeit entsprechend, das Tafelbild zu trivialisieren, indem er Bildteile motorisch bewegt. Seitdem unterstellt er sein Werk in immer neuen Variationen dem Thema Bewegung und macht dabei den Bewegungsprozess für den Betrachter gedanklich nachvollziehbar. Nach einer Werkphase mit kinetischen Objekten bricht er mit deren starrer, berechneter Strenge und entwickelt erste Plastiken aus ineinandergefügten, geometrischen Körpern.

Seit den siebziger Jahren entfaltet der Künstler kreisförmige und quadratische Flächen in den Raum durch Schneiden, Biegen oder Knicken. Neben der Serie 'Folded Circle' entsteht die Serie 'Square Folded Alphabet', für die er 1979 in New York ausgezeichnet wird. Deren ausgeklügelte Proportion, sparsame Formensprache und einfache Farbigkeit bestechen und verleugnen nicht den Einfluss des Bauhauses und des Konstruktivismus. In dieser Buchstabenserie vollzieht der Betrachter im Zeitraum der gedachten Bewegung des Faltens und deren gedanklicher Rückführung in die Ausgangslage gleichsam einen Streifzug durch vier Dimensionen.

Dieses Bewegungsmoment ergibt sich fortan durch die Art der Kombination der aus den Grundformen Dreieck, Kreis und Quadrat entwickelten Raumgebilde und resultiert in einer werkspezifischen Formensprache. Seit den achtziger Jahren entwirft Fletcher Benton Skulpturenserien, deren Stahlkörper, geometrische Stahlflächen oder daraus abgeleitete Formen sich in der Balance zu halten scheinen, wie in der Serie 'Balanced-Unbalanced'. Bei den 'Truckin Geo'-Plastiken rollen sie scheinbar wagenartig auf (schiefen) Ebenen, oder geraten auf treppenartigen Gebilden als 'Staircase-Pieces' aus der Balance. Manchmal ergeben sich fast abbildliche Gestalten, in denen, beispielsweise in der 'Indian'-Serie, indianische Kultformen wie Feder, Pfeil und Bogen und der Zylinder als Phallussymbol mimetische Assoziationen erlauben. Oft entsteht der Eindruck eines heiter inszenierten Spieles.

Fletcher Benton kommt immer wieder, so in seinen 'Pool'- oder 'Wall-Pieces', zum Bildcharakter der Objekte zurück und stellt deren Räumlichkeit als Relief oder durch Schatten auf der dahinterliegenden Wand dar. in seinen neuen Arbeiten, die mit dem Werknamen 'Cologne Construct' bezeichnet sind, stapelt er seine geometrischen Körper scheinbar ungleichgewichtig auf Platten übereinander und erzeugt damit die Spannung eines vorstellbaren Zusammenbrechens der Last über filigranem Unterbau.

Fletcher Bentons künstlerische wie handwerkliche Fertigungsmethode ist die Montage, mit deren Hilfe er vorgefertigte Stahlteile in einem Spezialverfahren zusammenschweißt. Den Materialcharakter unterstreicht der Künstler oft durch das Aufbringen einer Patina, wie sie in der industriellen Massenproduktion oder im Waffenbau üblich ist. Er neutralisiert die Größenwahrnehmung und mildert die Wirkung von Monumentalität trotz der raumgreifenden Abmessung mancher Arbeiten durch filigrane Strukturen, durch homogenen Farbauftrag in Grundfarben, um die Schwere des Materials zu kaschieren, oder durch eine materialspezifische Oberflächengestaltung mit Schleifspuren, die er auf das blanke Metall setzt, um damit die Flächen der Stahlkörper zu differenzieren.

In Bentons Werk ergibt sich trotz wiederkehrender Einzelelemente, die in ihrer geometrischen Struktur an Spielzeug erinnern, eine große Formenvielfalt. Die Größenunterschiede der Objekte sind außergewöhnlich; die gleiche Arbeit kann als Kleinplastik im Innenraum, ebenso wie als Außenskulptur ihre Wirkung entfalten, sie greift Raum oder bildet neuen und bezieht ihre Umgebung stets auf sich.

Der Künstler komponiert das Spiel mit der stereometrischen Bewegung, die Oberflächenverarbeitung und die Technik der Montage heterogener Einzelteile zu einer bewegten, facettenreichen, dem homogenen Material Stahl abgerungenen Gesamtform. Sie macht die spezifische Formensprache im Werk von Fletcher Benton aus, man könnte sie als Zusammensetzung durch Elernentierung bezeichnen.

1959 California College of Arts and Crafts, Oakland
1966 – 67 San Francisco Art Institute
1967 – 86 California State University, San Jose

1979 Award for Distinguished Service to the Arts, American Academy of Arts and Letters, New York
1980 President’s Scholar Award, California State University, San Jose
1982 Award of Honor for Outstanding Achievement in Sculpture, San Francisco Arts Commission
1993 Honorary Doctor of Fine Arts, Miami University, Oxford, Ohio
1994 Ohioana Career Award, Ohioana Library Association, Columbus
1994 Honorary Doctor of Fine Arts, University of Rio Grande, Rio Grande, Ohio

1959 Gump’s Gallery, San Francisco
1961 California Palace of the Legion of Honor, San Francisco
1962 Dintenfass Gallery, New York
1964 Esther Robles Gallery, Los Angeles
1964 Gump’s Gallery, San Francisco
1965 San Francisco Museum of Art
1965 Hansen Gallery, San Francisco
1966 Esther Robles Gallery, Los Angeles
1966 Hansen Gallery, San Francisco
1967 Esther Robles Gallery, Los Angeles
1967 Sonoma State College, Rohnert Park, California
1967 San Francisco Art Institute
1968 Galeria Bonino, New York
1968 Humboldt State College, Arcata, California
1969 Milwaukee Art Center, Wisconsin
1969 Galerie Françoise Mayer, Brussels
1969 Galleria Bonino, New York
1970 San Francisco Museum of Art
1970 Albright-Knox Art Gallery, Buffalo, New York
1970 London Arts Gallery, Detroit
1970 California State University, Chico
1970 Berkeley Arts Center, Berkeley, California
1970 Reed College, Portland, Oregon
1970 Galeria Bonino, Buenos Aires
1970 Estudio Actual, Caracas, Venezuela
1971 John Berggruen Gallery, San Francisco
1971 Stanford University Museum of Art, California
1972 La Jolla Museum of Art, California
1972 Esther Robles Gallery, Los Angeles
1972 Landry Bonino Gallery, New York
1973 Phoenix Art Museum, Arizona
1973 University of California, Davis
1973 Galeria Bonino, Rio de Janeiro
1975 de Saisset Art Gallery and Museum, University of Santa Clara, Santa Clara, CA
1975 Smith Andersen Gallery, San Francisco
1977 Fresno State University Gallery, California
1977 John Berggruen Gallery, San Francisco
1978 Tortue Gallery, Los Angeles
1978 San Jose Museum of Art, California
1979 Art Club of Chicago
1979 John Berggruen Gallery, San Francisco
1979 Grossmont College, El Cajon, California
1979 American Academy of Arts and Letters, New York
1980 San Jose State University, California
1980 Newport Harbor Art Museum, Newport Beach, California
1980 Oakland Museum, California
1980 Portland Art Museum, Oregon
1980 John Berggruen Gallery, San Francisco
1980 Miami University Art Museum, Oxford, Ohio
1980 Suermondt-Ludwig Museum, Aachen, West Germany
1980 Muscatine Art Center, Muscatine, Iowa
1980 Milwaukee Art Center, Wisconsin
1981 Klingspor Museum, Offenbach, West Germany
1981 Riva Yares Gallery, Scottsdale, Arizona
1981 John Berggruen Gallery, San Francisco
1982 San Jose Museum of Art, California
1984 Thomas Babeor Gallery, La Jolla, California
1984 Fresno Arts Center, California
1984 John Berggruen Gallery, San Francisco
1985 Harcus Gallery, Boston
1985 Fresno Arts Center, California
1986 California International Arts Foundation, Los Angeles
1986 Thomas Babeor Gallery, La Jolla, California
1986 John Berggruen Gallery, San Francisco
1986 Laguna College of Art, Laguna Beach, California
1986 Transamerica Redwood Park, San Francisco
1987 Galerie B. Haasner, Wiesbaden,West Germany
1987 Harcus Gallery, Boston
1988 Dorothy Goldeen Gallery, Santa Monica, California
1989 John Berggruen Gallery, San Francisco
1990 Galerie Simonne Stern, New Orleans
1991 Riva Yares Gallery, Scottsdale, Arizona
1991 Sung Dam Fine Arts, Seoul
1992 Galerie B. Haasner, Wiesbaden, Germany
1993 Miami University Art Museum, Oxford, Ohio
1993 Dorothy Goldeen Gallery, Santa Monica, California
1993 Gothaer Kunstforum, Cologne
1993 Galerie Simonne Stern, New Orleans
1994 University of Rio Grande, Rio Grande, Ohio
1995 Dorothy Goldeen Gallery, Santa Monica, California
1996 John Berggruen Gallery, San Francisco
1996 Klingspor Museum, Offenbach, Germany
1996 Gallery Camino Real, Boca Raton, Florida
1996 Galerie B. Haasner, Wiesbaden, Germany
1997 Galerie Simonne Stern, New Orleans
1997 Frankfurt Art Fair, Germany
1997 Hall’s Gallery, Kansas City, Missouri
1997 Galerie B. Haasner, Wiesbaden, Germany
1998 Riva Yares Gallery, Scottsdale, Arizona
1998 Tasende Gallery, West Hollywood
1998 Tasende Gallery, La Jolla, California
1998 Jean Albano Gallery, Chicago
1999 Sheldon Memorial Art Gallery and Sculpture Garden,
University of Nebraska, Lincoln
1999 Strategic Air Command Museum, Omaha, Nebraska
2000 Imago Galleries, Palm Desert, California
2001 Robert McClain Gallery, Houston, Texas
2001 Galerie B. Haasner, Wiesbaden, Germany
2001Tasende Gallery, West Hollywood
2001 Tasende Gallery, La Jolla, California
2001 The Art Show, 7th Regiment Armory, New York
2001 Art Cologne 2001, Cologne, Germany
2002 Galerie B. Haasner, Wiesbaden, Germany 2002
2002 San Antonio Museum of Art, Texas
2003 Tasende Gallery, West Hollywood
2003 Heidi Neuhoff Gallery, New York

1960 Gump’s Gallery, San Francisco
1961 Third Winter Invitational Exhibition, California Palace of the Legion of Honor, San Francisco
1963 Bay Area Artists, Santa Barbara Museum of Art, California
1964 Twenty Bay Area Artists, San Francisco Museum of Art
1964 Polychrome Sculpture, San Francisco Art Institute
1964 Fifth Winter Invitational Exhibition, California Palace of the Legion of Honor, San Francisco
1965 2 Dimensional Sculpture–3 Dimensional Painting, Richmond Art Center, CA
1965 California Painting and Sculpture, La Jolla Museum of Art, California
1965 Sculpture from San Francisco, San Francisco Art Institute
1965 Art ’65: Young American Sculpture–East to West, New York World’s Fair, Flushing
1965 84th Annual, San Francisco Art Institute
1966 Obelisk without an Eye, Walker Art Center, Minneapolis
1966 Directions in Kinetic Sculpture, University Art Museum, University of California, Berkeley; 1966 Santa Barbara Museum of Art, California
1966 Kinetic Currents, San Francisco Museum of Art
1966 2D/3D Sculpture and Painting, Richmond Art Center, California
1966 California ’66–Painters and Sculptors, Crocker Art Gallery, Sacramento, CA
1966 Annual Exhibition 1966, Scuplture and Prints, Whitney Museum of American Art, New York
1967 The Whitney Review, Whitney Museum of American Art, New York
1967 Contemporary American Painting and Sculpture, Krannert Art Museum, University of Illinois, Urbana-Champaign
1967 West Coast Now, Portland Art Museum, Oregon; Seattle Art Museum; M. H. de Young 1967 Memorial Museum, San Francisco; Los Angeles Municipal Art Gallery
1967 American Sculpture of the ’60s, Los Angeles County Museum of Art; Philadelphia Museum of Art
1967 Kinetic Art Invitational, University of Hawaii, Honolulu
1967 Pittsburgh International Exhibition of Contemporary Painting and Sculpture, Museum of Art, Carnegie Institute, Pittsburgh, Pennsylvania
1967 Light and Movement, Flint Institute of Arts, Flint, Michigan; Worcester Art Museum, Worcester, Massachusetts
1967 California Art Festival, Lytton Center of the Visual Arts, Los Angeles
1968 The West Coast Now, Portland Art Association, Oregon
1968 Light and Kinetic Sculpture, University of Nevada, Las Vegas
1968 Hemisfair, U.S. Pavilion, San Antonio, Texas
1968 Plastics, Light, and Movement, Esther Robles Gallery, Los Angeles
1968 Highlights of the 1967–68 Art Season, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut
1968 28th Annual Exhibition, Art Institute of Chicago
1968 Options, Walker Art Center, Minneapolis; Museum of Contemporary Art,Chicago
1968 Art from California, Janie C. Lee Gallery, Dallas
1968 Two Exhibitions, Sonoma State College Art Department Gallery, Rohnert Park, California
1968 Park Synagogue Art Festival, Cleveland
1968 Art for Your Collection VII, Rhode Island School of Design, Providence
1968 Annual Exhibition, Contemporary American Sculpture, Whitney Museum of American Art, New York
1968 Plastics, Hansen Gallery, San Francisco
1968 Kinetic and Mechanical Devices, Lytton Center of the Visual Arts, Los Angeles
1968Selection 1968/University of California, Berkeley, University Art Museum, University of California, Berkeley
1968 New Canaan Library, New Canaan, Connecticut
1969 Contemporary American Painting and Sculpture, Krannert Art Museum, University of Illinois, Urbana-Champaign
1968 Inaugural Exhibition, New School Art Center, New School for Social Research, New York
1968 50th Anniversary Commemorative Art Exhibit, Members Gallery, Albright-Knox Art Gallery, Buffalo, New York
1968 Impressions de USA, Galerie Françoise Mayer, Brussels
1968 American Report on the ’60s, Denver Art Museum, Colorado
1968 2nd Flint Invitational, Flint Institute of Arts, Flint, Michigan
1968 Spaces. Civic Art Gallery, Walnut Creek, California
1968Electric Art, UCLA Art Galleries, University of California, Los Angeles; Phoenix Art Museum, Arizona
1970 Fletcher Benton, Jerry Ballaine, Sam Richardson, San Francisco Museum of Modern Art
1970 Contemporary Trends, Expo Museum of Fine Arts, Osaka, Japan
1970 Berggruen at Art Center, Art Center College of Design, Pasadena, California
1970 4th Annual Invitational, Kent State University, Kent, Ohio
1970 Collectors Choice X, Philbrook Art Center, Tulsa, Oklahoma
1970 Kinetics, Hayward Art Gallery, London
1970 Looking West, 1970, Joslyn Art Museum, Omaha, Nebraska
1970 Crocker Museum Invitational, Crocker Art Museum, Sacramento, California
1970 Japan Art Society. Traveled: Municipal Art Galleries, Yokohama and Sendai, Japan; Kawatoku Gallery, Morioka, Japan
1970 The 73rd Western Annual, Denver Art Museum, Colorado
1970Constructivist Tendencies, Art Galleries, University of California, Santa Barbara; University Art Museum, University of New Mexico, Albuquerque; Fine Arts Gallery of San Diego, California; Minnesota Museum of Art, St. Paul; Art Gallery, University of Alabama, Birmingham; Akron Art Institute, Ohio; Andrew Dickson White Museum of Art, Ithaca, New York; Indiana University Art Museum, Bloomington; Museum of Art, University of Iowa, Iowa City; Art Gallery, State University of New York at Albany; De Cordova Museum, Lincoln, Massachusetts
1970 Painting and Sculpture Today, Indianapolis Museum of Art, Indiana
1971 Kinetic Art, Hudson River Museum of Westchester, Yonkers, New York
1971 Constructivist American Art, Denver Art Museum, Colorado
1971 A Decade in the West, Stanford University Museum of Art, California; Santa Barbara Museum of Art, California
1971 Painting and Sculpture Today, Indianapolis Museum of Art, Indiana
1971 Summer Series, Albright-Knox Art Gallery, Buffalo, New York
1972 Stanford University Museum of Art, California
1972 Looking West, ACA Gallery, New York
1972 Galeria Bonino, Buenos Aires
1973 1973 Biennial Exhibition: Contemporary American Art, Whitney Museum of American Art, New York
1973 Sculpture Invitational, Palo Alto Cultural Center, California
1973 The Product as an Object, Ohio, Akron Art Institute, Ohio
1973 Kinetic Exhibit, University Art Museum, University of California, Berkeley
1973 Art Is for the People, San Diego Museum of Art, California
1973 Acquisitions, ’73, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut
1974 Pioneering Printmakers, Fine Arts Gallery of San Diego, California
1974 Neuberger Museum, State University of New York at Purchase
1974 Public Sculpture/Urban Environment, Oakland Museum, California
1974 Inaugural Exhibition, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.
1974 Acquisitions, Denver Art Museum, Colorado
1974 Arte-Contacto, Estudio Actual, Caracas, Venezuela
1975 Experimental Printmaking Institute Group Exhibition, Polly Friedlander Gallery Seattle; Cleveland Art Institute, Ohio
1975 The First Artists’ Soap Box Derby, San Francisco Museum of Modern Art
1975 Sculptural Directions in the Bay Area, Esther Robles Gallery, Los Angeles
1976 Elvehjem Museum of Art, University of Wisconsin–Madison
1976 University Art Gallery, University of Minnesota, Minneapolis
1976 Rice University, Houston
1976 Martha Jackson Gallery, New York
1976 Wenger Gallery, Inverness, California
1976 James Willis Gallery, San Francisco
1976 Santa Barbara Museum of Art, California
1976 Invitational, University of North Dakota, Grand Forks
1976 Painting and Sculpture, San Francisco Museum of Modern Art; Renwick Gallery, National Collection of Fine Arts, Washington, D.C.
1977 The California Artists, Huntsville Museum of Modern Art, Alabama
1977 Aldrich Museum of Contemporary Art, Ridgefield, Connecticut
1977 Thomas H. Segal Gallery, Boston
1978 Northern California Artists, University Art Gallery, Sonoma State University, Rohnert Park, California
1978 20th-Century Sculpture, John Berggruen Gallery, San Francisco
1978 Art Center College of Design, Pasadena, California
1978 California 3 by 8 Twice, Honolulu Academy of Arts, Hawaii
1979 Art Contact, Miami
1979 Prospectus: Art in the Seventies, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut
1979 John Berggruen Gallery, San Francisco
1979 University Art Gallery, University of California, Santa Cruz
1979 Aspects of Abstract, Crocker Art Museum, Sacramento, California
1979 Sculpture Invitational, Crocker Art Museum, Sacramento, California
1979 Civic Arts Gallery, Walnut Creek, California
1980 Tacoma Art Museum, Washington
1980 Miami University Art Museum, Oxford, Ohio
1980 Syntex Outdoor Sculpture Show, Syntex Corporation, Palo Alto, California
1980 American Paintings and Drawings, John Berggruen Gallery, San Francisco
1981 Amerika Haus, Frankfurt-am-Main, West Germany
1981 Project Sculpture, Oakland Museum, California
1981 Chicago Arts Fair, Navy Pier
1981 Sculptors’ Works on Paper, Quay Gallery, San Francisco
1981 20th-Century American Art: Highlights of the Permanent Collection, Whitney Museum of American Art, New York
1981 Polychrome, Hansen Fuller Goldeen Gallery, San Francisco
1982 San Francisco Arts Festival, Moscone Center
Forgotten Dimension . A Survey of Small Sculpture in California, Fresno Arts Center, California
1982 20 American Artists: Sculpture 1982, San Francisco Museum of Modern Art
1982 Sculpture Conference, Smith Andersen Gallery, Palo Alto, California
1982 Chicago Arts Fair, Navy Pier
1982 Inaugural Exhibition, John Berggruen Gallery, San Francisco
1982 Aspects of Sculpture, John Berggruen Gallery, San Francisco
1982 100 Years of California Sculpture, Oakland Museum, California
1982 Northern California Art of the Sixties, de Saisset Museum, University of Santa Clara, Santa Clara, California
1982 Bay Area Sculpture, University Art Museum, University of California, Berkeley
1982 Project Art, Claremont Hotel, Berkeley, California
1982 California Sculpture, 1982, John Berggruen Gallery, San Francisco
1982 Brook House Sculpture Invitational, Kaiser Center, Oakland, California
1983 Bay Area Collects, San Francisco Museum of Modern Art
1983 Chicago Arts Fair, Navy Pier
1983 CCAC: 75 Years Resource/Reservoirs, San Francisco Museum of Modern Art
1983 The Planar Dimension: Geometric Abstraction by Bay Area Artists, Civic Arts Gallery, Walnut Creek, California
1983 Selected Works, Thomas Babeor Gallery, La Jolla, California
1983 Metal and Stone, Five Sculptors, Riva Yares Gallery, Scottsdale, Arizona
1984 Chicago Arts Fair, Navy Pier
1984 California Sculpture Show, Olympic Arts Festival; Fisher Gallery, University of Southern 1984 California, Los Angeles; Traveled through 1986: C.A.P.C., Musée d’Art Contemporain, Bordeaux, France; Städtische Kunsthalle, Mannheim, West Germany; Yorkshire Sculpture Park, West Bretton, England; Sonja Henies Og Niels Onstads Stiftelser, Høvinodkodden, Norway
1984 Recent Acquisitions, John Berggruen Gallery, San Francisco
1984 California Deluxe, Gloria Luria Gallery, Bay Harbor Islands, Florida
1984 Works in Bronze: A Modern Survey, University Art Gallery, Sonoma State University, Rohnert Park, California
1985 Chapman College Sculpture Acquisition Program, Chapman College, Orange, CA
1985 The Art of the 1970s and 1980s, Aldrich Museum of Contemporary Art, Ridgefield, Connecticut
1985 Going Public, Civic Arts Gallery, Walnut Creek, California
1985 Art in the San Francisco Bay Area, Oakland Museum, California
1985 Teachers and Their Pupils, Anna Gardner Gallery, Stinson Beach, California
1985 Aspects of Constructivism, Atrium Gallery, New York
1985 Artists Forum, Fine Arts Gallery, California State University, Los Angeles
1986 Chicago International Art Exposition, Navy Pier
1986 Seven Artists in Depth: The Creative Process, San Francisco Museum of Modern Art
1986 Art in the Aluminum Vein, Kaiser Center, Oakland, California
1986 Artists Forum, Fine Arts Gallery, California State University, Los Angeles
1986 Thanks for the Memories, Harcus Gallery, Boston
1986 San Jose Museum of Art, California
1986 San Jose Biennial, San Jose State University, California
1986 John Berggruen Gallery, San Francisco
1986 San Francisco Arts Commission Festival, Civic Center Plaza
1986 San Francisco Landscape Garden Show, Fort Mason Center
1987 Arts Irvine ’87, Irvine, California
1987 International Working Symposium of Open Air Sculpture in Steel, Kleinwefers, Krefeld, West Germany
1987 Summer Exhibition, Scott Hanson Gallery, New York
1987 American Artists in Jewelry, Dorothy Goldeen Gallery, Santa Monica, California; Fuller 1987 Gross Gallery, San Francisco; Harcus Gallery, Boston; Nancy Hoffman Gallery, New York
1988 Summer Selections, Thomas Babeor Gallery, La Jolla, California
1988 Steel Sculpture Exhibition, Yorkshire Sculpture Park, West Bretton, England
1988 Bay Area Sculpture: Metal, Stone, Wood, Palo Alto Cultural Center, California
1988 In the Beginning: Maquettes, Syntex Gallery, Palo Alto Cultural Center, CA
1988 Paper Thick: Forms and Images in Cast Paper, Erie Art Museum, Pennsylvania
1988 American Artists in Jewelry, Nancy Hoffman Gallery, New York
1988 Harcus Gallery, Boston
1989 5x5: Five Artists, Five Works, Conley Gallery of Art, California State University, Fresno
1989 American Pop Culture Today, Laforeth Museum, Tokyo
1990 Outdoor Sculpture at Esprit, John Berggruen Gallery, San Francisco
1990 Picasso, Gravuren, und Fletcher Benton, Skulpturen, Einladung in das Mathias Spital, Rheine, Germany
1990 American Artists in Jewelry, Gilman Baker Gallery, Boca Raton, Florida
1991 Florence-Santa Clara: Two Schools of Sculpture, Triton Museum of Art, Santa Clara, California
1991 Summer Exhibition, André Emmerich Gallery, New York
1991 Constructivism: Past and Present, Ersgard Gallery, Santa Monica, California
1992 Two Schools of Sculpture, Academia, Florence, Italy
1992 Foire Internationale d’Art Contemporain, Paris
1992 Objects of Affection, John Berggruen Gallery, San Francisco
1992 American Artists in Jewelry, Rhona Hoffman Gallery, Chicago
1992 The Endowed Chair, Franklin Parrasch Gallery, New York
1993 Out of Town, Krannert Art Museum, University of Illinois, Urbana-Champaign
1993 In the Sculptor’s Landscape, Wight Art Gallery, University of California, LA
1993 Malibu International Sculpture Exhibition, Malibu, California
1993 Recent Acquisitions, John Berggruen Gallery, San Francisco
1993 American Artists in Jewelry, Palm Springs Desert Museum, California
1993 The George and Edith Rickey Collection of Constructivist Art, Neuberger Museum of Art, 1993 State University of New York at Purchase
1993 Table Sculpture, André Emmerich Gallery, New York
1994 Twenty-six Artists: Selections from John Berggruen Gallery, Friesen Gallery, Seattle
1995 XXV Years, John Berggruen Gallery, San Francisco
1996 Galerie B. Haasner, Wiesbaden, Germany
1996 Chicago Arts Fair, Navy Pier
1996 California ’97, Susan Rush Fine Arts, Sag Harbor, New York
1996 Made in Ohio, Miami University Art Museum, Oxford, Ohio
1996 California Art from the Frederick R. Weisman Collections, Pepperdine University, Malibu, California
1997 2x2, Galerie Simonne Stern, New Orleans
1997 Theater of Art, Riva Yares Gallery, Scottsdale, Arizona
1998 The Art Show, 7th Regiment Armory, New York
1998 Floating Forms, Miami University Art Museum, Oxford, Ohio
1998 Summer Exhibition, Tasende Gallery, West Hollywood
1998 Figuration and Abstraction, John Berggruen Gallery, San Francisco
1998 The Art of Collaborative Printmaking, Nevada Museum of Art, Reno
1998 Carl Schlossberg Exhibitions, Inc., Malibu, California
1998 Theater of Art II, Riva Yares Gallery, Santa Fe, New Mexico
1998 Theater of Art III, Riva Yares Gallery, Scottsdale, Arizona
1998 San Francisco International Art Exposition, California
1998 Beverly Hills International Art and Antique Fair, Los Angeles
1998 Robert McClain Gallery, Houston
1999 The Foundry Fifty, Foundry Art Gallery, Sacramento, California
1999 Exhibition of ISC Collection II, International Sculpture Center, Chicago
1999 Winter Exhibition, Tasende Gallery, West Hollywood and La Jolla
1999 Chicago Arts Fair, Navy Pier
The Museum Collects: Treasures of Twenty Years II. Miami University Art Museum, Oxford, Ohio
1999 San Francisco International Art Exposition, California
1999 The Grosvenor House Art & Antiques Fair, Grosvenor House, London
2000 Art Miami 2000: International Art Exposition, Miami
2000 Inagural Show, Imago Galleries, Palm Desert, California
2000 The Art Show, 7th Regiment Armory, New York
2000 Carl Schlossberg Exhibitions, Inc., Malibu, California
2000 May in New York, Carl Schlossberg Fine Arts, New York
2000 San Francisco International Art Exposition, California
2000 Celebrating Modern Art: The Anderson Collection, San Francisco Museum of Modern Art
2000 Galerie B. Haasner, Wiesbaden, Germany
2000 Riva Yares 2000 - The First 35 Years, Riva Yares Gallery, Scottsdale, Arizona and Santa Fe, New Mexico
2000 Welded! Sculpture of the Twentieth Century, Neuberger Museum of Art, New York
2000 Made In California, Los Angeles County Museum of Art
2000 Art/Science - Line/Design, Miami University Art Museum, Oxford, Ohio
2001 artpalmbeach: Modern & Contemporary Art Fair, West Palm Beach, Florida
2001 spektrum kunstlandschaft, Kunsthalle Darmstadt, Germany
2001 Sculptures, Drawings and Works In Relief, John Berggruen Gallery, San Francisco
2001 Reflections: Fifteenth Anniversary Show, Jean Albano Gallery, Chicago
2001 Galerie B. Haasner, Wiesbaden, Germany
2002 San Francisco International Art Exposition, California
2002 Spring Forward: New Work from the Studio, John Berggruen Gallery, San Francisco
2002 Chicago Arts Fair, Navy Pier
2002 art bodensee 2002: ‘San Francisco Bay Area’ - Künstler aus Kalifornien, Dornbirn, Austria
2002 On Ramps: Transitional Moments in California Art, Pasadena Museum of California Art, Pasadena, California.
2002 Sculpture 2002, Foundry Art Gallery, Sacramento, California
2002 The 30th Anniversary Exhibition: Sculpture, Paintings, Prints, Drawings and Photographs, 2002 Carl Schlossberg Fine Arts, Sherman Oaks, California
2002 Wired: Art that Moves, Miami Art Museum
2003 San Francisco International Art Exposition, California
2003 New Beginnings, Tasende Gallery, West Hollywood
2003 Chicago Arts Fair, Navy Pier

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Maves, C. E. “Polished World of Fletcher Benton.” Palo Alto (California) Times, Mar. 1975.
McCann, Cecile N. “Fletcher Benton Color Flow.” Artweek (San Francisco), Oct. 23, 1971.
McDonald, Robert. “Artist Lives in His Sculpture.” Habitat (Cleveland) (Dec. 13, 1985): 6.
Metcalf, Katherine. “Kinetic Sculpture: An Exhibition Assembled by Peter Selz.” Arts and Architecture 83 (June 1966): 30.
Mitchell, John L. “In Beverly Hills Building Is Art.” Los Angeles Times, Aug. 1, 1985.
Monte, James. “Fletcher Benton: Studio Exhibition.” Artforum 2: 11 (Apr. 1964): 45.
Morch, Al. “Bronzing the Alphabet.” San Francisco Examiner, Mar. 24, 1980.
“The Movement Movement.” Time 87: 4
(Jan. 28, 1966): 64.
Muchnic, Suzanne. “Fletcher Benton Retrospective.” Artweek (San Francisco), Apr. 2, 1977.
Neubert, George. “Taking It to the Limits.” Oakland (California) Museum Newsletter 8: 2 (Mar.–Apr. 1980).
Newhall, Edith. “Bauhaus Echoes.” ARTnews (Feb. 1988): 14.
“Oakland Sculpture Hubbub.” San Francisco Chronicle, Sept. 1, 1974.
“Offenbacher Denkmal für den Buchstaben D.” Frankfurter Allgemeine Zeitung (Germany), Oct. 31, 1996.
“Picasso-Originale und Benton-Skulpturen im Krankenhaus.” Westfälische Nachrichten (Germany), Nov. 17, 1990.
Porges, Maria. “New Orleans, Louisiana.” Sculpture (May–June 1994): 71.
“Provocative Sculptures at Stanford.” Palo Alto (California) Times, June 23, 1972.
Reeves, Jean. “Two ‘Organic’ Sculptors Put Beauty in Motion.” Buffalo (N.Y.) Evening News, Jan. 20, 1970.
Regalia, Ron. “Art Provides ‘Free Way of Life,’ Prof. Says.” Spartan Daily (San Jose State University, California), Apr. 30, 1980.
“Renowned Artist Commissioned for Orbanco Building.” Orbanco Newsletter (Portland, Ore.), Jan. 1980.
Rickey, George. “Kinesis Continued.” Art in America 53 (Dec. 1965–Jan. 1966): 45–55.
Rico, Diana. “California Sculpture Show: Really Tubular.” Los Angeles Daily News, June 2, 1984.
Robbeloth, DeWitt. “San Francisco.” ArtScene, Feb. 1970.
Roder, Sylvie. “A Sampling of Sculpture.” Palo Alto (California) Weekly, Mar. 2, 1988.
Rogers, Marcia. “Art Is Subjective.” Muscatine (Iowa) Journal, Oct. 8, 1980.
Rogers, Marcia. “Benton’s Bent.” Quad-City Times (Muscatine, Iowa), Nov. 23, 1980.
Rogers, Marcia. “Benton Art Shown in Muscatine.” Des Moines (Iowa) Register, Dec. 5, 1980.
Saeks, Diane. “Home for Sculpture.” Nob Hill Gazette (San Francisco), Mar. 1986: 24.
Sampaio, Ruy. “A Laranja Antimecanica de Fletcher Benton.” O Jornal (Rio de Janeiro), Oct. 14, 1973.
“Scenes from S/12.” Sculptors International 1: 4 (fall 1982).
Schumann, Manfred E. “Geschnitten, geschweist, gebogen.” Frankfurter Rundschau (Frankfurt, West Germany), July 18, 1981.
“Sculpture—It’s Everywhere.” Montclarion (Oakland, California), Aug. 4, 1982.
“Sculpture of the Sixties.” San Francisco Art Institute News, May 1967.
Seldis, Henry J. “U.S. Sculpture Exhibit Looks beyond the ’60s.” Los Angeles Times, May 7, 1967.
“Seregrafias de Vasarely.” El Nacional (Caracas), Sept. 6, 1970.
Seymour, Ann. “Art for Art’s Sake, Sculpture of Fletcher Benton: Color in Motion.” Centervoice (San Francisco), Oct. 1981.
Seymour, Ann. “Constructivist Sculptures and Paintings.” Artweek (San Francisco), Sept. 29, 1984.
Seymour, Ann. “Fletcher Benton’s Creative Space.” Centervoice (San Francisco), Mar. 1985.
“Shades, Forms, Daring Colors.” Offenbach Post (West Germany), June 1981.
Shere, Charles. “Two Exhibits Show Constructivists.” Oakland (California) Tribune, Mar. 18, 1980.
Shere, Charles. “Fletcher Benton’s Poised Sculpture.” Oakland (California) Tribune, Mar. 30, 1980.
Sheridan, Jan. “Balanced Tension Gives Sense of Motion to Fixed Structure.” Arizona Republic (Phoenix), Aug. 18, 1985.
Sherman, Lola. “Golfers See Red over Sculpture in Rancho Santa Fe.” San Diego Tribune, May 8, 1989.
Smith, Starla. “University of Iowa Gets ‘Folded Square D’.” Iowa City Press Citizen, Aug. 26, 1981.
Stiles, Knute. “Fletcher Benton at John Berggruen.” Art in America 68: 6 (June 1980): 163.
Sullivan, Meg. “Malibu Sets up Waves of Art.”
Los Angeles Daily News, June 28, 1993.br>Tall, William. “Exploring the Mystery of Kinetic Art.” Detroit Free Press, Apr. 5, 1970.
Temko, Allan. “Benton’s Unexpected Spatial Treasures.” San Francisco Examiner, Mar. 30, 1980.
Temko, Allan. “Sculptural Fun and Games.” San Francisco Chronicle, Mar. 20, 1981.
“10 Meters by 10 Meters Alphabet Sculpture.” Frankfurter Rundschau (West Germany), June 15, 1981.br>Thorson, Alice. “Fletcher Benton.” New Art Examiner, Dec. 1979.
Tomidy, Paul. “Fletcher Benton: New Sculpture.” ART 8: 2 (Mar.–Apr. 1980): 8–9.
“Un Cinetico en la Estudio Actual.” El Nacional (Caracas), Sept. 7, 1970.
“Vanishing Circus Nudes.” San Francisco Chronicle, Apr. 17, 1974.
Van Tongeren, Herk. “Fletcher Benton at the Oakland Museum.” Sculptor’s News Exchange, Apr. 1980.
Waddington, Chris. “Graceful Forms from an Unwieldy Substance.” New Orleans Times-Picayune, Dec. 10, 1993.
Waddington, Chris. “San Francisco Artist Twists, Bends, Impresses.” Lagniappe (New Orleans), Sept. 19, 1997.
Wallace, Dean. “Polychrome Sculpture Says ‘Please Touch’.” San Francisco Chronicle, Aug. 24, 1964.
Wallace, Dean. “Art: Hard-Edge and Electronic.”
San Francisco Chronicle, Nov. 23, 1964.
Walls, Jim. “Experimental Artist Explores New Domain.” San Francisco Chronicle, Jan. 20, 1960.
Walsh, Tom. “Gift to University of Iowa Isn’t Cost Free.” Cedar Rapids (Iowa) Gazette, Aug. 22, 1981.
Weaver, Gay M. “Sculpture ’72.” Artweek (San Francisco), July 29, 1972.
Weaver, Gay M. “Sculpture Show One of the Finest Ever Held at Palo Alto Center.” Palo Alto (California) Times, Jan. 19, 1973.
Weimers, Leigh. “A Rather Involved Slice of Real Life.” San Jose (California) Mercury News, Sept. 26, 1980.
Wilson, Pete. “Benton Sculpture in Main Lobby of Columbus Bank.” Jackson (Ohio) Journal, Dec. 6, 1976.
Wilson, William. “Air of Pageantry in Banner Art.” Los Angeles Times, July 26, 1965.
Wilson, William. “Benton’s Sculpture Shines.” Los Angeles Times, May 6, 1966.
Wilson, William. “Sculpture: California Dreaming.” Los Angeles Times, Aug. 29, 1982.
Wilson, William. “A Potpourri of California Sculpture.” Los Angeles Times, June 17, 1984.

Dore Street Studio–Fletcher Benton. Color video. Producer: Dave Hatch, 1984.
Fletcher Benton. Color video. Chico: Library, California State College, Chico; San Jose, California: California State University, 1973.
Fletcher Benton. Color video. Producer: Michael J. Parsons. Director: Morgan Cavett. Baguio City, Philippines: Duntog Foundation, Inc., 1997.
Fletcher Benton: Dedication of Brussels Sculpture. Color video. Brussels: Morgan Guaranty Trust, 1993.
Fletcher Benton: Homage to WWII Fighter and Bomber Aircraft. Producer/Director: Morgan Cavett, 1997.
Fletcher Benton: Selected Works, 1964–1974. Color video. Narrated by Gerald Nordland.
de Saisset Museum, University of Santa Clara, California, 1975.
Fletcher Benton’s Studio. Library, California State University, San Jose, 1969.
It’s a Good Time to Be West. California/International Arts Foundation. Producer/Director: Robin Lough, British Broadcasting Corporation. Executive Producer: Lyn Kienholz, 1984.
The Shape of Change. San Jose: Library, California State University, San Jose, 1973.
Two Artists—Fletcher Benton and Marva Cremer. Color video telecast, March 2, 1975, KQED, San Francisco.
Works in Bronze, A Modern Survey. Pohnert Park, California: University Art Gallery, Sonoma State University, 1984.
Worth, Carl. Spaces. Walnut Creek, California: Civic Art Gallery, 1969.

Achenbach Foundation for Graphic Arts, California Palace of the Legion of Honor, San Francisco
Agder College, Kristiansand, Norway
Aldrich Museum of Contemporary Art, Ridgefield, Connecticut
American Republic Company, Des Moines, Iowa
Anderson Collection, University of California, Los Angeles
Banque Lambert, Brussels
Berkus Outdoor Collection, Santa Barbara, California
Bishop Ranch, San Ramon, California
Capital Research, Los Angeles
Cedars Sinai Hospital, Los Angeles
City of Offenbach, Germany
Civic Arts Gallery, Walnut Creek, California
Columbia Savings and Loan, Beverly Hills, California
Corcoran Gallery of Art, Washington, D.C.
Crocker Art Museum, Sacramento, California
Louise M. Davies Symphony Hall, San Francisco
de Saisset Museum, University of Santa Clara, Santa Clara, California
Denver Art Museum, Colorado
Eunji Corporation, Seoul
Federal Reserve Bank of San Francisco
First National Bank, Dallas
First National Bank of Ohio, Columbus
Grounds for Sculpture, Hamilton, New Jersey
Haas School of Business, University of California, Berkeley
Hare, Brewer and Kelley, Mountain View, California
Hartwood Acres Sculpture Park,Pittsburgh, Pennsylvania
Hibernia Bank, San Francisco
Highland Court, Orange, California
Hilton Hotels, Seoul
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.
Hughes Aircraft Company, Sunnyvale, California
IBM Corporation, Boca Raton, Florida
IBM Corporation, Los Angeles
IBM Corporation, New York
IBMCorporation, San Jose, California
Kleinewefers, Krefeld, Germany
Klingspor Museum, Offenbach, Germany
Koll Company, San Jose, California
Krannert Art Museum, University of Illinois, Urbana-Champaign
Kröller-Müller Museum and Sculpture Garden, Otterlo, the Netherlands
La Jolla Museum of Contemporary Art, California
Metropolitan Museum of Art, New York
Miami University Sculpture Garden, Oxford, Ohio
Milwaukee Art Center, Wisconsin
Mirabella Corporation, Los Angeles
Modernes Köln, Cologne
Morgan Guaranty Trust, Euroclear Headquarters, Brussels
Mount Zion Hospital, San Francisco
Franklin D. Murphy Sculpture Garden, University of California, Los Angeles
Museum Ludwig, Cologne
National Bank of Commerce, Lincoln, Nebraska
Neiman Marcus Group, Dallas
Nestle USA, Inc., Glendale, California
Neuberger Museum, State University of New York at Purchase
New Orleans Museum of Art
Newport Harbor Art Museum, Newport Beach, California
Oakland Museum, California
Orbanco Corporation, Portland, Oregon
Pacific Mutual Life Insurance Company, Newport Beach, California
Phoenix Art Museum, Phoenix, Arizona
John Portman Collection, San Francisco
Pratt Institute, Brooklyn, New York
Prudential Life and Casualty, Merrillville, Indiana
Pyramid Hill Sculpture Park and Museum, Hamilton, Ohio
Nelson Rockefeller Collection, New York
San Francisco Museum of Modern Art
San Jose State University Sculpture Garden, San Jose, California
Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska, Lincoln
Singer Company, New York
Smalley Sculpture Garden, University of Judaism, Los Angeles
Stanford University Museum of Art, Stanford, California
Stanley Associates, Muscatine, Iowa
Summa Corporation, Las Vegas, Nevada
Taubman Corporation, Ann Arbor, Michigan
Taubman Corporation, Fair Oaks, Virginia
Taubman Corporation, Reno, Nevada
Thurman Arnold Building, Washington, D.C.
Trizec Western Inc., Los Angeles
University Art Museum, University of California, Berkeley
University of California, Irvine
University of Northern Iowa, Cedar Falls
University of Rio Grande, Rio Grande, Ohio
Victoria and Albert Museum, London
Whitney Museum of American Art, New York