Judith Shea has made a study of the human form in many guises and materials. From simple, iconic textile "clothes," and hollow bronze forms enveloping an absent figure, to carved wooden "anti" monuments, her work has often ironically quoted art history to comment on life now. In her most recent body of work, Judith Shea: Legacy Collection, a personal narrative of September 11th 2001, she has revisited the use of cloth and clothing in her work, as memorial.
Widely exhibited in the U.S., her work is in the permanent collections of many American museums, such as The Metropolitan Museum, The Whitney Museum of American Art, and MOMA in her native New York, as well as The National Gallery, and Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution, in Washington, D.C. Her works have been commissioned by others, such as, the Nelson-Atkins Museum of Art in Kansas City, The Walker Art Center in Minneapolis, the United States Embassy in Istanbul, Turkey, the Oliver Ranch in California, and The Public Art Fund in New York.
Her works have been recognized by The National Endowment for the Arts Fellowship in Sculpture, 1984 and 1989; Sculptor in Residence Fellowship, Chesterwood, the National Historic Trust, Stockbridge, Massachusetts, 1989; The Rockefeller Foundation Fellowship, Bellagio, Italy, 1993; Fellow of the Augustus Saint-Gaudens Memorial, Cornish, New Hampshire, 1993; The Rome Prize, 1994; The Artists Legacy Foundation Award; and Anonymous Was A Woman Award in 2011.
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