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Born December 23rd, 1940, Nancy Stevenson Graves was the daughter of an assistant director at the Berkshire Museum in her hometown of Pittsfield, Massachusetts. ...
Exploring first drawing, and later painting, Nancy Graves pursued and practiced her craft. ... Graves classmates and instructors could easily see her artistic talent. ...
It was in the years between 1962 and 1964, that Graves, still a two-dimensional artist only, would begin to branch out, finding new influences in the form of Alex Katz, Al Held, and Jack Tworkov. Each of these men taught Graves something unique and unfamiliar, and through her associations with each, she was able to create a little bit more of her own unique style for use in her expressive art.
Graduating with a masters from the Yale School of Art and Architecture, Graves was awarded the Fulbright-Hayes fellowship to study painting in Paris. ... The final piece of Nancy Graves artistry fell into place as she looked at Susinis works. Susinis works, with their intriguing mixture of diverse elements fired Nancy Graves creativity, and she soon was working on the project that would become one of her most well known: In Florence, 1966, she produced her first sculpture of a camel.
Graves moved to New York City in 1967, and she found her place in the world of art easily. ... The Bactrian (double humped) camels were so full of lines and curves, and was a study in balance for a new sculptor like Nancy Graves. The fact that she was able to produce a lifelike set of camels without the use of any visual representations of them nearby was amazing to many appreciators of sculpture: In 1968, Graves would become the first woman to have a one-artist display at the Whitney Museum of American Art. ...
In 1970 Nancy Graves interest in fossils and nature grew, and she created "Variability of Similar Forms," a group of freestanding skeletal legs made of various materials including wax, steel, marble dust, and acrylic. ... Again, Nancy Graves combined art and science to make a fresh and interesting sculpture. ...
Graves would continue to explore anthropological sculpting until 1971, when her interests directed towards painting. Graves paintings were as unusual as her art: There was no such thing as "just a canvas. ... In the meantime, Graves concentrated on a series of symbolic paintings known as the Simca series. ... Graves sought to change peoples perspectives on history and historical myths by casually tossing them together.
Approximate Word count = 1994
Approximate Pages = 8
(250 words per page double spaced)
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