Jacqueline Winsor

Jacqueline "Jackie" Winsor (born October 20, 1941, in St. John's, Newfoundland) is a Canadian-American sculptor. Her style, which developed in the early 1970s as a reaction to the work of minimal artists, has been characterized as post-minimal, anti-form, and process art.^[1][2] Informed by her own personal history, Winsor's sculptures from this period sit at the intersection of Minimalism and feminism, maintaining an attention to elementary geometry and symmetrical form while eschewing Minimalism's reliance on industrial materials and methods through the incorporation of hand-crafted, organic materials such as wood and hemp.^[2][3]

Winsor has been in several exhibitions. In 1979, a mid-career retrospective of her work opened at the MoMA;^[4] this was the first time the MoMA had presented a retrospective of work by a woman artist since 1946.^[5] Other exhibitions include "American Woman Artist Show," April 14 – May 14, 1974 at the Kunsthaus Hamburg (Germany), curated by Sybille Niester and Lil Picard;^[6] "26 Contemporary Women Artists," April 18 – June 13, 1971 at the Aldrich Museum of Contemporary Art, curated by Lucy Lippard;^[7] and "Jackie Winsor: With and Within," October 19, 2014 – April 5, 2015 at the Aldrich Museum of Contemporary Art, curated by Amy Smith-Stewart.^[3]

Early life

Jacqueline Winsor was born October 20, 1941 in Saint John’s, Newfoundland. She is the second of three daughters and the descendant of three hundred years of Canadian ships’ captains and farmers. Windsor was brought up in an old-fashioned, Anglophilic manner.^[8] A large part of her adolescence was spent helping her father build houses. One of Winsor’s jobs was to “straighten the old nails and then hammer them down”, an action she would later introduce into her own work.^[9] Winsor’s family moved frequently during the 1940s due to her father’s job between Newfoundland, Nova Scotia, and New Brunswick. In 1952, Winsor and her family immigrated to the United States and moved to Boston, Massachusetts. Boston’s urbanity brought Windsor culture shock, so she would still return to Newfoundland during her summers.^[8]

Background and Education

Winsor began her formal art studies Massachusetts College of Art, where she focused on painting, and it was not until her time in graduate school at Rutgers University, which she attended from 1965–1967, that she began to experiment with sculpture.^[3] Winsor received a B.F.A. from Massachusetts College of art in 1965.^[10] Winsor received her M.F.A. from Rutgers University, where she met artists Keith Sonnier(whom she then married) and Joan Snyder, in 1967. The three artists then moved to New York City after graduating.^[8]

Career

Jacqueline Winsor’s work can be categorized as process art, “anti-form”, and “eccentric abstraction”. She is known for consistently using geometric forms like the cube and the sphere and she connected process with appearance. Jacqueline believes that her pieces of art are connected to specific occurrences in her life, however not directly connected by any personal events that she went through.^[11]

During the late 1960s, Winsor and her contemporaries, which included artists such as Lynda Benglis, Eva Hesse, Barry Le Va, Bruce Nauman, Joel Shapiro, and Richard Tuttle, collectively pushed modern sculpture into a new “Postminimalist” direction.^[8] Richard Marshall states that these artists “shared a willingness, even a need to reinvent form (often using novel and unexpected materials), to invest that form with meaning.”^[12]

The first sculptures Winsor created in New York were made with materials which are now associated with “anti-formal” sculpture. These materials included rubber sheeting, tubes, cord, and even hair. Winsor also began experimenting with rope dipped in latex or polyester resin to create linear shapes.The first significant piece of her career was Rope Trick, a six foot tall length of rope in which she embedded with a metal rod to keep it standing upright.^[8] Although visually similar to the works of Minimalism, Winsor’s sculptures did not aim to completely separate herself or her personal experience from the work she was creating. Winsor believed that an artist’s work is a reflection of their inner selves^[13] and she demonstrated this in her rope pieces, as they relate back to her heritage of sea captains. Winsor even remarked that those kinds of ropes “might be used to tie an ocean liner to its dock”.^[14]

An important influence for Winsor during this time was American dance, choreographer, and filmmaker Yvonne Rainer. Rainer’s work was experimental and its intention was to put the body back into abstraction and use it along with motion to create shape. Her performances were often based on particular actions or tasks, which Winsor felt had a relationship to the ways in which she herself performed tasks in her own work.^[8] Winsor remarked, "What interested me was that these abstractions had a physical presence because they were acted out with bodies ," as opposed to "the hands-off sensibility toward abstraction" typically seen in Minimalist sculpture.^[15] Winsor uses very involved, hands-on processes to create her sculptures, including nailing, wrapping, joining, and measuring. Winsor’s work-flow has been described as being slow and obsessive. On average. Winsor produces only three sculptures a year.^[8] Winsor describes, “Maintaining integrity toward the perfection you envisioned in the beginning is a constant concern. I spend an enormous amount of time just trying to imagine if an eighth of an inch at some point is going to make a major difference in the completed construction of the piece.”^[16] Her work not only examines form and material, but also process, space, surface, weight, and density.^[8] Winsor asserts her role as an object-maker by creating works with clear material integrity.^[17]

She is also best known for her thick rope pieces, usually 4-inch rope and combines that with natural wood. Jacqueline Winsor also keeps a sculpture in her studio that has more meaning to her than a random passerby. It is a plain sphere over a foot in diameter me of solid concrete. To her, it is a perfect symbol of density.^[18]

Winsor currently teaches at SVA in New York City.^[19]

Feminist Art Movement

Winsor was included in “More than Minimal: Feminism and Abstraction in the ‘70s”, along with Lynda Benglis, Jackie Ferrara, Nancy Graves, Eva Hesse, Ana Mendieta, Mary Miss, Ree Morton, Michelle Stuart, Dorothea Rockburne, and Hannah Wilke.

Despite being referenced as making work that went against the macho-Minimalist sculpture movement, Winsor says, “When I think about things like feminism, it seems to me a political moment that supported the life I’ve had….I support it 100 percent although I have no real interest in it in my work.”^[20]

Books, Catalogues, and Publications

• 1966

• Rutgers, Douglass College. Promethean. 1965-1966, #1. Essay by Jackie Winsor, pp. 7-13.

• 1967

• Harayda, Marel. “Douglass Art Student Quickly Catches Up With Her Career,” The Arts and Hobbies, April 30, 1967.

• 1970

• New York, Whitney Museum of American Art. The Whitney Museum of American Art Sculpture Annual, 1970, p. 13, illus.

• 1971

• Masheck, John. “Sorting Out the Whitney Annual,” February 1971, pp. 70-75.
• Perreault, John. “Whitney Annual,” The Village Voice, April 29, 1971.
• Glueck, Grace. “Art Notes,” The New York Times, May 30, 1971.
• Ridgefield, Connecticut, The Aldrich Museum of Contemporary Art. 26 Contemporary Women Artists. 1971. Essay by Lucy R. Lippard.
• Bear, Liza. “Rumbles,” Avalanche, Fall 1971, illus.

• 1972

• Bear, Liza. “An Interview with Jackie Winsor,” Avalanche, Spring 1972, pp. 10-17, illus.
• Hamburg, Kunsthaus. American Women Artists Show. 1972. p. 32, illus.
• Flemming, Hans Theodor. “Schule der Frauen: American Women Artists Show,” Die Welt, April 15, 1972.
• Mosch, Inge. “Die Kunst Beginnt Schon Vor Dem Kunsthaus,” Hamburge Abendblatt, April 16, 1972.
• Hauptmann, Hans. “Bummel Durch die Galerien,” Hamburger Anzeigen U. Nachrichter, April 17, 1972.
• Smith, Roberta. “New York,” DATA (Milan), #4, 1972.
• New Brunswick, New Jersey, Rutgers, Douglass College Library. Ten Women Artists. 1972.
• Detroit Institute of Arts. Twelve Statements Beyond the 60’s. 1972. Essay by Frank Kolbert.

• 1973

• Genauer, Emily. “Art and the Artist,” The New York Post, January 27, 1973.
• Perreault, John. “Jackie Winsor at Paula Cooper,” Art in America, January 1973, pp. 103-104.
• New York Cultural Center. Soft as Art. March - May 1973. Essay by Mario Amaya.
• Smith, Roberta. “The Whitney Biennial - Four Views,” Arts Magazine, March 1973, pp. 63-66. (essays by Goldberg, Lee, Stitelman)
• Oberlin, Ohio, The Allen Memorial Art Museum. Festival of Contemporary Arts. Spring 1973.
• Elek, Cynthia. “Four Contemporary Artists - Participation in Living Culture,” Oberlin Review, April 27, 1973, p. 5, illus.
• Perreault, John. “Art,” The Village Voice, May 10, 1973.
• Collins, James. “Soft as Art,” Artforum, June 1973, pp. 46-48, illus.
• Paris, Musee d’Art Moderne de la Ville de Paris. 8e Biennale de Paris. September 14 - October 21, 1973.
• Leveque, Jean-Jacques. “A la 8e Biennale de Paris: 100 Createurs de 20 a 35 Ans,” Elle, September 23, 1973, pp. 164-166, illus.
• Ratcliff, Carter. “8e Biennale, Jackie Winsor,” Art Press, September/October 1973, p. 8, illus.
• Perreault, John. “A New Turn of the Screw,” The Village Voice, November 1, 1973, p. 34.
• Mellow, James. “Erotic Art Spans Times and Mores,” The New York Times, November 3, 1973.
• Van Straaten, Evert. “Notities,” Museum Journal #6, Series 18, December 1973.
• Lubell, Ellen. “New York Galleries,” Arts Magazine, December 1973, pp. 63-64, illus.
• Campbell, Lawrence. “New York Reviews,” ARTnews, December 1973, p. 96.
• Arts Canada, December 1973, pp. 206-207, illus.

• 1974

• Gilbert-Rolfe, Jeremy. “Review,” Artforum, January 1974, pp. 67-68, illus.
• Lippard, Lucy. “Jackie Winsor,” Artforum, February 1974, pp. 56-58, illus. (cover)
• “Art and Money: Group Portrait with Accountant,” Esquire, November 1974, pp. 118-129, illus.
• The Art Institute of Chicago. Seventy-first American Exhibition. 1974.
• Indianapolis Museum of Art. Painting and Sculpture Today. 1974.

• 1975

• New Brunswick, New Jersey, Rutgers University Art Gallery. A Response to the Environment. March 16 - April 26, 1975. Essay by Jeffrey Wechsler.
• Alloway, Lawrence. “Women’s Art in the 70’s,” Art in America, May/June 1975, p. 64.
• London, The Hayward Gallery. The Condition of Sculpture. May 29 - July 13, 1975.
• Alloway, Lawrence. “Caro’s Art,” Artforum, October 1975, p. 70, illus.
• Chapman, Hilary. “The Condition of Sculpture 1975,” Arts Magazine, November 1975, p. 69.

• 1976

• Johnson, Ellen H. “American Art of the 20th Century,” Apollo, Vol. CIII, #168, February 1976, pp. 53-54, illus.
• Robbins, Corinne. “Review,” The Soho Weekly News, April 1976.
• Copenhagen, Aarhus Kunstmuseum and Galerie Asbaek. The Liberation: 14 Women Artists. April 9 - June 6, 1976.
• Foote, Nancy. “Review,” Artforum, June 1976, p. 65, illus.
• Andre, Michael. “New York Reviews,” ARTnews, September 1976, p. 115, illus.
• “Fine Arts,” Edgecliff, September 17, 1976, p. 4, illus.
• Cincinnati, The Contemporary Arts Center. Jackie Winsor: Sculpture. October 1976 - April 1977. Interview with Jackie Winsor/Ellen Phelan.
• Brown, Ellen. “Sculptor Jackie Winsor’s Exciting Results,” Cincinnati Post, October 2, 1976, p. 34.
• Findsen, Owen. “Art to Stand the Test of Time,” Cincinnati Enquirer, October 3, 1976, p. F7.
• Ferneding, Karen. “Winsor’s Sculpture Carries Some Weight,” News Record (University of Cincinnati), October 8, 1976, illus.
• Meyer, Ruth. “Winsor Revisited,” Rivertown Times, November 3, 1976, p. 10.
• Lippard, Lucy. From the Center. New York: E.P. Dutton & Company, 1976. pp. 202-209, illus.

• 1977

• Hill, Roger. “A Block of Wood, a Coil of Rope and Wow!” Northwest Magazine, January 2, 1977, p. 13, illus.
• Sutinen, Paul. “Simple Process Taken to Sensible Conclusions,” Willamette Week (Portland, Oregon), January 3, 1977, illus.
• Kelly, Claire C. “Jackie Winsor: Doing it the Hard Way,” Artweek, January 15, 1977, p. 1, illus.
• Smith, Roberta. “Winsor Built,” Art in America, January/February 1977, illus.
• New York, Whitney Museum of American Art. 1977 Biennial Exhibition. 1977.
• Bloomfield, Alfred. “Art that must be seen by the roomful,” San Francisco Examiner, March 4, 1977, p. 24.
• Frankenstein, Alfred. “Asian Treasures and Modern Sculpture,” World, March 6, 1977, p. 41.
• “Art in the local galleries,” San Francisco Examiner/Chronicle, March 13, 1977, p. 43.
• Artweek, March 26, 1977, p. 1, illus.
• “The Diego Cortez Italian Liquor Party with Grappa and Latte de Soucera,” File, Spring 1977.
• Smith, Roberta. “The 1970’s at the Whitney,” Art in America, May/June 1977, pp. 91-93.
• Pincus-Witten, Robert. “Winsor Knots: The Sculpture of Jackie Winsor,” Arts Magazine, June 1977, pp. 127-133, illus.
• Larson, Kay. “Six Art Institutes: On the Long Lonesome Road of the Avant-Garde,” June 1977, pp. 50-54, illus.
• Chicago, The Museum of Contemporary Art. A View of a Decade. September 10, 1977 - November 10, 1977. Essay by Robert Pincus-Witten.
• Vancouver Art Gallery. Strata: Nancy Graves, Eva Hesse, Michelle Stuart, Jackie Winsor. October 9, 1977 - November 6, 1977. Essay by Lucy Lippard, pp. 22-26, illus.
• Lippard, Lucy. “Strata: Nancy Graves, Eva Hesse, Michelle Stuart, Jackie Winsor,” Vanguard, October 1977, pp. 17-18, illus.
• Perry, Art. “Strata Exhibit Moves From Burlesque to the Sublime,” The Province, October 21, 1977.
• Tomass, Barbara. “Jackie Winsor,” And/Or, October 1977.
• “Artists Now Living in New York,” Criteria, November 1977, p. 4, illus.
• New Brunswick, New Jersey, Rutgers University. Twelve from Rutgers. November 6 - December 18, 1977.
• Morrison, Ann. “Strata: Nancy Graves, Eva Hesse, Michelle Stuart, Jackie Winsor,” Parachute, Winter 1977-1978, pp. 12-14, illus.

• 1978

• Hartford, Connecticut, Wadsworth Atheneum. Matrix 38: Jackie Winsor. April–June 1978. Essay by Andrea Miller-Keller.
• Amsterdam, Stedelijk Museum. Made by Sculptors. 1978.

• 1979

• New York, Museum of Modern Art. Jackie Winsor. January 12 - March 13, 1979. Essay by Ellen Johnson.
• Senie, Harriet. “Artview,” The New York Post, January 20, 1979, p. 33.
• Kramer, Hilton. “The Second Generation of Minimalists,” The New York Times, February 4, 1979, p. D29.
• “Voice Choices: Jackie Winsor,” The Village Voice, February 5, 1979, p. 55.
• Bourdon, David. “Art: Jackie Winsor,” Vogue, February 1979, p. 34.
• Perreault, John. “Winsor at MOMA, Hemped and Cubed,” The Soho Weekly News, February 15, 1979, p. 52.
• Glueck, Grace. “Art People: Jackie Winsor in Two Museums,” The New York Times, February 16, 1979, p. C20.
• Stevens, Mark. “Raw Magic,” Newsweek, February 26, 1979, p. 78.
• Tallmer, Jerry. “Young Sculptors Have Good Time,” The New York Post, February 24, 1979, p. 33, illus.
• Lincoln, Massachusetts, De Cordova Museum. Born in Boston. 1979. pp. 36-37, illus.
• Taylor, Robert. “Born in Boston,” Boston Sunday Globe (New England Magazine), February 25, 1979, pp. 4-16, illus.
• Gruen, John. “Jackie Winsor: Eloquence of a Yankee Pioneer,” ARTnews, March 1979, pp. 57-60, illus.
• Zimmer, William. “Art for the Me Decade,” The Soho Weekly News, March 1, 1979, pp. 39, 41, illus.
• Smith, Roberta. “Portfolio: a Celebration of Women Artists,” Ambiance, March 1979, pp. 84-87, illus.
• Highstein, Jene and Jackie Winsor. “Report from China: A Dialogue on Architecture,” Art in America, March/April 1979, pp. 23, 25.
• Van der Horst, Wendy. “Jackie Winsor,” The Graduate Review, April 1979, p. 12, illus.
• New York, Whitney Museum of American Art. 1979 Biennial Exhibition. 1979.
• Gholson, Craig. “More Than Minimal Jackie Winsor,” Interview, April 1979, pp. 62-64, illus.
• Freeman, Adele. “Winsor Unravels Memories in Twine and Rope Houses,” The Globe and Mail (Toronto), May 9, 1979, p. 13, illus.
• Gibson, Eric. “New York,” Art International, May 1979, pp. 18-24, illus.
• Leshyk, Tonie. “Jackie Winsor at the Art Gallery of Ontario,” Artists Review, #18, June 6, 1979.
• Russell, John. “Celebrating American Art at the Whitney,” The New York Times, June 9, 1979.
• Kutner, Janet. “Jackie Winsor’s Small World,” Dallas Morning News, June 15, 1979, p. 8, illus.
• New York, Museum of Modern Art. Contemporary Sculpture: Selections from the Collection of the Museum of Modern Art. 1979. Foreword by Kynaston McShine.
• Dillon, David. “Jackie Winsor’s Homespun Minimalism,” D Magazine, September 1979, p. 25, illus.
• Kutner, Janet. “Let’s Wrap,” Dallas Morning News, September 12, 1979.
• Nuckols, Carol. “The Art of Jackie Winsor,” Fort Worth Review, September 16, 1979.
• Nuckols, Carol. “Modern Sculpture Reveals Contradictions,” Fort Worth Star Telegram, September 21, 1979.
• House, Terri. “Sticks, Stones Combine for Art,” Shorthorn, September 25, 1979.
• Kutner, Janet. “Simplistic Sculpture Reaches Back to Basic Design Concept,” Dallas Morning Star, September 26, 1979, p. K21.
• Barklay, Alan. “Jackie Winsor and Post-Minimalism,” Vanguard, September 1979, pp. 12-17, illus.
• Badanna, Zack. “Jackie Winsor,” Artmagazine, September/October 1979, pp. 14-16, illus.
• Marvel, Bill. “Stuff Cemnents an Impression,” Dallas Times-Herald, October 7, 1979, p. 17, illus.
• Thistlewaite, Mark. “In the Presence of Contained Energy,” Artweek, #33, October 13, 1979, illus.
• Hoffman, Donald. “Take a Gander at Laser Holograms in “Through the Looking Glass” Show,” Kansas City Star, December 9, 1979.
• Munro, Eleanor. Originals: American Women Artists. New York: Simon and Schuster, 1979. pp. 431-437, illus.
• Johnson, Ellen. “Jackie Winsor,” Parachute, Winter 1979, pp. 26-29.
• Weil, Stephen. “The “Moral Right” Comes to California,” ARTnews, December 10, 1979, p. 90, illus.
• Ridgefield, Connecticut, The Aldrich Museum of Contemporary Art. The Minimal Tradition. 1979.
• Heicom Nine, Fall/Winter 1979, Vol. 1, #2, p. 86, illus.
• Zurich, Kunsthaus. Weich und Plastisch/Soft Art. 1979. p. 131, illus.
• New York. The Museum of Modern Art Annual Report 1978-1979. p. 13, illus.

• 1980

• “Feminism and Artistic Standards,” The New York Times, January 21, 1980.
• Hjort, Oystein. “Mot en ny Sensibilitet,” Paletten, February 1980, pp. 26-36, illus.
• New York, Whitney Museum of American Art. The Fiftieth Anniversary of The Whitney Museum of American Art. 1980.
• Kramer, Hilton. “Sculpture: Whitney Shows Major Gifts,” The New York Times, April 18, 1980, p. C21.
• Jacksonville Art Museum. The Norman Fisher Collection. 1980.
• Gruen, John. “Women Artists,” Working Women, July 1980, pp. 30-33, illus.
• “Wild and Woolly Art,” Globe, July 15, 1980, illus.
• Milwaukee, HHK Foundation for Contemporary Art, Inc. Art in Our Time. October 1980 - December 1982.
• Cincinnati, The Contemporary Arts Center. American Artists on Art: The Past Four Decades. 1980.

• 1981

• Danoff, Michael. “Ten Years Downtown: Art in Our Time,” Dialogue, January/February 1981, pp. 22-23, illus.
• Urbana/Champaign, University of Illinois. The Krannert Art Museum Bulletin. 1981.
• Shaw-Eagle, Joanna. “American Women in Sculpture,” Harper’s Bazaar, August 1981, pp. 162-163.
• “Monumental Show at ICA Not Massive,” Richmond News-Leader, August 29, 1981.
• Merritt, Robert. “Art,” Richmond Times-Dispatch, September 1, 1981.
• Proctor, Roy. “The New Biennial,” Richmond News-Leader, September 5, 1981.
• “Three Artists Featured in Free Forum,” Richmond News-Leader, September 12, 1981.
• Green, Barbara. “Sculpture Celebrates Physical: Bulk, Mass, Life of Materials,” Richmond News-Leader, October 1, 1981, p. 29, illus.
• Cleveland Museum of Art. Contemporary Artists. 1981. pp. 43-44, illus.
• Chenoweth, Ann. “Jackie Winsor: 1967-1978,” ICA of the Virginia Museum Pamphlet, illus.
• “The Marriage of Madness and Magic,” Bomb, #2, 1981, p. 62, illus.

• 1982

• Marzorati, Gerald. “Art Picks,” The Soho Weekly News, March 16, 1982.
• Raynor, Vivien. “Jackie Winsor,” The New York Times, March 19, 1982.
• Tallmer, Jerry. “The Sculpture That Went Boom,” The New York Post, March 20, 1982, p. 9, illus.
• Herr, Marcianne. “Jackie Winsor Sculptures,” Dialogue, May/June 1982, pp. 57-58, illus.
• Trenton, New Jersey State Museum. Rutgers Master of Fine Arts 20th Anniversary Exhibition. May 8 - June 2, 1982. Introduction by Donald Kuspit.
• Glueck, Grace. “Art,” The New York Times, September 10, 1982.
• Wooster, Ann-Sargent. “Jackie Winsor at Paula Cooper,” Art in America, October 1982, p. 125, illus.
• Clarke, Orville O. “Shaving a Medium,” Artweek, August 12, 1982.
• “Artists in Concrete,” Martin Marietta Today, #4, 1982, pp. 8-9, illus.
• University of California at Davis. Sculptors at UC Davis: Past and Present. 1982.

• 1983

• New York. School of Visual Arts Fine Arts Faculty. 1983. Introduction by Jeanne Siegel.
• Pincus-Witten, Robert. Entries: “Maximalism”. Out of London Press, 1983.
• Indianapolis, The Artifacts Gallery. ART: The Textile Reference. 1983.
• “Sculpture and Fiction,” Bomb, #6, 1983, p. 6.
• New York, Whitney Museum of American Art. 1983 Biennial Exhibition. 1983.
• Bell, Jane. “Biennial Directions - The 1983 Whitney Biennial,” ARTnews, Summer 1983, pp. 67-79.
• New York, Whitney Museum of American Art. Minimalism to Expressionism: Painting and Sculpture Since 1965 from the Permanent Collection. 1983. Essay by Patterson Sims.
• “Women Artists,” Bijutsu Techo (Tokyo), September 1983, pp. 17-95, illus.
• “Talk of the Town,” The New Yorker, September 19, 1983.
• Shinn, Dorothy. “The Akron Museum makes a heavyweight acquisition: 2 tons of #2 Copper,” Akron Beacon Journal, December 11, 1983, pp. 18-20, illus.

• 1984

• Cambridge, Massachusetts Institute of Technology, Hayden Gallery. Jackie Winsor/Barry Ledoux: Sculpture. December 3 - January 15, 1984. Interview with the artists.
• New York, Sidney Janis Gallery. A Celebration of Women Artists, Part II: The Recent Generation. 1984.
• New York, Whitney Museum of American Art at Philip Morris. Twentieth Century Sculpture: Process and Presence. 1984.
• Brenson, Michael. “A Living Artists Show at the Modern Museum,” The New York Times, April 21, 1984, p. 11.
• “A Brief Visual Art Memoir,” Poetry East (University of Virginia), Spring/Summer 1984, pp. 47-50.
• Aver, James. “Fibers Knit into Solid Exhibition,” The Milwaukee Journal, August 5, 1984, p. 12, illus.
• Bellamy, Peter. The Artists Project. 1984.
• Washington, D.C., The Hirshhorn Museum and Sculpture Garden. Content: A Contemporary Focus 1974-1984. 1984.
• Jacksonville Art Museum and USF Art Galleries, University of South Florida, Tampa. Currents: A New Mannerism. 1981-1982.
• Hammond, Harmony. Wrappings: Essays on Feminism, Art and the Martial Arts. New York: Mussmann Bruce Publishers, 1984, p. 76, illus.
• Tampa, University of South Florida, SVC Fine Arts Gallery and The Center Gallery, Bucknell University, Lewisburg, Pennsylvania. Objects, Structures, Artifice: American Sculpture 1970-1983. pp. 44-45, illus.
• New Art. New York: Harry N. Abrams, 1984. p. 198, illus.
• Robbins, Corinne. The Pluralist Era: American Art 1968-1981. New York: Harper & Row, 1984. pp. 67-68, illus.
• New York, Museum of Modern Art. Primitivism in 20th Century Art. Edited by William Rubin. p. 674, illus.
• “American Art Since 1970,” Preview (North Carolina Museum of Art), Autumn 1984, pp. 4-7, illus.

• 1985

• “On Art and Artists,” Video Data Bank, 1985.
• Bronxville, New York, Sarah Lawrence College. Builtworks/Installations. February 5 - March 10, 1985. pp. 14-15, illus.
• Rose, Barbara. “Portrait of Paula,” Vogue, April 1985, pp. 362-367, illus.
• Bloom, Benjamin S. Developing Talent in Young People. New York: Ballantine, 1985.
• New York, Whitney Museum of American Art at Philip Morris. The Box Transformed. 1985.
• Yonkers, New York, The Hudson River Museum. A New Beginning: 1968-1978. 1985. pp. 114-115, illus.
• Chicago, The Museum of Contemporary Art. Selections from the William J. Hokin Collection. 1985. p. 137, illus.
• Raynor, Vivien. “Reviews,” The New York Times, July 5, 1985, p. C21.
• Mexico City, Museo Rufino Tamayo. Imagenes en Cajas. 1985. p. 29, illus.
• Saunders, Wade. “Talking Objects: Interviews With Ten Younger Sculptors,” Art in America, November 1985, pp. 110-137, illus.
• University of Pittsburgh. Sculpture by Women in the Eighties. 1985. p. 16, illus,
• Lucie-Smith, Edward. American Art Now. New York: William M. Morrow, 1985. p. 22, illus.
• New York, The Solomon R. Guggenheim Museum. Transformations in Sculpture. November 22, 1985 - February 16, 1986. Essay by Diane Waldman.

• 1986

• Gholson, Craig. “Jackie Winsor,” Bomb, Winter 1986, pp. 32-36, illus.
• Brenson, Michael. “Changing Sculpture Exhibition: Paula Cooper Gallery,” The New York Times, December 20, 1985, p. C29.
• Appearances, Fall/Winter 1985-1986, p. 47, illus.
• New York, Whitney Museum of American Art. Selected Works from the Permanent Collection. 1985. Essay by Patterson Sims. p. 209, illus.
• Arnason, H.H. History of Modern Art (Third Edition). New York: Harry N. Abrams, 1986. p. 684, illus.
• Raynor, Vivien. “Jackie Winsor,” The New York Times, February 21, 1986, p. C26.
• Hayes, Michael. “The Forgotten Artists,” Diversion Travel Planner, March 15, 1986, pp. 78-79.
• Handy, Ellen. “Jackie Winsor,” Arts Magazine, April 1986, pp. 127-128, illus.
• Silverthorne, Jeanne. “Jackie Winsor at Paula Cooper Gallery,” Artforum, May 1986, pp. 132-133, illus.
• Decter, Joshua. “Jackie Winsor,” Arts Magazine, May 1986, pp. 118-119, illus.
• Westfall, Stephen. “Jackie Winsor at Paula Cooper,” Art in America, May 1986, pp. 153-154, illus.
• Gill, Susan. “Jackie Winsor at Paula Cooper,” ARTnews, Summer 1986, p. 144, illus.
• San Francisco, John Berggruen Gallery. Works from the Paula Cooper Gallery. October 14 - November 20, 1986. p. 35, illus.
• Philadelphia, Marian Locks Gallery. The Purist Image. November 1986, pp. 29-30, illus.
• Sozanski, Edward J. “A Focus on Work of 6 Minimalists,” The Philadelphia Inquirer (“The Arts”), November 20, 1986.
• New York, Whitney Museum of American Art. Painting and Sculpture Acquisitions 1973-1986. 1986. illus.

• 1987

• New York, Independent Curators Incorporated. The Success of Failure. February 15, 1987 - March 12, 1988. Essay by Joel Fisher. p. 43, illus.
• New York, The 49th Parallel. The Idea of North. January 31 - February 28, 1987. Essay by France Morin. illus.
• Hagenberg, Roland and Margot Miffin. “Living in a Material World: Sculpture in New York,” Artfinder, Spring 1987, pp. 73-75, illus.
• Cincinnati, The Contemporary Arts Center. Standing Ground: Sculpture by American Women. March 27 - May 10, 1987. Essay by Sarah Rogers-Lafferty. p. 75, illus.
• Providence, Rhode Island, Brown University, Bell Gallery. Alternative Supports: Contemporary Sculpture on the Wall. April 25 - May 25, 1987. p. 23, illus.
• Artsreview: Portrait of the Artist, 1987. (National Endowment for the Arts). p. 80, illus.
• Smith, Roberta. “When Artists Seek Royalties on Their Resales,” The New York Times, May 31, 1987, pp. 29-30.
• Art Against AIDS. New York: American Foundation for AIDS Research, 1987. p. 78, illus.
• Berman, Ann E. “Sculptors-in-Progress,” Town and Country, September 1987, pp. 269-272, illus.
• “Waiting Lists and Hand Biting,” ARTnews, September 1987, p. 16, illus.
• Robertson, Jean. “The Issue of Gender,” Dialogue, September/October 1987, p. 37.
• Los Angeles, Margo Leavin Gallery. Jackie Winsor. November 21 - December 23, 1987. Essay by Joshua Decter. illus.
• Gardner, Colin. “Jackie Winsor at Margo Leavin Gallery,” The Los Angeles Times, December 4, 1987, Part IV, p. 16.
• Lucie-Smith, Edward. Sculpture Since 1945. Oxford: Phaidon Press, 1987. p. 115, illus.

• 1988

• McClintic, Miranda. “Sculpture Today,” Art & Auction, May 1988, pp. 163, 166, illus.
• Milwaukee Art Museum. 1988: The World of Art Today. May 6 - August 28, 1988. Essay by Russell Bowman. p. 115, illus.
• Criqui, Jean-Pierre. “Jackie Winsor,” Beaux-Arts July/August 1988, pp.80-81, illus.
• Rennes, Centre d’art Contemporain du Domaine de Kerguehennec. Jackie Winsor, July 6 - September 4, 1988. Essay by Peter Schjeldahl.
• Winsor, Jackie. “A Text by Jackie Winsor,” Spazio Umano, 1/1988, pp.40 - 44, illus.
• New York, Whitney Museum of American Art at Equitable Center. Sculpture Since the Sixties. August 18, 1988 - August 9, 1988, p. 24, illus.
• Brenson, Michael. “Sculptural Interiors,” The New York Times, November 18, 1988, p. C28.
• New York, Whitney Museum of Art. Enclosing the Void November 11, 1988 - January 25, 1989. Essay by Susan Lubowsky. p. 3-5, illus.

• 1989

• Rosen, Randy. Making Their Mark New York: Abbeville Press, 1989, pp.
• Smagnea, Howard J. Currents: Contemporary Directions in the Visual Arts. Englewood Cliffs, NJ: Prentice Hall, second edition, 1989. pp. 150-160, illus.
• Brenson, Michael. “A Show’s Instructive Provocation,” The New York Times, March 17, 1989, p. 27, illus.
• Newhall, Edith.”Galleries: Sculptors on their Own,” New York Magazine, September 11, 1989, p. 73, illus.
• Cincinnati, The Contemporary Arts Center. Encore: Celebrating Fifty Years, January 21, 1989 - March 11, 1989. p. 60, illus
• Mifflin, Margot. “Silent Center,” Elle, November, 1989, p. 90, illus.
• “Jackie Winsor,” The New Yorker, November 20, 1989, p. 18.
• Kimmelman, Michael. “Jackie Winsor,” New York Times, November 24, 1989, p. C24.
• Armstrong, Tom and Larsen Susan C. Art in Place: Fifteen Years of Acquisitions. New York: Whitney Museum of American Art, 1989, p. 179, illus.

• 1990

• Kalina, Richard. “Jackie Winsor at Paula Cooper,” Art in America, February, 1990, pp. 166-67, illus.
• Bass, Ruth, “Jackie Winsor,” Artnews, February, 1990, pp. 151-52, illus.
• Chadwick, Whitney. Women, Art, and Society. Thames and Hudson: New York, 1990, pp. 332, 334-45, illus.
• Faust, Gretchen. “New York in Review,” Arts Magazine, February, 1990, p. 96, illus.
• Harris, Ann Sutherland. “Entering the Mainstream: Women Sculptors of the Twentieth Century, Part Three: Jackie Winsor and Nancy Graves,” Gallerie, Number 8, 1990, pp. 23-28, illus.
• New York, Holly Solomon Gallery. Hesse, Lawler, Martin, Meyer, Pfaff, Smith, Winsor, 1990, illus.

• 1991

• Mexico, Centro Cultural Arte Contemporaneo. El Sueno de Egipto, 1991. Essay by Robert R. Littman, pp.114-115, illus.
• “Jackie Winsor,” Art in America 91/92 Guide, pp.29, 30, illus.
• Gruen, John. The Artist Observed: 28 Interviews with Contemporary Artists. Chicago: a capella books, 1991. pp. 38-48, illus.
• Cleveland, Center for Contemporary Art. Cruciformed, 1991. Text by David S. Rubin, pp.36-38, illus.
• Shinn, Dorothy. “Exhibit explores symbols of cross - Display at Cleveland Center for Contemporary Art presents the cross as icon and as geometric device,” The Beacon Journal, Sunday, September 15, 1991, p. B8.
• Huntington, Richard. “In Cleveland, a bold exhibit challenges timidity of our time,” The Buffalo News, Sunday, October 29, 1991, pp. G1, G5.
• Gutterman, Scott. “Forms of Silence: Sculptor Jackie Winsor uses time and attention to transform minimalist objects into meditative icons,” The Journal of Art: View, November 1991, pp. 40-42, illus.
• Kazanjian, Dodie. “Vogue Arts,” Vogue, November 1991, pp. 165-172, illus.
• San Rafael, Cedco Publishing Company. Contemporary American Women Artists, 1991, pp. 102-105, illus.
• Milwaukee, Milwaukee Art Museum. Jackie Winsor. 1991 Dean Sobel with essays by Peter Schjeldahl and John Yau.
• Litt, Steven. “Using or Abusing a powerful symbol,” The Plain Dealer, Sunday, September 8, 1991, pp. 1-H, 12-H.
• Paine, Janice T. “Art: Process is the cube root of sculptor Winsor,” Milwaukee Sentinel, December 13, 1991, illus.
• Landau, Ellen G. “Reviews/Cleveland; “Cruciformed” Center for Contemporary Art,” Artforum, December 1991.
• New York, The Museum of Modern Art. Annual Report, 1990-91,p.9, illus.

• 1991

• Los Angeles, Music Center of Los Angeles, Performing Arts, “Winsor Wins,” January 1992, p. 12, illus.
• Wilson, William. “Caught in Thought,” Los Angeles Times, Tuesday February 4, 1992, pp. F1, F4, illus.
• “Flash Art News,” Flash Art, Vol. XXV, No.162, January–February 1992, p. 147, illus.
• Yood, James. “Reviews/Jackie Winsor/Milwaukee Art Museum,” Artforum, March 1992, p. 113, illus.
• New York: Philippe Staib Gallery. “then & Now,” 1992, illus.
• Clothier, Peter. “Metaphor or Metaphysics, Jackie Winsor and Anish Kapoor,” Artspace, May/June 1992, pp. 44-49, illus.
• Anderson, Michael. “Jackie Winsor,” Art Issues, May/June 1992, p. 30, illus.
• Mifflin, Margot. “Jackie Winsor: Pieces of Life,” Artnews, Summer 1992, Vol. 91, Number 6, cover, pp. 100-105, illus.
• “Art,” The New Yorker, September 21, 1992, pg.12 (illus.)
• “Art,” The New Yorker, October 5, 1992, pg.36
• Cotter, Holland. “Art in Review: Jackie Winsor,” The New York Times, October 2, 1992. pg.C27

• 1993

• Taplin, Robert. “Jackie Winsor at Paula Cooper,” Art in America, January 1993, pg.97
• Fry, W. Logan. “Reviews,” Dialogue, Jan/Feb 1993, pg.15
• Foley, Paul. “Jackie Winsor,” Sculpture, Jan/Feb 1993, pg.68
• Bogardi, Georges. “Reviews: Art Gallery of Ontario,” Canadian Art, Summer 1993, p. 68-71
• Smith, Roberta. “25 Years, Part 1,” New York Times, 11/26/93, p.C29

• 1994

• 30 Years: Art in the Present Tense, The Aldrich’s Curatorial History, catalogue from the exhibition at the Aldrich Museum of Contemporary Art, Ridgefield, Connecticut, 1994
• Winsor, Jackie.”Address to convocation by Dr. Vera Jacqueline Winsor,” The Memorial University of Newfoundland Gazette, 6/2/94, p.7-8
• Bentley Mays, John. “The Winsor Posture,” Canadian Art, Fall 1994, pp.112-117
• Siebers, Tobin. ed. Heterotopia: Postmodern Utopia and the Body Politic, The University of Michigan Press, 1994, p. 11 - 20, illus.
• Zelanski, Paul and Fisher, Mary Pat. Shaping Space, second edition, Harcourt Brace, Orlando, FL, p.213.

• 2009

• Brannan, Eddie. “One At The Beginning: Conceptual Art’s Early Days in 1970s Soho” City October/November 2009, pp. 44-47; illus.

Exhibitions

Double Bound Circle consists of a single piece weighing 600 pounds and coiling upon itself.

Chunk Piece was created in 1970 and is a massive bundle of 4-inch rope pieces, The ropes are all cut to the same length, about four feet, and are tightly bound together.

Nail Piece was created in 1970 and is a 7-foot long stack of wood planks. They are put together and are densely nailed to each other at every layer.^[18]

References

Further reading

• Liza Bear, "An Interview with Jackie Winsor," Avalanche Magazine no.4 (Spring 1972): 10-17.

External links

• Entry for Jacqueline Winsor on the Union List of Artist Names
• Entry for Jackie Winsor on ArtCyclopedia
• Entry for Jackie Winsor in Avalanche Magazine Index