https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith56.jpg
Ruth Bader Ginsburg

clay original, 2013, available in bronze or resin editions of 10
20” x 16” x 11”

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith57.jpg
Ruth Bader Ginsburg 2

clay original, 2013, available in bronze or resin editions of 10
20” x 16” x 11”

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith58.jpg
September 11th: Response to Random Murder I: September 11, 2001 New York City, 2,996 dead

2001
bronze, edition of 9
18” x 10” x 12”

I made this allegorical figure of my city soon after the attack: a statue of a beautiful, strong, nude, maternal figure who could survive even this level of aggression. photo by John Bigelow Taylor

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith59.jpg
Archaic Torso: Response to Random Murder II: July 7, 2005, London, 52 dead

34” x 17” x 12
bonded marble, 2006

 

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith60.jpg
Archaic Torso: Response to Random Murder II: July 7, 2005, London, 52 dead

34” x 17” x 12
bonded marble, 2006

 

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith61.jpg
Cain

bonded bronze, gold leaf, 2008
26” x 26” x 2”

From a series of Renaissance-style bas-reliefs depicting Biblical characters in appropriate attitudes and situations that mimic the design of contemporary traffic signs. My intention is the opposite of Jasper Johns’s when he painted flags and maps; I want to take an image that has been stripped of narrative, character and any human particulars– a sign– and make it back into a symbol. Here, the Pedestrian Crossing becomes the wandering Cain.

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith64.jpg
Urn

bonded bronze, edition of 14, 2006
14” x 12” x 12”

The size and shape of a standard wastebasket, this Urn is covered with bas-relief images of hands crumpling up sheets of paper with varying gestures of frustration or nonchalance. Accomplished contemporary poets posed for each hand, including Dick Davis, Dana Gioia, R.S. Gwynn, Rachel Hadas, Charles Martin, F.D. Reeve, Marilyn Taylor, Catherine Tufariello and David Yezzi

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith65.jpg
Urn 2

bonded bronze, edition of 14, 2006
14” x 12” x 12”

The size and shape of a standard wastebasket, this Urn is covered with bas-relief images of hands crumpling up sheets of paper with varying gestures of frustration or nonchalance. Accomplished contemporary poets posed for each hand, including Dick Davis, Dana Gioia, R.S. Gwynn, Rachel Hadas, Charles Martin, F.D. Reeve, Marilyn Taylor, Catherine Tufariello and David Yezzi

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith66.jpg
Urn 3

bonded bronze, edition of 14, 2006
14” x 12” x 12”

The size and shape of a standard wastebasket, this Urn is covered with bas-relief images of hands crumpling up sheets of paper with varying gestures of frustration or nonchalance. Accomplished contemporary poets posed for each hand, including Dick Davis, Dana Gioia, R.S. Gwynn, Rachel Hadas, Charles Martin, F.D. Reeve, Marilyn Taylor, Catherine Tufariello and David Yezzi.

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith67.jpg
Sweetness and Light

Hydrocal cast, charcoal, edition of 12, 1993
14” x 17” x 1”

 

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith68.jpg
The Reach

Hydrocal cast, edition of 12, 1993
17” x 14” x 1”

 

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith69.jpg
Silent Head

cast resin, concrete, 1998
48“ x 27” x 20”

from the series Set of Sets, inspired by the resemblance between television sets and Roman tombs. In this Set, created for a 2 year installation in the Leigh Yawkey Woodson Museum Sculpture Garden, the “talking head” of broadcast news confronts the viewer with the ancient gesture of silence and complicity.

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith70.jpg
Silent Head 2

cast resin, concrete, 1998
48“ x 27” x 20”

from the series Set of Sets, inspired by the resemblance between television sets and Roman tombs. In this Set, created for a 2 year installation in the Leigh Yawkey Woodson Museum Sculpture Garden, the “talking head” of broadcast news confronts the viewer with the ancient gesture of silence and complicity.

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith71.jpg
Meanwhile

cast resin, 2000
48“ x 27” x 14”

from the series Set of Sets, inspired by the resemblance between television sets and Roman tombs. In this Set, created for an installation at the DeCordova Museum & Sculpture Park in Lincoln, MA, an adult-sized boy’s head rests in a television as in a coffin.

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith72.jpg
Meanwhile 2

cast resin, 2000
48“ x 27” x 14”

from the series Set of Sets, inspired by the resemblance between television sets and Roman tombs. In this Set, created for an installation at the DeCordova Museum & Sculpture Park in Lincoln, MA, an adult-sized boy’s head rests in a television as in a coffin.

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith73.jpg
Infant with Plume

bonded marble, edition of 20, 1996
10.75” x 8.5” x 1”

 

 

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith74.jpg
Goddess

Hydrocal, paint, gold leaf (unique cast), 2010
15” x 11” x 10”

 

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith75.jpg
Goddess 2

Hydrocal, paint, gold leaf (unique cast), 2010
15” x 11” x 10”

 

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith76.jpg
The Invisible Struggle

marble, 1981
22” x 30” x 3”

 

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith77.jpg
The Invisible Struggle 2

marble, 1981
22” x 30” x 3”

 

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith78.jpg
Forbidden Fruit

Hydrocal cast, repeatable frieze, 1994
12” x 36” x 1”

 

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith79.jpg
The Couple

modified plaster, 1990-95
49” x 11” x 11”

 

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith80.jpg
The Couple (detail of The Husband)

modified plaster, 1990-95
49” x 11” x 11”

 

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith81.jpg
The Couple (detail of The Wife)

modified plaster, 1990-95
49” x 11” x 11”

 

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith82.jpg
Monument to Anonymous

modified ferrocement, 1984
31” x 23” x 33”

A monument to our most prolific sculptor, painter, composer and writer. As her/his name suggests, Anonymous is a mouse. Despite her/his absorption in work, one ear is tuned to our world. The other is focused on the page like a reading lamp. In its third public exhibition, in Central Park, NYC, Anonymous was installed on a pedestal with steps and was climbed on by over 10,000 people, not all of them children.

photo by Paul Warchol

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith83.jpg
Monument to Anonymous 2

modified ferrocement, 1984
31” x 23” x 33”

A monument to our most prolific sculptor, painter, composer and writer. As her/his name suggests, Anonymous is a mouse. Despite her/his absorption in work, one ear is tuned to our world. The other is focused on the page like a reading lamp. In its third public exhibition, in Central Park, NYC, Anonymous was installed on a pedestal with steps and was climbed on by over 10,000 people, not all of them children.

photo by Paul Warchol

https://MeredithBergmann.com/wp-content/uploads/Daphne-1.jpg
Daphne Reconsidering

1988
100” x 84” x 60”

Daphne, many centuries after turning into a tree to escape Apollo’s amorous advances, begins to turn back into a woman. I love the insistence with which the shapes of human anatomy leap out from the natural world. I had been concerned with the absence of the human figure in contemporary sculpture, and related this to the Greek myth, to the possibility of Daphne regretting her ancient transformation and beginning to desire human form again.

photo by Michael Bergmann

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith85.jpg
Daphne Reconsidering

1988
100” x 84” x 60”

Daphne, many centuries after turning into a tree to escape Apollo’s amorous advances, begins to turn back into a woman. I love the insistence with which the shapes of human anatomy leap out from the natural world. I had been concerned with the absence of the human figure in contemporary sculpture, and related this to the Greek myth, to the possibility of Daphne regretting her ancient transformation and beginning to desire human form again.

photo by Paul Warchol

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith86.jpg
Daphne Reconsidering 2

modified ferrocement, fabric, 1988
100” x 84” x 60”

Daphne, many centuries after turning into a tree to escape Apollo’s amorous advances, begins to turn back into a woman. I love the insistence with which the shapes of human anatomy leap out from the natural world. I had been concerned with the absence of the human figure in contemporary sculpture, and related this to the Greek myth, to the possibility of Daphne regretting her ancient transformation and beginning to desire human form again.

photo by Paul Warchol

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith87.jpg
Tree with Nightgown

ballpoint pen, marker, 1982
17” x 14”

https://MeredithBergmann.com/wp-content/uploads/BergmannMeredith881.jpg
Self-Portrait Age 15

modified ferrocement, pigment, 1988
24” x 15” x 12”

 

https://MeredithBergmann.com/wp-content/uploads/FullSizeRender.jpeg
Mother & Child with a Glock: Response to Random Murder III: December 14, 2012, Newtown, CT, 28 dead

bonded marble, 2015
22″ x 18″ x 2″

https://MeredithBergmann.com/wp-content/uploads/Bergmann-Albatross.jpeg
Albatross

bonded marble, plastic refuse, 2018
edition of 3
31″ x 18.5″ x 3″

https://MeredithBergmann.com/wp-content/uploads/IMG_8336.jpeg
Richard Wilbur

bonded bronze & copper, 2018
edition of 10
14″ x 18″ x 1.25″

https://MeredithBergmann.com/wp-content/uploads/Expulsion-from-Eden-scaled.jpeg
The Expulsion

31” x 32” x 2”
2016
bronze, gold leaf

This is part of a series of Renaissance-style bas-reliefs depicting Biblical characters in appropriate attitudes and situations that mimic the design of contemporary traffic signs. My intention is the opposite of Jasper Johns’ when he painted flags and maps; I want to take an image that has been stripped of narrative, character and any human particulars– a sign– and make it back into a symbol. Here, the Children Crossing carrying their schoolbooks become a gutsy Eve leading an abashed Adam.