Manuel Neri

Neri was born in Sanger, California, to immigrant parents who left Mexico during political unrest following the Mexican Revolution. He began attending college at San Francisco City College in 1950, initially studying to be an electrical engineer. A class in ceramics with Peter Voulkos inspired him to continue his art studies. He enrolled at California College of Arts and Crafts in Oakland, and at California School of Fine Arts (now the San Francisco Art Institute). Neri studied under Richard Diebenkorn, Elmer Bischoff, and Frank Lobdell, among others. He began to create life-sized figurative sculptures in plaster and mixed media, their surfaces often painted to accentuate the forms and gestures.[1]

In the late 1950s, Manuel Neri was a member of the artist-run cooperative gallery, Six Gallery in San Francisco, along with Joan Brown, Bruce Conner, Jay DeFeo, and other artists. In October 1955, he helped organize "6 Poets at 6 Gallery" Six Gallery reading, a landmark Beat era event where Allen Ginsberg gave the first public reading of Howl. In 1959, Neri was an original member of Bruce Conner's Rat Bastard Protective Association.[2] In the 1960s, he was associated with the Bay Area Figurative Movement. He was married to Bay Area artist Joan Brown from 1962 to 1966, though their relationship and artistic collaboration dated back several years prior to this.[3]

Neri taught sculpture and ceramics at California School of Fine Arts from 1959–1965, and taught classes in the art department at UC Berkeley in 1963-1964. He was a member of the art department faculty at the University of California, Davis from 1965-1999.[1]

In 2006, Neri was a recipient of the International Sculpture Center's Lifetime Achievement Award in Contemporary Sculpture. In 2008 he received the Bay Area Treasure Award from the San Francisco Museum of Modern Art. Previous awards include a Guggenheim Foundation Fellowship (1979), National Endowment for the Arts Individual Artist Grant (1980), American Academy and Institute of Arts and Letters Academy-Institute Award in Art (1982), San Francisco Arts Commission Award for Outstanding Achievement in Sculpture (1985), and Orange County Museum of Art Distinguished Artist Award (Newport Beach, CA, 1999). He received Honorary Doctorates from the San Francisco Art Institute (1990), California College of Arts and Crafts (1992), and The Corcoran School of Art, Washington, D.C. (1995).[4]

Neri creates figurative sculptures in plaster, marble, bronze, and clay, their surfaces often sanded, chipped, or painted as a means of directing the gestural thrust.[5] Since the late 1970s, he has also worked in marble, creating numerous figures, torsos, and heads at his studio in Carrara.

He is also noted as a draftsman and a collaborator on artists' books. His books have included three collaborations with poet Mary Julia Klimenko, and a series of unique books that combine his original drawings with poetry by Pablo Neruda, Federico García Lorca, and W.S. Merwin.[6]

Neri's early works included paintings and mixed-media sculptures based on abstracted figurative or architectural forms.[7] He has received sculpture commissions from the Office of the State Architect, State of California, for the Bateson Building, Sacramento, CA (1980-1982); US General Services Administration for the U.S. Courthouse, Portland, OR (1987); Laumeier Sculpture Park, Sunset Hills, MO (1994); Iowa State University, Ames, IO, for the Gerdin Building (2003); St. Anne's Church, Seattle, WA (2003), and others. Neri's work is represented by Hackett Mill Gallery, San Francisco, CA; Robischon Gallery, Denver, CO; and Yares Art in Santa Fe, NM, Palm Springs, CA, and New York City, NY.

Museums holding works by Manuel Neri include the Addison Gallery/Phillips Academy; Anderson Collection at Stanford University; Art Institute of Chicago; Cantor Arts Center, Stanford University; Cincinnati Art Museum; Clarinda Carnegie Art Museum, Clarinda, Iowa; Crocker Art Museum, Sacramento, CA; Denver Art Museum; Des Moines Art Center[8]; DiRosa, Napa, California; El Museo Mexicano, San Francisco; El Paso Museum of Art, Texas; Fine Arts Museums of San Francisco; Frederik Meijers Gardens and Sculpture Park, Grand Rapids, Michigan; Fresno Art Museum; Grounds for Sculpture, Hamilton, New Jersey; Grove Isle Sculpture Garden, Coconut Grove, FL; Harvard University Art Museums; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Honolulu Museum of Art; Indianapolis Museum of Art; Kemper Museum of Contemporary Art, Kansas City, MO; Laumeier Sculpture Park, Sunset Hills, Mo.; Manetti Shrem Museum, University of California, Davis; Memphis Brooks Museum of Art, Tennessee; Metropolitan Museum of Art, New York; Minneapolis Institute of Art; Nasher Museum at Duke University, Durham, NC; Nasher Sculpture Center, Dallas, Texas; National Gallery of Art, Washington, DC; Nevada Museum of Art, Reno; Oakland Museum of California; Palm Springs Art Museum, California; Phillips Collection, Washington, DC; Phoenix Art Museum; Portland Art Museum, Oregon; Racine Art Museum; San Antonio Museum of Art; San Diego Museum of Art; San Francisco Museum of Modern Art; San Jose Museum of Art, California; Seattle Art Museum[9]; Tampa Museum of Art; Berkeley Art Museum and Pacific Film Archive[10]; University of New Mexico Fine Arts Center, Albuquerque; University Museums, Iowa State University, Ames; Whitney Museum of American Art, New York; Yale University Art Gallery, and New Haven, Connecticut.

Manuel Neri had several marriages; he was the second husband of painter Joan Brown from 1962 to 1966 (though their relationship and artistic collaboration dated back several years prior to that). He has seven children: Raoul, Laticia, Noel (his son by Joan Brown),[11] Max, Ruby, Julia, and Gus.[12]

• Albright, Thomas. Art in the San Francisco Bay Area, 1945–1980. Berkeley: University of California Press, 1985 (ISBN 0-520-05193-9).
• Cancel, Luis R., et al. The Latin American Spirit: Art and Artists in the United States, 1920–1970. Bronx: Bronx Museum of the Arts and Harry N. Abrams, 1988 (ISBN 978-0810912717).
• Cowart, Jack, and Price Amerson. Manuel Neri: A Sculptor's Drawings. Washington, DC: The Corcoran Gallery of Art, 1994 (ISBN 978-0886750411).
• Cowart, Jack; Price Amerson; John Beardsley; Henry Geldzahler; Robert Pincus. Manuel Neri: Early Work 1953–1978. Washington, DC: The Corcoran Gallery of Art, 1996 (ISBN 0-88675-046-6).
• Cowart, Jack. Manuel Neri: Paintings and Painted Papers. Washington, DC: The Corcoran Gallery of Art, 2001 (ISBN 0-88675-064-4).
• Geldzahler, Henry. Manuel Neri: Sculpture, Painted and Unpainted. Bridgehampton, NY: Dia Center for the Arts, 1993 (ASIN B000L9JN5I).
• Guenther, Bruce. The Essential Gesture. Newport Beach, CA: Newport Harbor Art Museum, 1994.
• Herskovic, Marika Abstract and Figurative Expressionism: Style is Timely Art is Timeless (New York School Press, 2009.) ISBN 978-0-9677994-2-1. p. 180-183
• Jones, Caroline A. Bay Area Figurative Art: 1950–1965. Berkeley: University of California Press, 1989 (ISBN 0-520-06842-4).
• Neubert, George. Manuel Neri, Sculptor. Oakland, CA: The Oakland Museum, 1976 (Library of Congress No. 76-40536).
• Nixon, Bruce. Things That Dream: Contemporary Calligraphic Artists’ Books/Cosas que sueñan: Libros de artistas caligráficos contemporáneos. Stanford, CA: Stanford University, 2012 (ISBN 978-0-911221-48-0).
• Nixon, Bruce. Manuel Neri: Painted Bronzes and Plasters. San Francisco, CA: Hackett Freedman Gallery, 2005 (ISBN 1-933399-00-7).
• Nixon, Bruce. Manuel Neri: Artists' Books/The Collaborative Process. San Francisco and New York: Fine Arts Museums of San Francisco, in association with Hudson Hills Press, 2005 (ISBN 1-55595-261-5).
• Nixon, Bruce, et al. Manuel Neri: The Figure in Relief. Hamilton, NJ: Grounds for Sculpture; Portland, OR: Portland Art Museum; San Jose, CA: San Jose Institute for Contemporary Art, in association with Hudson Hills Press, 2006 (ISBN 1-883124-26-3).
• Nixon, Bruce. Manuel Neri: Matters of Form & Construction. Ames: Iowa State University Museums, and Clarinda, Iowa: Clarinda Carnegie Art Museum, 2017.
• Nixon, Bruce. Manuel Neri & The Assertion of Modern Figurative Sculpture. Stanford, Calif.: Anderson Collection/Stanford University Press, 2017 (ISBN 978-1-5036-0548-0).
• Paz, Octavio; John Beardsley, and Jane Livingston. Hispanic Art in the United States. New York: Abbeville Press, 1987 (ISBN 978-0896596887).
• Plagens, Peter. Sunshine Muse. New York: Praeger Publishers, 1974 (ISBN 978-0520223929).
• Quirarte, Jacinto. Mexican American Artists. Austin: University of Texas Press, 1973 (ISBN 978-0292750487).
• Reynolds, Jock. Manuel Neri: The Human Figure in Plaster and on Paper. New Haven, Conn.: Yale University Art Gallery, 2018 (ISBN 978-0-300-23302-5)
• Williams, Thomas. The Bay Area School: Californian Artists of the 1940s, 1950s and 1960s. London: Lund Humphries, 2013 (ISBN 978-1-84822-123-9).

• Ventana al Pacifico (1989), Portland, Oregon

• Youtube of exhibition, "Manuel Neri: Ambiguity, Mystery, and Allure," Christian Petersen Museum, Iowa State University, Ames, IA, 2018
• Yale University, Jock Reynolds and Roert Taplin on "The Persistence of Figuration in Contemporary Sculpture," April 2018
• Youtube of exhibition, "Manuel Neri: The Human Figure in Plaster and on Paper," Yale University Art Gallery, New Haven, CT, 2018
• Artist's Forum: Manuel Neri
• San Jose Museum of Art podcast, "Artist of the Week: Manuel Neri"
• Artnet: Manuel Neri
• Manuel Neri at Hackett-Freedman Gallery
• Manuel Neri at Gallery Paule Anglim
• Manuel Neri at Charles Cowels Gallery.
• "Manuel Neri: Palpable Tensions" at Fresno Museum of Art
• "Manuel Neri" by Roberta Carasso, ArtScene, March 1998.
• "Art: First Solo Show For Manuel Neri" by Hilton Kramer, New York Times, February 27, 1981.
• "Figuration's mainstay has found a niche since illuminating his model's poetry" by Kenneth Baker, San Francisco Chronicle, August 24, 2005.
• "Manuel Neri", Artworks Magazine, Winter 2006 (posted on web May 18, 2008).
• "Oral history interview with Manuel Neri, 2008 May 6", Smithsonian, Archives of American Art