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STEINUNN THÓRARINSDOTTIR
Walking into Steinunn Thórarinsdóttir’s Reykjavík studio can be a little dis-
concerting at first, even daunting, as if you had crossed a threshold of some
kind and entered another dimension, another world. It is also astonishing.
The crowd of life-sized and partial figures of plaster, cast iron, stainless steel,
aluminum, bronze and glass encountered throughout the several rooms seem
to be a special breed of beings, anonymous, androgynous, part human, part
alien. Scattered about the studio are also many sculptures of beautiful wings,
surely a sign of visitants from other worlds. Some of these figures are free-
standing, others are hung on the walls or seem to emerge from them. Still
others were placed on pedestals while the unfinished pieces were stretched
out on tables as if anaesthetized, waiting to be awakened by the artist’s trans-
formative, animating touch.
In their inwardness, Thórarinsdóttir’s figures are related in feeling, if not always
in form, to Greek kouroi, Roman funeral reliefs, Medardo Rosso’s evocatively
blurred faces, and a host of modernist and contemporary work by sculptors
such as Marino Marini and Magdalena Abakanowicz. Her cast of characters is
a recapitulation and extension of the millennia-old tradition of nude sculpture
although, schematized, sheathed in a protective patina or luster, the naked-
ness of her forms seem clothed, chaste. Their faces are blank but in the subtly
differentiated postures of the bodies, anguish, supplication, yearning, res-
ignation, aspiration and a host of other emotional states can be read. For
an artist who grew up surrounded by volcanoes and glaciers, mountains and
waterfalls, and an endless expanse of sky and sea, existential themes and the
sublime drama of life are near-at-hand subjects and almost mandatory.
A prolific artist, Thórarinsdóttir begins with a plaster cast that she reworks
extensively. She says that this is where she puts most of her effort although
her attentiveness to details applies to all stages of production. Her eldest
son has served as her primary model for the past 14 years (before that it was
herself, her husband and now she has her eye on her younger son, making it a
family affair). As her model, it is his body that is cast but she alters it so exten-
sively that in its final resolution and fabrication, it becomes an emblematic
rather than a specific portrait.
UNDER THE VOLCANOBy Lilly Wei
Thórarinsdóttir uses a range of materials to great effect, including raku-fired
clay in the 1980s that she associates with lava, but the clay restricted her scale
and was extremely fragile. Now, her preferred medium is sand-cast metal
since much of her production is sited outdoors, subject to the ravages of
time and weather. Weathering also contributes effects that she embraces and
factors into her sculptures. Cast iron, for instance, rusts to form a textured
surface that ranges in color from an earthy red-brown to orange-gold, the
variegated surface in a state of constant flux, constantly re-drawn, a metaphor
in itself. These iron figures seem born from earth, ash and fire. On the other
hand, Thórarinsdóttir chose the more corrosion-resistant stainless steel and
aluminum for other works, their ethereality and reflective properties a mate-
rial and metaphoric counterpoint to the iron. Often polished to a sheen that
mirrors their surroundings, erasing the boundary between them, these buoy-
ant, luminous bodies suggest rarified creatures of air and light fallen to earth,
a contrast between light and dark.
Glass, too, is a material she likes to use in her work. Thinking of it as frozen
water, as another essential element, it also forms a barrier, despite its trans-
parency. In her recent work, she cuts out a pair of small circles, squares or nar-
row bands in the figure’s chest or head, front and back. Into these incisions, a
solid piece of glass is fitted through which light penetrates the interior, like a
window into the soul — or a kind of stigmata. The placement of the apertures
are extremely important, carefully aligned so the light can both enter and
escape, revealing the hollowness and vulnerability of the statue, referring to
the hollow, vulnerable human body. As the light changes during the day, the
angle of the ray that enters and emanates from the sculpture changes, indi-
cating the cyclical passage of time. The entering beam seems to animate the
figure and breathes the semblance of life into it.
Thórarinsdóttir has always made figurative sculpture and since 1977, the
forms have been primarily life-sized. She wants her sculpture to occupy the
same space as the viewer, not confrontationally but as doppelgangers and
alter egos, as something directly experienced. Her preference for figura-
tion was not common at the time and because of it, instead of first studying
at the Iceland Academy of the Arts where almost all Icelandic artists go for
their foundation courses before completing a degree abroad, Thórarinsdót-
tir went to England and attended Portsmouth College of Art and Design,
then the Portsmouth Polytechnic, completing her education at the Academy
of Fine Arts in Bologna, Italy, all institutions where the figure was admired
and taught. In Iceland, in Reykjavík, her uncanny progeny appear everywhere,
familiar presences on the streets of the city, around the harbor, in public and
private buildings, churches, parks and other locations.
As an artist who frequently shows internationally, her figures slip effectively
into other locations in repercussive dialogue with the selected site. Innova-
tively installed, with theatrical flair, they are sometimes presented as haunting
ensembles of upright figures by the sea, encircled by ancient trees, poised on
gleaming elongated pedestals that loft them skyward into the blue or repli-
cated in shining panels that function as backdrops. Other times they appear
as a single figure or in pairs, seated on a park bench, a rocky outcropping,
or standing, arms and head thrown back, facing the world yet enveloped in
their own poignant silence and solitude. One particularly gripping figure — in
reality a head and torso — was placed on the ground as if buried, its head
facing upward, arms pressed to its sides in Job-like pain and resignation.
A recent work consists of two cast iron heads and torsos close together, their
powdery surfaces a beautiful orange-gold, emerging from a square four-foot
tall plinth, their reaction centrifugal as they pull away from each, separate but
proximate, a microcosm of the human condition.
Thórarinsdóttir’s figures are introspective, her signature pose a variant of arms
often held close to the body, hands clasped or pointing downward, outward,
head tilted, turned aside, legs planted on the ground, deeply absorbed in
their mute soliloquies. They are reserved but project a concentrated, auratic
sense of will, the embodiment of generations of stubborn, taciturn, indepen-
dent people at risk, who have both questioned the world and come to terms
with it. Signifiers of survival, endurance, and the inextinguishable, implacable
life force, they remind us of what it is to be human — however modest our
place in the scheme of things — with something akin to triumph.
Lilly Wei is a New York-based independent curator, essayist and critic who contributes to several publications in the United States and abroad. She writes regularly for Art in America and is a contributing editor at ARTnews.
JOURNEY
2007
Aluminum
Dimensions Variable
Edition of 5
WORDS
2008
Aluminum
180 x 70 x 70 cm
SHADOWS
1998
Aluminum
180 x 70 x 100 cm
Town of Seltjarnarnes, Iceland
ROAD
2008
Aluminum
190 x 300 x 40 cm
DIRECTIONS
2007
Aluminum and basalt stone
300 x 300 x 300 cm
Leif Eriksson International Airport, Iceland
HEAVEN AND EARTH
2000
Aluminum200 x 300 x 30 cm
ECHO
2006
Cast iron and aluminum
Dimensions Variable
MOMENTUM
2004
Aluminum
51 x 36 x 115 cm
POEM
1999
Cast iron and glass
35 x 100 x 12 cm
CONNECTION
2004
Anodized Aluminum
80 x 200 x 25 cm
SITUATION II
2005
Aluminum and mirror steel.
38 x 30 x 30 cm
Edition of 7
SITUATION I
2005
Cast iron and glass
38 x 30 x 35 cm
Edition of 7
VISION II
2005
Cast iron and glass
38 x 52 x 37 cm
Edition of 7
VISION I
2006.
Aluminum and mirror steel.
40 x 28 x 28 cm
Edition of 7
GATE
2006
Cast iron and glass
40 x 35 x 40 cm
Edition of 7
ESSENCE
2009
Cast iron and glass
Height 180 cm
ESSENCE
2009
Cast iron and glass
Height 180 cm
ESSENCE (detail)
2009
Cast iron and glass
Height 180 cm
PROFILE
2008
Cast iron and glass
180 x 50 x 50 cm
GATE
2005
Cast iron and corten steel
260 x 220 x 40 cm
Private Collection in Seattle, USA
PRESENCE
2007
Cast iron and aluminum
Dimensions Variable
DAYS
2008
Cast iron and glass
Installation of 5 life size figures
Kathryn Hall Wineyards, Napa Valley, California, USA
FOCUS
2010
Cast iron and cast glass.
180 x 50 x 50 cm
LIGHTS
2009
Cast iron and glass
Installation of 5 life size figures
opna 17
ROUTE
2005
Aluminum and mirror steel
500 x 100 x 40 cm
The Commercial College of Iceland
VOYAGE
2005
Aluminum and basalt stone
620 x 50 x 50 cm
The Town of Vík, Iceland
VOYAGE
2005
Bronze and basalt stone
580 x 50 x 50 cm
The City of Hull, England
VOYAGE
2005
Aluminum and basalt stone
620 x 50 x 50 cm
The Town of Vík, Iceland
WAVES
2010
Aluminum and stainless steel.
900 x 340 x 600 cm
The University of Aberdeen/ Marischal Museum
TABULA2010
Aluminum and stainless steel.
225 x 200 x 300 cm
Born in Iceland in 1955
Web site: www.steinunnth.com
Steinunn lives in Reykjavík, Iceland
EDUCATION
1974-75 Portsmouth College of Art & Design, Portsmouth, England
1976-79 Portsmouth Polytechnic, BA in Fine Arts, Portsmouth, England
1979-80 Accademia di Belle Arti, Bologna, Italy
PRIVATE EXHIBITIONS
1979 Gallery Su!urgata 7, Reykjavik
1982 The Reykjavík Art Museum
1982 Egilsbú!, Neskaupsta!
1984 Listmunahúsi!, Reykjavik
1987 The Reykjavík Art Museum
1990 The Reykjavík Art Museum
1992 Listmunahúsi!, Reykjavik
1993 Slunkaríki, Ísafir!i
1996 Kópavogur Art Museum, Kópavogur
1997 Akureyri Art Museum, Akureyri
1998 Galleri Krebsen, Copenhagen, Denmark
1998 Barbacka Konsthallen. Kristianstad, Sweden
1999 Ásmundarsalur, Reykjavik
2000 Ásmundarsafn Museum, Reykjavik
2000 Frauen Museum, Bonn, Germany
2000 The Nordic Council of Ministers Gallery, Copenhagen, Denmark
2001 Galleria Bedoli, Viadana, Italy
2001 Gallery Saevar Karl, Reykjavik
2002 Open House studio exhibition, Reykjavik
2003 The Goethe Institut, Toronto, Canada
2004 Hallgrímskirkja Summer Show in Reykjavik
2005 The Lab Gallery, New York, USA
2006 101 Gallery, Reykjavik
2006 Galerie Egelund, Copenhagen, Denmark
2006 Odon Wagner Contemporary, Toronto, Canada
2007 Osilas Gallery, Concordia College, NY, USA
2007 Horizons, Katonah Museum, NY, USA
2007 Kreft Center Art Gallery, Concordia University, Ann Arbor, Michigan, USA
2008 Horizons, The Dixon Museum and Gardens, Memphis, Tennessee, USA
2008 Horizons, San Antonio Botanical Gardens in collaboration w. Blue Star
Contemporary Art Center, San Antonio, Texas, USA
2008 Neskirkja church, Reykjavik, Iceland
2009 Horizons. Nathan Manilow Sculpture Park, Illinois, USA
2010 Horizons, Baker Center for the Arts, Pennsylvania, USA
2010 In Public, Lachaise Gallery, Cedar Crest College, Pennsylvania, USA
2011 Horizons, Georgia Art Museum, Athens, Georgia, USA
2011 Borders, Dag Hammarskjold Plaza, New York City, USA
GROUP EXHIBITIONS
1979 GALLERIA ZONA, Florence, Italy
1980 SCULPTORS´ ASSOCIATION, Reykjavik Arts Festival
1980 BODIES OF ARTISTS, Museum of Modern Art in Aalborg, Denmark
1981 TARGET-EARTH, THE ART OF SURVIVAL, Los Angeles, USA
1982 ASSOCIATION OF ICELANDIC ARTISTS, Akureyri
1983 YOUNG ARTISTS ´83, The Reykjavík Art Museum
1984 14 ARTISTS, Centenary of the National Gallery of Iceland
1985 GLASS FRAGMENTS, The Reykjavík Art Museum
1987 SCANDINAVIA TODAY, Kyoto & Tokyo, Japan
1988 “ “ New York, Cleveland & Alabama, USA
1988 5 DIMENSIONS, 5 ICELANDIC ARTISTS, Röhsska Museum, Gothenburg,
Sweden, The Nordic House in Faroe Islands
1988 HUMAN BEING IN THE FOREGROUND, The Reykjavík Art Museum
1989 12 ARTISTS, Hafnarborg
1991 RELIGIOUS ART, Ásmundarsalur
1991 ART FESTIVAL OF HAFNARFJÖR!UR
1992 MODERN SCULPTURE, Kringlan, Reykjavik Arts Festival
1992 NATIONAL ARTS FUND, Ásmundarsalur
1992 SALON INTERNATIONAL DE LA SCULPTURE CONTEMPORAINE,
Paris & Noisy-le-Grand, France
1993 ZEIT-SICHTEN, 6 WOMEN ARTISTS FROM REYKJAVIK, Frauen Museum,
Bonn, Germany
1993 777, DISTANCE COMMUNICATION NETWORK, Exhibition in 7 cities:
Reykjavik, Aarhus, Amsterdam, Portsmouth, Duisburg, Bratislava
& Moscow
STEINUNN THÓRARINSDÓTTIR
CURRICULUM VITAE
1994 SCULPTURE, SCULPTURE, SCULPTURE, The Reykjavík Art Museum. Art Festival
1994 Bankside Gallery, London, England
1995 EVENTA 2. International exhibition in Ekeby Qvarn Konstsalong,
Uppsala, Sweden
1996 NEW PURCHASES, The Reykjavík Art Museum
1997 BIENNALE CONTEMPORANEA, Palazzo Pubblico, Siena, Italy
1997 NEW CREATIONS. IDEAS FOR NEW CHURCHES. The Religious Art Festival
1997 UNIQUE GLASS, Kalmar, Sweden
1997 SU!URGATA 7, The Living Art Museum
1997 ICELANDIC ART, The Reykjavík Art Museum
1997 25TH ANNIVERSARY OF THE SCULPTORS´ ASSOCIATION
1998 THE COASTLINE, Outdoor exhibition, Reykjavik Arts Festival
1998 Wolfryd & Selway Fine Arts, Los Angeles, USA
1999 THE COASTLINE, Reykjavik
1999 Scandinavian Center, Lutheran University, USA
1999 SCULPTURE BY THE SEA, Sydney, Australia
2000 COLOGNE ART FAIR with the Frauen Museum, Germany
2000 Berkeley Square Gallery, London, England
2001 PALM BEACH ART FAIR with the Berkeley Square Gallery, USA
2001 ASAGO EXHIBITION OF MODELS, Japan
2001 TAJIMA ART EXHIBITION, Japan
2001 SCULPTURE BY THE SEA, Tasman Peninsula
2001 SCULPTURE BY THE SEA, Sydney, Australia
2002 PURCHASES, The City Museum of Reykjavik
2002 SCULPTURE FROM THE SEA, Campelltown City Gallery, Sydney, Australia
2002 SCULPTURE FROM THE SEA, Waverley Council Gallery, Sydney, Australia
2002/2003 ICELANDIC ART 1980-2000, National Gallery of Iceland
2003 HALTESTELLE ! KUNST, Nurnberg, Germany
2003 THIS I WOULD LIKE TO SEE! Gerduberg Cultural Centre, Reykjavik
2003 TORONTO ART FAIR w/Odon Wagner Gallery, Toronto, Canada
2003 “KOLONIALEN”, Opening exhibition of The North Atlantic Bridge
in Copenhagen, Denmark
2003 “BUCKLE UP” Travelling exhibition, last stop The Reykjavik Art Museum
2004 ART MIAMI with Odon Wagner Gallery, Miami, USA
2004 ART COPENHAGEN with Galerie Egelund, Copenhagen, Denmark
2004 TORONTO ART FAIR w/Odon Wagner Gallery, Toronto, Canada
2004 ART PARIS w/Galerie Egelund, Paris, France
2004 SCULPTURE BY THE SEA, Sydney, Australia
2005 ART MIAMI w/Odon Wagner Gallery, Miami, Florida
2005 SCULPTURE BY THE SEA, Cottesloe, Perth, Australia
2005 GLAMPI/BLITZ, Gallery Bluesky, Vienna, Austria
2005 Gallery Arena 53, Vienna, Austria
2005 TORONTO INTERNATIONAL ART FAIR, w. Odon Wagner Contemporary
2005 BEIJING BIENNALE, Beijing, China
2005 SCULPTURE BY THE SEA, Sydney, Australia
2005 SAVE THE CHILDREN AUCTION, FESTIVAL OF TREES
2006 DOWNTOWN AT THE GARDENS w/Osborne Samuel, Palm Beach,
Florida, USA
2006 SCULPTURE BY THE SEA, Perth. Australia
2006 SPACE, ART AND THE ENVIRONMENT, University of Iceland
2006 HEADS, FIGURES AND IDEAS, Osborne Samuel, London, England
2006 SYDNEY HARBOUR SCULPTURE TRAIL, Sydney, Australia
2006 TORONTO INTERNATIONAL ART FAIR, Canada
2006 SAVE THE CHILDREN AUCTION, FESTIVAL OF TREES
2006 SELECTED ARTISTS IN GALERIE EGELUND, Copenhagen, Denmark
2006 ADVENT SHOW IN MEMORY OF HALLGRÍMUR PÉTURSSON, Hallgrims Church
2007 IN MEMORY OF HALLGRÍMUR PÉTURSSON, Saurbæjar Church
2007 PALM BEACH ART FAIR w. Osborne Samuel, USA
2007 FORM-LONDON, w. Osborne Samuel
2007 MIXED EXHIBITION, Osborne Samuel, London
2007 HALTESTELLE KUNST, Nurnberg, Germany
2007 ART ST. URBAN, ZOFINGEN, Switzerland
2007 GALERIE EGELUND, Copenhagen, Denmark
2007 TORONTO INTERNATIONAL ART FAIR w. Odon Wagner Contemporary
2007 SAVE THE CHILDREN AUCTION, FESTIVAL OF TREES
2008 SCULPTURE BY THE SEA, Perth, Australia
2008 THE SECRET GARDEN, Solomon Gallery@Iveagh, Dublin, Ireland
2008 TORONTO INTERNATIONAL ART FAIR w. Odon Wagner Contemporary
2008 SCULPTURE BY THE SEA, Sydney, Australia
2009 SCULPTURE BY THE SEA, Århus, Denmark
2009 MODERN AND CONTEMPORARY ART, Osborne Samuel, London, England
2009 SUMMER SHOW, Galerie Egelund, Copenhagen, Denmark
2010 MIAMI INTERNATIONAL ART FAIR w. Osborne Samuel, USA
2010 PALM BEACH ART FAIR w. Osborne Samuel
2010 SAN FRANCISCO ART FAIR w. Scott White Contemporary, USA
2010 SCULPTURE AT PILANE, Sweden
2010 LONDON INTERNATIONAL FINE ART FAIR AT OLYMPIA w. Osborne Samuel
2010 FRESH FIGURES AND ABSTRACTION, Scott White Contemporary
2010 ART SAN DIEGO, Contemporary Art Fair w. Scott White Contemporary
2010 CONTEMPORARY ISTANBUL, w. HW13 Gallery, Istanbul, Turkey
2010 ART-MIAMI w. Scott White Contemporary, USA
2010 CHRISTMAS SHOW at Galerie Egelund, Copenhagen, Denmark
2011 LOS ANGELES ART SHOW w. Scott White Contemporary, USA
AWARDS
1981,1984, 1989, 1991 Three month state grant
1999 Two year state grant
1982 Travel Grant from Culture Fund
1986 Resident Artist of Reykjavik
1988 1st Prize in competition for monument in Ísafjör!ur Town Hall
1990 1st Prize in competition for altar piece in Kópavogur Church
1991 Grant from Culture Fund
1992 Grant from ADEC, Association Dialogue Entre le Culture, France
2002 Grant from the Icelandic Visual Art Copyright Association
2006 Travel Grant from Visual Art Copyright Association
2005 Travel Grant from Muggur
2006 Grant from The Foundation of Margrét Björgólfsdóttir
2006 Travel Grant from Muggur
2007 Grant from the Cultural Fund of the Reykjavik Savings Bank
2007 1st Prize in competition for artwork at Leifur Eiríksson International Airport
2009 Awarded the Order of the Falcon by the President of Iceland
2010 One year state grant from the Icelandic Government
WORKS IN PUBLIC PLACES:
Promote Iceland
City of Reykjavik
The Reykjavík Art Museum
National Gallery of Iceland
Icelandic National Radio, Akureyri
Kópavogur Arts Fund
Monument in Sandger!i
Monument in Grundarfjör!ur
Central Bank of Iceland
Ísafjör!ur Town Hall
Altar Piece in Kópavogur Church
State Accounts Office
Icelandic Monopoly in Spöngin
The Reykjavik Savings Bank
Town of Hafnarfjör!ur
Presidential Export Award, Fluglei!ir, Keflavik Airport
Akureyri Town Theatre
Icelandair Art Collection
Icelandic Freezing Plants
National Bank of Iceland
Icelandic Export Board
The College of Hamrahlí!
The College of Reykjavik
The College of Gardabaer
The College of Akureyri
The Award of the Icelandic Language Fund
Akureyri Art Museum
Europay Iceland
The Catholic Church
The City of Kristianstad, Sweden
The Royal Carribbean
Hall Financial Group, Texas, USA
Kathryn Hall Wineyards, California, USA
The Estate of Sir Rocco and Lady Forte, England
Collection of Carl XVI Gustav, the King of Sweden
American Seafoods, Seattle, USA
The State Hospital in Copenhagen, Denmark
The Icelandic College of Commerce
Alcan in Iceland
The City of Hull, England
The Town of Vík, Iceland
F I H Bank, Denmark
Icebank
Glitnir Bank
Exista, Financial Services
Bakkavör Group
1919 Radisson SAS Hotel
101 Hotel
Leifur Eiríksson International Airport
The Danish Banker´s Association, Copenhagen, Denmark
The University of Aberdeen, Scotland
Elgiz Museum of Contemporary Art, Istanbul, Turkey
Works in private collections worldwide
PUBLICATIONS:
1983 Votre Beaute, article by Ester Henwood, France
1982 New York, article by Hans Frode, USA
1985 Iceland Review, article by A. Ingólfsson
1986 Neues Glass, Germany, article by A. Ingólfsson
1988 The Plain Dealer, article by Helen Cullinan, USA
1989 Architecture & Planning, article by A. Ingólfsson
1991 Atlantica, article by "orgeir Ólafsson
1991 Femina, article by Lena Rydin, Sweden
1998 UNT Kultur, Sweden
1998 Politiken, Denmark
1998 Norre Skaane, Sweden
1998 Kristianstadtsbladet, Sweden
1998 Femina, article by Marika Wachtmeister, Sweden
1999 Helsingin Sanomat, Finland
1999 Waverley Tribune, Sydney, Australia
2000 Metro, Berlinske Tidende, Denmark
2000 Island, Germany
2000 Kölner Stadt-Anzeiger, Germany
2000 The Art Newspaper, International Edition
2001 La Voce di Mantova, Italy
2001 Coevit, Italy
2001 The Sunday Telegraph, Australia
2001 The Australian, Australia
2001 The Daily Telegraph, Australia
2002 Sculpture, article by D. Donimick Lombardi, USA
2002 Hephaistos, Germany
2003 Aluminium International Today, United Kingdom
2003 The Spectator, U.K.
2003 Nürnberg, Germany
2003 Stadtanzeiger, Germany
2003 Nürnberger Nachricten, Germany
2003 Sonntagsblitz, Germany
2003 Sculpture Magazine, USA
2003 The Globe and Mail, Canada
2004 The Yorkshire Post, U.K.
2005 D´Art Magazine, article by D. Dominic Lombardi
2005 Dagbladet, Norway
2005 Stíll, magazine in Iceland
2006 Sk#, magazine in Iceland
2006 Hull Daily Mail, UK
2006 The Yorkshire Post, UK
2006 Hull in Print, UK
2006 Berlinske Tidende by Eva Paul, Denmark
2006 Jyllands-Posten, Dennmark
2006 Börsen, Denmark
2006 Globe and Mail, Canada
2006 Fálkinn, ICCT, Canada
2006 Virgin Blue Inflight Magazine, Australia.
2006 Lögberg Heimskringla, Canada
2006 Fálkinn, ICCT, Canada
2007 The Seattle Times Sunday Magazine, USA, July 8.
2007 The New York Times, Westchester Section, USA
2007 The Record Review, NY, USA, August 3, by Eve Marx
2007 Lewisboro Ledger, NY, USA, August 16
2007 The Ann Arbor Observer, Michigan, USA, September
2007 The Scarsdale Inquirer, NY, USA, September 14
2007 Northern Westchester Express, NY, USA, September 20
2007 Greenwich Time, Greenwich, Connecticut, USA, August 17
2008 Sculpture Magazine, USA, January/February
2008 The Times, England, 25 April
2008 Memphis Flyer, USA, July 17-23, by Carol Knowles.
2008 San Antonio Express-News, SA Life, USA, Sept. 14, by Dan R. Goddard
2008 San Antonio Current, Sept. USA, 10-16 September. By Johnston Farrow
2008 Exit Express, Spain, May Issue, by Glenn Harper
2008 The Private Jet Lifestyle Magazine, Elite Traveller, July/August
2009 Sculpture Magazine Jan/Feb issue, feature article by Jonathan Goodman
2009 Chicago Tribune, USA, July 3rd
2009 Examiner.com Sentinels of the Psyche by Jeff Stevenson
2010 The Gothenburg Post, Sweden. 16th of August. By Mikael Van Reis
2010 Fria Tidningan, Sweden. 29th of July. By Tobias Magnusson
2010 La V Magazine, 2nd Issue. France. Feature Article by Karina Vabson
2010 The Press and Journal, Scotland. November 4.
2010 Evening Express, UK. November 4.
2010 Sculpture Magazine, USA. November issue, Article by Victor Cassidy
2010 Omkonst. Sweden. June 7. Article by Jan Manker
2010 GT Expressen, Sweden. June 23. Article by Kajsa Widegren
Numerous newspaper articles and interviews on television and radio in Iceland
2008 Horizons, The Art of Steinunn Thórarinsdóttir. A documentary by
American filmmaker Frank Cantor
VARIOUS OCCUPATIONS
1985-87 Chairman of the Sculptors´ Association
1984-87 Teacher at the Icelandic College of Arts and Crafts
1988 Lectures at Cleveland State University and Cleveland Art
Institute, Cleveland, USA
1994-97 Member of the board of the National Gallery of Iceland
1989 Book Cover for Shinchosha Company, Japan
1998 Member of the Board of the Icelandic Association of Visual Artists
2001-03 Member of the Visual Art Committee of the Ministry of Culture,
Iceland
1999 Lecture at Sydney Art School, Sydney Australia
2001 Lecture at Sydney Art School, Sydney, Australia
2003 Lecture at The Sculpture Society of Canada, Toronto, Canada
2003 Lecture at The Goethe Institut, Toronto, Canada
2004 Lecture at “Sculpture in Public Space Symposium”, Art Gallery of New
South Wales, Sydney, Australia
2007 Lecture at Concordia University, Ann Arbor, Michigan, USA
2008 Lecture at San Antonio Botanical Gardens, Texas, USA
2009 Distinguished Lecturer at Governor´s State University, Illinois, USA
2009- Member of the Board of the International Sculpture Center, USA
2010 Artist´s talk at Cedar Crest College, Allentown, Pennsylvania, USA
2010 Artist´s talk at Muhlenberg College, Allentown, Pennsylvania, USA
2011 Lecture at Georgia Museum of Art, USA
STAGE AND COSTUME DESIGN:
1985 Reykjavíkursögur Ástu, The Basement Theater
1987 The Father, by Strindberg, City Theater, Reykjavik
1989 The Egg Theater
1990 Icelandic National Television
Horizons with visitors at the Katonah Museum
PHOTOTGRAPHS:
Arnaldur Halldórsson
Binni
Bragi Thór Jósepsson
Chris Lake
Eddi
Guenther Thoeny
Margaret Fox
Mike Boatman
Thórarinn Jón Magnússon
Thórir N. Kjartansson
GRAPHIC DESIGN:
Anna Björnsdóttir/ad@centrum.is
Published and supported by Veronica and
Raymundo Del Castillo