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Richard Stankiewicz
Richard Stankiewicz
Richard Stankiewicz

Richard Stankiewicz

American, 1922 - 1983
BiographyStankiewicz was born in Philadelphia, Pennsylvania on October 18, 1922 and spent 1941-1949 in the United States Navy. He began his career as an after his discharge and went to New York to study at the Hans Hofmann School of Fine Arts. In 1950, he went to Paris to study sculpture. On his return to New York, he was co-founder of the Hansa Gallery. His work after the 1950s consisted mainly of assemblage, including "junk" and found objects in welded steel compositions, both freestanding and wall hung. He died in Worthington, Massachusetts on March 27, 1983.
(Source: Grove Dictionary of Art Online)


American Abstract Expressionist Assemblage Artist, 1922-1983

Art in Context Entry:

Born in Philadelphia and raised in Detroit, Richard Stankiewicz is known for his ingenious use of found objects, especially those of a gritty, industrial nature. A classic example of his work from the 1950s and '60s, Double Head is an odd assortment of chain link, pipe fittings and steel plates wittily transformed into a sculpture that clearly suggests two faces, one on each side.

Stankiewicz received none of the requisite academic training expected of artists today. Although he eventually taught art at the State University of New York, Albany (from 1967 until 1982), his highest degree was from Cass Technical High School in Detroit. Like many of his generation, Stankiewicz created his own credentials. While serving in the Navy during World War II, he encountered a circle of artists and found himself drawn to art, which he pursued from New York to Paris. Between 1948 and 1951, he studied at the Hans Hofmann School of Fine Arts, as well as in the studios of the renowned painter Fernand Leger, and the French sculptor Ossip Zadkine.

After settling in rural Massachusetts, Stankiewicz gained recognition in the early 1960s for his pioneering use of industrial scrap: he was included, for example, in the Museum of Modern Art's landmark Art of Assemblage exhibition in 1961. While his rusted materials may seem irrevocably tough and modern, Stankiewicz always managed to handle them with a light touch. Indeed, his works from this period often have a slyly humorous cast that makes them surprisingly approachable.

Eileen Carr


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