Creators: Chapman, Laura H., 1935-
Span Dates: 1973-2010
Extent: 6.01 linear feet (including 6 photograph albums, 3 CD-ROMs, and 1 oversize poster box)
Languages: Most materials are in English. Some are in German.
Repository Location: Eva G. Farris Special Collections and Schlachter University Archives, W. Frank Steely Library, Northern Kentucky University, Highland Heights, Kentucky
Subjects:
Junk sculpture
Photography of sculpture
Sculpture, American--20th century--Exhibitions
Woman sculptors--United States--Exhibitions
Names:
Bailey, Bill
Chapman, Laura H., 1935-
Chicago Federal Center (Chicago, Ill.)
Cincinnati Art Museum
Contemporary Arts Center (Cincinnati, Oh.)
Linnemann, Robert
Neiman, Jack
Northern Kentucky University
R & L Industries
Renick, Patricia, 1932-2007
Roell, Bill
Schlachter, Mark
Terrill, Grant
Places:
Cincinnati (Ohio)
Chicago (Ill.)
Formats:
Black & white photographs
Color photographs
Contact sheets
Instructional materials
Negatives
Photographs
Slides
Occupations:
Sculptors
Other Inventories: Descriptive inventories for negatives and prints are included in Box 10, Folders 1-3.
Related Archival Materials: MS-77 Michael Schneider Stegowagenvolkssaurus Photographs, Eva G. Farris Special Collections, W. Frank Steely Library, Northern Kentucky University
Patricia Renick Papers, 1932-2007, UA-12-07, Archives and Rare Books Library, University of Cincinnati, Cincinnati, Ohio
Existence and Location of Copies: Select 8” x 10” black & white photographs were digitized by archives staff in 2008. Contact archives staff for availability.
Publication Note: Lesson plan published in: Chapman, Laura H. Adventures in Art. Worchester, MA: Davis Publications, 1998. Available in Steely Library, call number LT2000.D3 A3.
Born in Florida, Patricia A. Renick graduated with a BS in art education from Florida State University (1954), and received an MA (1968) and an MFA (1969) from The Ohio State University. She taught at the University of Cincinnati for over thirty years, retiring in 2001 as Professor of Fine Arts Emeritus, College of Design, Architecture, Art, and Planning. She was a founder of the National Sculpture Conference: Works by Women and was actively involved in many local and national art and cultural organizations. She received two Corbett Awards for outstanding contributions to the cultural vitality of Cincinnati.
Renick is best known for large-scale works. Her first solo exhibition was in 1970 at Closson’s Gallery in Cincinnati, Ohio. After Renick’s death, Stegowagenvolkssaurus was installed in Northern Kentucky University’s W. Frank Steely Library.
Renick also sculpted the work Triceracopter, created from a U.S. Army OH-6A Cayuse helicopter in 1977, as a statement on the hope for the obsolescence of war. It was exhibited at the Contemporary Arts Center in Cincinnati in 1978 and now resides in the University of Cincinnati’s Langsam Library. In addition to her solo exhibitions, Renick participated in numerous group exhibitions and her works have been featured in books, magazines, television, and instructional materials.
Laura H. Chapman, born April 24, 1935, is an art education consultant and writer. She has consulted for the National Endowment for the Arts, Educational Testing Services, and has taught in art education programs at Indiana University, The Ohio State University, and the University of Cincinnati. She has written several books, including Instant Art, Instant Culture (1982) and Adventures in Art (1998).
The collection documents the conceptualization, construction, completion and exhibition of sculptor Patricia Renick’s Stegowagenvolkssaurus (Stego), a large-scale sculpture which resides in Northern Kentucky University’s W. Frank Steely Library. Stegowagenvolkssaurus was created at the peak of a major gasoline shortage in 1974. The work is a visual metaphor of the possible obsolescence of automobiles from lack of fuel by connecting it to the concept of the extinction of dinosaurs (fossil fuel). The collection consists of eight series: photographs, biographical material, correspondence, writings, project material, exhibition files, publicity, and instructional materials.
Series I, Photographs (1973-2010), documents the conceptualization, construction, completion, and exhibitions of Stegowagenvolkssaurus through various photographic formats and accompanying inventories written by photographer and collection creator Laura H. Chapman. The photographs show stages of the creation and exhibition of Stegowagenvolkssaurus, beginning with the concept model through the full-scale execution of the sculpture. This series is the largest in the collection. Subjects include the Volkswagen (VW) being delivered to Renick’s garage; Renick using high density Styrofoam to construct the fins; moving the sculpture into an outdoor studio tent attached to a garage; the creation of a fiberglass mold; a visit from Cincinnati TV reporter Jack Fogerty; and Renick sealing a walnut within the sculpture’s head after she learns that the Stegosaurus has a walnut-sized brain. The series also contains images of prior exhibitions of Stegowagenvolkssaurus and its installation in the W. Frank Steely Library, Northern Kentucky University in 2008-2009.
The Process of Making Stego (1973-1974, 2010): There are thirty-one sleeves of negatives. Each set contains multiple negatives that correspond to a particular stage in the sculpture’s creation. The majority of the negatives were shot by Laura Chapman except for the few where she is the subject; Renick took these. Most of the negatives correspond to the contact sheets. In some cases, contact sheets are missing for negatives and vice versa. Some of the 8” x 10” black & white photographs were printed from the negatives in the series. A descriptive inventory is included that briefly describes the part of the artistic process that each sleeve of negatives documents.
The Process of Making Stego (1973-1974, 2010): There are thirty-one sets of contact sheets to correspond with the thirty-one sets of negatives. Each set contains multiple contact sheets that correspond to a particular stage in the sculpture’s creation (the same as the negatives). The majority of the contact sheets match a negative. In some cases, contact sheets are missing for negatives and vice versa. There are two binders along with a descriptive inventory.
Process of Making Stegowagenvolkssaurus: Colored Slides and Narrative (1973-1974, 2008): There are two volumes of colored slides with accompanying description entitled “Patricia A. Renick, Process of making Stegowagenvolkssaurus: Colored slides and narrative” by Laura Chapman. Chapman notes that the narrative was written in March 2008 and that “the sequence of the slides and the quantity of these is believed to offer a credible account of the project.” Chapman divided the slides into thirty-six sections that correspond to stages in the sculpture’s creation.
There is also a smaller section of sixty-two slides that Chapman had selected for a DVD on “Stegowagen” with an accompanying narrative. It is uncertain whether or not the DVD was ever made.
Black & White Photographs (1973-1974, 2010): Photographs are divided into seven sets, beginning with the first concept of the sculpture through the sculpture’s exhibition at the Cincinnati Art Museum.
Prior Exhibitions (1974-1975): These mostly 8” x 10” black & white photographs include images from the Invitational Awards Exhibition at the Cincinnati Art Museum (1974), the Contemporary Arts Center’s Summer Exhibitions in Cincinnati (1974), and the University of Cincinnati’s Zimmer Hall (1974). There are also photographs and two negatives of the Sculpture for a New Era exhibition sponsored by Works of Art in Public Places, Inc. at the Dirksen United States Courthouse at the Chicago Federal Center in Chicago, Illinois (1975).
Restoration and Installation (2008-2009): These photographs, 4” x 6” prints and digital images on CDs, document the restoration of Stegowagenvolkssaurus and its installation in W. Frank Steely Library, Northern Kentucky University in 2008-2009. They were taken by Laura Chapman and Mark Schlachter.
Series II, Biographical Materials (2007), consists of an annotated version of Renick’s curriculum vitae and a list of her career highlights.
Series III, Correspondence (1974-2004), includes incoming correspondence requesting information about the sculpture and using images of the sculpture in various publications and education material.
Series IV, Writings (1975-1980), contains an artist’s statement about the inception of Stegowagenvolkssaurus. The check for registering the sculpture with the U.S. Copyright Office was attached to the statement. The check is for “Gus,” the nickname given to the sculpture during the construction process. The series also contains an abstract of the presentation “Art: The Making of Monumental Sculpture in Fiberglass through Adapting Industrial Fabrication Techniques” given by Renick at a meeting of the American Chemical Society in 1980 and “The Origin of Stegowagenvolkssaurus” by Jayne Merkel (after 1974).
Series V, Project Materials (1973-1975), contains an Ohio Arts Council grant application for a sound track for Stegowagenvolkssaurus, which was eventually composed by Paul Palumbo and played in the background at the Cincinnati Art Museum, and sculpture-related financial records including invoices, receipts, and an account ledger.
Series VI, Exhibition Files (1973-1976), includes correspondence, loan forms, receipt forms, and catalogs. Correspondence contains congratulatory letters and cards sent to Renick by a variety of supporters and friends upon the completion and exhibition of Stegowagenvolkssaurus in the Invitational Awards Exhibition at the Cincinnati Art Museum. Notable correspondents include George Rieveschl and Warren Bennis, who was the president of the University of Cincinnati when the sculpture debuted at the Cincinnati Art Museum. The series includes an article about the Contemporary Arts Center’s 14 Cincinnati Artists (1976) exhibition, which included the conceptual model of Stegowagenvolkssaurus and a photograph of the sculpture. For exhibition photographs, see Series I, Photographs.
Series VII, Publicity (1974-2003, undated), contains publicity generated for gallery exhibitions, publications, articles, and clippings about the artistic process of making and exhibiting Stegowagenvolkssaurus.
Series VIII, Instructional Materials (1986-1998), contains a teacher’s packet, lesson plan, and art card that incorporate Stegowagenvolkssuarus into art education. Laura H. Chapman wrote the lesson plan centered around one of her photographs of Renick’s sculpture.
Description |
Date |
Box |
Folder |
Series I: Photographs |
|
|
|
The Process of Making Stego (Negatives and inventory) |
1973-1974, 2010 |
1-3; 10 |
1 |
The Process of Making Stego (Contact |
1973-1974, 2010 |
4-5; 10 |
1 |
Process of Making Stegowagenvolkssaurus: |
1973-1974, 2008 |
6-7; 10 |
2-3 |
Black & White Photographs |
1973-1974 |
8-9 |
|
Prior Exhibitions |
1974-1975 |
9; see also Box 3 for O/S negatives |
|
Restoration and Installation |
2008-2009 |
9; see also SC CD/DVD Box 1 |
|
|
|
|
|
Series II: Biographical Materials |
|
|
|
Career highlights and curriculum vitae |
2002, 2007 |
10 |
4 |
|
|
|
|
Series III: Correspondence |
|
|
|
Incoming correspondence |
1974-2004 |
10 |
5-6 |
|
|
|
|
Series IV: Writings |
|
|
|
Artist's statement |
1975 |
10 |
7 |
Abstract of presentation "Art: The making of monumental sculpture in fiberglass through |
1980 |
10 |
8 |
"The origin of the Stegowagenvolkssaurus" by |
after 1974 |
10 |
9 |
|
|
|
|
Series V: Project Materials |
|
|
|
Ohio Arts Council grant application |
1973 |
10 |
10 |
Receipts |
1973-1974 |
10 |
11 |
|
|
|
|
Series VI: Exhibition Files |
|
|
|
Invitational Awards Exhibition, Cincinnati Art Museum, Cincinnati, Ohio |
1973-1974 |
10 |
12-14 |
Summer Exhibitions, Contemporary Arts |
1974 |
10 |
15 |
Sculpture for a New Era, Dirksen United |
1975 |
10 |
16 |
14 Cincinnati Artists, Contemporary Arts |
1976 |
10 |
17 |
|
|
|
|
Series VII: Publicity |
|
|
|
Invitational Awards Exhibition, Cincinnati Art Museum, Cincinnati, Ohio |
1974 |
10 |
18 |
Summer Exhibitions, Contemporary Arts |
1974 |
10 |
19 |
Zimmer Hall, University of Cincinnati, |
1974 December 13 |
10 |
20 |
Sculpture for a New Era, Dirksen United |
1975 |
|
21 |
Publicity |
1975-2003, undated |
10 |
22-24 |
|
|
|
|
Series VIII: Instructional Materials |
|
|
|
Crayola® Dream-Makers™ Program teacher packets |
1986, 1999 |
10 |
25 |
Lesson plan and art card |
1998 |
O/S Box 11 |
|
Conditions Governing Access: This collection is open for research access.
Technical Access: Optical discs (CD-ROMs) require CD/DVD drives for access. Archives staff will provide light box for viewing slides and negatives.
Conditions Governing Reproduction and Use: The copyright law of the United States (Title 17, US Code) governs the reproduction of copyrighted material. The User assumes full responsibility and any attendant liability for the fair use of materials requested in total compliance with the copyright law of the United States (Title 17, United States Code) that may arise through the use of any requested materials.
Preferred Citation: [Box #, Folder #], MS-37 Patricia A. Renick Stegowagenvolkssaurus Collection, Eva G. Farris Special Collections, W. Frank Steely Library, Northern Kentucky University
Processing Information: Processed by Anne Ryckbost, 2016
The photographs, with the exception of the negatives and contact sheets, were originally separated by format by the photographer and collection creator, Laura Chapman, and this arrangement has been retained. Inventories written by Chapman accompany many of the photographs. The original inventories are housed with the collection’s paper materials while the photograph albums contain dividers with access copies of the inventories corresponding to each section. This was done to help researchers access the description as they are viewing the photographs.
The negatives and contact sheets arrived in thirty-one envelopes. Most negatives were placed next to a corresponding contact sheet, but in some cases the negatives and contact sheets had been cut into pieces. The original arrangement and description of the negatives and contact sheets has been maintained though negatives were separated from contact sheets for preservation reasons. Archives staff assigned each negative a unique identifier that corresponds to its contact sheet—both the negative and contact sheet are labeled with the same identifier to maintain their relationship and include “see also” references to their negative or contact sheet counterpart. The identifier is composed of the collection number (MS37), the number on the envelope that the item arrived in (01-31), which was assigned by the creator, and the sequence of the item within the envelope, beginning at 001 for each envelope and going sequentially. If a contact sheet does not exist for a negative, its absence is noted on the paper sleeve for the negative and the numbering continues sequentially without interruption (example label: ‘no contact sheet found for MS37_03_004). This is also true when a negative is not found for a contact sheet. In other words, the numbering does not stop or differ because of a missing piece. Contact sheets and negatives in envelope 19 were labeled as “tail,” “front leg,” and “head.” These labels have been retained.
In a few cases, there were annotations on the paper sleeves that contained negatives. The sleeves were preservation photocopied and the copies are located next to the corresponding negative.
In several cases, the number of color slides listed by the creator in the slide inventory differs from the actual number of slides found by archives staff. An archivist’s note on the access copy of the inventory documents a discrepancy in the slide count if one was discovered during processing.
