T i m o t h y H o r n
Born in Melbourne, Australia, 1964
Lives and works in Truro, Massachusetts, USA
2004 MFA (Sculpture), Massachusetts College of Art, Boston, MA
2001 Honors Bachelor Visual Art (Glass), Australian National University, Canberra, Australia
1988 Post-Graduate Diploma (Sculpture), Victorian College of the Arts, Melbourne, Australia
1986 Bachelor Fine Art (Sculpture), Victoria College, Prahran, Australia
2015 Supernatural, PPOW Gallery, New York, NY
2010 Amber Room, Lux Art Institute, Encinitas, CA
2009 Medusa, LAND/ART 09, Santa Fe, NM
2008 Medusa, SJ ICA, San Jose, CA
2008 Bitter/Suite, de Young Museum, San Francisco, CA
2006 Villa Medusa, Hosfelt Gallery, New York, NY
2006 (in)discrete objects, Sub-Urban Series, Knoxville Museum of Art, TN
2005 Difficult to Swallow, Hosfelt Gallery, San Francisco, CA, USA
2003 Water-Sports, Jam Factory, Adelaide, Australia
2003 Cinderella Complex, Town Hall Art Space, Melbourne, Australia
2002 Water-Sports, Craft ACT, Canberra, Australia
2001 Glory Box, Brisbane City Gallery, Brisbane, Australia
2001 Cinderella Complex, Drill Hall Gallery, Canberra, Australia
1995 Concert, Kirkcaldy Davies Gallery, Melbourne, Australia
1992 Ménage à trois, City Gallery, Melbourne, Australia
1989 Water Organ, Winter Folly, City Gallery. Melbourne, Australia
2022 Fantastical Worlds, curated by Eva Czernis-Ryl, David Roche Foundation, Adelaide, South Australia
2021 Making Waves, American Craft Center, Los Angeles, CA
2020 Forces of Nature: Renwick Invitational, Renwick Gallery, SAAM, Washington, DC
2019 Sublime Sea: Rapture and Reality, curated by Dr. Vivien Gaston, MPRG, Australia
2019 Dread and Delight, curated by Emily Stamey, Akron Art Museum, OH
2019 Dread and Delight, curated by Emily Stamey, Faulconer Gallery, Grinnell College, IA
2018 Design Miami Basel, with Todd Merrill Studio, Miami, FL
2018 The Salon / Art + Design, with Todd Merrill Studio, Park Avenue Armory, New York, NY
2018 Art Toronto, with Todd Merrill Studio, Toronto, Canada
2018 Dread and Delight, curated by Emily Stamey, Weatherspoon Museum, Greensboro, NC
2018 Fantastical Worlds, curated by Eva Czernis-Ryl, Powerhouse Museum, Sydney, Australia
2018 Design Basel, with Todd Merrill Studio, Basel, Switzerland
2018 Adelaide Biennial, Art Gallery of South Australia, Adelaide, Australia
2017 Mirror Mirror, Hosfelt Gallery, San Francisco, CA
2017 Flaming June VII (Flaming Creatures) Gavlak Gallery, Los Angeles, CA
2017 9 x 5 Now, Margaret Dodd Gallery, VCA, Melbourne, Australia
2017 Ready, FIRE! Aim, BCA Center, Burlington, VT
2017 Art Basel, with PPOW Gallery, Hong Kong
2017 Vitreous Bodies, Massachusetts College of Art, Boston, MA
2016 deCordoba New England Biennial, deCordoba Museum, Linclon, MA
2016 Art Basel, with PPOW Gallery, Hong Hong
2016 A Cabinet of Curiosities from the Collection, Art Gallery of South Australia, Adelaide,
2014 The Armory Show, with PPOW Gallery, New York, NY
2012 Seven Art Fair, with PPOW Gallery, Miami, FL
2012 Expo Chicago, with PPOW Gallery, Chicago IL
2012 FUSION [A New Century of Glass], curated by Alison Amick and Jennifer Klos, Oklahoma City Museum of Art, Oklahima City, OK
2012 Tour de Force: In Case of Emergency Break Glass, Mornington Peninsula Regional Gallery, Victoria, Australia
2011 Travelers: Objects of Dream and Revelation, Bellevue Arts Museum, Bellevue, WA
2011 January White Sale, Loretta Howard Gallery, New York, NY
2011 Decadence & Disarray, SPQ Projects, Lennox, MA
2010 Selected Works from the UniSA Samstag Collection, Kerry Packer Civic Gallery, Hawke Building, UniSA, Australia.
2010 GlassWear, SECCA, Salem, NC,
2010 Julie Heffernan/Timothy Horn, The Art Show, (with PPOW Gallery) Park Avenue Armory, New York, NY
2010 Dallas Art Fair, (with James Kelly Contemporary), Dallas, TX
2010 Tour de Force: In case of Emergency, Break Glass, curated by Megan Bottari, Artisan, Brisbane, Australia.
2009 Cabinet of Curiosities, Dunedin Arts Center, Dunedin, FL
2009 Pulse Contemporary Art Fair, Miami, FL
2009 The Coldest Winter I Ever Spent Was a Summer in San Francisco, Hosfelt Gallery, San Francisco, CA
2009 Reinventions, curated by Deborah Hart, National Gallery of Australia, Canberra, Australia.
2009 New Work, Hosfelt Gallery, New York, NY
2009 Here & There, LAND/ART 09, 516 Arts, Albuquerque, NM
2009 GlassWear, curated by Ursula Ilse Newman and the Museum of Arts and Design, New York. Venues included Mobile Museum of Art, Mobile, Alabama, AL, Museum of Arts & Design, New York, NY, USA. Memorial Art Gallery, University of Rochester, Rochester, NY, Art Museum of South Texas, Corpus Christie, TX, Glazen Huis Vlaams Centrum voor Hedendaagse Glaskunstk, Lommel, Belgium.
2008 In Pursuit of Beauty, curated by Leonie Bradbury, Montserrat College of Art, Beverly, MA
2008 Aqua Wynwood Art Fair, Miami, FL
2008 Optimism, curated by Julie Ewington, Queensland Gallery of Modern Art, Brisbane, Australia.
2008 FLux, curated by Laura Addison, Museum of Fine Arts, Santa Fe, NM
2008 GlassWear, curated by Ursula Ilse Newman, Schmuckmuseum Pforzheim, Germany.
2007 Andy and Oz, Parallel Visions, co-curated by Tom Sokolowski and Dr Deborah Hart (Senior Curator at the National Gallery of Australia), Andy Warhol Museum, Pittsburgh, PA
2007 Aqua Wynwood Art Fair, Miami, FL
2007 GlassWear, curated by Ursula Ilse Newman, Glass Pavilion, Toledo Museum of Art, Ohio
2007 Jellyfish - Nature inspires Art, National Maritime Museum, Sydney, Australia.
2007 RAiR 40th Anniversary Exhibition, Roswell Museum and Art Center, Roswell, NM
2007 ARCO, Arte Contemporaneo, Feria de Madrid, Madrid, Spain.
2007 The Art and Artifice of Science, curated by Laura Addison, Museum of Fine Arts, Santa Fe, NM
2006 Flicker, curated by Corinna Ripps Schaming, Albany University Art Museum, Albany, NY
2006 Rapture is a Cool Place, curated by Stephan Jost, Mills College Art Museum, Oakland, CA
2006 Mass 3D, Boston Sculptors Gallery, Boston, MA
2006 Fine Arts Work Center Fellows, Provincetown Art Association Museum, Provincetown, MA
2006 Preview, Hosfelt Gallery, New York, NY
2005 Ornamentation: The Art of Desire, Institute of Contemporary Art, San Jose, CA
2005 Academici, Monash University, Melbourne, Australia, British Academy, Rome, Italy.
2005 Kindle and Swag, QUT Art Museum, Brisbane, QLD, Australia.
2004 Kindle and Swag, Art Museum of University of South Australia, Adelaide, Australia.
2004 MFA Thesis Exhibition, Bakala Gallery, MassArt, Boston, MA
2004 Walk This Way, Perc Tucker Regional Gallery, Townsville, QLD, Australia.
2003 Outstanding Student Achievement in Contemporary Sculpture, Grounds for Sculpture, International Sculpture Center, Hamilton, NJ
2003 Beautiful Rebellion, Adams House Art Space, Harvard University, Cambridge, MA
2002 Gulliver’s Travels, CAST, Hobart, Tasmania, Ivan Doherty Gallery Sydney, Monash University Gallery, Melbourne, IMA Brisbane, CACSA, Adelaide, PICA, Perth.
2002 Less is More, Less is a Bore, Brisbane City Gallery, Brisbane, Australia.
2001 National Sculpture Prize, National Gallery of Australia, Canberra, Australia.
2001 Glow, Object Gallery, Customs House, Customs House, Sydney, Australia.
2001 Vanessa Buemi and Timothy Horn, Object Gallery, Customs House, Sydney, Australia.
2000 SpringART, SpringOUT Festival, Sound Screen Archives, Canberra, Australia.
2000 GAS Conference, LIU, Brooklyn, NY
1999 Glass, Essentially Canberra, Glass festival Exhibition, Hsinchu Municipal Centre, Taiwan. La Salle College of the Arts SIA, Singapore.
1999 Glass, Essentially Canberra, Object gallery, Customs House, Sydney, Australia.
1999 RFC Glass Prize, Touring Exhibition, Sydney, Brisbane, Perth, Canberra, Wagga Wagga.
1998 Venezia Aperto Vetro 1998, L’Instituto Statale D’Arte, Venice, Italy.
1998 RFC Glass Prize, Touring Exhibition, Sydney, Melbourne, Perth, Brisbane.
1999 Fill This Space, Collaborative Installation, Next Wave Festival, North Melbourne Town Hall Hotel, North Melbourne, Australia.
1997 Site and Scale, Yarra Sculpture Space, Abbotsford, Melbourne, Australia.
1996 Love: at the Carlisle Street Motel, Carlisle Street Motel, St. Kilda, Australia.
1995 Blundstone Traveling Fellowship, Touring Exhibition, Launceston, Sydney, Melbourne, Perth, Canberra, Brisbane.
1991 Gasworks Sculpture Exhibition, Southgate, Melbourne, Australia.
1989 Domestic Objects, Fifth Australian Sculpture Triennial, John Buckley Fine Art, Melbourne, Australia.
1989 Sixteen Artists, University Gallery, Melbourne University, Australia.
1988 Sculpture in the Moat, National Gallery of Victoria, Melbourne, Australia.
Awards, Grants and Artist Residencies
2014 New Work Grant, Visual Arts Board, Australia Council
2010 Lux Art Institute Residency, Encinitas, CA
2010 Pollock-Krasner Foundation Inc. Grant.
2009 New Work Grant, Visual Arts Board, Australia Council
2007 New Work Grant, Visual Arts Board, Australia Council
2006 RAIR Residency, Roswell, NM
2006 Artist Resource Trust Grant, Berkshire Taconic, MA
2006 Yaddo Summer Residency, Yaddo, Saratoga Springs, NY
2005 New Work Grant, Visual Arts Board, Australia Council
2005 Massachusetts Cultural Council Grant, MA
2005 7-Month Fine Arts Work Center Winter Residency, Provincetown, MA
2004 LEF New England General Funding Grant, MA
2004 Janet Sloane Residency, Yaddo, Saratoga Springs, NY
2004 St. Botolph Club Foundation Grant, Boston, MA
2003 Outstanding Student Award, International Sculpture Center, NY
2002 Anne and Gordon Samstag International Visual Arts Scholarship
2002 3-Month Rome Studio Residency, Australia Council, British Academy, Rome, Italy
2002 Peter and Lena Karmel Award, ACT, Australia
2002 University Medal, Australian National University, Canberra. Australia
2001 Arts ACT General Funding Grant, ACT, Australia
2001 CAPO Grant, ACT, Australia
2001 Arts ACT Quick Response Grant, ACT, Australia
2001 National Institute of the Arts Award, ACT Australia
2000 GAS Conference Student Exhibition, Second Prize, Brooklyn, NY
2000 Thomas Foundation Pilchuck Scholarship, Ausglass, Australia
1997 Pat Corrigan Grant, Visual Arts Board, Australia Council
1990 Project Development Grant, Visual Art Board, Australia Council
1987 Queen Elizabeth II Silver Jubilee Trust, VIC, Australia
Powerhouse Museum, Sydney, Australia
Art Gallery of South Australia, Adelaide, Australia
de Young Museum, San Francisco, CA
Dior: New York, London, Beijing, Dubai and Hong Kong
Lux Art Institute Residency, Encinitas, CA
National Gallery of Australia, American Friends of the NGA purchase, Canberra, Australia
Beth Rudin deWoody Collection, New York, NY
Wellington Management, Boston, MA
Mills College Art Museum, Oakland, CA
University of South Australia Art Museum
National Sculpture Prize Acquisition 2002, National Gallery of Australia, Canberra, Australia.
Möet et Chandon Purchasing Fund 1990, National Gallery of Australia, Canberra, Australia.
Private collections in Australia, USA and France.
Forces of Nature: 2020 Renwick Inviational, Essay by Stefano Catalani, 2020
Sublime Sea: Rapture and Reality, Essay by Dr. Vivien Gaston, MPRG, 2019
Dread & Delight, Essay by Emily Stamey, Weatherspoon Art Museum, NC, 2018
2018 Adelaide Biennial: Divided Worlds, essay by Erica Green, AGSA, 2018
Ready, FIRE! Aim, Essay by DJ Hellerman, BCA Center, Burlington, VT 2017
A Cabinet of Curiosities from the Collection, Connect Issue 8, January 27, 2016
Peter Marino: Art Architecture, edited by Brad Goldfarb, Phaidon Press, New York, 2016
Perspectives 2, Essay by Karen Pfefferie, Wellington Management, 2014
Collected Works from the UniSA Samstag Collection, Essay by Sarah Wall, UniSA, 2010
Here & There, Essay by Suzanne Sbarge, 516 Arts, Albuquerque, NM, 2009
Optimism, Essay by Julie Ewington, GoMA, Brisbane, Australia, 2008
Bitter Suite, Essay by Martin Chapman, de Young Museum, San Francisco, CA, 2008
Flux, Essay by Laura Addison, New Mexico Museum of Art, Santa Fe, New Mexico, 2008
Separated at Birth, Essay by Garth Clark, Collect, British Craft Council, V&A Museum, London, 2008
GlassWear, Essay by Ursula Ilse Newman, Museum of Arts and Design, NY, 2007
Andy and Oz, Essay by Dr Deborah Hart, Andy Warhol Museum, 2007
RAiR 40th Anniversary Exhibition, Roswell Museum and Art Center, Roswell, NM, 2007
The Art and Artifice of Science, Essay by Laura Addison, Museum of Fine Arts, Santa Fe, 2007
Flicker, Essay by Corinna Ripps Schaming, Albany University Art Museum. 2006
(in)discrete objects, Knoxville Museum of Art. Essay by Dana Self, 2006
Rapture is a Cool Place, Mills College. Essay by Maria Porges, 2006
Academici, Monash University. Essay by Dr. Anne Alwis, 2005
Kindle and Swag, University of SA, Essay by M. M. Anderson, 2004
Fall/Winter 2003/04 Exhibitions, Grounds for Sculpture, ISC, 2003
Fine Arts 2001-2002, The British School at Rome. Essay by Lorella Scacco, 2002
Less is More, More is a Bore, Brisbane City Gallery. Essay by Kirsten Fitzpatrick, 2002
Watersports, Craft ACT, Canberra. Essay by Aroona Murphy, 2002
Samstag 2002, University of SA. Essay by Dr Russell Smith, 2002
Gulliver’s Travels, CAST, Tasmania. Essay by Stuart Koop, 2002
National Sculpture Prize, National Gallery Canberra. Essay by Elena Taylor, 2002
Cinderella Complex, Drill Hall Gallery, Essay by John McPhee, 2001
RFC Glass Prize 1999, RFC, Essay by Andrew Plummer, 1999
Essentially Canberra, Canberra School of Art, Essay by Stephen Proctor, 1998
RFC Glass Prize 1998, RFC. Essay by Andrew Plummer, 1998
Recent Articles & Reviews
Sea Change, Jon Spade, American Craft Magazine, Summer 2021
Where Nature and Artifice Collide, Ryan P. Smith, Smithsonian Magazine, November 4, 2020
Introducing the Barry Willoughby Bequest for glass and ceramics, Eva Czernis-Ryl, maas.museum, November 21, 2018
Tales of Trouble and Transformation: Fairy tales served as inspiration for works in the Weatherspoon Art Museum’s 'Dread & Delight', Tom Patterson, journalmnow.com, May 1, 2019
Artists Reinterpret Classic Fairy Tales, from Rapunzel to Snow White, Amy Funderburk, hyerallergic.com, October 22, 2018
Timothy Horn’s Metallic Sculptures Draw upon Jewelry and Nature, Clare Zacari, Boston Magazine, November 15, 2018
Artistry: Sculptor Timothy Horn, Robert Kiener, New England Home, January, 2018.
2018 Adelaide Biennial: Difference as the natural order of things, John MacDonald, Sydney Morning Herald, March 9, 2018
Review: Adelaide Biennial stumbles on curatorial tensions, Gina Fairley, Visual Arts Hub, March 9, 2018
Adelaide Biennial of Australian art – a contemporary snapshot tackling big social issues, Andrew Frost, The Guardian, March 6, 2018
Art Review: 'Ready. Fire! Aim.,' BCA Center, Pamela Polston, Seven Days, May 10, 2017
Half Full: MassArt’s Material-Based Show Inspires Optimism, Jonathon Talit, Big Red and Shiny, March 2, 2017
At deCordova Museum, a strong New England Biennial. Sebastian Smee, Boston Globe, October 21, 2016
Fashion’s favourite architect Peter Marino on his latest projects, Nonie Niesewand, Architectural Digest, September 23, 2016
Best of the Best: Five Booths at Art Basel Hong Kong, Paul Laster, Observer.com, March 22, 2016
The organic and artificial collide in Timothy Horn’s “Supernatural” show in New York City, Justyna Turek, Urban Glass, April 22, 2015
Timothy Horn’s Bizarrely Beautiful Sculptures are on View at a Solo Show in New York,
Mitchell Owens, Architectural Digest, March 31, 2015
Exquisite Feasts for the Eye, by Carolina Irving, Miguel Flores-Vianna and Charlotte de Carcaci, New York Times Magazine, December 2, 2014
'Timothy Horn’s ‘jellyfish’ chandelier trips the light fantastic', Bronwyn Watson, The Australian, May 24, 2014
ON THE RUNWAY; 57th and St.-Honore, Cathy Horyn, New York Times, December 12, 2010
Neo-Palatial: Exhibition in Print, by Garth Clark, Metalsmith Magazine, August 2010
His Obscure Objects of Desire, Devin Jackson, SantaFean Magazine, June/July 2010
Half Full, Half Empty, Phil Brown, Art Beat, Brisbane News, Page 21, Issue 771, February 17, 2010
Three reasons to visit Dunedin Fine Art Center: weirdly wonderful art, a tribute to oceans, and jewelry with stories, Lennie Bennett, St. Petersburg Times, September 27, 2009
Bejeweled, Keith Recker, Hand/Eye Magazine, Issue 02, Fall/Winter 2009
Timothy Horn: Bitter Suite, Stacy Martin, San Francisco Bay Guardian, 9 July, 2008
Sweet Art: De Young's Sugar Coated Creativity, KTVU http://www.ktvu.com/video/16623426/index.html
BitterSuite, Artnotes, Washington DC - USA, Beatrice Gralton, Art Monthly, July 2008
Some Digressions on Ornament, Abstraction and the Stowaway, Wendy Walker, Artlink, Vol 28, June 2008
Sugarcoated or not …, Zahid Sardar, San Francisco Chronicle, 29 June, 2008
Timothy Horn: Bitter Suite, http://www.artdaily.com, 25 June, 2008
A Sweet Tribute to Alma Spreckels, Seán Martinfield, San Francisco Sentinel, 25 June, 2008
Arte-Colecciones (crónica) El¡ Azúcar !del Arte, Belén Palanco, EFE News Agency, Madrid, Spain, 14 June, 2008
Sugar High, Pilar Viladis, The New York Times Magazine, Sunday 1st June, 2008
Andy and Oz: parallel visions, Deborah Hart, World of Antiques & Art, Issue 74, Feb - Aug, 2008
Leaving Las Vegas, Anne Bogart, Elle Decor, Page 90, No. 143, Jan/Feb, 2008
After Andy -Down Under Pops Up, Christine Wallace, Canberra Times, 28 October 2007
Warhol show complements Down Under offerings, Mary Thomas, Pittsburgh Post-Gazette, 18 October 2007
Master's Apprentices, Margot Osborne, The Adelaide Advertiser, 1 September, 2007
NewGlass Review 28, Corning Museum of Glass, May 2007
Creatures from the Deep, Rafael Risemberg, New York Blade, 15 December 2006
The Arty World, David Byrne Journal, 5 December 2006
A multidimensional state of art, Cate McQuaid, Boston Globe, 8 June 2006
Up Scaled, Heather Larson, The Remix, New York Times Style Magazine, Fall 2005
Review Timothy Horn, Maria Porges, American Craft, August/September 2005
ObjectEye, Rhana Devenport, Object Magazine, May 2005
Kindle and Swag: The Samstag Effect, Jena Woodburn, Broadsheet, April 2005
Kindle and Swag: The Samstag Effect, Bridget Currie, Eyeline #56, Summer 2004/2005
The Gingerbread Man lands a Townhouse, Annette Ferrara, Ten by Ten Magazine, December 2004
Kindle and Swag: The Samstag Effect, Wendy Walker, The Advertiser, 30 November, 2004
Swansong Finishes on a Pristine Note, Stephanie Radok, The Adelaide Review, 12 November, 2004
Gingerbread Art a First for Boston Artist, Lesley LeDuc, Yaddo Newsletter, Fall 2004
Young Masters, Cate McQuaid, Boston Globe, 13 June, 2004
Outstanding Student Achievement, Sculpture Magazine, September 2003
Signs of Life, Stephanie Radok, The Adelaide Review, October 2003
Excessories, Brad Johnston, Blue Magazine, Issue 42, 2003
They must have imagined it all, Benjamin Gennochio, The Weekend Australian, 3-4 August 2002
There be giants…and little things too, Peter Hill, Sydney Morning Herald, 17 July 2002
Eau Sauvage, Mark Bayly, Object Magazine, Issue No. 39, 2002
Baroque sensibilities inspire casts of glass, Meredith Hinchliffe, 10 July 2002
Opulent, luxurious, a little sleazy, Cassie Proudfoot, Panorama, Canberra Times, 8 June 2002
New Glass Review 23, Neues Glas, Corning Museum of Glass, May 2002
Big is Beautiful, Julie Ross, Brisbane News, January 2002
Beauty Trashed, Sandra McLean, Courier Mail, 20 December 2001
Blooming Lotus, Benjamin Gennochio, Sydney Morning Herald, 4 December 2001
Objects of Beauty, Meredith Hinchliffe, Canberra Times, 31 July 2001
The Arts Show, ABC TV, 2001
Coast to Coast, ABC TV, 2001
Visual Arts, The Perfect Week, Katie Pollock, The Bulletin, 24 July 200.
A Capital Life, Helen Musa, Panorama, Canberra Times, 14 July 2001
Issues and directions in Australian Art and Design Schools, Prof. Noel Frankham, Craft International No. 52, 2001
Ausglass Winter News Letter, Ausglass 2001
New Glass Review 22, Neues Glas, May 2001
Taming of the lewd, Bruce James, Spectrum, Sydney Morning Herald, 3 March 2001