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ENID: Generations of Women Sculptors

Feb. 28 - March 28, 2014

featuring
Gayle Cerlan, Caren Cunningham, Jeanne Dueber, Ewing Fahey, Sarah Frederick, Mary Dennis Kannapell, Frances Kratzok, Shawn Marshall, Suzanne Mitchell, Joyce Ogden, Jacque Parsley, Cynthia Reynolds, Gloria Wachtel, and Melinda Walters

Special Events & Hours
  • Friday, March 28, 5-8 p.m.: Opening reception for the artists.
  • Tuesday, March 25, 12:30-1:30 p.m.: Enid Yandell lecture by Dr. Juilee Decker followed by a Q & A with attending ENID members.
  • Monday, March 10 through Friday, March 14: Spring Break. Please make a special appointment to see the gallery this week by calling Andrea Fisher at (859) 233-8142. Twenty-four hour advance notice please.
  • Friday, March 21, 2 p.m. - 7 p.m.: Special afternoon and evening hours.

For more information about this exhibition see our press release.

Rich Copley's review for the Lexington Herald-Leader.

IMAGES ABOVE (left to right)
Mary Dennis Kannapell, Endeerment (detail), 2012, ceramic
Ewing Fahey, Shaman's Mask, 2009, bronze patina on cow bone (photo credit: Ted Wathen)
Joyce Ogden, Untitled (detail), 2013, lab glass, hemp cord, steel (photo credit: Ken Hayden)
Frances Kratzok, Next Step (detail), 2013, wood over armature 


Image courtesy of the Louisville Courier-Journal.
ENID artists (top row) Gloria Wachtel, Elizabeth Kirkwood, Joyce Ogden, Caren Cunningham, (middle row) Jacque Parlsey, Ewing Fahey, Sarah Frederick, Cynthia Reynolds, Suzanne Mitchell, (bottom row) Valerie Fuchs, Gayle Cerlan, Melinda Walters, Shawn Marshall and Jeanne Deuber. (Mary Dennis Kannapell and Fran Kratzok not pictured.)
What's an ENID?

In 1998, a small group of women sculptors from Louisville, Kentucky decided it would be professionally and personally helpful support one another. The result was ENID, the Kentucky-based collective of female artists who unanimously elected to take on the unique name as way to honor art "shero" Enid Yandell, Louisville’s first recognized female sculptor.

The collective shows its work throughout the Ohio Valley region. Members’ ages range from 40-91 years with members having varying levels of education, from self-taught sculptors to those with graduate degrees. 

What is the advantage of show in a collective? The ENIDS agree, "We each have our own gallery relationships where we show and sell our work.  But the ENID shows are where we can get exposure as a group, raising the perception that women sculptors produce exciting, innovative work, and that we're here in forceboth for the art public and as mentors to young women who share the dream.  We're also here to support each otherto share technical information, to give a critique when work hits a snag, and to encourage each other. Most of us are juggling multiple responsibilities of jobs, family, so it helps to be able to compare notes." 


Who was the original Enid?

Enid Yandell (1869-1934) is Louisville’s first recognized female sculptor. She worked in the River City and maintained a studio in Paris, France, where she exhibited at the Paris Salon and studied under the celebrated French sculptor Auguste Rodin.  Yandell successfully competed against male artists of her period, winning many important commissions. Notably, she worked on the famous World's Columbian Exposition of 1893 in Chicago. 

In 1898, Yandell went on to become the first female member of the National Sculpture Society, the oldest organization of professional sculptors in the United States. 

Exactly 100 years later a small group of female sculptors in Louisville came together to provide support for one another. They unanimously elected to take on the name of ENID for their collective as way to honor their pioneering predecessor. 

Ewing Fahey, the founding member of ENID, speaks of the challenges Yandell had as a women artist in 19th century America, “Enid designed two of Louisville's best loved public sculptures, both in Cherokee Park—her Daniel Boone statue and Hogan's Fountain. In 1894, she entered a blind competition for a confederate monument commission in Louisville, but when the Courier-Journal announced that a woman had won, all heck broke loose. The criticism was so severe that Enid withdrew her design. But she was not one to sit around and pout—off she went to study with Rodin in Paris. ”


For more information contact Andrea Fisher, director of the Morlan Gallery
300 North Broadway Lexington, KY 40508 USA (859) 233-8142


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