Christina DePaul, Sculptor
2002 CLEVELAND ARTS PRIZE FOR VISUAL ARTS
“Art is the most exciting and inspiring of careers, but also one of the most demanding and challenging,” sculptor
Christina DePaul advises her students. “Never stop
working.” Such advice encapsulates the animating philosophy of
this nationally recognized artist, professor and former director of the
Myers School of Art of the University of Akron.
artistic odyssey began early in her hometown, Pittsburgh. By age three,
she was accompanying her mother, an artist and high school art
educator, to school. Throughout her childhood she attended
children’s art classes at the Carnegie Museum of Art. She
acknowledges her father’s
profession as a builder for her introduction to complex
three-dimensional constructions. At an unusually early age, she assumed
the persona of an artist.
Attending a summer session of the Pennsylvania Governor’s
School for the Arts as a scholarship student, DePaul became attracted
to metalsmithing for its technical precision and detailed handwork. At
Carnegie Mellon University, where she received her B.F.A. in 1981,
DePaul encountered a rigorous, anti-craft attitude, reflecting the
conceptual orientation of the times. Undaunted, she trod a fine line
between craft and sculpture and sought inspiration from women
professors, notably Diane Samuels and Carol Kumata, strong feminists
with high professional aspirations. Because of metalsmithing’s
traditional affiliation with jewelry design, DePaul developed a nearly
obsessional interest in reconciling her chosen medium with her feminist
leanings. Exposure to Judy Chicago and Miriam Shapiro, then pioneering
artists using traditional women’s craft to make powerful feminist statements, liberated her sensibility.
At Temple University’s
Tyler School of Art in Philadelphia, where she received her M.F.A. in
1984, DePaul delved further into the technology associated with her
medium. Under the tutelage of Stanley Lechtzin, she worked with the
Alcoa Corporation to pioneer research in colored metal and to
successfully advance techniques in anodized aluminum, an
electrochemical process in which aluminum can be dyed. In partnership
with David Tisdale, a prominent New York designer, she taught workshops
in anodized aluminum throughout the country, ushering in a new
cutting-edge era in metalsmithing.
1986, DePaul assumed the only teaching position in the country open at
the time in metalsmithing, at the University of Akron. Under her
direction, the university’s art department grew from 400 to 650
art majors and evolved into a full-fledged art school that was named
after patron Mary Schiller Myers. Akron’s high-tech industrial environment encouraged DePaul’s
development of large-scale sculptural work. She employed metal
spinning, a technique used in tire manufacturing, to create large,
Impressed by this work, Cleveland Museum of Art curator Tom Hinson included her in The Invitational: Artists of Northeast Ohio in 1991, greatly increasing her visibility in the region. Major
commissions followed in rapid succession: the Children’s Hospital
in Akron, the Children’s
Hospital in Philadelphia and, in Cleveland, Kaiser Permanente,
University Hospitals, Menorah Park, Progressive Insurance Company and
the Peter B. Lewis Aquatic Center.
Among DePaul’s favorite works is the temporary commission she created for 1996’s Urban Evidence: Contemporary Artists Reveal Cleveland,
a collaborative exhibition involving the Cleveland Museum of Art,
Cleveland Center for Contemporary Art, and Spaces. Her dramatic
installation, La Mano de Tradizione (“The Hand of Tradition”), explored Little Italy, one of
most beloved ethnic residential neighborhoods. Combining 18,000 pounds
of granite with detailed metalwork, the piece paid homage to
DePaul’s Italian heritage and the value Italian culture places on
labor and handwork.
demanding pace of her professional life is richly complicated by her
role as wife of Brian McCarthy and mother of son Ryley. Clearly, DePaul
wants it all. With her appointment as dean of the Corcoran College of
Art and Design in Washington, D.C., in the fall of 2002, she reached
the pinnacle of a successful career initiated when she began teaching
metals at the University of Akron 16 years ago.
Corcoran poses new challenges: a distinctive new body of students and
faculty, the intrigue of politics, and the opportunity to realize a
vision for a new facility designed by the internationally recognized
architect Frank O. Gehry. Yet she remains devoted to her art.
Conceiving of and producing a new body of work is still one of the most
exciting aspects of her life.