Center for Inquiry/Transnational’s Retrospective of Tony Paterson’s Work entitled “Sex, Bronze and the Human Form”, 2008 (read the entire review here):
“[Paterson’s] current exhibition may be a case in point in a wider argument for a vision of challenging art for a contemporary audience that includes such sculpture. Paterson rewards you with his stylized vocabulary of female forms, distorted pieces that challenge our notions of confinement, and, to tie all the disparate pieces together, a refined technical skill that’s impressive on its own, much of Paterson’s work would be compelling in a bus terminal. This show, and his body of work in general, shouldn’t be simply consigned to history.”
– Colin Dabkowski, Buffalo Evening News
Gallery Exhibition at the Tragos Gallery on Newberry Street, Boston:
“As for Paterson, he comes on strong in his sculpture. His bronzes range from oh-so-solid portrait heads in a fairly traditional even classical mold, to shimmering polished bronzes of shroud-like figures topped by featureless, skull-like heads. This move from personal representation to a depersonalized commentary on the anonymity of man mirrors, in capsulated form, [is] so much of what has happened in the art world of today. Throughout, his craftsmanship is of a high order and his more abstract polished bronzes are handsome to behold.”
– Edgar Driscoll; Jr., Boston Sunday Globe
Works chosen by Charles Addams at the American Federation of Arts Gallery for a show entitled The Dark Mirror:
“[In this exhibition] the paintings as a whole are inferior in quality and invention to the sculpture. In the latter group, Anthony Paterson’s “Shelter” represents a human being in a state of semi-annihilation, stimulating feelings of authentic pity.”
– Stuart Preston, The New York Times
Patteran Exhibition at the Albright-Knox Art Gallery:
“The Patteran Artists exhibit at the Albright Knox Art Gallery looks quite at home with the contemporary works in the permanent collection facing it. “1-2-3” by Anthony Paterson was outstanding... an excellent metal sculpture.”
– D. K. Winebrenner, Buffalo Courier-Express
Begegnung mit Buffalo Show at the Artists’ Committee Gallery after traveling to Dortmund, West Germany:
“There was cause for celebration complete with champagne [on the return of this show]... Many of Buffalo notables are represented... Paterson’s The Offering is an especially striking piece of highly polished bronze. An amorphous shape seems to give birth to two human-like figures who struggle to free themselves in a striking contrast between detailed and generalized areas.”
– Brenda Preisner, Buffalo Evening News
Ridge Lee Campus Art Exhibit at SUNYAB:
“Successfully explosive intellectually is Paterson’s small plaster study for a larger work, “Soft Form, Female.” Provocatively and frighteningly, Paterson plays with human forms creating totally human freaks of nature. It frightens because to visualize the impossible, brings it into the realm of possibility.”
– Nancy Tobin Wilig, Buffalo Courier-Express
Review entitled “At Faculty Show, Paterson Work Stands in a Class by Itself”
“There’s no overlooking the blatant sexuality of Tony Paterson’s diminutive cast bronze sculpture. It doesn’t take too long to see his inspiration is spurred by the female of the species or his sadistic suggestions: a form encased by a gnashing set of spiked teeth; another torturously strung up by hooks... Nothing is ever so specific as to be grotesque or truly offensive, however, as the artist seems, rather, to keenly relate his work to ancient fertility figures.”
– Brenda Preisner, Buffalo Evening News
From an article for the opening of a sculpture park entitled Dedication of Outdoor Sculpture at the Aquarium of Niagara Falls, Niagara Falls, NY:
“One of my favorite works is “Compulsion” by Tony Paterson, a professor at the University at Buffalo. This bronze sculpture is made up of strong angular lines depicting a woman astride a man. It manages to be at once both massive and erotic. The lovers arms are one, stretching up and reaching down, and their bodies below the waist merge into a solid block of bronze. The whole emphasizes the essentials of lovemaking—there is nothing else for these people to do—and the same time reminds one of insects; there is the same compulsion to mate, the same delicate but powerful efficient lines.”
“It seems to me that a park such as this is sorely needed... I had a personal experience of this when viewing “Compulsion”. A small boy came up and confidently explained to me that it was in fact a horse, whereupon he sat on it to prove his point. And who’s to say he’s wrong?”
– Richard McBrien
From sculptor and mentor Harold Tovish:
“During over 35 years that I have known Tony Paterson, he is one of the rare sculptors that I have known with his exceptional ability. He is altogether serious. He is a hard worker. He is a superb craftsman. He is a powerful draughtsman. He is an accomplished sculptor. [His] new stuff looks damned good.”
Quotes from Personal Letters
"I had no idea the size of your foundry. It seemed to me that you have created the most complete foundry I have ever seen. You and your students can do just about anything that can be done with metal. I hope the University has recognized your achievement. How did you persuade them to invest what must have been a lot of money in an enterprise of that size?"
"Your work is beautifully-made. The imagery seems to move from sexual imagery (life) to death imagery. They all look like religious ritual images to me. I can see why you are so enamored of those extravagant and magnificent Mayan and Aztex mysteries."
– Harold Tovish, Sculptor
Professor Emeritus, Boston University
Member of the National Academy of Arts And Letters
Winner of the Guggemheim Award
“[Tony Paterson] is one of the few gifted sculptors today working in the figurative tradition. He has undertaken works of rare ambition. He is genuinely driven toward a personal vision; and he has stubbornly resisted an easier course taken by less tenacious sculptors. He works with patience that is admirable, and his energy is an inspiration to those associated with him. It is my feeling that his abilities as a sculptor have been overlooked. I have the greatest respect for him as a sculptor.”
– Lewis Cohen, Sculptor
Professor Emeritus, William and Mary College
Fellow of the American Academy in Rome; Member of the National Academy Of Design
Creator of the sculpture “Copley” at the square in Boston, MA
"I am amazed by [Tony Paterson’s] energy, especially the damed handsome sculpture titled "Compulsion."
– Sigmund Abeles, Sculptor
Professor Emeritus, National Academy of Design
“Tony, your sculpture looks very strong and interesting in form. “Compulsion” comes across especially..."
– Daniel Mendelolwitz, Painter
Professor Emeritus, Stanford University
Author of “History of American Art” and numerous books on drawing
From an online gallery on Chris Ray’s website:
“To me it seems that the power of the inner space that lingers between the psyche and the spirit that comes into conflict and sometimes resolution is forcefully expressed in his work. There is a darkness here that may seem ominous but is actually a proclamation of what is… is. There is also an explosive sexual energy that relates to the dynamics of life itself, declaring a reality that exploits the physical connection between body and soul… all of the works here have a monumental quality about them.”
– Christopher T. Ray, Sculptor
Creator of numerous commissioned and collected wrought iron sculptures
Letter to Professor Grant, Dean of Arts and Sciences SUNY at Buffalo:
“I recently had the good fortune of being selected as a visiting fellow to the casting Institute to work with Tony Paterson. I could not believe the amount of resources that Tony had recruited for the department. What was so amazing to me was the ingenuity with which he had dovetailed the concerns [of clients] with those the art department and students. Also I might add that I am inspired with what Tony has orchestrated with your Department to host visiting artists there in exchange for foundry experience. In short, I think what you are doing there at SUNY in your casting Institute is brilliant.”
– Karin Guisti, Director of Sculpture, Brooklyn College
Guggenheim and Fulbright professor
“What a magnificent Comprehensive Show! The large plaster pieces in the conference room loomed monumental and mysterious. The Phil Elliott bronze is a terrific likeness—as is the wonderful Seymour Knox portrait that is now “temporarily” in a not-too-conductive site at UB’s Poetry Collection. It just may need more breathing space because it’s terrifically “alive.
P.S.: I still remember with clarity one drawing that outdoes Henry Moore at his own game.”
– Harvey Breverman, Distinguished American Artist
Member, National Academy of Design
"I truly appreciated your sending me your catalogues of your recent, dynamic, sculpture, Sex, Bronze and The Human Form. Real fine life’s body of meaningful sculpture in the taunt forms."
– Sigmund Abeles
Professor Emeritus, National Academy of Design
I was pleasantly surprised to receive your letter regarding your retrospective with such a comprehensive description of your career in sculpture. You have done it all! I am very impressed by your mastery of such a variety of materials and methods of working. Congratulations on your success in reaching such a responsive audience. With your knowledge, energy, drive and your prolific output, I’m looking forward to seeing much more of your work.
– John Wilson
Professor Emeritus Boston University
Memorials to Marin Luther King in the Capital Rotunda and at Buffalo, N.Y.
