Norissa Rushing

Sculpture

-

Paul Harris Estate

Detail of Norissa Rushing (1970)

Detail of Norissa Rushing (1970)

Name/Title

Norissa Rushing

Entry/Object ID

393

Artwork Details

Medium

Cloth on wood and metal

Made/Created

Artist

Paul Harris

Date made

1970

Edition

Edition Size

1 of 1

Other Names and Numbers

Other Numbers

Number Type

Previous PH Estate Inventory Number

Other Number

99.00

Dimensions

Height

81 in

Width

66 in

Depth

53 in

Relationships

Related Publications

Publication

Brown, Theophilus. <i>Paul Harris Sculpture</i>. Seattle: University of Washington Press, 2000.

Notes

fig. 45, dimensions differ

Exhibitions

<i>Paul Harris</i> [traveling exhibition], San Francisco Museum of Art, CA; University Galleries at University of California, Santa Barbara, CA; Art Gallery of the University of New Mexico, Albuquerque, NM; Arkansas Art Center, Little Rock, AR; May 5–June 11, 1972
<i>Sewn, Stitched & Stuffed</i>, Museum of Contemporary Crafts, New York, NY, April 12–June 10, 1973
<i>Paul Harris, Sculpture</i>, Arkansas Art Center, Little Rock, AR, 1973
<i>Paul Harris Sculpture, Certain Pieces, 1958–1980</i>, Loch Haven Art Center, Orlando, FL, October 4–November 15, 1981
[<i>Untitled Group Exhibition</i>], Sheldon Memorial Art Gallery, University of Nebraska, Lincoln, NE, 1996
<i>Pairs: Seeing Doubles</i>, The White Chapel, Bozeman, MT, April 26–28, 2017
<i>Paul Harris Art Collection</i>, Paul Harris and Marguerite Kirk Gallery, Belgrade, MT, 2020

General Notes

Note Type

Remarks

Note

“In ‘Norissa Rushing’ the figure in her flowing floor-length gown strides in the midst of four lollipop trees with lumpy profiles. The volume of these forms is relatively dissolved by the overall floral patterned surfaces of the trees and the woman's dress. On the trees alone the pattern of leaves and flowers visually plays against the lumpy forms so that a lively tension is created between surface and volume. The floral patterned gown of the woman seems to blend with the trees as if a Vuillard painting took on three dimensions. These sculptures capture the quality of overall, soft light surfaces in Vuillard’s painting, where an anonymous figure is at one with the environment.” —Suzanne Foley, exhibition catalogue for <i>Paul Harris</i>, 1972.

Created By

[email protected]

Create Date

August 27, 2025

Updated By

[email protected]

Update Date

September 16, 2026