Environmental Sculpture/Trans-species Art; Place-based Studio Sculpture
P.O. Box 1239, Fort Collins, Colorado 80522, 970-416-1881
Website: / Email:

2010-2011: “lnterdependencia Con La Naturaleza” work at Jericho, Colombia, followed by exhibit at Galleria Colombo Americano in Medellin.
“Madreagua”, sculptures for a large mangrove lagoon National Park, near Santa Ana, Colombia, followed by an exhibit of documentation at Museo Bolivariano
Design team member, APP, Fort Collins, CO with FC stormwater utilities
2009: “Stones for the Arroyo: “Riversongs, Birdsongs”, The Land/ a Site for Art,
” Arroyo Sin Nombre” design for flood control and habitat corridors, SSCAFCA, Albuquerque
“Wildlife Warming” and Cool Choice” stickers for exhibit on Climate Change, Boulder, CO
2000-2011: in Progress: “3 Artistas” Tri-national Collaboration with artists from Colombia & Mexico
“Migration Mileposts”, a project linking communities which share migratory birds along the flyways of the hemisphere
Proposals: “The Bird Barge,” Floating wildlife sanctuary proposal, “Defense Appropriation”, proposal to convert historic military installations at the Marin headlands to wildlife habitat. Headlands Art Center

2002-2006: Completed: “East Drake Pondworks” art in public places, Ft. Collins, CO
Small projects in Achiote, Panama and Titumate & Medellin, Colombia
“Ecovention” outdoor and studio works for exhibit, Cincinnati, Ohio
“The Mystery, the Evidence and the Small Atonements”, Boreal Art/Nature, Quebec, Canada
“Trans-species Exchanges at Les Arques”, Les Arques, France
2001-2007: “Procession of the River Species”, Fort Collins, Colorado (annual)

2000-04 “East Drake Pondworks”, Fort Collins, CO public art project
“Corridors,” Research on wildlife movement patterns across landscape
“Trans-Species Exchanges,” Les Arques, France
“The Mystery, the Evidence, and the Small Atonements,” Quebec, Canada
“Ecoventions,” Cincinnati, Ohio
“Procession of the River Species,” Fort Collins, Colorado
“Texas Text,” Lubbock, Texas
2000-01 “Durango Nature Studies,” Durango Nature Center, Colorado
“Driftwood Sculpture,” Oregon Zoo, Portland, Oregon
“Biodiversity Life Rafts,” Mountain Lake, Virginia; Sarasota, Florida
1998 “The Creatures of Habitat, The Outpost Oasis, and the Anticipated Migration,”
and “Riparian Reconstruct,” InSitu, Kansas City, Missouri, August 1998
“Duck Island,” Arvada Center for the Arts, Colorado
“Framed” Raptor Roost, Private Commission, Colorado
“Punta Laguna” and “Huitapec” sites of “Projectos Yucatecos,” Mexico
1996-97 “Kingsher’s Companions” Toledo, Ohio Botanical Garden
“Gooseower, Duckpod, Dragonyway, Bat Belfry, Buglog,” Public arts commission, City of Fort Collins,Colorado
“Guanella Pass Interpretive Sculptures,” Project funded by a partnership between the NationalEndowment for the Arts and the USDA Forest Service (postponed)
“Nancy’s Garden,” Private commission
“Projectos Yucatecos,” Work on bio-reserves in southern Mexico with ProNatura Peninsula de Yucatan and ProNatura Chiapas
1995 “The Exiled Oxbow,” Native prairie reintroduction and memorial to the loss of wetlands, Salina, Kansas, with the Salina Commission for the Arts and Humanities and the Land Institute
“Jackson Hole Bike Path” Sculptures and habitat enhancement created with eighth-grade students of Jackson, Wyoming
1994 “Nature Trail Enhancement,” A.F.E.W. Giraffe Centre, Nairobi, Kenya
“S.O.S. for Songbirds” and “Purple Emperor,” Bedales School, Peterseld, England
“Twig Island,” “Reservoir Tree,” “Teaching a Kestrel Box to Fly,” and other waterfowl and bat habitat sculptures, Carsington Reservoir, Derbyshire, England
1993 “Stones for the Salmon,” “Key to Colin Glen,” and “Otter’s Secret,” Colin Glen Forest, West Belfast,Northern Ireland
Untitled Interpretive Piece, U.S. Forest Service, Missoula, Montana
“Predator’s Gate” and “Batlog,” Dallas, Texas
“Missoula Beaver Trade” & “Winter Buttery,” Missoula, Montana
“The Uglies Lovely,” Lexington, New York
1992 “Riverworks 1,” Williamstown, Massachusetts
“Scotts Bottom Sculptures,” Green River, Wyoming
“Flowing Water Moon Hydroglyph,” Utah Canyonlands
1992 “Otter Haven Experiment,” Boulder, Wyoming
“Winter Den,” Yellowstone National Park
“Predator Acceptance Gesture,” series, temporary locations
1991 “Grizedale Tarn Project, Grizedale Forest Sculpture Park, Cumbria, England
“Pine Bluffs Project,” Pine Bluffs, Wyoming
“The Bird Garden at Navajo Mountain,” Utah
“Marten Havens,” Sierra Madre Mountains, Wyoming
1990 “Lightning,” Raptor Roosts, Interstate 80, Wyoming
“Wind,” Raptor Roost, Shirley Basin, Wyoming
“Badger Basin Raptor Roost,” Cody, Wyoming
1989 “Marten Havens,” Medicine Bow National Forest, Wyoming
“Island for Waterfowl,” Temporary installation
1988 “Raptor Roosts L-1 & L-2,” Albany County, Wyoming
1985-88 “Hydroglyphs,” Wyoming and Utah

2010-2011: Exhibits of documentation of work in various areas of Colombia, at Galleria Colombo Americano and Museo Bolivariano. In Partnership with the Coastal National parks of Colombia.
ARTiculture: art for the garden, Gardens on Spring Creek, Fort Collins, CO
2009 Stones for the Arroyo: exhibit of documentation, The Land gallery, Albuquerque, NM
2007 :”Weather Report, art and climate change”, Boulder, Colorado
2005: Arte y Sobrevivencia:”, Medellin, Colombia
2002: “Ecoventions,” Group exhibit, Cincinnati, Ohio
2001: “Corridors and Connections,” FC-MOCA, Fort Collins, Colorado
2000: “Project Documentation” for “Our Planet, Ourselves,” St. Louis Artist Guild, Missouri
“The Natural Order,” Landmark Arts, Lubbock, Texas
1999: “TransSpecies 1,” Gallery Route 1, Point Reyes Station, California
“Trans Species 2,” Petaluma College, Petaluma, California
1998: “Deja Vu,” Artists Reuse Refuse,” Arvada Center for the Arts, Colorado
“Trans Species,” Durango Center for the Arts, Colorado—one woman exhibit
1997: “Art for Environmental Advocacy,” University of Oregon, Eugene
“Nature and Environment” Springeld Art Association, IL—one woman exhibit
1996: “Art About the Environment,” Center for Art and Earth, New York, New York
“Trans-species,” Adams State College, Alamosa, Colorado—one woman exhibit
“County Exchange Project,” collaboration, Larimer County, Colorado
“Prairie Dog Experience,” Denver Performing Arts Festival, October
1994: “The Lure of the Local,” University of Colorado Art Galleries, Boulder, Curated by Lucy Lippard
“Art as if the World Matters,” Dahl Fine Arts Center, Rapid City, South Dakota
“Effect or Infect,” Soho 20 Gallery, A.R.E.A. New York, New York
“A Natural Dialogue,” International Sculpture Center touring New York; Washington, D.C.; etc.
1993: “Open Forum,” Tickon International Symposium, Langeland, Denmark
Annual Environmental Exhibit, Missoula Museum of the Arts, Montana
“Natural Dialogue,” California Crafts Museum, San Francisco
“Connemara—The Artist Working with Nature,” Plano, Texas
1992: “Artists Who Interpret the Earth,” University of the Arts, Philadelphia
“Lynne Hull–Wildlife Habitat Sculpture,” Madison Museum, Yellowstone National Park—
one woman exhibit
“A.I.E. Traveling Exhibit,” Utah Arts Council, touring Utah
“Silver Anniversary Invitational,” West Nebraska Arts Center, Scottsbluff
1991: “Dialogue and Expression—Eight from Wyoming,” Toured 6 states
1990: “Of Nature and Nation,” Security Pacic Gallery, Los Angeles
“Environmental Impact Statements,” Missoula Museum of Art, Missoula, Montana
“For the Birds,” Charles A. Westum Museum, Racine, Wisconsin
Three-Person Show, Bridge Street Gallery, Bigfork, Montana
“Post-Westerns,” Yellowstone Art Center, Billings, Montana
1989: “50 Years & Counting Art & Issues of the ‘80’s,” University of Wyoming Art Museum, Laramie
“Arthunt,” Ucross Foundation Gallery, Ucross, Wyoming
“Artwest,” LCCC Gallery, Cheyenne, Wyoming
“Rawhide Sculpture,” Rawhide Festival, Lusk, Wyoming
“Highway 16, Notes on Nowhere,” Emmanuel Gallery, Denver, Colorado
1988: “Contemporary Art in the Cowboy State,” Nicolaysen Museum, Casper, Wyoming
“Skin and Bones,” Ruddell Gallery, Spearsh, South Dakota
“3rd Wyoming Biennial,” Touring 10 states
“Under A Foot,” Galleria Mesa, Mesa, Arizona
1987: “Highway 16, Notes on Nowhere,” Collaboration coordinator, Toured 3 states
“Fur, Feathers, and Scales,” Bellevue Museum, Bellevue, Washington
“2nd Artwest Open,” Jackson, Wyoming and touring
“Wyoming Traditions, Contemporary View,” Sheridan, Wyoming
“Ucross Residents Exhibition,” Denver, Colorado
“5th Annual Arts Center Exhibition,” Riverton, Wyoming
1986: “19th Joslyn Biennial,” Omaha, Nebraska
“2nd Wyoming Biennial,” Touring Wyoming and region
“Wyoming Art of the Cowboy State,” Touring
“Artwest Open,” Jackson Hole, Wyoming
“Lynne Hull,” Sena Galleries East, Santa Fe, New Mexico


Arvada Center for the Arts, Arvada, Colorado
Nicolaysen Museum, Casper, Wyoming
Wyoming State Museum, Cheyenne, Wyoming
Collection of Western Wyoming Community College

2007: National Artist of the year award, Arts and Healing Network
2002-2003: Artist Residencies: Ateliers Les Arques, France; Boreal Art Nature, Quebec, Canada
2000-2001: Artist Fellowship: Colorado Arts Council
Artist Residencies: Tryon Art Center, Charlotte, North Carolina; Headlands Art Center,
Marin Headlands, California
1999-2000 Project Grant: Nancy H. Gray Foundation for Art in the Environment
Artist Residence: Mountain Lake Workshop and Virginia Tech University
Visiting Artist: Texas Tech University, Lubbock; New College, Sarasota FL; Carnegie Mellon University
1997-98 U.S. Mexico Fund For Culture, funding for work in Southern Mexico
Small grant: Nancy H. Gray Foundation for Art in the Environment
Speaker: Colorado Convention of Stormwater Utility and Flood Management Professionals; Arts Dialog;
Colorado Council on the Arts; Women’s Caucus for the Arts,
1996 Artist Residencies: Nature Heals Writers Conference; Toledo Botanical Garden, Ohio; University of Illinois at Springeld, Illinois; Audubon Society; Lincoln Memorial Gardens
Artist Consultant: Art and Ecology e-mail/internet project with Getty ArtsEd Net andOhio State University
1996: Speaker: Environmental Reuse and Redirection Panel, International Sculpture Conference
Presenter, Panelist & Organizer: Interactive arts sessions, National Association for Interpretation National Workshop
Speaker & Workshop Leader: “Art and Ecology,” a Getty Foundation National Colloquium,Ohio State University
Visiting Artist Lectures: Colorado State University Art, Landscape Architecture and
Natural Resources/Recreation Departments
Fellowship: Innovation in the Arts, Denver Mayor’s Ofce of Art, Culture, and Film
1995: Artist in Residencies: Smoky Hills River Festival; Lakewood Park, Salina, Kansas; Jackson Hole Middle School, Wyoming
Visiting Artist: U.C. Pueblo, Colorado
1993-94: Fulbright Fellowship: Artist to the United Kingdom
Lila Wallace/Reader’s Digest Foundation/Arts International Residency to Kenya with Related Project in Missoula, Montana
1993: Visiting Artist: University of Colorado at Colorado Springs, Colorado
Artist Residencies: Missoula Museum of the Arts, Montana; Connemara Conservancy, Dallas, Texas; Art Awareness, Lexington, New York
1992: Artist Residence: Yellowstone National Park
Visiting Artist: Williams College, Williamstown, Massachusetts
Individual Artist Grant: Wyoming Arts Council
1991: Artist Residence: Grizedale Forest, Cumbria, England; Permanent sculpture for the forest
Individual Artist Project Grant: Wyoming Arts Council
1990: Design Collaboration Grant: National Endowment for the Arts (Wyoming Game & Fish Biologists & Landscape Architects)
New Forms: Regional Initiatives, Colorado Dance Festival, Regrant from NEA, Rockefeller Foundation and Apache Corporation
1989: Individual Artist Fellowship: Wyoming Arts Council
Individual Artist Project Grant: Wyoming Arts Council
1986: Artist Residencies: The Ucross Foundation, Ucross, Wyoming, January-February; The Horsethief Foundation, Moab, Utah

Catalogs: WEATHER REPORT: ARTISTS ADDRESS CLIMATE CHANGE, Boulder Museum of Contemporary Art 2007
“Lynne Hull,” Residencies Ateliers d’Artistes les Arques, 2003
“The Natural Order,” Intro by Lucy Lippard, Landmark Arts, Texas Tech University, Lubbock, Texas
“Dreaming Missoula,” Collaboration and Common Ground on Two Continents, Missoula,
Montana Museum of the Arts
“Of Nature and Nation, Yellowstone Summer of Fire,” Katya Williamson, 1990
“Dialogue and Expression Eight from Wyoming,” Frank Gettings, 1991
“Environmental Impact Statements,” Deborah Mitchel, 1990
“For the Birds: Artists Examine Aviary Abodes,” Caren Heft, 1990
“Post Westerns,” Gordon McConnell, 1990
“Third Wyoming Biennial,” Lamar Harrington, 1988
“First Wyoming Biennial,” Dore Ashton, 1984

Book Inclusions:
Art Education and Eco Awareness, a teacher’s guide to Art & the natural environment. Heather Anderson,2011
Healing Natures, Repairing Relationships, Edited by Robert L. France, Ecological Art by Jill Brown, Green Frigate Books, Sheffield, Vermont, 2008
The Contemporary Art Center, and Ecoartspace, 2002
Division of Wildlife Press, March 2000
CONTEMPORARY ISSUES IN ART EDUCATION, Ed. Gaudelus & Spears, essay By Karen Keifer
Boyd, Prentice Hall, 2001
NATURE STYLE, Marthe Le Ban, Lark Books, 2002
ON THE BEATEN PATH, Lucy Lippard, The New Press, 1999
LURE OF THE LOCAL, Lucy Lippard, The New Press, 1997
SCULPTING WITH THE ENVIRONMENT, edited by Baile Oakes, Van Nostrand Reinhold, 1995
THE REENCHANTMENT OF ART, Suzi Gablik, Thames & Hudson, 1991

Online Publications:
“Lynne Hull Interview: Heart and Soul”,Art Design Café, 19 November, 2011
Click here to view
“Art For Wildlife”, Cheryl Santa Maria, The Weather,January 8, 2012
Click here to view

Reviews and articles:
“Community Participatory Ecological Art and Education”, Young Imm Kang Song, THE INTERNATIONAL JOURNAL OF ART & DESIGN EDUCATION, Vol. 29 Number 1 2009
“Looking and Learning Ecology”, SCHOOL ARTS May/June 2011-06-05
“Interdependencia con la Naturaleza”, Galleria Colombo Americano, folder
ARTCO ( March, 2009, in Japanese
“Ecoatonement,” DURANGO HERALD, Colorado, April 23, 1998
ART VOICES, March-April 1981
THE ASPEN TIMES, December 10, 1981
“In-Situ,” KANSAS CITY STAR, October 11, 1998
SIERRA, November–December 2000
“Garden Varieties,” SAN FRANCISCO BAY GUARDIAN, October 27, 1999
“In Situ,” KANSAS CITY STAR, October 11, 1998
“Eco-Art,” WHOLE EARTH, Summer 2000
“Women Outside,” Fall 1999
“Public Art Review,” Issue 20, Spring–Summer 1999
“Earthlight,” Fall 1999
“The Bear Deluxe,” #14, Summer–Fall 1999
“Garden Varieties,” SAN FRANCISCO BAY GUARDIAN, October 27, 1999
”Reserva Ecologica Moxviquil,” PRONATURA, #2, 1998
“Hull Unveils Art,” THE HERALD, Sarasota, Florida, November 23, 1999
“Artist’s Work Serves Animal Kingdom,” THE PRESS DEMOCRAT, Santa Rosa, California, April 25, 1999
“The Prairie Reader,” Winter 1998
“Ecoartist Strives to Give Back to Nature,” THE COLORADOAN, September 21, 1998
“Lynne Hull,,” INTERMOUNTAIN WOMAN, Missoula, Montana, July 1998
“Lynne Hull,” WOODWORK Magazine, August 1998
“Art Education” Theme issue on art and ecology, November 1997
FRONTIERS Journal of Women’s Studies, Issue on Ecofeminism, Summer 1997
“Values of Nature for Artists…,” NATURE AND THE HUMAN SPIRIT, Venture Publishing,
State College, Pennsylvania
“The Art of Restoration,” Jill Brown, SANCTUARY, Massachusetts Audubon Society, January–February 1997
“Aerial Perspectives,” Robert Lamb, ARTISTS NEWSLETTER, England, November 1996
“The Art of Building Wildlife Habitat,” BEST FRIENDS MAGAZINE, September 1996
“Lynne Hull, Trans-species Art,” ECOPSYCHOLOGY NEWSLETTER, Fall 1996
“Sculpting the Land,” John Beardsley, SCULPTURE, April 1996
“Methodology of the Marvelous,” Gloria Orenstien, MATRIART, January 1996
“Interstate Habitat,” Michael Leccese, LANDSCAPE ARCHITECTURE, June 1995
“Earthwise Artist for the Animals—Lynne Hull,” Catharine Walkinshaw, CHILDREN’S DIGEST,
July/August 1995
“Earth Art,” Tom Hacker, JACKSON HOLE GUIDE, October 11, 1995
“Birds,” David Reason, ART AND DESIGN: Issue on Art and the Natural Environment, May-June 1994
NAIROBI NATION, Nairobi, Kenya, March 20, 1994
THE DAILY TELEGRAPH, London, England, July 14, 1994
RAPID CITY JOURNAL, South Dakota, April 10 & 24, 1994
“The Art of Collaboration,” MISSOULA INDEPENDENT, July 16, 1993
“Lynne Hull,” HIGH PERFORMANCE, Summer 1993
“Tickon International Symposium,” SCULPTOR’S SOCIETY OF IRELAND Newsletter, October-
November 1993
“Perspectives: Environmental Art,” WILDLIFE ART NEWS, March/April 1993
“Nature’s Helper a Sculptor Who Builds Habitat,” HIGH COUNTRY NEWS, June 28, 1993
“Making Art as if the World Mattered,” Suzi Gablik, MICHIGAN QUARTERLY REVIEW, Spring 1993
“The Art of Collaboration,” MISSOULA INDEPENDENT, July 16, 1993
“Sculptor Creates Habitats for Animals,” JACKSON HOLE NEWS, July 28, 1993
“Elle,” ECOWATCH, November 1992
“Art Journal,” Summer 1992
“Artscene” Newsletter, Summer 1992
“Times Literary Supplement,” July 3, 1992 (photo only)
“International Friends of Transformative Art” Newsletter, Fall 1991
“The Ecological Art Explosion,” ARTNEWS, Summer 1991
“Voices from the Regions,” POSITIONS Quarterly, Fall 1989
“Lynne Hull,” ARTSPACE, May-June 1989
“Lynne Hull,” ARTVOICES, September-October 1981
Miscellaneous newspaper articles in DENVER POST, ROCKY MOUNTAIN NEWS,
Authored Articles
Reprint of “Beyond Illustration: Contemporary Artists Interpret the Environment,
”MOVEMENT”Newsletter of the Ofce of the Environment for Taiwan, Taipei, Taiwan
“Beyond Illustration: Sculpture Trails and Parks as Environmental and Historic
Interpretation,” LEGACY Magazine: National Journal of the National Association of Interpretion,
January-February 1996
“Beyond Illustration: Contemporary Artists Interpret the Environment,” LEGACY Magazine,
September-October 1995
“Grizedale Forest Sculpture Park,” SCULPTURE Magazine (Maquette), May 1993


2012: International digital Q&A session with online art students in Austrailia via Elluminate, discussion on eco-art and artist processes
2011: Design team member, “Poudre River Weir”, with Stormwater Utilites and Art in Public Places, Fort Collins, CO
2010: Lectures on eco-art in Manizales, Medellin, and Santa Mata, Colombia
“Neo-Rio” Public workshop with BLM, Questa, NM
2009: Presenter, Land/Art Symposium, Albuquerque, NM, Design team member for Western Pacific water engineers on arroyo flood control, Albuquerque
2008: presentations on environmental art, Cartagena and Manizales, Colombia.
Taught 1 week seminar on eco-art, Shumacher College, England, with lectures on eco-art at several locations in England
2007: SPEAKER, Green Infrastructure Forum, National Park Service, Washington, DC
2002-04 Speaker: Michigan State Art Educators, presenter, Grantmakers in the Arts
2000-01 Presenter: Society for Ecological Restoration, Liverpool, England, College Art Association,
Chicago & Texas Art Education Association, Lubbock
Artist Residencies: Tryon Art Center, Charlotte, North Carolina; Headlands Art Center, Marin Headlands
1999-2000 Juror: “Our Planet, Our Selves,” St. Louis, Missouri
1998-00 National Conference presenter: Watchable Wildlife, The Bioneers, Society for Ecological Restoration,
1999-01 Public Lectures on Environmental Art: New College, Sarasota, Florida; Carnegie Mellon University;
Gulf Coast Museum of Art, St. Petersburg, Florida, Texas Tech University; Petaluma College;
Laney College; JFK University; Montana State University, Billings
Juror: Our Planet, Ourselves Exhibit, St. Louis, Missouri
1997 Presenter: Women’s Caucus for the Arts National Conference, Philadelphia, Pennsylvania
1996 Presenter: Panelist, and Organizer of Interactive Arts Sessions, National Association of Interpreters
National Workshop, Fall
Presenter: International Sculpture Conference, Provincetown, Rhode Island, June
Speaker and Workshop Leader: “Art and Ecology,” Getty Foundation National Colloquium, Ohio State
University, June
Visiting Artist: “Nature Heals” Writers Conference, Taos, New Mexico
Visiting Artist Lectures: Colorado State University Art, Landscape Architecture, and Natural Resources
1995 Lecturer/presenter: The Land Institute, Regional and National Conference/Workshops of the National
Association of Interpreters; Fourth Annual National Conference on Watchable Wildlife
Design Consultant/Team Member: “Liquid Mix” Hudson River Interpretive Artwork Design Symposium
with Pam McCormick (funded by Lila Wallace/Reader’s Digest/Arts International); Rocky
Mountain Arsenal Design Charette, with University of Colorado Environmental Design Students of
David Kahn, Boulder, Colorado; Sand Creek Masterplan Design Team, Bill Wenk and Associates,
Landscape Architects, Denver, Colorado
Juror: Landscape Architecture magazine’s “Visionary Landscape” competition
1994 Lecturer: Environmental Art, Universities of Portsmouth, Brighton, Nottingham Trent; Manchester
Metropolitan, England, the Cheshire Landscape Trust; U.S. Embassy Cultural Affairs programs,
Nairobi, Kenya
Presenter: “Art as Environmental Interpretation” at International Seminar on Environmental
Interpretation and Rural Tourism, Pamplona, Spain
1993 Panelist: National Women’s Caucus for the Arts, Seattle, Washington
Lecturer: Environmental Art, Missoula, Montana; Arts Council Gallery, Belfast, Northern Ireland;
and Paa Yaa Paa Arts Centre, Nairobi, Kenya
1991 Panelist: National Women’s Caucus for Art, Washington, D.C.
Presenter: “Artists as Environmental Activists,” Conference on Rocky Mountain Arsenal, Denver,
Lecturer: Environmental Art: University of Ulster, Belfast, Northern Ireland; Canterbury College
of Art, Canterbury, England
Speaker’s Bureau Lecture: “The Art and Poetry of Walking,” around Wyoming
1989 Open Forum Slide Talk: International Symposium on Sculpture and Landscape Architecture,
Manchester, England
Speaker’s Bureau Lecture: “6000 Years, Nine Countries: Art and History on the Land”
1988 Spring Travel in England, Scotland, Wales and Europe, researching Neolithic art and Contemporary
place-based art, interviewing artists
1985-90 Slide Lectures: “Earthworks: A Tour of our Regional Art Treasures,” “Contemporary and Neolithic
Land Art in Great Britain and Europe,” “The Personal Evolution of an Artist,” various times and
locations, partly sponsored by the Wyoming Council for the Humanities “Speaker’s Bureau”
1989-91 Arts-in-Education Resident Artist: Sheridan, Wyoming, September 1989: Moab, Utah, November 1990;
Navajo Mountain BIA Boarding School, Utah, November 1991
Artist-in-Schools Roster: Wyoming and South Dakota
Artist in Residence in Environmental Art: Laramie County Community College Peak Program, Cheyenne,
Wyoming August, 1989; LCCC ceramics instructor, Summer 1989; Northwest College, Powell,
Wyoming, Spring 1990

1969 B.A. University of Wyoming
1976 Classes in advanced ceramics, University of Texas, Austin
1975-77 Private summer studies with Ken Ferguson of KCAI
1980-82 Part-time studies with Richard DeVore and Ken Hendry, Colorado State University
Raised in Los Alamos, New Mexico
Living in Fort Collins, Colorado, after many years in Wyoming. Unmarried, two adult daughters, two grandchildren
Until recently served on the Board of Fort Collins Audubon Society and headed the organization of the Backyard Habitat garden tour.
1983-87 Studio sculpture, mixed media assemblage
1970-85 Clay Raku and Low-re saltware, stoneware and porcelain–regional expressionist and functional
1985 “Automotive Engineering Sculpture Competition,” Oakland Festival and Western Railway Museum,
Sacramento, CA
“Art against Apartheid,” Heller Gallery, Berkeley, California
“1st Wyoming Biennial,” Juror, Dore Ashton
“Lynne Hull New Sculpture,” Brown Gallery, Laramie
1984 “Animals, Real and Imaginary,” Nicolaysen Museum, Casper, Wyoming
“Desert Alterations,” Installation, Wyoming State Museum
1983 “Desert Alterations,” Installation and other claywork, Los Llanos Gallery, Santa Fe, New Mexico
“Southwest Art,” Art Focus Gallery, Charleston, West Virginia
“All Wyoming Crafts Exhibition,” Nicolaysen Museum, Casper, Wyoming
1982 “What’s New In Clay,” Houston, Texas
Two-person show, Sheridan Inn Gallery, Sheridan, Wyoming
1981 “Images of the American West,” Putney Gallery, Aspen, Colorado
“High Plains Regional,” Greeley, Colorado
Wyoming State Museum, Cheyenne, Wyoming, One-woman show
1980 “Wyoming Crafts Invitational,” Nicolaysen Museum, Casper, Wyoming
“Dreams,” Gallery 234, Laramie, Wyoming
“Wyoming Impressions in Clay,” Toured Wyoming and at Scottsbluff Center for Art, Nebraska
One-woman show
1979 “Womanfetish” series, Women’s Art Show, University of Wyoming
“Wyoming Craftsmen ‘79,” Touring Wyoming
1977-78 One-woman clay shows, Laramie, Wyoming
1975-77 Laramie Craft Guild, Juried and touring shows
1979 Fellowship award, Wyoming Council on the Arts
1979-84 Juror’s awards from Paul Marioni, Roger Lang, Sally Elliott, Jean Williams-Cacicedo, etc.

My sculpture and installations provide shelter, food, water or space for wildlife, as eco-atonement for their loss of habitat to human encroachment. My current projects link communities from Canada to South America through our shared wildlife. Some raise human awareness of our trans-species relationship and harmonious ways to live that relationship in the landscape. While assisting wildlife, when possible projects are also designed with components of sustainable economic development for humans. Research and consultation are essential to project success. I prefer direct collaboration with wildlife specialists, environmental interpreters, landscape architects, and local people for design integration. Most artworks function in the temporal gap between the time reclamation of damaged sites begins and the time nature recovers.

I believe that the creativity of artists can be applied to real world problems and can have an effect on urgent social and environmental issues. I am increasingly aware that the greatest challenge faced by other species is the need for change in human values and attitudes toward conflicting rights, wants, and needs. I hope my work offers models for equitable solutions.

The Artist Quotes

“Hull’s empathies are in a sense kinesthetic, even visceral. Raised in the west, and always having lived there, she comes easily to considering large spaces, migration patterns, the habits of different species. She puts her sculpture at the service of wildlife, predicting their needs (with the expert help of biologists and other scientists) and projecting aid into sculptural form. Her work interacts with the place in which it is located, which is determined by context, calling attention to itself only after it has been integrated into layers of natural life. As wildlife is inseparable from its habitat, her sculpture cannot be seen as form alone. At the same time, if it could not be seen at all by those of us who look around for esthetic sustenance, it would not be art. She works in the tension between what is good for animals, birds, reptiles, and what looks good to humans.”—Lucy Lippard, THE NATURAL ORDER

“ Lynne Hull’s unique ecological artistic projects pioneer the creation of new models for trans-species cultural exchanges, bio-diverse dialogues, and eco-communal relationships. She is mending western civilization’s split between human and non-human nature by conferring on the human artist the role of curator of the Earth’s living art gallery….Lynne Hull is advancing a new artistic and mythic paradigm. In the new myth the woman artist is not expelled from The Garden, but she is invited to restore the Garden, and in doing so, to reveal the interspecies communal harmony that comes to life as human and non-human healing capacities are reunited through the collaborative powers of art and the mysterious alchemy of the generosity of the creative spirit.” —Gloria Feman Orenstein

” . . . (as ecofeminist artist) Lynne began achieving a reputation as a serious designer …whose structures take their places as healing sites; her works are akin to a profound apology to the beasts and birds for the organic devastation modern urban life has visited on them…She is attempting to communicate as friend and sister of the various species that will use her…work… tries to cross the divide of human language and speak to another obligation: to inform species who can only respond by using the sites, that even we human beings know we cannot make it much longer if we are the only species left standing…
In the balancing act between aspiration and practicality Hull must perform each time she is commissioned to create a new site, her work keeps trying to break through our limitations and, like those ancient shamanic artisans whose works spoke to the intricate web of circumstances and consciousness, signal the species with which we share this space that at least one artist wants to resume the dialog we once enjoyed.—–Ronald J. Vierling, “Close Encounters of the Fourth Kind” Landscape & Art, Summer 2003

“Hull’s work is a matter of process and engagement rather than market product, with focus on strategy and a defiance of mainstream artistic authority replaced by an authority of spirit and confidence in purpose. It is a fervent expression of joy or praise for the natural world. She belongs to a community of activist artists who engage in an artistic intervention on behalf of the sustenance of life” —Ken Bloom, Texas Text

“Hull’s goal in making art is not to alter the environment, but to create an aesthetic that stands out against the foreground of its location, while also fitting into the surrounding ecology.
Other common threads that run through her work are a deft, scientifically sound comprehension of nature and an awareness of those who need help the most.” — Simone Ellis, Public Art Review

“For an artist to intentionally collaborate with other species to create lovely, nurturing and useful art, is extremely rare….For the sake of both the damaged environment, and the sometimes directionless world of art, we…are glad Hull showed up…”—Simone Ellis, Intermountain Woman

“Lynne Hull wants to restructure the stories people tell about their place in nature. Her artwork nurtures a multispecies dialogue” —Peter Warshall, Whole Earth

“Ecofeminism considers the arts to be essential catalysts of Change”—Gloria Orenstein

“contemporary artists recognize landscape not as scenery, but as the spaces and systems we inhabit, a system our lives depend on”…the artist has become a collaborator or midwife, working in harmony with the land” —Rebecca Solnit

“Hull’s prolific body of work is a gesture towards the nurturance of endangered species”…
“Counterparts to the artists of the paleolithic, the handprints of today’s ecofeminist artists are also inscribed directly on the earth in the work they do to restore the wasteland and return it to its cycle of flowering.” Orenstein, Greening of Gaia

“Hull’s pieces seem to be totems to the interaction between the animal and human communities…Hull uses her art to involve people in the environmental issues they might not otherwise be concerned about, potentially setting the stage for future interaction between humans and nature. (Her sculptures) challenge people to think about the daily cycles and events that occur in nature and our lives…..Hull asks us to inspect the daily cycles of other animals in nature. Her creation of special places for these animals demands that we think about them in different terms, not to relegate them to the role of unseen and unheard, but to view their lives as active, integral parts of ours, with specific needs and routines, not at all unlike the human communities….Explor(ing) the relationships that exist between nature, community, and art…..
The artists create work that alludes to the past, and glorifies the ongoing cycles that have been passes down through time—by nature, by human families, by wildlife….genuinely concerned about helping all of us understand the environment in which we live, and in exploring new ways to experience the rhythms and cycles that exist…..(the) Work (is) life affirming in this age of global destruction…..(validating) ongoing cycles that affirm the ability of the earth to continue on, and the ability of human and animal communities to maintain…” —”Wendy Bredehoft, MFA thesis

“Lynne Hull’s most avid fans are the wildlife her art helps” —Catharine Walkinshaw

“The urgencies before us are demanding that the old schismatic energy of modernism give way to a more healing energy of reconciliation. A new sensitivity is emerging at the leading edges of our culture that comprehends our interdependence and is willing to try to grow attuned to it…Lynne Hull (exemplifies) another kind of art, that speaks to the power of connectedness, art that calls us into relationship”—-Suzi Gablik, ART JOURNAL

“A new art form which incorporates solid scientific experimentation to address habitat restoration… Ecoartists appear to me as messengers and roving spirits who call out to our souls and our creative imaginations for the rehabilitation of earth and sacred life that must occur if we are to survive. They point to means as well as the need…
These stories are not of a lonely action in a studio, but of the application of the artist’s skills, passion, and knowledge addressing the physical and spiritual needs of specific contemporary life. Like the energy that ripples out from an object dropped into water, the artist drops thoughts and actions into the pool of an immediate life situation. They ripple out into known and unknown expressions, energized by service, which is motivated by love and care. This, surely, is the lever for evolving the spiritual human being, committed to justice and sharing in the relationships among all beings and earth forms…..
Service is an inherent impulse. Love is expressed in service, and quite simply, love for something is the (motivating) power of the artist’s work. It is also a magnet, drawing other people toward the same kind of expression”— Jo Hanson (about several women ecoartists), EARTHLIGHT

“HER prolific body of work is a gesture towards the nurturance of endangered species…”
—Gloria Orenstein

“Hull’s work raises hard questions, it elevates consciousness, and it asks people to move out of their customary patterns of thought and of behaviour. It pushes the envelope. It will not leave people the same as before they began the work together (in a community participation project). Most radical is her trans-species idea—if people begin to take seriously that other species have needs different from the human, they are really confronted with that idea, then they are changes and will fundamentally alter their perceptions and perspectives on many issues. Once they recognize the truth of it, their position in the world changes, and they must move over, and share the planet. They cannot return to their previous mind-set that the earth is for humans to use and abuse. Once they create a habitat for other species, they are making the profound admission that humans are not at the centre of the planet’s life”—
Hull’s idea is bold: it suggests that participating in such an aesthetic experience (a workshop) is so powerful that it can change attitudes, beliefs and cognitions that have developed over a lifetime. I feel that the experience is so profound the participants’ thinking and feeling is fundamentally and permanently altered by the impact of their experience and the insight they gain.
Those who engage in ecological art—either as viewer or participant in its making—are no longer able to quietly ignore the environmental consequences of their actions. They come to realize, directly and personally, what suffering ecological damage can cause. They also know that they can create aesthetic work to improve the ecological habitat for species that surround them. Other species go from being foreign to being familiar. Nature goes from being distant to being a close friend. The idea of improving the ecological community goes from improving the ecological community goes from being an idea in the mind to a calling in the heart. We feel guilty, inspired, outraged, dedicated, aware, passionate, and perhaps most importantly, engaged and capable of creating important change.” —Young Imm Kang Song, The International Journal of Art & Design