BRINKERHOFF FINE ART
STEPHEN KNAPP
Stephen Knapp is born in Worcester, Massachusetts in 1947, and receives his B.A. from Hamilton College in 1969. His liberal arts education exposes him to many different disciplines and emphasizes the importance of research, establishing a foundation for much of his work.
For nearly a decade after graduating from college, Stephen works as a fine art photographer, selling his work to corporate and private collectors in the United States and abroad. As his reputation grows he concentrates his energies exclusively on commissioned works, usually in collaboration with noted architects and interior designers. It is during this period that he develops the innovations for which he is known today – combining mediums and processing techniques and working with fabricators on an increasingly grand scale.
During this early stage in his career Stephen works closely with Polaroid on their 20x24 camera, creating large scale instant photographs. For a period of time he uses the camera more than any other non-Polaroid employee.
Soon, though, photography is not enough. Although he has pushed it experimentally - hand coloring black and white photomontages for massive enlargements, using computer printouts to make his own screens that form the basis of a giant silk-screen commission - Stephen begins to look more closely at permanent materials. Various types of ceramic, mosaic, metal, stone and glass begin to fill his studio.
Researching these materials for public art, performing constant experimentation, and making contact and working closely with craftsmen, fabricators and manufacturers from around the world becomes instrumental in this new phase of Stephen's career.
His first forays outside of photography continue to draw from that medium, as he produces a dyed, etched anodized aluminum mural for Norton Company, now Saint Gobain, the world’s largest manufacturer of abrasives. Although totally abstract in nature, this piece is an allegory for the company’s many parts, and the process of its production shows the in-depth research that is a hallmark of his work. Photo transfer techniques are used to create this piece, using high contrast film to define the images to be etched and anodized in aluminum.
In 1986 Stephen uses similar techniques to create one of the world’s largest etched metal murals – a 14’ x 72’ piece for the Hamilton County Justice Complex in Cincinnati. Black and white images of the county are blended as one and then reproduced in etched aluminum with the use of new techniques researched and developed for the commission.
As the Cincinnati project is developing, another opportunity arises, one that ultimately takes Stephen to Japan to create the world’s largest glass glaze ceramic murals. Researching materials for another commission, he had come upon a factory in Japan that made huge photo-ceramic murals, a technique used by Robert Rauschenberg in the early 1980s. The photo decal technique seems tailor made for him, yet the more he explores the process, the more fascinated he becomes with a thick glass glaze – a crackle glaze – that had been developed for architecture.
After consultation with the factory – the best in the world for large scale ceramic murals – he learns that they have indeed used the glass glazes in some of their murals, but only for small accent details. This project will be the first time these glazes are used on such a large scale. With a sense of humility for the setting – one of the historic ceramic centers in Japan – paired with the opportunity to create something that has never been done before, Stephen begins to work closely with the artisans in the small mountain village of Shigaraki, Japan. Together they develop new colors and new techniques to make his vision a reality, producing three of the largest glass glaze ceramic murals in the world for USAA Federal Savings Bank.
As the public appreciation of his work grows so does Stephen’s comfort in working with diverse mediums. It is no surprise that the next opportunity to present itself is a collaboration with an architect in Boston to create a European style spa for The Spa at the Heritage. A large ceramic mural is created as a backdrop for the pool and mosaic tile imagery is placed on the pool bottom. All of this could be viewed through an etched glass wall. Etched glass doors complement the etched stainless steel walls throughout the rest of the installation.
A pattern is now forming – Stephen uses the research for one project to enhance the next. When it comes time to create two large etched stainless steel murals for McDonnell Douglas' Douglas Center in California, Stephen develops a new technique of mixing paints so they will change with the angle of light. In the resulting imagery of the murals, highlights on the wings of the planes glow as if catching the sun, and some planes seem to shimmer in front of the canvas of stainless steel. The kinetic force of these murals lends a palpable energy to the work he creates. A closer look at the murals reveals Stephen’s interest in creating illusions of space which he will explore extensively in his lightpaintings.
An increasing fascination with light – a hallmark of his days as a fine art photographer – soon leads Stephen deeper into the world of glass.
Kiln formed glass – the heating of glass to take on the shape of a form below – is his next major leap in mediums, an adventure that occupies much of his time in the 1990s. Stephen develops and works on industrial techniques that allow him to create tempered kiln formed art glass walls and doors for use in architectural settings, resulting over the decade in large installations for Brunswick Corporation, United Airlines, SPRINT, Harnischfeger Industries, and CNA Insurance Companies, to name a few.
During the 1990s Stephen starts spending more time on personal work, creating sculpture, furniture and lighting for a showcase entitled Fantasy in Glass, a unique exhibition he stages at the Merchandise Mart in Chicago. This year long 5,000 square foot exhibit is created to introduce architects and designers worldwide to the possibilities of kiln formed art glass.
With his penchant for choosing the right materials for each new commission firmly in place, Stephen adds carved marble to his repertoire for a Royal Caribbean Cruise Lines installation. Asked to work on a theme of Greek and Roman exploration, he works with artisans in Italy to create a series of ruined columns and steles with hieroglyphs and faces that hold together a series of fragments of kiln formed glass. In the relief of the glass one sees Greek and Roman temples, ships, and pieces of antiquity. Its companion piece brings into play other materials, with fragments of mosaic tile representing fifteenth century paintings of constellations, which are linked together by ribbons of stainless steel.
This commission is so well received that a year or so later Stephen returns to Italy to produce two carved marble lions, contemporary interpretations of an Egyptian theme, for another Royal Caribbean Cruise Lines installation.
His growing confidence in his ability to use various materials and techniques leads him to incorporate dichroic glass and stainless steel in "The Bird", an atrium piece commissioned by Harnischfeger Industries, which in turn leads to the cabled "Rainbow Harp" for CNA Insurance Companies.
An acknowledged expert in his field, Stephen frequently writes and lectures on architectural art glass, the collaborative process, and the integration of art and architecture. In 1998 he authors The Art of Glass for Rockport Publishers.
The following year Stephen installs his largest commission to date at the Walter Reed Army Institute of Research. Ironically, with all of his work in glass, this installation consists of ten murals of carved slate and mosaic tile, each 7' x 18'. Over four tons of slate are used in the project, which is designed to work on multiple levels. Although not usually considered a kinetic medium, the reflective quality of the slate makes it change constantly, so lighting is an important component of this installation.
Light plays a lead role in his next major installation, a 17' x 60' sculptural lightpainting at the Worcester Medical Center, Massachusetts. Searching for a solution for the back wall of a 240' long five story atrium, Stephen mounts thirty-eight shaped and polished pieces of dichroic glass on the wall, with eighteen 1000W spots shining through the glass, creating an overlapping series of colored shadows. Computerized lighting changes every hour, casting different colored shadows and shapes on the wall, creating a new piece of art hourly.
The rest of 2000 saw each of these mediums used in major commissions - kiln formed glass, glass, and carved slate and mosaic tile.
Stephen is intrigued by the possibilities that present themselves in the use of dichroic glass and begins to look for opportunities that will allow him to continue experimenting with it. A project for the Women and Babies Hospital in Lancaster, PA, comes along in 2001 and seems to be exactly what he is looking for. Again, an atrium piece. However this space is considerably smaller than that occupied by the lightpainting in Worcester. This size limitation is what Stephen needs in this early stage of his work in sculptural lightpaintings, for the diffusion of light that is accomplished in this new medium is a radical change from the light concentrations collected in his kiln-formed glass panels, and he realizes that spatial limitation allows for greater precision in the effects produced.
When this project for Women and Babies Hospital is completed, Stephen returns to working with kiln-formed glass for several projects and it is almost a year before he produces another lightpainting. But in that year Stephen creates the form necessary for all of his future lightpainting explorations and discoveries.
In 2002 Stephen presents the world with his lightpaintings; no longer hanging glass and steel structures, in these new works the glass is bracketed onto walls with a single light fixture illuminating the entire piece. The light that passes through the various pieces of glass is no longer an effect in the air, as it was in the sculptural lightpaintings, but is now simultaneously collected and dispersed on the wall.
"Quattuordecim - The One Light" is the first of the new lightpaintings that Stephen shows to a large audience. This piece goes on display in December of 2002 in a glass exhibit at the American Bible Society in New York. With "Quattuordecim," measuring 16’ x 10’ x 10", Stephen engages the Stations of the Cross story by using a single light to give unity to the allegory. Also in 2002 Stephen installs a large lightpainting in a private residence in Lancaster, P.A.
The early months of 2003 mark the beginning of an exceptionally busy period for Stephen. He is electrified by the discoveries he is making with his lightpaintings and wants to share his latest works with others. He spends hours upon hours producing new pieces but also finds much of his time absorbed by his participation in shows around the United States as well as internationally. From Palm Beach to Chicago, New York and Santa Fe, as well as Los Angeles and Toronto, Stephen’s lightpaintings appear in show after show, and continue to do so through 2005.
During this same time period Stephen has several solo shows at galleries in Chicago and Atlanta. His 2004 solo show at Skot Foreman Fine Art in Atlanta is followed up with a larger solo show the next year at the Kraft Lieberman Gallery in Chicago. The large gallery space at Kraft Lieberman gives Stephen an opportunity to experiment with how lightpaintings can be exhibited in museum and gallery settings. With lightpainting installations as well as panel mounted pieces he is able to show the range of this new medium and at the same time determine ambient light levels and flows of work for future exhibits. The grouping of the lightpaintings within an exhibit space heightens Stephen’s perceptions of their dynamic inter-relationships and he is inspired to experiment with new coatings and laminating techniques that take him beyond dichroics. These coatings and techniques increase the range of his palette and give him greater control in painting with light.
2006 proves to be his busiest year yet, starting with a 60’ x 100’ exterior installation on the north face of Tampa, Florida’s City Hall. Part of their "Lights on Tampa" program, "Luminous Affirmations" is one of two permanent commissions. The unveiling of this piece is followed a few days later by a solo show at Eckert Fine Art in Naples, FL.
Large scale commissions seems to be the theme of Stephen’s work in 2006, with his "Seven Muses", a 35’ x 95’ commission for The Charles W. Eisemann Center, in Richardson, Texas, next up in the spring of that year. He spends most of the summer months in a rented space working on a wall far larger than any in his studio. The result of this is the multi-light, multi-panel lightpainting "First Symphony", a piece produced for the foyer of the Sursa Performance Hall at Ball State University.
In early 2007 Stephen has his first solo museum exhibition. The Alden B. Dow Museum of Science and Art of the Midland Center for the Arts provides an opportunity to explore relationships between different types of lightpaintings and to further show the versatility of this new art form. Following what he had learned at the Kraft Lieberman Gallery he is able to design an exhibit that will help viewers understand that lightpaintings are at an intersection between painting and sculpture. His exploration of edges and space becomes more evident in pieces such as "Shadow Musings" and "Risen Blue", while the brilliant colors of "Calypso" contrast with the softer palettes of "Cityscape". Hard edges and layered shadows define "Hadrian’s March" yet "Forward Green" is made up of soft organic forms that do not seem possible in such a medium. With this exhibit Stephen sets the stage for the possibilities of lightpaintings.
Throughout Stephen Knapp's career there are constants – a continuous research into materials, a commitment to the techniques and processes involved in enlarging his designs, and an exploration of the historical, cultural and technical precedents which are the basis for both his personal and commissioned pieces.
Born: Worcester, Massachusetts, 1947
Education: Hamilton College, BA, 1969
Selected Solo Exhibitions:
2014:Polk Museum of Art, Lakeland, FL
2013:Alexandria Museum of Art, Alexandria, LA
The Lowe Art Museum, Miami, FL
Miami International Art Fair
Art Palm Beach 2013
2012:The Hyde Collection, Glens Falls, NY
The Dayton Art Institute, Dayton, OH
Vero Beach Museum of Art, Vero Beach, FL
2011:Naples Museum of Art, Naples, FL
2010:Boise Art Museum, Boise, ID
Naples Museum of Art, Naples, FL
J. Johnson Gallery, Jacksonville Beach, FL
Melissa Morgan Fine Art, Palm Desert, CA
2009:Melissa Morgan Fine Art, Palm Desert, CA
The Dahl Art Center, Rapid City, SD
Chrysler Museum of Art, Norfolk, VA
Brattleboro Museum, Brattleboro, VT
2008:Dennos Museum Center
South Dakota Art Museum, Brookings, SD
2007:
Butler Institute of American Art, Youngstown, OH
Bernice Steinbaum Gallery Art Basel Miami Beach, FL
Alden B. Dow Museum of Science and Art of the Midland Center for the Arts
2006:Eckert Fine Art, Naples, FL
2005:
Flint Institute of Arts, Flint, MI
Kraft Lieberman Gallery, Chicago, IL
2004:Skot Foreman Fine Art, Atlanta, GA
2003:Kraft Lieberman Gallery, Chicago, IL
1994:“Fantasy in Glass”, Chicago, IL
Group Exhibitions:
2014:First Look, Bernaducci Meisel Gallery, New York, NY
2012:Contemporary Glass Sculpture: Celebrating the 50th Anniversary of Studio Glass, Orlando Museum of Art, Orlando, FL
2011:Sculpture Today: New Forces, New Forms, Frederik Meijer Gardens and Sculpture Park, Grand Rapids, MI
2006:Palm Beach Contemporary
2005:Art Chicago in the Park
Stephen Knapp Project Space, Art Santa Fe
Art Miami San Francisco International Art Expo 7
Palm Beach Contemporary
2004:
The International Art + Design Fair
Los Angeles Art Show
Art Miami
Palm Beach Contemporary
San Francisco International
Art Expo 6 Art Chicago
SOFA New York
2003:
Toronto International Art + Design Fair
Art of the Twentieth Century
Los Angeles Art Show
Art Santa Fe
SOFA Chicago
SOFA New York
Art Chicago
ARTForm, Palm Beach, FL
“El Arte de las Vidrieras: luz, color y espacio”, La Valldigna, Comunitat Valenciana, Spain
2002: “Reflections on Glass”, New York, NY
2001:The Coloured Light”, Pfarrkirchen, Germany
“2001 Hsinchu International Glass Arts Festival”, Taiwan
1998:Glass: A Group Exhibition”, Grounds for Sculpture, Hamilton, NJ
1994:“International Survey of Contemporary Art Glass”, Pittsburgh, PA
1993:“Glass Now 15th”, Japan
1991:“Mars and the Muses”, Higgins Armory, Worcester, MA
Selected Commissions:
2013:“Overlook”, lightpainting, private residence, Dover, MA
“The Ten Year Itch”, lightpainting, private residence, Palm Beach Gardens, FL
“Celebration”, lightpainting, private residence, Orlando, FL
“With Respect”, lightpainting, Worcester, MA
2012:“Deferred Dream”, lightpainting, Van Nuys, CA
“A Nod to Sandy”, lightpainting, private collection, Potomac, MD
“Brooks Station Nightlife”, lightpainting, SeaFair, Miami, FL
2011:“Chance Encounters”, lightpainting, private residence, Amagansett, NY
“Structure, Space and Time”, lightpainting, Linus Pauling Science Center, Oregon State University, Corvallis, OR
2010:"Arbus"
“To Be Announced”, lightpainting, Florida State University, Tallahassee, FL
“Opera Memories,” lightpainting, private residence, Santa Fe, NM
2009:"The Washington Post"
"Canadian Architect"
"Faith & Form"
“Heritage Jitter”, lightpainting, Chrysler Museum of Art, Norfolk, VA
“Transformation”, lightpainting, Constitution Center, Washington, DC
“Trailing Light”, lightpainting, Oasis of the Seas, Royal Caribbean Cruise Lines
“Chasing Red”, lightpainting, Hamilton College, Clinton, NY
2008:"Coming Home", lightpainting, private residence, St. Augustine, FL
"Momentum", lightpainting, private residence, Naples, FL
2007:“Masked Illusions”, lightpainting, Riverside Theatre, Vero Beach, FL
2006:
“Traversing a Luminous Fold”, lightpainting, Miami University, Oxford, OH
“First Symphony”, lightpainting, Sursa Performance Hall, Ball State University, Muncie, IN
“Seven Muses”, lightpainting, Eisemann Center for Performing Arts, Richardson, TX
“Luminous Affirmations”, lightpainting, Lights on Tampa, Tampa City Hall, FL
2005:“Harlequin”, lightpainting, private residence, Boca Raton, FL
2004:
“Toccata”, lightpainting, MITRE Corp, Bedford, MA
“Beyond” lightpainting, private residence, Richardson, TX
“Joanie’s”, lightpainting, private residence, Worcester, MA
“Fandango”, private residence, Allentown, PA
2003:“The Magician”, lightpainting, private residence, Chicago, IL
2002:
“The Christ Doors”, kiln formed glass, The Solanus Casey Center, Detroit, MI
“Quattuordecim”, lightpainting, The American Bible Society, New York, NY
Lightpainting, light sculpture, and kiln formed glass wall, the Congregation of the Sisters of St. Agnes, Fond du Lac, WI
2001:
Kiln formed glass entries, The Worcester Public Library, Worcester, MA
“The Crystal Quilt”, kiln formed glass wall, Love Library, the University of Nebraska-Lincoln
“Stories from Light”, suspended light sculpture, Women and Babies Hospital, Lancaster, PA
2000:
“The Crossroads Quartet”, four kiln formed glass screens, Sam Nunn Federal Center, Atlanta, GA
Light sculpture, Saints Memorial Medical Center, Lowell, MA
“The Healing Arts Suite”, three carved slate and mosaic tile murals, The Florida Department of Health, Tallahassee, FL
1999:
Kiln formed glass screens, Kilroy Airport Center III, Long Beach, CA
Kiln formed glass wall, Fox Chase Cancer Center, Philadelphia, PA
Carved slate and mosaic murals, Walter Reed Army Institute of Research, Silver Spring, MD
1998:
Kiln formed glass screens, Kilroy Airport Center, Long Beach, CA
“Rainbow Harp”, light sculpture, “Chicago’s Treasures”, kiln formed glass, CNA Insurance Companies, Chicago, IL
Kiln formed glass, Charles Hotel, Boston, MA
1997:Kiln formed glass wall, Dana Farber Cancer Institute, Boston, MA
1996:
Kiln formed glass walls and suspended sculpture, Harnischfeger Industries, Milwaukee, WI
Kiln formed glass panels, CNA Insurance Companies, Chicago, IL
Mixed media installations, Splendour of the Seas, Royal Caribbean Cruise Lines
Kiln formed glass wall, Sprint, Washington, D.C.
1995:
Kiln formed glass doors, Disney’s Contemporary Resort, Lake Buena Vista, FL
Kiln formed glass walls, Lotus Development Corporation, Cambridge, MA
1994:Kiln formed glass wall, Allmerica Financial Headquarters, Worcester, MA
1993:
Kiln formed glass screens, United Airlines, Benito Juarez International Airport, Mexico City
Kiln formed glass screens, United Airlines, Dulles Airport, Washington, D.C.
Kiln formed glass wall, Brunswick Corporation, Lake Forest, IL
Kiln formed glass entry, The Quarasan Group, Chicago, IL
1992:Kiln formed glass wall, private commission, Boston, MA
1989:Polychromed stainless steel murals, McDonnell Douglas, Long Beach, CA
1988:Ceramic mural, etched stainless steel walls, The Spa, Boston, MA
1986:“Convergence”, etched metal mural, Hamilton County Justice Complex, Cincinnati, OH
1985:“The Odyssey”, “Homage to Shigaraki”, “The Search”, glass glaze ceramic murals, USAA Federal Savings Bank, San Antonio, TX
1984:“The Dawning”, dyed, etched aluminum mural, Norton Company, Worcester, MA
Publications:
Stephen Knapp: Lightpaintings/Social Commentary, Boise Art Museum, 2010
Stephen Knapp: Lightpaintings, Alden B. Dow Museum, 2007
The Art of Glass, Stephen Knapp, Rockport Publishers, 1998
“A Guide to Architectural Art Glass”, Architectural Record, May 1995
“Architectural Art Glass”, Glass Magazine, May 1995
“Art with Heart - A Guide to Collaborating with Creative Types on Building Art”, Skylines, March 1989
“Collaborating with Artists”, Progressive Architecture, April, 1987
“Working with Artists - A Developers’ Guide for Commissioning Artwork”, Urban Land, September 1987
Books:
The Sculpture Reference, Illustrated, Arthur Williams, 2005
Reflections on Glass, Virginia Chieffo Raguin, American Bible Society, 2002
Artisans Glass, Jera May Morton, Watson Guptil Publications,1999
Architectural Glass Art, Andrew Moor, Mitchell Beazley,1997
Selected Articles:
90+10, Buenos Aires, 2008
Sculpture Magazine, September 2007
Art of the Times, Summer 2006
Worcester Telegram & Gazette, August 2006
The Star Press (Muncie, IN), September 2006
Chicago Sun Times, October 2003
Worcester Telegram & Gazette, May 2002
Worcester Magazine, March 2002
The Coloured Light – Exhibition Catalog, 2001
2001 Hsinchu International Glass Arts Festival, Exhibition Catalog
Intelligencer Journal (Lancaster, PA), May 2001
ArchitectureWeek.com, October 2001
Lincoln Journal Star (Lincoln, NE), August 2001
StatePaper.com, August 2001
Sunday World-Herald (Omaha, NE), August 2001
Interior Design, May 1996
Architectural Record, May 1995
Glass Now 15th, Exhibition Catalog, 1993
Interiors, July 1993
Progressive Architecture, July 1989
The New York Times, June 15, 1989
Skylines, March 1989
Identity, Summer, 1988
Urban Land, September 1987
Art & Antiques, April 1987
Progressive Architecture, April 1987
Ceramics Monthly, February 1987
ARTnews, January 1987
Southwest Art, May 1986
Honoho Geijutsu (Japan), Spring 1986
Corporate ARTnews, March-April 1986
Nikkei Architecture (Japan), December 1985
Corporate ARTnews, November-December 1985
The Shinbijutsu Shinbun (Japan), August 1985
Corporate Design, May-June 1982
US Air Magazine, May 1982
Interior Design, December 1981
Progressive Architecture, July 1981
Progressive Architecture, June 1978
Interior Design, March 1977
Museum Collections:
Butler Institute of American Art, Youngstown, OH
The Flint Institute of Arts, Flint, MI
Grounds for Sculpture, Hamilton, NJ
Selected Private, Public and Corporate Collections and Installations
Ella Fontanals-Cisneros, Miami, FL
Bob and Terry Edwards, Naples, FL
Al and Betsey Harris, Naples, FL
Barry Hershman, Boca Raton, FL
Randall and Marcia Johnson, Santa Fe, NM
Bruce and Pam Loch, Allentown, PA
Don and Mary Melville, Worcester, MA
Jim and Gayla VonEhr, Richardson, TX
Abuja Hyatt Regency, Nigeria
Acme Printing Co., Inc.
Allmerica Financial
The Atlantic Richfield Company
Bakery Confectionery and Tobacco Workers International Union
Ball State University, Muncie, IN
Bankers Trust Company
Beatrice Chemical Company
Beth Israel Hospital, Boston, MA
Brunswick Corporation, Lake Forest, IL
Central Federal Savings and Loan
The Charles Hotel, Boston, MA
Citibank, New York, NY
CNA Insurance Companies, Chicago, IL
Commercial Union Assurance Companies
Connecticut General Life Insurance
Corroon and Black of Massachusetts
Dana Farber Cancer Institute, Boston, MA
Disney’s Contemporary Resort, Lake Buena Vista, FL
The Eisemann Center, Richardson, TX
Fiduciary Trust Company
Flexcon Company, Inc.
The Florida Department of Health, Tallahassee, FL
FMR Investment Management Service
Fox Chase Cancer Center, Philadelphia, PA
Greenberg, Rosenblatt, Kull & Bitsoli
The Hamilton County Justice Complex, Cincinnati, OH
Harrah’s Marina Hotel Casino
Harnischfeger Industries
IBM
Jet Spray Corporation
John Hancock Mutual Life Insurance
Kingston-Warren Corporation
Lee Numismatics International, Inc.
Lotus Development Corporation
McDonnell Douglas, Long Beach, CA
Martin-Copeland Company
Masoneilan International, Inc.
Massachusetts General Hospital
Menorah Medical Center, Kansas City, KS
Miami University of Ohio, Oxford, OH
Miller Brewing Company
Minnesota Protective Life Insurance
Mirick, O’Connell, DeMallie & Lougee
Montrose Products Company
New Hampshire Savings Bank
Norton Company, Worcester, MA
Offices Unlimited, Inc.
Pearcy House Restaurant, Toronto, ON
Peoples Savings Bank
Peat, Marwick, Mitchell & Company
Polaroid Corporation, Cambridge, MA
Price-Waterhouse & Company
The Quarasan Group
Rockefeller Center, New York, NY
Royal Caribbean Cruise Lines
St. Regis Paper Company
The Sam Nunn Federal Center, Atlanta, GA
Savings Bank Employees Retirement Association (Massachusetts)
Sealol, Inc.
Shawmut Bank
Simplex Time Recorder Company
Smith Barney, Harris Upham & Co.
The Spa at The Heritage, Boston, MA
Sprint, Washington, DC
Sun Life Assurance Company of Canada (U.S. Headquarters)
Tampa City Hall, Tampa, FL
United Airlines, Dulles Airport, Washington, DC
United Airlines, Benito Juarez International Airport, Mexico City
The University of Nebraska, Lincoln, NE
USAA Federal Savings Bank, San Antonio, TX
The Walter Reed Army Institute of Research, Silver Spring, MD
Western Bank, Houston, TX
The Wexner Institute for Pediatric Research, Columbus, OH
Women and Babies Hospital, Lancaster, PA
The Worcester Public Library, Worcester, MA
Special Study
