Nedra Matteucci Galleries, Santa Fe, NM June 26-July 17
The French word “animalier” in the title of Dan Ostermiller Animalier: Celebrating 50 Years of Sculpting, the new exhibition at Nedra Matteucci Galleries in Santa Fe, New Mexico, hints at the European origins of the genre of artwork that Ostermiller has made his own for half a century. The desire for realism that permeated human depiction in the arts in the 19th century migrated to the natural world—and to animals specifically—at the same time. Opening on June 26 and running through July 17, this solo exhibition will feature Ostermiller’s earlier works as well as 10 new pieces.
Ostermiller was born and grew up in Cheyenne, Wyoming. His understanding of animal anatomy began in his father’s taxidermy studio; his observations embodied the strong link between the ancient art of preserving and mounting specimens and animal sculpture. Ostermiller lists his animalier forebears as Antoine-Louis Barye, Rembrandt Bugatti and then adds, surprisingly, “One of the more influential sculptors, to me, was Francisco Zúñiga. He mostly sculpted women, you know. But his sense of design and mass really struck me, and I started applying those principles to animals.” Like those that came before him, Ostermiller’s sculptures achieve volume without sacrificing the lightness of the animal, line without making line constricting, and a sense of rhythm that balances stillness with spontaneity.
Humor is essential in Ostermiller’s work. As he says, “I try and own every animal I sculpt. I try and make me be a part of it, some of my personality. People think my pieces are real happy. And I am a happy guy.” Ostermiller sometimes finds ideas in unlikely places and follows his instincts. “I may be working on a bear,” he says, “but instead of a field shot, the piece could be inspired by my dog, who’s doing something interesting. I take that concept, then, and apply it to another kind of animal.”
The title of one of Ostermiller’s new works, CONTEMPLATING HIBERNATION, is his way of suggesting that we see a human emotion in a bear. Looking down, as we do, with our limbs not quite relaxed—though we might wish they were, or that, at least, they appeared to be relaxed—the bear seems to be on the verge of some decision, one it hasn’t quite made. Here, capturing the tension before intention, Ostermiller more than proves his eye for the intriguing moment and his skill at casting that moment in bronze.
In the clay for another new piece, A GOOD HARE DAY, Ostermiller creates whimsy in many ways. The sheer size of the rabbits—“hares” here, perhaps in a playful nod to Bugs Bunny—and the scale of the work allows the artist to combine rabbits in a host of poses, though, as many as there are and as close as they are together, they appear to ignore or possibly disdain one another like Hollywood stars and starlets. “That was a hard piece for me to do,” Ostermiller says, “because the study was very loose. When I enlarged it, I had to tighten everything up a little bit so I could get the personalities in their faces and gestures.”
THE CIRCUS PARADE evokes a bygone day when teams of elephants pulled heavy, carved wagons down America’s main streets. Rolling calliopes blared music through brass pipes; giraffes’ necks poked through ceilings. Clowns and acrobats roved among the throngs of onlookers, distributing leaflets and balloons. Facets of less-finished bronze reflect light, rendering the bronze half-real, half-dream, in keeping with the nostalgia of the subject. “You don’t overwork pieces like these,” Ostermiller says, “because they lose their movement then.”
Perhaps gallery owner Nedra Matteucci puts it best in a press release on the show: “In 40 years representing Dan, I’ve witnessed countless moments of real connection between viewers and Dan’s work. His pieces overflow with character and charm, with distinct personality traits that reflect aspects of ourselves. It’s one of the many reasons he’s made such a profound impact on modern American sculpture, and it’s why holding this exhibition is such an honor.” —James D. Balestrieri
contact information(505) 982-4631matteucci.com
This story appeared in the June/July 2026 issue of Southwest Art magazine. Subscribe today to read every issue in its entirety.
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