The Virginia A. Groot Foundation established the Virginia A. Groot Foundation Grant in 1988 so that artists working in three-dimensions may have the opportunity to devote a substantial period of time to the development of his or her work. When the Foundation was established in 1988, it was to honor the memory of Virginia A. Groot, who passed away in 1974. “Virginia Dekker Groot...was passionate about literature and the visual arts, supporting those interests in others. A widow at the age of 37, she raised her five young daughters, encouraging their creativity, imagination, and independence. Virginia Groot is especially remembered for quietly and often anonymously helping those with special physical or financial needs. She was a mentor to the emotional needs of several significant women, who have passed on this legacy.” (excerpt from a memorial by Penelope Groot West). The mission of the Virginia A. Groot Foundation is to recognize and award artists working three-dimensionally. The only restrictions on the grant, besides its dedication to ceramic sculpture or sculpture, are that the applicant must be 21 years or older and cannot be attending an institution of higher learning. Teachers may apply as artists, but not in their role as teachers. And the grants may not support continued academic training. The Foundation also does not support works in progress. It strives to have an impact on the artist’s work whether it is providing her or him with “time” or the ability to travel to a foreign country. The application process is straightforward and an application can be downloaded from this website.

Many people believe that all real artists live in either New York or California, but this project indicates otherwise. There are no states in the U.S. that begin with the letters Y or Z, so we literally have the Groot Foundation sculptors from A-W (Arleo to Wunderlich) who currently reside in U.S. States from A-W (Alaska to Wisconsin). Many were not born in the United States, but rather had their roots in England, Taiwan, India, Africa or elsewhere. The materials they use to create their work consist of nearly everything imaginable. They utilize what one might think of as traditional sculpture media, such as glass, ceramics, wood, metal, paper, fiber, and paint. However in addition to these materials are represented some of the less traditional media such as water, light, epoxy, roses, sand, liposuction fat, $1 bills, felt, inner tubes, and cardboard.

All of the sculptors who received grants from the Groot Foundation during the past 14 years are represented in this exhibition and catalogue in a straightforward manner. This is a historical document concerning the history of the Groot Foundation and the recipients of the sculpture awards. Each artist, presented alphabetically, has a brief biographical sketch, which forced each artist to pick just a handful of the solo and group exhibitions they enjoyed and list only five key collections that own their work. A black and white illustration of each artist is included for posterity. Rather than inviting the artist’s galleries or art historians to interpret the artist’s philosophy, each was asked to write a philosophical statement describing how his or her work reflects historical influences. Each essay, or in some instances, a few sentences, is quite revealing. Finally, current work of each artist was juried, and selected for this special exhibition in Chicago in October, 2002, shown both at Navy Pier during S.O.F.A. Chicago and at a West Superior Street location. Either one or two works were selected from each artist and are illustrated in this document. Additional catalogue illustrations focus on the work created by the artists during the time period from which they were awarded their grants from the Virginia A. Groot Foundation.

Some years only one grant was awarded. Such was the case in 1989, when the Foundation selected Stanley Shetka. In other years, such as 1991, 8 grants were given. The grants have ranged in amount from approximately $1,000 up to the current first place prize of $35,000. For the past several years there have been three grants awarded annually: $35,000, $10,000 and $5,000. An application form is included on this website, hoping to encourage other outstanding applications. Hundreds of applications are received each year, each accompanied by 20 slides of the artist’s work, along with details of the artist’s career and goals. Some years there have been as many as 370 applications. During the first few years, pottery was an acceptable category for entrants. The Groot Foundation now only accepts applications from sculptors. Occasionally one hears a disgruntled artist comment that figural sculpture seems to be a bias on the part of the jurors of the Groot Foundation awards, but all one has to do is look at the images in this catalogue to know that is an overstatement. A jury can only select from that with which they are offered. Earlier applications tended to weigh heavily on the figural variety and selections were made from that pool of applicants.

The jury for the Groot Foundation awards changes annually. The jurors include past recipients of the award. The selection committee varies each year.

The Virginia A. Groot Foundation Board members have staggered terms, with the current Board consisting of Candice Groot (President and Treasurer), Stanley Shetka, Christine Federighi, and Bruce Blackburn (Secretary).

The artists who have received these grants have expressed deep gratitude to the Foundation for the support they have received. It has allowed them freedom to take a sabbatical from their traditional jobs, to travel, and to invest in new materials. The grants have supported their lifestyles as visual artists. In turn, their creativity has enriched the lives of countless others. It is hoped that this exhibition and accompanying catalogue will reflect the quality and breadth of these sculpture awards. Further it is hoped that the “innocents” who are new to the arena of sculpture, will find something with which they can relate.

Ceramics historian Elaine Levin once passed on a bit of knowledge—one doesn’t need to tell others everything one knows. It’s a difficult lesson to remember and take to heart, but in this instance, it will help to make this catalogue less a vehicle for pressing flowers, and more a visual celebration of our time.