My work closely relates people to the sculpture. It invites people to place themselves in warping spaces; to change their height and therefore their perspective; to put themselves in an enclosing color environment; or be surrounded by patterns.

My plans are to continue making sculpture, where people strongly relate to spaces and surfaces.

I have been working on some sculptures and I would like to place a large arc in a park or public space.


• 1924 - Born: New York City

• 1942 - Enrolls at Cornell University - Horticulture

• 1943 - 1946 - Soldier in US Army

• 1946 - 47 - Cornell University - Theatre Arts

• 1948 - 1950 - Cornell University- Architecture 

• 1950 - Transfers to Chicago Institute of Design (I.D.) Architecture Department


              Attends lecture given by Buckminster Fuller at I.D. And, impressed by his ideas,                     

              begins an independent investigation of geodesic domes, geometry, architecture

              and later sculpture.

• 1952 - Graduates from the Institute of Design

• 1952 - 1954 - General architecture work in the Chicago area

• 1954 -  Establishes architectural firm Geodesics, Inc with partners Bill Wainwright and Bill   

              Ahearn in Cambridge Massachusetts

              Designs and develops geodesic domes, including the “DEW” Line Domes for                               

              the US  Government, one of which was later included in the garden of

              The Museum of Modern Art and another at the Pompidou Center in Paris

• 1957 - 1958 - Designer and draftsman at Skidmore, Owings and Merrill

  1. 1958 - Designs and builds world's first residential geodesic dome in Stony Creek,

             Connecticut for artist Susan Weil

             Develops geometric tile formation while designing the Weil dome that the geometry         

             Penrose will also discover years later and call “Penrose Pattern”

• 1958 - Kirschenbaum and Weil marry

• 1959 - 1967 - Partner in design firm Domax with Andy Anderson

• 1959 - Kirschenbaum and Weil give birth to a daughter, Sara

• 1966 - First sculpture exhibition in a group show at Park Place Gallery, New York

• 1967 - Participated in influential group show Sculpture in Environment in Central Park

  1. 1969 - First solo show, held at Paula Cooper Gallery, where Two Element City and Three    

            Element City were exhibited.

• 1973 - Solo exhibition at 112 Greene Street Gallery

• 1973 - Solo exhibition at Corcoran Gallery of Art, Washington D.C.

• 1973 - Awarded Guggenheim Fellowship in Sculpture

• 1976 - Included in the first exhibition at PS1, “Rooms”

• 1976 - Solo exhibition at Max Hutchinson's Sculpture Now Gallery

• 1976 - Awarded NEA Fellowship for Sculpture

  1. 1978 - Two sculptures, Way Four and Twist for Max, installed at the Bradley Family

             Foundation Sculpture Garden in Milwaukee, Wisconsin

• 1980 - Solo exhibition at Galerie Nordenhake, Malmo, Sweden

• 1980 - Group exhibition at Moderna Museet. Stockholm, Sweden

  1. 1983 - Installs 75 foot public art sculpture in Helsinki, Finland titled “Yksitoista” Arc For


• 1984 - Exhibition at Malmo Kunsthall, Malmo Sweden

• 1986 - 1992 - Professor at Swedish Royal Academy of Art

• 1987 - Installs concrete public art sculpture in Malmo, Sweden, titled Spiral

• 1996 - Solo exhibition at Galerie Nordenhake, Stockholm, Sweden

  1. 2004 - Skulpturen Hus exhibition Multiplex at the former factory of Alfred Nobel in

            Stockholm, Sweden

  1. 2008 - Group show at The Blanton Museum of Art, University of Texas at Austin,        

            Reimagining Space: The Park Place Gallery Group in 1960s New York

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NEWS : 2012

We are very excited to announce the latest work by artist Bernard Kirschenbaum. Accumulations is a set of 8 digital drawings printed in a gorgeous limited edition. The prints reveal a growth of form, elegantly nuanced by the organic quality of Kirschenbaum’s drawings. Accumulations’ narrative arc reveals a dialogue amongst shapes that culminates in their energetic congregation. Using sacred geometric principles rooted in fractal occurrences in nature, these prints evolve from a single shape to an interwoven network of many.

Accumulations is housed in a custom fabricated aluminum box with a silk screened cover. Each print has been hand-cut to a dimension of 24 x 27 inches. A beautifully designed title page and colophon introduce the prints, as well as a brief piece of writing about Kirschenbaum and his artistic philosophy. Each set of prints within this edition contains the signature of the artist. Additional information and pricing available upon request.