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IMAGE CAPTIONSInside Front Cover: Blindsided, Visible Vault ResidencySpace, Yellowstone Art Museum, Billings, MT, 2010Page 1: Gloves, 2006-07, leather gloves, polyester resin,welding rod. Photo Credit: Tracy LinderPage 14: Tracy Linder working on Wish, 2011. Photo Credit:Tracy LinderPage 15: View of the Montana High Plains. Photo Credit:Tracy LinderPage 17: Plate 1- Pitchfork 1991, barbed wire, bone, leather,cow intestine, nails, denim, raffia, Courtesy of Natalie Dragoo.Photo Credit: Nicolaysen Art MuseumPage 18: Plate 2- Conversations with the Land, 1997, photoemulsion on animal collagen, polyurethane, twine, lumber,installation at Yellowstone Art Museum, Billings, MTPage 19: Plate 3- Tractor Hides, 1997-98, photo emulsion onanimal collagen, polyurethane, steel rod, disc plate, light,installation at Yellowstone Art Museum, Billings, MTPage 20: Plate 4- Shovels, 1999-2000, beeswax, crop grainsand grasses, horsehair, photo emulsion, pigment, lights, coveralls,installation at Yellowstone Art Museum, Billings, MTPage 21: Plate 5- Shovels, 2000, #14 of 30, beeswax, barley,pigment, Courtesy of NeltjePage 22-23: Plate 6- Discs, 2003, polyester resin, fiberglass,paper, horsehair, barley, grasses, dirt. Photo credit: TracyLinderPage 24-25: Plate 7- Ribs, 2003, rib bones, beeswax, coppernails. Photo credit: Tracy LinderPage 25: Plate 8- Beets, 2004-07, animal collagen, artificialsinew, organic matter, resin. Photo credit: Tracy LinderPage 26: Plate 9- Gloves, 2006-07, leather gloves, polyesterresin, welding rod. Photo credit: Tracy LinderPage 27: Plate 10- Wheat, 2007, leather, dyed grass, polyesterresin, fiberglass. Photo credit: Tracy LinderPage 28-29: Plate 11- Sacrificial Limbs (Maria), 2007-09, treebranches, leather hand-stitched with artificial sinew. Photocredit: Tracy LinderPage 30: Plate 12- Blindsided, 2009-12, cast cotton paper,fescue grass, metal earband. Photo credit: Nicolaysen ArtMuseumPage 31: Plate 13- More Than Enough , 2012 (series in progress),paper, polyester resin, fiberglass. Photo credit: TracyLinderPage 32-33: Plates 14-15, Installation views of The Obligationto Endure. Photo credit: Nicolaysen Art MuseumPage 34: Installation view of The Obligation to Endure. Photocredit: Nicolaysen Art MuseumPage 36: Installation view of The Obligation to Endure.Photo credit: Nicolaysen Art MuseumPage 38-39: Installation views of The Obligation to Endure.Photo credit: Nicolaysen Art MuseumPage 40-41: Installation view Shovels. Photo credit:Nicolaysen Art MuseumInside Back Cover: Installation view of The Obligation toEndure. Photo credit: Nicolaysen Art MuseumTracy Linder: The Obligation to Endure, Opening Reception, May 25, 2012. Photo credit:Nicolaysen Art Museum42
Installing The Obligation to Endure. Photo credit: Nicolaysen Art MuseumInstalling The Obligation to Endure. Photo credit: Nicolaysen Art MuseumInstalling The Obligation to Endure. Photo credit: Nicolaysen Art MuseumInstalling The Obligation to Endure. Photo credit: Nicolaysen Art MuseumInstalling The Obligation to Endure. Photo credit: Nicolaysen Art MuseumArtist installing The Obligation to Endure. Photo credit: Nicolaysen Art Museum43
Page 3 and 4: Tracy LinderThe Obligation To Endur
Page 5 and 6: TRACY LINDERLandscape Shapes Cultur
Page 7 and 8: Place is sensual, landscape is visu
Page 9 and 10: Hesse challenged accepted notions a
Page 11 and 12: Her thoughtful, laborious repetitio
Page 13 and 14: 20 Years of SculptureIn 1991, Linde
Page 15: about poultry in America: “There
Page 36 and 37: The obligation to endureBeeswax. Co
Page 39: currents and emitting a golden glow
Page 43: TRACY LINDER: THE OBLIGATION TO END
Page 47 and 48: 1997 beall Park Art Center, Convers
Page 49 and 50: EDUCATION1991 M.F.A. University of

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