Steven Siegel (born 1953) is an American artist whose work includes public art, installation art, sculpture, collage and film. He is most known for site-specific, outdoor sculptures, public art commissions and installations made from repurposed pre- and postconsumer materials, which have been influenced by concepts and processes derived from geology and evolutionary biology. Writers relate his work in formal terms to minimalism, in its materials and emphasis on hands-on processes to postminimalism, and in its unconventional means (natural sites, community involvement, and embrace of ephemerality) to Land art. His studio work has been exhibited at Marlborough Fine Art, Montalvo Arts Center, Aldrich Museum of Contemporary Art, and the Drawing Center, among other venues. He has created commissioned works in cities and universities throughout the U.S. and Europe, in Australia, and Kazakhstan and Korea, and at the DeCordova Museum, Arte Sella Sculpture Park (Italy), Grounds for Sculpture, and Art Omi. Siegel lives and works in Tivoli in upstate New York. Education and early career Siegel was born in White Plains, New York in 1953. He graduated from Hampshire College in Amherst, Massachusetts in 1976 with a BA degree and earned an MFA from Pratt Institute in 1978. After graduating, he lived in New York City's Chelsea district and worked as a carpenter, while producing abstract sculpture and drawings, often focused on interactions between man-made structures and landscape. In the mid-1980s he became increasingly interested in geologic phenomena and concepts––most prominently John McPhee's notion of deep time—and began utilizing natural processes, such as sedimentation, stratification and compression, in his art. A commission for the Snug Harbor Sculpture Festival in 1990 shifted his work's direction. The festival was located on Staten Island, New York—then home to Fresh Kills, the world's largest landfill—which caused him to reflect on consumer waste as a future, human-generated "geology." In response, he created New Geology #1 (1990), a 15-foot-tall, ten-foot-wide cylinder made of recycled newspapers layered like shales and crowned with earth, grasses and flowers, which New York Times critic Michael Brenson wrote, "sprout[ed] from the ground like an ancient circular tomb." Over the next decade, Siegel gained wide recognition for related site-specific installations using pre- and post-consumer waste. These were generally commissioned for U.S. universities, public parks and spaces,<ref name="Gragg93"/ international exhibitions in Germany and Denmark, and venues such as the John Michael Kohler Arts Center, Art Omi, and Newhouse Center for Contemporary Art. He often designed