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1953, Los Angeles, California



1976, BA, University of California, Santa Cruz


Selected Awards and Honors

The AIA Northern Virginia Built Environment Award, 26th Annual Design Awards, the Community Appearance Alliance of Northern Virginia for Penrose Square design and the sculpture Echo

Americans for the Arts (PAN) “Year in Review 2013” recognized Richard Deutsch’s project Echo, Arlington, Virginia, for “Excellence and Innovation in Public Art” and included Echo in the Top 50 Public Art Projects in the USA

Nominated for the American Academy of Arts and Letters Award

Artist of the Year, Santa Cruz County Arts Commission

  • Building of America Award for Against the Day, Chevy Chase Center, Washington, D.C.
  • 1992   
    American Institute of Architects and Landscape Architects, East Bay, Orchid Award for Voyage, City Center, Oakland, California

    Visiting Sculptor, American Academy in Rome, Italy

    National Endowment for the Arts Visual Artist’s Fellowship


    Selected Public Art Projects

    Veteran Affairs Palo Alto Health Care System campus, Palo Alto, California

    This public art project is a central hub to the VAPAHCS campus and is located in front of the new Polytrauma and Blind Rehabilitation Center. As a lead member of the design team for this new high-tech treatment facility, Deutsch designed a fully integrated 5000-square-foot artistic environment. The art components within the design of this site include a central 40-foot-tall Cor-Ten steel sculpture that can be seen from all parts of campus. In addition, there are five interactive granite sculptures placed throughout the site as well as sculptural granite seating. Design-team collaboration with landscape architect Paul Lettieri, Guzzardo Partnership.

    State Street Park, Fremont, California

    As a lead member of the design team for the new city-center mid-town urban park, Deutsch designed a fully integrated artistic environment. The art components within the design of this park include two 25-foot-tall stainless steel sculptures that flank both front entries of the park, an overhead bridge that echoes the forms of the sculptures, artful granite seating throughout the park, and a stainless steel floating shade sculpture with lighting. Design-team collaboration with landscape architect Paul Lettieri, the Guzzardo Partnership; Chandra Cerrito/Art Advisors.

    Stanford University: Papua New Guinea Sculpture Garden

    Memorial granite seating within the Papua New Guinea Sculpture Garden celebrates the life of climate-change scientist Stephen Schneider.

    Penrose Square, Arlington, Virginia

    Nearly an acre, the public art design in Penrose Square includes an interactive water feature, shaded and lawn areas, paved areas for activity and performances, and many places to gather and play. Echo is a modern interpretation of Arlington’s significant contribution to the history of communication. Design-team collaboration with Don Hoover, Principal, OCULUS Landscape Architecture. Facilitated by Arlington Commission for the Arts, percent-for-art program.

    University of Delaware: Mentor’s Circle

    Wings of Thought is a major public art project for the campus center that honors the ideals of the University’s founder Rev. Dr. Francis Alison and celebrates the efforts and contributions of current and future scholars. Selected via a national public art competition facilitated by Jack Becker, Forecast Public Art, Minneapolis, Minnesota.

    Constitution Center, Washington, D.C.

    Two blocks from the National Mall, Legacy is a sculpture for a large interior courtyard located at the site where the historic Edward Durell Stone–designed building stood before its complete redesign and renovation. Project consultant: Jeffrey Kramer, Kramer Consulting, Washington, D.C. Commissioned by David Nassif Associates, Wellesley Hills, Massachusetts.

    Foundry Square, San Francisco, California

    Time Signature is a landmark sculpture at the major urban intersection of First and Howard streets. Stainless steel and 50 feet tall, Time Signature commemorates a site that has a rich industrial history of metal foundries, fundamental to the building of San Francisco. Architect: STUDIOS, San Francisco; landscape architect: SWA Group, San Francisco. Commissioned by Glenborough, San Mateo, California. San Francisco’s percent-for-art/redevelopment program.

    Blu at Folsom, San Francisco, California

    Fragments is a sculpture for a mixed-use development at 631 Folsom Street. Equally accessible from two properties, it is a large 50-foot water feature of five fragmented white marble forms. Architect: Handel Architects, San Francisco; landscape architect: Guzzardo Partnership, San Francisco. Commissioned by Folsom Ventures, LLC, San Francisco. San Francisco’s percent-for-art/redevelopment program.

    Farr Park and Johnston Park, Chevy Chase Center, Maryland

    This project involves art environments centered on water features for two urban plazas. Collaboration with William K. Hellmuth, AIA, Senior Principal, and Suzette Goldstein, AICP, Hellmuth, Obata+Kassabaum, P.C.; and Don Hoover, Principal, OCULUS Landscape Architecture. Art adviser: Francoise Yohalem, Bethesda, Maryland. Commissioned by the Chevy Chase Land Company. Percent-for-art/redevelopment program.

    Memorial Sanctuary, Temple Shir Hadash, Los Gatos, California

    A serene focal point for temple congregants to remember, honor, and celebrate family, friends, and generations past. Seventy-five vertical granite monoliths, which display prayers and names of loved ones, define an outdoor “room.” A water feature brings life to the memorial’s interior, and granite seating is set throughout. The design was a collaboration with artist Larry Kirkland. Commissioned by Congregation Shir Hadash.

    Napa Valley Vineyard, St. Helena, California

    Seven Stones is a sculpture that sits on top of the rolling hills of the famed Napa Valley, inspired by the artist’s travels in Italy, of which the countryside of the Napa Valley is so often reminiscent. “The broken columns, fragmented soaring arches, and crumbled porticoes of Italian ruins are very powerful to me as a sculptor, not only for the objects themselves, but as entire environments tangled with myth, circumstance, and imaginings.” This timeless sculpture, 20’h x 40’w x 16’d, is made of seven massive stones.

    Applied Materials Campus, Sunnyvale, California

    Etude consists of two 15’h x 15’w X 5’d granite and bronze sculptures and a granite seating circle at the entry to Applied Materials, Inc.’s high-technology campus. Art adviser: Cathy Baum and Associates, Atherton, California. Commissioned by Carr America Realty Corporation, Washington, D.C.

    Stanford University: Gibbons Grove, Terman Engineering Library and Thornton Center

    Sculptural environment Axis serves as a gathering place in Gibbons Grove. Collaboration with architects William Leddy and Marsha Maytum, AIA, Principals, Leddy Maytum Stacy, San Francisco; and landscape architect Peter Walker, PWP Landscape Architecture, Berkeley, California. Commissioned by Stanford University.

    Oakland Museum of California, Oakland, California

    Harvest, a bronze sculpture of castings of historic California farm and ranch artifacts, interprets and ties together the three main focuses of the museum — the art, ecology, and history of California. Commissioned for the museum’s 25th anniversary by friends of the Oakland Museum of California.

    City Center, Oakland, California

    Member of design team engaged to integrate art into 1111 Broadway’s plazas and gardens. Unity, two granite sculptures; Voyage, a solid bronze wall relief created from massive ship propellers; nine granite benches; granite foot-path; and water feature. Collaboration with architects from Gensler & Associates, San Francisco, and landscape architect Paul Lettieri, Guzzardo Partnership, San Francisco. Commissioned by Bramalea Pacific, Oakland, California.


    Museum Collections

    Tucson Museum of Art, Tucson, Arizona

    Henry Art Gallery, University of Washington, Seattle, Washington

    M.H. de Young Memorial Museum, San Francisco, California

    Oakland Museum of California, Oakland, California

    Renwick Gallery, Smithsonian Institution, Washington, D.C.

    Santa Cruz Museum of Art & History, Santa Cruz, California


    Selected Solo Exhibitions

    2014 Peninsula Museum of Art, Burlingame, California

    2014 Octavia Art Gallery, Houston, Texas

    2005, ’01 Gerald Peters Gallery, Santa Fe, New Mexico

    2002 Santa Cruz Museum of Art & History, Santa Cruz, California

    1997, ’84, ’79  Foster White Gallery, Seattle, Washington

    1993  Oakland Museum Sculpture Court, Oakland, California

    1990, ’89 Allrich Gallery, San Francisco, California

    1984  B.Z. Wagman Gallery, St. Louis, Missouri



    Art in America, “Public Art ’08 Review”: Richard Deutsch Time Signature, San Francisco (Annual Guide 2009).

    Blasier, Paula. Voyage: From Ship’s Propeller to Sculpture. Oakland, CA: Bramalea Pacific, 1991.

    Broadrup, Elizabeth. “Motion: Wall Relief at Port of Oakland.” Sculpture Magazine (November/December 1990).

    Burgard, Timothy Anglin. The Art of Craft: Contemporary Works from the Saxe Collection. Exhibition catalog. San Francisco: Fine Arts Museums of San Francisco, 1999. Boston: Bulfinch Press/Little, Brown and Company, 1999.

    Clifton, Leann. “An Oakland Odyssey.” Artweek (29 January 1992).

    Fuhrman, Janice. “A Napa Family Vineyard.” California Homes Magazine (October 2000).

    Guenther, Bruce. “Richard Deutsch.” Essay from 88-page exhibition catalog, Richard Deutsch Sculpture. California: Santa Cruz Museum of Art & History, 2001.

    “Harvest.” Commission for the Oakland Museum of California. Sculpture Magazine (July/August 1995).

    Indyke, Dottie. “Grabbing Emotions.” Feature article. Sculpture Magazine (March 2007).

    Mayer, Barbara. “Dream House for a Dream Collection.” Art & Antiques (April 2000).

    Misrach, Myriam Weisang. “Ideas Beneath the Surface: Richard Deutsch.” The Museum of California. Oakland: Museum of California, Winter 1993.

    Narain, R. Kamna. “Public Art.” Project for Applied Materials campus. The Business Journal (October 1998).

    Suter, P. “Integrating Art into Development.” Urban Land Magazine (September 1991).



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