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James Howell |
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James Howell (1935–2014) was an American Minimalist painter known for his exploration of shades of gray, most notably displayed in his Series 10
Biography
editEarly Life
editJames Howell, born in Kansas City, Missouri, in 1935, had a strong interest in art from a young age. Before completing his studies at Stanford University, he acquired his pilot's license during a summer job with a major airline in Los Angeles. Howell graduated from Stanford with a BA in English Literature in 1957 and earned another BA in Architecture in 1961.[1] He married his first wife and classmate, Sandra van Wyck Peters, and his daughter, Karen, was born in 1959.[2] He completed his military service with the Naval Reserve in 1961 and he decided to pursue his artistic practice full-time in 1962.[3]
Mid-Life
editHowell and Peters renovated a mill house and created the artist's first studio home on Bainbridge Island.[4] In 1967 Howell commissioned George Edwin Monk to design and build a 45-foot boat that he named Topaz. He then redesigned the boat and built the 52-foot Topaz II in 1971.[5] Howell's time spent at sea was deeply inspirational for his work during this period. [6]
Howell and Peters moved to San Juan Island in Washington State in 1983 where he created an award-winning studio.[7] Amid the Washington landscape, Howell's work starts to lose contrast, and his palette shifts to neutral tones. In 1989, the couple separated after thirty-three years of marriage.[8]
Late Life
editIn 1990 Howell met Printmaker D. Joy Drury, who became his wife for the duration of his life.[8] In 1998 he moved to New York City and created a home and workspace in the West Village.[9] This space became the location of the James Howell Foundation in 2017.[10] In addition, Howell created a studio home on San Juan Avenue in Venice Beach, California (1992 - 1996).[11] Howell and Drury married in the spring of 1995.[12] Howell began his Series 10 in 1996, which dominated his career until his death in 2014.[2] In 1999 Howell met Drawings collector Wynn Kramarsky, who helped the artist connect with the New York art scene.[13]
Education
editNelson-Atkins Art Institute, Kansas City, MO[14]
Hill School, Pottstown, PA[14]
Stanford University, Palo Alto, CA[14]
- BA English Literature 1957
- BA Architecture (Five-year Art and Architecture) 1961
University of Washington, Seattle, WA[14]
Art Student's League, Woodstock, NY[15]
Awards
editArt Prize, The Hill School, Pottstown, PA, 1953[14]
Humanities Prize in Architecture, Stanford University, Palo Alto, CA, 1961[14]
Westchester Museum Annual, NY, 1970, Juror: Lucy Lippard, Dore Ashton[14]
AIA NY Design Award, 1997[10]
Architectural Record Houses of May 1983 for collaboration with Morgan and Lindstrom on "Private House on San Juan Islands"[7]
Career
editEarly Career
editHowell's interest in abstraction is apparent in his figural work. His 1960s paintings feature portraiture and genre scenes rendered with loose brushwork and contrasting colors. These elements are present in works such as Girl in Landscape, 1969, Acrylic on canvas, 45 × 51 in.
(114.3 × 129.5 cm) and Larder, 1962, Acrylic on canvas, 45 × 51 in. (114.3 × 129.5 cm). By the late 1960s he began to experiment with color blocking and divisions in his Flag Series.[16] This hints at his fascination with the "in between."[17] In a 1963 interview for Life Magazine titled "Human Figure Returns in Separate Ways and Places," Howell discusses his approach to art and abstraction. He mentions that he felt more liberated to express himself through abstraction, though he continued to occasionally explore representation through 1973.[18]
With the 1970s came a gradual dissolution of form as Howell became increasingly interested in the sensory impression of color and light. "My work," he proclaimed in 1976, "is at the center of the spontaneous, sensed, living aspect of man."[19] In the early 1980s, his methodology developed. He explained that he no longer used color to "show hue," but only to capture "subtle nuance" in levels of illumination.[20] He emphasized the reduction of masses in his paintings "to a spiral point dissolving in a field."[21] Howell's Point of Fields series in the 1990s is the precursory research for the culmination of his career in Series 10. His exploration of the mathematical structure of natural phenomena informs his understanding of the nuance between light and dark manifesting in a study of gray.[22]
Series 10
edit
"Gray embodies passages of time, " Howell said, "... and I like its softness, also its simplicity and space."[23] In 1992, Howell realized that by mixing a small amount of clay dust with titanium white, ivory black, and burnt sienna he could achieve a gradation of warm grays.[24] Throughout his production of Series 10, Howell created 12,000 individual gray tones. The titles of his works refer to the percentage of white in the first line of the painting.[25] They were then used to create subtle gradations of gray with acrylic on canvas with each painting's title referencing the percentage of white in the first band of paint in the work. Throughout this process, he produced works on paper that accompanied his paintings. Aqua-print and graphite renderings of his acrylic works feature either lines, curves, or numbers that indicate the percentage of white, black, and burnt sienna in the corresponding painting.[26] "James Howell's works are also a major lesson in sustained, precise viewing, investigating as they do the diversity of the colour grey as an independent color with different shades and brightnesses, and in its dependence on light. This chromatic reduction offers the viewer the chance for contemplation and quiet, in which the spectrum of subtle nuances can be perceived."[27]
Exhibitions
editSolo Exhibitions[28]
- 1968
- Flag Series. Pauli Dennis Gallery, Bainbridge Island, WA
- 1971
- James Howell. Polly Friedlander Gallery, Seattle, WA
- James Howell. Kenady Gallery, Gig Harbor, WA
- 1974
- James Howell. Linda Farris Gallery, Seattle, WA
- 1976
- James Howell. University Unitarian Fine Arts Gallery, Seattle, WA
- Port Blakely Series. Keller Gallery, Salem, OR
- 1979 – 1978
- James Howell. Kiku Gallery, Seattle, WA
- 1980
- James Howell. Foster/White Gallery, Seattle, WA
- 1982
- James Howell. Gump’s Fine Art Gallery, San Francisco, CA
- 1990
- James Howell. Wagner Gallery, Tacoma, WA
- Time Series. Merrill Place Gallery, Seattle, WA
- 1992
- Light Stone Veils. Windows Art Gallery, Seattle, WA[29]
- 1993
- New Works Series. University of Washington, Seattle, WA
- 1995
- Series 1.9 Set 68.98. Sharon Truax Fine Art, Venice, CA
- Gradient Intervals - Series 6.4. Charlotte Jackson Fine Art, Santa Fe, NM
- 1998
- Bilder. STIL-American Fine Art, Düsseldorf, Germany
- 2000
- James Howell. Galerie von Bartha, Basel, Switzerland
- Series Ten. Charlotte Jackson Fine Art, Santa Fe, NM
- 2004
- Ten Grays. Charlotte Jackson Fine Art, Santa Fe, NM
- Progressions. Bartha Contemporary, London, UK
- 2005
- Ten Paintings. Galerie von Bartha, Basel, Switzerland
- 2006
- James Howell. Conny Dietzschold Gallery, Sydney, Australia
- 2008
- The Grey Count. Bartha Contemporary, London, UK
- 2010
- Progression of Six. von Bartha Chesa, Chanf, Switzerland
- 2011
- Poesie der Farben. Das Kleine Museum, Weissenstadt, Germany
- Survey. Charlotte Jackson Fine Art, Santa Fe, NM
- 2012
- Works on Paper. Deborah Berke Partners, New York, NY
- 2016
- Decoded, James Howell. Galerie von Bartha, Basel, Switzerland
- Light Field, Anne Blanchet - James Howell. Raum Schröth, Museum Whilhelm-Morgner-Haus, Soest, Germany
- 2017
- Light Field, Anne Blanchet - James Howell. Kunstverein Eislingen, Eislingen, Germany
- 2022
- Josef Albers - James Howell. Josef Albers Museum, Bottrop, Germany[15]
Group Exhibitions[28]
- 1980
- Foster/White Gallery, Seattle, WA
- 1990
- Three Seattle Luminists, Italia, Seattle, WA
- 1992
- Turner/Krull Gallery, Los Angeles, CA
- 1994
- Charlotte Jackson Fine Art, Santa Fe, NM
- Venice Art Walk, Venice, CA
- 1995
- Sharon Truax Fine Art, Venice, CA
- Charlotte Jackson Fine Art, Santa Fe, NM
- Venice Art Walk, Venice, CA
- 1996
- Sharon Truax Fine Art, Venice, CA
- Charlotte Jackson Fine Art, Santa Fe, NM
- Venice Art Walk, Venice, CA
- 1997
- Charlotte Jackson Fine Art, Santa Fe, NM
- Linie und Schatten. Die Weisse Galerie, Cologne, Germany
- 1998
- Jay-Walking transAtlantic. Die Weisse Galerie, Köln, Germany
- Galerie von Bartha, Basel Art Fair, Basel, Switzerland
- Sharon Truax Fine Art, Venice, CA
- 1999
- Die Kunst der Line. Landesgalerie Oberösterreich Landesmuseum, Linz, Austria
- STIL-American Fine Art, Düsseldorf, Germany
- Charlotte Jackson Fine Art, Santa Fe, NM
- Galerie von Bartha, Basel, Switzerland
- Greenwich Village Studio Tour, New York, NY
- Die Weisse Galerie, Köln, Germany
- Charlotte Jackson Fine Art, Santa Fe, NM
- 2000
- Charlotte Jackson Fine Art, Santa Fe, NM[30]
- Galerie von Bartha, Basel, Switzerland
- 2002
- Bartha Contemporary, Royal College of Art, London, UK
- Galerie von Bartha, Basel, Switzerland
- Concrete Art. Conny Dietzschold Gallery, Sydney, Australia
- Charlotte Jackson Fine Art, Santa Fe, NM
- Monochrome/Monochrome?. Florence Lynch Gallery, New York, NY
- Galerie von Bartha, Basel, Switzerland
- Sharon Truax Fine Art, Venice, CA
- 2003
- W. H. Kramarsky, 560 Broadway, New York, NY
- Charlotte Jackson Fine Art, Santa Fe, NM
- Galerie von Bartha, Basel, Switzerland
- Conny Dietzschold Gallery, Sydney, Australia
- Bartha Contemporary, London, UK
- Las Vegas Art Museum, Las Vegas, NV
- 2004
- Bartha Contemporary, London, UK
- Albright-Knox Art Gallery, Buffalo, NY
- Charlotte Jackson Fine Art, Santa Fe, NM
- Galerie von Bartha, Basel, Switzerland
- 2005
- Paintings: The Natalie and Irving Forman Collection, Albright-Knox Art Gallery, Buffalo, NY
- Connie Dietzschold, Sydney, Australia
- Minimal Means. Kunstverein Eislingen, Eislingen, Germany
- Galerie von Bartha, Basel, Switzerland
- Charlotte Jackson Fine Art, Santa Fe, NM
- Bartha Contemporary, London, UK
- 2006
- Galerie von Bartha, Basel, Switzerland
- Bartha Contemporary, London, UK
- Incognito. Santa Monica Museum of Art, Santa Monica, CA
- Charlotte Jackson Fine Art, Santa Fe, NM
- Sharon Truax Fine Art, Seattle, WA
- 2007
- Works on Paper. Werner Klein Gallery, Cologne
- Works on Paper. Bartha Contemporary, London, UK
- Incognito. Santa Monica Museum of Art, Santa Monica, CA
- Charlotte Jackson Fine Art, Santa Fe, NM
- Galerie von Bartha, Basel, Switzerland
- 2008
- Works on Paper: The Forman Collection. Albright-Knox Art Gallery, Buffalo, NY
- von Bartha Collections, Basel Switzerland
- Charlotte Jackson Fine Art, Santa Fe, NM
- Bartha Contemporary, London, UK
- Incognito. Santa Monica Museum of Art, Santa Monica, CA
- 2009
- Neuzugänge I (New Additions I). Sammlung-Schröth, Marienschule, Soest, Germany
- El papel de las últimas vanguardias, New York: New Drawings 1946 – 2007 (The role of the latest avant-gardes). Museo de Arte Contemporáneo Esteban Vicente, Segovia, Spain
- SITE Santa Fe, Santa Fe, NM
- BARTHA Contemporary, London, UK
- Albright-Knox Art Gallery, Buffalo, NY
- Incognito. Santa Monica Museum of Art, Santa Monica, CA
- 2010
- Neuzugänge II, Lichtbereich (New Additions II, Light and Area). Sammlung-Schröth, Marienschule, Soest, Germany
- 2011
- The First 30 Years, Museum of Northwest Art, La Conner, WA
- Neuzugänge III, Licht und Raum (New Additions III, Light and Space). Sammlung-Schröth, Imperial House Arnsberg-Neheim and Marienschule, Soest, Germany
- 2012
- Drucke und Zeichnungen (Prints and Drawings). ::Sammlung-Schröth, Museum Whilhelm-Morgner-Haus, Soest, Germany.[31]
- Works on Paper. BARTHA Contemporary, London, UK
- Neuzugänge IV (New Arrivals IV). Wedinghausen Monastery, Sammlung-Schröth, Ansberg, Germany
- 2013
- Neuzugänge V, Farben (New additions V, Colors). Sammlung-Schröth, Museum Whilhelm-Morgner-Haus Marienschule Soest, Germany
- Hauptsache Grau #04 Konstruiertes. Mies van der Rohe Haus, Berlin, Germany[32]
- 2014
- 6th Biennal der Zeichnung. Kunstverein, Eislingen, Germany
- Colour and System. Galerie Werner Klein, Cologne, Germany
- 2015
- Expanded Field: Four New York Painters. James Howell, Winston Roeth, Kate Shepherd, and Joan Waltemath. Bartha Contemporary, London, UK
- 2016
- Konstruktion - Construction. Raum Schröth, Museum Whilhelm-Morgner-Haus, Soest, Germany
- On Paper. Minus Space, Brooklyn, NY
- 2017[15]
- Format 35 Years of the Schröth Collection, 1981 - 2016. Raum Schröth and Raum Hans Kaisers , Museum ::Whilhelm-Morgner-Haus, Soest, Germany
- 2019[15]
- A Day’s Work. Sammlung-Schröth, Museum Whilhelm-Morgner-Haus, Soest, German
- 2022[15]
- REPETITIVE FORMS (Sometimes Singular), Museum Wilhelm Morgner, Soest, Germany
Series
edit- Series 10, 1996 - 2014, Acrylic on canvas.[33]
- Points of Feilds Series, 1990 - 1996, Acrylic on canvas.
- Clay Series, 1993 - 1996, Acrylic with clay additives on canvas and aluminum.[34]
References
edit- ^ "The Artist". James Howell Foundation. Retrieved 28 June 2024.
- ^ a b Rider, Alistair (2021). "Infinite Array" in James Howell. 50 Great Portland Street London W1W 7ND: Circa Press. p. 22. ISBN 978-1-911422-21-1.
{{cite book}}: CS1 maint: location (link) - ^ Worthy, Maxine (May 28, 2012). Interview with Sandra Whalen. p. 1.
- ^ The Seattle Times Pictorial. February 4, 1979. pp. 32–39.
- ^ Topaz: A Traditional Offshore Cruiser. Sea and Pacific Motor Boat 65. February 1973. p. 68.
- ^ Berkovitvh, Ellen (September 8, 2024). "Gray is the tone that diffuses all colors". 27: Pasatiempo.
{{cite news}}: CS1 maint: location (link) - ^ a b Brenner, Douglas (May 1983). "Private House, San Juan Islands, by Morgan and Lindstrom Architects" (PDF). Architectural Record. 6 (171): 29. Retrieved 28 June 2024.
- ^ a b Rider, Alistair (2021). "Infinite Array" in James Howell. 50 Great Portland Street London W1W 7ND: Circa Press. p. 57. ISBN 978-1-911422-21-1.
{{cite book}}: CS1 maint: location (link) - ^ Lebow, Hannah (December 1, 2023). "James Howell - Gesamtkunstwerk". Bartha Contemporary. Retrieved 3 July 2024.
- ^ a b Stathaki, Ellie (6 September 2022). "Tour New York's James Howell Foundation by Deborah Berke". Wallpaper. Retrieved 28 June 2024.
- ^ Rider, Alistair (2021). "Infinite Array" in James Howell. 50 Great Portland Street London W1W 7ND: Circa Press. p. 12. ISBN 978-1-911422-21-1.
{{cite book}}: CS1 maint: location (link) - ^ "James Howell: 1935—2014". The Journal of San Juan Islands. December 19, 2014. Retrieved 28 June 2024.
- ^ Finch, Elizabeth (2008). A New York Drawing Collection at Work, 1991-2006. Fifth Floor Foundation. p. 14.
- ^ a b c d e f g "James Howell CV" (PDF). Bartha Contemporary. Retrieved 28 June 2024.
- ^ a b c d e "James Howell CV". James Howell Foundation. Retrieved 28 June 2024.
- ^ "The Work: 1960-1970". James Howell Foundation. Retrieved 28 June 2024.
- ^ Rider, Alistair (2021). "Infinite Array" in James Howell. 50 Great Portland Street London W1W 7ND: Circa Press. p. 16. ISBN 978-1-911422-21-1.
{{cite book}}: CS1 maint: location (link) - ^ "Human Figure Returns in Separate Ways and Places". Life. June 8, 1962. pp. 54–61.
- ^ Howell, James (Fall 1976). James Letter to Harold Rosenberg.
- ^ James Howell, letter to Harold Rosenberg. Fall 1976.
- ^ Howell, James (October 17, 1999). Untitled Statement.
- ^ Hackett, Regina (1992). "James Howell paints on the outer edge of abstraction". Seattle P-I.
- ^ "James Howell Obituary". Legacy. The New York Times. Retrieved 28 June 2024.
- ^ Bensley, Lis (November 10, 1995). "Subtle Spaces Midway Between Light, Dark: James Howell on a quest for simplicity". The Santa Fe New Mexican.
- ^ Bensley, Lis (November 10, 1995). "Subtle Spaces Midway Between Light, Dark: James Howell on a quest for simplicity". The Santa Fe New Mexican.
- ^ Bensley, Lis (November 10, 1995). "Subtle Spaces Midway Between Light, Dark: James Howell on a quest for simplicity". The Santa Fe New Mexican.
- ^ Rogge, Juliane (2017). format: 35 Jahre Sammlung Schroth 1981 - 2016. Stifung Konzeptuelle4 Kunst. p. 46.
- ^ a b "James Howell" (PDF). Charlotte Jackson Fine Art, Inc. Retrieved 28 June 2024.
- ^ Hackett, Regina (1992). "James Howell paints on the outer edge of abstraction". Seattle P-I.
- ^ "September Art Openings: September 1st-October 5th". THE Santa Fe's Monthly Magazine of the Arts. September 2000.
- ^ Rogge, Juliane (2017). format: 35 Jahre Sammlung Schroth 1981-2016. Stiftung Konzeptuelle Kunst. p. 589.
- ^ Noack, Wita (2013). Hauptsache Grau: Constructed Grey. form+zweck. pp. 55, 159.
- ^ Rider, Alistair (2021). "Infinite Array" in James Howell. 50 Great Portland Street London W1W 7ND: Circa Press. pp. 118–226. ISBN 978-1-911422-21-1.
{{cite book}}: CS1 maint: location (link) - ^ "The Work". James Howell Foundation. Retrieved 28 June 2024.
Further reading
edit- Rider, Alistair (2021). "Infinite Array" in James Howell. 50 Great Portland Street London W1W 7ND: Circa Press.
- Brenner, Douglas (May 1983). "Private House, San Juan Islands, by Morgan and Lindstrom Architects" (PDF). Architectural Record. 6 (171): 29. Retrieved 28 June 2024.
External links
edit