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Draft:James Howell (artist)

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  • Comment: While I wait for you to seek some piece of advice at WP:AFCHELP, I would not allow you resubmit the draft until I see a great improvement that the draft meets WP:GNG. Many works are sourced from the foundation's website, and they don't tell us notability instead existence. Safari ScribeEdits! Talk! 12:09, 23 October 2024 (UTC)
  • Comment: The entirety of the Exhibitions section was copied and pasted from the James Howell Foundation website. Ktkvtsh (talk) 00:11, 22 August 2024 (UTC)
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    The disambiguation page for the primary name is James Howell (disambiguation). Robert McClenon (talk) 04:35, 7 August 2024 (UTC)
James Howell

James Howell (1935–2014) was an American Minimalist painter known for his exploration of shades of gray, most notably displayed in his Series 10

James Howell at work in his West Village home studio, 2010.

Biography

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Early Life

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James 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. He married his first wife, Sandra, and his daughter, Karen, was born after finishing his education. He decided to pursue his artistic practice full-time in 1962.[1][2]

Mid-Life

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Howell and Peters renovated a mill house and created the artist's first studio home on Bainbridge Island in collaboration with Dallas Delay.[3] 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.[4] Howell's time spent at sea was deeply inspirational for his work during this period. [5]

Howell and Peters moved to San Juan Island in Washington State in 1983 where he created an award-winning studio.[6] The project was completed with architects Christopher C. Morgan and Richard D. Lindstrom.[7]

Late Life

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In 1998 Howell moved to New York City and created a home and workspace in the West Village.[8] This space became the location of the James Howell Foundation in 2017.[9] The virtually colorless space was created in collaboration with designer Deborah Berke.[10] Howell and Drury married in the spring of 1995.[11] Howell began his Series 10 in 1996, which dominated his career until his death in 2014.[12] In 1999 Howell met Drawings collector Wynn Kramarsky, who helped the artist connect with the New York art scene.[13]

Education

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Nelson-Atkins Art Institute, Kansas City, MO[14]

Stanford University, Palo Alto, CA[15]

BA English Literature 1957
BA Architecture (Five-year Art and Architecture) 1961

Awards

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Humanities Prize in Architecture, Stanford University, Palo Alto, CA, 1961[16]

Westchester Museum Annual, NY, 1970, Juror: Lucy Lippard, Dore Ashton[17]

AIA NY Design Award, 1997[9]

Architectural Record Houses of May 1983 for collaboration with Morgan and Lindstrom on "Private House on San Juan Islands"[6]

Career

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Early Career

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Howell'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.

Howell with early landscape.

(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.[18] This hints at his fascination with the "in between."[19] 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.[20]

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."[21] 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.[22] He emphasized the reduction of masses in his paintings "to a spiral point dissolving in a field."[23] 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.[24]

Series 10

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(S10) Set 97.90 01/23/00

"Gray embodies passages of time, " Howell said, "... and I like its softness, also its simplicity and space."[25] 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.[26] 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.[27] 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.[28] "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."[29]

Exhibitions

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Solo Exhibitions

1971
James Howell. Polly Friedlander Gallery, Seattle, WA[30]
James Howell. Kenady Gallery, Gig Harbor, WA[31]
1974
James Howell. Linda Farris Gallery, Seattle, WA[32]
1979 – 1978
James Howell. Kiku Gallery, Seattle, WA[33]
1980
James Howell. Foster/White Gallery, Seattle, WA[34]
1992
Light Stone Veils. Windows Art Gallery, Seattle, WA[35]
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[36]
2000
Series Ten. Charlotte Jackson Fine Art, Santa Fe, NM[37]
2004
Ten Grays. Charlotte Jackson Fine Art, Santa Fe, NM[38]
2010
Progression of Six. von Bartha Chesa, Chanf, Switzerland[39]
2024
Twilight: 21 Works by James Howell. New York Studio School, New York, NY[40]

Group Exhibitions

1980
Foster/White Gallery, Seattle, WA[41]
2013
Hauptsache Grau #04 Konstruiertes. Mies van der Rohe Haus, Berlin, Germany[42]

Series

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Points of Feilds Series, 1990 - 1996, Acrylic on canvas.[43]
Clay Series, 1993 - 1996, Acrylic with clay additives on canvas and aluminum.[44]

References

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  1. ^ Mills, Dale Douglas (February 4, 1979). "Pacific Northwest Living". The Seattle Times Pictorial. pp. 32–39.
  2. ^ Eymann, Simone (February 16, 2010). "James Howell - The Search for Infinity in Something Seemingly Finite". VonBartha. p. 7.
  3. ^ The Seattle Times Pictorial. February 4, 1979. pp. 32–39.
  4. ^ Topaz: A Traditional Offshore Cruiser. Sea and Pacific Motor Boat 65. February 1973. p. 68.
  5. ^ Berkovitvh, Ellen (September 8, 2024). "Gray is the tone that diffuses all colors". 27: Pasatiempo.{{cite news}}: CS1 maint: location (link)
  6. ^ 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.
  7. ^ Sverbeyeff Byron, Elizabeth; Smith MacIsaac, Heather (September 1995). "Northern Light Captured". House & Garden: The Magazine of Creative Living. 157 (9): 175.
  8. ^ Lebow, Hannah (December 1, 2023). "James Howell - Gesamtkunstwerk". Bartha Contemporary. Retrieved 3 July 2024.
  9. ^ a b Stathaki, Ellie (6 September 2022). "Tour New York's James Howell Foundation by Deborah Berke". Wallpaper. Retrieved 28 June 2024.
  10. ^ Urbach, Henry (September 1998). "Everyday Sublime: A loft by Deborah Berke joins minimalism with a sense of everyday life". Interior Design. 69 (11): 186–195.
  11. ^ "James Howell: 1935—2014". The Journal of San Juan Islands. December 19, 2014. Retrieved 28 June 2024.
  12. ^ "James Howell Obituary". Legacy. The New York Times. Retrieved 28 June 2024.
  13. ^ Finch, Elizabeth (2008). A New York Drawing Collection at Work, 1991-2006. Fifth Floor Foundation. p. 14.
  14. ^ "James Howell Obituary". Legacy. The New York Times. Retrieved 28 June 2024.
  15. ^ "James Howell Obituary". Legacy. The New York Times. Retrieved 28 June 2024.
  16. ^ "James Howell Obituary". Legacy. The New York Times. Retrieved 28 June 2024.
  17. ^ "Island Artist's Job Isn't an Easy One". Brainbridge Review. 71 (4). January 27, 1971.
  18. ^ "The Work: 1960-1970". James Howell Foundation. Retrieved 28 June 2024.
  19. ^ 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)
  20. ^ "Human Figure Returns in Separate Ways and Places". Life. June 8, 1962. pp. 54–61.
  21. ^ Howell, James (Fall 1976). James Letter to Harold Rosenberg.
  22. ^ James Howell, letter to Harold Rosenberg. Fall 1976.
  23. ^ Howell, James (October 17, 1999). Untitled Statement.
  24. ^ Hackett, Regina (1992). "James Howell paints on the outer edge of abstraction". Seattle P-I.
  25. ^ "James Howell Obituary". Legacy. The New York Times. Retrieved 28 June 2024.
  26. ^ Bensley, Lis (November 10, 1995). "Subtle Spaces Midway Between Light, Dark: James Howell on a quest for simplicity". Pasatiempo.
  27. ^ Bensley, Lis (November 10, 1995). "Subtle Spaces Midway Between Light, Dark: James Howell on a quest for simplicity". Pasatiempo.
  28. ^ Bensley, Lis (November 10, 1995). "Subtle Spaces Midway Between Light, Dark: James Howell on a quest for simplicity". Pasatiempo.
  29. ^ Rogge, Juliane (2017). format: 35 Jahre Sammlung Schroth 1981 - 2016. Stifung Konzeptuelle4 Kunst. p. 46.
  30. ^ Voorhees, John (June 16, 1971). "Northern sights, Paris lights glitter in galleries". The Seattle Times: The Visual Arts. pp. B4.
  31. ^ "Island Artist's Job Isn't an Easy One". Brainbridge Review. 71 (4). January 27, 1971.
  32. ^ "At Seattle gallery: Island artist's paintings on display". Brainbridge Review: Arts, People. February 20, 1980. pp. Section A Page 8.
  33. ^ Campbell, R.M. (February 20, 1977). "Gallery Guide". Seattle Post-Intelligencer. pp. F6.
  34. ^ "At Seattle gallery: Island artist's paintings on display". Brainbridge Review: Arts, People. February 20, 1980. pp. Section A Page 8.
  35. ^ Hackett, Regina (1992). "James Howell paints on the outer edge of abstraction". Seattle P-I.
  36. ^ Bensley, Lis (November 10, 1995). "Subtle Spaces Midway Between Light, Dark: James Howell on a quest for simplicity". Pasatiempo.
  37. ^ "September Art Openings". THE Magazine. September 2000. p. 33.
  38. ^ "September Art Openings". THE Magazine. September 2004. p. 30.
  39. ^ Eymann, Simone (February 16, 2010). "James Howell - The Search for Infinity in Something Seemingly Finite". VonBartha. p. 7.
  40. ^ "New York Studio School of Drawing, Painting, and Sculpture Twilight: 21 Works by James Howell". ArtForum Art Guide. Retrieved 25 September 2024.
  41. ^ "At Seattle gallery: Island artist's paintings on display". Brainbridge Review: Arts, People. February 20, 1980. pp. Section A Page 8.
  42. ^ Noack, Wita (2013). Hauptsache Grau: Constructed Grey. form+zweck. pp. 55, 159.
  43. ^ "The Work". James Howell Foundation. Retrieved 28 June 2024.
  44. ^ "The Work". James Howell Foundation. Retrieved 28 June 2024.


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