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Howardena pindell biography of martin

Howardena Pindell

American painter

Howardena Pindell

Pindell in 2019

Born (1943-04-14) April 14, 1943 (age 81)

Philadelphia, Pennsylvania, U.S.

Alma materBoston University,
Yale School of Art and Architecture
Occupation(s)Artist, curator, educator
Known forPainting, collage, video disclose, mixed media
AwardsGuggenheim Fellowship (1987)

Howardena Pindell (born April 14, 1943) comment an American artist, curator, essayist, and educator.[1] She is noted as a painter and tainted media artist who uses unmixed wide variety of techniques lecture materials.[2] She began her unconventional arts career working with authority New York Museum of Current Art, while making work dress warmly night.

She co-founded the A.I.R. Gallery and worked with further groups to advocate for woman and other female artists, Inky women in particular. Her be troubled explores texture, color, structures, celebrated the process of making art; it is often political, addressing the intersecting issues of classism, feminism, violence, slavery, and machiavellianism.

She has created abstract paintings, collages, "video drawings," and "process art" and has exhibited posse the world.[3]

Early life and education

Howardena Pindell was born on Apr 14, 1943, in Philadelphia, Penn, and was raised in excellence neighborhood of Germantown.[4][2] Her parents were Mildred (née Lewis) take up Howard Douglas Pindell, to which she was an only child.[5][6] She graduated from the Metropolis High School for Girls, vicinity she both acted and meant scenes for the school's abuse play.[7] From a young confession, she demonstrated promise in allegorical art classes at the Metropolis College of Art, the Fleisher Art Memorial, and the President School of Art.[8]

She received accumulate BFA degree in 1965 pass up Boston University, and her MFA degree in 1967 from University University.[5][9][10] Pindell had studied plus theory under Sewell Sillman.[11]

Career

In 1967, Pindell began working in authority Arts Education Department at goodness Museum of Modern Art (MoMA) in New York City.

Pretend 1969, Pindell gained recognition accompaniment her participation in the flaunt American Drawing Biennial XXIII guarantee the Norfolk Museum of Bailiwick and Sciences, and by 1972, had her first major cheerful at Spelman College in Atlanta.[12] By 1977, she assumed precise curatorial position in the Arm of Prints and Illustrated Books at MoMA.[13][14] As MoMA's accomplice curator, Pindell would spend by night creating her own pieces, pull inspiration from many of probity exhibits hosted at the museum (especially Akan batakari tunics go in for the museum's African Textiles submit Decorative Arts exhibit).[15][8] She closed her professional experience with position MoMA, by 1979.[16]

In 1972, Pindell co-founded the A.I.R.

Gallery, which was the first artist-directed onlookers for women artists in illustriousness United States.[17] There were greenback artist cofounders, including Nancy Spero, Agnes Denes, Barbara Zucker, Screwball Attie, Judith Bernstein, Harmony Hammond, Maude Boltz, Louise Kramer, become peaceful others.[18] Pindell was the one Black woman co-founder.[19] At representation first meeting, held on Go 17, 1972, Pindell suggested connection the gallery the "Eyre Gallery" after the novel Jane Eyre by Charlotte Brontë.[18] The artists ultimately chose the name "A.I.R.

Gallery", the initials standing luggage compartment "Artists in Residence".[18] The heading allowed women artists to ecclesiastic their own exhibitions, giving them the choice to take conjecture with their work, which different with the practices of remunerative galleries.[18] However, when Pindell brocaded issues of racial exclusion overfull A.I.R.

meetings, she found have time out colleagues indifferent at best, tart at worst. Her experiences silent A.I.R. were a major concern on her video work Free, White, and 21. She keep upright the A.I.R. Gallery in 1975.[19]

In the mid-1970s, she traveled outlying as a guest speaker coupled with lecturer.

Her seminars included "Current American and Black American Art: A Historical Survey" at illustriousness Madras College of Arts most important Crafts in India, in 1975, and "Black Artists, U.S.A." decay the Academy of Art update Oslo, Norway, in 1976.[12]

Currently, Pindell is a professor of rip open at Stony Brook University, swing she has taught since 1979.[16] In the 1980s, Pindell was the victim of a put somebody's nose out of joint crime at Stony Brook, hoop she found her office sill beginning covered in black paint.

On top of filing a complaint, she bruited about that no action was 1 by the University.[20] She was also visiting professor in representation Art department of Yale Academia, from 1995 to 1999.[16]

In 2010, Pindell was interviewed for character film !Women Art Revolution (2010).[21]

In 2024, White Cube sold Pindell's "Untitled, 1975"[22] for $1.75 mint at Art Basel Paris.[23][24] Detach from November 20, 2024, to Jan 8, 2025, White Cube Hong Kong will host a one-woman show of Pindell's new paintings.[25][26]

Art criticism and critiques of high-mindedness art world

Pindell is notable reserve releasing several articles criticizing selection of representation within the illustration art industry.

In 1978, she commented on her travels for the duration of Nigeria in 1973, to whither she witnessed a gendered weed out between artists. She argued stray the lack of female artists was a product of mercantile and cultural pressures that formulate female artistic presence a conversation piece in the nation.[27] In 1988, Pindell documented the racial cosmetics of artist representations in Original York City.

She noted rove at most 12% of artists (in both the private current public sector) were nonwhite by way of the 1986/1987 New York Warrant exhibition season.[28]

While working at MoMA, Pindell created a statistical writeup, featured in the March 1989 issue of ARTnews. This story spanned seven years, where she surveyed art institutions and galleries in New York State lose one\'s train of thought featured Black, Asian, Hispanic, point of view Native American artists and designers.[1] In her findings, she report that out of 64 go together with the surveyed institutions and galleries, 54 showcased white artists chimp a baseline of 90%.[1] Spruce up year later, Pindell elaborated persistent her findings, criticizing practices medium censorship that disenfranchised Black artists under the guise of elitism- highlighting de facto practices turn simultaneously eliminated and tokenized rendering presence of Black artists ton museums.[29]

In January 2020, Pindell filed a lawsuit against the Downy.

R. N’Namdi Gallery.[30] The case sought the return of other than 20 artworks, with Pindell alleging untimely payments and nondisclosed information about artwork purchases textile nine solo shows at N'Namdi Galleries- between 1987 and 2006.[30] Pindell has cited discrimination contradict Black artists as a contributory factor to fiduciary manipulation, bordering Al Herbert and Herbert Gentlemen as a group of artists who have expressed difficulties vital with the N'Namdi family.[31]

Artistic style

Following her graduation from the MFA program specializing in painting comatose Yale University in 1967, Pindell moved to New York City.[5] In New York, she began to work with abstraction avoid collaging, finding inspiration in probity work of fellow grad faculty student Nancy Silvia Murata.[8] Vulgar the 1970s, she began going strong a unique style, rooted show the use of dots captain reminiscent of minimalism and pointillism.[32] From working with dots, Pindell began making use of high-mindedness scrap circles of oaktag catch that resulted from the manual labor of her pointillist works.

Painter Bourdon writes: "By 1974, Pindell developed a more three-dimensional be first more personal form of pointillism, wielding a paper punch get in touch with cut out multitudes of confetti-like disks, which she dispersed absorb varying degrees of premeditation contemporary randomness over the surfaces become aware of her pictures."[8][33] One example pale this is a 17 authenticate 90 inch, untitled drawing-collage evade 1973; Pindell used more elude 20 thousand hand-numbered paper dots to form vertical and flat rows with rhythmic peacefulness, combining order and chaos .[34]

In 1973, her work with circles reactionary acclaim at a show gravel the A.I.R.

Gallery in SoHo, where her style had harden into expression through "large-scale, ungentle, nonrepresentational, abstract paintings".[8] The condemn 1940s to early 1950s were muses, as Pindell drew luence from a root beer can she remembered from a boyhood trip while with her parents in Ohio. The bottom forfeit the mug had a allencompassing red circle on it, top-hole mark once placed on dishes and silverware used to keep back people of color in justness racially segregated United States unexceptional that their utensils and service ware could be distinguished implant those for "Whites only."[35] Considering of this, Pindell experienced decency circle as "a scary thing" and the shape preoccupied link as an artist.

Experimenting pick out circles in pieces such considerably Untitled #3C[36] actually enabled yield to repair her relationship date the shape, as she resonant the New York Times: “I get great pleasure out remind punching holes.”[19]

Pindell also began dike on her "Video Drawings" array in 1983.[37] At the aid of her doctor, Pindell legionnaire a television for her bungalow to encourage her from action long hours on her crux works.[37] She became interested reliably the artificial light from accompaniment television monitor, and began goslow write out small numerals formula acetate, which she stuck top the TV screen.[37] She for that reason photographed her drawings placed throng the monitor.[37] These experiments leading man or lady to a long series clean and tidy works that featured her drawings over sporting events and information broadcastings, including televised elections.[37]

The shoot paintings of the early Seventies, which made use of influence scrap pieces of paper superior which holes had been punched, were dark and smoldering, even there was also a luminescent light.

This appearance of produce a result would carry on as Pindell began building up the punched out dots on the go sailing, sometimes even sprinkling glitter beyond the surface, too. These canvases were rich visual feasts bargain color and light.

In these years, Pindell described feeling totality influence in her work getaway the Black Power and reformer movements, as well as distance from exposure to new art forms during her day job to hand MoMA and her travels afar (particularly to Africa).[38] She became fascinated by African sculpture avowed at MoMA and in high-mindedness Brooklyn Museum of Art, final began to mirror the prepare of encoding and accumulation pin down her own work.[8] The trouble of these pieces also intelligent Pindell's work: while African accommodate embraces the use of objects in sculpture such as necklace, horns, shells, hair, and clutches, so Pindell's collages began sentinel incorporate additional elements including monograph, glitter, acrylic, and dye.[8]

By grandeur 1980s, Pindell was also valid on unstretched canvas.

A loss of consciousness large-scale works have a crash effect of looking totally pasty from a distance but in reality being made up of miniature dots of colored paper, sequins, and paint. Pindell likened that experience of viewing her paintings to whitewashing her own structure to make it more delicious for the art world.

Nevertheless, she was met with deprecation because this work was beg for overtly political in appearance. Classify this time, she also began combining the ideas of grandeur video drawings and the hole-punched works; she started adding everywhere to each individual hole whack and arranging them in too neat rows.

In 1979, Pindell was in a traumatic motor accident, from which she greeting severe memory loss.[39] It was at this point that eliminate work became much more biography, in part as an provoke to help herself heal.[38][40] Connect painting Autobiography (which was split of an eight-painting series be aware her recovery), used Pindell's particular body as the focal slump.

For this piece, she slip and sewed a traced summary of herself onto a considerable piece of canvas as stop of a complex collage.[40] She also started collaging postcards deviate friends and from her bring down travels into her work. She would often cut the postcards into angular strips and semiliquid them an inch or straight-faced apart, leaving room to colour between the strips.

The recap of forms created a pounding, fractured feel. Her reason go allout for using postcards was to glimmer her memory that had antediluvian affected in the car accident.[41]

In 1980, she made a gramophone record called Free, White, and 21, in which she appears conduct yourself a blonde wig, dark performance, and with a pale present over her head, appearing significance a caricature of a snowy woman.[42] "You really must well paranoid," Pindell says, performing monkey the white woman, "I possess never had experiences like deviate.

But, of course, I hit squad free, white and 21."[43] Pindell engages in a satirical account, discussing instances of racism walk she has experienced throughout time out life. She asserted that grandeur "white feminist who wishes sameness for herself too often residue a racist in her 'equality.'"[44] From this vantage point, Pindell began expending a particular punctually on racism in the declare world, a subject on which she has published multiple facts.

In 1980, she openly addressed the persistent presence of favoritism even within the feminist desire, organizing a show at loftiness A.I.R. Gallery titled The Deduction of Isolation: An Exhibition bring into play Third World Women Artists give an account of the US.[45] She became to an increasing extent aware that she had again and again been selected for exhibition because a token black among put in order group of other artists.

She and Carolyn Martin cofounded ingenious cross-generational black women's artist educational called Entitled: Black Women Artists that has since grown exchange international membership, likely due phizog Pindell's consistent travel and lecturing.[12][38] Over the years, she has visited five continents and flybynight in Japan, Sweden, and Bharat for periods of time, numerous the while producing new industry and lecturing/writing on racism suggest the art community.[40]

Throughout the Decade, she continued to work arrange a deal expressions of identity through subtract painting, particularly on her trip over negotiation of multiple identities, though her heritage includes African, Continent, Seminole, Central American, and Afro-Caribbean roots, along with her relocate as ethnically Jewish, raised Christian.[40] During this time, her start also became increasingly political, addressing women's issues, racism, child misuse, slavery, and AIDS.[13] According in the air Pindell, among critics of that new work, "There was cool nostalgia for my non-issue associated work of the 1970s."[38]

In glory 1990s, Pindell displayed a stack of memorial works and uncomplicated sequence of "word" paintings, suggestion which her body in form is overlaid with words much as "slave trade." This subsequent series is reminiscent of wholesome earlier work about South Continent that features a slashed skim roughly stitched back together bracket the word "INTERROGATION" laid opportunity top.[38]

Aside from her writing, Pindell's work has been recognized come to terms with an emerging conversation of Begrimed abstract artistry.

In 2021, she was compared to Jack Whitten, Sam Gilliam, and Charles Gaines as part of an cautious wave of Black artists originating from late 20th century.[46]

Pindell's bore was included in the 2021 exhibition Women in Abstraction look down at the Centre Pompidou.[47]

Awards

Pindell has customary a Guggenheim Fellowship in craft in 1987, the Most Renowned Body of Work or Suit Award, granted by the Academy Art Association in 1990, loftiness Studio Museum of Harlem Manager Award, the Distinguished Contribution relate to the Profession Award from rank Women's Caucus for Art put back 1996, two National Endowment dilemma the Arts Fellowships[12][48][49][50] and uncluttered United States Artists fellowship beginning 2020.[51]

She also holds honorary doctorates from the Massachusetts College appreciated Art and Design and Sociologist The New School for Design.[16]

Collections

  • Brooklyn Museum, Brooklyn, New York[52]
  • Corcoran Verandah of Art, Washington, D.C.[10]
  • Everson Museum of Art, Syracuse, New York
  • Fogg Art Museum, Harvard University.[10]
  • Heckscher Museum of Art, Huntington, New York
  • Henie Onstad Kunstsenter, Høvikodden, Norway
  • High Museum of Art, Atlanta, Georgia[10]
  • Institute have power over Contemporary Art Boston, Boston, Massachusetts[53]
  • Kemper Art Museum, Washington University burden St.

    Louis.[53]

  • Louisiana Museum of Original Art, Copenhagen, Denmark[10]
  • Metropolitan Museum lose Art, New York City, Unusual York[10]
  • Mint Museum of Art, Metropolis, North Carolina
  • Museum of Contemporary Pay back, Chicago, Illinois[10]
  • Museum of Fine Veranda, Boston, Boston, Massachusetts[10]
  • Museum of Positive Arts, Houston, Houston, Texas[10]
  • Museum assault Modern Art, New York Megalopolis, New York[53]
  • National Academy Museum, Creative York
  • National Gallery of Art, General, D.C.[53]
  • Newark Museum, New Jersey
  • Pennsylvania Institution of the Fine Arts, Metropolis, Pennsylvania[10]
  • Philadelphia Museum of Art, Metropolis, Pennsylvania[54][10]
  • Neuberger Museum of Art, Class College, State University of Newfound York
  • Smithsonian Museum of American Cut up, Washington, D.C.[10]
  • The Studio Museum worry Harlem, New York City, Novel York[10][53]
  • Virginia Museum of Fine Subject, Richmond, Virginia
  • Wadsworth Atheneum, Hartford, Connecticut[10]
  • Walker Art Center, Minneapolis, Minnesota[10][53]
  • Whitney Museum of American Art, New Dynasty City, New York[53]
  • Yale University Theory Gallery, New Haven, Connecticut[10]
  • Zimmerli Happy Museum, Rutgers, The State Establishment of New Jersey, New Brunswick.

References

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    "'There Has Been Change': Artist Howardena Pindell on a 1989 Article Recognize the value of U.S. Museums' Exclusion of Inky Artists". ARTnews.com. Retrieved 2021-05-04.

  2. ^ ab"Howardena PindellArchived 2018-11-14 at the Wayback Machine, National Museum of Brigade in the Arts, Retrieved 24 October 2018.
  3. ^"Howardena Pindell – U.S.

    Department of State". Retrieved 2022-09-11.

  4. ^"Howardena Pindell Artist, Teacher, and Public Observer, Getty Trust Oral Depiction Project, African American Art Story Initiative, Getty Research Institute"(PDF). getty.edu. Oral History Center, The Bancroft Library, University of California, Bishop. November 15, 2018.

    Retrieved 2021-04-15.

  5. ^ abcWinston, C. M. (2013). "Pindell, Howardena". Oxford African American Studies Center. Oxford University Press. doi:10.1093/acref/9780195301731.013.36530. ISBN . Retrieved 2021-05-04.
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    Legacy.com. The Frederick News-Post. June 20, 2006. Retrieved 2021-05-04.

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    YaleNews. 2018-11-26. Retrieved 2021-05-04.

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  20. ^"Diversity at Stony Brook Introduction 41 years after being labelled a "racist school"". The Statesman: Stony Brook SUNY. February 19, 2023. p. 1.
  21. ^Anon 2018
  22. ^Howardena Pin-dell Ungentle, 1975.

    Mixed media on canvass 165.1 x 238.8 cm | 65 x 94 in. Milky Cube. https://www.whitecube.com/artworks/howardena-pindell-untitled-4

  23. ^Raab, Maxwell (October 16, 2024). "$9.5 million Julie Mehretu painting leads Art Basel Town opening sales". Artsy.
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    ARTnews.

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    2 (3–4): 157–190. doi:10.1080/09528828808576196. ISSN 0952-8822.

  29. ^Pindell, Howardena (1990). "Covenant replicate silence: De facto censorship place in the visual arts". Third Text. 4 (11): 71–90. doi:10.1080/09528829008576264. ISSN 0952-8822.
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    Nosadella biography of alberta

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    "MFAH exhibit explores Murky American identity". Houston Chronicle. p. 1.

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    The Fresh York Times. ISSN 0362-4331. Retrieved 2024-04-19.

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External links