DOCSLIB.ORG

Oral History Interview with Howardena Pindell, 2012 Dec. 1-4

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Oral History Interview with Howardena Pindell, 2012 Dec. 1-4 Oral history interview with Howardena Pindell, 2012 Dec. 1-4 Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Howardena Pindell on December 1, 2012. The interview took place at the home of Howardena Pindell in New York City, and was conducted by Judith O. Richards for the Archives of American Art, Smithsonian Institution. Howardena Pindell has reviewed the transcript. Her corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JUDITH RICHARDS: This is Judith Richards, interviewing Howardena Pindell on December 1, 2012, at her home in New York City on Riverside Drive, for the Archives of American Art, Smithsonian Institution, disk one. Howardena, as we've discussed, we're going to begin where a previous interview for the archives left off. That interview was on July 10, 1972. [Laughs.] So casting way back to 1972, I wanted to, first of all, ask some basic questions. HOWARDENA PINDELL: Mm-hmm [Affirmative.] JUDITH RICHARDS: Where were you living in 1972? Had you moved into Westbeth by then? HOWARDENA PINDELL: All right— JUDITH RICHARDS: Or were you living in— HOWARDENA PINDELL: —I was in Westbeth. JUDITH RICHARDS: And when did you move in there? Were you one of the first tenants? HOWARDENA PINDELL: One of the first tenants, yes. JUDITH RICHARDS: That opened in '70 or '71? HOWARDENA PINDELL: I don't remember. I think it might have been more '70. JUDITH RICHARDS: Mm-hmm [Affirmative.] HOWARDENA PINDELL: But I really don't remember. I was— JUDITH RICHARDS: How did you end up wanting to live there? HOWARDENA PINDELL: Well, at the time I was trying to get my work done in an apartment. I had a roommate, and it was right around the corner, actually from Westbeth. It was the Cezanne on Jane Street. JUDITH RICHARDS: Oh, I know that building. HOWARDENA PINDELL: Yes, yes. I was living there, and working for the museum and I mean, I don't remember the application process, but I was able to get in with a studio. But they kind of— JUDITH RICHARDS: You mean a living space, plus a studio in a separate part of the building? HOWARDENA PINDELL: Yes, which wasn't what they had promised. They generally promised that you would have your working and living space together. So what they did was, for people who basically had less than they were supposed to have, they had a building that was right next to them, and they used that as a studio building. You had to share a studio, and it was kind of dilapidated. You know, temporary walls, maybe up to eight feet or so. And then chicken wire, you know, it was very— JUDITH RICHARDS: Chicken wire where? HOWARDENA PINDELL: I think it was—I think the chicken wire was along the top of the wall. In other words, you got some ventilation from whatever poisonous [laughs] material was coming from one studio to another. You could—I think the door was padlocked, but I don't remember. The person I shared it with was Harriet Korman's brother. JUDITH RICHARDS: What was his name? HOWARDENA PINDELL: I don't remember, I'm afraid. JUDITH RICHARDS: Korman— HOWARDENA PINDELL: Korman, the— JUDITH RICHARDS: Harriet Korman's brother. HOWARDENA PINDELL: Yes. JUDITH RICHARDS: The painter. HOWARDENA PINDELL: Yes. And that's when I first started using the spray. I would spray through templates I made to have little circles. I would, you know, spray the dots and layer them— JUDITH RICHARDS: Yes. HOWARDENA PINDELL: —on unprimed canvas. Now, I was basically trained as a figurative painter— JUDITH RICHARDS: Mm-hmm [Affirmative.] HOWARDENA PINDELL: And my works became more unrealistic [Laughs.]. Whatever the word would be— JUDITH RICHARDS: More abstract? HOWARDENA PINDELL: —or more abstract, yes, after graduate school, because with the job I didn't have, you know, daylight. When I was finished with work, it was getting dark. JUDITH RICHARDS: How long were you in that separate studio—how long did you have your studio in that separate space from your living space in Westbeth? HOWARDENA PINDELL: I think it was about four years. JUDITH RICHARDS: And how long did you stay in Westbeth as a residence? HOWARDENA PINDELL: Well, technically I was in Westbeth about four—three and a half to four years. JUDITH RICHARDS: So this—all the time you were living in Westbeth, you had a separate studio. HOWARDENA PINDELL: A separate studio next—it was attached to the building. It was a—it's now being used as, I think, a health club. But no, it was kind of a little ramshackle. And, I mean, you had—it was pretty quiet. I don't remember there being a lot of people in there working. JUDITH RICHARDS: Mm-hmm [Affirmative.] HOWARDENA PINDELL: Occasionally, when I'd work, Harriet's brother would come in and just be there at the same time. JUDITH RICHARDS: In 1972, did you—I know you were working at MoMA [Museum of Modern Art, New York, NY], and I think you talked about that a bit in the previous interview, and part of the A.I.R. Gallery. HOWARDENA PINDELL: Yes. JUDITH RICHARDS: Did you feel that you were part of the art world? HOWARDENA PINDELL: I'm not sure how I felt. I was from Philadelphia, and the art world was, like, news to me. I wasn't, you know, I—some of my classmates at Yale [were –HP] already trying to get a loft while they were at Yale, and make connections. And Philadelphia was pretty provincial. So I think on one hand, I mean it was a good lesson to have a job where I could constantly see really great art. But I really—I felt on one hand, here I am in a semi-curatorial position at the beginning. I mean, it was just an exhibition assistant, that's what it was called — JUDITH RICHARDS: At MoMA— HOWARDENA PINDELL: Yes. And then I worked my way up to associate. JUDITH RICHARDS: Mm-hmm [Affirmative.] HOWARDENA PINDELL: A lot of people were really mad at me for having that job [in 1979. –HP] JUDITH RICHARDS: People? What people? HOWARDENA PINDELL: Oh— JUDITH RICHARDS: Artists, you mean? HOWARDENA PINDELL: Artists, art critics— JUDITH RICHARDS: You were on the other side of the fence, so to speak. HOWARDENA PINDELL: Yes. I would be seen as the sheep in wolf's clothing. Or the wolf in sheep's clothing. [Laughs.] I don't know if Robert Storr, who's an artist ran into the same thing, but there was a lot going on in terms of protesting, and— JUDITH RICHARDS: Mm-hmm [Affirmative.] Maybe that was a few years later. No? HOWARDENA PINDELL: It was—well, no. I started working there in 1967. JUDITH RICHARDS: Yes. HOWARDENA PINDELL: And it was when Carl Andre and Hans Haacke were picketing them, and there was another group called GAG— JUDITH RICHARDS: G-A-G? G-A-G-E? No, G-A-G. HOWARDENA PINDELL: It was G-A—G-A-G, I think. Yes. JUDITH RICHARDS: Mm-hmm [Affirmative.] Do you know what that acronym stood for? HOWARDENA PINDELL: I have no idea. JUDITH RICHARDS: The "A" must have been "Artists." [Laughs.] HOWARDENA PINDELL: Oh, they were. Yes. Definitely they were artists [Laughs.] And some of them were coming into the galleries, and I guess—I just—I vaguely remember that. JUDITH RICHARDS: Yes. You were able to maintain your career and your work as an artist to a remarkable degree considering you were working full-time. HOWARDENA PINDELL: Yes. JUDITH RICHARDS: And in fact, that year, '72, you got a grant from the NEA [National Endowment for the Arts]. HOWARDENA PINDELL: Yes. JUDITH RICHARDS: Which was a tremendous accomplishment. HOWARDENA PINDELL: Yes. JUDITH RICHARDS: What kind of impact did that grant have on you? HOWARDENA PINDELL: Oh, I just—oh well, I was really running out of money. [Laughs.] I mean, the Modern [MoMA] pays very poorly, and art materials are, and can be, very expensive. I don't know how to answer that. JUDITH RICHARDS: Well, it was so—you're answering it in the sense of it was important in terms of the financial part of it— HOWARDENA PINDELL: Yes. And it also gave me recognition as an artist for [others –HP] were angry that I was there. See, I ran into so many— [Side conversation.] HOWARDENA PINDELL: Okay, okay. Oh, how to explain it. Now there were black women groups, but I was in Philadelphia, so we didn't—they were all from Harlem or Brooklyn. I think one was called ["Where We At." –HP] JUDITH RICHARDS: What was it called? HOWARDENA PINDELL: YEC? ["Where We At" –HP], something like that. [There was also the Spiral Group with Emma Amos and Romare Bearden, Emma was the only woman. –HP] And "Where We At," and there was, like, a lot of animosity, because I wasn't really from that group, or those groups. JUDITH RICHARDS: Did you—I'm sorry to interrupt you—did you seek out the job at the museum and stay there because you loved being at the museum and doing that job? HOWARDENA PINDELL: Well, that has many different sides to it.
Load more

Recommended publications
  • PUBLIC DRAFT MAY 2019 Was Created By
    PUBLIC DRAFT MAY 2019 was created by: MISSOULA DOWNTOWN ASSOCIATION BUSINESS IMPROVEMENT DISTRICT MISSOULA DOWNTOWN FOUNDATION The Downtown Missoula Partnership Dover, Kohl & Partners a collaboration of: planning team lead | town planning & urban design The Downtown Business Improvement District of Missoula Six Pony Hitch branding and outreach Missoula Downtown Association Territorial Landworks Missoula Downtown Foundation infrastructure Other major partners on this project include: Kimley Horn parking Missoula Redevelopment Agency Charlier Associates, Inc. Missoula Parking Commission transportation City of Missoula Cascadia Partners scenario planning Gibbs Planning Group retail market analysis Daedalus Advisory Services economics Urban Advantage photo simulations ... and thousands of participants from the Missoula community! Missoula’s Downtown Master Plan | Draft Steering Committee Our thanks to the following leaders who guided this process through the Master Plan Steering Committee and Technical Advisory Committee: Ellen Buchanan, Chair, Missoula Redevelopment Mike Haynes, Development Services Director Agency Donna Gaukler, Missoula Parks & Recreation Director Matt Ellis, Co-Chair, MDA & MPC Board Member Jim McLeod, Farran Realty Partners Owner Dale Bickell, City Chief Administrative Officer Eran Pehan, Housing & Community Development Dan Cederberg, Property Owner; BID Board, MDF Director Board Dave Strohmaier, Missoula County Commissioner Nick Checota, Property/Business Owner; Arts & Bryan Von Lossberg, Missoula City Council Entertainment
    [Show full text]
  • Climate Changing: on Artists, Institutions, and the Social Environment
    i CLIMATE CHANGING CLIMATE WHY CAN’T YOU TELL ME SCORE WHAT YOU NEED Somewhere our body needs party favors attending sick and resting temperatures times hot unevens twice I ask myself all the time too ward draw pop left under right Just try and squeeze me. Pause. What would you do? Fall down off my feet and try waking tired ex muses Like, you either know I can and work on it with me Or know I can’t and wouldn’t want your baby to go through what I have to go through Over prepared for three nights. Over it all scared for three nights. Tell me the unwell of never been better. Are we still good? Are we still good? TABLE OF CONTENTS Director’s Foreword 4 Johanna Burton A Climate for Changing 6 Lucy I. Zimmerman On Chris Burden’s Wexner Castle 10 Lucy I. Zimmerman Notes on Chris Burden’s Through the Night Softly 15 Pope.L WE LEFT THEM NOTHING 17 Demian DinéYazhi´ Untitled 21 Jibade-Khalil Huffman Scores 1, 3, 13, 23, 27, 50 Park McArthur and Constantina Zavitsanos Questioning Access 25 Advisory Committee Roundtable Discussion Artists in the Exhibition 29 Acknowledgments 47 3 BLANKET (STATEMENT) SCORE Why can’t you just tell me what you need DIRECTOR’S FOREWORD 4 Johanna Burton, Executive Director Opening in the first month of 2021 (or at least set to committee’s roundtable discussion further explores, open then at the time of this writing), Climate Changing: the exhibition intends not to inventory nor propose On Artists, Institutions, and the Social Environment solutions for these considerable challenges, but rather comes at a time of great uncertainty for cultural or- to provide artists a forum for bringing the issues into ganizations.
    [Show full text]
  • Masters Thesis
    WHERE IS THE PUBLIC IN PUBLIC ART? A CASE STUDY OF MILLENNIUM PARK A Thesis Presented in Partial Fulfillment of the Requirements for The Degree Master of Arts in the Graduate School of The Ohio State University By Corrinn Conard, B.A. ***** The Ohio State University 2008 Masters Examination Committee: Approved by Dr. James Sanders III, Advisor Advisor Professor Malcolm Cochran Graduate Program in Art Education ABSTRACT For centuries, public art has been a popular tool used to celebrate heroes, commemorate historical events, decorate public spaces, inspire citizens, and attract tourists. Public art has been created by the most renowned artists and commissioned by powerful political leaders. But, where is the public in public art? What is the role of that group believed to be the primary client of such public endeavors? How much power does the public have? Should they have? Do they want? In this thesis, I address these and other related questions through a case study of Millennium Park in Chicago. In contrast to other studies on this topic, this thesis focuses on the perspectives and opinions of the public; a group which I have found to be scarcely represented in the literature about public participation in public art. To reveal public opinion, I have conducted a total of 165 surveys at Millennium Park with both Chicago residents and tourists. I have also collected the voices of Chicagoans as I found them in Chicago’s major media source, The Chicago Tribune . The collection of data from my research reveal a glimpse of the Chicago public’s opinion on public art, its value to them, and their rights and roles in the creation of such endeavors.
    [Show full text]
  • Feminist Artists' Book Projects of the 1980-90S
    1 Bookworks as Networks: Feminist Artists’ Book Projects of the 1980-90s Caroline Fazzini Recent trends in contemporary exhibition, academic, and artistic practices in the U.S. illuminate a persistent concentration of efforts to present more complete versions of the past, specifically regarding issues of diversity and representation. Some museums and art historians have responded to the call for inclusivity by supporting exhibitions that focus on artists who have been marginalized. We Wanted a Revolution: Black Radical Women, 1965-1985, and Radical Women: Latin American Art, 1960-1985, which opened in 2017 at the Brooklyn Museum and the Hammer Museum, respectively, exemplify this corresponding surge of interest within the art and academic worlds of the Americas regarding women artists, and particularly women artists of color. My studies of these exhibitions, as well as my interest in artists’ books, led me to identify two collaborative artists’ book projects that emerged in the late 1980s, in the immediate aftermath of the time periods addressed in both We Wanted a Revolution and Radical Women. I aim to contribute to revisionist scholarly efforts by examining these two projects: Coast to Coast: A Women of Color National Artists’ Book Project (1987-1990) and Connections project/Conexus (1986-1989). Both were first and foremost, meant to initiate dialogues and relationships between women across borders through the making of art and artists’ books. While neither project has received scholarly attention to date, they are important examples of feminist collaborations between women artists. The projects, Connections project/Conexus (1986-1989), organized by Josely Carvalho and Sabra Moore, and Coast to Coast: A Women of Color National Artists’ Book Project (1987- 90), organized by Faith Ringgold and Clarissa Sligh, both took advantage of the accessibility of 2 artists’ books in an effort to include and encourage the participation of women artists.
    [Show full text]
  • Gay Americans March on Washington, D.C
    lH Sports In SectioH 2 An Associated Collegiate Press Five-Star All-American Newspaper Loyola hounds and a National Pacemaker Greeks lip men's lacrosse synch their way despite DiMarzo to fame page 86 page 81 FREE TUESDAY Gay Americans March on Washington, D.C. University employee goes public with his military dismissal, finds self acceptance By Archie Tse Contributing Editor ichard McGuire has spent the last two decades trying to forget about the two-and­ R a-half years he served in the U.S. Air Force. McGuire's service was marked with distinction, as well as with an exceptional aptitude for electronics. He was an honor graduate of the military encryption school and made the rank of sergeant as fast as can be done. But in 1970, he was caught with copies of After Dark, a theater magazine geared toward gay men, prompting an investigation into his sexuality. During the inquiry, agents of the Office of THE REVIEW I Maximillian Gretsch Special Investigations (OSI) threatened him with More than 300,000 demonstrators participated in the 1993 March on Washington for Lesbian, Bay and Bisexual rights and liberation life imprisonment and a fine of $20,000. He Sunday to stand up against discrimination toward all minorities. signed a confession and was given an see UD EMPLOYEE page AB Marchers demand equal civil rights Gays, lesbians, bisexuals converge on nation's capital for day-long protest to justice and equality." _ ~Jm~~~,r~v!~~:~iror The air stood still with• anticipation 9 a.m. Lesbians, gays, bisexuals, ·heterosexuals, WASHINGTON, D.C.
    [Show full text]
  • GLBT Historical Society Archives
    GLBT Historical Society Archives - Periodicals List- Updated 01/2019 Title Alternate Title Subtitle Organization Holdings 1/10/2009 1*10 #1 (1991) - #13 (1993); Dec 1, Dec 29 (1993) 55407 Vol. 1, Series #2 (1995) incl. letter from publisher @ditup #6-8 (n.d.) vol. 1 issue 1 (Win 1992) - issue 8 (June 1994 [2 issues, diff covers]) - vol. 3 issue 15 10 Percent (July/Aug 1995) #2 (Feb 1965) - #4 (Jun 1965); #7 (Dec 1965); #3 (Winter 1966) - #4 (Summer); #10 (June 1966); #5 (Summer 1967) - #6 (Fall 1967); #13 (July 1967); Spring, 1968 some issues incl. 101 Boys Art Quarterly Guild Book Service and 101 Book Sales bulletins A Literary Magazine Publishing Women Whoever We Choose 13th Moon Thirteenth Moon To Be Vol. 3 #2 (1977) 17 P.H. fetish 'zine about male legs and feet #1 (Summer 1998) 2 Cents #4 2% Homogenized The Journal of Sex, Politics, and Dairy Products One issue (n.d.) 24-7: Notes From the Inside Commemorating Stonewall 1969-1994 issue #5 (1994) 3 in a Bed A Night in the Life 1 3 Keller Three Keller Le mensuel de Centre gai&lesbien #35 (Feb 1998), #37 (Apr 1998), #38 (May 1998), #48 (May 1999), #49 (Jun 1999) 3,000 Eyes Are Watching Me #1 (1992) 50/50 #1-#4 (June-1995-June 1996) 6010 Magazine Gay Association of Southern Africa (GASA) #2 (Jul 1987) - #3 (Aug 1987) 88 Chins #1 (Oct 1992) - #2 (Nov 1992) A Different Beat An Idea Whose Time Has Come... #1 (June 3, 1976) - #14 (Aug 1977) A Gay Dragonoid Sex Manual and Sketchbook|Gay Dragonoind Sex A Gallery of Bisexual and Hermaphrodite Love Starring the A Dragonoid Sex Manual Manual|Aqwatru' & Kaninor Dragonoid Aliens of the Polymarinus Star System vol 1 (Dec 1991); vol.
    [Show full text]
  • Testing a Cultural Evolutionary Hypothesis,” Pg
    ASEBL Journal – Volume 12 Issue 1, February 2016 February 2016 Volume 12, Issue 1 ASEBL Journal Association for the Study of (Ethical Behavior)•(Evolutionary Biology) in Literature EDITOR St. Francis College, Brooklyn Heights, N.Y. Gregory F. Tague, Ph.D. ~ ▬ EDITORIAL BOARD [click on last name of lead/author to navigate to text] Divya Bhatnagar, Ph.D. ▬ Kristy Biolsi, Ph.D. † Lesley Newson and Peter Richerson, “Moral Beliefs about Homosexuality: Kevin Brown, Ph.D. Testing a Cultural Evolutionary Hypothesis,” pg. 2 Alison Dell, Ph.D. Comments By: Robert A. Paul, pg. 21; Nicole A. Wedberg and Glenn Geher, pg. 23; Austin John Tom Dolack, Ph.D Jeffery and Todd Shackelford, pg. 24; Andreas De Block and Olivier Lemeire, pg. 27; James Waddington, pg. 29; Jennifer M. Lancaster, pg. 30 Wendy Galgan, Ph.D. Cheryl L. Jaworski, M.A. Newson’s and Richerson’s Reply to Comments, pg. 32 Joe Keener, Ph.D. ▬ † Craig T. Palmer and Amber L. Palmer, Eric Luttrell, Ph.D. “Why Traditional Ethical Codes Prescribing Self-Sacrifice Are a Puzzle to Evolutionary Theory: The Example of Besa,” pg. 40 Riza Öztürk, Ph.D. Comments By: Eric Platt, Ph.D. David Sloan Wilson, pg. 50; Guilherme S. Lopes and Todd K. Shackelford, pg. 52; Anja Müller-Wood, Ph.D. Bernard Crespi, pg. 55; Christopher X J. Jensen, pg. 57; SungHun Kim, pg. 60 SCIENCE CONSULTANT Palmer’s And Palmer’s Reply to Comments, pg. 61 Kathleen A. Nolan, Ph.D. ▬ EDITORIAL INTERN Lina Kasem † Aiman Reyaz and Priyanka Tripathi, “Fight with/for the Right: An Analysis of Power-politics in Arundhati Roy’s Walking with the Comrades,” pg.
    [Show full text]
  • Guide to the Dennis Mcbride Collection on LGBTQ Las Vegas, Nevada
    Guide to the Dennis McBride Collection on LGBTQ Las Vegas, Nevada This finding aid was created by Tammi Kim. This copy was published on March 25, 2021. Persistent URL for this finding aid: http://n2t.net/ark:/62930/f1vp61 © 2021 The Regents of the University of Nevada. All rights reserved. University of Nevada, Las Vegas. University Libraries. Special Collections and Archives. Box 457010 4505 S. Maryland Parkway Las Vegas, Nevada 89154-7010 [email protected] Guide to the Dennis McBride Collection on LGBTQ Las Vegas, Nevada Table of Contents Summary Information ..................................................................................................................................... 3 Biographical Note ............................................................................................................................................ 3 Scope and Contents Note ................................................................................................................................ 4 Arrangement .................................................................................................................................................... 4 Administrative Information ............................................................................................................................. 5 Related Materials ............................................................................................................................................. 5 Names and Subjects .......................................................................................................................................
    [Show full text]
  • Digital Review Copy May Not Be Copied Or Reproduced Without Permission from the Museum of Contemporary Art Chicago
    DIGITAL REVIEW COPY MAY NOT BE COPIED OR REPRODUCED WITHOUT PERMISSION FROM THE MUSEUM OF CONTEMPORARY ART CHICAGO. HOWARDENA PINDELL WHAT REMAINS TO BE SEEN Published by the Museum of Contemporary Art Chicago and DelMonico Books•Prestel NAOMI BECKWITH is Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago. VALERIE CASSEL OLIVER is Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. ON THE JACKET Front: Untitled #4D (detail), 2009. Mixed media on paper collage; 7 × 10 in. Back: Timothy Greenfield-Sanders, Howardena Pindell from the series Art World, 1980. Gelatin silver print, edition 2/2; 13 3/4 × 10 3/8 in. The Museum of Fine Arts, Houston, Gift of Mr. and Mrs. Neil E. Kelley, 2006.867. © Timothy Greenfield-Sanders, All Rights Reserved. Courtesy of Hiram Butler Gallery. Printed in China HOWARDENA PINDELL WHAT REMAINS TO BE SEEN Edited by Naomi Beckwith and Valerie Cassel Oliver Museum of Contemporary Art Chicago DelMonico Books • Prestel Munich London New York CONTENTS 15 DIRECTOR’S FOREWORD Madeleine Grynsztejn 17 ACKNOWLEDGMENTS Naomi Beckwith Valerie Cassel Oliver 21 OPENING THOUGHTS Naomi Beckwith Valerie Cassel Oliver 31 CLEARLY SEEN: A CHRONOLOGY Sarah Cowan 53 SYNTHESIS AND INTEGRATION IN THE WORK Lowery Stokes Sims OF HOWARDENA PINDELL, 1972–1992: A (RE) CONSIDERATION 87 BODY OPTICS, OR HOWARDENA PINDELL’S Naomi Beckwith WAYS OF SEEING 109 THE TAO OF ABSTRACTION: Valerie Cassel Oliver PINDELL’S MEDITATIONS ON DRAWING 137 HOWARDENA PINDELL: Charles
    [Show full text]
  • Howardena Pindell
    HOWARDENA PINDELL Born in 1943 in Philadelphia, USA Lives and works in New York, USA Education 1965-67 Yale University, New Haven, USA 1961-65 Boston University, Boston, USA Solo Exhibitions 2019 What Remains To Be Seen, Rose Art Museum Waltham, Massachusetts, USA 2018 Howardena Pindell, Document Gallery, Chicago, USA Howardena Pindell: What Remains to Be Seen, Museum of Contemporary Art, Chicago; Virginia Museum of Fine Arts, Richmond; Rose Art Museum, Brandeis University, Waltham, Massachusetts (2018-2019), USA 2017 Howardena Pindell: Recent Paintings, Garth Greenan Gallery, New York, USA 2015 Howardena Pindell, Honor Fraser, Los Angeles, USA Howardena Pindell, Spelman College Museum of Fine Art, Atlanta, USA 2014 Howardena Pindell: Paintings, 1974-1980, Garth Greenan Gallery, New York, USA 2013 Howardena Pindell: Video Drawings, 1973-2007, Howard Yezerski Gallery, Boston, USA 2009 Howardena Pindell: Autobiography: Strips, Dots, and Video, 1974-2009, Sandler Hudson Gallery, Atlanta, USA 2007 Howardena Pindell: Hidden Histories, Louisiana Art and Science Museum, Baton Rouge, USA 2006 Howardena Pindell: In My Lifetime, G.R. N’Namdi Gallery, New York, USA 2004 Howardena Pindell: Works on Paper, 1968-2004, Sragow Gallery, New York, USA Howardena Pindell: Visual Affinities, Heckscher Museum of Art, Huntington, NY, USA 2003 Howardena Pindell, G.R. N’Namdi Gallery, Detroit, USA 2002 Howardena Pindell, Diggs Gallery, Winston-Salem State University, North Carolina, USA 2001 Howardena Pindell: An Intimate Retrospective, Harriet Tubman Museum, Macon, Georgia, USA 2000 Howardena Pindell: Collages, G.R. N’Namdi Gallery, Birmingham, Michigan, USA Howardena Pindell: Recent Work, G.R. N’Namdi Gallery, Chicago, USA 1999 Witness to Our Time: A Decade of Work by Howardena Pindell, The Heckscher Museum of Art, Huntington, NY, USA 1996 Howardena Pindell: Mixed Media on Canvas, Johnson Gallery, Bethel University, St.
    [Show full text]
  • Howardena Pindell: What Remains to Be Seen, Virginia Museum of Fine Arts, Panorama: Journal of the Association of Historians of American Art 4, No
    ISSN: 2471-6839 Cite this article: Andrea Douglas, review of Howardena Pindell: What Remains to Be Seen, Virginia Museum of Fine Arts, Panorama: Journal of the Association of Historians of American Art 4, no. 2 (Fall 2018), https://doi.org/10.24926/24716839.1677. Howardena Pindell: What Remains To Be Seen Curated by: Naomi Beckwith and Valerie Cassel Oliver Exhibition schedule: Museum of Contemporary Art Chicago, February 24–May 20, 2018; Virginia Museum of Fine Arts, August 25–November 25, 2018; and Rose Art Museum, Brandeis University, Waltham, MA, January 24–June 16, 2019 Exhibition catalogue: Naomi Beckwith and Valerie Cassel Oliver, Howardena Pindell: What Remains To Be Seen, exh. cat. Chicago: Museum of Contemporary Art Chicago in association with Delmonico Books, Prestel, 2018. 288 pp.; 250 color illus. Hardcover $60.00 (ISBN: 9783791357379) Reviewed by: Andrea Douglas, Executive Director, Jefferson School African American Heritage Center; Researcher McIntire Department of Art, University of Virginia Fig. 1. Howardena Pindell, Autobiography: Air (CS560), 1988 (left). Acrylic, tempera, oil stick, blood, paper, polymer, photo transfer and vinyl on canvas, 86 x 84 in. Detroit Institute of Arts, Founders Society Purchase, W. Hawkins Ferry Fund with funds from Joan and Armando Ortiz Foundation, Friends of Modern Art, Avery K. Williams, Lynne Enweave, Ronald Maurice Ollie, and Kimberly Moore It is not faint praise to describe the fifty-year retrospective exhibition of multimedia artist Howardena Pindell as wholly satisfying. What has until now seemed an incomplete journalpanorama.org • [email protected] • ahaaonline.org Douglas, review of Howardena Pindell Page 2 assessment of the artist’s standing within the development of contemporary art has been synthesized into a presentation that neither privileges her role as artist activist nor her formalist experimentation but reveals the inextricable relationship between the artist’s biography and her studio practice.
    [Show full text]
  • Theatre Where “ a Chorus of the Magazines
    ■ZM r. fe' -»i- ■- j GOV. BROWN AT A GAY PARTY WITH GOVERNOR BROVWM HERE IN SAN FRANCISCO, PROMISES & OOIWVIITMENTS. Details page 8 Photo GUY CORKY Continued from p«ce 2 PMC 3 The Art Commission was also MORE STREET VIOLENCE PM« 2 On Target victim, if it had not been for his thick denying any knowledge oL a sys­ Editorial coat. tem of “pay offs” worked Kiyt by C alifo rn ia Now that the election is over maybe The responding police officer filed persons in the Neighborhood Arts PERRY A. GEORGE City Hall and the police will find the a routine report, after sending the vic­ Programs whereby certain individuals time to do something about the vic­ THE ADAM CLAYTON POWELL POLITICAL AWARENESS AWARD GOES tim to the hospital. who are not actually qualified for NO CRUISING PLEASE ious attacks on gay men and lesbians TO THE ELECTORATE OF THE 5TH DISTRICT THE VOICE contacted Chief Charles any additional CETA money, actually in the streets. do get “ paid” CETA funds through a For all of you who arc too young or too unaware as to remember who Adam LONG BEACH, CA - X gay man On December 3, 1979 about 7:30 R. Gain, and found him deeply con­ Clayton Powell was, let me refresh your memory, way way back in the distant has been dismissed from his job with cerned. He promised to keep on the technique which has other names in the evening, at the comer of 24th used on the pay check as serrogates 1950’s one of the first black politicians to emerge was Adam Clayton Powell, as Princess Cruises because of “ques­ and Mission Streets, Michael Emrys case personally, but he leaves on Jan.- time went on and one seamy story after another emerged in the press about him, tionable sexual preference.’’ James 8th, 1980.
    [Show full text]