Studio Visit Magazine, June 2012
ONE PERSON SHOWS
Dutch Kills Gallery, New York 2009-10 • reiner Tisch, Berlin/ Friedrichshain 2005 • Micro Museum, New York 2003 • Fort Point Gallery, Boston 2003 • Museum of New Art, Detroit 2001 • Space Twelve, Boston 1999 • Kougeas Gallery, Boston 1999
Dutch Kills Gallery, New York, 2010 • Project Night, Location One, New York, 2009 • A Book About Death, Emily Harvey Foundation, NY 2009 • Dutch Kills Gallery, New York 2009 • Surface/ Landscape Show BAG Gallery, Brooklyn 2009 • “Night of a Thousand Drawings,” Artist’s Space, New York 2008 • “Plus One,” BAG Gallery, Brooklyn 2008 • “Rockers and Posers,” BAG Gallery, Brooklyn 2008 • “Young Turks II,” Nave Gallery, Somerville, MA 2008 • Taranaki Arts, Wellington, NZ 2007 Travelling/ 4 Locations in NZ • St-Louis de la Salpetriere, Ivy/ Paris 2006 • Atelierhof, Bremen, DE 2006 • Chashama Studio Show, New York 2005 • C.A.N, Philadelphia 2004 • Haze Gallery, Portland, OR, 2004 • TIXE/Chashama, New York, 2003 • Monique Goldstrom Gallery, New York 2003 • Galerie Rothamel, Erfurt, DE 2002 • Musee de ArtColle, Paris/ Sergines, FR 2002 • New Art Center, Boston 2001 • Artspace, Hartford 2001 • Lamar University, Beaumont, TX 2000 • Carnegie Museum, Pittsburgh 1998 • Portland Institute for Contemporary Art, Portland, OR 1998 • Urban Institute for Contemporary Art, Grand Rapids, MI 1998 • “Small Works,” New York University, New York 1997 Brooklyn Waterfront Artists Coalition, New York 1998, 01, 03 • “SubRosa,” Joyce Goldstein Gallery, New York 1997
LARGE WALL INSTALLATIONS
reinerTisch, Berlin, DE 2005 • AMMO/ DUMBO, New York 2003 • Museum of New Art, Detroit 2001 • New Art Center, Boston 2001 • Lamar University, Beaumont, TX 2000 • Portland Institute for Contemporary Art, Portland,OR 1999
PUBLIC/ CORP COLLECTIONS
The Museum of Modern Art (MOMA) • Los Angeles County Museum of Art (LACMA)• The Museum of New Art, Detroit • Musee de Artcolle, Paris, France • The Hallie Ford Museum, Salem, OR • The Dishman Gallery, Lamar University, Beaumont, TX • International Museum of Collage, Assemblage, and Construction, Cuernavaca, Mexico • Langenscheidt KG, Munich, DE • Bibliographisches Institut/ Dudenverlag, Mannheim, DE
New York • Paris • Berlin • Mannheim • Munich • Boston • San Francisco • Atlanta • Seattle • Portland
ACTIVITIES AND STUDIO RESIDENCY
Chashama Studio Residency, Tribeca NYC 2004 – 2005 • Founding member Das Bildwoerterbuch Projekt/ Berlin • Member/ BWAC/ Brooklyn, NY ongoing • The Hockney Dilemma – investigations in visual perception/ online contributor • Ivy/ Paris Meetup • Human Artefakts Collage Group
Studios: The Brooklyn Artist’s Gym, Brooklyn, NYC and in a country setting near Boston, MA
A Book About Death originated in New York City at the Emily Harvey Foundation and was curated by Matthew Rose. The show traveled to 26 cities worldwide and now copies of the show reside in the collections of the Museum of Modern Art and the Los Angeles County Museum of Art.
Herman James was born and raised in Oregon where he developed an abiding regard for nature. The artist showed for a number of years in important galleries in Portland and Seattle and enjoyed much critical attention in the Northwest.
Although he later moved East to New York City and the Boston area in order to be closer to the center of the arts critical forum, the artist continues to occasionally show In Oregon.
Herman James has shown throughout the U.S. as well as in the E.U. and in New Zealand. He has shown in New York with Amos Eno on Mercer Street in SoHo, with Joyce Goldstein on Wooster Street in SoHo, with Monique Goldstrom on Broadway in SoHo, at NYU’s Washington Square East Gallery, at Dutch Kills Gallery in LIC, Queens, and more. In Germany, the artist has shown with reinerTisch (meaning Tabula Rasa or Clear Table in Deutsch) in Berlin/Friedrichshain and with Galerie Rothamel of Frankfurt/Erfurt. He has also shown In Paris at the well-known space in the Chapelle Saint-Louis de la Salpetriere under the auspices of Ivy/Paris.
Herman James’ work will be included in the May 2012 issue of Studio Visit Magazine. The magazine is a curated publication of New American Paintings. Past curators are some of the most distinguished curators of our time, including independent curators Carl Belz and Klaus Kertess and museum curators Connie Butler (MOMA), Howard Fox (LA County Museum), and Jessica Morgan (Tate Modern). The May 2012 issue was curated by Trevor Richardson, Director of the Herter Gallery at the University of Massachusetts at Amherst. The magazine is international in terms of the scope of its distribution (by direct mail to galleries and institutions) and sales (Barnes and Noble, Blick among many outlets for fine arts magazines). For a select list of past curators see http://www.newamericanpaintings.com/about.html.
In 2004-05, the artist was honored with a Chashama Studio Residency at 40 Worth Street in Tribeca. During his residency, he started on the beginnings of the work that forms his current interest. After his residency ended, he joined the Brooklyn Artists Gym in Gowanus, where he retains ties.
In terms of his aesthetic and creative study, Herman James has many interests. He finds internal connection and strong visual possibilities in depictions of global warming in photomontage, drawing, and painting. The artist finds potentiality for the future of his artistic activity in accessing imagery that provokes not only thought but also action on behalf of the environment.
In his series that he titles Melt, the artist attempts to show in a compelling way some of the effects of global warming. However, he is not so much interested in delineating the actualities of the current global climate situation or any specifics of the facts of global climate change as he is in showing overt representations of a world in trouble. He believes that charts and graphs of such things as oceanic current flow or rising sea levels or the agglomeration of gaseous particulates in the atmosphere that seem to be the genesis of our worsening situation, while cogent and necessary, are not visceral enough to bring most of us to action. Rather, he feels that raising alarms is in order. Perhaps even a bit of visual bomb throwing. He believes that over-the-top creative picture making is needed to drive home the point, not only to the mind, but to the heart as well.
Herman James feels that picture-makers of all sorts are uniquely able and positioned to create compelling imagery that, in a moment of viewing, tells the story. Among the many pictorial and illustrative strategies the artist employs perhaps his use of dark humor gets the most attention. However, he believes sentiment added into that darkness can drive the point even deeper into the psyche. He also believes however, that getting these images seen outside of the gallery context may be necessary.
In April 2009, Herman James showed a series of paintings based on themes depicting the possible consequences of global warming in a show in Long Island City at Dutch Kills Gallery called Consumption/Consequence along side the work of his environmentally concerned artist friend Whitey Flagg. The show was reviewed in Roberta Fallon and Libby Rosof’s Artblog by Matthew Rose, the Paris-based critic and writer for the likes of Art in America and Art Forum. In his article Mr. Rose focused on Herman James’ large oil painting “On the Incoming Tide (Lower Hudson)” that depicts a giant iceberg off lower Manhattan being rounded up by tugboats and with a TV helicopter over head. This painting was also seen that month during the projection night at Location One in SoHo where it was received favorably by their assembled panel of New York City based curators and collectors. Matthew Rose’s review can be found at: http://www.theartblog.org/2009/04/h...
In 2009 and 2010, Herman James with a partner founded and operated climate/gallery LLC in Long Island City near PS1. The gallery showed and represented artists from around the world. The mission of the gallery centered on affording artists an opportunity to be seen by eminent curators and gallerists in New York City. These curators included Jason Andrew of Norte Maar, Bonni Benrubi of the Bonni Benrubi Gallery, and Jonathon Talbot, the internationally known collage artist and educator, among others. Catalogues of the gallery shows were published.
Herman James the gallerist curated a number of shows for the gallery including a general photography show titled Focal_Resolution, a New Media show titled Zeros and Ones: Media in the Digital Age, and a drawing show titled Der Zeit of Drawing: The Time of Drawing
Both as artist and gallerist, Herman James formed many collegial relationships in the U.S. and the E.U. For instance, in New York City he has worked closely with Michele Maigret-Lefstein, one of the current directors of Fred Torres Collaborations, partnering with her for climate/gallery where she managed the sales effort. Before her collaboration at climate/gallery Ms. Maigret-Lefstein was formerly the gallery manager at Dillon Gallery and at Forum Gallery and worked for a time for the Luhring Augustine Gallery. She was also the personal assistant to the French-American assemblage artist, Arman, for a time before his death.
Through his experience as a gallerist, Herman James gained valuable insight into the artist/gallery relationship, including the importance of meeting gallery commitments on the part of both parties, and the importance of both collegial yet business-like relationships. It takes both to survive and thrive. For instance, on the artist side of things, it is important for the artist to maintain a strong work schedule in studio so as to amply supply the needs of the gallery. It is also important for the artist to provide the gallery with any materials needed for representation in a timely way, such as bios and prices and much else. In addition, it is important for the artist to support the gallery by attending openings and events. Also importantly, the artist should give to the gallery his or her list of contacts in order to generally build the gallery's ability to work on the artist’s behalf.
In Brooklyn, Herman James is an ongoing member of the Brooklyn Waterfront Artists Coalition (BWAC) and has shown with AMMO in DUMBO, BAG Gallery in Gowanus, with the MicroMuseum on Smith Street in Boerum Hill (near Borough Hall), and at the civil war pier in Red Hook (BWAC).
Currently, Herman James does the majority of his work in a studio in a country setting on a quarter acre of land on the outskirts of Boston. The artist retains ties with the studios at the Brooklyn Artists Gym in order to show his work to clients and interested parties at that location.
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