Howardena Pindell American, born 1943

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Howardena Pindell - Untitled
Auction
20th Century Evening Sale
November 2022
Christies, New York
Est.: 500.000 - 700.000 USD
Realised: 1.071.000 USD
Details
Howardena Pindell - Untitled #24
Auction
20th Century Evening Sale
May 2022
Christies, New York
Est.: 300.000 - 500.000 USD
Realised: 1.134.000 USD
Details
Howardena Pindell - Kyoto (Positive/Negative)
Auction
Editions & Works on Paper
April 2022
Phillips, New York Auction
Est.: 5.000 - 7.000 USD
Realised: 4.410 USD
Details
Howardena Pindell - Untitled
Auction
Editions & Works on Paper
October 2021
Phillips, New York Auction
Est.: 3.000 - 5.000 USD
Realised: 6.300 USD
Details
Howardena Pindell - Untitled Antoinette Series II
Auction
Christie's Interiors
December 2010
Christies, New York
Est.: 500 - 700 USD
Realised: 1.125 USD
Details
Howardena Pindell - Untitled
Auction
Christie's Interiors
July 2008
Christies, New York
Est.: 5.000 - 7.000 USD
Realised: 10.625 USD
Details
Howardena Pindell - Untitled #98
Auction
Christie's Interiors
January 2008
Christies, New York
Est.: 700 - 900 USD
Realised: 2.750 USD
Details
Howardena Pindell - #108 Memory Test: Sorry it was an Accident
Auction
The House Sale
October 2006
Christies, New York
Est.: 500 - 700 USD
Realised: 3.120 USD
Details

The artist Howardena Pindell

  • Contemporary abstract artist from the USA.
  • Her art deals with metaphorical processes of destruction and reconstruction.
  • Has been a full professor at the State University of New York since 1979.

Howardena Pindell achieved a seamless success story: born in Philadelphia in 1943, she went to Boston to study painting at Yale University. Immediately afterwards, she worked for twelve years in the Department of Prints and Illustrated Books at the Museum of Modern Arts in New York. From 1979 she taught at the State University of New York, Stony Brook, where she is now a full professor.

Her art is concerned with metaphorical processes of destruction and reconstruction. Surface structures and gridded serial images hold a special fascination for her – they run throughout her oeuvre. Pindell cuts canvases into strips, for example, and then sews them back together to redefine their surface. She punches holes out of paper, then passes paint through them so that it sticks to the resulting stencil and gives it texture. She continues to use this method in her later work, using it to address social issues such as homelessness, AIDS, war, genocide, sexism, and racism.

Pindell's work has been part of major group exhibitions that include Energy/Experimentation: Black Artists and Abstraction, 1964-1980 (2006, The Studio Museum in Harlem), WACK! Art and the Feminist Revolution (2007, Museum of Contemporary Art, Los Angeles), Black in the Abstract: Part I, Epistrophy (2013, Contemporary Arts Museum, Houston), or most recently Just Above Midtown. Changing Spaces (2022, Museum of Modern Art, New York) are among them.

She has also had a number of solo exhibitions, while her work can be found in the permanent collections of museums such as the Louisiana Museum of Modern Art near Copenhagen, the Metropolitan Museum of Art in New York, the Museum of Contemporary Art in Chicago, the Museum of Modern Art in New York, the Museum of Fine Arts in Boston, the National Gallery of Art in Washington, D. C., and the Philadelphia Museum of Art.

Die Künstlerin Howardena Pindell

  • Zeitgenössische, abstrakte Künstlerin aus den USA.
  • Ihre Kunst behandelt metaphorische Prozesse von Zerstörung und Rekonstruktion.
  • Seit 1979 ordentliche Professorin an der State University of New York.

Howardena Pindell legte eine nahtlose Erfolgsgeschichte aufs Parkett: 1943 in Philadelphia geboren, ging sie für ihr Studium nach Boston, um an der Yale University Malerei zu studieren. Direkt im Anschluss arbeitete sie zwölf Jahre lang im Department of Prints and Illustrated Books im Museum of Modern Arts in New York. Ab 1979 unterrichtete sie an der State University of New York, Stony Brook, an der sie heute eine ordentliche Professur innehat.

Ihre Kunst beschäftigt sich mit metaphorischen Prozessen von Zerstörung und Rekonstruktion. Oberflächenstrukturen und gerasterte serielle Bilder üben auf sie eine besondere Faszination aus – sie ziehen sich durch ihr gesamtes Œuvre. Pindell schneidet etwa Leinwände in Streifen und näht sie anschließend wieder zusammen, um ihre Oberfläche neu zu definieren. Sie stanzt Löcher aus Papier, gibt Farbe hindurch, sodass diese an der entstandenen Schablone hängen bleibt und ihr eine Struktur verleiht. Auch in ihrem Spätwerk nutzt sie diese Methode, um damit gesellschaftliche Themen wie Obdachlosigkeit, Aids, Krieg, Völkermord, Sexismus und Rassismus anzusprechen.

Pindells Arbeiten waren Teil bedeutender Gruppenausstellungen, zu denen Energy/Experimentation: Black Artists and Abstraction, 1964-1980 (2006, The Studio Museum in Harlem), WACK! Art and the Feminist Revolution (2007, Museum of Contemporary Art, Los Angeles), Black in the Abstract: Part I, Epistrophy (2013, Contemporary Arts Museum, Houston) oder jüngst Just Above Midtown. Changing Spaces (2022, Museum of Modern Art, New York) gehören. 

Sie bestritt außerdem eine ganze Reihe von Einzelausstellungen, während ihre Werke in den ständigen Sammlungen von Museen wie dem Louisiana Museum of Modern Art nahe Kopenhagen, dem Metropolitan Museum of Art in New York, dem Museum of Contemporary Art in Chicago, dem Museum of Modern Art in New York, dem Museum of Fine Arts in Boston, der National Gallery of Art in Washington, D. C. oder dem Philadelphia Museum of Art zu finden sind.

Howardena Pindell in News and Exhibitions

MoMA - Just Above Midtown

David Hammons, Butch Morris, Senga Nengudi, Lorraine O'Grady, and Howardena Pindell-their common thread? They all tried their hand at the Just Above Midtown gallery in the 1970s and 1980s. A place that brought African American art to the forefront and was open to the experimental. The Museum of Modern Art recalls their spirit beginning October 9.

October 09, 2022

Howardena Pindell in News and Exhibitions

MoMA – Just Above Midtown. Changing Spaces

David Hammons, Butch Morris, Senga Nengudi, Lorraine O'Grady und Howardena Pindell – ihre Gemeinsamkeit? Sie alle haben sich in den 1970er und 1980er Jahren in der Just Above Midtown Galerie ausprobiert. Ein Ort, der afroamerikanische Kunst in den Vordergrund rückte und offen für Experimentelles war. Das Museum of Modern Art ruft ihren Geist ab dem 9. Oktober in Erinnerung. 

October 09, 2022