Howardena Pindell b. 1943 Video Drawing: Golf Series 1977 c-print documenting drawing on acetate over television screen 4-1/2 x 6-1/2 inches (image) signed, dated, numbered 1/10 Provenance: private collection, Atlanta, GA. Sampada Aranke, an Associate Professor of Art History and Comparative Studies at Ohio State University, wrote this about Pindell's Video Drawings for Document Space in Chicago (2018): Pindellâs Video Drawings series is a meditation on the hegemony of the (tele)visual, one that forms a critique by way of the blur. In Pindellâs hands, blurring the image becomes a way to slow down the pace of image consumption in order to consider the multi-layered impacts of televisual images in everyday life. For these works, first Pindell drew an intuitive composition of lines and arrows onto sheets of acetate. These transparencies were then placed in front of a television screen, where the sheet would stick due to the static electricity that emitted from the screen. Sitting away from both the television and the camera propped in front of it, she would âwatchâ TV through the acetate, and decidedly take photographs with a cable release when she felt the image on TV compelled an interesting relationship with the drawn acetate composition. This final image yields a âdrawnâ composition of a material meditation on the formal processes of image transmission and translation across media, coupled with then-current events, which also hauntingly remain relevant to the contemporary viewer. These works focused on sporting events in the mid-1970s and Pindell turned to images from war-torn countries throughout the 1980s. Video Drawings move away from the clarity presupposed by the photographic, and instead make room for the generative processes of televisual translation as a signpost of contemporary life. If, as Guy Debord would have it, the âsociety of the spectacleââ an endless loop of mediation and image-consumption where our leisure time is merely another form of workâ best characterizes post-WWII life, then Pindellâs particular mode of photographic capture asks us to rethink the influence of televisual in our everyday lives. We can situate Pindellâs series, which began in the mid-1970s, within a history of video art, which emerges earlier in that decade. Many early video artists were particularly interested in how television reshaped what could be considered âart,â in many of the same ways that photography had done in the 19th century.
Howardena Pindell b. 1943 East-West: Music Making Angel 1986 gouache, tempera, postcards, on museum board 27 x 35 x 7 inches identified verso Exhibited: Women Only! In Their Studios, Lowe Art Museum, University of Miami (February 16-March 30, 2008) A similar example from this series is included in the permanent collection of The Mint Museum, and the description of their work is relevant to this example: Howardena Pindell experimented with various forms of collage throughout her career, from her provocative works made up of hole punches in the 1970s to the dynamic curving forms of her âAutobiographyâ series from the early 1980s, which includes The Mint Museumâs East/West (Gardens). Pindell created the series after a severe accident in 1979 left her with short-term memory loss. The âEast/Westâ part of âAutobiographyâ utilizes postcards collected during her global travels, reconfiguring images from places that she visited into compositions that recall flashes of memories, perhaps echoing the way in which the brain works to piece together information. Gardens were sources of inspiration and solace to Pindell when she encountered racism and prejudice during a trip to Japan. (source: mint museum.org) Lowery Stokes Sims, in her essay: Synthesis and Integration in the Work of Howardena Pindell, 1972-1992: Pindell has definitely gravitated to what she described as "more natural shapes" as the "circle/ oval has become more biomorphic, less symmetrical, generated by some internal intuition of nature."14 In these works, Pindell segments the postcard images that splays out form through the repetition of discretely progressive views of a scene." (source: jhu.edu)
Howardena Pindell b. 1943 Video Drawing: Golf Series 1977 c-print documenting drawing on acetate over television screen 4-1/2 x 6-1/2 inches (image) signed, dated, numbered 1/10 Provenance: private collection, Atlanta, GA. Sampada Aranke, an Associate Professor of Art History and Comparative Studies at Ohio State University, wrote this about Pindell's Video Drawings for Document Space in Chicago (2018): Pindellâs Video Drawings series is a meditation on the hegemony of the (tele)visual, one that forms a critique by way of the blur. In Pindellâs hands, blurring the image becomes a way to slow down the pace of image consumption in order to consider the multi-layered impacts of televisual images in everyday life. For these works, first Pindell drew an intuitive composition of lines and arrows onto sheets of acetate. These transparencies were then placed in front of a television screen, where the sheet would stick due to the static electricity that emitted from the screen. Sitting away from both the television and the camera propped in front of it, she would âwatchâ TV through the acetate, and decidedly take photographs with a cable release when she felt the image on TV compelled an interesting relationship with the drawn acetate composition. This final image yields a âdrawnâ composition of a material meditation on the formal processes of image transmission and translation across media, coupled with then-current events, which also hauntingly remain relevant to the contemporary viewer. These works focused on sporting events in the mid-1970s and Pindell turned to images from war-torn countries throughout the 1980s. Video Drawings move away from the clarity presupposed by the photographic, and instead make room for the generative processes of televisual translation as a signpost of contemporary life. If, as Guy Debord would have it, the âsociety of the spectacleââ an endless loop of mediation and image-consumption where our leisure time is merely another form of workâ best characterizes post-WWII life, then Pindellâs particular mode of photographic capture asks us to rethink the influence of televisual in our everyday lives. We can situate Pindellâs series, which began in the mid-1970s, within a history of video art, which emerges earlier in that decade. Many early video artists were particularly interested in how television reshaped what could be considered âart,â in many of the same ways that photography had done in the 19th century.
HOWARDENA PINDELL (1943 - ) Skowhegan Series: Lake Lillies for Karen. Tempera, gouache, postcards, punched paper, nails, fluorescent paint, glitter and thread on board, 1980-81. Approximately 356x610 mm; 14x24 inches; 768x463x108 mm; 30¼x18¼x4¼ inches (including Plexiglass box). Signed and dated "1980-81" in pencil, lower right on the mount. Titled in pencil, lower left on the mount. Provenance: private collection, New York (1981); thence by descent, private collection, Connecticut. Exhibited: Monique Knowlton Gallery, New York, 1981; Howardena Pindell: Odyseey, The Studio Museum in Harlem, New York, February 12 - June 12, 1986, with exhibition labels on the frame back. Howardena Pindell first engaged with hole-punched circles by counting and numbering each one, then placed them over a gridded form — often the lines of graph paper — and added embellishments such as acrylic, watercolor, glitter, and even baby powder. Pindell's affinity with numbers and grids grew from the influence of her father — a mathematician who often wrote down figures in a gridded journal. In 1972, Pindell was one of 22 co-founders of the A.I.R. Gallery in New York, which was the first artist-directed gallery for women artists in the United States. By 1977, she was appointed associate curator in the Prints and Drawings Department at MoMA. In 1979, just when she was beginning the next phase of her career as a professor of art at SUNY, Stony Brook, Pindell was injured in a serious car accident that left her with acute memory loss. Her subsequent 1980-81 Memory series transformed postcards saved from her global travels into elaborate assemblages that helped reconstruct her memories. This Howardena Pindell assemblage is a stunning example from her early 1980s Memory series, with the most vibrant colors and rich surfaces. The Skowhegan series was made over a short period after Pindell's year on the faculty of the Skowhegan School of Painting and Sculpture in Maine in the summer of 1980. Two other works from this series were exhibited by Garth Greenan Gallery at Art Basel in 2021. Howardena Pindell now serves on the Governor's Circle of Skowhegan.
HOWARDENA PINDELL (1943 - ) Untitled (#72). Acrylic, watercolor, punched graph papers and computer tape, 1975. Approximately 241x191 mm; 9½x7½ inches; 362x286x13 mm; 14¼x11¼x inches (including the Plexiglass box). Signed, titled and dated in pencil, lower right. Provenance: Stanley Poler, Inc., New York, with the gallery address label on the mount back; private collection, New York, with hand-written labels on the mount back. This punched paper assemblage is a colorful and early example of the Howardena Pindell's important work in this innovative medium. Several other examples of this series, including Untitled #69, were included in the artist's 2018 traveling retrospective, Howardena Pindell: What Remains To Be Seen, curated by Naomi Beckwith and Valerie Cassel Oliver, organized at the Museum of Contemporary Art, Chicago.
Howardena Pindell Peter Squares Waterfall, Johnson, Vermont 1986 woodcut in colors and collage on Japan 26 h x 35.75 w in (66 x 91 cm) Signed, titled, dated and numbered to lower edge '4/15 Peter Squares Waterfall Johnson Vermont Howardena Pindell 1986'. This work is number 4 from the edition of 15 published by Ariana Foundation for the Arts, Inc. This work will ship from Lambertville, New Jersey.
Howardena Pindell Kyoto (Positive/Negative) 1980 double-sided lithograph with etching in colors on five sheets of laminated Kinwashi Chine colle to dyed Japan 26.75 h x 20.5 w in (68 x 52 cm) Signed, dated and numbered to lower edge 'A.P. 3 Howardena Pindell 1980'. This work is artist's proof number 3 apart from the edition of 30 printed by Aeropress and Solo Impression, Inc. New York and published by Bristol Art Editions, New York. This work will ship from Lambertville, New Jersey.
Howardena Pindell (American, b. 1943) Kensington Series #3, 1974 mixed media signed H. Pindell and dated (upper right); titled and dated (upper left) 8 1/2 x 22 1/2 inches.
Howardena Pindell (American, b. 1943) Untitled #83, 1977 acrylic, watercolor, gouache, powdered pigment, thread and spray adhesive signed Howardena Pindell, titled and dated (lower right) 12 1/2 x 28 inches. Lot Essay: Equal parts social scientist, revered professor, institutional critic, and skilled artist, Howardena Pindell (b. 1943) has been able to engage her own past life experiences to examine the larger structures and institutions of the art world and her place therein, exploring and exposing themes of racism, feminism, and regeneration through abstraction. It all comes back to a circle. In an interview from October 2020 in The New York Times, Howardena Pindell recalls being drawn to the form -- a recurring theme in her artistic practice -- which she had first “experienced as a scary thing.” At a root beer stand with her father as a child, she noticed red dots stuck to the bottom of their mugs; the dots were markers of which glassware was appropriate for use by nonwhites in Jim Crows’ America. These circles, originally acting as a symbol othering her, would later make their way into Pindell's work where she would reclaim the form as her own, enveloping her artistic practice. After a childhood in Pennsylvania with an aptitude for the arts, she received her BFA from Boston University, and then an MFA from Yale University, which introduced her to abstraction. Kensington Series #3 (1974) and Untitled #83 (1977) are both excellent early-career examples from Pindell, removed from her earliest figurative training and demonstrative of the beginning of the process that would inform her entire oeuvre. Canvases are first cut into strips and sewn back together, cartographically, before painting or drawing on the surface. Then, dots (or “chads”) are cut from the paper with a hole punch and dropped onto the glue-prepped canvas, while the remaining punctured paper serves as a conduit to squeeze paint through, layering the materials together, as we see in Untitled #83. Pindell plays with space on the canvas and the absence of space in the paper stencil, the ordinariness of a hole-punch, and the idea of what constitutes a painting. Sometimes, as seen in Kensington Series #3, the chads are scrawled with rune-like symbols, a reference to her fascination with the coding and rituals present in African sculpture. Other times, they are almost buried under color and texture. Pindell moved to New York following her MFA program and began working in the Arts Education Department at the Museum of Modern Art, though her personal practice would remain of the utmost importance to her. She stayed at MOMA for the next 12 years, working through the ranks from exhibition assistant to curatorial assistant, to finally achieving the distinction of becoming the first black woman to be a curator at the institution. Outside of working hours, her inclusion in the 1972 Annual Exhibition: Contemporary American Painting, Whitney Museum of American Art only fueled her passion. Kensington Series #3 (1974) and Untitled #83 (1977), both created following her Whitney show, are testaments to her commitment to her art. A more metaphorical but nonetheless circular obsession dominates Pindell's practice, that of persistent cycles of destruction and recreation. She is dismantling and then recreating the canvas, perforating then repurposing the paper, a three-dimensional form of pointillism. Continuing her artistic preoccupation of connecting her artwork to her life experiences, Pindell herself has had to endure the physical and emotional process of regeneration: a horrific car accident in 1979 left her with injuries and short-term memory loss. Her work helped her recover as she began to incorporate biographical imagery into her style, resuscitating canvases and mapping her own memory. Clearly no stranger to duality, Pindell, a lifelong academic and curator, has spent as much time critiquing institutions as she has inside them. Her studio practice was not her only focus – the underlying racism she experienced in the art world informed her related political action. Over 7 years at MOMA, Pindell collected information from art institutions and galleries in New York state about their representation of nonwhite artists and designers. Her findings – that 54 out of the 64 surveyed institutions represented 90% or greater white artists – were published in the March 1989 issue of ARTnews. Pindell also co-founded A.I.R., the first artist-centered gallery concentrating on providing women a non-commercial space to curate and show work. She also organized a show through A.I.R. titled The Dialectics of Isolation: An Exhibition of Third World Women Artists of the US, reflecting on her own experience with tokenism and racism even within the feminist movement. Her activism continued in the years following her accident. Pindell wrote letters about racism and social issues to institutions, signing them “The Black Hornet,” and continued her demographic surveys of museum exhibitions and gallery rosters across the state. She then co-founded a cross-generational black women’s artist collective called Entitled: Black Women Artists, which has grown to international proportions, supported by her traveling and lecturing. Among a litany of other accolades, Pindell received a Guggenheim Fellowship for painting in 1987, two National Endowment for the Arts Fellowships, and honorary doctorates from the Massachusetts College of Art and Design and Parsons School for Design. Pindell retains a teaching position at Stony Brook University and had her first solo exhibition in the United Kingdom in 2022. So far, she has not -- and will not -- slow down on her course of constant regeneration: of her own life and health, her artistic practices, and her hope for the restructuring of art world institutions.
HOWARDENA PINDELL (1943 - ) Flowers (CP). Open bite etching on cream chine collé on thin off-white Japan paper, 2002-2003. 89x89 mm; 3 1/2x3 1/2 inches, full margins. Signed, dated, titled and numbered 1/40 in pencil, lower margin. With the artist's red ink chop mark, lower right.
HOWARDENA PINDELL (1943- ) Mask. Tempera, gouache, postcards, punched paper, thread and nails on museum board, 1980-82. 356x305 mm; 14x12 inches; 508x406 mm; 20x16 inches, including the mount and Plexiglass box. Signed and dated in pencil, lower right, and titled in pencil, lower left, on the mount. Provenance: private collection, New Jersey. Exhibited: Howardena Pindell: Recent Works on Paper, Monique Knowlton Gallery, New York, NY, April 4 - May 2, 1981, with the gallery label on the frame back.
HOWARDENA PINDELL (1943- ) War Games Disguised II. Tempera, gouache, postcards, punched paper, thread, nails and plastic toy soldiers on museum board, 1980-81. 343x419 mm; 13 1/2x16 1/2 inches; 508x406 mm; 16x20 inches, including the mount and Plexiglass box. Signed and dated in pencil, lower left and titled in pencil, lower right, on the mount. Provenance: private collection, New Jersey. Exhibited: Howardena Pindell: Recent Works on Paper, Monique Knowlton Gallery, New York, NY, April 4 - May 2, 1981, with the gallery label on the frame back. In 1979, just as Howardena Pindell was beginning the next phase of her career as a professor of art at SUNY, Stony Brook, she was injured in a serious car accident that left her with acute memory loss. Her subsequent 1980-81 Oval Memory series transformed postcards saved from her global travels into elaborate assemblages that helped reconstruct her memories. War Games Disguised II and lot 123 Mask show how Pindell's experimental assemblage evolved to incorporate political and social themes.
HOWARDENA PINDELL (1943 - ) Kyoto (Positive/Negative). Color lithograph and etching on dyed Japan paper with five sheets of laminated Kinwashi paper, 1980. 673x521 mm; 26 1/2x20 1/2 inches. Printer's proof, aside from the edtion of 30. Signed and dated in pencil, lower right. Inscribed "P.P. 2" in pencil, lower left. Other impressions of this scarce print are in the collections of the National Gallery of Art and the University of Michigan Museum of Art.
HOWARDENA PINDELL (1943- ) Untitled #57. Acrylic, watercolor, punched graph papers, gold and computer tape, 1974-75. Approx. 210x318 mm; 8 1/4x12 1/2 inches; 406x508x38 mm; 16x20x1 1/2 inches (including the mount and Plexiglass box). Signed, titled and dated in pencil, lower right. Provenance: Rosa Esman Gallery, New York, with the gallery label on the frame back; private collection, New Jersey (1975). This punched paper assemblage is a beautiful example of the Howardena Pindell's important, ground breaking work in this innovative medium. Several other examples of this early series, including Untitled #27, #43, #58 and #69 from this period were included in the artist's 2018 traveling retrospective, Howardena Pindell: What Remains To Be Seen, curated by Naomi Beckwith and Valerie Cassel Oliver, organized at the Museum of Contemporary Art, Chicago.
HOWARDENA PINDELL (1943 - ) Flight/Fields. Color lithograph with etching and collage, 1988-89. 495x584 mm; 19 1/2x23 inches, full margins. Signed, dated, titled and numbered 26/30 in pencil, lower margin. Printed by Solo Impressions, Inc., New York, with the blind stamp lower right. Published by Mezzanine Gallery, Delaware, with the blind stamp lower left margin, and the Metropolitan Museum of Art, New York. Another impression is in the collection of the Metropolitan Museum of Art, New York.
HOWARDENA PINDELL (1943- ) Oval Memory Series: (Rhinoceros) Heaven. Tempera, gouache, postcards, punched paper, nails, fluorescent paint, glitter and thread on board, 1980-81. Approximately 330x560 mm; 13x22 inches; 668x412x102 mm; 26 1/4x16 1/4x4 inches (including Plexiglass box). Signed and dated "1980-81" in pencil, lower right on the mount. Provenance: private collection, Los Angeles (1981); thence by descent, private collection, New York. Exhibited: Lerner-Heller Gallery, New York, 1981, with the gallery label on the frame back. Born in Philadelphia, Howardena Pindell pursued her passion in art from a young age, with extensive lessons in fine art. She received a BFA from Boston University in 1965, and an MFA from Yale University in 1967. Pindell moved to New York, and began working in the Art's Education Department at the Museum of Modern Art. Howardena Pindell first engaged with hole-punched circles by counting and numbering each one, then placed them over a gridded form — often the lines of graph paper — and added embellishments such as acrylic, watercolor, glitter, and even baby powder. Pindell's affinity with numbers and grids grew from the influence of her father — a mathematician who often wrote down figures in a gridded journal. In 1972, Pindell was one of 22 co-founders of the A.I.R. Gallery in New York, which was the first artist-directed gallery for women artists in the United States. By 1977, she was appointed associate curator in the Prints and Drawings Department at MoMA. In 1979, just when she was beginning the next phase of her career as a professor of art at SUNY, Stony Brook, Pindell was injured in a serious car accident that left her with acute memory loss. Her subsequent 1980-81 Oval Memory series transformed postcards saved from her global travels into elaborate assemblages that helped reconstruct her memories. This beautiful example of the Howardena Pindell's Oval Memory Series assemblage is the first of this important series to come to auction. Her Autobiography: Oval Memory #1 is in the collection of the artist; Oval Memory Series II: Castle Dragon. is in the collection of the Metropolitan Museum of Art.
Howardena Pindell b. 1943 Autobiography: Present and Autobiography: Past diptych 1988-89 serigraph each print, 21-1/2 x 30 inches signed, titled, dated and numbered 4/55 in pencil Provenance: The Collection of Dr. Dianne Whitfield-Locke and Dr. Carnell Locke, Maryland Exhibited: Building on Tradition, The Collection of Dr. Dianne Whitfield-Locke and Dr. Carnell Locke, Hampton University Museum, October 12, 2013-December 7, 2013. Literature: International Review of African American Art, Vol. 24, 3B, a Hampton University publication, pp. 60-61.
HOWARDENA PINDELL (1943 - ) Flowers I. Open bite etching on cream chine collé on thin off-white Japan paper, 2003. 1919x1919 mm; 7x7 inches (sheet). Proof, aside from the CP edition of 40 on a different paper. Signed, dated, titled and numbered 9/10 in pencil, lower margin. With the artist's red ink chop mark, lower right.
Howardena Pindell (American, b. 1943) Video Drawings: Baseball Series, 1974-76 (diptych) c-prints documenting drawing on acetate over television screen each signed H. Pindell and dated (lower right) 5 1/2 x 7 1/2 and 4 3/4 x 6 1/2 inches. Provenance: Acquired directly from the artist by the present owner in 1997 From a Private Collection, Tucson Arizona
Howardena Pindell (American, b. 1943) Video Drawing: Hockey Series, 1973-1976 c-print documenting drawing on acetate over television screen edition of 10; signed H. Pindell (lower right) 6 1/2 x 9 1/4 inches. Provenance: Acquired directly from the artist by the present owner in 1997 From a Private Collection, Tucson Arizona
Howardena Pindell (American, b. 1943) Video Drawing: Swimming Series, 1976 c-print documenting drawing on acetate over television screen edition of 10; signed H. Pindell and dated (lower right) 4 3/4 x 6 1/2 inches. Provenance: Acquired directly from the artist by the present owner in 1997 From a Private Collection, Tucson Arizona
Howardena Pindell b. 1943 Autobiography: Present and Autobiography: Past (diptych) Serigraph in two parts 1988-89 Edition 4/55 Signed, titled, dated and numbered in pencil Provenance: The Collection of Dr. Dianne Whitfield-Locke and Dr. Carnell Locke, Maryland Exhibited: Building on Tradition, The Collection of Dr. Dianne Whitfield-Locke and Dr. Carnell Locke, Hampton University Museum, October 12, 2013-December 7, 2013. Literature: International Review of African American Art, Vol. 24, 3B, a Hampton University publication, pp. 60-61. 21.5 x 30 inches (each image)
Mixed media paper construction, 1985, signed 'Pindell Howardina' on the reverse, titled on the back of the box, in a Plexiglas box.Overall 42 x 32 x 15 in.
HOWARDENA PINDELL (1943 - ) Untitled #1. Mixed media on paper collage with nails, glitter, thread and a wolf plastic figurine, 1980-81. Approximately 273x260 mm; 10 3/4x10 1/4 inches. Signed, dated "1980-81" and inscribed "#1" in pencil, on mount. With artist's studio stamp on the frame back. Provenance: Heath Gallery, Atlanta, with the label on the frameback (1981); private collection, Rhode Island. Howardena Pindell first engaged with hole-punched circles by counting and numbering each one, then placed them over a gridded form — often the lines of graph paper — and added embellishments such as acrylic, watercolor, glitter, and even baby powder. Her inspiration in numbers and grids grew from her father — a mathematician who often wrote down figures in a gridded journal. In Untitled #1, Pindell collages images of monuments with various postcards, including images of the Seattle's Space Needle and Washington DC's Capitol Hill. Upon each of these monuments, she employs a grid that becomes lavishly intricated with glitter, nails, and small fragments of paper.
HOWARDENA PINDELL (1943 - ) Untitled. Color lithograph with chine collé, 1976. 559x762 mm; 22x30 inches. Trial proof, aside the edition of 30. Signed, dated and inscribed "Trial Proof II" in pencil, lower edge recto. Signed, dated "11/20/1976" and inscribed "Approval to print with lighter gray" in pencil, verso. From the A.I.R. Print Portfolio. Another impression is in the collection of the Smithsonian American Art Museum, Washington, DC.
HOWARDENA PINDELL (1943 - ) Untitled. Pencil, acrylic and colored pencils on graph paper, 1970. 445x562 mm; 17 1/2x22 1/8 inches. Signed, dated and inscribed "Untitled" and "Pencil, acrylic and colored pencil on graph paper" in pencil, verso. Provenance: Tranegården Gentofte Kunstbibliotek, Hellerup, Denmark; private collection (2003). Exhibited: Yngre amerikansk kunst: tegninger og grafik / Young American Artists: Drawings and Graphic, ed. Gentofte Rådhus, Steingrim Laursen, Det Tyske Kulturinstitut, Copenhagen, Denmark, January 24 – February 11, 1973. This elegant drawing is an excellent and very scarce example of a 1970 work of paper by Howardena Pindell. From 1968-72, Pindell created such refined abstract compositions of ovals and circles on paper and canvas before her celebrated punched-hole collaged compositions. This significant period is highlighted in the recent traveling retrospective, Howardena Pindell: What Remains To Be Seen, curated by Naomi Beckwith and Valerie Cassel Oliver, organized at the Museum of Contemporary Art, Chicago. Illustrated in the catalogue, Gray Space Frame, 1968, and Untitled, 1968, earlier drawings with a black ground anticipate her exploration of the figure ground relationships with a pattern of colored dots. Oliver notes how in the early 1970s Pindell also had a brief monochromatic period with two series of drawings in black before returning to color. Beckworth/Oliver fig. 16; p. 65; fig. 1, pp. 112-113.
HOWARDENA PINDELL (1943 - ) Flowers I (C.P.). Open bite etching on chine collé, 2002-2003. 89x89 mm; 3 1/2x3 1/2 inches, full margins. Signed, titled, dated "2002, 2002-2003" and numbered 15/40 in pencil, lower margin. With the artist's red ink chop mark, lower right.
HOWARDENA PINDELL (1943 - ) Kyoto (Positive/Negative). Lithograph and etching on dyed Japan paper with five sheets of laminated Kinwashi paper, 1980. 673x521 mm; 26 1/2x20 1/2 inches. Signed and dated in pencil, lower right. Numbered 25/30 in pencil, lower left. Other impressions of this scarce print are in the collections of the National Gallery of Art and the University of Michigan Museum of Art.
HOWARDENA PINDELL (1943 - ) Untitled #56. Punched papers, watercolor, gouache, open bite etching, archival glue and Swiss thread on rag board, 2010. 292x343 mm; 11 1/2x13 1/2 inches. Signed, titled and dated in pencil, lower right, and on one of the punched paper circles. Provenance: acquired directly from the artist; private New York collection.
HOWARDENA PINDELL (1943 - ) Cassiopeia/Andromeda. Open bite etching, printed in white, on black wove paper, 1999. 318x419 mm; 12 1/2x16 1/2 inches (oval), full margins. Signed, titled, dated "December 1999, 2002-2003" and numbered 8/24 in pencil, lower margin. With the artist's red ink chop mark, lower right.
HOWARDENA PINDELL (1943 - ) Two etchings. Flowers I (C.P.). 83x89 mm; 3 1/4x3 1/2 inches, full margins. * Trees (C.P.). 102x76 mm; 4x3 inches, full margins. Both open bite etching on chine collé, 2002. Both signed, titled, dated "Dec. 2002, 2002-2003" and numbered 4/40 in pencil, lower margin, and with the artist's red ink chop mark, lower right.
Howardena Pindell (American, b. 1943) Untitled [Antoinette Series II] signed and dated 'Pindell 76' (on the reverse) collage--ink on paper laid down on hand-made paper 7 x 9¼ in. (17.8 x 23.5 cm.) Executed in 1976.
Howardena Pindell (American, b. 1943) Untitled [Antoinette Series II] signed and dated 'Pindell 76' (on the reverse) collage--ink on paper laid down on hand-made paper 7 x 9¼ in. (17.8 x 23.5 cm.) Executed in 1976.
HOWARDENA PINDELL (1943 - ) Untitled # 16. Mixed media assemblage with etching and punched papers on board, 2003. 178x222 mm; 7x 3/4 inches. Signed, dated and numbered "#16" in pencil, lower right, on the mount. Provenance: acquired directly from the artist; private New York collection.
HOWARDENA PINDELL (1943 - ) Video Drawing: Golf Series. Cibachrome print, 1977. 114x165 mm; 4 1/2x6 1/2 inches, full margins. Signed, dated, inscribed with a copyright symbol and numbered 1/10 in ink, lower margin.
HOWARDENA PINDELL (1943 - ) Untitled. Acrylic, dye, punched paper, glitter, sequins and powder on unstretched sewn canvas, 1977. 1880x2235 mm; 74x88 inches. Signed and dated in ink on the verso. Provenance: the artist; private collection, Georgia. Obtained directly from the artist in Chicago by the current owner when it was first exhibited 30 years ago. This beautiful work is one of the few large-scale early pieces of this important contemporary artist to come on the secondary market. It embodies her minimalist work from the late 1970s, and her interest in finding both a political and personal voice through the use of non-traditional media. While process-oriented and introspective, this work also implictly criticizes the male-dominated world of abstract Minimalist painting Pindell encountered after earning her M.F.A. from Yale University. Her art challenges the notion that abstraction is devoid of political, personal or social reference with her use of encrusted, obsessive, precious, coral-like surfaces. In 1978, Pindell left her position as a drawings curator at MoMA to teach art at SUNY, Stony Brook. Pindell soon became an activist voice in the art world, founding A.I.R. Gallery, a cooperative exhibition space for women, while the content of her work became increasingly explicit. Also from this late 1970s period is the slightly larger, striped instead of gridded, Feast Day of Iemanja II, 1980, in the collection of the Studio Museum in Harlem, recently included in the 2006 exhibition Energy/Experimentation: Black Artists and Abstraction, 1964-1980. Other similar, early works are in the permanent collections of the Detroit Institute of Arts, the Museum of Modern Art, New York, and the Walker Art Center. Later works are in numerous museum collections, including the Fogg Art Museum, the Philadelphia Museum of Art, the Wadsworth Atheneum and the Whitney Museum of American Art.
HOWARDENA PINDELL (1943 - ) Video Drawing: The Baseball Series. Kodak C-print, 1976. 230x345 mm; 9x13 1/2 inches, wide margins. Signed, titled, dated and inscribed "Proof A" in ink, lower margin. Provenance: Ex-collection the artist; The New Museum, New York, with the label on the frame back; private New York collection. Painter, sculptor, installation and video artist Howardena Pindell was one of a small number of African-American women artists in the 1960s who was able to both study and work in elite cultural institutions. With an M.F.A. degree in 1967 from Yale University, she accepted a curatorial position at the Museum of Modern Art, which she held until a career-altering car accident in 1979. At MOMA, she rose from exhibition assistant to associate curator. In her work as an artist and an art historian, Pindell presents the difficult dilemmas of issues including racism, sexism, AIDS, and genocide. Her awards include a grant from the National Endowment of the Arts (1972-73), the Distinguished Body of Work award from the College Art Association (1990), and the Studio Museum in Harlem Artist Award (1994). Her work has been featured in both solo and group exhibitions throughout the United States and in Europe.
#108 Memory Test: Sorry it was an Accident signed and dated 'Howardena D. Pindell 1979-80' (lower left); titled '#108 Memory Series: Sorry It Was An Accident' (lower right) gouache, watercolor, acrylic, ink, thread, nails, postcards, glitter and plastic mounted to foamcore 18 x 15 in. (45.7 x 38.1 cm.) Executed in 1979-1980.
