C O V E R : B A R B A R A’ S WAY , 197 6 , A C R Y L I C O N C A N VA S , 5 0 x 4 2 I N .
T H E G R A N D B U T T E R F LY E V E N T , 197 1 , A C R Y L I C O N C A N VA S , 2 7 x 23 I N .
T H E A R E N A , 197 9, A C R Y L I C O N C A N VA S , 6 0 x 5 0 I N .
M O D E R N A N D C O N T E M P O R A R Y A R T 5 3 0 W E S T 2 4 T H S T R E E T N E W Y O R K , N Y 1 0 01 1
M A R C H 1 7 – A P R I L 1 6 , 2 01 6 V I E W T H E E N T I R E E X H I B I T I O N AT W W W. B E R R Y C A M P B E L L . C O M
I N F O @ B E R R YC A M P B E L L . C O M T E L 212.924 .2178 T U E – S AT, 1 0 – 6 W W W. B E R R YC A M P B E L L . C O M
R AY M O N D H E N D L E R PA I N T I N G S F R O M T H E 197 0 s
C O V E R : B A R B A R A’ S WAY , 197 6 , A C R Y L I C O N C A N VA S , 5 0 x 4 2 I N .
T H E G R A N D B U T T E R F LY E V E N T , 197 1 , A C R Y L I C O N C A N VA S , 2 7 x 23 I N .
T H E A R E N A , 197 9, A C R Y L I C O N C A N VA S , 6 0 x 5 0 I N .
M O D E R N A N D C O N T E M P O R A R Y A R T 5 3 0 W E S T 2 4 T H S T R E E T N E W Y O R K , N Y 1 0 01 1
M A R C H 1 7 – A P R I L 1 6 , 2 01 6 V I E W T H E E N T I R E E X H I B I T I O N AT W W W. B E R R Y C A M P B E L L . C O M
I N F O @ B E R R YC A M P B E L L . C O M T E L 212.924 .2178 T U E – S AT, 1 0 – 6 W W W. B E R R YC A M P B E L L . C O M
R AY M O N D H E N D L E R PA I N T I N G S F R O M T H E 197 0 s
parades of independent shapes, not unlike those in Matisse’s collages. There is something reminding of Leger here as well, particularly in the unambiguous glare of contrasted color and in the robust refusal to allow shapes to suggest anything beyond their merry self.”3 Hendler was represented by Rose Fried Gallery, one of the most important galleries of its time and a champion of many European artists, including Marcel Duchamp, Juan Gris, Vasily Kandinsky, Joan Miro, and Piet Mondrian. His work was a superb addition to the gallery’s roster. Although images are at times visible, Hendler always maintained that his work was non-representa tional. Instead, the images serve to convey his vitality and child-like sense of wonder in a highly soph isticated order. In a review for The New York Times, Helen Harrison wrote that the “schematic character. . . exploits the crispness of acrylic without sacrificing painterly energy.”4 Jane Gollin said, “his cheerful style never succumbs to mere visual intoxication . . . traffic is patiently, wittily controlled in paintings that are simultaneously cerebral and sensuous.”5
T H E QUA R T E T S R E V I E W E D , 197 6 , A C R Y L I C O N C A N VA S , 3 2 x 8 3 I N .
A
first-generation action painter, Raymond Hendler started his career as an Abstract Expressionist in Paris, as early as 1949. In the years that followed, he played a significant role in the movement, both in New York, where he was the youngest voting member of the New York Artist’s Club and a friend of Franz Kline, Willem de Kooning, Jackson Pollock, and Harold Rosenberg and in Philadelphia, where he ran an avant-garde gallery between 1952 and 1954. Around 1957, his work evolved from overall tightly-wound linear webs into a personal language of abstract pictograms. Hendler continued to seek clearer lines and harder edges during the 1960s, so that by the end of the decade, he had eliminated the drag of the paint brush, commonly emphasized by the Abstract Expressionists. Remarking on Hendler’s departure from the popular Abstract Expressionist style, Kline wrote: “The direct austere design and color complexes paint the image without undue nuances—with clarity and mature independence.” 1 By the 1970s, Hendler produced some of his most important work. Using open, white spaces, Hendler created intelligible symbols scat tered cheerfully across the flat picture plane. These jubilant marks on their fresh white grounds animate the canvas often appearing as if they were flowing hieroglyphs or animated handwriting. The artist called these artistic scrawls “graffiti” before the style became popular as an art form. Hendler continued, “Writing is a kind of self-revelation that gives you a chance to become. It acts as a catalyst. It does all a line can do in terms of noting and connoting.”2 Hendler’s new style would foreshadow many of the movements that became popular in the later half of the twentieth century: the lighthearted pop art of the 1960s, the reductive minimalism of the late 1960s and 1970s, neo-expressionism of the late 1970s and 1980s, and text based art of the 1980s. In addition, his animated compositions predated his fellow Abstract Expressionist and friend, Philip Guston’s return to figuration in the late 1960s. Hendler differed from Rosenberg’s belief that American post-war painting should have a clear break from the past. His work often recalls the autonomism and nonobjectivism of his European pre decessors. However, Stuart Preston noted in The New York Times that Hendler had a “totally different approach to nonobjectivism. . . . He excels in bright hard explicit pattern-making, in straightforward
RAYMOND HENDLER was born in Philadelphia, Pennsylvania in 1923 and studied in his native Phila delphia, at the Graphic Sketch Club, the Philadelphia College of Art, the Pennsylvania Academy of Art, and the Tyler School of Art (Temple University). In 1949, he continued his art training in Paris at the Académie de la Grande Chaumière on the G.I. Bill. Immersing himself in the Left Bank art scene, he formed close friendships with the Canadian Taschist painter, JeanPaul Riopelle, and the noted Australian sculptor, Robert Klippel. In Paris, he exhibited at the Musée d’Art Moderne and was a founding member of Galerie Huit, the first American cooperative gallery in Europe. Its members included Sam Francis, Al Held, Shirley R E D H O T M A M A , 197 2 , A C R Y L I C O N C A N VA S , 4 8 x 3 8 I N . Jaffe, Jules Olitski, among others. Returning to New York in 1951, Hendler became part of the exploding Greenwich Village art scene. He was a voting painting department. Hendler retired from teaching in 1984 and member of the New York Artist’s Club from 1951 until its end in 1957. moved two years later to the East End of Long Island. He lived and He was a friend of the leading figures in the New York School, painted for the last ten years of his life in the house in East including the painters Pollock, de Kooning, and Philip Guston and the Hampton’s Northwest Woods that he built with his wife, Mary Rood. critic Harold Rosenberg. With Franz Kline, he established a friendship Hendler is represented in the collections of numerous museums that would last throughout the rest of Kline’s life. During this same and public collections in America and abroad, including Birla period, Hendler was active in Philadelphia. At the Hendler Galleries, Academy of Art & Culture, Calcutta, India; Frederick R. Weisman which he ran from 1952 to 1954, he exhibited the work of de Art Museum, Minneapolis; Grey Art Gallery, New York University; Kooning, Sam Francis, Guston, Kline, George McNeil, Stephen Pace, J. Walter Thompson Company, New York; Minneapolis College of Pollock, Milton Resnick, Riopelle, Ludwig Sander, and Jack Tworkov. Art & Design; Minneapolis Institute of Art; Novartis Co., East Hendler had frequent solo and group exhibitions in New York, Hanover, New Jersey; Philadelphia Museum of Art; Pennsylvania Philadelphia, Minneapolis, and other locations. He was represented Academy of the Fine Arts, Philadelphia; University of New Mexico, by the Rose Fried Gallery during the 1960s and had a series of solo Art Museum, Albuquerque; University of Notre Dame, Indiana; and exhibitions until her death in 1970. In 1963, he received the Longview Walker Art Center, Minneapolis. Foundation Purchase Award, juried by de Kooning, Thomas Hess, Guston, Rosenberg, and David Smith. Since his death in 1998, his work has continued to be featured in solo and group shows, many of which are important reconsiderations of the art of the second half 1. Franz Kline, Raymond Hendler (catalogue for an exhibition at Rose Fried Gallery), 1962. of the twentieth century. 2. Gordon Brown, “Interview with Raymond Hendler,” Arts Magazine, 1967. During his forty-year teaching career, Hendler also taught at the 3. Stuart Preston, “Art: Abstractionist Seeks Nature’s Aid,” New York Contemporary School of Art, Brooklyn; Parsons School of Design, Times, January 20, 1962. New York; Pratt Institute, Brooklyn; and School of Visual Arts, New 4. Helen Harrison, “Avant Garde,” New York Times, October 22, 2000. 5. Jane Gollin, “Art Review: Raymond Hendler,” Pictures on Exhibit, 1962. York; and Minneapolis College of Art, where he was head of the
T H E S PA N I S H C O N N E C T I O N , 197 3 A C R Y L I C O N C A N VA S , 4 0 x 3 0 I N .
PA G E N T O F T H E K I N G S , 1974 , A C R Y L I C O N C A N VA S , 7 9 x 5 8 I N .
parades of independent shapes, not unlike those in Matisse’s collages. There is something reminding of Leger here as well, particularly in the unambiguous glare of contrasted color and in the robust refusal to allow shapes to suggest anything beyond their merry self.”3 Hendler was represented by Rose Fried Gallery, one of the most important galleries of its time and a champion of many European artists, including Marcel Duchamp, Juan Gris, Vasily Kandinsky, Joan Miro, and Piet Mondrian. His work was a superb addition to the gallery’s roster. Although images are at times visible, Hendler always maintained that his work was non-representa tional. Instead, the images serve to convey his vitality and child-like sense of wonder in a highly soph isticated order. In a review for The New York Times, Helen Harrison wrote that the “schematic character. . . exploits the crispness of acrylic without sacrificing painterly energy.”4 Jane Gollin said, “his cheerful style never succumbs to mere visual intoxication . . . traffic is patiently, wittily controlled in paintings that are simultaneously cerebral and sensuous.”5
T H E QUA R T E T S R E V I E W E D , 197 6 , A C R Y L I C O N C A N VA S , 3 2 x 8 3 I N .
A
first-generation action painter, Raymond Hendler started his career as an Abstract Expressionist in Paris, as early as 1949. In the years that followed, he played a significant role in the movement, both in New York, where he was the youngest voting member of the New York Artist’s Club and a friend of Franz Kline, Willem de Kooning, Jackson Pollock, and Harold Rosenberg and in Philadelphia, where he ran an avant-garde gallery between 1952 and 1954. Around 1957, his work evolved from overall tightly-wound linear webs into a personal language of abstract pictograms. Hendler continued to seek clearer lines and harder edges during the 1960s, so that by the end of the decade, he had eliminated the drag of the paint brush, commonly emphasized by the Abstract Expressionists. Remarking on Hendler’s departure from the popular Abstract Expressionist style, Kline wrote: “The direct austere design and color complexes paint the image without undue nuances—with clarity and mature independence.” 1 By the 1970s, Hendler produced some of his most important work. Using open, white spaces, Hendler created intelligible symbols scat tered cheerfully across the flat picture plane. These jubilant marks on their fresh white grounds animate the canvas often appearing as if they were flowing hieroglyphs or animated handwriting. The artist called these artistic scrawls “graffiti” before the style became popular as an art form. Hendler continued, “Writing is a kind of self-revelation that gives you a chance to become. It acts as a catalyst. It does all a line can do in terms of noting and connoting.”2 Hendler’s new style would foreshadow many of the movements that became popular in the later half of the twentieth century: the lighthearted pop art of the 1960s, the reductive minimalism of the late 1960s and 1970s, neo-expressionism of the late 1970s and 1980s, and text based art of the 1980s. In addition, his animated compositions predated his fellow Abstract Expressionist and friend, Philip Guston’s return to figuration in the late 1960s. Hendler differed from Rosenberg’s belief that American post-war painting should have a clear break from the past. His work often recalls the autonomism and nonobjectivism of his European pre decessors. However, Stuart Preston noted in The New York Times that Hendler had a “totally different approach to nonobjectivism. . . . He excels in bright hard explicit pattern-making, in straightforward
RAYMOND HENDLER was born in Philadelphia, Pennsylvania in 1923 and studied in his native Phila delphia, at the Graphic Sketch Club, the Philadelphia College of Art, the Pennsylvania Academy of Art, and the Tyler School of Art (Temple University). In 1949, he continued his art training in Paris at the Académie de la Grande Chaumière on the G.I. Bill. Immersing himself in the Left Bank art scene, he formed close friendships with the Canadian Taschist painter, JeanPaul Riopelle, and the noted Australian sculptor, Robert Klippel. In Paris, he exhibited at the Musée d’Art Moderne and was a founding member of Galerie Huit, the first American cooperative gallery in Europe. Its members included Sam Francis, Al Held, Shirley R E D H O T M A M A , 197 2 , A C R Y L I C O N C A N VA S , 4 8 x 3 8 I N . Jaffe, Jules Olitski, among others. Returning to New York in 1951, Hendler became part of the exploding Greenwich Village art scene. He was a voting painting department. Hendler retired from teaching in 1984 and member of the New York Artist’s Club from 1951 until its end in 1957. moved two years later to the East End of Long Island. He lived and He was a friend of the leading figures in the New York School, painted for the last ten years of his life in the house in East including the painters Pollock, de Kooning, and Philip Guston and the Hampton’s Northwest Woods that he built with his wife, Mary Rood. critic Harold Rosenberg. With Franz Kline, he established a friendship Hendler is represented in the collections of numerous museums that would last throughout the rest of Kline’s life. During this same and public collections in America and abroad, including Birla period, Hendler was active in Philadelphia. At the Hendler Galleries, Academy of Art & Culture, Calcutta, India; Frederick R. Weisman which he ran from 1952 to 1954, he exhibited the work of de Art Museum, Minneapolis; Grey Art Gallery, New York University; Kooning, Sam Francis, Guston, Kline, George McNeil, Stephen Pace, J. Walter Thompson Company, New York; Minneapolis College of Pollock, Milton Resnick, Riopelle, Ludwig Sander, and Jack Tworkov. Art & Design; Minneapolis Institute of Art; Novartis Co., East Hendler had frequent solo and group exhibitions in New York, Hanover, New Jersey; Philadelphia Museum of Art; Pennsylvania Philadelphia, Minneapolis, and other locations. He was represented Academy of the Fine Arts, Philadelphia; University of New Mexico, by the Rose Fried Gallery during the 1960s and had a series of solo Art Museum, Albuquerque; University of Notre Dame, Indiana; and exhibitions until her death in 1970. In 1963, he received the Longview Walker Art Center, Minneapolis. Foundation Purchase Award, juried by de Kooning, Thomas Hess, Guston, Rosenberg, and David Smith. Since his death in 1998, his work has continued to be featured in solo and group shows, many of which are important reconsiderations of the art of the second half 1. Franz Kline, Raymond Hendler (catalogue for an exhibition at Rose Fried Gallery), 1962. of the twentieth century. 2. Gordon Brown, “Interview with Raymond Hendler,” Arts Magazine, 1967. During his forty-year teaching career, Hendler also taught at the 3. Stuart Preston, “Art: Abstractionist Seeks Nature’s Aid,” New York Contemporary School of Art, Brooklyn; Parsons School of Design, Times, January 20, 1962. New York; Pratt Institute, Brooklyn; and School of Visual Arts, New 4. Helen Harrison, “Avant Garde,” New York Times, October 22, 2000. 5. Jane Gollin, “Art Review: Raymond Hendler,” Pictures on Exhibit, 1962. York; and Minneapolis College of Art, where he was head of the
T H E S PA N I S H C O N N E C T I O N , 197 3 A C R Y L I C O N C A N VA S , 4 0 x 3 0 I N .
PA G E N T O F T H E K I N G S , 1974 , A C R Y L I C O N C A N VA S , 7 9 x 5 8 I N .
parades of independent shapes, not unlike those in Matisse’s collages. There is something reminding of Leger here as well, particularly in the unambiguous glare of contrasted color and in the robust refusal to allow shapes to suggest anything beyond their merry self.”3 Hendler was represented by Rose Fried Gallery, one of the most important galleries of its time and a champion of many European artists, including Marcel Duchamp, Juan Gris, Vasily Kandinsky, Joan Miro, and Piet Mondrian. His work was a superb addition to the gallery’s roster. Although images are at times visible, Hendler always maintained that his work was non-representa tional. Instead, the images serve to convey his vitality and child-like sense of wonder in a highly soph isticated order. In a review for The New York Times, Helen Harrison wrote that the “schematic character. . . exploits the crispness of acrylic without sacrificing painterly energy.”4 Jane Gollin said, “his cheerful style never succumbs to mere visual intoxication . . . traffic is patiently, wittily controlled in paintings that are simultaneously cerebral and sensuous.”5
T H E QUA R T E T S R E V I E W E D , 197 6 , A C R Y L I C O N C A N VA S , 3 2 x 8 3 I N .
A
first-generation action painter, Raymond Hendler started his career as an Abstract Expressionist in Paris, as early as 1949. In the years that followed, he played a significant role in the movement, both in New York, where he was the youngest voting member of the New York Artist’s Club and a friend of Franz Kline, Willem de Kooning, Jackson Pollock, and Harold Rosenberg and in Philadelphia, where he ran an avant-garde gallery between 1952 and 1954. Around 1957, his work evolved from overall tightly-wound linear webs into a personal language of abstract pictograms. Hendler continued to seek clearer lines and harder edges during the 1960s, so that by the end of the decade, he had eliminated the drag of the paint brush, commonly emphasized by the Abstract Expressionists. Remarking on Hendler’s departure from the popular Abstract Expressionist style, Kline wrote: “The direct austere design and color complexes paint the image without undue nuances—with clarity and mature independence.” 1 By the 1970s, Hendler produced some of his most important work. Using open, white spaces, Hendler created intelligible symbols scat tered cheerfully across the flat picture plane. These jubilant marks on their fresh white grounds animate the canvas often appearing as if they were flowing hieroglyphs or animated handwriting. The artist called these artistic scrawls “graffiti” before the style became popular as an art form. Hendler continued, “Writing is a kind of self-revelation that gives you a chance to become. It acts as a catalyst. It does all a line can do in terms of noting and connoting.”2 Hendler’s new style would foreshadow many of the movements that became popular in the later half of the twentieth century: the lighthearted pop art of the 1960s, the reductive minimalism of the late 1960s and 1970s, neo-expressionism of the late 1970s and 1980s, and text based art of the 1980s. In addition, his animated compositions predated his fellow Abstract Expressionist and friend, Philip Guston’s return to figuration in the late 1960s. Hendler differed from Rosenberg’s belief that American post-war painting should have a clear break from the past. His work often recalls the autonomism and nonobjectivism of his European pre decessors. However, Stuart Preston noted in The New York Times that Hendler had a “totally different approach to nonobjectivism. . . . He excels in bright hard explicit pattern-making, in straightforward
RAYMOND HENDLER was born in Philadelphia, Pennsylvania in 1923 and studied in his native Phila delphia, at the Graphic Sketch Club, the Philadelphia College of Art, the Pennsylvania Academy of Art, and the Tyler School of Art (Temple University). In 1949, he continued his art training in Paris at the Académie de la Grande Chaumière on the G.I. Bill. Immersing himself in the Left Bank art scene, he formed close friendships with the Canadian Taschist painter, JeanPaul Riopelle, and the noted Australian sculptor, Robert Klippel. In Paris, he exhibited at the Musée d’Art Moderne and was a founding member of Galerie Huit, the first American cooperative gallery in Europe. Its members included Sam Francis, Al Held, Shirley R E D H O T M A M A , 197 2 , A C R Y L I C O N C A N VA S , 4 8 x 3 8 I N . Jaffe, Jules Olitski, among others. Returning to New York in 1951, Hendler became part of the exploding Greenwich Village art scene. He was a voting painting department. Hendler retired from teaching in 1984 and member of the New York Artist’s Club from 1951 until its end in 1957. moved two years later to the East End of Long Island. He lived and He was a friend of the leading figures in the New York School, painted for the last ten years of his life in the house in East including the painters Pollock, de Kooning, and Philip Guston and the Hampton’s Northwest Woods that he built with his wife, Mary Rood. critic Harold Rosenberg. With Franz Kline, he established a friendship Hendler is represented in the collections of numerous museums that would last throughout the rest of Kline’s life. During this same and public collections in America and abroad, including Birla period, Hendler was active in Philadelphia. At the Hendler Galleries, Academy of Art & Culture, Calcutta, India; Frederick R. Weisman which he ran from 1952 to 1954, he exhibited the work of de Art Museum, Minneapolis; Grey Art Gallery, New York University; Kooning, Sam Francis, Guston, Kline, George McNeil, Stephen Pace, J. Walter Thompson Company, New York; Minneapolis College of Pollock, Milton Resnick, Riopelle, Ludwig Sander, and Jack Tworkov. Art & Design; Minneapolis Institute of Art; Novartis Co., East Hendler had frequent solo and group exhibitions in New York, Hanover, New Jersey; Philadelphia Museum of Art; Pennsylvania Philadelphia, Minneapolis, and other locations. He was represented Academy of the Fine Arts, Philadelphia; University of New Mexico, by the Rose Fried Gallery during the 1960s and had a series of solo Art Museum, Albuquerque; University of Notre Dame, Indiana; and exhibitions until her death in 1970. In 1963, he received the Longview Walker Art Center, Minneapolis. Foundation Purchase Award, juried by de Kooning, Thomas Hess, Guston, Rosenberg, and David Smith. Since his death in 1998, his work has continued to be featured in solo and group shows, many of which are important reconsiderations of the art of the second half 1. Franz Kline, Raymond Hendler (catalogue for an exhibition at Rose Fried Gallery), 1962. of the twentieth century. 2. Gordon Brown, “Interview with Raymond Hendler,” Arts Magazine, 1967. During his forty-year teaching career, Hendler also taught at the 3. Stuart Preston, “Art: Abstractionist Seeks Nature’s Aid,” New York Contemporary School of Art, Brooklyn; Parsons School of Design, Times, January 20, 1962. New York; Pratt Institute, Brooklyn; and School of Visual Arts, New 4. Helen Harrison, “Avant Garde,” New York Times, October 22, 2000. 5. Jane Gollin, “Art Review: Raymond Hendler,” Pictures on Exhibit, 1962. York; and Minneapolis College of Art, where he was head of the
T H E S PA N I S H C O N N E C T I O N , 197 3 A C R Y L I C O N C A N VA S , 4 0 x 3 0 I N .
PA G E N T O F T H E K I N G S , 1974 , A C R Y L I C O N C A N VA S , 7 9 x 5 8 I N .
C O V E R : B A R B A R A’ S WAY , 197 6 , A C R Y L I C O N C A N VA S , 5 0 x 4 2 I N .
T H E G R A N D B U T T E R F LY E V E N T , 197 1 , A C R Y L I C O N C A N VA S , 2 7 x 23 I N .
T H E A R E N A , 197 9, A C R Y L I C O N C A N VA S , 6 0 x 5 0 I N .
M O D E R N A N D C O N T E M P O R A R Y A R T 5 3 0 W E S T 2 4 T H S T R E E T N E W Y O R K , N Y 1 0 01 1
M A R C H 1 7 – A P R I L 1 6 , 2 01 6 V I E W T H E E N T I R E E X H I B I T I O N AT W W W. B E R R Y C A M P B E L L . C O M
I N F O @ B E R R YC A M P B E L L . C O M T E L 212.924 .2178 T U E – S AT, 1 0 – 6 W W W. B E R R YC A M P B E L L . C O M
R AY M O N D H E N D L E R PA I N T I N G S F R O M T H E 197 0 s