Ralph Humphrey Explained

Ralph Humphrey
Birth Name:Ralph Humphrey
Birth Date:14 April 1932
Birth Place:Youngstown, Ohio, U.S.
Death Place:New York, New York, U.S.
Nationality:American
Field:Painting
Training:Youngstown State University
Movement:Abstract expressionism
Minimalism

Ralph Humphrey (April 14, 1932 – July 14, 1990) was an American abstract painter whose work has been linked to both Abstract Expressionism and Minimalism.[1] [2] He was active in the New York art scene in the 1960s and '70s. His paintings are best summarized as an exploration of space through color and structure. He lived and worked in New York, NY.

He is not to be confused with the percussionist Ralph Humphrey, best known for being the drummer of The Mothers of Invention from 1973 until 1974.

Biography

Ralph Humphrey studied at Youngstown State University. He moved to New York in 1957 and immediately became a part of the art scene that was known, at the time, for Abstract Expressionism. He met artists such as Mark Rothko, Theodoros Stamos, Frank Stella, Robert Ryman, and Ellsworth Kelly, who would end up having a large influence on his work.[3] Humphrey was a prominent member of the generation of artists who laid the groundwork for American art in the 1970s and 60s. From 1966 until his death in 1990, he taught painting in the graduate department at Hunter College.

Artistic style

Humphrey's artistic style went through several phases and developments, which can be roughly outlined in the following way: monochromes from 1957 to 1960; frame paintings 1961–65; shaped canvases 1967–70; constructed paintings 1971–1990.[4] Throughout these phases, Humphrey kept a keen eye on color, light, and space while he moved between abstraction and representation. As Kenneth Baker explains in Art in America in 1984, “Each of his works defines an ideal viewing distance that can be discovered only by patient observation of the focus of the details, the resolution of the image and the proper relationship between body and object. Finding the apt distance from which to contemplate Humphrey’s new paints is thus not something you do discursively: it is an exercise in feeling your way silently towards a correct spatial interval.”

1957–1960

Reviewing Humphrey's show at Tibor de Nagy in 1960, Donald Judd said, of his monochromes, “They are large, subtle and single-colored. This is Purism of a sort, in which generality does not contain variables but excludes them, in which the basic diagram or color, the only continuity, is exposed, here the essence of a confused sequence of perceptions.”[5] Donald Judd also likened these canvases to the work of Kazimir Malevich, Piet Mondrian, and Josef Albers.

1961–1965

Neil A. Levine wrote in 1965 about Humphrey's solo exhibition at Green Gallery, where he showed some of his frame paintings. Levine said, “His new work is serious and demanding. All the paintings are variations on one theme. The theme is, simply stated, an expansive, lightly brushed, large grey field…surrounded by a painted framing edge…”[6] Here, Neil, too, references Albers, as well as TV screens, unfilled billboards, and Rothko.

1967–1970

Robert Pincus-Whitten reviewed Humphrey's 1969 show at Bykert Gallery, where his shaped canvases were hung. Pincus-Whitten explains how Humphrey created “a luminous cosmos of fragile exhalations, painted on large squares or horizontal rectangles, softly turned at the corner and curved back into the stretcher.”[7] These canvases are noteworthy, too, for their use of day-glow colors. At this time, his work becomes increasingly more atmospheric than his previous efforts; multi-colored wavy lines and sprayed colors replace solid geometric fields of single colors.

1971–1990

The last definable phase of his artistic style approaches representation at times, sometimes calling to mind an open window. These constructed paintings also border on sculpture, often coming ten inches out from the wall, directly confronting the viewer in real space. The paint, too, is considerably built up, giving the surface of the paintings considerable texture that was not previously seen in his work. Ellen Schwartz writes in 1977 about his show at John Weber, where his constructed paintings were still abstract: “Humphrey’s latest works, meditative rather than communicative, require the suspension of conscious efforts to grasp them before they will yield their secrets, which lay within ourselves all the while. The rich blue variegated surfaces are like blotters onto which we pour our own fantasies.”[8] D Phillips, writing about his Willard Gallery show in 1982, explains how his constructed paintings are natural extensions of the earlier frame paintings: “Frames-within-frames have long provided the structural basis for Humphrey’s colorful designs; he has simply made his window allusion literal.” She explains, too, that these paintings are a step forward: “The shift does, however, bring greater variety and complexity to the artist’s constructions. There is a more explicit sense of space, of indoors and outdoors.”[9] Beyond content, we see Humphrey using a brighter color palette and inserting vaguely figurative, whimsical patterns onto the surface. Yet, by the mid 1980s, the paintings return to a more ambiguous, abstract state.

Exhibitions

Since his first solo exhibition at the Tibor de Nagy Gallery in New York City in 1959, Humphrey's work has been the subject of 40 solo shows. During his lifetime, he had been represented by Green Gallery, Bykert Gallery, Andre Emmerich Gallery, Willard Gallery, and John Weber Gallery.

Solo exhibitions have continued to be mounted since his death in 1990, including Ralph Humphrey: Frame Paintings, 1964 to 1965 at Mary Boone Gallery, New York City, September 8–October 6, 1990 and Ralph Humphrey: Conveyance at Gary Snyder Gallery, April 2 – May 16, 2015.[10] [11] Other exhibitions have been held elsewhere in New York, San Francisco, Los Angeles, and Boston.

Humphrey's paintings have also been in group shows such as Systemic Painting at the Solomon R. Guggenheim Museum, New York, 1966, The Structure of Color at the Whitney Museum of American Art, New York, 1971, the 1979 Biennial at the Whitney Museum, and High Times, Hard Times: New York Painting, 1967–1975 at the Weatherspoon Art Museum, 2006.[12] [13] [14] [15]

Solo exhibitions

1959

1960

1961

1965

1967

1968

1969

1970

1971

1972

1973

1974

1975

1976

1976–1977

1977

1980

1982

1983

1984

1985

1987

1990

1991

1996

1998

2000

2001

2008

2012

2015

Group exhibitions

1961

1966

1967

1968

1968–1969

1969

1969–1970

1970–1971

1971

1972

1973

1974

1975

1975–1976

1976

1977

1977–1978

1978–1979

1979

1980

1981

1981–1982

1982

1983

1984

1985

1986

1986–1987

1997

2004

2006–2007

2008

2008–2009

2009

2010

2011

2011–2012

2012

2014–2015

2015

Collections

Humphrey's work can be found in prominent collections in America and Australia, including the following:

External links

Notes and References

  1. News: Smith . Roberta . July 17, 1990 . Ralph Humphrey, An Abstract Painter And a Teacher, 58 . The New York Times . 29 April 2016.
  2. Wilson. William S.. Ralph Humphrey: An Apology for Painting. Artforum. 1977. 16. 3. 54–59.
  3. Baker. Kenneth. Material Feelings. Art in America. 1984. 72. 9. 162–167.
  4. Baker. Amy. Painterly Edge. Artforum. 1982. 20. 8. 38–43.
  5. Judd. Donald. In the Galleries: Ralph Humphrey. Arts Magazine. 1960. 34. 6. 54.
  6. Levine. Neil A.. Reviews and Previews: Ralph Humphrey. Art News. 1965. 64. 4. 16.
  7. Pincus-Whitten. Robert. New York: Ralph Humphrey. Artforum. 1969. 7. 8. 69.
  8. Schwartz. Ellen. New York Reviews: Ralph Humphrey. Art News. 1977. 76. 4. 126.
  9. Phillips. Deborah C.. New York Reviews: Ralph Humphrey. Art News. 1982. 81. 7. 161.
  10. Book: Mary Boone Gallery. Ralph Humphrey, Frame Paintings, 1964 to 1965. 1990. Mary Boone Gallery. New York. 9780941863155.
  11. Book: Greenan. Garth. Ralph Humphrey. 2012. Gary Snyder Gallery. New York. 9780982974766.
  12. Book: Solomon R. Guggenheim Museum. Systemic Painting. 1966. Solomon R. Guggenheim Foundation. New York.
  13. Book: Tucker. Marcia. The Structure of Color. 1971. Whitney Museum of American Art. New York.
  14. Book: Whitney Museum of American Art. 1979 Biennial Exhibition. 1979. Whitney Museum of American Art. New York. 9780874270129.
  15. Book: Siegel. Katy. High Times, Hard Times: New York Painting, 1967–1975. 2006. Independent Curators International. New York. 9781933045399.
  16. Campbell. Lawrence. Reviews and Previews: Ralph Humphrey. Art News. 1959. 57. 10. 17–18.
  17. Campbell. Lawrence. Reviews and Previews: Ralph Humphrey. Art News. 1960. 58. 10. 14–15.
  18. Sandler. Irving H.. Reviews and Previews: Ralph Humphrey. Art News. 1961. 60. 3. 15–16.
  19. Goldin. Amy. In the Galleries: Ralph Humphrey. Arts Magazine. 1965. 39. 10. 66.
  20. Benedikt. Michael. New York: Humphries. Art International. 1967. 11. 4. 64.
  21. News: Kramer . Hilton . January 21, 1967 . Ralph Humphrey . 27 . The New York Times . 4 May 2016.
  22. Waldman. Diane. Reviews and Previews: Ralph Humphrey. Art News. 1967. 65. 10. 15.
  23. Mellow. James R.. New York Letter: Ralph Humphrey. Art International. 1968. 12. 4. 63–67.
  24. Battock. Gregory. In the Galleries: Ralph Humphrey. Arts Magazine. 1968. 42. 4. 62.
  25. Perreault. John. Art: Too Much of the Same. Village Voice. 1968. 12. 19. 18.
  26. Burton. Scott. A Different Stripe. Art News. 1968. 66. 10. 36–37, 53–56.
  27. Kurtz. Stephen A.. Reviews and Previews: Ralph Humphrey. Art News. 1969. 68. 1. 20.
  28. News: Glueck . Grace . February 15, 1969 . Sexy Phones, Shoe Trees and Faucets . The New York Times . 4 May 2016.
  29. Schjeldahl. Peter. New York Letter. Art International. 1969. 13. 4. 62–67.
  30. Simon. Rita. In the Galleries: Ralph Humphrey. Arts Magazine. 1969. 43. 5. 58.
  31. Rosenstein. Harris. Reviews and Previews: Ralph Humphrey. Art News. 1970. 69. 3. 67.
  32. Ratcliff. Carter. New York Letter. Art International. 1970. 14. 6. 132–144.
  33. Baker. Kenneth. New York: Ralph Humphrey. Artforum. 1971. 9. 9. 74.
  34. Ratcliff. Carter. Reviews and Previews: Ralph Humphrey. Art News. 1971. 70. 3. 57.
  35. Matthias. Rosemary. In the Galleries: Ralph Humphrey. Arts Magazine. 1972. 46. 8. 59.
  36. Rosenstein. Harris. Reviews and Previews: Ralph Humphrey. Art News. 1972. 71. 4. 53.
  37. News: Mellow . James . May 19, 1973 . A Summer Show . The New York Times . 4 May 2016.
  38. Mayer. Rosemary. New York: Ralph Humphrey. Arts Magazine. 1973. 47. 5. 71.
  39. Dreiss. Joseph. Arts Reviews: Ralph Humphrey. Arts Magazine. 1974. 49. 1. 57.
  40. Frank. Peter. Review of Exhibitions: Ralph Humphrey at Bykert Uptown. Art in America. 1974. 62. 5. 107–108.
  41. Zucker. Barbara. Reviews and Previews: Ralph Humphrey. Art News. 1975. 74. 4. 98.
  42. Wilson. William S.. Ralph Humphrey. Arts Magazine. 1976. 50. 6. 5.
  43. Derfner. Phyllis. Review of Exhibitions: Ralph Humphrey at John Weber. Art in America. 1976. 64. 3. 106.
  44. News: Zimmer . William . 1980 . Surfacing: Ralph Humphrey . 7 . 60 . . 30.
  45. Frank. Elizabeth. Review of Exhibitions: Ralph Humphrey at Willard. Art in America. 1980. 68. 6. 157–158.
  46. Smith. Roberta. Tempus Fidget. Village Voice. 1982. 27. 16. 89.
  47. News: Raynor . Vivien . April 16, 1982 . Ralph Humphrey . The New York Times . 5 May 2016.
  48. Westfall. Stephen. Ralph Humphrey. Arts Magazine. 1984. 59. 1. 40.
  49. Larson. Kay. Guerilla Tactics. New York Magazine. 1987. 20. 5. 54–55.
  50. News: Smith . Roberta . February 6, 1987 . Art: Quieter Times for East Village's Galleries . The New York Times . 5 May 2016.
  51. Ostrow. Saul. Ralph Humphrey. Arts Magazine. 1990. 64. 10. 78.
  52. News: Smith . Roberta . September 28, 1990 . Review/Art; For Judy Pfaff, Moderation at Last . The New York Times . 5 May 2016.
  53. Web site: Ralph Humphrey: Selected Paintings, 1957–1980. Daniel Weinberg Gallery. 3 May 2016.
  54. Web site: Ralph Humphrey. Garth Greenan Gallery. 3 May 2016.
  55. Web site: Ralph Humphrey: Conveyance. Garth Greenan Gallery. 3 May 2016.
  56. Book: Solomon R. Guggenheim Museum. American Abstract Expressionists and Imagists. 1961. Solomon R. Guggenheim Museum. New York.
  57. Book: Ithaca College Museum of Art. Selected N.Y.C. Artists 1967. 1967. Ithaca College. Ithaca.
  58. Book: Bellamy. Richard. Focus on Light. 1967. New Jersey State Museum Cultural Center. Trenton.
  59. Book: Aldrich Museum of Contemporary Art. Highlights of the 1966–67 Art Season. 1967. Aldrich Museum of Contemporary Art. Ridgefield, CT.
  60. Book: Prokopoff. Stephen. A Romantic Minimalism. 1967. University of Pennsylvania. Philadelphia.
  61. Book: Goossen. E.C.. The Art of the Real; USA, 1948–1968. 1968. Museum of Modern Art. New York.
  62. Book: Philadelphia Museum of Art. The Pure and Clear: American Innovations. 1968. Philadelphia Museum of Art. Philadelphia.
  63. Book: Green. Samuel Adams. American Painting: The 1960s. 1969. Georgia Museum of Art. Athens, GA.
  64. Book: Whitney Museum of American Art. 1969 Annual Exhibition: Contemporary American Painting. 1969. Whitney Museum of American Art. New York.
  65. Book: Albright-Knox Art Gallery. Color and Field: 1890–1970. 1970. Albright Knox Art Gallery. Buffalo, NY.
  66. Book: Santa Barbara Museum of Art. Spray. 1971. Santa Barbara Museum of Art. Santa Barbara.
  67. Book: Oakland University Art Gallery. Art of the Decade, 1960–1970. 1971. Oakland University. Detroit.
  68. Russell. John. Art: Warhol's Hammer and Sickle. The New York Times. January 21, 1977. 5 May 2016.
  69. Artner. Alan G.. After recent misses, MCA hits target with three new shows. Chicago Tribune. August 10, 1980.
  70. Russell. John. Art: The Zeitgeist Signals Just Downstairs on 73rd St. The New York Times. June 30, 1981. 5 May 2016.
  71. Vernet. Gwynne. Drawing Invitational 1981. Arts Magazine. 1982. 56. 6. 25.
  72. Moufarrege . Nicolas A. . 1982 . The Erotic Impulse . 57 . 3 . 5 . Arts Magazine.
  73. Web site: A Lasting Legacy: Selections from the Lannan Foundation Gift. Museum of Contemporary Art. 5 May 2016.
  74. Web site: A Minimal Future?: Art as Object, 1958–1968. Museum of Contemporary Art. 5 May 2016.
  75. Web site: Steve DiBenedetto, Ralph Humphrey, Chris Martin, and Andrew Masullo/Paintings. Daniel Weinberg Gallery. 5 May 2016.
  76. Web site: Image Matter. Mary Boone Gallery. 5 May 2016.
  77. Web site: VINCENT FECTEAU MINES RARELY SEEN GEMS FROM SFMOMA'S COLLECTION FOR NEW WORK SERIES. SFMOMA. 5 May 2016.
  78. Web site: Wall to Wall. Daniel Weinberg Gallery. 5 May 2016.
  79. Web site: Surface Truths: Abstract Painting in the Sixties. Norton Simon Museum. 5 May 2016.
  80. Book: Darling. Michael. The Language of Less, Then and Now. 2012. Museum of Contemporary Art. Chicago. 978-0933856912.
  81. Web site: Susan Hartnett, Ralph Humphrey, Marilyn Lerner, Dona Nelson. Mary Boone Gallery. 5 May 2016.
  82. Web site: The Avant-Garde Collection. Orange County Museum of Art. 5 May 2016.
  83. Web site: PRETTY RAW: AFTER AND AROUND HELEN FRANKENTHALER. Rose Art Museum. 5 May 2016.
  84. Web site: Addison Gallery of American Art. 29 April 2016.
  85. Web site: Allen Memorial Art Museum. 29 April 2016.
  86. Web site: Art Institute of Chicago. 1964 . 29 April 2016.
  87. Web site: Carnegie Museum of Art. 29 April 2016.
  88. Web site: Museum of Contemporary Art, Chicago. 29 April 2016.
  89. Web site: Museum of Contemporary Art, Los Angeles. 29 April 2016.
  90. Web site: Museum of Fine Arts, Houston. 29 April 2016.
  91. Web site: Museum of Modern Art. 29 April 2016.
  92. Web site: Norton Simon Museum. 29 April 2016.
  93. Web site: Philadelphia Museum of Art. 29 April 2016.
  94. Web site: San Francisco Museum of Modern Art. 29 April 2016.
  95. Web site: Smithsonian Museum of American Art. 29 April 2016.
  96. Web site: Walker Art Center. 29 April 2016.
  97. Web site: Whitney Museum of American Art. 29 April 2016.