|This biography from the Archives of AskART:|
|Resume, courtesy of Woodstock Art Association.|
Residences/Studios: New York City and Woodstock, New York
Brooklyn College, M.A., B.A., Fine Arts; Columbia University, Art History;
New York University, Art Education; Pratt Graphics Center, Printmaking;
Brooklyn Museum Art School, Painting, Drawing;
Art Students League, Painting.
Collections: Public and Academic
The Albright-Knox Gallery, Buffalo, N.Y
The City of Chicago
The Bibleotheque National, Paris
The Library of Congress
The Brooklyn Museum, N.Y.
Pew Charitable Trust, N.J.
Yale University, New Haven,CT
Aetna Insurance Company Manufacturers Hanover Trust
American Airlines, Raleigh-Durham Masonite Corporation
Bristol Meyers Squibb Corporation MCI Corporation
Boston Fidelity Insurance Company Merrill Lynch & Co.
Cannon U.S.A. Miles Laboratories, N.C.
Chemical Bank, N.Y. Mobil Corporation
Citibank of North America MONY (Mutual of New York)
Connecticut National Bank Morgan, Stanley & Co.
Dean Witter Reynolds Corporation National Bank of N.Carolina
DeLoitte, Haskins & Sells, N.Y.C. Parker Pen Co.
General Electric Corporation Pfizer Corporation, N.Y.C.
G.T.E. Corporation Philip Morris Corporation
Hyatt Corporation Prudential Insurance Co.
I.B.M. Corporation Rolex Corporation
Keihin Hotel, Tokyo, Japan Shearson Lehman Amer. Exp.
Kimberly Clark Corporation Salomon Brothers, N.Y.
Lebenthal & Company, N.Y. Union Carbide Corporation
Taiwan Maritime Corporation U.S Trust of New York
Exhibitions: Painting and Graphics
One Person Shows
1998/90 Galerie Domberger, Stuttgart, Germany
1997/94/93 Images Gallery, New York City
1996/90 Somerhill Gallery, Chapel Hill, N.C.
1995 John Callahan Gallery, Boston, MA.
1995/88 Woodstock Artists Association, Woodstock, N.Y
1992 Chicago Center for The Print, Chicago, Ill.
1991/90 Falkenstern Gallery, New York City
1988 Summa Gallery, New York City
1986 Mona Berman Gallery, New Haven, Conn.
1984 Galerie Schindler, Berne, Switzerland
1984 Jamie Szoke Gallery, New York City
1982/80/78 Gallery Odin, Port Washington, N.Y.
1981 Landmark Gallery, New York City
1980 Harriman College, Harriman, N.Y.
1979 Josef Gallery, New York City
1974 Alonzo Gallery, New York City
1972 New York City Community College
1969/68/67 Roko Gallery, New York City
Group Shows (selected)
2000 Pacific States Print Biennial, University of Hawai'i
2000 Works On Paper 2000,
Park Ave. Armory, New York City
1999 Society of American Graphic Artists, New York City
1999 Nason-Williams Gallery, Santa Fe, N.M.
1999/98/97 Elena Zang Gallery, Woodstock, N.Y.
1998/97/96 Somerhill Gallery, Chapel Hill, N.C.
1997/95/93 Galerie Domberger, Stuttgart, Germany
1996 New York Artists Equity, New York City
1996 James Cox Gallery, Woodstock, N.Y.
1995 "Legacy of Excellence",Bklyn. Coll. Fac., Images
1994 International Print Triennial '94, Cracow, Poland
1993 "Global Graphics" Biennale, Maastricht, Holland
1992 Hong Kong Art Centre, "Americana '92"
1991/90/88 Chicago Center For The Print, Chicago, Ill.
1991 Dome Gallery, New York City
1990 "ART 21/90" Basel, Switzerland; Galerie Domberger
1990 The National Academy of Design, New York City
1990/88 Soundshore Gallery, Stamford, Conn.
1989/87 Aires Gallery, Brewster, Mass.
1989/86 Randall Beck Gallery, Boston, Mass.
1989/88/86 Mona Berman Gallery, New Haven, Conn.
1988 National Arts Club, New York City
1987 Associated American Artists Gallery, New York City
1987 Brooklyn College, City University of New York
1987 Multiple Impressions Gallery, New York City
1987 A.I.R. Gallery, New York City
1986/85/84 Chosy Gallery, Madison, W.I.
1985 Cork Gallery, Avery Fisher Hall, Lincoln Center,
1984 "ART 15/84" Basel, Switzerland
1984/83 Galerie Françoise Palluel, Paris, France
1984 Hudson River Museum, Yonkers, N.Y.
1984 Marymount College, N.Y. C.
1984 New York University, Loeb Center, N.Y.C.
1984 Suffolk County Community College, N.Y.
1983 "ART 14/83" Basel, Switzerland; Galerie Domberger
1983 The Bronx Museum Of The Arts, Bronx, N.Y.
1983 The Lockhaven Art Center, Orlando, Fla.
1983/82 Pace Editions, New York City
1982 Mobil Corporation "Prints-USA", Pratt Graphics
1982/81/80 Landmark Gallery, New York City
1981/80 Galerie Françoise Palluel, Paris, France
1980 Aaron Berman Gallery, New York City
1979 Alonzo Gallery, New York City
1978 The Brooklyn Museum, Brooklyn, N.Y.
Atlantis Hotel and Casino, Atlantic City, N.J. Grand Hyatt Hotel, N.Y.C.
Jennison Associates Capital Corp. N.Y.C. Halloran House Hotel, N.Y.C.
Marriot Desert Springs, Palm Springs, CA. Pfizer Corporation, N.Y.C.
Royal Caribbean Cruise Lines
Wuhan Shangri-La Hotel, China
1993-present Arts Reveiw panel,Research Grants Awards,City
University of NY
1991 Lecturer, Woodstock Art School, Woodstock, N.Y.
1985-1990 Board of Directors, A.I.R. Gallery, N.Y.
1980-1990 Instructor, School of Visual Arts, N.Y.
1974-1987 Instructor, Brooklyn College, City University, N.Y.
1970-1987 Standing Committee on Art, N.Y.C. Board of Education
1965-1987 Chairman, Dept. Fine Arts, F.D.R. High School,
1968-1990 Assistant Examiner; Fine Arts, N.Y.C Board of Examiners
1973-1982 Museum of Modern Art, Education Advisory Board
1970-1974 Brooklyn Museum Art School, Advisory Board
Sept. 17, 1995 N.Y.Times Magazine;: "The Power of Color",
Reproduction of painting Spring 1994 Triennale '94, Internatio
nal Prints: Cracow,Poland
July 1993 Global Graphics: 1st International Graphics; Maastricht,
Spring 1993 The William and Mary Review: College Tercentenary
April 24, 1990 Stuttgart Nachrichten: Review of 25 Year Retrospective
Exhibition, Galerie Domberger, Stuttgart, Germany
June 1990 Aspects of Nature: Monograph and Catalog of Paintings and
Prints, 1965-1990, Edition Domberger, Stuttgart, Germany
June 16, 1988 Artspeak: Review; Pastel Exhibition, Summa Gallery,
July 20, 1984 New York Times: Review by Vivian Raynor of Painting
Jamie Szoke Gallery, N.Y.C.
June 16, 1984 Artspeak: Review of Print Exhibition, Loeb Center,
June 15, 1983 Art 14 '83: De International Kunstmesse, Basel,
June 1982 Print Review: "Prints USA 1982", Pratt Graphics Center,
August 31, 1981 Newsday: Review by Malcolm Preston of Exhibition of
Gallery Odin, Port Washington, N.Y.
September 1981 The Print Collectors Newsletter: Review of Print Edition
executed at The Domberger Studio, Stuttgart, Germany
June 1980 Arts Magazine: Critical Review, Tom Boutis
Winter 1980 High Points: "Art as an Encompassing Experience"
,N.Y.C.Bd. of Educ. Winter 1967/68 Art Journal:
"Art Study Today: Comments and Criticism",
College Art Association of America
Awards: Brooklyn Museum, Rosenthal Grant
City University of N.Y., Research Grant
Hudson River Museum, 69th Hudson River Annual Printmaking Award
1st International Graphic Biennale, Maastricht, Holland, Invited Artist
The following is a review from the November 2003 issue of "Art Times", submitted by Cornelia Seckel publisher of "Art Times".
Yale Epstein & Jolyon Hofsted at the Watermark/Cargo Gallery (Review)
By RAYMOND J. STEINER
MORE OFTEN THAN not, a two or more person show can work at a disadvantage to, if not all artists on view, at least to those with work not strong (or good) enough to hold its own. This was certainly not the case here* seldom do the creative visions of two artistic minds and a painter and sculptor at that! function so well together, each intensifying the other, both carrying on a silent dialogue that both simplifies and deepens their individual and combined content at one and the same time. To begin with, neither artist is expressing an easily translatable theme or "message" through either simple representational or figurative imagery and yet both appear to be shedding light on the significance of the work of his fellow exhibitor. On the other hand, neither is dealing in straightforward abstraction far from it, in fact.
Yale Epstein, using primarily a two-dimensional format and combinations of such materials as oil, ink, wax, pastel, pencil, gesso, goldleaf, acrylic, vellum, graphite, paste, silk, aquatint and varnish on wood and/or paper, works in fragmentary fashion, employing both broken color (sometimes harmoniously, sometimes not) and partial assemblage, to convey a sense of unfinished or un-realized language/message from the past. Though he sometimes uses what is obviously some kind of calligraphy, hieroglyph or ideogram in brief some real (e.g. Hebrew in "Lamentations I" or Oriental in "Inscription I") or imaginary (cf. e.g. "Ancient Tablet") written script often it is through a juxtaposition of either imposed form (primarily rectilinear, totemic) or color (mostly muted) that leaves the viewer under the impression that something is being "said" here, some communication that, if only deciphered, would yield enlightenment.
That this hinted intelligence might be of some import is suggested by a variety of techniques: size, configuration, but most often, title. We are told that we are viewing "Sacred Walls," "Inscriptions," "Tablets," "Talismans," or "Legends" at other times we are informed that we are participating in a "Discovery," a "Journey," or a "Lamentation." Never, however, is the "message" clear (at least to this viewer); nevertheless, one does come away with some intellectual or emotional impact no matter how vague or undecipherable the visual context or intent is (the title, of course, helps one to "get" sorrow (cf. "Lamentations") or solemnity ("Sacred Wall"). Such is the overall dynamics of Epstein's art that, whatever rational "spin" one chooses to put on the experience of viewing his work either individually or collectively there are some thirty-four pieces one is convinced that one has undergone some subtle transformation, some initiation into ancient mysteries that somehow eludes our vocabulary to elucidate. We know something "happened" that some inner (and more primitive) self has been somehow "touched" but not precisely how it happened or what it was.
Interspersed with and playing against Epstein's work both mounted on the walls and strategically placed here and there on the floor of the several "galleries" are Hofsted's three-dimensional sculptures all comprised of two materials: ceramic and bamboo (though in some cases, the bamboo is attached to their ceramic elements with heavy twine and a gelatinous fixatif that appears to be either melted wax or glue that binds the disparate components). Again, as with Epstein's reappearing elements, Hofsted's repetitive and consistent use of ceramic and bamboo is a powerful visual mantra that irresistibly engages the mind on some pre-conscious and elemental level. This recurrence of materials is echoed by the vessel-like appearance that characterizes each of the works all seem to be molded in a consistent container-like form many seemingly designed for the holding of water, or grain, or perhaps even human remains. The clay-work which sometimes appears to be rough, fragmentary, and ill-handled (purposely so, one eventually comes to realize) when considered in isolation yet produces in the end a highly sophisticated and final configured whole that is both pleasing to the eye and functionally apt. Thick slabs of clay that seem to be haphazardly stuck on here and there, meld into a harmonious aggregate when viewed at the proper distance (much like what occurs when stepping back from the blobs and splashes of an impressionist painting). Because of their spatial presence, their three-dimensionality, Hofsted's pieces are as forcibly iconic in their impact as spiritually expressive as are Epstein's suggestive glyphs, in spite of (or perhaps because of) the fact that, once again, we are not made aware of their particular purpose or use. Both men vary the size of their conceptual products Epstein, from 11 1/4"x9 1/2" to 44" x 21" and Hofsted, from 5"x14"x9" to 16"x16"x50" high i.e., from intimate to large-scale dimensions. Also as with Epstein's vision, Hofsted's work throws us back into a past that is redolent of prehistoric ceremony, funereal rites, and the mysteries of combing fire and earth. Some of the thick, rough-hewn clay segments that form the bodies of Hofsted's vessels seem of volcanic origin, formed by nature rather than by human hand (or intelligence).
I felt compelled to view this exhibit in silence, treading noiselessly around the separate works, as if not to disturb their aura, their eerie and numinous presence much as if I were circumambulating the nave of some image-filled cathedral. Showing these two artists in tandem was a stroke of pure inspiration and I have rarely come across such a happy marriage of placement and artwork such as this. We have grown used to works of art being taken out of context ripped from their original sites (and intents) only to be housed in museums of different locations not to mention different cultural contexts. Today, of course, most art is created for museum venues (or hopefully so) and not, like in former days when it was created, if not in situ, at the very least for a specific time and place. Ben Wigfall, director of the Watermark/Cargo Gallery, has managed to bring some of the seriousness of art back in this present exhibition turning his gallery at least for the moment into a holy place, a place where the magic of the unknown intersects our mundane world. As with myth-making, good art-making ought to always be somewhat enigmatic, not created to give mankind answers (which are invariably incorrect or incomplete), but rather to present a framework in which we may re-think our relationship to the greater mysteries of life with a new and altered vision. But then Wigfall, a knowledgeable collector and dealer in the art of Africa, knows the power and seduction of the intuitive and deserves kudos for bringing it so dramatically to our attention through these two most engaging artists.
*"Yale Epstein: Mixed Media Works & Jolyon Hofsted: Ceramics: New Work" (Sep 13Oct 26): Watermark/Cargo Gallery,
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