Howardena Pindell
| Howardena Pindell | |
|---|---|
| Born |
Howardena Pindell April 14, 1943 Philadelphia, Pennsylvania, United States of America |
| Nationality | American |
| Education |
BFA, Boston University, School of Fine and Applied Arts,1965 MFA, Yale School of Art and Architecture,1967 |
| Known for | Painting, collage, video art, mixed media |
Howardena Pindell, born in Philadelphia, Pennsylvania, on April 14, 1943, to Howard and Mildred (Lewis) Douglas, is an American abstract artist. Her work explores texture, color, structures, and the process of making art; it is often political, addressing the intersecting issues of racism, feminism, violence, slavery, and exploitation. She is known for her use of unconventional materials in her paintings including string, perfume, glitter, and postcards.
Howardena Pindell is represented exclusively by Garth Greenan Gallery, New York.
Howardena Pindell had a black middle-class upbringing in Philadelphia. Her parents always placed extraordinary emphasis on neatness, which would later be visible in her artwork. In fact, at the age of 8 she had already declared that she wanted to be an artist.
Pindell graduated from the Philadelphia High School for Girls. From a young age, she demonstrated promise in figurative art classes at the Philadelphia College of Art, the Fleisher Art Memorial, and the Tyler School of Art. She received her BFA from Boston University in 1965 and her MFA from Yale University in 1967. She also holds honorary doctorates from the Massachusetts College of Art and Design and Parsons The New School for Design.
Though she initially began her practice with figurative paintings, once she earned her MFA and moved to New York, her style would change dramatically. After graduating from Yale, she began working at the Museum of Modern Art (MoMA) in New York City, where she was employed from 1967-1979 as an exhibit assistant, curatorial assistant, and associate curator. In 1977, she became associate curator of the department of Prints and Illustrated Books. She continued to spend her nights creating her own pieces, drawing inspiration from many of the exhibits hosted by MoMA, especially the museum's collection of Akan batakari tunics in the exhibit African Textiles and Decorative Arts. Because her days were taken up with work at the MoMA, some say that her work shifted from figurative to abstract because she could no longer rely on natural light and a model to be present when she worked at night.
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