James Hayward: Curated by Mike Kelley

2005/6

J A M E S H AY WA R D 511

w e s t 2 5 t h street, new yo rk, n y w w w . c u e a r t f o u n d at i o n . o r g

10 001

JAMES HAYWARD OC TOBER 20-DECEMBER 3 2005 CURATED BY MIKE KELLEY

CUE ART FOUNDATION

tt i

\\(' arc• honon•d and grat<'f11l to prl',l'nl ti"' (•,l11hition g(·n<·romh ('urat<'d h, \lik\• l...(·11(·), For th(• CUE solo <·,hihition Sl'ri('s, \lr. K<·II<') h,IS dHJM'll f<·llo\\ artist. Jaml's I lavward. /I.Ir. Kl'II<·)\ appr!'dation of \Ir. I la)"' ,ml\ work d<·n1011strat(·, lum tlH' Fo11ndatio11, dis<:r<'tional") Sl'l1·<·tio11 prol"('" allows a natural noss-polli11ation to o(·(·ur hl't\\('('11 diffl'rl'nt fonm of artisti<· (·,pn·"ion. ( :u f•: appr!'dat<·s that g<·ographil' loeation \'an sonH'tilll('' limit an artists <·,llihition po"i hiliti1·s l'ist'\dH·n· thus \\(' ar1· pl<'as(·d to offl'r \Ir I la)"'ard th<' opportunit) for hi, first solo ('\hihit,on 111 ,c·" )ork in m1•r si,t<·c·n )('ars. \lr. J...l'II<·) and \\'!', togl'IIH'r. \\ish him a futur<' off11lfill11H'nt and su<·<·<·-'·

CURATOR'S STATEMENT

I Ill<'! Jimmy I layward in thC' mid lo lat<' SC'ventiC's soon after I

mm·pd to Los Ang<'IC's. If I rc•mc•mlwr corrC'ctly, the Brsl paintings I saw by him wc•rc• a series of multi­

panel 111onochro111Ps in red and black. I was struck by the beauty of thC'ir slick surfacC's, and c•vc•n more•

intc•rc•sted in I Iayward's dC'sc:ription of himsplf as an Automatic paintC'r. I I is works had nonC' of th<' qualiti(•s

that I had before associated with Automatic painting. The paintings werl' built up from thin layC'rs of

pigm<'nl so that thc•rc• was no tracC' of brnsh stroke. Jimmy would probably disapprove of my rC'ading, but

this somC'how struck inc• as a J)uchampian gesturC': that tlw labor and lime spc•nt on paint application was

negatC'd b) thC' fact that there was no \'isibk trace of it. Now, I ha\'C' a somc•what differC'nt tak<' on this: 111) pr<'\'iou, rc•ad was a by-product of 111y own clichrd notions about gestural Automatism: his paintings'

surface's were the result of this laborious proc(•ss - whetlwr I recognize this, or not, is not the issue•. Tlw

Bnal effect is th<' issue. Aftpr this seric•s of paintings. Jimmy went on to produc(' rnonochronws with lwmy

impasso surf'acC's that range in color from subtlC' grays. to flpshy tones. to bright acidic huc•s.

In Ill)' c•slirnation llayward is one• of thC' fC'w truly important \\'C'st Coast paintC'rs. yet ilC' is

surprisingly littk known outsidC' of tlw arc•a. Pc•rhaps this is because tlw \\'est Coast has not !wen tradition­

all) associated with painting and thC're art' really no rC'cognizable \\'('st Coast "schools" of painting. I le has

nothing in co111111on with tll<' few painters of not<' who came before him: Hichard Dielwnkorn, Sam

Francis. Ed Moses. Ed Huscha. And nothing in common with those who came after him: Lari Pittman.

Laura Ow<•ns. James I Iayward has always followed his own subtle• and unique path.

JinHll) is also a really nice• gu) and a friend of mine•. Mall) rnoons ago he arrang<·d for 111y

first art-relatC'd job: a short lC'aching stint in Minneapolis. That was a V!'I') important step for me•. I'm glad I havC' this opportunity to prC'sent Jimmy's work in :,.Jc•w York.

Mike Kelley

ABSTRACT # 77. 2004 Oil on .arwa� on wood panel 43' X 33'

ABSTRACT # 84, 2004 01 on canvas on wood panel 27" X 22"

ABSTRACT # 90, 2004

o, on canvas on wood panel 58" X 48 "

ABSTRACT # 92 2005 0,1 on canvas on wood panel 27" X 22'

ABSTRACT # 93, 2005

011 on canvas on wood panel 25 1/2" X 23 1/2'

BI OS

JA \IES II \Y\\'AHD l'ainl<·r JanH·s I lay\\'arcl "·as horn in San Francisco. California in 19.J:3. lie eo111plct<·cl his .\I.F. \. at tin• l:ni\ c•rsil: of' \\'ashinglon. S(•attlt', \\'ashinµ:ton in 1972. In 199(-i, lla:ward n·e<'ilt'd tht' l'olloek-KrasiH'r Foundation Cranl. l\t't'<'lll group sho\\'S include•: "100 Artists Sc•,• Coe!" (·o-euratt'cl h: J\lc•g Cranston and John llaldt'ssari that is eu1Tc·11tl: on lour: "Pink" at Patricia Faun• Cali<'r:, Santa J\loniea, CA: "Tripi<' Play: l\iehard Allc•n J\lorris. JanH's Ila:�1ard. Ed .\los<•s" at H.B. St<•,c·nso11 Callt'r:, La Jolla. CA and "l'aralkl \'isions: JanH's l la:warcl o: Doris Cyp11s" al .\lanclarin Call<'r:, Los Ang<'lt's. C:A. Th<' c•,hihition al C:UJ•: n·pn·sc•nts th<· artist's first solo c•,hihition in ;s;c•w York Cill in l(j \'l'ars. lla:warcl li\'l'S and works in J\loorpark, California.

\JIKE KELLEY Tl1t' work of' artisl .\like• Kc·li<·: (h. 19,'51) t'lllhrat·,·s 1wrf'orrnant'(', in,tallation. clra\\i11g. painting. ,·iclt'o, and seulptun•. Dra\\ ing clistinelil<'I: on high art ancl \l'rnacnlar tradi­ tions, including historical rt'st'areh. popnlar l'llltnr(', ancl psycholoh'), K('llt·: (·anH' to pro,uinc•nt·t· in tht' 19-'>0' s with a sc•ric•s of' sl'ulptun•s co111posc•d of' l'raft 111alt'rials. Ilis n·<·t•nt 1rnrk offrrs dialogn<'s 11ilh arehitc•t'l1m• and 11ith rt'pr('ss('d 111,•111ory syndro,11,·. ancl a ,11staint'cl i11q11ir: into his 0\\'11 ac·sthl'lil' and social histor:. \lik<' Kc·llc·:' s ll'ork l1a, IH'<'ll tl1c· s11hjc·t'l of' 111111H·ro1is c·,hihilions inl' l11ding. 111ost n•t·t·uth.

"Th<' l)ll(·a1111: ". a euratorial projc·t'l pn·s<·lll('d h: Kc·II,·: al th<' Talc· I ,i\l'rpool. l K ancl at th<' J\111sc•11111 J\locknH'r Knnst Stif't1111g l.11d\\'ig \\ 'i('ll in \'i<'lllla. Austria in 200-1: a l�J!-J:3 r!'lrosp('t ' lil<· of'his work at tht' \l'hitn<': ;\l11s<·11111 of' 1\111c·rica11 Art in ;s;c•w York City: "l)oe111m•11ta X" ( 1997) . in Kassc•I. C:t'rnia11: and fh<' appc•arant·c•s at th<' \\'hit II<': llit'nnial. Ile has also pnhlislH·d two ,ol1111H's of' critieal \\'rilings. Fo11/ 1'1•1f<'cfio11: Essay., 0111/ Criticism, (2002) ancl .\li1111r llistorii•s: Sta/1•1111·11/s. C:011r1'l'mtio111. Pm11.osals. (2 00 .J).

I le li,c•s ancl 11orks in Los Ang<'ks. CA.

2005/6

J A M E S H AY WA R D 511

w e s t 2 5 t h street, new yo rk, n y w w w . c u e a r t f o u n d at i o n . o r g

10 001